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Labor Day weekend in Rehoboth — checking in with Diego’s, Sundance

Gay dance club/bar blossoms in second season with major DJs, capacity crowds

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Joe Ciarlante-Zuber, gay news, Washington Blade
Joe Ciarlante-Zuber (right) with his husband and business partner Darryl Ciarlante-Zuber. (Washington Blade photo by Daniel Truitt)

Vodka. Lots and lots of vodka. Mostly Tito’s.

That’s pretty much what everybody drinks at Diego’s Bar & Nightclub (37298 Rehoboth Ave.) in Rehoboth Beach, Del., which is just about wrapping its second season in business.

“It’s a gay bar, so it’s like vodka all the time,” says bartender Chad States. 

Doesn’t anybody order scotch, bourbon or whiskey? Or the wine on tap Diego’s owners touted upon opening last year?

“Not much scotch, a little bit of bourbon and whiskey, but I would say 80 percent is vodka,” States states. “The wine is not that popular. It’s just not a big wine-drinking place. Beer drinkers? Ehhh, maybe 10 percent. Depends what night it is.”

States worked before at the Double L Bar, the leather bar that occupied Diego’s building before Joe Ciarlante-Zuber and Darryl Ciarlante-Zuber (husbands and business partners) opened Diego’s in May 2018. They owned and ran Dos Locos for 17 of its 26 years in downtown Rehoboth but took some time off and were ready for a new venture. 

States lives in Philadelphia and teaches photography most of the year but spends summers in Rehoboth with his partner. He approached the Ciarlante-Zubers when he heard they were starting a new venture.

“They’re great,” States says of the owners. “It’s nice to work at a gay bar with gay owners who trust you. They know I’ll take care of what needs to be taken care of.”

Diego’s, whose building was vastly renovated prior to opening, is open year-round except for the first two weeks of January. There are enough residents who live at the beach year round to ensure steady business and it continues to grow.

“Things are good, very good,” Joe Ciarlante-Zuber says. “It took a little while to get things going because we went from the Double L, which was a leather bar, to Diego’s, which is an everybody bar, but we gave it a total makeover. So just getting people to try us and see that it’s different from what it used to be, that took some time.”

When he says an “everybody bar,” he means mostly gay men, but not exclusively. There’s no official ladies night, but lesbians have tended to come out to comprise about half the crowd at the weekly Friday yappy hour from 5-7 p.m. Capacity is 337 and it fills up on weekend nights. On holiday weekends, they erect a tent in the parking lot to increase capacity. There are 12 on staff plus three dancers. They’ve started bringing in internationally known DJs as well such as Dawna Montell from Los Angeles, Isis from Guadalajara and DJ Kitty Glitter (this weekend) from Australia. Full details at diegosbarnightclub.com.

They changed the name from Diego’s Hideaway earlier this year because people assumed it was a restaurant.  

States, 44, likes to bartend shirtless.

“I take my shirt off every chance I get,” he says. “I’m vain as fuck. But particularly in the summer, I have time to go to the gym more and ride my bike and I’m much more attuned to that. The beach anyway is kind of a performance stage where everybody is showing off their bodies. I just like to create an atmosphere that’s casual. It’s a beach town, so you should be able to take your shirt off. It kind of sets the mood for how the customers can behave as well.”

Does he tire of getting hit on?

“I just have fun with it,” he says. “It’s fun to be a little flirtatious at a gay bar where you can have some fun with your sexuality. You can flirt with me, I might flirt back with you, that doesn’t mean we’re gonna fuck. I’m interested in the more fraternal aspect of it. It’s OK to be able to look at each other, have a little fun, but without any agenda. I like to be a little playful, a little flirty, a little sexual.”

Dusty Abshire has lived in the Rehoboth area for about four years and is at Diego’s several times per week. He likes the happy hours, tea dances and occasionally the late DJ parties. He says parking at Diego’s is easier than elsewhere downtown and says the prices tend to be a little more reasonable than at some other bars.

And yes, he’s a vodka drinker.

“Joe sometimes gets a cosmo going for me before I even choose,” Abshire, 40, says. “I just go, ‘OK, I guess I’m having cosmos tonight.’ He makes a really great cosmo.” 

Abshire, who works as a college academic counselor, says he likes the bar because it’s friendly and laid back. He says business has noticeably picked up this summer vs. last.

“Diego’s is just kind of becoming the place, at least for my group of friends and friends I’ve met there. The owners are really good at knowing everybody. There are lots of times in the afternoon, there might just be 10 or 12 of us and we all just kind of sit around and talk together.”

Even so, it hasn’t all been easy. Running a gay dance club/bar in 2019 has challenges, Joe says. 

“It’s taking its time,” he says. “The gay market has changed. With Grindr, Scruff and so forth, you can stay home and meet somebody.”

He says, after conferring with Darryl, the toughest part has been “overcoming the past history.” He says the Double L had gone downhill its last five or so years, so getting people out of that mindset took time.

“It’s nice because it’s not pretentious at all,” Abshire says. “Joe and Daryl are two of the most hardworking, genuine people and they make everyone who comes in feel comfortable and welcomed and that’s the tone of the whole bar.” 

Diego’s isn’t the only popular gay-owned establishment that’s open year-round. The Blue Moon continues its entertainment schedule into the fall with the ever-popular Pamala Stanley’s Sunday tea from 6-8:30 p.m. Newcomer The Pines brings an evolving slate of entertainers to its upstairs space Top of the Pines. The Purple Parrot hosts year-round karaoke. And some of Rehoboth’s most popular events are in the fall, including the fourth annual CAMP Rehoboth Block Party (Sunday, Oct. 20) and the 30th annual Sea Witch Festival (Oct. 25-27).

JOEY DiGUGLIELMO

Sundance goes ‘Ultraviolet’

Sundance 2018, gay news, Washington Blade
The crowded dance floor at last year’s Sundance. (Washington Blade photo by Daniel Truitt)

Annual benefit kicks off new season, new leadership for CAMP Rehoboth

Sundance 2019 Rainbow XXXII: Ultraviolet Disco Day-Glo Sunrise

Rehoboth Beach Convention Center

229 Rehoboth Avenue

Rehoboth Beach, Del.

Auction: Saturday, Aug. 31

6-9 p.m. 

Dance: Sunday, Sept. 1

7 p.m.-2 a.m.

camprehoboth.com/events/sundance-2019

Sundance closes out the summer season for the 32nd year over Labor Day weekend with its annual auction and dance party.

Sundance 2019 Rainbow XXXII: Ultraviolet Disco Day-Glo Sunrise will be the first time CAMP Rehoboth’s new Executive Director David Mariner will be introduced. Mariner will leave his 11-year tenure as executive director at the D.C. Center on Sept. 30. 

CAMP Rehoboth’s founding Executive Director Steve Elkins died from lymphoma in 2018. Murray Archibald, CAMP Rehoboth co-founder and Elkins’ husband, served as interim director since Elkins’ death.

Archibald and Elkins started Sundance as an AIDS fundraiser in 1988 on their 10-year anniversary. 

“All of our friends wanted to do something because it was such a terrible time and so many people were dying. That’s how it got started,” Archibald says. 

The first Sundance was only a dance event but an auction was added post-dance the following year. Eventually, CAMP Rehoboth split the auction and dance into separate days turning Labor Day weekend into a two-day Sundance event.

Sundance grew into CAMP Rehoboth’s biggest fundraiser, according to Archibald. CAMP Rehoboth’s current fundraising efforts benefit the organization’s outreach programs, which serve 6,000 people, and advocacy work and health and wellness programs that have aided 10,000 individuals. 

Years later, Sundance is still a popular event marked on people’s calendars because there’s something for everyone.

“We get the early crowd who wants to be in bed by 10 p.m. and then we have the crowd who wants to stay out all night. They sort of blend and its packed. It’s a lot of fun,” Archibald says.

The Sundance Auction is on Saturday, Aug. 31 from 6-9 p.m. There will be food, an open bar, a silent auction with almost 500 items and a live auction. Lorne Crawford will serve as auctioneer and Stephen Strasser will play music for the night. The Sundance is on Sunday, Sept. 1 from 7 p.m.- 2 a.m. There will be an open bar all night. Special guest DJ Robbie Leslie, whose DJing credits include Studio 54 and Saint, will spin tracks for the night. International DJ Joe Gauthreaux will also play music. 

All proceeds benefit CAMP Rehoboth. Tickets are $50 for one event or $90 for both events. 

While raising money to benefit advocacy is important, there is more to Sundance than simply being a fundraiser. 

“It’s more than just raising money. I think they feel the spirit of family and the community coming together to celebrate. It’s the end of the summer. It’s the beginning of a new season. It’s one of the passages of the year,” Archibald says. “I always laugh because even our lighting and sound crews who come in from Jersey or Baltimore always say to me, ‘This feels like family. Like I’m coming to a good place.’ I think being able to celebrate that is the most important thing about it.”

MARIAH COOPER

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Final season of ‘Pose’ is must-see TV that matters

Groundbreaking FX drama has left its mark

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When the COVID pandemic hit in the early months of 2020, there were certainly more pressing and essential worries for us to grapple with than how it would impact the next season of a TV show. Yet it’s a testament to the power of “Pose” that many among its legion of fans were at least as concerned about the show’s disruption as they were about the possibility of running out of toilet paper.

The powerhouse FX drama — which spotlights the legends, icons and ferocious house mothers of New York’s underground ball culture in the late 1980s — had already made history. Not only did it feature the largest cast of transgender actors in regular roles, it boasted the largest recurring cast of LGBTQ actors ever included in a scripted series. In its first two seasons, the show racked up accolades and honors (including a Primetime Emmy for Billy Porter as Outstanding Lead Actor in a Drama Series) while breaking new ground for the inclusion and representation of queer people — and especially transgender people of color — in television, both in front of the camera, and behind it. With the end of its second season in August 2019, fans were hungry for a third — but thanks to COVID, its future was suddenly in question.

So, when word came that the show’s third season would have its debut on May 2, it was the best news since finding out the vaccines were finally going to start rolling out. But it was bittersweet: Along with confirmation of the series’ imminent return came the sad revelation that the new season would also be the last. “Pose” would be coming to an end with a final, seven-episode arc.

As any viewer of show can attest, there were a lot of threads left hanging when last we saw its characters. That means there’s a lot of ground to cover in these last chapters in order to give everyone — characters and audience alike — the closure they deserve.

The show’s official synopsis goes like this: It’s now 1994 and ballroom feels like a distant memory for Blanca, who struggles to balance being a mother with being a present partner to her new love, as well as her latest role as a nurse’s aide. Meanwhile, as AIDS becomes the leading cause of death for Americans ages 25 to 44, Pray Tell contends with unexpected health burdens. Meanwhile, a vicious new upstart house is emerging in the ballroom world, and the members of the House of Evangelista are forced to contend their legacy.

Obviously, there are a lot of details left hidden in that broad overview, and fans are undoubtedly full of questions about what they can expect to see.

Fortunately, the bulk of the show’s main cast convened on Zoom last week (along with show co-creator and Executive Producer Steven Canals and Executive Producer Janet Mock) for a press conference to discuss their “Pose” experience, and while they didn’t exactly give away any spoilers, they definitely dropped some tantalizing hints about what’s in store for audiences in the farewell season.

In truth, most of the discussion was dominated by reminiscences and expressions of mutual appreciation, sure signs that the feeling of family we see onscreen is something that has taken hold off screen, as well. But in between the affectionate banter, the cast and creatives addressed several questions that might be most on viewers’ minds.

Perhaps the most pressing of these — why, after only three seasons, is the critic-and-audience-acclaimed show calling it quits? — was taken on by Canals, who explained:

“I always knew what the beginning and what the end of the narrative would be. And when Ryan Murphy and I first met in September of 2016, we felt really strongly that that particular narrative made sense. And so, while we certainly could have continued to create narrative around these characters and in this world, and we certainly had a conversation in the writers’ room about it … I think we all agreed that it just made sense for us to ‘land the plane,’ if you will, comfortably — as opposed to continuing to give an audience story that just simply didn’t have any real core intention or a real thrust towards specificity.”

Also of interest was the obvious subject of how the parallels between the current pandemic and the AIDS crisis that looms over the show’s narrative might be reflected in the new episodes. While he didn’t hint at any direct connections in “Pose,” Porter used the subject to underscore a theme that has always been one of the show’s most important elements:

“I think the parallels are quite profound. I know that as a Black gay man who lived through the AIDS crisis, I have been dealing with a lot of PTSD during this COVID time. It’s very reminiscent of what it was like then. The best news about that is that I survived. We got through it, and there is another side to it. We can get to the other side.

“I feel like that’s what ‘Pose’ really accomplishes this season, reminding the public that it’s when we come together and when we lead with love [that] we get to the other side.”

Mock elaborated on the theme of resilience by discussing the importance of showing the strength of House mothers like Blanca and Electra (Dominique Jackson), who hold together — and lift up — their entire community:

“It’s that matriarchal power and lineage that I think the ballroom is, and what trans women are to one another, that then feeds everyone else and enables them to shine and have all the things that they want in the world. For me, it is [about] that celebration […] of Black trans women — that they’ve created this space, that they brought everyone else in with them, and that, at the end of the day, they are often the ones most often forgotten.

“I think with this season, I want everyone across the industry, the audience, to realize that. I think it’s essential, and it’s important.”

Mock also talked about the way “Pose” focuses on the small, day-to-day lives of its characters as much as it does the larger-than-life splendor of the ballroom culture in which they participate:

“We wanted to ensure that we show the everyday, mundane moments, as well as the great, grand celebrations. The ballroom is are presentation of what it means to congregate and share testimony and to love on each other, and our show is a celebration of the everyday intimacies. So, for us, while we were plotting these big, grand moments […] we wanted to bring in traditions — weddings, matrimony, all this stuff — that our characters get to engage in. We wanted to be a part of the tradition of that, and all the moments that a family shares together. We wanted to make sure that all of those things were celebrated in this.”

When discussion turned to the unprecedented level of support and collaborative inclusion with which the show’s queer cast were bestowed by Ryan Murphy and the rest of the creative staff — from the presence of trans women like Mock and Co-producer Our Lady J in the writers’ room to the extensive reliance on the insights and talents of real-life members of the ballroom community — Jackson was quick to add that besides giving the show its ferocious authenticity, it gave her an increased recognition of her own worth:

“I will never, ever, ever walk into a space thinking that I need to impress them […] I will never walk into a space being fearful of my identity stopping me from anything. Because of this journey, when I walk into spaces now, my identity is not because I’m an abomination. My identity is a plus. My identity is my value. So, when I walk into spaces now,they need to impress me. You can be the biggest Hollywood director, producer, whatever, but you’re not going to take my story or relay stories that are reflective of my life or my existence and make them into anything you want, because of ‘Pose,’ because of Ryan, because of Steven, because of Janet and Brad [co-creator/executive producer Falchuk), because of Our Lady J, because of my cast members.

“I will never walk into spaces or live a life or an existence thinking that I need to impress anyone.”

Porter concurred, adding:

“There was never, ever a space in my brain to dream what‘Pose’ is, what Pray Tell is. I spent the first 25-plusyears of my career trying to fit into a masculinity construct that society placed on us so I could eat.‘Pose,’ and Pray Tell in particular, really taught me to dream the impossible […] the idea that the little, Black church sissy from Pittsburgh is now in a position of power in Hollywood in a way that never existed before. You can damn sure believe that I will be wielding that power and there will be a difference and a change in how things go from here on out.”

If the cast members themselves have found themselves feeling more empowered thanks to “Pose,” so too have the millions of LGBTQ people — and allies — who have tuned into it since its premiere in 2018. The show is one of those rare entries into the cultural lexicon that simply allows its queer and trans people to live authentic lives, giving long-withheld representation to countless viewers who were able to see themselves reflected back from the screen for perhaps the very first time. It’s that powerful sense of validation provided by “Pose” that keeps it standing tall in an entertainment market now providing so much LGBTQ inclusion that it’s becoming dangerously easy to take it for granted.

Whatever moments of heartbreak, joy, and celebration “Pose” brings us as it plays out its final act — and there are sure to be many — we can all be sure it will leave us with a message expressed through an oft-heard line of dialogue that Mock says she found herself writing “over and over again” during the series’ run:

“You are everything, and you deserve everything this world has to offer.” It’s that nurturing sentiment the “Pose” has been instilling in us from the beginning, like a mother to us all.

And that’s why so many of us can’t wait until the first two episodes of its final season air at 10 p.m. (both Eastern and Pacific), Sunday, May 2, on FX.

The final season of “Pose” will begin to air on FX on Sunday, May 2, at 10 p.m. ET. (Photos courtesy of FX)

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At 75, John Waters has no plans to retire

‘I’d go nuts if I didn’t work’

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When writer and filmmaker John Waters turned 70 five years ago, he said he took six friends on a first-class trip to Paris for his birthday and “we had the best time.”

This year, for his 75th birthday on April 22, he was going to take his friends to Rome but the COVID-19 pandemic got in the way and they couldn’t all travel.

Instead, a friend is having a small dinner party for him in New York City, and he’s going with a friend. “Everybody has had their shots, and that’s what I’m going to do…It will be low-key this year.”

The older he gets, he said, the less he cares about making a big fuss out of every birthday anyway.

“What difference does it make? Old means old. It doesn’t matter which one.”

Though he’s taking some time to celebrate his 75th birthday, Waters has no plans to retire.

“No, God no,” he said last weekend while on a Zoom call with fans from London. “I jump out of bed every morning. It hurts to jump out of bed. I have aches and pains. But no, I’d go nuts if I didn’t work.”

That’s probably just as well because he has a lot going on. Between shooting episodes of “Law and Order: Special Victims Unit” and “The Marvelous Mrs. Maisel,” getting ready for film festivals in several cities, planning a guided tour in Provincetown, and preparing for an exhibit of his private art collection at the Baltimore Museum of Art, he’s staying busy.

The ultimate multitasker, he didn’t even stop working when he went for a COVID vaccination recently.

“I signed an autograph when I was getting the shot,” he said. “Well, not at the moment, but right before.”

In a Zoom session organized by London’s Viktor Wynd Museum of Curiosities — an early birthday present of sorts because it drew fans from at least three continents — Waters announced that he just last week finished the book he’s been writing for the past three years, “LIARMOUTH,” a novel about a woman who steals luggage at the airport. It’s due out next year from Farrar, Straus and Giroux.

He also expressed optimism that some events that had to be cancelled in 2020 because of the pandemic will be back in 2021, including his Camp John Waters “sleepaway” weekend for superfans in Kent, Conn., and a new, renamed iteration of the Burger Boogaloo punk rock music festival that he hosts in Oakland, Calif.

There’s even a chance he’ll make another movie. Waters told his fans there’s still interest in “Fruitcake,” the children’s Christmas film that he’s been trying for years to make. “There is new possibility,” he teased. “That’s all I’ll say. I’m not going to jinx it.”

He’s waiting to hear about the several dozen spoken-word shows he performs around the country every year between Thanksgiving and Christmas. “I think a lot of those decisions are going to happen in September.”

Most of all, he said, he’s just eager to make in-person appearances after a year in lockdown. Some of his engagements that were cancelled due to COVID have been rescheduled for the coming year, including appearances in New York, California, and Pennsylvania, and he’s adding others.

“I’m dying to get back on the road,” he said last weekend. “I’m still amazed that 20-something-year-old kids know who I am. I want to see what they look like.”

He’s wondering whether Meet-N-Greets – the sessions where he signs autographs and poses for photos with fans after a performance – will be possible in a post-pandemic world.

“Even before this, when I did the Christmas tour, I had Meet-N-Greets for usually 50 people” after a show, he said. “I’d always get sick because you have to hug everybody and then get on an airplane the next day. So I think Meet-N-Greets might never come back. I don’t know how they’re ever going to do that safely.”

On a personal basis, too, he’s yearning to get out and travel more.

“I want to go to a movie theater. I want to go to a concert,” he said. “I want to be able to have even a dull day out with other people.”

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This year’s Oscars might be historic — but does anyone care?

Diverse nominees lacking LGBTQ representation

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Oscar, gay news, Washington Blade

It’s Oscar weekend. Are you excited?

Unless you’re actually one of the nominees, odds are pretty good that you’re not – but the Academy of Motion Picture Arts and Sciences, which is geared up to present its prestigious annual film awards for the 93rd time on Sunday night, really, really wants you to be. Why else, a week ahead of the Big Night, would they roll out the show’s producers for a press conference to drop hints that the upcoming broadcast would “look like a movie” and incorporate satellite hookups from “multiple locations?” It was a clear bid to drum up excitement.

More details came Monday, when a letter from that same trio – producer Steven Soderbergh (himself an Oscar winner for directing “Traffic” in 2000) and co-producers Jesse Collins and Stacey Sher – went out to the nominees. As it turns out, the ceremony will be held at LA’s historic Union Station (site of Saturday’s press conference), which will be treated “as an active movie set” in terms of COVID-related safety protocols, with “additional elements” of the show being incorporated live from Hollywood’s Dolby Theatre via satellite hook-up.

More interestingly, the letter revealed, “The first—and most obvious—point we want to get across with this year’s show is STORIES MATTER.” In keeping with that theme, nominees are requested to submit to a brief interview to “tell the story of your path to April 25,” as part of an effort to “highlight the connections between all of us who work in the movies and show that the process is uniquely intimate, collaborative, and fun.” The emphasis on “story” was further reflected by instructions about messaging in the speeches (“If you’re thanking someone, say their name, not their title… make it PERSONAL”) and a dress code described as “a fusion of Inspirational and Aspirational.” Whatever Soderbergh and crew have planned for the show, their letter leaves little doubt they intend to tightly manage the narrative it presents.

That’s not surprising, of course; Hollywood is in the business of creating narratives, and the one it takes most seriously is the one it creates about itself. Nevertheless, it’s particularly telling that the story it is working so hard to tell seems designed to brush its problem with inclusion comfortably into the background.

This year, the organization might well feel that when it comes to diversity, the nominations speak for themselves. For a year in which tremendous social upheaval has brought Black experience in America to the forefront of the public conversation, the Oscars have chosen an impressive number of Black-led films and Black artists among an overall slate that offers the most diverse lineup of nominees in its history. Women are also represented, thanks to the inclusion of Emerald Fennell’s “Promising Young Woman” among the Best Picture contenders and the first-ever two nominations for women – Fennell and Chloé Zhao (“Nomadland”) – as Best Director. Additionally, Zhao, who is Chinese, is the first woman of color ever nominated in that category, Steven Yuen (“Minari”) became the first Asian-American to receive a Best Actor nod, and in the same category, Riz Ahmed (“The Sound of Metal”) became the first person of Pakistani descent to be nominated in any acting category.

In the midst of all this inclusion, however, the LGBTQ community – traditionally a stronghold for some of Oscar’s most ardent fans – has this year been largely left empty-handed, once again. Besides two Best Actress nods for women playing bisexual characters (Viola Davis and Andra Day, for “Ma Rainey’s Black Bottom” and “The United States vs. Billie Holiday,” respectively), there are no major nominations for films with significant LGBTQ content – though it’s worth noting that the aforementioned “Young Woman” features trans actress Laverne Cox in a prominent supporting role. While it’s not a problem for us to stand on the sidelines and cheer for the victories achieved by representatives of other marginalized communities, it’s becoming harder to ignore the nagging feeling that our willingness to forgive an institution that continues to disappoint and diminish us is really something akin to Stockholm Syndrome.

In any case, this year’s Academy Awards have the potential for making history. Nine of the 20 acting nominees are people of color, and at least two of them are considered frontrunners in their categories. Zhao could become the first woman of Asian descent to win the Best Director prize. And while the potential for those wins lends a kind of excitement to the proceedings, an inescapable feeling of “too little, too late” – coupled with a pandemic-induced awareness of the relative unimportance of awards like these in the greater scheme of things – makes it more difficult than ever, perhaps, to care.

With that in mind, here are the currently leading “official” predictions for the winners in the top six categories, based on a combination of Oscar history, industry buzz, review consensus, and plain old-fashioned gut instinct:

BEST PICTURE: “Nomadland” and “The Trial of the Chicago 7” are considered the front-runners, thanks to previous wins in the equivalent category at the Golden Globes and the Screen Actors’ Guild Awards, respectively. “Nomadland” is favored to win.

BEST DIRECTOR: Chloé Zhao, who has taken the directing prize at both the Globes and the BAFTAs, seems a sure bet for “Nomadland.”

BEST ACTOR: Chadwick Boseman, whose death in 2020 after a secret battle with colon cancer devastated fans and co-workers alike, would seem the inevitable winner for his performance in “Ma Rainey’s Black Bottom” even without his already-racked-up wins at the Globes, Critics’ Choice, and SAG Awards. If he takes it – and it’s almost certain he will – it would make him only the second Best Actor winner to be awarded the prize posthumously (the first was Peter Finch, for 1976’s “Network”).

BEST ACTRESS: There are no clear front-runners here. With one high-profile win each under their belt Davis (SAGs), Day (Globes), Frances McDormand (BAFTAs for “Nomadland”) and Carey Mulligan (Critics’ Choice for “Promising Young Woman”) are all positioned as possible winners. However, with Davis already making history with this performance as Oscar’s most-nominated Black actress, the appeal of also making her the first to win in both Actress categories (her performance in 2016’s “Fences” earned her the Best Supporting prize) might just give her the edge.

BEST SUPPORTING ACTOR: Having won for his performance as slain Black Panther leader Fred Hampton in “Judas and the Black Messiah” at all the other major film awards, Daniel Kaluuya is the definition of a “shoo-in.”

BEST SUPPORTING ACTRESS: As is often the case, this category might be the most wide-open. Buzz has favored both Yuh-Jung Youn (“Minari”) and Maria Bakalova (“Borat Subsequent Moviefilm”), but her win at the BAFTA Awards puts Youn in place as the probable frontrunner. If she wins, she will be only the second Asian actress to win an Oscar, after Miyoshi Umeki (1957’s “Sayonara”).

You can find out the winners when the Oscars air on ABC, Sunday April 25 at 5 p.m. PT/8 p.m. ET. But don’t worry – if you don’t care enough to watch, you can always Google it afterward.

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