The idea of a newly married (maybe pregnant?) Taylor Swift showing up at the Oscars with Travis Kelce as she wins, maybe her first Oscar for the new song for Toy Story 5, I would imagine Oscar ratings would soar. But if you fold in a universally popular film like Project Hail Mary and Ryan Gosling, maybe winning an Oscar for it? Now, you have something very, very big. Unsinkable, one might say.
I know we’re getting ahead of ourselves, but honestly, it seems fairly likely Taylor Swift will be in a can’t-lose situation with her new song:
She also played the song at the Toy Story 5 Premiere in Los Angeles, and did a duet with Randy Newman:
Taylor Swift also became the youngest songwriter (female) inducted into the Songwriter’s Hall of Fame, introduced by Steven Spielberg:
The hopes might be that Toy Story 5 would find its way into the Best Picture race. An animated feature only happened twice before, back when there were 10 nominees the first time in the modern era (2009-2010). Up and Toy Story 3. The idea that ten nominees in Best Picture might open the door to animated has now become a dream deferred because the new Academy members are mostly international voters and aren’t as invested in the American film industry. So it’s hard to imagine this crowd putting down enough number-one votes for an animated movie, no matter how successful it is.
The film go mostly positive to mixed reactions on X since the junket whores were brought out to see the premiere:
Toy Story 5, like all Disney/Pixar content and all of Hollywood, has become decidedly feminized. And here, there is a cautionary tale for youngsters: your cell phones are destroying your lives. Fact check true. There might be no coming back for that, but this film, like all Hollywood films, has to project goodness. It isn’t so much about a universal story of loving your toys as about replacing toys with technology — and maybe that elevates it slightly above the usual contender. Maybe.
Either way, Taylor Swift’s song will be a major player in the Oscar race, and will boost the film’s profile and box office overall – though it should make a lot of money regardless. Needless to say, the Swiftie fanbase will show up, boosting the Oscar ratings, whether that still matters to anyone or not.
Taylor Swift has taken a side politically, because you kind of have to in this climate. She gets harassed anyway but for the most part, her music is still universally beloved, even if the entire Left demands that the only people who are allowed to partake in “their” culture are those who are ideologically compliant. Here are a few examples:
Jimmy Kimmel’s night monologue is a ritual leg humping of the Commander in Chief wherein Kimmel gives his sadistic and obsessed audience their Two Minutes of Hate every single night and they love him for it. He was last seen celebrating Spencer Pratt losing the election in Los Angeles and offering to help him leave the city. That is pretty much how they roll on the Left. You are only welcome if you love Big Brother and even then, you’re under constant pressure to obey the strident rules of utopia or else.
Jerry Seinfeld, Gwyneth Paltrow, and Helen Mirren have been persecuted by the mob for their low-key support of Israel. The Good People of the Left love hunting down “Zionists” and persecuting them by calling them Nazis. You’ll recall Jonathan Glazer suggesting Israel was the “Zone of Interest” with its war in Gaza, proving his ignorance — and the entire industry’s ignorance — as to what happened during World War II and the Holocaust. But let’s not have THAT conversation.
The bottom line is that politics still defines the film industry and the left writ large to the point of near self-destruction. Project Hail Mary is one of the very few bright spots that dared to make a film anyone could go watch. Do I expect the new voters in the Academy, much less the exceedingly woke film critic and blogger hive mind, will embrace it the way they should? No. I do not. They should, but they won’t, and honestly, after urging them to abandon their insular fanaticism for many years, I’m mostly out of moves.
What Project Hail Mary did that most movies made now do not do is open its doors to the half of the country most of our culture shuns or demonizes. Most people who cover the Oscars or are interested in them don’t care. They’re villains to them. They don’t go along with their ideology, so they’re not welcome, but if it’s me, Project Hail Mary is the frontrunner right now.
On our podcast we talked about what the “woke movie” would be that might win Best Picture. Thus far, two movies since 2020 has managed to win without being what we call “woke,” which is a movie that is rooted mostly in the identity hierarchy. Your identity matters more than the universal story told.
The Oscars in the Trump eras have been interesting. I hope to write a book about it if I can ever get my shit together. But it goes something like this:
2008 — Barack Obama becomes the first Black President of the United States – and it changes the world. He becomes not just a whole religion but a God-like figure that influences all aspects of American culture. Namely, the “high” from making history with “firsts.” And that led to:
2009–first woman to win Picture, Director
2010 — A movie about a King with a stutter.
2011 — The Artist—a movie about a fading silent-film star.
2012–Argo — Ben Affleck gets snubbed for Director and sweeps the season.
2013–12 Years a Slave – first film by a Black director to win Best Picture (first film about slavery to win since Gone with the Wind). Alfonso Cuaron makes history as the first Mexican to win Best Picture.
2014 — Birdman—the first Mexican director to win Best Picture and Best Director.
–OscarsSoWhite–
2015-Spotlight wins just two Oscars, and Inarritu wins his second Oscar.
2016 — Moonlight defeats La La Land in the first year of the Trump presidency, as the industry feels a major vibe shift, to put it mildly. La La Land was deemed “racist,” and activists like Mark Duplass and Rod Lurie encourage voters to choose Moonlight instead, as it’s more “important.” Mass hysteria takes hold.
2017–The Shape of Water defeats Three Billboards Outside Ebbing, Missouri (which was deemed “racist”). Guillermo Del Toro, the final three of the “Three Amigos” wins Picture and Director.
2018–Green Book’s success causes a massive Civil War between activists screeching about racism and homophobia while everyone else just thinks it’s a warm-hearted film about an unlikely friendship. Green Book wins, everyone loses their shit. Alfonso Cuaron wins his second Best Director Oscar.
2019–Parasite spares the Academy negative headlines with all-white winners by becoming the first International Feature—or first South Korean film — to win.
2020-Trump loses election as Nomadland sweeps the COVID-crippled season, handing the win to the first woman of color—Chloé Zhao—for Picture and Director.
2021–CODA becomes the first streaming film to win Best Picture, the first film with a predominantly deaf cast.
2022–Everything Everywhere All At Once — first film with a predominantly Asian cast to win, beating Top Gun Maverick, the movie everyone went to see and helped save Hollywood.
2023–Oppenheimer wins.
2024–Anora wins.
2024–Trump wins again. One Battle After Another becomes the Peak Woke masterpiece that speaks to the emotional turmoil within the ruling class.
Throughout this era, the Academy added about 3,000 new members who were mostly international, non-white, and non-male. This, more than anything, has fundamentally changed how the Academy votes, making them much more likely to go along with the hive mind than before.
The message from the industry, per high-status influencers of the Left, like Jimmy Kimmel and Bradley Whitford, is KEEP OUT.
This has been catastrophic for the industry and for the country. America was not designed to live this way. For guys like Kimmel and Bradley Whitford, the American people no longer matter. What matters is their place, their status, their degrees of separation from Barack Obama, the leader of the movement and still the leader of the Democratic Party. As they lean in to leaders like Zohran Mandani and Graham Platner, they become more extreme, not less, more exclusive, not less.
And that brings me to Disclosure Day. It is now predicted to “open soft” in the US. It is not an event movie. It is not a movie for everybody, but nor is it a “woke” movie or a preaching, political movie. It is more than Hollywood has successfully alienated millions of people, in fact, who voted for Trump. Even if someone like Steven Spielberg isn’t overtly political, they have turned what was an industry that entertained audiences into something like a church, where we go to worship and absolve ourselves of our sins, etc.
However you slice it, this is the bed Hollywood made for itself, even if there is hope on the horizon in the horror genre – largely because it exists outside the clutches of the activists. These filmmakers found a different way in rather than the usual pipeline.
I know people hate hearing this or hate me saying it, and certainly don’t agree with it. They’ll use it as a launching pad to hurl yet more abuse my way, but the simple fact is that churches and totalitarian societies make for bad movies. It’s really as simple as that. I don’t exactly agree with Tarantino on Kevin Costner’s movie, but I grok his overall point. What we need is a much freer, more open culture so that subversive or interesting storytelling can thrive.
All of this to say that Hollywood and the Oscars will have a chance this year with Project Hail Mary and Taylor Swift to open their arms — or at least lower the drawbridge — to drop the politics for once and remember that totalitarianism suffocates art. Hope springs eternal.
And since I have you here, these are my fake, based in no kind of reality, predictions. I won’t even show you my predictions from last year since I was so awash in denial that what was happening wasn’t really happening and it’s likely to be the same this year so take it with a grain of salt — like a whole beach full.
Best Picture
Project Hail Mary
The Odyssey
Wild Horse Nine
Dune Part Three
Fjord
The Black Ball
The Adventures of Cliff Booth
Behemoth
No One cares
Director
Phil Lord, Christopher Miller, Project Hail Mary
Christopher Nolan, The Odyssey
Christian Mungiu, Fjord
David Fincher, The Adventures of Cliff Booth
Javier Ambrossi, Javier Calvo, the Black Ball
Actress
Julianne Moore, No One Cares
Renata Reinsve, Fjord
Michelle Williams, A Place in Hell
Sandra Huller, Fatherland
Cynthia Erivo, Prima Facie
Actor
Ryan Gosling, Project Hail Mary
Tom Cruise, Digger
Sebastian Stan, Fjord
John Malkovich, Wild Horse Nine
Jaafar Jackson, Michael
And that’s about it for today. And that’s enough for today.
-----------------------
By: Sasha Stone
Title: 2027 Oscar Predictions: Can Taylor Swift and Ryan Gosling Save the Oscars?
Sourced From: www.awardsdaily.com/2026/06/12/2027-oscar-predictions-can-taylor-swift-and-ryan-gosling-save-the-oscars/
Published Date: Fri, 12 Jun 2026 21:15:05 +0000
