A year after Frances McDormand’s Oscar speech, are inclusion runners making any progress?

“I have two words to leave you with tonight, ladies and gentlemen,” said Frances McDormand in her acceptance speech for last year’s Oscars. “Knight of inclusion.”

That’s right, the little-known term of the sector was immediately catapulted into the public sphere. Actors, directors and producers have started tweeting their promises to adopt the inclusion pilot – an additional contract provision that states that the inclusion of a project, on screen and behind the scenes, reflects real-world demography.

After turning on search engines and burning social media, can two words mentioned in an Oscar speech really change the industry? A year later, the effect was largely symbolic rather than substantial. But its main champions have been made progress.

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Michael B. Jordan is committed to adopting an inclusion pilot on all future projects.

(David Becker / Getty Images)

After committing to Instagram to support the addendum, Michael B. Jordan and his production company Outlier Society signed agreements at first sight with Amazon Studios and Warner Bros., which adopt the inclusion pilot in all future projects ( including Warner Bros.’s legal drama “Just Mercy,” released in 2020.) He also collaborated with WarnerMedia (the parent company of Warner Bros., HBO and Turner) in September to create a company-wide commitment to diversity.

Warner Bros.’s Production Diversity Policy requires the firm to commit to ensuring that different actors and crews are taken into account in all projects and to work with directors and producers who actively increase diversity and inclusion in the industry. Likewise, an annual report “will show not only what we have accomplished, but where we can do better,” said Kevin Tsujihara, president and chief executive officer of Warner Bros., in an email. “This responsibility is important to our company and will keep our efforts on track.”

The team behind the idea would like to remind doubts that the inclusion pilot simply asks productions or companies to actively engage in good faith efforts to consider candidates from contexts often underrepresented in Hollywood.

“This is not rocket science,” Kalpana Kotagal, one of the pilot’s co-authors, told the Times. “These basic principles are simple hiring practices to build better diversity in the workplace across America: slowing down the hiring process; think about how to consciously build that deep and diverse pool of highly talented or highly qualified people and, therefore, go out and hire them. “

Filmmakers Rachel Morrison, Milly Iatrou, Melissa Rosenberg, Mandy Walker and Penelope Spheeris talk about the obstacles they faced in the industry and why they believe that representing diversity is important.

Kotagal, Cohen Milstein’s civil rights and employment lawyer, wrote the inclusion pilot with Stacy L. Smith, founder and director of the data-driven Annenberg Inclusion Initiative, and Fanshen Cox DiGiovanni, head of strategic production strategy Matt Damon and Ben Affleck company, Pearl Street Films. The three women joined their areas of expertise in 2016 to establish a supply model, which can be adapted to implement fair casting and hiring of women, black people, people with disabilities, LGBTQ community members, etc. .

Minhal Baig

“I’ve never been on a set like that before,” said Minhal Baig of “Hala”, who has adopted an inclusion pilot.

(Taylor Jewell / Invision / AP)

The arrangement was also adopted in the making of “Hala”, a title from the contest at this year’s Sundance Film Festival, which was captured by Apple in January. Since the maturity story centers around a Muslim teenager (played by Geraldine Viswanathan) split between two cultural identities, writer and director Minhal Baig has begun to consider at least more female candidates as potential behind-the-scenes partners.

“Obviously we also interviewed men, and it happened that every person who was the most qualified for the job, who was the most prepared and had the strongest grip on the material, was a woman,” said Baig of female staff in all head of department positions and 75% of roles below the line.

“I’ve never been on a set like that before,” he continued. “It was a little more effort, but it’s only part of the due diligence that a director has to do when they find creative collaborators.”

If the inclusion pilot is relatively simple to implement, why isn’t it an industry standard? “There is this burdensome thing that I always feel and it drives me crazy:” We can’t [adopt an inclusion rider] because we just want to find the best people, “as if supporting this is somehow a compromise,” said Paul Feig, whose production company, Feigco Entertainment, is adopting the arrangement in all her future television and film projects, including Netflix’s romantic comedy “Someone Great”, due out on April 19th.

“Finding the right person for the right job is a big deal and not making compromises,” he continued. “All she’s saying is, check the default hiring setting for all the guys we normally hire and talk to some women, some black people, other people who have experience in the industry and see if anyone else is there. that shines. “

These additional steps to expand the usual pool of talents may be easier said than done for some, as they require recognition and the fight against unconscious and explicit prejudices. “At the beginning, when we were writing for the first time, we had all these people saying: ‘Of course, we believe it; we don’t need this document because we’re already doing it, “and then they don’t,” said DiGiovanni.

“All these well-meaning people who think they do things the right way anyway, say they don’t see the color – how do you reject it?” she continued. “It’s frustrating. We can’t keep doing things the way we’ve traditionally done them for a change to happen. So you can’t say you’re engaged in these problems and, at the same time, do things like you’ve done them before. “.

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Brie Larson gave a prominent speech on the lack of diversity in criticism in June.

(Chris Pizzello / Invision / AP)

Those engaged in inclusion in the industry have made great strides throughout the past year. In June, Brie Larson gave a noteworthy speech about the need for inclusion among film critics and announced commitments from the Sundance and Toronto film festivals to ensure accreditation for underrepresented background journalists (SXSW did the same). . Outlets including The Wrap and RogerEbert.com have achieved gender equity among its pool of critics, while CherryPicks has unveiled its site by aggregating reviews of female critics.

Elsewhere, the Creative Artists Agency has launched numerous inclusion initiatives, such as a tutoring program for showrunners, a research database of color television authors and a training camp for emerging writers, as well as numerous networking events and leadership summits. WME also announced a company-wide effort to collaborate with its customers on the adoption of inclusion riders, and its sister company Endeavor Content has also committed to achieving GLAAD’s goal of ensuring that 20% of Hollywood films include LGBTQ characters by 2021.

And AMC Theaters has announced a partnership with the #GoldOpen marketing movement to encourage the sale of wholesale tickets for films with those of underrepresented groups on and off the screen. Last year, the effort helped “Crazy Rich Asians” cash in on over $ 238 million worldwide.

There are still significant ways to go, but TV moments like McDormand’s Oscar speech and the widespread sharing of meticulous diversity studies on social media seem to make a difference.

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Tessa Thompson unveils the 4% challenge of Times Up at the January Sundance Film Festival.

(Sonia Recchia / Getty Images)

“It’s not just researchers who are drawing attention to these problems, but also the biggest names and powerful decision makers in the industry,” said Nithya Raman, entertainment director of Time’s Up.

This is exactly why Time’s Up used social media to host the 4% challenge. Unveiled by Tessa Thompson at Sundance in January, the plan – created in collaboration with the Annenberg Inclusion Initiative – brought public engagements of over 125 actors, producers, writers and studios to work with a director over the next 18 months.

“It is only with this real public outcry about how severe these numbers are that we can really make it unacceptable for the status quo to continue longer,” Raman continued, noting that Time’s Up is currently working on a specific strategy to encourage inclusion in positions below the line.

“This base of rumors that say this is unacceptable, which encourages everyone to be more considerate and intentional about who is on their list, who they are hiring, why they are making decisions they make.”

And hopefully, what happens in Hollywood doesn’t just stay in Hollywood. “This sector is itself a huge employer, but it is also influential because it has a spillover effect,” said Kotagal. “Movies and television shape worldviews, narratives and norms. So solving problems in Hollywood can potentially help solve problems in other areas, in other parts of America and around the world.”

ashley.lee@latimes.com

Twitter: @cashleelee

Frances McDormand wears a personalized Valentino Birkenstocks while presenting the Oscar to the best actress

While film legends and movie stars can show off their most glamorous outfit for the biggest Hollywood night, we can always count on Frances McDormand to do something totally out of the ordinary. Tonight, while presenting the Oscar for the best actress to Olivia Coleman, the actress went on stage wearing a pair of Birkenstocks in yellow Valentino personalized suede under her pink dress from the Couture spring 2019 collection of the Italian house. McDormand rarely walks the red carpet and doesn’t like name-checking designers, but has approached Valentino and his creative director Pierpaolo Piccioli since he wore one of his fashion packs at the Met Gala 2018. Although the Three billboards outside Ebbing, Missouri the star has maintained her usual look without makeup, her couture ensemble meets comfort she made a bold statement on the red carpet. Tonight, the 2018 Oscar winner elevated Brooklyn’s mom’s wardrobe to the status of Hollywood fashion icon.

While Birks may seem like a decidedly random choice, McDormand explains that many thoughts have gone into the collaboration between Birkenstock and Valentino. “Last year, while I was diving on the grand staircase of the Met Gala, at the invitation of Pierpaolo Piccioli from the Casa di Valentino, a spark ignited in me. I have always followed fashion and I had a secret desire to find a way to express my knowledge and appreciation for this. When I had the opportunity to give my enthusiasm and experience to the collaboration of a particular fashion item, I had only one answer for me: the Birkenstock two-strap sandal in Arizona “. He adds: “I have worn these sandals for most of my adult life. They literally trained me physically and philosophically. All I wanted was to have a pair in my favorite color: acid yellow. And now they exist!” “The spark has caught fire and there is no going back.”

Looks like this may not be McDormand’s latest fashion collaboration and I hope it isn’t. From the head to the footbed, it always does its thing, which is certainly a stretch of the red carpet that is worth celebrating several times. Giving up on heels for a pair of slides with cork sole designed by Piccioli is fearless, insanely cool and a completely appropriate move in the wild world of Frances McDormand.

See all the celebrity looks from the 2019 Oscars on the red carpet:

Fans are not happy that Verne Troyer was among the names left out of the Oscars 2019 ‘In Memoriam’

Fans and spectators complained after actor Verne Troyer was among the screen stars omitted from last night’s Oscar “In Memoriam” segment.

Troyer, who played Mini Me in Powers of Austin franchise, died in August at just 49 years old. A coroner later decreed his death as suicide.

However, during last night’s Oscar ceremony, the video tribute that honors those who died in the world of cinema who died in the past year failed to introduce the actor.

https://www.youtube.com/watch?v=npp6Zbi8i6I

“They let Mini Me out of In Memorian,” wrote one fan. “Horrible hhow – but we won’t forget it on Twitter!”

Announcing Troyer’s death last year, a spokesman said: “Verne was an extremely caring person. He wanted to make everyone smile, be happy and laugh. Anyone in need would help as much as possible. Verne hoped to have made a positive change. with the platform he had and worked to spread that message every day.

“He inspired people all over the world with his drive, determination and attitude. On film and television sets, commercials, comics and personal appearances, on his YouTube videos, he was there to show everyone what he was capable of doing “

The statement alluded to Troyer’s struggles with mental health: “Verne was also a fighter when it came to his battles. Over the years he fought and won, fought and won, fought and fought a little more, but unfortunately this time it was too much. “

“Depression and suicide are very serious problems. You never know what kind of battle someone is going through. Be kind to each other. And always know that it is never too late to ask someone for help. Instead of flowers, feel free to make a donation in the name of Verne to one of his two favorite charities; The Starkey Hearing Foundation and best friends. “

However, other names that failed to include the section Creature from the Black Lagoon star Julie Adams, Singing in the rain director Stanley Donen, Carol Channing, Full metal jacketR Lee Ermey e Frasier star John Mahoney.

This follows a similar reaction from the recent GRAMMY, when their “In Memoriam” segment failed to pay tribute to the likes of Scott Hutchison, Pete Shelley and Vinnie Paul, among others in the world of music who died in the last year.

Oscar: Stanley Donen, Star Wars producer Gary Kurtz left out of In Memoriam Tribute

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Abid Rahman

Oscar-winning producer Arnold Kopelson, Broadway actress and star Carol Channing and prolific actor Dick Miller were other important omissions.

Every year, during the section in memoriam at the Oscars, Hollywood celebrates the talent that has died in the last year and every year there are some obvious omissions.

This year, the biggest missing name was Stanley Donen, who he co-directed Singing in the rain with Gene Kelly and driving two of the most acclaimed musicals of the 1950s, Seven brides for seven brothers is Funny face. Donen died on Saturday at the age of 94. In 1998 he won an Oscar.

The producer Arnold Kopelson, who died in October at the age of 83, was also missing. Kopelson won the Oscar for Best Picture of 1986 for Oliver Stone Platoon (the film scored 4 wins from eight nominations). Kopelson was re-nominated in 1993 for Andrew Davis The fugitiveand in all his films he received 17 Oscar nominations. His other credits include Seven, Fall, outbreak is The devil’s advocate.

Gary Kurtz, the producer of the best film candidates American Graffiti is Star Wars as well as hits like The Empire Strikes Back, The Dark Crystal is Return to Oz it was another notable omission. Kurtz died of cancer in September at the age of 78.

Carol Channing, nominated for Best Supporting Actress for her performance in Deeply modern Millie it has also been overlooked.

Other important missing names include TV and voice actor David Ogden Stiers, Gremlins star Dick Miller e Rambo producer Andy Vajna. Arnold Schwarzenegger later tweeted that he hadn’t seen Vajna among the names of the ceremony. “I am obviously angry about Andy’s omission. He was an innovative producer who showed that independent directors could achieve hits like Rambo, Tombstone, Total Recall, Terminator 2, and the list goes on. His films have created many thousands of jobs in Hollywood over the decades. “

Oscar 2019 In Memoriam: which people cut and who was excluded?

For Sunday’s 2019 Oscar ceremony, the producers had a difficult decision as to which film industry people would make the cut to and who would be excluded from “In Memoriam”. For the segment, Gustavo Dudamel and the Los Angeles Philharmonic music performed by the Oscar winner John Williams.

Over 100 members of the Academy or veterans of the film industry have died in the past 12 months. Visit our Gold Derby memoriam galleries for 2018 and the gallery that has just started for 2019.

Stanley Donen it would certainly have been included, but died on the weekend after the segment was finalized (look for it on the 2020 show). Here is a list of some of the people included in the Memoriam tribute for the ceremony (Academy members are indicated with ** by their names):

Susan Anspach (actor)
Bernardo Bertolucci (director)
Yvonne Blake (costume designer) **
Paul Bloch (public relations) **
Françoise Bonnot (edited by) **
Martin Bregman (producer) **
John Carter (publisher) **
Anne V. Coates (edited by) **
John Michael Dwyer (production designer) **
Albert Finney (actor)
Milos Forman (director) **
Bruno Ganz (actor)
William Goldman (writer)
Alexe Gordin (casting director)
Richard Greenberg (visual effects) **
Barbara Harris (actor)
Shinobu Hashimoto (writer)
Tab Hunter (actor) **
James Karen (actor)
Gloria Katz (writer)
Margot Kidder (actor)
Richard Kline (director of photography)
Claude Lanzmann (conductor) **
Stan Lee (executive)
Michel Legrand (composer)
Richard Marks (edited by)
Penny Marshall (actor / director)
John Morris (composer)
Burt Reynolds (actor) **
Nicolas Roeg (director)
Gregg Rudloff (audio mixer)
Neil Simon (writer) **
Isao Takahata (animator)
Will Vinton (animator) **
Audrey Wells (writer) **
Craig Zadan (producer) **

And here is a list of movie people not included for “In Memoriam”:

Paul Allen (executive)
Michael Anderson (director) **
Charles Aznavour (actor)
Henri Bollinger (public relations) **
Milton C. Burrow (sound) **
Joseph Campanella (actor) **
Carol Channing (actor)
Philip D’Antoni (producer) **
Hubert de Givenchy (costume designer)
Peter Donat (actor) **
Stan Dragoti (director)
R. Lee Ermey (actor)
Michael Ford (production designer)
Aretha Franklin (actor / singer)
James Frawley (director)
Josh Greenfeld (writer) **
Carol Hall (composer)
James Ingram (composer)
Ricky Jay (actor)
Carlotta Florio Johnson (executive)
Mickey Jones (actor) **
Arnold Kopelson (producer) **
Gary Kurtz (producer) **
Francis Lai (composer)
Louise Latham (actor) **
Danny Leiner (director)
Andy Lewis (writer)
Mark Livolsi (edited by) **
Sondra Locke (actor)
Don Lusk (animator)
Jerry Maren (actor)
Peter Masterson (writer / director)
Chuck McCann (actor) **
Peggy McCay (actor) **
Allyn Ann McLerie (actor) **
Dave Michener (animator) **
Ron Miller (executive)
Donald Moffat (actor)
Tim O’Connor (actor) **
Soon-Tek Oh (actor) **
Charlotte Rae (actor) **
Douglas Rain (actor)
Anthony Ray (producer) **
Thomas Rickman (writer) **
Frank Serafine (sound editor)
Bill Siegel (documentary maker)
Kirk Simon (documentary maker) **
David Stevens (director / writer) **
David Ogden Stiers (actor)
Ronnie Taylor (director of photography)
Verne Troyer (actor)
Harry J. Ufland (producer) **
Patrick Williams (composer) **
Scott Wilson (actor) **
Paul Junger Witt (producer) **
Ralph Woolsey (director of photography)

Series … and men – Netflix and the “disposable” series syndrome

Forced by its economic model to convince its shareholders of the success of its programs, the SVOD service Netflix has just published a report for the least flattering of its year 2018. Objective declared: to gain the right to continue to invest heavily (even if s ‘ever more debt’) in the production and acquisition of original creations in order to get ahead of the new competition embodied by Disney, Apple and WarnerMedia. But what happens to the television series when its broadcaster assigns itself so much to the roles of judge and party?

Canceled series have existed since the dawn of television time. An insufficient audience, a change of direction, the defection of an actor, cachets that threaten to fly away, a story that inexorably wears out: there are many reasons to put an end to a fiction that keeps running with a sword of Damocles above the head. And if the television industry has always known the rules of the game, today’s viewers are generally no longer fooled by the commercial imperatives and the lack of “feeling” involved in the design, production and distribution of these objects. modular more and more expensive and – paradoxically – perishable. “Besides, cinema is an industry [1] “, Correctly recalled André Malraux at the heart of the golden age of Hollywood; similarly, “series is industrial [2] In the more binary terms of the Cannes Festival general delegate, Thierry Frémaux, convinced (or trying to convince us) that the films are Conversely – and without any distinction – of “poetry”.

But there are many ways to cancel a series. Abrupt, cautious, unreasonable, hasty, late: each cancellation tells the story of its broadcaster and, on a larger scale, of television itself. The television series (even watched on a tablet or a smartphone) indeed establishes a relationship of trust and spectator loyalty so strong that its sudden (more or less) disappearance engages in a work of “mourning” of which the quest for explanations constitutes a crucial stage. Especially since this process is part of the aura and the memory of the work in question. Know that essential creations like My So-Called Life (ABC, 1994-1995), profit
(Fox, 1996) or Carnivàle (HBO,
2003-2005) were slashed before they could express their full potential due (respectively) to the will of the main actress to turn to the cinema, too far ahead of her time and production costs exorbitant, rekindles the pain of an excessively ephemeral existence while preserving the memory of a fiction that has not had to endure the wear of time and the throes of serial repetition. Anger, resentment, frustration, adoration: the marriage of all these contradictory affects at first sight makes us more than “targets” or mere “consumers”: humans, after all.

The gospel according to Netflix

The ultimate paradox of an “interactive” and “personalized” platform such as Netflix, which officially aims to place the spectator at the center of the television arena, is that the latter is in reality deprived of the right to formulate such emotions. The ones he feels are the ones he is being told: he thus loses his power to analyze and interpret the fate of the series that parade on his screen without realizing it. The latter become impersonal, futile, interchangeable. The story told by their non-renewal is no longer subject to decryption and even less to mobilization; even when fans of sense8 (2015-2018) are delighted to have “provoked” the start of work on a TV movie intended to bring a worthy conclusion to their favorite series, let them know that the cards are marked and that the ones we their tend have nothing to do with an artistic decision. ” Do you want more ? We’ll give it to you, ”and it doesn’t matter if the series has something more to say or not. In other words: despite appearances, the satisfaction you may have with this so-called consideration of your dissatisfaction is not yours. It is the fruit of a strategy as unfathomable as the black box of an airplane whose reasons for the mysterious crash would never be revealed to you. Never mind Netflix: hundreds of other “gleaming” cuckoos are already ready to reach its sky, to say the least, crowded.

This is evidenced by the opacity surrounding the real audience figures for the California platform series. On the battery side, never has the measurement of these reception indices been as precise and instantaneous as at present. On the face side, they really no longer tell anything about the confidence granted or not by its broadcaster to a work historically conditioned by its ability to reach an audience if not large, at least loyal and hardworking. The fault is not, however, only that Netflix – like cable channels premium American – does not intersect its advertising page programs. The crux of the problem lies rather in the recklessness with which this companion of a new genre selects, sorts, arranges, illuminates in a favorable light – in a word, biases – his statistical results. So when Netflix speaks to its shareholders (and, by extension, to its subscribers who will necessarily be aware of this official communication widely relayed by the international media), the message is akin to those who watch out for a promotional speech of which no quantitative or qualitative data deserves to be taken for cash. Not that there is in this case any deception on the goods (lying to its shareholders is liable to heavy penalties), but the coating prevails over the hazelnut which one will never know in the end the authentic taste. As long as the product is well displayed, its flavor is of little interest …

Josef Adalian picks it up with the tasty causticity that characterizes it when he headlines for Vulture : ” You is a resounding success for Netflix, according to Netflix. ” Broadcast by Lifetime in the United States and by Netflix abroad (before becoming a series “of” Netflix from season 2), You is a total success for the SVOD platform because its communicators decreed it. It is the visible side of the Moon – the hidden side is not intended to expose itself to the gaze of the uninitiated [3]. The announcement is all the more biased than the measurement (autoconfigured)
of the number of Netflix series viewers is very favorable to the
Californian service. As Adalian explains, anyone who has seen 70%
of a single episode of a new season put
online by Netflix is ​​counted as a spectator for the entire season (or even the
series in the broad sense of the term). This is further proof that the unit episode
found crushed by a mode of distribution obliterating all waiting between each
segment, the inaugural season being assimilated to a “pilot
[4] “And the following to additional episodes. “Just watch the opening episode of the season to
get an idea ”: this will be enough for Netflix to consider you as a
most loyal spectator. A good way to guard against possible embarrassment
caused by a decline in audiences during the season, along with a reason
all found to finance at promotional prices promotional tools intended for
create powerful announcement effects. Especially since Netflix bases its figures
on international data, tweaking perception a little more than we
may be successful in his series. Between 148 million Netflix subscribers
around the world and the 90 million households receiving Lifetime
with them (without having subscribed specifically), the difference is significant. “Compare the audiences of
You on Lifetime to those of You on Netflix is ​​not all about
made to compare apples to apples, “mischievously concludes
Adalian.

The same journalist points out – however rightly – that, unlike
to the Nielsen audience record system which distinguishes the concepts of home and
individual viewer, the figures brewed by Netflix take the user account as a unit of measurement (“subscriber
account ”).
Several people being likely to watch a series together from
from a single account, the statistical balance sheet can also,
Conversely, be pulled down. So it’s not about blaming
Netflix to “inflate” its reception results in order to hold up a mirror
overly flattering to raw reality. Simply, the elements of language of its leaders
(and not only from its marketing department) turn out to be so “full” and compact
that they prevent
de facto any critical analysis. Take it or leave it, just like
of these advertising spots that tout the qualities of these
“revolutionary” products that you will soon be able to do without. Coming from a
SVOD service which boasts of relieving its subscribers of the heaviness of
advertising stuffing, there is a funny irony that leaves circumspect about
to the slippery terrain onto which television series are taken, despite
they. Worn to the pinnacle or thrown into the dustbin without anyone really knowing
discern what motivates one or the other of these conclusions, these become “disposable”
from the moment their audience (who is continually being claimed to the contrary) loses all
voice in the chapter. And even
when the unofficial reason is common knowledge – like the loss of the rights of the
Marvel catalog that resulted in the almost sudden cancellation, between October 2018 and February 2019, of five long-term series produced by Netflix:
Iron fist (2017-2018), Luke cage (2016-2018), Daredevil (2015-2018), Jessica Jones (2015-2019) and The Punisher (2017-2019) -, the “business”
takes precedence over any spectatorial consideration in widths still rarely achieved. The price of success, no doubt; nevertheless, the serial times harden considerably.

Photo Netflix


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Oldman, Janney will present the best actor, McDormand, the best actress of Rockwell – Deadline

EXCLUSIVE: After Deadline reported that the Academy had planned to go against tradition and had no intention of inviting last year’s winners to deliver the awards for best actor, best actress, supporting actor and actress supporting actor, he changed course and returned to tradition, he orders to. Deadline revealed that the Academy wanted higher-powered presenters for its hostless Oscars, as part of a report that the Academy had canceled its plan to present only two of the five songs named after Lady Gaga had told them that she and Bradley Cooper would not perform their hit “Shallows” tune A star was born, if others were excluded.

I can report that last year’s best actor winner Gary Oldman for The darkest hour is Me, TonyaBest Supporting Actress winner Allison Janney is now ready to present the Best Actor Award together. The Best Actress Award will be awarded by Frances McDormand and Sam Rockwell, who respectively won the Best Actress and Best Supporting Actor for Three billboards outside Ebbing, Missouri.

This still stems from the usual practice of having last year’s winners presenting all the acting awards, and I have no information on who will distribute the support trophies.