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Al Pacino and Michelle Pfeiffer Will Present at the Oscars (Plus Everything Else You Need to Know) 

Oscar statuettes appear backstage at the Oscars at the Dolby Theatre in Los Angeles on Feb. 28, 2016. (AP)
Oscar statuettes appear backstage at the Oscars at the Dolby Theatre in Los Angeles on Feb. 28, 2016. (AP)
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Al Pacino and Michelle Pfeiffer Will Present at the Oscars (Plus Everything Else You Need to Know) 

Oscar statuettes appear backstage at the Oscars at the Dolby Theatre in Los Angeles on Feb. 28, 2016. (AP)
Oscar statuettes appear backstage at the Oscars at the Dolby Theatre in Los Angeles on Feb. 28, 2016. (AP)

After a winter barrage of award shows — the Emmys, the Golden Globes, the Grammys — the grandaddy of them all, the Academy Awards, are around the corner. The 96th Oscars may be a coronation for “Oppenheimer,” which comes in with a leading 13 nominations, though other films, including “Barbie,” “Killers of the Flower Moon” and “Poor Things” are in the mix.

Here’s everything you need to know about this year’s show:

WHEN ARE THE OSCARS?

The Oscars will be held Sunday, March 10, at the Dolby Theatre in Los Angeles. The ceremony is set to begin at 7 p.m. EDT — one hour earlier than usual — and be broadcast live on ABC. A preshow will begin at 6:30 p.m. EDT. This is your early reminder to set your clocks accordingly — it’s the first day of daylight saving time in the US.

WHO’S PRESENTING AT THE OSCARS?

Last year’s big acting winners are all coming back to present at the show (a tradition), including Brendan Fraser, Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis. The academy also announced that “Scarface” co-stars Michelle Pfeiffer and Al Pacino are set to hand out awards as well (no word on whether it’s together or not). Other celebrities set to grace the Dolby stage include Zendaya, Matthew McConaughey, Jessica Lange, Nicolas Cage, Mahershala Ali, Sam Rockwell and Luptia Nyong’o. More names will be revealed as show day gets closer.

ARE THE OSCARS STREAMING?

The show will be available to stream via ABC.com and the ABC app with a cable subscription. You can also watch through services including Hulu Live TV, YouTubeTV, AT&T TV and FuboTV.

WHO’S HOSTING THE OSCARS?

Jimmy Kimmel, who hosted last year’s ceremony, will emcee for the fourth time. That ties him with fellow four-timers Whoopi Goldberg and Jack Lemmon, and leaves Kimmel trailing only Johnny Carson (five), Billy Crystal (nine) and Bob Hope (11) among repeat Oscar hosts. “I always dreamed of hosting the Oscars exactly four times,” said Kimmel.

WHAT’S NOMINATED FOR BEST PICTURE AT THE 2024 OSCARS?

The ten nominees for best picture are: “American Fiction”; “Anatomy of a Fall”; “Barbie”; “The Holdovers”; “Killers of the Flower Moon”; “Maestro”; “Oppenheimer”; “Past Lives”; “Poor Things”; and “The Zone of Interest.”

WHO ARE THE FAVORITES?

Christopher Nolan’s “Oppenheimer” is the frontrunner. Nolan, the best director favorite, is also poised to win his first Oscar. The best actress category could be a nail-biter between Lily Gladstone (“Killers of the Flower Moon”) and Emma Stone (“Poor Things”). If Gladstone were to win, she would be the first Native American to win an Oscar.

Best actor, too, could be a close contest between Cillian Murphy (“Oppenheimer”) and Paul Giamatti (“The Holdovers”). Both would be first-time winners. Giamatti’s co-star Da’Vine Joy Randolph is favored to win best-supporting actress, while Robert Downey Jr. (“Oppenheimer”) is expected to win best-supporting actor. His closest competition is considered Ryan Gosling for “Barbie.”

WHAT’S UP WITH THE ‘BARBIE’ SNUBS?

While “Barbie,” 2023’s biggest box-office hit, comes in with eight nominations, much discussion has revolved around the nominations the film didn’t receive. Greta Gerwig was left out of the directing category and Margot Robbie missed on best actress. In those omissions, some have seen reflections of the misogyny parodied in “Barbie,” while others have noted the tough reception comedies have historically had at the Oscars. The nominations for “Barbie” include best-adapted screenplay (by Gerwig and Noah Baumbach), best supporting actress for America Ferrera and two best song nominees in Billie Eilish’s “What Was I Made For” and the Mark Ronson and Andrew Wyatt composition “I’m Just Ken.”

ARE THERE ANY CHANGES TO THE OSCARS THIS YEAR?

Though recent Oscars have been marked by everything from slaps, envelope snafus and controversies over which awards are presented live during the telecast, this year’s show comes in with no big changes (besides starting an hour earlier). All of the awards are to be broadcast live (though honorary prizes remain separated in the earlier, untelevised Governors Awards). The academy is adding a new award for best casting, but that trophy won’t be presented until the 2026 Oscars.

WHAT ELSE IS THERE TO LOOK FOR?

Composer John Williams is nominated for his record 49th best-score Oscar, for “Indiana Jones and the Dial of Destiny,” and 54th overall. Godzilla is going to the Oscars for the first time, with “Godzilla Minus One” notching a nomination for best visual effects. And for the first time, two non-English language films are up for best picture: the German language Auschwitz drama “The Zone of Interest” and the French courtroom drama “Anatomy of a Fall.”

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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.