This Sunday evening, the most illustrious of award ceremonies will try an edition produced by Steven Soderbergh and entirely remodeled against the backdrop of falling audiences, rooms that are barely reopening and platform supremacy.
A few days before the Oscars ceremony, which will take place on the night of Sunday to Monday in our time zone, the scenario of a show different from previous years is becoming clearer. But does anyone still have something to do with it? The question was asked by the New York Times this week, as the academy struggles to spray the ads to turn things up. Already declining before the pandemic, Oscar audiences could experience the same fate as grammy awards and golden globes, down more than 50% this year.
Blame it on the insoluble specifications of ceremonies under sanitary constraints – where we could find the sanitizing aesthetics of videoconferences applied to barnums in Prada attire. “For the Oscars, you will be kind to sell a little more dream”, informed the organization by issuing its new directives: please forget the webcam, give up long-distance speeches and put an end to the “Casual outfits” (Jodie Foster and other people in pajamas from previous ceremonies will recognize each other). Atmosphere.
If he has expressed a wish to remain in his Wales, it is not known what pressure is being placed on poor Anthony Hopkins, 83, to take off his slippers and jump in a jet with all matters ceasing in the event where he would win the Oscar for best actor for The Father. Along with Los Angeles, London will indeed be one of the “satellite” places where the nominees will shoot their segments in front of the cameras. But the evening will be epicenter of Union Station in LA, where a sophisticated system of guest turnover will ensure never to exceed the capacity of 170 people.
Digital ubiquity puzzle
After a year spent away from theaters, and spent the fun of scrutinizing the interiors of celebrities in front of their webcams, the total abstraction of charts decorrelated from the experience of the big screen would have got the better of the collective interest in the awards ceremony. . However, we could not be more connected than the generalization of entertainment on the sofa over the past twelve months and the list of nominations, dominated by streaming platforms (the Chicago Seven and Mank on Netflix, Nomadland invisible with us but on Disney + in the United States, Sound of Metal distributed there by Amazon Prime…). Still someone would have to have heard of Mank, jewel in the crown for Netflix (ten nominations) but of which only 18% of “regular viewers” suspect the existence according to a survey by Guts + Data.
A disaffection increased tenfold by the growing taste (and a little demago) of the winners for progressive speeches, according to the Times. An anonymous producer reports that the drop in audience ratings can be observed in real time as soon as a star takes pride in politics by receiving his trophy. To orchestrate this digital ubiquity puzzle, make a long TV show sexy like “864 TikTok videos” and to make it seem child’s play, it took a director like Steven Soderbergh, project manager of this 93rd edition, whom he swears unforgettable. The show must go on.
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Nothing to square the Oscars?