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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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Warner Bros. blasts ByteDance for AI Videos of Superman, Batman and ‘Game of Thrones’

Warner Bros. has joined a parade of studios in blasting ByteDance for “blatant infringement” on its new AI video service, accusing the Chinese company of facilitating user-generated knockoffs of its iconic characters.

The studio’s legal counsel fired off a letter on Tuesday to John Rogovin, the general counsel of ByteDance who happens to have previously worked as general counsel at Warner Bros. The letter takes note of Rogovin’s prior service in defense of the copyrights of Superman and Batman.

“These characters are the lifeblood of the company,” wrote Wayne Smith, the executive VP of legal at Warner Bros. Studios. “ByteDance is now engaged in blatant infringement of the very same properties you spent many years protecting.”

Warner Bros. demanded that ByteDance cease training on its characters and implement guardrails to prevent further infringement.

ByteDance, the owner of TikTok, released Seedance 2.0 last week, announcing it represents a “substantial leap in generation quality” over the prior versions. Within days, social media sites were flooded with cinematic-looking clips of Tom Cruise fighting Brad Pitt, Batman fighting Spider-Man, Superman fighting Thanos, and other permutations.

Users also posted “alternate endings” to films and TV shows, including one of the HBO series “Game of Thrones.”

The Motion Picture Association and SAG-AFTRA quickly denounced the new platform, while Disney and Paramount sent cease and desist letters last week. On Monday, ByteDance pledged to implement additional safeguards “as we work to prevent the unauthorised use of intellectual property and likeness by users.”

That promise did not satisfy Warner Bros., which said in its letter that the focus on users is misplaced.

“[T]he users are not the ones at the root cause of the infringement,” Smith wrote. “They are merely building on the foundation of infringement already laid by ByteDance as Seedance comes pre-loaded with Warner Bros. Discovery’s copyrighted characters. That was a deliberate design choice by ByteDance.”

The letter cites posts on X, formerly Twitter, that include Seedance videos of characters from “The Matrix,” “The Lord of the Rings,” “Harry Potter,” “Rick and Morty,” and “Game of Thrones.” It also cites fight scenes involving Batman, Catwoman, and Superman.

Warner Bros. acknowledges that ByteDance appears to be taking steps to block text prompts involving its characters.

“While this is a promising indication that we may resolve this dispute business to business, it nonetheless begs the question why guardrails that can so quickly and easily be implemented were not present upon Seedance’s release,” the letter states. (Variety)

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Netflix debated launching a theatrical movie business before Warner Bros. deal, Co-CEOs Say

Netflix has never been against putting its movies in theaters, according to the streamer’s top execs — but before it agreed to buy Warner Bros., it was too busy managing the fast-growing streaming business.

Co-CEOs Ted Sarandos and Greg Peters, speaking on the company’s Q4 2025 earnings interview, said the company had in the past internally debated whether or not to launch a business to distribute original Netflix films in theaters. But that always fell short of Netflix’s priorities list as the streaming side of the company continued to grow quickly.

Of course, the perception that Netflix doesn’t think theatrical is a great business was crystallized by Sarandos’ comments last year that moviegoing was “outmoded.” At the Time100 Summit in April 2025, Sarandos called the communal moviegoing experience “an outmoded idea.”

But that was then, and this is now, Sarandos told analysts Tuesday. “We were not in the theatrical business when I made those observations,” Sarandos said. “Remember, I’ve said it many times, this is a business, not a religion. So conditions change. Insights change. And we have a culture that we reevaluate things when they do.” He called out Netflix’s prior “pivots” around advertising, sports rights and live events — areas the company had previously said it had no interest in developing.

According to Sarandos, “we debated many times over the years whether we should build a theatrical distribution engine or not. And in a world of priority-setting and constrained resources, it just didn’t make the priority cut.”

When the WB deal closes, he said, “We will have the benefit of a scaled, world-class theatrical distribution business with more than $4 billion of global box office. And we’re excited to maintain it and further strengthen that business.” Sarandos, as part of his campaign to win over opponents to the megadeal, has committed to keeping Warner Bros. movies in a 45-day theatrical window.

Netflix’s default position going into talks with Warner Bros. Discovery was that “we were not buyers,” Sarandos said. “We went into this though with our eyes open, and our minds open. And when we got into, we both [Sarandos and Peters] got very excited about this amazing opportunity.”

Peters said that, based on Netflix’s film output deals, it already knew that the theatrical model is an “effective complement to the streaming model.” But when it came to recurring the question of building a theatrical distribution business, he said, “we were busy investing in other areas.”

Netflix has seen upside from special event releases of its originals in movie theaters, including the New Year’s Eve run of the “Stranger Things 5” finale (which generated more than $25 million at the box office) and the company’s limited runs of smash hit “KPop Demon Hunters.”

According to Netflix CFO Spence Neumann, the company sees the WB deal as an accelerant to its existing business. Roughly 85% of the revenue of the combined Netflix-WB, on a pro-forma basis, will come from the core streaming business with the added benefit of the Warner Bros. films and TV studios, he said.

Earlier Tuesday, Netflix announced it was switching the $83 billion deal to buy Warner Bros. Discovery’s studios and HBO Max streaming business to an all-cash offer. That was driven by pressure from Paramount Skydance, which has been pursuing a hostile takeover attempt of Warner Bros. Discovery with what it alleges is a superior deal for WBD shareholders. Netflix and WBD expect the transaction to close in 12-18 months, but right now it’s unclear how much resistance the deal with face from regulators. (Variety)

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Warner Bros favours Netflix offer over $108bn Paramount bid

Warner Bros Discovery has told its shareholders to reject Paramount Skydance’s $108.4bn (£80.75bn) takeover bid.

Paramount had said its offer was”superior” to a $72bn deal that Warner Bros struck with Netflix for its film and streaming businesses.

But in a dramatic plot twist in the story of who will take control of one of Hollywood’s oldest and most famous movie studios, Warner Brother’s board “unanimously” recommended rejecting the offer and agreed the deal with Netflix was in the firm’s best interests.

The media giant put itself up for sale in October after receiving “multiple” expressions of interest from potential buyers, including approaches from Paramount Skydance.

On 5 December, Warner Bros Discovery said it had agreed to sell its film and streaming businesses to Netflix.

In a lengthy legal filing, Warner Bros Discovery’s board said the offer from Paramount poses numerous and significant risks, and strongly rejects the idea that the Ellison family – one of America’s richest – is financially supporting the bid.

Paramount is backed by the billionaire Ellison family, which has close ties to the president.

In a reflection of where power now lies in the entertainment industry, the Warner Bros board says the offer from streaming giant Netflix is well financed and offers better long term value to shareholders.

Netflix welcomed the recommendation from Warner Bros. Ted Sarandos, Netflix’s co-chief executive, called the company’s merger agreement “superior” and “in the best interest of stockholders”.

In a letter to Warner Bros shareholders, Netflix reiterated its stance that its bid for Warner Bros involves a clearer funding structure and less regulatory risk.

Paramount could still come back with another offer, meaning the take-over saga gripping Hollywood isn’t over yet.

The are considerable differences between the Netflix and Paramount offers.

Netflix wants to buy Warner Bros. movie studio and its HBO streaming service, which would also give it access to Warner Bros’ rich library of content and secure access to those movies and shows for its subscribers.

But it doesn’t want the media giant’s pay-TV channels. If Warner Bros. goes with the Netflix deal it would leave Warner Bros to sell off its television networks, such as CNN and TNT, into a separate company before the takeover is completed.

Paramount, on the other hand, wants to buy Warner Bros in its entirety, which would mean acquiring competitors to its own TV channels such as CBS, MTV and Showtime.

Regulators might raise questions about an erosion of consumer choice, as the entertainment industry continues to consolidate ownership. (BBC)

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Netflix to buy Warner Bros film and streaming businesses for $72bn

Netflix has agreed to buy the film and streaming businesses of Warner Bros Discovery for $72bn (£54bn) in a major Hollywood deal.

The streaming giant emerged as the successful bidder for Warner Bros ahead of rivals Comcast and Paramount Skydance after a drawn-out battle.

Warner Bros owns franchises including Harry Potter and Game of Thrones, and the streaming service HBO Max.

The takeover is set to create a new giant in the entertainment industry, but the deal will still have to be approved by competition authorities.

Netflix co-chief executive Ted Sarandos said the streamer was “highly confident” it would receive the regulatory approval it needs and it was running “full speed” towards this.

He said that by combining the library of Warner Bros shows and movies with the streaming platform’s series such as Stranger Things, “we can give audiences more of what they love and help define the next century of storytelling”.

“Warner Bros have defined the last century of entertainment, and together we can define the next one,” he said.

Asked whether HBO should remain a separate streaming service, co-chief executive Greg Peters said Netflix believed the HBO brand was important for consumers, but added: “We think it’s quite early to get into the specifics of how we’re going to tailor this offering for consumers.”

Netflix estimates it will find $2bn to $3bn in savings, mostly through eliminating overlaps in the support and technology areas of the businesses.

Films made by Warner Bros will continue to be launched in cinemas, it said, and Warner Bros television studio will continue to be able to produce for third parties. Netflix will keep producing content exclusively for its own platform.

Labelling it a “big day” for the companies, Mr Sarandos acknowledged the acquisition may have surprised some shareholders but it was a “rare opportunity” to set Netflix up for success “for decades to come”.

David Zaslav, president and chief executive of Warner Bros, added the agreement would combine “two of the greatest storytelling companies in the world”.

“By coming together with Netflix, we will ensure people everywhere will continue to enjoy the world’s most resonant stories for generations to come,” he said.

The cash and stock deal is worth $27.75 per Warner Bros share, with a total enterprise value – which includes the company’s debts and the value of its shares – of about $82.7bn. The equity value, or cash price, is $72bn.

The boards of directors from each company unanimously approved the deal. (BBC)

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Kobe Bryant film in the works at Warner Bros.

A film project centered around NBA superstar Kobe Bryant’s journey to the Los Angeles Lakers has landed at Warner Bros., The Hollywood Reporter has confirmed.

Alex Sohn and Gavin Johannsen penned the spec screenplay for With the 8th Pick, which follows the high-stakes process that led to Bryant getting drafted into the NBA in 1996. The project was generating high interest from other studios and streamers before Warners stepped in preemptively to nab it. A director has not yet been attached.

With the 8th Pick is said to focus on the New Jersey Nets and then-general manager John Nash, who held the eighth pick in the draft and considered taking Bryant out of high school. The future Hall of Famer ended up being taken by the Charlotte Hornets with the 13th pick before he was traded to the Lakers, where he would win five NBA championships and become an icon of the city.

The project is described as having elements of Moneyball (which starred Brad Pitt), The Social Network and Air, Ben Affleck’s Matt Damon-starring pic that tracked the beginning of Michael Jordan’s now-legendary partnership with Nike. With the 8th Pick is said to detail the pivotal process during which slightly different decisions could have changed the NBA’s future.

Producers include Tim and Trevor White for Star Thrower Entertainment and Ryan Stowell for Religion of Sports. Also producing is Gotham Chopra, who co-founded Religion of Sports with Tom Brady and Michael Strahan.

Bryant was part of the legendary Lakers teams that included center Shaquille O’Neal and coach Phil Jackson. Bryant died in a helicopter crash in 2020 at age 41, as did 13-year-old daughter Gianna.

Sohn is also writing Netflix’s planned John Madden project that hails from Religion of Sports. He is represented by Verve and Lit Agency. Johannensen is repped by Verve and Gotham.

The InSneider was first to report on the film. (THR)

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‘Barbie’ animated feature in works from Illumination and Mattel Studios

Two years after the record-setting release of Barbie, the feminist live-action take on Mattel’s iconic doll that became a cultural phenomenon, Illumination and Mattel Studios have finalized a deal to develop a new Barbie movie that will be the first in animation for theaters, sources tell Deadline.

Reps for Illumination, Universal, and Mattel declined to comment. Not yet dated, we’re told the film will be released by Universal Pictures, which has an exclusive financing and distribution partnership with Illumination. No word yet on the plot of this Barbie or creatives attached.

Transcending all expectations as it grossed over $1.44 billion worldwide, Greta Gerwig’s Barbie, starring Margot Robbie, impacted culture like few other films in recent memory. Propelled to the highest heights in part by the “Barbenheimer” phenomenon, where audiences paired Barbie with Christopher Nolan’s Oppenheimer in a double-feature event, the film was the highest grossing of 2023 and has solidified its place in history as one the highest-grossing films of all time, along with the highest-grossing for a female director. That pic was released by Warner Bros., rather than Universal, and is the highest-grossing in the studio’s history. The film’s award run culminated in eight Academy Award nominations, including Best Picture, with Billie Eilish’s “What Was I Made For?” winning Best Original Song.

Since 1959, Barbie has held down its place as the the global category leader in Dolls, with more than 100 sold every minute. Barbie is also the #1 Girls/Dolls toy brand on social media.  

Mattel officially combined its film and television units to form Mattel Studios last month, as we told you first. The studio has two films slated for release in 2026: a live-action Masters of the Universe, to be released by Amazon MGM Studios, and a live-action Matchbox produced alongside Skydance and Apple. Earlier this month, we broke the news that Jon M. Chu has been enlisted to direct a live-action Hot Wheels movie for Warner Bros, with Mattel Studios and Bad Robot producing. The company also recently announced feature adaptations of the toy brands Whac-A-Mole and View-Master and is developing additional projects based on IP including American Girl, Bob the Builder, Magic 8 Ball, Major Matt Mason, Polly Pocket, Rock ‘Em Sock ‘Em Robots, Thomas & Friends, UNO and Wishbone.

Chris Meledandri’s animation powerhouse Illumination has two films coming up for release through Universal: a sequel to box office smash The Super Mario Bros. Movie (April 3, 2026) with Nintendo and Minions 3 (July 1, 2026). (Deadline)