
We could see a new box office low for a best picture winner.
“Anora” and several other contenders would qualify. “The Hurt Locker,” which won Hollywood’s top prize in 2010, currently holds that distinction.
By Brooks Barnes
I write about Hollywood companies, with a focus on Disney and its many parts, from Marvel movies to ESPN to theme parks. I also cover movie theaters, the Oscars and entertainment-industry culture, including the occasional celebrity escapade.
My stories often focus on tension between Old Hollywood and New. Technology has severely disrupted the once-mighty film and television businesses. Can they adapt? It’s an open question, one that will impact what the world watches and how.
Hollywood being Hollywood, there is also misconduct to investigate — exposing and explaining racist, sexist and generally toxic behavior.
I have covered show business for 20 years. Topics have included movies and the companies and personalities behind them; the cable and broadcast networks; Broadway; the Netflix-led streaming revolution; Disney theme parks worldwide, from the company’s arrival on the Chinese mainland to the fight with Gov. Ron DeSantis of Florida over Disney World; #OscarsSoWhite; the Sony Pictures cyberattack; Hollywood labor battles; and the evolving culture wars.
I joined The New York Times in 2007. I previously worked at The Wall Street Journal, starting in 1999 after stints at The Philadelphia Inquirer and The Milwaukee Journal Sentinel.
I was born in rural Montana. I have undergraduate degrees in journalism and English from Marquette University in Wisconsin and a graduate degree in cultural reporting and criticism from New York University.
I uphold the standards of integrity outlined in our Ethical Journalism Handbook, which means, among other things, that I protect confidential sources and go to great lengths to be fair, especially on tough stories. I strive to give everyone a chance to comment.
I do not accept gifts or money from people who might figure into my reporting, including meals, hotel rooms, airfare or theme park tickets. I do not moderate panel discussions for studios during Oscar or Emmy season. I do not participate in politics or make political donations, nor do I attend fund-raisers unless I am reporting on them.
Email: [email protected]
X: @brooksbarnesNYT (DMs open)
WhatsApp: Get my number via NYT email, NYT tips or DM
Signal: Get my number via NYT email, NYT tips or DM
Anonymous tips: nytimes.com/tips
“Anora” and several other contenders would qualify. “The Hurt Locker,” which won Hollywood’s top prize in 2010, currently holds that distinction.
By Brooks Barnes
The movie, which cost only $6 million to make, won best picture and four other Oscars.
By Brooks Barnes
Worries about the award show’s TV viewership, a barometer of the industry’s influence, are rumbling through the movie capital.
By Brooks Barnes
Universal is going after Disney, the industry leader, with new parks in Florida and Texas: “We want people to think of us first.”
By Brooks Barnes
The family that has for decades held complete control over everything involving the globe-trotting superspy is relinquishing it to Amazon.
By Brooks Barnes
“Captain America: Brave New World” was expected to take in $100 million from Thursday through Monday in North America.
By Brooks Barnes
With “Paddington in Peru,” the British actor voices the beloved bear for the third time. His calming charm remains the franchise’s calling card.
By Brooks Barnes
The Oscar-winning filmmaker Alex Gibney has sold a majority stake in his Jigsaw Productions to the philanthropist Wendy Schmidt.
By Brooks Barnes
Per-share quarterly profit rose 44 percent from a year earlier, the company said, signaling that it had moved past a period of turmoil.
By Brooks Barnes
“The Brutalist” and “Wicked” secured 10 nominations apiece in a year with a wide-open best picture race. Acting nominees include Demi Moore, Cynthia Erivo, Adrien Brody and Timothée Chalamet.
By Brooks Barnes and Nicole Sperling