The 2025 Oscars Were Refreshingly Free of Politics

If I had to sum up the 2025 Oscars in one sentence, I’d say it was the least 'woke' ceremony we’ve seen in a decade. Conan O’Brien’s opening monologue set the tone—free of politics, full of sharp humor, and ending with a heartfelt plea to Middle America: Don’t give up on Hollywood just yet. It was a refreshing, almost nostalgic nod to the days when the Oscars were about movies and not political lectures.

For years, Hollywood award shows have been infamous for turning acceptance speeches into political soapboxes. It started way back with Marlon Brando sending Sacheen Littlefeather to chastise America on his behalf and Vanessa Redgrave’s anti-Zionist speech, and it’s only gotten worse.

Quentin Tarantino infamously attempted to convince the Cannes jury not to give the Palme d'Or to Michael Moore's Fahrenheit 9/11 over Park Chan Wook's Oldboy. The jury overrode his objections and gave the award to Michael Moore in protest of George W. Bush and the Iraq War. Cannes, like the Oscars at their worst, became more about political statements than artistic ones. It's a reminder of how often Hollywood's messaging has overshadowed its movies.

Middle America, already wary of Hollywood’s values, began to see the Oscars less as a celebration of cinema and more as a high school talent show where the popular kids scolded everyone else. It’s no wonder the ratings plummeted.

Part of this shift is due to the Academy’s expanded membership, which was intended to address criticisms that Oscar voters were too old, too rich, and too white. The new, more international and diverse voting base has shaken things up. However, this also feeds into the narrative that Hollywood is out of touch with the American audience. After all, how many Americans have seen Anora, Flow, or the Best Foreign Film winner, I’m Still Here. Instead of the art of storytelling and filmmaking taking center stage, it’s been about A-list celebrities basking in their own limelight, producers pushing pet projects, and red-carpet controversies drowning out genuine artistry. The hosts haven’t helped either, often contributing to the Oscars' decline in popularity by delivering crass humor and polarizing political jabs. Many past ceremonies have felt like watching a stand-up set where the comic only knows how to punch down at the audience—taking political jabs and cheap shots that alienate more than they entertain.

Jane Fonda delivered an anti-Trump speech at the SAG awards, and Lily Gladstone called out Trump for his anti-DEI initiatives. Thankfully, the Oscars were spared from any grandstanding. There were hints of politics, sure, but they were just that—hints. No one said “Trump.” No one ranted about the their pet political topic. Even the biggest controversy of the night, Carla Sofia Gascon’s tweets, was deftly deflated by O’Brien’s sharp humor, and the show moved on.

And for once, Hollywood was the butt of the joke—not middle America. The ceremony embraced a self-deprecating tone that had been sorely missed. Past hosts, often actors themselves, seemed afraid to roast the nominees or poke fun at the industry, terrified of offending a producer or a friend. It always made Hollywood seem out of touch, a room full of millionaires too fragile to handle a good-natured jab. But not this year. Conan O'Brien's mix of humor and humility was perfect for the moment and has resulted in positive reactions from most people.

One of the best parts of the night was how it honored independent cinema. Anora and director Sean Baker walking away with four Oscars was a win for the scrappy underdogs of Hollywood. Adrien Brody’s win for The Brutalist—made on a $10 million budget—Kieran Culkin’s award for A Real Pain ($3 million), and Zoe Saldana’s for Emilia Perez ($26 million, which is indie by today’s standards) all underscored that great cinema doesn’t need a Marvel-sized budget. Mikey Madison’s win for Best Actress and Flow’s triumph as Best Animated Feature, both made on shoestring budgets, reinforced this theme.

Independent studios were not the only new faces at the Oscars. Streaming giant Netflix landed an unprecedented 18 nominations and took home three wins. NEON, the indie powerhouse, went home with five Oscars, including Best Picture. This proved that Hollywood can accept new players into its fold, though Netflix and other streamers still haven’t cracked the elusive Best Picture win.

Of course, the usual voices on the right took their shots at the Academy. GOP and MAGA influencers claimed that the Reagan biopic was snubbed due to diversity quotas. And look, maybe the Academy should revisit its DEI criteria, but if the argument is that the Reagan movie deserved a nomination, well—that’s not going to gain much traction. It just wasn’t a good movie.

Even when the speeches did veer into more serious territory, they stayed on topic. Brody’s rambling Best Actor speech, now the longest in Oscar history, touched on historical trauma and oppression without dipping into modern political debates. Sean Baker used his Best Director platform to advocate for the theatrical experience—a timely reminder for an industry bleeding viewers to streaming services and TikTok.

The truth is, most actors aren’t political philosophers. They follow trends just like everyone else. Those who grandstand politically at awards shows are usually performing, seeking attention and accolades from the industry echo chamber. It’s not really about conviction—it’s about staying relevant.

But this year, apart from the Best Documentary winners, the speeches were refreshingly free of grandstanding. The focus was on celebrating the moment, on joy, on art. If the Oscars continue down this path—honoring artists, focusing on the craft, and projecting a positive image of Hollywood—then maybe, just maybe, things are starting to change.

Of course, not everything was perfect. Dune 2 deserved a soundtrack Oscar. Hollywood has always had a weird relationship with Hans Zimmer—too popular, too electronic—and after finally recognizing him for Dune 1, they went right back to snubbing him. Chris Sanders, who gave us Lilo & Stitch, How to Train Your Dragon, and now The Wild Robot, remains Oscar-less, which feels like a crime against animation.

Timothée Chalamet and Demi Moore also left empty-handed, despite Moore’s brilliant performance in The Substance and Chalamet’s almost ridiculous track record—seven Best Picture nominees before turning 30. They didn’t lose for lack of trying, but there's always next year.

If this is a sign of things to come, I’m cautiously optimistic. The Oscars might just reclaim their place as a celebration of cinema, not a battleground for culture wars. And if Conan O’Brien’s monologue is any indication, Hollywood might get used to laughing at itself again—and that’s a very good thing.

The question of whether the Oscars still matter has been floating around for years. But as long as film exists as an art form, the Oscars will hold cultural significance—not just for America but for the world. When Hollywood gets it right, it’s still a magic show worth watching—and maybe, just maybe, humor and humility are the secret ingredients to keeping the Oscars relevant for another century.