Academy Awards (Oscars)

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      Cillian Murphy Wins His First Oscar for ‘Oppenheimer’

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      Cillian Murphy won the Oscar for best actor for his portrayal in “Oppenheimer” of the physicist J. Robert Oppenheimer, who developed the atomic bomb and was haunted by its impact.“For better or for worse, we’re all living in Oppenheimer’s world,” Murphy said in his acceptance speech. “So I would really like to dedicate this to the peacemakers everywhere.”This is Murphy’s first Oscar win and his first nomination. He was a top contender at this year’s Academy Awards after winning a slew of other awards, including best actor at the Screen Actors Guild Awards, best leading actor at the BAFTA Film Awards and best actor in a drama at the Golden Globes.“It’s been the wildest, most exhilarating, most powerfully satisfying journey you’ve taken me on over the last 20 years,” he said, thanking “Oppenheimer” producer Emma Thomas and director Christopher Nolan, who also won his first Oscar on Sunday night. “I owe you more than I can say.”The contest for best actor had developed into a two-way race between Murphy and Paul Giamatti (“The Holdovers”), who won best actor at the Critics Choice Awards and best actor in a musical or comedy film at the Golden Globes.Bradley Cooper (“Maestro”), Colman Domingo (“Rustin”) and Jeffrey Wright (“American Fiction”) were also nominated in the category. More

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      Was John Cena’s Naked Oscars Moment the Best Joke of the Night?

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      John Cena’s skit at the Academy Awards underscores an intractable gender imbalance, even as it gets legitimate laughs. John Cena’s ‘streaker manqué” routine at the Oscars was pretty funny. In an obvious setup, host Jimmy Kimmel asked, “Can you imagine if a nude man ran across the stage today?” upon which a seemingly undressed Mr. Cena popped his head out from behind the curtain to say, “I changed my mind, I don’t want to do the streaker bit.” When Mr. Kimmel reminded him that it was all for comedy, Mr. Cena replied with faux seriousness, “the male body is not a joke.”But it was a joke. And soon, an entirely naked, and remarkably buff, Mr. Cena came onstage to introduce the Best Costume Design, nervously grasping the sealed Oscar envelope over his genitals, as a makeshift fig leaf. The audience howled as he inched along, hobbling sideways with painstaking little steps — trying to keep his envelope level and his private parts covered. Then, in a bit of television magic, he was draped in a toga-like, one-shouldered robe with a tasseled rope belt. Bit over, crowd delighted, and an obvious point made about the importance of costume.The routine had deep roots in Academy history, harkening back to a famous episode at the 1974 Oscars, when a streaker interrupted the proceedings (just as the very refined David Niven was introducing Elizabeth Taylor), but its relevance extends into the present day.Humor happens when recognition meets surprise. We laugh when something routine suddenly transforms into something unexpected. An exactingly chiseled, naked male body onstage is only funny because it is unexpected — because, that is, it does not belong to a woman. Seeing a naked woman on stage at the Oscars could never be funny, simply because it’s the norm to see female bodies in various states of revealing dress on the red carpet, and in movies as well. The humor of Mr. Cena’s performance actually derived from how clearly it mirrored what the women are always doing — right down to the mincing, precarious steps.We tune into the Oscars to see spectacular women in spectacular gowns. Those gowns are also intricately made framing devices for women’s bodies, which are usually vastly more visible than the men’s. Although there is now far more diversity of style and body type welcomed at these events, most of the fashion still spotlights breasts, buttocks and thighs . There are oceans of gleaming, bare female flesh. Skirts are slit to the waist, necklines to the navel — sometimes both at the same time. Sometimes dresses are actually transparent. Both Florence Pugh (in a silver Del Core number) and Becky G wore peek-a-boo bustiers that freed the nipple visually. It is not always comfortable to wear such clothes. They require special undergarments, body tape, excellent posture and constant vigilance to avoid what’s come to be called a “wardrobe malfunction.” Women dressed like this are exactly as nervous as Mr. Cena was only pretending to be — and for far longer than the few minutes his gag lasted. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Emma Stone Wins Her Second Best Actress Oscar for ‘Poor Things’

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      Last year’s Oscar for best actress went to a universe-hopping laundromat owner who at one point appears to have hot dogs for fingers. Naturally, this year had to go even stranger.The award went to Emma Stone for her performance in the Yorgos Lanthimos-directed “Poor Things” as Bella Baxter, once dead but resurrected by a mad scientist, who implanted the brain of her unborn child into her skull.The result is a full-grown woman with the impulses of an infant, until she progresses into a child testing boundaries and searching for independence in a world where men are accustomed to dictating women’s lives.Stone, who was visibly overwhelmed in her acceptance speech, shared a conversation she had with Lanthimos, who is a frequent collaborator.“The other night I was panicking, as you can kind of see happens a lot, that maybe something like this could happen,” she said, “and Yorgos said to me, ‘Please take yourself out of it.’ And he was right because it’s not about me. It’s about a team that came together to make something greater than the sum of its parts.”The victory is Stone’s second for best actress: she won for her turn as a striving Hollywood performer in the 2016 musical “La La Land.”In the fantastical, absurdist world of “Poor Things,” Stone’s Bella Baxter is charmingly blunt, brash and intent on being free to experiment. In one memorable scene at a restaurant in Portugal, Baxter launches into a wild and silly dance, inspiring her lover (played by Mark Ruffalo) to furiously try matching her vigor.“She’s drinking up the world around her in such a unique and beautiful way that I just dream I could,” Stone, 35, said in an interview with The Times in November.This past year was something of a crossroads for Stone’s career as she made a sharp turn away from the kind of mainstream roles that made her famous (“Easy A,” “The Help”). On TV, Stone starred alongside Nathan Fielder and Benny Safdie in “The Curse,” a satire of a home renovation show filled with little absurdities that almost rival the duck-headed bulldog in “Poor Things.”Baxter’s unusual character arc provided Stone a unique actor’s playground as her character learned how to walk and talk, discovered her sexuality, learned the deepest horrors of humanity, and sought to forge her own life as an adult.“I felt like I kind of lived with her for a long time,” Stone told Vanity Fair. “Yorgos and I still talk about how we miss her now.” More

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      Billie Eilish (and ‘Barbie’) Win an Oscar for ‘What Was I Made For?’

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      Billie Eilish’s tender, yearning ballad “What Was I Made For?” won for original song, ensuring that “Barbie” will leave the ceremony with at least one Oscar.The soundtrack for Greta Gerwig’s blockbuster film became a powerhouse unto itself, loaded with songs by A-list stars. “What Was I Made For?,” which Eilish wrote with her brother, Finneas O’Connell, won song of the year at the Grammys and was the favorite in this category at the Oscars. This is the siblings’ second original-song Oscar. They previously won for “No Time to Die” from the 2021 James Bond blockbuster.“I was not expecting this,” Eilish said in a speech. “I’m so grateful for this song and for this movie and the way that it made me feel. And this goes out to everyone who was affected by the movie and how incredible it is.”In a sign of the strength of the “Barbie” soundtrack, the winner’s stiffest Oscars competition may have been another song from the film, “I’m Just Ken,” Ryan Gosling’s doleful lamentation. Gosling, and a large ensemble that included some of the film’s Kens, performed the number on Sunday night.“Barbie,” which has grossed $1.4 billion at the box office worldwide, came into the evening with eight Oscar nominations but was a favorite only in the song category. More

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      Director of ’20 Days in Mariupol’ Says He’d Rather Have No Oscar and No War

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      The Ukrainian director Mstyslav Chernov used his acceptance speech for “20 Days in Mariupol,” which won the Oscar for best documentary feature on Sunday, to give an emotional denunciation of the continued invasion of his country by Russian forces.“I’ll be the first director on this stage who will say, ‘I wish I never made this film,’” Chernov said.The harrowing first-person account from Chernov, a video journalist for The Associated Press, captures the first days of the Russian invasion and the devastation and destruction the port city of Mariupol faced. “20 Days in Mariupol” is the first Ukrainian film to win an Oscar.“I wish to be able to exchange this to Russia never attacking Ukraine, never occupying our cities,” Chernov continued. “I wish to give it all the recognition to Russia not killing tens of thousands of my fellow Ukrainians. I wish for them to release all the hostages, all the soldiers who are protecting their lands, all the civilians who are now in their jails.”Chernov and his crew raced to make it out of Mariupol alive. He said in his speech that he could not change history but wanted it to be remembered.“We can make sure that the history record is set straight and that the truth will prevail and that the people of Mariupol and those who have given their lives will never be forgotten,” he said. More

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      Ryan Gosling Performs ‘Just Ken’ at the Oscars With a Cameo By Slash

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      In one of the most anticipated and surely one of the most exuberant moments of Oscar night, Ryan Gosling took the stage to perform “I’m Just Ken,” the nominated song from “Barbie” by Mark Ronson and Andrew Wyatt.Wearing a sparkling pink suit and a cowboy hat, Gosling started out in the audience serenading his “Barbie” co-star Margot Robbie, who couldn’t contain her giggles. He then took the stage surrounded by an army of besuited Ken dancers, including fellow movie Kens Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa and Scott Evans. Mark Ronson joined him onstage but Slash of Guns N’ Roses did the true shredding, showing up midway through for a cameo. In a Ken-like demonstration of (minimal) strength he punched through a pink board with his hand, wearing a pink glove.” At one point, Gosling returned to the crowd leading a singalong that included Robbie, director Greta Gerwig, “Barbie” actress America Ferrera and Emma Stone. (Stone was not in “Barbie,” however, she sang with Gosling in “La La Land.”)On the red carpet, Ronson promised an “absolutely bananas spectacle” in an interview with E!, and he delivered on that promise, complete with cut outs of Barbie heads and a “Gentlemen Prefer Blondes” aesthetic.In another life, Gosling might have gone the pop star route. He got his start on “The All New Mickey Mouse Club,” the revival of the classic Disney variety show, which also launched the careers of Britney Spears, Christina Aguilera and Justin Timberlake. Before that, Gosling was a child dancer. His early routines, including one in which he wears “Hammer pants,” have received tens of millions of views online.But instead of pursuing music celebrity, Gosling aimed to be an actor in “serious film,” as he once told The New York Times. He considered his past a hindrance. Agents dropped him. “It’s very hard coming from kids’ television to break the stigma,” he explained in 2011. “All you have is a VHS tape of you humping stuff on ‘The Mickey Mouse Club’ and wearing fake tanner and fighting imaginary sphinxes.” (That latter bit was a reference to his time on “Young Hercules.”)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Emily Blunt and Florence Pugh’s Oscar Dresses Raise Some Eyebrows

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      Emily Blunt showed up to the Academy Awards, arm in arm with her husband, the actor John Krasinski, while her dress rejected the premise: Her straps refused to touch her arms. The neckline floated, as if it had been lifted from her Oscar-nominated shoulders by invisible fingers.Those fingers, in theory, would have belonged to Daniel Roseberry, the creative director of French fashion house Schiaparelli. The dress initially appeared on the runway of Schiaparelli’s spring-summer 2024 couture show, in a collection inspired by space, astrology and the heavens. (One model carried a robot baby.)Around Ms. Blunt’s pelvis, the gown — already covered in nude sequins — featured a trompe l’œil outline of men’s boxer shorts in silver sequins. Fashion commentators on E! kept referring to the champagne dress as “sporty,” given the tank-top straps.Then came Florence Pugh, who starred alongside Ms. Blunt in “Oppenheimer.” Her straps similarly stood up straight, jutting off her shoulders, from a gown made by the young Milanese brand Del Core (although her hovering straps weren’t quite as sculpturally rigid as those on Ms. Blunt’s dress).Designer Daniel Del Core said in September, when the gown debuted on the runway, that he was “fascinated by architectural structures, just as much as I am by natural forms and their relations.” The rest of Ms. Pugh’s dress was reminiscent of a sea organism, with its foamy blue-gray color, curling reef-like bodice and glassy embellishments that resembled water drops.Your eyes do not deceive you, Florence Pugh’s top is supposed to look like it might fall off her shoulders.Jutharat Pinyodoonyachet for The New York TimesThe red carpet of the Academy Awards tends to be pretty traditional — think long trains, bejeweled strapless gowns and other romantic silhouettes associated with Old Hollywood glamour. So it was jolting to see such an unusual design element on Ms. Blunt, and even more surprising to see it replicated on Ms. Pugh.There were a few other bold necklines on Sunday night. Best actress nominee Sandra Hüller’s off-shoulder sleeves were villainously sharp, and fellow nominee Lily Gladstone’s strapless neckline was trimmed with quilt made in collaboration by Gucci and Joe Big Mountain of Ironhouse Quillwork. For Ms. Blunt and Ms. Pugh, their floating necklines injected a little subversion into their predictably shiny looks.Not everyone liked the straps, though. The gowns were polarizing on social media. But they stood out. The word that came to mind, quite literally, was elevating. More

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      ‘Oppenheimer’ Is the Origin Story. These Three Movies Reveal Our Nuclear Present.

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      The national security writer W. J. Hennigan has spent many years ringing the alarm about the world’s new nuclear era — the subject of At The Brink, a new series from New York Times Opinion — and the crisis on the horizon. For anyone whose interest was piqued by the origin story of nuclear weapons in “Oppenheimer,” Mr. Hennigan, who happens to be a movie buff, recommends three essential films that illuminate our new nuclear era.An edited transcript of the above audio essay by Mr. Hennigan follows:W.J. Hennigan: For many years, people haven’t really spent a lot of time thinking about nuclear weapons, but that’s changed — both because of the war in Ukraine as well as the popularity of the recent Christopher Nolan film “Oppenheimer.”The idea that a biopic about a scientist and nuclear weapons would be so popular, the fact that it’s won so many awards and has sparked such an interest, is really quite surprising.For the past quarter-century, an entire generation has come of age without really having to worry about the bomb. This has not something that’s been front of mind.Nuclear weapons were the predominant national security concern for our country for a half-century, and that was reflected within culture and art. Throughout the Cold War, you could see the topic of nuclear weapons in movies, video games, television shows, cartoons, songs, comic books, board games. There were alcoholic drinks inspired by nuclear weapons.That kind of changed on a dime after the fall of the Soviet Union in 1991, but even though the concern and awareness over the nuclear peril faded, the danger hasn’t gone away. We’ve entered a new nuclear era, but that’s not being publicly discussed in the way that it has in the past.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More