It has been, as pretty much everyone has noted, a lengthy Oscar season, made additionally trying by certain squabbles and controversies along the way. As Brooks Barnes writes, however, it’s not just insiders that are feeling the apathy, but the moviegoing public too. Noting that there’s been less of a post-nomination commercial bump than usual for a lot of the nominees, he wonders if the expanded Best Picture field is partly responsible. He quotes PR expert Joe Quenqua: “That led to a lot more noise, and it potentially diluted the specialness … You wonder at what point the average consumer becomes confused and tunes it all out.” [New York Times]
An anonymous Oscar voter discusses why he’s voting for “Gravity,” Alfonso Cuaron, Judi Dench, Bruce Dern, Sally Hawkins and Barkhad Abdi. [Daily Beast]
These are rather cute: Oscar nominee questionnaires. If you’ve been longing to know what Bradley Cooper’s handwriting looks like — and it ain’t pretty — dive in. [Oscar]
Take heart, losing Oscar nominees: at least some of you get to go home with an “O Shot” treatment to “rejuvenate the vagina.” [Telegraph]
Harvey Weinstein says “Django Unchained” covered a lot of the same ground as “12 Years a Slave” first, and believes “The Croods” is “artistic genius.” [Deadline]
Jenny Peters offers a complete rundown of the Oscar party beat in Hollywood. [Variety]
Unlike after his first win, Christoph Waltz will return to present at this year’s Oscars — meaning all last year’s acting winners are on the bill. [Oscars.org]
Isaac Chotiner interviews Mark Harris about politics and scandal among this year’s Oscar contenders. [New Republic]
MaryAnn Johanson on British cinema’s “indie renaissance.” Lots of good stuff here, though let’s pass on the atrocious “A Fantastic Fear of Everything.” [Indiewire]
Kevin B. Lee (and “Siri”) on why “Her” deserves the Best Picture prize. [Fandor]