2023 Oscars: What to Know about the Best Actor Nominees

Irish actor Colin Farrell poses on the red carpet upon arrival at the BAFTA British Academy Film Awards at the Royal Festival Hall, Southbank Centrer, in London, on February 19, 2023. (AFP)
Irish actor Colin Farrell poses on the red carpet upon arrival at the BAFTA British Academy Film Awards at the Royal Festival Hall, Southbank Centrer, in London, on February 19, 2023. (AFP)
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2023 Oscars: What to Know about the Best Actor Nominees

Irish actor Colin Farrell poses on the red carpet upon arrival at the BAFTA British Academy Film Awards at the Royal Festival Hall, Southbank Centrer, in London, on February 19, 2023. (AFP)
Irish actor Colin Farrell poses on the red carpet upon arrival at the BAFTA British Academy Film Awards at the Royal Festival Hall, Southbank Centrer, in London, on February 19, 2023. (AFP)

It’s always fun when an Oscars category is filled with first-time nominees at varying stages of their careers. Best actor is another three-way race, between Austin Butler, Colin Farrell and Brendan Fraser, with each having scored notable wins from guilds and critics groups. The Associated Press’ film writers predict Fraser to have the edge.

Here’s a bit more about the nominees and their roles before the Oscars on March 12, which airs live on ABC beginning at 8 p.m. Eastern. And if you’ve missed a performance, there’s still time to watch this year’s nominees.

Brendan Fraser

Brendan Fraser doesn’t mind that people have called his turn in Darren Aronofsky’s “The Whale,” in which he plays a reclusive English teacher named Charlie who is grappling with his past in the midst of a dire prognosis, a “comeback.” But it’s not the word he’d choose.

“If anything, this is a reintroduction more than a comeback,” Fraser told The AP. “It’s an opportunity to reintroduce myself to an industry, who I do not believe forgot me as is being perpetrated. I’ve just never been that far away.”

The film, an adaptation of Samuel D. Hunter’s play, shows a different side of Fraser as an actor than the affable action/comedy roles that made him beloved and famous in the 1990s.

“I gave it everything I had every day,” he said. “We lived under existential threat of COVID. An actor’s job is to approach everything like it’s the first time. I did but also as if it might be the last time.”

Age: 54

Notable Wins: Critics Choice, Screen Actors Guild.

Colin Farrell

In Martin McDonagh’s tragicomic tale of the end of a friendship “The Banshees of Inisherin,” Colin Farrell’s Pádraic is the one being broken up with by Brendan Gleeson’s Colm on their small Irish island in 1923.

“He has an innocence where he can’t comprehend why his friend of so many years has cut him out,” Farrell said of his character last year at the Venice Film Festival, where he’d go on to win the best actor prize. “It shakes him to his core ... He lives in a beautiful life and that beauty is taken away.”

The film was a reunion for the trio who developed a deep bond on “In Bruges” 14 years ago.

“From the start, there was a deep sense of kinship and an understanding of each other,” Farrell told The AP. “In a strange way, I understand myself more through Martin and his mind and his heart and his work. And I understand myself more through my interactions with Brendan.”

Age: 46

Notable Wins: Venice Film Festival, New York Film Critics Circle, National Board of Review, Golden Globes (Musical/Comedy).

Austin Butler

Austin Butler spent so much time and mental and emotional energy in preparing to play and playing Elvis Presley in Baz Luhrmann’s colorful drama that he finds it difficult to talk about without “sounding incredibly pretentious and self-important,” he told The AP. “There are certain aspects that even I don’t fully understand.”

The past few weeks have brought their own emotional highs and lows too, with his Golden Globe win, his Oscar nomination and the tragic death of Lisa Marie Presley in the span of a few days.

“The peaks are so high and the valleys have been so low,” Butler said.

“I just wish Lisa Marie were here with us to celebrate. At times, in the midst of intense grief and just a shattering loss, it feels sort of bizarre to celebrate. But I also know how much this film meant to Lisa Marie, how much her father’s legacy meant to her. So I feel so proud and humble to be a part of that story.”

Age: 31

Notable Wins: Golden Globes (Drama), BAFTA.

Bill Nighy

Bill Nighy plays a British civil servant who receives a terminal diagnosis in 1953 London in Oliver Hermanus’s remake of the Kurosawa classic “Ikiru.”

“I was very moved by it when we were making it, the fact that we were making it, that we were back and that it was the first thing I’d done since the pandemic,” Nighy told The AP. “The pandemic forced us to look at our priorities in our lives and all that and this film discusses how to make the most of every day. So I suppose in that regard it was timely.”

The veteran actor said he thought they were making something special, but he was unprepared for the rapturous reception everywhere. And thematic resonance aside, it hasn’t got him thinking about his own legacy.

“I don’t ever think in terms of legacy,” he said. “I find it difficult to get enthusiastic about a world which is not going to include me.”

Age: 73

Notable Wins: Los Angeles Film Critics Association.

Paul Mescal

Paul Mescal did not expect to come out of “Aftersun” friends with an 11-year-old. But that’s what happened with his co-star Frankie Corio on the set of Charlotte Wells’ personal and evocative film about a young father and his daughter on vacation in Türkiye in the 1990s.

“Both of us got out two weeks before filming started. There was kind of a loose plan that we might rehearse. And we did some of that, but ultimately, we just spent the two weeks where I was playing like pretending to be her dad,” Mescal told The AP. “It’s one of the greatest professional experiences that I’ve had. It really surprised me. I fell in love with her and I adore her and she’s just a phenomenal actor.”

The Irish actor said he likes working on smaller films with first-time directors. If anything, he hopes that his raised profile following his nomination might help him be able to get another project like that made.

“I take great pride in the fact that there’s an appetite for those films still,” he said.

Age: 27



Hollywood, Bollywood Groups Lobby Indian Panel to Protect Content from AI Models

US actress Lauren Graham (detail shoes) stands on her newly unveiled star on the Hollywood Walk of Fame during a ceremony in Hollywood, California, on October 3, 2025. (Photo by Frederic J. BROWN / AFP)
US actress Lauren Graham (detail shoes) stands on her newly unveiled star on the Hollywood Walk of Fame during a ceremony in Hollywood, California, on October 3, 2025. (Photo by Frederic J. BROWN / AFP)
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Hollywood, Bollywood Groups Lobby Indian Panel to Protect Content from AI Models

US actress Lauren Graham (detail shoes) stands on her newly unveiled star on the Hollywood Walk of Fame during a ceremony in Hollywood, California, on October 3, 2025. (Photo by Frederic J. BROWN / AFP)
US actress Lauren Graham (detail shoes) stands on her newly unveiled star on the Hollywood Walk of Fame during a ceremony in Hollywood, California, on October 3, 2025. (Photo by Frederic J. BROWN / AFP)

Hollywood and Bollywood groups are lobbying an Indian panel for stricter copyright protection that will prevent artificial intelligence firms from using their intellectual property to train AI models, letters show.

AI companies remain at loggerheads with content owners globally and governments are fast developing regulations that lay down rules for the new technology. While Japan gives broad exemptions to AI firms in using copyrighted content, the European Union has stricter rules that allow content owners to opt-out of such use.

The movie industry is particularly concerned that AI tools could scrape their copyrighted videos, images and clips online - like trailers and promos - and more critically ingest pirated content onto their platforms.

India's current copyright law does not account for use by AI. The government formed a panel this year consisting of lawyers, government officials and industry executives to review if existing copyright law is sufficient to tackle AI-related disputes, and make recommendations.

Motion Picture Association (MPA), which represents Warner Bros, Paramount and Netflix, and the Producers Guild of India have argued India should not tinker with its copyright law and instead promote a licensing regime.

In response to the panel's private inquiry on why India should not allow blanket training exceptions to bolster AI innovation, MPA India Managing Director Uday Singh said in an August 2 letter the move could "undermine the incentive to create new works and erode copyright protection in India."

The Indian guild's CEO Nitin Tej Ahuja told the panel in his letter "licensing copyrighted works is essential for creators' revenue and business sustainability."

MPA declined to comment, while the guild did not respond to Reuters queries on the letters, which are not public.

India's commerce ministry official Himani Pande, who chairs the panel, did not respond to Reuters queries. The panel is finalizing its recommendations which it will present to senior officials in coming weeks, a source with direct knowledge said.

India has one of the world's most vibrant film industries. A Deloitte-MPA study in May said India's film, TV and online content industry generated $13.1 billion in revenues last year, growing 18% each year since 2019. The deliberations come just when a Bollywood couple has gone to court to challenge YouTube's AI policies after their manipulated videos started spreading online.

The film studios' position is in contrast to the Business Software Alliance, which represents AI firms like OpenAI, and which argued in public submissions in July that New Delhi should ensure exceptions to permit lawful AI use. MPA members however remain concerned.

The association has said India should not consider allowing use of content in AI models with an opt-out system as it will put the burden of responsibility on the movie studios, a move that could force them to individually track and block sharing of their work on scores of AI platforms.

Such exceptions "would hinder future investments, development of high-quality local content," MPA India said. In September, Warner sued AI service Midjourney in Los Angeles by saying it brazenly stole the studio's works to generate images and videos of Batman, Superman, Bugs Bunny and other copyrighted characters.

Midjourney maintains the way it trains its AI model amounts to fair use.


Dolly Parton’s Sister Calls for Fan Prayers over Health Issues 

Dolly Parton. (AFP/Getty Images)
Dolly Parton. (AFP/Getty Images)
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Dolly Parton’s Sister Calls for Fan Prayers over Health Issues 

Dolly Parton. (AFP/Getty Images)
Dolly Parton. (AFP/Getty Images)

Dolly Parton's sister on Tuesday asked fans to pray for the American country singer, who has postponed several concerts due to health issues.

Parton, 79, last week delayed her upcoming Las Vegas gigs due to unspecified "health challenges," and disclosed that she was set to undergo multiple medical procedures.

"Last night, I was up all night praying for my sister, Dolly. Many of you know she hasn't been feeling her best lately," wrote Freida Parton on her Facebook page.

"I truly believe in the power of prayer, and I have been led to ask all of the world that loves her to be prayer warriors and pray with me."

Dolly Parton had been set to perform six nights of sold-out shows in December at Caesars Palace.

The "Jolene" and "I Will Always Love You" singer scrapped those dates last week because her current health meant she would not "be able to rehearse and put together the show that you want to see."

Parton told her millions of followers that she was not ending her glittering career just yet, and said new dates were set for next September.

Parton became a major star in the 1970s, with singles including "Coat of Many Colors," and followed up with smash hits like "I Will Always Love You," famously covered by Whitney Houston, and "9 to 5."

She is due to receive an honorary Oscar next month, but Hollywood trade publication Variety said Parton is no longer expected to attend the Los Angeles ceremony.

Her sister Freida ended her plea for prayers Tuesday with an upbeat note.

"She's strong, she's loved, and with all the prayers being lifted for her, I know in my heart she's going to be just fine," she wrote.

"Godspeed, my sissy Dolly. We all love you!"


Movie Review: Bigelow’s ‘A House of Dynamite’ Lights a Fuse That Doesn’t Quite Ignite 

This image released by Netflix shows Rebecca Ferguson in a scene from "A House of Dynamite." (Eros Hoagland/Netflix via AP)
This image released by Netflix shows Rebecca Ferguson in a scene from "A House of Dynamite." (Eros Hoagland/Netflix via AP)
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Movie Review: Bigelow’s ‘A House of Dynamite’ Lights a Fuse That Doesn’t Quite Ignite 

This image released by Netflix shows Rebecca Ferguson in a scene from "A House of Dynamite." (Eros Hoagland/Netflix via AP)
This image released by Netflix shows Rebecca Ferguson in a scene from "A House of Dynamite." (Eros Hoagland/Netflix via AP)

In Kathryn Bigelow’s “A House of Dynamite,” when a mysterious missile launches from the Pacific and begins bearing down on the Midwest, the biggest threat initially at the White House is a pile of paper work.

The ho-hum response that kicks off Bigelow’s firecracker of a film is quickly shattered. But that transition from routine to imminent danger, replayed three times over in this “Rashomon” meets “Dr. Strangelove,” is the defining register of Bigelow’s urgent, if heavy-handed nuclear wake-up call.

Words across the screen open the film, noting that global powers once worked to decrease nuclear weapons. “That era is now over,” declares the movie.

You might be thinking: As if we didn’t have enough to worry about. But no matter how many other existential concerns might be making a restful night of sleep a thing of pure fantasy, filmmakers have long been particularly attuned to the threat of nuclear warfare. “A House of Dynamite” joins a cinematic lineage going back to “Dr. Strangelove” and “Fail Safe” in 1964. And it comes amid a modern revival of big-screen nuclear anxiety including 2023’s “Oppenheimer” and preceding James Cameron’s announced plans to make “Ghosts of Hiroshima.”

But Bigelow, working from a script by the former NBC News president Noah Oppenheim, takes her own bracingly contemporary, precisely granular approach to envisioning the very sudden emergence of a nuclear weapon heading toward the US mainland. With riveting efficiency, Bigelow constructs a taut, real-time thriller that opens explosively but dissipates with each progressive iteration.

The first section of the film, which opens in theaters Friday before streaming Oct. 24 on Netflix, is its most powerful. It begins with a routine, workaday morning. Soon after Captain Olivia Walker (Rebecca Ferguson) arrives at a command center at the White House, a military base in Alaska reports the unexpected launch of an intercontinental ballistic missile. Its launch was unsighted, making the origin and nature of the attack unclear. Everyone’s first reaction is that it will likely splashdown somewhere in the Sea of Japan.

But in the moments that follow, a new realization dawns: the missile is headed for Chicago. In 18 minutes, millions of Americans may die. The DEFCON level worsens. Long-used playbooks get dusted off. Communication, and protocol, are fast and immediate — military leaders appear on a video call where the president is a quiet black screen — but the solutions not nearly as many of us might assume.

Ferguson, a deft, intelligent actor, commands the operation with quicksilver savvy and humanity. As the minutes tick away, the urge grows to get her phone out of a lock box — a bit of daily White House protocol — and call her family. As impact nears, as you might expect, the intensity swells.

But just before that moment arrives, “A House of Dynamite” turns the clock back to launch. The next two sections of the film replay the same moments, but from different points of view. The second chapter leans largely on National Security Advisor Jake Baerington (Gabriel Basso), and the fast-moving attempts to pinpoint the possible strategy of the missile launch and who might have fired it. Could it be North Korea? Russia? Is this an accidental event or, by the rules of engagement, does it set off a chain reaction leading irrevocably to mutual destruction?

The third section takes the frantic debate to the more solitary figure of the president (Idris Elba, who has managed to play both the British Prime Minister and POTUS in one calendar year). By this point, though, “A House of Dynamite” has begun to spin its wheels, retreading ground it already covered, and leaving Elba searching for direction in his scenes.

The rewind-and-replay narrative offers some benefits. By three times returning to the beginning of a new day, each time met by all with its familiar habits — the need for coffee, traffic in the commute, maybe a quick round of golf — “A House of Dynamite” each time reinforces how rapidly our sense of normalcy might be forever shattered.

But the structure also dampens the fuse initially lit by “A House of Dynamite.” What carries it through, above all, is the great command of Bigelow (“Zero Dark Thirty,” “Detroit”), who knows perhaps better than any working filmmaker how to turn bracing real-life, or near-real-life crises into heart-pounding thrillers. Aiding that cause is a fine ensemble of actors (Tracy Letts, Jared Harris, Greta Lee, Anthony Ramos, Jason Clarke) with the gravitas to enhance Bigelow’s verisimilitude. But the higher up the chain of command “A House of Dynamite” goes, the more it loses its grip on plausibility.