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2027 Oscar Predictions: SUPPORTING ACTRESS (June) Like Sandra Hüller, we have another potential contender for a double nomination in Supporting Actress, as the new Oscar rules finally allow for an actor to receive more than one nod in a single category. Penélope Cruz, already a previous winner in…

Drake Doremus broke through in 2011 with his fourth feature, Like Crazy, a Sundance Grand Jury Prize winner that arrived at a moment when indie romance still felt capable of shaping the broader cultural conversation. In the 15 years since, he has directed another half-dozen features, though none has cast quite the same shadow. His latest, Next Life, premiering in Tribeca Festival’s Spotlight Narrative section, finds him returning once more to matters of the heart. Pleasant and eminently watchable, it nevertheless carries the unmistakable scent of something secondhand. Anyone who survived the 1990s MiraBrit boom — when Harvey Weinstein stuffed American arthouses with a steady stream of mostly middling British imports — will recognize the DNA almost immediately.

Like Sandra Hüller, we have another potential contender for a double nomination in Supporting Actress, as the new Oscar rules finally allow for an actor to receive more than one nod in a single category. Penélope Cruz, already a previous winner in this category (for 2008's Vicky Cristina Barcelona), has two very strong chances in upcoming films: The Invite (A24) and La bola negra (Netflix). She also might have The Bunker, where she co-stars with husband and fellow supporting Oscar winner Javier Bardem, but without a distributor or knowledge of her likely category placement, we'll stick with the two known quantities, both of which I've seen.

With Toy Story 5 releasing this week, Walt Disney and Pixar have dropped the first teaser for their next big animated feature, Gatto, an original animated adventure that takes viewers into the feline-run underbelly of Venice, Italy. The new film releases exclusively in theaters March 5, 2027. Mark Ruffalo (Poor Things, The Avengers, Spotlight, Foxcatcher) has joined the voice cast as the scrappy black cat Nero, and Laurence Fishburne (The Matrix trilogy, Boyz n the Hood, What's Love Got to Do with It…

The cruelty hides inside a single verb. Olivia Rodrigo could’ve called her third album you ARE pretty sad for a girl so in love, but the word choice hands us a tidy confession. She picked seem instead, the word a friend deploys once she has caught you performing contentment and wants you to know the performance sprang a leak. The whole record worships that leak: the inch of daylight between how love photographs for the group chat and how it sits in the stomach at 3 a.m. For two albums, Rodrigo translated heartbreak into nausea and insomnia.

There are some episodes of television that stick with you and stand out amongst the rest, even in a great show like Hacks. The series has, across five seasons, given audiences many hilarious episodes that shine a light on the generational relationship between Deborah Vance and Ava Daniels. None of them compare to episode seven of season five, “Montecito,” a contained episode that follows the two women on a journey to find an elusive outfit worn by Carol Burnett for her final show, designed by Bob Mackie. Deborah finds out that Kelly Killpatrick (Cherry Jones) has it – not Deborah’s biggest fan, admittedly, because of how Deborah reacted when Kelly came out – and drags Ava to spend time at Kelly’s house with her partner, Monica (Leslie Bibb), pretending to be in a relationship to draw favor with Kelly.

When it comes to the permeating topic of art and politics and how both are inseparable, that conflation is especially apparent when it comes to queer art. Whether it’s a story capturing a brutal period in time to ensure history doesn’t repeat itself or a harmonious story meant to humanize the queer community, every story about the LGBTQ+ experience is some form of an activist statement. In the spirit of Pride Month, I’ve chosen Breaking Fast and Flee, two pictures centering on the queer Arab experience that are distinct yet collectively highlight how having more diversity within LGBTQ+ media only strengthens such storytelling.

The HBO Sunday night comedy slot is one of great value, usually punctuated by a freshman series or a returning comedy that already has its fans. One of the new additions this spring to the HBO Sunday night lineup was Rooster, a series about a father-daughter duo working together on a college campus while Katie (Charly Clive) is trying to figure out her personal life. She’s recently been cheated on, and the entire campus knows – she can literally stop students on the quad to confirm this. She’s a woman whose frustration with her current state of affairs is aided by the presence of her father, Greg (Steve Carrell), a man still trying to figure himself out but always there for his daughter.

In a 1978 interview with Mitch Tuchman in “Film Comment,” a young Steven Spielberg first addressed a story that managed to sound like “the great popcorn yarn.” At just 32 years old, the filmmaker already had two genre masterworks in Jaws and Close Encounters of the Third Kind under his belt, and his reputation preceded him. When asked about the “legend of the boy who would sneak onto the studio lot,” Spielberg admitted that this was, in fact, not apocryphal at all, and that in 1967 he found his way past security onto the Universal lot and for three months he got up at dawn, put on a suit, carried a briefcase, and pretended to know where he was going.

The Television Critics Association (TCA) announced today the nominees for the organization’s 42nd Annual TCA Awards, honoring standout series and stars from the 2025-2026 television season. While the TCA Awards in recent years have seen one program clearly rise above the pack to lead in nominations, 2026 has three series firmly placed at the top with five nominations each to their credit. These include Crave/HBO Max’s ice hockey romance Heated Rivalry, HBO Max’s corporate drama Industry, and Apple TV’s genre-bending Widow’s Bay, which will face off against each other in the coveted Program of the Year category.

The opening minutes of 1938’s The Adventures of Robin Hood, starring Errol Flynn as the folk legend, show him striding into the banquet hall of Nottingham Castle, filmed in vibrant Technicolor, the hero clad in his gaudy green tunic and tights, mocking corrupt Norman lords and establishing Robin’s role as a fighter for the downtrodden. The first five minutes of The Death of Robin Hood feature Hugh Jackman as an aged version of the man, looking like a particularly grievous Geralt of Rivia, haunted and scarred, huddled alone among the stark cliffs of medieval England.