Let the "Juno" Backlash Begin

From Vanity Fair:

I, too, found Juno funny, well-acted, and entertaining enough to recommend. That was before Oscar season, however, when hyperbole stakes could be quantified by box-office gross and pop-culture saturation. Post January 22, Juno is no longer the quirky, low-budget sensation teeming with hamburger phones and the mile-a-minute bons mots of stripper-turned-screenwriter Diablo “Not Her Real Name” Cody. Or rather, it is all that, now vigorously challenging milestones like There Will Be Blood (my favorite) and No Country for Old Men for Oscar supremacy.

We’re cool, Juno, but this cannot be. I guess I’m glad that the Academy has, in consecutive years, cultivated a turbulent, media-friendly square-off between Juno’s quirky ilk and other, far graver contenders. We’ll have lots to discuss in the months ahead—everyone wins. But not everyone wins come February 24, and, frankly, I don’t want to see Juno within a thousand feet of the Kodak Theater. I want her and her twee champions stopped at the metal detector. I want her turned away for being underdressed. I want her Toyota Previa to run out of gas on the 405. I want Blood’s Daniel Plainview to barge into Ellen Page’s pre-Oscar interview with Barbara Walters and bellow: “I drink your Sunny D! I drink it up! Slurrrrrrrrrp!”

And perhaps my favorite part:

“If There Will Be Blood and No Country for Old Men split the smart-person vote, and Juno actually wins, I will understand, even better than I do now, how the Unabomber felt in his cabin all those years,” wrote Mark Asch this week on The L magazine blog. New York magazine’s David Edelstein jabbed even harder, paraphrasing his target’s patois: “Diablo Cody might be one doodle that can’t be undid.”