The Oscars is one of the biggest — if not the biggest — nights in the American entertainment industry every year, and the 2024 Oscars were no different. All the stars were out tonight, from Best Actor nominees like Jeffrey Wright, Paul Giamatti, and Cillian Murphy to Best Director nominees like Christopher Nolan, Martin Scorsese, and Jonathan Glazer.
The night always kicks off before the event officially starts, with some absolutely killer red carpet moments (and this year, a very good dog made a special appearance). Best Supporting Actress Da’Vine Joy Randolph and The Zone of Interest director Jonathan Glazer gave some powerful speeches. Billie Eilish and Ryan Gosling brought the Barbie soundtrack to life. The Boy and the Heron beat out some worthy competitors for Best Animated Feature.
Oh, also John Cena got naked!
In case you missed the three-hour-long broadcast — or you just want to relive some of the best moments — here are the biggest moments from the 2024 Academy Awards.
It’s expected that if you’re walking the red carpet for the Oscars, you need to show up in your most eye-popping formal attire. Nimona star and former Try Guy Eugene Lee Yang showed up tonight intent to take home the honor for this year’s most attention-grabbing ensemble: An elegant red suit jacket complimented with a long flowing dress bottom.
While this year’s Best Animated Feature category was stacked with terrific nominees, Spider-Man: Across The Spider-Verse and Hayao Miyazaki’s The Boy and the Heron were the films most favored to win the prestigious award. After months of anticipation, The Boy and the Heron was finally revealed to be this year’s winner for Best Animated Feature.
His first feature-length animated film in over a decade, The Boy and the Heron marks Miyazaki’s second time winning the award for Best Animated Feature after his landmark win for 2001’s Spirited Away.
Cord Jefferson accepted the award for Best Adapted Screenplay for his work on American Fiction. In his speech, Jefferson took a moment to call out Hollywood studios to take more chances on original films like American Fiction. “I understand this is a risk-averse industry,” Jefferson said. “But instead of making one $200 million movies, try making ten $20 million movies. The next Scorsese is out there, the next Nolan is out there; they just want a shot.”
