Lifestyle
And the Oscar goes to — wait, why is it called an Oscar?
An Oscar statue appears outside the Dolby Theatre ahead of the 2015 ceremony. But who is he really?
Matt Sayles/Invision/AP
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Matt Sayles/Invision/AP
Sunday is the 98th Academy Awards, where many of Hollywood’s top talents will walk the red carpet before settling in for a night of triumphs, heartbreaks and abruptly cut-off acceptance speeches.
Most of us just refer to the ceremony as “the Oscars,” the longstanding nickname of the gold-plated statuettes that winners in each category take home.
Cedric Gibbons, the art director of Metro-Goldwyn-Mayer, is credited with designing the iconic statue ahead of the first annual awards banquet of the Academy of Motion Picture Arts and Sciences (aka “the Academy”) in 1929.

He dreamed up the knight (possibly modeled on a Mexican actor of the era) standing on a reel of film, holding a crusader’s sword to defend the industry from outside criticism. And Los Angeles-based sculptor George Stanley made the statuette a reality, one that stands 13 1/2 inches tall and weighs 8 1/2 pounds.
Its full legal name is the “Academy Award of Merit.” The Academy officially adopted its nickname, Oscar, in 1939.
But where did it come from?
Bruce Davis got that question all the time — in letters and emails from the curious public — during his two-decade tenure as the Academy’s executive director, which ended in 2011.
“And what astonished me was that when I would ask around the building, everybody would say, ‘Well, we don’t exactly know,’” he told NPR. “And so I didn’t do anything about it myself until I was retiring.”

Davis decided to use his newfound free time to compile a history of the institution, ultimately publishing The Academy and the Award in 2022. One of the questions it explores is the origin of the Oscar nickname.
“As it turned out, that was not an easy thing to find out,” Davis said. “It took a lot of running around and doing some actual research, and I did finally come up with something that I’m reasonably confident is the right answer.”
There are three enduring — and competing — myths about where the name came from. Davis debunked them all and proposed a fourth.
Workers set up an Oscar statue in the red carpet area before the 2025 Oscar awards.
Jae C. Hong/AP
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Jae C. Hong/AP
The debunked claims
“Oscar” made its first mainstream newspaper appearance as shorthand for an Academy Award in March 1934, when entertainment journalist Sidney Skolsky used it in his Hollywood gossip column.
Davis recounts the apocryphal legend this way: Skolsky was running up against deadline on his awards-night rough draft when he was stopped by the word “statuette.”
“He thought it sounded awfully snobby and he didn’t know how to spell it,” he said. “And he asked a couple of people around in the hall, and I guess no one was helping him spell statuette.”
Skolsky later said he thought back to a vaudeville routine where the master of ceremonies would tease an orchestra member by asking, “Oscar, will you have a cigar?” And he claimed he decided to poke fun at the ceremony’s pretentiousness by referring to the statuettes as Oscars instead.
Davis sees a few holes in this story, namely that the term appeared in at least one industry publication months before Skolsky’s column. But it’s not a total loss for Skolsky, who is separately credited with coining or at least popularizing the term “beefcake.”
Bette Davis and her first husband, Harmon Oscar Nelson Jr., pictured in Hollywood in 1940. She claimed in her autobiography that she jokingly named the statuette after him, but later admitted she hadn’t coined the term.
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General Photographic Agency/Hulton Archive
The most famous version of events involves none other than legendary actress Bette Davis. She had long claimed, including in her 1962 biography, that she coined the Oscar’s nickname while accepting her first Academy Award some three decades earlier.
“Her story was that she was holding [it] in her hands and just kind of waiting for the ceremonies to move along, and she started looking at the hindquarters of the statuette and she said … the hindquarters of the statuette were the very image of her husband,” Davis explained.

But Davis’ husband at the time, musician Harmon Oscar Nelson Jr., was primarily known by another nickname, “Ham.” And mentions of “Oscar” appeared in print years before Davis won her first one, in 1936. Davis eventually retracted the claim in her 1974 book, telling her biographer: “A sillier controversy never existed.”
“I don’t feel my fame and fortune came from naming Oscar ‘Oscar,’” she said, according to USA Today. “I relinquish once and for all any claim.”
The more-likely suspects
Perhaps a more likely source is Margaret Herrick, the Academy’s mid-20th century librarian-turned-executive director.
She apparently referred to the statue as such in the 1930s “because it looked like her uncle Oscar,” said Monica Sandler, a film and media historian at Ball State University.
Sandler says Herrick is the most logical choice, given her proximity to the Academy.
Herrick joined her then-husband, executive director Donald Gledhill, at the Academy in the early 1930s as an unpaid volunteer, and became its official librarian in 1936. Herrick took over as interim executive director when he left for the Army in 1943.
She was formally appointed to the role two years later and led the Academy until her retirement in 1971.
“There are very few women with the type of power and control she had over an institution at that time in the industry,” Sandler said.
Margaret Herrick, the executive director of the Academy of Motion Picture Arts and Sciences in Hollywood, pictured with film pioneer Col. William Selig in 1947. She also took credit for coining the nickname, apparently after her uncle.
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ASSOCIATED PRESS
Herrick is credited with building up the Academy’s library into one of the world’s primary film research centers, as well as negotiating the award show’s first television contract — and a major step toward financial independence — in 1953.
Davis says she often took credit, in conversations and media interviews, for jokingly naming the Oscar after her uncle. But he’s skeptical of Herrick’s claim.
“We’re not sure that she was really the first person to use that, because she had difficulties over the ensuing years in identifying this Uncle Oscar,” he explained.
Davis does, however, think that the most likely originator was someone else on the early staff of the Academy: Eleanore Lilleberg, a secretary and office assistant who apparently oversaw the pre-ceremony handling of the statuettes.
He said her name surfaced every now and then, but he didn’t have “much hard proof” until after his retirement, when he got wind of the Einar Lilleberg Museum. It’s a small community center in California’s Green Valley honoring Eleanore’s brother, Einar Lilleberg, an artist and craftsman. He booked a visit and immediately happened upon a box of Einar’s writings.
“And I thought: ‘This is it. Now, this is going to tell the story about the Oscar,’” Davis says. “And he almost did.”
He said Einar’s correspondence was light on detail, but unmistakably credited the naming to his sister, describing it as: “Yes, she got in the habit of doing that, and the rest of the staff thought it was amusing not to call them the ‘Academy Award of Merit,’ but just ‘Oscar’ … and it really did catch on.”
So which Oscar did Lilleberg have in mind? Her brother’s explanation, which Davis endorses, is that she was thinking back to a Norwegian veteran they had known as children in Chicago, who “was kind of a character in town and famous for standing straight and tall.”
Davis wasn’t able to track down that particular Oscar. But he says no one has challenged his theory in the years since his book was published, “so I’m sticking with it.”
The lingering mystery
The Oscar statuettes were called “Academy Awards of Merit” at the first ceremony in 1929. Their nickname officially took hold a decade later.
Dean Treml/AFP via Getty Images
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Dean Treml/AFP via Getty Images
While Davis takes some personal satisfaction in the outcome of his quest, he accepts that the mystery of the Oscar nickname may never be solved conclusively.
“If I had come up empty, I wouldn’t be arguing that we need to change the name,” he said. “But it’s interesting that it became such a tradition. There were no film awards that had a personal name before Oscar gained his, and then … within the next couple of years … everybody started looking for a personal name.”
Sandler, the media historian, says that because the Academy Awards were “really the first major pop culture award,” many others used it as a template.
The prizes in other countries’ most-prestigious award ceremonies have similarly personified names: France’s César Awards, Mexico’s Ariel Awards, Italy’s David’s. Plus, there are the Emmy and Tony awards, both products of the mid-20th century.
Davis says he’s just satisfied that people are still interested in the Oscars, regardless of who they’re named after.
“You feel closer to an award if you’re on a first-name basis with it, I guess,” he added.
Lifestyle
‘The Bear’ is back in the kitchen
Sydney (Ayo Edebiri) and Carmy (Jeremy Allen White).
FX
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FX
There has always been a metaphorical parallel between The Bear, the television show, and The Bear, the fictional restaurant on the television show. Even as Carmy (Jeremy Allen White) and Sydney (Ayo Edebiri) transformed the Italian beef joint into the fancy restaurant of their dreams and wished for a Michelin star, there were undoubtedly locals who thought, “This is great and all, and I’m sure the food is good, but … I liked the beef sandwiches.” There’s still a window at The Bear to get them, but the focus is certainly elsewhere.
When it started, The Bear was mostly about the work that took place in the kitchen. The stresses of too many orders, territoriality from Richie (Ebon Moss-Bachrach), the arrival of Sydney, and the tightly wound but undeniably talented Carmy, making everybody both extremely stressed and significantly better. Over time, it shifted and grew, putting together beloved departure episodes like “Fishes” in Season 2, which introduced a boatload of guest stars for a flashback story of a disastrous family dinner before Mikey (Jon Bernthal) died. It spent time with Sydney’s family, it explored the way Tina (Liza Colón-Zayas) and Mikey originally met, it followed Marcus (Lionel Boyce) to Copenhagen, and it went with Richie to work for Andrea (Olivia Colman). All these episodes were excellent. And there was still a kitchen. But the focus seemed to be elsewhere.

At times, the show seemed to have disappeared up its own nose, to the point where you weren’t watching the show The Bear as much as you were watching the phenomenon The Bear. There were too many real-life chef cameos, until it seemed like those chefs were checking a box on a list of “things all the cool kids do.” There were too many other cameos, culminating in a rare miss from the reliably charismatic John Cena. The show placed a lot of narrative weight on Carmy’s love interest, Claire (Molly Gordon) — weight that the underwritten character couldn’t support. But even if every experiment and every diversion had worked, viewers couldn’t be blamed for missing the close focus on the kitchen and the camaraderie — for thinking, “This is all really special, but I do miss the beef sandwiches.”
The fifth and final season dispenses with the departure episodes, and it mostly dispenses with cameos. It all takes place on one day, just after Carmy tells Richie and Sydney that he wants to step back from the restaurant and give it to them and Sugar (Abby Elliott) to run, and it mostly takes place right there at The Bear. Now that the clock set by Jimmy (Oliver Platt) has run out, his money has run out as well, and a series of cascading disasters puts Sydney, Carmy and Richie behind the 8-ball from very early in the day, not least because of the tension hanging over all three of them as they prepare to tell the staff about Carmy’s decision to leave.
Tina (Liza Colón-Zayas).
FX
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FX
We spend this day mostly with the people we know best: our three leads, along with Sugar, Tina, Marcus, and the rest of the staff — including Luca (Will Poulter), who has stayed around to keep working with Marcus. Jimmy is running around with Computer (Brian Koppelman) and a young apprentice of his named Cheese (Elsie Fisher of Eighth Grade), trying to figure out what to do about his finances since it is Jimmy, and not just the restaurant, who’s out of money.
This day takes a while to get cooking, so to speak. The first three episodes of the season are slow, the first two in particular. It’s pouring rain outside, the lighting is dim, and the score maintains the same contemplative melancholy for a long, long time. For about two and a half episodes, it feels like one extended, low-energy scene.
But after that, there’s a shift in tone as the staff looks to get through service, and through seven episodes (FX did not make the finale available in advance for critics), the rest of the season is terrific. What you see is the core story of The Bear, which is people trying to serve food and overcome problems, but through the lens of everything that has happened over the show’s run: Carmy’s retreat from his obsessiveness, Richie’s expansive (and inspiring) discovery of his gift for hospitality; Sydney’s stepping forward from second-in-command to leader; Tina’s complex relationship with the restaurant and her grief over Mikey; Sugar and Carmy’s relationship with Donna (Jamie Lee Curtis); the arrival of Marcus as a high-end pastry chef.
The question the show asks over the last four episodes is: Given all those digressions and flashbacks, given all those visits with families and others, given everything we know about where all these people have been and what they’ve experienced, how does a high-pressure service — of the same kind we used to see in that first season — look now? How do they behave differently, and how does their behavior read differently? How are they the same people we have always known, but at a different juncture, in a different context? How do their wins mean more to them, and to the audience?
On the one hand, making a season this way, there are fewer surprising grace notes, like “Napkins,” the Tina/Mikey flashback episode in Season 3, or “Worms,” the episode in Season 4 where Sydney hung out with her cousin (Danielle Deadwyler) and her cousin’s kid. The Bear feels less daring and more conventional.
But oh, when they have victories under pressure? Victories, large or small? It is immensely, richly satisfying. There’s also more comedy other than just the goofy Faks family than we’ve had in a few seasons; Richie is perhaps the MVP of the season, and that’s partly because of how often he gets to be really funny. Ayo Edebiri continues to be the show’s best reactor, showing Syd eternally a little bit surprised (dismayed?) that she’s chosen to throw in her lot with these people.
There are a couple of questions yet to answer in the finale, both little plot items and broader character resolutions. Over these seven episodes, though, there is much to cheer.


Lifestyle
John Cena wanted to step away from the WWE ring before he became ‘too slow for the show’ : Wild Card with Rachel Martin
A note from Wild Card host Rachel Martin: First a confession: I have never watched a WWE match in its entirety. Don’t get me wrong, I appreciate the athleticism and the performance, it’s just not my thing. But there is something about John Cena I’ve never been able to shake.
Yes, he is a wrestling legend, but he has built a career as an entertainer that transcends the ring. The first time I saw him lead a cast was the 2019 family movie “Playing with Fire” and his rapport with kids in that film didn’t seem like acting at all. The man contains multitudes!
He co-stars with Eric Andre in his newest film, “Little Brother.”
Lifestyle
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Xie Miao and Yang Enyou in The Furious.
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There have been some fantastic movies released this year, and we know you can’t see them all. So we’re recommending four recent movies we missed that you should add to your watchlist: The Furious, Tuner, She’s The He, and Heresy.
If you need a few more fun film recommendations, check out these episodes:
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