Exciting in Los Angeles. Movie quality beats political correctness 6-0, 6-0. Other than the comet. The real news on Oscar night is not the declared victory of Oppenheimer, the (deserved) winner of seven statues, but the defeat of that political correctness that has influenced, in a weighty, even sometimes ridiculous way, many of the world's most prestigious awards editions. The cinematic field. Curiously, in the same year in which, in order to be eligible, inclusion and representation criteria had to be taken into account. It's too early to say whether these new winds will also blow in the future, but in the meantime let's enjoy one of the most worthy releases ever. Whoever deserves it wins, regardless of who they are. For example, American Fiction unexpectedly took home the Oscar for Non-Original Screenplay (watch it on Prime Video), beating Oppenheimer in the category, in one of its rare Sunday defeats. The film mocks stereotypes in which the black community is depicted in films and books as white liberal hypocrisy. Tearing culture apart, but also the academy itself and its promotion of titles built around the table with Cincelli's playbook of inclusion. But not this time. Just as the unexpected defeat of the Best Actress award for Good Lily Gladstone, the first American to be nominated, to the wonderful Emma Stone for Poor Creatures, caused a sensation! (Another movie to round out the evening nicely). And above all, after the undeserved award given last year to Orientalist Michelle Yeoh. Stone, who (unlike Margot Robbie) is the real “Barbie” in the sense that her character Bella Baxter embodies, in a more complex and crucial way, the theme of women's liberation, than in the marketing process that was Barbie, was released as a new feminist statement. Oppenheimer swept the top awards (Motion Picture, Directed by Nolan, Best Actor in a Leading Role for Murphy and Best Supporting Actor for Downey Jr.), only missing out on the Supporting Actress award (Who knows how she snagged Emily Blunt), which was given instead to Da'Vine Joy Randolph for the movie The Holdovers – Life Lessons. The reason for the victory over the inventor of the atomic bomb? America likes to ask itself about its contradictions in the past, in order to better understand the present, enlightened, in this case, by the outlook of Oppenheimer, whose moral outlook, in the film, can help it better explain its current role in the film. world. Finally, I congratulate Jaroni, who could not do much against the area of ​​interest, and Hayao Miyazaki, because with his poetic cartoon “The Boy and the Heron” he defeated the soulless cartoons. Yes, it was truly an edition of merit.