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   Your Lobby-Bar Scene Report from the Good-Vibes Oscars
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                  <p style="margin:0;margin-bottom:16px">
                   “I hope you see something
                   <em>
                    terrible
                   </em>
                   ,” producer Eli Bush said with a devilish grin as I told him my mission at the Oscars ceremony was to observe and report for this very column. Sadly for anyone hoping that the tensions of the interminably long 2026 awards season would erupt into a bizarre moment of unscripted mess like
                   <a style="text-decoration: underline; color: #000000;">
                    The Slap
                   </a>
                   , the vibe at last night’s 98th Academy Awards was overwhelmingly positive. Despite various ongoing narratives and attempts to cast a so-called
                   <a style="text-decoration: underline; color: #000000;">
                    Oscars
                   </a>
                   “villain”, this was the rare year when the locks mostly won out, and even the upsets went to equally deserving contenders.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   There’s a preconception that the Oscars are a stuffier experience than “looser” award shows like the Golden Globes, but for my second year in a row attending Hollywood’s biggest night,
                   <a style="text-decoration: underline; color: #000000;">
                    my findings from 2025
                   </a>
                   rang true: The bar is the best place to be, specifically the one in the first-floor lobby closest to most of the front-row (read: A-list) seats. People show up on time, the better to log quality mingling before the show starts, and after the telecast gets into a groove around the 45-minute mark, the lobby morphs into the most lit happy hour in Hollywood.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   It’s the kind of liminal space where all manner of different spheres of celebrity collide, like the crossover event of Chase Infiniti building with
                   <a style="text-decoration: underline; color: #000000;">
                    Hudson Williams
                   </a>
                   , which a dozen different onlookers stopped in their tracks to document. And for every starstruck moment, there’s an equally Who-Is-That double take—it took me 30 seconds to realize the middle-aged white guy who looked like he was staring into my soul was, naturally, Jim Raterman, who played Sean Penn’s foreboding investigator henchman in
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     One Battle
                    </em>
                   </a>
                   . (He’s much less intimidating once you break the ice.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   The first person I spoke to before the show actually began was Omar Benson Miller, who felt a Best Picture win for
                   <em>
                    Sinners
                   </em>
                   in the air. “
                   <a style="text-decoration: underline; color: #000000;">
                    Our work is done
                   </a>
                   , now we’ll see [the reward],” Miller told me with an affirmative nod and wide grin. To be fair, Miller is always jovial and positive, even as a bloodthirsty vampire (“Being kind to one another!”), but bias aside, his energy was infectious. Plenty of other people in the house readily agreed it would be a
                   <em>
                    Sinners
                   </em>
                   night one way or the other; I don’t know how it sounded at home, but starting with Conan’s opening skit, every reference or nod to
                   <a style="text-decoration: underline; color: #000000;">
                    Ryan Coogler
                   </a>
                   ’s genre epic easily got the loudest collective roars from the audience.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <a style="text-decoration: underline; color: #000000;">
                    Spike Lee
                   </a>
                   has been effusive with his
                   <em>
                    Sinners
                   </em>
                   praise since the film’s release, but when I saw him early in the evening, he was more hyped to talk about the
                   <a style="text-decoration: underline; color: #000000;">
                    Knicks
                   </a>
                   . “It’s our year, baby,” he said as he dapped me without breaking stride. (I didn’t have the heart—or the guts?—to admit I’m actually a
                   <a style="text-decoration: underline; color: #000000;">
                    Lakers
                   </a>
                   fan even though we’re both from Fort Greene.) Elsewhere, I heard one woman ask her husband if she’d seen Kevin O’Leary’s “awful” suit, while he gamely posed for pictures in it right on the other side of the staircase.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   By the time I spoke with Eli Bush, around the midway point of the show, Coogler had nabbed the screenplay award and the tide was turning. Outside at the bar,
                   <a style="text-decoration: underline; color: #000000;">
                    Jacob Elordi
                   </a>
                   and
                   <a style="text-decoration: underline; color: #000000;">
                    Stellan Skarsgård
                   </a>
                   shared a big hug and an extended exchange, likely commiserating that their journey as fellow supporting-actor contenders had come to an end, but hardly sweating the loss. I spotted
                   <a style="text-decoration: underline; color: #000000;">
                    Josh Safdie
                   </a>
                   chatting with with a woman and her adolescent daughter and went to catch up with him, only for him to introduce her as Pam Abdy—as in one half, along with Mike De Luca, of the crack Warner Bros senior development team responsible for
                   <em>
                    Sinners
                   </em>
                   ,
                   <em>
                    One Battle
                   </em>
                   ,
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     Weapons
                    </em>
                   </a>
                   , and pretty much every other exemplary film Warner Bros released last year. I hope my introduction didn’t compromise Josh’s budget negotiations for his next great New York scumbag odyssey.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Lest this scene account imply that people were drinking during so-called “lesser awards,” rest assured that winners of categories like Best Documentary Short got rousing applause and attention once they emerged from the media room into the bar lobby. But the trade-off of milling around the bar with the cool kids is that you’re either trying to keep up with the show via low TV audio, or reading woefully delayed close captioning. Which is to say, the last third of the show sent everyone promptly back to their seats to witness
                   <a style="text-decoration: underline; color: #000000;">
                    beautiful speeches
                   </a>
                   from the likes of
                   <a style="text-decoration: underline; color: #000000;">
                    Michael B. Jordan
                   </a>
                   with our own eyes.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   When the show wrapped, I caught Safdie again, who felt no sort of way over
                   <em>
                    Marty Supreme
                   </em>
                   ’s 0 for 9 record at all. “This is the win right here,” he said of his brown JW Anderson suit, which he received just for the show. Nevertheless, Jessie Buckley’s dad pulled up on him to say
                   <em>
                    Marty
                   </em>
                   deserved better in his eyes. As the crowd swarmed the entire cast of
                   <em>
                    One Battle
                   </em>
                   like they were The Beatles, I spotted Miller again. “We’ll take those wins for Ryan and Mike but man, they robbed us for Best Picture,” he said with a laugh and a shrug.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   While that would’ve been a monumental win, I thought back to something
                   <a style="text-decoration: underline; color: #000000;">
                    Tyriq Withers
                   </a>
                   told me at the start of the show: how it couldn’t be a coincidence that he was here attending the Academy Awards for the first time on the same night that Jordan and Coogler—“Two of the most monumental reasons why I’m in this industry,” as he put it—were up for historic wins. Their relative youth, the nature of the film they won for, the fact that they still represent a very few number of Black men to be awarded their respective categories—it meant something for people to see that, whether you were at home or illicitly chugging white wine in the auditorium like me. And for as much as it’s now going to be extra exciting to see what Coogler and Jordan do next, it’s just as thrilling to imagine who’s been inspired by their wins last night to come pick up where they leave off.
                  </p>
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                   <strong>
                    Between the Taps
                   </strong>
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                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
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                   <u>
                    <strong>
                     Jack Harlow,
                    </strong>
                    <strong>
                     <em>
                      Monica
                     </em>
                    </strong>
                   </u>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Everyone with a brain understood the context by which Jack Harlow referred to his new, neo-soul/R&amp;B-inspired album as him “getting Blacker”—which is to say, unlike most of his alabaster peers in the hip-hop space, he isn’t using the cachet he’s built via DJ Drama co-signs and Babyface Ray collaborations to chase a more lucrative genre pivot to music that scans more flatly as pop or, gasp, country. But that doesn’t mean we aren’t going to get these jokes off all the same. (Truly—just check the
                   <a style="text-decoration: underline; color: #000000;">
                    quote tweets on this,
                   </a>
                   it’s an easy Hall of Fame entry.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   This will probably be his lowest-selling album yet, because R&amp;B is roundly, woefully underappreciated these days. But just because he’s genuine doesn’t mean it’s a good album either. There are some good melodies here and some nice ideas, but instead of goofily dressing in fits Mos Def, Musiq Soulchild or Common would’ve worn in 2002, a more useful embrace of this artistic impulse would’ve been to say, I don’t know, actually reach out to these pillars to help him indulge it. Raphael Saadiq just “consulted” on Brent Faiyaz’s great new album—surely he would’ve picked up the phone for Jackman? OK, maybe “surely” is presumptuous. But Jon B would have! Timberlake might have! Timbaland could use a distraction from becoming an AI disciple by getting in the lab with a real human again. At least pull Robin Thicke’s head out of the sand of whatever island he’s currently lamping idly on right now. My friend Ross described these songs as reference tracks for actual singers and I have to agree—actually I’ll have to take his word for it, because I tapped out around the mid-way mark. Admirable intentions, Jackman, but we’re not there yet.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <u>
                    <strong>
                     <em>
                      Sentimental Value
                     </em>
                    </strong>
                   </u>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   We’re overdue for Renate Reinsve supremacy.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <u>
                    <strong>
                     Lakers-Nuggets, Saturday night on ABC
                    </strong>
                   </u>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I
                   <a style="text-decoration: underline; color: #000000;">
                    tweeted
                   </a>
                   a joke about logging NBA games on Letterboxd the other day that has since gone viral, but you know what? I kind of meant it, fuck it. We're in the last stretch of the regular season where the looming playoff standings starts to give every game some real stakes, and as such you get a four-and-a-half star movie like Saturday night's nail-biter. If I may put on my Stephen A. Tharpe hat for a second and give some context: As far as us Laker fans are concerned, the Nuggets are starting to supersede the Celtics as a forever mortal enemy team, the way they've embarrassed us in the post-season for the last two to three years, handing us first round exits and near sweeps. They own us so thoroughly that we rarely even win regular season games against them. What's more, the Lakers currently find themselves at the center of a neverending narrative about the health of the team, our actual realistic prospects in the post, and any perceived ego drama between the aging
                   <a style="text-decoration: underline; color: #000000;">
                    LeBron James
                   </a>
                   , Luka Doncic and ascendant superstar Austin Reaves. As far as sports media is concerned, every loss is an I-told-you-so, every win comes with an asterisk, and no one should take this team seriously.
                  </p>
                  <p style="margin:0">
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