Podcast Summary: Good One – "Why Can't Comedies Win Best Picture?"

Host: Jesse David Fox
Guests: Griffin Newman (actor, co-host of Blank Check podcast), Alison Wilmore (film critic at Vulture)
Date: February 5, 2026

Overview & Main Theme

In this episode, host Jesse David Fox is joined by Griffin Newman and Alison Wilmore to tackle a recurring question in Hollywood: “Why Can’t Comedies Win Best Picture?” The conversation dives into the history of the Oscars’ bias against comedy, how eligibility and recognition are shaped by industry narratives, and whether changes to awards categories could—or even should—change comedy’s standing. The discussion is both passionate and humorous, blending pop culture analysis with industry insight and affectionate frustration at comedy’s perennial underdog status in film awards.

Key Discussion Points & Insights

1. Personal Reactions to Oscar Nominations

• Oscars as Personal Ritual & Industry Reflection
  • Alison and Griffin reflect on growing up caring intensely about Oscars, but now see them more as industry self-mythologizing than objective truth.
  • Alison: “No normal person would think about the Oscars the way I do… They are also creating a self image, right? Like, they are being like, this is what we say is best.” (04:55)
  • Griffin: Describes learning the Oscars are about strategy and perception, not just artistic merit.

2. The Comedy/Drama Divide in Awards

• Dramas with Comic Notes vs. "Hard" Comedies
  • The group discusses how many Oscar-recognized “comedies” are actually dramatic films with comic overtones rather than pure or “hard” comedies (e.g., Apatow’s films, Sandler movies).
  • “The issue is larger than just the Globes… If you tried to create an opening for comedy, the same powers would pull whatever chicane.” – Griffin (11:09)
• Strategic Categorization in Awards Shows
  • Studios submit movies strategically for Comedy/Musical categories to boost odds, often stretching definitions—e.g., "The Martian" as a comedy.

3. What Counts as a Comedy?

• Definitions Are Subjective, Fluid, and Strategic
  • The hosts discuss “hard comedy” (movies where jokes and laughter are the primary intent) vs. lightly comedic dramas or "dramedies."
  • Alison points out the necessity of a clear definition if a separate category were made: “…actually, I think it would make more sense… for things that are undeniably comedic…” (11:31)

4. Historic & Systemic Factors Behind Comedy’s Marginalization

• Authorship and Industry Respectability

  • The Oscars privilege “authorship” typically from directors, but in comedies, authorship often resides with star performers or collaborative writing teams, which doesn’t fit Oscar's template.
  • “Comedy is also about authorship. But…usually the dominant author is the star.” – Griffin (35:43)

• Technical and Structural Biases

  • Many voters come from technical fields and may not value comedic filmmaking, which often requires “invisible” craft.

• Perception of 'Lowbrow' Art

  • Historically, comedy has been seen as less “artistic” than drama—rooted in vaudeville, “lowbrow” traditions, and early film history.

5. Oscars History: Notable ‘Snubs’ and Exceptions

• Comedies Rarely Win
  • Even comedy giants like the Marx Brothers, Chaplin, or Buster Keaton were largely ignored. Honorary Oscars came decades later, if at all.
  • There was once a Best Director-Comedy Oscar at the very first ceremony, but comedy quickly lost out.
• The Screenplay Consolation Prize
  • Comedies are often acknowledged in screenplay categories when cultural narratives demand it (e.g., "The Big Sick", "Bridesmaids").
• Comedy Actors Breaking In
  • Bill Murray, Melissa McCarthy, and others only get acting nominations when roles require notable dramatic depth or are perceived as transformative.
  • “They don't want you doing what your core competency is. They want you showing that you can do the other thing.” – Griffin (38:12)

6. Changes in Industry and Genre Fortunes

• ‘Comedy Slot’ Hope Fails
  • Expanding Best Picture to 10 films was thought to help comedies, but only “safe,” “respectable” ones (e.g., "The Descendants") tend to get in.
• Animated Feature Category Parallels
  • The creation of the Best Animated Feature award ghettoized animation, yet allowed a pathway for wider recognition. A similar “comedy” category might be patronizing.

7. Case Studies & ‘What Ifs’

• Rewriting History

  • The panel imagines replacing clearly unloved or dated Oscar nominees with comedies from the same year (e.g., "Crash" replaced by "The 40-Year-Old Virgin," "Babel" by "Borat" or "The Devil Wears Prada").

• Analysis of Individual Years

  • They analyze recent nominees and skipped comedies, using the lens of current thinking vs. industry realities (notably, “Groundhog Day”, “Bridesmaids”, “Tropic Thunder", "Girls Trip", "Palm Springs", "Naked Gun (2023)" etc.).

8. The Role of Industry Campaigns and Comedy Self-Loathing

• Oscar Campaigns Are Essential
  • Awards require strategic campaigning, which comedians/studios often don't mobilize for “hard” comedies.
• Comedy’s ‘Outsider’ Complex
  • Comedians may internalize a sense they don’t “deserve” respect, some chase seriousness as validation (e.g., Adam McKay, Judd Apatow).
  • “Even if you make it to the top of the mountain, the fact that you're not taken seriously suddenly is the thing that has to drive you…” – Griffin (60:39)

9. Modern Examples and Outliers

• Barbie as a Win and an Exception
  • "Barbie" is considered by the trio to be a real comedy and, as Griffin says, “Bombach and Gerwig both are primarily comedic filmmakers… but they are comedy first and foremost.” (84:37)
  • It was received as a drama of “aboutness” and was accepted due to box-office and authorship narratives, not because the Academy had become more comedy-friendly.
• Naked Gun (2023) & Liam Neeson’s Performance
  • Both Alison and Griffin argue Neeson gave one of the best performances of the year, but comedy acting continues to be overlooked—even as the movie is a technical and comedic feat.

Notable Quotes & Moments

“Awards are, at their core, bullshit.” – Griffin Newman (11:09)

“Comedy is also about authorship. But in…hard comedies…the dominant author is the star… The Oscars are about authorship…usually the director.” – Griffin Newman (35:43)

“Emma Stone is the most decorated actor of our generation. All those performances are comedic performances absolutely exclusively… She just doesn’t do [understated drama].” – Jesse David Fox (37:23)

“I think the sort of like, bargain that was built upon for comedy, which was like, well, you get the box office, you get to be successful… The awards are for our little movies…Well, now. Yeah, they don’t.” – Jesse David Fox (59:27)

On defining comedy:

• “It would make more sense to be like…a specialized category that is solely for things that are undeniably comedic...a panel together and everyone would be like, how much did I laugh at?” – Alison Wilmore (11:31)

On 'Groundhog Day' snub:

• “If there’s any one example of…undeniably comedy-comedy but with some level of greatness…it is 'Groundhog Day'.” – Jesse David Fox (44:54)

On 'Barbie':

• “Barbie is inarguably a comedy to me… for the reasons…was able to be sorted to the Oscars as not a comedy that we don’t nominate, but a comedy that we do nominate.” – Jesse David Fox (84:55)

On 'Naked Gun (2023)':

• “Liam Neeson should have been seriously considered for Best Actor…what he’s doing is acting.” – Griffin Newman (89:33)
• “He is applying peak Liam Neeson intensity to the silliest shit in the world and grounding it…It’s the most alert he’s been in 15 years.” – Griffin Newman (90:00)

Timestamps for Key Segments

• 01:24–02:23: Jesse David Fox introduces the main subject—comedy’s Oscar snub.
• 03:41–04:55: Guests share perspectives on how they now “process” the Oscars.
• 07:35–08:32: Judd Apatow’s Golden Globes “The Martian” comedy rant discussed.
• 11:08–11:55: Would a separate comedy category “fix” the problem?
• 15:16–17:47: The “types of comedy” the Academy likes and Oscar tendencies.
• 19:27–20:58: Why “hard” comedies get screenplay nods, not Best Picture.
• 35:14–38:12: On authorship and why comedies rarely win top awards.
• 43:11–43:54: 1980s/90s: The rare moments when comedies broke through.
• 44:54–45:48: The “Groundhog Day” snub and what it says about the Academy.
• 56:19–58:19: Eddie Murphy, the Oscars, and comedians’ frustration.
• 59:07–62:15: Does the industry need Oscar incentives to make comedies?
• 71:22–79:52: Recent years, “The Disaster Artist,” Oscar for “Get Out,” how tone is managed for recognition.
• 84:37–85:51: Is “Barbie” claimed by comedy? Where does it fit in Oscar history?
• 89:33–94:42: Renewed praise for “Naked Gun (2023)”; what a technically masterful comedy performance looks like.
• 95:03–97:57: The difficulty of explaining comedic genius and why comedies age so well.

Conclusion

Final Takeaway:
Despite major shifts in filmmaking and occasional exceptions, comedies are still often recognized only in “screenplay” or acting categories and rarely break into Best Picture. While occasional cultural phenomena like “Barbie” crack the code, the academy’s structural, cultural, and historical biases against “pure” comedy persist. The hosts conclude that while the tides of taste shift slowly, the pleasures and importance of big-screen comedy outlive the fickle judgment of awards bodies—and that continuing to advocate for them is itself a meaningful act.

“Comedy is the only art form other than pornography that demands an involuntary physical response from you.” – Matt Walsh (quoted by Griffin, 68:41)

For listeners who missed the episode:
This lively, substantive conversation is a must-listen for anyone invested in movies, comedy, or awards season politics—rich with history, wit, and insight into why making people laugh remains the hardest achievement to honor.