Oscars

Belonging to the small but vocal minority of people who spend too much time on Twitter, I typically first encounter media and art in their abridged, non-contextualized states before I ever consume them the way that we are “supposed to.”

In sprawling moments of quiet agony, Lila Neugebauer’s “Causeway” finds its most valuable state of being: intimacy.

While “The White Lotus” and “Succession” do showcase people of color, they fail to dive deeper into their characters.

I disagree with most public discourse on the “Will and Chris” situation, as it woefully omits Pinkett-Smith’s experience and the larger elephant in the room: The acceptance of Black womxn being humiliated as a form of entertainment in this country. 

From film beat reporters Emma Murphree and Joy Diamond, here are picks for what will win — but more importantly — what should win March 27.

When campus alumnus Kristen Hwang logged onto a zoom call with the other Student Academy Awards finalists in September, she was not expecting to hear that her thesis film, “When They’re Gone,” had won the top prize for a documentary film.  

Yet, there’s no need to fret: Film beat reporters Joy Diamond and Dominic Marziali have found a few quieter releases (some streaming, some not) to put on your map.

The anxiously anticipated film adaptation of “Dear Evan Hansen'' entirely misses the mark, serving up a cringeworthy film that makes headlines for all the wrong reasons. 

Accompanied by the Los Angeles Philharmonic and — as always — her brother-producer Finneas, Eilish pays tribute to both her hometown and the decades of musical icons that have come before her through a beautiful, hourlong sequential recital of the 16-track LP.

And as for the academy, the wins for “Mank” are a sign that the body still maintains a deep-seated aversion to change.