Ranking the two-time Best Actress winners

by Baby Clyde

Hilary Swank accepts her second Best Actress Oscar at the 77th Academy Awards.

To celebrate the 50th birthday of two-time Best Actress winner Hilary Swank, I've decided to rank all of the double champs in everyone's favorite category. It's a list of all-time greats, but the performances range from the sublime to the truly Dangerous. They are being judged solely on the performance, but I may be somewhat swayed if they beat out more deserving nominees or didn't win for their best work. I do not include those overachieving triple and quadruple recipients (Kate, Frances, Meryl, and Ingrid) who don't need any more attention. So, with a hearty Happy Birthday to the birthday girl, let's see how our Million Dollar Baby stacks up against her second-time sisters…

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Relitigating Best Actress '04

by Cláudio Alves

Are you a fan of And the Runner-Up Is? Kevin Jacobsen's podcast started as a way to look at past Best Picture races, going down Oscar history one lineup at a time. However, when every year was covered, it came time to change strategy. Going beyond the biggest category of them all, he refocused his attention on the Academy Award for Best Actress and revitalized the format along the way. Three years ago, I had the honor of guesting in the 1933 episode where we discussed Katharine Hepburn's first victory, May Robson's sentimental loveliness, and Diane Wynyard's short-lived Hollywood success story. This week, it was time to return to And the Runner-Up Is and relitigate one of the greatest Best Actress races ever. It's Swank vs Bening round two, 2004 electric boogaloo…

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Almost There: Emma Stone in "Battle of the Sexes"

by Cláudio Alves

Our most recent two-time Best Actress champion is back in theaters with Yorgos Lanthimos' Kinds of Kindness, a black-hearted tryptic that allows Emma Stone to experiment with three distinctly realized characters. To mark the occasion and the success of another tennis-related movie – Guadagnino's Challengers – let's think back to one of the few times this Academy favorite was in the race but didn't land a nomination. In 2017, right after her first Oscar win, Stone played Billie Jean King in Battle of the Sexes. Directed by Jonathan Dayton and Valerie Faris, the biopic was made in parallel with a Presidential election that saw a very different outcome than its titular match. Looking back, Battle of the Sexes reached for the zeitgeist yet failed to predict where the world was headed.

As for Stone, the project signaled her most outward flirtation with traditional prestige before her career went into another direction altogether…

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Nicole Kidman Tribute: Rabbit Hole (2010)

by Cláudio Alves

For a while, I thought that loss would lead to tears, a general sadness that consumes you whole and leaves behind a husk. Much art and media made it seem so to my adolescent self. The piteous melodrama that the mainstream loves to sell was a convincing lie, and so were the beatific visions of bereavement from which a person learns and grows stronger. But life doesn't obey narrative rules, nor does it seek to satisfy in the ways a Hollywood producer might. The tears do come - and they did - but there was more to it. More that wasn't aligned with ideas of beautiful suffering or an education of the soul. When I found grief, I found anger, too.

Why must it hurt so much? Why must it isolate so strongly? Why does it seem like no one understands? Why must joy prevail in the world? It's obscene, it feels wrong, and it stokes the fires of fury inside. Yet, there's no clear target for the flame. You find yourself full of emotion, wanting to wield it like a weapon and hurt something, anything, maybe yourself, or maybe nothing at all. There is no reason in grief and nowhere to go from there. Often, one finds no path out or through, no answers whatsoever. In this solipsism, recognition may lead the way. If not in the company of others, then in the mirror of the screen – in works like that of Nicole Kidman in Rabbit Hole…

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Nicole Kidman Tribute: The Hours (2002)

by Cláudio Alves

Nicole Kidman's career moves in cyclical repetitions, always coming back to the Australian star having to prove herself and then re-emerge with a revitalized surge of prestige and popularity. It happened back home, when Kidman found early success in popcorn cinema, leading to bigger roles that let her prove her mettle. At the end of the 1980s, she was on her way to securing the respect afforded a serious actress. But, as she traveled to Hollywood, Kidman had to start over. For a while, she was Tom Cruise's starlet girlfriend first and foremost, before a string of more challenging roles set the stage for widespread acclaim, culminating with an Oscar win. We'd see the cycle come back around after a slew of commercial and critical flops besmirched her image, making her the butt of many a plastic surgery joke. And then, there was her 2010s resurgence and the "rediscovery" of her talents in a new era of prestige TV. But we're getting ahead of ourselves.

Today, we arrive at that Academy Award victory, the first great peak of Kidman's Hollywood journey. It was when she donned a prosthetic nose and delivered the specter of Virginia Woolf for Stephen Daldry's adaptation of The Hours…

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