Predicting ALL The Oscars 2020 Winners

A while before the nominations for the 92nd Academy Awards were announced, I mentioned to Darren on an episode of PopScorn that I was thinking of watching all the films and shorts that bag a nomination this year. Four weeks later and hours of my life lost to cinema, I have completed the behemoth task of ticking off every nominated feature and short film*! That's 37 feature films and 15 short films. I've officially done more work than most members of the Academy!

And boy do I have a mammoth article for you today. We're going to run down every single category and try to guess, through either logic or gut feeling, which films, actors and industry professionals will be lifting those golden Oscar trophies on February 9th!

*Almost every one. There was one feature film (Les Miserables) and one short film (St Louis Superman) that absolutely refused to appear online for purchase or streaming, nor in cinemas anywhere in the UK, so I can't comment on them. The feature is releasing in April in the UK, whilst the final short may make it's way online in late February. Luckily, both films make up a small minority of the total nominated films and they both come from categories that are easy to predict wins for. They also come from categories where I have seen some of my favourite works, so I am confident that my choices, both Head and Heart, would remain the same in their respective categories, even if I had seen these final two films.

We'll try to tackle these win predictions in the order they are likely to be presented on the night, however bear in mind that The Academy does like to fiddle with the format year to year, so this may not be as accurate as intended.

For the uninitiated, we divide our predictions into two categories. The Head pick is the one that I think will win through logic, examining the trends from previous Oscar wins and other wins across other awards ceremonies, such as the BAFTAs, DGAs, SAGs, PGAs, Golden Globes and Critics Choice Awards. The Heart pick however is what I consider to be the worthy winner, despite all evidence and trends to lead me astray. Sometimes these things overlap where I agree with all trends withing my own tastes, but having two punts at the winner gives us more of a chance of ticking off correct predictions... If the Academy is feeling generous this year, anyway.

Anyway, we've got a lot to get through, so let's hit the ground running.

Best Supporting Actor

Tom Hanks, A Beautiful Day in the Neighbourhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time... in Hollywood

Head - Brad Pitt, Once Upon a Time... in Hollywood

There is no doubt that Pitt's performance in Quentin Tarantino's new film is his absolute career best. In fact, I would say that it's his performance that elevates the film into awards consideration. And with Pitt sweeping up a win in the SAG Awards, it looks likely that Pitt will lift the Oscar for this mesmerising performance.

Heart - Tom Hanks, A Beautiful Day in the Neighbourhood

Who better to play the nicest man on television that the reported nicest man in entertainment? From minute one of A Beautiful Day in the Neighbourhood, Hanks delights with a completely heartwarming performance as Mr Rogers. There are some genuinely heart-wrenching moments of dialogue coming from a very zen and calculated performance by Hanks that elevates the film in every way. Hanks is no stranger to bagging Oscars, so this isn't that outlandish a pick, but it remains the outlier against Pitt.

Best Live Action Short

Brotherhood
Nefta Football Club
The Neighbours’ Window
Saria
A Sister

Head - Brotherhood

Whilst the short itself solemnly deals with the emotional ramifications of a disgraced family member returning home after joining ISIS, the Academy is not quite so subtle. By no means would this be a unearned win, far from it, but this would an Academy safe way of having a dig at the terrorist cult, which puts it almost in a lock for a win.

Heart - A Sister

An incredibly tense short film that holds it's viewers on a knifes edge, this gripping short story sees a police dispatcher determine where a kidnapped woman is by speaking to her as her 'sister'. A tough tale of the challenges faced by the emergency services and women's safety in the modern world.

Best Animated Short

Dcera (The Daughter)
Hair Love
Kitbull
Memorable
Sister

Head - Kitbull

An equally heartbreaking and uplifting tale of the unlikely friendship of a stray kitten and an abused pitbull, Kitbull is easily the favourite to win here. The animation is full of character and the short tale manages to convey a strong narrative on friendship and kindness in it's short 8 minutes run-time. And, of course, it comes from Pixar, so it's almost guaranteed to sweep up this award, as Disney/Pixar films almost always do for Animated Short.

Heart - Memorable

In it's ten short minutes, Memorable does more to explain the tragedy of dementia than any drama has, at least in my memory. The claymation-as-oil painting art style is unique in so many ways, no less in how it shows the unravelling of a mans perception of his own life, as people and object he would consider everyday knowledge become distorted and alien. It's theme of tension in the main characters marriage manages to illicit tears as the final moments play out, accompanied with some absolutely stellar animation. This should win; it probably won't, but it definitely should.
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Best Original Score

Joker, Hildur Guðnadóttir
Little Women, Alexandre Deslpat
Marriage Story, Randy Newman
1917, Thomas Newman
Star Wars: The Rise of Skywalker, John Williams

Head - Joker, Hildur Guðnadóttir

Guðnadóttir's haunting cello score fits the mood and themes of Joker perfectly and should easily be tipped as the favourite for this category. Giving Joker the gong here will make up for not giving it Best Picture, whilst also praising a universally loved aspect of the movie, and a decision that shouldn't inspire any backlash.

Heart - Star Wars: The Rise of Skywalker, John WIlliams

Does John Williams need another Oscar and further praise for his work on the Star Wars saga? Probably not. But it is the composers final Star Wars score and a love letter to the franchise as a whole, and based on those pure emotions, I would love Williams to receive the prize. Think of it as a leaving gift.

Best Sound Editing

​Ford v Ferrari/Le Mans ’66, Donald Sylvester
Joker, Alan Robert Murray
1917, Oliver Tarney and Rachel Tate
Once Upon a Time... in Hollywood, Wylie Stateman
Star Wars: The Rise of Skywalker, Matthew Wood and David Acord

Head - 1917, Oliver Tarney and Rachel Tate

There's a lot to admire in 1917's sound design; the crack of the rifles is hauntingly loud, the explosion early into the movie suitably deafens the dialogue in the moments following, the crash of the airplane seems audibly believable. I could go on, but given the technical marvel 1917 is, I would say it will sweep all the technical awards it is up for.

Heart - ​​Ford v Ferrari/Le Mans ’66, Donald Sylvester

Ford v Ferrari/Le Mans '66 isn't up for many awards, so any where it has the chance to pick one up, I will be rooting for it. And this backing isn't entirely unfounded; I think there are some really effective moments of sound design. Two that come to mind are the slow dance in the garage and the scene at Le Mans itself when a stopwatch is stolen.

Best Sound Mixing

Ad Astra, Gary Rydstrom, Tom Johnson and Mark Ulano
Ford v Ferrari/Le Mans ’66, Plau Massey, David Giammarco and Steven A. Morrow
Joker, Tom Oznich, Dean Zupanich and Tod Maitland
1917, Mark Taylor and Stuart Wilson
Once Upon a Time... in Hollywood, Michael Minkler, Christian P Minkler and Mark Ulano

Head - ​1917, Mark Taylor and Stuart Wilson

Not much more to say about 1917's sound here, but typically speaking the two sound awards go to the same film. If 1917 picks up one, I would say it's an absolute bolt on that it would pick up the other. It certainly wouldn't be totally undeserved, but the Academy is known to be short-sighted (Or should that be hard of hearing?) when it comes to recognising achievements in sound.

Heart - Ford v Ferrari/Le Mans ’66, Plau Massey, David Giammarco and Steven A. Morrow

Yeah that's right, I'm not playing with my Heart picks, I still want to get as many right as possible! Following the pattern from the Head picks, the Heart pick for Sound Mixing also goes to Ford V Ferrari/Le Mans '66. Once again, definitely not an unfounded pick, as this is a great sounding movie top to bottom.

Best Costume Design

The Irishman, Sandy Powell and Christopher Peterson
Jojo Rabbit, Mayes C. Rubeo
Joker, Mark Bridges
Little Women, Jacqueline Durran
Once Upon a Time... in Hollywood, Arianne Phillips

Head - ​The Irishman, Sandy Powell and Christopher Peterson

It seems like Sandy Powell is costuming everything these days, and with three Oscars under her belt, she'll be the one to beat. Ordinarily, if it's a film that people have at least heard of, let alone seen in droves thanks to Netflix, Powell picks up the gong. I wouldn't bet against her this time now she's representing a Scorsese picture.

Heart - ​Little Women, Jacqueline Durran

A period drama as the underdog?! What reality is this? In all seriousness, the costuming in Little Women is far from perfect in terms of nailing the exact year of the setting, but it is always a spectacle. The first time we go to Paris is made all the more exquisite when all the extras are clothed like they are right out of 'A Sunday Afternoon'.

Best Supporting Actress

Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell

Head - ​Laura Dern, Marriage Story

I honestly thought this was going to be a nomination for Little Women for Dern, but regardless, she has shown exceptional range across these two films. In Marriage Story, she shines as a stone cold professional bitch and it is an absolute joy to watch. Dern has been overlooked for Oscars in the past, but that is likely to change this year. Think of this as sure of a thing as Brad Pitt is for Best Supporting Actor; Hollywood is in love with Dern right now.

Heart - ​Florence Pugh, Little Women

As much as I am confident for Dern (And frankly rooting for her), I would love to see the rising British star Florence Pugh take the gong as well. Pugh has delighted me in the past with Fighting With My Family and is clearly capable of great range and skill. If this doesn't turn out to be her year, I suspect highly that she'll be back to trouble the nominations in years to come.

Best Documentary Feature

American Factory
The Cave
The Age of Democracy
For Sama
Honeyland

Head - Honeyland

The story of a beekeeper in North Macedonia has the biggest screening presence whilst not appearing on a streaming platform, with showings popping up all over the States and even the UK come March. The Academy is likely to pick this bittersweet tale to win as it is also nominated for Best International Feature Film, but the film certainly earns that win through a well captured story.

​Heart - For Sama

The raw emotion that Waad al-Kataeb has able to capture in her film is nothing short of brilliance. The film takes place over the span of five years, following Waad's life as a revolutionary, a journalist and later a mother, as she dedicates the film to her daughter Sama as a reminder of what she and her father did to make the world a better place for her to live. Powerful stuff from start to finish, it would be a shame if this film got no love from the Academy.

Best Documentary Short

In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St Louis Superman
Walk Run Cha-Cha

Head and Heart - In The Absence

The Documentary Short category has been the least fun one to deal with this year, for varying reasons. For starters, It's impossible to watch one of them refuses to have a presence outside of the film festival circuit, two of them are incredibly dull, and another is far too light and trivial to compete against the the heavy nature of the rest of the pack. So that leads me neatly onto In The Absence, an incisive look into the ineptitude of a government to act on crisis and the scars it leaves for the people who suffer it's consequences. It can be a bit of a tough watch, but the use of government phone-calls and victims video clips bring a harsh reality to the narrative and makes this the only one of the bunch worth caring about. If something else wins, it's a fucking con.

Best International Feature Film

​Corpus Christi, Poland
Honeyland, North Macedonia
Les Misérables, France
Pain & Glory, Spain
Parasite, South Korea

Head and Heart - Parasite, South Korea

It's a good year for Korean film-making. There is absolutely no doubt that this is going to win. Not only is Parasite also nominated for Best Picture, Best Director and Best Production Design, but Parasite is also the most well put together Korean film I have seen since Oldboy. A truly unique movie not only in the categories it has been nominated for, but in the wider sphere of international film-making. The tense yet funny genre bending nature of the narrative is an absolute triumph, and I would hope the Academy recognises this too. If this doesn't pick the Oscar up, something has gone horribly, horribly wrong.

Best Production Design

The Irishman, Bob Shaw and Regina Graves
Jojo Rabbit, Ra Vincent and Nora Sopkova
1917, Dennis Gassner and Lee Sandales
Once Upon a Time... in Hollywood, Barbara Ling and Nancy Haigh
Parasite, Lee Ha Jun and Cho Won Woo

Head - ​Once Upon a Time...In Hollywood, Barbara Ling and Nancy Haigh

If there's one thing you learn about the Academy from watching the Oscars year to year, it's just how much they love being reminded of both the good old days and the landscape of Hollywood in particular. Tarantino's latest flick combined both the nostalgia and familiarity that Academy voters love to give recognition to. 

Heart - Jojo Rabbit, Ra Vincent and Nora Sopkova

Perhaps the most surprisingly colour film of the lot, Jojo Rabbit uses it's design to accurately depict a beautiful German village in literal and ideological ruination from the rise of the Nazi regime. Otherwise picturesque scenes have an emptiness to them that evokes the reality of the era, khaki jumpsuits and all.

Best Film Editing

​Ford v Ferrari/Le Mans ’66, Michael McCusker and Andrew Buckland
The Irishman, Thelma Schoonmaker
Jojo Rabbit, Tom Eagles
Joker, Jeff Groth
Parasite, Yang Jinmo

Head - The Irishman, Thelma Schoonmaker

It sound utterly ridiculous to suggest that The Irishman would win for editing when it seems that every second of the rushes made the final cut. But despite the overly long running time, it seems likely that the time hopping pace of the movie will sit well with the Academy, given the back and forth over a four decade span in the narrative. This would make for Schoonmaker's fourth Oscar win if this does come to pass.

Heart - Parasite, Yang Jinmo

This will prove a stretch, but Parasite deserves to pick up as many awards as it is possible, none less so for Editing. The sequence of the movie where the Kim family are steadily bought into the employ of the Park family one by one through a series of long cons and framing is easily one of the most exciting sequences in films I have seen in a long while. For that section alone, in a feature full of wonderful sequences, I beg for this to win.

Best Cinematography

The Irishman, Rodrigo Prieto
Joker, Lawrence Sher
The Lighthouse, Jarin Blaschke
1917, Roger Deakins
Once Upon a Time in Hollywood, Robert Richardson

Head and Heart - 1917, Roger Deakins

No doubt in my mind that Deakins will and should win this one. Finally being recognised by the Academy for Blade Runner 2049, the sheer effort of the continuous take war movie simply must be recognised as the crowning achievement in film this year. It's so masterfully put together and framed, using truly stunning set pieces to tell this gruelling story. There is absolutely no contest here, both logically and emotionally. This will be Deakin's second and most resounding Oscar win of his career.

Best Visual Effects

Avengers: Endgame, Dan DeLeeuw, Russell Earl, Matt Aitken and Dan Sudick
The Irishman, Pablo Helman, Leandro Estebecornea, Nelson Sepulveda-Fauser and Stephane Grabli
The Lion King, Robert Legato, Adam Valdez, Andrew R. Jones and Elloit Newman
1917, Guillaume Rocheron, Greg Butler and Dominic Tuohy
Star Wars: The Rise of Skywalker, Roger Guyette, Neal Scanlan, Patrick Tubach and Dominic Tuoh

Head - The Irishman, Pablo Helman, Leandro Estebecornea, Nelson Sepulveda-Fauser and Stephane Grabli

The Academy is not especially a fan of digital de-ageing, the last time it was rewarded was for The Curious Case of Benjamin Button in 2008, but given The Irishman's almost sole focus on pairing the look of the principle cast (DeNiro, Pacino and Pesci) with their evolving voices and mannerisms, it's safe to say it will be praised once more. Plus, Scorsese and legacy actors in general so, y'know. Done deal.

Heart - Avengers: Endgame, Dan DeLeeuw, Russell Earl, Matt Aitken and Dan Sudick

I know Infinity War got a big old snub last year to make way for Black Panther's few wins, but I still hold out hope that Marvel Studios will get the recognition that they deserve for bringing so may characters to life on the big screen. In Endgame in particular, the effort to they had to go through to make the Battle for Earth look as chaotic as it did should be worth an award.

Best Makeup and Hairstyling

Bombshell, Kazu Hiro, Anne Morgan and Vivian Baker
Joker, Nicki Ledermann and Kay Georgiou
Judy, Jeremy Woodhead
Maleficent: Mistress of Evil, Paul Gooch, Arjen Tuiten and David White
1917, Naomi Donne, Tristan Versluis and Rebecca Cole

Head - Judy, Jeremy Woodhead

Whilst I didn't care for Judy in, well, any regard, I do think that it will pick up the nod here for recreating the visage of Judy Garland and her fading glitz and glamour in the twilight of her life. Renée Zellweger was transformed into the troubled child star quite effectively throughout. And that's all the praise I'm giving Judy. 

Heart - Bombshell, Kazu Hiro, Anne Morgan and Vivian Baker

It seems mad to suggest, but if Bombshell were to win, it wouldn't pick the award up for the hair and makeup done on the three fabulous three leads, as fine as that work is. No, instead the prosthetic work done on John Lithgow to transform him into the tubby asshole Roger Ailes is what would give this movie the edge, and I sure hope it does. Lord knows I don't want Judy picking up a thing!
​

Best Animated Feature Film

How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

Head - Toy Story 4

Who has kids that love Disney movies? If you are also a member of the Academy, chances are you let your kids vote for this category. Historically speaking, the Disney animated feature nominated that year is the most often the winner, and with Toy Story being a recognisable franchise, the unimaginative nominations of the Academy basically guarantee a win for Disney and Pixar here.

Heart - Missing Link

Laika have been consistently nominated for Best Animated Feature, but have yet to win despite actually making the best animated feature every year they've been nominated. The same is true here, as Missing Link is a truly unique family movie, expertly bought to life in stop motion with such precision and expression I honestly had to remind myself it wasn't CGI several times throughout my screening. It's just a shame it won't even get a look in.

Best Original Song

“I Can’t Let You Throw Yourself Away”, Toy Story 4
“I’m Gonna Love me Again”, Rocketman
“I’m Standing With You”, Breakthrough
“Into the Unknown”, Frozen II
“Stand Up”, Harriet

Head - “Into the Unknown”, Frozen II

Can you say "Let It Go 2"? Given the pedigree coming from the writers of the new key song from Frozen 2 and that it's bought to you by the team that managed to get 'Let It Go' literally everywhere like a bad plague, this is sure to be a bolt on for Disney once more.

Heart - “I’m Gonna Love Me Again”, Rocketman

Rocketman was a great film and whilst this was only the credits song, I really want it to pickup at least one award. Let's be real, it was a thousand times better than Bohemian Rhapsody, it deserves at least one award to put it on the same shelf as that trash fire. It may as well be for this, given how excellent a singer Taron Edgerton has turned out to be.

Best Adapted Screenplay

The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes

Head - The Irishman

Oh shit, it's ya boy Scorsese back to translate an entire man's life into a movie; One that is close to the running time of an entire man's life, too! The three and a half hour epic translates Charles Brandt's biography 'I Heard You Paint Houses' into a a decade spanning crime film to great effect, even if that effect is numbing of the arse. It does however truly chronicle Frank Sheeran's life in great detail.

Heart - The Two Popes

I did not expect to enjoy this as much as I did, given my total distaste for religious stories. However, The Two Popes manages to craft an effective and heartfelt story from the tumultuous life of Jorge Bergoglio before he became Pope Francis. The way it has weaved the narrative between the machinations of Vatican City and this tragic tale of an Argentine priest really tugs at the heartstrings.
​

Best Original Screenplay

Knives Out
Marriage Story
1917
Once Upon a Time... in Hollywood
Parasite

Head - Once Upon a Time...In Hollywood

Combine equal parts Quentin Tarantino, Hollywood nostalgia and long, extended scenes of dialogue and you get the prime candidate for Best Original Screenplay. Tarantino's blend of real life events and characters with his signature overblown, comedic bloody violence is sure to be a hit with the Academy members.

Heart - Parasite

The expertly crafted tale of the Kim family's invasion of the Park family's life and employ is masterfully executed in Parasite. It's a story that flows with such elegance and grace between it's grimy and underhanded betrayals of trust that makes the utter shock and chaos of the mid-film reveal all that more special. I would love to see this get recognition for it's absolutely stellar story.
​

Best Actor in a Leading Role

Antonio Banderas, Pain & Glory
Leonardo DiCaprio, Once Upon a Time... in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Head and Heart - Joaquin Phoenix, Joker

The biggest 'no-contest' of the entire Oscars this year is this. Joaquin Phoenix completely transforms both physically and in performance into Arthur Fleck and later Joker. The entire film would not be elevated to awards level status, nor would it's dormant themes on mental health and social inequality be bought to the surface were it not for the line that Phoenix tows between sympathy and disgust in his re-imagined portrayal of the classic Batman villain. This performance has left me asking questions to the true nature of the story for months after release, but one of those questions isn't "Who picks up this Oscar?".

Best Actress in a Leading Role

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Head - Renée Zellweger, Judy

Alright, cards on the table here: I don't like Judy. I think the film is quite the depressing slog, punctuated by an excellent moment involving two gay fans that really gives life to the film, but ultimately is completely fabricated and betrays the viewers trust in the narrative. However, Renée Zellweger has been sweeping up awards for the role, including a BAFTA, a Golden Globe and a SAG Award. It seems highly unlikely that she will lose this race given the momentum behind her this year. I just wish it were a win for a better film.

Heart - Scarlett Johansson, Marriage Story

Judy may be the front-runner for this award, but the steam that Marriage Story is picking up simply can't be ignored, and for very good reason. Finally recognised by the Academy despite years of efforts, this is Johansson's first Oscar nomination, alongside her Best Supporting Actress nomination for Jojo Rabbit. She delivers a painfully emotional performance delving deep into a fracturing relationship that is absolutely worth note. In particular, her scene describing the breakdown of her marriage alongside Laura Dern's character was one of the best elongated scenes of dialogue out of all this years contenders. The woman has impressive range that shouldn't go ignored in a perfect world.
​

Best Director

Martin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time... in Hollywood
Bong Joon-ho, Parasite

Head - Sam Mendes, 1917

Mendes jumped through a lot of hoops to achieve the brilliance of 1917, including but not limited to shooting in story order, shooting mostly in natural light and of course attempting to film the action as one continuous shot. The result is a grand war film that feels personal and fluid throughout and as a technical achievement alone is likely to win him the Oscar.

Heart - Bong Joon-ho, Parasite

Whether you define directing as the direction of cameras or the direction of actors, there is little argument to be had that Bong Joon-ho has mastered both principles in Parasite. Whilst I hated Okja and was indifferent on Snowpiercer, Parasite shows just how far this director has come to become a master of his craft and one of the best living directors. Hopefully he can follow in the footsteps of Alfonso Cuarón and bag the Directing gong for a foreign language picture.

Best Picture

Ford v Ferrari/Le Mans ’66
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

Head - 1917

I am absolutely torn between these two films; they're currently both in flux at my number one spot for the year so far and it will take a great deal of effort to overthrow either one of them. But let's begin with one the one I think is most likely to win the Best Picture Oscar, as well as my current number one for the year at the time of writing. 1917 is a technical masterpiece that all at once evokes the best parts of Dunkirk, Saving Private Ryan and even the early Call of Duty games. It's seamless one-shot aesthetic goes to great lengths to make you feel a part of the story of Schofield and Blake and is equal parts achingly tense and exhilarating. And given that it's swept up Best Picture awards at the PGAs, the DGAs, the Golden Globes and the BAFTAs, all signs point to a resounding win streak concluding at the Oscars.

Heart - Parasite

Parasite is easily one of the most intriguing, challenging and morally twisted movies I've ever seen and I couldn't have been more entertained. It's an absolute acting masterclass, it's themeing is strong and consistent throughout and the sheer glee with which you watch these events unfold is quite likely to be unmatched by any other drama/comedy. If 1917 wins Best Picture, then a quality British production wins at the Oscars, which is nice but not spectacular. However, if Parasite pulls off the difficult task, it'll be the first foreign language film to do so and a genuine groundswell of support will have gotten it there. If either win I'm happy, but a win for Parasite will feel like this whole Oscars thing is more than just a self-congratulatory three hour wank for the Hollywood elite, if just for a fleeting moment.

Well, that ended cheerily. Thanks for joining me on this incredibly long and drawn out article and be sure to come back after the Academy Awards for the inevitable breakdown of the winners and losers, as well as the PopScorn Oscars 2020 predictions and roundup podcasts, which will be linked here once they've been made. In the meantime, follow me on Twitter, where I'll probably be memeing about the results as they happen.

By Mike Owen

@ThatMikeOwen
The Editor in Chief of Foul Entertainment, Mike edits most of what you see on the site. He runs the production of our podcasts, and currently pens Pop Culture Club articles.