Tag: Entertainment-HollywoodReporter

As the local TV giant Nexstar seeks to expand its reach with its $6.2 billion TEGNA acquisition, the union that represents some of its employees is planning to foment a shareholder revolt.

The Communications Workers of America, which represents hundreds of workers at Nexstar-owned TV stations through the National Association of Broadcast Employees and Technicians, said Monday that it intends to propose five “governance proposals” at Nexstar’s upcoming annual meeting, and will solicit shareholder approval for them.

The CWA has been a vocal opponent to Nexstar’s TEGNA deal, arguing that it will result in a paring back of local news and jobs in the markets in which it owns multiple stations. But the deal has secured the approval of President Donald Trump, who wrote that it would create “more competition against THE ENEMY, the Fake News National TV Networks.”

FCC Chairman Brendan Carr has also indicated he supports the deal, though the legality over whether the FCC can unilaterally raise the 39 percent TV station ownership cap is not entirely clear.

The CWA’s proposals would change the rules around calling special meetings and nominating directors, and proposals for securing shareholder approval on major M&A, and for the board to create an independent chairman, or at the very least name a lead independent director (Perry Sook is currently chairman and CEO).

A spokesperson for Nexstar declined to comment.

“Nexstar’s board lacks independent leadership from Chair and CEO Perry Sook, contributing to a record of governance problems that are harmful to shareholders,” NABET-CWA President Charlie Braico said in a statement. “Despite strong shareholder support for an independent board chair, the company has delayed implementation of this policy as a condition of its employment agreement with Sook and the board has not even appointed a lead independent director. Now company leadership is engaged in empire-building through the proposed TEGNA transaction to the detriment of shareholders. These management problems extend to labor relations as well – Nexstar has repeatedly engaged in frivolous appeals, wasting resources rather than complying with administrative and court decisions requiring it to recognize its workers’ unions at multiple locations. By advancing an independent solicitation, we can ensure shareholders are afforded their right to a voice on the Company’s governance shortcomings.”

Deckhand Todd Meadows died last month during production on season 22 of the Discovery Channel series Deadliest Catch. At the time his death was first reported, very few details were shared. On Friday, Meadows’ fellow deckhand and bunkmate on the Aleutian Lady explained what happened.

Trey John Green III told Page Six the Bering sea was “calm” in the late afternoon of Feb. 20, but added the water was “only a degree or two above freezing.” The ship’s crew members were taking turns climbing into the boats to sift through crabs they’d just caught. Green said Meadows was in a pot, which was seated in the ship’s launcher, when it fell “over the rail” and into the chilly water.

“It’s one of those things that none of us really understand,” Green, 30, said. “I don’t know what happened.”

Meadows, who was 25, was “doing exactly what he was supposed to be doing,” Green added. “We’re like, ‘Holy crap, he’s gonna sink to the bottom. We’re not gonna have any way to get this pot back up.’”

But Green says he saw Meadows escape the pot and attempt to swim. He was not wearing a life vest — none of the crew were.

Meadows was in the water just “three or four minutes” before the boat’s designated swimmer retrieved him from the sea. He was already “lifeless,” Green said.

The crew attempted CPR and used a defibrillator, but the efforts failed. The crew wrapped Meadows’ body in a tarp and “place it in the freezer to preserve it and head back to town,” the publication wrote.

“Everybody did everything they could do,” Green said, adding that “everything” was captured by the production’s cameras.

“This remains an active U.S. Coast Guard investigation,” a Discovery Channel spokesperson said in a statement shared with The Hollywood Reporter. “We are assisting in their efforts and cannot comment at this time.”

“We lost our brother, Todd Meadows,” the Aleutian Lady’s captain Rick Shelford wrote in a Facebook post last week. “Todd was the newest member of our crew; he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.”

Deadliest Catch, produced by Fremantle’s Original Productions, unfortunately lives up to its name: Meadows is by no means the first death of a castmember on the job.

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.

“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.”

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)

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

While Pixar is surely jumping for joy over the opening of Hoppers, which easily topped the weekend box office with a domestic haul of $46 million and $88 million globally, the biggest launch for an original animated film since the fellow Animated Coco nearly a decade ago in 2017. The international portion of the total worldwide gross was $42 million from 88 markets.

The storied animation outfit, whose core mission was to tell original stories, used to be able to do no wrong. But in recent years, Pixar has taken a drubbing for films that stalled out theatrically (not to mention the impact of the pandemic on the animation market, or the departure of legendary chief creative officer John Lasseter (he set up at David Ellison’s Skydance).

Warner Bros. found itself in the opposite position over the weekend as Maggie Gyllenhaal’s The Bride! bombed with a withering, third-place domestic debut of $7.3 million. Overseas was just as weak; It limped to $6.3 million from 78 markets for a worldwide launch of $13 million against a net budget of $80 million before marketing. Heading into the weekend, the studio stuck with its forecast of $16 million-plus even after receiving lukewarm reviews.

From Spyglass and Paramount, Scream 7 surprised in beating The Bride! despite falling a steep 72 percent or more to $17.1 million in its second outing. Internationally, the slasher installment took in $15.6 million for a global cume of nearly $150 million in its first 10 days.

Hoppers is the only tile among the three to boast both strong critical and audience scores. Further, it played in Imax screens during matinee show t thad access to Imax theaters during moreover, more than half the audience were teenagers and younger adults going to see it solo, or older addls without kids. Its score on Rotten Tomatoes is 94 percent, the same as the audience score. It also received an A CinemaScore and a perfect five-out-of-five stars on PostTrak exits.

“This is a fantastic original film from the incredible team at Pixar, and it’s wonderful to see audiences coming out with their friends and families to enjoy it together,” Disney Entertainment chair Alan Bergman said in a statement “Congratulations to our director Daniel Chong, our producer Nicole Paradis Grindle, and our talented cast, along with Pete Docter, Jim Morris, and everyone at Pixar, on a tremendous launch.

In the comedy-adventure, animal lover Mabel (Piper Curda) seizes an opportunity to use a new technology to “hop” her consciousness into a life-like robotic beaver and communicate directly with animals. As she uncovers mysteries beyond anything she could have imagined, Mabel befriends a charismatic beaver named King George (Bobby Moynihan) and must rally the entire animal kingdom to face a major, imminent human threat: smooth-talking local mayor Jerry Generazzo (Hamm). The ensemble voice cast also features Kathy Najimy, Dave Franco, Meryl Streep, Eduardo Franco, Aparna Nancherla, Tom Law, Sam Richardson, Melissa Villaseñor, Isiah Whitlock Jr., Steve Purcell, Ego Nwodim, Nichole Sakura, Karen Huie and Vanessa Bayer.

Hoppers earned $13.4 million on Friday, including $3 million in Thursday previews. The Bride! did only $1 million in previews

Gyllenhaal’s follows a remarkable, year-long winning streak for studio heads Michael De Luca and Pamela Abdy, who are committed to taking bold, original swings. At the March 16 Oscar ceremony, they have two films in the best-picture race, Sinners and One Battle After Another. And lost in the coverage of The Bride! 1 was the fact that Emerald Fennel’s edgy Wuthering Heights adaptation jummped tjhe $200 million mark globally in its third weekend.

The Bride’s audience score on Rotten Tomatoes is a mediocre 71 percent, while the critics’ score is 60 percent. Also, the $80 million film was slapped with a C+ CinemaScore.

The R-rated, gothic romance made headlines last week for comments Gyllenhaal made on a podcast, saying she was asked by Warners movie studio chiefs Pamela Abdy and Michael De Luca to remove some of the film’s more violent scenes (she also gave a shout-out to Abdy for “understanding me”).

Starring Jessie Buckley and Christian Bale, The Bride! draws inspiration from the 1935 film The Bride of Frankenstein and is Gyllenhaal’s second directorial outing after the award-winning indie drama The Lost Daughter, starring Olivia Colman and Buckley. All three women were nominated for a slew of awards by various orgs, including Oscars noms for best adapted screenplay (Gyllenhaal), best actress (Colman) and best supporting actress (Buckley). This year, Buckley is nominated for an Oscar for best actress for her performance in Hamnet.

In North America, Sony Pictures Animaton’s family pic GOAT finished in fourth place with $6.6 million for a domestic total of $83.8 million in and $141.3 million globally.

In North America, Wuthering Heights rounded out the top five with $3.8 million, while earning another $8.7 million from 79 markets at the International box office for worldwide total of $213.8 7 million.

F1: The Movie, KPop Demon Hunters and Becoming Led Zeppelin were among the motion picture winners at Saturday night’s Cinema Audio Society Awards.

Elsewhere in the television categories, The Studio, Adolescence and The Pitt were the big winners.

The awards ceremony was hosted by Chris Hardwick Saturday night at the Beverly Hilton in Beverly Hills, California. There, Skip Lievsay CAS was honored with the CAS Career Achievement Award, while Guillermo del Toro received the Filmmaker Award. And this year, the Cinema Audio Society gave out the inaugural Jeffrey S. Wexler Award for Advancement in Sound Technology to Evan Brooks, Peter Gotcher, Glenn Sanders and Howard Stark.

Mingxi Xu also received the CAS Student Recognition Award, taking home a $5,000 prize.

“Tonight we celebrate the very best of our profession,” said CAS president Peter Kurland. “Sound mixing demands both technical skill and artistic intent, and these honorees exemplify the precision, creativity, and discipline that define our craft. We are proud to recognize professionals whose dedication and excellence continue to elevate the standard for our industry.”

F1 is similarly nominated for the 2026 Academy Award for sound alongside Frankenstein, One Battle After Another, Sinners and Sirat. Last year, the CAS awarded A Complete Unknown with its live action motion picture award and in 2024, Oppenheimer won the top honor at the CAS Awards, though in the three years before that, the winning CAS honored film went on to win the Academy Award.

See the full 2026 CAS Award winners list below.

Motion Pictures – Live Action

F1: The Movie  (WINNER)
Production Sound Mixer – Gareth John
Re-Recording Mixer – Gary A. Rizzo CAS
Re-Recording Mixer – Juan Peralta
Scoring Mixer – Alan Meyerson CAS
ADR Mixer – Alan Freedman CAS
Foley Mixer – Dennis Leonard 

Frankenstein 
Production Sound Mixer – Greg Chapman
Re-Recording Mixer – Brad Zoern CAS
Re-Recording Mixer – Christian Cooke CAS
Scoring Mixer – Peter Cobbin CAS
Scoring Mixer – Kirsty Whaley CAS
ADR Mixer – Sebastian Vaskio
Foley Mixer – Kevin Schultz CAS

Mission: Impossible – The Final Reckoning
Production Sound Mixer – Lloyd Dudley
Re-Recording Mixer – Chris Burdon
Re-Recording Mixer – Mark Taylor
Scoring Mixer – Chris Fogel CAS
ADR Mixer – Nick Roberts
Foley Mixer – Adam Mendez 

One Battle After Another 
Production Sound Mixer – Jose Antonio Garcia
Re-Recording Mixer – Christopher Scarabosio CAS
Re-Recording Mixer – Tony Villaflor
Scoring Mixer – Graeme Stewart
Foley Mixer – Kevin Schultz CAS
Foley Mixer Chelsea Body

Sinners
Production Sound Mixer – Chris Welcker CAS
Re-Recording Mixer – Brandon Proctor
Re-Recording Mixer – Steve Boeddeker
Scoring Mixer – Chris Fogel CAS
ADR Mixer – Jason Oliver   
ADR Mixer – Tami Treadwell   
Foley Mixer – Darrin Mann 

Motion Pictures — Animated

Elio 
Production Sound Mixer – Vince Caro CAS
Production Sound Mixer – Paul McGrath CAS
Re-Recording Mixer – Lora Hirschberg
Re-Recording Mixer – Bonnie Wild
Scoring Mixer – Scott Michael Smith
Foley Mixer – Richard Duarte

KPop Demon Hunters (WINNER)
Original Dialogue Mixer – Howard London CAS
Re-Recording Mixer – Michael Babcock CAS
Re-Recording Mixer – Tony Lamberti
Scoring Mixer – Erich Talaba
Foley Mixer – Giorgi Lekishvili 

The Bad Guys 2
Original Dialogue Mixer – Ken Gombos
Re-Recording Mixer – Julian Slater CAS
Re-Recording Mixer – Greg P. Russell CAS
Scoring Mixer – Sam Okell
Foley Mixer  – Paul Pirola 

The SpongeBob Movie: Search for SquarePants
Re-Recording Mixer  – Will Files CAS
Re-Recording Mixer  – Mark Paterson
Re-Recording Mixer  – Steve Neal CAS
Scoring Mixer  – Shawn Murphy
Foley Mixer  – Jordan McClain 

Zootopia 2
Original Dialogue & Re-Recording Mixer – Gabriel Guy CAS
Re-Recording Mixer – David Fluhr CAS
Scoring Mixer  – Warren Brown
ADR Mixer  – Doc Kane CAS
Foley Mixer  – Richard Duarte 

Motion Pictures — Documentary

​​Becoming Led Zeppelin (WINNER)
Production Sound Mixer – Nigel Albermaniche
Re-Recording Mixer – Nick Bergh

I Was Born This Way
Production Sound Mixer – Travis Franklin
Re-Recording Mixer – Leslie Gaston-Bird CAS
Re-Recording Mixer – Gabriel Guy CAS

It’s Never Over, Jeff Buckley 
Production Sound Mixer – David Hocs
Re-Recording Mixer – Lewis Goldstein CAS

Lilith Fair: Building a Mystery
Re-Recording Mixer – Steve Foster
Re-Recording Mixer – Lana Marie Hattar

Strange Journey: The Story of Rocky Horror
Production Sound Mixer – Paul Stula
Re-Recording Mixer – Tony Solis CAS

Non-Theatrical Motion Pictures or Limited Series

Adolescence S01 E01 (WINNER)
Production Sound Mixer – Kiff McManus
Production Sound Mixer – Rob Entwistle
Re-Recording Mixer – Jules Woods CAS
Re-Recording Mixer – James Drake
ADR Mixer – Mike Tehrani
ADR Mixer – Simon Diggins
Foley Mixer – Adam Mendez

Black Mirror S07 E06 USS Callister: Into Infinity
Production Sound Mixer – Stuart Piggott
Re-Recording Mixer – James Ridgway
Scoring Mixer – Sam Okell
ADR Mixer – Mike Tehrani
Foley Mixer – Adam Mendez

Chief of War
Production Sound Mixer – Fred Enholmer
Production Sound Mixer – Thomas Visser
Re-Recording Mixer – Carlos Sanches CAS
Re-Recording Mixer – Josh Eckberg
ADR Mixer – Chris Navarro CAS
ADR Mixer – Vedat Kiyici
Foley Mixer – Andrey Starikovskiy

Love, Death + Robots
Production Sound Mixer – Rob Cairns
Re-Recording Mixer – Joe DeAngelis CAS
Re-Recording Mixer – Chris Carpenter

Star Trek: Section 31 
Production Sound Mixer – Bill McMillan CAS
Re-Recording Mixer – Todd M. Grace CAS
Re-Recording Mixer – Edward C. Carr III CAS
Scoring Mixer – Michael Perfitt
ADR Mixer – Tami Treadwell
Foley Mixer – Darrin Mann 

Television Series — One Hour

Andor S02 E08 Who Are You?
Production Sound Mixer – Danny Hambrook
Re-Recording Mixer –  David Acord
Scoring Mixer – Geoff Foster
ADR Mixer – Nick Roberts
Foley Mixer – Richard Duarte

Pluribus S01 E01 We Is Us 
Production Sound Mixer – Phillip W. Palmer CAS
Re-Recording Mixer – Larry Benjamin CAS
Re-Recording Mixer – Tim Hoogenakker CAS
ADR Mixer – Judah Getz CAS
ADR Mixer – Jason Wolf
ADR Mixer – Jamieson Rabbe
Foley Mixer – Ron Mellegers

Severance S02 E10 Cold Harbor
Production Sound Mixer – David Schwartz CAS
Re-Recording Mixer – Bob Chefalas CAS
Re-Recording Mixer – Jacob Ribicoff
Scoring Mixer – Chris Fogel CAS
ADR Mixer – Kris Chevannes
Foley Mixer – George Lara CAS

Stranger Things S05 E08 Chapter Eight: The Rightside Up
Production Sound Mixer – Michael P. Clark CAS
Re-Recording Mixer – Mark Paterson
Re-Recording Mixer – Will Files CAS
Re-Recording Mixer – Steve Neal CAS
Re-Recording Mixer – Craig Henighan CAS
Scoring Mixer – Carlos Remirez
Foley Mixer – Judah Getz CAS

The Pitt S01 E13 7:00 PM (WINNER)
Production Sound Mixer – Von Varga
Re-Recording Mixer – Todd M. Grace CAS
Re-Recording Mixer – Edward C. Carr III CAS
ADR Mixer – Tami Treadwell
Foley Mixer – Alex Jongbloed CAS

Television Series — Half Hour

Hacks S04 E04 I Love LA
Production Sound Mixer – Jim Lakin CAS
Re-Recording Mixer – John W. Cook II CAS
Re-Recording Mixer – James Parnell CAS
Scoring Mixer – Carlos Rafael Rivera
ADR Mixer – Fernanda Domene
Foley Mixer – Jacob McNaughton

Murderbot S01 E01 Free Commerce 
Production Sound Mixer – Michael Lacroix
Re-Recording Mixer – Alexandra Fehrman CAS
Re-Recording Mixer – Emilie Corpuz

Only Murders in the Building S05 E09 LESTR
Production Sound Mixer – Joseph White Jr. CAS
Re-Recording Mixer – Mathew Waters CAS CAS
Re-Recording Mixer – Kyle O’Neal CAS CAS
Scoring Mixer –  Alan DeMoss    Foley Mixer – Mitch Kluge 

The Bear S04 E03 Scallop
Production Sound Mixer – Scott D. Smith CAS
Re-Recording Mixer – Steve “Major” Giammaria CAS
ADR Mixer – Patrick Christensen CAS
Foley Mixer – Ryan Collison CAS
Foley Mixer – Connor Nagy CAS

The Studio S01 E08 Golden Globes (WINNER)
Production Sound Mixer – Buck Robinson CAS
Re-Recording Mixer – Lindsey Alvarez CAS
Re-Recording Mixer – Fred Howard CAS
Scoring Mixer – Adrià Serrano
ADR Mixer – Brian Magrum CAS
Foley Mixer – Ron Mellegers 

Television Non-Fiction, Variety or Music — Series or Specials

100 Foot Wave S03 E04 The Eddie
Re-Recording Mixer – Keith Hodne CAS

Billy Joel: And So It Goes S1 E01 Part One (WINNER)
Production Sound Mixer – Mark Mandler CAS
Production Sound Mixer – David Mitlyng
Production Sound Mixer – Michael Stewart
Re-Recording Mixer – Bob Chefalas CAS
Score & Music Mixer – Bradshaw Leigh
Music Mixer – Brian Ruggles
Music Mixer – Jay Vicari

Formula 1: Drive to Survive S07 E09 Under New Management
Re-Recording Mixer – Steve Speed CAS
Re-Recording Mixer – Lydia Brown
Re-Recording Mixer – Nick Fry CAS

John Candy: I Like Me
Production Sound Mixer – Brad Dawe
Production Sound Mixer – Michael Kool
Re-Recording Mixer – Gary A. Rizzo CAS
Scoring Mixer – Tyler Strickland

Pee-Wee as Himself S01 E01
Production Sound Mixer – John Mathie
Re-Recording Mixer – Daniel Timmonds CAS