The concept of an “Oscars villain” is fraught with contradictions and exaggerations. No movie is actually a villain, of course. (“Not even Bohemian Rhapsody ?” No. “Not even The Whale ?” Well …) But Oscars season tells a story, often multiple stories, and stories need villains if only as a point of relief for the main characters. Thus far, those main characters have established themselves as Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners . They’re both artistically ambitious, have struck a chord with critics and audiences, are seen as socioculturally important, and are directed by men who have been welcomed into the Oscars fold with previous nominations but have never won. Other contenders exist, but their bona fides sit in the negative space sur

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