In a surprise video appearance.
Argo didn’t just win Best Picture—it was announced by the all-time best presenting team: Jack Nicholson and a surprise (albeit remote) appearance by the one and only Michelle Obama. A panicked Ben Affleck made a mile-a-minute speech thanking “everyone on the movie, in the movie, who had anything to do with the movie.” Earlier, a very gracious Ang Lee took home the Best Director Oscar for Life of Pi, a surprise win over Steven Spielberg. “Thank you, movie God,” Lee said in his speech. Before, a leather-tie clad Quentin Tarantino made a lively speech accepting the award for Best Original Screenplay for Django Unchained.
Oscars host Seth MacFarlane has come under fire from actresses Jamie Lee Curtis and Jane Fonda for his juvenile act.
While the ratings increased three percent to 40.3 million—including an 11 percent uptick in the coveted 18-49 demo—for the telecast of the 85th annual Academy Awards, a pair of Oscar nominated actresses with deep Hollywood ties are none too thrilled with Seth MacFarlane’s performance as host.
Seth MacFarlane speaks onstage during the Oscars at the Dolby Theatre on Sunday Feb. 24, 2013, in Los Angeles. (Chris Pizzello/Invision/AP)
Two-time Oscar winner Jane Fonda (Klute, Coming Home), the daughter of Oscar winner Henry Fonda, fired the opening salvo, penning a recap of her Oscar night for her official website. After praising the song-and-dance skills of Charlize Theron, Channing Tatum, and Catherine Zeta-Jones, as well as Shirley Bassey’s towering rendition of “Goldfinger,” she launched into a harsh critique of MacFarlane—in particular the “We Saw Your Boobs” song he performed, which name-checked past Oscar nominees’ topless turns (including Jodie Foster’s during a gang-rape scene in The Accused), as well as a pretty tasteless jab he took at 9-year-old nominee Quvenzhané Wallis (Beasts of the Southern Wild), joking, ““it’ll be 16 years before she’s too old" for George Clooney.
“What I really didn’t like was the song and dance number about seeing actresses boobs,” wrote Fonda. “I agree with someone who said, if they want to stoop to that, why not list all the penises we’ve seen? Better yet, remember that this is a telecast seen around the world watched by families with their children and to many this is neither appropriate or funny. I also didn’t like the remark made about Quvenzhane and Clooney, or the stuff out of Ted’s mouth and all the comments about what women do to get thin for their dresses. Waaaay too much stuff about women and bodies, as though that’s what defines us.”
Says she’d never take the gig.
With critics ready to pounce on every errant cough from the Oscar host, there are few jobs more thankless in Hollywood. So when asked whether she’d emcee next year’s Academy Awards—as so many people have wishing upon a star for her to do—Tina Fey told the Huffington Post, unequivocally, not a chance. “I just feel like that gig is so hard,” Fey said. “Especially for, like, a woman—the amount of months that would be spent trying on dresses alone … no way.” But c’mon … is there even the slightest chance she’d change her mind? “I wish I could tell you there was,” she said. Blerg!
Rehearsed her speech to be more likable.
Sally Field famously exclaimed at the Oscars, “Right now, you like me!” But beneath Anne Hathaway’s speech on Sunday night, apparently, was a plea: “C’mon, don’t you like me yet?” According to Us Weekly, the Les Misérables Best Supporting Actress winner has been more than aware of the backlash against her rambling, faux-humble awards-season acceptance speeches. As such, a “source” tells the magazine that Hathaway rehearsed her Oscar speech over and over with the explicit goal of sounding more likable. Did she accomplish her goal?
In her Best Picture presentation.
Maybe Iran was just channeling its anger that Argo won Best Picture. Iranian state news Photoshopped sleeves onto Michelle Obama in images of the first lady at Sunday night’s Oscars. Farsi, Iran’s semi-official news agency that is affiliated with the Revolutionary Guards, wanted the first lady’s dress to conform to the country’s restrictions on showing female skin in the media. Iranian women shown on state television must be wearing a hijab, although foreign women who are not traveling to the country are allowed to be shown without the hijab but must comply with other restrictions. Given the amount of skin shown on television throughout the world, this is not the first time Iranian media have used Photoshop to make images comply with the rules.
The satirical weekly has spoofed mass shootings and pedophiles. So why say sorry for calling a 9-year-old actress the c-word? David Freedlander on the Onion’s about-face.
Callers to The Onion’s office in Chicago are greeted with the usual automated rundown—Press 1 for an automated phone directory, 5 for accounts payable, 7 for technical problems, etc.—except that at the end of the message, the calm, deadpan voice on the answering service says, “For content concerns, please refer to the First Amendment of the United States Constitution. For content correction, please note that we do not make mistakes.”
A pedestrian walks by an Onion news rack May 5, 2009 in San Francisco, California. (Justin Sullivan/Getty)
Callers are then given an email address to contact “if you feel like ranting.”
But today the Onion acknowledged that, contra company policy, they did make a mistake, a big one, when the satirical news weekly called Quvenzhané Wallis, the 9-year-old star of the movie Beasts of the Southern Wild a “cunt” in a tweet.
And the Oscar for most offensive tweet goes to The Onion: ‘Everyone else seems afraid to say it, but that Quvenzhané Wallis is kind of a c--t, right?’ Yikes. Tricia Romano reports.
Best Actress Oscar nominee Quvenzhané Wallis has been called a lot of things, most of them complimentary. Among them: “a small force of nature,” “special,” and “extraordinary.” Now, thanks to The Onion’s Twitter feed, she can add another word she probably shouldn’t hear for another 15 years.
Quvenzhane Wallis arrives at the Oscars in Hollywood on February 24, 2013. (Jason Merritt/Getty)
Um, what? Wallis is so young and innocent she carried a puppy purse to the Oscars.
Seth MacFarlane was, as Captain Kirk predicted during the show, one of the worst hosts in Oscar history, presiding over a cringe-worthy, head-scratching Oscar ceremony.
Daniel Day-Lewis wins Best Actor.
The odds were ever in her favor. Taking a little tumble on the way to the stage, the always-endearing Jennifer Lawrence accepted the Oscar for Best Actress for her volatile role in Silver Linings Playbook. Ending with a quick, “Happy birthday, Emmanuelle!” and departing from the stage with no stumbles. Daniel Day-Lewis took home his third Oscar for Best Actor, this time for his role in Lincoln. “I had actually committed to play Margaret Thatcher and Meryl was Stephen’s first choice for Lincoln,” he joked. “And I’d like to see that version.”
After a dramatic performance.
Unsurprisingly, singing powerhouse Adele snagged the award for Best Original Song for her moving “Skyfall.” The teary performer made a short speech and so did her cowriter Paul Epworth, who praised her, saying, “I’d like to thank Adele for being the best person I've ever worked with.” The first big award of the night went to a very deserving Christoph Waltz for his role in Django Unchained. A shaken Waltz gratefully accepted the Oscar for Best Actor in a Supporting Role, thanking director Quentin Tarantino. The next major win was for the directors of Searching for Sugarman, for Best Documentary Feature. "Rodriguez isn't here tonight because he didn't want to take any of the credit for himself," they said of the film's main character.
For role in Les Miserables.
The shaved head was definitely worth it. “It came true!” Anne Hathaway said upon accepting the Oscar for Best Actress in a Supporting Role. Her performance in Les Misérables made her a shoo-in for the prize, beating other frontrunners Sally Fields and Helen Hunt.
From Seth MacFarlane’s awkward song about boobs to Christoph Waltz’s shocking Best Supporting Actor win, WATCH VIDEO of the buzziest and most memorable moments from Hollywood’s biggest night.
Oscar’s Youngest Star Charms the Red Carpet
Carrying a puppy purse, pint-size Best Actress nominee Quvenzhané Wallis was as adorable as you’d hope the 9-year-old would be. Speaking with Ryan Seacrest in the midst of a red carpet’s worth of measured, rehearsed celebs, Wallis was refreshingly unseasoned and blunt. Seacrest: “Can you believe you’re nominated with all this other women?” Wallis: “No. Because they’re older and more sophisticated.” Seacrest: “Tell me about what you chose to wear tonight.” Wallis: “I liked it because it was sparkly and fluffy.” Hollywood, she’s a keeper.
Jennifer Lawrence Continues Her Reign as the Most Fun Oscar Nominee
Get up-to-the-minute updates from the 2013 Academy Awards from our team of reporters and fashion and film experts throughout the night.
It’s time to move past the politically correct filters that stifle our ability to communicate, writes director Guy Davidi.
One of the most poignant scenes in 5 Broken Cameras, the documentary I co-directed with Emad Burnat, is when Emad films his four children crossing the separation barrier built in the Palestinian village of Bil’in in the West Bank. In this scene, Emad concentrates on filming the barrier itself as his children enter the frame. His youngest son, Gibreel, then age 2, utters his first on-screen words: “wall,” “army,” and “rubber bullet.” Emad creates a portrait of the occupation, and his family becomes a pretext for this political reality.
Long before Gibreel learns to define himself as a child, he sees himself as a person in a relationship to the political elements around him. And it is not until he’s 6, near the end of the film, that he defines himself as “Gibreel,” by writing his own name on the barrier. In other words, his personal identity only emerges after his connection to the political world has been defined—and in this way, political language dominates his inner voice.
My intention during the making of 5 Broken Cameras was to tease out Emad’s inner voice from the layers of political language obfuscating it. This film deals with political subjects in a politicized reality, but its language doesn’t come from the political world. It’s a language that borders on the spiritual world and that of the soul. For years political discourse has been robbing us of opportunities to have complex debates about our lives and reducing our ability to bring invention and creativity to our actions in the world.
I entered into this partnership with Emad knowing that our work would be interpreted according to a set of idealized assumptions, and through my participation, I implicitly agreed to be part of this narrative.
Last October, over a two-hour dinner with Ramin Setoodeh, Jennifer Lawrence was told that she’d win the Oscar this year. Here’s how she reacted to the news.
Jennifer Lawrence has been the presumed frontrunner for the Best Actress Oscar since Silver Linings Playbook wowed critics at the Toronto Film Festival last fall.
But one person didn’t get the memo—Jennifer Lawrence. To be fair, she was busy at the time, reprising her role as Katniss Everdeen in Hunger Games: Catching Fire. And she doesn’t Google herself.
In October 2012, The Daily Beast sat down with Lawrence for a two-hour dinner, where she breezed through a number of topics—she’s a weird runner, she once stalked Daniel Radcliffe, and she auditioned for Silver Linings over Skype. Even though she’s only 22, she nailed Tiffany, a depressed widow who falls for Bradley Cooper. When I told Lawrence that the blogosphere had already decided she’d win the Oscar, she had no idea. And she gave one of her trademark off-the-cuff responses.
Whether you found him hilarious or lame, it's undeniable that the Academy Awards host gave a provocative performance. Watch MacFarlane's most controversial comments, as he ripped on everything from Clooney's pedophilia to Lincoln's assassination.
All the surprises and snubs from this morning’s Academy Award nominations honoring the best in cinema.
Marlow Stern talks to Michael Haneke about his heartrending ‘Amour’—which deserves an Oscar nod.
The actor-director dishes on his riveting CIA thriller, a virtual Oscar-nomination lock.
It's Hollywood to the rescue in actor/director Ben Affleck's new film, 'Argo,' based on the true story of when the U.S. staged a movie shoot to rescue hostages from Iran. Ramin Setoodeh and Rolling Stone's Peter Travers dissect the film.
Sundance darling ‘Beasts of the Southern Wild,’ out June 27, is one of the year’s best, says Marlow Stern.
How he’s shattering a genre with ‘Django Unchained’.
Quentin Tarantino is at it again, directing another star-studded cast in a monumental slave story meets spaghetti western. But is it his best work? Ramin Setoodeh and Peter Travers debate.
Marlow Stern on why the film adaptation of the celebrated musical is the frontrunner for the Best Picture Oscar.
Does 'Les Miz' justify all the Oscar buzz? Ramin Setoodeh and Peter Travers review the epic big screen adaptation of the celebrated musical.
Was Ang Lee’s film adaptation of ‘Life of Pi’ true to the novel? Mike Munoz explores the differences.
Lincoln scholar Harold Holzer, a consultant on the movie, says in the end it’s not the details that matter.
The actress tells Ramin Setoodeh about ‘Silver Linings Playbook’ and how ‘Hunger Games’ changed her life.
Kathryn Bigelow’s Oscar-bait film is being falsely accused of promoting torture, says Marlow Stern.
We missed you, Kathryn Bigelow! In this edition of Flick Picks, Ramin Setoodeh and Rolling Stone's Peter Travers review her not-quite-a-follow-up to The Hurt Locker.