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‘Oppenheimer’ Dominates Oscar Nominees, Gerwig Passed Over for Best Director

Christopher Nolan poses in the press room with the award for best picture for "Oppenheimer" during the 29th Critics Choice Awards on Sunday, Jan. 14, 2024, at the Barker Hangar in Santa Monica, Calif. (AP)
Christopher Nolan poses in the press room with the award for best picture for "Oppenheimer" during the 29th Critics Choice Awards on Sunday, Jan. 14, 2024, at the Barker Hangar in Santa Monica, Calif. (AP)
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‘Oppenheimer’ Dominates Oscar Nominees, Gerwig Passed Over for Best Director

Christopher Nolan poses in the press room with the award for best picture for "Oppenheimer" during the 29th Critics Choice Awards on Sunday, Jan. 14, 2024, at the Barker Hangar in Santa Monica, Calif. (AP)
Christopher Nolan poses in the press room with the award for best picture for "Oppenheimer" during the 29th Critics Choice Awards on Sunday, Jan. 14, 2024, at the Barker Hangar in Santa Monica, Calif. (AP)

After a tumultuous movie year marred by strikes and work stoppages, the Academy Awards showered nominations Tuesday on Christopher Nolan’s blockbuster biopic, "Oppenheimer," which came away with a leading 13 nominations.

Nolan’s three-hour opus, viewed as the best picture frontrunner, received nods for best picture; Nolan’s direction; acting nominations for Cillian Murphy, Robert Downey Jr. and Emily Blunt; and multiple honors for the sweeping craft of the J. Robert Oppenheimer drama. Though Nolan is regarded as the big-canvas auteur of his era, he’s never won an Academy Award, nor have any of his films won best picture. This, though, could be his year.

The year’s biggest hit, "Barbie," came away with a nominations haul slightly less than its partner in Barbenheimer mania. Greta Gerwig’s feminist comedy, with more than $1.4 billion in ticket sales, was nominated for eight awards, including best picture; Ryan Gosling for best supporting actor; and two best-song candidates in "What Was I Made For" and "I’m Just Ken."

Gerwig was surprisingly left out of the best director field. She was nominated for best director in 2018 for her solo directorial debut, "Lady Bird." At the time, Gerwig was just the fifth woman nominated for the award. Since then, Chloé Zhao ("Nomadland") and Jane Campion ("The Power of the Dog") have won best director. Before those wins, Kathryn Bigelow ("The Hurt Locker," in 2010) was the only woman to win the Oscar’s top filmmaking honor.

Both Martin Scorsese’s Osage epic "Killers of the Flower Moon" and Yorgos Lanthimos’ Frankenstein riff "Poor Things" were also widely celebrated. "Poor Things" landed 11 nods, while "Killers of the Moon" was nominated for 10 Oscars.

Lily Gladstone, star of "Killers of the Flower Moon," became the first Native American nominated for best actress. For the 10th time, Scorsese was nominated for best director. Leonardo DiCaprio, though, was left out of best actor. The late Robbie Robertson, who died in August, also became the first Indigenous person nominated for best score.

"Poor Things," a dark Victorian era fantasy, received nominations for Lanthimos' direction, Emma Stone's leading performance, Mark Ruffalo's supporting performance and widespread nods for the old-school craft of its fantastical design.

The 10 films nominated for best picture were: "Oppenheimer,Barbie,Poor Things,Killers of the Flower Moon,The Holdovers,Maestro,American Fiction,Past Lives,Anatomy of a Fall" and "The Zone of Interest."

That group, which mirrored the Producers Guild Awards nominees, went much as expected and, as critics noted, a remarkably strong collection of films. For the first time, three of the best picture nominees were directed by women: "Past Lives" by Celine Song; "Anatomy of a Fall" by Justine Triet, who was also nominated for best director; and Gerwig's "Barbie."

But surprises abounded in other categories.

The best actor category had been seen one of the most competitive. In the end, the nominees were Murphy, Paul Giamatti ("The Holdovers"), Jeffrey Wright ("American Fiction"), Bradley Cooper ("Maestro") and Colman Domingo ("Rustin").

"American Fiction," Cord Jefferson's insightful drama about a frustrated novelist, had an especially good day, collecting five nominations. That included a nod for Sterling K. Brown for best supporting actor. Robert De Niro ("Killers of the Flower Moon") rounded out that category with Downey Jr. and Gosling.

Best actress was also closely contested. Along with Gladstone and Stone, the nominees were Carey Mulligan ("Maestro"), Annette Bening ("Nyad") and Sandra Hüller ("Anatomy of a Fall"). That left out Margot Robbie, the star of "Barbie," and Fantasia Barrino from "The Color Purple."

In supporting actress, the frontrunner Da'Vine Joy Randolph of "The Holdovers" continued her march to her first Oscar. She was joined by Blunt, Danielle Brooks ("The Color Purple"), Jodie Foster ("Nyad") and America Ferrera ("Barbie").

Lead nominees "Oppenheimer,Barbie,Poor Things" and "Killers of the Flower Moon" made for a maximalist quartet of Oscar heavyweights. Nolan’s sprawling biopic. Gerwig’s near-musical. Scorsese’s pitch-black Western. Lanthimos’ sumptuously designed fantasy. Each utilized a wide spectrum of cinematic tools to tell big, often disturbing big-screen stories. And each — even Apple’s biggest-budgeted movie yet, "Killers of the Flower Moon" — had robust theatrical releases that saved streaming for months later.

The Associated Press notched its first Oscar nomination in the news organization’s 178-year history with "20 Days in Mariupol," Mstyslav Chernov’s harrowing chronicle of the besieged Ukrainian city and of the last international journalists left there after the Russia invasion. It was nominated for best documentary, along with "Four Daughters,Bobi Wine: The People's President,The Eternal Memory" and "To Kill a Tiger."

"20 Days" is a joint production between The Associated Press and PBS’ "Frontline."

The nominees for best international film are: "Society of the Snow," (Spain); "The Zone of Interest," (United Kingdom); "The Teachers’ Lounge" (Germany); "Io Capitano" (Italy); "Perfect Days" (Japan).

The nominees for best animated film are: "The Boy and the Heron"; "Elemental"; "Nimona"; "Robot Dreams"; "Spider-Man: Across the Spider-Verse."

The best-picture collection of films — all of which played in theaters for at least a month, including Netflix’s "Maestro" — reflected the industry’s rebalancing after years of experimentation during the pandemic. Netflix came away with the most nominations of any studio with 18, but industry consensus has, for now, turned back to believing cinemas play a vital role in the rollout of most movies. Apple and Amazon, which in 2022 acquired MGM, have each made theatrical a priority.

In heaping nominations on "Oppenheimer," Oscar voters are poised to do something they haven’t done in a long time: Hand its top award to a big-budget blockbuster. Granted "Oppenheimer" isn’t your average big-screen spectacle, but the academy has for years favored smaller films for best picture, movies like "CODA,Nomadland" and last year’s winner, "Everything Everywhere All at Once." Ben Affleck’s 2012 film "Argo" was the last best picture winner to surpass $100 million domestically. "Oppenheimer" grossed $326.8 million in the US and Canada, and nearly $1 billion globally.

Historically, blockbusters have helped fueled Oscar ratings. Through the pile-up of award shows (an after-effect of last year’s strikes) could be detrimental to the Academy Awards, the Barbenheimer presence could help lift the March 10 telecast on ABC. Jimmy Kimmel is returning as host, with the ceremony moved up an hour, to 7 p.m. EST.

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Entertainment

Keke Palmer Is a Fish Out of Water in Horror-Comedy Series Based on Cult Movie ‘The ’Burbs’

Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)
Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)
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Keke Palmer Is a Fish Out of Water in Horror-Comedy Series Based on Cult Movie ‘The ’Burbs’

Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)
Keke Palmer and Jack Whitehall attend Premiere Event Of Peacock's "The 'Burbs" at Universal Studios Backlot on February 05, 2026 in Universal City, California. (Getty Images/AFP)

The suburbs are anything but bland in the new Peacock series “The 'Burbs,” where strange things are going on. Like how jokes mix with the dread.

Inspired by the 1989 Tom Hanks-led movie of the same name, “The 'Burbs” follows a new mom as she navigates a foreign world of white picket fences and manicured lawns while also investigating a possible murder.

“It’s got the comedy, it has the drama, it's got the mystery, it's got the horror, the thrills, the suspense — all of it,” says Celeste Hughey, the creator, writer and executive producer. All eight episodes drop Friday.

Hanks is replaced by Keke Palmer, who plays a newlywed and new mom who moves into her husband's family home in fictional Hinkley Hills, where everyone is in everybody else's business. “Suburbia is a spectator sport,” she is told.

Across the street is an abandoned home, where a local teen disappeared decades ago. Palmer's Samira soon joins forces with a band of off-beat suburbanites to help solve the case, even if her own husband had some sort of role.

“I really wanted to focus on that fish-out-of-water feeling, centering Samira as a Black woman in a white suburb who is a new mom, a new wife — new everything — and trying to figure out where she belongs in the environment,” says Hughey.

The cast includes Jack Whitehall as Samira's husband and the trio of Julia Duffy, Mark Proksch and Paula Pell as her wine-swilling, investigating neighbors who form a sort of found family.

“The movie came out when I was quite young, but I remember seeing it as a kid and it being like this terrifying movie to me,” says Hughey. “But revisiting it as an adult, it's just like the most timely movie.”

The scripts crackle with witty humor, from references to Marie Kondo to “Baby Reindeer,” and jokes often improvised by the actors. Chocolate brownies are described as “the Beyoncé of desserts” and there’s a joke about how white ladies love salad.

“The ’Burbs” also touches on more serious issues over its eight episodes — microaggressions, racial profiling, bullying and childhood trauma — but takes a kooky, off-beat approach.

“I always look at things with a sense of humor,” says Hughey. “I think comedy is a way to be able to examine all these pretty heavy subjects, but in a way that’s accessible, in a way that is clarifying.”

Palmer says she grew up watching Norman Lear shows and admired his ability to both entertain and address social tensions — something she found in “The 'Burbs.”

“When I read this script for the first time, then as we started doing the show, it started to become clear that we had an opportunity to do the same thing,” Palmer says. “We can expose cliches, we can lean into things, which is one of the greatest tools of satire and comedy in itself, and horror as well, because horror can play as a good allegory for the issues in our life.”

Whitehall, who grew up in the London suburb of Putney, says he appreciates that the social commentary never feels that heavy handed between the comedy and horror: “It was great to sort of be able to play in both genres.”

There are multiple nods to the original movie, like picking the last name Fisher after the late actor Carrie Fisher, who appeared in the Hanks-led version, and naming a dog Darla after the name of the pup who starred in the 1989 version. Hanks, himself, appears in a blink-or-you’ll-miss-it image.

There’s a scene where Samira steps onto her neighbor’s grass and leaves suddenly swirl around her feet menacingly, an echo to the original. And there’s a moment when sardines and pretzels are served, a riff off a classic moment in the movie. The creators even asked original actor Wendy Schaal to return to play the town librarian.

“I really wanted to honor the original fans of the movie and make sure that they see that someone who respects the original material and loves the movie had it in their hands,” says Hughey. “I see the fans.”

Hughey said she wrote the series with Palmer's voice in mind, a piece of manifesting that turned out to actually work when she first met Palmer over a year later.

The music ranges from Bill Withers' “Lovely Day” to Steve Lacy's “Dark Red” to Doechii’s “Anxiety” and Big Pun's “I'm Not a Player.”

“Music is very much a part of my creative process and something that I wanted to stand out in the show as well,” says Hughey. “I got to pull in so many of my inspiration songs.”

Entertainment

Kurt Cobain's 'Nevermind' Guitar Up for Sale

Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)
Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)
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Kurt Cobain's 'Nevermind' Guitar Up for Sale

Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)
Guitars are displayed during a press preview of The Jim Irsay Collection at Christie's Los Angeles in Beverly Hills, California, on February 5, 2026. (Photo by VALERIE MACON / AFP)

The guitar played by late rock legend Kurt Cobain on the anthemic grunge track "Smells Like Teen Spirit" is going under the hammer next month.

 

The 1966 Fender Mustang is among a treasure trove of instruments and musical memorabilia that also includes the logo-emblazoned drum that announced The Beatles to the United States when the Fab Four played "The Ed Sullivan Show" in 1964.

 

The Jim Irsay collection -- put together by the one-time owner of the Indianapolis Colts NFL team -- includes guitars played by musicians who defined the 20th century, including Pink Floyd's Dave Gilmour, The Grateful Dead's Jerry Garcia, as well as Eric Clapton, John Coltrane and Johnny Cash.

 

But at the center of the collection are handwritten lyrics for The Beatles' smash "Hey Jude" as well as guitars played by John Lennon, Paul McCartney and George Harrison.

 

"I think it's fair to say that this collection of Beatles instruments...is the most important assembled Beatles collection for somebody who wasn't a member of the band," Amelia Walker, the London-based head of private and iconic collections at Christie's, told AFP in Beverly Hills.

 

"There are five Beatles guitars in his collection, as well as Ringo Starr's first Ludwig drum kit (and) John Lennon's piano, on which he composed several songs from Sergeant Pepper."

 

Also included is "the drum skin from Ringo's second Ludwig kit, which is the vision which greeted 73 million Americans who tuned in to watch 'The Ed Sullivan Show' on the ninth of February 1964 when the Beatles broke America."

 

The drum kit is expected to fetch around $2 million, while the guitars could sell for around $1 million at the auction in New York, Christie's estimates.

Perhaps the most expensive item in the collection is Cobain's guitar, which experts say might sell for up to $5 million.

"It's a talismanic guitar for people of my generation... who lived through grunge," said Walker.

"(Smells Like Teen Spirit) was the anthem of that generation. That video is so iconic.

"We're incredibly proud and privileged to have that here."

Entertainment

Movie Review: Caleb Landry Jones Is a Lovesick Vampire with a Fabulous Wig in Besson’s ‘Dracula’

Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)
Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)
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Movie Review: Caleb Landry Jones Is a Lovesick Vampire with a Fabulous Wig in Besson’s ‘Dracula’

Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)
Caleb Landry Jones attends a premiere for the film Dracula in Los Angeles, California, US, February 3, 2026. (Reuters)

“I haven’t eaten in centuries,” says the stooped, wrinkled man knocking at a convent door, seeking food and shelter.

LOL! It’s a funny line, given that this is a disguised Count Dracula — who indeed has not eaten in centuries, unless you count human blood. And it’s especially funny given that “Dracula” is not now, nor has ever been, a comedy.

But the humor’s a nice touch, as are the splashes of color, the lovely 19th-century gowns, the rendering of Parisian salons and vivid street celebrations that are part of Luc Besson’s reimagining of the oft-told tale (more like the told-all-the-time tale), starring Caleb Landry Jones. And yes, the story of Dracula is not usually set in Paris. There’s a lot that’s familiar in this version, but enough variety, panache and bravado to raise it up a notch and give it, well, a raison d’être.

Writer-director Besson’s calling card is romance. Unlike Robert Eggers’ 2024 “Nosferatu,” which was beautiful but bleak to look at and featured an ugly, fearsome vampire, Besson imbues his main character with a swashbuckling sexiness that suits his star's craggy appeal.

We begin back in the year 1480, in a remote castle, where a handsome prince — Vlad’s his name, for now — is with beautiful bride Elisabeta (Zoë Bleu). They are interrupted suddenly by Vlad’s men: War is at hand, and it’s time to fight.

Vlad’s main concern is his wife. He asks the Orthodox priest to protect the life of Elisabeta. Alas, escaping through the forest in the snow, Elisabeta is killed in an ambush. A grief-stricken Vlad returns to kill the priest and is thus cursed with immortal life. A life he will spend trying to find his wife, reincarnated.

Four hundred years later, Vlad, now Count Dracula, resides — shriveled but stylish, with an incredible flowing, white wig that looks like something Elvis might have worn if he were a 400-year-old vampire — in the Carpathian Mountains. But the action shifts to Paris, mainly just because Besson loves Paris, where citizens are joyously celebrating the centenary of the French Revolution.

Paris is also where we meet a prominent vampire-hunter from Bavaria — and unnamed priest — played by Christoph Waltz, who you might imagine is perfect for this role. Like Javert hunting Valjean in “Les Miserables,” this priest is determined to find his prey, wherever that takes him.

And Dracula's on his own mission. In his gloomy castle, where he lives with a gaggle of CGI gargoyles, he prepares to kill a young solicitor (Ewens Abid) who came to see him about his property, hanging him upside down until the blood pools in his head.

But then he sees a picture of the frightened young man’s intended, Mina, and becomes obsessed with finding her, certain she's his reincarnated bride. He spares the man’s life and heads to Paris.

The scenes in the French capital are full of welcome color and life — everything from receptions in salons or at Versailles to a street carnival to a mermaid swimming in an aquarium — all chances to display sumptuous costumes by Corinne Bruand.

When, aided by one of his vampire followers, Maria (Matilda De Angelis), Dracula finds Mina — also played by Bleu (the real-life daughter of Rosanna Arquette) — he immediately knows she’s his eternal love. Now, all he needs to do is win her heart, and get back to Transylvania to escape the vampire hunters. Luckily for him, he’s looking good — those nuns at the convent gave him all the fresh blood he needed to look young and handsome again.

There are plenty of Bessonian flourishes along the way — those gargoyles sure are weird, and they don't remain gargoyles — but in the end, it’s too bad there weren’t even more, to further distinguish this “Dracula” telling from many before it. In any case it all leads to a fairly satisfying confrontation between Dracula and the priest, saved until the very end, a la Pacino and De Niro in “Heat.”

Here, it’s fun to watch Jones and Waltz sink their teeth — well for Jones, his fangs — into a story that’s old as time, but can always use another fairly watchable remake.