Arts & Entertainment

The predictable predictability of the Oscars

Favoring middle-of-the-road prestige over edgier fare

Published

2 years ago

March 13, 2024

It’s hard to write a reaction piece about the Oscars when you recognize that the Oscars, by their very nature, are essentially a poll – or perhaps, more aptly, a popularity contest – which reflects an aggregate of personal opinions, and therefore have as much to do with internal Hollywood politics as with rewarding artistic excellence.

I’m not saying that the movies and people being celebrated on the stage at the Dolby Theater in Hollywood Sunday night – all of them, winners and nominees alike – didn’t deserve to be there; on the contrary, 2023 was an outstanding year for cinema, and every one of the contenders could be considered worthy of taking the prize. If that’s the case, however, how can any of these outcomes be determined without the influence of personal taste? Making movies is not like playing sports, where a win results from the highest number of points scored and goals blocked; there is no such handily objective criteria to rely on in picking an actor, a screenwriter, or an entire film to proclaim as the “best” in its respective category, and it’s inevitable that Academy voters will be influenced by personal bias when they make their choices on that final ballot.

While Sunday’s 96th annual Oscar ceremony, which offered the usual snubs and oversights and no real surprises, might have disappointed me or even occasionally sparked a glimmer of outrage, I cannot fairly say that any of the final results were “mistakes.” And though it may be oversimplifying things to say that being offended by the Academy’s final choices is akin to being angry that someone else’s favorite flavor of ice cream is chocolate when yours is salted caramel praline, it’s still enough to convince me that my “reaction” piece to the Academy Awards can really only ever be an “opinion” piece,

With that in mind, here we go.

The presentation itself was the usual blend of witty repartee (mostly provided with success by veteran Oscar host Jimmy Kimmel, though attempts at it from the various presenters ran the gamut from delightful to disastrous), musical performances (Billie Eilish and brother Finneas O’Connell’s rendition of “What Was I Made For?”, which went on to win the evening’s only award for “Barbie”, was a particular highlight, alongside the more lavish and deliciously amusing dance production number headed by Supporting Actor nominee Ryan Gosling for “I’m Just Ken” from the same film), uplifting moments (a regal Rita Moreno’s benedictory introduction of “Barbie” Supporting Actress nominee America Ferrera brought tears to my eyes, and I suspect I wasn’t alone), and show-stopping surprises (John Cena’s teasingly faux nudity presenting the Best Costume Design award was a memorable stunt, to put it mildly, as was the combination of Arnold Schwarzenegger and Danny DeVito to do the honors in the Visual Effects and Film Editing categories) – yet it also had more than its fair share of embarrassing gaffes, such as upstaging the “In Memoriam” segment with an overblown production number accompanied by father-and-son operatic crooners Andrea and Matteo Bocelli’s duet of “Con tu partirò”, a move that has fueled perhaps more post-Oscars outrage than anything else from this year’s ceremony.

As for the politics, there were the expected barbs making fun of easy conservative targets, but most of the speeches avoided invoking too much progressive fury. The one overtly political moment came with the win of UK director Jonathan Glazer’s “The Zone of Interest” for Best International Feature, when he read, in prayerlike monotone, a pre-prepared statement warning against the dehumanizing hate depicted in his slice-of-Nazi-life historical drama and calling for empathy for the targets of such hate on both sides of the current crisis in Gaza. It was met with backlash, of course, especially after a partial quote in Variety omitted key elements of the speech and led many to believe the Jewish filmmaker was refuting his own religion.

As for the winners of the awards themselves (you can find the full list on the Oscar website) the evening’s choices fell more or less in line with my predictions – though not necessarily my preferences.

The domination of “Oppenheimer” in most of the major categories in which it competed was, for anyone following the pre-ceremony buzz, a foregone conclusion. Few doubted that Cillian Murphy would handily claim the Best Actor prize – thwarting nominee Colman Domingo (“Rustin”) from becoming the first queer actor to win for playing a queer character in the process – or that Christopher Nolan would take the Best Director category, and from there the win for Best Picture felt as inevitable as anything can be at the Oscars.

Equally inevitable was the evening’s most easily predicted “Oppenheimer” win, as veteran Hollywood player Robert Downey, Jr. ebulliently swaggered onstage amid the enthusiastic familial cheers of his peers to claim the Best Supporting Actor prize; his acceptance speech, in which he self-deprecatingly recalled the legal and professional obstacles arising from the substance abuse that nearly derailed his early career, became a testament to overcoming personal setbacks to achieve an even higher success, something that resonated in the words of several other of the evening’s winners.

In the categories where “Oppenheimer” didn’t win, the odds were already in favor of the eventual victors, such as first-time filmmaker Cord Jefferson, whose “American Fiction” earned him the Best Adapted Screenplay Award over fellow front runners like “Barbie” and “Poor Things,” and Da’Vine Joy Randolph, whose winning Supporting Actress turn in “The Holdovers” had been a juggernaut throughout the award season.

Many Oscar fans, though most accepted the predestination of “Oppenheimer” as the year’s big winner, might rather have seen a different candidate come out on top (my own choice, for what it’s worth, would have been “Barbie,” with “Poor Things” and “Zone of Interest” coming up close behind); but even if Nolan’s weighty and technically dazzling biopic was unquestionably a fine film, exploring a deeply disturbing slice of not-too-distant history that still casts a long existential shadow over our world today, it’s impossible for me not to see in its multiple wins an all-too-familiar pattern of “safe” choices.

While “Oppenheimer” might pique ethical discussions over its title character’s choice to build the atomic bomb, few would find controversy in the idea that the destruction unleashed on the world by that choice is a reason for concern. Its most viable competitors, “Barbie” and “Poor Things” – both of which touched on many of the same existential themes, albeit from a markedly different direction and in a more absurdist style – each stirred divisive opinions around (among other things) a perceived feminist agenda; other highly-acclaimed titles in the running, like the non-English language entries “Zone”, “Past Lives”, and “Anatomy of a Fall”, fell outside the comfortable domestic audience mainstream where Oscar’s favorite picks are usually a little too deeply-rooted to allow much opportunity for a dark horse upset. While not many expected Bradley Cooper’s ambitious Bernstein biopic “Maestro” to take home any awards, it was considerably more noteworthy that Martin Scorsese’s “Killers of the Flower Moon,” nominated for 10 Awards and widely lauded as one of the year’s most essential films, failed to score a single one of them – though I can’t help also noting that it deals with one of most shameful threads in our American past, inevitably making it a controversial movie for an era marked by deeply divided ideologies around that subject.

It’s perhaps for that reason that “Flower Moon” was not considered a front runner in most of its categories, but there was one in which it was seen as a heavy favorite. With Lily Gladstone poised to become the first Indigenous performer to win the Best Actress trophy, the odds leading up to Sunday’s presentation seemed to position them as the front runner; in the end, however, it was Emma Stone’s tour-de-force in “Poor Things” – in which she appeared in virtually every scene, in contrast to Gladstone’s relatively limited screen – that took it instead. Though it wasn’t quite a surprise, given the number of wins Stone has garnered already for the film, which also took home the prizes for Best Makeup and Hairstyling and Best Production Design, it nevertheless felt – to me, at least – like another example of Oscar’s predictable reluctance to court controversy with its choices.

Ironically, but not surprisingly, this conservative approach often just ends up causing a controversy of its own, and this case is no exception. Though I had championed Stone’s brilliant performance as the obvious winner, when her name was announced I found myself feeling disappointment over Goldstone’s loss, even as I was thrilled for Stone’s well-earned victory. After all, in a contest where the outcome is entirely subjective, Academy voters could have chosen to amplify the excellence of someone from within a marginalized community. Stone, who seemed as surprised at her win as anyone else, did remarkable work, but so did Gladstone; though it truly is “an honor just to be nominated,” it was an opportunity for Oscar to take a step toward correcting a long-ignored injustice at a time when doing so could make a demonstrably constructive impact on our culture and our society at a time when doing so would have a tremendous cultural impact, and it didn’t happen. It was a moment that struck me with an odd sense of disappointment even as I cheered for Stone; a bit of the sour within the sweet.

That, aside from a sense of missed opportunity over the evening’s consistent pattern of favoring the middle-of-the-road prestige represented by “Oppenheimer” over the edgier, more confrontational material presented by some of the other titles on the slate, was my biggest takeaway from the Academy Awards. Though I can’t say that any of the winners were unworthy, I can’t help thinking that their victories were somewhat tainted by the virtual shutout of “Barbie”, (which still feels to me like a message for female filmmakers to “stay in their lane”) and relatively low showing for “Poor Things” (which took only 3 of the 11 awards for which it was nominated), and that their underappreciation for such films was for me proof that many of the professionals working within the industry are afraid of material that pushes the medium too far outside its traditional boundaries, that dares to imagine stories and ideas which give voice to “outsider” concerns beyond the level of lip service, or that stretches the accepted limits of narrative entertainment.

More concerning, perhaps, is the minimal change that has come in the wake of the Academy’s much-publicized retooling to promote greater diversity and inclusion among the nominees. While it’s heartening to see people of color and queer people being brought into the mix more consistently than ever before, it’s also all the more painful when we see them passed over or relegated to the status of “also ran” most of the time. As a queer writer working for a queer publication, it’s impossible for me not to be impatient when films with strong LGBTQ content are lauded alongside mainstream titles only to consistently be passed over when it comes to the final victory. While queer subject matter, in varying degrees, was part of movies like “Rustin”, “Nyad”, and even “Barbie,” only two wins in the “major” categories went to films that included significant queer themes – “American Fiction” and “Anatomy of a Fall”, both of which won for their screenplays.

And while it’s now old news, the Academy’s complete omission of Andrew Haigh’s melancholy gay ghost story “All of Us Strangers,” a queer UK film overwhelmingly embraced by other major awards bodies across the world and in America itself and considered a major contender before failing to earn a single Oscar nomination, and female filmmaker Emerald Fennell’s “Saltburn,” which hinged – at least ostensibly – on a queer attraction between stars Barry Keoghan and Jacob Elordi, speaks volumes about the comfort level surrounding queer content within mainstream Hollywood. Even “May December,” a high-profile film directed by queer indie pioneer Todd Haynes but featuring only presumably heterosexual characters, received only a single nod (for Best Original Screenplay) for “May December,” despite being widely considered a front-runner for several acting awards. While inclusivity doesn’t mean considering every queer-relevant movie a shoo-in for the competition, it’s telling when the Academy all but ignores queer titles that have been contenders and even winners at all the other major film award ceremonies, and frankly, it’s extremely annoying. While I can’t speak for women, those in the Black community, or other groups with a history of being dismissed by Oscar, I can only assume that their sentiments must resemble my own.

Yet as I reach the end of my observations about the latest installment of the Academy Awards, I find myself falling short of blaming the Academy itself, at least as an organization. While it has had a problematic history of dragging its feet when it comes to evolving toward a more all-embracing approach to bestowing honors, undeniable progress has been made. That this progress is infuriatingly slow is less a reflection on the awards than it is on Hollywood as a whole; after all, despite Academy efforts to ensure greater diversity among its nominees, it’s the individual choices of its voters that determines the final results – and if those results fail to accomplish more than the occasional token victory for the non-white-heterosexual contenders, it’s a symptom of the fact that those voices are underrepresented within the industry at large.

If we want to see an Academy Awards ceremony that truly accomplishes the kind of all-inclusive spirit for which it has so palpable a potential, we must continue to pressure the Hollywood industry at large to build a more diverse and inclusive creative environment. Otherwise, no matter how much they promise to do better, they will always fall short.

Up Next

Washington Blade’s Pride on the Pier and fireworks show returning June 8

Don't Miss

Being gay might just save Andy Cohen’s career

FUND LGBTQ JOURNALISM

Books

Laverne Cox, Liza Minnelli among authors with new books

A tome for every taste this reading season

Published

44 minutes ago

March 13, 2026

Terri Schlichenmeyer

Spring is a great time to think about vacations, spring break, lunch on the patio, or an afternoon in the park. You’ll want to bring one (or all!) of these great new books.

So let’s start here: What are you up for? How about a great new novel?

If you’re a mystery fan, you’ll want to make reservations to visit “Disaster Gay Detective Agency” by Lev AC Rosen (Poisoned Pen Press, June 2). It’s a whodunit featuring a group of gay roommates, one of whom is a swoony romantic. Add a mysterious man who disappears and a murder, of course, and you’ve got the novel you need for the beach.

Don’t discount young adult books, if you want something light to read this spring. “What Happened to Those Girls” by Carlyn Greenwald (Sourcebooks Fire, June 30) is a thriller about mean girls and a camping trip that goes terribly, bloodily wrong. Meant for teens ages 14 and up, young adult books are breezier and lighter fare for the busy grown-up reader.

If you loved “Boyfriend Material” and “Husband Material,” you’ll be eager for the next installment from author Alexis Hall. “Father Material” (Sourcebooks Casablanca, June 2) takes Luc and Oliver to the next step. First was dating. Then was marriage. Is it time for the sound of pitter-patter on the kitchen floor?

Maybe something even lighter? Then how about a book of essays – like “The Terrible, Horrible, No Good, Very Bad Gay” bycomedian and writer Eliot Glazer (Gallery Books, Aug. 11). It’s a book of essays on being gay today, the irritations, the joys, and fitting in. Be aware that these essays may contain a bit of spice – but isn’t that what you want for your reading pleasure anyhow, hmmm?

But okay, let’s say you want something with a little more heft to it. How about a biography?

Look for “Transcendant” by Laverne Cox (Gallery Books, June 9), or “Kids, Wait Till You Hear This” by Liza Minnelli (Grand Central Publishing, March 10), and “Every Inch a Lady” by Audrey Smaltz with Alina Mitchell (Amistad, July 14). Keep your eyes open for “Without Prejudice: My Life as a Gay Judge” by Harvey Brownstone (ECW Press, May 26) or “The Double Dutch Fuss” by Phill Branch (Amistad, June 2).

Then again, maybe you want some history, or something different.

So here: look for “Queer Saints: A Radical Guide to Magic, Miracles, and Modern Intercession” by Antonio Pagliarulo (Weiser, June 1) for a little bit of faith-based gay. Music lovers will want “Mighty Real: A History of LGBTQ Music, 1969-2000” by Barry Walters (Viking, May 12). Activists will want “In the Arms of Mountains: A Memoir of Land, Love, and Queer Resistance in Red America” byformer Idaho state Sen. Cole Nicole LeFavour (Beacon Press, May 26).

And if these books aren’t enough, then be sure to check with your favorite bookseller or librarian. They’ll have exactly what you’re in the mood to read. They’ll find what you need for that patio, beach towel, or easy chair.

Music & Concerts

Gaga, Cardi B, and more to grace D.C. stages this spring

Shake off your winter doldrums at a local concert

Published

51 minutes ago

March 13, 2026

Evan Caplan

Lady Gaga plays Capital One Arena on March 23. (File photo courtesy of Might Real Agency)

D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.

March

3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.

3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.

April

4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”

4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.

4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.

4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”

4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.

4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.

4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.

4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.

May

5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.

5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.

5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.

5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.

June

6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.

Television

Spring’s best in queer TV and film

Miranda Priestly the highlight of a slow season

Published

1 day ago

March 12, 2026

John Paul King

Meryl Streep, Anne Hathaway, and Stanley Tucci return in ‘The Devil Wears Prada 2’ opening on May 1. (Image courtesy of 20th Century Studios)

It’s surely a sign of the times that this year’s spring preview of upcoming screen entertainment doesn’t hold nearly as much boldly out-and-proud queer content as we would like – but then again, there are only a small handful of noteworthy titles overall – especially on the big screen, where, just like any year, the top-grade content is being saved for summer.

Even so, we’ve managed to put together a list of the movies and shows on the horizon that offer a much-needed taste of the rainbow; a mix that includes returning favorites, “don’t-miss” events, and a few promising big screen crowd-pleasers, it should keep you occupied until the summer season brings a fresh new crop of (hopeful) blockbusters with it.

Scarpetta (Prime Video, March 11). Proving once again that she’s on a quest to accumulate more screen appearances than any other actor in history, Nicole Kidman returns for another star turn by way of this true-crime-ish mystery series, adapted from the bestselling “Kay Scarpetta” novels by lesbian author Patrica Cornwell, as a “brilliant and beautiful” forensic pathologist who uses her knowledge to solve murders. If that’s not enough to draw you in, her co-stars include fellow Oscar-winners Jamie Lee Curtis (as her feisty older sister) and Ariana DuBose (as her nosy lesbian niece), as well as Bobby Cannavale and Simon Baker.

It’s Dorothy! (Peacock, March 13). Filmmaker Jeffrey McHale first won our attention with his fun and insightful “Showgirls” documentary, and now he’s back with a look at perhaps the ultimate queer icon in popular culture: none other than Dorothy Gale, that Kansas farm girl who taught us all that “there’s no place like home” in L. Frank Baum’s classic novel “The Wonderful Wizard of Oz” and its sequels – and of course, in a certain movie adaptation starring Judy Garland. Charting the journey of the fictional heroine across a century of cultural reiterations – on the page, the stage, the screen, and beyond – with a mix of archival material, artistic interpretations, and commentary from queer and queer-friendly voices such as John Waters, Rufus Wainwright, and Lena Waithe, it’s sure to be required viewing for every “Friend of Dorothy” – and all of their friends, too.

The 37th Annual GLAAD Media Awards (Hulu, March 21). Sure, it’s already happened and you already knew (or can find out with a few quick taps of your phone screen) who and what the winners were – but, hey, we already know that the Oscars aren’t going to offer much in the way of queer victories (since there are only a small handful of queer nominees), so why not plan to watch the GLAAD ceremony (recorded live on March 5 for later streaming)?

The Comeback: Season 3 (HBO Max, March 22). Another returning gem is this inventive “mockumentary” style sitcom-about-a-sitcom, starring Lisa Kudrow as a “B-list” television star trying to revive her own faltering career. Slow to catch on in its first season (which originally aired in 2005), it won acclaim (and new fans) when it was rebooted in 2014 by Kudrow and collaborator/co-creator Michael Patrick King (former executive producer of “Sex in the City,” and now returns after a 12-year hiatus for another installment, which tracks “never-was” has-been Valerie Cherish through yet another attempt to make stardom happen. If you like cynical, sharp-edged satire, especially when it’s aimed at the behind-the-scenes world of show-biz, then you’ve probably already discovered this one – but if you haven’t, now’s your chance to jump on board.

Heartbreak High: Season 3 (Netflix, March 25). Fans of this imported Australian teen “dramedy” series – itself the “soft reboot” of another popular Australian series from the ‘90s – will be thrilled for the arrival of its third and final installment, which picks up where it left off in the lives (and sex lives) of the students and teachers of a suburban high school. As always, it can be expected to push the envelope (and some buttons) with its irreverent treatment of issues of class, race, and sexuality – and to deliver another season’s worth of the colorful and striking costume designs that have been acclaimed as a highlight of the show. And yes, it includes a refreshingly significant number of variously queer characters, so if you’re not already on board with his hidden gem of a streamer, we suggest you should give it a shot – you can probably even catch up on the first two seasons before this one drops.

Pretty Lethal (Prime Video, March 25). Fresh from a March 13 debut at the SXSW Film and TV Festival, this girl-power fueled action thriller from director Vicky Jewson and writer Kate Freund centers on a troupe of ballerinas who, while en route to a prestigious ballet competition, are stranded by a bus breakdown and must take shelter at a remote roadside inn run by Uma Thurman as a ruthless crime boss. Needless to say, the girls are forced to adapt their dance prowess into combat skills before the night is over. With a cast that includes Maddie Ziegler, Lana Condor, Avantika, Millicent Simonds, and Michael Culkin, our bet is that it’s sure to be campy fun with a feminist twist.

Forbidden Fruits (Theaters, March 27). Adapted from the play “Of the woman came the beginning of sin, and through her we all die” by Lily Houghton (who co-wrote the screenplay with director Meredith Alloway), this comedy/horror film about a group of young witches who operate a “femme cult” out of the basement of a mall store called “Free Eden” looks like another campy treat, full of witchy wiles and bitchy rivalries, but something about its theatrical pedigree tells us it will also be more than that. Even if we’re wrong, though, we’ll be perfectly happy; why would anyone say no to a delicious piece of camp, especially when it has a cast led by Lili Reinhart, Lola Tung, Victoria Pedretti, and Alexandra Shipp, with creator/influencer Emma Chamberlain in her film debut and heavyweight talent Gabrielle Union thrown in for good measure? We’re ready to join the coven.

Club Cumming (WOW Presents Plus, March 30). Queer icon Alan Cumming (currently riding high as host of “The Traitors”) takes us inside his NYC East Village gay bar, nightclub, and showplace for a behind-the-scenes reality series that spotlights the talent, fashion, and fabulously queer vibe that makes the establishment one of queer New York’s most iconic nightspots. Cabaret singer Daphne Always, go-go dancer and drag performer Michelle Wynters, Drag queen Brini Maxwell, Drag king Cunning Stunt, and Comedian Jake Cornell are among the many reasons why this little slice of the queer New York scene is reason enough alone to become a subscriber to World of Wonder’s streaming platform – though if you’re a “Drag Race” superfan, chances are good you already are.

The Boys: Season 5 (Prime Video, April 8). Amazon’s violent superhero satire, complete with its divisive and deliciously challenging emphasis on queer storylines and its in-your-face caricature of contemporary American “culture war” politics, returns for its fifth and final season, along with all the thorny issues of racism, nationalism, and xenophobia it has showcased all along, and an ensemble cast that includes Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, and the rest of the usual players. A decidedly queer-informed game-changer in the mainstream fan culture, it’s a show that will be sorely missed – but with several spin-offs already in existence (including the even-queerer “Gen V”) and another (“Vought Rising”) on the way, we can take comfort in knowing that its influence will live on.

Euphoria: Season 3 (HBO Max, April 12). The controversial Sam Levinson-created drama that is HBO’s fourth most-watched series of all time is back after a lengthy hiatus, rejoining the lives of its dysfunctional characters – queer struggling addict Rue (Zendaya), trans teen Jules (Hunter Schafer), abusive sexually insecure football star Nate (Jacob Elordi), and the rest – a full five years later, away from the social traumas of high school and settled into what we can only assume is an equally-dysfunctional life as young adults. Renowned for its cinematic visual styling and its no-holds-barred treatment of “triggering” subject matter, this long-awaited return is likely to be at or near the top of a lot of watchlists – and ours is no exception.

Mother Mary (Theaters, April 17). One of the most promising (and queerest) offerings of the season is this psychological thriller set in the world of pop music, helmed by acclaimed filmmaker David Lowery (“A Ghost Story,” “The Green Knight”) and starring Anne Hathaway (“The Devil Wears Prada,” “Les Misérables”) as a pop singer who becomes entwined in a twisted affair with fashion designer Michaela Cole (“I May Destroy You,” “Black Earth Rising”). Besides its two queer-fan-fave stars, it features trans actress Hunter Schafer (“Euphoria”), FKA Twigs, and Jessica Brown Findlay (“Downton Abbey”) in supporting roles, and to top it all off, it includes a soundtrack full of original songs. With a celebrated director behind it and an award-winning pair of leading ladies, this one has all the potential of a future classic.

The Devil Wears Prada 2 (Theaters, May 1). Meryl Streep is back as Miranda Priestley, need we say more? We know the answer to that is “no,” but we still need to remind you that Anne Hathaway, Emily Blunt, and Stanley Tucci are all part of the deal, too, as this hotly anticipated sequel hits the screen just ahead of the summer rush. Along for the ride are Kenneth Branagh, Justin Theroux, Lucy Liu, B.J. Novak, Conrad Ricamora, Sydney Sweeney, Rachel Bloom, Donatella Versace, and Lady Gaga herself. We trust that will be sufficient to ensure that you will show up on opening day – dressed accordingly, of course.

The Sheep Detectives (Theaters, May 8) Rounding out our roundup with a fun-for-the-family treat that blends live action with animation for an inter-species “whodunnit” with an all-star array of talent, this adaptation of Leonie Swann’s 2005 novel “Three Bags Full” centers on a flock of sheep as they attempt to solve the murder of their beloved shepherd. Boasting onscreen performances from Hugh Jackman, Emma Thompson, Nicholas Braun, Nicholas Galitzine, and Molly Gordon, along with character voices provided by Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Brett Goldstein, and Rhys Darby, this one might be just the kind of lightweight entertainment we all need as we move deeper into the confounding year of 2026.

And if not, stay hopeful – the films and shows of summer will be here soon enough.