The Football Association has charged Crystal Palace with misconduct after supporters held a banner depicting Nottingham Forest owner Evangelos Marinakis holding a gun to midfielder Morgan Gibbs-White’s head.
The banner, unfurled during the 1-1 Premier League draw at Selhurst Park in August, read: “Mr Marinakis is not involved in blackmail, match-fixing, drug trafficking or corruption.”
Marinakis has consistently denied any wrongdoing in relation to such allegations.
The FA has charged Palace with failing to ensure that supporters did not behave in an improper, offensive, abusive or provocative way.
There’s a good chance that a horror movie will be nominated for the 2025 best picture Oscar.
And if Ryan Coogler’s “Sinners” or Guillermo del Toro’s “Frankenstein” make the cut, it will be the first time in the Academy Awards’ 97-year history that a fright film has been nominated in consecutive contests.
It’s long overdue. And if you believe part of Oscars’ purpose is to promote the industry and celebrate its achievements, there’s no better time for the academy to get over its traditional disdain for cinematic monstrosities.
As most other sectors of Hollywood’s film business look precarious — adult dramas, the traditional awards season ponies, are dropping like dead horses at the box office, while attendance for the once-mighty superhero supergenre continues to disappoint — horror has hit its highest annual gross of all time, $1.2 billion, with a good two months left to go.
“Sinners,” released in April, remains in fifth place on the domestic box office chart with $279 million. Its fellow Warner Bros. offerings “The Conjuring: Last Rites,” “Weapons” and “Final Destination: Bloodlines” occupied slots 12 through 14 as of mid-October.
Mia Goth as Elizabeth and Oscar Isaac in “Frankenstein.”
(Ken Woroner / Netflix)
“Horror has been, historically, the Rodney Dangerfield of genres,” notes Paul Dergarabedian, head of marketplace trends for global media measurement firm Comscore. “It can’t get no respect.
“But horror is very important to the industry on so many levels now,” he continues. “We have four horror movies in the top 15 this year, all of those generating over $100 million in domestic box office. And to make a significant scary horror movie, you don’t have to break the bank. Look at [‘Weapons’ filmmaker Zach Cregger’s 2022 breakout feature] ‘Barbarian’; half of that was shot in a basement.” Similarly, compare “Sinners’” $90 million price tag to “Black Panther’s” $200 million.
Horror’s popularity has gone in cycles since Universal’s run of classic monster movies in the early 1930s. But profitability has been a reliable bet more often than not — and Karloff’s “Frankenstein” and Lugosi’s “Dracula” still resonate through pop culture while most best picture winners of the same era are forgotten.
Still, it wasn’t until 1974 that “The Exorcist” received the first best picture nomination for a horror film, and ahead of the success of “The Substance” at the 2025 Oscar nominations the genre’s fortunes had only marginally improved. Indeed, many of the titles usually cited as a mark of horror’s growing foothold in awards season — “Jaws,” “The Sixth Sense,” “Black Swan,” 1991 winner “The Silence of the Lambs” — are arguably better characterized as something else entirely, or at best as hybrids. (To wit, the sole monster movie that’s won best picture, Del Toro’s 2017 “The Shape of Water,” is primarily considered a romantic fantasy.)
Ryan Coogler’s “Sinners.”
(Warner Bros. Pictures)
Fright films’ reputation for delivering cheap thrills to undiscerning audiences was often deserved, but there were always stellar horror films that the academy overlooked. And more recently, films such as “The Substance,” “Sinners” and Jordan Peele’s 2017 nominee “Get Out” have pierced ingrained voter prejudices against the genre by adding social commentary and undeniable aesthetic quality without compromising gory fundamentals.
“The horror genre really does seem to be attracting great directors who are immersed in it, have a real auteur point-of-view and make interesting movies that have horror elements but explore other themes as well,” notes The Envelope’s awards columnist, Glenn Whipp. “‘Sinners’ is Ryan Coogler’s vampire movie, but it’s also about the Jim Crow South and American blues music. How can you resist that if you’re an academy voter?”
And with horror packing in filmgoers like no other genre, high-profile nominations could help the Academy Awards broadcast attract the bigger ratings its stakeholders have been desperately seeking at least since “The Dark Knight” failed to make the best picture cut in 2008.
Austin Abrams in “Weapons.”
(Warner Bros. Pictures)
“That was the whole reason we went to 10 potential nominees,” Dergarabedian recalls. “We wanted to have more blockbuster representation at the Oscars. This may be the perfect storm. If I were an academy voter, I would vote for ‘Sinners’ and ‘Weapons.’ I don’t think that’s an overstatement, given the films that have come out this year.”
Even beyond this “perfect storm,” though, Whipp sees a sea change afoot.
“Everything’s an Oscar movie now if it’s well made,” he says. “Studios aren’t really making traditional, grown-up dramas and the academy can only nominate what’s in front of them. Horror is being produced at a rate that is greater than it used to be, and at least two of these Warner movies really landed with audiences and critics. The genre is attracting some of our top filmmakers right now, and that’s something that will trickle down to the Oscars.”
“This is not a blip,” Dergarabedian concludes. “It’s a trend that feels like it’s happened overnight but it’s been a long time coming. Back in 2017 we had our first $1-billion-plus horror movie box office. If they stop making good horror movies it might be a blip, but I think Hollywood should take this and bloody run with it.”
‘Stop killing children, Stop killing civilians’ banners shown at match after criticism over tribute to Palestinian footballer Suleiman al-Obeid who was killed by Israel.
UEFA has unfurled a banner with the message “Stop Killing Children. Stop Killing Civilians” on the pitch before the Super Cup football match between Paris Saint-Germain and Tottenham in Udine, Italy, in the wake of heavy fallout over its meek tribute to a Palestinian player killed by Israel.
“The message is loud and clear,” European football’s governing body said in a post on X om Wednesday. “A banner. A call.”
Nine children refugees from Palestine, Afghanistan, Ukraine, and Iraq carried the banner onto the field of play before the game began.
Liverpool forward Mohamed Salah last week criticised a UEFA tribute to the late Suleiman al-Obeid, known as the “Palestinian Pele”, after European football’s governing body failed to reference the circumstances surrounding his killing.
The Palestine Football Association said al-Obeid, 41, was killed by an Israeli attack on civilians waiting for humanitarian aid in the southern Gaza Strip.
In a brief post on X, UEFA called the former national team member “a talent who gave hope to countless children, even in the darkest of times”.
Salah responded, “Can you tell us how he died, where, and why?”
Speaking to Al Jazeera last week, Bassil Mikdadi, the founder of Football Palestine, said he did not expect the football body to respond to the criticism.
“UEFA have not issued a follow-up, and frankly, I’d be surprised if they do,” he said, citing the “complete silence” of football and players’ bodies since the start of the war on Gaza.
Even UEFA’s tribute to al-Obeid “was a bit of a surprise”, Mikdadi said.
“Suleiman al-Obeid is not the first Palestinian footballer to perish in this genocide – there’s been over 400 – but he’s by far the most prominent as of now.”
Salah, one of the Premier League’s biggest stars, has advocated for humanitarian aid to be allowed into Gaza during the nearly two-year-long war.
But some responding to Salah’s post asked why it had taken the 33-year-old Egyptian so long to weigh in on Israel’s genocidal war.
The banner move came a day after the UEFA Foundation for Children announced its latest initiative to help children affected by war in different parts of the world – a partnership with Medecins du Monde, Doctors Without Borders (known by its French initials MSF), and Handicap International.
They are charities “providing vital humanitarian help for the children of Gaza,” UEFA said in a news release on Tuesday.
UEFA has supported projects regarding children affected in conflict zones in Afghanistan, Lebanon, Sudan, Syria, Yemen and Ukraine.
‘Stop killing children, Stop killing civilians’ banners shown at match after criticism over tribute to Palestinian footballer Suleiman al-Obeid who was killed by Israel.
UEFA has unfurled a banner with the message “Stop Killing Children. Stop Killing Civilians” on the pitch before the Super Cup football match between Paris Saint-Germain and Tottenham in Udine, Italy, in the wake of heavy fallout over its meek tribute to a Palestinian player killed by Israel.
“The message is loud and clear,” European football’s governing body said in a post on X om Wednesday. “A banner. A call.”
Nine children refugees from Palestine, Afghanistan, Ukraine, and Iraq carried the banner onto the field of play before the game began.
Liverpool forward Mohamed Salah last week criticised a UEFA tribute to the late Suleiman al-Obeid, known as the “Palestinian Pele”, after European football’s governing body failed to reference the circumstances surrounding his killing.
The Palestine Football Association said al-Obeid, 41, was killed by an Israeli attack on civilians waiting for humanitarian aid in the southern Gaza Strip.
In a brief post on X, UEFA called the former national team member “a talent who gave hope to countless children, even in the darkest of times”.
Salah responded, “Can you tell us how he died, where, and why?”
Speaking to Al Jazeera last week, Bassil Mikdadi, the founder of Football Palestine, said he did not expect the football body to respond to the criticism.
“UEFA have not issued a follow-up, and frankly, I’d be surprised if they do,” he said, citing the “complete silence” of football and players’ bodies since the start of the war on Gaza.
Even UEFA’s tribute to al-Obeid “was a bit of a surprise”, Mikdadi said.
“Suleiman al-Obeid is not the first Palestinian footballer to perish in this genocide – there’s been over 400 – but he’s by far the most prominent as of now.”
Salah, one of the Premier League’s biggest stars, has advocated for humanitarian aid to be allowed into Gaza during the nearly two-year-long war.
But some responding to Salah’s post asked why it had taken the 33-year-old Egyptian so long to weigh in on Israel’s genocidal war.
The banner move came a day after the UEFA Foundation for Children announced its latest initiative to help children affected by war in different parts of the world – a partnership with Medecins du Monde, Doctors Without Borders (known by its French initials MSF), and Handicap International.
They are charities “providing vital humanitarian help for the children of Gaza,” UEFA said in a news release on Tuesday.
UEFA has supported projects regarding children affected in conflict zones in Afghanistan, Lebanon, Sudan, Syria, Yemen and Ukraine.
