Taking place in the middle of a chaotic time for the US and the world at large, this year’s ceremony was light on statements and devoid of the Trump word entirely

Twenty-two years ago, the last time Adrien Brody won the Academy award for best actor, film-maker Michael Moore accepted his own Oscar for Bowling for Columbine, a documentary about America’s obsession with guns, by offering a preview of sorts of his next feature, Fahrenheit 9/11. He decried then president George W Bush as “fictitious” (alluding to his fishy, supreme court-assisted election win a year and a half earlier) and excoriated the Bush administration for sending the United States to war with Iraq – just three days earlier, in fact – for “fictitious reasons”. It was received with a mixture of applause and boos, probably the most memorable moment of the night, give or take Brody planting a kiss on Halle Berry.

Two years later, when Fahrenheit 9/11 might have been similarly honored (and almost certainly would have been, as it became the highest-grossing non-music doc ever in the US, a record it still holds after two decades), Moore wasn’t on stage. Months earlier, he had decided not to submit his movie for consideration, nominally because he didn’t feel like he needed to steal focus from other, less widely seen docs, and also because he was negotiating an airing of the film on TV, which would scotch its eligibility anyway. By the time the Oscars rolled around, however, the presidential election Moore had hoped to affect with that television airing was long over; Bush won again, and maybe a documentary designed to prevent this from happening wouldn’t have seemed worth all the fuss, anyway. The administration’s worst policies were still in place, but protesting them seemed less urgent. Better to just put on a fun show.