For decades, pop culture enthusiasts have been told that falling asleep in front of the television is an affront to both personal sleep hygiene and the broader gravity of cinephilia. But awards season has a way of bringing uncomfortable truths to light, and with the 98th Academy Awards just two weeks away, a surprising trend is emerging: intentionally listening to recordings of past Oscar ceremonies as a sleep aid.
The appeal, according to IndieWire’s Marcus Jones, lies in the predictability and comforting symbolism of the annual Hollywood spectacle. “Almost a century after their debut, ABC broadcasts remain creatively dynamic but largely structurally unchanged,” Jones wrote in a recent feature. “The shows remain notoriously long, presented as a marathon of applause, interrupted by speeches and jokes calibrated to their specific cultural moment.”
This isn’t a latest phenomenon. IndieWire’s “After Dark” series, which highlights fringe cinema in the streaming age, has been exploring the trend, suggesting that the familiar orchestral swells, the ritualistic envelope openings, and even the often-lackluster hosting performances create a uniquely soothing soundscape. The series frames the practice as a “Bait” – a peculiar genre choice – and a “Bite” – an assessment of whether revisiting these ceremonies is actually worthwhile.
Jones specifically tested the efficacy of the 2004 Academy Awards ceremony, hosted by Billy Crystal, as a sleep aid. While he admitted to drifting off during the broadcast, he found the experience surprisingly effective. “I truly was out like a light,” he reported, noting that he missed the 11 record wins for “The Lord of the Rings: The Return of the King” but likely gained extra REM sleep in the process. He contrasted this with his usual sleep routine, which relies on the consistent sounds of the NickToons channel, specifically reruns of “Bob Esponja,” to avoid jarring commercial breaks.
The concept extends beyond simply blocking out noise. The Oscars, even when viewed passively, offer a glimpse into a world of ambition, gratitude, and the fleeting nature of fame. “That manufactured lack of effort can make all the difficulties of making a movie seem worthwhile, even if only for one night,” Jones observed. The familiarity of the event, even for those who don’t recognize all the nominees or follow the industry closely, provides a sense of connection to a shared cultural experience.
IndieWire’s exploration of this trend comes as streaming services continue to reshape how audiences consume content. The “After Dark” series, launched on Friday nights, positions these older broadcasts as “midnight movies” for a new generation, recontextualizing them for a modern audience. The series also recently featured discussions of “A Boy and His Dog” (50 years after its release) and “The Virgin Suicides,” framing them as cult films worthy of rediscovery.
As of February 27, 2026, IndieWire continues to explore the intersection of film history and contemporary viewing habits, with Alison Foreman and Marcus Jones leading the charge in uncovering unexpected cinematic pleasures. The next installment of “After Dark” has not been announced.
