This year thirty Oscar nomination spaces are dominated by only four films: Atonement (7), Michael Clayton (7), There Will Be Blood (8), and No Country for Old Men (8). And although only nominated in four categories, Juno is playing with the above-mentioned giants as a contender for Best Picture, Best Director, Best Original Screenplay, and Best Actress. The film industry is ever changing and always uncertain. What becomes a box office hit and or a cultural appreciation depends on many factors: production allowances and constraints, the distributor’s contracts and marketing efforts (in result the exhibition as well), and the viewer’s opinion (professional and general). Juno has accomplished what few films could do by abandoning tradition for different. The story features a sixteen-year-old girl who got pregnant not by her boyfriend but her boy-friend, Paulie Bleeker, and instead of regretting the sex described it as “magnificent.” This description alone should have scared many out of their theater seats (because the trailer didn’t allude to this). However she has been embraced as an unlikely heroine. With her quick comebacks, emotional maturity in a very adult situation, and natural youth Juno is to be the first character of a new girl-power movement. She differs from those created high school girls before her in that she is not self-destructive, or preoccupied by prom and spring break. She has a strong support system consisting of her father, stepmother, their young daughter (adding to the non-traditionalism), her best friend Leah, and Paulie. Her father, played by the underrated J.K. Simmons, and stepmother Brenda, react to her pregnancy with acceptance and gentle voices. They don’t blow up in anger, exile her from the house, or demand anything. He will drive her to meet the adoptive parents and Brenda will keep her on a healthy diet. This nuclear family has everything covered without conflict. Is it too good to be true? Or is it the proper manual for how parents should react to such news because what else is there to do without causing harm? Juno’s best friend Leah has been absent from many critical reviews. These two girls obviously dress in opposite styles (preppy vs. other) but their spirits and outlook are synonymous. Leah has a wit of her own: smart and funny one-liners delivered perfectly by Olivia Thirlby. Their bond is the thesis of quality over quantity which cold be compared with Cher and Dionne from Clueless or against those of Laguna Beach. Paulie Bleeker would have been just as involved in the process but Juno didn’t let him until nearly over. However, his consistent presence is assuring of their sweet ending. Juno’s first decision was to have an abortion, a word clearly spoken as opposed to its pronunciation in Knocked Up, but freaked out and opted for another a-word: adoption. Vanessa and Mark Loring are a 30-something married couple with every convenience but desire a great inconvenience. Every so often Juno drops by to visit Mark before Vanessa gets home from work. They connect over music and bad horror films but their relationship gives Mark the courage to make an unexpected decision; compromising the adoption arrangement. Each character has their own personality. The narration is cyclical, “beginning with a chair” and “ending with a chair.” The changing of seasons from autumn to summer all features a practicing track team across the screen. The soundtrack of songs is indie obscure. Its budget was a mere $6.5 million and grossed over $110 million since its release. Juno has made a splash that will create a ripple effect once the writers’ strike is over (Spines, 4); when fresh material will be placed on script-readers’ desks for evaluation of possible production. The success of a film is also of timing: what are audiences ready for? What do audiences want to see? Juno was released at the very end of December. It was and still is competing with major motion pictures and A-list actors. How did Juno squeeze in? During the last couple of months there has been an undeclared war between girls gone bad and girl-power. While Britney has lost her sons, little sis Jamie Lynn got pregnant by an older man, and Amy Winehouse has been in rehab, the Spice Girls have reunited and Miley Cyrus has become a pre-teen/teen powerhouse phenomenon (her movie took in $29 million on Super Bowl weekend). Who were admired have become tragedies. Female audiences are now more judgmental towards who they give their respect to and once found are fully supported. The statistical odds are against Juno winning any of its awards but should win Best Original Screenplay.