94th Oscar Predictions: Who Should Win & What Will Win?

The 94th Oscars are finally happening this weekend. After months and months of predictions and wins, it all comes down to who takes away an Oscar this Sunday.

Without further ado, here are my predictions for what should win versus what will win in each category of the 94th Oscars.

Actor in a Leading Role

There are a lot of great actors in this category. Benedict Cumberbatch’s Phil Burbank is a manipulative force of nature that is the personification of torment & pain, Andrew Garfield’s Jonathan Larson is the classic tale of a tortured musician who left his mark on musical theater forever, Will Smith’s Richard Williams in the role of a father who wants the best for his kids even though the world tries to root against them, and Denzel Washington’s Macbeth is, well, if you’ve read the play, you already know what’s going on with his performance. 

Who Should Win: It’s no secret I love tick, tick…BOOM!, so that’s my default for this category. Like his performance in David Fincher’s 2010 masterpiece, The Social Network, Garfield completely transforms himself to inhabit the character. In this case, that’s Jonathan Larson, which meant he had to learn how to sing, and that should absolutely be rewarded. Additionally, it would be a nice way to reward his other work since The Amazing Spider-Man 2, like Hacksaw Ridge, Silence, Under the Silver Lake, among many other roles. The Academy loves to do this from time to time, especially when the actor was nominated for an Oscar previously (which, for Garfield, would be Hacksaw Ridge).

Who Will Win: Based on the current awards leaderboard and who’s nominated here, this is Cumberbatch’s Oscar to win. He’s won at most of the awards shows, and while Will Smith has gained traction lately with his SAG win, his eleven wins compared to Cumberbatch’s twenty-five wins aren’t close enough to make a big difference on Oscar Sunday.

Actor in a Supporting Role

Another great category, it features deaf representation through Troy Kotsur and a whole bunch of The Power of the Dog.

Who Should Win: Ever since I saw CODA at Sundance 2021, I knew that Troy Kotsur would be a frontrunner this awards season, even though I think Daniel Durant’s role is ultimately the more impactful performance of the two supporting roles for me. Kotsur’s win would make Oscar history, as he’s only the second deaf person to earn an Oscar nomination (the other being his co-star, Marlee Matlin, who sadly isn’t nominated) in the ceremony’s 94-year run.

Who Will Win: Like Actor in a Leading Role, we have a similar situation here. The obvious frontrunners are Troy Kotsur and Kodi Smit-McPhee. However, unlike the former category, there’s more to this category than just numbers. While Smit-McPhee has won thirty awards and Kotsur has won fourteen, it’s become clear that Kotsur is the critic’s favorite to win, so we could see a closer race here. That said, The Power of the Dog has dual nominations in this category, so it’s inevitable Kodi Smit-McPhee walks away with an Oscar win here.

Actress in a Leading Role

I haven’t seen many of these performances as of this writing, namely The Lost Daughter, Parallel Mothers & Being the Ricardos, so this race and the context of performances is murky for me this year.

That said, I believe I know the winner for this category.

Who Should Win: I love Jessica Chastain’s performance as well as Kristen Stewart’s performance in The Eyes of Tammy Faye (Chastain) & Spencer (Stewart). So, this is like choosing between my favorite children, not that I have any. Comparing the two, Chastain’s performance got more of a reaction out of me because I was focusing on how good the makeup transformed her into the titular Tammy Faye, while Stewart’s performance had me gripped from minute one. If she won on Oscar Sunday, not much would make me happier.

Who Will Win: Surprisingly, I could also see Kristen Stewart winning the Oscar. Cruz and Coleman have come up more recently as potential winners, but I don’t see that happening. Of course, I’ll probably be proven wrong on Sunday, but what fun are predictions if I’m always right all the time?

Actress in a Supporting Role

In this category, we have Ariana DeBose’s Anita in the remake of West Side Story, Kirsten Dunst’s Rose in The Power of the Dog, and Aunjanue Ellis’ Brandi Williams in King Richard.

Who Should Win: Look, I love musicals. I grew up on Stephen Sondheim’s musicals like Into the Woods, so it pains me to say that DeBose’s Anita wasn’t my favorite, but that’s not the fault of her performance but Spielberg’s lack of updating the source material to be more relevant to the racism of today. So instead, I will be picking Dunst’s performance as Rose. It’s an intricate story she weaves through her sheepishness, desperation, and loneliness, among other things I will not spoil for those who haven’t seen the film yet.

Who Will Win: DeBose is winning the Oscar, no questions asked. Twitter loves her, talk shows love her, and critics loved her performance, so I don’t see a scenario in which she doesn’t win.

Animated Feature Film

This is one of the two categories where I’ve seen everything nominated. Encanto took us to a casita in the mountains of Colombia to learn about the Madrigals, Flee told us the story of the life as a child refugee from Afghanistan, Luca transported us to the Italian Riviera and told the story of two sea monsters posing as humans, The Mitchells vs. the Machines told us the story of the titular Mitchells as they come together to prevent a machine uprising, and Raya and the Last Dragon took us to Kumandra as Raya defends against an ancient evil that has returned to plague her home.

Who Should Win: I love The Mitchells vs. the Machines. It’s a truly original film about the importance of family in the midst of a crisis. Of course, it also helps that the film is so funny, stylish, and full of film references, which reminded me of one of my favorite films of all time, Scott Pilgrim vs. the World. Don’t get me wrong, I love all these nominees, but The Mitchells vs. the Machines is clearly a step above the others…

Who Will Win: …Which The Academy won’t reward. There are three Walt Disney films nominated in this category, and The Academy tends to reward their animated films almost automatically. The only times a Disney film has lost when it was nominated were at the 74th Oscars with Shrek, the 79th Oscars with Happy Feet, and the 91st Oscars with Spider-Man: Into the Spider-Verse (which Phil Lord & Christoper Miller were involved in). That’s three losses in the category’s twenty-year history.

Now, which one? Encanto seems to be the crowd favorite, as Luca and Raya and the Last Dragon, so that’s my pick. Plus, those weren’t musicals, with no songs to irritate me for months like “We Don’t Talk About Bruno”.

Cinematography

Cinematography is one of my favorite categories to talk about, mostly because not many people discuss it. This year, we’ve got Grieg Fraser, Ari Wegner, Bruno Delbonnel and Janusz Kaminski duking it out. Fraser’s work on Dune: Part One is immaculate, making looking at an ocean of sand beautiful. Wegner’s work on The Power of the Dog is much more focused, leaning on visual metaphors, extreme closeups, and shadow work to tell a story that supplements the performances onscreen. Delbonnel’s work on The Tragedy of Macbeth is striking, shooting in black & white as well as a 1.19:1 aspect ratio, evoking a classical look likely meant to call back to the early days of cinema and to not distract the viewer from the performances. Kaminski’s work on West Side Story is a rainbow of color and subtle shadow work not unlike Wegner’s cinematography in The Power of the Dog, highlighted in the musical numbers “Tonight”, “Gee, Officer Krupke”, and “Somewhere”. I have not seen Nightmare Alley yet, so I cannot comment on Dan Laustsen’s cinematography, but it certainly looks fantastic!

Who Should Win: Out of these nominees, my clear favorite is Fraser’s work on Dune: Part One. It’s so endlessly dynamic, especially in a nighttime scene that I won’t spoil for the two people who haven't seen the film yet. It’s so, so good.

Who Will Win: Which is why I also think the film will be recognized by The Academy & take away the Oscar statuette this Sunday. It’s got the traction in the precursors; it’s a critical darling and a crowd favorite.

Costume Design

Another underappreciated category is costume design. Teams of thousands come together to craft the costumes that most people look at and shrug off. This year, we’ve got the sensational Jenny Beavan’s fashion-forward designs for Cruella, Massimo Cantini Parrin and Jacqueline Durran’s classical French designs for Cyrano, Jacqueline West and Robert Morgan’s out of this world designs for Dune: Part One, and Paul Tazewell’s colorful Americana designs for West Side Story. 

Who Should Win: Cruella. Need I say anymore? Yes? Well, all right. All the other nominees have great costume designs, but they’re not showy. The Academy (and me) loves showy costume design that shows a lot of work went into making sure everyone realizes the tiny details in the design. Cruella is a film about these small details, besides, y’know, the origin story of a dog killer.

Who Will Win: I also think The Academy will recognize Cruella. It’ll be a close race with Dune: Part One, but it’s Jenny Beavan Oscar to lose.

Directing

A film’s direction decides the vision for how the film will look and the aspects of the story that are most important to communicate to the audience. This year, we’ve got Ryusuke Hamaguchi’s Drive My Car, Jane Campion’s The Power of the Dog & Steven Spielberg’s West Side Story. 

Who Should Win: I am so glad that an international film has made it into the directing category this year. While it’s not common, it’s always nice to see non-English films make their way into this category. So, it may not surprise readers to know that I think Hamaguchi’s Drive My Car should absolutely be recognized. It’s a nearly three-hour film that engaged me at every turn (even though I have misgivings about the first hour), whereas the other nominees struggled to keep me engaged for more than twenty minutes. I also believe it’s gained some groundswell with critics.

Who Will Win: However, I do not believe it will win. That Oscar is squarely Jane Campion’s. She’s won fifty awards for her direction on this film alone, not to mention her previous works, whereas the other nominees are all in the single digits.

Documentary Feature

Documentaries teach us more about the world in which we live. Whether that’s Jessica Kingdon’s Ascension, which explored the “Chinese Dream”, Jonas Poher Rasmussen’s Flee about Amin and his journey as a child refugee from Afghanistan, or Ahmir “Questlove” Thompson’s Summer of Soul (...Or, When the Revolution Could Not Be Televised) about the 1969 Harlem Cultural Festival.

Who Should Win: I always love celebrating documentaries that experiment with the format of a documentary, whether that’s an archival documentary like Apollo 11 from 2019, or, in this case, Rasmussen’s Flee, which is told in an animated format. It’s one of the most inventive documentaries I’ve seen since the aforementioned Apollo 11, and that should absolutely be celebrated this Sunday.

Who Will Win: I’m a sucker for archival documentaries, and it would seem that The Academy is too. For that reason, I think Summer of Soul (...Or, When the Revolution Could Not Be Televised) will win the Oscar. That, and it seems to be a clear favorite with forty-three wins this awards season.

Documentary Short Subject

Like a documentary, a documentary short is meant to document the world around us, albeit in a shorter runtime (hence the name). 

Who Should Win: Jay Rosenblatt’s When We Were Bullies is a story unlike any of the other nominees because it’s instantly gripping. What is the aftermath of bullying fifty years after the fact? Are there psychological scars, or do they heal with time? While these questions sound heavy, anyone worried about a bummer of a docushort shouldn’t be too worried about that, as there are tons of playful moments to balance it out. I hope this wins, but it probably won’t.

Who Will Win: The Queen of Basketball seems to be having a great time since its Tribeca Festival 2021 debut. The New York Times picked up the short almost immediately, then Shaquille O’Neal joined as an executive producer, and shortly after it earned an Oscar nomination, Stephen Curry joined as an executive producer as well. Unfortunately, Lusia Harris died before she could see her story nominated by The Academy & probable win on Oscar Sunday. It’s the short with the most visibility, mostly due to Shaq’s involvement.

Film Editing

Like cinematography, film editing shapes the way the story is told outside of the performances. Is it a quick cut? Well, that’s a conscious choice to expedite the story of the film so that every film isn’t a five-hour-long epic. Another one of the two categories where I’ve seen everything, we’ve got the Dr. Strangelove-inspired Don’t Look Up (edited by Hank Corwin), the sci-fi opera Dune: Part One (edited by Joe Walker), sports drama King Richard (edited by Pamela Martin), Western psychological thriller The Power of the Dog (edited by Peter Sciberras), and musical tick, tick…BOOM! (edited by Myron Kerstein and Andrew Weisblum).

Who Should Win: I always look at editing as removing the fat from a film or, in select cases, adding a stylistic flair. All of the nominees fall squarely into both categories, but there are some clear standouts. Namely, Don’t Look Up, Dune: Part One, The Power of the Dog, and tick, tick…BOOM!. These stand out because some cuts in Don’t Look Up tell a joke better than the cast can, Dune: Part One is engineered to be one half of a story, The Power of the Dog’s story lies in how the film is edited (I won’t spoil it, promise!), and tick, tick…BOOM!’s editing is very manic, like a college student chugging coffee trying to get the final edit exported before a deadline. What should win is tick, tick…BOOM!, as the editing only works to help the viewer, whether they’re into musicals or not, immersed into the story of Jonathan Larson and to get into his frame of mind.

Who Will Win: What will win is a similar story. The Academy tends to award this Oscar to the flashiest editing, so I’m guessing that tick, tick…BOOM! will also win the Oscar. Plus, it would be a nice consolation prize for The French Dispatch being completely shut out of all technical categories, as Andrew Weisblum edited that film.

International Feature Film

Films from other countries than our own help to expand film literacy to voices that have a different perspective on storytelling than theirs. We have films from Japan, Denmark, Italy, Bhutan, and Norway this year. I’ve only seen Drive My Car & Flee, so I cannot comment on the filmmaking, but I will be including one of the films I haven’t seen below, as it’s a clear contender in this category.

Who Should Win: This is a race between Drive My Car, Flee, and The Worst Person in the World. I’m sure the other nominees, The Hand of God and Lunana: A Yak in the Classroom, but beyond a mention or three, I’ve not really heard them brought up as real contenders. Anyways, back to the contenders. Drive My Car seems to be one of the clear favorites, while Flee and The Worst Person in the World are more of critical darlings.

Who Will Win: Recently, The Academy has a tendency to lean towards films about a social issue or deeply psychological stories. So, I think the two contenders here are Drive My Car and Flee. This could be a way to award Flee an Oscar if it doesn’t win anything else, but I believe this is going to Drive My Car. It’s got more nominations, and it’s got traction with critics. I could see this being a close race, though. People love Flee, and if there’s one category where an upset is possible, this is it.

Makeup and Hairstyling

Makeup artists and hairstylists work hard with a team of professionals underneath them to craft unique looks for the characters in films to immerse us deeper into the story that’s being told by thousands of cast & crew members. This year, we’ve got multiple Eddie Murphys in Coming 2 America, the heights of fashion in Cruella, the dunes of Arrakis in Dune: Part One, the bigger-than-life makeup in The Eyes of Tammy Faye, and the House of Gucci. 

Who Should Win: No other film transformed the look of its cast than The Eyes of Tammy Faye. Linda Dowds, Stephanie Ingram, and Justin Raleigh’s work makes Andrew Garfield look like Jim Bakker and Jessica Chastain look like Tammy Faye. Without this work, I don’t believe audiences would have connected with the story of Tammy Faye, much less have Academy members nominate the film in this category. This should absolutely be the winner.

Who Will Win: And I predict that The Eyes of Tammy Faye will win. No other nominee in this category gets even close. Well, okay, maybe Cruella, but that’s subtle work, and The Academy likes flashy in below-the-line categories like this.

Original Score

Scores are a collection of musical compositions written by a person (or two) called a composer(s) to further immerse the audience in the story told in a film and create a lasting, emotional impact on the viewer. This year, composers Nicholas Britell, Hans Zimmer, Germaine Franco, Alberto Iglesias, and Jonny Greenwood are up for Oscars for the films Don’t Look Up, Dune: Part One, Encanto, Parallel Mothers, and The Power of the Dog, respectively.

Who Should Win: I love a good score. Something that I can listen to while I write a review or revisit the story of a film. Personally, I love Hans Zimmer’s score for Dune: Part One, and that should absolutely be celebrated at this year’s Oscars. I was watching a video on how Zimmer composed the score, and it is wild. However, while I love that score, I’d be remiss not to mention that Jonny Greenwood’s work should be recognized instead. For some crazy reason, he wasn’t nominated for his work on Spencer, and after losing the Oscar at the 90th Oscars to Alexandre Desplat’s score for The Shape of Water (deserved, but I still believe that Greenwood is one of the best composers out there), I think now would be a great time to recognize his amazing work.

Who Will Win: Hans Zimmer is taking home his second Oscar statuette. As much as I think Zimmer's score should be recognized by The Academy, it’s clear his work on Dune: Part One is, pardon the pun, out of this world. There are new languages invented, new instruments, and it is a masterpiece.

Original Song

Songs were among the very first implementations of sound in filmmaking. The songwriters and composers use these songs to illustrate to the audience what kind of film they’re in for or evoke a certain emotion as they leave the theater. This year, songwriters Beyoncé, Lin-Manuel Miranda, Van Morrison, Billie Eilish, FINNEAS, and Diane Warren will be recognized for their work on the films King Richard, Encanto, Belfast, No Time to Die, and Four Good Days, respectively.

Who Should Win: I haven’t seen Belfast or Four Good Days yet, but this is an easy race to call. Billie Eilish and Finneas O’Connell should win for “No Time to Die” from the film of the same name. The song evokes early James Bond songs that were more of a jazz club vibe rather than the pop songs that the series devolved into over the years. Not that I didn’t like those songs, but they didn’t feel like songs James Bond himself would listen to, so those never clicked with me.

Who Will Win: The Academy might have a different idea, though. In the franchise’s 50-year history, only Adele’s “Skyfall” and Sam Smith’s “Writing’s on the Wall”, which were from the previous two Bond films, Skyfall & Spectre, respectively. While one could certainly argue for a three-peat, my gut has me saying that Beyoncé’s “Be Alive” from King Richard will win. I can’t see an awards show where “Dos Oruguitas” wins because everyone loves “We Don’t Talk About Bruno”, and “Down to Joy” isn’t the song people liked most from Belfast, and Four Good Days’ “Somehow You Do” seems to be a completely random choice.

Production Design

Production designers collaborate with the set decorator and set designers to help the director realize their creative vision for a film. Dune: Part One, Nightmare Alley, The Power of the Dog, The Tragedy of Macbeth, and West Side Story are all nominated for Oscars this year.

Who Should Win: Out of this list, the obvious choice is Dune: Part One. The production design is immaculate and often feels like the viewer is being transported to Arrakis, even though it was probably filmed in Jordan. A close runner-up could be Nightmare Alley, as everything I’ve seen from that film looks great, if slightly exaggerated.

Who Will Win: The Academy tends to lend towards classical production design with practical sets or designs that craft a new world for the viewer to inhabit. The films that fit that bill are Dune: Part One, Nightmare Alley, and The Tragedy of Macbeth. However, the only real contenders for this are Dune: Part One & Nightmare Alley, as Dune: Part One has won thirteen awards for its production design, including at precursors like the BAFTAs, and Critics Choice, while Nightmare Alley has won eight awards for its production design, but at none of the precursor awards shows. So, Patrice Vermette & Zsuzsanna Sipos, congratulations! You’re winning the Oscar for Best Production Design.

Animated Short Film

Like its feature counterpart, animated shorts craft visually inventive stories for viewers to become engrossed in through the medium of animation using techniques like cel animation, hand-drawn animation, stop-motion animation, or computer-generated animation. Affairs of the Art, Bestia, Boxballet, Robin Robin, and The Windshield Wiper are nominated.

Who Should Win: This is one of the hardest categories. I haven’t seen any of the nominees this year (a rare occurrence), so all I have to go off is what I hear people talking about. A name that keeps popping up is Robin Robin, produced by Aardman and released by Netflix.

Who Will Win: The Academy leans toward visually inventive animated shorts and towards Aardman Animationshorts. So, I believe Robin Robin will take the Oscar home this Sunday.

Live Action Short Film

Live action short films tend to tell a short story, not unlike a novella. Ala Kachuu - Take and Run, The Dress, The Long Goodbye, On My Mind, and Please Hold are nominated this year.

Who Should Win: Again, I haven’t seen any of these (although that’s not unusual), so this is almost impossible to predict. So, I’ll go with the flow and say The Long Goodbye. It has the star power with Riz Ahmed, who was nominated at last year’s Oscars for Sound of Metal.

Who Will Win: For this category, it would seem that The Academy loves star power. Two Distant Strangers, Travon Free and Martin Desmond Roe’s short about Black Americans and their encounters with police won last year, Marshall Curry won the previous year for The Neighbor’s Window, Guy Nattiv and Jaime Ray Newman’s short Skin won in 2018, and well, you get the point. If it’s got any star that people recognize, it’s a winner.

Sound

Sound is one of the core tenets of filmmaking. There are sound mixers, sound designers, and sound editors who craft a soundscape for viewers to be enveloped in. Belfast, Dune: Part One, No Time to Die, The Power of the Dog, and West Side Story are nominated this year.

Who Should Win: Best Sound is a very subjective category. It relies on the viewer to hear certain frequencies of resonance, which might not translate to voters who are hard of hearing, much less the general public. I think of the soundscapes presented, while I would lean towards Dune: Part One, I think Simon Hayes, Oliver Tarney, James Harrison, Paul Massey, Mark Taylor’s work on No Time to Die has little touches that I think are worthy of Oscar gold this Sunday.

Who Will Win: Looking back on previous wins, The Academy loves flashiness. This year, that would be Dune: Part One with the guttural groans of ships, the flapping wings of the ornithopters, or complete silence, the soundscape created by Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill, and Ron Bartlett is one of the best this year.

Visual Effects

Visual effects augment the practical effects that were able to be captured in-camera at the time of filming. Dune: Part One, Free Guy, No Time to Die, Shang-Chi and the Legend of the Ten Rings, and Spider-Man: No Way Home are nominated this year.

Who Should Win: Immediately, let’s take some films out of the race. The visual effects in Free Guy, Shang-Chi and the Legend of the Ten Rings, and Spider-Man: No Way Home aren’t in the race, as there are certain scenes that look off, breaking the illusion to the viewer. That leaves Dune: Part One, and No Time to Die. These two films feature seamless visual effects work. I had no idea what was captured in-camera vs. what effects studios inserted into the frame or otherwise augmented. My gut wants No Time to Die, as I only recently found out that No Time to Die had visual effects.

Who Will Win: Like all other technical categories, The Academy loves showcases for technology that are overly showy. However, this year, The Academy will go against type and give Dune: Part One the Oscar.

Adapted Screenplay

Screenwriters are often asked to adapt stories from popular stories published in novels, plays, musicals, TV series, or even remakes of other films. CODA, Drive My Car, Dune: Part One, The Lost Daughter, and The Power of the Dog are nominated this year.

Who Should Win: Out of this lineup, as much as I love CODA and Dune: Part One, I believe that the adaptation by Ryusuke Hamaguchi & Takamasa Oe on Drive My Car from Haruki Murakami’s collection of short stories, Men Without Women, is what should win. Adapting one story is hard enough, but adapting several stories into one cohesive story about love & loss? Nearly impossible.

Who Will Win: This is a hard category to call for The Academy this year. My gut is saying Eric Roth, Jon Spaihts & Denis Villeneuve’s work on Dune: Part One, based on Dune by Frank Herbert. Adapting the 412-page novel into a two-part story across two standard-length films might sound like a risky choice, but grew up with the story from the novel & had seen it adapted poorly, so awarding this adaptation would be a great achievement.

Original Screenplay

We all know the screenwriter working on their masterwork screenplay. Unfortunately, some of those screenplays never see the light of day, but luckily these did. The screenplays for Belfast, Don’t Look Up, King Richard, Licorice Pizza, and The Worst Person in the World are up for Oscars.

Who Should Win: I haven’t seen anything besides Don’t Look Up and King Richard, but let’s be honest, they’re not contenders. I like these films, but I wouldn’t say their screenplays are the strongest. The frontrunners seem to be Licorice Pizza and Belfast, but my gut is telling me that The Worst Person in the World is most deserving of this Oscar. Instead of more melodramatic films, this film seems to present a joyous meditation on love and could be seen as a warm hug by both the general public and Academy voters.

Who Will Win: That said, melodramatic films tend to win, and the one that bizarrely seems to be winning all the awards is Licorice Pizza. Another possibility I could see is Belfast, but I’m not entirely sure Kenneth Branagh’s script is strong enough to warrant a win, so my pick is going to be Licorice Pizza.

Best Picture

Every year, there are select films that stand out. This year, those films are Belfast, CODA, Don’t Look Up, Drive My Car, Dune: Part One, King Richard, Licorice Pizza, Nightmare Alley, The Power of the Dog, and West Side Story.

Who Should Win: At this point, it’s a race between The Power of the Dog, Belfast, Drive My Car, CODA, and Licorice Pizza. They’re the only films nominated that have received more than two award wins this awards season. Let’s eliminate further by dropping The Power of the Dog, Belfast, and Licorice Pizza off the list, as The Power of the Dog will likely win, Belfast seems like an out-there pick for Best Picture, and Licorice Pizza doesn’t even feel like a Best Picture winner. So, it’s down to Drive My Car and CODA. If The Academy truly wants to “unite movie lovers”, the obvious pick here is CODA. Just about everyone who has Apple TV+ or saw it at Sundance loved it (besides a select few that seem to be turning against it, calling it a “Hallmark movie”).

Who Will Win: It’s fairly obvious at this point that The Power of the Dog is winning Best Picture. It’s won the most awards this season (to the point that Netflix won’t stop bragging about it), and stopping this freight train is nigh impossible at this point.

Hopefully this year’s Oscars ceremony goes off without a hitch and without controversy! I also hope that The Academy reverses their idiotic decision not to present all twenty-three categories live, but there’s no sign of that decision being reversed.

Until next time!

Thanks to Thomas Stoneham-Judge from Movies For Reel, Shane Conto, Joseph Davis, David Walters, Ambula Bula, and Matthew Simpson for supporting Austin B Media on Patreon!