Alison Wilmore argues that Bridesmaids got a screenplay nomination only because it was 'about women being funny'.
This episode of Good One examines why comedy films are consistently overlooked for the Academy Award for Best Picture. Host Jesse David Fox, a senior writer at Vulture, is joined by comedian Griffin Newman and film critic Alison Wilmore. They explore the historical and cultural biases within the Academy that favor dramatic performances over comedic ones.
The discussion cites a long history of comedic actors and films being ignored, from the Marx Brothers to Steve Martin, Eddie Murphy, and Will Ferrell. Griffin Newman argues that *The 40-Year-Old Virgin* should have been nominated over *Crash* in 2006. The group analyzes specific snubs, like *Borat* only receiving a screenplay nomination and *The Devil Wears Prada* being relegated to the supporting actress category. They note that Robert Downey Jr.'s Oscar nomination for *Tropic Thunder* was partly seen as a career comeback narrative rather than pure recognition of comedic craft.
A key insight is that the Oscars often reward dramatic actors for being funny, like Tom Cruise in a Cameron Crowe film, but are not impressed when professional comedians are funny. The panel suggests the Academy views a comedian's humor as a given, not an achievement, and is more dazzled when a comedian strips back to do dramatic work. Eddie Murphy's complex relationship with the awards is highlighted, where he publicly dismisses them yet clearly desires the recognition. The conversation uses Mel Brooks' career, documented in a Judd Apatow film, as a case study in a comedian seeking legitimacy through Oscars and then pivoting.
The episode proposes that comedies gain cultural stature and seem more "substantial" in hindsight, as repeated viewings allow audiences to appreciate craft beyond the initial distraction of laughter. There is an examination of whether the industry's disregard for comedy has led to a self-loathing where comedians feel compelled to make "serious" films to be taken seriously, like Adam McKay's shift in filmmaking style. The tone is conversational, analytical, and deeply informed by film history and industry mechanics, featuring passionate debates between knowledgeable enthusiasts.
Film buffs, awards season followers, and comedy fans would appreciate this detailed critique of Oscar politics and genre bias. Listeners with no interest in Hollywood awards culture or the history of film comedy might find the specific references and insider baseball less engaging.
