The most shocking moment of Sunday night's Oscar ceremony came early in the evening, long before Three 6 Mafia or Crash scored their twin victories for mediocrity. An hour or so after losing the night's first award to George Clooney, Jake Gyllenhaal trotted out on stage to ostensibly announce one of the night's many disposable montages. "They're called epics," he near-monotoned. "Extravaganzas. Spectacles." With that last one, Jake's voice took an unexpected up-turn. He went on to list a few (oddly amalgamated for mass cross-generational appeal) examples of the genre in question – "West Side Story. Star Wars. Ben-Hur." – before delivering the kicker: "You can't properly watch these on a television set, and good luck trying to enjoy them on a portable DVD." Gyllenhaal punctuated that embarrassingly over-scripted slice of Academy propaganda with a desperate, self-referential giggle – a composure break that lasted long enough for an insert shot of Heath Ledger and Michelle Williams, Gyllenhaal's Brokeback Mountain co-stars, just two members of what sounded like a large chunk of the audience laughing along with him. It was rather amazing, a pure, bumbling moment of transparency that neatly struck down whatever was left of Sid Gannis' sad house of cards. The new takeaway for the evening: If Hollywood can't take its own last-ditch propaganda seriously, how can we?

I just got word that IFC Films is about to launch a new distribution banner, aimed at releasing films in theaters and through On-Demand cable TV, simultaneously. The program will be called First Take, and to it IFC has already attached six films: CSA: The Confederate States of America, Caveh Zahedi's I Am a Sex Addict, New York Film Festival favorite Three Times, American Gun, Russian Dolls, and Sandra Oh-starrer and my early vote for Title of the Year, Sorry Haters. First Take hopes to release an additional 20 films this year. The basic idea is that by closing the window between theatrical and cable on these types of niche releases, films that would have only shown on the coasts can get a nationwide release.

What do we think about this? Is this a more or less viable plan than the cable/DVD/theatrical simultaneous release program that Mark Cuban and Steven Soderbergh are launching this week with Bubble?

The last deal of Sundance 2005 was announced the day we got to Park City for Sundance 2006. After a year-long tour of festivals worldwide, Mark and Jay Duplass have scored a deal with Roadside Attractions and Netflix to release their relationship comedy,The Puffy Chair. As I understand it, the deal is for both theatrical and DVD distribution, though not, as some are reporting simultaneously. Roadside plans to put the film in theaters next summer with both their logo and Netflix' on the print. Netflix will promote the release through their channels, but when the theatrical window closes and DVD distriubution begins, they'll not hold on to exclusive rights.

It's a pretty traditional deal, by the looks of it, which is sort of disappointing – the film is a cult classic waiting to be discovered, and seems like the perfect candidate for a Cuban-esque simultaneous release.

Laura M. Holson contributed a piece to the New York Times yesterday about the changing face of distribution and, fittingly, she saved Mark Cuban and Todd Wagner's revolutionary alliance with Steven Soderbergh for last. The moguls and the director are working together to simultaneously launch a series of films, starting with Bubble, on DVD, in theaters, and on cable; as Holson writes, "What the three men are proposing is a radical - and, to theater owners and existing distributors, not particularly welcome - model of how movies could be distributed one day." It's not at all surprising that Cuban and Wagner's competitors would alternately find the proposal foolhardy and terrifying – the kicker is that Holson gets Wagner to agree. "I know if I went to [a non-Landmark] theater and said, 'Let's sell the movie at the same time on DVD and in the theater,' they would say 'no'. I don't think there is a right answer yet. We are experimenting. If we are just dead wrong, we are not going to do it anymore." This seems like a radical change in faith for Wagner – what's causing the drop in confidence? Has the home office finally faced the fact that whilst Bubble is a very interesting film, it's not a very commercial film – and thus, is probably not the best subject for a simultaneous release experiment?