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"content": "\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8\u003c/p>\n\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>[aside postid='arts_13952301']The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>[aside postid='arts_13954052']Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse",
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"content": "\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>[aside postid='arts_13953754']Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>[aside postid='arts_13953731']Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13952713']Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster",
"title": "What the Royal Family Doesn’t Understand About PR in 2024",
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"content": "\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>[aside postid='pop_103656']“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>[aside postid='arts_13866072']It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\n\u003cp>https://twitter.com/KensingtonRoyal/status/1767135566645092616\u003c/p>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\n\u003cp>https://twitter.com/royalrota/status/1767207738990301243\u003c/p>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken",
"headTitle": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken | KQED",
"content": "\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d07lNlkn0Ug\u003c/p>\n\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Hj7QG7TLuc\u003c/p>\n\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VhWqpvGq6b4\u003c/p>\n\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>[aside postid='arts_13953817']Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d07lNlkn0Ug'\n title='//www.youtube.com/embed/d07lNlkn0Ug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Hj7QG7TLuc'\n title='//www.youtube.com/embed/1Hj7QG7TLuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VhWqpvGq6b4'\n title='//www.youtube.com/embed/VhWqpvGq6b4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: The Complete List of Winners",
"headTitle": "Oscars 2024: The Complete List of Winners | KQED",
"content": "\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13938158']WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931577']WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931543']WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953777']WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931753']WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953477']WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 96th Academy Awards aired on ABC on Sunday night. Here's the full list of 2024 nominees, with winners marked in bold.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Oscars",
"headTitle": "Red Carpet Looks From the 2024 Oscars | KQED",
"content": "\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-768x1123.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Diane Warren. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2074533233-scaled-e1710128297727.jpg\" alt=\"A white man and an Asian man, both wearing tuxedos gesture wildly next to two elderly Asian women, both wearing dark sunglasses and flamboyant suits.\" width=\"1920\" height=\"1331\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang, Zhang Li Hua, Sam Davis and Yi Yan Fuei. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out the most memorable ensembles from Hollywood’s biggest night.",
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"twTitle": "Red Carpet Looks From the 2024 Oscars",
"socialTitle": "Oscars Red Carpet 2024: Best Dressed %%page%% %%sep%% KQED",
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"description": "Check out the most memorable ensembles from Hollywood’s biggest night.",
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"headline": "Red Carpet Looks From the 2024 Oscars",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, 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\u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. 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"title": "3 Collections Take the Poetic Measure of America in the Aftermath of the Pandemic",
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"content": "\u003cp>Every time I write a book review lately, I seem to start by saying something like this: Here are three poets responding in different ways to this deeply terrifying time, when the personal and the political are utterly inextricable and life is everywhere at stake. This review is no different.\u003c/p>\n\u003cp>In their new collections, poets Monica McClure, Rowan Ricardo Phillips, and Diane Seuss are all taking the poetic measure of America in the aftermath of the pandemic, as the whole country suffers a tremendous crisis of faith in itself. Each of them offers poetry as, if not a solution, then a kind of truth-telling companion, a mirror with a real person on both sides of it.\u003c/p>\n\u003ch3>‘The Gone Thing’\u003c/h3>\n\u003cfigure id=\"attachment_13953760\" class=\"wp-caption aligncenter\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png\" alt=\"A book cover featuring a vintage photo of a woman's face turned on its side.\" width=\"806\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-800x1197.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-768x1149.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gone Thing’ by Monica McClure. \u003ccite>(Winter Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monica McClure is one of my favorite contemporary poets. \u003cem>The Gone Thing\u003c/em>, her follow-up to \u003cem>Tender Data\u003c/em>, her mind-bending 2015 debut, is powered by the tension between seemingly contrary forces: money and poverty; the too-cool-for-you world of couture fashion and utter vulnerability; art and office life; motherhood and daughterhood. It’s a book about borders — the U.S. southern border, the borders between high and low culture, between McClure’s Mexican heritage and her cosmopolitan New York life, and between humor and dire seriousness. It’s all rolled into one slippery sensibility, equal parts social critique and personal excavation.\u003c/p>\n\u003cp>[aside postid='arts_13937655']With arresting simplicity, McClure paraphrases the basic message the United States has for immigrants: “It’s a crime to be born poor/ It’s treason to stay that way.” This double bind is presented in countless ways throughout the poems. “Nothing shocks me,” writes McClure in “Serving Many Masters,” a poem that tallies the costs of success in a society bent on keeping the poor poor and powerless: “Don’t get up if you’re not/ Ready to crawl.”\u003c/p>\n\u003cp>The poems also hint that a baby is on the horizon, and McClure tries to envision how to safely bring a child into such a fallen world, where “at best, I can do an interpretation of justice/ And hope it doesn’t go up in smoke.” How can one explain post-Trump America to a child who “will live/ Where people who are better than me/ Had their babies wrenched from their arms/ Scattered to the winds”?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McClure’s means of facing this entrapment is to reclaim the language, to ice it with biting humor, and to use it against itself, to defy categories, to be more than one thing at once: “You’re an earner/ as well as a mother You’re a midwife to conversations.,” she writes in the long title poem, which closes the book. We are in desperate need of those conversations — perhaps they’ll start here.\u003c/p>\n\u003ch3>‘Modern Poetry: Poems’\u003c/h3>\n\u003cfigure id=\"attachment_13953759\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png\" alt=\"A book cover depicting a close up on a woman's face, shoulder and hand.\" width=\"844\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-768x1103.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Poetry: Poems’ by Diane Seuss. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The danger/ of memory is going/ to it for respite,” writes Diana Seuss in “Weeds,” the best poem in her first collection following the Pulitzer-winning \u003cem>Frank\u003c/em>. On page after page, she asks: How can we bear to live in the present, given what a mess it is, but also avoid living in memory, which, she says, is a trap? Seuss, too, comes to poetry as a means of survival, though, for her, even retreating into poetry risks painting things with a false glimmer: “What luxury to think of milkweed cars/ and cookie jars and turning lights on in the dark.”\u003c/p>\n\u003cp>These extemporaneous poems reckon with the past, have their say, almost lightheartedly romping through meditations on whatever she feels like thinking about, often poetry and The Great Poets of the past (Gerard Manley Hopkins, Wallace Stevens, Theodore Roethke), but also the pandemic, love, and all the suffering that comes with it.\u003c/p>\n\u003cp>[aside postid='arts_13952372']In what amounts to a book-length origin story, Seuss explains how she became a poet, finding, if not beauty, then at least a sense of mission in repurposing the ugliness she encounters: “I could find some things repulsive and still/ require them for my project. My project/ was my life.” She takes us on a tour of “the desolate town where I was raised,” and where she became familiar with “that icky-sweet smell of a dead mouse in the wall.”\u003c/p>\n\u003cp>Like an off-beat Virgil, she tosses off gems of odd aphoristic wisdom (“Every town has a two-headed something”) and makes poetry more accessible by mixing in a bit of pop culture: “Keats made such a compact corpse/ Only five feet tall, shorter than Prince.” Finally, she wonders whether poetry is mostly a home for misfits: “What did modern poetry really mean? Maybe/ just fucked up.”\u003c/p>\n\u003cp>I am a late convert to the cult of Seuss, but came around forcefully to \u003cem>Frank\u003c/em> and the many ways it finds to explode the sonnet form while also taking advantage of its tradition and its argumentative powers. \u003cem>Modern Poetry\u003c/em> lacks the rigor of that book, as if to say it’s simply foolish to try to tame all this pain. I do think the box of the sonnet did something useful for Seuss’s poetry, organizing her improvisations. I miss that rigor, but maybe disorder is part of the message: “A cobbled mind,” she notes, “is not fatal.”\u003c/p>\n\u003ch3>‘Silver’\u003c/h3>\n\u003cfigure id=\"attachment_13953758\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png\" alt=\"A book cover depicting a dark night with tiny stars.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Silver’ by Rowan Ricardo Phillips. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one is ever alone with their thoughts,” writes Rowan Ricardo Phillips in his fourth collection. To meet an increasingly isolating and terrifying era, Phillips retrenches in poetry, which, he claims, can be found everywhere. “The imagination hides in plain sight.” Poetry stands by us, ready, Phillips seems to say, to console us with the truth, whether or not we want to hear it.\u003c/p>\n\u003cp>Only poetry, Phillips suggests, can express the horrendous illogic of our moment, which may be “like real flowers in a field/ Of memes or a meme in a filed of real/ Flowers.” And when it fails as a stay against confusion, poetry holds our grief, stores the unresolved: “George Floyd’s face floats slightly out of focus/…/ Remember the heat,/ how it burns the back/ Of the throat as night screams his name through the flames.”\u003c/p>\n\u003cp>Of course, Phillips is not saying that everyone must become a poet in order to manage the hell of 2024. Poetry is, of course, a metaphor for a more creative, nuanced form of engagement — for the conversations all three of these poets are midwifing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including \u003c/em>The Trembling Answers\u003cem>, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection \u003c/em>We Begin in Gladness: How Poets Progress\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+collections+take+the+poetic+measure+of+America+in+the+aftermath+of+the+pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every time I write a book review lately, I seem to start by saying something like this: Here are three poets responding in different ways to this deeply terrifying time, when the personal and the political are utterly inextricable and life is everywhere at stake. This review is no different.\u003c/p>\n\u003cp>In their new collections, poets Monica McClure, Rowan Ricardo Phillips, and Diane Seuss are all taking the poetic measure of America in the aftermath of the pandemic, as the whole country suffers a tremendous crisis of faith in itself. Each of them offers poetry as, if not a solution, then a kind of truth-telling companion, a mirror with a real person on both sides of it.\u003c/p>\n\u003ch3>‘The Gone Thing’\u003c/h3>\n\u003cfigure id=\"attachment_13953760\" class=\"wp-caption aligncenter\" style=\"max-width: 806px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png\" alt=\"A book cover featuring a vintage photo of a woman's face turned on its side.\" width=\"806\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-800x1197.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.03.52-PM-768x1149.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gone Thing’ by Monica McClure. \u003ccite>(Winter Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monica McClure is one of my favorite contemporary poets. \u003cem>The Gone Thing\u003c/em>, her follow-up to \u003cem>Tender Data\u003c/em>, her mind-bending 2015 debut, is powered by the tension between seemingly contrary forces: money and poverty; the too-cool-for-you world of couture fashion and utter vulnerability; art and office life; motherhood and daughterhood. It’s a book about borders — the U.S. southern border, the borders between high and low culture, between McClure’s Mexican heritage and her cosmopolitan New York life, and between humor and dire seriousness. It’s all rolled into one slippery sensibility, equal parts social critique and personal excavation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With arresting simplicity, McClure paraphrases the basic message the United States has for immigrants: “It’s a crime to be born poor/ It’s treason to stay that way.” This double bind is presented in countless ways throughout the poems. “Nothing shocks me,” writes McClure in “Serving Many Masters,” a poem that tallies the costs of success in a society bent on keeping the poor poor and powerless: “Don’t get up if you’re not/ Ready to crawl.”\u003c/p>\n\u003cp>The poems also hint that a baby is on the horizon, and McClure tries to envision how to safely bring a child into such a fallen world, where “at best, I can do an interpretation of justice/ And hope it doesn’t go up in smoke.” How can one explain post-Trump America to a child who “will live/ Where people who are better than me/ Had their babies wrenched from their arms/ Scattered to the winds”?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McClure’s means of facing this entrapment is to reclaim the language, to ice it with biting humor, and to use it against itself, to defy categories, to be more than one thing at once: “You’re an earner/ as well as a mother You’re a midwife to conversations.,” she writes in the long title poem, which closes the book. We are in desperate need of those conversations — perhaps they’ll start here.\u003c/p>\n\u003ch3>‘Modern Poetry: Poems’\u003c/h3>\n\u003cfigure id=\"attachment_13953759\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png\" alt=\"A book cover depicting a close up on a woman's face, shoulder and hand.\" width=\"844\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-1.01.08-PM-768x1103.png 768w\" sizes=\"(max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Poetry: Poems’ by Diane Seuss. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The danger/ of memory is going/ to it for respite,” writes Diana Seuss in “Weeds,” the best poem in her first collection following the Pulitzer-winning \u003cem>Frank\u003c/em>. On page after page, she asks: How can we bear to live in the present, given what a mess it is, but also avoid living in memory, which, she says, is a trap? Seuss, too, comes to poetry as a means of survival, though, for her, even retreating into poetry risks painting things with a false glimmer: “What luxury to think of milkweed cars/ and cookie jars and turning lights on in the dark.”\u003c/p>\n\u003cp>These extemporaneous poems reckon with the past, have their say, almost lightheartedly romping through meditations on whatever she feels like thinking about, often poetry and The Great Poets of the past (Gerard Manley Hopkins, Wallace Stevens, Theodore Roethke), but also the pandemic, love, and all the suffering that comes with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In what amounts to a book-length origin story, Seuss explains how she became a poet, finding, if not beauty, then at least a sense of mission in repurposing the ugliness she encounters: “I could find some things repulsive and still/ require them for my project. My project/ was my life.” She takes us on a tour of “the desolate town where I was raised,” and where she became familiar with “that icky-sweet smell of a dead mouse in the wall.”\u003c/p>\n\u003cp>Like an off-beat Virgil, she tosses off gems of odd aphoristic wisdom (“Every town has a two-headed something”) and makes poetry more accessible by mixing in a bit of pop culture: “Keats made such a compact corpse/ Only five feet tall, shorter than Prince.” Finally, she wonders whether poetry is mostly a home for misfits: “What did modern poetry really mean? Maybe/ just fucked up.”\u003c/p>\n\u003cp>I am a late convert to the cult of Seuss, but came around forcefully to \u003cem>Frank\u003c/em> and the many ways it finds to explode the sonnet form while also taking advantage of its tradition and its argumentative powers. \u003cem>Modern Poetry\u003c/em> lacks the rigor of that book, as if to say it’s simply foolish to try to tame all this pain. I do think the box of the sonnet did something useful for Seuss’s poetry, organizing her improvisations. I miss that rigor, but maybe disorder is part of the message: “A cobbled mind,” she notes, “is not fatal.”\u003c/p>\n\u003ch3>‘Silver’\u003c/h3>\n\u003cfigure id=\"attachment_13953758\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png\" alt=\"A book cover depicting a dark night with tiny stars.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-08-at-12.58.03-PM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Silver’ by Rowan Ricardo Phillips. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one is ever alone with their thoughts,” writes Rowan Ricardo Phillips in his fourth collection. To meet an increasingly isolating and terrifying era, Phillips retrenches in poetry, which, he claims, can be found everywhere. “The imagination hides in plain sight.” Poetry stands by us, ready, Phillips seems to say, to console us with the truth, whether or not we want to hear it.\u003c/p>\n\u003cp>Only poetry, Phillips suggests, can express the horrendous illogic of our moment, which may be “like real flowers in a field/ Of memes or a meme in a filed of real/ Flowers.” And when it fails as a stay against confusion, poetry holds our grief, stores the unresolved: “George Floyd’s face floats slightly out of focus/…/ Remember the heat,/ how it burns the back/ Of the throat as night screams his name through the flames.”\u003c/p>\n\u003cp>Of course, Phillips is not saying that everyone must become a poet in order to manage the hell of 2024. Poetry is, of course, a metaphor for a more creative, nuanced form of engagement — for the conversations all three of these poets are midwifing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including \u003c/em>The Trembling Answers\u003cem>, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection \u003c/em>We Begin in Gladness: How Poets Progress\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+collections+take+the+poetic+measure+of+America+in+the+aftermath+of+the+pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>[aside postid='arts_13950821']In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>[aside postid='arts_13953424']At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2024 Oscars’ Best Original Song Nominees, Cruelly Ranked",
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"content": "\u003cp>Given the commercial and awards dominance of \u003cem>Barbie\u003c/em>‘s soundtrack — which was, if you remember, the most-nominated album at this year’s Grammys — you’d be forgiven for thinking that this year’s race for the best original song Oscar boils down to Fun Barbie (Ryan Gosling’s “I’m Just Ken”) vs. Pensive Barbie (Billie Eilish’s “What Was I Made For?”). But the field has even more going for it than that, from a lovely Jon Batiste ballad to a moving piece by the Osage Tribal Singers to … well, the umpteenth nomination for songwriter Diane Warren, and even \u003cem>that\u003c/em> song isn’t terrible!\u003c/p>\n\u003cp>This is the sixth year I’ve ranked the nominated songs for NPR — here’s \u003ca href=\"https://www.npr.org/2023/03/06/1155451988/the-2023-oscars-best-original-song-nominees-cruelly-ranked\">2023\u003c/a>, \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and this is one of the better fields all around. So let’s tee ’em up, in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “The Fire Inside,” \u003c/strong>\u003cem>\u003cstrong>Flamin’ Hot\u003c/strong>\u003c/em>\u003cstrong>, performed by Becky G (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>It’s hard to devise new ways to say that a Diane Warren composition gets nominated in this category every single year, invariably at the expense of superior songs. She’s locked into an eternal paradox: enough institutional support for a seventh consecutive nomination (!!), never enough juice to win.\u003c/p>\n\u003cp>[aside postid='arts_13953424']So here we are, yet again, pondering Doomed Nomination No. 15 and thanking our lucky stars that “The Fire Inside” is actually … decent, as recent-vintage Diane Warren songs go. Lyrically, it’s just another slice of quasi-inspirational, nominally defiant boilerplate, dragged down by couplets that would cause a generative AI program to resign in embarrassment (“They will think they can stop you / But there’s no stopping you”). Rise, stand, fight, you got this, they can’t hold you back, blah blah blah, seriously, \u003cem>have ChatGPT and Diane Warren ever been seen in the same room together?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musically, “The Fire Inside” is an effervescent and thoroughly inoffensive trifle, brought home by a charismatic vocal from Becky G. As a whole, this is probably Warren’s best Oscar-nominated song since 2015’s “Til It Happens to You” (a Lady Gaga collaboration that should have beaten Sam Smith’s “Writing’s on the Wall”), which is at least saying something. Just, you know, not \u003cem>much\u003c/em>. Had \u003cem>Flamin’ Hot\u003c/em> never existed — and how sad it would have been for the world to be denied Eva Longoria’s sub-featherweight brand-fluffing biopic! — Warren would have just gotten nominated for “\u003ca href=\"https://www.youtube.com/watch?v=58BzTRqQt4Y\">Gonna Be You\u003c/a>” from \u003cem>80 for Brady\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=COXSy3rp6Vc\u003c/p>\n\u003cp>\u003cstrong>4. “Wahzhazhe (A Song for My People),” \u003c/strong>\u003cem>\u003cstrong>Killers of the Flower Moon\u003c/strong>\u003c/em>\u003cstrong>, performed by Osage Tribal Singers (Scott George, songwriter)\u003c/strong>\u003c/p>\n\u003cp>Maybe I’m riding high on the thrill of not having to write about Diane Warren for another 12 months, but this is a strong field! Next up is “Wahzhazhe (A Song for My People),” which closes Martin Scorsese’s epic \u003cem>Killers of the Flower Moon\u003c/em> — and pointedly gives the Osage Nation the last word. An unconventional entry in a field typically reserved for English-language songs by well-known artists, “Wahzhazhe” had an unusual number of hurdles to clear in order to get nominated, starting with the fact that it had \u003ca href=\"https://www.billboard.com/music/awards/oscar-2024-nominations-music-best-original-song-score-1235604053/\">never been written down\u003c/a> prior to submission.\u003c/p>\n\u003cp>The first Native American nominated for best original song, songwriter Scott George crafted a rousing work that transcends its place in a movie’s closing credits: It’s a work of celebration that suits its moment in the film while speaking to the Osage Nation’s resilience in the face of systemic discrimination and murder. And it’ll surely sound terrific when performed on Oscar night, which is just one more reason among many to cheer its inclusion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nyWCr1ly4oc\u003c/p>\n\u003cp>\u003cstrong>3. “It Never Went Away,” \u003c/strong>\u003cem>\u003cstrong>American Symphony\u003c/strong>\u003c/em>\u003cstrong>, performed by Jon Batiste (Jon Batiste and Dan Wilson, songwriters)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Symphony\u003c/em> documents 2021 Oscar winner Jon Batiste’s efforts to write a symphony while his wife, bestselling author Suleika Jaouad, battled leukemia. As documentaries go, it’s moving without being terribly revealing — which can also be said for the Oscar-nominated ballad that plays over the film’s closing credits. But the gorgeous piano line that propels “It Never Went Away” sure does hit hard, as Batiste serenades his wife in a lullaby of devotion.\u003c/p>\n\u003cp>Unlike so many Oscar-nominated closing-credits songs before it, “It Never Went Away” feels richly connected to the themes of the movie preceding it. The words Batiste sings aren’t exactly novel — “Thought I was a wise lad / When you plan, God laughs” — but the song as a whole beautifully captures the experience of love as an accumulation of hard-won moments, forged in shared sacrifice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=27jnCQYRXLc\u003c/p>\n\u003cp>\u003cstrong>2. “I’m Just Ken,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Ryan Gosling (Mark Ronson and Andrew Wyatt, songwriters)\u003c/strong>\u003c/p>\n\u003cp>It’s virtually impossible to choose which eligible \u003cem>Barbie\u003c/em> song most deserves this year’s Oscar: You could make a strong case for both nominated songs, as well as Dua Lipa’s effervescent “\u003ca href=\"https://www.youtube.com/watch?v=OiC1rgCPmUQ\">Dance the Night\u003c/a>,” which was shortlisted but missed the cut. (These days, Oscar rules stipulate that no more than two songs can be nominated from a single film.)\u003c/p>\n\u003cp>[aside postid='arts_13931753']So, seriously, think of Ryan Gosling’s wild, joke-dense “I’m Just Ken” as No. 1a more than No. 2 — though it does seem fitting that poor Ken would be relegated to second place yet again. Part inspirational battle anthem, \u003ca href=\"https://www.kqed.org/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song\">part dream ballet\u003c/a>, part ’80s power-ballad pastiche, “I’m Just Ken” soundtracks one of \u003cem>Barbie\u003c/em>‘s many key scenes, advancing the plot even as it dispenses catchphrases (“Can you feel the Kenergy?”) and asks the questions so many of us have asked of ourselves (“Am I not hot when I’m in my feelings?”).\u003c/p>\n\u003cp>Though “What Was I Made For?” remains this year’s likely winner, it wouldn’t be a massive shock if “I’m Just Ken” were to rise up and snatch the Oscar from its more somber \u003cem>Barbie\u003c/em> counterpart. The song pulls off a genuinely awesome feat: a grand and clever piece of comedic spectacle that is, among other superlatives, great at doing stuff. And, if you’re not grateful for “I’m Just Ken” now, just wait until it shows up to enliven a three-and-a-half-hour Oscars telecast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwux9KiBMjE\u003c/p>\n\u003cp>\u003cstrong>1. “What Was I Made For?,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Billie Eilish (Billie Eilish and Finneas O’Connell, songwriters)\u003c/strong>\u003c/p>\n\u003cp>I’m never going to fault anyone for choosing jokes over feelings, so you’re more than forgiven if you prefer “I’m Just Ken” to “What Was I Made For?” But, \u003cem>man\u003c/em>, this is a gorgeous song: melodically rich, a radiant vocal performance from Billie Eilish, a compelling way to magnify the pathos in \u003cem>Barbie\u003c/em>‘s story of self-awakening, and an actual chart hit to boot.\u003c/p>\n\u003cp>[aside postid='arts_13931981']It’s worth noting once again how often the Oscars’ best original song field gets dominated by songs that roll harmlessly over closing credits — and, more to the point, that fail to convey or reflect on what their films were trying to say. This season, only the Diane Warren song really falls short in that regard; though they play over their respective credits, “Wahzhazhe (A Song for My People)” could only come from \u003cem>Killers of the Flower Moon\u003c/em> and “It Never Went Away” could only come from \u003cem>American Symphony\u003c/em>. That’s a big step up from most years, which says nothing of how integral “I’m Just Ken” and “What Was I Made For?” are to \u003cem>Barbie\u003c/em>.\u003c/p>\n\u003cp>Last year’s Oscar field produced one of the best and most satisfying winners this category has ever produced in “\u003ca href=\"https://www.youtube.com/watch?v=OsU0CGZoV8E\">Naatu Naatu\u003c/a>” from \u003cem>RRR\u003c/em>. As long as Barbie gets its due this time around, we’re in for another all-timer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ML0zd8UAuq8\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2024+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given the commercial and awards dominance of \u003cem>Barbie\u003c/em>‘s soundtrack — which was, if you remember, the most-nominated album at this year’s Grammys — you’d be forgiven for thinking that this year’s race for the best original song Oscar boils down to Fun Barbie (Ryan Gosling’s “I’m Just Ken”) vs. Pensive Barbie (Billie Eilish’s “What Was I Made For?”). But the field has even more going for it than that, from a lovely Jon Batiste ballad to a moving piece by the Osage Tribal Singers to … well, the umpteenth nomination for songwriter Diane Warren, and even \u003cem>that\u003c/em> song isn’t terrible!\u003c/p>\n\u003cp>This is the sixth year I’ve ranked the nominated songs for NPR — here’s \u003ca href=\"https://www.npr.org/2023/03/06/1155451988/the-2023-oscars-best-original-song-nominees-cruelly-ranked\">2023\u003c/a>, \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and this is one of the better fields all around. So let’s tee ’em up, in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “The Fire Inside,” \u003c/strong>\u003cem>\u003cstrong>Flamin’ Hot\u003c/strong>\u003c/em>\u003cstrong>, performed by Becky G (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>It’s hard to devise new ways to say that a Diane Warren composition gets nominated in this category every single year, invariably at the expense of superior songs. She’s locked into an eternal paradox: enough institutional support for a seventh consecutive nomination (!!), never enough juice to win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So here we are, yet again, pondering Doomed Nomination No. 15 and thanking our lucky stars that “The Fire Inside” is actually … decent, as recent-vintage Diane Warren songs go. Lyrically, it’s just another slice of quasi-inspirational, nominally defiant boilerplate, dragged down by couplets that would cause a generative AI program to resign in embarrassment (“They will think they can stop you / But there’s no stopping you”). Rise, stand, fight, you got this, they can’t hold you back, blah blah blah, seriously, \u003cem>have ChatGPT and Diane Warren ever been seen in the same room together?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musically, “The Fire Inside” is an effervescent and thoroughly inoffensive trifle, brought home by a charismatic vocal from Becky G. As a whole, this is probably Warren’s best Oscar-nominated song since 2015’s “Til It Happens to You” (a Lady Gaga collaboration that should have beaten Sam Smith’s “Writing’s on the Wall”), which is at least saying something. Just, you know, not \u003cem>much\u003c/em>. Had \u003cem>Flamin’ Hot\u003c/em> never existed — and how sad it would have been for the world to be denied Eva Longoria’s sub-featherweight brand-fluffing biopic! — Warren would have just gotten nominated for “\u003ca href=\"https://www.youtube.com/watch?v=58BzTRqQt4Y\">Gonna Be You\u003c/a>” from \u003cem>80 for Brady\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/COXSy3rp6Vc'\n title='//www.youtube.com/embed/COXSy3rp6Vc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. “Wahzhazhe (A Song for My People),” \u003c/strong>\u003cem>\u003cstrong>Killers of the Flower Moon\u003c/strong>\u003c/em>\u003cstrong>, performed by Osage Tribal Singers (Scott George, songwriter)\u003c/strong>\u003c/p>\n\u003cp>Maybe I’m riding high on the thrill of not having to write about Diane Warren for another 12 months, but this is a strong field! Next up is “Wahzhazhe (A Song for My People),” which closes Martin Scorsese’s epic \u003cem>Killers of the Flower Moon\u003c/em> — and pointedly gives the Osage Nation the last word. An unconventional entry in a field typically reserved for English-language songs by well-known artists, “Wahzhazhe” had an unusual number of hurdles to clear in order to get nominated, starting with the fact that it had \u003ca href=\"https://www.billboard.com/music/awards/oscar-2024-nominations-music-best-original-song-score-1235604053/\">never been written down\u003c/a> prior to submission.\u003c/p>\n\u003cp>The first Native American nominated for best original song, songwriter Scott George crafted a rousing work that transcends its place in a movie’s closing credits: It’s a work of celebration that suits its moment in the film while speaking to the Osage Nation’s resilience in the face of systemic discrimination and murder. And it’ll surely sound terrific when performed on Oscar night, which is just one more reason among many to cheer its inclusion.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nyWCr1ly4oc'\n title='//www.youtube.com/embed/nyWCr1ly4oc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. “It Never Went Away,” \u003c/strong>\u003cem>\u003cstrong>American Symphony\u003c/strong>\u003c/em>\u003cstrong>, performed by Jon Batiste (Jon Batiste and Dan Wilson, songwriters)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Symphony\u003c/em> documents 2021 Oscar winner Jon Batiste’s efforts to write a symphony while his wife, bestselling author Suleika Jaouad, battled leukemia. As documentaries go, it’s moving without being terribly revealing — which can also be said for the Oscar-nominated ballad that plays over the film’s closing credits. But the gorgeous piano line that propels “It Never Went Away” sure does hit hard, as Batiste serenades his wife in a lullaby of devotion.\u003c/p>\n\u003cp>Unlike so many Oscar-nominated closing-credits songs before it, “It Never Went Away” feels richly connected to the themes of the movie preceding it. The words Batiste sings aren’t exactly novel — “Thought I was a wise lad / When you plan, God laughs” — but the song as a whole beautifully captures the experience of love as an accumulation of hard-won moments, forged in shared sacrifice.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/27jnCQYRXLc'\n title='//www.youtube.com/embed/27jnCQYRXLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2. “I’m Just Ken,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Ryan Gosling (Mark Ronson and Andrew Wyatt, songwriters)\u003c/strong>\u003c/p>\n\u003cp>It’s virtually impossible to choose which eligible \u003cem>Barbie\u003c/em> song most deserves this year’s Oscar: You could make a strong case for both nominated songs, as well as Dua Lipa’s effervescent “\u003ca href=\"https://www.youtube.com/watch?v=OiC1rgCPmUQ\">Dance the Night\u003c/a>,” which was shortlisted but missed the cut. (These days, Oscar rules stipulate that no more than two songs can be nominated from a single film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, seriously, think of Ryan Gosling’s wild, joke-dense “I’m Just Ken” as No. 1a more than No. 2 — though it does seem fitting that poor Ken would be relegated to second place yet again. Part inspirational battle anthem, \u003ca href=\"https://www.kqed.org/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song\">part dream ballet\u003c/a>, part ’80s power-ballad pastiche, “I’m Just Ken” soundtracks one of \u003cem>Barbie\u003c/em>‘s many key scenes, advancing the plot even as it dispenses catchphrases (“Can you feel the Kenergy?”) and asks the questions so many of us have asked of ourselves (“Am I not hot when I’m in my feelings?”).\u003c/p>\n\u003cp>Though “What Was I Made For?” remains this year’s likely winner, it wouldn’t be a massive shock if “I’m Just Ken” were to rise up and snatch the Oscar from its more somber \u003cem>Barbie\u003c/em> counterpart. The song pulls off a genuinely awesome feat: a grand and clever piece of comedic spectacle that is, among other superlatives, great at doing stuff. And, if you’re not grateful for “I’m Just Ken” now, just wait until it shows up to enliven a three-and-a-half-hour Oscars telecast.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wwux9KiBMjE'\n title='//www.youtube.com/embed/wwux9KiBMjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>1. “What Was I Made For?,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Billie Eilish (Billie Eilish and Finneas O’Connell, songwriters)\u003c/strong>\u003c/p>\n\u003cp>I’m never going to fault anyone for choosing jokes over feelings, so you’re more than forgiven if you prefer “I’m Just Ken” to “What Was I Made For?” But, \u003cem>man\u003c/em>, this is a gorgeous song: melodically rich, a radiant vocal performance from Billie Eilish, a compelling way to magnify the pathos in \u003cem>Barbie\u003c/em>‘s story of self-awakening, and an actual chart hit to boot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s worth noting once again how often the Oscars’ best original song field gets dominated by songs that roll harmlessly over closing credits — and, more to the point, that fail to convey or reflect on what their films were trying to say. This season, only the Diane Warren song really falls short in that regard; though they play over their respective credits, “Wahzhazhe (A Song for My People)” could only come from \u003cem>Killers of the Flower Moon\u003c/em> and “It Never Went Away” could only come from \u003cem>American Symphony\u003c/em>. That’s a big step up from most years, which says nothing of how integral “I’m Just Ken” and “What Was I Made For?” are to \u003cem>Barbie\u003c/em>.\u003c/p>\n\u003cp>Last year’s Oscar field produced one of the best and most satisfying winners this category has ever produced in “\u003ca href=\"https://www.youtube.com/watch?v=OsU0CGZoV8E\">Naatu Naatu\u003c/a>” from \u003cem>RRR\u003c/em>. As long as Barbie gets its due this time around, we’re in for another all-timer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13953378\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png\" alt=\"A book cover illustration shows a woman in a bikini and a small boy dancing next to her.\" width=\"852\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-800x1138.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-768x1093.png 768w\" sizes=\"auto, (max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m So Glad We Had This Time Together’ by Maurice Vellekoop. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point far into Maurice Vellekoop’s operatic, nearly 500-page graphic memoir \u003cem>I’m So Glad We Had This Time Together\u003c/em>, he depicts himself at an art event in Toronto. He has donated his work to the silent auction and is now scoping out the scene, chatting up yet another handsome stranger in search of that elusive spark. “I thought you said you were an artist,” the man bitterly remarks, having just matched the artist to his art — presumably a comics illustration.\u003c/p>\n\u003cp>This moment is somewhat peripheral to the main storyline, included as a demonstration of the then 30-something-year-old’s long-delayed willingness to put himself out there on the dating scene. But in a way, it captures a concern even more essential to the book. This long, gorgeous, often rambunctious memoir is the story of a man’s search for a way out of the expectations that have kept him constrained for most of his life. Vellekoop will not remain unscathed by other people’s judgment and censure. In the end, though, this impressive book is the proclamation of an artist, in this case a cartoonist, finally staking out his claim.\u003c/p>\n\u003cfigure id=\"attachment_13953376\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png\" alt=\"An illustration of a woman reading a book on a train, with a small boy curled up next to her.\" width=\"1292\" height=\"1288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Divided into four sections tracking various throughlines from his life so far, Vellekoop opens his lavishly colored book of comics with scenes from early childhood. Born in 1964, young Maurice was the fourth and final sibling raised in the suburbs of Toronto by Dutch immigrant parents who were also avid members of the Christian Reformed Church. From his loving but complicated Mum and Dad, he developed an immediate, and passionate, connection with music and art. This working-class immigrant family displayed a Rembrandt in their living room. His mother made clothes for the entire family, also running a hair salon out of their basement. His father, an art and music lover, took him to see \u003cem>Fantasia \u003c/em>when he was a little boy. It was initially through the two of them, and his adored older sister, Ingrid, that many of his great loves — and, eventually, prodigious talents — were launched.\u003c/p>\n\u003cp>[aside postid='arts_13935619']But family life was also full of contradictions. Vellekoop’s father was subject to sudden, inexplicable rages. His mother could never reconcile the aesthetic tastes she shared with her youngest with her sense, particularly as he grew older, that his desires were not quite aligned with her adopted religious beliefs and cultural standards. “My Mum and I should have bonded over beauty,” the narrator mournfully reports, tracking one missed opportunity after another. First subtly — say, by substituting a marionette as a gift in lieu of a much-desired Barbie — later much more overtly, by handing her son religious pamphlets condemning homosexuality, Vellekoop’s mother, whom he adored, time and again makes her disapprovals known. As the boy ages into puberty, he battles his budding sexual desires alongside a longing to please his parents as well as a growing anxiety around peers who tease and also verbally abuse him.\u003c/p>\n\u003cfigure id=\"attachment_13953377\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png\" alt=\"An illustration of a small boy crouched between book cases reading Cinderella.\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armed from a young age with an ability to find beauty and connection in all manner of storytelling forms, from the so-called lowbrow to the most classical of works, Vellekoop packs his passages — from public high school and arts college into the post-collegiate Toronto scene and, later, travels to New York City — with all manner of references, from which he draws inspiration. As a child he falls in love, first with Disney films, then television. The shows he loves to watch include \u003cem>The Addams Family\u003c/em>, \u003cem>Tarzan\u003c/em> and \u003cem>The Carol Burnett Show — \u003c/em>the memoir’s title is drawn from the popular variety show’s closing song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He derives pleasure, too, from other forms, like popular and avant garde cinema and theater, punk rock, comics, opera, painting, science fiction, literature, and more. These cultural and aesthetic touchstones become the foundations not only for the expertly rendered images and prose on display but also the important friendships that dominate his life, and sustain him. His successful art and illustration career, which takes off quickly after his graduation from the Ontario College of Art and Design, sees him globetrotting, publishing works in places like \u003cem>The New Yorker\u003c/em>, \u003cem>Vogue\u003c/em> and\u003cem> Rolling Stone.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13926136']Throughout, Vellekoop candidly depicts several violent and unprovoked attacks from strangers, his internalized shame, his struggles with depression, coming to terms with his sexual proclivities and finding a mate. He finds consolation and support, not only in the art he continually seeks out, and all that he creates, but also in the Toronto arts community, his straight female friendships and, eventually, a professional therapist. Alongside other evocative gay and queer cartoonists, from Howard Cruse and Alison Bechdel to Robert Kirby and Maia Kobabe, Vellekoop is invested in presenting the highs and lows of a life lived willfully resisting other people’s inconsistent, harmful attitudes.\u003c/p>\n\u003cp>There is, too, for Vellekoop, an eventual reconciliation of sorts with his mother. Though it is far from seamless, at long last she echoes a designation he has already gifted himself, many times over. On the phone, nearing the end of her life, in response to his own declarations of affection she tells him: “I love you too. My Maurice, my artist son.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+man+fights+expectations+in+%27I%27m+So+Glad+We+Had+This+Time+Together%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953378\" class=\"wp-caption aligncenter\" style=\"max-width: 852px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png\" alt=\"A book cover illustration shows a woman in a bikini and a small boy dancing next to her.\" width=\"852\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM.png 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-800x1138.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.17.17-PM-768x1093.png 768w\" sizes=\"auto, (max-width: 852px) 100vw, 852px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m So Glad We Had This Time Together’ by Maurice Vellekoop. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point far into Maurice Vellekoop’s operatic, nearly 500-page graphic memoir \u003cem>I’m So Glad We Had This Time Together\u003c/em>, he depicts himself at an art event in Toronto. He has donated his work to the silent auction and is now scoping out the scene, chatting up yet another handsome stranger in search of that elusive spark. “I thought you said you were an artist,” the man bitterly remarks, having just matched the artist to his art — presumably a comics illustration.\u003c/p>\n\u003cp>This moment is somewhat peripheral to the main storyline, included as a demonstration of the then 30-something-year-old’s long-delayed willingness to put himself out there on the dating scene. But in a way, it captures a concern even more essential to the book. This long, gorgeous, often rambunctious memoir is the story of a man’s search for a way out of the expectations that have kept him constrained for most of his life. Vellekoop will not remain unscathed by other people’s judgment and censure. In the end, though, this impressive book is the proclamation of an artist, in this case a cartoonist, finally staking out his claim.\u003c/p>\n\u003cfigure id=\"attachment_13953376\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png\" alt=\"An illustration of a woman reading a book on a train, with a small boy curled up next to her.\" width=\"1292\" height=\"1288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.11.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Divided into four sections tracking various throughlines from his life so far, Vellekoop opens his lavishly colored book of comics with scenes from early childhood. Born in 1964, young Maurice was the fourth and final sibling raised in the suburbs of Toronto by Dutch immigrant parents who were also avid members of the Christian Reformed Church. From his loving but complicated Mum and Dad, he developed an immediate, and passionate, connection with music and art. This working-class immigrant family displayed a Rembrandt in their living room. His mother made clothes for the entire family, also running a hair salon out of their basement. His father, an art and music lover, took him to see \u003cem>Fantasia \u003c/em>when he was a little boy. It was initially through the two of them, and his adored older sister, Ingrid, that many of his great loves — and, eventually, prodigious talents — were launched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But family life was also full of contradictions. Vellekoop’s father was subject to sudden, inexplicable rages. His mother could never reconcile the aesthetic tastes she shared with her youngest with her sense, particularly as he grew older, that his desires were not quite aligned with her adopted religious beliefs and cultural standards. “My Mum and I should have bonded over beauty,” the narrator mournfully reports, tracking one missed opportunity after another. First subtly — say, by substituting a marionette as a gift in lieu of a much-desired Barbie — later much more overtly, by handing her son religious pamphlets condemning homosexuality, Vellekoop’s mother, whom he adored, time and again makes her disapprovals known. As the boy ages into puberty, he battles his budding sexual desires alongside a longing to please his parents as well as a growing anxiety around peers who tease and also verbally abuse him.\u003c/p>\n\u003cfigure id=\"attachment_13953377\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png\" alt=\"An illustration of a small boy crouched between book cases reading Cinderella.\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-04-at-4.14.23-PM-768x766.png 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Maurice Vellekoop’s ‘I’m So Glad We Had This Time Together.’ \u003ccite>(Maurice Vellekoop/ Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armed from a young age with an ability to find beauty and connection in all manner of storytelling forms, from the so-called lowbrow to the most classical of works, Vellekoop packs his passages — from public high school and arts college into the post-collegiate Toronto scene and, later, travels to New York City — with all manner of references, from which he draws inspiration. As a child he falls in love, first with Disney films, then television. The shows he loves to watch include \u003cem>The Addams Family\u003c/em>, \u003cem>Tarzan\u003c/em> and \u003cem>The Carol Burnett Show — \u003c/em>the memoir’s title is drawn from the popular variety show’s closing song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He derives pleasure, too, from other forms, like popular and avant garde cinema and theater, punk rock, comics, opera, painting, science fiction, literature, and more. These cultural and aesthetic touchstones become the foundations not only for the expertly rendered images and prose on display but also the important friendships that dominate his life, and sustain him. His successful art and illustration career, which takes off quickly after his graduation from the Ontario College of Art and Design, sees him globetrotting, publishing works in places like \u003cem>The New Yorker\u003c/em>, \u003cem>Vogue\u003c/em> and\u003cem> Rolling Stone.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Throughout, Vellekoop candidly depicts several violent and unprovoked attacks from strangers, his internalized shame, his struggles with depression, coming to terms with his sexual proclivities and finding a mate. He finds consolation and support, not only in the art he continually seeks out, and all that he creates, but also in the Toronto arts community, his straight female friendships and, eventually, a professional therapist. Alongside other evocative gay and queer cartoonists, from Howard Cruse and Alison Bechdel to Robert Kirby and Maia Kobabe, Vellekoop is invested in presenting the highs and lows of a life lived willfully resisting other people’s inconsistent, harmful attitudes.\u003c/p>\n\u003cp>There is, too, for Vellekoop, an eventual reconciliation of sorts with his mother. Though it is far from seamless, at long last she echoes a designation he has already gifted himself, many times over. On the phone, nearing the end of her life, in response to his own declarations of affection she tells him: “I love you too. My Maurice, my artist son.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+man+fights+expectations+in+%27I%27m+So+Glad+We+Had+This+Time+Together%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations",
"headTitle": "50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>[aside postid='arts_13939927']And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VKayG1TrfuE\u003c/p>\n\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>[aside postid='arts_13907576']So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>[aside postid='pop_107664']And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VKayG1TrfuE'\n title='//www.youtube.com/embed/VKayG1TrfuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "My Daughters Sold Girl Scout Cookies. Here’s what I Learned in the Thin Mint Trenches",
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"content": "\u003cp>It’s 9:15 on a cold Monday morning, and six Girl Scout parents are giving full-on military op vibes.\u003c/p>\n\u003cp>Five moms and I are standing on a sidewalk, holding mugs of coffee and tea as we run through logistics. We have an action plan, and a goal: We’re picking up nearly 3,300 packages of cookies for our Girl Scout troop and taking them to our homes-turned-mini-warehouses.\u003c/p>\n\u003cp>“We’ll probably need a sort of Checkpoint Bravo, a place to regroup in case we get separated,” our cookie manager, Ali Ray Cavanaugh, says.\u003c/p>\n\u003cp>[aside postid='arts_13935114']Today, we’re part of the Girl Scouts Army. We’ll drive in a convoy across Washington, D.C., to a massive parking lot where our vehicles — two minivans, two Subarus and two SUVs — will be crammed with as many cookies as they can hold.\u003c/p>\n\u003cp>As a lifelong fan of Girl Scout Cookies but also a never-scout (a term no one, as far as I can tell, uses), I’m low-key buzzing at being let into the inner circle, where we’re relied on to Do The Thing. A successful run today means all the cookie promises our Daisies, Brownies and Juniors made will be kept, on schedule.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we head out, I hold two not-necessarily conflicting ideas in my mind: I’m glad I can do this for my two daughters; and this is one way Girl Scouts outsources core functions to parent volunteers.\u003c/p>\n\u003ch3>Cookies rule everything around me\u003c/h3>\n\u003cfigure id=\"attachment_13953209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-thin-mints_wide-b48a65ec437ea3e64c85cdf5a91344c0ab16cf0d-scaled-e1709230743162.jpg\" alt=\"A man carries a pile of green and brown boxes to a vehicle, while a woman dressed for winter stands behind a wall of the same boxes.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie pickup day is a test of logistics for Girl Scout parents, who fill their cars with as many cookies as they can hold. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our cookie pickup objective might sound fun, but we’re all about the mission. After all, this task requires at least three hours — and we’re taking time away from our (paying) jobs to do this (nonpaying) work.\u003c/p>\n\u003cp>We have a special group chat for this trip. When we get separated in traffic, we use Google Map pins and phone calls to ensure our team can recombine before entering the pickup zone. There, we join a snake of cars pulsing down a long incline into a huge lot, where we coil our way between 18-wheelers with trailers full of Thin Mints, Samoas and Adventurefuls.\u003c/p>\n\u003cp>[aside postid='arts_13940127']If you were picturing the Girl Scouts inner circle like a Wonka-like scene of Tagalong rainbows and Do-si-do stools, this ain’t it. It reminds me of large-scale relief efforts I’ve visited for NPR, where the sole objective is to distribute massive quantities of food. At this one delivery site, 170,000 packages of cookies are being dispersed.\u003c/p>\n\u003cp>“Last year, our Girl Scouts sold 4.4 million packages across the entire council” in the Washington, D.C., area, council chief financial officer, Jessica McClain, told me.\u003c/p>\n\u003cp>After picking up hundreds of cardboard cases, we hand-carry the precious cargo into cookie manager Cavanaugh’s large basement. From there, cookies are portioned out to Girl Scouts to deliver to their customers. Hundreds more boxes are earmarked for cookie booth sales.\u003c/p>\n\u003cp>Our houses are transformed into glorified cookie cupboards. Reader, as I write this story at home, four cases of cookies sit by my elbow.\u003c/p>\n\u003ch3>Girl Scout Cookies are a $1 billion industry\u003c/h3>\n\u003cfigure id=\"attachment_13953212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-cookie-line_wide-8a6ff20c194886799d972c98be7ad690e09b9491-scaled-e1709232740587.jpg\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">A line of cars stretches down into a parking lot where semitrailers are waiting to unload Girl Scout Cookies in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing with these cookies is, they’re really good,” a Girl Scout dad told me, as we watched our daughters rake in money at a cookie booth.\u003c/p>\n\u003cp>In a normal year, the Girl Scouts of the United States of America will sell about 200 million boxes of cookies, as NPR’s Scott Horsley \u003ca href=\"https://www.npr.org/2023/10/11/1205245173/inflation-hitting-where-it-hurts-the-price-of-girl-scout-cookies-is-going-up\">reported last year\u003c/a>. The national organization \u003ca href=\"https://www.girlscouts.org/content/dam/girlscouts-gsusa/forms-and-documents/about-girl-scouts/research/GSUSA_Todays-Girls-Tomorrows-Entrepreneurs_The-Girl-Scout-Difference.pdf\">calls it\u003c/a> “the largest girl-led entrepreneurship program in the world,” with nearly 700,000 Girl Scouts participating.\u003c/p>\n\u003cp>You’ve probably heard about cookie prices going up. The vast majority of troops are now selling boxes for between $5 and $7. If the girls hit that 200 million mark this year, cookie revenue would eclipse $1 billion. So, I asked, how much do the girls see in profits?\u003c/p>\n\u003cp>“Last year, our troops earned over $4.5 million in proceeds,” McClain said.\u003c/p>\n\u003cp>For perspective, our council, Girl Scouts Nation’s Capital, is pretty large, she added, with about 4,000 troops.\u003c/p>\n\u003cp>In some ways, the Girl Scouts operates with top-down control of what are essentially local franchises. But the cookie-business aspect of the nonprofit is distributed pretty widely. To buy cookies in bulk, each council makes its own contract with one of the two big baking companies, ABC Bakers and Little Brownie Bakers — which in turn pay licensing fees to the national organization.\u003c/p>\n\u003cp>[aside postid='arts_13950436']The amount of proceeds each troop is able to keep varies. I asked McClain how it breaks down for our council.\u003c/p>\n\u003cp>“I would start with saying none of it goes to the national organization,” she said. “About 25% to 30% of the price goes to the troops themselves,” to use as they choose.\u003c/p>\n\u003cp>Another chunk goes to direct costs — the cookies themselves, and transportation.\u003c/p>\n\u003cp>“That can be up to about 40% with that piece of it,” McClain said.\u003c/p>\n\u003cp>Some money goes toward activities, she said: “We use about 10% of those funds to support the outdoor program for all of our Girl Scouts in our council.”\u003c/p>\n\u003cp>“There’s also about 14, 15% that goes to customer support,” such as technology underpinning the sales operation, she said.\u003c/p>\n\u003cp>Money also goes toward things like the rewards girls earn by hitting sales goals, and for operational costs.\u003c/p>\n\u003ch3>Parents are a multiskilled volunteer workforce\u003c/h3>\n\u003cfigure id=\"attachment_13953210\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-trefoil-stack_wide-b6b309fcafe51f9158c783d89009f094f408cd0f-scaled-e1709232897960.jpg\" alt=\"Piles of blue and brown boxes sit next to a U-Haul truck.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Volunteers load Trefoils and other Girl Scout Cookies at a huge parking lot near the RFK stadium in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reality of Girl Scout Cookies may not be Wonka-like, but parents can be forgiven for feeling like Oompa Loompas — the hardworking cogs in a well-oiled machine.\u003c/p>\n\u003cp>Whatever a troop’s parents do for a living, Girl Scouts calls on them to hone a very specific set of skills, from making accurate sales projections (each troop is on the hook to pay for every cookie box they order) to managing spreadsheets and deliveries as late orders come in. Finally, they’ll reconcile a mix of cash, online orders and Venmo payments to ensure everything adds up.\u003c/p>\n\u003cp>[aside postid='arts_13951141']“We know it’s a lot of work. We know it is a heavy lift,” McClain told me, calling volunteers the lifeblood of the system.\u003c/p>\n\u003cp>Parents tout their kid’s online cookie store, sharing links on Facebook, in emails, at work — wherever a possible sale is lurking. They help girls sort the orders and make deliveries. They volunteer at cookie booths. Some, like me, also make surplus orders to cover all the folks who didn’t realize Girl Scout cookie season was coming. Those packages can go fast: When my girls brought about 25 boxes — or about $120 worth — of cookies to NPR’s headquarters, they sold out in 45 minutes.\u003c/p>\n\u003cp>All of this happens in parallel to the actual work of running the troop — setting up meetings and activities, ensuring the girls have the right materials, and planning what to do with the proceeds from cookie sales.\u003c/p>\n\u003ch3>So, why do parents do it?\u003c/h3>\n\u003cfigure id=\"attachment_13953211\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/2024-02-05t153910z_673457320_mt1usatoday22449417_rtrmadp_3_girl-scouts-provided-a-chance-for-the-love-local-crowd-to_wide-e3de932f4a9e5f65ad35f470c92a427c935b7783-scaled-e1709233147372.jpg\" alt=\"Cold parents and young people stand behind tables selling girl scouts cookies.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie booth sales like this one in Michigan let Girl Scouts (and their parents) broaden their customer base. \u003ccite>(Don Reid/ Coldwater Daily Report/ USA Today Network/ Reuters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First of all: I’m glad to be able to support my daughters’ troop, to put time and money toward their experience.\u003c/p>\n\u003cp>I enjoy learning what it’s all about, and seeing my daughters spend time with friends in their troop. As for the cookie program, the Girl Scouts traditionally emphasizes the business training — things like setting goals, making marketing and spending decisions, and being responsible and ethical.\u003c/p>\n\u003cp>“We’re trying to teach entrepreneurial skills,” McClain said.\u003c/p>\n\u003cp>[aside postid='arts_13953078']Then there are the rewards for their labor. While some parents I’ve talked to say they wish the kids got a bigger share of the revenue, our troop does get enough money to do special things. And while adults do a lot of work to make it happen, we’re fine with the girls deciding how to spend it — they usually hold a vote to decide on the best options.\u003c/p>\n\u003cp>If you ever visit a cookie booth and want to know where the girls’ money goes, just ask.\u003c/p>\n\u003cp>“We are raising money to go camping and horseback riding,” Eva Kelly, a junior in our troop, told me at our sale.\u003c/p>\n\u003cp>They also want to learn how to cook, my daughter Mattie added: “We’ve got to learn how to make basic meals while we’re camping.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If all goes well, they’ll be at that camp this summer — and some Girl Scout parents will be able to take a break, as well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=My+daughters+sold+Girl+Scout+Cookies.+Here%27s+what+I+learned+in+the+Thin+Mint+trenches&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 9:15 on a cold Monday morning, and six Girl Scout parents are giving full-on military op vibes.\u003c/p>\n\u003cp>Five moms and I are standing on a sidewalk, holding mugs of coffee and tea as we run through logistics. We have an action plan, and a goal: We’re picking up nearly 3,300 packages of cookies for our Girl Scout troop and taking them to our homes-turned-mini-warehouses.\u003c/p>\n\u003cp>“We’ll probably need a sort of Checkpoint Bravo, a place to regroup in case we get separated,” our cookie manager, Ali Ray Cavanaugh, says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, we’re part of the Girl Scouts Army. We’ll drive in a convoy across Washington, D.C., to a massive parking lot where our vehicles — two minivans, two Subarus and two SUVs — will be crammed with as many cookies as they can hold.\u003c/p>\n\u003cp>As a lifelong fan of Girl Scout Cookies but also a never-scout (a term no one, as far as I can tell, uses), I’m low-key buzzing at being let into the inner circle, where we’re relied on to Do The Thing. A successful run today means all the cookie promises our Daisies, Brownies and Juniors made will be kept, on schedule.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we head out, I hold two not-necessarily conflicting ideas in my mind: I’m glad I can do this for my two daughters; and this is one way Girl Scouts outsources core functions to parent volunteers.\u003c/p>\n\u003ch3>Cookies rule everything around me\u003c/h3>\n\u003cfigure id=\"attachment_13953209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-thin-mints_wide-b48a65ec437ea3e64c85cdf5a91344c0ab16cf0d-scaled-e1709230743162.jpg\" alt=\"A man carries a pile of green and brown boxes to a vehicle, while a woman dressed for winter stands behind a wall of the same boxes.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie pickup day is a test of logistics for Girl Scout parents, who fill their cars with as many cookies as they can hold. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our cookie pickup objective might sound fun, but we’re all about the mission. After all, this task requires at least three hours — and we’re taking time away from our (paying) jobs to do this (nonpaying) work.\u003c/p>\n\u003cp>We have a special group chat for this trip. When we get separated in traffic, we use Google Map pins and phone calls to ensure our team can recombine before entering the pickup zone. There, we join a snake of cars pulsing down a long incline into a huge lot, where we coil our way between 18-wheelers with trailers full of Thin Mints, Samoas and Adventurefuls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you were picturing the Girl Scouts inner circle like a Wonka-like scene of Tagalong rainbows and Do-si-do stools, this ain’t it. It reminds me of large-scale relief efforts I’ve visited for NPR, where the sole objective is to distribute massive quantities of food. At this one delivery site, 170,000 packages of cookies are being dispersed.\u003c/p>\n\u003cp>“Last year, our Girl Scouts sold 4.4 million packages across the entire council” in the Washington, D.C., area, council chief financial officer, Jessica McClain, told me.\u003c/p>\n\u003cp>After picking up hundreds of cardboard cases, we hand-carry the precious cargo into cookie manager Cavanaugh’s large basement. From there, cookies are portioned out to Girl Scouts to deliver to their customers. Hundreds more boxes are earmarked for cookie booth sales.\u003c/p>\n\u003cp>Our houses are transformed into glorified cookie cupboards. Reader, as I write this story at home, four cases of cookies sit by my elbow.\u003c/p>\n\u003ch3>Girl Scout Cookies are a $1 billion industry\u003c/h3>\n\u003cfigure id=\"attachment_13953212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-cookie-line_wide-8a6ff20c194886799d972c98be7ad690e09b9491-scaled-e1709232740587.jpg\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">A line of cars stretches down into a parking lot where semitrailers are waiting to unload Girl Scout Cookies in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing with these cookies is, they’re really good,” a Girl Scout dad told me, as we watched our daughters rake in money at a cookie booth.\u003c/p>\n\u003cp>In a normal year, the Girl Scouts of the United States of America will sell about 200 million boxes of cookies, as NPR’s Scott Horsley \u003ca href=\"https://www.npr.org/2023/10/11/1205245173/inflation-hitting-where-it-hurts-the-price-of-girl-scout-cookies-is-going-up\">reported last year\u003c/a>. The national organization \u003ca href=\"https://www.girlscouts.org/content/dam/girlscouts-gsusa/forms-and-documents/about-girl-scouts/research/GSUSA_Todays-Girls-Tomorrows-Entrepreneurs_The-Girl-Scout-Difference.pdf\">calls it\u003c/a> “the largest girl-led entrepreneurship program in the world,” with nearly 700,000 Girl Scouts participating.\u003c/p>\n\u003cp>You’ve probably heard about cookie prices going up. The vast majority of troops are now selling boxes for between $5 and $7. If the girls hit that 200 million mark this year, cookie revenue would eclipse $1 billion. So, I asked, how much do the girls see in profits?\u003c/p>\n\u003cp>“Last year, our troops earned over $4.5 million in proceeds,” McClain said.\u003c/p>\n\u003cp>For perspective, our council, Girl Scouts Nation’s Capital, is pretty large, she added, with about 4,000 troops.\u003c/p>\n\u003cp>In some ways, the Girl Scouts operates with top-down control of what are essentially local franchises. But the cookie-business aspect of the nonprofit is distributed pretty widely. To buy cookies in bulk, each council makes its own contract with one of the two big baking companies, ABC Bakers and Little Brownie Bakers — which in turn pay licensing fees to the national organization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The amount of proceeds each troop is able to keep varies. I asked McClain how it breaks down for our council.\u003c/p>\n\u003cp>“I would start with saying none of it goes to the national organization,” she said. “About 25% to 30% of the price goes to the troops themselves,” to use as they choose.\u003c/p>\n\u003cp>Another chunk goes to direct costs — the cookies themselves, and transportation.\u003c/p>\n\u003cp>“That can be up to about 40% with that piece of it,” McClain said.\u003c/p>\n\u003cp>Some money goes toward activities, she said: “We use about 10% of those funds to support the outdoor program for all of our Girl Scouts in our council.”\u003c/p>\n\u003cp>“There’s also about 14, 15% that goes to customer support,” such as technology underpinning the sales operation, she said.\u003c/p>\n\u003cp>Money also goes toward things like the rewards girls earn by hitting sales goals, and for operational costs.\u003c/p>\n\u003ch3>Parents are a multiskilled volunteer workforce\u003c/h3>\n\u003cfigure id=\"attachment_13953210\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gs-trefoil-stack_wide-b6b309fcafe51f9158c783d89009f094f408cd0f-scaled-e1709232897960.jpg\" alt=\"Piles of blue and brown boxes sit next to a U-Haul truck.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Volunteers load Trefoils and other Girl Scout Cookies at a huge parking lot near the RFK stadium in Washington, D.C. \u003ccite>(Bill Chappell/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reality of Girl Scout Cookies may not be Wonka-like, but parents can be forgiven for feeling like Oompa Loompas — the hardworking cogs in a well-oiled machine.\u003c/p>\n\u003cp>Whatever a troop’s parents do for a living, Girl Scouts calls on them to hone a very specific set of skills, from making accurate sales projections (each troop is on the hook to pay for every cookie box they order) to managing spreadsheets and deliveries as late orders come in. Finally, they’ll reconcile a mix of cash, online orders and Venmo payments to ensure everything adds up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We know it’s a lot of work. We know it is a heavy lift,” McClain told me, calling volunteers the lifeblood of the system.\u003c/p>\n\u003cp>Parents tout their kid’s online cookie store, sharing links on Facebook, in emails, at work — wherever a possible sale is lurking. They help girls sort the orders and make deliveries. They volunteer at cookie booths. Some, like me, also make surplus orders to cover all the folks who didn’t realize Girl Scout cookie season was coming. Those packages can go fast: When my girls brought about 25 boxes — or about $120 worth — of cookies to NPR’s headquarters, they sold out in 45 minutes.\u003c/p>\n\u003cp>All of this happens in parallel to the actual work of running the troop — setting up meetings and activities, ensuring the girls have the right materials, and planning what to do with the proceeds from cookie sales.\u003c/p>\n\u003ch3>So, why do parents do it?\u003c/h3>\n\u003cfigure id=\"attachment_13953211\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/2024-02-05t153910z_673457320_mt1usatoday22449417_rtrmadp_3_girl-scouts-provided-a-chance-for-the-love-local-crowd-to_wide-e3de932f4a9e5f65ad35f470c92a427c935b7783-scaled-e1709233147372.jpg\" alt=\"Cold parents and young people stand behind tables selling girl scouts cookies.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Cookie booth sales like this one in Michigan let Girl Scouts (and their parents) broaden their customer base. \u003ccite>(Don Reid/ Coldwater Daily Report/ USA Today Network/ Reuters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First of all: I’m glad to be able to support my daughters’ troop, to put time and money toward their experience.\u003c/p>\n\u003cp>I enjoy learning what it’s all about, and seeing my daughters spend time with friends in their troop. As for the cookie program, the Girl Scouts traditionally emphasizes the business training — things like setting goals, making marketing and spending decisions, and being responsible and ethical.\u003c/p>\n\u003cp>“We’re trying to teach entrepreneurial skills,” McClain said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there are the rewards for their labor. While some parents I’ve talked to say they wish the kids got a bigger share of the revenue, our troop does get enough money to do special things. And while adults do a lot of work to make it happen, we’re fine with the girls deciding how to spend it — they usually hold a vote to decide on the best options.\u003c/p>\n\u003cp>If you ever visit a cookie booth and want to know where the girls’ money goes, just ask.\u003c/p>\n\u003cp>“We are raising money to go camping and horseback riding,” Eva Kelly, a junior in our troop, told me at our sale.\u003c/p>\n\u003cp>They also want to learn how to cook, my daughter Mattie added: “We’ve got to learn how to make basic meals while we’re camping.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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