The Big Picture: Our Alternative Academy Awards | The Oscars Show

Published 2020-02-05; 1:44:39 by the feed.

As extracted (engineer-sonnet-2026-10-13)

The extraction calls the show “The Big Picture (The Ringer)” and the episode “Our Alternative Academy Awards | The Oscars Show”.

Hosts: Sean Fennessey, Amanda Dobbins. Guests: Wesley Morris.

Subject films: none named.

On the transcript: No speaker labels; Sean, Amanda and Wesley are often indistinguishable in one-line replies, so many attributions are low confidence (0.4-0.5). The opening ad read (Liz Kelly) is skipped, as instructed.

Added from the extractor's memory, not said

Rian Johnson, Ray Liotta, and Quvenzhane Wallis names are inferred spellings of transcriber-mangled or description-only references.

Films that came up

Claims (52)

unmapped (breakthrough eligibility): Captain Phillips → Barkhad Abdi. Abdi is the test case for why a breakthrough category helps someone who could never win supporting actor.
“I honestly think it's better for someone like Barkhot Abdi, who didn't stand a chance to win the best supporting actor”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:23:17 · Wesley Morris (0.40 sure it was them)
people (performance): The Last Black Man in San Francisco → Jonathan Majors. Majors is so good he calls into question the entire framework of the movie.
“He's so good that he calls into question the entire framework of this movie.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:24:10 · Wesley Morris (0.40 sure it was them)
people (cameo): Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese → Sharon Stone. Stone delivers a wholly invented story of touring with Bob Dylan as a teen, riveting though a lie.
“the whole thing is a lie, but it is delivered so rivetingly.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:26:37 · Sean Fennessey (0.50 sure it was them)
people (cameo): Always Be My Maybe → Keanu Reeves. Keanu wins best cameo 2 to 1 as the spirit of a cameo, though he stays too long.
“Yes, of course it's Keanu Reeves. Like what are we talking about?”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:27:28 · Amanda Dobbins (0.50 sure it was them)
verdict (favorite): Jojo Rabbit → Archie Yates. Archie Yates is Amanda's favorite person in the universe, though he is a supporting performance and Roman Griffin Davis is the star.
“This is Amanda's favorite person in the universe.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:28:41 · Sean Fennessey (0.50 sure it was them)
unmapped (snub): Once Upon a Time in Hollywood → Julia Butters. Leaving Julia Butters off a ballot while filling it with other Hollywood names is baffling.
“I don't know how you watch that movie ... and not put Julia Butter's name on your ballot.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:31:32 · Amanda Dobbins (0.50 sure it was them)
verdict (head-to-head): Uncut Gems → Once Upon a Time in Hollywood. In best casting, Uncut Gems beats the big shiny ensembles (Little Women, Once Upon a Time) because of the unknown faces it found.
“Uncut gems because not just because of the people you know, but mostly because of the people you don't know.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:32:34 · Sean Fennessey (0.60 sure it was them)
people (casting): Little Women → Once Upon a Time in Hollywood. Both are examples of movies that would not have worked as well with different casts.
“Little Women and Once Upon a Time are interesting examples of movies that with different casts would not have worked as well.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:33:47 · Amanda Dobbins (0.50 sure it was them)
unmapped (ideal): Mission: Impossible – Fallout → Mission: Impossible – Fallout. Fallout is held up as the movie that would have swept this ceremony's categories, had it come out in 2019.
“It is a very special movie and also would have fit so many of these categories.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:34:41 · Sean Fennessey (0.60 sure it was them)
people (cameo): Mission: Impossible – Fallout → Wolf Blitzer. Blitzer's cameo works because the movie turns it into Ethan Hunt rather than the real anchor.
“In fallout, it's so effective because it's not actually Wolf Blitzer. It's Ethan Hunt.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:35:15 · Sean Fennessey (0.50 sure it was them)
unmapped (script-critique): Hobbs & Shaw → Hobbs & Shaw. The helicopter drag race is great as action but there is a missing scene where the brothers reconcile and get on board.
“There's a whole scene missing where the brothers get on board.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:36:39 · Wesley Morris (0.50 sure it was them)
verdict (director's best): Six Underground → Michael Bay. The Italian car chase shows Bay is good at his job, even when the movie around it is bad.
“I love this movie, which is quite bad.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:37:28 · Sean Fennessey (0.50 sure it was them)
unmapped (star): Alita: Battle Angel → Rosa Salazar. Rosa Salazar kicks ass in the motorball sequence and also starred in the Amazon show Undone.
“She was also the star of a really good show on Amazon called Undone, which like so few people have seen.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:39:01 · Sean Fennessey (0.50 sure it was them)
people (producer): Alita: Battle Angel → James Cameron. Directed by Robert Rodriguez and produced by James Cameron, yet it is the least-discussed successful film of 2019.
“It's a movie directed by Robert Rodriguez produced by James Cameron.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:39:40 · Sean Fennessey (0.60 sure it was them)
people (director's hardest): John Wick: Chapter 3 – Parabellum → Chad Stahelski. Stahelski called the dog fight the hardest thing he had ever done, on this podcast.
“the director of the movie was on this pod, he said that that was the hardest thing he had ever done.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:41:00 · Sean Fennessey (0.50 sure it was them)
verdict (head-to-head): John Wick: Chapter 3 – Parabellum → Alita: Battle Angel. The dog fight wins best action sequence on the strength of unprecedented design and what the director said was the hardest thing he had done.
“That feels like it has to be the winner.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:41:09 · Sean Fennessey (0.50 sure it was them)
unmapped (reprised role): Spider-Man: Far From Home → J.K. Simmons. J. Jonah Jameson from the Toby Maguire movies unmasks Spider-Man in the final twist, getting the loudest reaction of 2019.
“That was the loudest vocal reaction I had heard to a movie in 2019.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:43:21 · Sean Fennessey (0.50 sure it was them)
unmapped (memes): Midsommar → Us. Midsommar wins best meme inspiration; Us and Joker are the Halloween costumes Amanda saw.
“Us and Joker, the 2 Halloween costumes that I saw.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:46:42 · Amanda Dobbins (0.40 sure it was them)
verdict (head-to-head): The Irishman → Portrait of a Lady on Fire. Best ending: Irishman's landing justifies everything before it; Portrait's ending moves Amanda; Parasite is also argued; they pick three different endings.
“It not only sticks to the landing, but the landing justifies everything that came before.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:47:26 · Sean Fennessey (0.40 sure it was them)
unmapped (ending shape): Parasite → 25th Hour. Parasite ends on an ellipsis rather than a period, the way 25th Hour does, as a speculative dream of what could be.
“I thought of it as an ellipsis and not a period in the same way that 25th hour has an ellipsis and not a period.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:48:38 · Wesley Morris (0.45 sure it was them)
what-if (swap): Spider-Man: Far From Home → Once Upon a Time in Hollywood. Amanda swaps Spider-Man's post-credits twist in for Once Upon a Time in Hollywood in the best ending category, then Sean declares the Hollywood ending the right choice.
“I think foolishly the answer is once upon a time in Hollywood, which is weird, but that probably was the right choice.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:49:28 · Wesley Morris (0.40 sure it was them)
people (casting moment): Triple Frontier → Ben Affleck. Triple Frontier is nominated for casting partly because of what the culture was doing with Ben Affleck then; its best moment is Oscar Isaac in a helicopter set to Metallica.
“we see Oscar Isaac flying in a helicopter set to Metallica's For Whom the Bell Tolls, and I was like, oh, it's this kind of movie.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:50:26 · Sean Fennessey (0.50 sure it was them)
craft (craft): Triple Frontier → Metallica. The film's high point is Oscar Isaac in a helicopter set to Metallica's For Whom the Bell Tolls, a needle drop that promises more than the film pays off.
“we see Oscar Isaac flying in a helicopter set to Metallica's for whom the Bill Tolls”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:50:26 · Sean Fennessey (0.60 sure it was them)
unmapped (trailer vs movie): The Lighthouse → Godzilla: King of the Monsters. Sean says watch the Godzilla trailer three times rather than the movie, and Lighthouse over any of it.
“This is a very good trailer for a very bad movie.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:52:11 · Wesley Morris (0.40 sure it was them)
unmapped (joke): The Lighthouse → Heat. Sean will start a minute-by-minute podcast on The Lighthouse like the one that examines every minute of Heat.
“I will be starting one of those for the lighthouse.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:52:43 · Sean Fennessey (0.60 sure it was them)
unmapped (same complaint): Midsommar → The Lighthouse. Amanda's problems with the Lighthouse are different from her problems with Midsommar but both register as filmmaking that anticipates the discourse.
“my problems with the lighthouse are different from my problems with Midsomar.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:53:07 · Amanda Dobbins (0.60 sure it was them)
people (same director): The Lighthouse → The Witch. Eggers made The Witch, which Amanda loved until its not-great ending, and The Lighthouse, which she finds fussy.
“I love the witch until and speaking of endings until the end.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:53:29 · Amanda Dobbins (0.55 sure it was them)
unmapped (trailer): Us → Lupita Nyong'o. The Us trailer, first seen on the Christmas NBA games, used a re-engineered song to make you want to leave dinner for the movies.
“I thought that was an extremely effective use of, of a trailer to like, make you want to leave, thank, or Christmas dinner to like go to the movies immediately.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:56:13 · Sean Fennessey (0.40 sure it was them)
unmapped (sophomore film): Us → Get Out. Us was held against Get Out and feels like an unfinished second feature full of ideas not yet coagulated.
“it feels to me like a slightly unfinished 2nd feature, which a lot of great artist 2nd features feel that way”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:57:21 · Wesley Morris (0.50 sure it was them)
industry (award for the screenplay): Marriage Story → Laura Dern. Dern's win is really the Oscar the screenplay wants, delivered through the flashiest speech in the movie.
“they're giving an Oscar to the screenplay, but they want to give the screenplay Oscar to someone else, so they're just giving it to Laura Dern”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:01:00 · Wesley Morris (0.40 sure it was them)
verdict (better work): Laura Dern → Wild at Heart. Dern deserved Oscars for her more adventurous work (Rambling Rose, Wild at Heart, Inland Empire, Jurassic Park).
“She should get like 6 Oscars for that.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:01:42 · Wesley Morris (0.40 sure it was them)
people (prior role): Rob Morgan → Mudbound. Rob Morgan played Mary J. Blige's husband in Mudbound.
“Rob Morgan, for anybody who doesn't know and saw Mudbound. He played Mary J. Blige's husband.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:03:32 · Sean Fennessey (0.50 sure it was them)
theme (voting parallel): Just Mercy → Howards End. Nominating one member of an ensemble and not its best performer is the Helena Bonham Carter on Howards End question; Rob Morgan and Jamie Foxx nearly replayed it.
“It's what I call the Helena Bonham Carter on Howard's End question.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:03:51 · Wesley Morris (0.45 sure it was them)
unmapped (category fraud): Once Upon a Time in Hollywood → Brad Pitt. Brad Pitt is the star of Hollywood, so putting him in supporting is a rigged category.
“He is the star of that movie and F everybody for saying otherwise.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:05:22 · Amanda Dobbins (0.50 sure it was them)
people (performance): Parasite → Yeo-jeong Jo. The mother is a hard comic performance that is easy to overlook because she is blithe and unself-aware with no showy moment.
“she's essentially playing like a nothing part, but there's so much comedy involved in her performance.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:08:29 · Wesley Morris (0.50 sure it was them)
unmapped (backlash pattern): Jennifer Lopez → Gwyneth Paltrow. Famous women get nominated less because voters feel they have too much already; Paltrow after Shakespeare in Love is the example.
“there's a certain kind of famous woman because this never happens to men.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:09:47 · Amanda Dobbins (0.40 sure it was them)
people (performance): Ad Astra → Brad Pitt. The movie can't be saved, but the scene where Pitt records a message to his father is Pitt having therapy on screen.
“Brad Pitt's having his therapy on the screen and someone filmed it and let me watch it.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:13:29 · Amanda Dobbins (0.50 sure it was them)
people (director): Richard Jewell → Clint Eastwood. Hauser's performance keeps Eastwood's corrective from becoming a caricature or a false hero.
“I guess you have to have a person give a performance and not a caricature.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:16:14 · Wesley Morris (0.40 sure it was them)
people (same actor): Richard Jewell → Jojo Rabbit. Sam Rockwell gave two better performances than his nominated one, in Richard Jewell and Jojo Rabbit.
“I like him in whatever mode he is in Richard Joel and in Jojo Rabbit.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:17:16 · Sean Fennessey (0.40 sure it was them)
verdict (head-to-head): Uncut Gems → Richard Jewell. Hauser gets best actor over Sandler because Sandler does the most with one note while Hauser's role carries shading the Uncut Gems part can't.
“Part of the achievement is that like he finds a way to do the most with with one note.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:18:07 · Wesley Morris (0.40 sure it was them)
unmapped (elevates co-star): Long Shot → Charlize Theron. Theron changes the properties of everyone around her and drew the best Seth Rogen performance ever.
“She brought, that was the best Seth Rogan I've ever seen and I think it's entirely, she's entirely responsible for that.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:20:19 · Wesley Morris (0.40 sure it was them)
theme (snub comparison): Us → Harriet. Lupita's invented two-character performance was overlooked for Erivo playing a familiar enslaved figure, the lone nominated actor of color for a slavery role.
“They nominated one actor of color and is for playing a slave.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:24:07 · Wesley Morris (0.40 sure it was them)
verdict (better Erivo): Widows → Harriet. Erivo was more interesting in Widows (and The Outsider) than as Harriet Tubman.
“She's a great actor, but she was more interesting in Widow.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:24:14 · Wesley Morris (0.40 sure it was them)
unmapped (voter perception): Midsommar → Get Out. Aster won't get a directing nod again because voters see him as having done that already; Get Out was more pop.
“Get out was a lot more pop.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:25:12 · Sean Fennessey (0.40 sure it was them)
unmapped (defense): Waves → Trey Edward Shults. Waves was divisive because a white director empathizing with black characters doesn't compute for viewers.
“the idea of a white director expressing empathy for black people ... doesn't compute”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:27:00 · Wesley Morris (0.50 sure it was them)
contrast (emotional inversion): Little Women → The Nightingale. The Nightingale is called the emotional inversion of Little Women.
“It's sort of the like emotional inversion of Little Women.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:31:03 · Amanda Dobbins (0.40 sure it was them)
craft (tone comparison): The Souvenir → Less Than Zero. The Souvenir is a John Hughes movie sucked of all color, only the pain side of coming of age, like Less Than Zero.
“It's like a John Hughes movie sucked of all the color or something.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:32:38 · Wesley Morris (0.40 sure it was them)
unmapped (joke): The Farewell → Triple Frontier. Amanda quips about which is better, The Farewell or Triple Frontier, while the farewell is being discussed as family.
“what's better than farewell or triple frontier?”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:34:53 · Sean Fennessey (0.40 sure it was them)
people (same director): Knives Out → Looper. Brick, Brothers Bloom, and Looper are variations on a theme told in different tones.
“variations on a theme, told in different tones that are hugely influenced”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:36:51 · Wesley Morris (0.40 sure it was them)
unmapped (sampler): Knives Out → Rian Johnson. Johnson is a genre island hopper and good sampler whose references inform rather than annoy, like DJ Premier.
“He's a good sampler.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:37:02 · Wesley Morris (0.40 sure it was them)
contrast (tonal contrast): Pain and Glory → Matador. After rewatching Matador before interviewing Banderas, Pain and Glory looks completely different in tone.
“It's like him unplugged and I feel like he's an electric director, not an acoustic director.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:37:50 · Wesley Morris (0.40 sure it was them)
career (career payoff): American Factory → Julia Reichert. The film could only have been made by two people who spent 15 years embedded in that world and thinking about globalization.
“a movie that could only have been made by those 2 people because they had spent the previous 15 years, entrenched in that world”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:40:06 · Wesley Morris (0.40 sure it was them)

Fun items (22)

fun, about The Departed: The Departed is cited as the Oscar-winner test: with Guy Ritchie directing it would have had no chance; only the Scorseseiness won it.
“It was only the Scorseseiness that did that.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:10:48 · Wesley Morris (0.40 sure it was them)
fun, about Uncut Gems: Julia Fox gets a mock-solemn pro-Julia Fox podcast declaration, and Jonathan Majors wins breakthrough.
“Great. This is a pro Julia Fox podcast through and through.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:21:05 · Sean Fennessey (0.40 sure it was them)
fun, about Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese: Sharon Stone's completely invented segment where she and her mother join Dylan's tour at 17 and she is converted from Kiss to Dylan. Sean wins best cameo with it.
“I love the myth making of Bob Dylan, and the idea that maybe the best myth made about him is coming from Sharon Stone.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:26:42 · Sean Fennessey (0.50 sure it was them)
fun, about Long Shot: At South By Southwest, Boyz II Men showed up on screen and the room lost it; at the end of the film they came out and performed Motown Philly. Sean says it beat most movies of the year.
“boys men just showed up and perform Motown Philly. And, uh, it was it was better than probably any movie I saw last year.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:27:04 · Amanda Dobbins (0.40 sure it was them)
fun, about Always Be My Maybe: Keanu Reeves wins best cameo, but the complaint is he's in the movie for about 11.5 minutes.
“He's in like 11.5 minutes of the movie and it actually goes on.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:27:43 · Sean Fennessey (0.40 sure it was them)
fun, about Archie Yates: Archie Yates is set to star in a Home Alone reboot; the hosts wonder whether he will do an American accent.
“I think he's going to be the new Home Alone kid. He's doing great.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:29:44 · Amanda Dobbins (0.40 sure it was them)
fun, about Julia Butters: Wesley moderated a panel with the Once Upon a Time cast, and Butters spent her time dunking on Tarantino and Pitt.
“Julia Butters just spent the whole time when she spoke dunking on Quentin Tarantino and Brad Pitt.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:31:57 · Wesley Morris (0.40 sure it was them)
fun, about Mission: Impossible – Fallout: Real news anchors in fictional movies should stop; Wolf Blitzer's Fallout cameo is the sole exception because it's Ethan Hunt in disguise, and Pat Kiernan has the best agent in New York.
“Why is his agent the best one at New York?”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:35:08 · Amanda Dobbins (0.40 sure it was them)
fun, about Gemini Man: The hosts walked out of Gemini Man and Sean lectured Amanda about the future of movies on level 3 of a parking structure at the Grove.
“while Sean just told me about the future of movies and I was like, I'd like to go home.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:37:58 · Amanda Dobbins (0.55 sure it was them)
fun, about Alita: Battle Angel: Sean watches strangers watch Alita on planes and tracks the actors he recognizes; the 15-minute motorball fight keeps breaking for exposition and restarting.
“I watched people watch it on the plane and then at some point I just took kept track of like the actors I could recognize.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:38:54 · Sean Fennessey (0.50 sure it was them)
fun, about John Wick: Chapter 3 – Parabellum: The dog-fight sequence took six months to design and train, and director Chad Stahelski told this podcast it was the hardest thing he had done. Wins best action sequence.
“I took 6 months to design and train the dogs to execute this fight.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:40:37 · Sean Fennessey (0.40 sure it was them)
fun, about Spider-Man: Far From Home: Sean argues the post-credits scene (J.K. Simmons outing Peter Parker on a Times Square screen) is the best ending of 2019 because the theater erupted; Amanda calls it a teaser, not an ending.
“That was the loudest vocal reaction I had heard to a movie in 2019.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:43:21 · Sean Fennessey (0.50 sure it was them)
fun, about Midsommar: Sean defends the ending by asking whether anyone has been sewn inside a bear skin and lit on fire in a giant triangle; Midsommar also wins best meme inspiration and Halloween costumes.
“Have you ever been sewn inside of a bear skin and lit on fire in a giant triangle.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:45:39 · Sean Fennessey (0.50 sure it was them)
fun, about The Lighthouse: Sean is so devoted he'll launch a minute-by-minute Lighthouse podcast alone in a lighthouse; Amanda calls him an A24-merch-bro Reddit nerd and says Eggers shows his work too much.
“what you are is a Reddit nerd, bro, and you hate this. I believe what I said was A24 merch, bro.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 0:53:00 · Sean Fennessey (0.50 sure it was them)
fun, about Parasite: Lee Jung-eun's first scene as the original housekeeper is the funniest bit: the new tutor arrives and the mother is sleeping on the table.
“can't overstate how funny it is when, you know, they 1st he 1st arrives at the house as the new tutor”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:08:01 · Wesley Morris (0.40 sure it was them)
fun, about Ad Astra: Wesley's take: why is it set in outer space and not a therapist's office; the dad-message scene is the only $18 reason to see it.
“Why is it set in outer space and not a therapist's office?”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:11:53 · Wesley Morris (0.50 sure it was them)
fun, about Richard Jewell: Paul Walter Hauser was a guest and recited A Few Good Men past the code red, continuing through the officer on deck; Sean says he can do it too.
“He started doing like this, the extended a few good men recitation, like we had done, the normal code red stuff, and then he just kept going”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:14:04 · Sean Fennessey (0.50 sure it was them)
fun, about Richard Jewell: Hauser's home scene with Kathy Bates sells the age of the relationship with comfort alone, and the film cooks whenever Jewell, Rockwell and Bates share a room.
“these 3 people are amazingly comfortable with each other.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:16:37 · Sean Fennessey (0.40 sure it was them)
fun, about Long Shot: The end of Long Shot: Seth Rogen looks at Theron with an ardor Wesley's never seen from anyone, while she speaks to a documentary crew.
“I have never seen anybody look at somebody like that with such ardor.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:20:00 · Wesley Morris (0.40 sure it was them)
fun, about Little Women: Amanda's closing argument for Greta Gerwig: she taps into the experience of being a woman and having thoughts, giving the feeling men describe having about their favorite schools of filmmaking. The table goes misty.
“holy shit, that's I didn't know you could do that, but also you were in my brain.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:29:04 · Amanda Dobbins (0.70 sure it was them)
fun, about Knives Out: The Sweet Virginia needle drop at the end, with the heroine looking out over the family from the balcony, is Wesley's satisfaction peak.
“when the sweet Virginia needle drop hits at the end of the movie and she's looking out over them on the balcony, I was like, that's a fucking movie.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:35:52 · Wesley Morris (0.40 sure it was them)
fun, about Pain and Glory: Wesley compares Almodovar and Banderas going acoustic: they decided not to pay the electric bill and went for a ballad.
“they've both like just decided not to pay the electric bill on this one and to just go for something, something else, like a ballad.”
The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:38:14 · Wesley Morris (0.40 sure it was them)

Who's talking

Sean Fennessey (host): Loves big, noisy, auteur and genre-bending work: The Lighthouse, Midsommar's ending, Alita and 6 Underground action, Gemini Man, Triple Frontier. Wants more categories and a nine-hour ceremony; adores Paul Walter Hauser and Uncut Gems. Can't stand news-anchor cameos in fiction and Oscar-bait homogeneity.
Amanda Dobbins (host): Moved by Greta Gerwig and Little Women, loves a movie-star performance and Brad Pitt, and Archie Yates and Julia Butters. Can't stand fussiness and filmmaking that anticipates the discourse (Midsommar, The Lighthouse). A sucker for a good ending and ensemble comedy; wants to see a movie about Olivia Wilde's FBI agent.
Wesley Morris (guest): Champions performances overlooked by awards: Rob Morgan, Lupita Nyong'o, Jonathan Majors, Paul Walter Hauser, Lee Jung-eun. Defends Waves and Trey Edward Shults against race-politics critics. Bored by this year's uniformly white, past-set Best Picture class; picky and a self-described 'originalist' about categories; cool on Midsommar, The Lighthouse, Ad Astra, Pain and Glory.

The show's recurring bits

Drafts: Hosts and guests draft films in rounds; every pick is a recommendation with an argument.
Hall of Fame: A star's or director's best, ranked and argued.
Countdowns: Ranked lists, top five or top ten.

Names the transcriber got wrong

'Sean Fantasy' = Sean Fennessey
'Almahar L' = Alma Har'el
'Maddie Dott / Matty Dia' = Mati Diop
'Tyler Nilsen' = Tyler Nilson
'Lulu Wong' = Lulu Wang
'Shelby Lynn' = Shelby Lynne
'Convention A. Wallace' = Quvenzhane Wallis
'Barkhot Ob' = Barkhad Abdi
'Chad's to Helski' = Chad Stahelski
'Ari Astor / Ariaster' = Ari Aster
'Song Keng Ho' = Song Kang-ho
'Shao Shu Shen' = Zhao Shuzhen
'Cho Yao Jong' = Yeo-jeong Jo
'Li Jong Un' = Lee Jung-eun
'Rayley Oder' = Ray Liotta (guess)
'Julia Riker and Stephen Bagner' = Julia Reichert and Steven Bognar
'Trey Edward Schultz' = Trey Edward Shults
'Lupita Nyango' = Lupita Nyong'o
'Adele Hennel / Hanil' = Adele Haenel
'Cynthia Rivo' = Cynthia Erivo
'Nina Ariana' = Nina Arianda
'Charlie Corsmo' = Charlie Korsmo
'Charlie Huntum' = Charlie Hunnam
'El Motivorus / Motivar' = Almodovar
'Ari Eichman' = Andre Aciman
'Jonathan Major' = Jonathan Majors
'Rolling Thunder Review' = Rolling Thunder Revue
'Boys to Men / Boys men' = Boyz II Men
'Pat Kiernan' correct
'Lord Ern / Lord Derningham' = Laura Dern
'Rob Morgan' near 0:23:57 ('aside from Rob Morgan') likely mishears Jonathan Majors in Last Black Man
'Jack and Julia Hagerty' = Julie Hagerty
'Sauce on it / Triple frontier / Turbo Friends' = Triple Frontier
'Wide experience' = white experience

The Big Picture: Our Alternative Academy Awards | The Oscars Show

As extracted (engineer-sonnet-2026-10-13)

Added from the extractor's memory, not said

Films that came up

passing (17)

recommended (46)

compared (18)

dismissed (1)

anecdote (4)

Claims (52)

Fun items (22)

Who's talking

The show's recurring bits

Names the transcriber got wrong