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HomeAwardsOppenheimer Completes Its Guild Trifecta, Winning 35th Annual Producers Guild Awards

Oppenheimer Completes Its Guild Trifecta, Winning 35th Annual Producers Guild Awards

The Producers Guild of America (PGA) announced the winners in 13 categories for its 35th Annual Producers Guild Awards on Feb. 25, 2024 at Ovation Hollywood’s Ray Dolby Ballroom, and sure enough, Christopher Nolan‘s Oppenheimer was the big winner by being presented the Darryl F. Zanuck Award, completing a guild trifecta that puts it well ahead of the pack to win Best Picture at the Oscars in two weeks.

For many years, the PGA Award was more of a tell about what movie might win Best Picture at the Oscars than the other guilds, and it’s rare for a movie to win PGA, as well as the Directors Guild Award and SAG Award for Ensemble Cast, and NOT win Best Picture. Everything Everywhere All at Once pulled the trifecta last year, awhile Alejandro Iñarritu‘s Birdman or (The Unexpected Virtue of Ignorance) did the same in 2015. When La La Land wasn’t even nominated for SAG Ensemble in 2016, the writing was on the wall for it to lose Best Picture to Moonlight, though other movies, like Guillermo del Toro‘s The Shape of Water, have won Best Picture without getting support from SAG.

Of course, with the Writers Guild Award delayed until April, that will be no help in terms of predicting the Oscar screenplay races, where Oppenheimer does have some strong competition, including Cord Jefferson‘s screenplay for American Fiction, which won the BAFTA Award in that category.

Spider-Man: Across the Spider-Verse got a big boost by winning the Producers Guild Award’s animated category, after BAFTA put into question whether it was indeed the frontrunner for the Animated Feature Oscar. On the other hand, Jon Batiste‘s American Symphony won the PGA’s Award for Documentary, and that wasn’t even nominated for the Oscar.

At this point, television awards have been so repetitive from one awards group to another that seeing the PGA honor SuccessionThe Bear, and BEEF probably surprised no one, since they’ve been sweeping all the awards for the last two months. Welcome to Wrexham won for non-fiction after winning five Emmys in January, while both Last Week Tonight with John Oliver and Rupaul’s Drag Race continued its industry love in their respective categories. Black Mirror: Beyond the Sea won for Televised or Streaming movie.

The Producers Guild also honored Martin Scorsese with the David O. Selznick Achievement Award, presented in a moving speech by filmmaker Guillermo del Toro, while Charles D. King received the PGA Milestone Award, presented by director Ryan Coogler. The Norman Lear Achievement Award for producing achievement in television was presented to Gail Berman by “Buffy the Vampire Slayer” star Sarah Michelle Gellar.

You can read the full list of winners below:

Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures

Oppenheimer

Award for Outstanding Producer of Animated Theatrical Motion Pictures

Spider-Man: Across the Spider-Verse

Norman Felton Award for Outstanding Producer of Episodic Television – Drama

Succession

Danny Thomas Award for Outstanding Producer of Episodic Television – Comedy

The Bear

David L. Wolper Award for Outstanding Producer of Limited or Anthology Series Television

BEEF

Award for Outstanding Producer of Televised or Streamed Motion Pictures

Black Mirror: Beyond the Sea

Award for Outstanding Producer of Non-Fiction Television

Welcome to Wrexham

Award for Outstanding Producer of Live Entertainment, Variety, Sketch, Standup & Talk Television

Last Week Tonight with John Oliver

Award for Outstanding Producer of Game & Competition Television

RuPaul’s Drag Race

The Award for Outstanding Producer of Documentary Motion Picture

American Symphony

The Award for Outstanding Sports Program

Beckham

The Award for Outstanding Children’s Program

Sesame Street

The Award for Outstanding Short-Form Program

Succession: Controlling the Narrative

Edward Douglas
Edward Douglas
Edward Douglas has written about movies for print and the internet for over 20 years, specializing in box office analysis, reviews, and interviews. Currently, he writes features for Below the Line and Above the Line, acting as Associate Editor for the former and Interim Editor for the latter.
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