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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‘I wanted to humanise those lost in the statistics’: four directors on their new movies depicting refugee journeys

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How does it feel to risk trafficking and torture to seek a better life in a strange land? Ahead of four films telling migrant stories, we hear from directors including Matteo Garrone and Milad Alami about tackling one of the most pressing issues of our time

The telling of stories is an act of profound hospitality. Story is an ancient form of generosity, one that will always tell us everything we need to know about the contemporary world. It is fundamental to the communicative survival of the human species and has always been a welcoming-in; always, one way or another, a gracious meeting of the needs of self and other. The narratives we exchange don’t just validate all of us, they represent us much more truly than data or statistics or a passport ever will. Our individual selves transform in the telling into something shared and communal. This is because story is the opposite of an exclusion zone; by its nature, it’s always an inclusion zone, because a story that sets out to exclude won’t work as a story at all, its agenda being something else altogether.

A glance at recent UK news is as telling about the inhumanity of our country’s treatment of refugees as ever. If I’m an asylum seeker here living in the care of the Home Office, and I die, then no one in the Home Office will care to notify my family. If I’m a rough sleeper on the streets of England, then the chances are more likely than not I’m a refugee who’s been evicted from Home Office temporary accommodation. (That’s just last week’s news.)

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