Oscars 2020: The Cabal Strikes Again

The Oscars, or the Academy of Arts and Sciences, is always a time for the elite, not the poor. The poor have to watch while Hollywood honors the films that rarely have the most box office receipts, and sometimes, does give awards to those films who truly deserve it. The big snub of Oscars 2020, was Joker and the Irishmen, two conflicting films about character study and the time they live in. While Joker actor, Joaquin Phoenix, winning for his portrayal of the DC comic villain Joker, and the score, by Norwegian cellist, proves that the Oscars rarely do award the films that are admired in the public eye.

The other notion is that while Oscars 2020 do want to reflect a wide arrange of films, it’s the stars that most people used to watch. Natalie Portman graced the Red carpet with a dress embroidered with female directors names that weren’t nominated this year. It merely looked incomprehensible, if anyone saw it. Brad Pitt ranted about the GOP and Joaquin Phoenix, talked about animal rights.

Joker, as much as this writer wanted it to win, was nominated because of the film generated over a billion dollars in the United States alone, and also, to get the comic book viewers to watch the Oscars. Which is saying a lot because the atmosphere surrounding comic book films, such as Marvel studios, was only nominated for Avengers: Endgame for best visual effects, proving that Hollywood would rather nominate Joker, gained more than Marvel would ever see for a win. It was still a spitting in the face of the Joker viewers anyway.

The importance of Joker is already written into history, while many of the films, including the Irishmen, directed by Martin Scorsese, about Frank “The Irishmen” Sheerin shows that a psychopath can exist in real life, outside of the DC Universe (FYI Martin Scorsese was originally attached to the Joker film, but left for creative differences). It’s rare that true artistry, no matter how much they are praised, will never be awarded in their lifetime. Which will improve the longevity of Joker and the Irishmen’s existence in films. Another reason that Martin Scorsese was overlooked is his recent controversial statements regarding the Marvel films as “theme park rides” and not “cinema” (Scorsese, Martin, “Marvel Films are Not Cinema: Let Me Explain” https://www.nytimes.com/2019/11/04/opinion/martin-scorsese-marvel.html) was instantly rejected by Marvel fans.

The hatred toward Scorsese only proved how correct his notion was in Hollywood. And the Oscars, as shrewd as they are, had to punish Scorsese because of his comments, because Disney owned 21st Century Fox’s JoJo Rabbit, was in the lead for best picture. So Marvel didn’t need to be nominated anyway, and could wipe off the comments made by Scorsese as a compliment. But Marvel didn’t like it anyway, and Hollywood listened to their demands.

Some of the other winners were a given. Little Women winning best costume design is a midwit Oscar predictor who knows that period piece dramas will always win best costume design. That’s an easy prediction. Period piece films, such as Little Women, are shoe ins for best costume design. Greta Gerwig, who should have been nominated, wasn’t, and there is probably an outcry of celebrities for this nonsense, but it’s easily explainable.

Greta Gerwig, who is probably talented, should not be nominated because she’s a woman, because of diversity and inclusivity. Spike Lee shouldn’t be nominated for every film he has made just because he’s black. As the five percenters have a gathering called “Show and prove” illustrating that those five percenters who arrive at a ceremony, must prove their knowledge of the Five Percenter’s religion. Like in any community, artists must prove, building films that are worthy of a nomination not because they are a woman or black, but they must prove it with the artistic vision they are creating. Destroy your own artistic expectations, and you might be the GOAT.

Joker was the real winner of the year, proving that its nomination would help with viewership. Farm Factory, made by the Obama’s won, but anything made by the Obama’s would not be snubbed. That would be blasphemous. But again, talent, if you aren’t the Obama’s, matters more to any award nominations, or any artistic endeavor. The real winners of the year were the Joker and Irishmen, both showing males in a society, and time of place, in fiction and real life, are going to be remembered in history, not “Farm Factory.”

But this writer doesn’t consider himself a critic, but a purveyor of the arts. As Bret Easton Ellis said, “Art should only be made by a democracy” in a tweet he made, that best summarizes the PC Hollywood narrative, which both Joker and Irishmen, or 1917, do not represent. This writer didn’t watch the ceremony, because one less view for them proved my doubts were right. Scorsese and Joker didn’t win, but there is a caveat. Only 23 million watched, proving the death blow undeniably epic (Steussy, Laren. “Hollywood’s soapboxing drags Oscars to all time low ratings.” https://nypost.com/2020/02/10/oscars-ratings-hit-all-time-low-in-2020-amid-polarizing-speeches-repeat-wins/). Hollywood is dead, long live video games and novels.


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