Drawing out his phone onstage, Kimmel decided to share what he called “a review.”

“Has there ever been a worse host than Jimmy Kimmel at the Oscars,” Kimmel said, reading part of Trump’s post, which included a disparaging nickname for the ABC host George Stephanopoulos.

“His opening was that of a less than average person trying too hard to be something which he is not, and never can be,” Kimmel continued. “Get rid of Kimmel and perhaps replace him with another washed up, but cheap, ABC ‘talent,’ George Slopanopoulos. He would make everybody on stage look bigger, stronger, and more glamorous.”

“Blah, blah, blah,” Kimmel said. “Make America great again.”

After asking the audience, “See if you can guess which former president just posted that?” Kimmel offered one final jab, expressing surprise that Trump had stayed up to watch the telecast.

“Isn’t it past your jail time?” he said.

“And my eyes see ‘Oppenheimer,’” Pacino said next, to tepid applause from an audience that seemed unsure whether that statement was the most important proclamation of the night.

“Yes, yes,” Pacino, 83, said of the movie that was considered the favorite to win best picture and finished with a night-best seven awards.

At that point, on came the music, and cheers rose from the crowd. The camera cut to Christopher Nolan, the film’s director, and Emma Thomas, one of its producers, as they stood up and made their way to the stage.

Did Jimmy Kimmel see it coming? Just minutes earlier, Kimmel, the host of the ceremony, made a joke about needing to tear up the envelope that said Emma Stone had won best actress for “Poor Things,” an allusion to the epic “Moonlight”/“La La Land” best picture mix-up of 2017.

After the ceremony, Bill Kramer, the chief executive of the academy, said he was pleased with Pacino’s performance. “Everything went beautifully,” Kramer said. “He was just having fun up there.”

Nicole Sperling contributed reporting.

Gladstone played a wealthy Osage woman whose family becomes a target of a murderous plot by white men to steal their oil rights. The actress quickly drew accolades following the premiere of Martin Scorsese’s three-and-a-half-hour historical epic at the Cannes Film Festival last May.

“You are the soul of ‘Killers of the Flower Moon,’” said the actress Jennifer Lawrence, as she introduced Gladstone as a nominee on Sunday.

Earlier this year, Gladstone, who has Blackfeet and Nez Percé heritage, became the first Indigenous person to win a Golden Globe for best actress, using her moment on the stage to share a snippet of Blackfeet language and remind the industry how far Hollywood had come in representing Native Americans onscreen.

“In this business Native actors used to speak their lines in English and then the sound mixers would run them backwards to accomplish Native languages on camera,” said Gladstone, 37, who also picked up best-actress wins from the Screen Actors Guild and the New York Film Critics Circle.

Other Indigenous performers have won Oscars. The folk singer Buffy Sainte-Marie is considered the first, getting best original song for “Up Where We Belong” from “An Officer and a Gentleman” in 1983 (though her Indigenous Canadian heritage has recently been disputed), and Taika Waititi, who is of Maori descent, took home best adapted screenplay for “Jojo Rabbit” (2019). In the best actress category, Indigenous performers like Keisha Castle-Hughes (“Whale Rider,” 2003) and Yalitza Aparicio (“Roma,” 2018) have been in the running for the honor. But among Native Americans, Gladstone is the first to be nominated for that competitive prize. (Wes Studi, who is Cherokee American, received an honorary Oscar in 2019.)

“There’s a handful of people who love film that have been aware of my career for a while, but this has been like being shot out of a cannon,” Gladstone told The New York Times in a profile earlier this year.

In portraying Mollie Burkhart, a real-life figure who survived the Reign of Terror against the Osage Nation in 1920s Oklahoma, Gladstone brought to life the complexities of a woman who was both charmed by the romantic interest of a brash white interloper — played by Leonardo DiCaprio — and deeply suspicious of him. With a performance that could be both emotionally reserved but gutting, Gladstone became the standout in a cast that included two longtime Hollywood fixtures, DiCaprio and Robert De Niro.

Gladstone did not follow the typical path of an actor. Instead of moving to Los Angeles or New York to audition in her 20s, she stayed in Montana, touring schools with a one-woman show about the Native American boarding school system and building relationships with local filmmakers. Her career breakthrough came in the 2016 film “Certain Women.”

With “Killers of the Flower Moon,” Gladstone’s talents were given the heft of a big-budget film. She learned to speak Osage with a language teacher and dialect coach, and she consulted with Margie Burkhart, her character’s granddaughter, about her grandparents’ relationship. After Scorsese met in Oklahoma with descendants of the victims, the director worked to deepen the roles of the Osage characters in the script, giving Gladstone access to experts who could advise her on aspects of her performance.

As she has made the media rounds, Gladstone has spoken about the challenges in an industry with few opportunities for Native actors. A recent study found that out of roles in 1,600 films released from 2007 to 2022, speaking parts for Native actors amounted to less than one quarter of 1 percent.

“If I’ve kicked the door in,” Gladstone said in an interview with The New Yorker, “I’m just trying to stand here and leave it open for everybody else.”

Released last summer to glowing reviews and a worldwide box-office total nearing $1 billion, “Oppenheimer” was considered the front-runner even before awards season began. Though some presumed favorites can’t sustain their momentum over several months, “Oppenheimer” never faltered, earning top prizes from the Golden Globes, Critics Choice Awards, BAFTAs and every major Hollywood guild along the way.

And why shouldn’t it have had a charmed run? When it comes to what awards-season voters typically respond to, “Oppenheimer” ticked so many boxes that it could have been designed in an Oscar-friendly Los Alamos lab: It’s a period drama about a great historical figure, set against World War II, directed by a major Hollywood auteur. The cherry on top is that audiences responded to it, too: It’s now the third highest-grossing film to win best picture, behind only “Titanic” and “The Lord of the Rings: Return of the King.”

The result is a full-grown woman with the impulses of an infant, until she progresses into a child testing boundaries and searching for independence in a world where men are accustomed to dictating women’s lives.

Stone, who was visibly overwhelmed in her acceptance speech, shared a conversation she had with Lanthimos, who is a frequent collaborator.

“The other night I was panicking, as you can kind of see happens a lot, that maybe something like this could happen,” she said, “and Yorgos said to me, ‘Please take yourself out of it.’ And he was right because it’s not about me. It’s about a team that came together to make something greater than the sum of its parts.”

The victory is Stone’s second for best actress: she won for her turn as a striving Hollywood performer in the 2016 musical “La La Land.”

In the fantastical, absurdist world of “Poor Things,” Stone’s Bella Baxter is charmingly blunt, brash and intent on being free to experiment. In one memorable scene at a restaurant in Portugal, Baxter launches into a wild and silly dance, inspiring her lover (played by Mark Ruffalo) to furiously try matching her vigor.

“She’s drinking up the world around her in such a unique and beautiful way that I just dream I could,” Stone, 35, said in an interview with The Times in November.

This past year was something of a crossroads for Stone’s career as she made a sharp turn away from the kind of mainstream roles that made her famous (“Easy A,” “The Help”). On TV, Stone starred alongside Nathan Fielder and Benny Safdie in “The Curse,” a satire of a home renovation show filled with little absurdities that almost rival the duck-headed bulldog in “Poor Things.”

Baxter’s unusual character arc provided Stone a unique actor’s playground as her character learned how to walk and talk, discovered her sexuality, learned the deepest horrors of humanity, and sought to forge her own life as an adult.

“I felt like I kind of lived with her for a long time,” Stone told Vanity Fair. “Yorgos and I still talk about how we miss her now.”

Taking a moment to recognize those in the film industry who have died since the previous Oscars ceremony, the telecast also paid tribute to stars such as Harry Belafonte, the barrier-breaking performer and activist, and Chita Rivera, the Broadway star who also appeared in films, as well as filmmakers such as Norman Jewison, the lauded director behind “In the Heat of the Night,” “Fiddler on the Roof” and “Moonstruck.”

To accompany the tributes, the superstar tenor Andrea Bocelli sang “Time to Say Goodbye” — with a new orchestration by Hans Zimmer — alongside his son, Matteo Bocelli.

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Here are some of figures the Academy honored:

• Alan Arkin, the acclaimed actor who won an Oscar for his role in “Little Miss Sunshine”

• Andre Braugher, a film, TV and theater actor who had roles in Spike Lee and Edward Zwick films

• Michael Gambon, the acclaimed Irish-born actor who played Albus Dumbledore in the “Harry Potter” movies

• William Friedkin, director of the box office hits “The French Connection” and “The Exorcist”

• Bo Goldman, the admired Hollywood screenwriter who took home Oscars for his work on “One Flew Over the Cuckoo’s Nest” and “Melvin and Howard”

• Glenda Jackson, the two-time Oscar winner who turned to politics in her 50s

• Piper Laurie, a respected actress with three Oscar nominations, including for her role in “Carrie”

• Bill Lee, a jazz bassist and composer who scored the early films of his son Spike Lee

• Richard Lewis, the acerbic stand-up comic who became a regular in movies and TV

• Ryan O’Neal, who became an instant movie star in the 1970 hit film “Love Story”

• Matthew Perry, the “Friends” star who had roles in movies such as “The Whole Nine Yards”

• Paul Reubens, the comic actor behind Pee-wee Herman who had scores of movie and TV credits

• Richard Roundtree, one of the first Black action heroes who was catapulted to fame in the movie “Shaft”

• Ryuichi Sakamoto, one of Japan’s most prominent composers, who scored the films “The Last Emperor,” “The Sheltering Sky” and “The Revenant”

• Tina Turner, the pop sensation who appeared in films such as “Tommy” and “Mad Max Beyond Thunderdome”

• Carl Weathers, a former pro linebacker, who played Apollo Creed in the “Rocky” movies

This is Murphy’s first Oscar win and his first nomination. He was a top contender at this year’s Academy Awards after winning a slew of other awards, including best actor at the Screen Actors Guild Awards, best leading actor at the BAFTA Film Awards and best actor in a drama at the Golden Globes.

“It’s been the wildest, most exhilarating, most powerfully satisfying journey you’ve taken me on over the last 20 years,” he said, thanking “Oppenheimer” producer Emma Thomas and director Christopher Nolan, who also won his first Oscar on Sunday night. “I owe you more than I can say.”

The contest for best actor had developed into a two-way race between Murphy and Paul Giamatti (“The Holdovers”), who won best actor at the Critics Choice Awards and best actor in a musical or comedy film at the Golden Globes.

Bradley Cooper (“Maestro”), Colman Domingo (“Rustin”) and Jeffrey Wright (“American Fiction”) were also nominated in the category.

The harrowing first-person account from Chernov, a video journalist for The Associated Press, captures the first days of the Russian invasion and the devastation and destruction the port city of Mariupol faced. “20 Days in Mariupol” is the first Ukrainian film to win an Oscar.

“I wish to be able to exchange this to Russia never attacking Ukraine, never occupying our cities,” Chernov continued. “I wish to give it all the recognition to Russia not killing tens of thousands of my fellow Ukrainians. I wish for them to release all the hostages, all the soldiers who are protecting their lands, all the civilians who are now in their jails.”

Chernov and his crew raced to make it out of Mariupol alive. He said in his speech that he could not change history but wanted it to be remembered.

“We can make sure that the history record is set straight and that the truth will prevail and that the people of Mariupol and those who have given their lives will never be forgotten,” he said.

Many Ukrainians echoed this view on Monday as they celebrated on social media the news that the documentary had won an Oscar. They said seeing the documentary was crucial to truly understanding Russia’s war of aggression in Ukraine.

“The world saw the truth about Russia’s crimes,” said Andriy Yermak, the head of the presidential office of Ukraine. “Our film broke enemy propaganda.”

In a statement last week before the awards ceremony, President Volodymyr Zelensky said the “horrific and true story” told in the documentary was “crucial to counter Russian lies, to keep Ukraine in the spotlight.”

“I was not expecting this,” Eilish said in a speech. “I’m so grateful for this song and for this movie and the way that it made me feel. And this goes out to everyone who was affected by the movie and how incredible it is.”

In a sign of the strength of the “Barbie” soundtrack, the winner’s stiffest Oscars competition may have been another song from the film, “I’m Just Ken,” Ryan Gosling’s doleful lamentation. Gosling, and a large ensemble that included some of the film’s Kens, performed the number on Sunday night.

“Barbie,” which has grossed $1.4 billion at the box office worldwide, came into the evening with eight Oscar nominations but was a favorite only in the song category.

At one point, Gosling returned to the crowd leading a singalong that included Robbie, director Greta Gerwig, “Barbie” actress America Ferrera and Emma Stone. (Stone was not in “Barbie,” however, she sang with Gosling in “La La Land.”)

On the red carpet, Ronson promised an “absolutely bananas spectacle” in an interview with E!, and he delivered on that promise, complete with cut outs of Barbie heads and a “Gentlemen Prefer Blondes” aesthetic.

“Doing any sort of live TV is nerve-racking, and then to do it in that room? There’s not many rooms that are more intimidating,” Simu Liu told The Times at the Governors Ball following the telecast. “Nerves were running high and there was such a moment of elation when we were done: ‘Yes!’ I think we pulled it off,” he said.

In another life, Gosling might have gone the pop star route. He got his start on “The All New Mickey Mouse Club,” the revival of the classic Disney variety show, which also launched the careers of Britney Spears, Christina Aguilera and Justin Timberlake. Before that, Gosling was a child dancer. His early routines, including one in which he wears “Hammer pants,” have received tens of millions of views online.

But instead of pursuing music celebrity, Gosling aimed to be an actor in “serious film,” as he once told The New York Times. He considered his past a hindrance. Agents dropped him. “It’s very hard coming from kids’ television to break the stigma,” he explained in 2011. “All you have is a VHS tape of you humping stuff on ‘The Mickey Mouse Club’ and wearing fake tanner and fighting imaginary sphinxes.” (That latter bit was a reference to his time on “Young Hercules.”)

But even as Gosling moved from child performer to feted movie star, he never truly gave up his song and dance chops. There was a detour in 2009 when he made an indie rock record with his friend Zach Shields as the duo Dead Man’s Bones, which featured the Silverlake Conservatory of Music Children’s Choir on their goth tracks.

And filmmakers have been eager to use his talents. He was nominated for best actor for crooning and tap dancing in the musical “La La Land” (2017). Even so, when that film’s song “City of Stars” was up for (and won) best original song, Gosling did not take the stage. Instead, executive producer and fellow cast member John Legend did the honors.

“Barbie,” however, got Gosling to commit to the bit. “I’m Just Ken” accompanies the dream ballet near the end of Greta Gerwig’s billion-dollar blockbuster in which Gosling’s Ken expresses his torment over playing second fiddle to Barbie (Margot Robbie) in Barbie Land. In addition to busting a move for the film, Gosling also sang on “Ken the EP,” which featured the original version of the tune and three additional ones, including “I’m Just Ken (Merry Kristmas Barbie).”

Kyle Buchanan contributed to this report.

“All our choices were made to reflect and confront us in the present — not to say, ‘Look what they did then,’ rather, ‘Look what we do now.’ Our film shows where dehumanization leads at its worst. It shaped all of our past and present.”

Glazer, who is Jewish, said that he rejected “Jewishness and the Holocaust being hijacked by an occupation, which has led to conflict for so many innocent people.”

He continued: “Whether the victims of October the seventh in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist?”

“The Zone of Interest,” featuring Sandra Hüller and Christian Friedel, was nominated for five Oscars, including best picture.

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On the red carpet earlier in the evening, some attendees — including the singer Billie Eilish and the actor Ramy Youssef — wore red pins to signify their call for a cease-fire in the conflict. This year’s Golden Globes, Emmys and Grammys included few references to the war, with celebrities wary to weigh in.

James Wilson, a producer of “The Zone of Interest,” also addressed the war in one of his acceptance speeches at the BAFTA Film Awards last month. In his speech, he referred to the walls that people construct in their lives.

“Those walls aren’t new from before or during or since the Holocaust,” Wilson said at the BAFTAs. “And it seems stark right now that we should care about innocent people being killed in Gaza or Yemen in the same way we think about innocent people being killed in Mariupol or in Israel.”

The win is Downey’s first Oscar after three previous nominations. He also won at the Golden Globes and at the BAFTAs for his work in “Oppenheimer.” The victory is also notable for another reason: it’s the first Oscar for a cast member of “Saturday Night Live,” which Downey joined in 1985-86.

Sterling K. Brown (“American Fiction”), Robert De Niro (“Killers of the Flower Moon”), Ryan Gosling (“Barbie”) and Mark Ruffalo (“Poor Things”) were also nominated in the category.

Ms. Hudgens, 35, wore a fitted black Vera Wang gown with long sleeves and a turtleneck. She did not explicitly discuss her pregnancy during the broadcast, instead keeping her attention on the stars she was interviewing.

A representative for Ms. Hudgens did not immediately respond to a request for comment on Sunday.

This is the third consecutive year that Ms. Hudgens, who became a household name with her role in “High School Musical” in 2006, has hosted “The Oscars Red Carpet Show” on ABC.

Ms. Hudgens married Cole Tucker, a baseball player, in Mexico in December. (For that occasion, she also wore a streamlined Vera Wang gown.) This will be the couple’s first child.

During the broadcast, Ms. Hudgens traded off interviews with her co-host, Julianne Hough, and acknowledged that the ceremony was taking place on Indigenous land. Her interview subjects included Emma Stone, Simu Liu, Ariana Grande and America Ferrera.

When her coverage shift concluded, she held a microphone in one bejeweled hand and beamed into the camera. “That was a lot of fun,” she said.

It’s possible Miyazaki, 83, could retire after this movie, although reports have suggested he is at work on another project. The director said in 2013 that he planned to retire, but continued to make other films.

Miyazaki has crafted influential and popular features through the animation house Studio Ghibli since he co-founded it in 1985. His 2001 feature, “Spirited Away,” won the Oscar for best animated feature, and in 2014, he received an honorary Oscar at the Academy’s Governors Awards. Sunday’s win was Miyazaki’s second victory in four nominations for animated feature.

“You’re so beautiful,” Robbie told him in the clip. “I know,” he said. “I haven’t eaten in three weeks. I’m still hungry. I have to host the Oscars.”

He began his monologue by mentioning the monthslong strikes that paused most film and television production, and he saluted the actors and writers who pushed for a new deal with Hollywood studios.

“As a result, actors no longer have to worry about getting replaced by A.I.,” he said. “Thanks to this historic agreement, actors are now able to go back to worrying about being replaced by younger, more attractive people.”

Kimmel also cracked jokes about the “Anatomy of a Fall” dog Messi, the lengthy run time of “Killers of the Flower Moon” and the perceived snub of Greta Gerwig, who was not nominated for best director.

“I know you’re clapping but you’re the ones who didn’t vote for her,” he told the audience.

Here is a transcript of the full monologue:

Thank you for that partial standing ovation and welcome to the 96th Oscars, everybody. Look at these beautiful human actors. What honor it is to be here. Thank you for having me back. And congratulations to each and every one of you for making it to the Academy Awards and for making it on time.

The show, as you know, is starting an hour early this year. But don’t worry it will still end very, very late. In fact, we’re already five minutes over. And I am not joking. I’m not going to lie. It’s going to be a long night after what was a long year. It was a hard year, but it was also a great year for movies. Despite the fact that everything stopped, the people in this room somehow managed to come up with so many excellent films and so many memorable performances.

This night is full of enormous talent and untold potential, but so was “Madame Web.” So who knows? Are we off to a bumpy start? OK, this is a meaningful occasion for most of you. I know that. And I know that winning an Oscar is something you dreamed about since you were a kid. And now here we are, all dressed up celebrating the best of the best, beginning with the biggest movie of the year, “Barbie.” “Barbie” was a monster hit. What a thing. What an achievement to take a plastic doll nobody even liked anymore. I mean, my wife — before this movie, you’d have had a better chance of getting my wife to buy our daughter a pack of Marlboro Reds than a Barbie doll.

Now Barbie’s a feminist icon, thanks to Greta Gerwig, who many believe deserved to be nominated for best director. I know you’re clapping, but you’re the ones who didn’t vote for her, by the way. Don’t act like you had nothing to do with this. And I don’t want to leave out Margot Robbie. Margot put this giant hit together. Margot Robbie and Ryan Gosling are here tonight. Look kids, it’s Barbie and Ken sitting just near each other. Ryan and Margot, I want you to know that even if neither one of you wins an Oscar tonight, you both already won something much more important: the genetic lottery. Ryan, you are so hot. Let’s go camping together and not tell our wives.

And then we have the other major box office winner this year, “Oppenheimer,” directed by the great Christopher Nolan. Also a very attractive man. And this is a very fascinating person. Christopher Nolan doesn’t have a smartphone, doesn’t use his email and he writes on a computer with no internet connection, which is a way of, a powerful way of saying “I will not allow my porn addiction to get in the way of my work.”

Christopher is joined by his longtime collaborator, Cillian Murphy, who is just wonderful. Cillian, interesting fact about his name. It’s pronounced Cillian when he does drama. When he does comedy, it’s Silly Anne. And congratulations to Silly Anne’s co-star Robert Downey Jr. This is the highest point of Robert Downey Jr.’s long and illustrious career. Well, one of the highest points. But Robert has been — was that too on the nose or was that a drug motion you made? But look at him, I mean look at this guy. He’s so handsome, so talented. He’s won every award there is to win. Is that an acceptance speech in your pocket or do you just have a very rectangular penis?

Not even 20 years ago, things weren’t going that great for Robert. He played the villain and, correct me if I have this wrong, in a movie where Tim Allen turns into a dog. And if you ever decide to remake that film, I have just the guy to play Tim Allen. That is, where is he? Messi. Even though he’s a dog may have given the performance of the year in “Anatomy of a Fall.” Messi has an overdose scene. If you’ve seen it, you know it is incredible. Honestly, I haven’t seen a French actor eat vomit like that since Gérard Depardieu.

The second most nominated movie of the year is “Poor Things,” directed by Yorgos Lanthimos. Not only is Yorgos nominated for best director, his editor, whose name is also Yorgos, Yorgos Mavropsaridis, is nominated too. We have two Yorgos’s in the house tonight. Will they both win? Yorgos is as good as mine.

All right, let’s get 20 seconds for room tone. Emma Stone is an Oscar nominee for a fifth time. Right? Fifth time. Emma, you are so unbelievably great in “Poor Things.” Emma played an adult woman with the brain of a child, like the lady who gave the rebuttal to the State of the Union on Thursday, and you were just amazing.

There were so many great movies that held audiences captive this year. And I mean that literally — your movies were too long this year. The average length of the top 10 movies was 2 hours and 33 minutes. That’s up 30 minutes from three years ago. When I went to see “Killers of the Flower Moon,” I had my mail forwarded to the theater. “Killers of the Flower Moon” is so long in the time it takes you to watch it, you could drive to Oklahoma and solve the murders yourself.

The multitalented Brad, Bradley Cooper is here with us tonight with us. He’s got another best picture nominee, “Maestro.” Bradley, brought your mom to the show tonight. Hi, Mrs. Cooper. How are you? You’re doing good. Great. Bradley brings his mother to every award show. She was his date last year at the Oscars. She was not? OK, but the Tonys and the Soul Train Awards. It’s very sweet. But I guess the question is how many times can one bring his mom as his date before he is actually dating his mom? Are you working on a movie about Freud right now and not telling us?

Here’s some fun Oscar trivia: 48 years ago, Robert De Niro and Jodie Foster were nominated for “Taxi Driver” and they are both nominated again tonight, 1976 was the year and that’s pretty crazy. In 1976, Jodie Foster is young enough to be Robert De Niro’s daughter. Now, she’s 20 years too old to be his girlfriend. I also want to congratulate Robert’s co-star Lily Gladstone, who is the first Native American ever to be nominated for best actress and for “Killers of the Flower Moon.” And if you saw, you know that she was riveting. And did you know that before she got this movie, Lily was ready to quit acting and take a job at the Department of Agriculture tracking murder hornets, right? And now she’s nominated for an Oscar, which is so great for her, but also makes me worry that no one’s tracking these murder hornets.

Lily is in excellent company. We have many first time acting nominees tonight, including Emily Blunt, Jeffrey Wright, Sterling K. Brown, America Ferrera, Danielle Brooks, Colman Domingo, Da’Vine Joy Randolph and Sandra Hüller. For the first time ever, three foreign language films are up for best picture, and two of them star Sandra Hüller. Sandra, two movies. Sandra plays a woman on trial for murdering her husband in “Anatomy of a Fall” and a Nazi housewife living next to Auschwitz in “The Zone of Interest.” And while these are very heavy subjects for American moviegoers, in Sandra’s native Germany, they’re called rom-coms.

For the first time in more than two decades, we’re adding a new category to the Oscars. Not tonight, don’t worry. In the future, they will be adding an Oscar for achievement in casting, which, yeah, you better you better applaud for that. And that is great news for actors because now not only will you be able to watch someone else win an Oscar for a part you didn’t get, you’ll also be able to watch the person who didn’t think you were right for it win one, too. What a year, we’ve had. It was a tough year. Remember that kid from “The Fabelmans”? This is what he looks like now. Very good to have you here, Steven. Steven, are you nominated tonight or are you here because you have season tickets?

Steven and his wife, Kate Capshaw, donated a lot of money to help actors and writers who were out of work over the summer. We were on strike for a long time, 148 days. For five months, this group of writers, actors, directors, the people who actually make the films said, “We will not accept a deal.” Well, not the directors. You guys folded immediately. But the rest of us said we will not accept the deal without protections against artificial intelligence. And as a result, actors no longer have to worry about getting replaced by A.I. Thanks to this historic agreement, actors are now able to go back to worrying about being replaced by younger, more attractive people. And I think that’s great. And writers, could A.I. have written “Transformers: Rise of the Beasts”? Yes, the answer is yes.

We learned a lot while we were out on those picket lines. This strike raised existential questions about our industry, like if a movie premieres at the Grove and there are no actors there to promote it, does Mario Lopez make a sound?

And now that the strike is over, now that Fran Drescher has returned to her volunteer work reading loudly to the hearing-impaired, we can be proud of the fact that this long and difficult work stoppage taught us that this very strange town of ours, as pretentious and superficial as it can be, at its heart, is a union town. It’s not a bunch of heavily Botoxed, Hailey Bieber-smoothie drinking, diabetes-prescription abusing, gluten-sensitive nepo babies with perpetually shivering Chihuahuas. This is a coalition of strong, hard working, mentally tough American laborers, women and men who would 100 percent, for sure die if we even had to touch the handle of a shovel.

The reason we were able to make a deal is because of the people who rallied beside us. So before we celebrate ourselves, let’s have a very well-deserved round of applause for people who work behind the scenes: the Teamsters, the truck drivers, the lighting crews, sound guys, all the people who refused to cross the picket lines. All the people who refused to cross the picket lines. There they are. If you’re wearing Sketchers to the Oscars, take a bow. Come on, guys. Take a bow, you deserve it. Thank you for standing with us. And also, we want you to know that in your upcoming negotiation, we will stand you, too. And also, I’m going to make sure this show goes really long tonight, so you get a ton of overtime. It’s golden time everybody, should we give out some Oscars?

“If you ever decide to remake that film, I have just the guy to play Tim Allen,” Kimmel said, then asked, “Where is he?” as he looked around. “Messi, who even though he’s the dog, may have given the performance of the year in ‘Anatomy of the Fall.’”

Cue a camera pan to Messi with his soulful blue eyes. And a collective audience sigh of relief.

“I haven’t seen a French actor eat vomit like that since Gérard Depardieu,” Kimmel said.

Keep an eye out: With “Anatomy of a Fall” up for five awards — best picture, best actress for Sandra Hüller, best director for Justine Triet, best original screenplay and best film editing — this probably won’t be Messi’s last appearance of the night.

The ruff-est job in the theater on Sunday night? Whoever has to be Messi’s seatholder.

”I didn’t think I was supposed to be doing this as a career,” she said in an emotional acceptance speech. “For so long, I’ve always wanted to be different, and now I realize I just need to be myself. And I thank you. I thank you for seeing me.”

Danielle Brooks (“The Color Purple”), Emily Blunt (“Oppenheimer”), America Ferrera (“Barbie”) and Jodie Foster (“Nyad”) were also nominated in the category.

In its report, Variety cited an email from the screenwriter Simon Stephenson to an official at the Writers Guild of America, and a second email to the W.G.A. board. Stephenson argued that his screenplay “Frisco,” which he wrote in 2012, was copied to create “The Holdovers.” (“Frisco” has not been produced.)

Both screenplays tell the story of a grumpy man in his 50s forced to watch over a teenager, according to documents published with the Variety report. “The Holdovers” centers on a boarding-school teacher (Paul Giamatti), while “Frisco” follows a doctor.

A document published with the article outlines similarities, including scenes in which each main character was “summoned to boss” and a description of both main characters as “unorthodox.” Plagiarism claims are not unheard of in Hollywood, but proving them is a different matter.

The Variety report described multiple attempts by Stephenson to draw the Writers Guild of America into his dispute with the film’s director, Alexander Payne, and its writer, David Hemingson.

Stephenson argues that Payne “was sent and read my screenplay on two separate occasions prior to the offending film entering development,” according to an email cited in the Variety report, a claim bolstered in other correspondence obtained by Variety.

Stephenson declined to comment for the Variety story but confirmed the authenticity of the emails it cited. Payne and Hemingson also declined to comment to Variety, while the guild board did not respond.

Two other races are tighter but still lean “Oppenheimer.” The film’s star, Cillian Murphy, has all the momentum in the lead actor category, though “The Holdovers” star Paul Giamatti is also racking up votes. In the sound category, “The Zone of Interest” could mount a late charge for its unnerving acoustic landscape, but Nolan’s film is considered the strong front-runner.

If “Oppenheimer” wins all of those races, it will be the most-awarded best-picture victor since “Slumdog Millionaire” (2008) also took eight Oscars. But can “Oppenheimer” earn even more?

At least four races seem out of reach, no matter how mighty the film’s Oscar sweep. “Oppenheimer” is a nonstarter in the production-design and costume categories (I project both those races will be between “Barbie” and “Poor Things”) as well as the hair-and-makeup race, which should come down to “Poor Things” and “Maestro.” Emily Blunt, nominated for her supporting performance in “Oppenheimer,” has no chance of unseating “The Holdovers” star Da’Vine Joy Randolph, who has taken every major prize this season.

The only additional Oscar that “Oppenheimer” can realistically contend for is in the adapted-screenplay category, which will be a tough three-way race between Nolan’s film, “Barbie” and the favorite, “American Fiction.” If “Oppenheimer” can pull off a victory there and win nine Oscars total, it will be the biggest Oscar success in two decades, since “Lord of the Rings: Return of the King” (2003) won 11.

For example, the supporting-actor category will be presented not just by last year’s winner, “Everything Everywhere All at Once” star Ke Huy Quan, but also by former winners Mahershala Ali, Sam Rockwell, Christoph Waltz and Tim Robbins. For the best-actress category, expect a crop of former winners that includes Michelle Yeoh, Charlize Theron and Jennifer Lawrence.

If this gambit sounds familiar, it’s because the Oscars first introduced it during the 2009 ceremony, where it was met with great acclaim. And though these tributes eliminate the “Oscar clips” that typically precede the nominees’ introductions, it should provide an emotional link between the former winners and the groups of contenders from whom they will welcome new members to their very exclusive club.

After a number of companies complained to the academy that Messi’s appearance had given “Anatomy of a Fall” an unfair advantage during the Oscars voting window, a source connected to the film told The Hollywood Reporter that Messi would not return to Los Angeles for Sunday’s ceremony. (Representatives for the academy did not comment.)

There is precedent for animal cameos at the Oscars: Uggie, the Parson Russell terrier who starred opposite Jean Dujardin in “The Artist,” was onstage when the film won best picture in 2012. And Jenny the donkey (actually an impostor) from “The Banshees of Inisherin” shared the stage with host Jimmy Kimmel for a bit last year.

It’s a shame Messi won’t be there because the news comes at a time when we’ve learned a valuable piece of intel: Messi can skateboard.

But don’t give up hope yet: There may be still a chance for a last-minute appearance.

The film has been recognized in a range of categories — from best picture to costume design, although Gerwig notably failed to receive a best director nomination — but it is favored only in the original song category.

Billie Eilish’s heart-wringing track “What Was I Made For?” won song of the year at the Grammys, and it is the front-runner in its Oscars category. Even if there’s an upset, it may come from another of the movie’s nominees, Ryan Gosling’s showstopper “I’m Just Ken.”

But apart from the original song category, prospects look somewhat dim in Barbie Land. It’s not unprecedented for films to earn many Oscar nominations and then go home empty-handed, or close to it. For instance, the 1985 adaptation of “The Color Purple” received 11 nominations without a win; the same was true for the 1977 drama set in the ballet world, “The Turning Point.” (A new “Color Purple” adaptation scored just one nomination this year.) And in 2003, Martin Scorsese’s “Gangs of New York” scored 10 nominations but no trophies.

The best potential parallel to “Barbie” may be Bradley Cooper’s 2018 remake of “A Star Is Born,” which was nominated for eight Oscars and walked away with only best song.

At that protest, Laura Delhauer, an independent filmmaker who held a cardboard sign that read “Free Palestine,” said she hoped to put pressure on the U.S. government to end the conflict.

“I’m heartbroken to know that our hard-earned tax dollars are going to pay for the murder of innocent civilians,” she said.

Delhauer and other protesters marched down Sunset Boulevard as car horns honked, a helicopter hovered overhead and Los Angeles police officers in riot gear watched nearby.

Captain Muniz said the Police Department had arrested one person for battery of a police officer in relation to the protests, which may have been connected to one another.

By 4:30 p.m. local time, Captain Muniz said that the size of the protests had diminished but that some demonstrators were still seeking to “get into the gated areas” near the Oscars. After protesters tried to breach a chain-link fence near the entrance to the Dolby Theater, police officers secured it with zip ties.

The largest protest was organized by groups including Film Workers for Palestine and SAG-AFTRA Members for Ceasefire.

“With people from across the globe watching the Academy Awards, this is a Hail Mary opportunity,” said Anthony Bryson, one of the organizers. He added: “What’s happening in Gaza needs to have attention drawn to it. We wanted to bring as much resistance and visibility as possible.”

Shortly after the protest began, a man dressed in a dark blue suit stood across the street holding both a United States flag and an Israeli flag. After a brief verbal altercation, protesters grabbed the Israeli flag and threw it into the street. The man walked away, surrounded by volunteer safety officers who had been brought in by protest organizers.

After initially considering a chocolate brown carpet, she said, they settled on the champagne color, which, next to the sienna tent, “was inspired by watching the sunset on a white-sand beach at the ‘golden hour’ with a glass of champagne in hand, evoking calm and peacefulness,” she told The Times. (A spokeswoman for the academy declined to comment.)

Ms. Love acknowledged in the interview that the 50,000-square-foot rug, which was very much giving “Shoes-off house!” vibes, might be a challenge to keep clean.

“It will probably get dirty — maybe it wasn’t the best choice,” Ms. Love said at the time. “We’ll see!” (Heavy rain indeed arrived, and online commentators also questioned the decision.)

“The pin symbolizes collective support for an immediate and permanent cease-fire, the release of all of the hostages and for the urgent delivery of humanitarian aid to civilians in Gaza,” Artists4Ceasefire said in a news release. “Compassion must prevail,” the release continued.

At the recent Screen Actors Guild Awards, Bradley Cooper, Steven Yeun and Matt Bomer were close to impeccable wearing more or less regulation black tie, while others in the celebrity cohort made a point of showing how truly flexible this sartorial warhorse can be. The tuxedo was tweaked almost to the point of redefinition, with versions of it rendered single- or double-breasted, adorned with crisscross lapels and cropped like a bellhop’s bolero. There were tuxedos that night in bronze, brown, midnight blue, lipstick red, blush pink and, most memorably, ivory, as Jeremy Allen White bid to switch up his thirst-trap underwear-model image for something more suggestive of a leading man.

Dressed in a Saint Laurent tuxedo over an open shirt and with a diamond Schlumberger Bird on a Rock brooch pinned to his lapel, Mr. White evoked adjectives not often associated with millennial bros. Like a short-king avatar of Cary Grant, he was sophisticated, suave and — let’s just say it — debonair.

In the realm of replicating old time Hollywood glamour, Mr. White had plenty of competition that evening. And in light of the parade of elegantly tuxedo-clad celebrities like Tyler James Williams (baby blue double-breasted Amiri), Glen Powell (shawl-collar bronze Brioni), Ryan Gosling (dove gray Gucci) and Cillian Murphy (pinstriped Saint Laurent), it seemed clear what to expect on the Oscars red carpet.

That is, no wardrobe stunts. Those are better left to the glorified costume party that is the Met gala. The Oscars, after all, is Hollywood’s big date night, in that it has a certain instructive quality of use to any civilian preparing for a red-letter day.

Jimmy Kimmel is back for a second consecutive year, his fourth time overall as host of the ceremony. That ties him with Whoopi Goldberg and Jack Lemmon, but puts him behind Johnny Carson (with five) and Billy Crystal (nine). And it’s still miles back from the record-holder, Bob Hope, with 19.

Who is presenting?

The “Field of Dreams” format is back! For the first time since the 2009 ceremony, five past winners in each acting category will introduce the five current nominees for each award, and then announce the winner together.

The academy never reveals which presenters will be announcing which awards before the ceremony, but all four of last year’s acting winners — Brendan Fraser (actor), Michelle Yeoh (actress), Ke Huy Quan (supporting actor) and Jamie Lee Curtis (supporting actress) — are in the presenter lineup.

Also set to take the Dolby stage on Sunday night: Mahershala Ali, Bad Bunny, Nicolas Cage, Chris Hemsworth, Dwayne Johnson, Michael Keaton, Jennifer Lawrence, Matthew McConaughey, Rita Moreno, Lupita Nyong’o, Octavia Spencer, Ramy Youssef and Zendaya.

Who will be performing?

All five of the best original song nominees will be represented: “I’m Just Ken” from “Barbie” (performed by Ryan Gosling and Mark Ronson); “The Fire Inside” from “Flamin’ Hot” (performed by Becky G); “It Never Went Away” from “American Symphony” (performed by Jon Batiste); “Wahzhazhe (A Song for My People)” from “Killers of the Flower Moon” (performed by Scott George and the Osage Singers); and “What Was I Made For?” from “Barbie” (performed by Billie Eilish and Finneas O’Connell).