In the immediate wake of Everything Everywhere All At Once winning seven Oscars out of eleven nominations, I was consumed by the deepest and darkest depression of my Hollywood journalism career.
I knew this had happened because of the New Academy Kidz — recently consecrated Academy members who are resolute about making identity and wokesterism the defining criteria — as well as the degraded intellectual property values among the SAG/AFTRA membership. I kept telling myself that the NAK were serious — they really think that EEAAO had expressed something about the times in which we’re all living…good fucking God almighty.
A plurality had actually decided that Jamie Lee Curtis‘s louche and clownish performance as an IRS investigator was more deserving of a Best Supporting Actress Oscar than, say, Kerry Condon‘s turn in The Banshees of Inisherin or Hong Chau‘s “Liz” in The Whale. It was culturally embarassing — a confirmation that a large percentage of voting Academy members were in fact little piglets, which is to say completely unburdened by (i.e., unconcerned with) issues of taste, perspective and film knowledge.
