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Oscars 2021 Live Updates: Academy Awards Winners and News | #television | #elderly | #movies


If you came into this ceremony unfamiliar with the nominated films and performances … well, don’t expect to see any clips of them. We’re an hour in, and the stripped-down ceremony hasn’t played anything from this year’s movies.

Another first: The “Ma Rainey’s Black Bottom” costume designer Ann Roth just became the oldest woman to ever win an Oscar, at age 89.

I really like all of this pre-win trivia and the explanations of intentionality with some of the craft nominees. Also: How many is that for her, Kyle?

Roth has been nominated five times and won once before, for “The English Patient.”

NO. Wow. She always seems so … inevitable. But what do I know?!

“Ma Rainey’s Black Bottom”

Our Projectionist predicted correctly!

Mia Neal and Jamika Wilson (“Ma Rainey’s Black Bottom”) just became the first Black women to win the Oscar for makeup and hairstyling.

“Ma Rainey’s Black Bottom”

Our Projectionist predicted correctly!

Don Cheadle, presenter of the hair and makeup and costume Oscars, is wearing a Godzilla-hide bow tie.

Do we think everyone will be able to give long speeches, or will people start getting played off in the second half of the show?

I doubt anybody gets played off tonight. It feels somehow anti-Soderberghian.

The reaction shots from winners’ family members (in this case Daniel Kaluuya’s mother and sister) is a new addition to the show and it’s a very warm and welcome one.

Agreed, Dave. This is a remarkable speech and Daniel Kaluuya’s mother can’t even believe he’s giving it.

A scene from “Judas and the Black Messiah,” starring Kaluuya as Fred Hampton, a leader of the Black Panther Party.
Credit…Glen Wilson/Warner Bros. Pictures, via Associated Press

Daniel Kaluuya won the Academy Award for best supporting actor for his nuanced portrayal of Fred Hampton in “Judas and the Black Messiah,” beating out his co-star, Lakeith Stanfield, who was also nominated in the category.

“To chairman Fred Hampton,” Kaluuya said in his acceptance speech. “What a man. How blessed we are that we lived in a lifetime where he existed.”

“There’s so much work to do,” Kaluuya added, speaking about Hampton’s legacy. “That’s on everyone in this room.”

Kaluuya’s win was far from a surprise. Critics have widely praised his performance of Hampton, an ascendant leader of the Black Panther Party who was killed by the police in 1969. And Kaluuya won the Golden Globe for best supporting actor earlier this awards season.

But when Oscar nominations were unveiled last month, Stanfield’s inclusion in the supporting actor category alongside Kaluuya puzzled some Oscars pundits, who thought Stanfield a better fit for the best actor category. As it turned out, it did not ultimately cost Kaluuya, who was considered something of a lock to win the category.

Kaluuya previously had earned a best actor Oscar nomination for his turn in the 2017 smash “Get Out.” Sunday marked his first Oscar win.

Kaluuya’s rousing call-and-response speeches drive some of the most electric scenes in “Judas and the Black Messiah.” But in an interview with The New York Times, Kaluuya detailed the great lengths he went to in order to understand Hampton and, in so doing, come to capture his idiosyncratic voice and style of speaking. “I gave it everything I had. I gave. I gave. I gave,” he said then.

In his review of the film, The New York Times co-chief film critic A.O. Scott acknowledged Kaluuya’s efforts, writing that the actor “finds inflections of Southernness in his voice and manner — undertones of humor and courtliness, an appreciation of the expressive possibilities of language.”

“I don’t feel like I’m entitled to anyone’s attention,” Kaluuya told The Times. “I have to offer, or channel, or shape something that’s going to make you want to give it to me.”

Daniel Kaluuya, “Judas and the Black Messiah”

Our Projectionist predicted correctly!

People have always complained to me about how indulgent these actor-on-actor tributes are but I don’t care. They swell my heart.

Laura Dern just shouted out all five supporting-actor nominees.

This is an Oscar ceremony that isn’t afraid to let winners go long. The “Another Round” director Thomas Vinterberg would have been played off early at any other show before he got to the part of his acceptance speech that he movingly dedicated to his late daughter.

They have time now, right? There are no musical performances!

I appreciate an Oscars presenter who puts on her reading glasses when she has to open her envelope. Here’s looking at you, Laura Dern.

Regina King spoke of her concerns about police violence when she opened the show.

Regina King opened the Oscars by striding onto the stage at Union Station and immediately bringing up events of the past week.

Without preamble, she offered blunt commentary on the recent trial and verdict handed down in the case of Derek Chauvin, the former Minneapolis police officer, who was found guilty of second-degree murder in the death of George Floyd.

“It has been quite a year, and we are still smack-dab in the middle of it,” she said in her opening monologue. “We are mourning the loss of so many, and I have to be honest, if things had gone differently this past week in Minneapolis, I might have traded in my heels for marching boots.

“Now, I know that a lot of you people at home want to reach for your remote when you feel like Hollywood is preaching to you, but as a mother of a Black son, I know the fear that so many live with, and no amount of fame or fortune changes that,” she added.

My 6-year-old son just asked about the Oscars broadcast, “Is it in the part where it’s exciting still?”

Well, Thomas Vinterberg just mentioned that he dedicated his movie and now his new Oscar to his late daughter. So it’s definitely the part where it’s heavy.

Thomas Vinterberg winning for “Another Round.”

This is the story of a group of teachers (including one played by Mads Mikkelsen) who think they can solve their midlife crisis by getting a little drunk every day on the job, a plan that goes about as well as you think it would. (Don’t try this at work or over Zoom.) The gonzo premise turns reflective as Mikkelsen’s character tries to rescue his marriage, and the movie culminates in a justly celebrated dance scene in which the actor shows off his moves. The cast initially included the 19-year-old daughter of the director, Thomas Vinterberg, but a few days into filming, she was killed when a distracted driver slammed into a car she was riding in. The filmmaker, who was nominated for best director, opted to continue the production. He told IndieWire: “My life was destroyed,” adding, “We decided to make the movie for her. that was the only way we could do this.” Read our review.

It’s international film time, presented by Laura Dern to “Another Round.” “Collective” was my personal favorite.

“Another Round,” Denmark

Our Projectionist predicted correctly!

Guys, while I’m remembering 1989 and “Dangerous Liaisons,” I just want to pre-pour one out for Glenn Close, who is likely going to lose her eighth Oscar tonight.

My mom took me to see “The Empire Strikes Back,” Laura Dern’s mom took her to see “La Strada.” I guess we had different upbringings.

Christopher Hampton doesn’t get to talk at all?

Christopher Hampton’s name not being read in 1989 for adapting “Dangerous Liaisons” is one of my first Oscar memories. Now he’s a winner.

I appreciate the effort that went into getting all of the “Borat” screenwriters on the TV screen at the same time.

Christopher Hampton and Florian Zeller, “The Father”

Our Projectionist predicted correctly!

Original-screenplay winner Emerald Fennell is the first woman to win a screenplay Oscar in 13 years, since Diablo Cody triumphed in this same category for “Juno.”

That is the strongest script of these five. (Lots of things that drove me crazy about it, but still …)

Emerald Fennell, “Promising Young Woman”

Our Projectionist predicted correctly!

This is a real departure from the traditional opening monologue. Regina King is sharing little biographical details about some of the nominees.

Kinda love those Oscar lamps, though …

So to recap, the Academy Awards are now the Golden Globes, the Golden Globes are a Zoom conference and the Tony Awards are yet to be determined.

Yes, Dave. We’re also learning a little about what it’s like to be directed by Regina King. She’s not hosting the show but she might as well be.

My viewing companion for the evening just perplexedly asked me: “So it’s all pretaped?” I imagine lots of similar conversations taking place as we type.

Regina King is opening this show like it’s an “Ocean’s” movie. She’s got an Oscar in her hand as she makes her way into the house via a tracking shot.

I like the whole entrance walk idea. It’s the first time it’s ever felt like this show really HAD an entrance.

In one of those you-couldn’t-make-it-up moments, Carey Mulligan and Andra Day, both nominees for best actress, showed up on the red carpet in gold midriff-baring gowns — Mulligan in Valentino haute couture and Day in custom Vera Wang.

The resemblance to Oscar himself was immediately apparent.

Credit…Pool photo by Chris Pizzello
Credit…Pool photo by Chris Pizzello

Though the silhouettes were quite different (how would Mulligan manage to sit down in that skirt?), the general idea was quite similar. How could such a mind meld happen?

Well, if you want to manifest winning a gold statuette … dress like a gold statuette! Besides, this way, even if you don’t get to take home the prize, you get to win in the entrance-making stakes.

Amanda Seyfried on the “Red” Carpet on Sunday.
Credit…Pool photo by Chris Pizzello

No, it’s not just you.

The red carpet is pink.

Or is it magenta? Watermelon? A fuzzy expanse of reddish-purple?

We could’ve passed it off as a color correction blip in the broadcast. But then Amanda Seyfried, who’s up for best supporting actress for her role in “Mank,” showed up in a bright red Armani gown, and, well …

Pink, we tell you. Pink.

Evening, everybody. I’m one of the critics at The Times. And I have to say that even though these 93rd Academy Awards are taking place amid a bunch of health and culture crises (what is a movie now?), I’m still excited about Steven Soderbergh’s broadcast. It’s set at a train station and is being filmed to resemble film (what is TV?). And even though it’s likely that “Nomadland,” Viola Davis, Chadwick Boseman, Daniel Kaluuya, and Yuh-Jung Youn are your likely winners, it still feels like something happily unforeseen could happen at these host-less, pandemic-plagued Academy Awards. So stick around. We’ve got insights. We got jokes.

I’m Dave Itzkoff, a culture reporter for The Times. I look forward to seeing if and how the full-fledged Oscars broadcast can maintain the laid-back, chilling with Lil Rel Howery and talking about sports bars energy of its preshow. I also hope that the executive producer Steven Soderbergh sprinkles in references to “Schizopolis” throughout the night.

Hey, all! It’s Kyle Buchanan, your Projectionist. The ceremony is about to begin, and I’m predicting a very big night for “Nomadland” and its director, Chloé Zhao. But this chaotic awards season may have some big surprises left, including the best-actress contest, which is stocked full of heavy hitters with no clear front-runner.

Hi, friends. Margaret here, one of the TV critics for the Times. I’m most curious about the ceremony-qua-ceremony tonight. We’ve had several awards shows during the pandemic (is that … cool? is a question for another day, I guess), with varying degrees of success in terms of pace, purpose and razzle-dazzle.

Taking a page from Emerald Fennell, I’m going to describe Regina King’s gown as “butterfly about to fly off for the summer and not even worrying about which way the wind is blowing.”

What did a dress code of “inspirational and aspirational” actually mean?

So far, it means male nominees just saying “no” to boring black tie, and trading the whole penguin suit for peacocking.

First there was Colman Domingo in a tone-on-tone hot pink Versace suit …

Credit…Pool photo by Chris Pizzelo

… then Leslie Odom Jr. in head-to-toe gold Brioni …

Credit…Pool photo by Chris Pizzello

… Paul Raci in all black, down to his polished fingernails …

Credit…Pool photo by Chris Pizzello

… and Lakeith Stanfield in a Louis Vuitton jumpsuit.

Credit…Pool photo by Alberto Pezzali

Meanwhile, young Alan Kim of “Minari,” wearing Thom Browne shorts and knee socks, pretty much showed us how to do age-appropriate fancy dress without making it look as if he were in costume. More like playing follow the leader.

Credit…Pool photo by Chris Pizzello

“It feels like the Twilight Zone” to be around people, said Amanda Seyfried.

The performances for this year’s best song Oscar nominees were prerecorded and broadcast during the event’s preshow for the first time.

Both Carey Mulligan and Andra Day trying to manifest their best-actress wins in gold. Take home a statuette or just dress like one.

In case anyone is wondering, Daniel Kaluuya is NOT wearing a pearl necklace. It’s just … pearl-size diamonds.

Alan Kim and Christina Oh.
Credit…Pool photo by Chris Pizzello

Alan S. Kim, the 9-year-old star of “Minari,” stole viewers’ hearts in March when he accepted the Critics’ Choice Award for best supporting actor over video. While reading from a list of people to thank, he broke suddenly and exuberantly into tears.

“Oh my goodness, I’m crying,” he said. As he spoke through tears, that crying intensified. The clip, if you haven’t seen it, is extremely sweet.

Tonight, Kim is at his first Oscars. He walked the red carpet with Christina Oh, a producer of “Minari.”

Kim recently celebrated a birthday and shared with E!’s Giuliana Rancic that he received a bike, an iPad and a Fitbit for the occasion.

Asked by Rancic if there’s anyone he’s excited to see tonight, Kim responded: “No, not really. I’m fine with everybody.”

The designer Thom Browne has dressed Kim throughout awards season. For his first Academy Awards, the actor arrived in a shorts suit by Browne with knee-length socks.

Clockwise from top left, scenes from “Minari,” “Judas and the Black Messiah,” “Soul” and “Ma Rainey’s Black Bottom,” all films expected to win at least one Oscar.
Credit…David Lee/Netflix, via Associated Press; Disney/Pixar

Will “The Trial of the Chicago 7” pull off an upset win for best picture? Is the eighth nomination the charm for the perpetual bench-warmer Glenn Close to take home her first statuette?

Our ballot has now closed, and it’s time to see how you — and our awards expert, the Projectionist columnist Kyle Buchanan — did. We’ll be tracking his predictions in all 23 categories all night, so be sure to follow along on our live blog.

He played it safe in the best picture category, picking “Nomadland,” and for acting honors, Chadwick Boseman, Viola Davis, Daniel Kaluuya and Yuh-Jung Youn. If he’s right, this would be the first time in the ceremony’s 93-year history that all the acting awards will go to people of color.

It’s kind of weird to see everyone with no masks on again — like when you see someone who has shaved off an eyebrow, and you know something is missing, but it takes a few seconds to figure out what it is.

Reminded of this when Glenn Close showed up with a pair of satin gloves on that matched her gown, and my first thought was: smart PPE.

This year’s Oscars may not be the first awards show held during the pandemic, but it’s the closest-to-normal ceremony we’ve seen since the last Academy Awards, held in February 2020 — meaning it’s being held mostly in person, not on Zoom.

We’ll be here watching the socially distanced red carpet, as nominees and their plus-ones return to the time-honored tradition of wearing fancy gowns (or tuxedos) and answering interviewers’ questions with varying degrees of awkwardness. All attendees have been instructed that casual wear is not an option. Masks, on the other hand, are not required for on-camera appearances.

This is why Emerald Fennell is nominated for an original-screenplay Oscar: When asked by Giuliana Rancic to describe her gown, she replied, “It’s ‘pottery teacher with a new business opportunity.’”

Will Ferrell, left, and Rachel McAdams in “Eurovision Song Contest: The Story of Fire Saga.” The Swedish pop singer Molly Sanden will perform the film’s nominated song, “Husavik (My Hometown).”
Credit…John Wilson/Netflix

Recent Oscars ceremonies have featured performances of the best song nominees. But not this year.

The producers of this year’s telecast, including Steven Soderbergh, decided to change things up. It will be the first time the performances will be taped and broadcast during the Oscars preshow. Part of the reason is logistical, Soderbergh has said. Because of Covid-19 restrictions, many Oscar nominees who live outside the United States can’t travel to Los Angeles, the site of the ceremony.

The performances were shot at the soon-to-open Academy Museum of Motion Pictures, with the exception of “Husavik (My Hometown),” which was taped in Husavik, Iceland, according to the academy. The song, from “Eurovision Song Contest: The Story of Fire Saga,” will be performed by the Swedish pop singer Molly Sanden, whose voice was dubbed into Rachel McAdams’s performance in the film.

The nominees for best song are:

  • “Fight for You” from “Judas and the Black Messiah”

  • “Hear My Voice” from “The Trial of the Chicago 7”

  • “Husavik (My Hometown)” from “Eurovision Song Contest: The Story of Fire Saga”

  • “Io sí (Seen)” from “The Life Ahead”

  • “Speak Now” from “One Night in Miami”

There are several other notable names behind the songs. Leslie Odom Jr., who co-wrote “Speak Now,” is also nominated for best supporting actor for “One Night in Miami.” Diane Warren, who co-wrote “Io sí (Seen)” with Laura Pausini, has been nominated for best song 11 times before but has never won. The R&B singer H.E.R., who won a Grammy earlier this year, co-wrote “Fight for You.” And the British soul singer Celeste co-wrote “Hear My Voice.”

The best song category was introduced in 1934. This is not the first time performances of the songs have been omitted from the show; they were left out of the 1989, 2010 and 2012 ceremonies. But they have been a staple of recent ceremonies, adding star power and breaking up the periods between awards. While we won’t have moments like Bradley Cooper and Lady Gaga serenading one another or giant Legos onstage this time around, we’ll have the memories.

When you watch tonight’s Oscars, there’s a chance they will look a little different than you expect.

If something feels a little off or tad bit unusual, rest assured, there are technical reasons. The producers of this year’s Oscars have said the ceremony will be broadcast in a wide-screen format at a frame rate of 24 frames per second.

As a point of reference, most television viewers are used to watching their favorite shows at a higher frame rate of either 30 frames per second or, these days, 60 frames per second. The difference can be hard to discern during many shows, but higher frame rates can help smooth out action sequences and live sports.

So what do these changes mean in practice for the Oscars?

“We are just trying to create an experience that has the aesthetics of a film, as opposed to a TV show,” one of the show’s producers, Steven Soderbergh said at a news conference over the weekend. “It means compositionally setting up shots that look more like movie shots than television shots, where people aren’t just nailed to the center of the screen all the time.”

“It’s going to sound different in terms of how Questlove is approaching the scoring of the show,” Soderbergh added. “So we just want the whole thing right out of the gate to announce itself as being different. And if you like movies, you will feel like you are watching a movie.”

That’s about as much specificity as we’ve gotten from officials so far. We’ll update this post after the show begins, and we’ve all gotten a chance to register what exactly is different.

Gleaming: the polished interior of Union Station, where part of the Oscars will take place this year.
Credit…Chris Pizzello/Invision, via Associated Press

Dr. Erin Bromage, a professor of immunology and infectious diseases at UMass Dartmouth, is the lead Covid compliance consultant for the Oscars, which means he is responsible for health and safety protocols at the awards show. He has overseen on-set compliance for more than 35 film productions since last June. But live events are different.

“With TV and film, you’ve got time to get it right,” he said. “With the Academy Awards, it’s live. There’s no learning on the go, and there is no second time around.”

Safety at the show has been a team effort. Steven Soderbergh and Stacey Sher, who are producers of this year’s Academy Awards and helped create the movie “Contagion,” consulted many of the same epidemiologists who weighed in on the 2011 film to help safeguard the awards ceremony.

Mr. Soderbergh has said that the awards will celebrate the way the entertainment industry has paved the way for others to open up again — though in March he called the logistics “mind-numbing” and described the show’s plans as “etched in Jell-O.”

“This is the biggest global production that’s out there,” Dr. Bromage said, noting that attendees will be traveling from all over the world. (Quarantine will be shorter for those who traveled in a “low-risk manner,” such as in first or business class, and for those who are vaccinated.)

Guests and presenters have been sent at-home testing kits, and most people received day-of PCRs for a test total of around 15,000. The Academy has said that masks are not required for people on camera.

This is not going to be a Zoom awards show, or a part-Zoom awards show, or a dressing-up-from-home show: It’s going to be a full-on red carpet moment. In a letter sent to all Academy Award nominees in mid-March, the show’s producers, Steven Soderbergh, Stacey Sher and Jesse Collins, laid it out:

“You’re wondering about the Dress Code (as well you should),” they wrote — after specifying that nominees were going to have to show up in person, or risk the Academy accepting on their behalf — “We’re aiming for a fusion of Inspirational and Aspirational, which in actual words means formal is totally cool if you want to go there, but casual is really not.”

In other words, forget the Jason Sudeikis hoodie at the Golden Globes, or even the formal pajama look Jodie Foster modeled at the same event, and start thinking bedazzlement. Word on the street is that big fashion brands are pulling out all the stops and the style/star industrial complex (with all the financial calculation that implies) is back in full swing. What that means for independent designers and designers of color remains to be seen.

One thing that will definitely not be seen, though: designer masks. Because the event is being treated like a full-on show, attendees will bare their faces while on camera. Get ready for a lipstick renaissance.

Chadwick Boseman, left, and Viola Davis are both nominees for their performances in “Ma Rainey’s Black Bottom.” This year could be the first time that people of color sweep the acting categories.
Credit…David Lee/Netflix, via Associated Press

Preventing the TV ratings from plunging to an alarming low, while celebrating movies that, for the most part, have not connected widely with audiences. Attempting to jump-start theatergoing when most of the world is more than a year out of the habit. Integrating live camera feeds from more than 20 locations to comply with coronavirus safety restrictions.

This is going to be one hard-working Academy Awards ceremony.

The surreal 93rd edition — a stage show broadcast on television about films mostly distributed on the internet — will finally arrive Sunday night. The Academy of Motion Picture Arts and Sciences delayed the event, which typically takes place in February, in hopes of outrunning the pandemic. Still, the red carpet had to be radically downsized and the extravagant parties canceled.

The night could go down in Hollywood history for happier reasons, however. The famed “and the Oscar goes to” envelopes could contain these names: Chadwick Boseman, Viola Davis, Daniel Kaluuya and Yuh-Jung Youn. If that happens, as some awards handicappers have predicted, it would be the first time that people of color swept the acting Oscars — an indication that the film industry has kept its promise in response to the #OscarsSoWhite movement and implemented meaningful reforms.

Though Kaluuya is considered a lock for supporting actor for his performance in “Judas and the Black Messiah,” voters, of course, could always veer in different directions on the three other categories. Is this the year that Glenn Close, a supporting actress nominee for “Hillbilly Elegy,” finally gets to take home a little gold dude? Or will she tie Peter O’Toole’s sad record for eight winless nominations? Carey Mulligan (“Promising Young Woman”) or Frances McDormand (“Nomadland”) could edge past Davis (“Ma Rainey’s Black Bottom”) to win best actress. And a posthumous best actor win for Boseman (“Ma Rainey’s Black Bottom”) has lately been less of a sure thing thanks to a surge of academy support for Anthony Hopkins (“The Father”).

In other words, it could be another Lucy-pulling-away-the-football moment for those who hope the film academy is on the verge of revealing itself as a definitively progressive organization.


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