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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The Brutalist director Brady Corbet: ‘If you’re not daring to suck, you’re not doing much’

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The film-maker’s latest is a three and-a-half-hour epic about the building of a modernist masterpiece, and the toll its creation takes on its architect. The film’s making was almost as gruelling. ‘People told me I’d never make another movie’, Corbet says

The Brutalist is a big, muscular American epic that pits the individual against the machine; the artist against the cogs and wheels of commerce. It spins the tale of László Tóth, a Hungarian-born architect who’s beset on all sides, by capricious patrons, unreliable partners, mutinous contractors and an outraged general public. László is determined to make his masterpiece. His wife, though, is spooked by the psychological cost. “Promise you won’t let it drive you mad,” she says.

Architecture isn’t so different from independent film-making, says the film’s writer-director, Brady Corbet. It follows the same basic principles, throws up the same problems and provides similar levels of agony and ecstasy, and always more of the former. Corbet is now 36 years old and three movies into a gilded career. That makes him a success, a 21st-century Orson Welles. It’s just that each project takes its toll and, financially speaking, artists rarely if ever break even. “Eventually you start doing the math,” he explains. “And with every film it’s the same result. There are so many sacrifices you have to make along the way. And I can’t say for certain that it ever feels worth it.”

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