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  • Crypto funding up 50% in 12 months as fewer, larger deals dominate

    Crypto funding up 50% in 12 months as fewer, larger deals dominate

    Crypto fundraising increased by almost 50% year-on-year between March 2025 and March 2026, despite the number of deals dropping 46% as VCs concentrated bets on late-stage and strategic mega-rounds.

    Messari’s crypto fundraising overview shared by the company’s CEO Eric Turner on Sunday shows that the average deal size increased to $34 million in the last 12 months, up 272% from a year earlier. This came as the number of active investors fell 34.5% to 3,225.

    “Capital concentration is heavily skewed by late-stage and strategic mega-rounds,” Messari said, noting that in February, just three fundraising events contributed 44% of the $795 million raised over the last month.

    This included Tether’s $200 million investment into online marketplace Whop; $75 million raised for sports-focused peer-to-peer prediction market Novig in a Series B funding round led by Pantera Capital; and ARQ, a Latin American fintech app focused on stablecoins that secured $70 million in Series B funding on Wednesday, led by Sequoia Capital.

    Monthly change in crypto fundraising over the last five years. Source: Messari

    The $795 million figure marks a 65.3% fall from the previous 30 days.

    Turner noted that, outside of Dragonfly Capital, no major VCs have closed new funding rounds lately, adding that “the industry needs some fresh capital.”

    Meanwhile, Coinbase Ventures, QUBIC Labs, and Somnia have been the most active crypto investors over the past three months, Messari data shows.

    Crypto funding nowhere near 2021-2022 levels

    Monthly crypto fundraising has cooled significantly since its peaks in November 2021 and May 2022, when funding consistently hit $4 billion per month.

    Since then, the $4 billion milestone has been reached only three times. Some investors have started to expand their focus toward the AI and high-performance computing sectors.

    Related: Kalshi, Polymarket eye $20B valuations in potential fundraising: WSJ

    While most crypto fundraising has focused on late-stage activity, Messari noted that early-stage fundraising “remains high in volume but fragmented.”

    Messari pointed out that Interstate’s $1.5 million funding round on Thursday came from more than 15 participants, ranging from firms like Bloccelerate VC to individual angel investors like Sergey Gorbunov.

    Magazine: What’s a ‘Network State’ and are there real-life examples? Big Questions

  • US Treasury Department Changes Its View on Cryptocurrencies: It Both Accepts and Warns!

    According to The Block, the U.S. Treasury Department acknowledged in a 32-page report submitted to Congress this month that while cryptocurrency mixers are an illegal money laundering method, they may also have legitimate privacy use cases.

    The report stated that some users might use mixers to protect sensitive information, such as personal asset information, corporate payment histories, and donation activities, on public blockchains.

    The report states: “Legitimate digital asset users can utilize mixing services to protect their financial privacy when transacting on public blockchains.”

    According to the ministry, if compliant, these services can provide useful data for investigations, including customer identities and off-chain transaction information.

    This situation marks a departure from the institution’s previous stance.

    This is because the US Treasury Department designated international crypto mixing platforms as money laundering hubs in 2023 and imposed sanctions on Tornado Cash in 2022.

    However, the agency stressed that mixers are still being used to launder criminal proceeds, and that this is a fundamental problem. According to Treasury data, North Korean hacker groups stole at least $2.8 billion worth of digital assets between January 2024 and September 2025 using mixers in money laundering processes.

    At this point, the ministry emphasized that those who engage in concealment activities must register with the Financial Crimes Enforcement Network (FinCEN) and as Money Services Enterprises (MSB).

    *This is not investment advice.

  • Stephen Colbert Rejects “Implied Parallel” to Blacklisted Screenwriter Walter Bernstein While Receiving Writers Guild Awards Honor

    Stephen Colbert Rejects “Implied Parallel” to Blacklisted Screenwriter Walter Bernstein While Receiving Writers Guild Awards Honor

    Stephen Colbert was honored at the 2026 Writers Guild Awards with the Walter Bernstein Award, given to someone who has used creativity, grace and bravery to confront social injustice in the face of adversity.

    But the Late Show host, known for his sharp criticism of the Trump administration, whose show is coming to an end in a little over two months for what network CBS called a “purely financial decision” amid a challenging linear TV environment, rejected comparisons between himself and Bernstein.

    Talking about researching Bernstein ahead of receiving the award, Colbert said he wasn’t sure why he didn’t realize that the Hollywood “blacklist was not a government policy.”

    He continued, “The blacklist wasn’t a law or a regulation or an executive order. It was a voluntary industry-wide agreement to deny work to left-leaning artists out of fear that certain members of the government might publicly attack the parent corporation of these artists for the union that they belong to. It was that threat, only the threat, of trouble, that ended so many careers. And now while to be associated with Mr. Bernstein in any way is a great honor, I want to be clear that I do not deserve the implied parallel.”

    “This is not the 1950s,” he said. “This is not the Red Scare. And, as far as I can tell, no one in late night is fomenting a revolution. As we know, the revolution will not be televised. It was going to be televised, but then Paramount bought it.”

    To laughs, Colbert joked, poking fun at reports about The Late Show‘s financial losses, “Evidently, the revolution was losing, like, $40 million a year — it had to go. I guess the revolution is thinking about starting a Substack.”

    Beyond those initial quips, though, Colbert didn’t speak about political forces that some have suggested may have contributed to the end of his show, but he did look back on his time working with Robert Smigel, who presented him with the honor and whom Colbert worked alongside on the short-lived Dana Carvey Show, and he used the time onstage to praise his 20 writers, who were not nominated for the Writers Guild Awards this year, naming and listing fun facts about each one and sharing jokes they’d written that didn’t make it to air.

    The jokes including barbs about the Supreme Court’s decision overturning Roe v. Wade (“no aborts, good luck”), Donald Trump saying that if Ivanka Trump wasn’t his daughter he might “be dating her” and claims that Louis C.K., during the #MeToo era reports of sexual misconduct by the comedian, took off all of his clothes to masturbate: “Oh my God, he masturbates like a toddler poops.”

    He also shared a cut joke about OpenAI allowing users to create adult content, with one analyst arguing that the move could “boost” OpenAI as it was urging people to sign up for paid subscriptions.

    “Ugh, that is so desperate,” Colbert said, reading the joke. “It’s like when McDonald’s changed their slogan to ‘we suck dick now.’”

    The line was cut several times by Colbert, who noted ad sales didn’t object to the joke, but wouldn’t die among his staff and even made it onto a Christmas gift sweatshirt boasting the McDonald’s logo and the caption, “We suck dick now.” Pulling out the garment, Colbert put it on for the rest of his speech.

    Stephen Colbert, sporting his staff joke sweatshirt, and Robert Smigel at the 2026 Writers Guild Awards.

    Cindy Ord/Getty Images for Writers Guild of America East

    “If you liked any of these ideas, please employ these lovely folks,” Colbert said of his staff, which like the host will be out of work after the last Late Show airs on May 21. “They are the best writing staff I have ever known at any show, and I have loved our time together, which wasn’t as much time as I would like,” he said. “I started in late night as one of them. Thanks to Robert, Dana Carvey and Jon Stewart, and many other people, I ended up in front of the camera every night, which is a very good job with its own responsibilities, meaning you can’t be in the writers’ room as much as you used to be.”

    “And to some, hosting may seem like a hard job, and sometimes it is, but what’s also hard is hearing the laughter from the room down the hall and not be able to go in,” he added. “If you’ve ever been lucky enough to be in that room, you will always want to be in that sound. And what is really gonna be hard is missing these people, who despite the fresh hell — whatever it is — that the news washes in, make that beautiful sound happen every day. So to them, and all of you, and Walter Bernstein, and to our guild, thank you so much.”

    Despite CBS’ claim that the decision to end The Late Show was merely “financial,” there’s been widespread speculation about possible other reasons for the cancellation, as Colbert has been a prominent critic of President Donald Trump and, just days before news broke of the Late Show‘s end, Colbert criticized CBS parent ocmpany Paramount’s controversial $16 million settlement of a lawsuit filed by Trump over a 60 Minutes interview with his 2024 election opponent, former Vice President Kamala Harris. When announcing The Late Show‘s end, Paramount insisted the move was “not related in any way to the show’s performance, content or other matters happening at Paramount.”

    Some observers remained unconvinced, including the Writers Guild, which a day after the cancellation was announced, asked New York state Attorney General Letitia James to open an inquiry into “potential wrongdoing” at Paramount Global, expressing concerns that getting rid of the Late Show was a form of bribery.

    “Cancellations are part of the business, but a corporation terminating a show in bad faith due to explicit or implicit political pressure is dangerous and unacceptable in a democratic society,” the union stated. “Paramount’s decision comes against a backdrop of relentless attacks on a free press by President Trump, through lawsuits against CBS and ABC, threatened litigation of media organizations with critical coverage and the unconscionable defunding of PBS and NPR.”

    Trump celebrated the news of the Late Show cancellation on his Truth Social platform.

    “I absolutely love that Colbert got fired,” the president wrote the day after the cancellation was announced. “His talent was even less than his ratings. I hear Jimmy Kimmel is next.”

    Less than two months after Colbert announced the Late Show was being canceled, the series won the best talk show Emmy.

    In that speech, Colbert said that while he had initially set out to make a late night show about love, he later realized “we were doing a late night comedy show about loss. That’s related to love, because sometimes you only truly know how much you love something when you get a sense you might be losing it. Ten years later, in September 2025, my friends, I have never loved my country more desperately. God bless America. Stay strong, be brave, and if the elevator tries to bring you down, go crazy and punch a higher floor.”

    While Colbert has not yet announced his next move (he insisted at the Emmys that he was focused on wrapping up the show as “beautifully” as he could), he told fellow late night host Seth Meyers in January that the end “feels real now” and he’s “not thrilled with it.” Colbert added that while he’ll miss the people he works with, some of whom he’s collaborated with for decades, he vowed that he and his longtime collaborators would “do something else together.”

  • American Society of Cinematographers Awards: Michael Bauman Wins Film Prize for ‘One Battle After Another’

    American Society of Cinematographers Awards: Michael Bauman Wins Film Prize for ‘One Battle After Another’

    One Battle After Another’s Michael Bauman has won the American Society of Cinematographers’ top prize for work on a theatrical feature-film, setting the Oscar nominee up as the front-runner to win the Academy Award in exactly one week. To this point, the race has been considered a nailbiter: Bauman also won the BAFTA, Train Dreams’ Adolpho Veloso won the Spirit Award, and Sinners’ Autumn Durald Arkapaw dominated the critics’ awards circuit (she’d be the first woman ever to win the cinematography Oscar). The list of nominees was rounded out by Frankenstein’s Dan Laustsen and Marty Supreme’s Darius Khondji, both of whom are also nominated at the Oscars. 

    This is the second time in three years that the ASC Awards and the Academy landed on the same lineup of cinematography nominees. (Last year, the guild oddly expanded its nominations slate from the usual five to seven, but still blanked the Oscar-favored Emilia Pérez.) When it comes to winners, however, the voting bodies have matched for best cinematography only six out of the last 10 years, going their separate ways just last year when the guild honored legend Edward Lachman’s work on Maria before the Oscars went with the stronger overall contender, Lol Crawley of The Brutalist. 

    This means that all is not lost, particularly, for Sinners and Train Dreams, who remain in the hunt. It’s also worth noting that, unlike the Academy, the ASC already ended its dreadfully overdue streak of male-only winners in the feature-film category: Mandy Walker became the first woman to win the award three years ago for Elvis, before going on to lose the Oscar to All Quiet on the Western Front’s James Friend. For Durald Arkapaw and Sinners, that breakthrough remains very much on the table for next week. 

    The documentary category featured only one Oscar-nominated film, Come See Me in the Good Light, but it lost to 2000 Meters from Andriivka, which used body-cam footage in its visceral wartime portrait. The TV winners meanwhile went in a different direction from the rest of guild season: The Studio won for half-hour series (Adam Newport-Berra for the episode “The Oner”), but Andor (Christophe Nuyens) and Task (Alex Disenhof) tied for one-hour series, defeating Emmy winner Severance (The Pitt was not nominated). There was an even bigger upset in limited series: The one-take wonder Adolescence lost to the Netflix noir Black Rabbit (Pete Konczal).

    The awards ceremony was held at The Beverly Hilton in Los Angeles, and hosted by The Four Seasons star Kerri Kenney-Silver. Presenters included Jason Reitman, Owen Wilson and Rachel Brosnahan, with special awards being presented to Guillermo del Toro, Robert Yeoman and more. See the full list of winners below. 

    Theatrical Feature Film
    Autumn Durald Arkapaw, ASC for “Sinners”
    WINNER: Michael Bauman for “One Battle After Another”
    Darius Khondji, ASC, AFC for “Marty Supreme”
    Dan Laustsen, ASC, DFF for “Frankenstein”
    Adolpho Veloso, ABC, AIP for “Train Dreams”

    Episode of a Half-Hour Series
    Adam Bricker, ASC for “Hacks” (“I Love LA”)
    Fraser Brown, CSC for “Twisted Metal” (“NUY3ARZ”)
    Paul Daley for “The Righteous Gemstones” (“Prelude”)
    Daniel Grant for “Murderbot” (“Escape Velocity Protocol”)
    Matthew J. Lloyd, ASC for “Government Cheese” (“Trial and Error”)
    WINNER: Adam Newport-Berra for “The Studio” (“The Oner”)

    Limited/ Anthology Series/ Motion Picture Made for TV
    Michael Bauman for “Monster: The Ed Gein Story” (“Buxum Bird”)
    Sam Chiplin for “The Narrow Road to the Deep North” (“Episode One”)
    WINNER: Pete Konczal, ASC for “Black Rabbit” (“Isle of Joy”)
    Matthew Lewis for “Adolescence” (“Episode Two”)
    Igor Martinović for “Black Rabbit” (“Attaf**kinboy”)

    Episode of a One-Hour Regular Series
    WINNER (tie): Alex Disenhof, ASC for “Task” (“Crossings”)
    Jessica Lee Gagné for “Severance” (“Hello, Ms. Cobel”)
    Dana Gonzales, ASC for “Alien: Earth” (“Neverland”)
    Ben Kutchins, ASC for “The White Lotus” (“Killer Instincts”)
    WINNER (tie): Christophe Nuyens, SBC for “Andor” (“I Have Friends Everywhere”)

    Spotlight Award
    Steven Breckon for “The Plague”
    WINNER: Mátyás Erdély, ASC, HSC for “Orphan”
    Karl Walter Lindenlaub, ASC, BVK for “Amrum”

    Documentary Award
    Mstyslav Chernov and Alex Babenko for “2000 Meters from Andriivka”
    WINNER: Brandon Somerhalder for “Come See Me in the Good Light”
    Lars Erlend Tubaas Øymo and Tor Edvin Eliassen for “Folktales”

    ASC Music Video Award
    Jeff Cronenweth, ASC for “Supernatural” (Performed by Ariana Grande)
    Jon Joffin, ASC and Mitchell Baxter for “False Prophet” (Performed by Pillars of a Twisted City)
    Jon Joffin, ASC for “Visiting Hours” (Performed by Jon Bryant)
    Juliette Lossky for “Altamaha-ha” (Performed by Stacy Subero)
    WINNER: Rodrigo Prieto, ASC, AMC for “The Fate of Ophelia” (Performed by Taylor Swift)

    Honorees
    Guillermo del Toro — Board of Governors Award (presented by Jason Reitman)
    Robert Yeoman, ASC — Lifetime Achievement Award (presented by Owen Wilson)
    M. David Mullern, ASC — Career Achievement in Television Award (presented by Rachel Brosnahan )
    Cynthia Pusheck, ASC — Presidents Award (presented by Baz Iodine, ASC and John Simmons, ASC)
    Stephen Pizzello — Award of Distinction (presented by Mandy Walker, ASC, ACS, AM)
    Kodak — Curtis Clark ASC Technology Award (presented by Giovanni Ribisi)

  • ‘Sinners’ Takes Top Honors at MPSE Golden Reel Awards

    ‘Sinners’ Takes Top Honors at MPSE Golden Reel Awards

    Ryan Coogler’s “Sinners” took top honors at the 73rd annual Motion Picture Sound Editors Golden Reel Awards, Sunday at the Wilshire Ebell Theatre.

    The film’s sound teams won for Outstanding Achievement in Sound Editing – Feature Dialogue / ADR and Outstanding Achievement in Music Editing – Feature Motion Picture.

    The awards recognize outstanding achievement in sound editing, sound design, music editing and foley artistry in film, television and gaming.

    Also in feature competition, Outstanding Achievement in Sound Editing – Feature Effects / Foley went to “Frankenstein.” In animated feature, top honors went to the sound editors of “Zootopia 2.”

    The results set up a competitive Oscar race in sound. “Sinners” and “Sirat” are both nominated in sound at the Oscars, which combines sound editing and mixing. The Cinema Audio Society, which represents sound mixing, gave its top honors to “F1” and “KPop Demon Hunters.” “F1” took home the award at the Bafta ceremony.

    In TV, “Adolescence,” “Alien: Earth” and “Murderbot” were all recognized for their sound editing work.

    Two honorary awards were also presented: Kathleen Kennedy received the Filmmaker Award and supervising sound editor Mark Mangini received the Career Achievement Award. Patton Oswalt served as the evening’s host, marking the fourth time he’s hosted the Golden Reel Awards. MPSE president David Barber presided over the festivities as the sound community came together to celebrate their own.

    Full list of winners below.

    Outstanding Achievement in Sound Editing – Feature Dialogue / ADR

    “Sinners”
    Warner Bros.

    Supervising Sound Editor: Benjamin A. Burtt

    Supervising Dialogue/ADR Editor: David V. Butler MPSE

    Dialogue/ADR Editor: Jason W. Freeman MPSE

    Outstanding Achievement in Sound Editing – Feature Effects / Foley

    “Frankenstein”

    Netflix

    Supervising Sound Editor: Nathan Robitaille MPSE

    Sound Designer: Nathan Robitaille MPSE

    Sound Effects Editors: Paul Germann MPSE, Scott Hitchon MPSE, Craig MacLellan, Dashen Naidoo

    Foley Editors: Jenna Dalla Riva, Chelsea Body

    Foley Artists: Goro Koyama, Sandra Fox MPSE

    Outstanding Achievement in Sound Editing – Broadcast Animation

    Love, Death + Robots: “400 Boys”

    Netflix

    Supervising Sound Editor: Brad North MPSE

    Sound Effects Editors: Craig Henighan MPSE, Matt “Smokey” Cloud MPSE

    Foley Editors: Matt Manselle, Lyndsey Schenk MPSE

    Foley Artist: Brian Straub MPSE

    Outstanding Achievement in Sound Editing – Broadcast Long Form Dialogue / ADR

    “Adolescence”: Episode 2

    Netflix

    Supervising Sound Editor: James Drake

    ADR Editor: Emma Butt

    Dialogue Editor: Michelle Woods

    Outstanding Achievement in Sound Editing – Broadcast Long Form Effects / Foley

    Alien: Earth: “Neverland”

    FX on Hulu

    Supervising Sound Editors: Lee Gilmore MPSE, Bradley North MPSE

    Supervising Foley Editor: Beso Kacharava MPSE

    Sound Designers: Nolan McNaughton MPSE, Justin Davey MPSE, Chris Terhune MPSE, Craig Henighan MPSE

    Sound Effects Editors: Tim Walston MPSE, Alec Rubay

    Sound Editors: Matt “Smokey” Cloud MPSE, Albert Romero

    Foley Editors: Alexander Sanikidze, Rati Chkhetiani, Levan Tserediani

    Foley Artist: Biko Gogaladze

    Foley Artists: Stefan Fraticelli, Brandon Bak, Jason Charbonneau

    Outstanding Achievement in Sound Editing – Broadcast Short Form

    Murderbot: “All Systems Red”

    Apple TV

    Supervising Sound Editor: Tyler Whitham MPSE

    Supervising ADR Editor: Danielle McBride MPSE 

    Sound Effects Editor: Craig MacLellan

    Dialogue Editor: Ève Corrêa-Guedes

    Foley Artist: John Elliot

    Outstanding Achievement in Sound Editing – Feature Animation

    “Zootopia 2”

    Walt Disney Animation Studios

    Supervising Sound Editor: Jeremy Bowker

    Supervising Dialogue Editor: Brad Semenoff MPSE

    Supervising Music Editors: Stephen M. Davis, Earl Ghaffari

    Sound Designer: Jeremy Bowker

    Sound Effects Editors: Luke Dunn Gielmuda, Joel Raabe MPSE, Kimberly Patrick, Cameron Barker

    Dialogue Editors: Jacob Riehle, Angela Ang

    Foley Editor: Jordan Myers

    Foley Artists: Ronni Brown MPSE, Sean England MPSE 

    Outstanding Achievement in Sound Editing – Feature Documentary

    “Deaf President Now!”

    Apple Original Films

    Supervising Sound Editors: Eilam Hoffman, Nina Hartstone MPSE, Jacob Bloomfeld-Misrach MPSE

    Foley Supervisor: Adam Méndez

    Sound Designers: Samir Foco, Eilam Hoffman, Nina Hartstone MPSE, Michael Harte, Tom Sayers MPSE

    Sound Editor: Adam Armitage

    Dialogue Editor: Greg Francis

    Foley Editor: Rob Davidson

    Foley Artist: Oli Ferris

    Outstanding Achievement in Sound Editing – Feature International

    “Sirât”

    NEON

    Supervising Sound Editor: Laia Casanovas

    Sound Effects Editors: Oriol Donat i Martos, Claudi Dosta Ivanow

    Dialogue Editor: Irene Rausell

    Foley Editor: Diego Staub

    Foley Artist: Miguel Barbosa, Xes Dieguez

    Outstanding Achievement in Sound Editing – Non-Theatrical Animation

    Predator: “Killer of Killers”

    Disney+

    Supervising Sound Editors: Chris Terhune MPSE, Will Files MPSE

    Supervising Dialogue Editor: Jessie Anne Spence MPSE

    Sound Designers: Justin Davey MPSE, Lee Gilmore MPSE, James Miller MPSE

    Sound Editors: Luis Galdames MPSE, Nolan McNaughton MPSE, Steve Neal MPSE, Matt Yocum MPSE, Matt “Smokey” Cloud MPSE

    Dialogue Editors: Julie Diaz MPSE, Ailene Roberts MPSE

    Foley Editors: Kailyn Jenkins, Jacob McNaughton, Samuel Munoz, Nick Neutra

    Foley Artists: Noel Vought, Adam Decoster

    Outstanding Achievement in Sound Editing – Non-Theatrical Documentary

    “Love + War”

    National Geographic

    Supervising Sound Editor: Deborah Wallach

    Sound Effects Editor: Nick Caramela

    Dialogue Editor: Matt Rigby

    Foley Editor: Chris White

    Foley Artists: Leslie Bloome MPSE, Shaun Brennan

    Outstanding Achievement in Sound Editing – Non-theatrical Feature

    “The Gorge”

    Apple TV

    Supervising Sound Editors: Ethan Van der Ryn, Erik Aadahl MPSE, Paul Hackner MPSE

    Dialogue / ADR Supervisors: Stephanie Brown MPSE, David V. Butler MPSE

    Supervising Foley Editors: Jonathan Klein, Roni Pillischer

    Sound Designers: David Farmer MPSE, Dane A. Davis MPSE, Bill R. Dean MPSE, Frederic Dubois MPSE, Darren Maynard MPSE

    Sound Effects Editors: Christopher Battaglia MPSE, Javier Bennassar, Goeun Lee Everett MPSE, Jon Greasley MPSE, Jason W. Jennings MPSE, Nolan McNaughton MPSE, Peter D. Lago MPSE

    Dialogue Editors: James Morioka MPSE, Kira Roessler

    Music Editor: Sally Boldt

    Foley Editor: Chris White

    Foley Artists: Leslie Bloome MPSE, Shaun Brennan, Curtis Henderson

    Outstanding Achievement in Music Editing – Broadcast Long Form

    Étoile: “The Hiccup” 

    Amazon Prime

    Music Editor: Annette Kudrak

    Outstanding Achievement in Music Editing – Broadcast Short Form

    Wolf King: “The Rise of the Wolf”

    Netflix

    Lead Music Editor: Thomas Haines

    Music Editor: Steve Bond

    Outstanding Achievement in Music Editing – Documentary

    “Billy Joel: And So It Goes: Part 1”

    HBOMax

    Supervising Music Editor: Shari Johanson

    Music Editor: Debora Lilavois

    Outstanding Achievement in Music Editing – Feature Motion Picture

    “Sinners”

    Warner Bros.

    Music Editor: Felipe Pacheco

    Outstanding Achievement in Sound Editing – Game Dialogue / ADR

    “Death Stranding 2: On the Beach”

    Sony Interactive Entertainment 

    Supervising Dialogue Editor: Justin Scott Wilson MPSE 

    Senior Dialogue Designer: Jaime Marcelo MPSE 

    Dialogue Designers: Masashi Takada, Ayako Higuchi, Katelyn Limber, Monet Gardiner MPSE, Briana Villarreal

    Dialogue Editors: Benjamin Gendron-Smith, Paolo Pavesi, Dominic Roocroft, Kyel Allen, Luke Elliot

    Lead Technical Sound Designer: Hiroyuki Nakayama 

    Lead Sound Programmer: Kotaro Mori

    Outstanding Achievement in Music Editing – Game Music

    “Ghost of Yōtei”

    Sony Interactive Entertainment

    Supervising Music Editors: Andrew Buresh, Sonia Coronado, Ted Kocher, Scott Shoemaker

    Music Directors: Peter Scaturro, Keith Leary

    Music Editors: Andrew Karboski, Yuen Man Chung Kelvin, Monty Mudd, Udit Srivathsan

    Outstanding Achievement in Sound Editing – Game Effects / Foley

    “Death Stranding 2: On the Beach”

    Sony Interactive Entertainment 

    Lead Technical Sound Designer: Hiroyuki Nakayama 

    Lead Sound Programmer: Kotaro Mori 

    Sound Design Supervisors: Emile Mika, Stephen Schappler, Glen Gathard, Erick Ocampo

    Sound Design Leads: Noburo Masuda, Derrick Espino, Andres Herrera, Alex Previty MPSE

    Senior Sound Designers: Aaron Sanchez, Ash Read, Chris Kokkinos MPSE, Danny Hey, Lorenzo Valsassina, Maria Rascon, Nick Tomassetti, Pete Reed, Robert Castro MPSE, Satsuki Sato, TJ Schauer, Tsubasa Ito, Juuso Tolonen

    Sound Designers: Yuji Yamagishi, Minoru Tsuchihashi, Taiga Teshima, Charlie Ritter MPSE, Daniel Ramos MPSE, Danny Barboza MPSE, David Goll, Edward Durcan, Kei Matsuo MPSE, Brad Reese, Emiliyan Arnaudov, Chris Norrish, Federico Modanese, Rebecca Heathcote MPSE, Tim Walston MPSE, Jay W. Jennings MPSE, Goeun Lee Everett MPSE

    Sound Editors: Nat Allam, Tom Holmes, Florian Titus Ardelean, Jamey Scott MPSE

    Senior Foley Editor: Blake Collins MPSE

    Foley Editors: Nick Seaman, Austin Creek

    Senior Foley Artist: Joanna Fang MPSE

    Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)

    “Oneiros”

    National Film & Television School

    Supervising Sound Editor: Jingman Anita Xu

  • Kathleen Kennedy on Lucasfilm Handoff, AI Boundaries and the One Power Grogu Won’t Have in New ‘Mandalorian’ Movie

    Kathleen Kennedy on Lucasfilm Handoff, AI Boundaries and the One Power Grogu Won’t Have in New ‘Mandalorian’ Movie

    Kathleen Kennedy, the venerable filmmaker and former president of Lucasfilm, spent her Sunday singing the praises of American sound designers.

    The prolific producer-turned-executive received an honorary award from the Motion Picture Sound Editors at the group’s annual Golden Reel Awards in Los Angeles — marking a distinguished career responsible for indelible movie moments across titles like “Jurassic Park,” “Back to the Future” and “Schindler’s List.”

    “Sound helps root the story. It helps represent where characters are, not only geographically, but emotionally. It helps foreshadow the intent of a character or define what they’re going through. In short, it takes the audience on the journey of the film,” said Kennedy, accepting the prize from iconic sound designer Ben Burtt (films, series and games in the Star Wars universe) at the Wilshire Ebell Theater.

    “I’ve been incredibly lucky in my career to work with some of the absolute titans of this craft, people who taught me very early on that sound isn’t just pasted on at the end, it’s the heartbeat of the story that should be conceived and designed and refined from the earliest stages of the process,” Kennedey said.

    Steven Spielberg’s “E.T. the Extra-Terrestrial” was an important lesson, the producer said, on which Ishe worked with Burtt. 

    “[Steven and I] spent so much time worrying about how E.T. was going to look, but it wasn’t until we heard those heavy, shuffling footsteps and the raspy, melodic breathing that E.T. became real. He wasn’t a puppet anymore, he was a friend,” said Kennedy. “That friend’s voice came from recording a woman named Pat Welsh, who smoked two packs of Kools cigarettes every day. Ben overheard her at a photography store in San Anselmo, and waited outside on the sidewalk for her to come out. He asked her if she’d like to be an alien in a movie.”

    Backstage, Kennedy spoke with Variety about the upcoming May release of “The Mandalorian & Grogu,” which she greenlit and also serves as producer. Asked what it was like the first time she heard Grogu (aka Baby Yoda), speak, she shared that the little green guy is “another perfect example of a character that has to emote and you have to feel connected to, and he never speaks a word.”

    Kennedy said audiences will fall deeper in love with the popular character “on the big screen, and he never says a word.” She confirmed that, despite Yoda’s oft-quoted broken English, Grogu will not gain the power of speech in the new film.

    The exec also reflected on handing over the reins to Lucasfilm in January to longtime deputies Dave Filoni (now president and chief creative officer) and Lynwen Brennan (co-president).

    “It didn’t just happen six months ago. I spent 10 years talking Dave into gradually stepping into live action. He had so much experience in animation. He’s so knowledgeable about Star Wars and loves it so much, it’s really been a 10-year mentoring process for both of them. Lynwen came out of Industrial Light & Magic. She was my GM the entire time. I would argue that the transition has been really pretty seamless,” she said.

    Patton Oswalt hosted Sunday’s Golden Reels ceremony. Following Kennedy’s acceptance speech, the comic joked that she had gone backstage for a ritual “freeing her from the nerd mafia she’s been trapped with for years.” Regarding the fervent (and occasionally toxic) Star Wars fandom, Oswalt said Kennedy had been “freed from the comments section.”

    Backstage, Kennedy reflected on her time at the top of Lucasfilm in relation to the fanbase.

    “I really segued into [that job] when the fan expectations collided with social media. That really has created a kind of explosion. It’s alway has been important to Lucasfilm, that the fans are huge part of what the franchise is. So that was something that was new to me and something that grew over time, but it’s remained incredibly important to the company,” she said.

    She concluded on-stage remarks with a tribute to people behind sound design, making reference to her film “Raiders of the Lost Ark,” the first in the Indiana Jones franchise. 

    “What I love most about sound designers and editors is your curiosity. You’re the only people I know who can hear the scrape of a toilet lid and think that’s it. That’s it! That’s the sound of the Ark of the Covenant opening,” she said.

    In a recent interview about her Disney exit, Kennedy said was interested exploring the possibilities of AI as it relates to filmmaking. She clarified to Variety that she wished “it was called augmented reality, not artificial intelligence. Many of us in the industry absolutely are committed to human beings and a human point of view. [We’ll see] if these tools can end up augmenting that process, speed things up and find a place in the flow of creativity. That’s what I find quite intriguing about some of these tools. But, to actually replace human beings in the process? No.”

    Kennedy has received eight Oscar nominations over her career. Films released on her watch include the highest-grossing domestic film of all time, “Star Wars: The Force Awakens,” as well as “Rogue One,” “The Last Jedi” and “Solo.” Her remaining projects as a producer at Lucasfilm include the imminent release of “The Mandalorian and Grogu,” and the forthcoming Ryan Gosling-led Star Wars vehicle “Star Fighter.”

    Prior to joining the Disney label, Kennedy served as producer or executive producer more than 70 feature films, collectively garnering 120 Academy Award nominations and 25 wins. Those titles include “Jurassic Park,” “E.T. The Extra Terrestrial,” “The Sixth Sense,” the “Back to the Future” trilogy, “Who Framed Roger Rabbit,” “Gremlins” and “The Goonies.

    Kennedy’s other accolades include a BAFTA fellowship and a CBE Award. She’s served as board chair for the AFI, and was one of the founding Council Members of the Hollywood Commission to Eliminate Sexual Harassment and Advance Equality. Kennedy is currently on the board of the LA Promise Fund, Library of America and USC’s School of Cinematic Arts.  

  • Top NFT Sales of the Week, Flying Tulip Takes Top Spot

    Top NFT Sales of the Week, Flying Tulip Takes Top Spot

    The $NFT sector has witnessed notable sales over the past 7 days. In this respect, the total $NFT transfers have hit the 591,222 mark, showing a 10.19% rise over the week. As per the data from CryptoSlam, Flying Tulip PUT, $XAI BRC-20 NFTs, and CyrusPosition have gained the top positions among the leading $NFT sales of the past week. The other names on the top-10 list include STRIKE_PERP_POSIT, 0xbb5…, Patrick Mahomes II, 1997 #94 Gengar-Holo PSA 10 Japanese Fossil Pokemon, and more.

    Flying Tulip PUT Claims Top Position among Leading Weekly $NFT Sales with $689,151

    At the top of the list of the top weekly $NFT sales is the Ethereum-based Flying Tulip PUT. Its #8196 $NFT was sold 6 days ago for a staggering $689,151. In addition to this, the Bitcoin blockchain-based $XAI BRC-20 NFTs collection’s $NFT “#13f87c…227i0” has become the 2nd top player among the $NFT sales, with its price reaching $595,716. This $NFT sale also took place six days ago.

    Following that, the BNB Chain-based Cyrus Position $NFT collection has taken the 3rd place among the week’s key sales. Its $NFT “#10002” has generated $64,400 in its sale 6 days ago. Subsequently, the Cardano-based $NFT collection “STRIKE_PERP_POSIT” is the 4th among the top $NFT sales. Its $NFT “#asset1akxe…” was sold three days ago for $51,204.

    Subsequently, the Base blockchain-based $NFT collection “0xbb5…” is the 5th on the list. Specifically, its $NFT “#5800” has earned $14,999 up to 11 hours ago. Additionally, the Panini blockchain-based Patrick Mahomes II collection has generated $10,015 in its $NFT sale that occurred six days ago. Moreover, the Solana-based “1997 #94gengar-Holo PSA….Pokemon” collection’s $NFT “DL4i7…R1jH6” has gained $5,972 in its sale.

    AI Goanna Bottoms List of Week’s Key $NFT Sales by Generating $1,238

    Moving on, CryptoSalm’s list of top weekly $NFT sales adds the Flow blockchain-based NBA Top Shot collection’s “#50706496” $NFT as the 8th name. The $NFT sale resulted in the earning of up to $5,500 3 days back. Additionally, Ronin blockchain-based Axie Infinity collection has made $3,821 via its $NFT “2149.” Furthermore, the Algorand-based AI Goanna $NFT collection’s “#445445646” $NFT was the 10th top $NFT sale of the week, with $1,238 generated through it.

  • Why Crypto Market Is Falling Today (March 8, 2026)

    Why Crypto Market Is Falling Today (March 8, 2026)

    Today, the total crypto market cap dropped, as the global world risk sentiment was weakened by macroeconomic uncertainty and geopolitical tensions. Bitcoin and the other top altcoins dropped with the conventional markets as investors responded to the equity volatility, interest-rate expectations and stronger U.S. dollar.

  • ‘Yellowstone’ Skeletons Haunt Kayce Dutton in Second Episode of ‘Marshals’

    [This story contains spoilers from the second episode of Marshals and the series finale of Yellowstone.]

    How much of Yellowstone will loom over Marshals? The second episode of the new CBS series starring Luke Grimes gave viewers a good idea of how Marshals plans to walk that line.

    The sequel-spinoff that premiered March 1 sees Grimes reprising his role as Kayce Dutton, the surviving son to the late Dutton patriarch played by Kevin Costner on the megahit Paramount Network series. Yellowstone was the most popular show on television when it signed off in December 2024. So, when we recently asked showrunner Spencer Hudnut if he will be servicing the fans of Yellowstone or catering to a potentially new audience, he had an easy answer.

    “It would be really foolish to turn our back on that,” he told The Hollywood Reporter heading into the premiere, citing not only the flagship show’s uber-success but also the richness of the Dutton backstory. He also noted that Kayce is still living on the Montana land of the Dutton family’s ranch — just now in the corner of it that he calls home with his son Tate (Brecken Merrill) following the unexpected death of his wife Monica Dutton (played by Kelsey Asbille in Yellowstone). Monica’s death was revealed in the premiere, and it’s the tragic hook that convinced Grimes to reprise the role, and co-creator Taylor Sheridan to jump on board and executive produce Marshals, which Hudnut wrote.

    “The balancing act was building off of Yellowstone, but in a way where people who didn’t watch that show can still follow along. And then over time, as we get to know the non-Yellowstone characters more, they can carry the story more,” said Hudnut. “But I think we will always have that connective tissue to Yellowstone. It’s what makes the show unique, so I think we will always try to service that.”

    Even viewers who have never seen Yellowstone will have caught wind of Kayce squirming in this week’s second episode at the mention of the “Zone of Death,” which is the real Idaho section of Yellowstone National Park just outside of Wyoming where there are no citizens and no law enforcement so, therefore, crimes committed there go unpunished.

    “Local legend has it that it’s been a dumping ground for the region’s most depraved criminals,” says Harry (Brett Cullen), the chief of the Montana U.S. Marshals unit that Kayce has taken up with, in the episode. When Harry then asked Kayce if he’s heard the tale, since his family has been in the area for a century, Kayce said this: “First I’m hearing of it.”

    Yellowstone viewers know that’s a lie.

    In Yellowstone proper, the Zone of Death was called “the train station.” Over the series’ five seasons, the violent Dutton family dumped many dead bodies there and would communicate with each other by saying they had taken someone to the train station. Most notably, Kayce and his sister Beth Dutton — played by Kelly Reilly, who will be starring in the upcoming Dutton Ranch spinoff with Cole Hauser‘s Rip — dumped the dead body of their brother, Jamie Dutton (Wes Bentley), in the Zone of Death in the series finale, leaving a big Dutton cliffhanger for any series that would continue to follow this Montana family.

    So now comes Marshals, where Jamie’s “disappearance” is mentioned several times in the second episode that aired Sunday night. Harry, who is clearly not a fan of the vengeful Dutton family, pressed Pete (Logan Marshall-Green), Kayce’s former Navy SEAL buddy who brought him on, about what Kayce knows about his fugitive brother. Even fellow agent Andrea (Ash Santos) questioned Kayce on the whereabouts of Jamie, who seems to have just vanished.

    Kayce remains a man of few words when asked, but time will tell how he can continue to evade the question over the course of this first season’s 13 episodes. “We certainly end the season in a propulsive way that paints us into a corner and demands us coming back for season two,” Hudnut had teased to THR, also saying he was open to a Beth Dutton crossover — should the spinoff shows’ stars align.

    Marshals releases new episodes Sundays at 8 p.m. on CBS, streaming on Paramount+ the next day.

  • ‘Sinners,’ ‘Adolescence’ Among MPSE Golden Reel Awards Winners

    ‘Sinners,’ ‘Adolescence’ Among MPSE Golden Reel Awards Winners

    Motion Picture Sound Editors on Sunday announced the winners for the 73rd annual MPSE Golden Reel Awards, which honor outstanding achievement in sound editing, sound design, music editing and Foley artistry in film, TV and gaming.

    In the TV categories, Adolescence, Alien: Earth and Love, Death + Robots scored wins, while in the film categories, Sirat, Sinners and Frankenstein were honored. Zootopia 2 received an animation win, while Deaf President Now! won in the documentary category.

    This year’s awards show took place at the Wilshire Ebell Theatre in Los Angeles, hosted by Patton Oswalt for the fourth time. As previously announced, Kathleen Kennedy received the Filmmaker Award and supervising sound editor Mark Mangini was honored with the Career Achievement Award.

    A full list of winners follows.

    Outstanding Achievement in Sound Editing – Broadcast Animation

    Love, Death + Robots: “400 Boys”
    Netflix
    Supervising Sound Editor: Brad North MPSE
    Sound Effects Editors: Craig Henighan MPSE, Matt “Smokey” Cloud MPSE
    Foley Editors: Matt Manselle, Lyndsey Schenk MPSE
    Foley Artist: Brian Straub MPSE

    Outstanding Achievement in Sound Editing – Broadcast Long Form Dialogue / ADR

    Adolescence: Episode 2
    Netflix
    Supervising Sound Editor: James Drake
    ADR Editor: Emma Butt
    Dialogue Editor: Michelle Woods

    Outstanding Achievement in Sound Editing – Broadcast Long Form Effects / Foley

    Alien: Earth: “Neverland”
    FX on Hulu
    Supervising Sound Editors: Lee Gilmore MPSE, Bradley North MPSE
    Supervising Foley Editor: Beso Kacharava MPSE
    Sound Designers: Nolan McNaughton MPSE, Justin Davey MPSE, Chris Terhune MPSE, Craig Henighan MPSE
    Sound Effects Editors: Tim Walston MPSE, Alec Rubay
    Sound Editors: Matt “Smokey” Cloud MPSE, Albert Romero
    Foley Editors: Alexander Sanikidze, Rati Chkhetiani, Levan Tserediani
    Foley Artist: Biko Gogaladze
    Foley Artists: Stefan Fraticelli, Brandon Bak, Jason Charbonneau

    Outstanding Achievement in Sound Editing – Broadcast Short Form

    Murderbot: “All Systems Red”
    Apple TV
    Supervising Sound Editor: Tyler Whitham MPSE
    Supervising ADR Editor: Danielle McBride MPSE 
    Sound Effects Editor: Craig MacLellan
    Dialogue Editor: Ève Corrêa-Guedes
    Foley Artist: John Elliot

    Outstanding Achievement in Sound Editing – Feature Animation

    Zootopia 2
    Walt Disney Animation Studios
    Supervising Sound Editor: Jeremy Bowker
    Supervising Dialogue Editor: Brad Semenoff MPSE
    Supervising Music Editors: Stephen M. Davis, Earl Ghaffari
    Sound Designer: Jeremy Bowker
    Sound Effects Editors: Luke Dunn Gielmuda, Joel Raabe MPSE, Kimberly Patrick, Cameron Barker
    Dialogue Editors: Jacob Riehle, Angela Ang
    Foley Editor: Jordan Myers
    Foley Artists: Ronni Brown MPSE, Sean England MPSE 

    Outstanding Achievement in Sound Editing – Feature Documentary

    Deaf President Now!
    Apple Original Films
    Supervising Sound Editors: Eilam Hoffman, Nina Hartstone MPSE, Jacob Bloomfeld-Misrach MPSE
    Foley Supervisor: Adam Méndez
    Sound Designers: Samir Foco, Eilam Hoffman, Nina Hartstone MPSE, Michael Harte, Tom Sayers MPSE
    Sound Editor: Adam Armitage
    Dialogue Editor: Greg Francis
    Foley Editor: Rob Davidson
    Foley Artist: Oli Ferris

    Outstanding Achievement in Sound Editing – Feature International

    Sirât
    NEON
    Supervising Sound Editor: Laia Casanovas
    Sound Effects Editors: Oriol Donat i Martos, Claudi Dosta Ivanow
    Dialogue Editor: Irene Rausell
    Foley Editor: Diego Staub
    Foley Artist: Miguel Barbosa, Xes Dieguez

    Outstanding Achievement in Sound Editing – Feature Dialogue / ADR

    Sinners
    Warner Bros.
    Supervising Sound Editor: Benjamin A. Burtt
    Supervising Dialogue/ADR Editor: David V. Butler MPSE
    Dialogue/ADR Editor: Jason W. Freeman MPSE

    Outstanding Achievement in Sound Editing – Feature Effects / Foley

    Frankenstein
    Netflix
    Supervising Sound Editor: Nathan Robitaille MPSE
    Sound Designer: Nathan Robitaille MPSE
    Sound Effects Editors: Paul Germann MPSE, Scott Hitchon MPSE, Craig MacLellan, Dashen Naidoo
    Foley Editors: Jenna Dalla Riva, Chelsea Body
    Foley Artists: Goro Koyama, Sandra Fox MPSE

    Outstanding Achievement in Sound Editing – Non-Theatrical Animation

    Predator: “Killer of Killers”
    Disney+
    Supervising Sound Editors: Chris Terhune MPSE, Will Files MPSE
    Supervising Dialogue Editor: Jessie Anne Spence MPSE
    Sound Designers: Justin Davey MPSE, Lee Gilmore MPSE, James Miller MPSE
    Sound Editors: Luis Galdames MPSE, Nolan McNaughton MPSE, Steve Neal MPSE, Matt Yocum MPSE, Matt “Smokey” Cloud MPSE
    Dialogue Editors: Julie Diaz MPSE, Ailene Roberts MPSE
    Foley Editors: Kailyn Jenkins, Jacob McNaughton, Samuel Munoz, Nick Neutra
    Foley Artists: Noel Vought, Adam Decoster

    Outstanding Achievement in Sound Editing – Non-Theatrical Documentary

    Love + War
    National Geographic
    Supervising Sound Editor: Deborah Wallach
    Sound Effects Editor: Nick Caramela
    Dialogue Editor: Matt Rigby
    Foley Editor: Chris White
    Foley Artists: Leslie Bloome MPSE, Shaun Brennan

    Outstanding Achievement in Sound Editing – Non-theatrical Feature

    The Gorge
    Apple TV
    Supervising Sound Editors: Ethan Van der Ryn, Erik Aadahl MPSE, Paul Hackner MPSE
    Dialogue / ADR Supervisors: Stephanie Brown MPSE, David V. Butler MPSE
    Supervising Foley Editors: Jonathan Klein, Roni Pillischer
    Sound Designers: David Farmer MPSE, Dane A. Davis MPSE, Bill R. Dean MPSE, Frederic Dubois MPSE, Darren Maynard MPSE
    Sound Effects Editors: Christopher Battaglia MPSE, Javier Bennassar, Goeun Lee Everett MPSE, Jon Greasley MPSE, Jason W. Jennings MPSE, Nolan McNaughton MPSE, Peter D. Lago MPSE
    Dialogue Editors: James Morioka MPSE, Kira Roessler
    Music Editor: Sally Boldt

    Foley Editor: Chris White
    Foley Artists: Leslie Bloome MPSE, Shaun Brennan, Curtis Henderson

    Outstanding Achievement in Music Editing – Broadcast Long Form

    Étoile: “The Hiccup” 
    Amazon Prime
    Music Editor: Annette Kudrak

    Outstanding Achievement in Music Editing – Broadcast Short Form

    Wolf King: “The Rise of the Wolf”
    Netflix
    Lead Music Editor: Thomas Haines
    Music Editor: Steve Bond

    Outstanding Achievement in Music Editing – Documentary

    Billy Joel: And So It Goes: Part 1
    HBOMax
    Supervising Music Editor: Shari Johanson
    Music Editor: Debora Lilavois

    Outstanding Achievement in Music Editing – Feature Motion Picture

    Sinners
    Warner Bros.
    Music Editor: Felipe Pacheco

    Outstanding Achievement in Sound Editing – Game Dialogue / ADR

    Death Stranding 2: On the Beach
    Sony Interactive Entertainment 
    Supervising Dialogue Editor: Justin Scott Wilson MPSE 
    Senior Dialogue Designer: Jaime Marcelo MPSE 
    Dialogue Designers: Masashi Takada, Ayako Higuchi, Katelyn Limber, Monet Gardiner MPSE, Briana Villarreal
    Dialogue Editors: Benjamin Gendron-Smith, Paolo Pavesi, Dominic Roocroft, Kyel Allen, Luke Elliot
    Lead Technical Sound Designer: Hiroyuki Nakayama 
    Lead Sound Programmer: Kotaro Mori

    Outstanding Achievement in Music Editing – Game Music

    Ghost of Yōtei
    Sony Interactive Entertainment
    Supervising Music Editors: Andrew Buresh, Sonia Coronado, Ted Kocher, Scott Shoemaker
    Music Directors: Peter Scaturro, Keith Leary
    Music Editors: Andrew Karboski, Yuen Man Chung Kelvin, Monty Mudd, Udit Srivathsan

    Outstanding Achievement in Sound Editing – Game Effects / Foley

    Death Stranding 2: On the Beach
    Sony Interactive Entertainment 
    Lead Technical Sound Designer: Hiroyuki Nakayama 
    Lead Sound Programmer: Kotaro Mori 
    Sound Design Supervisors: Emile Mika, Stephen Schappler, Glen Gathard, Erick Ocampo
    Sound Design Leads: Noburo Masuda, Derrick Espino, Andres Herrera, Alex Previty MPSE
    Senior Sound Designers: Aaron Sanchez, Ash Read, Chris Kokkinos MPSE, Danny Hey, Lorenzo Valsassina, Maria Rascon, Nick Tomassetti, Pete Reed, Robert Castro MPSE, Satsuki Sato, TJ Schauer, Tsubasa Ito, Juuso Tolonen
    Sound Designers: Yuji Yamagishi, Minoru Tsuchihashi, Taiga Teshima, Charlie Ritter MPSE, Daniel Ramos MPSE, Danny Barboza MPSE, David Goll, Edward Durcan, Kei Matsuo MPSE, Brad Reese, Emiliyan Arnaudov, Chris Norrish, Federico Modanese, Rebecca Heathcote MPSE, Tim Walston MPSE, Jay W. Jennings MPSE, Goeun Lee Everett MPSE
    Sound Editors: Nat Allam, Tom Holmes, Florian Titus Ardelean, Jamey Scott MPSE
    Senior Foley Editor: Blake Collins MPSE
    Foley Editors: Nick Seaman, Austin Creek
    Senior Foley Artist: Joanna Fang MPSE

    Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)

    Oneiros
    National Film & Television School
    Supervising Sound Editor: Jingman Anita Xu