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Oscars 2026: ‘One Battle After Another’ wins best picture while ‘Sinners’ makes history

Paul Thomas Anderson’s “One Battle After Another” was crowned best picture at the 98th Academy Awards, handing Hollywood’s top honor to a comic, multi-generational American saga of political resistance.

The ceremony Sunday, which also saw Michael B Jordan win best actor and “Sinners” cinematographer Autumn Durald Arkapaw make Oscar history as the first female director of photography to win the award, was a long-in-coming coronation for Anderson, a San Fernando Valley native who made his first short at age 18 and has been one of America’s most lionized filmmakers for decades. Before Sunday, Anderson had never won an Oscar.

But “One Battle After Another,” the favorite coming in, won six Oscars, including best director and best adapted screenplay for Anderson, the Oscars’ first trophy for best casting and best supporting actor for an absent Sean Penn.

“I wrote this movie for my kids to say sorry for the housekeeping mess that we left in this world — we’re handing off to them,” said Anderson while accepting the screenplay trophy. “But also with the encouragement that they will be the generation that hopefully brings us some common sense and decency.”

Ryan Coogler’s Jim Crow-set, blues-soaked vampire tale “Sinners,” which came in with a record 16 nominations, also landed some big and even historic wins. Coogler, the widely loved filmmaker, won the first Oscar in an unblemished career that started out with Jordan in 2013’s “Fruitvale Station.”

Jessie Buckley, left, winner of the award for best actress in a leading role for “Hamnet,” and Michael B. Jordan, winner of the award for best actor in a leading role for “Sinners,” pose in the press room at the Oscars on Sunday, March 15, 2026, at the Dolby Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

Arkapaw was also the first Black person to win for best cinematography. Only the fourth female cinematographer ever nominated, her win was a long-in-coming triumph for women behind the camera.

“I really want all the women in room to stand up,” said Arkapaw. “Because I don’t feel like I get here without you guys.”

And Jordan, one of Hollywood’s most liked leading men, won best actor in one of the night’s closest races. The Dolby Theatre rose to its feet in the most thunderous applause of the night.

“Yo, momma, what’s up?” said Jordan after staggering to the stage.

The Oscar night belonged to Warner Bros., the studio of “One Battle After Another” and “Sinners,” which scored a record-tying 11 wins. It was an oddly poignant note of triumph for the fabled studio, which weeks earlier agreed to a sale to Paramount Skydance, David Ellison’s rapidly assembled media monolith. The $111 billion deal, which awaits regulatory approval, has Hollywood bracing for more layoffs.

But “Sinners” and “One Battle After Another” — the much-acclaimed heavyweights of the season — were each Hollywood anomalies: big-budget originals born from a personal vision. In a year where anxiety over studio contraction and the rise of artificial intelligence often consumed the industry, both films gave Hollywood fresh hope.

Jessie Buckley won best actress for her performance as Agnes Shakespeare in “Hamnet,” making her the first Irish performer to ever win in the category. At an Oscars where no other acting award seemed a sure thing, Buckley cruised into Sunday’s Oscars at the Dolby Theatre as the overwhelming favorite.

“It’s Mother’s Day in the UK,” said Buckley on the stage. “I would like to dedicated this to the beautiful chaos of a mother’s heart.”

From the start, when host Conan O’Brien sprinted through the year’s nominees as Amy Madigan’s character in the horror thriller “Weapons” in a pre-taped bit, Sunday’s ceremony was quirky, a little clunky and preoccupied with the shifting place of movies in culture. There was, of all things, a tie for best live-action short film.

Host Conan O’Brien performs during the Oscars on Sunday, March 15, 2026, at the Dolby Theatre in Los Angeles. (AP Photo/Chris Pizzello)

As expected, the Netflix sensation “KPop Demon Hunters,” 2025’s most-watched film, won best animated feature, as well as best song for “Golden.” It was a big win for Netflix but a more qualified victory for the movie’s producer, Sony Pictures. Though it developed and produced the film, Sony sold “KPop Demon Hunters” to the streaming giant instead of giving it a theatrical release.

On Netflix, “KPop Demon Hunters” became a cultural phenomenon and the streaming platform’s biggest hit. It has more than 325 million views and counting.

“This is for Korea and Koreans everywhere,” said co-director Maggie Kang.

Another Netflix release, Guillermo del Toro’s “Frankenstein” picked up three awards for its lavish craft, for costume design, makeup and hairstyling and for production design.

Amy Madigan won best supporting actress for her performance in the horror thriller “Weapons,” a win that came 40 years after the 75-year-old actor was first nominated, in 1986, for “Twice in a Lifetime.” Letting out a giant laugh as she hit the stage, Madigan exclaimed, “This is great!”

Hosting for the second time, O’Brien began the Dolby Theatre show alluding to “chaotic and frightening times.” But he argued that the current geopolitical climate made the Oscars all the more resonate as a globally unifying force.

“We pay tribute tonight, not just to film, but to the ideals of global artistry, collaboration, patience, resilience and that rarest of qualities today — optimism,” O’Brien said. “We’re going to celebrate. Not because we think all is well, but because we work, and hope, for better.”

Throughout the show, O’Brien hit a number of targets, like Timothée Chalamet — who again missed out on winning his first Oscar, this time for “Marty Supreme” — for his diss of opera and ballet. But the ceremony seldom wasn’t shadowed by politics, whether in references to changes under U.S. President Donald Trump or the recently launched war in Iran.

Joachim Trier, whose Norwegian family drama “Sentimental Value” won best international film, quoted James Baldwin in his acceptance speech: “All adults are responsible for all children,” he said. “Let’s not vote for politicians that don’t take this seriously into account.”

Presenter Jimmy Kimmel, whose late-night show last year was suspended after comments he made about Charlie Kirk’s killing, was among the most blunt.

“There are some countries that don’t support free speech,” said Kimmel. “I’m not at liberty to say which. Let’s just leave it at North Korea and CBS.”

Shortly after, “Mr. Nobody Against Putin,” a film about a Russian primary schoolteacher who documents his students’ indoctrination to support Russia’s war with Ukraine, won best documentary.

“’Mr. Nobody Against Putin’ is about how you lose your country,” co-director said. “And what we saw when working with this footage is that you lose it through countless, small, little acts of complicity.”

“We all face a moral choice,” he added, “but, luckily, a nobody is more powerful than you think.”

Elegy also marked the Oscars. Producers expanded the in memoriam segment following a year that featured the deaths of so many Hollywood legends, including Keaton, Robert Duvall and Redford. Barbra Streisand spoke about Redford, her “The Way We Were” co-star.

“Bob had real backbone,” said Streisand, who called Redford “an intellectual cowboy” before singing a few bars of “The Way We Were.”

Billy Crystal paid tribute to Rob and Michele Reiner, who were killed in their home in December. Crystal, a close friend of Rob Reiner’s who memorably starred in 1989’s “When Harry Met Sally…” and 1987’s “Princess Bride.” In his moving remarks, Crystal quoted the latter.

“All we can say is: Buddy, how much fun we had storming the castle,” said Crystal.

Yet again, the night’s final award again didn’t go to a streaming release; Apple’s “CODA” remains the only streaming film to achieve that distinction. “Sinners” and “One Battle After Another” were both theatrical releases shot on film.

Apple’s top contender this time, the Formula One race drama “F1,” a movie that it partnered with Warner Bros. to distribute theatrically, won for best sound. The lone blockbuster of the year to go home with a win was “Avatar: Fire and Ash,” for visual effects.

Some of O’Brien’s best digs came at the expense of the streamers. Netflix chief Ted Sarandos, he joked, was in a theater for the first time. The host also lamented the lack of nominees for Amazon MGM: “Why isn’t the website I order toilet paper from winning more Oscars?”

“I’m honored to be the last human host of the Academy Awards,” said O’Brien. “Next year it’s going to be a Waymo in a tux.” (JapanToday)

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Sony to acquire control of Peanuts in $457million deal

Sony is paying more than a few peanuts to get majority ownership of Charles M. Schulz’s beloved Peanuts franchise featuring Snoopy, Charlie Brown and more.

Sony Pictures Entertainment and Sony Music Entertainment (Japan) announced that they entered into a definitive agreement with Canadian media company WildBrain to indirectly acquire all of the 41% stake held by WildBrain in Peanuts Holdings LLC.

Sony will pay CAN $630 million to WildBrain for the 41% stake, or roughly $457 million. The closing of the transaction is subject to certain closing conditions, including regulatory approvals.

As a result of the transaction, SMEJ and Sony Pictures Entertainment, together with SMEJ’s existing approximately 39% stake, will indirectly own 80% of Peanuts Holdings LLC, while the members of the family of Charles M. Schulz will continue to own the remaining 20%. The ownership of rights to “Peanuts” and the management of its business continue to be handled by Peanuts Worldwide, a wholly owned subsidiary of Peanuts Holdings LLC.

With Sony taking an 80% stake, Peanuts Holdings LLC (including Peanuts Worldwide), will become a consolidated subsidiary of the Sony Group. SMEJ will take the lead in managing Peanuts Holdings LLC in partnership with SPE.

“Since 2018, SMEJ has been proud to be part of the partnership behind ‘Peanuts,’ an iconic global entertainment brand with a 75-year legacy of delighting audiences worldwide,” Shunsuke Muramatsu, president and group CEO, Sony Music Entertainment (Japan), said in a statement. “With this additional ownership stake, we are thrilled to be able to further elevate the value of the ‘Peanuts’ brand by drawing on the Sony Group’s extensive global network and collective expertise.

He continued, “We are deeply committed to carrying forward the legacy of Charles Schulz and the Schulz family. Together with SPE, and backed by WildBrain’s continued partnership, we will continue to embrace new opportunities to ensure that ‘Peanuts’ remains a relevant and beloved presence across generations—reaching new audiences and sharing the timeless charm of the ‘Peanuts’ gang for years ahead.”

Since acquiring an interest in Peanuts Holdings in 2018, SMEJ said, it has focused on expanding the “Peanuts” IP business while maintaining and further building a positive relationship with the Schulz family. The company said it aims to continue to use its expertise in the character business — and the extensive network of the Sony Group — to “drive further growth of the Peanuts IP business and enhance the brand’s value.”

Ravi Ahuja, president and CEO of Sony Pictures Entertainment, said, “‘Peanuts’ is enduring and iconic. We value the deep collaboration we have with our SMEJ colleagues and look forward to building on their meaningful partnership with WildBrain and the Schulz family. With our combined strengths, we have the unique capability and extraordinary opportunity to protect and shape the future of these beloved characters for generations to come.”

Josh Scherba, president and CEO of WildBrain, commented, “Sony has been an excellent partner on the ‘Peanuts’ brand for many years, and we’re confident that Charlie Brown, Snoopy and the gang are in good hands with them. We’d like to thank the Peanuts Worldwide team, as well as the Schulz family, for their incredible collaboration, and we look forward to working with them and Sony going forward to continue driving global success for ‘Peanuts’”

Charlie Brown, Snoopy and the rest of the “Peanuts” crew were first introduced to the world by Charles M. Schulz on Oct. 2, 1950, when the comic strip debuted in seven newspapers. The franchise has since become a global hit. In addition to the “Peanuts” shows and specials on Apple TV, the brand encompasses thousands of consumer products, as well as amusement park attractions, cultural events, social events, social media, and comic strips in all formats.

For WildBrain, the deal will eliminate 100% of its debt “and gives us financial flexibility to accelerate the growth of our iconic franchises Strawberry Shortcake and Teletubbies, while also investing in our premium digital content network across YouTube, FAST and AVOD, and in new technologies to drive innovation,” the company said.

Under the agreement, WildBrain also remains a multiyear partner to Peanuts for key services, including acting as distributor for WildBrain-produced Peanuts content and continued management of the Snoopy YouTube channel. In addition, the company will serve as exclusive licensing agent through its agency WildBrain CPLG for consumer products in all current territories across Europe, the Middle East, China, and Asia Pacific (excluding Japan, Australia and New Zealand).

WildBrain also will operate an exclusive production studio for new Peanuts content — including the previously announced animated feature film — under a partnership with Apple TV, recently renewed through 2030. (Variety)

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‘Demon Slayer: Infinity Castle’ breaks another record, tops domestic box office for second weekend

Hollywood has long viewed anime as a modest but steady genre at the domestic box office. But the unexpected success of “Demon Slayer: Infinity Castle” has forced the industry to rethink the potential of Japanese animation to draw big audiences to theaters.

“Infinity Castle,” distributed by Sony-owned Crunchyroll, fell 76% from its opening weekend, but still finished No. 1 at the box office, raking in $17.3 million Friday through Sunday and bringing its total earnings to $104.73 million after nine days in US theaters.

An anime film vastly outperforming expectations has been a long time coming. There have been more than 100 anime movies released since 2000, yet none have reached $50 million at the domestic box office. A poll released in January 2024 from Vox Media and Polygon showed that 42% of Gen Z say they watch anime weekly.

In the case of “Infinity Castle,” it has helped that the latest installment from the popular “Demon Slayer” franchise has drawn acclaim from critics, receiving a 98% approval rating on Rotten Tomatoes and a 69 rating on Metacritic.

“I think studio heads and movie theaters should be very happy that, if this becomes a trend rather than an anomaly, it will add another category of film to the quiver of potential content to put on the big screen,” said Paul Dergarabedian, head of marketplace trends at Comscore.

The sustained attention “Infinity Castle” has received from Gen Z and Gen Alpha has been a key driver for not just the movie but for the anime genre, and provided Sony and Crunchyroll with the surprise hit of September.

Dergarabedian said it’s “somewhat unprecedented” for an international anime movie to perform so well domestically.

Shawn Robbins, director of analytics at Fandango and founder of analytics firm Box Office Theory, said the movie’s buzz coming from younger moviegoers “can be a double-edged sword” because the interest can die off quickly or it can gain momentum by adding new audiences, reminiscent of the expectation-shattering run that Warner Bros. Pictures’ “A Minecraft Movie” had this year when it pulled in $162.75 million in its opening weekend, and finished with $424 million.

Warner Bros. Discovery is the parent company of CNN.

The record-breaking opening weekend of “Infinity Castle” may have broadened the realm of anime to US moviegoers who otherwise wouldn’t have considered watching a “Demon Slayer” movie, said Robbins.

“That can really inspire people to go and check out something that they might not have heard of otherwise,” Robbins said, adding that the movie brought out “virtually all corners of the anime world,” including viewers with a passing interest.

On Friday, “Infinity Castle” became the highest-earning anime movie domestically, surpassing another record previously held by Warner Bros. 1999 hit, “Pokémon: The First Movie — Mewtwo Strikes Back” ($85 million). (CNN)

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PlayStation’s Visual Arts and Malaysia studios have reportedly suffered ‘many’ layoffs

Sony has laid off a number of developers at PlayStation’s Visual Arts studio and its Malaysian support studio, with a new report suggesting many staff are affected.

On Monday, former PlayStation Visual Arts project manager Abby LeMaster posted a message on LinkedIn stating that “many” people from the Visual Arts group had lost their job that day.

“It was tough waking up to messages that many friends and former coworkers from PSVA were laid off this morning,” said LeMaster, who now works at Riot Games. “The layoffs today hit hard. PSVA let go of developers with decades of subject matter expertise, talent that will be extraordinarily difficult to recoup. This industry can be unpredictable, but the skill, experience, and passion of the people I worked with at PSVA are undeniable.”

While LeMaster’s comments didn’t state how many people have been affected, a source familiar with the situation reportedly told Kotaku that the cuts are “widespread”, and that while some were related to recently cancelled projects – such as Bend Studio’s canned live service game – the layoffs reportedly went beyond that.

Located in San Diego, the Visual Arts studio supports Sony‘s other first-party studios with art, animation and technical assistance, and also collaborates with third-parties on games, movies and TV shows.

It was also reported by Nmia Gaming that layoffs have also taken place at the Kuala Lumpur-based PlayStation Studios Malaysia, which was founded in 2020 as a support studio to work alongside the Visual Arts team.

In a post on LinkedIn, PlayStation Studios Malaysia senior project manager Johann Mahfoor said he had been affected by the layoffs, stating: “It was a tough start of the week for us at PlayStation Studios Visual Arts. There was a wave of mass workforce reduction which affected Malaysia and our global counterparts, and unfortunately I’m no longer part of the brand.”

This is the latest in a series of layoffs being carried out by PlayStation in recent years, something that has been affecting the games industry as a whole. A year ago it was confirmed that Sony’s PlayStation department was laying off around 900 employees worldwide – around 8% of its entire workforce.

In January it was reported that Sony had cancelled a live service game being worked on by Bend, as well as another in development at Bluepoint Games. (VGC)

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Sony’s PlayStation Network reports major global outage


Sony’s PlayStation Network (PSN), which connects gamers online on its systems, experienced a massive outage that lasted about 24 hours.

PlayStation Support posted an update on X that users “should be able to access online features without any problems now,” following reports of outages on Friday.

The service issues began on Friday at 7 p.m. ET, according to PlayStation’s status website. The outage had made it difficult for many users to access account management, gaming, video, the PlayStation Store and Direct services on the internet and their console devices, like the PlayStation 5.

The outage was among the longest the platform has experienced.

In April 2011, almost all of PlayStation Network’s subscribers lost access to its services for nearly a month following a data breach.

Sony and PlayStation did not respond to CNN’s requests for comment. PlayStation has not stated what caused the outage.

Some users had posted to TikTok and X that they were regaining access on Saturday afternoon, though some claimed the functioning service was only temporary. PSN has an estimated 116 million monthly users, according to Sony Interactive Entertainment estimates from September 30.

On Friday night, the services team for Marvel Rivals — a game released in December on platforms including PlayStation — posted to X that users “might have difficulty launching games, apps, or network features.”

The post also said that they were “actively communicating with the PlayStation team.”

“We’re seeing players able to log-in and play again on PlayStation platforms, but not all game services may be back online,” Fortnite’s services team posted to X on Saturday afternoon. (CNN)