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   Tom Cruise Got a Long-Overdue Oscar at Awards Season’s Most Fun Ceremony
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                  <p style="margin:0;margin-bottom:16px">
                   It may be hard to believe, but we are at the onset of yet another awards season, the longest five months on the Hollywood calendar. From now through
                   <a style="text-decoration: underline; color: #000000;">
                    the Oscars
                   </a>
                   in March, we’re going to be locked in endless debates about contenders, snubs, and which movies are underrated (or overhyped.) For the last sixteen years, the unofficial starting gun for this marathon is the Governors Awards—essentially the Lifetime Achievement Awards portion that used to make up a large part of each Oscar telecast, now broken off as its own event. This year, I had the honor of attending that event for the first time.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   You could argue that it’s criminal to relegate the honoring of living legends to a ceremony that isn’t actually televised. But this year’s host
                   <a style="text-decoration: underline; color: #000000;">
                    Will Arnett
                   </a>
                   put it perfectly: The fact that the Governors Awards don't exist outside of this Dolby Theater ballroom means the show can play by its own rules. There’s a formlessness to the night that felt exhilarating. I
                   <a style="text-decoration: underline; color: #000000;">
                    went to the actual Oscars
                   </a>
                   this year too, and while being in that room felt appropriately seismic it also felt too unwieldy to really enjoy—it’s so large that there was still a palpable sense of separation between civilians such as myself and the real Movie Stars. The Governors Awards has no such barrier; we blew past the 6PM start time, and for a good 30 minutes before and 30 minutes after, the wine flowed and stars of triple-A wattage (even
                   <a style="text-decoration: underline; color: #000000;">
                    Leo
                   </a>
                   !) milled around with everyone else in one big, democratic ballroom.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   The first person I saw that I was actually personally familiar with was Josh Safdie, who is of course about to fuck the streets up with
                   <em>
                    Marty Supreme
                   </em>
                   . As we talked about the latest run of early
                   <em>
                    Marty
                   </em>
                   screenings in LA recently, Josh admitted
                   <a style="text-decoration: underline; color: #000000;">
                    the New York Film Festival surprise showing
                   </a>
                   still takes the cake because “the paint was still wet.” Josh described the process of watching his films in a way I’ve never quite heard from a filmmaker before, saying that each time he watches something he's directed, especially when peeking in on an audience (and even in the times he’s rewatched
                   <em>
                    Uncut Gems
                   </em>
                   over the years), he “learns something new"—about why he made this thing and what he was trying to express.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   He compared making movies to trying to translate and understand a dream, and each viewing offers a new interpretation of some abstract thought. (He also told me that he absolutely hated having to wear a tux, and that the one he was wearing tonight was actually the same tux Gucci sent him seven years ago when he was on the campaign trail for
                   <em>
                    Gems
                   </em>
                   ; he’d just never returned it.
                   <em>
                    Marty
                   </em>
                   co-writer and de facto third Safdie Ronald Bronstein came over to us and shared that his tux was also a
                   <em>
                    Gems
                   </em>
                   -era loaner from Safdie’s closet.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Speaking of the Safdies as a unit, a little later I saw Josh and
                   <a style="text-decoration: underline; color: #000000;">
                    Benny Safdie
                   </a>
                   together, looking every bit the dynamic duo we came to know them as. If you weren’t terminally online, you would have had no idea that the internet is convinced there’s been a schism between the brothers because they went off and made separate films. In fact, Josh excitedly told Benny he had recently overseen some footage of
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     The Odyssey
                    </em>
                   </a>
                   , which his brother stars in, being worked on in an editing bay, which prompted Benny to tell us in hushed tones that we’re not ready for what Nolan’s about to do to the game next summer.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   In the spirit of duos, I’m not sure what was more endearing to see: Leo and Benicio del Toro arriving and posting up in concert like Bob and Sensei, or Chase Infiniti and
                   <a style="text-decoration: underline; color: #000000;">
                    Teyana Taylor
                   </a>
                   being practically joined at the hip from the beginning of the show to the very end. Austin Butler and
                   <a style="text-decoration: underline; color: #000000;">
                    Michael B. Jordan
                   </a>
                   enjoyed a very long dap-and-greet, which as far as I’m concerned all but confirms they’re about to be our next Crockett and Tubbs. Jordan was posted up with Ryan Coogler and his
                   <em>
                    Sinners
                   </em>
                   cast, fresh from finally wrapping his
                   <em>
                    Thomas Crown Affair
                   </em>
                   remake just days ago in London. Jordan was tight-lipped about his upcoming projects, but he smiled and breathed a sigh of relief when he told me locking principal photography on
                   <em>
                    Crown
                   </em>
                   felt as if a weight had been lifted—a stark contrast from when I saw him
                   <a style="text-decoration: underline; color: #000000;">
                    this time last year
                   </a>
                   and the pressure of sitting in the director’s chair for the second time was all-consuming.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   There was no shortage of interesting interactions to observe, from Lucy Liu high-fiving Benny Safdie like they were old pals, a cross-generational Star Wars reunion between
                   <a style="text-decoration: underline; color: #000000;">
                    Oscar Isaac
                   </a>
                   and Mark Hamill, or
                   <a style="text-decoration: underline; color: #000000;">
                    Jeremy Strong
                   </a>
                   , in a trademark brown suit (with his hair dyed almost to match) regaling Isaac,
                   <a style="text-decoration: underline; color: #000000;">
                    Ethan Hawke
                   </a>
                   , and Rami Malek with stories. Infiniti went out of her way to talk to Ryan Coogler, which felt notable as we all wait to see what next steps her nascent career will take. And Jacob Elordi had a genuinely heartwarming interaction with a waiter who introduced himself as an aspiring actor.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   After a while, things finally settled down and Arnett took the stage for an obligatory monologue that made one good point: an awards show that’s not beholden to ad breaks or a restless audience watching from home can just let the tribute clips and the speeches run wild. In some scenarios that would be torture, but on the occasion of actually honoring triple OGs—veteran set designer Wynn Thomas, the legendary Debbie Allen, and some guy named Tom Cruise—it was actually dope. A ceremony facing time constraints would never have stopped to salute a behind-the-scenes guy like Thomas with such a detailed sizzle reel, giving real context to the range and influence of his work. You might not get Cynthia Erivo going full theater kid in her tribute to Debbie Allen, delivering a speech that read as if she was narrating a biopic. (And if Allen’s acceptance speech had been on TV, a casually unfiltered moment like Allen including Bill Cosby’s name in the list of icons who inspired her might have been a bigger deal.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But of course it’s no disrespect to Thomas and Allen when I say that William Mapother IV getting his first (!) Oscar statue was the night’s biggest moment. Ever the savvy movie-star politician, Tom actually kicked his speech off by paying respects to his fellow honorees (plus Dolly Parton, who did not attend) with a dogged genuineness, in true Cruise fashion. He saluted Thomas’s work on
                   <a style="text-decoration: underline; color: #000000;">
                    Spike Lee
                   </a>
                   's
                   <em>
                    She’s Gotta Have It
                   </em>
                   , the production designer's debut film, by citing the exact day and exact theater that he first saw it, like the Human Letterboxd that he is. And he totally caught Allen off-guard and even got her a little choked up by quoting her mother, the playwright Vivian Ayers. In case you forgot, let it be known: Tom Cruise Knows Ball.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   In this moment, it did feel a little sinful—but also, special—that only the people in this ballroom were witnessing this. The sizzle reel for Cruise alone felt like an event; it clocked in longer than an SNL skit, and contained several internal flexes, stacking clips from
                   <a style="text-decoration: underline; color: #000000;">
                    all eight
                    <em>
                     Mission
                    </em>
                    s
                   </a>
                   together, and dropping in the always welcome emotionally manipulative “Clair de Lune” towards the end to really hammer home the whole Last Movie Star effect. At one point the montage of Cruise roles shifted back to
                   <em>
                    The Outsiders
                   </em>
                   and then cycled through the majority of his film in chronological order, underlining how many classic roles in classic films he’s had in succession. (I need to talk to the editor who made this reel: someone who thought to dedicate a full 45 seconds to
                   <em>
                    Edge of Tomorrow
                   </em>
                   is clearly Tapped In.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Tom’s speech doubled down on his Movie Star vanguard mentality, from great one-liners like “Making films is not what I do, it’s who I am” to his vow to do “everything I can for this art form—to support and champion new voices, to protect what makes cinema powerful. Hopefully without too many more broken bones.”
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   And as much as that tribute reel exposed the travesty of Tom Cruise not having an actual Oscar for any of at least a dozen worthy performances, it sure sounds like he may be back in the mix with the Academy soon.
                   <a style="text-decoration: underline; color: #000000;">
                    Alejandro González Iñárritu
                   </a>
                   gave the tribute to Tom, and in saluting TC for his past work, he also gave a lot of interesting teases to
                   <a style="text-decoration: underline; color: #000000;">
                    the film they have coming together next year
                   </a>
                   , which will ostensibly mark a new, post
                   <em>
                    Mission: Impossible
                   </em>
                   chapter in the Cruise Project. Iñárritu teased sequences that pushed Cruise to new places, like fast-paced dialog scenes that required meticulous blocking, including one shot with hundreds of extras behind him. (He also mentioned one instance of Tom wolfing down an especially spicy Spanish dish, joking that he would probably go by Tómas Cruz if it wouldn’t trip an ICE alert.)
                  </p>
                  <p style="margin:0">
                   The implication was that Iñárritu might have captured the performance that will finally put Tom Cruise on that Academy Awards stage proper. But for tonight, Tom got all the love he could possibly take in. The event officially ended with his speech, but almost an hour after that, he had barely moved five yards, getting accosted at every turn from young guns like Austin Butler to peers like Ben Stiller. When I left, union members were literally breaking down tables and stages, every light in the Dolby Theater was on, and Tom Cruise (flanked by Christopher McQuarrie, of course) was still in the cut, receiving well-wishes, as the President of Movies should.
                  </p>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Between the Taps
                   </strong>
                  </p>
                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
                  </p>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Twinless
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I’ve seen chatter about this Dylan O’Brien indie all year, and finally got to see it last week at a private screening that he, co-star, writer and director James Sweeney, and the film’s producer David Permut held. And you know what? It lives up. This is Sweeney’s second feature but he’s already establishing a very unique tone and voice, and a clear command of how to execute that. It’s a small-scale film but it feels significant in the way that it heralds Sweeney as potentially being the Next New Guy to pay attention to. His command of plot and story is so assured that in retrospect, I respect the first 20 minutes for dragging and nearly making me reconsider how interested I was in watching this thing—the way it locks in around that minute mark, it’s almost as if Sweeney is luring you into a trap. And O’Brien does some really good, understated work; the post-screening Q&amp;A moderated by Kumail Nanjiani had a lot of fun with the idea of how hard it is to “play stupid.” It’s tender, bizarre and surprising in all the right ways; hopefully more people discover it in the coming months.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Sandler x Chalamet
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Only in LA do you get the Batsignal to pull up to a high school gym because Timothée Chalamet and Adam Sandler are going to have a one-on-one chat and then play ball. They both have new films to promote this awards season, and through Timothée’s role in
                   <em>
                    Marty Supreme
                   </em>
                   , they now share a common denominator in Josh Safdie, so it’s not as random as it sounds. As we sat in the bleachers at Fairfax High while a DJ blasted what was probably just Timothée’s Spotify playlist, my homegirl Ariel joked that it felt like we were at a pep rally. But once Sandman and Muad’dib came out, the conversation was actually doper than it had any business being.
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                   <strong>
                    <em>
                     <br/>
                    </em>
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                   Actors on Actors chats can more often be dull and rote, but Timothée, as locked in as ever, came armed with some good follow-up questions and a very palpable reverence for the Sandler oeuvre that made their chat a fun watch even if it dragged in moments. (The concept had them each watch clips from a handful of seminal films then use that as context to talk about their careers—pausing the conversation to run each new 45-second scene snippet got about as stilted as you might imagine after a while.) Then afterwards they played a game of 2-on-2 with two kids from the audience, which was hilarious for a myriad of reasons like the fact that Timothée was hooping in
                   <em>
                    leather pants
                   </em>
                   , and how seriously Sandler, a pick-up game legend on both coasts, was taking it, with an almost Michael Jordan-esque obsessive competitiveness. The kids won, and Sandler scored the only point for Team Safdie Protagonist. The lesson: don’t hoop in leather pants.
                   <u>
                   </u>
                  </p>
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