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      Conan O’Brien’s Oscars Monologue: Little Roasting, No Politics, Very Silly

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      Conan O’Brien brought the bizarre back to Oscar hosting.In a studiously silly (and sniffily) performance that began with the gross-out humor of his emerging out of the body of Demi Moore from “The Substance,” O’Brien evoked some of his delightfully experimental bits from his old late-night show.For winners whose speeches go on too long, he promised to cut to a shot of a game John Lithgow “looking slightly disappointed.” He continued a fun Adam Sandler bit from the Golden Globe Awards. And in a concise joke delivered deftly, he said: “Bob Dylan wanted to be here, but not that badly.”The whole thing had a light touch: little roasting and no politics. The edgiest joke might have been when he promised that no A.I. was used in making the Oscars, before fessing up: “We used child labor.” But you got the sense this punchline mattered less than his follow-up, when Conan added out of nowhere: “We lost little Billy.” Not since David Letterman, the most underrated Oscar host of the modern era, has a monologue been this loopy. More

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      Kieran Culkin Wins Oscar for Best Supporting Actor for ‘A Real Pain’

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      Kieran Culkin won the Academy Award for best supporting actor for his role as the descendant of a Holocaust survivor who makes a family pilgrimage to Poland in the dramatic comedy of manners “A Real Pain.”This was the first Oscar nomination for Culkin, 42, who was a favorite to take home the honor. His performance as Benji Kaplan, a disinhibited and emotionally unstable charmer who embarks on the trip with his anxious cousin (Jesse Eisenberg), earned Culkin a shelf’s worth of statues this awards season, including from the Golden Globes, the Screen Actors Guild and the British Academy of Film and Television Arts.Culkin’s nomination is one of two for “A Real Pain,” which is also competing for best original screenplay. Eisenberg wrote the script and directed the film.The other candidates in the best supporting actor category were Yura Borisov, for the modern rags-to-riches fable “Anora”; Edward Norton, who plays Pete Seeger in the Bob Dylan biopic “A Complete Unknown”; Guy Pearce, for his role as an architect’s predatory patron in “The Brutalist”; and Culkin’s “Succession” co-star Jeremy Strong, who portrayed Donald J. Trump’s mentor Roy Cohn in “The Apprentice.”In a charming, casual speech that was largely pointed toward his wife, Jazz Charton, Culkin told a short story about asking her for a fourth child if he won an Oscar. It was a memory they had not discussed in years, and he chose this moment to remind her. “Let’s get cracking on those kids,” he quipped.Culkin also thanked his manager, his team and his co-star Eisenberg.“Thank you for this, baby,” he said. “You’re a genius. I’d never say that to your face. Thank you for this movie.” More

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      Conan O’Brien Pokes Fun at Top Movies and Stars in Oscars Monologue

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      Conan O’Brien was literally born to host the Oscars.After a pretaped sketch on Sunday in which O’Brien emerged out of the back of Demi Moore, the star of “The Substance,” before turning around to dig into her spine cavern for a lost shoe, the comedian broke into his monologue.He poked fun at many of the show’s nominees, and himself, starting with a list of recent films — “A Complete Unknown,” “A Real Pain,” “Nosferatu” — that he joked he was called on the red carpet. “I think two were fair,” he said.The monologue also razzed Netflix’s 18 nominations (and price increases), the length of “The Brutalist” and the recent controversy about “Emilia Pérez” actress Karla Sofia Gascón’s offensive social media posts.“Little fact for you: ‘Anora’ uses the F-word 479 times,” he said. “That’s three more than the record set by Karla Sofia Gascón’s publicist.”O’Brien also called out best actor nominee Timothée Chalamet’s portrayal of the musician Bob Dylan from the stage, and the absence of Dylan himself: “Bob Dylan wanted to be here tonight, but not that badly.”He also riffed on the recent news that Amazon has taken control of the James Bond franchise, joking that it had found its next 007: Amazon’s senior vice president of global affairs, Steve Belsky. “Ladies love him,” O’Brien said. (According to an Amazon corporate website, the real senior vice president and chief of global affairs is David A. Zapolsky.)After a joke about Adam Sandler’s fashion sense, O’Brien suddenly changed tone to address the devastation of the wildfires in Los Angeles, and how an awards show can seem self-indulgent if that context was not addressed. He praised the craftspeople and others behind the camera who devoted their life to film, and how the ceremony was to celebrate their work too.“Even in the face of terrible wildfires and divisive politics, the work, which is what this is about, the work continues,” he said. “For years to come through trauma, and joy, this seemingly absurd ritual is going to be here.”“I will not,” he continued. “I’m leaving Hollywood to run a bed-and-breakfast in Orlando. And I’d like to see you there.”O’Brien closed his monologue by promising not to waste time, before breaking into a musical number about how he would not waste time, complete with a dancing Deadpool and the sandworm from “Dune: Part Two” playing “Chopsticks” on a piano.“Well, we’re 40 minutes over,” O’Brien joked. More

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      Is the Movie ‘Wicked Really an Anti-Authoritarian Musical?

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      I first saw “Wicked” in 2003, when I was 22 and studying musical theater writing at N.Y.U. As a nascent musical theater writer, I was impressed by its craftsmanship and unusual premise: that the cackling, green-faced Wicked Witch of the West most of us know from the 1939 film has a name: Elphaba Thropp.We also learn that she is not wicked at all. That’s just propaganda spread by Elphaba’s enemies because she stood up for the rights of the enchanted land’s talking animals, whom the not-so-wonderful Wizard of Oz had oppressed. At the time, the plot and its modern sensibility read very simply to me as a quirky, catchy musical fairy-tale soap opera subversion of a beloved classic.It was only in the intervening years that I learned that “Wicked” was intended to have real world political resonance. With the election of President Trump to a second term, and the release of the first of its two parts as a film, “Wicked” has blossomed into what the director and producer Adam McKay recently described online as “one of the most radical big studio Hollywood movies ever made.” It is now feminist, queer and antifascist. I’ve even seen it suggested, however unseriously, that releasing the film before the 2024 election might have helped Kamala Harris win the presidency. “Wicked: Part One” is up for 10 Academy Awards on Sunday. If it wins Best Picture, I can only imagine that will be a signal to some on the liberal left that the roundly defeated Trump “resistance” is not so dead after all, and that the time has come to levitate on their brooms and take to the Western skies for battle in the 2026 midterms and beyond.But are assertions like this reading too much into this film? Does Elphaba have anything at all to do with this or any political moment in America? Or are we engaging in what I call progressive magical thinking — a mode of reasoning that takes existing texts and then tries to reclaim or reimagine them for the purpose of imbuing them with socially correct attitudes or critiques? As a musical and a film, “Wicked” falls squarely in the middle of this trend that has been exacerbated over time and by the internet’s obsession with current events and “timeliness.”But the inclusion of these references and themes does not paint a convincing portrait of any real-world political parallels in either 2003 (when “Wicked” opened on Broadway) or today.As one example, progressive magical thinking makes it reasonable to suggest that because of the fact that L. Frank Baum, the writer of the 1900 novel “The Wonderful Wizard of Oz,” upon which all of this is loosely based, had undeniably racist attitudes toward Native Americans, his judgment might have been too compromised to compassionately portray the true character of the Wicked Witch (a character he created), and thus, like child protective services, Gregory Maguire, who wrote the novel that the musical is based on, and later Stephen Schwartz, its composer, and Winnie Holzman, who wrote the musical’s book, rightly took custody of Mr. Baum’s abused child with their revisions. But if Mr. Baum’s racism is so objectionable, isn’t any attempt to reimagine his work just striking a complicit and corrupt bargain with a bigot?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “The Royal Tenenbaums” Introduced Gene Hackman to a New Generation

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      His performance in Wes Anderson’s “The Royal Tenenbaums” introduced Hackman to a new generation, and his presence helped define the film.When the director Wes Anderson and the actors Anjelica Huston, Bill Murray and Gwyneth Paltrow took the stage in 2011 for a panel celebrating the 10th anniversary of Anderson’s “The Royal Tenenbaums,” there was no need for small talk before addressing the elephant in the room.“So, no Gene Hackman?” began the director Noah Baumbach, the panel’s co-moderator, introducing an apparently genuine nervousness into the discussion.Hackman, who was found dead on Wednesday afternoon with his wife at their home in Santa Fe, N.M., at the age of 95, loomed over “The Royal Tenenbaums” in every possible sense.Within the film, of course, he is the paterfamilias — he is Royal Tenenbaum, “the displaced patriarch,” as Hackman put it in an on-set interview — of the remarkable, scattered family at the center of Anderson’s third film, the one that took him from art houses to the mainstream.That 2011 panel dived into Hackman’s presence, particularly an off-camera gruffness, that distinguished him from the whimsy typical of Anderson’s work. Here was the avatar of 1970s grit and paranoia — who had won an Oscar playing the bad-boy narcotics detective Popeye Doyle in “The French Connection” — dropped into a very different type of cinematic vision, from a very different generation.The tone throughout the panel, particularly from Anderson, was respectful and appreciative. But it was clear that Hackman stood out on set. At the time of filming “The Royal Tenenbaums,” Hackman was already considering a retirement that just a few years later he announced and stuck to, Anderson said. None of the panelists had been in touch with Hackman during the intervening years, they said. And they all remembered him being terse with Anderson.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Yura Borisov Was a Star for the Kremlin. Now He Could Be One at the Oscars.

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      Yura Borisov, who is nominated for an Academy Award on Sunday, is pulling off a rare feat: pleasing audiences at home in Russia as well as in the West.On the face of it, the Russian actor Yura Borisov was an unlikely actor to land an Oscar nomination in 2025.Just a few years ago he played a guileless soldier in a Kremlin-sponsored movie that celebrated a Soviet tank model. Later, he starred in a biopic of Mikhail Kalashnikov, the man who invented the Russian automatic rifle.But after Russia’s 2022 invasion of Ukraine, he stopped playing in militaristic movies. Last year, Western audiences fell in love with him as a tight-lipped but sentimental mafia errand boy in “Anora,” a Brooklyn-based indie dramedy about a stripper who impulsively marries the son of a Russian oligarch.At the Academy Awards on Sunday, Borisov is up for best supporting actor for the role.The war in Ukraine cut many Russian artists off from the West, but Borisov has been among the few who managed to transcend the dividing lines. He has continued a career in Russia, without endorsing or condemning the war, while in the West, he has evaded being seen as a representative of state-sponsored Russian culture.“Borisov hasn’t picked a side,” said Anton Dolin, a leading Russian film critic. “Maybe he is just very smart, or maybe he thinks he is not smart enough,” Dolin said by phone from Riga, Latvia, where he now lives in exile.“It doesn’t matter,” Dolin added. “His behavior and strategy have been impeccable.”Borisov at the BAFTA Film Awards in London this month. Over the past weeks, he has been on the road campaigning for awards for “Anora” and attending ceremonies. Andy Rain/EPA, via ShutterstockWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Three Years: Reflections on the Ukraine War

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      More from our inbox:Advice for Democrats: ‘Go Home and Listen’Lab Discoveries LostBuy Back Pennies and NickelsRe-evaluating Movies Andrew Kravchenko/Associated PressTo the Editor:Re “At Home and Abroad, Mourning Lives Lost Over Three Long Years” (news article, Feb. 25):Feb. 24 marked the third anniversary of the Russian invasion of Ukraine. I am inspired by, and my heart breaks for, the brave and noble Ukrainians. I wish my president were more like President Volodymyr Zelensky.Alison FordOssining, N.Y.To the Editor:Re “Dueling U.N. Resolutions on Ukraine Highlight Fissures Between the U.S. and Europe” (news article, Feb. 25):If the United States’ joining Russia to vote against a United Nations resolution to condemn Russia’s war against Ukraine isn’t giving aid and comfort to our enemy, I don’t know what is. Shame on us all.Eileen MitchellLewes, Del.To the Editor:Republicans, historically the party for a strong U.S. foreign policy and an understanding of who our democratic allies are, now remain silent.As President Trump embraces Vladimir Putin, widely suspected of being a killer of political rivals and journalists, and calls President Volodymyr Zelensky a dictator, our Republican senators and representatives should understand that their silence is more than acquiescence.It should be construed as supporting our current path. So when things go wrong, as they inevitably do when you cut deals with bad actors, don’t you dare pretend you were not a part of this abhorrent change in direction in U.S. policy.Steve ReichShort Hills, N.J.To the Editor:Re “Ukraine Nears a Deal to Give U.S. a Share of Its Mineral Wealth” (news article, nytimes.com, Feb. 24):I want to register my objection to the United States’ “mineral rights” demand to Ukraine. Further, any treaty granting our nation such rights must be approved by Congress, which I hope will show a shred of dignity and ensure that it at least gives Ukraine protection and sovereignty in return.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      2025 Film Independent Spirit Awards: Complete Winners List

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      Here’s who went home a winner at the Indy Spirit Awards, held on the beach in Santa Monica, Calif., on Saturday.“Anora” won best feature at the 40th annual Film Independent Spirit Awards on Saturday. Its director, Sean Baker, and lead, Mikey Madison, won in their respective categories. “Shogun” won best new scripted series, while “Baby Reindeer” took home three acting awards.Best Feature“Anora”Best First Feature“Dìdi”John Cassavetes AwardGiven to the best feature made for under $1,000,000.“Girls Will Be Girls”Best DirectorSean Baker, “Anora”Best ScreenplayJesse Eisenberg, “A Real Pain”Best First ScreenplaySean Wang, “Dìdi”Best Lead PerformanceMikey Madison, “Anora”Best Supporting PerformanceKieran Culkin, “A Real Pain”Best Breakthrough PerformanceMaisy Stella, “My Old Ass”Best CinematographyJomo Fray, “Nickel Boys”Best EditingHansjörg Weissbrich, “September 5”Robert Altman AwardGiven to one film’s director, casting director and ensemble cast.“His Three Daughters”Best Documentary“No Other Land”Best International Film“Flow” (Latvia, France, Belgium)Producers AwardGiven to an emerging producer of quality independent films with limited resources.Sarah WinshallSomeone to Watch AwardGiven to a talented filmmaker who has not yet been widely recognized.Sarah Friedland, “Familiar Touch”Truer Than Fiction AwardGiven to an emerging director of nonfiction features who has not yet been widely recognized.Rachel Elizabeth Seed, “A Photographic Memory”Best New Non-Scripted or Documentary Series“Hollywood Black”Best New Scripted Series“Shogun”Best Lead Performance in a New Scripted SeriesRichard Gadd, “Baby Reindeer”Best Supporting Performance in a New Scripted SeriesNava Mau, “Baby Reindeer”Best Breakthrough Performance in a New Scripted SeriesJessica Gunning, “Baby Reindeer”Best Ensemble Cast in a New Scripted Series“How to Die Alone” More