Hollywood has long styled itself as the national dream factory.
And yet much of it felt stiff and sleepy: few jokes, minimal schtick, no musical numbers. Yes, there were charming speeches and historic wins, including at least one shocking upset. The ceremony, for all its admirable attempts to smash tired awards show formulas and create a more intimate ambience, seemed to go on autopilot. You need not have been a fan of David Fincher's "Mank" to appreciate the interesting fusion of old-school Tinseltown, Art Deco aesthetics and Covid-era social distancing.īut then something curious happened. King then took the dais and delivered opening remarks before a group of nominees and their guests, seated at cocktail-style tables straight out of a 1930s jazz club. It felt like the prologue to a wry caper that might have been helmed by one of this year's co-producers, the innovative director Steven Soderbergh ("Ocean's Eleven"). In an elegant tracking shot that opened the show, Regina King confidently strode through Union Station in downtown Los Angeles as stylish candy-colored credits washed over the screen. Producers Peter Spears, Frances McDormand, Chloe Zhao, Mollye Asher and Dan Janvey, winners of the award for best picture for "Nomadland," pose in the press room at the Oscars, in Los Angeles, on Sunday.
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