It's time to begin Plugged In's official live blog of the Oscars. Our red-carpet invites must have gotten lost in the mail this year, so we'll be watching it on television, just like you are, and writing about whatever seems news- or noteworthy to us. Please feel free to add your comments as we go along, and we'll try to address them on the fly. All times are U.S. Mountain Standard. Refresh your browser window to see our latest comments.

6:19 p.m.

Paul Asay (Plugged In Associate Editor): So I've torn open the bag of Doritos you brought, Steve, cracked my first Mountain Dew and am all ready for the Oscars--and Plugged In's first foray into the world of on-the-fly blogging. And what a night it will be, don't you think?

Steven Isaac (Plugged In Editor): Hmmm. I see here that by averaging the durations of the last 25 Oscar telecasts, subtracting 3 hours and then dividing by 2, we'll be done here in exactly 7.42 hours. Are we going to take nap breaks or just keep chugging soda all night?

Paul: Soda, Steve, soda.

Steven: Fine. But I'm not doing the Dew with you. I'm an old-school, straight-up Coca-Cola man myself.

Paul: OK, since nobody's paying us anything for all these product placements, why don't we get started with the most important question of the night: What'll take home Best Picture?

Steven: Blue is the new gold this year. No question in my mind that it'll be Avatar all the way. The whole point of this year's Oscar changes (10 nominees for Best Picture among them) is to make regular folks start thinking the Oscars are relevant to them again. And a whole lotta regular folks have seen Avatar. And most of them have loved it. Plus, the Academy voters do not want to antagonize the Na'vi. They've seen what happened to those surly earthlings.

Paul: True. Thing is, though, I don't think it's that great of a movie. I mean, wasn't it just sort of Dances With Wolves under a different moon? I'm thinking The Hurt Locker's going to take it. Gritty, taut, compelling ...

Steven: And quite a bit more foul than Avatar, if I remember your review correctly. (Not that that ever stopped Oscar from loving a film before.)

Paul: No it didn't.

Steven: Looks like they're done with their red-carpet dress-examinations and interviews. The theme music's coming up. We're under way, everybody.

6:33 p.m.

Paul: Wow. Those are quite the outfits. Getting off to an interesting start, I'd say, with Neil Patrick Harris.

Steven: And why wouldn't he get things rolling with a dope reference?

Paul: Oh, and they just talked about Woody Harrelson being high. Hmmm.

Steven: Off-color jokes and recognitions for big stars are always the order of the day each year as the Oscars get started. So much so that Steve Martin and Alec Baldwin's gag about a threesome probably went virtually unnoticed in most homes watching right now. But on a positive note, they made fun of the fact that movies are so often made based on video games!

6:48 p.m.

Paul: Oh, that Christoph Waltz leaves with the first Oscar (for Best Supporting Actor). No surprise there, but I hear he was incredible. You saw the film, Steve?

Steven: Incredible performance in the middle of an incredible film ... in quite a few ways, artistically but also as it comes to some pretty extreme violence, too.

Paul: I was kinda rooting for Christopher Plummer ... overdue from The Sound of Music. But I think Quentin Tarantino should get some sort of an award just for his chin. It's pretty impressive.

6:58 p.m.

Paul: Best Animated Film. Up wins. That makes me happy. I'm feeling so ... up! As if my house was being pulled into the sky by balloons! In a great year for animated films, this was still the best of the bunch. 'Course, Fantastic Mr. Fox was pretty impressive, too.

7:10 p.m.

Steven: We talked a bit earlier about some of the negative content included in this year's Oscar open, and didn't really have any time to talk "shop." So I want to register the fact now that that was one of the lamest opens I've seen in years and years. Martin and Baldwin can be really funny when they want to be and when they have good writers (the subject that's just coming up right now on the screen). But this just didn't cut it.

Paul: But on the up side, these awards are cruising right along. We might be outta here in 15 minutes or so, don't you think? And I think Tina Fey's hair looks nifty.

Steven: The Hurt Locker wins its first of the evening for Original Screenplay.

Paul: Hurt Locker, 1, Avatar, 0.

Steven: And about Tina's hair. It looks very, very much like my wife's hair looked in 2001. So I'm not so sure it's as cutting edge as Tina might think it is.

Paul: I'm just jealous when I see anyone who still has hair.

7:19 p.m.

Paul: The John Hughes salute is pretty nostalgic. I think I saw every single one of his films when I was a kid. That was before I became a Plugged In movie critic and therefore far more discerning, of course.

Steven: The burner from The Breakfast Club was everything I never was in high school. I was shy, nice and cared about everybody. That guy did none of those things ... on the surface. But on the inside he was more like me than I knew back then. Must be a lesson in that somewhere--and I hope its not that I was a closet burner.

7:28 p.m.

Paul: Just noticed the ratings box on the screen. It's TV-14 with a string of letters after it. Kind of interesting that, for an awards show that's technically for the "whole family," the rating is fairly exclusionary. Would they be covering just in case something unforseen happens? Or does it address some of the plunging necklines? Hmmm.

Steven: Or did they know going in that they were going to push a few boundaries?

Steven: Best Animated Short goes to a film that looks like it tweaks commercialism in society. Isn't it about time for an ABC commercial break?

7:39 p.m.

Paul: Love Ben Stiller as one of the Na'vi. Shouldn't he be taller, though?

Steven: This is the funniest thing all night. Clean, clever, self-aware. Can't say as I'm a huge Ben Stiller fan when it comes to his movies, but this is great.

7:52 p.m.

Steven: Geoffrey Fletcher won for Adapted Screenplay for Precious. My immediate response to his halting acceptance speech: You're not drawing a blank, like you think you are. You're the realest guy that's been on stage yet.

7:59 p.m.

Paul: The big categories haven't seen a surprise yet. Mo'Nique has nabbed Best Supporting Actress for her role in Precious. And, I must say, it's richly deserved. She played an absolute monster, but she still managed to give the character just a bit of heartbreaking humanity. It was a brutal role in a worthwhile but brutal film.

8:20 p.m.

Paul: Kristen Stewart and Taylor Lautner are up, talking about how horror "doesn't get the respect it deserves." A good montage, but I got to say, the scariest thing I've seen tonight was George Clooney's glare.

Steven: Why is it that we like to be scared by movies? We can disagree with the usefulness or morality of horror films all we want (and we do!) but it's indisputable that people adore jump scenes and creepy blades for fingers on mad men (from Freddy to Edward Scissorhands). Sin nature? Or just thrill-ride silliness? It's something Christians have been grappling with for as long as movies have been trying to scare us--and long before that.

Paul: Yeah, pretty interesting. It's something we do a fair amount of talking about at Plugged In. Man, after seeing the complete montage, I think I know what that TV-14 rating was for ... nothing like seeing aliens jump out of people's rib cages and centipedes crawling into people's mouths to make an Oscar ceremony complete.

Steven: And now they're on to the next thing: an award for sound effects. There's something that makes a huge difference in horror movies. Because if you've ever watched a scary movie with the sound off, you know that it's usually more funny than scary. We all really respond to sound.

8:27 p.m.

Paul: Another award for The Hurt Locker. Wow. I think that makes it Hurt Locker 3, Avatar 1. Steve, are you still sure Avatar's going to win Best Picture?

Steven: Well, sure, why shouldn't I be? Didn't the Na'vi get to vote for their own film? And an alien vote counts twice. They're just letting all the little guys win a few before gobbling up the big one.

8:35 p.m.

Paul: Jeto wonders whether we think the Paranormal Activity spoof clip was funny. It was! But not as funny as Ben Stiller's Na'vi impersonation.

Steven: Cinematography award goes to Avatar. So, Paul, that's one more for the blue team.

8:39 p.m.

Paul: James Taylor's playing for the annual "In Memoriam" segment. This is one of my favorite parts of the ceremony, as morbid as that probably sounds. Natasha Richardson, Karl Malden ... I feel the sudden need to get a tissue.

Steven: Um, I didn't know "In My Life" was supposed to be a sad, funeral-type song. My wife and I had this sung at our wedding!

8:50 p.m.

Steven: My daughter's in ballet. She'd love the dance montage if I dared let her watch a TV-14 evening of Hollywood hype! (She's 9.) Maybe it'll be on YouTube tomorrow.

Paul: Tomorrow? It's probably posted right now!

Steven: This is much better than the Vegas-style stuff at the beginning of the show. Nicely choreographed. Very expressive in a cool, old-school way.

Paul: I never knew you were such a dance nerd, Steve.

Steven: A dancing daughter has a way of changing a man.

8:55 p.m.

Paul: Avatar's pulled even with The Hurt Locker with its win in Best Visual Effects. Maybe you were right after all, Steve.

Steven: A half-billion-dollar production budget should buy you at least a Best Visual Effects award.

9:04 p.m.

Paul: Well, it looks like lots of you are pretty pleased with Up's win for Best Original Score. I completely agree. I just hear the first notes of that song and I just start thinking of Paradise Falls, talking dogs and balloons. And I can't help but smile.

Steven: The Cove has won Best Documentary Feature.

Paul: What a coincidence! Steve and I are wearing Snuggies here at Plugged In headquarters, too!

9:12 p.m.

Paul: You know, I don't think I've heard an acceptance speech yet that made me roll my eyes. Is this unusual, or am I just getting more tolerant in my old age?

Steven: The night is young yet--at least by Oscar standards.

As some of you may have heard, Focus on the Family (Plugged In's parent organization) will be airing a commercial during the Big Game this weekend. The ad—featuring former Florida Gators quarterback Tim Tebow and his mom—has become a pretty big deal around here—so much so that execs have taken to wearing shoulder pads and doing chest bumps in the hall. Morning devotionals are sounding more and more like play calls ("Isaiah 26:12 … hike!"). And I'm expecting Dippin' Dots vendors to show up sometime today.

But if the Super Bowl ad has triggered a certain eccentricity on the Focus campus, it's made some folks positively apoplectic outside it.

I've not seen the ad. My boss has not seen the ad. My boss's boss has not seen the ad. Very few of us inside the building have seen it, much less outside our pleasant, cubicle-lined confines. Nevertheless, several groups have asked CBS to yank the thing.

"By offering one of the most coveted advertising spots of the year to an anti-equality, anti-choice, homophobic organization, CBS is aligning itself with a political stance that will damage its reputation, alienate viewers, and discourage consumers from supporting its shows and advertisers," read, in part, a letter to the network signed by a number of women's groups.

Sports columnist Gregg Doyel, who writes for cbssports.com, took a different tack: "If you're a sports fan, and I am, that's the holiest day of the year. It's not a day to discuss abortion."

The ironies, of course, abound. I mean, we're talking about a sporting event that features advertisements devoted to beer, scantily clad women and folks getting thwacked in the crotch.

"Objectionable, after all, is in the eye of the beholder," wrote James Poniewozik, television columnist for Time magazine. "It seems ridiculous to start saying that espousing religion … is objectionable in an ad environment of alcohol-pushing animals, slapstick violence and Danica Patrick's cleavage."

For a while, news-related searches for Focus' ad dominated Google. And maybe that's not too surprising since our media culture loves a good row. But my guess is that when folks actually see the ad their reaction will be along the lines of, "Wow. And groups were up in arms over this? An ad celebrating families?"

When I was a religion reporter at a Colorado newspaper, I covered Focus on the Family quite a bit. And I learned pretty quickly that some people love the organization and some people—well, don't.

Now, frankly, I can understand why some folks might disagree with elements of what Focus does: We don't shy away from wading through controversial waters when conviction calls and Scripture specifies. That's part of what the leaders here feel called to do. But back in the day, one of my sources told me something that feels pretty appropriate right about now:

"Focus is about as controversial as flossing your teeth."

And really, when it comes right down to it, that's how Focus perceives itself: a dispensary of oral hygiene tools—which might hurt a little at the time, but are designed to help and heal, not harm.

But what if I’m not home at bedtime … and Henry still wants to hear a story from Daddy?

A new website, A Story Before Bed, offers a solution. The concept is simple: Parents (or other caregivers) with webcam-equipped computers can select from one of 50 or so books on the site and read it (the book appears onscreen). That reading is recorded to an account on the site, to be played back at any time. During that playback, children see the pages of the book being turned (onscreen) with a window showing the video of Dad or Mom (or perhaps Grandpa or Grandma) reading the story to them. Cost per book: $6.99.

We sometimes talk about how modern media and entertainment technology have eroded interest in simple pleasures, like reading a book. This concept, I think, creatively harnesses technology to make the tradition of story time before bed possible, even when Dad or Mom can’t be there.

While it might not be quite the same as the "real thing," astorybeforebed.comenables parents who travel, distant grandparents and military personnel stationed overseas a way to connect with their kids or grandkids that they might not have had otherwise.

Last week, 6-year-old Falcon Heene and his weird-science family made headlines when the boy was thought to have been caught up inside a helium balloon. For more than two hours the silver saucer-shaped craft drifted from Ft. Collins, Colo., to the field where it landed just north of Denver. Scores of rescue personnel and police were on hand to help the boy when it hit the ground.

But Falcon wasn't there.

If you're like me, your eyes were riveted to a screen somewhere. You wondered things like, Did he fall out? Is he unconscious? Catatonic?  If he's not in the balloon, was he kidnapped?? I hope he's not … dead …

Later that day, surprise! Falcon emerged unscathed from the rafters of the family's garage. By then, though, the Heene clan was a media magnet. Big time. Their neighborhood was a zoo. A friend of mine lives across the street from the family and says getting out of her driveway was nigh impossible—every network in the country, if not world, was covering the story.

Now the authorities say it really was all an elaborate hoax. Richard Heene—of reality show Wife Swap fame—and his merry band of pseudo-scientists allegedly lied bald-faced to national reporters and the world.

Still, I'm wondering if this alleged hoax will have its intended benefits, after all. Because of the frenzy, the family is more infamous than ever—which, unfortunately, usually means stardom nowadays. If law enforcement doesn't imprison the parents, I predict that a money-grubbing producer or two will hit them up with the reality show they've always craved. Because, after all, infamy pays off in this country. Just look at Anna Nicole Smith, Monica Lewinsky, "Octomom" Nadya Suleman, and Jon and Kate Gosselin, for starters.

Why? Why are we so fascinated by bad behavior? And what is "news" like this actually doing to our culture? Are we growing more cynical or gullible as a result of it? And is our fascination with celebrity gradually softening society's rules, making lying, histrionics and general misbehavior more acceptable in Americans' eyes? Since our society apparently rewards screwball behavior with "fame," then what's stopping another family from exploiting children in another desperate attempt for celebrity?

So I just got done listening to the new Pearl Jam album, Backspacer.

I confess, as a child of the '80s, I was never much of a PJ fan. Grunge put an end to the musical era that I grew up in, and it's only now, a long time after the fact, that I can give a band like Pearl Jam its due.

But that's really not what I want to talk about. Let me try to get back on track here. Eddie Vedder and Co. (among others) ushered in a music era in the early '90s punctuated by angst and inner turmoil. Now, almost 18 years after they first hit the scene, Eddie and his grunge-y Pearl Jam cohorts have mellowed into a surprisingly positive outlook on the good things that life has to offer.

Hey, this album's not perfect, as you'll see in our review. It's got some issues. But three times while listening to Backspacer, I felt my skin begin to go all goosepimply and my eyes well up with tears. Why? Because some of the lyrics on PJ's new album express so precisely things I've thought and felt. One of those songs, "Just Breathe," was a tribute to a faithful wife who has sacrificed much ("Nothing you would take," Vedder says of her, "Everything you gave"). That song prompted me to pick up the phone and call my wife, just to tell her how much I love her.

Such is the power of music, to simultaneously tap into and provide an outlet for feelings deep inside that we may not even be conscious of until a song, a lyric, gives them voice and sets them wandering about our souls in surprisingly powerful ways--sometimes even from bands or singers we didn't even particularly like before.

That's one of the reasons why I love music ... and why I love thinking about the words and images and messages that today's popular musicians are asking us, those who listen, to interact with. They matter because they have the power to unlock stuff inside that we didn't even know was there.