Staff Reports
The 2025 Oscars proved to be yet another spectacle of Hollywood’s self-congratulatory rituals, complete with controversies, surprises, and a heavy dose of irony. This year’s ceremony was defined by two films that captured the cultural zeitgeist in vastly different ways: Emilia Pérez, a Netflix-backed drama about a transgender cartel leader, and Anora, a risqué indie dramedy set in a strip club. While both films represented the Academy’s ongoing shift toward unconventional storytelling, they also highlighted the growing disconnect between Hollywood’s priorities and the broader public’s tastes.
Emilia Pérez, who led the nominations with 13 nods, seemed destined for Oscar glory until its lead actress, Karla Sofía Gascón, became embroiled in controversy over resurfaced tweets. The posts, which included inflammatory remarks about Islam and George Floyd, sparked widespread backlash and derailed the film’s awards campaign. Despite Gascón’s apologies and her historic nomination as the first openly transgender actress in the Best Actress category, the damage was done. Even the film’s director, Jacques Audiard, publicly distanced himself from Gascón, calling her response to the controversy “self-destructive.” The fallout served as a stark reminder of how quickly Hollywood can turn on its own when faced with public scrutiny.
With Emilia Pérez faltering, Anora emerged as an unlikely frontrunner. Directed by Sean Baker, the film tells the story of a stripper who falls in love with a client—a narrative that critics described as both audacious and deeply human. Despite its modest $6 million budget and lack of early awards-season buzz, Anora gained momentum after winning the Palme d’Or at Cannes. Its victory at the Oscars for Best Picture marked a continuation of the Academy’s recent trend of favoring indie films with bold storytelling over traditional blockbusters. However, some critics questioned whether Anora’s win was more about optics than merit, given Hollywood’s eagerness to embrace narratives that align with its progressive image.
The ceremony itself was not without its share of absurdity. Host Conan O’Brien delivered a biting monologue that skewered everything from Hollywood’s obsession with diversity quotas to Karla Sofía Gascón’s PR disaster. Memes flooded social media within minutes, with O’Brien’s quip about Anora’s record-breaking use of profanity—“479 f-words, three more than Karla Sofía Gascón’s publicist”—becoming an instant classic. Meanwhile, Adam Sandler’s decision to attend in a hoodie sparked both laughter and debate about Hollywood’s increasingly casual attitude toward its most prestigious event.
This year’s Oscars epitomized everything wrong with modern Hollywood: an industry more focused on virtue-signaling and controversy than on celebrating artistic excellence. Films like Emilia Pérez and Anora may resonate within certain cultural bubbles, but their appeal often fails to extend beyond those circles. Meanwhile, historical dramas like the Ronald Reagan biopic remain sidelined for not meeting arbitrary standards of “inclusivity,” raising questions about whether Hollywood is more interested in rewriting history than reflecting it.
As the Academy continues to prioritize boldness over tradition, it risks alienating audiences who feel left behind by its increasingly niche choices. While Anora’s win may be celebrated as a triumph of indie filmmaking, it also underscores the growing irrelevance of an institution that seems more interested in making statements than connecting with viewers. In the end, it wasn’t the films or speeches that stole the show—it was the internet’s relentless mockery of Hollywood’s excesses that provided the real entertainment. Perhaps it’s time for Tinseltown to take a cue from its critics and remember that great storytelling transcends politics and posturing.
