‘Past Lives,’ Lily Gladstone Win at Gotham Awards 

Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)
Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)
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‘Past Lives,’ Lily Gladstone Win at Gotham Awards 

Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)
Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)

Celine Song’s wistful romance "Past Lives" earned top honors at the Gotham Awards on Monday evening at an award-season kickoff where the night's biggest drama came in a political speech by Robert De Niro that the actor claimed had been edited without his permission.

"Past Lives," a breakout at the Sundance Film Festival in January and an arthouse hit in June for A24, may be poised to be an Oscar sleeper this year after winning best feature film at the Gothams. Affection is strong for Song’s directorial debut, starring Greta Lee as a woman born in Seoul who, after marrying an American (John Magaro), reconnects with a childhood friend from South Korea (Teo Yoo).

"This is the first film I've ever made and a very personal film about an extraordinary feeling I had in an ordinary bar in the East Village, not too many blocks away from here," said Song, accepting the award. "As this film has been shared with the world, it has taught me — and taught us — that you're never alone in that extraordinary feeling."

"Past Lives" was expected to win, but the ceremony went off-script when De Niro, co-star in Martin Scorsese's "Killers of the Flower Moon," took the podium to present a tribute award to the film. While giving his remarks, De Niro noticed a section had been omitted on the teleprompter. After attempting to scroll back through, he completed his speech before returning to read from his phone.

"The beginning of my speech was edited, cut out," De Niro said. "I didn’t know about it."

De Niro, known for his fiery rhetoric against former President Donald Trump, then expanded on what he called America's "post-truth society" and chided Hollywood — specifically John Wayne — for earlier depictions of Native Americans.

"The former president lied to us more than 30,000 times during his four years in office, and he’s keeping up the pace with his current campaign of retribution," De Niro said. "With all of his lies, he can’t hide his soul. He attacks the weak, destroys the gifts of nature and shows his disrespect for example using Pocahontas as a slur."

De Niro seemed to blame Apple, which produced "Killers of the Flower Moon," for the changes to his speech.

"So, I’m going to say these things — to Apple and thank them, all that. Gothams. Blah blah blah. Apple. But I don’t really feel like thanking them at all for what they did," said De Niro. "How dare they do that, actually."

Apple didn't immediately respond to requests for comment late Monday evening.

It was still a big night for Scorsese's epic, about the Osage murders in the early 20th century, even though Scorsese unexpectedly wasn't in attendance. Lily Gladstone, who stars in the film opposite Leonardo DiCaprio, won for best lead performance — though not for that performance.

Gladstone won for a lesser-known film released earlier in 2023: "The Unknown Country," in which stars as a woman embarking on a road trip though the Midwest. In each of her speeches — for "Killers of the Flower Moon" and "The Unknown Country" — Gladstone praised the filmmakers for prioritizing Native perspectives.

"I challenge everybody in this room who makes films: Invest. When you have a budget, invest it in the people," said Gladstone. "Invest in the people that you’re telling your story about. Your film will be better for it. Your lives will be better for it."

The Gotham Awards, now in their 33rd year, leapfrog most of the major ceremonies that lead up to the Academy Awards. But over time, they’ve established themselves as the first big party of the season, and an early hint at some of the favorites.

Put on by the Gotham Film & Media Institute and held annually at Cipriani Wall Street, the Gothams have some quirks that make them different than other awards. Prizes are chosen by small committees of film professionals, critics and journalists. Their acting categories are also gender neutral, with 10 actors nominated for lead performance, and another 10 up for supporting performances.

This year, one of the most competitive categories was best international film. There, Justine Triet's Palme d'Or winning courtroom drama "Anatomy of a Fall" triumphed over the likes of "Poor Things,All of Us Strangers" and "The Zone of Interest." Triet's film also won for best screenplay.

Andrew Haigh’s tender metaphysical drama "All of Us Strangers," starring Andrew Scott and Paul Mescal, had come into the Gothams as the lead nominee with four nods, but went home without a trophy.

The Gothams this year removed a $35 million budget cap for nominees, but many big-budget films still opted not to submit themselves. The monthslong Screen Actors Guild strike meant awards season got off to a slower start, but one of the early questions is if anything can rival those diametrically opposed summer sensations of "Barbie" and "Oppenheimer."

Greta Gerwig and Margot Robbie of "Barbie" were among the numerous tribute awards. In their joint speech, Gerwig said her partner, Noah Baumbach, found out he was co-writing the movie with her from a Variety article that cited them both. He sent the article to Gerwig with just a question mark, she said.

"Then he wrote back: ‘It’s OK, we'll make each other laugh,’" added Gerwig.

Best supporting performance went to Charles Melton of Todd Haynes' "May December." He plays a young father who first began his relationship with his wife (Julianne Moore) when he was a minor.

A.V. Rockwell, whose directorial debut "A Thousand and One" stars Teyana Taylor as a single mother, won for breakthrough director. She noted all of her fellow nominees were women. "It's a fight just to get here," she said.

"Just to be frank, it is very hard to tell a culturally specific story when you look like this," said Rockwell.

Best documentary went to Kaouther Ben Hania’s Tunisian film "Four Daughters," a true story about a Tunisian women with two daughters who became radicalized. The film reconstructs their disappearance.

In the TV categories, the Netflix series "Beef," starring Steven Yeun and Ali Wong as a pair locked in a feud after a road rage incident, won for both breakthrough series under 40 minutes and for Wong's performance.

"If you haven't seen ‘Beef’ yet, I swear it’s more than me and Steven crying," Wong said.

Tribute awards ensured that some star power hit the Gothams stage. They were given to: Bradley Cooper, the director, star and co-writer of "Maestro"; Ben Affleck, the director and co-star of "Air"; George C. Wolfe, the director of "Rustin"; and Michael Mann, the director of "Ferrari."

Affleck, however, wasn't in attendance. The film's screenwriter, Alex Convery, instead accepted the award.

"Well, you thought you were getting Ben Affleck," said Convery. "Sorry."

The Gothams have a checkered history of forecasting future awards glory. Last year, it was the first win in what became a runaway Oscar campaign for "Everything Everywhere All at Once," and where Ke Huy Quan’s supporting-actor bid got its start. The year before that, Gotham winner "The Lost Daughter" faded on the campaign trail, but 2020-winner "Nomadland" went the distance to the Academy Awards.



K-Pop Might Win at the Grammys for the First Time

Grammy Awards are displayed at the Grammy Museum Experience at Prudential Center in Newark, N.J. on Oct. 10, 2017. (AP)
Grammy Awards are displayed at the Grammy Museum Experience at Prudential Center in Newark, N.J. on Oct. 10, 2017. (AP)
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K-Pop Might Win at the Grammys for the First Time

Grammy Awards are displayed at the Grammy Museum Experience at Prudential Center in Newark, N.J. on Oct. 10, 2017. (AP)
Grammy Awards are displayed at the Grammy Museum Experience at Prudential Center in Newark, N.J. on Oct. 10, 2017. (AP)

Two things can be true at once. K-pop is an inextricable force in global pop culture, and it has long been undercelebrated at institutions like the Grammys — where K-pop artists have performed but have never taken home a trophy.

That could change at next month's 2026 Grammy Awards ceremony. Songs released by K-pop artists — or K-pop-adjacent artists, more on that later — have received nominations in the big four categories for the first time. Rosé, perhaps best known as one-fourth of the juggernaut girl group Blackpink, is the first K-pop artist to ever receive a nomination in the record of the year field for “APT.,” her megahit with Grammys' favorite Bruno Mars.

The song of the year category also features K-pop nominees for the first time. “APT.” will go head-to-head with the fictional girl group HUNTR/X's “Golden,” performed by Ejae, Audrey Nuna and Rei Ami from the “KPop Demon Hunters” soundtrack.

And the girl group Katseye, the brain child of HYBE — the entertainment company behind K-pop sensation BTS and countless other international acts — fashioned in the image of the K-pop idol system, has been nominated for best new artist.

Is this a historic moment for K-pop? It depends on who you ask.

Areum Jeong, assistant professor of Korean Studies at Arizona State University and author of “K-pop Fandom: Performing Deokhu from the 1990s to Today” says the majority of these nominations strike her more as “a de-territorialized, hybrid idea of K-pop,” instead of a recognition of K-pop.

While Rosé “was recruited and trained under the K-pop system, and while ‘APT.’ does contain some motifs from the Korean drinking game,” Jeong says, “the song does not feel like a localized K-pop production. ... Same with Katseye, who was trained and produced under HYBE but marketed more toward Western fans and listeners.”

Jeong says that both “APT.” and Katseye's “Gabriela” — both of which will go head-to-head with “Golden” in the pop duo/group performance category — “seem less K-pop than other K-pop songs that could have been nominated over the years.”

She argues the same is true for the music of “Kpop Demon Hunters.” “It is very similar to ‘APT.’ in that it takes inspiration and motif from Korean culture,” where “K-pop serves as an idea, a jumping-off point, or a motif, creating alternatives or new possibilities.”

Mathieu Berbiguier, a visiting assistant professor in Korean Studies at Carnegie Mellon University, points out that these nominations differ from past K-pop Grammy nominations because “Golden,” “APT.” and Katseye all feature “a mainstream popular music factor.”

That's the connection of a massive popular Netflix film (“Kpop Demon Hunters”), a collaboration with Bruno Mars (“APT.”), and Katseye's international membership and Netflix series (“Pop Star Academy: Katseye”), respectively.

“It tells you that K-pop is not considered as something niche anymore,” he says. “Now, when we think about pop music in general, we also think of K-pop as part of it.”

Bernie Cho, industry expert and president of the South Korean agency, the DFSB Kollective, agrees that there is an international, mainstream appeal to the nominees.

“All the nominees represent a sort of post-idol K-pop, in the sense that Rosé, the three ladies of HUNTR/X and Katseye represent the globalized version of K-pop, where the ‘K’ is very much there, but some people might argue it’s silent. The songs are not necessarily for Korea, by Korea, from Korea, just kind of beyond Korea,” he says. “It’s a celebration and testament to how diverse and dynamic K-pop has become.”

Why are these acts being recognized now? “For years, the Recording Academy has snubbed K-pop acts that have set record-breaking standards, such as BTS, Seventeen and Stray Kids,” argues Jeong. “I think one of the main reasons is that the Western world is still so resistant to non-English lyrics.”

“It does not surprise me that ‘APT.’ and Katseye’s music, which mainly contain English lyrics and seem less K-pop, were nominated,” she continues.

Berbiguier adds that “is a reflection of K-pop nowadays, like, trends: the fact that there’s less and less Korean and more and more English.”

There may be an additional factor at play. Tamar Herman, a music journalist and author of the “Notes on K-pop” newsletter, says many critics and industry voices found 2025 to be a lackluster year for new pop music in the US — a fact that was all but confirmed in Luminate's 2025 Mid-Year Report, which found that streams of new music had slowed compared to the year prior, potentially due to a dearth of megahits dominating the charts.

“Yes, it's a big moment for K-pop, but it is so overdue, these recognitions are more of a sign of how poorly the music industry in the US did this year that we're looking externally,” she says.

She argues that acknowledgment of Korean entertainment from US entertainment industries is more symbolic of US cultural dominance slipping than “K-pop being really good, because K-pop has been really good for a really long time,” she says. “This is all recognition of just global storytelling improvement, global taste-making improvement.”

“I don't want to diminish it,” she adds. “These are all universally friendly, accessible, good pop songs.”

And if they weren't, they wouldn't connect.

“It's very obvious that they’re not just performers. They're artists. They're singers. They're songwriters,” says Cho.

Will a K-pop artist win a Grammy for the first time this year? The jury is still out.

“I think it’s not even a matter of if or when. It’s going to be who and how many,” says Cho.

Others are less committal. “It's hard to predict,” says Berbiguier. “For me, it's more possible that ‘Golden’ gets one.”

“Yes and no,” offers Herman. For her, it depends on an evolving and fluid definition of K-pop. After all, HUNTR/X is a fictional girl group from an animated film that did not debut through the K-pop music industry system. Would a victory for their song “Golden” mean a victory of K-pop? That's a matter of opinion.


Warner Bros Rejects Revised Paramount Bid as Risky Leveraged Buyout

A drone view shows the Warner Bros. studio lot in Burbank, California, US, December 8, 2025. (Reuters)
A drone view shows the Warner Bros. studio lot in Burbank, California, US, December 8, 2025. (Reuters)
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Warner Bros Rejects Revised Paramount Bid as Risky Leveraged Buyout

A drone view shows the Warner Bros. studio lot in Burbank, California, US, December 8, 2025. (Reuters)
A drone view shows the Warner Bros. studio lot in Burbank, California, US, December 8, 2025. (Reuters)

Warner Bros Discovery's board has unanimously turned down Paramount Skydance's latest attempt to acquire the studio, saying its revised $108.4 billion hostile bid amounted to a risky leveraged buyout that investors should reject.

In a letter to shareholders on Wednesday, Warner ​Bros' board said Paramount's offer hinges on "an extraordinary amount of debt financing" that heightens the risk of closing. It reaffirmed its commitment to streaming giant Netflix's $82.7 billion deal for the film and television studio and other assets.

Paramount and Netflix have been vying to win control of Warner Bros, and with it, its prized film and television studios and its extensive content library. Its lucrative entertainment franchises include "Harry Potter", "Game of Thrones", "Friends" and the DC Comics universe, as well as coveted classic films such as "Casablanca" and "Citizen Kane."

Paramount's financing plan would saddle the smaller Hollywood studio with $87 billion in debt once the acquisition closed, making it the largest leveraged buyout in history, the Warner Bros board told shareholders after voting against the $30-per-share cash offer on Tuesday.

The letter accompanied a 67-page amended merger filing where it laid out its case for rejecting Paramount's offer.

The ‌revised Paramount offer "remains inadequate particularly ‌given the insufficient value it would provide, the lack of certainty in PSKY’s ability ‌to ⁠complete ​the offer, ‌and the risks and costs borne by WBD shareholders should PSKY fail to complete the offer," the Warner Bros board wrote.

Paramount, which has a market value of about around $14 billion, proposed to use $40 billion in equity personally guaranteed by Oracle's billionaire co-founder Larry Ellison and $54 billion in debt to finance the deal.

Its financing plan would further weaken its credit rating, which S&P Global already rates at junk levels, and strain its cash flow – heightening the risk that the deal will not close, the Warner Bros board said.

Netflix, which has offered $27.75 a share in cash and stock, has a $400 billion market value and investment-grade credit rating.

The decision keeps Warner Bros on track to pursue the deal with Netflix, even after Paramount amended its bid on ⁠December 22 to address the earlier concerns about the lack of a personal guarantee from Ellison, who is Paramount's controlling shareholder and the father of its CEO David Ellison.

Warner Bros shares ‌closed at $28.47 on Tuesday.

HIGH BREAK-UP FEES

Wednesday's filing said Warner Bros' board met on ‍December 23 to review Paramount's amended offer and noted some improvements, including ‍Ellison's personal guarantee and a higher reverse termination fee of $5.8 billion, but found "significant costs" associated with Paramount's bid compared with a Netflix ‍deal.

Warner Bros would be obligated to pay the streaming service a $2.8 billion termination fee for abandoning its merger agreement with Netflix, $1.5 billion in fees to its lenders and about $350 million in additional financing costs.

Altogether, Warner Bros said it would incur about $4.7 billion in additional costs to terminate its deal with Netflix, or $1.79 per share.

The board repeated some concerns it had laid out on December 17, such as that Paramount would impose operating restrictions on the studio ​that would harm its business and competitive position, including barring the planned spin-out of the company's cable television networks into a separate public company, Discovery Global.

Paramount offered "insufficient compensation" for the damage done to the studio's business, if the Paramount ⁠deal failed to close, Warner Bros said.

Paramount "repeatedly failed to submit the best proposal" to Warner Bros shareholders, the board wrote, "despite clear direction" on the deficiencies in its bid and potential solutions.

TILTING THE POWER BALANCE IN HOLLYWOOD

The jockeying for Warner Bros has become Hollywood's most closely watched takeover battle, as studios race to scale up amid intensifying competition from streaming platforms and volatile theatrical revenues.

While Netflix's offer has a lower headline value, analysts have said it presents a clearer financing structure and fewer execution risks than Paramount's bid for the entire company, including its cable TV business.

Harris Oakmark, Warner Bros' fifth-largest investor, previously told Reuters that Paramount's revised offer was not "sufficient," noting it was not enough to cover the breakup fee.

Paramount has argued its bid would face fewer regulatory obstacles, but a combined Paramount-Warner Bros entity would create a formidable competitor to industry leader Disney and merge two major television operators and two streaming services.

The valuation of Warner Bros' planned Discovery Global spin-off, which includes cable television networks CNN, TNT Sports and the Discovery+ streaming service, is seen as a major sticking point.

Analysts peg the cable channels' value at up to $4 per share, while Paramount has suggested just $1.

Lawmakers ‌from both parties have raised concerns about further consolidation in the media industry, and US President Donald Trump has said he plans to weigh in on the landmark acquisition.


Sydney Sweeney Box-Office Hit ‘The Housemaid’ to Get a Sequel

Sydney Sweeney. (AFP/Getty Images)
Sydney Sweeney. (AFP/Getty Images)
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Sydney Sweeney Box-Office Hit ‘The Housemaid’ to Get a Sequel

Sydney Sweeney. (AFP/Getty Images)
Sydney Sweeney. (AFP/Getty Images)

After just two and half weeks of release, the Sydney Sweeney box-office hit “The Housemaid” is getting a sequel.

Lionsgate announced Tuesday that it will start production on “The Housemaid's Secret” later this year. The film will be based on the second of Freida McFadden's bestselling trilogy of books.

“The Housemaid” has been a hit at the holiday box office, grossing more than $75 million and $133 million worldwide in 17 days of release. The psychological thriller directed by Paul Feig cost a modest $35 million to make.

Lionsgate said “The Housemaid's Secret” is being developed with the aim of Feig and Sweeney returning, including Sweeney as an executive producer. “The Housemaid” screenwriter Rebecca Sonnenshine is writing the sequel.

“It’s clear from both the global box office and from the outpouring on social media that audiences have responded strongly — and audibly — to the totally unique and truly theatrical experience of The Housemaid and want to know what happens next,” said Adam Fogelson, Lionsgate Motion Picture Group chairman, in a statement.

“The Housemaid” has handed Sweeney a major box-office victory after a disappointing result for her awards-hopeful boxing drama “Christy” in November. That film grossed only $2 million worldwide. In “The Housemaid,” Sweeney stars a live-in housemaid hired by a wealthy couple played by Amanda Seyfried and Brandon Sklenar.