Bradley Cooper‘s Maestro (Netflix, 11.22) is an even-steven two-hander about the occasionally turbulent marriage between conductor-composer Leonard Bernstein (Cooper) and Felicia Montealegre (Carey Mulligan). Both are obviously playing leads.

I still haven’t seen it, but performance-wise the buzz since Venice has been that Mulligan decisively outpoints Cooper.

Netflix’s Maestro one-sheet clearly states that Mulligan owns the spotlight.

It sounds as if IndieWire‘s Ryan Lattanzio has seen the film, given that he’s written that “the show is stolen from Cooper by Mulligan.”

And yet two days ago Variety‘s Clayton Davis sugggested that Mulligan should go for Best Supporting Actress. This is advisable, he feels, because the competition from Killers of the Flower Moon‘s Lily Gladstone is too formidable.

Davis doesn’t mention, of course, that Gladstone’s campaign is pretty much about the woke identity militia, and that her actual performance is no more than sufficient. She certainly has no “big” moments. I could even call it an underwhelming performance (i.e., she mainly just seethes and glowers and lies in bed during the film’s second half) but the woke mob would resort to their usual inferences.