6 Actors Who I Hope Will Win An Oscar In The Next Ten Years


Ethan Hawke

I should begin by saying that there’s a good chance that Ethan Hawke will win an Oscar later tonight.  He’s been nominated for Blue Moon.  When this Oscar season began, he was definitely the front runner.  As of late, the momentum seems to have shifted toward Michael B. Jordan or perhaps Timothee Chalamet but still, one should not totally discount Hawke’s chances.  If Hawke does lose tonight, I have no doubt that he will be nominated in the future and eventually, he will win.  It’ll be long overdue.  As you can probably guess by the picture at the start of this post, I’m one of those people who thinks that he definitely should have won for Boyhood.

Colin Farrell

Colin Farrell finally received his first Oscar nomination for The Banshees of Inisherin but he lost the award to Brendan Fraser.  Farrell is not an actor who has always gotten the respect that he deserves.  Especially early in his career, he was often miscast.  Much like Matthew McConaughey, he was often dismissed as just being a pretty boy until he met a director — in this case, Martin McDonagh — who truly understood how to best utilize Farrell’s screen presence.  As In Bruges, Banshees and The Penguin showed, Farrell is essentially a character actor in a leading man’s body.  My hope is that Farrell will win his first Oscar between now and 2036 and that he’ll give a memorable acceptance speech.

Brendan Gleeson

Speaking of The Banshees of Inisherin, how does Brandan Gleeson only have one Oscar nomination to his name?  Now, to be clear, I don’t begrudge the fact that Gleeson lost to Ke Huy Quan.  Quan had a wonderful personal story, gave the best performance in the overrated mess that was Everything Everywhere All At Once, and his acceptance speech was truly touching.  That said, my sincere hope is that the Academy understands that Gleeson is long overdue an Oscar.  Hopefully, that will be corrected soon.

Kurt Russell

Kurt Russell is one of those actors who I just can’t believe has never been nominated.  In a few days, Kurt Russell will be turning 75.  He’s been a popular actor for most of his life but he’s not getting any younger.  So, get with it, Academy!  I don’t care what his next film is.  I don’t care how big the role is.  Give Kurt Russell his Oscar!

Tom Cruise

Tom Cruise has had an interesting career.  He went from being a teen idol to a character actor to a somewhat disreputable celebrity to finally reemerging with the Mission Impossible films as one of our last true movie stars.  One need only watch Top Gun: Maverick to see the type of charisma that we’re going to miss once it’s gone.  Later this year, Cruise will be starring in Digger.

Sylvester Stallone

Seriously, how many times does this man have to play Rocky and Rambo before the Academy finally gives him the award that everyone secretly wants him to win?  Give Stallone his Oscar!

6 Directors Who I Hope Will Win An Oscar In The Next Ten Years


David Lynch died without ever having won a competitive Oscar.  He was nominated three times, once for a movie that was also nominated for Best Picture.  He was given an honorary award before he died.  But he never won the Oscar for Best Director.

When it comes to the Oscars, we always talk about artists who are “overdue” and we often suggest that they’ll win with their next major release.  But life and art are both unpredictable.  Indeed, even when a past due director does win an Oscar, it’s often for a lesser film.  George Cukor directed many charming films but he only won one Oscar and that was for the leaden My Fair Lady.

Here are my picks for six directors who I hope will win an Oscar in the next ten years.  Some are overdue.  Some are just underrated.  All of them are deserving.

Richard Linklater

Richard Linklater had a great 2025.  Blue Moon resulted in an Oscar nomination for Ethan Hawke.  Nouvelle Vague swept the Cesars.  He’s widely viewed as one America’s best and most independently-minded directors.  And yet, he’s only once been nominated for Best Director, for Boyhood.  That Linklater lost that Oscar to Alejandro Gonzales Inarritu is a true injustice.  Linklater is one of those directors who vision may be too idiosyncratic for the Academy but I remain hopeful that he will get his Oscar.  He’s currently directing Merrily We Roll Again, with filming set to wrap up in 2040.  That’s a long wait but I look forward to reviewing it.

Joseph Kosinski

With Top Gun: Maverick and F1Kosinski has emerged as one of the best directors of action around.  Both Top Gun: Maverick and F1 were satisfying films that were not ashamed of being works of adrenaline-pumping excitement.  Both were nominated for Best Picture but Kosinski has yet to receive a Best Director nomination.  I hope that changes soon.

David Fincher

It’s amazing to realize that David Fincher still doesn’t have an Oscar.  He’s one of the most influential directors around.  Much as with David Lynch, a lot of aspiring filmmakers have tried to imitate Fincher but David Fincher really is the only one who can do what he does.  2026 will see the release of The Adventures of Cliff Booth and it will be interesting to see how Fincher continues the story started by Quentin Tarantino in Once Upon A Time In Hollywood.

Quentin Tarantino

To be honest, I suspect that Quentin Tarantino is never going to win a Best Director Oscar.  He’s talented, he’s beloved by a large number of film fans, and he also has a real talent for burning bridges and ticking people off.  If you’re a director who happens to be a friend of Paul Dano’s, you’re probably never going to vote for Tarantino.  That said, I have my doubts as to whether or not Tarantino really cares about the Oscars.  His favorite films are the ones that don’t win Oscars.  I personally would enjoy hearing his acceptance speech.

Andrea Arnold

I have been a fan of Andrea Arnold’s ever since I saw Fish Tank at the Dallas Angelika in 2010.  This British director has only directed five feature films since 2006 but she’s still one of the best filmmakers out there, capturing life on society’s fringes with an empathy that never feels condescending.

Sofia Coppola

Sofia is a perennial on these lists and I’ll keep including her until she finally wins her Oscar. No one captures the beauty of ennui with quite the skill and visual flair of Sofia Coppola.

 

My Oscar Predictions


 

Okay, let’s do this!  Here are my predictions of what will win at the big show tonight!

Best Picture — Sinners

Best Directing — Ryan Coogler, Sinners

Best Actor — Michael B. Jordan, Sinners

Best Actress — Jessie Buckley, Hamnet

Best Supporting Actor — Delroy Lindo, Sinners

Best Supporting Actress — Wunmi Mosaku, Sinners

Best Original Screenplay — Sinners

Best Adapted Screenplay — One Battle After Another

Best Animated Feature — Zootopia 2

Best Casting — Sinners

Best Production Design — Frankenstein

Best Cinematography — Train Dreams

Best Costume Design — Frankenstein

Best Film Editing — Sinners

Best Makeup and Hairstyling — Frankenstein

Best Sound — F1

Best Visual Effects — F1

Best Original Score — Sinners

Best Original Song — Golden from KPop Demon Hunters

Best Documentary Feature — The Perfect Neighbor

Best International Feature — The Secret Agent

Best Animated Short — The Retirement Plan

Best Documentary Short — Armed Only with a Camera: The Life and Death of Brent Renaud

Best Live Action Short —  Jane Austen’s Period Drama

Welcome To Oscar Sunday!


Audrey Hepburn and her Oscar, in happier times

Welcome to Oscar Sunday!

Today is practically a holiday for me.  As someone who loves movies and who also loves award shows, the Oscar Ceremony is an important annual event.  I really don’t feel like the previous year is over until the Oscars have been handed out.  For me, I won’t truly be able to move on from 2025 and really plunge into 2026 until the award for Best Picture is handed out.

We’ll be here, the TSL crew, watching the show and rooting for our favorite films!  We’ll be posting all the winners, maybe a few reviews, and I’ll be tossing out some Oscar thoughts throughout the day.

Enjoy Oscar Sunday!  May we all be as happy as Audrey Hepburn was when she won her Oscar for Roman Holiday!

Scene that I Love: The Opening Of The Oscar


Happy Oscar Sunday!

Today’s scene that I love come from the classic Hollywood melodrama, 1966’s The Oscar!

Behold the glory that was Hollywood!

Actually, this film makes Hollywood look pretty low-rent.  Hopefully, though, this will be Frankie Fane’s year.  He’s paid his dues.  Who else are they going to give it to?  Frank Sinatra?

4 Shots From 4 Films: Special David Cronenberg Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, the Shattered Lens wishes a happy birthday to one of our favorite directors, David Cronenberg!  No one has done more to change the way that the world views Canadian cinema than David Cronenberg.  In honor of the man, his films, and his legacy, here are….

4 Shots From 4 David Cronenberg Films

Scanners (1981, dir by David Cronenberg, DP: Mark Iwrin)

Videodrome (1983, dir by David Cronenberg, DP: Mark Irwin)

The Dead Zone (1983, dir by David Cronenberg, DP: Mark Irwin)

Naked Lunch (1991, dir by David Cronenberg, DP:Peter Suschitzky)

 

Music Video of the Day: Talk About Love by Kate Hudson (2024, dir by Kimberly Stuckwisch)


Today’s music video of the day features two-time Oscar nominee, Kate Hudson!  A lot of people have been a little snarky about Kate’s nomination for Song Sung Blue.  Personally, I think her performance was great and the nomination was more than deserved.  I wish her all the best of luck tonight!

Enjoy!

Lisa Marie’s Week In Televison: 3/8/26 — 3/14/26


American Love Story: John F. Kennedy and Carolyn Bessette (FX)

This week, I watched the first three episodes of American Love Story.  Ryan Murphy is only an executive producer on this one but it is still very much shows his touch.  The first two episodes were okay.  The third episode was self-indulgent and felt like it could have just been 15 minutes without losing anything.  In the lead roles, Sarah Pidgeon and Paul Anthony Kelly are two good-looking blanks.  Daryl Hannah has spoken out about how she’s been portrayed in the miniseries and she has every right to be angry.  My main issue with Ryan Murphy’s history lessons is that so many people accept them at face value without doing their own research.

Friends Like These: The Murder of Skylar Neese (Hulu)

I watched this three part crime docuseries on Sunday.  It told the story of Skylar Neese, a teenage girl who was brutally murdered, for no apparent reason, by her two best friends.  Though I had heard the story before, this was still sad and disturbing to watch.  While one of the murderers did seem to have some guilt afterwards, the other has shown zero remorse.  You really have to wonder what is happening inside some people’s minds.

Houses of Horror: Secrets of College Greek Life (Hulu)

I watched three episodes of this rather sordid docuseries on Thursday.  My favorite was the fraternity that was apparently a front for a drug running operation.

Rollergames (YouTube)

On Friday, Jeff and I hung out with our friend Pat and Dani and we watched an episode of this 90s roller derby show.  It was amusing, even if I had no idea what was actually going on for the majority of the show.  This could very well be a future Retro Television Review.

The Simpson (Disney+)

Poochie died on his way back to his home planet.

Top of the Pops (YouTube)

Jeff, Pat, Dani, and I watched an episode of this after Rollergames.  Fortunately, Jimmy Saville was not hosting.

One Piece: Into the Grand Line (Season 2, Episode 3 “Whiskey Business”) Review



“I still have a long way to go to get to his level. That’s what the journey’s all about.” — Roronoa Zoro

One Piece season 2 is building serious steam, and episode 3, Whiskey Business, delivers a thrilling payoff after the previous episode’s quieter, more tragic tone centered on fan-favorite Laboon’s bittersweet backstory. While that installment leaned into emotional depth with less chaos, this one explodes into the Grand Line’s wild unpredictability as the Straw Hats wash up on Cactus Island, stepping into the deceptive oasis of Whiskey Peak amid the region’s bizarre “cyclone of seasons”—sweltering heat one moment, flurries the next. Luffy’s unshakeable optimism shines as he greets quirky newcomers like Mr. 9 and Miss Wednesday, setting up the intrigue that defines this arc. It’s a smart move to blend character beats with rising tension early on, reminding viewers why this crew clicks so effortlessly.

The episode wastes no time establishing Whiskey Peak as a deceptive paradise, a cactus-riddled town on Cactus Island that lures in pirates with open arms and flowing booze. The locals throw an over-the-top welcome party for the Straw Hats, complete with cheers and toasts that feel genuine at first glance. Luffy, ever the glutton for fun, dives right in, scarfing down food while bonding with the quirky newcomers—Miss Wednesday’s poised charm and Mr. 9’s bumbling bravado add fresh dynamics to the mix. Usopp and Sanji get their moments to shine too, with Usopp spinning tall tales that endear him to the crowd and Sanji whipping up dishes that steal the show. These lighter scenes ground the episode, highlighting the crew’s camaraderie before the rug-pull hits.

Then comes the turn, and it’s handled with precision. Zoro, still haunted by his loss to Mihawk, picks up on the off vibes during a tavern scuffle, sniffing out the trap laid by Baroque Works agents masquerading as friendly townsfolk. What follows is the episode’s crown jewel: a brutal, multi-tiered brawl where Zoro faces off against a hundred foes in a stunning set piece. The stunt work is top-tier, choreographed to feel relentless yet stylish, with Zoro’s three-sword style cutting through waves of attackers like a whirlwind. It’s not just mindless action; flashes of his internal struggle—Mihawk visions fueling his drive—add emotional weight, making his dominance feel earned rather than flashy for flashy’s sake. The production design elevates it all, turning Whiskey Peak‘s ramshackle buildings into a vertical battlefield that pops on screen.

Nami’s sharp instincts pair perfectly with Zoro’s blade work, as she uncovers the agents’ hidden weapons and signals the crew to snap out of their stupor. Sanji and Usopp jump into the fray too, their fights more scrappy but no less entertaining—Sanji’s kicks land with precision, while Usopp’s slingshot tricks show his resourcefulness under pressure. Luffy, true to form, stays mostly out of the melee, prioritizing his gut feeling about Miss Wednesday and Mr. 9, which plants seeds for future alliances. This balanced distribution of heroics keeps the episode from relying solely on one star, though Zoro undeniably carries the combat load.

Baroque Works emerges as a credible threat here, their numbers and coordination hinting at a larger syndicate without overwhelming the runtime. Mr. 9’s failed leadership and Miss Wednesday’s hidden agenda tease deeper lore, while the mayor Igaram’s reveal as Mr. 8 adds a layer of betrayal that stings. The episode smartly foreshadows bigger players like Miss Valentine and the enigmatic Mr. 0, building tension for the season without spoiling the payoff. It’s a fair adaptation choice, condensing the Whiskey Peak arc to heighten pacing while preserving Eiichiro Oda’s themes of deception and loyalty.

Emotionally, Whiskey Business punches above its weight. The crew’s kindness amid the carnage—sparing lives where possible—reinforces their pirate ethos, contrasting Baroque Works’ ruthless efficiency. A poignant beat with Vivi (Miss Wednesday’s true identity subtly emerging) tugs at heartstrings, her conflict over duty and friendship feeling authentic in the actors’ hands. Iñaki Godoy’s Luffy remains a beacon of joy, his infectious laugh cutting through the violence, while Mackenyu’s Zoro conveys quiet intensity that hints at growth ahead. The supporting cast nails their roles too; the Baroque agents’ over-the-top designs and quirks make them memorable cannon fodder rather than bland goons.

Visually, the episode impresses across the board. Cactus Island’s stark landscapes, from sun-baked dunes to the town’s mechanical underbelly, blend CGI with on-location shots seamlessly. The Grand Line’s “cyclone of seasons”—sweltering heat flipping to blizzards—amps up the peril right after arrival, selling the world’s dangers. Fights incorporate practical stunts where possible, with wire work enhancing the spectacle without veering into uncanny valley territory. Sound design deserves a nod too; clashing steel and Zoro’s grunts mix with a swelling score that echoes the anime’s adventurous spirit.

That said, it’s not flawless. Pacing dips slightly in the party scenes, stretching what could be tighter to build suspicion—some viewers might fidget before the action erupts. A few Baroque agents blend together, diluting their individuality despite fun powers like Miss Valentine’s weight-shifting (briefly teased). Luffy’s hands-off approach, while canon-faithful, sidelines him a tad in this early season outing, though it smartly spotlights the crew’s expanding talents. For manga veterans, the arc’s brevity skips minor gags, but show-only fans won’t miss much, as the core thrills land intact.

As a key early episode in season 2, Whiskey Business delivers on escalation. Season 1 nailed East Blue’s small-scale wonders; this ramps up to Grand Line stakes with bigger fights, richer world-building, and hints of political intrigue via Baroque Works’ shadow over Arabasta. It balances fan service—like Zoro’s Onigiri stance—with accessibility, ensuring newcomers stay hooked. The emotional core, blending laughs, bonds, and brutality, cements One Piece‘s live-action staying power. By episode’s end, as the Going Merry sails off with new questions about Vivi’s quest, you’re left buzzing for more—not revolutionary TV, but damn fun pirate escapism that honors its roots while carving its path.

One Piece: Into the Grand Line Season 2 Episodes