Social media platforms have a major anti-LGBTQ disinformation problem that enables myths, lies, and misleading content to spread to large audiences and earn high engagement. These platforms have occasionally shown that they are capable of quelling disinformation and removing or flagging misleading content, but they are not consistent in enforcing their own policies and protecting LGBTQ people. There are several actions that they can take to do so in 2021.
In July, a Media Matters study found that during a year-long time period, right-wing sources earned nearly two-thirds of total Facebook interactions on trans-related content that had more than 100,000 interactions (reactions, comments, shares). In particular, over one-third of content that met the criteria for the study was content about trans athletes and medical care for trans youth published by right-leaning outlets.
When YouTube and Facebook allow anti-LGBTQ groups and media to attack and spread disinformation about trans people, there are real world consequences. Harmful narratives divert attention from important issues facing the community such as employment discrimination and high rates of violence. And when trans youth and their families use these platforms, they are fed a stream of disinformation that could result in parents denying their children critical care or rejecting their identities, which can harm trans kids’ physical and mental well-being.
The failure of social media platforms to prevent the spread of anti-LGBTQ disinformation also comes as conservatives allege bias against right-wing content, especially on Facebook, which Media Matters has extensively and repeatedly debunked. Despite this, Facebook has consistently caved to conservative demands.
Under existing or new community guidelines, social media platforms have removed anti-LGBTQ content, including content that compares being trans to having a mental illness and that promotes conversion therapy, a harmful practice that seeks to change the sexual orientation or gender identity of LGBTQ people. However, platforms’ enforcement of these rules is inconsistent and inadequate, and disinformation still runs rampant.
Here are five actions the platforms can take to help stop the spread of anti-LGBTQ disinformation:
1. YouTube should enforce its hate speech policy prohibiting content that says being trans is a mental illness. YouTube has a hate speech policy that forbids claims “that individuals or groups are physically or mentally inferior, deficient, or diseased” based on sexual orientation or gender identity, among other categories. Under this policy, it has removed several videos for comparing being trans to having a mental illness, yet many others remain on the platform. YouTube must consistently enforce this existing policy and remove videos that break it.
In November, the platform removed two anti-trans videos from right-wing propaganda network PragerU’s The Candace Owens Show for violating this policy. In both videos, host Candace Owens compared being trans to having schizophrenia. She compared being trans to having a “mental disorder” in one and trans people to “anorexics” in the other.
However, Media Matters found several other videos still on YouTube that do the same thing. For example, another episode of The Candace Owens Show features “ex-trans” activist Walt Heyer, who called being trans a “psychological disorder” and said that adult trans people are not actually transgender but rather have “a sexual fetish disorder.” During a clip of an episode of The Joe Rogan Experience on YouTube, host Joe Rogan and his guest anti-trans author Abigail Shrier compared being trans to convincing yourself you have a problem with “cutting, demonic possession, witchcraft, anorexia, bulimia.” Additionally, another video of an anti-trans conference at right-wing group the Heritage Foundation includes panelists saying that many trans kids have “neuropsychiatric conditions” and that affirming them is “causing them to be depressed and anxious about who they are.” In fact, trans youth are less likely to suffer from depression and suicidal ideation if they are accepted.
2. Facebook should continue removing pro-conversion therapy posts and pages. In July, Facebook and Instagram announced a policy banning posts that “advertise or promote” conversion therapy, and after Media Matters’ reporting, Facebook subsequently removed several posts and a page for doing so. Despite the policy and action, some of the removed posts have been reinstated and other similar posts and pro-conversion therapy pages remain active on the site. Facebook must consistently enforce its policy and take action against posts and pages that repeatedly break the rules.
In October, Facebook removed the page for pro-conversion therapy group Restored Hope Network, which consistently promoted the practice. That page has remained off the platform since then. However, in July, Facebook removed several posts from the Facebook page for International Federation for Therapeutic and Counselling Choice (IFTCC), a worldwide network of conversion therapy practitioners, but later reinstated several of those posts. Those posts cite prominent conversion “therapists” and include a video with advice for conversion therapy practitioners and others that falsely suggest “Schema therapy” and “professionals and pastoral mentors” can successfully change LGBTQ people. It is unclear why those posts were reinstated, as Facebook is notoriously opaque on its policies and their enforcement.
Several of IFTCC’s posts were never removed, including several posts that suggest people are not innately LGBTQ and another that says, “Not only is it inaccurate to tell clients that change is not possible, it is also unethical for therapists to impose their agendas on clients.”
Additionally, the Facebook page for pro-conversion therapy group Voice of the Voiceless (VoV) has posted testimony from people claiming conversion therapy is effective or who have otherwise claimed to have changed their sexual orientation. It has also highlighted conversion therapy practitioners, conferences and webinars. Thus far, Facebook has not taken any action on these posts or the VoV page.
3. Platforms should adopt policies explicitly prohibiting deadnaming and misgendering. In 2018, Twitter updated its hateful conduct policy — which prohibits “repeated and/or non-consensual slurs, epithets, racist and sexist tropes, or other content that degrades someone” — to include “targeted misgendering or deadnaming of transgender individuals.” Facebook and YouTube, however, do not have these same protections; they must follow Twitter’s example in order to protect LGBTQ users from harassment and discrimination.
Misgendering is when someone is referred to as a different gender than the one that person identifies with, and deadnaming is when someone calls a trans person by “the name they used before they transitioned” rather than the name they currently go by.
Facebook’s hate speech policy under its community standards specifically prohibits “statements denying existence” and referring to transgender or nonbinary people as “it.” Its bullying and harassment policies prohibit targeting private individuals with “claims about romantic involvement, sexual orientation or gender identity.”
Similarly, YouTube’s harassment and cyberbullying policy states, “We also do not allow content that targets an individual with prolonged or malicious insults based on intrinsic attributes” including sexual orientation and gender identity. Additionally, the platform’s hate speech policy says it will “remove content promoting violence or hatred against individuals or groups based on” attributes including sexual orientation, gender identity and expression, and sex or gender.
4. Platforms should stop monetizing anti-trans disinformation and hate. Social media platforms YouTube and Facebook have earned money from anti-LGBTQ advertisements and helped right-wing groups raise money off of anti-trans content, despite having policies that allegedly prohibit this. They should enforce and strengthen those policies and prevent the monetization of transphobia.
During the 2020 election, Facebook earned thousands of dollars from the American Principles Project, an anti-LGBTQ group that ran misleading ads about trans kids and the Equality Act in order to campaign against Democratic candidates including Joe Biden. Facebook removed some of the ads after Politifact found that the ads’ claims include predictions “we can’t fact-check” and that one ad was “missing context and could mislead people.” Despite this, the group eventually ran ads repeating those claims that were not removed. Furthermore, Facebook has allowed anti-LGBTQ outlet The Daily Wire to run paid political ads — including at least one that targets and misgenders actor Elliot Page for coming out as trans — despite its temporary ban on them.
Similarly, YouTube allowed PragerU to raise more than $25,000 off of a video featuring a client of extreme anti-LGBTQ group Alliance Defending Freedom, who repeatedly misgendered trans athletes and fear-mongered about their participation in sports. The YouTube Giving program says that nonprofits must follow YouTube’s Community Guidelines that supposedly protect trans people. The program says that participating organizations must “follow YouTube’s monetization policies both on and off of YouTube,” which PragerU has repeatedly run afoul of.
5. Facebook should stop allowing The Daily Wire to use a coordinated network of pages to spread disinformation. The Daily Wire is a wildly successful right-wing outlet that regularly spreads anti-LGBTQ disinformation and bigotry through online content, podcasts, and social media. It operates a network of Facebook pages that share the same content at the same time, helping it reach large audiences. Facebook should stop allowing these pages to spread the outlet’s content in a coordinated manner.
Facebook started marking these pages as operated by Daily Wire after a series of reports from Judd Legum’s Popular Information, and several pages now display language that they are “Proudly managed by the Daily Wire.” These pages previously did not disclose that relationship. Although the relationship between the pages and the outlet is more transparent, Facebook still allows the coordinated network to game the system and earn high engagement.
In October 2019, Legum reported on how Daily Wire’s network seemed to violate Facebook’s Coordinated Inauthentic Behavior policy, which removes networks of pages that mislead “about the identity, purpose, or origin of the entity that they represent” and use “multiple Facebook or Instagram assets” to do so. Facebook originally denied that Daily Wire had broken content-sharing rules, but Popular Information reported in July that Facebook finally acknowledged that the outlet was violating “policies against undisclosed paid relationships between publishers.”
The Daily Wire’s use of this network helps it spread anti-trans and other right-wing content and disinformation to large audiences. In fact, a Media Matters study found that The Daily Wire was one of the most successful outlets posting about trans issues during a year time period.
The Daily Wire has several anti-LGBTQ pundits with large media platforms, including Matt Walsh, Michael Knowles, and Ben Shapiro, the site’s founder. Their Facebook pages also share content at the exact same time as other pages in the outlet’s network.
(This article was originally published by Media Matters and is republished with permission.)
Final season of ‘Pose’ is must-see TV that matters
Groundbreaking FX drama has left its mark
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.
At 75, John Waters has no plans to retire
‘I’d go nuts if I didn’t work’
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.”
This year’s Oscars might be historic — but does anyone care?
Diverse nominees lacking LGBTQ representation
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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