I’ll tell you how Trump’s victory affects the Oscars. The approvable but less-from-masterful Emilia Perez, a musical about a male Mexican drug baron transitioning into womanhood, will surge to the front of the Best Picture competition. Jamie Lee Curtis and all the other progressive, ardently-trans-supporting lefties will want to stand up and embrace Jacques Audiard‘s film as a statement of defiance against Trump dystopia.

In so doing, of course, Curtis and friends will also in effect be saying “eff you” to the 71.7 million Americans who voted for this animal. (As of Wednesday morning 66.8 million citizens, myself among them, had voted for Harris.)

In line with this, I also suspect that in the Best Actress race Emilia Perez‘s Karla Sofia Gascon will now elbow aside Anora‘s Mikey Madison…same empathy motive. Madison’s performance totally blows away Gascon’s, of course, but the Trump factor may change everything. For me one of the glories of Anora is that it’s not in the least bit woke.

I’m not aware of Trump having expressed disdain for transitioned adults (he’s only against susceptible minors being dragged into the cult) but the Jamie Lee Curtis brigade will want to express up-in-arms support for Gascon regardless. Variety‘s Clayton Davis will no doubt be urging this upon his readers.

I also think that more people will suddenly want to stream Ali Abassi‘s The Apprentice, a well-written, superbly acted drama about young Trump’s relationship with rightwing pitbull attorney Roy Cohn. If they have any respect for the grade-A artistry involved, they’ll certainly want to consider Best Picture and Best Director noms as well as a Best Supporting Actor nom for Jeremy Strong, at the very least.

I don’t want to give anything away, but there’s also…how to put this?…a sign-of-the-times, wokey, gender-fluid acceptance factor to be found in Conclave. Which should help it among the JLC “we all need to lock arms and tell Trump to go fuck himself” crowd. [Note: The Conclave thing has nothing to do with gender transitioning.)