Black Panther 2018
Won Best Ensemble, its first win from a craft voting body. Fits SAG's habit of rewarding big, showy hits; the hosts still doubt it takes Best Picture, but see it landing third on a lot of preferential ballots.
The Big Picture · Discussion
January 30, 2019/ 57 min/ Sean Fennessey · Amanda Dobbins
Sean and Amanda read the tea leaves of the 2019 Oscar race: a confusing SAG night, Netflix's takeover, a floundering telecast, and Roma out front.
51 films across 7 segments.
AI-generated This episode was transcribed and analyzed with AI models. The matches aren't perfect — expect the occasional misheard title or a link to the wrong film.
The SAG AwardsBest Ensemble and the crowd-pleaser pattern
Won Best Ensemble, its first win from a craft voting body. Fits SAG's habit of rewarding big, showy hits; the hosts still doubt it takes Best Picture, but see it landing third on a lot of preferential ballots.
The consensus dark horse in a year short on consensus.
Prior Best Ensemble winner: showy performances, no Best Picture.
Ensemble winner, Best Picture also-ran: the crowd-pleaser lane.
Won ensemble and Best Picture.
Won ensemble and Best Picture.
Ensemble winner that missed Best Picture.
Won ensemble and Best Picture, the Affleck-snub precedent they keep circling back to.
Ensemble winner, no Best Picture.
The Acting RacesBest Actress, Best Actor, Supporting
Glenn Close vehicle they've been dodging on air; she looks to have locked Best Actress on the strength of a full-tilt campaign: speeches, memes, a new Instagram.
Olivia Colman can't work the circuit (she's off shooting The Crown), which helps Close.
Rami Malek won at SAG as the Bryan Singer story broke wide; the hosts split on whether the performance is great or karaoke.
Sean's pick, both as film and as Bradley Cooper's directing snub; he'd take Cooper for Best Actor.
Christian Bale, the once-unknown quantity that came good; Amy Adams didn't win Supporting at SAG, denting her momentum.
Clint Eastwood shut out of Best Actor despite a $100M gross.
Redford, "the mule but good," per Sean.
Willem Dafoe, one of the contenders that materialized as predicted.
Schrader's screenplay nod raised false hope for an Ethan Hawke acting nomination that never came.
Hugh Jackman as Gary Hart, one of the predicted Best Actor front-runners that never materialized.
Emily Blunt's surprise Supporting Actress win, more a name-recognition vote than a fine-grained one.
Where a Blunt nomination was expected; instead an Oscar pariah with only a handful of nods.
Netflix Runs the Tablethe studio story of the year, plus the stray snubs
The other half of Netflix's win, the meme-machine hit Sean's family wanted to talk about instead of Roma.
Three nominations; a movie Amanda loves.
Part of Netflix's four-year prestige build.
The opening move in that campaign.
Foreign-film nominee almost no one has seen; its Caleb Deschanel cinematography nod was the biggest "what the fuck" of the season.
Director Florian Henckel von Donnersmarck's earlier foreign-film winner, the name recall behind Never Look Away's push.
A Telecast in Crisisno host, cut categories, fewer songs
Mark Bridges and the jet ski, the kind of moment cutting categories from the live show would kill.
Celine-Dion-over-the-credits exhibit A in Amanda's case to abolish Best Original Song.
The Eminem precedent for a recognizable, non-offensive song sweeping in, the frame for the Black Panther single's outside shot.
Stock Up, Stock Down: Romawhy it's the favorite
Ten nominations, the fewest-leading total since 2015; the hosts read it as top-three on most ballots and push back on the Deadline "virtue signaling" framing: people respond to the filmmaking, not a border-politics vote.
The other pole of the race, box office bumped by its nominations; Peter Farrelly missed Best Director, which they don't read as a referendum.
The comparison for a great, easily weaponized winner: nice to see, then used as proof the Oscars don't matter.
The envelope fiasco, invoked as reason to double-check the count.
Best DirectorCuarón, Cold War, and the Spike question
Sean's re-watch, a bigger achievement than Gravity or Roma, to his eye.
Cuarón's first directing win; part of an unusually varied filmography.
The personal, near-self-parody core the hosts see mirrored in Roma.
Evidence of how wide Cuarón's range runs.
Same, different genre, same humanist through-line.
Even the studio job reads as autobiography, per Sean.
Pawel Pawlikowski's surprise directing nod, a formally rigorous film the DGA respects; a past show guest.
Pawlikowski's earlier foreign-film winner.
The Spike Lee wound, beaten by Driving Miss Daisy; an imperfect Spike win now beats no Spike win, Amanda argues.
The metaphor for everything Lee has resented about the Academy.
The winning-for-the-wrong-film trap Sean dreads for Lee.
John Ford, the four-time winner whose films persist even as their ideas curdle.
Same Ford reckoning.
The Ford title that still holds its majesty.
James L. Brooks's directing snub, the Green Book precedent, nominated nearly everywhere else.
Looking Ahead: Sundance
Scott Z. Burns's CIA-black-sites film with Adam Driver; Annette Bening as Dianne Feinstein looks like a future nominee.
The comparison for Bening's steely-woman-of-office turn.
Also mentioned raised along the way
Last year's ceremony Get OutThe Shape of Water
In passing Kramer vs. KramerThe Grand Budapest HotelDangerous LiaisonsTraining DayOcean's ElevenThe Right StuffBeing ThereBirds of PassageBurning
Not films filtered out: TV, games, ads
TV The CrownThe OfficeRoseanneTidying Up with Marie Kondo
Ads Fairway Rollin'Ringer PhD