It’s not an election year, but March 9 was Super Tuesday because we got nominations from BAFTA and the Directors Guild of America Awards, just a day after the Producers Guild of America Awards unveiled its top 10 and two days after the Critics Choice Awards handed out trophies. Phew. And in the end, they gave us some clarity but also more chaos. Our editors and Experts Christopher Rosen and Joyce Eng are here to make sense of what they all mean in the Oscar race. Watch our predictions slugfest above.
If you haven’t been following closely, the BAFTA nominations might seem totally cray-cray to you. Where are Carey Mulligan (“Promising Young Woman”) and Viola Davis (“Ma Rainey’s Black Bottom“), you ask? What about Olivia Colman (“The Father”) and Gary Oldman (“Mank”)? We explain the BAFTAs’ new voting system, instituted after last year’s slate of all-white acting nominees and all-male directing nominees. There are now juries of seven to 12 people to determine the nominees for the four acting races and directing, all five of which were expanded to six slots. In order words, these shouldn’t make you completely revamp your Oscar predictions because they are the choices of handfuls of people.
Nor does it mean that neither Mulligan nor Davis can win the Best Actress Oscar because we may now get different winners at all four precursors, a prospect that we are both very excited about after last year’s sweep of the acting categories. And the only category more unpredictable than Best Actress is Best Supporting Actress, where every combination of the top nine contenders is entirely feasible. And we have the eternal debate: what to do with Glenn Close (“Hillbilly Elegy”).
Elsewhere, we discuss whether the DGA five will repeat at the Oscars for the first time in 11 years, and if they don’t, who would be the disruptee and the disruptor?
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