The Daily Mail‘s Justin Enriquez is reporting that comedian Eric Andre, 39, has recently become one of the recipients of Emily Ratajkowski‘s experimental largesse. Andre is to be congratulated for what any realistic person would call a truly extraordinary quirk in the cosmic scheme of things. Ratajkowski is just sampling, of course, so this isn’t analogous to, say, Shirley Jones marrying Marty Ingels in 1977.

But in addition to their sometimes well-grounded, highly perceptive praising of stellar filmmaking and performances, the New York Film Critics Circle has (be honest) been in the grip of woke theology over the last four or five years. Most of us understand this, and the NYFCC honchos and spokespersons will deny it to their dying day.

For decades a NYFCC award was a gold-standard honor — a classy, triple-A stamp of irrefutable big-city approval. But since ’18 or thereabouts the NYFCC members have sought to integrate notions of quality with “the sacralization of racial, gender and sexual [identity],” as Matthew Goodwin put it in February 2021. In short, they’ve become known as a contender for the most reliably eccentric, woke-flakey critics group, neck and neck with the occasionally wokejobby Los Angeles Film Critics Association. (Note: HE has agreed on certain occasions with LAFCA award calls, hence the term “occasionally woke-jobby.”)

For me the syndrome seemed to begin in 2018 when the NYFCC handed their Best Actress award to Support The Girls‘ Regina Hall. For me there was no contest among the Best Actress contenders that year — Melissa McCarthy‘s performance in Can you Ever Forgive Me? was heads and shoulders above Hall’s, and yet the NYFCC allowed themselves to be guided by identity politics. They disputed this, of course.

IndieWire‘s Eric Kohn, a leader of the NYFCC’s Hall support group: “There is no groupthink to the NYFCC voting process. The rules are right there on the site. Nobody’s ‘using’ any single award for their private agenda.”

The following year the NYFCC handed their Best Actress trophy to Us‘s Lupita Nyong’o for no apparent reason other than her woke identity credentials. Posted on 12.14.19: “Seriously? Honoring Lupita Nyong’o’s performance was eight parts wokester virtue-signalling, and two parts serious regard for a noteworthy performance…trust me. The NYFCC used to be the NYFCC — now it’s an organizational ally of IndieWire‘s wokeness crusade. Good as she was in Jordan Peele’s interesting if underwhelming horror flick, Lupita basically delivered an intelligent, first-rate, Jamie Lee Curtis-level scream-queen performance with a side order of raspy-voiced predator doppleganger.”

HE believes that the NYFCC’s grand-slam wackadoodle happened in 2020, when they gave their Best Film award to Kelly Reichart‘s First Cow (a baffling, eccentric call for eccentricity’s sake), and their Best Actor prize to Da 5 Blood‘s Delroy Lindo, who played an furiously unstable Trump supporter (and in so doing beat out Judas And The Black Messiah‘s Lakeith Stanfield, who was far more deserving, not to mention The Father‘s Anthony Hopkins, Minari‘s Steven Yeun, The Sound of Metal‘s Riz Ahmed and Mank‘s…okay, let’s forget Gary Oldman).

Plus their Best Actress award went to Sidney Flanigan (Never Rarely Sometimes Always), basically for quietly weeping during an interview with a Manhattan-based abortion counselor after zero emoting throughout the entire film. They also gave their Best Supporting Actor award to Da 5 Bloods‘ Chadwick Boseman, basically because the poor guy had tragically passed a few months earlier, and their Best Supporting Actress: trophy to Maria Bakalova (Borat Subsequent Moviefilm), which was based upon nothing other than the fact that she played a spunky woman from a small Eastern European village who wound up hoodwinking Rudy Giuliani in a hotel room.

How wackadoodle were their 2022 choices? I for one was…I was about to say flabbergasted when the NYFCC handed their Best Director award to RRR‘s S. S. Rajamouli — a virtue-signalling gesture if there ever was one, and a head-scratching accolade for a film that many of us regard as “flamboyant garbage…ludicrous, primitive crap that believes in ridiculous extremes and heroic absurdities.” But I wasn’t surprised given what the NYFCC has turned into. They also went for Everything Everywhere All At Once‘s Ke Huy Quan (“Short Round”) for Best Supporting Actor — strictly an identity call + a nod to the popularity of EEAAO among Millennials and Zoomers — and Nope‘s Keke Palmer for Best Supporting Actress…an award that made no sense as all given that Palmer merely flaunted her Millennial diva spunkitude.

The underlying reason, I suspect, is that NBC felt that they needed to be symbolically demoted because of the wokester condemnation of the HFPA over their previous (but since corrected) failures in the realm of DEI and specifically Black journalist membership.

By any fair and reasonable standard the HFPA has bent over backwards to reform itself, but still the Tomris Laffly Brigade wants this long-questionable org and its once-valued awards show (at least in terms of ratings) suffocated to death.

Given how the Golden Globes used to fuel-inject award season hype and especially considering that general award-season fervor is currently withering on the vine given the near-total absence of interest (much less enthusiasm) on the part of literally everyone outside the miniscule, industry-and-media-centric award season community (exacerbated further by the NSFC’s head-scratchy celebration of Aftersun’s Charlotte Wells), doesn’t it make sense to ease up and let bygones be bygones and try to return to the mindset of pre-woke-terror Hollywood (i.e., 2016 and before)?

Here’s an excellent, hand–wringing, hair–pulling piece on this topic from Awards Daily Sasha Stone:

The National Society of Film Critics announced their 2022 film awards today, and there’s really only one way to interpret the Best Director trophy going to Aftersun‘s Charlotte Wells.

Aftersun is my idea of a spacey, ethereal mood-trip film. I’m not the only one who feels that it’s just not gripping or engrossing enough to warrant this kind of honor (ask any honest critic). This indicates that Aftersun‘s NSFC supporters voted for Wells as a gesture for feminist recognition and gender tokenism.

Like almost all major-outlet critics, the NSFC is composed of members who live in their own secular little world. In my opinion they’re residents of (a) the Planet Uranus or (b) the Abbey of St. Martin, where they live on chickens, raw lettuce, goat’s milk and goat cheese, and wear brown robes and sandals. As far as the Wells vote is concerned, they are absolutely not of this earth.

It could be argued, in fact, that Aftersun is a borderline infuriating space-out film. This is certainly my own personal opinion, I can tell you.

If Aftersun had been directed by a male, it most certainly wouldn’t have won anything. The NSFC critics know the truth of this, and of course they won’t admit it.

Best Picture / TÁR (61), Aftersun (49), No Bears (32) — HE strongly approves.

Best Director / Charlotte Wells, Aftersun (60), Park Chan-wook, Decision to Leave (47), Jafar Panahi, No Bears (36) — HE strongly disapproves.

Best Actor / Colin Farrell, After Yang & The Banshees of Inisherin (71); Paul Mescal, Aftersun…WHAT??; Bill Nighy, Living (33) — HE approves of Farrell winning.

Best Actress — Cate Blanchett, TÁR (59); Michelle Yeoh, Everything Everywhere All at Once (38), (tie) Tilda Swinton – The Eternal Daughter / Michelle Williams – The Fabelmans (27) — HE approves of the Blanchett win.

Best Supporting Actor — Ke Huy Quan, Everything Everywhere All at Once (45); Brian Tyree Henry, Causeway (35 — bending-over-backwards tokenism); Barry Keoghan, The Banshees of Inisherin (27) — HE doesn’t approve of any of these performances.

Best Supporting Actress / Kerry Condon, The Banshees of Inisherin (57); Nina Hoss, TÁR (43); Dolly de Leon, Triangle of Sadness (35) — HE heartily approves of Condon’s win.

By HE standards Owen Roizman, who passed today at age 86, was and always will be one of Hollywood’s greatest cinematographers, certainly within the zeitgeist of the ’70s and ’80s. God, the streak Roizman was on between ’71 and ’78 alone! The French Connection, Play It Again, The Heartbreak Kid, The Exorcist, The Taking of Pelham One Two Three, Three Days of the Condor, Network, Straight Time. Not to mention True Confessions, Tootsie, Havana, Grand Canyon, Wyatt Earp, etc.

Special credit should be given to Roizman for stepping into that surreal episode when a William Friedkin-approved Bluray of The French Connection came out in ’09. Roizman didn’t tippy-toe around the obvious, which was that the ’09 Bluray’s bizarre color scheme (bleachy, desaturated, high contrasty) was an outright desecration. Three years later a properly remastered, Roizman-approved version was issued on a subsequent Bluray, and thank God for gloriously happy endings.

Posted on 3.8.12: “The new, Owen Roizman-approved French Connection Bluray is a blessing…a pure celluloid capturing of a great New York film experience, some of it luscious, some of it spotty and grainy but all it looking true and right. Some of it looks more lab-fresh than I’ve ever seen. Punchy red neons and such. Other parts look…well, the way they did at Leows’ 86th Street when it opened in the fall of ’71, I’m guessing. Raw, wham-bam, high-impact footage all the way.

“No more bluish bleach. No more splotchy colors and monochrome, high-contrast crap. No more creepy-perverse digital fuckwad action. The guy who mucked up the notorious 2009 Bluray version, director William Friedkin, has come to his senses and re-done his masterwork under Roizman’s influience.

“’The nation’s three-year-long, Freidkin-incited French Connection Bluray nightmare is over,’ I tweeted. ‘The bleachy, splotchy ’09 version has been replaced.’

“On 2.24.09 Roizman spoke to Aaron Aradillas on a blog-radio show called “Back By Midnight,” and he called the transfer “atrocious,” “emasculated” and “horrifying.” He said that he “wasn’t consulted” by Freidkin and he “certainly wants to wash my hands of having had anything to do with [it].”