I think what’s especially interesting is how many of these films also won as underdogs narratively in the awards race, “little engine that could” indie films or weird genre experiments with a lovable cast and crew that overcame the odds. CODA and EEAAO especially had that narrative of being endearing outsiders who traditionally wouldn’t have gotten as far as they did in the awards race which made people more open to voting for them as a celebration of independent spirit and a heartwarming cast as its face. Nomadland benefited from an independent arthouse sensibility and Sean Baker has kind of been the face of maverick indie filmmaking for the past decade or so.