The Critics Choice voters are total woke lemmings — they’ve gone over the cliff (i.e., are lacking in good taste) and are no longer predictive of the Oscars, and that’s final. And where did Brendan Fraser’s win come from? How did he muscle aside Colin Farrell and Austin Butler? HE applauds Cate Blanchett’s Best Actress win for Tar, of course.

Veteran producer friendo (i.e., burdened with a sense of taste): “It’s criminal that Everything Everywhere All At Once took Best Picture at the Critics Choice Awards. And RRR for Best Foreign? Get outta town.”

Sarah Polley’s Women Talking script (essentially a barn-dialogue primer about women standing up to white male sexual assault) winning the CC’s Best Adapted Screenplay trophy is curious, given the obviously superior investigative pedigree of Rebecca Lenkiewicz’s She Said screenplay.

The CC ceremony was some kind of award season glitch, a belch, an anomaly.. Voting the woke party line (sacralization of race, gender, sexuality plus focusing on emotional core issues over an instance of morbid self-destructive obesity) means NOTHING in this context.

Cate Blanchett’s Tar win aside, there isn’t a dime’s worth of difference between Critics Choice voters lining up like stooges and voting a straight woke party ticket and, say, Democratic trade unions voting for Richard Daley’s Chicago Democratic machine ticket back in the ‘50s and ‘60s.

Wokeism is a cult and a scourge — its followers are indistinguishable from those obedient, red-book-waving Mao lapdogs during China’s “great cuitural revolution.”