Daniel Joyaux
@thirdmanmovies.bsky.social
Pop Culture critic/journalist/historian
Writing: The Ringer, IndieWire, Vanity Fair, Roger Ebert, Cosmo, The Verge
Former: Sundance Copy Editor
OCPD 🫠
Letterboxd: Djoyaux
Also love and may post about: basketball, comics, democracy, dogs
Writing: The Ringer, IndieWire, Vanity Fair, Roger Ebert, Cosmo, The Verge
Former: Sundance Copy Editor
OCPD 🫠
Letterboxd: Djoyaux
Also love and may post about: basketball, comics, democracy, dogs
No it was sadly very real
November 28, 2025 at 7:07 PM
No it was sadly very real
Is this job seriously already gone?
November 28, 2025 at 6:11 PM
Is this job seriously already gone?
Ooof. That’s so disheartening. And so understandable for him.
November 27, 2025 at 10:19 PM
Ooof. That’s so disheartening. And so understandable for him.
I’m so confused by the release strategy/timeline for A Little Prayer. I saw it at Sundance three years ago!
November 27, 2025 at 10:15 PM
I’m so confused by the release strategy/timeline for A Little Prayer. I saw it at Sundance three years ago!
The person is literally my wife’s sister’s husband’s sister’s husband.
November 27, 2025 at 10:10 PM
The person is literally my wife’s sister’s husband’s sister’s husband.
Ha, that six months barrier would make Burn After Reading still eligible by three days
November 27, 2025 at 3:28 AM
Ha, that six months barrier would make Burn After Reading still eligible by three days
But Eternals is so tricky because of Covid. Was it worked on at all after the Nomadland Oscar ceremony? Or was it completely finished and just sitting on a shelf for a year?
(3/3)
(3/3)
November 27, 2025 at 3:25 AM
But Eternals is so tricky because of Covid. Was it worked on at all after the Nomadland Oscar ceremony? Or was it completely finished and just sitting on a shelf for a year?
(3/3)
(3/3)
The rule I gave myself for that piece was that a film had to premiere a minimum of four months after the Oscar ceremony in question, so that I could feel reasonably confident that the film was worked on by a director who knew they were a BP winner.
(2/)
(2/)
November 27, 2025 at 3:24 AM
The rule I gave myself for that piece was that a film had to premiere a minimum of four months after the Oscar ceremony in question, so that I could feel reasonably confident that the film was worked on by a director who knew they were a BP winner.
(2/)
(2/)
Yeah, it’s a tricky distinction. It’s rare that a director doesn’t at least have a next film in some level of pre-production by the time an Oscar ceremony rolls around.
It’s especially difficult earlier in Hollywood, when directors were pumping out movies every year. Or several per year.
(1/)
It’s especially difficult earlier in Hollywood, when directors were pumping out movies every year. Or several per year.
(1/)
November 27, 2025 at 3:22 AM
Yeah, it’s a tricky distinction. It’s rare that a director doesn’t at least have a next film in some level of pre-production by the time an Oscar ceremony rolls around.
It’s especially difficult earlier in Hollywood, when directors were pumping out movies every year. Or several per year.
(1/)
It’s especially difficult earlier in Hollywood, when directors were pumping out movies every year. Or several per year.
(1/)
Ah yeah, Wikipedia says it was filmed in Fall of ‘07.
Sigh.
Sigh.
November 27, 2025 at 3:19 AM
Ah yeah, Wikipedia says it was filmed in Fall of ‘07.
Sigh.
Sigh.
Was it? It wasn’t released until six month after those Oscars, so presumably they at least edited and did post after they had won BP
November 27, 2025 at 3:18 AM
Was it? It wasn’t released until six month after those Oscars, so presumably they at least edited and did post after they had won BP
When I wrote that Ringer piece, I only counted movies that were at least partially made following the Oscar ceremony where the director won Best Picture, because I was interested in the choices made by someone feeling that specific pressure.
November 27, 2025 at 3:16 AM
When I wrote that Ringer piece, I only counted movies that were at least partially made following the Oscar ceremony where the director won Best Picture, because I was interested in the choices made by someone feeling that specific pressure.
Oh interesting.
But even still, Eternals was made well over a year before she won Best Picture. So that doesn’t feel like a title defense to me. No artistic decisions on the film were made by a reigning Best Picture winner.
But even still, Eternals was made well over a year before she won Best Picture. So that doesn’t feel like a title defense to me. No artistic decisions on the film were made by a reigning Best Picture winner.
November 27, 2025 at 3:14 AM
Oh interesting.
But even still, Eternals was made well over a year before she won Best Picture. So that doesn’t feel like a title defense to me. No artistic decisions on the film were made by a reigning Best Picture winner.
But even still, Eternals was made well over a year before she won Best Picture. So that doesn’t feel like a title defense to me. No artistic decisions on the film were made by a reigning Best Picture winner.
But it’s not a title defense because she made it before Nomadland.
I think something is only a title defense if you make it with the awareness of having a title to defend.
I’m interested in how someone chooses to defend their title. That’s not an applicable question with Eternals.
I think something is only a title defense if you make it with the awareness of having a title to defend.
I’m interested in how someone chooses to defend their title. That’s not an applicable question with Eternals.
November 27, 2025 at 3:12 AM
But it’s not a title defense because she made it before Nomadland.
I think something is only a title defense if you make it with the awareness of having a title to defend.
I’m interested in how someone chooses to defend their title. That’s not an applicable question with Eternals.
I think something is only a title defense if you make it with the awareness of having a title to defend.
I’m interested in how someone chooses to defend their title. That’s not an applicable question with Eternals.
Honestly I love Darkest Hour. I think it’s one of those movies that people decided to hate before they even saw it, because the perceived baitiness rubbed them the wrong way.
November 27, 2025 at 3:10 AM
Honestly I love Darkest Hour. I think it’s one of those movies that people decided to hate before they even saw it, because the perceived baitiness rubbed them the wrong way.
And yes, this is a distinction I have a particular interest and stake in
www.theringer.com/2025/03/06/m...
www.theringer.com/2025/03/06/m...
The 17 Greatest Best Picture Title Defenses
With Bong Joon-ho’s long-awaited ‘Parasite’ follow-up, ‘Mickey 17,’ about to grace our screens, we’re counting down the best films from directors coming off of Oscars glory
www.theringer.com
November 27, 2025 at 3:06 AM
And yes, this is a distinction I have a particular interest and stake in
www.theringer.com/2025/03/06/m...
www.theringer.com/2025/03/06/m...
I once had someone think this of me and I can vividly remember how horrified I felt
November 27, 2025 at 1:15 AM
I once had someone think this of me and I can vividly remember how horrified I felt
I’m hoping its inclusion here will help it get a real blu-ray release. Insane that we have to live like this!
November 26, 2025 at 5:02 PM
I’m hoping its inclusion here will help it get a real blu-ray release. Insane that we have to live like this!
I called it!
Though I am quite shocked that Oceans (and Soderbergh entirely) were absent from the list.
But with no Moonlight, I felt reasonably confident that Get Out wouldn’t be the only film by a Black filmmaker.
Though I am quite shocked that Oceans (and Soderbergh entirely) were absent from the list.
But with no Moonlight, I felt reasonably confident that Get Out wouldn’t be the only film by a Black filmmaker.
November 26, 2025 at 2:46 PM
I called it!
Though I am quite shocked that Oceans (and Soderbergh entirely) were absent from the list.
But with no Moonlight, I felt reasonably confident that Get Out wouldn’t be the only film by a Black filmmaker.
Though I am quite shocked that Oceans (and Soderbergh entirely) were absent from the list.
But with no Moonlight, I felt reasonably confident that Get Out wouldn’t be the only film by a Black filmmaker.