Transcript

A (0:07)

Welcome to Critical Darlings, a conversation about the awards season. Conversation one contender at a time. Please welcome to the stage your hosts, Richard Lawson and Alison Wilmore.

B (0:26)

Thank you as ever, Marie, for that lovely introduction. Although I feel like this whole episode should be voiceover.

A (0:34)

Yeah. We can just sit here quietly, Mamarie.

B (0:37)

And very, like, poetic.

A (0:38)

Explains our lives and our interior, but, you know, in a way that's, it's. It's touching. It feels poetic. Yeah. That's podcast magic, I think, is when the hosts just don't talk.

B (0:50)

Yeah. Well, so we're going to talk about Train Dreams this week because, you know, it is a best picture nominee.

A (0:57)

It's the other surprise, I would say, like, not totally unexpected, but like the kind. It was a long shot for best picture, I think.

B (1:04)

So I think that one thing that about this movie that is worth getting into is like its arc from its premiere at Sundance almost a year ago to a best picture nomination and a couple other nominations, because that's not a unique story. Sundance has had a, you know, a presence in awards for a long time. But you also add the Netflix of it all. And like, Netflix bought this movie and it wasn't one, you know, they had a bunch of, like, homegrown movies that one of which performed well at nominations last week. But Train Dreams, I don't know, it seems to represent a certain kind of best picture nominee that I can't tell if that's a dying breed or just a breed that's here to stay.

A (1:50)

The kind of scrappy indie that the.

B (1:52)

Little Sundance movie that could.

A (1:54)

Yes.

B (1:54)

That gets swept up in a bigger narrative somehow, and they're just kind of riding this wild wave, you know. And, you know, there are, there have been years recently where there has been no movie that came from Sundance nominated, but it's actually pretty rare that that happens within the last, like, I don't know, this century, basically.

A (2:13)

Yeah. You know, the funny thing about Sundance is that I feel like in the larger Oscar narrative that we've talked about before of like, this feeling that, like, these smaller movies are coming in and getting these big nominations, and that has led to a feeling of increased irrelevance. Now suddenly the Sundance movies are the kind of more crowd pleasing or accessible ones. And it's the Cannes movies where you're like, this is international film. It is like often like a genuine art house film. It is going to be like, much more challenging in terms of its choices. That is now the force that we're seeing shape a lot of the Oscars. And now suddenly the Sundance pictures are looking like the kind of safer bets in terms of that sentiment of worrying about accessibility.

Summary

Podcast Summary: Blank Check – Critical Darlings: "Train Dreams, And Netflix’s Quest For Best Picture"
Date: January 29, 2026
Hosts: Richard Lawson (A), Alison Wilmore (B), with input from Ben Hosley (C)
Episode Focus:
A comprehensive look at the 2025-2026 Oscar season, focusing on the surprise Best Picture nominee “Train Dreams,” the evolving identity of the Sundance Film Festival, and Netflix’s persistent (and complicated) campaign for Oscar legitimacy.

Main Theme and Purpose

This episode dives deep into:

The journey of “Train Dreams” from Sundance darling to a Best Picture contender
The shifting landscape and relevance of the Sundance Film Festival
Netflix’s ongoing, often fraught, campaign for Oscar glory and industry acceptance

The hosts explore what “Train Dreams”’ nomination says about both the state of independent American film and the mechanics of modern Oscar campaigns, particularly for streaming platforms like Netflix.

Detailed Breakdown

Sundance’s Legacy and Identity Crisis

(00:50–12:51)

A Year of Change for Sundance:
- 2025 was Sundance’s last year in Park City before moving to Boulder—largely due to costs. ("It's their last year in Park City... they're moving to Boulder next year for various reasons. I think mostly come down to money." – B, 03:11)
- Ongoing debate about what constitutes a "Sundance movie.”
  - Is it still quirky American indie comedies, accessible crowd-pleasers, or has it become a launchpad for more artful, international films?
- Noted: More challenging, art-house titles are now associated with Cannes, while Sundance has shifted toward more accessible and commercially palatable fare.
  - “Now suddenly the Sundance movies are the kind of more crowd pleasing or accessible ones. And it’s the Cannes movies where you're like, this is international film . . . much more challenging.” (A, 02:13)
Problematic Trends:
- American indie output is down; the festival has lost some of its "white-hot relevance."
- Industry insiders notice more "calling card" films intended as stepping stones into commercial work, not passion projects.
  - “So many of the films at Sundance are just like calling cards now to be like, give me an Apple original series or . . . the latest franchise.” (A, 07:30)
- Piracy and digital screening have complicated the distributor calculus, leading to more conservative online access and pressure on competition films.

Notable Moment

Sundance mythology and the "discovery" narrative:
- “People, when they're at Sundance, in particular, really like to come down from the mountaintop being like, well, have I got the film and the filmmaker and the star for you?” (B, 19:04)

What IS a “Sundance Movie”?

(17:59–22:09)

Richard and Alison debate the elusive "feeling" of Sundance films:
- Small, American, auteur-driven; often quirk layered over conventional story arcs.
- Example: “Manchester by the Sea” and “Winter’s Bone” fit the mold; “Brooklyn” and “The Father” feel less typical, but premiered and succeeded from Sundance.
“It’s a bit like porn. I know it when I see it.” (B, 19:11)

Timestamps:

[19:11] – The “porn” remark and ongoing definition debate
[20:20] – Sundance now “feeds into” (not opposes) the Hollywood mainstream

"Train Dreams": Critical Appraisal & Adaptation Choices

(22:09–39:05)

Mixed Reactions Among the Hosts

Alison: Finds the film “fine, very safe with its characters," sands off the edges of the original novella.
Richard: "No, I don't care for it at all. . . . This movie feels so fakey to me." (B, 22:28 & 25:09)
- Criticizes the film’s “homey but elevated profundity,” the avoidance of darker, spikier themes present in the novella, and a whiff of unauthentic “straight guy in Echo Park” sensibility.

Points of Criticism:

Sanitizing difficult content (such as the central character's involvement in violence and narrative darkness) to enable broader, safer appeal.
The adaptation fixates on grief and the protagonist's haunted quality, leaving little dramatic tension or emotional anchoring:
- “His main quality is feeling haunted.” (A, 31:22)
"It doesn’t really feel like a Sundance movie.” – Unclear festival fit.

Craft Praise:

Bryce Dessner’s score is highlighted as a saving grace, giving the film “a pulse.”
- “I think the score in this movie is really, really lovely.” (C, 39:05)
Technical aspects (cinematography, etc.) remain strong, suggesting a possible Oscar path in those categories.

Notable Quotes:

“You lose the more profound meaning on the positive side if you don’t have the negative.” (B, 31:40)
“I think what I kind of located was that the filmmaker, Clyn Bentley, he's a really nice guy. . . . But I just, this movie feels so fakey to me.” (B, 24:45)
“I like this movie. Okay. I do not like it, I think, as much as you do.” (A, 22:23)

Joel Edgerton as the Lead

(33:43–38:08)

Edgerton’s “normal” Hollywood career, adaptability, and capacity for unavailable, haunted “everyman” roles.
Film taps into perennial “dad angst” and documents a character “who leaves no trace.”
- “Nature literally just reclaims him like as if he never existed.” (B, 35:53)

Netflix’s Quest for Best Picture

(43:57–62:10)

Evolution of the Campaign

Netflix’s ongoing (and costly) pursuit for Oscar legitimacy.
Past and present: From ‘Roma’ to ‘Train Dreams’; consistent nominations, but seldom a frontrunner, and never a winner for Best Picture.
The streamer's robust spending on campaigns has fostered industry resentment.
- “No one spends like Netflix does on these things. . . . I think people resent that. Like, you know, like just throwing enormous amounts, trying to... buy an Oscar." (A, 52:12)
Host skepticism on whether this push is waning, particularly after in-house bets underperform.

Notable Netflix Best Picture Nominees—None Have Won

(A, 50:59)

Roma, The Irishman, Marriage Story, Mank, Trial of the Chicago 7, The Power of the Dog, All Quiet on the Western Front, Maestro, Emilia Perez, and now Train Dreams.

Rigidity & Algorithmic Influence

Concerns about the Netflix “algorithm” shaping even adult prestige content for distracted, multi-screen home viewing.
- Reported: Netflix’s notes to filmmakers—reiterate plot frequently, have a big action scene up front. (56:21)
- "So to have actual... big old movie stars be like, yes, we were told that you need to say what's happening in the plot more because people might not be paying attention in a two hour movie.” (A, 56:24)
- Running joke: “Is that why Joel Edgerton keeps saying, 'I’m having a train dream?'” (B, 56:40)

Platform Disadvantage and Filmmaker Frustration

Many quality Netflix-bought films are buried, stalling directorial momentum.
- Sarah Colangelo's “The Kindergarten Teacher” and “Worth,” Richard Linklater's “Apollo 10 ½” and “Hitman,” etc.
Series and algorithm-friendly content do much better.

Oscar Season Prognosis & Netflix's Next Moves

(65:20–68:43)

Netflix focusing campaign energy on "Frankenstein" (the in-house, big-ticket doc) and "Train Dreams."
Likely hopes: wins in technical categories (cinematography, song), and reputation maintenance as an Oscar “player.”
Broader question: If Netflix successfully acquires Warner Bros., how long will the "Warner Bros." brand mean anything in Oscar races or in terms of theatrical releases?
- "You lose a major player off the kind of award studio board when it comes to awards." (B, 67:57)

Notable Quotes & Timestamps

[02:13] Alison: “Now suddenly the Sundance movies are the kind of more crowd pleasing or accessible ones. And it's the Cannes movies where you're like, this is international film…much more challenging.”
[19:11] Richard: “It’s a bit like porn. I know it when I see it.”
[22:28] Alison: “You loathe this movie.” Richard: “I really don’t like this movie.”
[24:45] Richard: “This movie feels so fakey to me. . . . It just feels so straight guy with the cool haircut and desert boots and a flannel overshirt, waiting in line for a flat white in Echo Park.”
[31:22] Alison: “His main quality is feeling haunted.”
[39:05] Ben: “I think the score in this movie is really, really lovely. It's by Bryce Desner, who is one of the members of the National.”
[52:12] Alison: “No one spends like Netflix does on these things. . . . I think people resent that. Like, you know, like just throwing enormous amounts, trying to . . . buy an Oscar.”
[56:24] Alison: “So to have actual... big old movie stars be like, yes, we were told that you need to say what's happening in the plot more because people might not be paying . . . attention in a two hour movie.”

Episode Flow & Tone

Conversational, irreverent, smart industry-insider analysis
Self-aware, with frank admissions of biases and personal taste
Balanced praise and critique, especially of “Train Dreams” and Netflix
Frequent tangent and pop culture references; lively back-and-forth between co-hosts

Key Takeaways

On “Train Dreams”:

A poetic, technically accomplished, but ultimately “safe” and sanded-down adaptation
Both admired and critiqued for being accessible but lacking edge or profound thematic weight
Joel Edgerton’s understated lead performance fits the film’s (and Netflix’s) quest for reliable “everyman” appeal

On Sundance:

Undergoing an identity crisis, with decreasing output of U.S. indie films with real “discovery” potential
Struggling between accessibility and exclusivity in the streaming era

On Netflix and the Oscars:

Consistent Oscar nominations but ongoing industry skepticism, especially toward their “algorithmic” approach and flood-the-zone awards spending
Talent relationships are a double-edged sword: big names, but frequent filmmaker dissatisfaction
Likely outcome: more nominations, possibly some wins in technical categories, but Best Picture remains elusive

Summary by Podcast Summarizer AI — faithfully capturing Blank Check’s insightful, witty analysis, so you can enjoy the Oscars and indie film discourse without hitting ‘play’.

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Critical Darlings: Train Dreams, And Netflix’s Quest For Best Picture