The Oscars are once again considering a different rhythm for the ceremony. Instead of presenting technical awards on stage during the live broadcast, a plan has surfaced to reveal those honors an hour before the gala begins, with the results then summarized during the telecast itself. This approach would shift the spotlight on the ceremony as a whole, emphasizing the collaborative effort that spans the entire film industry rather than highlighting individual technical achievements in isolation.
Bill Kramer, the institution’s recently appointed chief executive, spoke to the Academy’s magazine about the proposal. He noted a desire to honor every creative discipline involved in film—artistic and scientific alike—within the same celebration. The aim, he explained, is to produce an Oscar show that truly reflects the teamwork behind filmmaking and to showcase how different crafts contribute to a movie’s final form, from conception to projection.
In the latest issue of the programs, twenty-three categories are acknowledged as part of the Oscars, with eight of the most prominent prizes being addressed before the premiere? begins. The red carpet has concluded, and many attendees have yet to settle into the Dolby Theatre in Los Angeles. The broadcast would then capture the reactions as winners respond to being announced off-camera, followed by on-stage remarks as the ceremony unfolds.
Among the categories under consideration for this early presentation are best documentary, best editing, best makeup and hair, best production design, best sound, best short, best animation short, and best soundtrack. The shift would mark a notable departure from tradition and has drawn a chorus of responses. In recent years, Spanish artists Alberto Mielgo and Leo Sánchez have attended ceremonies after earning recognition for best animated short with The Windshield Wiper, underscoring the international dimension of the celebration and the evolving landscape of award recognition.
The decision has sparked significant debate among unions and industry groups. Several representative organizations for broadcasters, musicians, and sound engineers expressed concern about the shift, suggesting that a boycott could be a consequence and urging candidates to reconsider participation in the ceremony under the reorganized format. The tension reflects a broader conversation about how best to balance spectacle with inclusivity and to honor technical crafts with the same reverence given to acting and directing.
Historically, the Academy has tested different formats. In 2018, the organization explored removing technical prizes from the live gala and presenting them during commercial breaks, but the idea faced substantial resistance from the cinephile community and was eventually shelved. The current discussions echo that episode, though they occur in a media landscape that prizes immediate access, online engagement, and broader audience participation. The debate centers on whether the Oscars can preserve its ceremonial authority while adapting to a multimedia audience that consumes awards news across multiple platforms.
Compared with other major ceremonies, such as the Grammys and Latin Grammys, which often recognize a large number of categories in earlier, non-televised events, the Oscars face unique pressure to maintain a balance between surprise, prestige, and accessibility. The current dialogue does not simply hinge on the timing of prize announcements; it also involves how nominations are curated, how winners are revealed, and how viewers experience the awards during a live broadcast that remains a global cultural event. The conversation continues as organizers seek a way to honor the breadth of filmmaking—technical mastery, creative storytelling, and the collaborative spirit that binds every department together—within a single, coherent, and compelling televised moment.