Jack White
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Published
March 10, 2026
2:45 AM PDT
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Updated
March 10, 2026
5:04 AM PDT

The Academy Awards are supposed to be the pinnacle of the movie industry, but not every Hollywood superstar dreams of winning an Oscar.

Katharine Hepburn holds the all-time record for most acting wins at the Oscars, having received the Best Actress trophy four times. However, the Hollywood icon never once showed up to collect her Oscar statuette in person. (Hepburn’s one and only appearance at the Oscars occurred in 1974 to present the Irving G. Thalberg Memorial Award to producer Lawrence Weingarten.)

“Prizes are nothing. My prize is my work,” Hepburn famously said.

While the entertainment industry continues to be enamored with awards season, some prominent modern stars — including Bradley Cooper and Amanda Seyfried — have publicly complained about the hoopla surrounding the Academy Awards.

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Keep scrolling for a look at stars who have shunned the Oscars and other awards shows.

Samuel L. Jackson

The Avengers star is one of the most accomplished actors of his generation to never win a competitive Oscar — in fact, he’s actually only been nominated once in his entire career, for Best Supporting Actor in 1995 for Pulp Fiction. (Samuel L. Jackson lost the Oscar that year to Martin Landau for Ed Wood.)

“As jaded as I wanted to be about it, you know thinking, ‘Well, I should have won an Oscar for this or should have won for that and it didn’t happen,’ once I got over it many years ago, it wasn’t a big deal for me,” he told the Los Angeles Times in 2022. “I always have fun going to the Oscars. I always look forward to getting a gift basket for being a presenter. I give stuff to my relatives; my daughter and my wife would take stuff out. It’s cool … But otherwise, I was past it.”

Jackson said that he’d stopped taking Oscar nominations into consideration when choosing his roles.

“I’m not doing statue-chasing movies. You know: ‘If you do this movie, you’ll win an Oscar.’ No, thanks. I’d rather be Nick Fury [in Marvel]. Or having fun being Mace Windu [in Star Wars] with a lightsaber in my hand,” he added. “That’s the guy I chose to be and I’m fine with it. I’m satisfied because that’s who I am. I’m the guy who does the lines that people see on T-shirts.”

He continued, “There’s actors who go their whole careers and no one can quote a line they’ve said in a movie. People go to watch my movies to see how crazy I’m going to be or see how many times I say ‘motherf***er.’ Whatever gets them in the seats.”

The Academy of Motion Picture Arts and Sciences finally recognized Jackson with an Honorary Oscar in 2021.

Seth Rogen

The comedian has four Emmy Awards, but he’s yet to receive an Oscar nomination. During a 2022 interview with Business Insider, Seth Rogen expressed confusion over why “movie people care so much if other people care what awards we give ourselves.”

“I don’t care who wins the automobile awards,” he joked. “No other industry expects everyone to care about what awards they shower upon themselves.”

Rogen argued that “people just don’t care” about who actually wins Oscars despite all of the hoopla that accompanies award season.

“Maybe they did for a while and they stopped caring. And why should they?” he asked.

Ethan Hawke

As of March 2026, Ethan Hawke has been nominated for acting Oscars five times, most recently for Best Actor at the 98th Academy Awards for his performance in Blue Moon.

Hawke told Who’s Talking to Chris Wallace? in April 2024 that he took his Training Day costar Denzel Washington’s advice about winning — or losing — an Oscar.

“You don’t want an award to improve your status. You want to improve the award’s status,” Hawke recalled. “The Academy Award has more power, because Denzel has a couple. It didn’t elevate who he was.”

Cate Blanchett

The Australian actress has won two Oscars — a Best Supporting Actress Award for playing Katharine Hepburn in The Aviator in 2005 and Best Actress for 2013’s Blue Jasmine. Still, Cate Blanchett said during Variety’s “Actors on Actors” podcast that awards recognition has never influenced her decision to take on a role.

“Awards are so subjective … they’re not why you do the work,” she pointed out.

Kristen Stewart

In 2022, Kristen Stewart received her first-ever Oscar nomination for playing Princess Diana in Spencer. The Twilight star chose not to campaign for the Academy Award, explaining that she didn’t define success with awards.

“I don’t give a s***,” Stewart said on Variety’s “Award Circuit” podcast. “The Oscars are such a funny thing. There are so many incredible movies and performances that barely get seen. It definitely says something about where we’re at as a cumulative presence, like, what we’re looking at [and] what we care about.”

Joaquin Phoenix

Joaquin Phoenix has often shared his displeasure over awards season. When his movie The Master received Oscar buzz in 2012, Phoenix told Interview Magazine that he did not “want to be part” of any campaigning.

“I don’t believe in it. It’s the worst-tasting carrot I’ve ever tasted in my whole life. I don’t want this carrot,” he insisted.

Phoenix described the awards buzz for his performance in Walk the Line as “one of the most uncomfortable periods of my life.”

“I never want to have that experience again,” he said. “I don’t know how to explain it — and it’s not like I’m in this place where I think I’m just above it — but I don’t ever want to get comfortable with that part of things.”

Amanda Seyfried

For the star of The Testament of Ann Lee, an Oscar nomination is seemingly far more important than actually winning. (Amand Seyfried received her sole Oscar nomination in 2021 for Mank. She lost the Best Supporting Actress Award to Minari’s Yuh-jung Youn that year.)

Asked if winning an Oscar was important to her, Seyfried told The New Yorker in January 2026: “No. Do you remember who won in the past 10 years? It’s not the win that’s important. It’s the nomination. It does thrust you forward. That’s a fact. Now, do I need one in a week or two or whenever? No, of course, I don’t.”

Seyfried conceded that an Oscar win could be beneficial for “every reason,” though she still felt it was not a “necessity.” She went on to compare her critically acclaimed 2025 religious drama, The Testament of Ann Lee, to her more conventional blockbuster The Housemaid.

“Every single choice I made in [The Housemaid] was as artful as the choices I made in Ann Lee,” she said. “I finally was able to marry the two in my heart and in my head, and I realized that is what I want for the rest of my career. I’m going to jump between genres as much as I can, and jump between indies and studios. So I’ve gotten this far without an Oscar. Why would I need one now?”

Bradley Cooper

Bradley Cooper is one of the most nominated performers in Oscar history to never actually win a statuette. (Cooper has earned 12 total nominations as an actor and filmmaker, as of January 2026.)

Back in 2020, he called awards season “utterly meaningless” while chatting with Hamilton’s Anthony Ramos for Interview Magazine.

“That awards season stuff is a real test,” he said. “It’s quite a thing to work through, and it’s completely devoid of artistic creation. It’s not why you sacrifice everything to create art, and yet you spend so much time being a part of it if you’re, in quotes, ‘lucky enough to be a part of it.’ It’s ultimately a great thing because it really does make you face ego, vanity, and insecurity. It’s very interesting and utterly meaningless.”

During a subsequent appearance on SuperSoul Conversation, Cooper suggested that the Oscars and other awards shows “play into things that have nothing to do with creative art.”

“It’s a whole other element of the business,” Cooper added. “So, it’s really reconciling its effect on you. That’s the thing I have to deal with.”

Anthony Hopkins

Anthony Hopkins is one of very few actors to have won two Best Actor Oscars throughout his career — first for The Silence of the Lambs in 1992 and then again for The Father in 2021.

However, Hopkins once dismissed award season as “kind of disgusting” when he was getting Oscar buzz for his 2012 biopic, Hitchcock.

“You know, kissing the backside of the authorities that can make or break it; I can’t stand all that,” he complained to HuffPost at the time. “I find it nauseating to watch and I think it’s disgusting to behold.”

Hopkins admitted he was embarrassed to see colleagues “groveling around and kissing the backsides of famous producers.”

“It makes me want to throw up, it really does. It’s sick-making,” he declared. “I’ve seen it so many times. I saw it fairly recently, last year. Some great producer-mogul and everyone kisses this guy’s backside. I think, ‘What are they doing? Don’t they have any self respect?’ I wanted to say, ‘F*** off.’”

Glenda Jackson

Two-time Academy Award winner Glenda Jackson joked to Entertainment Weekly in 2016 that the Oscars were more about “frocks and the whole shebang of nonsense” than artistry. The British actress did not attend the Oscars ceremony any of the four times she was nominated.

“Nowadays, it seems like the real competition is between the different award shows,” Jackson pointed out. “The Golden Globes, back in my day, if you won you were lucky to get a notice in the next day’s Los Angeles Times. Now the coverage is ludicrous.”

Pressed on whether she was underselling the importance of an Oscar, Jackson shot back: “Prove it. See, you can’t. Who won last year? Who won the year before? Does it make one scrap of difference? At the time, it does, yes. But that’s not how human beings are.”

“We enjoy the glitz of the moment, which is what it is,” she argued. “But how can you say that [Civil Rights dramas] 12 Years a Slave or Selma has caused a fundamental cultural shift? And then you have these Black guys being shot by policemen. Would that the Oscars could change the world but, I’m sorry, it just ain’t true.”

Woody Allen

The actor-turned-director has won four Oscars throughout his career but famously refused to attend the ceremony any of the times he was nominated. (Woody Allen won Best Director twice for Annie Hall and Midnight in Paris, as well as Best Original Screenplay twice for Annie Hall and Hannah and Her Sisters.)

“I have no regard for that kind of ceremony,” Allen once said. “I just don’t think they know what they’re doing. When you see who wins those things — or who doesn’t win them — you can see how meaningless this Oscar thing is. … I know it sounds terrible, but winning that Oscar for Annie Hall didn’t mean anything to me.”

Allen appeared at the Oscars only once in 2002 to honor the resilience of New York City in the wake of the 9/11 terror attacks.

Denzel Washington

Denzel Washington told Jake’s Takes in 2025 that Oscars were no longer a motivating factor in his career. (He won Best Supporting Actor for Glory in 1990 and Best Actor for 2002’s Training Day, in addition to being nominated eight other times throughout his career.)

“I don’t do it for the Oscars. I really don’t care about that stuff,” Washington insisted. “You know, I’ve been at this a long time, and there are times when I won when I shouldn’t have won … and didn’t win and should have won.”

He continued, “Man gives the award. God gives the reward. I’m not that interested in Oscars. People ask, ‘Well, where do you keep it?’ I say next to the other one. I’m not bragging. I’m just telling you how I feel about it.”

“On my last day, it ain’t gonna do me a bit of good,” Washington quipped.

George C. Scott

Perhaps no actor in Hollywood history had a more contentious relationship with the Oscars than George C. Scott. He issued a press statement in 1971 to request that the Academy rescind his Best Actor nomination for Patton.

“I respectfully request that you withdraw my name from the list of nominees. My request is in no way intended to denigrate my colleagues,” he said at the time. “Furthermore, peculiar as it may seem, I mean no offense to the Academy. I simply do not wish to be involved.”

The Academy declined to remove him from contention, and Scott eventually won the Best Actor Oscar at that year’s ceremony.

Per Time, Scott still likened the Oscars to a “goddam meat parade” and insisted that he did not “want any part of it.”

The Academy nominated him again for Best Actor anyway in 1972 for The Hospital, though this time he lost out to Gene Hackman for The French Connection.

With this year’s Academy Awards nominations, Chinese filmmaker Chloé Zhao made history by becoming the second woman nominated for Best Director, contending for her historical drama, Hamnet. However, five years ago, Zhao made history by becoming the third woman to win the award for her contemplative and deeply humane 2020 drama, Nomadland. The film also walked away with the awards for Best Actress and Best Picture, winning half of its six nominations.

At the moment, the win seemed inevitable — Nomadland had been consistently picking up steam since it premiered at the Venice Film Festival, where it won the Golden Lion. However, that didn’t stop some from dismissing it as one of the Academy’s more pretentious picks, an arthouse drama made for so-called film connoisseurs and not for the masses. And yet, today, Nomadland is sort of forgotten, its quiet approach drowned by the loud chaos that dominates the Oscars the following years, from slaps to multiversal movies, atomic bombs, green witches, and vampires. Five years on, time has been extremely kind to Nomadland, to the point where it might just be the movie that has best represented and captured the nature of the 2020s as a whole. In fact, its win wasn’t just inevitable; it was divine justice.

‘Nomadland’ Is a Life-Affirming Poem

Nomadland stars Frances McDormand as Fern, whose husband recently died. When she loses her job at US Gypsum after the plant shuts down in 2011, and the company town of Empire, Nevada, also closes, she sells her belongings, buys a van, and decides to begin living as a nomad. She takes seasonal jobs — at an Amazon fulfillment plant, as a camp host, at a sugar beet processing plant — and gets to know other fellow nomads along her travels.

Like Zhao’s other movies, Nomadland is quiet and contemplative, humanistic and naturalistic to a fault. Zhao tackles it with a cinéma vérité approach, more interested in revealing truth than in capturing sequences. At points, Nomadland seems more documentary than fiction, even using many non-professional actors. Zhao doesn’t concern herself with constructing a plot per se; instead, she becomes a silent observer: her camera slowly tracks Fern as she goes on long walks, works her many jobs with silent resolve, and rediscovers life, perhaps not with passion, but with determination and a desire to make the most of it.

Nomadland is perhaps the most life-affirming movie to claim Best Picture in the 21st century — perhaps of all time. Its power lies in its focus on the lives of those that society has left behind. Nomadland doesn’t romanticize the nomad experience; it’s not a PSA or a recruitment ad, but rather an ode to the everyday happenings that make up the bulk of our existence. It’s not about small lives, but the small moments that make up big lives, and every life is big. The film’s thesis is simple but no less potent: merely wanting to live and be present requires strength and courage. One doesn’t need to achieve to thrive; there’s dignity in merely being and power in enduring.

‘Nomadland’ Has Aged Incredibly Well

What makes a good Best Picture winner? Do we go for one of great staying power, like Casablanca or The Silence of the Lambs? Are we looking for a feat of filmmaking that pushes the medium’s limits and redefines genres, like It Happened One Night or Oppenheimer? Or perhaps it’s an icon, a title that becomes synonymous with cinema itself, like The Godfather or The Lord of the Rings: The Return of the King? I think the answer is far easier: a good Best Picture winner captures its time and place, encapsulating twelve months of cinematic achievement, representing the concerns of the medium and, thus, society at large.

People were scared shitless in 2020. Uncertainty was the order of the day, and there was a prevalent mood of dread. Many wondered if things would ever go back to normal — whatever “normal” means, anyway. Ask anyone what they remember about 2020, and they’ll probably say something along the lines of “routine” or “continuity.” It wouldn’t be an overstatement to say that 2020 didn’t quite exist, whether because we didn’t do much or because we’re so desperate to put it behind us. In that context, it makes sense that a movie like Nomadland, about the importance of everyday life and the solemnity that comes with going through another day, would resonate with Academy members and the viewers who actually watched it.

More than that, Nomadland has aged quite beautifully. Sure, it has given us its fair share of pop culture moments — going number two in buckets, this GIF, this image — but its power lies in just how well it captures the distinct time and place in which it was made. Nomadland is 2020: the good and the bad, the ugly and the beautiful, unfiltered reality, warts and all. At the time, its Oscar wins seemed okay enough, a final period to the long yet seemingly inconsequential sentence that was 2020. Yet, today, Nomadland is a cinematic testament, its victories poetic justice.

The film could’ve easily made the nomads’ lifestyle seem like a gimmick, an escape, or a last resort; instead, it paints it as a choice worthy of our respect. There’s a melancholy to it, but then again, there’s a melancholy to life. Compared to its competitors, many of which have aged like milk under the sun (cough, Promising Young Woman), Zhao’s masterpiece keeps getting better, an ode to camaraderie in a world that desperately needs to remember its humanity. Nomadland doesn’t exactly echo in the annals of cinematic excellence. Instead, it whispers, its influence far more intimate yet no less powerful. It’s not the type of film that makes a brute impact, but it leaves a lasting one, a feeling that’s impossible to shake. And if that doesn’t make a great Best Picture winner, I don’t know what does.

Nomadland is available to rent or buy on VOD services.

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February 19, 2021

Runtime

107 minutes

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Published
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Alexander brothers Oren, Alon and Tal Alexander have been found guilty on all charges in their federal sex trafficking case following a five-week trial.

The jury delivered its verdict on Monday, March 9, after hearing testimony from 11 women who claimed to have been attacked, sexually assaulted and drugged by one or more of the brothers between 2008 and 2021.

Tal, 39, and his younger twin brothers, Oren and Alon, 38, face a minimum sentence of 15 years with the possibility of life in prison. Their sentencing hearing is set for Thursday, August 6, with judge Valerie Caprioni.

The brothers, two of which were luxury real estate agents, were convicted on 10 total counts related to sex trafficking, including conspiracy to commit sex trafficking, per The Real Deal. (Oren and Tal worked as brokers for Douglas Elliman before branching out and starting their own firm, Official. Alon, meanwhile, worked at their family’s private security firm.)

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According to prosecutors, Tal, Oren and Alon allegedly lured women to luxury destinations, like Aspen or the Hamptons from 2008 to 2021 where they — and other men — allegedly drugged the women and raped them.

The Alexander brothers pleaded not guilty to the charges. They have maintained their innocence while denying all allegations.

All three of the Alexanders were found guilty of sex trafficking by force, fraud or coercion and inducement to travel to engage in unlawful sexual activity pegged to Oren’s alleged rape of one alleged victim, which she claimed took place in the Hamptons in 2016. (Most of the alleged victims did not use their real names when testifying.)

Tal and Alon were also found guilty of sex trafficking a then-16-year-old following an alleged attack on her in 2009 in the Hamptons.

After a separate woman testified that she was allegedly drugged and rapped by twins Oren and Alon in 2012 on a cruise from Miami to the Bahamas, the men were found guilty of aggravated sexual abuse and sexual abuse.

Tal was found guilty on one count of sex trafficking stemming from the alleged rape of Lindsey Acree, who is one of two women to file a lawsuit against the men, in the Hamptons in 2011.

Additionally, Tal was found guilty of one count of sex trafficking and inducing another woman to travel to the Hamptons in unlawful sexual activity after allegedly attacking her in 2014.

A different woman accused Oren of drugging and raping her when she was 17 years old, claiming he filmed the attack. The jury found Oren guilty of sexual exploitation of a minor in that case.

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“I don’t want their money. I just don’t want them to have it,” one of the women told the jury, according to The Guardian, stating she was the daughter of a billionaire.

During the trial, the Alexanders’ attorneys claimed that the alleged victims chose to testify against them after feeling shame for their alleged consensual sexual encounters with the men.

The brothers’ lawyers argued that prosecutors had little evidence to prove that they drugged anyone, claiming that the lack of toxicology reports, medical reports and police reports at the time backed up their clients’ cases.

Prosecutors, meanwhile, claimed that while only 11 women testified in the trial — most of which used pseudonyms — there were actually more than 60 women who’ve claimed they were raped by one or more of the Alexanders.

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Prior to the trial, an Australian woman named Kate Whiteman died in late 2025 after accusing Oren and Alon for rape in March 2024 following an alleged incident in 2012. Whiteman’s allegations were the catalyst that drove many other women to come forward with their own alleged sexual assault cases at the hands of the Alexander brothers.

The Coroner’s Court of New South Wales confirmed to NBC News on January 23 that Whiteman had died a non-suspicious death in 2025.

Amid the Alexander brothers’ trial, Million Dollar Listing: Los Angeles star Tracy Tutor came forward with a new allegation of sexual assault against Oren.

She claimed in a Thursday, March 5, lawsuit obtained by Us Weekly that Oren allegedly drugged and assaulted her in 2014. Oren denied the allegations.

“Ms. Tutor and her counsel have timed the filing of this salacious and demonstrably false lawsuit for maximum media impact, choosing the eve of jury deliberations in the federal trial despite the fact that the allegations are more than a decade old and have already been aired publicly,” Oren’s attorney Jason Goldman told Us in a statement. “This appears to be nothing more than a transparent attempt to create headlines and taint the proceedings at a critical moment. We are confident the jury will focus on the evidence presented in court, not on opportunistic litigation tactics.”

Us Weekly has reached out to the Alexander brothers’ attorneys for comment.

If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). If you or someone you know is a human trafficking victim, contact the National Human Trafficking Hotline at 1-888-373-7888.

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Timothée Chalamet first took aim at ballet and opera years before he suggested both were dying artforms in a recent interview.

“I was like, no woe is me thing, but whether you’re working on movies or acting, or pursuing your thing, I started to get the sense that [movies were], like, opera or ballet or something. It’s kind of like a dying artform or something,” Chalamet, 30, said in a 2019 TikTok clip that resurfaced in the wake of his latest comments.

Chalamet made those statements during a promotional screening for his 2019 movie The King. The four-time Oscar nominee cited the cultural conversation around his hit movies Call Me By Your Name and Lady Bird as proof that cinema wasn’t fading away.

TikTok user @thealienstookover explained in the caption that they reuploaded the footage to show that Chalamet has a history of denigrating opera and ballet.

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“I took this video October 1st 2019,” they wrote. “I was excited to see this film and we got a surprise appearance of him in our theater. With his recent comments about ballet and opera I wanted to check on my video. I thought I remembered him saying something different. Unfortunately I was confused and he’s been thinking like this for years. Such a disappointment.”

In February, Chalamet ignited debate by seemingly dismissing ballet and opera during an interview with Matthew McConaughey for Variety.

“Some people want to be entertained quickly. I’m really right in the middle,” the Marty Supreme actor admitted. “Because I admire people and I’ve done it myself on a talk show, [saying], ‘Hey, we gotta keep movie theaters alive. We gotta keep this genre alive.”

He added, “Another part of me feels like, if people want to see it, like Barbie, like Oppenheimer, they’re going to go see it and go out of their way to be loud and proud about it. I don’t want to be working in ballet or opera where it’s like, ‘Hey, keep this thing alive, even though no one cares about this anymore.’”

Chalamet seemingly realized the shade he’d thrown because he quickly offered “all respect to the ballet and opera people out there.”

“Damn, I just took shots for no reason,” he joked.

His latest comments have proven to be particularly eyebrow-raising for some because Chalamet’s mother, Nicole Flender, is a former Broadway dancer.

It did not take long for some of the world’s most renowned ballets and operas to respond to Chalamet. The Metropolitan Opera shared clips via Instagram showcasing the skilled craftwork that goes into the creation of every high-level opera performance.

Quoting Chalamet, the Met Opera replied on Thursday, March 5, “All respect to the opera (and ballet) people out there. This one’s for you, @tchalamet.”

“He’s gonna be singing a different tune when the live arts are all that’s left after AI takes over. Oh wait. He’s above singing a tune,” Tony winner Laura Benati quipped in the Met Opera’s comments section.

The Los Angeles Opera took a different approach by encouraging Chalamet to come see a performance of Akhnaten during its residency in the city. Meanwhile, the Royal Ballet in the U.K. posted a tribute to its dancers.

“Every night at the Royal Opera House, thousands of people gather for ballet and opera. For the music. For the storytelling. For the sheer magic of live performance,” they wrote on Friday, March 6. “If you’d like to reconsider, @tchalamet, our doors are open. ✨#TheRoyalBallet #TheRoyalOpera #RoyalBalletAndOpera.”

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Oscar winner Jamie Lee Curtis, Dancing With The Stars pro Sharna Burgess and popstar Doja Cat have also shown support for the opera and ballet communities in the wake of the controversy.

“Opera is 400 years old. Ballet is 500 years old,” Doja Cat, 30, clapped back via TikTok on Sunday, March 8. “Somebody named Timothée Chalamet — big guy, by the way — had the nerve to say on camera that nobody cares about it.”

The “Agora Hills” rapper went on, “I’m sure you can walk into an opera theater right now, seats will be filled out, and nobody’s saying a word as the performance is going because everybody has that much respect for it. There is an etiquette around opera. There is etiquette around ballet. It’s amazing. It’s an amazing theater medium. It’s f***ing beautiful.”

Chalamet has not responded to the backlash.