San Antonio could make James Beard Awards history Monday night
Two San Antonio names will represent the local culinary scene at the James Beard Awards in Chicago on Monday night.
Why it matters: The awards are considered the Oscars of the food world. A win — which would be a first for the city — would shine a national spotlight on our hospitality culture.
State of play: Emil Oliva of Leche de Tigre is a finalist for Best Chef in Texas, and Mixtli is a finalist for Outstanding Hospitality.
Oliva opened Leche de Tigre with his brothers Axel and Alec Oliva in 2023. It quickly became a local favorite for Peruvian cuisine and cocktails and a standout new restaurant in the state.
Mixtli is an innovative restaurant that transports diners through different regions of Mexico.
Both restaurants are in Southtown.
What they're saying: Mixtli chef Diego Galicia, who co-owns the restaurant with chef Rico Torres, tells Axios being a finalist already feels like a win.
"The city has made all of our dreams come true. I so hope we bring them a medal," he says.
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The film was also nominated for Best Picture, a rare feat for a genre film, though it lost to One Flew Over the Cuckoo's Nest. Beyond the Oscars, Jaws earned a Golden Globe for John Williams' iconic score and was later inducted into the National Film Registry by the Library of Congress in 2001 for its cultural, historical, and aesthetic significance. The American Film Institute ranked it 56th on its '100 Years…100 Movies' list and second on its '100 Thrills' list, cementing its status as a cinematic touchstone. These accolades reflect not just the film's technical brilliance but its ability to resonate across generations. Redefining the Blockbuster and the Thriller Genre Jaws is widely credited with inventing the summer blockbuster. Before its release, summer was a slow season for theaters, but Universal's aggressive marketing—national TV ads, a wide release on 409 screens, and tie-in merchandise—set a new standard for Hollywood. The film's success proved that high-concept, mass-appeal movies could dominate the box office, paving the way for franchises like Star Wars, Jurassic Park, and the Marvel Cinematic Universe. Within the thriller and horror genres, Jaws redefined how suspense was crafted. Spielberg's decision to show the shark sparingly, due to mechanical failures during production, heightened tension and forced audiences to rely on their imaginations—a technique now synonymous with effective horror. John Williams' minimalist, pulse-pounding score became a character in itself, its duh-dun motif evoking primal dread. This less-is-more approach influenced countless filmmakers, from Ridley Scott in Alien (1979), which used sparse visuals to build terror, to John Carpenter's Halloween (1978), where a simple piano riff amplified suspense. The film's character-driven storytelling also set it apart. The trio of Chief Brody (Roy Scheider), oceanographer Hooper (Richard Dreyfuss), and shark hunter Quint (Robert Shaw) grounded the horror in human conflict and camaraderie. Their dynamic inspired ensemble-driven thrillers like The Thing (1982) and Predator (1987), where interpersonal tension amplifies external threats. Influence on the Creature Feature and Beyond Jaws birthed the modern creature feature, spawning a wave of 'nature strikes back' films. The late 1970s and 1980s saw a flood of imitators, from Orca (1977) and Piranha (1978) to Alligator (1980), each attempting to replicate Jaws' formula of a predatory beast terrorizing humans. While few matched its artistry, these films cemented the subgenre's popularity. Even today, low-budget shark thrillers like The Shallows (2016) and 47 Meters Down (2017) owe their existence to Jaws, as does the tongue-in-cheek absurdity of Sharknado (2013). Beyond creature features, Jaws influenced aquatic horror and survival thrillers. 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Its influence is evident not just in cinema but in pop culture—theme park rides, memes, and even shark conservation efforts spurred by the film's demonization of great whites. While it inspired countless imitators, few have matched its balance of terror and humanity. As we celebrate this milestone, Jaws reminds us why we fear the ocean and why we keep diving back in. It's more than a movie; it's a primal scream, a technical triumph, and a testament to Spielberg's genius. Here's to 50 years of keeping us out of the water—and glued to our screens. Note: All box-office figures and award details are sourced from historical records and industry databases like Box Office Mojo and the Academy Awards archives.
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(Amarcord was the only film without a corresponding Best Picture nomination and had also won Best Foreign Language Film the year prior, giving it international distribution for 1975 eligibility.) By the time Jaws was announced as a Best Picture nominee moments later, it seemed like a consolation prize to the young director. "Well, it's about time," Spielberg stated, the sting still fresh. Spinell and Pesce also expressed frustration, comparing it to 1972 when The Godfather and Cabaret split the top two categories. "You cannot have the Best Picture unless the director is also nominated. Who made the picture?" Spinell declared. "The greatest picture of all time was made and they haven't recognized the director," Pesce added. Universal Pictures/Everett Collection After being informed by his assistant that Jaws was only up in four categories instead of the 11 he expected, Spielberg attributed the snubs to commercial backlash, meaning: "When a film makes a lot of money, people resent it. Everybody loves a winner, but nobody loves a WINNER." Although much has evolved with the Academy Awards in the 50 years since, Spielberg's theory still rings true. Jaws became the catalyst for the movie business model that exists today and also redefined what we think of as box office success. Still, high grosses don't necessarily translate to certain Academy Award recognition. At the time, many were overwhelmed by Jaws' commercial success and perhaps thought that was enough for the movie. Even today, the Oscars remain more of a launching pad for independent and purposely "artistic" films, only occasionally recognizing blockbusters for the top category—and even less so for Best Director. Back when there were only five slots in Best Picture, the stars would have to align for the kind of golden sweep experienced by box office juggernauts like Titanic and The Lord of the Rings: The Return of the King, each of which won 11 Oscars and tied for the most all-time wins. 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