Hello, friends! I am so delighted to be joining you today and bringing you all the action from the Interview Room. Many thanks to Sasha, Clarence, and the entire Awards Daily team for allowing me to be here on this momentous occasion. Whatever happens tonight, it’s sure to be unforgettable.
The “Golden Hour” starts at 7pm ET/4pm PT where eight categories will be revealed and the winners will have their moments to be “seamlessly” edited into the broadcast, which starts at 8pm ET/5pm PT. Along the way, we’ll be keeping track of the winners, the speeches, and the exciting backstage moments right here in the Interview Room.
And, as promised to Clarence, I will definitely keep you updated on the Shrimp Situation.
So keep hitting that refresh button and we’ll give you all the latest all evening long.
10:02 PT — And that’s a wrap on the night! They have confirmed that (surprise!) Will Smith will NOT be speaking to the press tonight. Many thanks to my friends here at Awards Daily and to all of you for following along! I hope I’ve made this entertaining and insightful!
9:59PT — Patrick Wachsberger takes a moment to talk about their first meeting with Sian Heder. Philippe and Fabrice mentioned they had other meetings scheduled with other writers. “I said, ‘Cancel them. Sian is the one.'”
9:56PT — A little secret from the filming of CODA: During the scene with the Coast Guard boarding the fishing boat, the Coast Guard boat’s windows smashed on the first take. So they punched out the rest of the windows so that it wouldn’t be obvious. If you look closely, you can see that the Coast Guard boat has no glass in the windows.
9:54PT — Heder is also asked about casting Eugenio Derbez as the teacher. She says this is a film with a lot of representation, beyond the Deaf community. “We’ve been telling the same stories about the same people for too long.”
9:51PT — On the subject of casting Troy Kotsur, Heder says the difficulty of independent filmmaking comes from the fact that you’re expected to cast big stars to get financing. And she was willing to accept the idea that the film would never get made rather than casting hearing actors. She says she say Kotsur in a Deaf West production and wondered why no one had turned him into a huge star yet. “Creators need to think about these actors as they’re writing and be imaginative in their storytelling. Be inclusive, because obviously people respond to a story like this.”
9:50PT — Producers Philippe Rousselet, Fabrice Gianfermi, and Patrick Wachsberger join Heder on stage. Question: Is independent film still alive? “YES! Definitely. We’re going to keep doing those movies we care about for a global audience.” And, “Good stories will always remain alive.”
9:46PT — Q: What does CODA celebrate? A: “It celebrates deaf culture!” Heder goes on to talk about how Marlee Matlin has been alone in the industry since she won Best Actress 35 years ago, and now a film with 3 Deaf leads just won Best Picture. “This is a movement, not a moment.”
Heder: “I hope this movie kicks the door open and allows other people through.” She says this needs to open the industry to more Deaf stories, to disabled stories, and more. “Stories and movies can be forces of change in our society, but only when they reflect the diversity of our experience.”
9:45PT — Heder thanks the team from the original French film and how exciting it is to put her own spin on the story.
She is then asked about what this means for women. “I grew up watching Jane Campion.” Heder says they went to Sundance just hoping someone would buy their film. “And now we’ve won Best Picture.” She adds, “For anyone who is struggling to get their film made, this is a moment.”
9:44PT — And now we have Sian Heder first taking questions for her Adapted Screenplay win.
9:42PT — A question that throws back to her role in The Help. Chastain is now the sixth actress from the film to win an Oscar and she praises Tate Taylor, who fought to cast her in the role of Celia Foote.
9:40PT — She says this is the first time she has ever held an Oscar. She’s been to Eddie Redmayne’s house and refused to pick his up because she felt superstitious.
Chastain first got the rights to Tammy Faye’s story 10 years ago and it’s incredibly meaningful to be here 10 years later with a film that she “willed into existence.” She so proud to right Tammy’s story in terms of bringing justice to her memory.
9:39PT — Jessica Chastain is here and that dress is STUNNING in person.
9:38PT — As a film viewer, he has his own standards. So when Hamaguchi is making a film, he always thinks about the fact that there is an audience somewhere out there for whom his film can really resonate.
9:33PT — On the three-hour run time, he says there were different edits of the film that were shorter but felt longer. It’s all in the way you use the time you have.
On the subject of Chekov, he made slight changes to make the translations sound more natural and less for the theater, since he was working with film actors.
Working with a multilingual cast, “I didn’t know at the beginning whether this was going to work or not, but I thought it would be a good way to draw out good performances from the actors.” It helped the actors to focus and learn to pay close attention to one another.
9:28PT — Hamaguchi says he feels very lucky to have won. He watched the other features and they were all great. And he thanks the Academy for recognizing the film which resonates today because it is about loss and moving forward after a loss.
9:27PT — Ryusuke Hamaguchi is here for International Feature, Drive My Car. He gets a small standing ovation.
9:25PT — On the memory of his first trip to the Oscars, he talks about meeting Jack Nicholson and Steve Martin and others. He says events like these have a way of reminding you how surreal this all is.
9:22PT — Asked about how Belfast compares to what’s happening in Ukraine, Branagh pivots to talk about the way Northern Ireland has moved forward in the decades. He says the people of Northern Ireland are a shining light and proof of how things can changed. “Please, God, situations in other parts of the world: Do not take that amount of time to come to the painful realization that we need to talk, not fight.”
9:21PT — Branagh: “It’s very meaningful to me as someone who was in a small room, watching a small TV in a working class neighborhood, projecting the Academy Awards, to be here is really something.”
9:18PT — Academy Award winner Kenneth Branagh walks in, holding that Oscar proudly. His first question is about how much Alfonso Cuaron’s film Roma influenced Belfast. He reiterates that he did not watch Roma and explains that when he learned what it was about, his film was already in the works and he didn’t want to be too influenced by a director he respects.
9:16PT — Q about what it will take to have a Director lineup entirely made up of women. “I don’t know what it’ll take,” she starts, but then expands on the way the industry is opening up and creating more opportunities for women. She credits #MeToo for helping kick open doors.
9:13PT — Q about working with the female creators on her team. “I love working with these woman. They’re incredibly talented.” She also speaks of how much she has grown in the 27 years since The Piano.
Asked about the darkness of the film, “I don’t like that people cover up darkness.” Of Thomas Savage she says, “He wrote about cruelty but was looking for kindness.” She adds, “It’s just awesome when you have a story that is so deep and requires you to reach inside of you.”
9:11PT — Campion is asked to talk about the amazing people who were nominated for awards tonight. She praises her cast, and the crew. She thanks the team who were nominated and the ones who weren’t.
Q: Do you think this moment feels right? A: “I don’t know if it’s about being the right time… I’m proud and grateful to the Academy for choosing me on this occasion.”
9:10PT — Jane Campion in the house!
9:08PT — Speaking of being the first “People don’t talk about that. When you’re the first of something, it’s lonely.”
9:05PT — DeBose is asked about sharing the honor with Rita Moreno. She says, “They share a name… I set out to create a woman who stood on her own two feet.” She adds that this is historical and overwhelming. “I’m an openly queer woman of color. And not for nothing, that’s freaking awesome, you guys.” And she adds that this proves there is space and she’s honored to be seen.
9:03PT — At long last, Ariana DeBose makes her way to the room, looking radiant. The room breaks into applause. First question: Your path to winning this Oscar started a long time ago. Tell us how you got from there to here. DeBose: “A lot of hard work… A lot of choice to take my rejections as redirections.” She nods to her work as an ensemble member for Hamilton and knowing that she needed to choose herself and go and do the work to get better. “This is magic, but it is magic that did not come without effort.”
8:57PT — The Makeup & Hair team from The Eyes of Tammy Faye is here! Linda Dowds, Stephanie Ingram, and Justin Raleigh are so proud to share this night with Jessica Chastain. Dowds says they have worked with her on 16 films and she’s their best collaborator.
Justin Raleigh says it was important to not completely obliterate Jessica while also giving enough of Tammy Faye to round out the whole look.
Q: Jessica made a big point that she would leave the red carpet and be in the theater when their category was awarded. What did that mean to them? Dowds says it was quite emotional when she had said that. “That kind of support and that kind of connection to have in any relationship is great and in a working relationship is so special. We feel honored and privileged to get to work with her.”
8:50PT — We have a bit of a lull now as the show is over and we’re waiting for more winners to make their way over here. A few reporters are starting to leave. Many are sticking around. Pretty sure they’re waiting for Will Smith, but I’m gonna guess he’s skipping this.
8:49PT — Answering a question about the size and scale of the set designs, Vermette talks about the influences coming from Egyptian architecture, as well as other colonizing empires.
8:45PT — Vermette and Sipos continue the Dune team’s praise of Villeneuve and the highly collaborative nature of the project. “I think, for everybody, it was one of their best experiences,” Sipos says. Vermette adds, “And I met her.”
8:40PT — Vermette answers a question about Canadians in Hollywood by talking about the many films from both Canada and his co-winner Zsuzsanna Sipos’ native Hungary. He talks about shoestring budgets and praises the way streaming and other programming have made it possible to tell many stories outside of Hollywood.
8:37PT — Patrice Vermette and Zsuzsanna Sipos are here. The Production Design winners for Dune. Patrice starts by thanking Jean-Marc Vallée, who passed away in December. “I wish you could be here to see this.”
Vermette says, “Ever since I can remember, Oscar Sunday was very important in our household.” He says growing up in Montreal, this felt so unattainable, but being here today he feels extremely lucky.
8:34PT — CODA wins Best Picture. Meanwhile, Billie answers her final question. “It’s so incredible to be in the list of people that have created Bond songs. It’s so insane, I don’t know how to really process it.” She praises Daniel Craig and says, “I wanted him to be happy most of all.”
8:32PT— Finneas says he got the chance to talk with a few former Bond song writers to get their take on how to do it. “Their advice was to just make a song we were really proud of.”
The biggest challenge working as siblings: Finneas says it was important to feel like both a Billie Eilish song and a James Bond song at the same time and not taking anything away from either.
8:29PT — Billie Eilish and Finneas O’Connell have entered the room. The first question is about the pressure to write a “Bond song.” Billie says, “We just wanted it to be perfect and represent Daniel Craig’s last film.” And she sighs and says, “It couldn’t have been better.”
8:27PT — Academy Award Winner Jessica Chastain.
8:23PT — The reporters in the Interview Room applaud Sir Anthony Hopkins. “Will Smith said it all. What more can be said.”
8:18PT — Jazz Tangcay gets applause from the press room when her voice pops up again. She asks if there was anyone else Joe Walker didn’t get to thank. He says he was happy to thank Denis. His speech was about his kids. In his speech he said, “In the hands of a 17-year-old, the words ‘Oscar nominated’ can be an insult. So thank you, Academy, for the upgrade.”
8:15PT — Walker comments on the sad irony of editing the Film Editing category into the broadcast. He says it’s wrong and that the crafts all deserve to be honored. He says he understands they need to figure out ways to make it work economically, but this isn’t the way to do it.
8:12PT — Joe Walker is here. First question is about collaboration. He says he goes way back with many of the team. He first worked with Hans Zimmer in 1988. He tells a story that Zimmer overspent on strings by 400 pounds and was told he may never work for the BBC again!
8:11PT — Joseph Patel wraps up Summer of Soul’s press room time by saying that Riz Ahmed became the ninth South Asian to win an Oscar, and he became the tenth. And his mom will be proud that he is the first Patel ever to win.
8:07PT — The team is still in the room, but we have a Pulp Fiction reunion as Uma Thurman, Samuel L. Jackson, and John Travolta present Best Actor. What is Will Smith going to say if he wins??
8:02PT — Questlove: “We need to start reframing that Black history IS American history. We had a hand in building this place.” He says there are a lot of teachable moments. There are a lot of people with power to greenlight projects. He hopes this moment shows these stories matter and that it will lead to a paradigm shift to elevate more of these stories.
7:55PT — He shuts down a question about the moment before his win and shifts into talking about how fortunate he feels to be part of uncovering the story of the Harlem Music Festival. He says a big part of the reason this film came together was because they had so much time on their hands during the pandemic. “I always tell young people ’embrace boredom.'”
7:54PT — Billie Eilish and Finneas O’Connell are accepting their award but Questlove is walking into the Interview Room right now! “How y’all doin??”
7:45PT — First question: The whole of France is waiting for this moment. What message do you have for them? Kotsur talks about the French film, La Famille Belier. He says he is grateful to the French for planting the seed and is excited to be part of improving on it with a Deaf cast.
Q about representation. “There are many ways to tell a story from different perspectives and different journeys… Everyone has stories to tell. We have a rich history, we’ve been through a lot. Right now is a wonderful opportunity to tell these stories and this is just the beginning.”
Q: What part of your performance are you most proud of? Kotsur: “I’m most proud of showing dirty sign language and dropping “F” bombs. SO MANY ‘F’ BOMBS!.. Welcome to my world!”
7:43PT — Troy Kotsur is here!
7:39PT — A reporter asks Karia what he thought of the broadcast only showing Ahmed’s acceptance speech. He says Riz speaks so eloquently and so beautifully that he understood. And then he takes a minute to praise Riz and the friendship they have built through the making of this film.
7:33PT — Aneil Karia and Riz Ahmed are in the room for The Long Goodbye.
First question: How are you feeling? Answer: It feels good! “If you could have seen us filming , we would never have imagined we’d be here.”
Q: What leads you to tell this story about immigrants? Riz says telling stories about lots of different experiences broadens your mind and expands your experience. “What we tried to do was show the challenges, the dangers of where we might be headed, but also to show the joy in the immigrant community.”
7:29PT — Accepting his award for Summer of Soul, Questlove shouts out his fellow nominees. Then he says, “This is not about me. This is about marginalized people in Harlem who needed to heal from pain.”
7:26PT — Chris Rock made a joke about Jada Pinkett-Smith starring in GI Jane 2. Will Smith storms the stage and pretends to punch Rock. Everyone laughs, it’s funny. But when he returns to his seat, Smith shouts, “Keep my wife’s name out your f*cking mouth.” Rock says, “It was a GI Jane joke.” And Will Smith says it again. “Keep my wife’s name out your f*cking mouth.” This was not planned. Rock is rattled. Everyone in the Interview Room is wondering what in the heck is going on.
7:23PT — Jenny Beavan says she was really surprised that editing the categories into the broadcast is going much better than she expected. But she definitely feels it’s not right and the Academy needs to reverse the decision next year.
7:19PT — And Beavan gets a question about Costume Designers not be included in merchandising deals. She says she’s waiting to see how she can help. She was shocked by what happened last year when she realized there is a “wealth of inequality. It’s my ideas and thoughts and suddenly they own it.”
7:13PT — Costume Designer Jenny Beavan has entered the room!
Q: I thought you were in Australia! “I am but I was allowed out on good behavior!”
She says the looks started with the script. “I was there in the 70s and ’77 was my heyday!” She says the arc of Estella/Cruella’s look was a progression from rebellious child to creative teen to someone who could be designing her own clothes at 25.
Q2: Were there any specific references or details she sneaks into the costuming? A: The key was to give Emma Thompson a very consistent look. The asymmetric was developed during the fitting process. For Emma Stone, it’s a clear story. Some of the clothes were real vintage and some were made, and all of it comes largely from her memories of the 1970s.
7:08PT — Yvett Merino talks about how exciting it is to be part of telling diverse stories for a wide audience.
There’s also a question of whether the film will be turned into a stage musical. They say it’s too early to say yet.
A question about the character design that makes it possible for everyone to see themselves in them. “A lot of us have a black sheep in the family, or a golden child, or a mother who heals us with food… We wanted all of them to feel like real people that would be in your families or yourselves.”
7:04PT— And now Team Encanto has arrived.
Question: “What is it about Encanto that hits all ages?” Answer: It’s a story about family. Watching the evolution on social media has been incredible.
Q2: Megan Thee Stallion was just singing the song. Did they know? No. It was kept a secret from them. “We knew very little of what was actually going to happen.”
7:01PT — Mielgo was just asked about the category pre-show situation. He says he was upset when it was announced, but then just a few days later Russia invaded Ukraine and worrying about this “felt frivolous.” But he also hopes they don’t do this again.
7:00PT — Mielgo and Sanchez are still in the room, but I looked up at the monitor just in time to see Kenneth Branagh winning for Original Screenplay!
6:51PT — Alberto Mielgo and Leo Sanchez are here now from The Windshield Wiper. They say it was a surreal experience to hear their film called. “You always dream and then when it really happens, it’s absolutely absurd.”
“These big networks are very good at what they do, but right now it’s not for me.” Alberto Mielgo explains that he wants to continue making animated work for adults, which is why he has no plans to work with Disney or other major studios.
6:40PT — Dune‘s Visual Effects team has arrived. The first question is from a German reporter and Gerd Nefzer answers. But they aren’t translating so we’ll just have to assume it was something brilliant.
The next question asks Gerd what he was going to say when his speech was cut off onstage. He wanted to say, “Das ist wunderbar.” (I knew that one!) He also thanks a few additional members of their crew.
And yet another question for Gerd, who just got through Covid. It was a close call on being able to get to the Oscars. “It’s a tough week if you’re just at home with your wife. For one week. In one room.” He laughs and praises the medical experts who made sure he was all clear to get here.
The next goes to Paul Lambert. He explains they tried to avoid green and blue screens and used sand-colored screens. “Because we collaborated with Greig and Patrice, everything was figured out six months prior to the shoot. I truly believe that collaboration is what gave us the success in visual effects.”
Tristan Myles says his dad made him read the book when he was a kid. “The only book I ever read with a glossary in the back.”
6:38PT — The final question to Greig Fraser is about the decision to shift those 8 categories. He asks how much time we have because he can talk about this for half an hour. “Everyone in this crowd realizes and understands why this happens. We understand the economics. But it’s up to us to change the economics.” He wants kids watching to realize that even if they won’t grow up to be actors and writers and directors, there are places for them in film.
6:37PT — Fraser is still on the stage in the press room and praising the way the industry and specifically cinematography is opening up to underrepresented voices. He says he’s excited to see where cinematography is in 2032.
6:27PT — Greig Fraser has entered the Interview Room!
“Every article that gets written about Dune must start with the words ‘Denis Villeneuve.'”
Asked about his collaborators and his team, he says he will be releasing a written thanks to name everyone who worked with him to help him get here. “I’m the unfortunate bugger that has to stand up here,” he says.
He praises Ari Wegner and shares his pride in the way Australians are represented in film and television now.
Question about challenges: “If the script is right and the director’s right and the actors are right, you can’t help but feel something.” He says this was a film made by artisans. “We got through and made a film I’m super proud of.”
6:23PT — The complete text of Ariana DeBose’s acceptance speech has arrived!
Oh, my God. Yikes. Okay. Oh, my word. You know what? What is this? You know, now you see why Anita says “I want to live in America” ‑‑ because even in this weary world that we live in, dreams do come true. And that’s really the heartening thing right now.
If I took the time to say thank you to every single beautiful person who has lifted me up on this stage, you’d find people would be sitting here till next Oscars. So, I’m not going to do that. Just allow me to say it was a summer of a lifetime, and I am the most privileged and grateful to have spent it with all of you.
My God. Thank you, Steven Spielberg. You’re stuck with me now. Yay.
Thank you Kristie Macosko Krieger, Tony Kushner, and the divine inspiration that is Rita Moreno. You’re staring at me right now. And I am so grateful. Your Anita paved the way for tons of Anitas like me, and I love so much.
I’m going to wrap this up and talk about my family. My mother who is here tonight. Mama, I love you with my whole heart, and this as much yours as it is mine. Some of my tribesmen: My family, my love, Sue; Jonathan, Diana, Anthony Calamita. I wouldn’t do what I do without each and every one of you.
So lastly: Imagine this little girl in the backseat of a white Ford focus. Look into her eyes. You see queer – an openly queer woman of color, an Afro‑Latina, who found her strength in life through art. And that’s what I believe we’re here to celebrate. Yeah.
So, to anybody who has ever questioned your identity, ever, ever, or you find yourself living in the gray spaces, I promise you this: There is indeed a place for us.
Thank you to the Academy and thank you all.
6:19PT — While Troy Kotsur is winning his award, a reporter asks Ben Proudfoot why he decided not to comment on the controversy during his speech. He says, “We made the film to honor Lucy Harris.” He wants to continue to voice his concerns and speak up on behalf of short films, but the awards stage was the place to honor Lucy.
6:15PT — Ben Proudfoot is in the Interview Room now. I get the first question and ask him to elaborate on his acceptance speech comment about female athletes in film. He said he feels getting to tell Lucy Harris’s story is a big moment and will hopefully open more doors to telling the stories of women like Lucy, who was the first woman ever to score a basket in the Olympics, the first woman drafted in the NBA, etc.
Proudfoot says Lucy got to see the film at Tribeca and as he was helping her into the car after, she whispered, “Thank you.” He says he knew he needed to let her tell her own story. And it’s available for free on YouTube.
6:04PT — The sound team from Dune has arrived. The first question is about creating the sound for the book adaptation. “It’s all thanks to Denis,” they say. There are four winners and I can’t quite see who’s who, so forgive me! They are also praising Joe Walker, whose editing made it easier for them to be proactive in their sound work.
Second question asks if they were able to see their award announced during the ceremony, and how do they feel about how it was handled. They say they’re here to honor Denis and the film and don’t wish to comment on the controversy.
Q3: Was there a singular change? “For us, the goal was to redefine science fiction in cinema. Traditionally sci fi uses sound to complement things you’ve never seen before with things you’ve never heard. Denis’ mandate was to make the film sound like things you’ve heard before.” Everything was made from traditional, acoustic sounds. Of 3200 individually created design sounds, only 4 or 5 come from new designs.
Q4: Ron’s fourth win: “Every award, every nomination is special, but to do this for Denis is close to my heart… He’s one of the best filmmakers I’ve ever had the pleasure of working with.” They express confusion that Villeneuve wasn’t nominated for Director.
A question from the virtual press room: What would you say to future sound designers? It’s something you can do without a lot of money in your pocket.
Another from the virtual press room (hi, Jazz Tangcay!): Which sound was Theo Green most proud of? The voice.
6:02PT — Probably a total coincidence that three live-action Disney princesses are presenting Animated Feature, but three reporters in the Interview Room just stood up and danced when they announced Encanto.
Yvett Merino says, “I’m so proud to be part of a beautiful, diverse film that puts beautiful, diverse people front and center.”
5:47PT — No presenter says James Bond like Tony Hawk, Shaun White, and Kelly Slater.
And an update: no winners have made it to the Interview Room yet. Still waiting.
5:44PT — Ben Proudfoot accepting his award for The Queen of Basketball says, “If there’s any doubt that there’s interest in movies about female athletes, let this Academy Award show you there is.”
5:37PT — Greig Fraser wins Best Cinematography for Dune. He thanks his crew, “I won’t name them all because it would take too long.” And he thanks his wife and kids for, “allowing me to go off and play in sand dunes for six months.”
5:33PT — As expected, no one in the Interview Room is listening to the Sound team from Dune because they already knew who won. So unfortunate. They deserve their spotlight. But there are a lot of cheers when Wesley Snipes, Rosie Perez, and Woody Harrelson take the stage.
5:18PT — Eight awards have already been given out, and we’re finally about to see a winner. Daniel Kaluuya and H.E.R. present Best Supporting Actress. Ariana DeBose gets a standing ovation from a few here in the Interview Room.
5:11PT — As Wanda says, “For you folks in Florida, we’re gonna have a GAY night,” the cheers fill the press room.
5:06PT — Our three hosts, Amy Schumer, Wanda Sykes, and Regina Hall make their entrance only to be interrupted by DJ Khaled insisting on “introducing you right.”
5:00PT — Venus and Serena Williams introduce Beyoncé’s first ever live performance of “Be Alive” from the very tennis court where they learned to play. The press room is riveted.
4:55PT — The Red Carpet Live-ish show is done and now we’re just minutes away from the start of the show. Someone in the press room hasn’t silenced their iPhone and it keeps dinging. This is annoying. But not as annoying as reading 8 new Oscar winners on Twitter.
4:43PT — Jessica Chastain is on the red carpet praising her makeup team and her co-star Andrew Garfield. And her random question from a box is: What is the one thing you have to have in your trailer? She says a foot massager. It’s hard-hitting news, y’all. Aren’t you glad you’re not watching people win awards? (This is no shade to Chastain, whose interview was pre-taped as she publicly declared she *would* be inside when her team’s category came up.)
4:36PT — Dune has won Production Design, Editing, Sound, and Original Score. And The Eyes of Tammy Faye has won Makeup & Hairstyling.
4:27PT — And since the Academy is tweeting them out ahead of time, congratulations to Dune, The Queen of Basketball, The Windshield Wiper, and The Long Goodbye for your Oscar wins.
4:15PT — The shrimp is out, the Red Carpet show is running, and the general consensus among the press is, “Why are we watching people reenact famous movie quotes instead of watching people win their awards?”
3:37PT — We’re still waiting on that shrimp, but the Red Carpet show is streaming in the Interview Room. The cast of Encanto send their love to Lin-Manual Miranda, who is watching from home tonight after his wife came down with Covid.
