….
Win for [Superman]:
| Best Picture (WON)
| Best Director – Regal Seraphsail (WON)
| Best Supporting Actor – Stephen Hawking Sr. (WON)
| Best Original Screenplay – Regal Seraphsail (WON)
| Best Cinematography – Leo Martinez (WON)
| Best Original Score – Ludwig Göransson (WON)
| Best Sound Mixing (WON)
| Best Film Editing – Zack Brag (WON)
| Best Visual Effects (WON)
….
Wins for [Iron Man]:
| Best Sound Editing (WON)
| Best Visual Effects (WON - shared with Superman)
….
Win for [Harry Potter and the Prisoner of Azkaban]
| Best Costume Design (WON)
….
[Post-Ceremony Press Room]
Reporter: "Regal, you made history tonight with three screenplay nominations in one year. Can you talk about the challenge of writing three completely different films simultaneously?"
Regal: "They weren't simultaneous, exactly. Harry Potter was written over a year before Iron Man, which was written before Superman. But they did overlap in development and production."
Reporter: "Do you have a preference among them?"
Regal: "That's like asking a parent to pick a favorite child. Each film represents different aspects of what I love about storytelling. [Harry Potter] is about growing up and facing darkness. [Iron Man] is about second chances and choosing to be better. [Superman] is about hope and sacrifice. I couldn't pick one."
Reporter: "[Iron Man] was nominated for [Best Picture] alongside [Superman]. How did it feel to compete against yourself?"
Regal laughs: "Frankly... A bit weird, and slightly embarrassing. I remember sitting in the audience thinking 'if Iron Man wins, do I accept it awkwardly after already winning for Superman?
"If Superman wins, do I feel guilty that Iron Man didn't?" He gave a small shrug. "Thankfully Superman did win, and that feels right - it was the more emotionally ambitious film."
Reporter: "Thank you. And congratulations on your…. WINS!!"
….
Backstage, Robert Downey Jr. was asked about losing Best Actor.
"Listen, I am just thrilled to have been nominated." he said. "A year ago, if someone had told me I would even be standing on the Oscar stage with a chance to hold that gold lady… I would have called it a pipe dream."
He gave a small laugh. "So forget about losing. Everything that's happening right now already feels like a reward."
Then he added with a grin. "And let's be honest… I was in a category full of incredible performances, and my film still got nominated for Best Picture alongside the one that actually won Best Picture… both written by the same guy. That's about as ridiculous as it gets."
….
[Next Day]
The [Superman] and [Iron Man] dual for the [Best Picture] nominations fundamentally changed Hollywood's perception of superhero films.
[Variety – Post-Ceremony Analysis]:
"[Superman: Man of Tomorrow]'s three Oscar wins and [Iron Man']s Best Picture nomination represent more than just successful films - they represent a paradigm shift. The Academy nominated TWO superhero films for Best Picture in the same year. Both written by the same person. Both treating the genre with artistic seriousness while delivering commercial success.
This isn't just validation for Regal Seraphsail, though at 28 he's now one of the most decorated filmmakers of his generation with 12 Oscars across his projects in one night. This is validation for the entire superhero genre when executed with artistic integrity.
The implications are immediate: every studio will now be reassessing their superhero development, looking for 'the next [Superman]' or 'the next [Iron Man]' - genre films that transcend genre through character depth and thematic resonance."
….
[Hawking Sr. Household]
That next morning, Stephen sat in his Malibu home, Oscar statue on the table in front of him, phone ringing with congratulations from friends and colleagues.
Ross Oakley called: "You magnificent bastard. You came back and won another one. How does it feel?"
"Vindicating." Stephen admitted. "Mind you, I didn't return for the awards…. I came back because the role was worth it. But winning proves the choice was the right one. And more importantly…"
"It proves you can come back. That age doesn't diminish what you can achieve if the material deserves it."
"Are you done retiring now? There is no way he is letting you walk away after all this."
"Maybe." Stephen said with a small smile. "Regal wants me back for Superman 2 - playing Mxyzptlk pretending to be Jonathan Kent. That is… probably the most challenging role I have ever been offered. Playing someone pretending to be someone I have already played, while showing the absence beneath a perfect imitation."
"So the kid got you hooked."
Stephen let out a quiet breath. "The kid reminds me why I started acting in the first place… to tell stories that matter, to find truth in performance, to challenge myself with roles that feel almost impossible."
He paused. "If he keeps writing parts like that… I will keep saying yes."
"Good. The industry is better with you in it."
After hanging up, Stephen looked at his four Oscar statuettes - three from his original career, one from his return.
The newest one meant the most.
Because it proved you could come back - that you could still perform at the highest level, that retirement was a choice rather than an inevitability, and that you could choose differently when something mattered enough.
"…and that unexplored feeling I experienced on set."
He was referring to the scene where Superman's foster father, Jonathan Kent, sacrifices himself during the tornado to save lives while protecting his son's identity.
Stephen still remembered it clearly. While performing that scene, he had been pulled into a depth of emotion he had never reached before.
It felt like discovering a new door in acting - one he now wanted to explore further.
In his own vague way, Stephen unknowingly referring to Regal's skill [Director] and it's unique ability he got after reaching [World-class level]
Regal had hoped Stephen would forget that moment by now.
Instead, it had become the very reason Stephen looked forward to stepping onto Regal's set again as an actor.
….
RDJ sat in his home office, looking at his Best Actor nomination certificate (they send those even if you don't win).
His publicist called: "You okay? I know losing can sting."
"I am not upset about losing." Robert said honestly. "I am thrilled we were nominated. But more than that…
"I am proud we made something good enough to deserve it. I went from being box office poison, someone studios wouldn't even touch…. to this. Feels like the old arrogant version of me is coming back… and this time, in a good way."
"You think you will work with him again?"
Robert smiled faintly.
"If he will have me? Absolutely. That guy is operating on a level nobody else in Hollywood is touching right now."
He tapped the nomination certificate lightly.
"I want to be part of whatever he builds next."
….
The month following the Oscars saw immediate industry shifts:
Pixy Studio announced a $300 million development fund for "prestige superhero films" based on its [Power Rangers] IP.
Apollo Pictures began courting A-list directors for the return of Star Wars, emphasizing "character-driven storytelling in the Regal-Seraphsail model."
Vista Crown International hired five Oscar-winning screenwriters to develop projects specifically aimed at awards contention.
Whitebridge Studios, after hinting at the shift last year with a live-action [Frozone] project, has now decided to focus on a long-shelved [The Incredibles] script, pursuing explicit Best Picture ambitions while courting directors from the indie and prestige film world.
Every studio wanted their own [Superman] or [Iron Man] - superhero films that could win major Academy Awards.
But they were missing the point.
[Superman] and Iron Man hadn't won - or even been nominated, because they were 'prestige.' They succeeded because they were honest: every choice served character rather than spectacle, and they respected the audience enough to ask difficult questions about power, responsibility, sacrifice, and redemption.
You couldn't manufacture that by hiring Oscar winners and increasing budgets.
You needed filmmakers who actually cared about the stories they were telling.
And right now, there was only one person consistently doing that:
Regal Seraphsail.
Who was currently in a color grading suite finishing [IWTEYP] final visual effects, completely unconcerned with the awards season chaos he had created.
Awards were nice.
But the work was what mattered.
And the work continued.
….
While all this was happening, an office inside MDCV sat quiet and dark, long past closing hours.
No employees remained, only one old man sat in his chair.
The seat beside him was empty.
A television in the corner still played the Oscars broadcast, though the ceremony had already ended.
Stan Lee watched it in silence.
"Yeah, don't worry. I am not going to die in my sleep." the voice on the phone had said moments earlier. "So stop calling to check on me."
It had been Ashton Oulworth - Gwendolyn's father.
The call ended shortly after.
Stan lowered the phone and looked back at the TV.
The award show is finished now, stage empty and even the credits are rolling.
He felt tired and old.
Raising the beer glass in his hand, he held it toward the screen in a small, crooked toast.
"…Alright, you bastard." he muttered. "You win this time."
He was talking about Best Picture.
[Iron Man] - a character he had personally written decades ago - had lost tonight to [Superman].
And the man behind that victory?
His old friend - Jerry Siegel.
Stan snorted under his breath.
Part of him wanted to say the loss didn't matter. What was there to compete against when the other guy had been dead for years?
But that thought didn't stick.
In a few minutes he would probably call Regal anyway.
And give the kid an earful about how the hell he managed to lose to that bastard.
….
.
[To be continued…]
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