Critics Choice Awards: "Barbie" Scores the Most Nominations EVER!

by Cláudio Alves

The Critics Choice Association, formerly the Broadcast Film Critics Association, has announced its nominees for 2023. As always, rather than reflecting the critical consensus, they're little more than an attempt at predicting the Oscars. One wonders how an organization like this can feel so divorced from what critics are actually celebrating. In any case, it's time to analyze their choices as precursors in the race for gold and point to whatever idiosyncrasy can be found amid the boredom. Barbie is the big champion here, having scored 18 nominations, the most of any film in the organization's history...

BEST PICTURE

• AMERICAN FICTION
• BARBIE
• THE COLOR PURPLE
• THE HOLDOVERS
• KILLERS OF THE FLOWER MOON
• MAESTRO
• OPPENHEIMER
• PAST LIVES
• POOR THINGS
• SALTBURN 

With no international films or animation, this Best Picture list feels conventional to a fault. There's no discerning personality to be found past that odd Saltburn inclusion. Moreover, the coexistence of American Fiction and The Color Purple in the same lineup almost feels like a contradiction in terms. After all, one film is akin to an open criticism of what the other represents.

BEST DIRECTOR 

• Bradley Cooper, MAESTRO
• Greta Gerwig, BARBIE
• Yorgos Lanthimos, POOR THINGS
• Christopher Nolan, OPPENHEIMER
• Alexander Payne, THE HOLDOVERS
• Martin Scorsese, KILLERS OF THE FLOWER MOON

All the usual suspects are here. Though Payne hasn't been showing up in most lineups, when a picture is as adored as The Holdovers, its director is usually pulled into the limelight. He's also an Oscar favorite, and this organization loves nothing more than to rubberstamp the Academy's assumed taste. Like I expected, Cooper's bad luck with critics groups – Las Vegas aside – stops at the televised awards. Maestro's profile will likely grow as we move closer to the big night. One certainly can't fault its star director for a lack of campaigning.

BEST ACTRESS 

• Lily Gladstone, KILLERS OF THE FLOWER MOON
• Sandra Hüller, ANATOMY OF A FALL
• Greta Lee, PAST LIVES
• Carey Mulligan, MAESTRO
• Margot Robbie, BARBIE
• Emma Stone, POOR THINGS 

Fantasia Barrino's absence is notable, especially considering The Color Purple made it into their Best Picture lineup. In contrast, this is a boost for Robbie and Lee on the heels of their Globe nominations. One should also highlight Hüller's success. Even the CCA's allergy to international cinema couldn't stop the German thespian from securing her place in the Best Actress race.

BEST ACTOR

• Bradley Cooper, MAESTRO
• Leonardo DiCaprio, KILLERS OF THE FLOWER MOON
• Colman Domingo, RUSTIN
• Paul Giamatti, THE HOLDOVERS
• Cillian Murphy, OPPENHEIMER
• Jeffrey Wright, AMERICAN FICTION 

As much as DiCaprio keeps showing up in the major awards, I'm not buying him as a serious Oscar contender. He's the Killers of the Flower Moon's most divisive element, delivering a performance that even some of the film's fans dislike. When it comes to those left out of the lineup, Andrew Scott is the most glaring miss. Considering the Best Picture nomination, Barry Keoghan may also have reason to feel snubbed.

BEST SUPPORTING ACTRESS

• Emily Blunt, OPPENHEIMER
• Danielle Brooks, THE COLOR PURPLE
• America Ferrera, BARBIE
• Jodie Foster, NYAD
• Julianne Moore, MAY DECEMBER
• Da'Vine Joy Randolph, THE HOLDOVERS

While Foster proves she can score nominations without Bening following along, Brooks solidifies her stake as The Color Purple's principal representative. Even if Henson and Barrino miss, she's still in, and that dynamic could be repeated at the Oscars. Ferrera jumps back into the race after being forgotten by most critics groups, rising on the coattails of her movie and that memorable monologue.

BEST SUPPORTING ACTOR 

• Sterling K. Brown, AMERICAN FICTION
• Robert De Niro, KILLERS OF THE FLOWER MOON
• Robert Downey Jr., OPPENHEIMER
• Ryan Gosling, BARBIE
• Charles Melton, MAY DECEMBER
• Mark Ruffalo, POOR THINGS

Brown is the only proper shock from these acting categories, surging at the right time as a benefactor of that American Fiction love. However, this is terrible news for Willem Dafoe, who keeps missing on nominations despite Mark Ruffalo's persistent presence. As someone for whom his mad scientist was the picture's MVP, this is particularly sad.

BEST YOUNG ACTOR OR ACTRESS

• Abby Ryder Fortson, ARE YOU THERE GOD? IT'S ME, MARGARET.
• Ariana Greenblatt, BARBIE
• Calah Lane, WONKA
• Milo Machado Graner, ANATOMY OF A FALL
• Dominic Sessa, THE HOLDOVERS
• Madeleine Yuna Voyles, THE CREATOR

Of the nominees, Sessa is the only one with legitimate Oscar buzz so he'll be the likely winner. In my idea of a fair world, however, this race would be between Fortson and Graner, with the Anatomy of a Fall actor winning in a photo finish.

BEST ACTING ENSEMBLE

• AIR
• BARBIE
• THE COLOR PURPLE
• THE HOLDOVERS
• KILLERS OF THE FLOWER MOON
• OPPENHEIMER

When dealing with a category bereft of an Academy equivalent, the CCA could be a little more daring. But no, we have the same litany of buzzy titles. Air is the only relative outlier, and even then, it's ensconced in Oscar hopes.

BEST ORIGINAL SCREENPLAY 

• Samy Burch, MAY DECEMBER
• Alex Convery, AIR
• Bradley Cooper & Josh Singer, MAESTRO
• Greta Gerwig & Noah Baumbach, BARBIE
• David Hemingson, THE HOLDOVERS
• Celine Song, PAST LIVES 

For my sanity's sake, I'll pretend this has only five nominees and that May December is the runaway winner. What do you mean Maestro is a screenplay nominee? No, it isn't.

BEST ADAPTED SCREENPLAY

• Kelly Fremon Craig, ARE YOU THERE GOD? IT'S ME, MARGARET.
• Andrew Haigh, ALL OF US STRANGERS
• Cord Jefferson, AMERICAN FICTION
• Tony McNamara, POOR THINGS
• Christopher Nolan, OPPENHEIMER
• Eric Roth & Martin Scorsese, KILLERS OF THE FLOWER MOON 

Like in most categories, the trick to figuring out a CCA lineup is to go for the consensus Oscar predictions and then throw a buzzy long shot to complete the sextet. Still, congratulations to Kelly Fremon Craig on a well-deserved nomination.

BEST EDITING

• William Goldenberg, AIR
• Nick Houy, BARBIE
• Jennifer Lame, OPPENHEIMER
• Yorgos Mavropsaridis, POOR THINGS
• Thelma Schoonmaker, KILLERS OF THE FLOWER MOON
• Michelle Tesoro, MAESTRO 

Air is where I would expect The Holdovers to show up, not only because the cutting is its most interesting formal facet. Will it be between Lame and Schoonmaker for the win, or will Barbie fever propel Houy to a victory? Maestro and Poor Things are also showy in their assemblage, so don't count them out. Flashiness is usually what wins such prizes. Actual quality be damned.

BEST CINEMATOGRAPHY

• Matthew Libatique, MAESTRO
• Rodrigo Prieto, BARBIE
• Rodrigo Prieto, KILLERS OF THE FLOWER MOON
• Robbie Ryan, POOR THINGS
• Linus Sandgren, SALTBURN
• Hoyte van Hoytema, OPPENHEIMER

Prieto got lucky, riding that pink wave to a double nomination. Sandgren probably benefitted from his film's strange popularity with this voting body, too. For all that I might dislike Bradley Cooper's sophomore feature, it looks gorgeous, so I can't complain about Libatique's nomination.

BEST PRODUCTION DESIGN 

• Suzie Davis & Charlotte Dirickx, SALTBURN
• Ruth De Jong & Claire Kaufman, OPPENHEIMER
• Jack Fisk & Adam Willis, KILLERS OF THE FLOWER MOON
• Sarah Greenwood & Katie Spencer, BARBIE
• James Price, Shona Heath & Szusza Mihalek, POOR THINGS
• Adam Stockhausen & Kris Moran, ASTEROID CITY 

This is, by far, the CCA's most inspired lineup. Not only does it include the rare contemporary-set movie with Saltburn, but it also features Asteroid City. Despite great reviews and surprisingly good box office results, the movie seems to have been forgotten. The sets, in particular, are undiluted dioramic perfection.

BEST COSTUME DESIGN 

• Jacqueline Durran, BARBIE
• Lindy Hemming, WONKA
• Francine Jamison-Tanchuck, THE COLOR PURPLE
• Holly Waddington, POOR THINGS
• Jacqueline West, KILLERS OF THE FLOWER MOON
• Janty Yates & David Crossman, NAPOLEON 

My predicted Oscar five with Napoleon thrown in for good measure, this is another boring sextet. Where's the passion for films critics loved? Where's Passages? None of these nominees are bad – though I haven't seen The Color Purple – they're just uninspired picks.

BEST HAIR AND MAKEUP

• BARBIE
• THE COLOR PURPLE
• MAESTRO
• OPPENHEIMER
• POOR THINGS
• PRISCILLA 

A more glamorous selection than I would have anticipated, with Barbie scoring another nod and Priscilla earning itself some flowers. If you've read the Oscar Volley on Best Makeup, you know how overjoyed I was when seeing Coppola's film in this bunch. Also, yay for no Wonka. How fun to have an Oscar race without fat suits.

BEST VISUAL EFFECTS

• THE CREATOR
• GUARDIANS OF THE GALAXY VOL. 3
• MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
• OPPENHEIMER
• POOR THINGS
• SPIDER-MAN: ACROSS THE SPIDER-VERSE

I wonder if Oppenheimer is still the frontrunner here after it missed the Oscar longlist. Take it out, and this could very well be the Academy's lineup.

BEST SCORE 

• Jerskin Fendrix, POOR THINGS
• Michael Giacchino, SOCIETY OF THE SNOW
• Ludwig Göransson, OPPENHEIMER
• Daniel Pemberton, SPIDER-MAN: ACROSS THE SPIDER-VERSE
• Robbie Robertson, KILLERS OF THE FLOWER MOON
• Mark Ronson & Andrew Wyatt, BARBIE 

Pundits – and what's the CCA if not a 600-headed pundit by another name – have been underestimating a couple of Oscar favorites so far in the season. There's Giacchino, who gets attention here, but also John Williams delivering what's likely to be his last score. Sure, the latest Indiana Jones is wretched, but the score's beautiful and the series' best since Temple of Doom, maybe even Raiders of the Lost Ark.

BEST SONG 

• "Dance the Night," BARBIE
• "I'm Just Ken," BARBIE
• "Peaches," THE SUPER MARIO BROS. MOVIE
• "Road to Freedom," RUSTIN
• "This Wish," WISH
• "What Was I Made For," BARBIE 

Well, this is how Barbie broke that record. One wonders if the songs will split the vote between themselves and allow another contender to take it. On another note, Wish might have the worst-written songs in the Disney canon. And while "This Wish" is the best in melody, its lyrics are flotsam.

BEST ANIMATED FILM

• THE BOY AND THE HERON
• ELEMENTAL
• NIMONA
• SPIDER-MAN: ACROSS THE SPIDER-VERSE
• TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM
• WISH 

How is Disney's most critically lambasted film in eons getting into all these critics ballots? I fear that voters watch so few animated features that they list the only five or six titles seen without a second thought.

BEST FOREIGN LANGUAGE FILM

• ANATOMY OF A FALL
• GODZILLA MINUS ONE
• PERFECT DAYS
• SOCIETY OF THE SNOW
• THE TASTE OF THINGS
• THE ZONE OF INTEREST

France and Japan score double nominations, getting in with their Oscar submissions plus a critical darling. In Godzilla's case, it's also a box office juggernaut. With each passing day, Spain's Society of the Snow seems like a bigger contender. Can Netflix pull it off two years in a row?

BEST COMEDY 

• AMERICAN FICTION
• BARBIE
• BOTTOMS
• THE HOLDOVERS
• NO HARD FEELINGS
• POOR THINGS 

When four of your nominees are also in Best Picture, what's the purpose of a Best Comedy category? Is it only to inflate the scorecards of the CCA's favorite titles? Still happy for No Hard Feelings.

What do you think of the CCA nominations? Better or worse than the Globes?

Comments

[Mr Ripley79]

The only performance i'm excited for is Jodie Foster in Nyad but she's that films seemingly lone chance and without Bening in Actress or any other nom chances she will find it even harder,it's very hard to get in as a lone nominee harder than it used to be,I know she's going to be left out again after the 2020 snub they don't care about her anymore and to be left out for America Ferrara's sit com level role despite a well delivered monologue that is so on the nose as to be borderline offensive,it's going to be hard for Foster and to a larger extent Rosamund Pike who will probably not be able to break in to the Top 5.

This also why I feel Domingo will lose out in the end as Rustin only has a chance in Best Song and as divisive as Leo is he is in a Best Pic frontrunner.

Brown is obviously peaking at the correct time and he's well respected and 5 time loser for Dafoe wouldn't be a good look on them.

I think Greta Lee will be left off in the end,it's too quiet and subtle performance though i'd prefer Robbie stayed at home,the most overrated actress for a long time.

Bening's chances are now slimmer than ever,I'm not too fussed as I thought she was miscast.

TCP is not going to figure in the acting races apart from Brookes who could be snubbed.

Which of the overdue guys Gosling,Ruffalo,Downey Jr and if he's nominated Dafoe wins in the end.

This is Coopers award to loose now,once the televised awards start you can just see him winning maybe as a double duet with overdue Mulligan who BAFTA love,i'm not feeling the passion for Gladstone and Emma has 1 already.

How can Portman be denied and Moore not,Moore's been here before poised for a nom and snubbed in the end and as Nat's pointed out they tend not to go for Haynes

[Cláudio Alves]

Mr Ripley79 -- I think MAY DECEMBER may make it in Best Original Screenplay, especially if BARBIE ends up re-categorized into Adapted. Apart from that, I'm struggling to see them embracing this sort of Haynes project.

[andrewfraser]

The thing that I think separates May December from other Haynes projects is that it is about the industry in many ways. Even though it's critical, I think actors love the movie and they are a huge branch in the Academy. I think Melton and Screenplay are in for sure, and I just have such a hard time imagining they make it to Natalie's monologue and don't vote for her. But stranger things have happened. Moore could be denied if they don't like her character, and want someone more sympathetic.

I wish Netflix made it it's main contender. It is miles ahead of Maestro.

[ScottC]

So yeah, most of this is boring, but as a big fan of Saltburn it's fun to see it on one of these Best lists (and its Production Design is very good and for me its Cinematography is top-3 of the year so I'm pleased to see those nominations).

Otherwise, I'm very happy to see Asteroid City in the mix for something. Wish it was getting more attention. Very happy to see Greta Lee included, and sad not to see Rosamund Pike. Its disappointing to have an Ensemble category and not do anything interesting with it. Similarly, a lot of their crafts category picks just seem copy and pasted and its sad not to see more original choices, although like you I'm happy to see Priscilla recognized.

[Philip H.]

Original Song is becoming a nail-biter! Just because of Barbie lol.

Only two songs can be nominated of the three that have gotten lots of awards attention.

I'm assuming Dance The Night will be the one to fall, but who knows. I know Billie is in. I assume I'm Just Ken will be a stronger contender with the Academy than Dance the Night, but it's definitely between them for the second Barbie slot.

However, for the actual statue, Billie already has one, so I don't think she'll get it (unless she starts collecting the precursors...).

I hope I'm Just Ken nabs the Oscar. It's so great. A cultural moment tbh.

[EricB]

The CCA nominations are always awful, always just reflective of Oscar fever. You cannot take any critics seriously who think Emily Blunt and America Ferrera are superior in their movies to Claire Foy in hers. (Blunt and Ferrera are lovely, but please.)

This organization keeps trying to position themselves as a real thing, but they're a bit of a joke in the industry. Just another bloated bump on the road.

The Globe nominations were infinitely better this year...they championed several people that these so-called critics should be pulling for.

[Tony L]

MrRipley79 - Thank you for this:

'though i'd prefer Robbie stayed at home,the most overrated actress for a long time.'

Agreed

If Moore isn't nominated - there isn't really anyone i care about this year - which is sad to me - if they happened to embrace All of Us Stranger, it would relight my spark - but i think that is wishful thinking - this year just isn't that exciting for me - with no movies or performances that i'm really rooting for with all my heart a la Blanchett in Tar or Farrell in Inisherin - which of course both failed to win even though they were superior performances. Maybe i was spoiled last year and this year can't compete LOL

[Edwin]

I keep having this feeling that even though Willem Dafoe is missing out on a few nominations while Mark Ruffalo stays in the mix, come Oscar nomination morning we could see Dafoe make the cut while Ruffalo ends up a surprise snub. I’m just thinking in terms of Paul Dano and Judd Hirsch last year for The Fabelmans or Caitriona Balfe and Judi Dench for Belfast a few years ago where it’s the veteran actor who makes it in at the expense of their costar who was more present throughout the season.

[DK]

I started watching The Morning Show recently and Reese Witherspoon gave that America Ferrera monologue in 2019. The song “The Man” by Taylor Swift came on shuffle this morning and it’s the same idea. The litany of contradictions and dichotomies and double standards women are expected to embody has been recited in Tumblr memes, political speeches, all manner of media since the 70s—over and over again, in that exact style. That (effective!) speech is truly one of the least fresh or original things about the Barbie movie.

People really need to consume more culture!

[César Gaytán]

"How is Disney's most critically lambasted film in eons getting into all these critics ballots?" well ... Barbie isn't exactly a movie that everybody loves neither.

@DK I was thinking in the viral video "Be a Lady They Said" with Cynthia Nixon in that scene.

[Fabio Dantas Flappers]

"The Horror... The Horror..."

[DK]

@César—totally, I forgot about that one, there are so many! The way people discuss it, you’d swear America Ferrera (not even Greta Gerwig!) personally invented the language to describe the challenges of womanhood a few months ago. She’s charming in the movie but an Oscar nomination, really?

Forget her, why are critics groups forgetting Scarlett Johansson in Asteroid City?

[Charlie G]

Thanks for mentioning Graner in Anatomy of a Fall. I think he's the real lynchpin to the whole movie working. And I don't think Huller's performance has the same gravitas without his parallel and intertwined storyline.

[Cláudio Alves]

I'm glad I'm not alone in thinking that the monologue isn't that good. For me, it was the worst part of a movie I otherwise liked.

César Gaytán -- Every film has its detractors and supporters. My point was about how these critics' awards are honoring WISH, which was lambasted even by their members. The response is drastically different from the one to BARBIE, and you know it.

Review aggregators are often misleading, but I'll appeal to them to make a point.

BARBIE is at 80 on Metacritic, 88 on RottenTomatoes, and has been featured in 33 end of the year lists with top placement in three of them.

WISH is at 47 on Metacritic, 48 on RottenTomatoes, and no end-of-the-year lists.

So, while not everyone loves BARBIE, it makes sense that it keeps showing up in critics honors. I can't say the same for the Disney movie unless, of course, it's just a symptom of voters not watching enough animated features or rubber-stamping each others' choices.

[Joe G.]

I get the criticism that it feels more like this group is predicting rather than voting for what they love, but this seems fairly reflective of what we’ve seen from other critics groups. Since they’re larger, a lot of the edges are sanded off (no Fran’s Rogowski, etc), but that makes sense.

You criticized the Ensemble nominees, but what else would have been nominated. Those films all have large ensembles that have been highly praised by critics. They’re obvious, but they don’t seem out of step with the performances critics are praising.

I’m also surprised by the American Fiction/Color Purple comparison. Yes, American Fiction is criticizing how literature works now, but is it really criticizing a classic womanist text like the Color Puprle? The book, and its themes, feels like it’s hardly made for the white gaze.

[Cláudio Alves]

Joe G. -- Ensemble-wise, I can think of ASTEROID CITY, SHOWING UP, ARE YOU THERE GOD...in terms of films with great casts who've been mentioned in several top ten critics lists. They're not obvious Oscar players, but they've been highly praised across the board.

Regarding the AMERICAN FICTION and COLOR PURPLE comment, I admittedly haven't seen the films. But Alice Walker's novel is one of the works Monk actively mentions and parodies in Percival Everett's ERASURE, from which Cord Jefferson's film is adapted. Indeed, THE COLOR PURPLE is part of the basis for his My Pafology book along with NATIVE SON, the AMOS 'N' ANDY show and PUSH.

[Lucky]

I'm surprised at how unsurprising this all is. It's like everything the internet has been predicting for months had now taken over the official awards like it's all intertwined. Did it used to be like this?

[Philip H.]

^ It's been like this for years. The internet (critics, bloggers, the press) claim stakes on contenders and it inevitably influences the popular opinions for the awards season. I'm not shocked at all. I first noticed this many years ago, the fortune telling + influence of the internet chatter.

[Wae Mest]

Remember when we thought Patti LuPone would have a shot this year? Better times!

[NATHANIEL R]

Everyone -- I just want to pop in and say that I'm happy for MAESTRO. I think it's just great and I dont know what people are on about to dislike it so emphatically ;) but to each their own. We'll have to talk more about the divide on certain pictures later in the season.

I wish i was happy about the Sterling K Brown nomination but from my perspective he's the weak element of the movie since i didn't buy him as a gay man. He's normally a great actor but this character... much preferred the other actors in the movie. Maybe it's because I watched the movie in such close succession to Andrew Scott in ALL OF US STRANGERS and Matt Bomer in FELLOW TRAVELLERS and its just so thrilling to see out gay actors deliver complex gay characters with so much authenticity. It was not very long ago at all (i.e. yesterday) a complete rarity and we have two examples this year. Thrilling. Brown reminded me of Gregg Kinnear in AS GOOD AS IT GETS in that I just wasn't convinced.

Charlie -- i also think Anatomy of a Fall would be a much lesser movie without that brilliant child performance.

Philip H -- agree totally on Barbie predictions. Though I don't think it would be impossible to see Eilish win again (since the song is so so good)

[Mr Ripley79]

I've been wondering what you though Nat about the acting nominations,are you being a bit cagey because you intend to update the charts.

I also think it's refreshing to see gay actors play gay men in mainstream films not that I think straight actors shouldn't,gay men know what the gay experience is like and bring that history from their experience into the roles,they have a knowledge straight actors as much as they try don't.

I kind of liked Kinnear in As Good As It Gets and found Everett a bit of a stereotype though funny esp any scene with a never better in a rom com Roberts,I assumed in 97 Greg took his spot that had sort of been reserved since summer and a lot of people thought he could win till Robin and Burt came along.

[Richter Scale]

Nathaniel: here's my two cents on Maestro. At first I was loving it, thinking it would be my favorite film of 2023. I found it deliciously bombastic, with such style and so much pleasure, feeling old-school and modern at the same time, carried by Bradley Cooper and Carey Mulligan doing some of the best work of their careers. For about 45 glorious minutes, I was ecstatic... and then the film kept going and ran into the same problem as A Star is Born after that initial high: the pacing becomes so unbearably heavy, and while there are still flashes of brilliance throughout, that initial exhuberance is lost, and given how predictable the film becomes, it got to a point where I was squirming in my seat. I still overall recommend it for the performances, the lush cinematography by Matthew Libatique (whose compositions are bliss) and for the way it uses Leonard Bernstein's music, and while it is definitely a step forward for Bradley Cooper as a director, he really needs to work on his pacing, especially if he's going to handle melodramatic material.

As for the Barbie monologue, I find it well written and delivered, but it's not earned. It comes out of a character we should be knowing more about for how much weight she has at that point in the story, but it just winds up feeling like the film is catching us up on a character whom they forgot to really deal with when it should. Most of my issues with Barbie are of structure, and I find it a frustrating movie because I can see the story that would have made the film work (and the story that Greta has always excelled at telling), but it really does feel like her vision is compromised by the film's corporate overlords, and while enough of her voice shines through to make the film worth watching at least once, it feels like something cobbled together from several pieces.

[Michael R]

Claudio: May December is my favorite film of the year and I am just so sad Portman is missing everywhere. I thought she was incredible in the film. If Gladstone, Mulligan, and Stone are locks I feel the last 2 spots are down to:
Robbie
Huller
Lee
Portman
Barrino

Those vote totals are going to be sooo close. What a year for this category!

[whunk (he/him)]

I think Barbie also suffers from difficulty resolving its arc in a fluid way. It's tough to end a film these days, and more often than not I find things get clunky or rote in the last 1/4-1/2 of a film. But I did really love the first 1/2 of it.

[Peggy Sue]

I'm too embarrassed to even type about this nominations.

[malcolm anderson]

this is very interesting for me