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    How to Watch the Oscars 2025: Date, Time and Streaming

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    Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      10 ‘Saturday Night Live’ Catchphrases That Readers Love

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      Hundreds of you told us about your favorite “Saturday Night Live” catchphrases. Here are the 10 that came up the most.To mark the 50th season of “Saturday Night Live,” we took a look at 50 memorable catchphrases from the show. We also asked readers to tell us about the ones you use with your friends and loved ones, and why. Hundreds of you responded. Here are the 10 phrases that came up the most, along with stories — some of which have been edited — you shared.‘More cowbell’“As a percussionist I think we ALWAYS need more rhythm in our lives. The skit spurred me to buy my own personal cowbell.”— Sheila Krueger, Phoenix“I teach art. There is often something just not quite right about a painting … it needs something.”— Gerard Brown, Philadelphia“We owned a restaurant. It was the perfect answer to any dilemma or flagging energy.”— Mary Beams, Grand Marais, Minn.“I play in a community band. When something doesn’t sound right someone will shout out ‘more cowbell’!”— Carol McMullen, Bowdoinham, MaineWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      A Sly Stone Primer: 15 Songs (and More) From a Musical Visionary

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      The Sly & the Family Stone leader is the subject of a new documentary directed by Questlove. Here’s what to know about his brilliant career and crushing addiction.In Sly & the Family Stone’s prime, from 1968 to 1973, the band was one of music’s greatest live acts as well as a fount of remarkable singles including “Everyday People” and “Hot Fun in the Summertime.” There was a shining optimism to its sound, which mixed funk with the ecstasy of gospel, a little rock and a touch of psychedelia — as well as a vision of community and brotherhood that stood out in a period of political separatism.The visionary behind it all was Sly Stone, who wrote, produced and arranged the music, winning acclaim as the author of invigorating anthems and an inventor of new, more complex recording sounds. But by the early 1970s, he was ravaged by drug addiction, kicking off a cycle of spirals and comebacks and sporadic, desultory live appearances. Now Stone, 81, is the subject of “Sly Lives! (aka The Burden of Black Genius),” a documentary directed by Ahmir Thompson, better known as the Roots drummer Questlove, that debuts on Hulu on Thursday.Stone, who was born Sylvester Stewart and grew up in Vallejo, Calif., had gospel in his blood. His father, K.C., was a deacon in a Pentecostal church, and Sly began performing with his younger brother Freddie and younger sisters Rose and Vet in the Stewart Four, which released a single, “On the Battlefield,” in 1956 on the Church of God in Christ label.In 1967, “Dance to the Music” became the first of Sly & the Family Stone’s five Top 10 singles.Stephen Paley/Sony, via Onyx CollectiveAs he learned to play guitar, bass, keyboards, drums and harmonica, Stone’s ambition swelled. In 1964, he produced and co-wrote Bobby Freeman’s No. 5 hit “C’mon and Swim,” and soon talked himself into an on-air gig at KSOL, the Bay Area’s AM soul music powerhouse, where he read dedications in his nimble baritone and mixed in Bob Dylan and Beatles songs to the format. “I think there shouldn’t be ‘Black radio.’ Just radio,” he later told Rolling Stone. “Everybody be a part of everything.”After having a small local hit in the Viscaynes, one of the few integrated groups in doo wop, he assembled Sly & the Family Stone with a lineup of men and women, Black and white. In 1967, “Dance to the Music” became their first of five Top 10 singles. Two years later, they performed at Woodstock, providing one of the weekend’s high points. The days of playing nightclubs were over. “After Woodstock, everything glowed,” Stone wrote in his 2023 memoir.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Best Movies of 2024

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      Our film critics rank their 10 favorites this year.As you browse, keep track of how many movies you’ve seen or want to see. Find and share your personalized watch list at the bottom of the page.Manohla DargisDazzling in Plain SightEvery year, as I start the herculean (and absurd!) task of winnowing down a year’s worth of movies into a top 10, I also sift through a lot of grim media coverage about the terrible, horrible, possibly salvageable state of the entertainment industry. In the movie world, things are always looking up (maybe) unless they’re catastrophically down, a cycle of boom and bust that has gripped the industry for much of its history and always convinces someone, somewhere, that the movies are dead. It’s a familiar charge with a changing cast of murder suspects: synchronized sound, television, cable, streaming and, of course, corporate idiocy.Despite their continued decline, the big American-based studios still dominate the mainstream media coverage and what little attention an increasingly fragmented, distracted audience has remaining. To that end, nearly every week another megadollar production comes hurdling toward us, gobbles up all the media interest, rakes in fortunes or becomes just another tax write-down or write-off. Some of these movies are OK, others are bilge; a scant few are memorable. Yet as my hardworking colleagues and I eagerly share in our reviews for The New York Times, the movie world is much vaster than what these companies offer, and good, great and miraculous work often flies under the radar. Here’s a sampling of the bounty.1. ‘All We Imagine as Light’ (Payal Kapadia)This delicate, achingly wistful story about empathy is an example of the same, and centers on two female nurses and a cook, friends who work at the same hospital in Mumbai. Over the course of the movie, Kapadia shifts between these caregivers who together and separately experience ordinary pleasures, face painful difficulties and find comfort, support and companionship in one another. Every so often, Kapadia, who has also made documentaries, incorporates images of everyday people milling through the city, images that connect her characters to a sea of humanity and, by extension, to those of us watching. (In theaters)____2. ‘Ernie Gehr: Mechanical Magic’Some of the most transporting movies that I watched this year were in a retrospective of Gehr’s work in March at the Museum of Modern Art. Generally short and now shot in digital, these moving images have no scripted dialogue and nothing resembling a plot. Liberated from the stranglehold of story, Gehr’s movies instead present and re-present outwardly ordinary places, objects and moving bodies — white clouds drifting across a stretch of blue city sky, people walking in front of a windowed storefront — that Gehr turns into heady studies of energy, chance, light, surface and space. Your perception of the world change when filmmakers like Gehr show it to you through their liberated lenses and frames. These are movies that expand and, at times, gloriously blow your mind.____ More

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      in Movies

      Should I Sit Through the Movie’s Closing Credits?

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      The film has ended, but the names of the many people who worked on it are rolling across the screen. Do you stick around?Do you have a question for our culture writers and editors? Ask us here.Q: Is it morally correct to stay seated until the end of the credits in a cinema?I’ve thought about this question my entire adult life! I think a lot of other people have, too. But to answer it, we have to think about what movie credits do, and why they’re there at all.The stayers and the leaversThere are two schools of thought here, both of which, I think, are pretty reasonable.On the one hand are the “stayers.” I used to be one. When my partner and I began seeing movies together, I was often writing about them, and he was working in film production, so we had two good reasons to stick around. We felt it was a way of honoring and celebrating all the people who pitch in to make a movie. Filmmaking is inherently collaborative, more than most arts, and even the office assistants toward the end of the credits sequences (especially the office assistants) deserve acknowledgment for doing a stressful, surprisingly difficult job.And let’s be honest — we also stayed to the end because it was fun to spot our friends’ names in the credits.Over time, though, I’ve become more of a “leaver,” for a few practical reasons. I often see several movies in a day, and I’ve got to get across town for the next one. Sometimes I really need to use the bathroom. And in this era of ultra-budget productions and mega-effects-driven movies, those credits can go on for 10 or 15 minutes, especially when you add in post-credits scenes.This was not always the case. “End credits” weren’t really a common thing in American film until the late 1960s, when a much larger number of people involved in the production began getting credit for their work in the movie itself. Before then, there were usually a few title cards that announced major cast and crew credits. Adding the monkey wranglers and location scouts and drivers and production interns results in longer credits.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      How to Plan a Family Heritage Trip

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      In the second season of the TV show “The White Lotus,” three generations of a fictional American family travel to Sicily to try to reconnect with their ancestral roots. Though their journey goes hilariously wrong at times, heritage trips like theirs have become serious business.Decades ago, Americans who were interested in traveling to explore their roots had to rely on family lore, sort through dusty books and, often, follow their gut. But DNA-testing sites, online genealogical databases and social media have made searching far easier, fueling a growing interest in heritage travel.Global heritage tourism is a nearly $600-billion-a-year industry, which is expected to keep growing by about 4 percent annually through 2030, according to market analysis by Grand View Research. And TV programs like “Who Do You Think You Are?” and “Finding Your Roots,” which follow mostly celebrities as they discover their heritage, are continuing to inspire other journeys.Not everyone goes on a heritage trip for the same reason: Maybe you want to meet living relatives to swap photos and stories. Maybe you are tracking down official documents to obtain dual citizenship. Or you could simply be looking to connect with a place your family once called home.Here are some tips for planning your own heritage trip.Follow your DNAServices like Ancestry.com, FamilyTreeDNA, MyHeritage and the struggling 23andMe use your genes to decode your family’s likely places of origin. Other DNA-testing websites cater to specific ethnic groups, like African Ancestry or Somos Ancestria, for Latino origins. The cost of the DNA test kits, which usually require a saliva sample, can vary from about $40 to $300, depending on the company and how detailed you want your results to be.Do some free online sleuthingBirth, death, marriage and census records can help you narrow your search to specific places. You can dig into these sources through the U.S. Census Bureau or the National Archives and Records Administration. If you don’t know where to start, FamilySearch is an easy-to-use, free website funded by the Church of Jesus Christ of Latter-day Saints. (You don’t have to be a member of the church to use it.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Everyone Else Is Giving a Standing Ovation. Do I Have To?

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      Theatergoers and other performing-arts lovers are noticing the practice seems to have become the rule, not the exception.Do you have a question for our culture writers and editors? Ask us here.Q: Are standing ovations expected now? It seems like every show or concert I’ve seen lately has ended with one.First things first: You’re not imagining things. Standing ovations have become ubiquitous in recent years. They’re now so frequent that it often feels to me as if the audience members making a statement are those who choose to remain seated, rather than those who rise to their feet.How common is this?Standing ovations are nearly universal on Broadway, but a little more variable Off Broadway — more common for musicals than plays, more common for upbeat shows than those that end in emotional darkness, more common for those with younger audiences, who tend to be more demonstrative (and sometimes more spry).The pattern seems to be similar in the classical music world. Zachary Woolfe, our classical music critic, tells me that standing ovations are now de rigueur at opera and symphony performances in the United States, but less so in Europe.In other areas of the performing arts, ovations aren’t quite as frequent. Gia Kourlas, our dance critic, says it is rarer to see a whole crowd rise after a dance performance — although it does happen at particularly thrilling shows. Jason Zinoman, our comedy critic, says he doesn’t see ovations at comedy clubs, but that big-name comedians will get ovations when performing in theaters.Why is it happening?The act of applauding to signal approval goes way back. It’s not clear when standing ovations began, but they seemed to become more popular in the mid-20th century as a way of acknowledging remarkable performances, and they have become a more routine way of acknowledging performers at the end of a show.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More