With Oscar season upon us - film buffs, celebrity fans, and average joes around the world ready themselves for another year where their list of winner predictions will either get their due or be crumpled away. Take the 2001 event, for instance, Julia Roberts took home the ‘Best Actress’ award for her role in Erin Brockovich as opposed to Ellyn Burstyn, who I believe deserved to win for her indelible performance in Requiem For a Dream.

Watching the Oscars at a young age was more of a family affair, and I didn’t quite understand its global magnitude. As I grew up and acting became my passion, this viewing party transformed into a more studious pursuit. I watched with intent to dissect the speeches, the attendees’ demeanor, and the tone of the evening itself, all in preparation for the day when I too would be up on that stage receiving my ‌award.

In recent years, the Oscars have felt somewhat forced, giving off a ‘no one actually wants to be here’ undertone. The lavish award ceremony is an interesting jamboree though. First off, there are specific rules, that are always liable to change, that accompany each category when it comes to submissions and consideration.

One particular category, from the list of twenty-four, that invites continuous ridicule is ‘The Best Original Song’ category. In fact, many seem to disagree with this category’s existence to begin with.

‘The Best Song’ category has undergone a number of rule changes, as well as an apparent shift in credibility. It was birthed at the 7th Oscars event in 1935. The first ever trophy owner for this title was the song ‘The Continental’ written by Herb Magidson, composed by Con Conrad, and performed by actress Ginger Rogers and actor Fred Astaire in the film The Gay Divorcee. It's a fun melody about falling in love through dance, as the lyrics suggest: “It’s quite the fashion, the continental, because you tell of your love while you dance”.

‘The Continental’ song embodied the film's essence and plot. I believe that is where a lot of the controversy surfaces regarding this category, in the present day. The nominated songs throughout the years following have failed to embody their respective films or “fit meaningfully within the film’s narrative”, a 2021 article from the Ringer points out. ‘The Best Song Category’ saw a colloquial shift, from the original song being found in the actual film, to it being played over the end credits. Yes, the credit song is usually the song you leave the movie remembering, but if the song is found within the film, that point of the story is emphasized.

At present day, fifteen songs are shortlisted before the remaining five (maximum) nominees are announced. But what does ‘Original Song’ actually mean?

To be considered for this category, the song must comprise lyrics and music, both original and written specifically for the motion picture. Up until 1941, the only requirement in terms of consideration, was that the song appear in the motion picture. However, when Jerome Kern won for his contribution to the song ‘The Last Time I Saw Paris’ from 1941’s  Lady Be Good, he was not pleased. That song was recorded and published in 1940, aka not written for the film. After Kern’s concern, the Academy changed those requirements.

The Academy took the same measures towards films adapted from stage musicals too. No existing song from a stage musical is eligible to be nominated, which is why musical films now include original songs made for the film version. Even songs in films that feature samples or reworked material are ineligible, such as ‘Gangsta's Paradise’ from the film Dangerous Minds. Lastly, the song must be recorded for the motion picture before any other usage. If the film version was recorded prior to the release of the film, and then was used for other reasons afterwards, it can be nominated.

Another element that changed is the point system. The old way stated only songs that received an average score of 8.25 or more were deemed eligible for nomination. If a song didn’t qualify there would be no nominees. If only one song reached this score, then there will be two nominees - that song and the next closest to its score.

Today, the number of nominations depends on the number of submissions and the number of voters for each category. Members of the Academy once had the privilege of voting rights for life, but in 2016, this right became restricted to 10 years. It is renewable, but this limit weeds out the voters who are no longer active in the business, as the Academy members are in fact industry professionals. This system isn’t so black and white; Vanity Fair has broken it down for us this Oscars season.

Some films have had multiple song nominations such as Fame, Beauty and the Beast, The Lion King, Dreamgirls and Enchanted. However, in 2008 the Academy changed this rule too, stating a film couldn’t have more than two songs nominated.

The most sought after moment of the night, when the nominated songs are performed, was not part of the night’s curriculum until 1946 (the 18th Oscar event). The performances break up the stiffness, injecting more play and entertainment into the night. Too much talking is taxing, and there are heaps of that going on from start to end.

Back in the day, the nominated songs were not necessarily performed live at the ceremony by the performers from the film itself. Household names such as Frank Sinatra, Robert Goulet, and Kathryn Grayson, to name a (very) few, did the honors. However, in 1970 this theme backpedaled, and only the artists from the film were called upon to perform.

Some of these nominated songs turned out to be major hit records covered by artists other than the ones in the film. And so, once again, in 1973, adjustments were made.

A grading system was created to determine who was eligible to perform live. The opportunity is first given to the artist(s) in the film, if they don’t take the offer, then the artist(s) who have a hit record of the same song can take on the role. If either of those artists is unable, the Academy invites a well-known name to perform, such as Beyonce performing all three Best Song nominees at the 2005 Oscars event.

Music is one of the most crucial contributions to a film - without music a film loses emotion. Without emotion, a film loses meaning. The music ‌guides the viewer in the intended direction. Categories such as ‘Best Original Song’ and ‘Best Original Score’, give appreciation to this fact - a movie does not function the same without either.

Past all the bitter chatter and highly opinionated conversation surrounding the ‘Best Song Category’, there is also no denying that it has shown appreciation to many songwriters at the right time. Yet, Diane Warren may testify otherwise here, having racked up her 13th Best Original Song nomination this year and still no win. If she were to win this year, I doubt it’ll be for her snooze-inducing ‘Somehow You Do’ dedicated to the film Four Good Days, but rather for her impressive collection of nominations due to her genuine talent. (She has written some of the biggest hits for stars since the 80’s such as DeBarge’s ‘Rhythm of the Night’, Toni Braxton’s ‘Un-Break My Heart’, and Aerosmith’s ‘I Don’t Want to Miss A Thing’.)

2022 predictions all point the finger to Billie Eilish walking away a winner this year, and I can’t help but agree. A first time runner up at the age of Twenty, with ‘No Time to Die’, the latest addition to the Bond hall of fame. Written and produced by Billie and her brother Finneas, the song leaves no room for bitter discussion. The melancholic piano chords that cradle you throughout from start to end, coupled with on-the-nose lyrics, fall perfectly in line with the movie's plot, tone, and traditional theme, checking all the boxes for what an Original Song winner entails, but hey, we’re usually left quite baffled after a night with the Oscars, as the winners’ fate lays in the hands of the Academy members at the end of the day.

Together, let us brace ourselves in anticipation of what this year will bring. I will ride in the back seat once more, participating from my preferred distance, scrolling through YouTube in search of award speeches to anatomize.