Grace in the Face Of

A few years ago I got to be a presenter at the Nebulas. Ask any writer of SF and they will tell you that it is generally better to be a nominee or–please God–a winner. But being a presenter is pretty cool too. I got dressed up and went to the banquet and, when my name was called, went up to the podium, and was given a by-God-actual envelope. And was filled with a rush of adrenaline when I tore the thing open and announced the name of that year’s Andre Norton award. And the winner came forward ands got her award and made a speech, and I felt weirdly chuffed at having been a part of her triumph (if only a small part).

Fast forward, as they say, to Sunday night.

I tend to watch the Oscars™ primarily because I love the In Memoriam section. Call me weird (it’s been done before) but I get weepy. The last 12 months or so have been really hard on creatives of all sorts. So I watched the Oscars, and it was more or less business as usual, with more awards going to La La Land than I thought was strictly necessary, but not as many as I’d feared. And then we got to the end. To be honest, when La La Land was announced as Best Picture my husband started fast-forwarding… and then it became obvious that something had happened, because there were more people on stage than there should have been, and he re-wound, and we saw the whole breathtaking mess.

In case you were hiding under a rock and missed the sensation: La La Land was announced as the winner–and then the mistake was caught and it was announced that it was Moonlight that had taken the big prize. Heads at Pricewaterhouse Cooper, and at the next AMPAS Governors’ meeting, are likely to do some rolling, but given the way the process has worked for the past many decades, it’s hard to believe it hadn’t happened before. There are two identical envelopes for each award, held by PWC operatives stage left and right, and somehow the Best Actress envelope got handed to the presenter for Best Actress… and then to the presenters for Best Picture.

What impressed me, even with the chaos and the people with headsets milling about in the background, was the grace with which the people from La La Land and Moonlight handled the situation. When it became clear that a mistake had been made, Justin Horowitz (the producer for La La Land) announced “I’m sorry, there’s a mistake. Moonlight, you guys won best picture.” Then he added that it was not a joke, and gestured to the Moonlight company to come up. “I’m going to be very proud to hand this to my friends from Moonlight,” he finished.

And the Moonlight folks trooped up to the stage, looking a little shell-shocked and not at all sure what protocol was. No one snatched the statues away from the people who held them, there was no hint of sore-winnership. When Barry Jenkins, the producer of Moonlight, got to the mic he was graceful too.  “I have to say, and it is true, it’s not fake: We’ve been on the road with these guys for so long. And that was so gracious and so generous of them,” he said. “My love to La La Land.”

Okay, I have never won a major award, let alone one with millions and millions and millions of people around the world watching. And if you know you’re under that sort of scrutiny, I don’t doubt you might toughen up and try to behave yourself becomingly. But the shock–of losing a trophy you thought was yours, of suddenly gaining an award you thought was lost–could make anyone pardonably lead footed. I felt bad for Warren Beatty, who was clearly flustered (and perhaps feared that people would think the Old Guy had lost it).

Watching the ceremony play out and wind up, I was unexpectedly moved by a moment when it seemed like all the platitudes about awards were true: these were two groups of smart, creative people who saw each other, not as adversaries or competitors, but as colleagues.

 

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About Madeleine E. Robins

Madeleine Robins is the author of The Stone War, Point of Honour, Petty Treason, and The Sleeping Partner (the third Sarah Tolerance mystery, available from Plus One Press). Her Regency romances, Althea, My Dear Jenny, The Heiress Companion, Lady John, and The Spanish Marriage are now available from Book View Café. Sold for Endless Rue , an historical novel set in medieval Italy, was published in May 2013 by Forge Books

Comments

Grace in the Face Of — 2 Comments

  1. Yes, that was most encouraging. Gives you faith in human nature. SFWA has done this as well — our excuse must be that Price Waterhouse was not helping us.

  2. When I presented at the Nebulas, the only thing I worried about was whether I could say the name of the winner correctly. I remember practicing all the names in advance. It would never have occurred to me to worry that the envelope wouldn’t be correct. I think I said Ted Chiang’s name right.

    I happened to be standing at a hotel bar at the tail end of the Oscars, waiting while my sweetheart discussed clean energy issues with a couple of other engineers, and so watched the best picture presentation on a screen with subtitles (no sound). The subtitles were very clear all the way up through Faye Dunaway sayings “La La Land.” After that, I could tell there was some confusion, but the subtitles were suddenly very unhelpful indeed. One guesses the closed caption writers couldn’t figure out what was going on, either.