Oscar Blitz 2026 – Predictions

We made it, everyone! The votes have been cast, the analysis doled out, the arguments begun, ended, and begun again. But finally, at long last, it’s time to just sit back and enjoy this year’s Academy Awards. We’re less than 48 hours away from the ceremony, where hopefully Conan O’Brien will be able to duplicate his charming hosting job from last year, and we can continue our short streak of no one getting smacked in the face for telling a joke.

The only bit of business we have left in preparation is to pick the winners. We have 24 categories for the first time since Sound Editing and Sound Mixing were condensed into one contest, which means we have 24 chances to look like geniuses… or idiots.

The process is simple. I’ll go back over each category in the order I tackled them during the Blitz, offer up whatever wisdom I can that might lead to a definitive answer, and make my official prediction as to who and what will win on Sunday as opposed to what I believe should win. For the last time before we all find out on Sunday, let’s overthink this!

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Best Director
We start with one of the easiest ones, even though it’s a major award. The Best Picture contest is between Sinners and One Battle After Another, but Paul Thomas Anderson has had Best Director on lock the entire way through Awards Season. He’s managed a clean sweep, taking the Critics’ Choice, Golden Globe, BAFTA, and Directors Guild awards. It’s not that the recognition isn’t well-earned, but the fact that there’s been no dissent makes it feel like this was more of an “it’s his turn” victory rather than one purely based on merit. He certainly deserves it, but I wish there was more of an actual competition. When you’re talking about what is basically the #2 prize of the night, there should be at least some intrigue.
Should Win: Ryan Coogler
Will Win: Paul Thomas Anderson

Production Design
The artistic and technical categories have fallen along a relatively consistent pattern of which films win in each field. When it comes to the pure design areas, it looks like Frankenstein is going to be the favorite across the board. The film has won all of the associated prizes in all the major Awards Season ceremonies. I doubt there’ll be any change come Sunday. There are certainly chances for upsets here and there, but Production Design isn’t one of them. There will be some who quibble about using CGI sets on the exterior shots, but they’ll be drowned out by everyone gushing over the very cool animatronic corpses. I preferred the replicative look that made Hamnet feel like the whole movie was a stage play, but I can’t argue against Guillermo del Toro’s team taking the win.
Should Win: Hamnet
Will Win: Frankenstein

Original Song
The one thing we know for certain is that Diane Warren will lose, again. Through all the major competitions, “Dear Me” didn’t get a single nomination or win. The only award of note (pun not intended) that it received was the Best Original Song in a Documentary prize from the Hollywood Music in Media Awards, a body that has fallen over itself to give Warren all the hardware that the Academy won’t. At least I’m not the only one noticing the cronyism and chicanery, as this column from The A.V. Club from earlier this week points out. As for who actually stands a chance, “Golden” has been the favorite for pretty much the entire campaign. There has been some push for “I Lied to You,” and the younger, more diverse Academy membership could push it over the edge, but most likely the Demon Hunters have this one in the bag, as the Oscars continues its desperate attempt to seem “cool” to kids staring at their phones.
Should Win: “I Lied to You” from Sinners
Will Win: “Golden” from KPop Demon Hunters

Adapted Screenplay
Both of the Writing categories are locked for the two Best Picture front-runners. Paul Thomas Anderson, who has yet to win even one Oscar from his previous 11 nominations, is going to get at least two out of his three this year. He’s won Adapted Screenplay from the WGA, Critics’ Choice, and BAFTAs, as well as taking the sole Best Screenplay prize at the Golden Globes. In many campaigns, the script awards are given out as consolation prizes to those who won’t take top honors. This year it’s a résumé builder for the only two who have a realistic shot at it. Thankfully, there’s no controversy in this victory, as Anderson’s screenplay is perfectly paced, extremely poignant, and funny as all hell. The fact that he was able to construct this incredible satire from just the basic framework and themes of Thomas Pynchon’s Vineland is a testament to his skill, and the fact that he’s learned from his previous difficulties turning Inherent Vice into something digestible.
Should Win: One Battle After Another
Will Win: One Battle After Another

Casting
The inaugural Casting award is one that I would place in the “Shot in the Dark” section if I was making this into a video like I have in the past. We do have some information to make a guess, but because this is the first time we’re doing this – and because the Academy’s own rules are pretty vague – we can only hazard a hypothesis based mostly on conjecture. The Critics’ Choice Awards and BAFTAs do have a Casting category of their own. The former gave it to Sinners, while the latter gave it to I Swear, which isn’t even eligible here (much less nominated), as it won’t release stateside until next month. The other clue we have is from the Screen Actors Guild, which gave Sinners the award for Best Ensemble, their equivalent of Best Picture. Seeing as how the Critics’ Choice literally names their prize “Best Casting and Ensemble,” I think we can assume, at least until there’s more clarity, that the award is intended for the best overall group performance, rather than any nuance that went into the actual decisions made by the Casting Directors. Also, by all accounts, Francine Maisler is a superstar in the casting community, so giving her the first ever Oscar for a job she’s been doing at the highest level for more than 30 years seems appropriate.
Should Win: Sinners
Will Win: Sinners

Sound
If there’s one thing you can count on, it’s that when most Academy voters think of “Best Sound,” what they really think is “Most Sound.” Since the Editing and Mixing categories were combined in 2020, only once has this prize gone to a film with any kind of subtlety in its sound design, and that was the first such award, for Sound of Metal. Ever since then it’s been all about layers and layers of machinery and weaponry. Sometimes it sounds pleasant enough. Sometimes it’s just noise. And there’s no bigger noise on this list than the revving of overcompensating engines in F1. This will be the only award this dick measuring commercial disguised as a movie will win, and it will take home the victory, as it has swept Awards Season to date. There’s literally nothing special or innovative about any of this audio assault, just a ton of it, and that’s enough for the voters.
Should Win: Sinners
Will Win: F1

Best Actress
This is the lone acting contest with no drama whatsoever, except for the relative genre of three of the five nominees. Jessie Buckley has won every single contest to date – Critics’, Globe, SAG, and BAFTA – and there’s no indication that she’ll have any difficulty taking home her first Oscar (and yes, I do believe she’ll win more as her career goes on). Awards voters love an aggrieved mother, and there’s none more aggrieved than Shakespeare’s wife feeling alone and unsupported after the death of her son. Buckley wails her way through the performance, daring you not to feel her pain. She’s one of my favorite actresses, so I’ll be more than glad to see her get the win, capping an amazing five-year run of one brilliant turn after another. If I had my druthers, the award would go to Renate Reinsve, and Chase Infiniti would be here instead of Kate Hudson. But I can’t complain too much. Americans are finally realizing how great Reinsve is, and Infiniti will (hopefully) have plenty more opportunities to showcase her talents and get proper recognition.
Should Win: Renate Reinsve
Will Win: Jessie Buckley

International Feature
This one is genuinely vexing. Of the five nominees, four are up in at least one other category, and two are up in multiple fields, including Best Picture. For my money, The Voice of Hind Rajab was the most daring and emotionally wrenching of the bunch, but I understand where some voters will be reticent. I’m not even talking about the politics involved in basically voting against Israel, but just the fact that it’s the only nominee not up for anything else will eliminate it in the eyes of anyone who didn’t watch all the films. That said, politics may be a deciding factor. Just like I’m Still Here pulled the upset last year after the backlash against Emilia Pérez, so too could some late-breaking current events flip the script here. Jafar Panahi had to film It Was Just an Accident in secret and smuggle the footage to France in order to finish the film and avoid prison for criticizing the Iranian government. Given that we’re literally at war with Iran right now, there could easily be a push for Panahi to get the award in recognition of his resistance to the regime, and anyone could justify it from the apolitical angle of it winning the Palme d’Or at Cannes last year. It’s legitimately hard to say where the voters went on this, because in the run-up to Oscar Night, it looked like Brazil was in for a repeat, with The Secret Agent winning the Critics’ Choice and Golden Globe. But then Sentimental Value took the BAFTA, and there are more BAFTA members in the Academy than there are from the CCA or HFPA. Since Norway’s entry has nine nominations to Brazil’s four (including four acting nominees for Norway to Brazil’s one), that could be enough to put it over the top. My gut’s telling me to lean towards Sentimental Value, as Academy voters like to spread the wealth as much as possible with the Best Picture nominees, and with no other reasonable chance to win apart from Supporting Actor, my hunch is that they’ll go with Norway. Also, it probably doesn’t hurt that it’s a movie about movies, which AMPAS eats up.
Should Win: The Voice of Hind Rajab – Tunisia
Will Win: Sentimental Value – Norway

Original Score
My bold prediction for the night as a whole is that despite its record-breaking 16 nominations, Sinners will, at best, take home six victories. Of those six possibilities, two of them are as close to guarantees as I can make, and one of them is for Original Score. From the moment the film debuted, and audiences heard Ludwig Göransson’s incredibly ambitious soundtrack that starts with blues and country influences before evolving into African, Asian, and Irish fusions, and then into full-on heavy metal, this contest was over, and Göransson had his third Oscar in as many tries sewn up. The rest of the scores are good, and Jerskin Fendrix’s OST for Bugonia is the most experimental outside of Sinners, but seriously, they have no chance.
Should Win: Sinners
Will Win: Sinners

Costume Design
Now that we’ve had a few weeks to laugh at the utter absurdity of nominating an almost entirely CGI film for its costuming (I will be curious to see if the digital garb is included in the montage for the broadcast when this category runs on Sunday), we can all get back to business and look at what can actually win. This is another quick one that will go in Frankenstein‘s favor. Kate Hawley and her team took both the Critics’ Choice and the BAFTA, and she even took the “Period Film” prize from the Costume Designers Guild (they don’t have an overall top prize, instead having three big categories for Period, Contemporary, and Sci-Fi/Fantasy films). In fact, she’s only taken two losses total, and they were both in very minor ceremonies. The Online Film Critics Society gave it to Ruth Carter and Sinners, while the San Diego Film Critics Society gave it to Wicked: For Good, which isn’t even nominated. My heart is with Ruth Carter, but my head says this isn’t even a discussion.
Should Win: Sinners
Will Win: Frankenstein

Documentary Short
The Short categories are almost always impossible to predict. Hell, several media outlets that do their own prognostication intentionally omit them because most of the time it’s a complete crap shoot. This wasn’t the strongest set of nominees, so literally anything’s possible. We could go for hard-hitting tragedies about war zones, the desire for social change domestically, or just say “fuck it” and go for donkeys doing nothing, because at least it’s not wholly depressing. Geeta Gandbhir is up for both Documentary categories, but I think she’s more likely to win for the Feature than the Short, even though I think The Devil Is Busy is the best of this bunch. The best I can do is go with recent precedent. The last three winners of this contest all aired on terrestrial TV and streaming services, with two of the three being bought by Netflix. This is probably because the voters didn’t bother watching all the nominees, just the ones they could find on their pre-existing media consumption avenues. As such, All the Empty Rooms gets my nod, as Netflix once again attempts to corner this particular market. Also, since If Anything Happens I Love You won Animated Short a few years back and Bowling for Columbine won Documentary Feature two decades ago, we have solid evidence that the Academy is willing to consider films about school shootings.
Should Win: The Devil Is Busy
Will Win: All the Empty Rooms

Original Screenplay
Like I just said a few paragraphs ago, Sinners is all but guaranteed to win two awards, will likely take home a third, and has an outside chance at three more. Original Score was the first lock, and Original Screenplay is the second. Just like Adapted Screenplay was a clean sweep for Paul Thomas Anderson and One Battle After Another, so too will Ryan Coogler complete his effective running of the table for Awards Season on the Original side of things (the Golden Globes don’t differentiate, so One Battle After Another won the only head-to-head battle between the two). And just as Anderson’s win is entirely warranted on the merits before you even consider the Best Picture race, Coogler’s script for Sinners is immaculate. The other nominees all have their high marks (if I had to pick a dark horse it would be either It Was Just an Accident to get Jafar Panahi a win or Blue Moon because of all the lengthy monologues), but there’s nothing to indicate that any feathers will be ruffled on this one.
Should Win: Sinners
Will Win: Sinners

Animated Feature
I can hope and pray for Little Amélie all I want, but just like the wide-eyed tot at its center, eventually we all just have to face reality. I know I’m in a minority in not liking the film, but it cannot be denied that KPop Demon Hunters captured the zeitgeist at the exact right moment, becoming an overnight phenomenon in spite of all its flaws, and maybe even because of them. This was a down year for animation in general, so it’s not like its win will stand as some kind of cultural landmark like Flow was last year. It’s just the most popular mainstream animated film in a year that was sorely lacking in quality choices. There’s an outside chance at an upset from Zootopia 2 thanks to its box office returns and its BAFTA win (only three nominees, and KPop wasn’t one of them, so take with requisite salt), but sometimes you have to just surrender to the unstoppable force. If you’re a fan, more power to you, enjoy the win. But if you start singing “Soda Pop,” I reserve the right to castrate you with my bare hands.
Should Win: Little Amélie or the Character of Rain
Will Win: KPop Demon Hunters

Cinematography
As we’ve seen so far, the artistic categories have gone to either Frankenstein or Sinners, and really, it’s Guillermo del Toro’s monster movie that’s dominating there. On the technical side, all signs point to One Battle After Another cleaning up. F1 will take Sound because, well, vroom, but everything else so far has largely gone to Paul Thomas Anderson’s team. For the Cinematography – which was gorgeous – it’s already won the BAFTA and the American Society of Cinematographers award for theatrical films. There is some hope for Train Dreams, which took the Critics’ Choice Award earlier in Awards Season, but One Battle has run the table since, including at the ASC where it competed directly against Train Dreams. Personally, I’m good with either one winning, and there’s a chance that Train Dreams can snatch this up under the “participation trophy” philosophy, but usually in the technical categories, the Academy voters who aren’t as versed on the nuances tend to defer to the experts.
Should Win: One Battle After Another
Will Win: One Battle After Another

Best Actor
Two weeks ago, I’d say this was a lock. Timothée Chalamet had all the momentum, taking the Critics’ Choice and the Golden Globe without much debate on the matter. It seemed that the last few years of coming up short, to the point that he even joked about it on SNL, would pay off with a surefire win simply by playing against type. But then the BAFTAs had their say, and the prize went to Robert Aramayo for I Swear, and then SAG gave it to Michael B. Jordan. That is what we call a game-changer. The SAG wins don’t always align with the eventual Oscar results, as Chalamet himself knows, having won Best Actor with SAG last year before losing with the Academy, but that’s the only time this decade where the two bodies haven’t had the same winner, and before that the last times they didn’t match were in 2016 (Denzel Washington won SAG for Fences while Casey Affleck got the Oscar for Manchester By the Sea) and 2003 (Johnny Depp took SAG for Pirates of the Caribbean, of all things, while the Oscar went to Sean Penn for Mystic River). The one thing I can say for sure is that this will be the bellwether category for the night. If Jordan pulls the upset, then Sinners is in with a real chance at Best Picture. If Chalamet wins, it’ll be the only victory for Marty Supreme, and it will all but guarantee that there weren’t enough votes to stop One Battle After Another from taking the top spot. It’s a coin toss, but I think in the end it will come down to whose “turn” it is, just like with Best Director. This is Jordan’s first Oscar nomination, while Chalamet is on his third (fourth if you count his producer inclusion for Best Picture). Not even a crack about ballet and opera will be enough to stop Chalamet from claiming the prize he’s been working towards for the last 10 years.
Should Win: Michael B. Jordan
Will Win: Timothée Chalamet

Visual Effects
Avatar. Next!
Should Win: Avatar: Fire and Ash
Will Win: Avatar: Fire and Ash

Animated Short
As I mentioned in the category breakdown, it’s been a while since a children’s film took this prize, three years in fact. And that’s the only family-friendly short to win in the 2020s. However, this is again a very weak set, with none of the more adult themed entries really standing out. Hell, the best film at the curated screenings was the eliminated semifinalist Éiru that was shown after the nominees. In cases like this, I can definitely see the voters defaulting to what’s brightest and safest. Also, with the environmental message of Éiru being ignored by the Animation and Short Films Branch when it came time for nominations, the low-stakes ecological themes of Forevergreen will make for a palatable substitute. Also, in a year without a Disney or Pixar entry, that one looks the most like it would come from those studios, so that’ll probably be enough to put it over the top.
Should Win: Retirement Plan
Will Win: Forevergreen

Best Supporting Actor
We’ve got an actual contest on our hands, people. Sean Penn has the momentum, having picked up the BAFTA and the SAG awards. However, before that we had Jacob Elordi with the Critics’ Choice and Stellan Skarsgård winning the Globe. That already made for a decent contest, but don’t count Delroy Lindo out, either. After having the indignity of a Tourette’s patient shouting the n-word at him during the BAFTAs, there could very easily be a sympathy vote for his emotional performance in Sinners, not to mention his dignity. The only one I can really eliminate is Benicio del Toro, and that’s because his role in One Battle After Another is significantly smaller and less directly consequential than Penn’s. I just don’t see a significant chunk of the voters picking him over his co-star. My heart is with Skarsgård on this one, as his turn in Sentimental Value was so layered, but I just don’t think there’s enough juice for him to get it over the line. The fact that the BAFTAs gave his film the International award but gave Penn the Acting one speaks volumes, and again, while SAG results don’t always portend an Oscar win, the Acting Branch is the largest in the Academy, and the body as a whole clearly loves Penn enough that they’ve already given him two Oscars he didn’t deserve, so when he’s actually earned it this time, it’s hard to see it going any other way.
Should Win: Stellan Skarsgård
Will Win: Sean Penn

Makeup & Hairstyling
It should be The Ugly Stepsister. It really should. Given that the Academy was willing to reward body horror effects with The Substance last year, you’d think that they’d be amenable to doing it again, especially given the progression of self-abuse that leads to Elvira’s ultimate disfigurement and downfall. At the same time, the makeup effects in that film are not quite up to the level of The Substance despite their superlative nature, and as previously mentioned, pretty much all the design awards are going to Frankenstein. I don’t know why “fuckable monster” is the standard, but that’s enough to get the prize over what were some truly gruesome and creative moments in Norway’s second-best film of the year.
Should Win: The Ugly Stepsister
Will Win: Frankenstein

Film Editing
For a moment there, I genuinely thought we’d have an upset, as F1 took this prize at the Critics’ Choice. I was dumbfounded. I mean, the racing sequences are alright, but we never truly understand the geography of the tracks, and the exposition is so duh-duh stupid as to be laughable. I mean, what announcer would care about the cars jockeying for last place instead of the leaders? Only the ones reading from the idiotic script of F1, which should have been eliminated simply by the fact that it’s over two and a half hours long! Thankfully, logic seems to have prevailed since then. One Battle After Another took the BAFTA as well as the Comedy/Musical side of the American Cinema Editors’ Eddie Awards. Sinners got the Drama side of that equation, and those are the only two films that should really be considered here. Given that One Battle will likely dominate the technicals apart from Sound (do we consider Casting an artistic or technical category?), and given that a lot of the nuts and bolts are ultimately attributed to the director, where Paul Thomas Anderson will get the win, it would only make sense for Andy Jurgensen to emerge victorious here.
Should Win: One Battle After Another
Will Win: One Battle After Another

Best Supporting Actress
Unlike One Battle After Another, where the two Supporting Actor nominees have a clear distinction in plot utility and screen time, Sentimental Value and its two Supporting Actress nominees are so close together that they will likely split votes, eliminating them both. Thankfully, though, we have three very strong performances that are in with a chance, as Wunmi Mosaku, Amy Madigan, and Teyana Taylor have all taken home some hardware. Of the three, Madigan’s role is the most distinct, as Aunt Gladys is already an all-timer of a horror baddie, and it appears that she’s regained her momentum. After winning the Critics’ Choice, the Globe went to Taylor, then Mosaku got the BAFTA, before SAG brought it back full circle to Madigan. If Mosaku wins, it could open the door for Sinners to have a big night, and if Taylor wins, it’ll end speculation before it even begins and the whole ceremony will be a coronation for One Battle. However, there will be a block of voters who rightly believe that Weapons was grossly underappreciated by the Academy, and will seek to give Madigan the recognition she deserves.
Should Win: Amy Madigan
Will Win: Amy Madigan

Live Action Short
Of the three Short categories, this is the only one I have any confidence in, and that’s because Jane Austen’s Period Drama is just so deliciously funny and over-the-top that it should win with little resistance. This is one of the few categories that rewards comedy (the last several winners have been in that genre), and the relative weakness of the rest of the field should clear the way. I’d say there’s a chance at A Friend of Dorothy winning if there’s a strong voting block in the queer community, but I don’t think it’ll be enough. Of course, the Academy could just default to French snootiness and give it to Two People Exchanging Saliva, but I think (pray) that we’ve moved beyond such pretentious nonsense. Thanks to Netflix’s campaigning, I’d say The Singers is most likely to pull an upset, but given the insanely clever writing in Jane Austen, I have to give it the edge. Hell, Period. End of Sentence. won Documentary Short a few years ago, so clearly the Academy is willing to reward short films referencing menstruation.
Should Win: Jane Austen’s Period Drama
Will Win: Jane Austen’s Period Drama

Documentary Feature
This is always one of the hardest to pick, as there are so many candidates across so many different award circuits that it’s almost impossible to find a consensus winner. Here’s the information we have so far. The Critics’ Choice, which has their own separate ceremony for documentaries, went for The Perfect Neighbor, giving it the Documentary Feature prize as well as Best Director, Best Editing, Best True Crime, and Best Archival film. The only other nominee to get any love was The Alabama Solution, which won Best Political Documentary. The BAFTA went to Mr. Nobody Against Putin. The Golden Globes do not have a Documentary category. The Directors Guild gave it to 2000 Meters to Andriivka, which was shortlisted but not nominated. The same goes for the Writers Guild and the ASC. The Producers Guild picked My Mom Jayne, a documentary about Jayne Mansfield produced by her daughter Mariska Hargitay, and it wasn’t even shortlisted. The Eddie Award went to The Perfect Neighbor. That’s all we have to go on. Precedent says The Perfect Neighbor, even though it appears that Andriivka would have won had it been nominated (damn you, Documentary Branch and your absolute refusal to make our lives easy). Also, as previously mentioned, Geeta Gandbhir is nominated for both Documentary prizes, and you have to think she’s going to get at least one of them. I think she has better odds here than in the Short contest. If there’s a dark horse, I’d say it’s Cutting Through Rocks, as it’s about a woman in Iran trying to make political changes. We have no idea if there was a last-minute rush of votes in hopes of making a statement against Donald Trump’s illegal war (the film’s hero, Sara Shahverdi, advocates for girls and young women to get a full education, while Trump bombed a girls school and 150+ students and faculty into oblivion), but between this and It Was Just an Accident, there is an opportunity.
Should Win: Cutting Through Rocks
Will Win: The Perfect Neighbor

Best Picture
This is, I think, the first Best Picture race that will come down to the final round(s) of voting. The ranked choice system has been in place since the field was expanded to 10 films in 2009, but I’m guessing that, in most years, it only took a couple of eliminations to get to a majority. Here, though? It could go all the way. This has clearly been a two-horse race between Sinners and One Battle After Another from the beginning, and appropriately so, because even in a contest with this many great films, these two are just on another plane of existence. I can easily see a situation where the ballots are split fairly evenly, with about 40-45% of the first place votes going to each of them, and then it’ll be a matter of paring off the losers one by one and adding in the second, third, fourth, and fifth place votes until one of them crosses 50%. If you had asked me a month ago, I’d have said unequivocally that Paul Thomas Anderson and One Battle would get the win, given that it won the Critic’s Choice, Comedy Globe, and BAFTA, and that Sinners lost the Drama Globe to Hamnet. But then the n-word happened, and then SAG happened. Those back-to-back upsets (in more ways than one) may have tipped the scale into Ryan Coogler’s favor, especially since the same people who say “spread the wealth” to the also-rans could just as easily decide to split the difference and give Coogler Original Screenplay and Best Picture while Anderson gets Adapted Screenplay and Best Director as a roundabout way of calling it a tie. As I said in my video breakdown, I look forward to years of debate about which film was truly better, regardless of who wins. However, I have to lead with my head rather than my heart here, and I just get the feeling that the late results in favor of Sinners won’t be enough, especially as down-ballot rankings get factored in. This is why I really wish the Academy would release the vote totals after the ceremony is concluded, because I have a sneaking suspicion that Sinners will get the most first place votes, but One Battle will have enough in the top half of everyone else’s ballots to take the crown if Coogler and company can’t secure the majority on the first or second count.
Should Win: Sinners
Will Win: One Battle After Another

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That’s it, folks, 24 categories, 24 predictions. Go fill out your ballot now. Satisfaction guaranteed or your money back (you paid me nothing, so… yeah).

Up next, there’s nothing left but to just do it. I’ll have one last batch review tomorrow, with the final two films on my 2025 backlog, and then on Sunday, we get to bask in Hollywood’s biggest night one more time, and as always, I’ll be doing commentary in real time. It’s the Live Diary!

Join the conversation in the comments below! Do you agree with my predictions? Will there be any upsets? How many total awards will the Best Picture winner get? Let me know! And remember, you can follow me on Twitter (fuck “X”) as well as Bluesky, subscribe to my YouTube channel for even more content, and check out the entire BTRP Media Network at btrpmedia.com!