5:09 PM, February 27th, 2012
None of this year’s nine Best Picture nominees (The Artist, The Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, The Tree of Life, and War Horse) counted as dark, nihilistic, or shocking—like some of last year’s leading contenders, including Black Swan, 127 Hours, and Winter’s Bone. None of this year’s major nominees featured the overt left-wing political messages of other recent Oscar favorites like Avatar or Milk, and all of this year’s Best Picture possibilities took affectionate, admiring views of marriage, romance, family, and community, with Moneyball also honoring baseball and business, while War Horse glorified some of the same battlefield virtues depicted in Act of Valor.
Did last night’s Oscars celebrate conservative values? (Was that why they were so bad?)
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