As Oscar aficionados, we’ve always preferred taking a step back and watching the awards race unfold rather than trying to influence it. Getting too caught up in trying to steer the outcome leads to a dangerous mix of inflated egos and, quite frankly, madness. That being said, we’re only human. After investing a significant amount of mental energy into the Oscars each year, it’s only natural to develop some favorites along the way. Sure, we try to be as fair as possible, but let’s be real: we know who we’re rooting for — and, just as importantly, who we’re not.
Now that Phase One of the voting process has wrapped up, we feel it’s time to speak our truth. With the nominations looming on the horizon, we want to share the names we’re really hoping to avoid seeing on Thursday morning. It’s not that we think they’re all undeserving — in some cases, it’s actually not about that at all. The issue lies in their potential impact on the race. Maybe they’ll throw off the overall vibe, ignite a discourse that could become annoyingly intense, or set a concerning precedent for future nominations. Whatever the case may be, we’re crossing our fingers that these names don’t make the cut.
Sebastian Stan for Best Actor in The Apprentice
The Best Actor race this year is already packed with solid contenders. We’ve got Adrien Brody from The Brutalist, Timothée Chalamet from A Complete Unknown, Ralph Fiennes from Conclave, and Colman Domingo from Sing Sing, all vying for that coveted fifth slot. SAG has put its weight behind Daniel Craig for Queer, and he seems to be the front-runner at this point. But one name creeping up the ranks that we hope doesn’t make it is Sebastian Stan for his portrayal of Donald Trump in The Apprentice.
Stan’s performance in the role is good, no doubt. But honestly, his performance in A Different Man — where he portrays a man with neurofibromatosis undergoing an experimental treatment — was on another level. He brought so much nuance and depth to a character grappling with complex issues. In comparison, playing Trump feels more like a political statement than an Oscar-worthy performance. More troubling, however, is the chaos that a Trump-related nomination could ignite in the discourse surrounding the Oscars. We’ve already got enough people bringing their not-so-informed opinions to the table — adding Trump’s rhetoric into the mix would just be unbearable. Imagine the endless stream of complaints: “The Oscars don’t nominate popular films!” “The ceremony is too long!” all filtered through a Trump-style lens. No thanks. We’d rather see anyone else take that fifth spot.
Selena Gomez for Best Supporting Actress in Emilia Pérez
Let’s be clear: we have nothing against Selena Gomez. She’s talented in her own right, and we have no doubt she’s a great person behind the scenes. But her performance in Emilia Pérez left a lot to be desired. Gomez’s role as Jessi — a gangster’s wife in a custody battle with a woman she doesn’t know is her spouse, who has secretly transitioned — is tough to pull off. She’s tasked with navigating a poorly written role, trying to manage a language she’s not fluent in, and dealing with some truly wild plot twists that come out of nowhere in the final act. Director Jacques Audiard compared the film to an opera, but let’s be real: Gomez’s strengths don’t lie in over-the-top, dramatic performances. She’s better suited for roles where she can underplay and keep it subtle.
Furthermore, her acting career has already been recognized, especially with Only Murders in the Building. Even if she doesn’t get the nod here, Emilia Pérez will likely still rack up nominations elsewhere. The worst part? If she gets a nomination, it will only fuel the ongoing online stan wars in the Supporting Actress category. Between Ariana Grande’s fans and the Selenators, we can already feel the battlefield heating up. We’re waving our white flag — let’s skip the drama and leave Selena out of this one.
Jamie Lee Curtis for Best Supporting Actress in The Last Showgirl
Let’s talk about Jamie Lee Curtis in The Last Showgirl. There’s no doubt she’s a skilled actress. She’s mastered comedy and knows how to calibrate her performances to the material. But in recent years, it feels like she’s fallen into a bit of a performance rut — leaning into the broad, big performances that sometimes feel more like showy displays than nuanced acting. Her role as Annette, a past-her-prime showgirl in The Last Showgirl, exemplifies this. The film itself is frustrating, with uneven pacing and repetitive story beats, and Curtis’s performance, while strong, distracts from the quieter, more subtle work of Pamela Anderson.
Moreover, Curtis’s nomination, especially after her win for Everything Everywhere All at Once, feels like the kind of “halo nomination” that often happens a year or two after an actor’s big win. Think of it like a consolation prize when voters can do no wrong in their eyes. If Curtis’s name gets called at the expense of Danielle Deadwyler’s incredible work in The Piano Lesson — where her big performance feels earned and justified — it will be as disappointing as watching a beloved cabaret close its doors for good.
Wicked for Best Cinematography
Okay, let’s talk about Wicked and its place in the cinematography race. As much as this film has captured the public’s attention, there’s no denying that its visuals leave a lot to be desired. We’re talking muddy foregrounds, underlit scenes, and a desaturated sheen that makes even the practical effects look like subpar CGI. Yet, the American Society of Cinematographers nominated it for its cinematography, which means it’s now on track for an Oscar nod.
This feels like another case of the Academy rewarding a Best Picture nominee in a craft category, even when it doesn’t quite belong. What’s more frustrating is that a Wicked nomination could end up bumping a film like Nickel Boys, which genuinely pushes the boundaries of cinematography. If Wicked sneaks in here, it will feel like the most controversial craft nomination since Bohemian Rhapsody landed a spot in Best Editing. Honestly, let’s not make this a trend.
Moana 2 for Best Animated Feature
The Best Animated Feature category has been more competitive than ever this year. Inside Out 2 lit up the box office, The Wild Robot captivated audiences, and Flow from Latvia dominated the precursor awards. So why, then, should Disney’s Moana 2 even be in the conversation? For one, there’s this assumption that Disney automatically deserves a nomination every year unless their film is a total flop. But here’s the thing: Moana 2 is a major step backward from the 2016 original, especially in the music department. Without Lin-Manuel Miranda’s songwriting magic, the songs just don’t hold up.
Worse still, we shouldn’t set a precedent where Disney can just slap together a Disney+ series and retro-fit it into a feature film, expecting an Oscar nomination in return. We can’t let Disney take up a slot just because of its brand recognition, especially when so many other animated films deserve the recognition this year. Let’s give the nods to those who truly pushed the art form forward.
In conclusion, as we approach Oscar nominations, we’re not just thinking about who deserves to be there. We’re also thinking about the ripple effects these nominations could have on the awards season, the conversations they might ignite, and the precedents they might set for future years. Here’s hoping that the names we’d rather not see make it on Thursday morning don’t show up. After all, the Oscars are about celebrating the best in cinema — and we’re rooting for the films and performances that truly deserve it.
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