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• Looksmaxxer Clavicular and other controversial personalities have drawn attention to the livestreaming service Kick.
• Clavicular says he’s made more than $100,000 in a month on Kick, known for light moderation and big payouts.
• Kick says it believes in freedom with limits and has increased its moderation “tenfold.”

The livestreamer Clavicular — who was once filmed running into someone with his Cybertruck — is the kind of provocative creator most major brands won’t touch.

That hasn’t stopped him from making serious money.

The 20-year-old says he’s pulled in more than $100,000 a month on Kick, his primary streaming platform, where he’s known for “looksmaxxing,” or going to extreme measures to maximize attractiveness.

Clavicular, whose real name is Braden Peters, isn’t alone. Kick has become a haven for some creators who are fed up with — or have been banned from — other platforms, particularly Amazon-owned Twitch.

Kick’s payouts are a crucial revenue source for these creators, unlike the brand deals that serve as the backbone of the broader creator economy. A 2025 survey found that brands fund nearly three-quarters of creators’ revenue, making Kick a lifeline for those considered “unsafe” by mainstream brands.

Australia-based Kick, founded in 2022 by the owners of the crypto gambling site Stake.com, features lighter content moderation than some rivals and a generous pay structure: a 95/5 subscription revenue split, compared to rival Twitch’s default 50/50 split. Kick says it may permit some violence depending on the context, for example, while Twitch says it has a “zero-tolerance” policy.

Kick also makes direct payments to creators based on their viewership. The platform said it made $182 million in these payments between August 2023 and the end of February.

Its audience is growing fast, too: Kick nearly doubled its share of hours watched to 12.4%, or 4.5 billion hours in 2025, according to a Stream Hatchet report. That made it the third-largest live-streaming platform by share of hours watched, behind Twitch at 52% and YouTube Gaming at 24%.

Kick says it believes in freedom within limits. The platform, which is trying to smooth the way for ad deals, told Business Insider that it’s increased its human moderation team “tenfold” since 2022 and that it responds quickly to creators in its live support chat. (Kick briefly suspended Clavicular in December 2025, after the video in which he ran into someone. Police investigated the scene and didn’t file charges.)

Kick has also begun signing more brand-safe gamers and organizing events for creators, sponsoring a Formula 1 team last year.

“Kick has started to legitimize itself,” said Mustafa Aijaz, VP at online gaming organization SoaR Gaming, which has multiple players using the platform alongside Twitch.

The manosphere is thriving on Kick

Clavicular wasn’t always on Kick.

He started his rise to online fame by posting on Looksmax.org, a forum where people rate each other and ask for advice on improving their appearance before going out. He now runs a paid online academy that provides looksmaxxing advice and guides to picking up women, which he refers to as “targets” and “slayables,” Rolling Stone reported.

Clavicular, who has said he eschews politics, has gotten attention for associating with the likes of far-right influencer Nick Fuentes and self-described misogynist influencer Andrew Tate, and for being filmed partying to the Ye song “Heil Hitler.” Clavicular shrugged off the incident, calling it “just a song.”

Mariel Barnes, a University of Wisconsin-Madison professor, describes Clavicular as part of the manosphere, a loose collection of media outlets and influencers she characterizes as advocating anti-feminist ideology. Manosphere influencers have found fertile ground on Kick, where the top 10 streamers are usually men, typical of other livestreaming platforms.

Barnes said they often get their start through broadly palatable causes, like self-improvement or fathers’ rights, before turning to darker fare like overt misogyny.

Clavicular’s behavior and views have made him a wider symbol of the plight of young men. California Gov. Gavin Newsom talked about him in a late February interview and bemoaned that “these are the guys raising our kids.”

Clavicular reposted it, replying, “The brand is strong.”

From gaming and self-improvement to extreme politics

Some other boundary-pushing livestreamers on Kick started in gaming before shifting into politics and pop culture, widening their audience and impact. Many of the more popular streamers fall on the right end of the political spectrum; others are harder to pin down politically.

These streamers’ chats become the wellspring of communities that often attract impressionable kids, said Ryan Morrison, the CEO of esports-focused Evolved Talent Agency, who did Canadian streamer xQc’s deal with Kick.

Some of the discourse on Kick can be toxic and attracts “people who are lonely and helpless,” Morrison said.

Overall, Kick hosts more than 500,000 creators, who can stream and post clips. Scroll through the app, and you might find people playing casual games like Pokémon next to a video of someone playing slots.

You’ll also likely come across videos from Adin Ross, 25, who ranks as Kick’s second-most popular streamer, according to Stream Charts. He has said his deal with Kick pays him five figures per hour he streams. He rose to fame by streaming NBA 2K and GTA V before moving into long, unfiltered interviews with celebrities like LeBron James and Logan Paul.

In 2024, he gave then-candidate Donald Trump a Cybertruck and tried to grow his support among young men. Ross buddied up with Tate and has streamed with Fuentes.

Ross was banned by Twitch in 2023 for not deleting multiple racist and antisemitic comments in his chat. Ross has said he takes accountability for the behavior of his fans. He also apologized after a clip of him making what appeared to be a Nazi salute circulated on X.

Another prominent Kick streamer is Harrison Sullivan, or HSTikkytokky, a 24-year-old British influencer who started with a focus on health and fitness and has since built his brand around flirting with and insulting women.

Sullivan, who has been suspended from Kick multiple times, including for using homophobic slurs and showing sexually explicit content, now has 242,000 followers on the platform, where he often streams about gambling and women.

His views are sometimes hard to follow. For example, in one video, he denied being homophobic and racist in response to an earlier video where he maintained he was homophobic as well as antisemitic. He recently gained wider exposure as a subject of the new Netflix doc, “Louis Theroux: Inside the Manosphere.”

Then there’s N3on, 21, whose real name is Rangesh Mutama. He started streaming as a teen gamer and has since shifted to real-life streaming marked by outlandish and inflammatory stunts — like faking his own death. He has nearly 500,000 followers on Kick, where he’s also faced at least one suspension.

He’s gotten some mainstream attention by hanging out with the ex-rapper Iggy Azalea, creating content with other rappers, and going on “The Breakfast Club,” where he was called out for people leaving racist comments in his chat. N3on responded that the chat wasn’t representative of his community, and he said he was evolving from a person who used to say whatever he wanted.

Kick isn’t alone in platforming controversial streamers who have been barred from other sites. Ross also streams on YouTube. Kicked off mainstream platforms, Fuentes streams to nearly 700,000 followers on Rumble.

Streamers span the political spectrum

Kick is home to provocative streamers of many political and ideological persuasions.

Steven Bonnell, aka Destiny, is a political creator who built a following with his debate-focused streams. The 37-year-old advocates for some liberal policies, but isn’t easily pigeonholed politically. He said he was suspended from Twitch in 2018 after using homophobic and racist language, then permanently banned in 2022. He’s also streamed a generally friendly discussion with Fuentes. Today, Destiny streams to 133,000 followers on Kick.

There’s also prominent streamer xQc, whose real name is Félix Lengyel. XQc, 30, gained online celebrity as a pro Overwatch player before getting an up to $100 million payday from Kick in one of the platform’s biggest deals.

While not overtly political, he’s called people who voted for Trump a slur for the developmentally disabled. Early in his career, he made a widely criticized homophobic remark, for which he apologized. Years later, he expressed disapproval of homophobic remarks by fans in another online personality’s stream. Morrison, xQc’s manager, said he is “loud and crazy” but added that he has “not a sliver” in common with the alt-right.

Whatever the politics or nature of their controversies, a common thread among many top Kick streamers is behavior that pushes the boundaries of social acceptance.

“Kick is like the Wild West of streaming,” said Eric Harper, CEO of esports firm GG Talent Group. “Some of the biggest names on the platform have been ostracized from the rest of the gaming community because of hateful views, hateful actions. The TLDR is, there’s a huge brand risk, which is why a lot of streamers don’t stream there.”

• Meta might not yet have the best AI models, but it could be winning on another crucial front.
• Meta is considering major layoffs across the company, Business Insider reported.
• A top analyst suggested these cuts could signal that Meta’s AI transformation is underway.

Could more Meta layoffs mean the company still has bloat to trim — or could it signal its AI investments are actually starting to pay off?

A note from a top Wall Street analyst said on Monday that any head count cutting from Meta could actually be a sign that it’s successfully rebuilding itself as an “AI-forward” company.

That could be bad for its rivals.

While Meta’s deep investment in AI has so far not produced leading models like Google’s and OpenAI’s, Bernstein’s Mark Shmulik said Meta’s aggressive push to overhaul itself into a top-to-bottom AI company could put it ahead of competitors and trigger a “wave of panic” as competitors scramble to copy it.

Meta is pouring hundreds of billions of dollars into building out AI data centers and luring talent to shore up its AI research teams. Last week, Business Insider reported the company was weighing up layoffs, with some managers being asked to draw up cost-cutting plans.

Bernstein’s Shmulik said this could be a signal that Meta is winning on a crucial front in the AI wars. While companies can win with world-class frontier models, they can also beat the competition by deploying AI so deeply across the core business that their competitive moat “widens beyond dispute,” Shmulik wrote.

“Meta has already demonstrated the compelling returns they’re seeing from deploying AI to core workloads,” wrote Shmulik. “But if the company can now re-design their operations from the ground up to be AI-forward, their potential cost and performance advantage could be insurmountable.”

By one metric, Zuckerberg’s efficiency drive over the past three years has paid off. Revenue per employee has steadily increased over that time period, with the company overtaking Amazon last year, according to data shared in the Bernstein note this week. Pinterest was the only company with a higher ratio.

At the same time, Meta’s capex and R&D spend per employee have significantly outpaced rivals, according to the Bernstein report, which could point to a reason for the potential layoffs.

Investors appeared to react positively to Meta weighing up further cuts, with the company’s shares up about 2% early Monday.

AI-washing? Maybe not.

Like other Big Tech companies, Meta has moved quickly to chase AI.

It has also been aggressively driving AI adoption internally. The company said it would start grading employees on their “AI-driven impact” in performance reviews starting this year, and has tracked how some teams have been using the tools, Business Insider previously reported.

Companies including Atlassian and Block have cited AI as a reason for recent layoffs, raising the question of whether some leaders are “AI-washing” and using the technology to camouflage other reasons for cuts, such as financial problems or overhiring during the COVID pandemic.

Bernstein’s Shmulik said that while AI-washing was possible in Meta and other companies’ cases, he said that layoffs could now be seen as evidence that the company is seeing efficiency gains.

The company eliminated more than 20,000 jobs in late 2022 and early 2023 as Zuckerberg declared a “year of efficiency,” cutting non-technical roles, flattening management layers, and lifting what had been a sagging share price.

If Meta repeats a similar cycle for the AI era, it could set the mold for what a truly AI-first company could look like, Shmulik said.

“If one major player is able to redraw the blueprint for an AI-enabled organization, others will rush to replicate it… and we wonder if this could trigger a cascade of hurried pivots, half-formed strategies, and reactive restructuring across the ecosystem,” he wrote.

Have something to share? Contact this reporter via email at hlangley@businessinsider.com or Signal at 628-228-1836. Use a personal email address and a non-work device; here’s our guide to sharing information securely.

• My friends and family thought I was making a mistake when I moved states for a new relationship.
• At first, I felt homesick, but my partner supported me in a way that validated my decision.
• Now, we’re married with kids, and I’m so glad I took a risk on love.

When I was 21, I fell in love for the first time.

Tim and I met online before it was cool. An avid fisherman, sports fanatic, and gifted salesman, he wasn’t my usual type — but he was charming, funny, awkward, and sweet. I fell for him, hook, line, and sinker.

There was only one problem. Tim lived in Minneapolis, and I lived in Chicago.

We made long-distance work for as long as we could. On the rare weekends I wasn’t waitressing, I traveled to Minnesota for ice fishing and bar hopping. When Tim’s schedule allowed, he visited me at my parents’ house for family dinners and nights out with friends.

Our time together was fun and exciting, but after seven months of constant travel, we knew we had some decisions to make.

When Tim and I decided to take the next step, I moved to Minnesota

After a four-year collegiate stint in Michigan, I’d sworn to myself that I’d never leave Chicago again. Not only were my family and friends there, but it was comforting and familiar. It was home.

Tim understood my love for Chicago from the moment we met. He was early in his dream career as a salesman, and I hadn’t yet decided what I wanted to do professionally. Even so, he reassured me that I would never have to move — that, instead, he would find a way to relocate for me.

The more reassuring he was, though, the more I began seriously considering moving to Minnesota. Logistically, it just made sense.

My family and friends were just as charmed by Tim as I was, but they were skeptical, too. They cautioned me against moving, reminding me that Tim and I hadn’t known each other that long.

The more I thought about beginning a new chapter, though, the more right it felt. Whether or not Tim and I lasted, maybe an adventure was exactly what I needed to kick off the adult chapter of my life.

Despite their warnings, I began searching for a job in Minneapolis. When I found a new job and a new roommate in the same week, it felt like fate.

I struggled with homesickness at first, but Tim supported me

My life in Minnesota wasn’t what I had imagined. Living away from home was difficult, and I was miserably homesick for weeks. I was also adjusting to life in my first apartment, along with a new, very demanding job.

I was thrilled to be closer to Tim, but the struggles I was experiencing overshadowed much of my joy. Despite these difficulties, Tim remained patient, sure of our relationship, even when my confidence wavered.

On Halloween, my family’s favorite holiday, Tim dressed up as a giant piece of pizza to cheer me up. When the first snow fell that season, Tim was waiting in my new apartment with a Christmas tree in tow.

By the time Valentine’s Day rolled around, bringing with it chocolate-covered strawberries and three dozen white roses (my favorite), most of my homesickness had faded.

I realized that Tim was my future, wherever we lived

After six months, I finally began to find my footing. My roommate and I developed a strong bond, and I began to branch out into new social circles.

I fell in love with Minnesota in the summertime. I even learned to fish! Turns out, Tim was an excellent teacher.

Tim was my constant, in good times and bad. As the months continued to pass, I began to realize that maybe, this wasn’t just the beginning of a new chapter — maybe it was the beginning of forever.

One evening, eight months after I first arrived in Minnesota, Tim invited me out for a casual dinner. I accepted, thinking nothing of it, not even questioning the fact that he wanted us to explore an antique store 15 minutes before our reservation.

I was sifting through a pile of old postcards when I realized that Tim was nowhere to be seen — until I rounded the corner and there he was, on bended knee, a tiny box in his outstretched hand.

We were married that December in Chicago. We spent another year in Minnesota after that, before returning to my hometown for good, putting down roots a few miles from my childhood home.

Thirteen years and six children later, I’m forever grateful that I ignored well-meaning warnings from my friends and family. I may have risked it all on love, but in the end, it was worth it.

• One of the tightest Oscar races in recent memories are on Sunday.
• Bettors are already wagering tens of millions on who will win in each of the 24 categories.
• Here’s who’s most likely to win, according to the odds on Kalshi and Polymarket.

At the Oscars on Sunday, it’s not just Hollywood careers that are on the line. It’s tens of millions of dollars.

Since the nominees were announced in January, traders on Polymarket and Kalshi have been wagering on which films, actors, directors, and more will win an Oscar in each of the Academy’s 24 categories.

Prediction markets have seen dramatic growth over the last year, drawing the attention of media companies, the ire of some state regulators, and the scrutiny of Washington lawmakers.

Polymarket partnered with the Golden Globes earlier this year, and bettors on the site correctly predicted the winner in 26 out of 28 categories.

The Oscars, hosted this year by Conan O’Brien, will air on Sunday on ABC and Hulu.

And if bettors on Kalshi and Polymarket have it right, “One Battle After Another” will take home six Oscars, while “Sinners” will win four awards, and “Frankenstein” will walk away with three.

Where the odds stand for each category

Best Picture — “One Battle After Another”

Paul Thomas Anderson’s “One Battle After Another” is the odds-on favorite to win best picture, standing at around 80% among Polymarket and 78% on Kalshi.

The next most likely winner is Ryan Coogler’s “Sinners,” which each platform gives a less than 20% chance.

Bettors have wagered more than $44 million on the Best Picture winner across the two platforms, the most of any category.

Best Director — Paul Thomas Anderson

The director of “One Battle After Another” is seen as the overwhelming favorite to win best director, with Kalshi and Polymarket pegging his chances of winning in the low 90s.

Best Actor — Michael B. Jordan

Michael B. Jordan, the lead actor on “Sinners,” has an almost 60% chance of winning, according to both Kalshi and Polymarket.

That’s a significant change from January, when Timothée Chalamet — the lead actor in “Marty Supreme” — was seen as the leading contender, with odds in the mid-70s at the time.

The change came after Jordan won “Outstanding Male Actor in a Leading Role” at the Actor Awards on March 1.

Chalamet’s chances now sit in the low-to-high 30s on both platforms.

Best Actress — Jessie Buckley

According to bettors, Buckley — the lead actress in “Hamnet” — is likely to win best actress, garnering about 97% on both prediction market platforms.

Best Cinematography — “One Battle After Another”

“One Battle After Another” is seen as the overwhelming favorite to win best cinematography, with bettors on both Kalshi and Polymarket giving the movie roughly 76% chance of winning.

That’s a change from January, when both platforms had “Sinners” with a 66% chance of winning at one point.

Best Production Design — “Frankenstein”

At over 90%, bettors on both prediction market platforms give “Frankenstein” an overwhelming chance of winning the award for best production design.

Best Adapted Screenplay — “One Battle After Another”

In addition to best picture and best cinematography, “One Battle After Another” is seen as overwhelmingly likely to win best adapted screenplay.

The movie now has a 96% chance of winning on both platforms.

Best Sound — “F1”

Apple’s sports drama film F1 is the overwhelming favorite to win best sound, according to bettors.

Both platforms give the movie a roughly 80% chance of winning.

Best Animated Short Film — “Butterfly”

Bettors are less certain who will win the award for best animated short film.

“Butterfly,” a 15-minute film by director Florence Miailhe, has a 61% chance on both platforms.

But not far behind is “The Girl Who Cried Pearls,” a 17-minute short film, which bettors give between a 21% and 22% chance of winning.

Best Live Action Short Film — “Two People Exchanging Saliva”

The French-language short film “Two People Exchanging Saliva” leads among bettors with about a 46% chance of winning on both Kalshi and Polymarket.

Another major contender is “The Singers,” a musical short comedy film that has 29% chance on Kalshi and a 30% chance on Polymarket.

Additionally, “A Friend of Dorothy,” a British short comedy drama film, has a 22% chance on Kalshi and a 21% on Polymarket.

Best Film Editing — “One Battle After Another”

The film leads the odds for best film editing winner, with an 84% chance on both platforms.

Best Original Score — “Sinners”

“Sinners” is the overwhelming favorite to win best original score, with bettors on both Kalshi and Polymarket giving the film a 94% chance of winning.

Best Original Song — “Golden”

“Golden,” the viral hit from the film “KPop Demon Hunters,” is the odds-on favorite to win best original song, with bettors on both platforms giving the song a 85% chance.

Best Supporting Actor — Sean Penn

Sean Penn, who plays Col. Steven J. Lockjaw in “One Battle After Another,” is the favorite to win best supporting actor, with an over 70% chance on both Kalshi and Polymarket.

That’s a dramatic change from January, when Stellan Skarsgård — who plays an estranged father in the Norwegian drama film “Sentimental Value” — had the highest odds, at roughly 64% chance on both platforms.

Best Supporting Actress — Amy Madigan

Amy Madigan, who portrays Aunt Gladys in the horror film “Weapons,” is now the favorite to win best supporting actress on both platforms, hovering around 55%.

That’s a change from January, when Teyana Taylor — who portrays Perfidia Beverly Hills in “One Battle After Another” — was the overwhelming favorite to win best supporting actress, sporting 75% on both platforms.

Best Visual Effects — “Avatar: Fire and Ash”

Bettors believe that James Cameron’s “Avatar: Fire and Ash,” the third installment in the “Avatar” series, is almost certain to win the award for best visual effects.

The movie’s chances of winning stand at 94% on both Kalshi and Polymarket.

Best Original Screenplay — “Sinners”

“Sinners” is the overwhelming favorite to win best original screenplay, with roughly 95% odds on both Kalshi and Polymarket.

Best Documentary Short Film — “All the Empty Rooms”

Bettors on both Kalshi and Polymarket give “All the Empty Rooms” a roughly 70% chance of winning the award for best documentary short film.

The movie follows a journalist and photographer as they memorialize the empty bedrooms of school shooting victims.

Best Documentary Feature Film — “The Perfect Neighbor”

“The Perfect Neighbor,” a documentary about Florida’s “Stand Your Ground” laws, is the odds-on favorite to win best documentary feature film, with bettors on both platforms giving the film a roughly 66% chance.

Best International Feature Film — “Sentimental Value”

“Sentimental Value” is the favorite to win best international feature film, with bettors on Kalshi and Polymarket giving the film 67%-68% odds of winning.

Best Costume Design — “Frankenstein”

“Frankenstein” is the overwhelming favorite to win best custom design, sporting roughly 90% on both platforms.

Best Makeup and Hairstyling — “Frankenstein”

Similarly, “Frankenstein” is seen as a lock for best makeup and hairstyling, sporting probabilities in the low 90s on Kalshi and Polymarket.

Best Animated Feature Film — “KPop Demon Hunters”

“KPop Demon Hunters” is the prohibitive favorite to win best animated feature film, with a roughly 94% chance on both prediction markets.

Best Casting — “Sinners”

“Sinners” is seen as most likely to win best casting, with Kalshi and Polymarket bettors giving the film a 77%-78% chance of winning.

• The 98th Academy Awards will be held on March 15, 2026.
• This year’s best actress nominees are Jessie Buckley, Emma Stone, Rose Byrne, Kate Hudson, and Renate Reinsve.
• We went back to 1930 to see how red-carpet fashion has changed over the decades.

Besides being a night to recognize talent both in front of and behind the camera, the Oscars are also a night for fashion.

The style of the nominees in the best actress category is perhaps the most scrutinized, analyzed, and remembered by the general public — it’s their coronation moment as the reigning queens of Hollywood.

We went all the way back to 1930 to see what (almost) every best actress winner has worn on their big night, from Ginger Rogers to Faye Dunaway to Julia Roberts to Mikey Madison.

Kirsten Acuna contributed to a prior version of this article.

1930: Mary Pickford

Pickford wore a bedazzled dress, a large diamond bangle, and a few strings of pearls when she won for “Coquette.”

There were actually two Academy Awards in 1930; one in April and then another in November.

1930: Norma Shearer

Shearer wore a jacket with fur-lined sleeves over her dress when she won the Oscar for her role in “The Divorce.”

She finished her outfit with red lipstick, wavy hair, and several pieces of dainty jewelry.

1931: Marie Dressler

Dressler received the Oscar for her part in “Min and Bill.” She wore a dark shift dress and a long necklace.

1932: Helen Hayes

Hayes wore a classic black dress paired with a pearl necklace and gloves to win best actress for her performance in “The Sin of Madelon Claudet.”

1935: Claudette Colbert

Colbert won best actress for “It Happened One Night.” She wore a gray suit with a large flower pinned to the lapel and a black hat.

1936: Bette Davis

Davis wore a patterned ensemble when she took home the award for best actress for her work in “Dangerous.”

She was so convinced that she wouldn’t win the Oscar that she wore “an old costume” to the ceremony, Harper’s Bazaar reported.

1937: Luise Rainer

Rainer wore an elegant white coat and styled her hair in an updo to win the Oscar for her portrayal of Anna Held in “The Great Ziegfeld.”

1938: Luise Rainer

Yes, Rainer won back-to-back Academy Awards. Her second win came for her performance as O-Lan in “The Good Earth.” For her second win, she wore a high-necked gown with bell sleeves.

1939: Bette Davis

Bette Davis won her second best actress Oscar for her role in “Jezebel.” She wore a black gown with a cloud-like collar embellishment.

1940: Vivien Leigh

Leigh wore a patterned dress while accepting the Oscar for playing Scarlett O’Hara in “Gone with the Wind.” She completed her outfit with a single pendant, dark lipstick, curled hair, and tons of mascara.

1941: Ginger Rogers

Rogers accepted the Oscar at the 13th annual Academy Awards for “Kitty Foyle” in a brown dress with lace details.

In 1921, attendees were advised to wear “muted tones” because of the ongoing war, The Telegraph reported.

1942: Joan Fontaine

Fontaine won best actress for “Suspicion.” She wore a lacy black dress, which she paired with a matching hat and several pearl necklaces.

1944: Jennifer Jones

Jones (second from left) won her Oscar for “The Song of Bernadette.” She wore a unique dark gown with white, puffy sleeves and a flower embellishment at the collar.

1945: Ingrid Bergman

Bergman wore a dark skirt and blouse when she won the Oscar for her role in “Gaslight.” The star finished her outfit by sweeping her hair away from her face.

1947: Olivia de Havilland

De Havilland took home the gold for her role in “To Each His Own.”

The actor wore a strapless floral gown, complemented by large curls and a pearl necklace.

1948: Loretta Young

Young wore a green satin gown with matching gloves to accept the award for “The Farmer’s Daughter.” Her tiered dress had plenty of ruffles.

1949: Jane Wyman

Wyman kissed her best actress Oscar for her role in “Johnny Belinda.” She wore a white gown with an embellished collar.

1950: Olivia de Havilland

De Havilland (second from left) embodied ’50s style when she accepted the Oscar for her role in “The Heiress.” The actor paired her flower-embellished gown with matching gloves.

1953: Shirley Booth

Booth won best actress at the 25th Academy Awards for her performance in “Come Back, Little Sheba” in a patterned, long-sleeve dress with matching gloves.

This ceremony was held simultaneously in Hollywood and New York City, and was also the first to be televised.

1954: Audrey Hepburn

Hepburn wore a belted Givenchy dress as she accepted the award for her performance in “Roman Holiday.” She finished the look with classic eyeliner and lipstick.

1955: Grace Kelly

Kelly accepted the award for her role in “The Country Girl.” The future princess of Monaco topped off her pale-green ensemble with elbow-length gloves, dainty earrings, and an updo.

1958: Joanne Woodward

Woodward, Oscar winner and wife of Paul Newman, accepted her award for “The Three Faces of Eve” in a strapless gown embellished with sewn-on flowers. She kept her hair and makeup simple, allowing her outfit to stand out.

1959: Susan Hayward

Hayward wore a black dress to take home the Oscar for “I Want to Live!” She also sported a voluminous blowout, white gloves, and red lipstick.

1960: Simone Signoret

Signoret won the Oscar for “Room at the Top,” wearing an off-the-shoulder black dress.

1961: Elizabeth Taylor

Taylor went floral in a Christian Dior gown to accept her award for “Butterfield 8.” Her high-volume hair and white gloves added some serious glamour to her outfit.

1965: Julie Andrews

Julie Andrews hugged her Oscar for “Mary Poppins” in a pale-yellow gown. The “My Fair Lady” actor topped off her simple dress with a statement necklace and gloves.

1966: Julie Christie

Christie wore a shiny gold dress to match the Oscar she won for “Darling.” She finished her outfit with a feathery blowout.

1969: Barbara Streisand

Streisand didn’t realize her Arnold Scaasi pantsuit was see-through under the lights as she accepted the Academy Award for “Funny Girl.” She finished her sequined pantsuit with a sleek bob and lots of eyeliner.

This year featured a rare tie: Streisand shared her award with Katharine Hepburn for “The Lion in Winter,” but Hepburn famously attended the Academy Awards only once, to present.

1972: Jane Fonda

Fonda accepted the Oscar for “Klute” in a black Yves Saint Laurent suit. She parted her sleek, shoulder-length hair to the side to complete her mod ensemble.

1973: Liza Minnelli

Minnelli shone in a bright-yellow Halston dress to accept the award for her role in “Cabaret.” She paired her outfit with a colorful choker and a matching bracelet.

1976: Louise Fletcher

Jack Nicholson and Fletcher posed together after their Oscar wins for “One Flew Over the Cuckoo’s Nest.” Fletcher wore a delicate Champagne-colored gown by Alfred Fiandaca.

1977: Faye Dunaway

Dunaway wore a black Geoffrey Beene dress with a rope belt to accept her award for “Network.” She finished her dark outfit with several pieces of gold jewelry.

1978: Diane Keaton

Keaton accepted the award for “Annie Hall” in a unique Ruth Morley suit. She went for a muted color palette with her layered outfit.

1979: Jane Fonda

Fonda wore a gorgeous James Reva gown to accept her trophy for “Coming Home.” The two-time winner embraced the trends of the ’70s in a flowy floral dress.

1980: Sally Field

Field embodied spring in a white Bob Mackie dress with sheer floral cover as she accepted the award for “Norma Rae.” She added to the look with lots of eyeliner and teased, voluminous hair.

1981: Sissy Spacek

Spacek took the award for “Coal Miner’s Daughter” in a black jumpsuit and kept the rest of her look simple.

1983: Meryl Streep

Streep won the Oscar for “Sophie’s Choice” in a gold Christian Leigh dress while she was pregnant with her second daughter, Mamie (familiar to fans of “We Were Liars”). She finished her outfit with a pink-brown shade of lipstick and curled hair.

1984: Shirley MacLaine

MacLaine wore a Fabrice pale-pink suit when she won for “Terms of Endearment.” The suit was embellished with an intricate embroidered pattern.

1985: Sally Field

Field cried out her famous, “You like me! You really like me!” in a strapless black dress as she won for “Places in the Heart,” her second win in five years. She finished off her outfit with a necklace that looked like a bow.

1986: Geraldine Page

Page, who won the Oscar for her work in “The Trip to Bountiful,” layered a deep-purple velvet cape over her dress. She completed her outfit with chandelier earrings and a warm shade of lipstick.

1987: Marlee Matlin

Matlin paired her pink dress with a floral headpiece when she won for her role in “Children of a Lesser God.” She paired her mixed-material gown with peachy lipstick.

1988: Cher

Cher famously wore a sheer Bob Mackie ensemble to accept the award for “Moonstruck.” From her headdress to her sandals, the star sparkled.

1989: Jodie Foster

Foster wore a light-blue gown when she took home the Oscar for her role in “The Accused.” She kept her hair and makeup simple, letting the ruched gown speak for itself.

1990: Jessica Tandy

Tandy sparkled in a two-piece getup by Giorgio Armani as she accepted the award for her performance in “Driving Miss Daisy.” She finished her outfit with a pair of statement earrings.

1991: Kathy Bates

Bates wore a black gown with shoulder pads to accept her award for “Misery.” Her earrings matched the glitzy details on her dress.

1992: Jodie Foster

Foster took home the gold statue again for her role in “The Silence of the Lambs.” This time, she opted for a cream Armani jacket and paisley crystal-encrusted trousers, and went old school with matching gloves. Foster also wore a red pin on her lapel for HIV/AIDS awareness.

1993: Emma Thompson

Thompson wore an emerald Caroline Charles jumpsuit when she won for “Howards End.” She completed her look with red lipstick and curled ringlets.

1994: Holly Hunter

Hunter wore a black and gray Vera Wang dress with a hint of sparkle when she won for “The Piano.” She matched her earrings and bracelet to the glimmering details on her dress.

1995: Jessica Lange

Lange wore Calvin Klein when she won the award for “Blue Sky.” She added a touch of color to her dark, mesh-paneled gown with her bright lipstick.

1996: Susan Sarandon

Sarandon wore a bronze Dolce & Gabbana gown when she was recognized for “Dead Man Walking.” She finished off her outfit with tousled hair.

1997: Frances McDormand

McDormand wore a simple blue dress when she won for “Fargo.” She kept her accessories minimal, opting for just one ring and a pair of earrings, a style she still goes by to this day.

1998: Helen Hunt

Hunt stunned in a strapless blue dress by Tom Ford for Gucci when she won for “As Good as It Gets.” She finished off her outfit with a matching wrap, frosty makeup, and a diamond bracelet.

1999: Gwyneth Paltrow

Paltrow wore a baby-pink Ralph Lauren princess gown when she took home the Academy Award for “Shakespeare in Love,” one of the most iconic Oscar looks of all time. She topped off her dress with a sheer, tulle wrap, a statement necklace, bright-pink lipstick, and a touch of blush.

2000: Hilary Swank

Swank wore a strapless green Randolph Duke dress when she accepted the award for “Boys Don’t Cry.” She glammed up her dress with a dazzling statement necklace.

2001: Julia Roberts

Roberts wore a black Valentino gown with white accents when she won for “Erin Brockovich.”

2002: Halle Berry

Berry wore one of the most memorable Oscars dresses when she accepted her award for “Monster’s Ball” in a floor-sweeping Elie Saab gown. Her dress had a mesh, floral-embroidered top and a contrasting satin skirt.

2003: Nicole Kidman

Kidman accepted her Oscar for “The Hours” in a black Jean Paul Gaultier dress that had an unexpected, edgy neckline.

2004: Charlize Theron

Theron rocked a glittering Gucci dress when she won for “Monster.” The actor looked very old Hollywood with her hair styled in glamorous waves.

February 2005: Hilary Swank

Swank accepted her Oscar for “Million Dollar Baby” in a fully backless Guy Laroche dress. She completed the look with shimmering makeup and a sleek hairdo.

2006: Reese Witherspoon

Witherspoon looked radiant in a Christian Dior gown when she won for her performance in “Walk the Line.” She completed her outfit with a smoky eye, a simple hairdo, and earrings that matched her dress.

2007: Helen Mirren

Mirren wore a Christian Lacroix gown when she accepted the Oscar for “The Queen.” It looks like she layered a patterned tulle skirt over her lacy, embellished gown.

2008: Marion Cotillard

Cotillard took home the Oscar for “La Vie En Rose.” The actor looked glamorous, with sleek curls and a mermaid-inspired dress by Jean Paul Gaultier.

2009: Kate Winslet

Winslet took home the Oscar for “The Reader” in a one-shouldered, blue-gray Yves Saint Laurent gown. Winslet complemented her two-toned dress with a smoky eye.

2010: Sandra Bullock

Bullock wore a silver Marchesa dress as she accepted the award for her role in “The Blindside.” The actor brought some color to her look with bright-pink lipstick.

2011: Natalie Portman

Portman wore an off-the-shoulder Rodarte dress while accepting the award for “Black Swan.” Portman’s shoes and earrings perfectly matched her dress. Fun fact: She was four months pregnant at the time!

2012: Meryl Streep

Streep matched her Oscar for “The Iron Lady” in a gold Lanvin dress. From her accessories to her makeup, she appeared to be dripping in gold.

2013: Jennifer Lawrence

Lawrence, who won for “Silver Linings Playbook,” may have tripped on her way to the stage, but she still looked flawless in this white Christian Dior gown.

2014: Cate Blanchett

Blanchett wore an embellished Armani Privé gown when she took home the award for “Blue Jasmine.” She completed her look with delicate curls and large sunburst earrings.

2015: Julianne Moore

Moore wore a strapless Chanel gown when she accepted the award for “Still Alice.” The custom, detailed gown took over 900 hours to make, according to People.

2016: Brie Larson

Larson accepted the Oscar for “Room” in a belted, royal-blue Gucci dress. The intricate gown was in the works for two months, per ABC.

2017: Emma Stone

Stone wore a vintage-inspired gown when she won the award for her performance in “La La Land.” She finished her golden-toned dress with big waves and classic red lipstick.

2018: Frances McDormand

McDormand won the award for her role in “Three Billboards Outside Ebbing, Missouri,” wearing a black dress with a gold pattern. During her acceptance speech, McDormand asked every female nominee in the audience to stand and discussed the importance of inclusion riders.

2019: Olivia Colman

Colman wore an emerald-green Prada gown that took months to create as she accepted the award for “The Favourite.” Colman’s gown was draped with a silk organza cape, tied into a giant bow at the back, and covered in Swarovski crystal flowers.

2020: Renée Zellweger

Zellweger won her second Oscar — her first best actress Oscar, for “Judy” — in a custom white Armani Privé gown.

Though tough to see, according to Entertainment Tonight, the gown was covered in beads with pale pink and blue thread.

2021: Frances McDormand

McDormand wore a navy-blue gown with a feathered bottom and feathered sleeves to win her third acting Oscar for “Nomadland.”

With her win, McDormand tied Meryl Streep and Ingrid Bergman with the most Oscar wins for acting. Katharine Hepburn holds the record with four best actress statues.

2022: Jessica Chastain

Chastain dazzled in a sparkly ombré Gucci gown that transitioned from rose gold to lavender as she accepted her first Academy Award for “The Eyes of Tammy Faye.”

2023: Michelle Yeoh

Feathers accented the angelic Dior Couture gown. The “Everything Everywhere All At Once” star paired the look with a Moussaieff diamond headband and earrings, along with a Richard Mille watch.

2024: Emma Stone

Stone accepted her second best actress Oscar (this one for “Poor Things”) in a mint-green peplum gown designed by Louis Vuitton, but she made sure to point out during her speech that the zipper had broken at some point during the ceremony.

She blamed Ryan Gosling’s spirited performance of “I’m Just Ken.”

2025: Mikey Madison

Madison, who won for “Anora,” went for an Old Hollywood look at the 2025 Oscars, wearing a two-toned pink and black satin dress with a bow. It was designed by Dior.

• I smiled through holidays as the “cool aunt” while quietly grieving the life I thought I’d have.
• A friend’s offhand comment made me see that my child-free life had real benefits, not just loss.
• Presence doesn’t require parenthood — my niece called it “the aunt influence” before leaving for college.

In my 30s, I was the only one of my three siblings who wasn’t married or starting a family. At holidays and birthdays, I smiled through it and lead into becoming the cool aunt to my nieces and nephew. On Mother’s Day, however, I began bracing myself.

Each year, my mom would give me a card that said something like “Happy Mother’s Day from the dog.” It was meant with nothing but love. She wasn’t trying to minimize what I didn’t have — she was trying to include me. Still, each card landed like a small, unexpected dagger.

A reminder of the life I thought I was supposed to be living, but wasn’t.

I always imagined I’d be a mom

My mom would gently explain that I was a huge influence on my nieces and nephews. That they looked up to me. That mothering my dogs counted, too. And in a real sense, she was right — I wasn’t ready to accept it. I loved my dogs deeply — they kept me grounded and accountable. I was present in my nieces’ and nephews’ lives in meaningful ways, with time and energy to play with them.

But privately, something still felt unfinished. I had always imagined I’d be a mom — driving a carload of kids to and from sports practices. Instead, I was the kids’ biggest fan, attending every hockey game or soccer match I could. At that stage of life, it felt like I was standing on the outside of a world I wanted for myself. For years, I held two truths at once: gratitude for what I had, and grief for what I didn’t.

That tension softened slowly over time — through perspective and by watching the realities of parenthood up close rather than the polished version in my head. I now understand those Mother’s Day cards differently. I see my mom’s big heart for what it is and always has been — her way of saying: “You matter. You belong. Your life counts, too.”

I saw the benefits that came without having kids

When I once confided to a friend that my only regret in life was not having children, he said, “Yeah, but look at all you’ve done. You might not have been able to do those things if you’d had kids.” His comment shifted something. For the first time, I allowed myself to see that not having children came with benefits as well as loss.

My siblings are wonderful parents, and their kids are thriving. But even when everything is going well, parenting adult children carries a constant low-grade stress: worries about their happiness, careers, relationships, health, and the world they’re inheriting. There’s an ever-present sense of responsibility that never fully goes away.

I care deeply about my nieces’ and nephew’s happiness, but I don’t carry that same weight. Instead, I live with a different set of trade-offs. The consequences of my decisions fall on me alone. That freedom has allowed me to further my education and take risks I might not have taken putting kids first, like: leaving full-time jobs to finish a TV pilot, jumping into dock diving my lab, and chasing a new dream of owning a quarter horse rescue and competing in reining.

I can say yes to opportunities that would be impractical for someone juggling school calendars and tuition bills.

I’m the cool aunt

And I still get to show up for the kids I love. Being the cool aunt turns out to be its own form of parenting — from a distance, without daily responsibility but with real influence. My role is lighter, but it’s not insignificant. Recently, my niece decided to attend the same college where I earned a graduate degree. Before she left, she told me: “Yes, the aunt influence is real.” It was said casually, but it landed deeply. Proof that presence doesn’t require parenthood. That modeling a curious, creative, and independent life can be just as formative as enforcing rules or paying for that college degree.

There’s a peaceful relief in releasing the version of adulthood I once carried guilt for not achieving — that lingering expectation of a conventional family life.

I still think about the life I once wanted. But I no longer see it as the life I failed to have. It’s simply one path among many. And the one I’m on now — dogs, dreams, creative risks — feels intentional. I’ve kept those Mother’s Day cards because they remind me that I have the very best mom. Her words and belief in me have taken decades to fully embrace but now that I have, I know: there is more than one ways to nurture, more than one way to matter, and more than one way to build a full life.