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Published: March 14, 2022, 4:29 p.m.

Richard Lawson, Vanity Fair’s chief critic and co-host of the podcast Little Gold Men, joins 'Daddy Issues' for a second year and counting to discuss fatherly presence in this year’s Oscars nominations and to make his winner predictions. Fathers were a source of tender support in several of this year’s nominated films’— as opposed to last year when they were tragically slipping away to Alzheimer's, drunk, or learning from an octopus. Nominated films like CODA, King Richard, Dune, Flee, Raya and the Dragon, Encanto, Mitchells Vs the Machine, and Luca all feature fathers of characters who are classic outliers. There’s a lot less bullying and emotional infancy among these characters and a lot more kind-hearted helping of those who deserve a voice. It was also a big year for female directors contemplating gender norms. Maggie Gyllenhall’s film adaptation of Elena Ferrante’s novel The Lost Daughter explores an ambivalent mother who leaves her family in pursuit of her own academic career in a narrative that is traditionally attached to fathers. Jane Campion’s The Power of the Dog, set in the 1920s American West, explores repressed rage and desire, internalized homophobia, particularly femme phobia, the complexities of mentorship, and history repeating itself. It’s also the most nominated film of the year, which really sticks in noted bitch Sam Elliott’s craw. We also discuss the "shockingly good" West Side Story, the incredible woof that was Being the Ricardos, and unpack Campion’s biggest Power of the Dog misstep. (Besides what she said to Venus and Serena Williams at the Critics Choice Awards.)

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