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‘We Have to Survive’ Boarded by Taskovski Films Ahead of Premiere at Thessaloniki Documentary Festival (EXCLUSIVE)

Taskovski Films has come on board as the sales agent for “We Have to Survive,” which has its world premiere at the Thessaloniki Intl. Documentary Festival, which runs March 5-15.

The film, written and directed by Tomáš Krupa, reveals the challenges of a changing world, and the quiet strength of those living through it, illustrated with a number of character-driven stories.

The film travels from the fragile Outer Banks of the U.S., where the ocean slowly reclaims the land, to the vast Mongolian desert, where a family plants trees against the wind, and on to the underground town of Coober Pedy in Australia, where people build their lives beneath the burning earth, and the icy shores of Greenland, where ancient fishing traditions have new beginnings.

Irena Taskovski, head of acquisitions at Taskovski Films, says: “ ‘We Have to Survive’ brings us face to face with lives already reshaped by a changing climate. But it is not just the scale of the crisis, but the human dignity, and care that emerge within it. These stories remind us that climate change is not distant, it is lived, shared, and deeply human. At a time when the future can feel uncertain, Tomáš Krupa’s film offers something essential: a sense of connection, responsibility, and a reminder that we are all under the same sky.”

The film is produced by Krupa for Hailstone. The co-producers are Christian Popp (Yuzu Productions), Peter Drössler (Golden Girls Film), and Arash T. Riahi (Golden Girls Film). Cinematography is by Martin Čech and Ondřej Szollos.

Krupa was the recipient of the Sun in a Net National Film Award, the IGRIC Film and TV National Award, and the Slovak Film Critics’ Award for his feature documentary “The Good Death” (2018).

In 2013, he founded his production company, Hailstone, which focuses on creative documentaries and art-house feature films.

His profile was recognized internationally when he was selected for the Emerging Producers 2020 program, presented at Ji.hlava Intl. Documentary Festival. Most recently, he co-produced the Austrian-Slovak historical drama “Perla,” which won Best Austrian Film at Viennale in 2025.

February 28, 2026
Peace ‘within reach’ as Iran agrees no nuclear material stockpile: Oman FM

Oman’s Foreign Minister says most recent indirect talks between US, Iran ‘really advanced, substantially’ and diplomacy must be allowed do its work.

Iran agreed during indirect talks with the United States never to stockpile enriched uranium, said Oman’s top diplomat, who described the development as a major breakthrough.

Oman’s Foreign Minister Badr bin Hamad Al Busaidi also said on Friday that he believed all issues in a deal between Iran and the US could be resolved “amicably and comprehensively” within a few months.

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“A peace deal is within our reach … if we just allow diplomacy the space it needs to get there,” Al Busaidi said in an interview with CBS News in Washington, DC, after Oman brokered the third round of indirect talks between the US and Iran in Geneva on Thursday.

“If the ultimate objective is to ensure forever that Iran cannot have a nuclear bomb, I think we have cracked that problem through these negotiations by agreeing [on] a very important breakthrough that has never been achieved any time before,” Al Busaidi said.

“The single most important achievement, I believe, is the agreement that Iran will never ever have nuclear material that will create a bomb,” he said.

“Now we are talking about zero stockpiling, and that is very, very important because if you cannot stockpile material that is enriched, then there is no way that you can actually create a bomb,” he added.

There would also be “full and comprehensive verification by the IAEA [International Atomic Energy Agency]”, he said, referring to the UN’s nuclear watchdog.

Oman’s top diplomat also said Iran would degrade its current stockpiles of nuclear material to “the lowest level possible” so that it is “converted into fuel, and that fuel will be irreversible”.

“This is something completely new. It really makes the enrichment argument less relevant, because now we are talking about zero stockpiling,” Al Busaidi said.

Regarding recent US demands regarding Iran’s missile programme, Al Busaidi said: “I believe Iran is open to discuss everything”.

Asked if he thought enough ground was covered in the most recent talks in Geneva to hold off a US attack on Iran, the minister said, “I hope so.”

“We have really advanced substantially, and I think, obviously, there remains various details to be ironed out, and this is why we need a little bit more time to really try and accomplish the ultimate goal of having a comprehensive package of the deal,” he said.

“But the big picture is that a deal is in our hands,” he added.

The foreign minister’s comment followed after he met earlier on Friday with US Vice President JD Vance and as US President Donald Trump continued to sabre-rattle while at the same time declaring he favoured a diplomatic solution with Tehran.

Trump said on Friday that he was not happy with the recent talks that concluded in Geneva.

“We’re not exactly happy with the way they’re negotiating,” Trump told reporters in Washington, adding that Iran “should make a deal”.

“They’d be smart if they made a deal,” he said.

Trump later said that he would prefer it if the US did not have to use military force, “but sometimes you have to do it”.

The US and Iranian sides are expected to meet again on Monday in Vienna, Austria, for more indirect negotiations.

February 28, 2026
Joey Bueno Breese Wins 2026 Deutsche Bank Frieze Los Angeles Film Award (EXCLUSIVE)

Joey Bueno Breese has been named the recipient of the $10,000 2026 Deutsche Bank Frieze Los Angeles Film Award for his film “El Rio Nuestro.” At the same time, Devin O’Guinn received the $2,500 Audience Award for his film “Julian.” Both winners were presented with their prizes during a special ceremony on Friday at Frieze Los Angeles at the Santa Monica Airport.

Now in its seventh year, the Deutsche Bank Frieze Los Angeles Film supports early-career filmmakers in Los Angeles and is produced in collaboration with Ghetto Film School.

Jury award jurors included Emmy- and Golden Globe–nominated actor and producer Connie Britton; Claudio de Sanctis, Head of Private Bank and member of the Management Board at Deutsche Bank; Ché Chisholm, Chief Executive Officer of Ghetto Film School; Oscar–winning director Orlando von Einsiedel; and Jorge Villon, founder of Grace Lab.

“In its seventh year, the Deutsche Bank Frieze Los Angeles Film Award continues to spotlight filmmakers whose work reflects the courage and imagination of this city,” Americas, Frieze director Christine Messineo said. “This year, the films respond to the theme of Renewal and Resilience in deeply personal and socially aware ways – from confronting histories to finding new purpose. The fellows remind us that storytelling is a vital tool for transformation, both for the artist and the community.”

“Julian”

The shortlisted films were presented online and at the fair. Since its launch in 2019, the Deutsche Bank Frieze Los Angeles Film Award has supported more than 40 fellows, serving as an incubator for next-generation talent within the industry.

“In celebrating the 2026 Deutsche Bank Frieze LA Film Awards, I extend my warmest congratulations to Joey Bueno Breese, this year’s Jury Award recipient, and to Devin O’Guinn, honored with the Audience Award,” de Sanctis said. “Their work leaves a lasting impression on all who engage with it. At Deutsche Bank, we are proud to champion artists whose creativity challenges and enriches cinematic expression.”

February 28, 2026
‘Sinners’ and ‘One Battle After Another’ Take Top Honors at ACE Eddie Awards

“Sinners” and “One Battle After Another” took home the live action feature awards at the 76th ACE Eddie Awards.

“Sinners” editor Michael Shawver said, “Ryan Coogler took a big risk, and I think gave audiences something that maybe they didn’t even know they were hungry for something new, different, fun, and total experience.”

“KPop Demon Hunters” took home the award for best edited animated feature film.

The awards were handed out Friday night at UCLA’s Royce Hall, and to Oscar watchers provided insight into the Oscars race for best editing. The winners in best film drama editing and best film comedy/musical editing has gone on to match the best editing Oscar 17 times in the past 26 years.

“The Perfect Neighbor” took home the award for best edited documentary. The Netflix documentary is also nominated for an Oscar in the best documentary category.

Damian Rodriguez who won best edited documentary series for “Pee-wee as Himself” – Part One dedicated his win to team and Paul Reuben. Rodriguez said, “We wouldn’t be here without him. He was such an amazing artist, and he influenced so many people, including myself. I wish he was here.”

On the TV side, “The Studio” and “The Pitt” won in their respective categories for best edited comedy and best edited drama.

The ACE Eddies recognize outstanding editing in film, television, documentaries, shorts and digital content. Ang Lee received the ACE Golden Eddie Filmmaker of the Year Award. Kim Larson & YouTube Will were honored with the ACE Visionary Award, and Film Editors Arthur Forney, ACE, and Robert Leighton were given ACE Career Achievement Awards.

Lee dedicated his award to his go-to editor Tim Squyres. “When you give me this award, you actually give me it to Tim Squyres.” Lee shared how Squyres had cut all his movies except “Brokeback Mountain.” “He missed that one because I told him, after ‘Crouching Tiger, Hidden Dragon,’ I’m retiring, I said ‘I had enough.’ So he took another movie.” Lee said he had stuck with Squyres for over 35 years.

Speaking about what editing means to Lee, he said, “It’s very hard to say, but let me put this way, my wife said, I can only do two things, right, making movies and cooking. So let me use cooking as a metaphor. Shooting is like buying groceries, and the real cooking is on the editing table. That’s how I feel about editing. I’ve feel I have this editing machine in my head when I’m making movies, every section, every setup, editing is at the center of my consciousness. Every working day I have to answer, hundreds of questions about what I want. The only reason I can give directions and put the whole movie together is because I have that editing table in my head.” Lee added, “We’re in a particularly difficult moment, challenging moment, in our life of cinema. But I do believe, as long as there is as long as there are moving images, there will be editors.”

Erin Casper who won best edited short for “All The Empty Rooms” that goes into the bedrooms of children killed in US school shootings, dedicated her win to the victims and the families “who opened their doors to us and welcomed us into their sacred spaces of their child’s bedroom preserved just as it was since the last day they saw their child alive.” She went on to say, “The word gun is never mentioned in our film, and this was intentional on our part, because we’ve all grown so numb to this epidemic.”

She said their goal was to center the humanity and “the life that was in these rooms.”

“South Park’s” Twisted Christian episode won best edited animated series. During his acceptance speech, editor David List said, “It was especially gratifying to work on these last 10 episodes because Trey and Matt really, really went for it. They challenged the boundaries of censorship and how far all of us can exercise our First Amendment rights, whether it’s political commentary, mocking celebrity or that expertly timed fart joke.” He added, “Our freedom of speech should ultimately be protected and celebrated regardless of political party affiliation.”

Full list of winners below.

EDITED FEATURE FILM (Drama, Theatrical)
“Sinners”
Michael P. Shawver

BEST EDITED FEATURE FILM (Comedy, Theatrical)
“One Battle After Another”
Andy Jurgensen

BEST EDITED ANIMATED FEATURE FILM
“KPop Demon Hunters”
Nathan Schauf

BEST EDITED DOCUMENTARY FEATURE
“The Perfect Neighbor”
Viridiana Lieberman

BEST EDITED DOCUMENTARY SERIES
“Pee-wee as Himself – Part One”
Damian Rodriguez

BEST EDITED MULTI-CAMERA COMEDY SERIES
“Frasier” (Murder Most Finch)
Russell Griffin, ACE

BEST EDITED SINGLE CAMERA COMEDY SERIES
“The Studio” (The Promotion)
Eric Kissack, ACE

BEST EDITED DRAMA SERIES
“The Pitt” (6pm)
Mark Strand, ACE

BEST EDITED FEATURE FILM (NON-THEATRICAL)
“A Winter’s Song”
Yvette M. Amirian, ACE

BEST EDITED LIMITED SERIES
“The Penguin” (A Great or Little Thing)
Henk van Eeghen, ACE

BEST EDITED REALITY SERIES
“Conan O’Brien Must Go” (Austria)
Matthew Shaw, ACE
Brad Roelandt

BEST EDITED VARIETY TALK/SKETCH SHOW OR SPECIAL
“Saturday Night Live 50th Anniversary Special”
Paul Del Gesso
Christopher Salerno
Ryan Spears
Sean Mcilraith, ACE
Ryan Mcilraith
Daniel Garcia

BEST EDITED ANIMATED SERIES
“South Park” (Twisted Christian)
David List
Nate Pellettieri

BEST EDITED SHORT
“All The Empty Rooms”
Erin Casper, ACE
Stephen Maing
Jeremy Medoff

ANNE V. COATES AWARD FOR STUDENT EDITING
Luis Barragan – California State University, Fullerton

February 28, 2026
OpenAI strikes a deal with the Defense Department to deploy its AI models

OpenAI has reached an agreement with the Defense Department to deploy its models in the agency’s network, company chief Sam Altman has revealed on X. In his post, he said two of OpenAI’s most important safety principles are “prohibitions on domestic mass surveillance and human responsibility for the use of force, including for autonomous weapon systems.” Altman claimed the company put those principles in its agreement with the agency, which he called by the government’s preferred name of Department of War (DoW), and that it had agreed to honor them.

The agency has closed the deal with OpenAI, shortly after President Donald Trump ordered all government agencies to stop using Claude and any other Anthropic services. If you’ll recall, the government US Defense Secretary Pete Hegseth previously threatened to label Anthropic “supply chain risk” if it continues refusing to remove the guardrails on its AI, which are preventing the technology to be used for mass surveillance against Americans and in fully autonomous weapons. It’s unclear why the government agreed to team up with OpenAI if its models also have the same guardrails, but Altman said it’s asking the government to offer the same terms to all the AI companies it works with.

Anthropic, which started working with the US government in 2024, refused to bow down to Hegseth. In its latest statement, published just hours before Altman announced OpenAI’s deal, it repeated its stance. “No amount of intimidation or punishment from the Department of War will change our position on mass domestic surveillance or fully autonomous weapons,” Anthropic wrote. “We will challenge any supply chain risk designation in court.”

Altman added in his post on X that OpenAI will build technical safeguards to ensure the company’s models behave as they should, claiming that’s also what the DoW wanted. It’s sending engineers to work with the agency to “ensure [its models’] safety,” and it will only deploy on cloud networks. As The New York Times notes, OpenAI is not yet on Amazon cloud, which the government uses. But that could change soon, as company has also just announced forming a partnership with Amazon to run its models on Amazon Web Services (AWS) for enterprise customers.

February 28, 2026
Bullish Sign? Bitcoin Nears Milestone as 100+ BTC Wallets Approach 20K
Bitcoin’s bullish setup is strengthening as wallets holding 100 $BTC or more approach record levels, according to Santiment, which says this trend can be considered a bullish sign when it rises during or after price declines.

Bitcoin Flashes Possible Bullish Sign as Large Holders Climb Toward 20,000 Threshold

Crypto analytics platform Santiment shared on social media platform X on Feb. 26 that bitcoin’s growing number of wallets holding 100 $BTC or more is approaching 20,000 addresses and may signal accumulation behavior, according to the firm. Santiment stated:

“ Bitcoin is about to hit a milestone, surpassing 20,000 wallets with at least 100 $BTC. When this number rises during or after price declines (like it has been), it can be considered a bullish sign.”

“If the number of 100+ $BTC wallets is growing, that suggests distribution across more large holders rather than a small group controlling everything,” Santiment noted. The platform emphasized that historically, rising whale wallet counts have occasionally been observed during accumulation stages that later supported price rebounds. This pattern has at times been associated with medium- to long-term upward price movements, particularly when larger entities absorb supply from retail traders during weaker market conditions, according to Santiment.

Amount of wallets with 100+ bitcoin. Source: Santiment.

At the same time, Santiment clarified that supply concentration among key stakeholders has not yet significantly expanded, which may explain why bitcoin prices remain subdued despite the increase in large wallets. The firm detailed:

“The growth in wallet numbers just needs to match the growth in overall supply held, with retail slowly selling off their coins to the larger wallets.”

Based on historical cycles, such redistribution phases have, in some instances, formed market bottoms before broader recoveries emerge, Santiment’s data suggests. While the data does not guarantee immediate upside, the predictive signal from expanding whale participation may indicate a strengthening accumulation structure that could support future price appreciation if sustained.

FAQ 🧭
- Why does the rise in 100 $BTC wallets matter for investors?
  Growing large-wallet counts are viewed by Santiment as signaling accumulation phases that have historically preceded price rebounds.
- Does more whale participation guarantee a bitcoin rally?
  No, but sustained accumulation has at times aligned with medium- to long-term upward trends.
- What does distribution across more large holders indicate?
  It suggests supply is spreading among whales rather than concentrating in a few hands, supporting structural stability.
- Why are bitcoin prices still subdued despite wallet growth?
  Overall supply held by large wallets has not yet expanded enough to confirm a full accumulation-driven breakout.
February 28, 2026
Venus Flux Surpasses $119 Million In Total Market Size A Day After Launch, Indicating Renewed DeFi Interest

Venus Flux, a liquidity layer launched yesterday on the BNBChain, continues to experience significant market performance, according to a revelation disclosed today by Venus Protocol, a decentralized lending protocol that allows users to earn interest by supplying crypto or borrow against their assets.

Yesterday, on Thursday, February 26, 2026, Venus Protocol and a liquidity infrastructure project, popularly called Fluid, announced a strategic collaboration that enabled them to launch a unified liquidity layer, dubbed Venus Flux, on the BNBChain.

As per the announcement, Venus Flux functions as a liquidity layer that aims to enhance capital efficiency, streamline yield generation, and make assets more productive across DeFi networks supported by the BNBChain blockchain.

🚀 Venus Flux 24H Update

Over the past 24 hours, Venus Flux continues expanding its unified liquidity layer — driving more efficient capital movement across @BNBCHAIN.

📊 Total Market Size: $119,087,766
📈 The number keeps growing
Liquidity is accelerating. Momentum is… pic.twitter.com/13b7eGlxb9

— Venus Protocol (@VenusProtocol) February 27, 2026

Venus Flux On-Chain Activity and Usage Focus

Today, Venus Protocol shared market updates that revealed that Venus Flux has recorded a massive $119,087,766 in total market size (market capitalization) following its debut on the BNBChain yesterday. This surge showcases increasing investor confidence in the Venus Flux platform, which is designed to integrate lending, trading, and other DeFi applications into a unified liquidity infrastructure.

The liquidity platform aims to allow users and traders to engage in both lending and liquidity markets, thereby decreasing the need for manual token transfers between different chains. Following the launch, Venus Flux introduced smart collateral and debt mechanisms that facilitate both collateral and borrowed funds to constantly operate as positions in DEX liquidity pools, aiming to enhance capital efficiency.

On-chain indicators show rising user engagement and governance participation on Venus Flux. According to the latest data from Dune Analytics, a total of $17,895,795 in capital has been borrowed from the liquidity platform since the beginning of its official network operation yesterday.

Venus Flux Traction In DeFi Growing

Data from Dune Analytics indicates that Venus Flux has achieved a significant milestone in DeFi, recording $17.89 million in cumulative lending volume after its launch yesterday, driven by the continued expansion of institutional participation and RWA integration in decentralized finance.

The accomplishment showcases Venus Flux’s position as a rapidly emerging on-chain liquidity infrastructure. The record is an indicator that Venus Flux is on the journey towards becoming a major and efficient liquidity network globally, reducing costs and enhancing liquidity across financial markets.

February 28, 2026
Longtime CBS News Producer Cites Claims of Aiming Reporting Towards “Particular Part of the Political Spectrum” in Exit Memo

Mary Walsh, a veteran CBS News producer of over four decades, is exiting the company, claiming in an exit memo to staffers that instructions to “aim our reporting at a particular part of the political spectrum” are partly why she’s departing.

“We’ve been reading a lot of goodbyes lately and here I am headed out the door. It’s too soon, even after 46 years,” Mary Walsh wrote in a memo sent Friday, per The Guardian. “But maybe it’s for the best. We’ve been told to aim our reporting at a particular part of the political spectrum. Honestly, I don’t know how to do that.”

The Guardian further reported that CBS Evening News executive editor Kim Harvey sent a separate message to staff in response to Walsh’s memo.

“We wish Mary Walsh well and thank her for many years of service,” Harvey wrote, according to the outlet. “Mary wrote in her farewell note, ‘We’ve been told to aim our reporting at a particular part of the political spectrum.’ That is simply not true. Here at the Evening News, we value our editorial independence, and CBS News leadership has never asked us to aim our reporting in any political direction.”

Walsh joined CBS News in September 1982, per her LinkedIn. Her departure arrives one day after Netflix backed out of the bidding war for Warner Bros. Discovery, that was ultimately won by Paramount. The latter company is led by David Ellison, and has been going through changes with Bari Weiss as CBS News’ editor-in-chief.

Several CBS Evening News production staffers have taken buyouts, as the program shifts with Tony Dokoupil at the forefront. As The Hollywood Reporter previously reported on Feb. 12, 11 staffers took the buyout offer, including producer Alicia Hastey, who wrote in a departing note that she was “proud of the work that’s been done in my time here.”

However, she added that “there has been a sweeping new vision prioritizing a break from traditional broadcast norms to embrace what has been described as ‘heterodox’ journalism.”

“The truth is that commitment to those people [in the stories Hastey cited] and the stories they have to tell is increasingly becoming impossible,” Hastey continued. “Stories may instead be evaluated not just on their journalistic merit but on whether they conform to a shifting set of ideological expectations — a dynamic that pressures producers and reporters to self-censor or avoid challenging narratives that might trigger backlash or unfavorable headlines.”

February 28, 2026
ACE Eddie Awards for Editing: ‘One Battle After Another,’ ‘Sinners’ Win Top Prizes

A slew of top Oscar contenders won ACE Eddie Awards for the best in editing on Friday night, affirming their positioning as top Oscar contenders as final Academy voting has just gotten underway.

When it came to top best-picture candidates One Battle After Another and Sinners, at least, the American Cinema Editors guild did not have to decide, with One Battle’s Andy Jurgensen and Sinners’ Michael P. Shawver, respectively, winning the theatrical comedy and theatrical drama categories. The Oscars only have one editing category, of course, and both ACE Eddie winners are nominated there alongside Sentimental Value, Marty Supreme and F1 — all of which were nominated for ACE Eddies between their two main theatrical categories.

Netflix dominated the rest of the feature-film lineup, with KPop Demon Hunters’ Nathan Schauf winning for animation and The Perfect Neighbor’s Viridiana Lieberman taking home the documentary award. Both movies continue to cruise to Oscar night, where they’re heavily favored to win — though The Perfect Neighbor’s biggest competition, BAFTA doc winner Mr. Nobody Against Putin, was not nominated here.

Moving to TV, Mark Strand of awards juggernaut The Pitt won in drama, overtaking Andor, which actually won the equivalent Emmy back in the fall. The Studio stayed strong in comedy, with Eric Kissack winning the ACE Eddie for the series premiere “The Promotion,” just as he did at the Emmys.

The limited series race was of particular interest, since the single-take-driven Adolescence wasn’t nominated here (just as it wasn’t in the Emmys’ editing race). While The Penguin had three of the five Emmy-nominated episodes, it lost with the Television Academy to Monsters: The Lyle and Erik Menendez Story, likely a result of vote-splitting. Here, ACE nominated only Henk van Eeghen for the series finale, and he has managed to win. It’s oddly late recognition of the drama, which aired way back in 2024 — in fact, despite its single season, this is the second straight year of ACE Eddie noms for the show because the finale fit within an extended eligibility period.

Taking place at UCLA’s Royce Hall, the ACE Eddie Awards were hosted by Asif Ali and featured several special award presentations: The ACE Golden Eddie Filmmaker of the Year Award went to Ang Lee; YouTube’s Kim Larson received the ACE Visionary Award; and Arthur Forney and Robert Leighton won ACE Career Achievement awards. See below for the full list of winners.

EDITED FEATURE FILM (Drama, Theatrical):

Sinners
Michael P. Shawver

BEST EDITED FEATURE FILM (Comedy, Theatrical):

One Battle After Another
Andy Jurgensen

BEST EDITED ANIMATED FEATURE FILM:

KPop Demon Hunters
Nathan Schauf

BEST EDITED DOCUMENTARY FEATURE:

The Perfect Neighbor
Viridiana Lieberman

BEST EDITED DOCUMENTARY SERIES

Pee-wee as Himself – Part One
Damian Rodriguez

BEST EDITED MULTI-CAMERA COMEDY SERIES:

Frasier (Murder Most Finch)
Russell Griffin, ACE

BEST EDITED SINGLE CAMERA COMEDY SERIES:

The Studio (The Promotion)
Eric Kissack, ACE

BEST EDITED DRAMA SERIES:

The Pitt (6 p.m.)
Mark Strand, ACE

BEST EDITED FEATURE FILM (NON-THEATRICAL):

A Winter’s Song
Yvette M. Amirian, ACE

BEST EDITED LIMITED SERIES:

The Penguin (A Great or Little Thing)
Henk van Eeghen, ACE

BEST EDITED REALITY SERIES:

Conan O’Brien Must Go (Austria)
Matthew Shaw, ACE
Brad Roelandt

BEST EDITED VARIETY TALK/SKETCH SHOW OR SPECIAL:

Saturday Night Live 50th Anniversary Special
Paul Del Gesso
Christopher Salerno
Ryan Spears
Sean Mcilraith, ACE
Ryan Mcilraith
Daniel Garcia

BEST EDITED ANIMATED SERIES:

South Park, “Twisted Christian”
David List
Nate Pellettieri

BEST EDITED SHORT:

All The Empty Rooms
Erin Casper, ACE
Stephen Maing
Jeremy Medoff

ANNE V. COATES AWARD FOR STUDENT EDITING:

Luis Barragan – California State University, Fullerton

February 28, 2026
Trump Slams Anthropic as ‘Leftwing Nut Jobs’ for Refusing Pentagon’s AI Demands

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February 28, 2026