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The overseeing body of the annual BAFTA Awards says it is taking “full responsibility” for the racist slur an audience member with Tourette syndrome shouted while “Sinners” stars Michael B. Jordan and Delroy Lindo took the stage at Sunday’s ceremony.

“We take full responsibility for putting our guests in a very difficult situation and we apologise to all,” the British Academy of Film and Television Arts said in a statement published Monday morning following widespread public outcry. “We will learn from this, and keep inclusion at the core of all we do, maintaining our belief in film and storytelling as a critical conduit for compassion and empathy.”

Jordan and Lindo were presenters for the awards show, which aired after a two-hour delay on the BBC, and took the stage at London’s Royal Festival Hall to present the visual effects category. Their segment was quickly interrupted when someone in the audience off-screen shouted the N-word. The co-stars, who are both Black, paused before their presentation.

Later in the program, BAFTA Awards host Alan Cumming addressed the outburst, referencing the nominated film “I Swear,” about Scottish Tourette syndrome campaigner John Davidson. Davidson, an executive producer for the BAFTA-nominated film, was in the audience and left his seat midway through the ceremony.

“The tics you have heard tonight are involuntary — that means the person who has Tourette syndrome has no control over their language and we apologize if it has caused offense,” Cumming explained.

The Mayo Clinic defines Tourette syndrome as a disorder that “involves repetitive movements or unwanted sounds (tics) that can’t be easily controlled.” According to the Tourette Assn. of America, some people who live with Tourette syndrome can also experience coprolalia, “an involuntary outburst of obscene words or socially inappropriate and derogatory remarks” that do not necessarily reflect the person’s “thoughts, beliefs or opinions.”

BAFTA echoed this sentiment in its statement and said it had made efforts to ensure attendees “were aware of the tics,” informing audiences at the beginning of the show that Davidson was in the room and “they may hear strong language, involuntary noises or movements during the ceremony.

Concerning Davidson’s use of the racist slur, BAFTA said “we apologise unreservedly to [Jordan and Lindo], and to all those impacted.”

“We would like to thank Michael and Delroy for their incredible dignity and professionalism,” BAFTA said.

The organization also acknowledged Davidson who, after leaving the ceremony, watched the rest of the show from a screen. Actor Robert Aramayo, who portrays Davidson in “I Swear,” bested Hollywood favorites for the leading actor prize.

Though representatives for Jordan and Lindo did not immediately respond to a request for comment Monday, the co-stars spoke to Vanity Fair about the controversy. Lindo said he and his co-star “did what we had to do” for the ceremony, but he added he wished “someone from BAFTA spoke to us afterward.”

Davidson, in a statement published by Deadline, said that while his tics and outbursts do not reflect his beliefs, he is always “deeply mortified if anyone considers my involuntary tics to be intentional or to carry any meaning.” He did not directly mention Jordan or Lindo.

BBC apologized for not editing out the slur before broadcasting the ceremony, according to the Associated Press. The network had managed to edit out other portions of the ceremony — including filmmaker Akinola Davies Jr. saying “Free Palestine” — but not the racist slur, “Good Morning America” reported. The Guardian reported that producers also failed to hear the inappropriate remark during the original taping.

BBC said Monday that it will edit out the slur.

The controversial BAFTA Awards moment spurred backlash and conversations about Tourette syndrome. On social media, “Sinners” production designer Hannah Beachler alleged similar outbursts occurred three times through the course of the evening, once “directed at myself” and another “at a Black woman.”

“But what made the situation worse was the throw away apology of ‘if you were offended at the end of the show,” she posted on X. “Of course we were offended…but our frequency, our spiritual vibration is tuned to a higher level than what happened.”

Also on X, journalist Jemele Hill, “Superman” actor Wendell Pierce and Black List founder Franklin Leonard called out the expectation for Jordan and Lindo to carry on as normal after facing the racist slur, and the lack of immediate accountability from BAFTA.

“It’s infuriating that the first reaction wasn’t complete and full throatted [sic] apologies to Delroy Lindo and Michael B. Jordan,” Pierce tweeted. “The insult to them takes priority. It doesn’t matter the reasoning for the racist slur.”

Jamie Foxx and “The Breakfast Club” host Charlamagne tha God also shared their takes on Davidson’s outbursts. Foxx alleged in a handful of Instagram comments that Davidson’s use of the racist slur was intentional. Charlamagne that God sought accountability from the teams behind Sunday’s awards ceremony and speculated that “somebody somewhere taught [Davidson] the language.”

“It’s just convenient he saved his most offensive outburst for Black people. OK?” he said. “I can be respectful of the condition but I don’t respect none of y’all that allowed him to be there with the condition.”

The radio host added: “Just because you have a disability does not mean we will tolerate the disrespect.”

Tourettes Action, an organization and research charity based in the United Kingdom, addressed the negative comments regarding Davidson’s outbursts and called for understanding and education about Tourette Syndrome.

“The price of being misunderstood is increased isolation, risk of anxiety and depression and death by suicide,” the organization said. “We hope that those commenting will take the time to watch the film, learn about Tourette’s, and understand the experiences behind moments like these. Education is key, and compassion makes a world of difference.”

Inside its sci-fi trappings — space travel, crazy technology, oodles of extraterrestrials — Pixar’s “Elio” is the story of an outsider kid who finds a new family. That’s true of the protagonist, a lonely boy who longs to leave Earth, and of the film itself.

“Elio’s” original mission was launched by Adrian Molina, co-writer of “Coco,” who worked on writing and directing the project for a couple of years before departing, officially to devote himself to “Coco 2.” Molina was replaced in “Elio’s” director’s chair(s) by Domee Shi, who helmed “Turning Red” and won an Oscar for her short “Bao,” and Madeline Sharafian, a story artist on “Coco” and story lead on “Turning Red.”

“The basic premise from Adrian’s beginning, five years ago, has stayed the same,” says Sharafian: “A lonely, weird little boy gets abducted by aliens and is mistaken for the leader of Earth. The biggest change we made, and everything rippled from there, was that Elio always wanted to be abducted by aliens, to find a place where he belongs.”

Shi says, “Both of us were weirdo kids in our respective hometowns who dreamed of not being the only one. I was one of the only kids in my school that liked anime. When I finally got into animation school, I was like, ‘I found my people, and I didn’t realize how much I wanted this.’ ”

One tectonic shift under Shi and Sharafian came from screenwriter Julia Cho, who co-wrote “Turning Red” with Shi: Instead of Olga (voiced by Zoe Saldaña) being Elio’s mom, she would be his aunt. Elio (voiced by Yonas Kibreab) would lose both parents before the film. That reconfigured his alienation, so to speak. A harsh confrontation between mother and child usually rests on the foundation that they already know and love each other. For an orphaned boy and his guardian aunt, that closeness must be earned.

“That love isn’t a given,” says Sharafian. “There was no assumption it would be there. So when it is, it’s all the more moving.”

“Elio” directors Domee Shi and Madeline Sharafian’s shared “visual language” reshaped the film after they took on the project from its initial director, Adrian Molina.

(Pixar Animation Studios)

Amid the changes, Shi and Sharafian say the working relationship they established on “Turning Red” was invaluable.

Shi says, “Though we have different backgrounds, we grew up watching a lot of the same movies. Both of us love Miyazaki films, we love ‘Sailor Moon,’ we love Disney, Pixar.”

Sharafian adds, “We speak the same visual language. There would be many moments when it was time to come up with a new shot and we both drew the same thing.”

In its 28 previous features, Pixar had dabbled in sci-fi, but “Elio” is immersed in it, with just a soupçon of … horror?

“We’re huge fans of sci-fi horror,” says Shi, “and we wanted to use those moments with Elio’s clone and Olga to have fun, to playfully scare some kids — and some adults too.”

That “clone” is a dead ringer for the protagonist, but it emerged from space goo and formed into an eerily cheerful version of the boy, like something from “Invasion of the Body Snatchers” or “The Stepford Wives,” but nice.

“The movies that impacted me the most as a kid, a lot of them did scare me, but they rewarded me as well,” says Shi. “Our film has this Spielberg-y, comfortable, nostalgic, family sci-fi vibe. So when the audience is at their most comfortable, that’s the perfect opportunity to give ’em a little spook.” Both directors cackle.

Sharafian adds, “ ‘Close Encounters’ is so scary, but in an amazing, tense way, and the musical [phrase] the aliens sent, I was so haunted by that. When we had the universe reach out to Elio, we were like, ‘How do we capture that same feeling — we want to know more, but we’re unsure of their intentions?’ ”

Beyond Steven Spielberg’s “Close Encounters of the Third Kind” and “E.T.,” the shared influences of the sci-fi horror of “The Thing” and “Alien” influenced their choice of a virtual anamorphic lens for their cinematography and aping the visual noise and atmospheric mist in those films.

Among the changes Shi and Sharafian made to “Elio” is its “epic” widescreen aspect ratio.

(Pixar Animation Studios)

Shi adds that they also changed the aspect ratio from 1.85 (standard widescreen) to 2.39:1 (anamorphic widescreen, an ultrawide look): “It helped shots of Elio on Earth feel more lonely, but also made space feel more epic.”

“To lay that on top of” Molina’s existing work, says Sharafian, “completely changed what the movie looked like.”

The directors agree that most of the film seamlessly blends their input, though Shi specialized in the horror and action sequences, while Sharafian leaned into the emotional scenes.

“A lot of Act 1 was you, Maddie,” says Shi, “where he’s feeling soulful and lonely. I love that. Yearning, watching the stars. I feel like that’s probably from your own childhood.”

Sharafian chuckles and says, “Yes, I was very lonely! My sister and I say we had ‘rich inner lives’ because we didn’t have a lot going on outside.”

It’s not “Up”-level gut-wrenching, but the scenes establishing the heartbroken boy’s lingering trauma hit pretty hard.

“I feel like it’s good to be sad,” says Sharafian. “At Pixar, we’re lucky; we get to stay in a childlike headspace for a really long time. I think we forget how deep children’s emotions are and how, when you’re young, you’re already thinking about very sad things and dark things. So I don’t think it’s too much.”

When the pandemic hit, and reality settled in that life would be isolated and mostly inside, Grammy winner Anderson .Paak found himself on the outside looking in, in a way he didn’t anticipate. “I was the odd man out. My son was 8, and BTS took over the whole house,” .Paak explained in an interview with The Times at his WeHo lounge, Andy’s. “It was a K-pop storm. Before that, me and my son were bonding off of my music.”

.Paak’s son, Soul Rasheed, and his now ex-wife originally from Korea, Jaylyn Chang, had become obsessed with K-pop alongside much of America, which reminded .Paak of the intensity of Beatlemania. Black American music influenced the birth of a new style, which formed and expanded across oceans, then returned to the U.S. and exploded. This effect in the .Paak household was palpable, causing Soul and Chang to deeply bond in a new way. .Paak himself, as a soul, R&B and hip-hop aficionado, was tapped into the source, but not the reinterpreted subject. So he had to find a way in.

Soul, at the time, like many 8-year-olds, had also become obsessed with becoming a YouTuber. Besides .Paak’s music, the father-and-son duo had also previously connected over humor, so .Paak started there. They began with funny skits and eventually fused them with BTS dances. Soon, there were even videos featuring them comedically educating each other about their individual music tastes. “I loved it,” .Paak recalled, getting lost in the memory. “I was getting to know him more, and he was getting to know me. My mom would always say, ‘It’s one thing for your kids to love you, but it’s another to share things you’re interested in.’ It wasn’t like I was being Anderson .Paak, I was just Dad.”

“I was getting to know him more, and he was getting to know me,” .Paak said of bonding with his son, Soul.

(Carlin Stiehl / For The Times)

Through this exploration and the realization of a potential continued familial bond, a story idea emerged, then a treatment for a K-pop-centered film that .Paak would direct and he and Soul would both star in. .Paak then began directing a slew of music videos as the pandemic began to fade, building a portfolio and gaining experience in the medium. But he could start to sense Soul’s interest fading as time passed. After a few failed pitch attempts, .Paak urgently enlisted the help of one of his oldest friends and fellow entertainer, Jonnie “Dumbfoundead” Park, who brought .Paak and the idea to Stampede Ventures.

“The pitch was from an idea that Anderson had, and [to introduce it], we showed them this TikTok that he had with his son,” Park recalled over Zoom. “Anderson was like, ‘Do you know anything about BET, son?’ And [Soul] was like, ‘No, but I know BTS.’ Then they were just going back and forth, arguing about BET and BTS. That was literally the deck, [us saying] we would take that energy and put it into a two-hour film. They loved it. As soon as we walked out of the office, Anderson looked over like, ‘Are we greenlit?!’ They just understood it, the whole intergenerational, intercultural element of Black and Korean.” Stampede combined forces on the project with Live Nation Studios and .Paak’s debut feature “K-Pops!” was off to the races.

It’s important to note that .Paak is himself Black and Korean. His mother was adopted from Korea by a SoCal Black American military family and .Paak’s father was also a Black military officer. Thus, while his mother was born in Korea, he was raised almost entirely within a Black cultural space. .Paak didn’t experience much direct exposure to Korean culture until his 20s, when he met Chang at the Musicians Institute in Hollywood. As an immigrant directly from Korea, Chang showed him the fortitude of structure amid her community. He was also taken by their inherent family value system. “In Korean households, you stay in the house until you get older so you can take care of your parents, and your parents can help take care of the kids,” .Paak explained. “There’s an infrastructure that’s worked out. Also, Korean food is important, as is learning the language. I was drawn to that. My son didn’t eat anything outside of Korean food for so long, and he’s just now getting into tacos.”

.Paak then further explored his Korean side through a burgeoning friendship with Park, which happened a bit later, after Chang had already given birth to Soul. Park introduced .Paak to K-town-based Korean culture through their shared music scene. “The people that came from K-town had a lot of Latino and Black influences as well,” .Paak remembered. “There was a little more of a melting pot, and it was more urban. But in a similarly communal way [to Koreans from Korea], they were all hanging out in K-town with other Korean friends. They’d drink soju, and go to after-hours where you had to have somebody Korean with you.”

While .Paak had some opportunities in adulthood to grasp a bit of his Korean heritage, in “K-Pops!,” through his main character BJ, he also got to actualize what his mother may have missed. In the film, BJ, a failed karaoke bar R&B musician, gets a lucky chance to go to Korea and be the drummer for a popular K-pop competition series. There, he bumps into his estranged ex-girlfriend’s son, Tae Young (played by Soul), who is competing on the show. He then finds out that the kid is his. While a messy transition ensues, BJ and Tae Young eventually get to galavant around Korea and work together to try to win the competition. Through this exploration, BJ finds out he can thrive in Korea while still holding onto his Blackness. .Paak’s mother’s dive back into her roots had a different result. “My mom went abroad and spent a year in Korea, but when she went there, she just didn’t like it,” .Paak explained. “In the movie, initially, BJ doesn’t really have any connection to his Korean side and doesn’t really care to know, but then he finds a bridge.” That bridge is music.

Actor Yvette Nicole Brown, who in “K-Pops!” plays BJ’s mother, proclaimed over Zoom that, “Everything about the film and the music in it is Blasian, every culture is celebrated and massaged and made into something beautiful.” .Paak made a concerted, intentional effort to explore both the Black and Korean sides of K-pop in two scenes.

The first is an early breakdown initiated by Soul’s character, Tae Young, who explains the structured roles of a K-pop group, which may be fun for superfans and educational for laypeople to the genre. The next is a winding presentation by BJ to Tae Young about the influence of Motown groups like the Jackson 5 and boy bands like New Edition on the momentum of K-pop’s rise. It’s particularly poignant because it is all shot at a record store on the streets of Korea, where .Paak explained he actually found the records he was referencing. “There’s nothing wrong with people doing their interpretation of Black music, as long as you pay homage and as long as you respect it and take care of it,” .Paak declared. “Because [if you do], then they’ll take care of you, but the moment you don’t, you’ll see what happens … I wanted to explain that history because that’s how I saw it.”

Real-life father and son, Anderson .Paak, left, and Soul Rasheed, co-star in “K-Pops!”

(Jake Giles Netter)

”K-Pops!” has as much of who .Paak and Soul are as father and son as he could fit in. There are appearances by legacy Black artists like Earth, Wind & Fire, as well as K-pop stars like Vernon from Seventeen. There are original songs co-written and co-produced by .Paak and musician Dem Jointz, that feature K-pop fused with soul and funk, one of which Tae Young performs as his finale competition number (soundtrack arriving soon). The film was shot in both L.A. and Korea and provided ample time for bonding (especially during scenes filled with off-the-cuff humor) that .Paak envisioned from the beginning. Yet still, at the time they were about to shoot, .Paak almost couldn’t get Soul on board because he had turned 11 and wasn’t as into K-pop or acting comedically anymore; he insisted he was instead “into Slipknot.”

The duo did find their footing, though, and executed a winding story that centers on their connection. As a burgeoning teenager in 2024, Soul went with his father to the world premiere at the Toronto International Film Festival, along with a plethora of Korean relatives from his mom’s side. .Paak anxiously awaited their full reaction to the culmination of his quest for a deeper bond.

“Everybody really enjoyed it,” .Paak remembered, relieved. “[Soul] was like, ‘I’m proud of you, Dad.’ I asked him, ‘You think you would ever do part two?’ He was like, ‘Nah, I don’t think acting is my passion, but I’ll never forget those moments … You know what? On second thought, it depends on the script.’ But I think he’s really proud of it. I think it’s something like, when he gets older, he’ll see how special it is as well. But yeah, he didn’t say it’s cringe.”

“K-Pops!” has its L.A. premiere on Tuesday and debuts in select theaters Friday.

The offbeat thriller has won six BAFTAs, including best film and best director for Paul Thomas Anderson.

The dark comedy One Battle After Another has swept the United Kingdom’s top film honours, picking up six BAFTA awards, including best film and best director for Paul Thomas Anderson.

The film beat the Shakespearean family tragedy Hamnet, and the vampire thriller Sinners, to take the top prizes at Sunday evening’s ceremony.

The UK prizes, officially called the EE BAFTA Film Awards, often provide hints about who will win at Hollywood’s Academy Awards, held this year on March 15.

One Battle After Another, an explosive film about a group of revolutionaries in chaotic conflict with the state, won awards for directing, adapted screenplay, cinematography, and editing, as well as for Sean Penn’s supporting performance as an obsessed military officer.

“This is very overwhelming and wonderful,” Anderson said as he accepted the directing prize. “We have a line from Nina Simone that we used in our film: ‘I know what freedom is: It’s no fear’,” the director said. “Let’s keep making things without fear. It’s a good idea.”

Sinners, which has a record 16 Oscar nods, won best original screenplay for writer and director Ryan Coogler, best supporting actress for Wunmi Mosaku, and best original score.

The gothic horror story Frankenstein won three awards each, while Hamnet won two, including best British film.

The documentary about Israel’s genocidal war on Gaza, The Voice of Hind Rajab, was among the top contenders for BAFTA’s best director and non-English language film categories. But the film Sentimental Value won in the non-English language category.

The biggest surprise of the night was Robert Aramayo winning the best actor category for his performance in I Swear, a fact-based British indie drama about a campaigner for people with Tourette syndrome.

The 33-year-old British actor beat Timothee Chalamet, Leonardo DiCaprio, Michael B Jordan, Ethan Hawke and Jesse Plemons for the honour.

“I absolutely can’t believe this,” he said. “Everyone in this category blows me away.”

Jessie Buckley won best actress for playing Agnes, the wife of William Shakespeare, in Hamnet, based on the novel by Maggie O’Farrell and directed by previous Oscar winner Chloe Zhao.

The best documentary prize went to Mr Nobody Against Putin, about a Russian teacher who documented the propaganda imposed on Russian schools after Moscow’s invasion of Ukraine.

The film’s American director, David Borenstein, said that teacher Pavel Talankin had shown that “whether it’s in Russia or the streets of Minneapolis, we always face a moral choice”, referring to the protests against US immigration enforcement in Minnesota.

“We need more Mr Nobodies,” he said.

It beat documentaries including Mstyslav Chernov’s harrowing Ukraine war portrait, 2000 Meters to Andriivka, co-produced by The Associated Press and Frontline PBS.

The guests of honour at the awards were Prince William and Princess Kate. The event, hosted by Alan Cumming, was the first joint engagement for the pair since William’s uncle, Andrew Mountbatten-Windsor, was arrested on Thursday.

William, the president of the film academy, presented the BAFTA Fellowship to Donna Langley, studio head at NBC Universal.

ACTRESS Alexandra Daddario has split from her hubby after their marriage “fizzled out”.

The White Lotus star, 39, has a 15-month-old son with film producer Andrew Form, 57.

New York court records show she filed for divorce on Friday.

Her rep said: “They have made the decision to end their marriage.

“The decision was made with love and respect.”

Insiders claimed their marriage started “hot and heavy” but cooled due to work schedules, eventually suffering a “consistent loss of love”.

A source said: “Alexandra and Andrew slowly grew apart.

“Raising a child was a reason to carry on but they weren’t even doing that together often and their married life slowly disintegrated.”

Alexandra was nominated for an Emmy for her role in The White Lotus alongside Sydney Sweeney.

She has also appeared in Baywatch and True Detective.

She and Form met by chance in New York before marrying in 2022.

Form’s movies include Friday the 13th, The Texas Chainsaw Massacre, Teenage Mutant Ninja Turtles, The Purge and A Quiet Place.

Alexandra slammed critics of her acting last year, saying: “Sometimes I’m lit poorly, but I’m not a bad actress.

“I got an Emmy nomination.”

KATE Hudson led the fashion pack in a glam corset dress at the Bafta Film Awards Nominees’ Party.

Anticipation is building for the prestigious awards ceremony – honouring the best British and foreign films of 2026 – which will air on the BBC tonight.

Previously, the Bafta 2026 nominations were revealed with Leonardo DiCaprio flick One Battle After Another leading the nominations in 14 categories.

Hollywood veteran Leo, 51, now shares an all-time Bafta record with the likes of movie legends Michael Caine, Daniel Day-Lewis and Laurence Olivier for seven Best Actor nominations.

However he has won the award just the once, for The Revenant in 2016. 

Yet while the stars get set for tonight’s proceedings, a swanky shindig at the National Portrait Gallery ramped up the anticipation last night.

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Song Sung Blue actress Kate oozed elegance in her trendy frock, which paired a black corset top with a flowing white skirt.

She left her blonde hair flowing over her shoulders and kept her make-up fresh, accessorising with statement silver earrings.

The beauty was seen posing with fellow actress Chase Infiniti, who she is pitted against in the Best Leading Actress category.

One Battle After Another screen star Chase opted for a delicate pink lace bodycon with long sleeve.

Ruffle detail around the waist and wrists added extra glam, and she finished off her look with silver high heels.

Hamnet’s Jessie Buckley and Bugonia’s Emma Stone are among others in the pair’s hotly contested category.

Meanwhile, Star Wars actor Warwick Davies flashed a huge smile as he stepped on the Red Carpet.

Wimbledon actress Kirsten Dunst cut a glam look in a longline black coat with matching handbag while her Fargo star husband Jesse Plemons wore a stylish grey blazer and matching trousers.

He is nominated for the Best Actor role for flick Bugonia.

Big Brother anchor AJ Odudu stood out for all the right reasons in a purple halterneck dress with a side split.

Marty Supreme actress Odessa A’zion, who is nominated for Best Supporting Actress, went for an all-black attire with striking yet sophisticated silver detail cuffs.

Christopher Nolan gave him a noogie.

Denis Villeneuve wore his movie’s swag.

Elle Fanning looked into the future and saw him winning the Oscar.

Is there anyone out there who doesn’t love Timothée Chalamet? I mean, besides the old-timer Oscar voter who recently told me he doesn’t like the young man’s “shenanigans.”

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Calico Mine Ride or Timber Mountain Log Ride? That’s a 1A / 1B ranking decision. It all depends if I’ve just eaten a slice of boysenberry pie.

Now … back to Timothée …

Did you catch any of the screenings during the American Cinematheque’s recent eight-film retrospective celebrating Chalamet’s career? Or perhaps you landed at the motion picture academy’s Samuel L. Goldwyn Theater on Monday when Chalamet was mobbed following a Q&A after a showing of “Marty Supreme” for guild voters.

If you witnessed a moment during this weeklong celebration — this Chalamania, if you will — you saw a young man whose talent as an actor is matched only by his genius at promotion.

You probably also came away knowing what has been a foregone conclusion since “Marty Supreme” opened in December: Chalamet is winning the Oscar for best actor.

And yet, there has been a lot of postulating that maybe one of the other nominated actors — Leonardo DiCaprio (“One Battle After Another”), Michael B. Jordan (“Sinners”), Ethan Hawke (“Blue Moon”) and Wagner Moura (“The Secret Agent”) — has a chance. You know … if things fall just the right way, there’s a path!

I get it. This year’s awards season has felt endless, and the Oscars are still more than three weeks away. Stories must be written, possibilities explored, no matter how remote.

But c’mon. Chalamet has this Oscar locked, just like “Hamnet” lead Jessie Buckley has owned the lead actress trophy since her movie premiered at Telluride in September. Admittedly, the lack of drama isn’t fun or exciting. Pine for an upset if you must, though it might be more fun to just surrender and celebrate Chalamet, a gifted actor and certified movie star who has stockpiled a remarkable body of work over the last decade.

This isn’t to say that you can’t make the case about who should win. DiCaprio continues to be one of our great comic actors and deserves attention just for the master class in phone acting he gives in “One Battle.” Moura carries “The Secret Agent” with an intense, brooding charisma that, one year shy of his 50th birthday, should push him to even greater recognition. Playing the desperate, despairing lyricist Lorenz Hart, Hawke empties his soul and his vocabulary, venting his way through the entirety of “Blue Moon.” And Jordan connects on the biggest swing of his career, playing twin brothers in “Sinners.”

So why is Chalamet winning in a walk? It’s a process of elimination. DiCaprio and Jordan are out as “Sinners” and “One Battle After Another” are ensemble films. (Even with the dual roles, Jordan is only in half the movie.) Moura’s work in “The Secret Agent” is sublime, but the Oscars rarely reward subtle acting. (This is a category that has gone to Rami Malek in “Bohemian Rhapsody,” Brendan Fraser in “The Whale” and Joaquin Phoenix in “Joker” in recent years.) And Hawke’s nomination is but one of two for “Blue Moon.” Not enough. Even the execrable “The Whale” managed three.

Chalamet already won the Golden Globe for performance by a male actor in a motion picture musical or comedy for “Marty Supreme.” Our columnist predicts an Oscar is next.

(Allen J. Schaben / Los Angeles Times)

Meanwhile, Chalamet is Marty Supreme, the undeniably talented, relentless self-promoter careening toward his goals of fame and fortune with little regard to the damage he is inflicting on others. (That’s Marty, not Timothée.) Marty’s despicable, but also, as played by Chalamet, winningly charming.

No, you’re not supposed to like the guy, which, for voters who, say, blanched at supporting DiCaprio in “The Wolf of Wall Street,” might be a problem. But the academy has changed a lot since Scorsese’s wildly entertaining movie screened for academy members at the Goldwyn and an unnamed screenwriter, seeing Scorsese, DiCaprio, Jonah Hill and writer Terence Winter emerging from an elevator afterward, ran over to them and started screaming, “Shame on you!”

It’s true that not everyone embraces the anxiety-inducing cinema that is the brand of “Marty Supreme” co-writer and director Josh Safdie. Not everyone embraces Safdie himself, after a noisy tabloid story resurfaced allegations of a toxic work environment on the set of the 2017 film “Good Time,” which Safdie directed with his brother, Benny.

But that has nothing to do with Chalamet, who did not work on the movie, or his ferocious, frenetic work in “Marty Supreme.” The biggest knocks against Chalamet seem to be the unorthodox ways he goes about promoting his movie (and himself) and his age (he just turned 30). Historically, the lead actor Oscar goes to men with a few more miles on the odometer. Adrien Brody is the youngest winner, taking the trophy in 2003 for “The Pianist” when he was 29.

But, as noted earlier, things have changed since the film academy began greatly expanding its membership over the past decade. This new academy gave its best picture and three acting prizes to “Everything Everywhere All at Once,” a bonkers movie that embraced chaos, fingers made of hot dogs and sex toys used as weapons. The new academy just crowned indie auteur Sean Baker king of the world for “Anora,” a Cinderella story about a stripper and a Prince Charming who knows where to score the best ketamine in Vegas.

You think these voters are going to care that Chalamet hasn’t “paid his dues,” an idea that’s patently silly on its surface anyway as this is his third Oscar nomination? He’s the youngest actor to earn three Oscar nominations since Marlon Brando did it, at age 30, in 1954.

By the way, Brando won the Oscar that year for “On the Waterfront.”

Chalamet has got this.

Paul Fischer showed “Jaws” to his daughter when she was 10. She wasn’t scared. In fact, she loved it so much that she dressed as Richard Dreyfuss’ Hooper for Halloween. To Fischer, who watched “Raiders of the Lost Ark” at age 4 (“I remember the melting heads but I don’t think I was traumatized”), it shows the staying power of some of the ’70s blockbusters.

“It’s the flip side of how these franchises became so massive and had such a long tail,” he said in a recent video call with The Times, discussing how each generation still finds “Star Wars,” “Raiders,” “E.T.,” “Jaws” and “The Godfather.” “They’ve created films that endured and that overshadow others.”

That is part of the impetus behind his new book, “The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema.” The book, Fischer’s third about film history, starts before the trio were “big mythical names” and instead were just a bunch of guys setting out to fulfill their dreams.

The narrative then follows their journeys from the late ’60s through the early ’80s, filling in the “ecosystem” the trio came up in and how they wanted to change the system to gain creative autonomy. Spielberg worked within the system, Coppola spent lavishly and even ostentatiously to build his own studio and Lucas found his independence through a quieter, more conservative and technology-driven route.

(Martin Scorsese, who was friends with the three and “the most interesting human being of that generation of filmmakers,” gets plenty of ink but was not a titular character, Fischer said, because he remained an outsider who just wanted to make movies, not change the system.)

“I’m not going to pretend I can tell you what was going on in their heads but I tried to make people feel like they were there when it happened,” Fischer said.

While none of the three men would be interviewed, Fischer had decades of quotes and conducted his own interviews with hundreds of people in the filmmakers’ orbits to get a fuller and more honest story. (He added that their representatives were uniformly helpful with fact-checking and providing photos. “There was never a door closed on me,” he said in an accidental reference to the final scene of “The Godfather.”)

Coppola, “who changed quite a bit, was the hardest one for me to pin down,” Fischer said. “There are layers of complexity to him and his willingness to treat the creative life as if it’s an experiment.” Blending that with his self-indulgent philandering and spending of money, he added, “you can change your mind about that guy every five minutes.”

During that era at least, Fischer said Lucas and Coppola seemed ”completely devoid of any self-awareness.” He chronicles how Coppola pressured Lucas to accept changes to his first feature, “THX 1138,” so the studio would release it while Lucas viewed that as Coppola pushing him to sell out. Meanwhile, Lucas was pushing Coppola to do a studio film for hire to keep his fledgling Zoetrope Studio afloat, making Coppola feel pressured to sell out. (That movie was “The Godfather,” so it worked out OK for Coppola.)

“They keep giving each other advice about how to do things and then betray that same advice when it applies themselves,” he said, although he added that he doesn’t “whip them for 300 pages for having giant egos,” and said it’s part of the recipe to be a visionary filmmaker, especially in the Hollywood studio system.

Ultimately, the book depicts Lucas as more of a sellout, acting like the studio suits he once detested as he pressures “The Empire Strikes Back” director Irvin Kershner to make changes, often based on budget and then focusing more on profitability as he conjured up characters like the Ewoks for “Return of the Jedi.” Fischer doesn’t believe Lucas would recognize that version of himself in the book. “He’s someone who lost his BS detector and has drunk his own Kool-Aid.”

In Fischer’s telling, the creative and business sides are interwoven and inseparable from each other and from the personal relationships — their friendships and rivalries with each other but also their relationships with those who worked for them or loved them.

“They were all able to do what they did because of wives or partners or friends or college classmates, who did a lot of the work without being household names,” he said. To fully tell the story, he devotes plenty of narrative space to Coppola’s wife Eleanor, and his most prominent mistress, Melissa Mathison, who later wrote “E.T.,” producer Kathleen Kennedy, who co-founded Amblin Entertainment with Spielberg, and Lucas’ wife, Marcia, who edited the first “Star Wars” trilogy (and Scorsese’s “Taxi Driver”).

“How did these guys break through? Well, they were middle-class white dudes and these women looked after some of this stuff they couldn’t,” Fischer said. “Those aren’t the only reasons these guys became who they did but without that, they probably [wouldn’t have].”

Fischer celebrates the three men’s vision and talents — he calls “The Godfather” “a perfect film” and says Spielberg “speaks the language of a camera better than anybody else”— but the book makes clear how often they got lucky or were saved from themselves.

If Coppola had spent his money more judiciously, he might not have done “The Godfather;” Lucas resisted hiring Harrison Ford to play Han Solo as well as Ford’s creative contributions; and if someone had bankrolled the first feature film Spielberg pitched before latching onto “Jaws” — “a sex comedy San Francisco Chinese laundry riff on Snow White” — it could have sunk his career.

Additionally, Lucas and Coppola’s friendship frayed when the latter snatched back the directing gig for a film he had long ago promised to his buddy. “But imagine George Lucas making some weird low-budget, ‘Battle of Algiers’ version of ‘Apocalypse Now’ in the back streets of Sacramento,” Fischer said. “That sounds pretty crappy. And we would have lost one of the great, novelistic experiential movies that we have.”

Lucas, meanwhile, dangled his idea for “Raiders of the Lost Ark” before Spielberg’s eyes, then told him that Philip Kaufman had dibs. “He’s a fine director but we would have lost something there too,” Fischer said. “There are these crossroads there but still there has got to be something special about these three or they couldn’t have had repeated successes like they did.”

Writing about their failures, foibles and frustrations did not lessen the hold that these three men and their movie magic have on Fischer. He recounts a story of his own connection to one film with undisguised delight and enthusiasm. After graduating film school at USC, he was producing a documentary (“Radioman”) in New York when he learned that “Indiana Jones and the Kingdom of the Crystal Skull” was doing some filming in Connecticut. “Obsessed,” he finagled his way onto the set and into a job. “All I did was turn off the air conditioning,” he said. “‘Roll camera,’ I flip it off. ‘Cut,’ I turn it on. I did that for four days. But when Harrison Ford walked by wearing that jacket, I was 5-years-old again. That was cool.”

Miller is a freelance writer in Brooklyn who frequently writes about movies.

Director Sang-il Lee sets his epic-scaled “Kokuho” in the vivid world of kabuki theater, but it’s not just the movie’s milieu that distinguishes it. Spanning 50 years and running nearly three hours, “Kokuho,” which has become Japan’s biggest live-action hit ever, evinces intensely mixed feelings about its two main characters’ quest for greatness. Kabuki is presented as an art form of balletic skill, but it can never fully redeem or repair the film’s central figures, who once were friends before ambition got in the way.

In 1964 Nagasaki, 14-year-old Kikuo (Soya Kurokawa) performs at a New Year’s event, impressing Hanjiro (Ken Watanabe), a beloved kabuki legend. But after Kikuo’s father, a yakuza crime boss, is murdered, Hanjiro takes the grieving teen under his wing. Soon, Hanjiro is training Kikuo and his own son Shunsuke (Keitatsu Koshiyama) in his Osaka studio to become “onnagata” — male kabuki actors who portray female characters. Both sweet and bashful, Kikuo and Shunsuke quickly grow close, enduring Hanjiro’s exacting requirements as he shapes them to be graceful, disciplined performers.

“Kokuho” then fast-forwards to the early 1970s as we meet the grown-up versions of Kikuo (Ryo Yoshizawa) and Shunsuke (Ryusei Yokohama). Now practically brothers, the young men are making their name as a well-regarded kabuki duo, but their personalities have begun to diverge. Kikuo remains soft-spoken, while Shunsuke is more of a partier and big talker, dominating their interviews with local journalists. Hanjiro still thinks highly of them both, although each pupil faces disadvantages. Kikuo is more gifted but in this nepotistic art form, being part of a respected kabuki lineage is crucial, something this yakuza scion doesn’t possess. Shunsuke, meanwhile, lacks his friend’s formidable technique, but because he’s Hanjiro’s son, his future prospects are practically assured. Kikuo and Shunsuke complement one another as performers but a shocking turn of events will sever their bond.

Adapting a novel by Shuichi Yoshida, Lee maps the arc of a friendship while exploring the minutiae of kabuki, both on stage and behind the scenes. (The movie’s Oscar-nominated makeup is an acknowledgment of the blinding-white face paint and bright red lipstick that kabuki actors wear to transform into their roles.) Much like ballet, kabuki necessitates precise choreographed actions: Not only does “Kokuho” provide generous samples of different kabuki pieces but also includes captions that list the title of the individual works and a brief synopsis. Rarely do these pieces directly echo the two men’s interpersonal drama, but the information adds context to the actors’ enchanting movements, which are backed by gorgeous outfits and striking set design that accentuate the mythical tales being played out.

Kikuo and Shunsuke’s fortunes shift over the decades — one of them will literally be kicked when he’s down on two separate occasions — but Lee doesn’t let us settle on a definitive impression of either performer. Our sympathies change as we witness both men’s failings as well as their enduring virtues. “Kokuho” is a hearty melodrama with a little bit of everything — sex scandals, betrayals, unlikely comebacks, health scares — but the film’s gaudy plot twists (which shouldn’t be spoiled) belie the filmmaker’s unsentimental attitude regarding stardom’s perils. Refreshingly, “Kokuho” is that rare film to be un-awed by talent alone. Both Kikuo and Shunsuke will enjoy high highs and low lows, but it’s their perseverance that ultimately means more than arbitrary benchmarks like “genius” or “brilliance.”

The film’s title translates to “national treasure,” another clichéd term thrown around when trying to categorize greatness. Kikuo and Shunsuke revere kabuki’s bygone giants, who are affixed with that moniker. But as “Kokuho’s” characters seek such an accolade for themselves, they come to realize how misleading it is. Yoshizawa and Yokohama bring abiding tenderness to their characters’ friendship while refusing to allow either protagonist to be reduced to a simple set of qualities. Kikuo’s delicate features suggest a pure soul, but Yoshizawa gradually reveals other sides to this gifted, haunted performer. And Yokohama ably depicts a privileged young man who rightly views his good fortune as both blessing and curse.

Their lives intersect, then disentangle, then return to each other’s orbit again. That elegant dance matches what we see on stage, the kabuki performances melding melancholy and beauty, anguish and catharsis.

We’re in something like award season no man’s land right now: the whirlwind of the Oscar nominees luncheon is behind us, but most of the major precursors have yet to be handed out. Which leaves less for the pundits to chew on, perhaps, though it also means there’s finally some spare time to catch up on your reading.

I’m Matt Brennan, editor in chief of The Envelope. Let me be of some assistance.

Cover story: ‘Sentimental Value’

(Christina House / For The Times)

After an entire award season’s worth of conversations about one of the top contenders, it’s rare to hear a new one this late in the game. But when I ran in “Sentimental Value” director Joachim Trier last week, he happily shared his point of view on an anecdote his editor, Olivier Bugge Coutté, recently shared with The Envelope about killing one of Trier’s darlings. “He was right,” Trier admitted with a half-rueful smile, after describing the elaborate aerial shot over a theater audience with which he originally intended to open the film.

Such candor is also a mark of contributor Bob Strauss’ interview with Trier and star Stellan Skarsgård about making the year’s most-nominated international feature, from their discussion of the stroke that permanently altered the actor’s process to bon mots about the film’s depiction of Netflix, demanding directors and more. I was most tickled by Skarsgård’s, um, unvarnished description of the small screen: “The narrative form of television is based on you not watching,” he tells Strauss. “It explains everything through dialogue so you can make pancakes at the same time.”

Digital cover: Kate Hudson

(Christina House / Los Angeles Times)

When contributor Amy Amatangelo sent me her pitch for a story on “Song Sung Blue,” it swiftly answered the question I want every pitch to answer: Why are you the right person to write this story?

“I am a lifelong Neil Diamond fan,” she wrote. “My dad loved him. I saw him in concert as a child. My dad and I danced to ‘Beautiful Noise’ at my wedding.”

So it was a no-brainer to set her up with this week’s digital cover star, nominated for playing one half of the film’s Neil Diamond tribute band. “Although she’s had a slew of successes in the interim,” Amatangelo writes of the 25 years since “Almost Famous,” “it can sometimes seem that we’ve underappreciated, and perhaps underestimated, Kate Hudson.”

‘Train Dreams’’ not-so-secret weapon

(Lauren Fleishman/For The Times)

Speaking of pitches, the most frequently suggested subject for coverage since the Oscar nominations (not-named-Chalamet-or-DiCaprio division) may be “Train Dreams” cinematographer Adolpho Veloso. Which already made the Brazilian’s wizardry one of the industry’s worst-kept secrets. Count contributor Emily Zemler’s profile among the final nails in the coffin.

“Capturing the enormous trees that would have existed in the early 20th century was a challenge,” she writes of the film, which spans the life of an itinerant logger in the Pacific Northwest. “The production went to protected parks, where they had to be cautious about not affecting the environment. ‘How do you shoot a movie where they’re supposed to be cutting those trees, but they cannot even get close to those trees?’ Veloso says. ‘It was almost like shooting stunts.’”

More stories from our Feb. 19 issue

POP superstar Lady Gaga is set to release a concert film about her record breaking Mayhem Ball.

The Sun can reveal the Abracadabra hitmaker, 39, has secretly enlisted British director Sam Wrench to help bring her vision to life.

The special is set to be filmed over Lady Gaga’s four nights at the Kia Forum in Los Angeles this week.

While no release date is set, the film is expected to be released later this year after being snapped up by streaming bosses following a fierce bidding war.

Sam is no stranger to concert documentaries, having previously worked with Taylor Swift on her 2023 Eras Tour film.

Not only was the film released on Disney+ but it also was rolled out across cinemas – breaking box office records in the process.

Most recently Sam teamed up with Christina Aguilera for her festive special;  Christmas in Paris.

It’s not the first time Gaga and Sam have worked together.

They previously teamed up on Gaga’s 2024 Chromaica Ball HBO special which documented her 2022 stadium tour of the same name.

A source said: “Gaga has poured her heart and soul into The Mayhem Ball.

“She is so proud of everyone who has helped make the tour what it is and is keen to give it the full concert film treatment.

“Not only is it arguably her most elaborate show of all time, it’s also reminded the world that almost two decades into her career she is still at the top of her game.”

The insider added: “Gaga and Sam have a close working relationship so bringing him on board was a no brainer.

“The show will be filmed across her four dates in Los Angeles and is pencilled in for release late 2026.”

The Sun understands Sam is joining the creative team headed up by the superstar.

He will sit alongside Gaga’s fiance Michael Polansky, 42, and her choreographer Parris Goebel, 34, who are also helping creatively manage the project.

Michael is now an integral part of the Poker Face singer’s inner circle.

He was listed as an Executive Producer alongside Gaga on Mayhem – as well as landing a number of writing credits including on the record’s lead single Disease.

Gaga previously said: “Michael was in the studio every day with me.
“He oversaw the whole process of making the record, completing it, helping me shape the sound of the record creatively.

“It was an amazing thing to do with your partner, because when I start to doubt myself, there is nobody that’s going to call me on it better than he is”.

Kicking off in July last year, The Mayhem Ball is one of Gaga’s biggest ever tours, seeing her play 87 dates across four continents.

Last September and October Gaga played four sold out shows at London’s O2 before a further two dates at Manchester’s Co-op Live.

By the time she takes her final bow at Madison Square Garden in April, she will have played to over 1.3million fans.

The concert film comes off the back of an already packed 2026 for Gaga.

Despite only being weeks into the year the singer has already filmed a concert special for Apple Music, performed at the Grammys and the Super Bowl and wrapped up the Asian leg of The Mayhem Ball.

Next week she will go head to head with some of the biggest artists in the world at the 2026 Brit Awards.

While she is unable to attend the ceremony due to playing a show in Texas on the same date, she is up for two of the biggest gongs of the night.

Gaga is nominated for International Artist of the Year and International Song of the Year thanks to her Bruno Mars collaboration Die With A Smile

It marks the first time in over a decade she has been nominated.

Tom Noonan, a character actor and filmmaker known for playing villains in “Manhunter” and “The Last Action Hero,” died on Valentine’s Day. He was 74.

The death was confirmed by Fred Dekker, director of “The Monster Squad,” who wrote on Facebook, “Tom’s indelible performance as Frankenstein … is a highlight of my modest filmography.”

Noonan had a nearly 40-year career on TV and in film, making his mark with a role in “Manhunter,” the 1986 movie based on a Thomas Harris novel.

In “Manhunter,” which starred William Peterson of “CSI: Crime Scene Investigation” as an FBI agent and “Succession” star Brian Cox as Dr. Hannibal Lecter, Noonan played Francis Dolarhyde, the serial killer also known as the Tooth Fairy. It was a performance that “knocked out” Dekker, who then pursued Noonan for “Monster Squad.”

Playing a killer wasn’t unusual for Noonan, who stood 6-foot-5 or 6-foot-6, depending on who you trust. On a 2013 episode of TV’s “The Blacklist,” he played “the Stewmaker,” a man with a taste for dissolving human bodies in acid. In the 1993 comedy “The Last Action Hero” he was the Ripper, a fictional nemesis who comes to life in the high-concept film-within-a-film starring Arnold Schwarzenegger as action star Jack Slater.

Born in Greenwich, Conn., on April 12, 1951, Noonan was raised by his math-teacher mother Rita and a large extended family after the death of his father, John Ford Noonan Sr. He went to school at Yale Drama and later founded New York’s Paradise Factory theater with Jack Kruger at the site of the Paradise Ice Cream Factory, where the ice cream cone was invented. The two built a theater and rehearsal rooms where the condemned building stood.

Paradise Factory now bills itself as “bringing the rigor of theatrical discipline to the process of cinematic art, and bringing the intimacy and immediacy of the cinema into theatrical performance art.”

“I wish I had more success as an actor,” the New York-based actor told The Times with a dash of melancholy in 2015. “I think people call me because they’re channel surfing late at night and they see me in a movie on cable.”

In that story, about the actor and his friend and collaborator Charlie Kaufman and Kaufman’s stop-motion animation film “Anomalisa,” a Times staff writer described Noonan: “Like Kaufman, he has a dark worldview, an idiosyncratic sensibility, blackly comic thoughts and, at times, an endearing crankiness.”

In “Anomalisa,” Noonan was credited with playing “Everyone Else” — and that wasn’t an exaggeration. Jennifer Jason Leigh and David Thewlis played the leads; Noonan voiced more than 40 other roles in the film.

“Even I can’t tell if it’s me sometimes,” he told The Times in 2015 about the extensive studio-recording process. “I mean, I recognize the voice, but I’m not sure where it came from.”

“My first TV interview was with Tom Noonan for a local NYC show called MIDDAY(?),” actor Jerry O’Connell wrote early Wednesday on Instagram, including a blurry image of them on the show’s set. “I was so nervous. Tom was so kind. I saw him in every (NYC) play he was in after. He bought my brother and I tickets to Eddie Murphy’s RAW (we were too young to purchase). Btw, on this episode, I was talking about a movie about to come out (Stand By Me) and Mr. Noonan was talking about his movie (Manhunter). Rest In Peace LEGEND.”

Noonan appeared in the famous 1980 flop “Heaven’s Gate” and cast a creepy gothic shadow decades later in “The House of the Devil” (2009). He was a ghoulish host of a late-night television horror program in the 2005 vampire movie “The Roost,” then played a wagon-train missionary in the 2007 western “Seraphim Falls.”

“Robocop 2” (1990) had Noonan as Cain, a messianic maniac with a nose ring who leads a gang of terrorist dope dealers.

In 18 episodes of the series “Hell on Wheels,” which ran for five seasons on AMC, he was the Rev. Nathaniel Cole. Other TV credits included episodes of Fox’s “The X-Files,” HBO’s “The Leftovers,” CBS’ “CSI: Crime Scene Investigation” and the Louis C.K. series “Louie” (FX) and “Horace and Pete.”

Noonan’s half-dozen directing credits include the 1994 film “What Happened Was …,” which was produced as a play, then became a movie and then won the Sundance Grand Jury Prize for dramatic feature. In addition to writing and directing the movie, Noonan played the lead male role opposite actor Karen Sillas. Noonan also won Sundance’s Waldo Salt screenwriting award for the script.

The next year, his feature “The Wife” — a dark comedy once again written, directed by and starring Noonan — was a nominee for the same Sundance Grand Jury Prize. Described by the New York Times as a “bleakly funny evisceration of modern marriage,” the movie co-starred Karen Young, who was Noonan’s wife from 1992 to 1999.

And Noonan’s 2015 movie “The Shape of Something Squashed” was born out of confusion and some despair after his agent called him with what initially looked like a part in one of the “Mockingjay” installments of “The Hunger Games” franchise. When he got the script, though, he saw only one role for someone his age, and that job — playing President Snow — already belonged to Donald Sutherland.

Turns out there never had been a part in the offing. Sutherland was just busy, and Jennifer Lawrence and the rest of the “Hunger Games” cast needed someone to rehearse with them for a week.

After recovering from a brief emotional tailspin, Noonan knocked out the script for “The Shape of Something Squashed” — then directed and acted in the film.

He was preceded in death by his older brother, “A Coupla White Chicks Sitting Around Talking” playwright John Ford Noonan Jr., who died in 2018 at age 77.

Former Times staff writer Steve Zeitchik contributed to this report.

Dozens of actors and directors, including Javier Bardem and Tilda Swinton, have condemned the Berlin International Film Festival for its “anti-Palestinian racism” and urged organisers to clearly state their opposition to “Israel’s genocide” in Gaza.

In an open letter published in Variety on Tuesday, the 81 film workers also denounced comments by this year’s president of the awards jury, Wim Winders who – when asked about Gaza – said, “We should stay out of politics”.

They noted that the festival’s stance stands in direct contrast to its policy on Russia’s war on Ukraine and on the situation in Iran.

All of the signatories are alumni of the festival, which is also known as the Berlinale, and include actors Cherien Dabis and Brian Cox, as well as directors Adam McKay, Mike Leigh, Lukas Dhont, Nan Goldin, and Avi Mograbi.

In their letter, the film workers expressed dismay at the Berlinale’s “involvement in censoring artists who oppose Israel’s ongoing genocide against Palestinians in Gaza” and the German government’s key role in enabling the atrocities.

They said the festival has been policing filmmakers, and listed several examples from last year’s Berlinale.

“Last year, filmmakers who spoke out for Palestinian life and liberty from the Berlinale stage reported being aggressively reprimanded by senior festival programmers. One filmmaker was reported to have been investigated by police, and Berlinale leadership falsely implied that the filmmaker’s moving speech – rooted in international law and solidarity – was ‘discriminatory’,’ they wrote.

“We stand with our colleagues in rejecting this institutional repression and anti-Palestinian racism,” they added.

The film workers said they “fervently disagree” with Wenders’s statement that filmmaking is the “opposite of politics”, saying, “You cannot separate one from the other.”

Their letter comes days after Indian author Arundhati Roy said she was withdrawing from this year’s festival after what she called “unconscionable statements” by jury members, including Wenders.

This year’s festival runs from February 12 to 22.

The film workers noted that the Berlinale’s actions come at a time when the world is learning “horrifying new details about the 2,842 Palestinians ‘evaporated’ by Israeli forces” in Gaza through thermobaric weapons made by the United States.

An Al Jazeera investigation, published last week, documented how these weapons – which are capable of generating temperatures exceeding 3,500 degrees Celsius (6,332 degrees Fahrenheit) – leave behind no remains other than blood or small fragments of flesh.

Germany, too, has been one of the biggest exporters of weapons to Israel despite the evidence of Israel’s atrocities. It has also introduced repressive measures to discourage people from speaking out in solidarity with Palestinians, including in the arts.

In their letter, the Berlinale alumni noted that the international film world is increasingly taking a stance against Israel’s genocidal actions.

Last year, major international film festivals – including the world’s largest documentary festival in Amsterdam – endorsed a cultural boycott of Israel, while more than 5,000 film workers have pledged to refuse work with Israeli film companies and institutions.

Yet, the film works said, the Berlinale “has so far not even met the demands of its community to issue a statement that affirms the Palestinian right to life, dignity, and freedom”.

This is the least it can and should do, they said.

“Just as the festival has made clear statements in the past about atrocities carried out against people in Iran and Ukraine, we call on the Berlinale to fulfil its moral duty and clearly state its opposition to Israel’s genocide, crimes against humanity and war crimes against Palestinians, and completely end its involvement in shielding Israel from criticism and calls for accountability,” they added.

When Robert Duvall was floundering around in college, his father, a career Navy man who retired with the rank of rear admiral, told him to shape up — and start acting.

“I wasn’t pushed into it but suggested into it,” Duvall once told an interviewer. “They figured I did skits around the house. They figured I had a calling, or whatever, in that line.”

They figured correctly. With his weathered face and receding hairline, he did not stand out for his movie star looks but for the intensity and depth he brought to his craft. New York Times film critic Vincent Canby in 1980 called him “the best we have, the American Olivier.”

Duvall, a veteran of many leading roles but best known for his sharp portrayal of supporting characters such as “The Godfather’s” Irish American consigliere and the unhinged Army colonel who loved the smell of napalm in the morning, died at 95 on Sunday, his wife, Luciana Duvall, announced on Facebook.

“Bob passed away peacefully at home, surrounded by love and comfort,” she wrote.

Although he could play comic characters such as Maj. Frank Burns, the priggish Army doctor who was obsessed with nurse “Hot Lips” Houlihan in “MASH,” Duvall specialized in tightly wound tough guys.

In “The Great Santini,” he was a Marine fighter pilot who was as overbearing and explosive with his family as with the men under his command. In “The Apostle,” he was a preacher who killed his wife’s lover with a baseball bat. In “The Godfather” and “The Godfather Part II,” he was Tom Hagen, a buttoned-down attorney who was loyal to his mob bosses and lethal to those who got in their way. He was an expert, one critic said, in playing “self-controlled men who should not be pushed too far.”

Duvall was known for pouring himself into his characters. He could move with the grace of the tango aficionado he became or with the slow, pained gait of the cancer-ridden editor he played in “The Paper.” He was a keen student of dialect; doing movies in the South, he meandered down backroads, learning just the right way to frame a question in rural Mississippi or deliver a compliment in west Texas.

He loved playing country people and particularly loved westerns.

“That’s our genre,” he said in a 2011 interview with the News and Advance in Lynchburg, Va., near his home on a 362-acre horse farm. “The English have Shakespeare, the French Moliere, and the Russians Chekhov. The western is ours.”

When asked about his acting technique, Duvall would describe it as simply as his favorite character — Augustus McCrae, the wry trail boss on the TV miniseries “Lonesome Dove” — might have described riding a horse.

“It’s just talking and listening,” Duvall told The Times in 2006. “Nothing’s precious. Just let it sit there and find its own way.”

Nominated seven times for an Academy Award, Duvall won lead actor honors in 1983 for his role as Mac Sledge, a broken-down country singer in “Tender Mercies.” A guitar player since childhood, he did his own singing and wrote two of the songs.

Turning down his studio’s offer of a cast party at glitzy Studio 54, Duvall hosted a heartfelt hoedown in his New York City apartment. The crowd ate down-home food cooked by character actor Wilford Brimley, who had flown in from Tennessee. As the party ended at 3 a.m., an exuberant Duvall had everyone join hands for a chorus of “Amazing Grace.”

Willie Nelson — who sang duets with Duvall at the party — told Village Voice columnist Arthur Bell that “Tender Mercies” was dead-on accurate.

“These people Bobby portrayed in his movie, I grew up in those parts and know each of them personally,” he said. “And I’ll probably be that character he plays someday if I don’t take care of myself.”

Many of Duvall’s characters had hardscrabble backgrounds, but Duvall grew up in privilege. Born in San Diego on Jan. 5, 1931, he was raised in places around the U.S. where his naval officer father was posted.

When he was 10, the future star of so many westerns rode his first horse and got to know his first Texans on a family trip to see his mother’s relatives.

By his teen years in Annapolis, Md., Duvall had become an excellent mimic, absorbing dialects and mannerisms wherever he happened to be. He did hilarious impressions of people like his cousin Fagin Springer, a singing evangelist from Virginia, and the tough old cowhands on his uncle’s Montana ranch. Years later, on the set of “The Godfather,” he did impressions of Marlon Brando.

In his more than 85 movies, many of his characters were heavy drinkers, but not Duvall. He went to a Christian Science boarding school in St. Louis and to Principia College, a Christian Science college in Elsah, Ill., and never smoked or drank.

When the affable, athletic Duvall was nearly kicked out of college for poor grades, administrators summoned his parents for an emergency meeting. Everyone agreed he was miscast as a history major. The boy’s only talent, besides tennis, appeared to be acting.

Switching to drama — a decision supported by his parents, who wanted him to stay in school — he turned his academic career around.

In a college production of Arthur Miller’s “All My Sons,” Duvall so deeply merged into the character of a ruthless businessman haunted by a bad decision that he found himself crying. “That clinched it,” wrote Judith Slawson in “Robert Duvall: Hollywood Maverick,” a 1985 biography. “Acting was for him.”

Graduating in 1953, Duvall was drafted into the Army. He trained in radio repair at Camp Gordon in Georgia but spent his off-duty time with a community theater group in nearby Augusta. When he left the service in 1955, he studied at New York’s Neighborhood Playhouse School of the Theatre, a training ground for such top talents as Gregory Peck, Steve McQueen and Jon Voight.

Sanford Meisner, the school’s legendarily demanding director, was impressed.

“There are only two actors in America,” he told playwright David Mamet years later. “One is Brando, who’s done his best work, and the other is Robert Duvall.”

In New York, Duvall worked night shifts at the post office, washed dishes and kept auditioning. He shared an apartment at Broadway and West 107th Street with a fledgling actor named Dustin Hoffman. The two also palled around with Gene Hackman and James Caan.

Over coffee at Cromwell’s Drugstore, the yet-to-be-discovered actors would discuss the mumbling, moving technique of another young actor.

“If we mentioned Brando once, we mentioned him 25 times,” Duvall told The Times in 2014.

After several years of off-Broadway productions, summer stock and roles in TV dramas such as “Naked City” and “The Twilight Zone,” Duvall landed his first Hollywood role in 1962.

As Boo Radley, a mysterious recluse in “To Kill a Mockingbird,” Duvall was on-screen for less than five minutes at the film’s end and had no lines. But he played a pivotal character and the film launched a cinematic career that lasted more than five decades.

In the 1979 Vietnam War epic “Apocalypse Now,” he delivered one of the most famous lines in the history of film. As the swaggering Lt. Col. Bill Kilgore, he orders U.S. helicopters to destroy a coastal Viet Cong-held village so he and his men could surf there.

“You smell that? Do you smell that? Napalm, son. Nothing else in the world smells like that,” Kilgore says nonchalantly as the village before him erupts in flame. “I love the smell of napalm in the morning.”

Kilgore’s chilling monologue topped the list of best movie speeches in a 2004 BBC poll. Duvall later said he had no idea people would remember it.

Duvall seldom played leading men, but Mac Sledge, in “Tender Mercies,” was a notable breakthrough.

“This is the only film where I’ve heard people say I’m sexy,” he told an interviewer. “It’s real romantic — rural romantic. I love that part almost more than anything.”

Duvall was married three times before meeting Luciana Pedraza, a young woman who was dared by her friends to approach him on a Buenos Aires street and invite him to a tango gathering. She played opposite him in “Assassination Tango,” a 2002 film in which he portrays a hit man dispatched to Argentina. They married in 2005 and for years practiced tango on a dance floor they installed in one of their barns.

In addition to his wife, Duvall is survived by his older brother William, an actor and music teacher. His young brother John died in 2000.

Duvall’s legacy includes a wide range of films, from “True Grit” to “True Confessions.” He played a retired Cuban barber in “Wrestling Ernest Hemingway”; a cynical TV executive in “Network”; a dirt-poor Mississippi farmer in “Tomorrow”; a quietly effective corporate attorney in “A Civil Action”; a middle-aged astronaut in “Deep Impact”; a grizzled cattleman in “Open Range”; a tobacco company bigwig in the satirical “Thank You for Smoking”; and in the miniseries “Ike,” he was Gen. Dwight D. Eisenhower.

He also tackled some less commercial projects. In 1977, he directed a documentary about a Nebraska rodeo family, “We’re Not the Jet Set.” In 1983, he wrote and directed “Angelo, My Love,” a drama inspired by and starring Romani whom Duvall came to know in New York City.

He worked well into his later years. In the 2009 film “Get Low,” he was a backwoods hermit who staged his own funeral. Two years later, he was a rancher and ex-golf pro who takes a young golfer under his wing in the spiritual drama “Seven Days in Utopia.” And four years after that, he played an alcoholic and abusive justice in “The Judge,” earning a supporting actor Oscar nomination — the oldest actor at the time to do so.

In “A Night in Old Mexico” (2014), he played an ill-tempered rancher preparing for suicide after losing his land to foreclosure. His plans change when he meets an adult grandson he never knew he had and the two wander across the border into bars and bordellos and reflect on life.

“No one plays wise old coots more convincingly,” the New York Times said.

Duvall drew on his inner curmudgeon throughout his career.

As an actor who prided himself on an up-close, deep-down knowledge of his characters, he sometimes bristled at direction.

“If I have instincts I feel are right, I don’t want anyone to tamper with them,” he told After Dark magazine in 1973. “I don’t like tamperers and I don’t like hoverers.”

Horton Foote, who adapted “Mockingbird” for the movies and wrote “Tender Mercies,” became one of Duvall’s few lifelong friends in the industry.

When Duvall was checking out Southern churches as he researched “The Apostle,” which he wrote, directed and starred in, the two were frequently in touch on the phone.

“I could always tell he’d been with a different preacher,” Foote told The Times in 2006, “because he’d try out these different voices.”

Authenticity was so important to Duvall that he gave some key roles in “The Apostle” to local people with little or no acting experience.

Rick Dial, who played a small-town radio reporter in the film, was actually a local furniture salesman.

“Rick improvised a lot of his dialogue,” Duvall told Backstage magazine in 2001. “At the end of ‘The Apostle’ when they cart me off, his skin turned a certain color of grief. I don’t know who told him to do that. He just did it.”

For Duvall, known as an actor who “just did it” in film after film, that was the highest kind of praise.

Chawkins is a former Times staff writer.

Frederick Wiseman, a preeminent documentary filmmaker, has died. He was 96.

The filmmaker’s death was announced by his family Monday in a statement released by Zipporah Films, Wiseman’s distribution company.

In a career that lasted nearly 60 years, Wiseman produced and directed 45 films beginning in 1967 with “Titicut Follies,” a documentary on the the patient-inmates of Bridgewater State Hospital for the Criminally Insane in Massachusetts, through 2023’s “Menus-Plaisirs — Les Troisgros,” a documentary on the Troisgros family’s Michelin three-starred restaurant in Ouches, France. His final film earned universal critical acclaim, and was recognized as the best nonfiction film of 2023 by the New York Film Critics Circle, the Los Angeles Film Critics Assn. Awards and the National Society of Film Critics.

“Wiseman, whose observational approach has often been mischaracterized as objective or omniscient, here drops any pretense to neutrality, so potent and overpowering is his sense of kinship with a fellow artist,” wrote Justin Chang in his 2023 review. “The marriage of sensibilities in front of and behind the camera is the stealthiest meeting in ‘Menus-Plaisirs — Les Troisgros,’ and the most unexpectedly satisfying.”

A scene from Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros.”

(PBS)

The filmmaker considered both Cambridge, Mass., and Paris his homes. His films, to an extent, reflected that transatlantic residency in their freshness of perspective. They display an innate curiosity and astonishing degrees of empathy, intelligence and perceptiveness, with subjects ranging from public and social institutions to cultural and specialized spaces and the minutiae of human interactions.

Wiseman’s other films included “High School” (1968), “Welfare” (1975), “Juvenile Court” (1973), “Public Housing” (1997), “La Danse” (2009), “National Gallery” (2014), “Ex Libris — The New York Public Library” (2017) and “City Hall” (2020). The varied body of work earned three Emmy Awards and an honorary Academy Award. Wiseman was also awarded Guggenheim and MacArthur Prize fellowships.

Beyond documentaries, the director also made three fiction films, “Seraphita’s Diary” (1982), “The Last Letter” (2002) and “A Couple” (2022). In reviewing the last, Chang wrote, “I suspect [Wiseman] is no more likely to impose himself on one of his fictions than he would on one of his documentaries, which ‘A Couple’ may resemble more than it appears. Wiseman has spent a career probing the complex inner workings and painfully human errors of America’s establishments, but in marriage itself, he may have found the most fraught, mysterious and unreformable institution of all.”

Nathalie Boutefeu in the movie “A Couple.”

(Film Forum)

Frederick Wiseman was born Jan. 1, 1930, in Boston. He graduated from Willams College and Yale Law School before embarking on a filmmaking career in the mid-1960s. He remained staunchly independent, establishing Zipporah Films, named for his wife, in 1971, in order to maintain control over distribution of his work.

In addition to his filmmaking career, Wiseman worked as a theater director and actor, including a recent appearance in Rebecca Zlotowski’s 2025 film “A Private Life,” starring Jodie Foster.

Wiseman’s wife of 65 years, Zipporah Batshaw Wiseman, died 2021. He is survived by his two sons, David (Jennifer) and Eric (Kristen Stowell), and three grandchildren, Benjamin, Charlie and Tess, as well as his friend and collaborator Karen Konicek, with whom he worked for 45 years.

The Super Bowl is over. Going to Disneyland? Do you have a spare $1,000 to spend?

I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy wondering about the profit margin on a $6 churro.

In the meantime, welcome back to the newsletter as we push through to the Oscars on March 15. Have you been catching up on the nominated movies? “Sentimental Value” is a delight … though just how delightful has been the subject of some debate.

Are the Actor Awards global enough?

Joachim Trier’s richly rewarding family drama “Sentimental Value” hauled in nine Oscar nominations last month, setting a record for most acting nods for a non-English-language movie.

Its primary quartet of actors — Stellan Skarsgård as a legendary director angling for a comeback, Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters and Elle Fanning as an A-list actor who becomes entangled in the family drama — all received nods. Fanning’s name was the first called when nominations were announced, signaling that Scandinavian melancholy would be notably absent that morning. Never mind the hour: Champagne glasses were raised.

The celebratory scene stood in stark contrast to the vibe just two weeks earlier when “Sentimental Value” was blanked at the Actor Awards (formerly known as the Screen Actors Guild Awards). And it wasn’t the only international film ignored. The 2,500 SAG-AFTRA nomination committee voters also shunned Wagner Moura, the lead of celebrated Brazilian drama “The Secret Agent.” Moura went on to nab an Oscar nomination, one of four noms, including best picture, that Kleber Mendonça Filho’s drama earned.

The disparity between the choices of the motion picture academy and SAG-AFTRA could be an anomaly. Or it might be the latest evidence of an Oscar trend this decade. As the academy’s membership has become more global — 24% of Oscar voters live outside the United States — the Academy Awards have become increasingly an international affair, leading to a widening divide with the Hollywood guilds.

Is this a bad thing? It depends who you ask. If you queried the actors that SAG-AFTRA nominated who ended up being Oscar also-rans, the answer would be no. Those who believe that cinema is global, particularly now that American studios have largely abandoned making movies geared toward grown-ups, would have a different response.

“The fact that not one international film got in says a lot,” says a veteran awards consultant, who, like others interviewed, requested anonymity in order to speak freely about the industry. Indeed, one journalist tabbed SAG’s Actor Awards nominations the “‘America First’ List,” which, while technically accurate, might have taken the perceived xenophobia a bit far.

“The SAG Awards or Actor Awards — whatever they’re called now — are in danger of looking like a middlebrow affair,” another awards campaigner notes. “I know this is going to sound elitist, but it’s true. There’s a big difference between an organization where you have to be invited or apply to join versus one where, if you’re a disc jockey in Kansas City, you have voting rights.”

To be fair, DJs, Kansas City-based or otherwise, probably don’t vote for the Actor Awards’ nominations — just for the final awards. In the nominations round, 2,500 randomly selected active SAG-AFTRA members make the choices. To serve on the committee, members must be categorized as an actor/performer, dancer, singer or stuntperson in the SAG-AFTRA database. Could a DJ be classified as a performer? Probably not. In the guild’s view, actor and performer are synonymous, encompassing both principal and background players.

And sure, since only 7% of SAG-AFTRA actors and performers earn $80,000 or more a year, that means there are going to be a few full-time waiters on those nomination committees. But as the speeches at the Actor Awards remind us annually, it’s a profession where you’re just one job away from making it. Think of Connor Storrie, who worked at restaurants for eight years before getting his break on “Heated Rivalry.”

There’s still the question of why, say, SAG-AFTRA dancers and singers are voting on the merits of an acting performance, however. In contrast to the Actor Awards, nominations for the Oscars are decided by the academy’s various branches. Actors vote for actors, writers for screenplays and so on, with the general membership voting for best picture.

“Peer groups are deciding what’s worthy, and that’s the way it should be,” says an academy member from the public relations branch. “I’m not voting for visual effects.”

Not initially, at least. Academy members vote for all 24 categories in the final round, provided, per a rule change that went into effect this year, they attest to watching all the nominated work in the category.

SAG-AFTRA voters have rewarded non-English-language work over the years, but usually when a particular film or TV show — Bong Joon Ho’s 2019 masterpiece “Parasite” or Netflix’s “Squid Game” — is undeniable. Voters ignored recent lead turns from Fernanda Torres (“I’m Still Here”), Yalitza Aparicio (“Roma”) and Sandra Hüller (“Anatomy of a Fall”). All three went on to earn lead actress Oscar nominations.

This year’s snubbing of “Sentimental Value” is particularly puzzling as the movie featured well-known actors like Fanning and Skarsgård, an institution from roles in blockbuster franchises like “Pirates of the Caribbean” and most recently the TV series “Andor.” It’s also a film about, among other things, the blurring of art and reality and the challenges of acting. And, in the scenes featuring Fanning, it’s in English.

What gives? Like every other contender, “Sentimental Value” screened four times for voters and was available for streaming.

“I just think people are less inclined to watch a movie with subtitles at home,” says one awards consultant, alluding to the ways that passive, multiscreen viewing has encroached upon our multitasking lives. Maybe that’s why Skarsgård, when he accepted the Golden Globe award for his work in the movie, preached that “cinema should be seen in cinemas” in his speech.

Does that sound elitist? It shouldn’t. But it does seem to be a belief from a time that’s slipping away. One certainty: With the academy nominating two international features for best picture for the third straight year, global cinema is now entrenched at the Oscars. Whether SAG-AFTRA voters decide to join the party is now a question for next year.

In a smoothly run show peppered with sharp humor but, for the most part, a dearth of pointed political commentary — save for one unscripted expression of anti-ICE sentiment from “The White Lotus” star Natasha Rothwell — the 2026 Film Independent Spirit Awards celebrated its 41st edition on Sunday in Hollywood.

The ceremony has long served as a counterpoint to the Oscars: looser, more unpredictable, typically mounted in a beach tent by the Santa Monica Pier. For over three decades, it was held the Saturday afternoon right before the Academy Awards.

But this year, due to coastal planning for the 2028 Los Angeles Olympics, the Spirit Awards relocated to the Hollywood Palladium (where they were last held in 1994), a venue decked out in the show’s signature blue and pink signage and decor — a pivot that proved effective.

“We don’t have a permit,” cracked host Ego Nwodim, riffing on scrappy independent tactics in her monologue. Her athletic hosting duties had her doing everything from cornering attending celebs such as Kirsten Dunst and Jesse Plemons via a “sexual tension cam” to picking up her falafel order at the main entrance on Sunset Boulevard.

Last year’s event played more like a coronation for a widely favored front-runner, Sean Baker‘s “Anora.” That film would go on to sweep at the Oscars a little over a week later. The mood today was more tenuous, the industry crowd mulling in the lobby with cocktails, discussing the tail end of awards season and the controversy coming out of the Berlin Film Festival concerning politically cautious juror statements.

The movies that would be honored here, by contrast, were bolder than the Spirits usually go, resulting in a truly independent raft of winners. Rose Byrne won the lead actor prize (the Spirits have gone gender-neutral since 2022) for her commanding, ruinous turn in “If I Legs I’d Kick You.” Accepting the award, Byrne half-joked, “This character of Linda really could only exist in an independent film — she’s fierce and she’s gracious and she’s a middle-aged woman.”

Other awardees included the subtly wrought academia drama “Sorry, Baby,” honored for director Eva Victor‘s screenplay and its supporting actor Naomi Ackie; the star-stalking thriller “Lurker,” which took both the first feature and first screenplay awards; and Brazil’s “The Secret Agent,” claiming the prize for international film.

The afternoon’s big winner was “Train Dreams,” the little movie that could, one that emerged 13 months ago at Sundance 2025 and is now proving itself to be one of Netflix’s sturdiest Oscar contenders. It took prizes for best feature, director and cinematography, the kind of haul that suggests real momentum.

A complete list of today’s Spirit winners

FILM CATEGORIES

Best Feature
“Train Dreams” (Netflix)
Producers: Michael Heimler, Will Janowitz, Marissa McMahon, Ashley Schlaifer, Teddy Schwarzman

Director
Clint Bentley, “Train Dreams” (Netflix)

Screenplay
Eva Victor, “Sorry, Baby” (A24)

First Feature
“Lurker” (Mubi)
Director: Alex Russell
Producers: Galen Core, Archie Madekwe, Marc Marrie, Charlie McDowell, Francesco Melzi D’Eril, Duncan Montgomery, Alex Orlovsky, Olmo Schnabel, Jack Selby

First Screenplay
Alex Russell, “Lurker” (Mubi)

John Cassavetes Award
For the best feature made under $1,000,000
“Esta Isla (This Island)”
Writers/Directors/Producers: Cristian Carretero, Lorraine Jones Molina
Writer: Kisha Tikina Burgos

Breakthrough Performance
Kayo Martin, “The Plague” (Independent Film Company)

Supporting Performance
Naomi Ackie, “Sorry, Baby” (A24)

Lead Performance
Rose Byrne, “If I Had Legs I’d Kick You” (A24)

Robert Altman Award
For a film’s director, casting director and ensemble cast
“The Long Walk” (Lionsgate)
Director: Francis Lawrence
Casting Director: Rich Delia
Ensemble Cast: Judy Greer, Mark Hamill, Cooper Hoffman, David Jonsson, Tut Nyuot, Joshua Odjick, Charlie Plummer, Ben Wang, Garrett Wareing

Cinematography
Adolpho Veloso, “Train Dreams” (Netflix)

Editing
Sofía Subercaseaux, “The Testament of Ann Lee” (Searchlight Pictures)

International Film
“The Secret Agent” (Neon)
Director: Kleber Mendonça Filho

Documentary
“The Perfect Neighbor” (Netflix)
Director/Producer: Geeta Gandbhir
Producers: Sam Bisbee, Nikon Kwantu, Alisa Payne

Someone to Watch
Given to a talented filmmaker not yet widely recognized
Tatti Ribeiro, “Valentina”

Truer Than Fiction
Given to an emerging director of nonfiction features
Rajee Samarasinghe, “Your Touch Makes Others Invisible”

Producers Award
For an emerging producer of quality independent films with limited resources
Tony Yang

TELEVISION CATEGORIES

New Scripted Series
“Adolescence” (Netflix)
Creators/Executive Producers: Jack Thorne, Stephen Graham
Executive Producers: Philip Barantini, Brad Pitt, Dede Gardner, Jeremy Kleiner, Nina Wolarsky, Hannah Walters, Mark Herbert, Emily Feller
Co-Executive Producers: Carina Sposato, Niall Shamma, Peter Balm

New Non-Scripted or Documentary Series
“Pee-wee as Himself” (HBO Max)
Executive Producers: Matt Wolf, Emma Tillinger Koskoff, Ronald Bronstein, Eli Bush, Benny Safdie, Josh Safdie, Paul Reubens, Candace Tomarken, Kyle Martin, Nancy Abraham, Lisa Heller, Sara Rodriguez

Breakthrough Performance in a New Scripted Series
Owen Cooper, “Adolescence” (Netflix)

Supporting Performance in a New Scripted Series
Erin Doherty, “Adolescence” (Netflix)

Lead Performance in a New Scripted Series
Stephen Graham, “Adolescence” (Netflix)

Ensemble Cast in a New Scripted Series
“Chief of War” (Apple TV)
Ensemble Cast: Charlie Brumbly, Luciane Buchanan, Cliff Curtis, Brandon Finn, Moses Goods, Te Ao o Hinepehinga, Benjamin Hoetjes, Siua Ikale’o, Keala Kahuanui-Paleka, Mainei Kinimaka, Kaina Makua, Jason Momoa, Temuera Morrison, Te Kohe Tuhaka, James Udom

With yesterday’s Oscar nominees luncheon in the books, the marathon that is awards season is now entering the home stretch. But that doesn’t mean there’s no grist left for the mill, especially when it comes to those — like this week’s cover subject, 73-year-old first-time nominee Delroy Lindo — whose names weren’t necessarily on pundits’ nominations predictions lists.

Through Feb. 26 we’ll be more sharing stories like his, and many others, before Oscar voters cast their final ballots for the March 15 awards. I’ll let my friend Glenn Whipp regale you with tales from his interview with “Sinners” star Lindo when he sends his next newsletter on Friday. In the meantime, read on for more highlights from this week’s issue.

Digital cover story: Wagner Moura

(Jason Armond / Los Angeles Times)

Basking in the sun outside The Times newsroom ahead of his digital cover shoot last month, Wagner Moura seemed exceptionally relaxed about spending his Tuesday afternoon in El Segundo with a bunch of journalists. But don’t let “The Secret Agent” star’s easygoing personality fool you into thinking he’s aloof in any way.

As contributor Lisa Rosen writes in her profile of the actor, he’s unafraid to draw pointed comparison’s between Kleber Mendonça Filho’s acclaimed political thriller — nominated for four Oscars, including lead actor — and contemporary politics, from disgraced Brazilian President Jair Bolsonaro to federal agents in American streets.

“This is also a film about infamy, because he’s being persecuted so unfairly,” he tells Rosen, comparing his character’s fate to that of Minneapolis residents Renee Good and Alex Pretti. After their deaths, he continues, “lies were spread about them online. It’s so cruel, and so it’s killing the person twice.”

The many charms of Ethan Hawke

(David Urbanke / For The Times)

I had the pleasure of speaking with Hawke and his wife and producing partner Ryan Hawke at Sundance the day after the actor earned an Oscar nomination for “Blue Moon,” so by the time I read contributor Margy Rochlin’s delightful interview with him and the film’s nominated screenwriter, Robert Kaplow, I could practically hear it in Hawke’s voice: boyishly enthusiastic, slyly funny, politically and creatively engaged.

But I don’t think you need to be intimately acquainted with Hawke, who also appeared on an Envelope digital cover last fall, to find him and Kaplow high-caliber raconteurs of the joys, and occasional indignities, of making independent films. “Sometimes you get to set and it’s easy to shape the text to make it more your own. The process here was for me to get rid of Ethan,” says Hawke. “It was to try and match the screenplay. I don’t ever remember working as hard — or [director] Rick [Linklater] being as mean to me.”

As far as hooking the listener to a story goes, Lorenz Hart, the loquacious lyricist that Hawke and Kaplow pay homage to in “Blue Moon,” would be proud.

Inside the race for best editing

(Illustration by Vartika Sharma / For The Times)

Oscar voters have occasionally been accused of making this award about the most editing instead of the best editing, but from the descriptions of this year’s five nominees, I think we can safely say that whomever the winner ends up being, their achievement will have been genuinely outstanding.

As contributor Bill Desowitz discovered from his outreach to the editors of “F1,” “One Battle After Another,” “Marty Supreme,” “Sentimental Value” and “Sinners,” coping with trauma is the surprising through line among the disparate scenes the nominees themselves chose as most pivotal to their films. (Given the volume of the footage some of them waded through, they might be suffering it too.)

Read more from our Feb. 12 issue

DUA Lipa shows she’s a real catch as she wears a netted dress to fiancé ­Callum Turner’s film premiere.

The singer, 30, shone in the mesh gown alongside Callum at the Berlin launch of Rosebush Pruning.

Callum, 36 yesterday, stars in the satirical thriller — and he’s also being talked up as the next James Bond.

Dua has fronted campaigns for Versace, Yves Saint Laurent Beauty, Pepe Jeans and Puma.

The lucrative deals have helped boost her fortune into the tens of millions and firmly cement her status as one of pop’s highest earners.

Fresh from her sold-out Radical Optimism stadium tour, the music star showed off a £25,000 engagement ring.

BIRTHDAY BOMBSHELL

Dua Lipa sizzles in bikini as she shares birthday tribute to fiancé

STAR PRANK

Dua Lipa & I were naked – mortifying text comic sent to star from KSI’s phone

Callum and Dua first sparked dating rumours in January 2024 after they were spotted looking close at a Los Angeles afterparty.

By that December, she set tongues wagging when she posted festive snaps wearing a sparkling diamond ring.

Following a whirlwind romance, they finally confirmed their engagement in June 2025.

The Fantastic Beasts actor has previously shared the story of their first meeting.

Describing his superstar fiancée as “the most beautiful woman in the world”, he revealed they met at a mutual friend’s birthday party in LA in 2024.

The pair bonded after discovering they were reading the same book.

“We sat next to each other and realized we were reading the same book, which is crazy,” Callum told The Sunday Times in October.

“It’s called ‘Trust’ and I had just finished the first chapter and I told her and she looked at me and said ‘I just finished the first chapter too’. I said, ‘So we’re on the same page.’”

The book Trust is a 2022 Pulitzer Prize-winning novel by Hernán Díaz exploring themes of money and ambition.

Since going public, the couple have been spotted together at awards ceremonies and film premieres on both sides of the Atlantic.

They are expected to marry later this year.

In this episode of The Envelope video podcast, Teyana Taylor describes the “slingshot” of success that’s come with “One Battle After Another” and shares her insights as to why fictional revolutionary Perfidia Beverly Hills does what she does in the film.

Kelvin Washington: Hello, everyone, and welcome back to The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen as well. Hopefully you all have been great since the last time I saw you. Everybody been good?

Mark Olsen: Of course.

Washington: Well, I tell you what, there’s a list of folks who’ve been very good because they’ve been nominated for an Oscar. And obviously, you kind of get the usual suspects, if you will. And then you get some surprises out there. Some folks you go, “Whoa!” So I want to start with you. Either of you can jump in on this. Is there someone that maybe surprised you, a film or something that you were just excited about or maybe someone said, “Them again?” or “That film again?”

Olsen: I think it was very exciting that “Sinners” got the most nominations of any film ever with 16 nominations. It was nominated in every category that it was eligible for. To see a movie that has had commercial success and felt like a cultural moment now being recognized somewhere like the Academy Awards, it’s just exciting to see that all coming together and rolling along for that film, regardless of how it turns out at the show.

Villarreal: I was very excited to see Rose Byrne get acknowledged for “If I Had Legs I’d Kick You.” Because I was worried about that movie losing steam after all the raves it got at Sundance [in 2025] and it’s a smaller movie. I wasn’t sure, “Are people going to remember it?” But I just think she’s so great in that film.

I was sort of surprised that Chase Infiniti didn’t get nominated.

Olsen: Because of the nature of the movie, the whole lead/supporting business was tough, and also it being her first movie, it’s a little harder to get that nomination — especially in lead actress, faced with, say, Kate Hudson, someone who’s been in the business for a long time, is much beloved in the industry, has obviously family historical ties to Hollywood. It’s interesting to see even in the nominations this sort of alchemy of like, “a little of this, a little bit of that” as far as who the academy was choosing to recognize.

Washington: You know, I go back to something you said, Mark, when you go to “Sinners.” You mentioned the blockbuster feel of it, getting people’s butts to the theaters, spending money. And also kind of original. We’ve had vampire movies before, but, you know, you get the “Transformer 12’s” and “Expendable 32’s.” I think a lot of folks were excited to see something original that also had commercial success as well.

Another film that had a bunch of success is “One Battle After Another.” You had a chance to speak with a star from that film, who’s been a star in her own right musically, but now into the film world, with Teyana Taylor.

Olsen: That’s right. It’s so exciting. She’s nominated for best supporting actress. This is a long movie, it’s over two and a half hours long. She more or less exits the picture about 30 minutes in. So I think it says something about the strength of her performance that her character kind of hovers over the rest of that movie. You feel her in the movie, even though she’s actually not onscreen. So at the Oscar nominees luncheon recently, we had a chance to sit down with Teyana and she was just so vibrant, so full of energy, really has a great attitude about this moment for herself. I mean, she just recently won a Golden Globe, she hosted “Saturday Night Live.” So much is like happening for her, seemingly right now and she’s just got this real like, taking it all in, very open to it [attitude]. It was really an exciting conversation.

Washington: A culmination of all her hard work. Here is Mark’s conversation with Teyana Taylor.

Teyana Taylor.

(Ian Spanier / For The Times)

Mark Olsen: You were just at the Super Bowl. About a week before that, you were a nominee at the Grammys. About a week before that you hosted “Saturday Night Live.” About a week before that you won a Golden Globe. And you’re here today as an Academy Award nominee. I’m sure I’m leaving some things out. I would say what’s the last year been like for you, but I feel like, what’s the last month or two been like for you? It feels like the rocket ship has really taken off.

Teyana Taylor: Yeah, it’s really taken off. I’m so blessed and I’m so honored and I’m filled with so much gratitude to just see so many prayers get answered all at once, where I’m also OK with one at a time. But it’s all happening, you know? And I’m just beyond blessed. And like we were talking about earlier, just how much fun I’m having with it. I’m really having a good time and I’m taking it all in because life is short and life is so fragile. So I just try and take time to enjoy life and enjoy my blessings and enjoy just being alive and well.

Olsen: Has there been a moment that felt the most surreal, like a “What is happening to me right now” moment?

Taylor: Honestly, all of it, because it reminds me of a slingshot, you know what I’m saying? It’s just like, here’s the way, here’s the way, here’s the way, here’s the way, here’s the work, here’s the prayers, here’s the tears, just here, here, here, here, here. And then whoosh — whatever the ball hit, it knocked down everything at once. And that’s what this feels like. It feels really good because literally everything is happening at the same time. So it’s not like only one moment or only two moments that’s making me feel this way. It’s everything. The small wins, the big wins, the medium wins. Every single win and every single blessing is a big deal to me. You know what I’m saying? Even my Ls. I’m not gonna win everything and I’m not gonna get everything, and some things are not even meant for me. But even those are blessings. It’s preparation for something that is in store for me and something that is meant for me, because all of this is already written. What’s for you is for you and will be for you, because that’s just what’s written. So I have that mindset.

Olsen: You’ve been doing this since you were a teenager, at first as a choreographer and a dancer, a singer, an actor, you’re going to direct your first feature soon. What keeps you moving through all of this, through these different disciplines and pursuits?

Taylor: My babies. My support system. My village. My community. I love to make my people proud. I love to make my peers proud, my family. I just love to make everybody proud and that’s what keeps me going. Even right now, I’m also in culinary school. So it’s just juggling that, but taking out the little moments to just be quiet and cook and feed my people. So it’s a push. It’s understanding it’s a marathon and that it’s not a sprint. It’s a part of the faith walk. And I think that’s what keeps me going, to wake up and feel so blessed, how could I ever complain? How could I ever be like, “Oh, this is too much”? It is everything I’ve ever asked for. I’m never going to complain about answered prayers. What pushes me is just the reassurance from my support system, the reassurance from Father God himself, the reassurance for my babies. They keep me going. That’s who I do it for. I want to create generational wealth. So them babies are my reason. They are my why.

Olsen: To start asking you about “One Battle After Another,” your character, Perfidia Beverly Hills, she’s inspired a lot of conversation and some controversy. For you, was there something about that character that you felt you hadn’t seen on screen before?

Taylor: Yes. Perfidia is complex and she is also misunderstood. This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day and you see this woman rip this cape away and it’s just unapologetically herself — even in her weakness. And even like you said, with the controversy of her sexuality, I think her sexuality is her armor. It is also her power. She’ll give somebody what they want to get what she wants. And literally in the movie, she’s made selfish decisions. But if you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do because we have to be super this, super this, super this. Super mom, super wife, super woman, super chef; everything is always with a super in front of it. And you see this woman not really caring about what people think. Nobody can quiet her. And in this space of, “OK, you’re too loud, quiet down; you stand too tall, have a seat,” Perfidia is all of the things that they can’t make her do. She’s like, “I’m gonna stand tall, I’m gonna use my voice, I’m gonna use whatever I need to use to get what I want.” And she makes decisions that we don’t agree with, but I think one thing we all can agree on is that she’s a badass. And I can always respect anybody that’s unapologetically themselves.

Another thing that I feel like the controversy is proof of is how much of a nonfactor postpartum depression is. Half of the mistakes we see Perfidia make is her dealing with postpartum depression. You see the moment where they say, “Perfida, she’s a runner. She comes from a long line of revolutionaries.” That in itself is a pressure on her to feel like she gotta keep that going. The revolution is instilled in her. It’s a part of her identity. So imagine getting pregnant and you’re feeling like, “Oh, my God, does this slow down the revolution? Am I gonna play house with a person that’s ignoring me?” Nobody is really taking the time to think about what’s happening in her mind. We can’t control how a person handles postpartum depression. We hear her, through the door, cry, and then we see Bob put his ear to the door — and instead of him walking in, he walked away. And then what was the result of that? Her walking away. Even if it had to be walking away from Baby Willa, it’s something that she felt like she needed to do, and that’s what postpartum make you do sometime. And every mother handles postpartrum depression differently. But I think that’s what I love about her character, because you get to see a harsh reality that I know is hard to take in. But when you watch it a few times you understand exactly what’s happening. … I think that’s what makes the letter at the end so important. Because you hear the pain, you hear the hurt, you hear the regret, you hear the accountability, “Do you have love? Are you happy? Will you try and change the world like we did? We failed, but maybe you will not.”

And that’s another thing. This is a story that Paul Thomas Anderson wanted to tell. It was Perfidia’s job to go and anchor this boat and stay there and create the path for Willa to take on these battles, because her past haunted Willa and Bob. That’s a part of Perfidia being supporting — supporting the next steps of what is for Willa. It’s for Willa to go on and to rise. So you see Perfidia in the beginning of the movie, you see her drive this boat, you see her get to the middle of the sea and you see her anchor herself. And from there, we have to continue the story. So I’m happy that the controversy around her can create dialogue like this, can create healthy dialogue or even uncomfortable dialogue. As long as it’s dialogue and we’re conversing and we are speaking and people are speaking from their point of views, I can absolutely respect that.

Olsen: Is that a conversation you expected to have? When you were making the film, were you and Paul, or you and your co-stars talking about the depiction of Black women in the movie? Or have you been surprised that’s been such a talking point now that the movie’s out in the world?

Taylor: Honestly, I’m not surprised of any of the talking. I think one thing that I said before the movie even dropped and we were doing our press junkets, I was always very boisterous about the fact that this movie, period, not just the character, would definitely shake the table, and it would definitely spark, whether it was great debates or — I love conversation and I like when we can converse. Get it off your chest, tell me how you feel. And I’m open to receive that. So I knew that it would shake the table. I also knew that it needed to be done. Postpartum depression is a big thing for me that I feel like it needs more light. It needs light around it. We need more solutions for it. And like I said, you see this person, this woman in survival mode. You see this woman be ignored. You see this woman be fetishized. And is that not the truth? Is that not what happens, especially in this place of a Black woman feeling the least protected? So I’m really happy that Paul put wings on that to be able to spread and fly with that. And like I said, I know it’s probably tough to take in, but that’s what we got to see because everybody is not wearing capes. Everybody is not handling things the way you may handle things, I may handle the things, the way that person or this person may handle things. So we all just got to give grace and take in the film. It’s a story that’s being told.

Olsen: To me, one of the biggest surprises about the movie is considering how cohesive and complete it feels, to learn how improvisatory and collaborative the process of making the movie was. Were you surprised by that? What was it like for you entering into the process of making this movie with Paul?

Taylor: I was shocked at how collaborative it was. And I loved every bit of it because one thing about it is, again, when you are telling a story that someone wrote — he’s been working on this project for 20 years. This is something that I consider to be his baby. And when you’re trusting me to take on a job like this, I don’t ever wanna walk into any set and feel like I’m doing what I want to do. I just want to be of good support. If you tell me, “Hey, let’s find this together,” I’m gonna find it together. If you say, “This is my vision of what that is and this is how I want it to be,” it’s my job to give you that vision of what you want it be, and then add my little sauce on top of it. But to be fully collaborative, I thought it was really dope. We found Perfidia’s layers and we color-coordinated those layers. And I’m really happy that he let me be a part of that.

Olsen: What do you feel you brought to Perfidia or you were able to add to the character?

Taylor: I was able to add a lot. Paul was very, very collaborative. And again, we found her layers, which was the most important, especially with such a complex character. And you know, I just came from “A Thousand and One.” So I came from being another complex character, but this one was complex to a whole other level, where we almost didn’t understand why we never see Perfidia cry. But you see these little moments, like little details, in her face that’s just like, it’s this strength, but the strength — because I also don’t really love the term “strong Black woman” — it’s this strength that you feel like she has to have because the strength is really survival mode. And again, like I said, you hear her crack down and you hear her vulnerable, and nobody stepped through that door. So when you see a strong Black woman, there is no grace, it’s, “Oh, she’s OK, she fine, she got it all figured out.” And then you hear her vulnerable and you still feel like even at her most vulnerable, she got this, she’s strong. And it’s just like, “Step through the door. Step in early. Step in the first time. Hear me the first time, see me [this] time, wipe the first tear away. Would she have walked out that door on Baby Willa and Bob, had he walked through that door when he heard her cry?

Olsen: I’ve heard you a number of times when you’re talking about Paul, you always call him Paul “Let Him Cook” Thomas Anderson. What does that mean?

Taylor: Let him cook! Listen, because he to me is a master chef. And honestly, I’m very, very big on leadership. I respect the person that is a leader. What makes it so dope is because, with being in culinary school, I originally signed up for culinary school, of course, to learn the art of culinary, but to just cook, I love to cook and I wanted to learn the art of that. With being enrolled in culinary school, it’s a lot of writing work and a lot of discussion forums and a lot of quizzes and stuff like that. So you’re not only learning to cook, but you’re learning how to run a business. You’re learning how to navigate your staff, front of house, back of house, in the kitchen. You have to understand it’s a whole system in how you handle people in general. In the kitchen they call it like a “servant leader,” where your leader is in the kitchen with you, they’re cooking with you. They’re your mentor, they are your guidance, but they’re cooking with you. They’re not just pointing, “Do this, do that, boom, boom, boom.” And it’s just, like, his gentle servant leadership is something that I respect so much and something that inspires me as an upcoming movie director on how to handle and navigate my staff.

So it’s like the best of both worlds because I have PTA and then I have culinary school who’s teaching me how to be the best leader. Even in how we handle people, it’s bigger than just the people that work for us or with us. It’s also the people that come into this restaurant. It’s your customers. It’s just the hospitality of it all and the hospitality that he gives, it’s really amazing to see. I’m also a big sports girl. So even in regards to him being our quarterback, you know, he’s not on the side, pointing at what to do. He’s on the field with you. But he has an even bigger job because now he’s trusting that he’s going to throw this ball to you and you’re going to receive that ball. So we’re his receivers, we’re his wide receivers to take it to the touchdown. It’s all about being present. And that’s what I learned in culinary, it’s what I learned in sports, it’s just everything about being a leader as I prepare to lead my village and lead my community. That’s just so important to me. So I always respect people that are in the field with you. I become a warrior for you. You see Paul, you’re running in the battlefield, you look to your left, he’s with you. He’s not on a horse, he’s not on his high horse. He’s in the field with you. Let’s go, we got this! And it just makes you want to you want to go so hard for him. And that’s how I look at it. So I am a student. I am a teammate. I am a soldier. I am a warrior. That’s what I am with people that are great leaders.

Olsen: When you won the Golden Globe, your speech was so moving and you specifically spoke to your “brown sisters and little brown girls” and said that their light does not need permission to shine. Can you talk more about that? What was it that made you want to say that in that moment, specifically talking about this movie?

Taylor: I thought it was a very important moment on a very important stage. I wanted to use my voice and I wanted to use my platform. And in that moment, I had the voice and the platform to say just that. It’s nothing less than that. There’s nothing beyond that. Exactly what I said. We deserve space. What that night showed was that here’s the space. And I appreciated that. I was filled with so much gratitude. That moment hit hard for me because I was that little girl that sat on the floor on a TV watching the other queens onstage accept their awards. Like, “You can do it too, you can do it too.” And I knew that one day when it was my turn, I would tell my little queens, “You can do it too — all the little queens that look like me, you can do it too, you deserve space.” To know that also my daughters were watching as well, it’s everything to me. It’s everything for me to know that they embrace that as well. It’s so important. I’ve gotten so many women come up to me like, “Wow, that speech was just everything.” And that’s what it’s all about. That’s what is all about: to inspire, uplift and remind us that there is space.

Olsen: Before I let you go, you just bring it on red carpets time and time again. And the one thing I like is that you wear these really bold outfits, and it never looks like the clothes are wearing you. Do you have tips for people? What do you do for confident personal style?

Taylor: Honestly, follow your heart. Follow your heart. If you see it and you like it, put it together. You might put it together and be like, “That didn’t work the way I [intended].” Practice. Play in clothes. I love to play in clothes — but also will walk in the store and redress a whole mannequin. I’ll also be like, “I like that tie, I think it should be a little bit tighter.” I dream about certain outfits. I dream of certain moments where I’m like, “Oooh. I already know what I feel like I want my Oscar dress to look like. I already know what I want my Golden Globes dress to look like.” It’s always a vision. Or sometimes you might have a base. You might see something and be like, “I like this, but I feel it could use this.” Add it. If you feel like something can use something, add it. Because before you know it, now you done created your own thing. So don’t hesitate. When I was younger, I used to hesitate and be like, “This looked pretty cool, but now I’m not gonna do it.” And then later on, I see somebody try it, and I’m like, “Oh, I should have just…” Always follow your gut and always follow you heart.

As Sister Veronica questions her purpose in life on the BBC drama, we take a look inside the life of actress Rebecca Gethings

Sister Veronica’s anguish has left Call the Midwife fans in tears as she longs for a child to call her own.

When the BBC period drama commenced its 15th series this January, set in 1971, viewers were immediately met with an unexpected revelation as Sister Veronica (Rebecca Gethings) opened up about her innermost feelings, and her tale is heartwrenching.

In a candid exchange with Geoffrey Franklin (Christopher Harper), the nun disclosed her desire to become a mother herself, despite having devoted her life to the Church.

Sister Veronica had also developed a particularly close relationship with baby Christopher, providing invaluable assistance and support to the Turner family in caring for the little one.

The family decided Christopher should travel back to Hong Kong to continue receiving medical care at the British Army Hospital, and Sister Veronica accompanied the tot on his journey.

On Sunday (February 8), Sister Veronica arrived back from Hong Kong and insisted on speaking privately with Sister Julienne (Jenny Agutter) at Nonnatus House. During an emotional discussion, Sister Veronica revealed her intention to relinquish both her position as a nun and her duties as a midwife within the order.

She said: “I came back to Poplar via the Mother House. I needed to confer with Mother Mildred because I have been feeling increasingly unhappy.”

Sister Julienne responded: “I wasn’t unaware of it but our work is not about our happiness, it is about seeking no reward other than knowing that we do his will.”

The remark caught Sister Veronica off guard, prompting her to declare: “If you are quoting Ignatius of Loyola, then you are admitting the bit about giving and not counting the cost. And I can’t keep on giving and not counting the cost any longer.”

“I hoped I could bear it, but I can’t”, Sister Veronica confessed, before removing her wimple and exposing her hair for the first time.

“I have been given permission to go away for six weeks while I decide if I want to give up my vows and leave the order.”

Sister Veronica, now going by Beryl, later received consolation from Shelagh Turner (Laura Main), who had herself left the order years earlier to build a family with Doctor Turner (Stephen McGann). Beryl subsequently gathered her belongings and departed Nonnatus House. Will she return to Nonnatus House?

Who plays Sister Veronica in Call the Midwife?

Sister Veronica joined Call the Midwife in Series 12 (2023) as a new nun at Nonnatus House, replacing Sister Hilda.

She had previously worked as a midwife in Hong Kong and initially joined Nonnatus House as a health visitor. She certainly has her quirks, though she has become a much-loved member of the team and the community.

Sister Veronica is played by Rebecca Gethings, a 50-year-old English actress who was born in Canada.

Raised in Berkshire, UK, she studied drama at the Webber Douglas Academy. Starting off her career in theatre, she appeared in the West End production of Vassa.

She has gone on to star in a long list of television shows, including Queen Eleanor in The Serpent Queen, Helen Hatley in The Thick of It, Dawn in Not Going Out, Lizzie in Extras, and a guest role in EastEnders in 2001.

Rebecca has also starred in movies, including Casino Royale and The Critic. In 2015, she played PR manager, Miriam Clark, in Ricky Gervais’ film David Brent: Life on the Road.

Who is Rebecca Gethings’ husband?

In June 2025, Rebecca tied the knot with long time partner Tom Brass, opting for a pink dress after a disaster with her original wedding dress.

Rebecca and her animation director husband, also parents to two children, celebrated their union with an intimate East London ceremony.

The actress took to Instagram to share her joy, posting a stunning snapshot of her and Tom walking hand in hand as newlyweds.

Underneath the photo, she brimmed with enthusiasm, captioning: “I do, he do, and we very much did! All our thanks to @davidjonesphotography @iconoclast_london @justineluxton_costumedesigner.”

Speaking about her wedding dress disaster, Rebecca shared on the Call the Midwife Instagram page: “I wanted to keep our wedding very low-key – just Tom, the kids and myself. So I bought myself a wedding dress online in the sales. Just a white summer dress – nothing too fancy. It was then that disaster struck!

“Unfortunately, the dress arrived by post in a rainstorm whilst I was at work! I asked our babysitter to rescue it from behind the bin where the postman had left it. But when she turned up, she found that the rain-soaked parcel box had disintegrated completely!”

Justine Luxton, the show’s costume designer, and her assistant Anna Laflin, saved the day by making a new dress from beautiful coral fabric from Joel & Sons, which Rebecca had selected.

Call the Midwife airs Sunday at 8pm on BBC One and iPlayer

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