Although it’s being touted as mere prank video, I feel like this is more of a social experiment on how humans handle a brush with fame.

Actor Mark David Christenson, the winner of ZERO Oscars, walked around Hollywood Blvd. on the night of the Academy Awards wearing a tuxedo and holding a fake Oscar. While watching the video it was shocking to witness the amount of shit he got away with. No one really questioned him. They just went with it. He was holding an Oscar for pete’s sake so he must be legit, right? He even ended up with a “free” car.

I pretend to be a celebrity and walk around with a fake Oscar to see how people treat me. Pretending to be famous has its perks because it turns out people treat you like a real Oscar winner. You may have seen fake celebrity pranks and pretending to be famous before, but I think being a fake Oscar winner is the craziest prank of these yet!

There’s not really much to say about this. You just have to watch it. And weep.

 
Via reddit

 
In eighty-four years of the Academy Awards, only 4 women (Lina Wertmüller, Jane Campion, Sofia Coppola and Kathryn Bigelow), have been nominated for a Best Directing Oscar.

Only 1 has won - Kathryn Bigelow in 2011.

Should we be surprised by this when:

The voting population of the Academy is 94% White, 77% Male and 62 is the average age.

Here then, for your consideration are some of the Women Directors Missing from this year’s Oscars.
 

 
With thanks to Kate Muir
 

 
Mike Nichols’s film adaptation of Edward Albee’s Who’s Afraid of Virginia Woolf? opened 44 years ago today during a summer of tumult. Not only were massive protests against the Vietnam War hitting Washington DC, but the last trouble-free marriage sitcom, The Dick van Dyke Show, had just aired its last episode. It was on.

Richard Burton and Elizabeth Taylor took on the roles of inadequate associate history prof George and his drunk university-president’s-daughter wife Martha two years into their actual marriage, which itself was one of the most scrutinized in pop culture history. The then-thrice-divorced Taylor won the Best Actress Oscar, and Haskell Wexler’s stark cinematography scored him a statuette as well. Controversy over how much of the play’s profanity to include in the film would compel the MPAA’s Jack Valenti to convert the industry’s old Production Code into the rating system we know today.

Screenwriter Ernest Lehman ingeniously situates George and Martha’s relentless turning-point fight in a well-lit parking lot, giving Taylor the pacing space to sprawl out the argument across the psyche of tortured married couples across America. The pair’s agreement on “total war” seems almost chilling in its self-indulgence in the context of President Johnson’s escalating the horrific bombing of North Vietnam at the time.