{"id":89,"date":"2026-05-17T16:36:35","date_gmt":"2026-05-17T16:36:35","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=89"},"modified":"2026-05-17T16:36:35","modified_gmt":"2026-05-17T16:36:35","slug":"the-oscars-new-inclusion-rules-wouldnt-disqualify-any-best-picture-nominee-in-history-so-why-is-elon-musk-melting-down-over-the-odyssey","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=89","title":{"rendered":"The Oscars\u2019 New Inclusion Rules Wouldn\u2019t Disqualify Any Best Picture Nominee in History. So Why Is Elon Musk Melting Down Over \u2018The Odyssey\u2019?"},"content":{"rendered":"
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\n<\/p>\n
\n

\n\tAndy Samberg answered this one for us back in 2020. <\/p>\n

\n\tHere\u2019s the short version (because we\u2019ve gone over this). Every best picture winner in the Academy\u2019s 98-year history \u2014 from the silent-era film \u201cWings\u201d in 1929 through the most recent political action epic \u201cOne Battle After Another\u201d this past March \u2014 clears the Academy\u2019s Representation and Inclusion Standards. That also includes \u201cOppenheimer,\u201d the film directed by Christopher Nolan, with whom Elon Musk had no problem until this past week. And Nolan\u2019s upcoming adaptation of Homer\u2019s \u201cThe Odyssey,\u201d whenever the Academy gets a look at it, would also clear the inclusion standards, and it\u2019s not because Lupita Nyong\u2019o was cast as Helen of Troy.<\/p>\n

Read more Daniel Hong Thriller \u2018Dead End\u2019 Lands at EST N8 for Cannes Film Market Launch (EXCLUSIVE)<\/a><\/p>\n

\n\tMusk spent the back half of the week yelling at a movie that doesn\u2019t come out until July. The world\u2019s richest man went on X to announce that Nolan \u201cdesecrated the Odyssey so that he would be eligible for an Academy Award,\u201d then sharpened it again on Friday: \u201cWho specifically is the asshole who added DEI lies to Academy Awards eligibility instead of it just being about making the best movie?\u201d<\/p>\n

\n\tHe doesn\u2019t actually want an answer. But I\u2019ll give one, and it\u2019s going to be boring, a huge problem for everyone amplifying him. The standards don\u2019t do what he thinks they do, and the entire history of the category proves it.<\/p>\n

\n\tA quick refresher, because nobody screaming about these rules has read them. The Academy announced the standards in 2020. They phased in over two information-gathering years and became a best picture requirement for the 2024 eligibility year, which is why \u201cAnora\u201d \u2014 Sean Baker\u2019s $6 million indie dramedy that walked off with five Oscars at the 97th ceremony \u2014 was the first winner to compete under them, followed by Paul Thomas Anderson\u2019s \u201cOne Battle After Another.\u201d<\/p>\n

\n\tA film has to meet two of four standards. Again, two of the four. Not all <\/em>four.<\/p>\n

\n\tStandard A is on-screen: a lead or significant supporting actor from an underrepresented racial or ethnic group, or a 30% ensemble drawn from two underrepresented groups, or a storyline centered on one. Standard B is the creative team: department heads, broader crew, or 30% crew composition. Standard C is the distribution or financing company\u2019s paid apprenticeships and training. Standard D is in-house senior executives or consultants across the company\u2019s development, marketing, publicity and distribution.<\/p>\n

\n\tSo let\u2019s run the test. Take all 98 winners and ask which one the standards would have knocked off the ballot. And the answer is\u2026zero. Absolute zero.<\/p>\n

\n\tSamberg was among the first to call out the inevitable crowd of bigots and MAGA-enthusiasts that would wail and scream. In November 2020, two months after the standards dropped and more than three years before they meant anything, he was on an episode of the Variety <\/em>Awards Circuit podcast promoting \u201cPalm Springs\u201d when the subject came up. His quote holds up better than most of the think pieces written since:<\/p>\n

\n\t\u201cThe parameters, if you look at them closely, you can have the \u2018whitest\u2019 cast in the history of cinema and still very easily meet them by just doing a few key roles behind the camera. People who have problems with it can fuck off.\u201d<\/p>\n

\n\tThat\u2019s it. That\u2019s the whole mechanism. The standards reward including underrepresented people somewhere in a major studio movie\u2019s pipeline, and the two-of-four math is loose enough that period pieces and war films clear it without anyone on set thinking about it.<\/p>\n

\nNOTE: The data collected on studio leadership at the time is incomplete, and even with that missing info, the clearance was still met.<\/em><\/p>\n

\n\tBefore anyone misreads that table the way Musk\u2019s replies will, let\u2019s make it clear: a dash in the A or B column should not be read as an \u201cX\u201d or a red mark. It does not mean the film failed that standard. It means we don\u2019t have the documentation to score it, which, for movies made since 1927, is most of them.<\/p>\n

\n\tThe Academy doesn\u2019t keep a diversity ledger on the second-unit crew of \u201cCavalcade.\u201d Studios of that era didn\u2019t track it, the data was never compiled, and reconstructing the precise composition of a 1930s production team is mostly guesswork. So those cells get a dash. A dash is \u201cunknown for the period,\u201d full stop. It is not \u201cthis film was too white to qualify,\u201d and anyone reading it that way has the logic backward.<\/p>\n

\n\tThis is the part the standards\u2019 critics keep getting exactly wrong. The Academy knew retroactively grading the crew of a 90-year-old movie would be incoherent. That\u2019s why Standards C and D exist, and why they\u2019re written the way they are. C and D don\u2019t ask what a studio did in 1941. They ask what the distributor does now \u2014 whether it runs paid training programs and whether women and people of color are represented in its marketing and distribution leadership. It challenges those in leadership positions to think beyond their yachts and tennis clubs. <\/p>\n

\n\tWhich brings up the structural point worth being precise about, because I cleaned this up in the data. C and D belong to the distributor, not the movie. They\u2019re scored once per company and applied to everything that company released. If Netflix clears C and D \u2014 and it does \u2014 then it clears them for \u201cRoma,\u201d \u201cMank,\u201d \u201cDon\u2019t Look Up\u201d and every other Netflix title, the same way Warner Bros. clears them for \u201cCasablanca\u201d and \u201cBarbie\u201d alike. You can\u2019t have a distributor that\u2019s a yes for one of its films and a no for another in the same year. It\u2019s the same company. A and B are where films legitimately differ, because they concern the movie itself.<\/p>\n

Read more Five Wild Cannes Market Projects: From Boy-Love Horror-Romance \u2018Paint You on My Bed Sheet\u2019 to \u2018Deathgasm II Goremageddon\u2019<\/a><\/p>\n

\n\tThirty-seven winners reach the bar on that studio-side floor alone because the on-screen and leadership records for their era aren\u2019t documented, not because anyone determined those films came up short. The other 61 don\u2019t need the floor. Fifty-six winners have a documented Standard A basis on cast, ensemble or storyline. And there are another 30 that have a documented Standard B basis on women or underrepresented people in creative leadership. The supposed \u201cDEI requirements\u201d are, for most of the canon, just a description of what these movies already were, set against a fairly low benchmark.<\/p>\n

\n\tThe \u201cyou couldn\u2019t make these today\u201d or \u201cthey\u2019d never qualify\u201d crowd should pipe down for a bit. Films like \u201cOrdinary People,\u201d \u201cSchindler\u2019s List,\u201d \u201cTitanic,\u201d \u201cThe Departed,\u201d \u201cSpotlight,\u201d and \u201cOppenheimer\u201d clear the hurdle with flying colors, and not merely on a technicality.<\/p>\n

\n\tAnd here\u2019s a detail the naysayers miss entirely. Standard B\u2019s headline doesn\u2019t say \u201chire two women.\u201d It\u2019s two department heads from underrepresented groups, with at least one from an underrepresented racial or ethnic group. Films clear it anyway, and those that lean on women in creative leadership do so through the broader crew-composition path that the standards also allow.<\/p>\n

\n\tWendy Finerman won best picture as a producer on \u201cForrest Gump\u201d 31 years ago. Thelma Schoonmaker has cut every Scorsese picture since \u201cRaging Bull,\u201d with three Oscars to show for it. Deborah Lynn Scott won an Oscar for costuming \u201cTitanic.\u201d Nolan\u2019s wife, Emma Thomas, produced \u201cOppenheimer\u201d and won best picture for it. None of that was \u201cinvented\u201d to satisfy an upcoming 2024 rule. It\u2019s what the rule was written to count.<\/p>\n

\n\tThe films people wave around as the \u201creal\u201d best pictures \u2014 the ones that were supposedly made before \u201cHollywood lost its mind\u201d \u2014 tell the same story. \u201cThe Greatest Show on Earth,\u201d \u201cGoing My Way,\u201d \u201cAn American in Paris\u201d and \u201cMarty\u201d were all distributed by studios whose modern divisions clear C and D in their sleep. The complaint that the Academy has gatekept the old greats out of contention falls apart the moment you check, because the studios that made them still exist, still release movies and still employ executives. Even the ones dubbed the \u201cwhite savior\u201d flicks, like \u201cDriving Miss Daisy\u201d and \u201cGreen Book,\u201d clear the bar without question.<\/p>\n

\n\tWhat\u2019s funny is that it\u2019s actually pretty difficult to build a movie that doesn\u2019t meet the standards. To build one, you\u2019d need an all-white cast with no disabled or queer characters, an all-male creative leadership with not one woman in writing, producing, editing, costume, makeup or casting, and a distributor whose modern successor can\u2019t clear C or D.<\/p>\n

\n\tRemember when Matt Walsh lamented that his documentary \u201cAm I Racist?\u201d wasn\u2019t among the 15 shortlisted movies in 2024? And interestingly, the Daily Wire (the alt-right company founded by Ben Shapiro) distributed the film, which was on the \u201cReminder List,\u201d which is the complete list of all movies that qualify, meaning they must fill out the RAISE form, which proves they are a diverse production. Would you look at that? It meets the standards for a possible (albeit horrendously made) best picture winner. Even Richard Dreyfuss\u2019 dream of a \u201cBlack face\u201d Othello, which he complained he wouldn\u2019t be able to make in today\u2019s climate, would meet such a benchmark.<\/p>\n

\n\tSo what is this actually <\/em>about?<\/p>\n

\n\tIt was never about the eligibility rules. It\u2019s the casting of Nyong\u2019o as Helen of Troy, about which Musk has spent the week boosting troll posts, including one from Walsh, suggesting the idea that Nyong\u2019o isn\u2019t \u201cthe most beautiful woman in the world.\u201d He also reposted material that mocks her co-star, Elliot Page, who also has a role in the movie. Trust me, the standards have nothing to do with any of that.<\/p>\n

\n\tNolan cast Lupita Nyong\u2019o because she\u2019s Lupita Nyong\u2019o. She\u2019s one of the most decorated actors of her generation \u2014 an Oscar for her first feature, a Tony nomination for the play \u201cEclipsed,\u201d and steady and beautiful work with filmmakers like Steve McQueen, Jordan Peele and Ryan Coogler. \u201cThe Odyssey\u201d also stars Matt Damon, Tom Holland, Anne Hathaway, Charlize Theron, Robert Pattinson, and Jon Bernthal. But we\u2019re not seeing too many tweets about them. Hmmm\u2026I wonder why?<\/p>\n

\n\tIf Musk wants to argue \u201cThe Odyssey\u201d is bad, he can write that tweet on July 18, the day after it opens. If he wants to argue Helen has to be white because Homer called her \u201cwhite-armed\u201d \u2014 \u03bb\u03b5\u03c5\u03ba\u03ce\u03bb\u03b5\u03bd\u03bf\u03c2, if we\u2019re doing the Greek \u2014 he can take it up with the audiobook he listens to at 1.25x speed.<\/p>\n

\n\tOne number, since we\u2019re talking about who actually gets into the room. The first woman nominated for best picture as a producer was Julia Phillips for \u201cThe Sting\u201d (1973). Since then, across 621 best picture\u2013nominated films, 126 have included at least one woman in the producing lineup (or 22.9%). Within that universe, only three of those nominations have included Black women producers (no winners), and Asian women producers did not appear in this category until Kwak Sin-ae\u2019s win for \u201cParasite\u201d in 2019, later followed by Samantha Quan with \u201cAnora.\u201d <\/p>\n

\n\tThat\u2019s been the bar. The Oscars didn\u2019t change it. They asked people to think about it. Samberg had it right in 2020. <\/p>\n

Read more China Film Pavilion Returns to Cannes as China Film Co-Production Corporation Presents Over 180 Domestic Films<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Elon Musk says the Academy’s inclusion standards are “DEI lies.” Variety ran all 98 best picture winners through them, and none failed to qualify.<\/p>\n","protected":false},"author":1,"featured_media":88,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[105,106,107,108],"class_list":["post-89","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-christopher-nolan","tag-elon-musk","tag-oscars","tag-the-odyssey"],"yoast_head":"\nThe Oscars\u2019 New Inclusion Rules Wouldn\u2019t Disqualify Any Best Picture Nominee in History. 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