The 97th Academy Awards, broadcast from Los Angeles on Sunday, March 2nd, marked the final stop on this year’s labyrinthine awards season. With it came the palpable relief that the Conclave of self-congratulation had finally come to its close, allowing for everyone to return to the more comfortable, anonymous world of the Complete Unknown.
Hollywood’s iconic golden stage gleamed under the spotlight as the actors, directors, and filmmakers, dressed to the nines, gathered in the name of cinema’s highest honor. Timothée Chalamet, ever the fashion risk-taker, rocked a yellow outfit so buttery it could have been mistaken as a topping for a stack of pancakes. A reminder, perhaps, that though it’s been a tumultuous few months, the glitz of the Oscars still brings some semblance of light-heartedness to a world recently darkened by vicious wildfires, divisive political discourse, and a near-constant state of global unrest.
Still, Los Angeles, still reeling from the devastation of wildfires, managed to pull off a ceremony that felt, if nothing else, like a return to the type of showmanship Hollywood does best. And despite all the weighty matters that hung in the air; from the absurd political decrees of the current President to the still-unfolding wars in Israel and Ukraine, the Oscars managed to keep it all moving with a little more fun and far less self-seriousness than usual.
The opening act was, predictably, an understated duet from Ariana Grande and Cynthia Erivo, who performed “Defying Gravity” from Wicked. With a tone that veered towards slow and powerful, it was Hollywood’s version of a quiet nod to the year’s swirling chaos; a moment of reflection before the spectacle would begin. But as anyone who’s watched an Oscar telecast knows, it’s best not to linger too long in solemnity. Enter Conan O’Brien.
Hosting for the first time, O’Brien’s comedic style, a blend of self-deprecating wit and sly absurdity, was exactly what the show needed. He didn’t roast the celebrities in the manner of previous hosts but found a more endearing way to poke fun, like when he recruited John Lithgow to grimace at people who took too long with their acceptance speeches, or presented actors’ infamous headshots, which triggered a massive laugh from the audience. Conan even rolled out a Dune Sandworm puppet to play piano, a callback to his late-night talk show days that delighted the crowd. At the same time, his irreverence was balanced by moments of unexpected bravery, like when he called out actress Carla Sofia Gascon for her recent social media antics, while still maintaining that quintessential Conan charm. His seamless balance of humor and humility proved that, while his hosting may have been a bit rusty, he has what it takes to bring real laughs to the Oscars stage.
The Oscars are, of course, a place where strange things happen, and Conan was smart enough to take it all in stride. Adam Sandler made an appearance in gym shorts and a hoodie, and the two delivered a sketch where Sandler parodied the absurdity of “dressing up” for the night, even running up to Chalamet in his classic goofy voice. The show was well-paced, and despite stretching over nearly four hours, it moved with an energy that kept viewers engaged.
In lieu of live song performances, the Oscars presented a lovely tribute to the James Bond franchise; complete with clips of the iconic theme song, dancers, and actors, which was perhaps the most aesthetically pleasing moment of the night. And as Mark Hamill took the stage, the orchestra famously played the Star Wars theme, a move that delighted fans and had the crowd on its feet. There were jokes about Joker 2, Mick Jagger announcing an award, and even Kiernan Culkin, casually revealing that his wife had promised him two more children should he win an Oscar again.
However, the night wasn’t without its share of head-scratchers. The biggest shocker? Mikey Madison’s unexpected win for Best Actress over the awards season favorite, Demi Moore. Madison’s performance in Anora was an upset, and while it was deserved, the real shock came when Anora walked away with five awards, including Best Picture, Best Director, and Best Editing, an underdog triumph that will no doubt be discussed for years to come.
Meanwhile, Wicked; a movie that looked about as far from “award-winning” as one could imagine, walked away with Best Production Design, which was, in the words of many, asinine. A visually underwhelming film, awarded for its visual splendor? It was the kind of eye-roll the Oscars are infamous for.
Tributes this year were met with mixed results. While the musical homage to the late Quincy Jones, with Queen Latifah belting out “Ease on Down the Road“, had the unfortunate combination of off-key singing and unsightly costumes, it was clear that the Oscars were willing to experiment with its traditional fare.
One of the most poignant moments of the night arrived when Adrien Brody won Best Actor for his performance in The Brutalist; his second win. Brody, who took a beat to reflect on the subject of anti-Semitism in Hollywood, broke the tension that had built throughout the evening by addressing a topic that had been largely absent from the public conversation. It was a brave moment, a contrast to the Hollywood silences that have allowed complex issues like this to linger unaddressed even if his speech went on as long as his film did.
In perhaps the most awkward part of the night, the In Memoriam segment played a haunting gothic score, which, rather than paying a solemn, light-hearted tribute, almost made it seem like the dearly departed were about to rise from their graves. The choice of music was bold, to say the least, and came off as more gothic horror than heartfelt homage.
The most delightful moment of the evening came courtesy of Ben Stiller, the comedy legend whose turn as the oblivious male model Zoolander continues to resonate as one of the great comedic performances of the last two decades. Stiller, who was presenting the award for Best Production Design, masterfully turned what could have been a dry segment into one of the evening’s most memorable bits. With his impeccable timing and self-deprecating humor, Stiller began by making a tongue-in-cheek case for the importance of production design in film, riffing on the idea that this often-overlooked category is actually the heart and soul of cinema.
The real stroke of genius, however, came when Stiller, standing below the stage, made a pointed but very funny remark about Production Design and how important it is for the audience to be engaged in a film and how embarrassing it could be for an actor if it’s not done right. The joke’s charm lay in its simplicity, a self-aware observation of the very mechanics of the event, delivered in his signature dry, matter-of-fact style. It was a moment that didn’t just land; it soared, making light of the absurdity of the entire evening while simultaneously reminding us of the artifice that makes the Oscars both a spectacle and a circus. Stiller, forever the master of the absurd (Severance), reminded everyone that the Oscars can, at times, be just as funny as they are glamorous.
But no matter how awkward or funny the night became, there was one undeniable constant: The Oscars are still the most grandiose and important awards show in the world. Yes, they might be a little too long, sometimes painfully out of touch, but they’re also, undeniably, the biggest event in the film industry, where even the smallest moments feel like history being made. Conan did a good job as host, even if some of the magic felt a little out of reach. Perhaps next year he’ll knock it out of the park. But for now, the glitz, the glam, and the unpredictable nature of it all remain what makes the Oscars both ridiculous and sublime.
WRITTEN BY: BRYAN KLUGER
BRYAN KLUGER, A SEASONED VOICE IN THE REALM OF ENTERTAINMENT CRITICISM, HAS CONTRIBUTED TO A WIDE ARRAY OF PUBLICATIONS INCLUDING ARTS+CULTURE MAGAZINE, HIGH DEF DIGEST, BOOMSTICK COMICS, AND HOUSING WIRE MAGAZINE, AMONG OTHERS.
HIS INSIGHTS ARE ALSO CAPTURED THROUGH HIS PODCASTS; MY BLOODY PODCAST AND FEAR AND LOATHING IN CINEMA PODCAST; WHICH LISTENERS CAN ENJOY ACROSS A VARIETY OF PLATFORMS.
IN ADDITION TO HIS WRITTEN WORK, KLUGER BRINGS HIS EXPERTISE TO THE AIRWAVES, HOSTING TWO LIVE RADIO SHOWS EACH WEEK: SOUNDTRAXXX RADIO ON WEDNESDAYS AND THE ENTERTAINMENT ANSWER ON SUNDAYS. HIS MULTIFACETED APPROACH TO MEDIA AND CULTURE OFFERS A UNIQUE, IMMERSIVE PERSPECTIVE FOR THOSE WHO SEEK BOTH DEPTH AND ENTERTAINMENT.
