Conan O’Brien jokes about Ted Sarandos, Timothée Chalamet and ‘frightening times’ in Oscars monologue

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Host bobs and weaves through a number of third-rail topics in Academy Awards speech that’s at turns silly and sincere Oscars 2026 – follow the action live! The winners: the full list – updating live Conan O’Brien’s opening monologue at the 98th Academy Awards cheekily paid tribute to many nominated films – and then some – while acknowledging the tense US political situation and cracks at Timothée Chalamet, Amazon and US healthcare. After a snappily edited, old-school montage in which O’Brien, dressed as best supporting actress winner Amy Madigan ’s character in Weapons (“I look like Bette Davis with lupus,” he joked), stormed through each of the nominated films trailed by children à la Weapons, the second-time host bobbed and weaved through a number of pressing topics, from political divides to AI to Jeffrey Epstein. “I am Conan O’Brien, and I am honored to be the last human host of the Academy Awards,” he quipped. “Next year it’s going to be a Waymo in a tux.” Continue read...
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Speak So I Can See You review – tuning in to a radio station’s soul

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Documentary portrait of Radio Belgrade, one of Europe’s oldest broadcasters, threads together its scenes without commentary to hypnotic effect

The title is borrowed from Socrates, and signals the high-minded way of this oddly hypnotic documentary stroll through the corridors of Radio Belgrade. There is no voiceover, no talking heads, nothing to tell you that it is one of Europe’s oldest radio stations and a much-valued repository of culture and debate, or any other salient facts. But watching the public broadcaster’s technicians at work, listening to the stream of philosophical and political voiceovers is akin to hacking into a live transmission of the soul of a Balkan cultural institution.

Director Marija Stojnic opts for a completely freeform approach, collaging archival monologues over shots of presenters at work, techies setting up mics and adjusting oscillators, an orchestra making a tentative recording, a group photo session. Often, no one is there at all, and history seems to haunt these corridors and archives, impassively shot by cinematographer Dusan Grubin.

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