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Highlights from our Feb. 26 issue

We made it! After this weekend, when the Producers Guild of America and Screen Actors Guild hand out their highly predictive precursors, the final shape of the Oscar race should be (reasonably) clear — and nominees worn out by months of campaigning will be breathing a sigh of relief.

Before I share highlights from this week’s issue, one programming note: This will be my last letter from the editor until our inaugural Cannes issue drops in May. (Don’t worry, I will be plenty busy in the interim catching up on this year’s top Emmy contenders.)

Thanks as always for following along, and may you triumph in your Oscar pool!

Cover story: Rose Byrne

February 26, 2026 cover of The Envelope featuring Rose Byrne

Times columnist Mary McNamara and I don’t agree on everything, but we do agree on this: “Damages” deserves to be ranked alongside “Mad Men” and “Breaking Bad” in any discussion of the Golden Age of TV.

That’s thanks in one part to a gripping flash-forward narrative structure now so common it could be considered a cliché, and in another to Glenn Close’s indelible performance as ruthless litigator Patty Hewes. But it’s also a testament to the multifaceted talents of Rose Byrne, who went “toe-to-toe” with Close in what would become her breakthrough role — and then confidently pivoted to projects like “Insidious,” “Bridesmaids” and “Spy.”

“Byrne is something of a creative chameleon, moving easily from drama to comedy to horror, film to television to stage and back again,” McNamara writes in this week’s cover story. “In many ways, her gut-wrenching, darkly funny performance as a woman pushed beyond all endurance in “If I Had Legs I’d Kick You” is a culmination of all the characters she brought to life before it.”

Inside Warner Bros.’ dominant Oscar haul

Michael De Luca, left, and Pamela Abdy are photographed at the Warner Bros. lot.

Whether you come down on the side of “Sinners” or “One Battle After Another” in the best picture race may be perfect fodder for debate with friends over a few small beers, but for Warner Bros. executives Mike De Luca and Pam Abdy it would be akin to choosing a favorite child. After all, both projects emerged from the pair’s desire, as contributor Gregory Ellwood writes, to make WB “a destination where filmmakers of all varieties, including auteurs, bring their projects for ‘white glove’ treatment.”

As De Luca explains, “Everything was original once… If you don’t refresh the coffers with new IP to create new franchises, at some point you get to Chapter 10 or 11 and people start to move on.”

The many faces of ‘The Secret Agent’

Gabriel Domingues, nominated in the first ever Oscar casting category for his work on "The Secret Agent."

The moment Tânia Maria arrives onscreen as Dona Sebastiana in “The Secret Agent,” you can’t help but ask yourself, “Who is that?!” (Star Wagner Moura had the same reaction.) But the real feat casting director Gabriel Domingues pulls off in the Oscar-nominated Brazilian thriller is to make you ask yourself the same question, over and over, every time a new character appears.

How did Domingues find a range of actors to represent the country’s endless diversity? It’s part of his process, writes contributor Carlos Aguilar: “He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.”

‘Majority of those killed are ordinary people’

Mai Sato, United Nations special rapporteur on human rights in Iran, has said more than 20,000 civilians may have been killed, but information remains limited amid heavy internet filtering by the state, six weeks after a nationwide communications blackout was imposed.

The US-based HRANA says it has documented more than 7,000 people killed during the nationwide protests, and is investigating nearly 12,000 more cases.

Sato was among 30 special rapporteurs and international human rights experts who signed a joint statement on Friday calling on Iranian authorities to fully disclose the fate and whereabouts of tens of thousands arrested, forcibly disappeared or missing in the aftermath of the nationwide protests, and to halt all related death sentences and executions.

“The true scale of the violent crackdown on Iranian protesters remains impossible to determine at this point,” the experts said. “The discrepancy between official figures and grassroots estimates only deepens the anguish of families searching for their loved ones and displays a profound disregard for human rights and accountability.”

The international experts added that “the vast majority of those detained or killed are ordinary people, including children, from all provinces and diverse ethnic and religious backgrounds, as well as Afghan nationals”, in addition to lawyers representing protesters, medical professionals who treated the wounded, journalists and writers, artists and human rights defenders.

Iranian state media were accused of regularly broadcasting what the experts said are “widely regarded as forced confessions”.

The latest such incident came on Saturday, when the official Mizan news agency of the Iranian judiciary released footage from a court session for three men who said they regret setting fire to motorcycles, a mosque and copies of the Quran in Tehran during the unrest.

Also on Saturday, some students in Tehran and across the country returned to university campuses for the first time, as authorities kept universities closed and took some classes and exams online in the aftermath of the protests.

In Tehran’s Sharif University, one of the most prestigious in the country, students clashed after two separate demonstrations. Videos circulating online showed students shouting “dishonourables” at a group of paramilitary Basij students affiliated with the Islamic Revolutionary Guard Corps (IRGC), who chanted back in favour of the establishment.

The clashes come amid a heightened security atmosphere in Iranian schools and university dormitories. Teachers and schools in a number of cities near the capital went on strike last week to protest the killing of at least 230 children and teenagers, as well as increased presence of security forces in classrooms.

Families dance in defiant grief

The Iranian government held mourning events on Tuesday and Wednesday in Tehran, with some officials in attendance.

Culture Minister Reza Salehi-Amiri announced on Saturday that the government has decided to call the upcoming ceremonies around Newroz, the new Iranian year starting in late March, an exercise in “unity and empathy” with the aim of “getting past the grief” of thousands killed.

But numerous families have been holding defiant commemoration events of their own over the past week to mark 40 days since the killing of their loved ones during the anti-establishment protests.

Footage from many ceremonies across the country this week showed family members, and large crowds gathered to support them, proudly holding up images of those killed and celebrating their shortened lives.

Many chose to clap, play traditional drums and cymbals, and even dance in symbolic shows of resistance and defiance that heavily clash with religious rituals favoured by the theocratic state.

“May your pen break, O fate, if you do not write about that which befell us,” the father of Abolfazl MirAeez, a 33-year-old killed in the city of Gorgan in the northern province of Golestan, told crowds gathered at a ceremony on Thursday.

“My son was neither a rioter, nor an embezzler nor an aghazadeh [child of an elite]. He was the son of a farmer.”

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Highlights from our Feb. 19 issue

Feb 19, 2026 News Desk

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’

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

The Envelope digital cover featuring Kate Hudson

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

Oscar-nominated cinematographer Adolpho Veloso of "Train Dreams"

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.’”

Digital cover story: Wagner Moura

Digital cover for The Envelope featuring Wagner Moura

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

Ethan Hawke, left, and screenwriter Robert Kaplow for 'Blue Moon'

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

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.)