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Harry Styles Jokes About Queer-Baiting During ‘SNL’ Monologue

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Harry Styles on the red carpet

Harry Styles returned to host “Saturday Night Live” on March 14, 2026, and used his opening monologue to poke fun at the queer-baiting allegations that have followed him for years.

The former “One Direction” star has long been accused of pandering to LGBTQ+ audiences without confirming whether he personally identifies as part of the community.

Those claims mostly stem from Styles’ gender-fluid fashion choices, as well as his tendency to avoid defining his sexuality publicly.

The British star pulled “double duty” during the episode, appearing as both host and musical guest. The cameo marked his second time hosting the iconic sketch show and his eighth overall “SNL” appearance.

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Inside The Long-Running Debate Over Harry Styles’ Image

Harry Styles on the red carpet
News & Pictures/ MEGA

To many fans and commentators, Styles is simply a creative soul who embraces gender-fluid fashion and artistic freedom.

Others strongly dispute that interpretation, however, pointing instead to what they view as a pattern of “queer-baiting” from the singer, mostly through his aesthetics and performances.

Supporters of this view often point to some of his screen performances where he portrays gay characters.

In 2019, for instance, Styles appeared in a viral “SNL” sketch as a social media manager for Sara Lee. The character accidentally posted sexualized messages from the company account about gay threesomes and celebrities.

He also starred in the 2022 film “My Policeman” as Tom Burgess, a closeted British police officer in the 1950s who secretly maintains a romantic relationship with a man.

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Styles Pokes Fun At The Claims In Cheeky ‘SNL’ Monologue

During his monologue on his return to host “Saturday Night Live,” Styles chose to turn the debate into a punchline.

The Grammy winner joked about the scrutiny surrounding his fashion choices and public persona, dating back to the period after he wrapped up his last tour in 2023.

“Back then, people seemed to pay a lot of attention to the clothes I was wearing, and some people accused me of something called ‘queer-baiting,’” Styles told the audience. “But did it ever occur to you that… maybe you don’t know everything about me, dad?!”

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The monologue then escalated into a physical bit when “SNL” writer and performer Ben Marshall walked onstage.

After a brief exchange, Styles kissed him in front of the audience before delivering the punchline: “Now that’s queer-baiting!”

Social Media Reacts To Harry Styles’ Queer-Baiting Joke On ‘SNL’

Steven Bergman/AFF-USA.COM / MEGA

Styles’ monologue didn’t settle the debate so much as revive it, with viewers online offering very different takes on what the punchline, and the kiss, actually meant.

Some fans praised the British singer for acknowledging the accusations head-on after years of avoiding the subject.

“Harry has never addressed a single thing like that in his whole life. Addressing the queerbaiting allegations really was unexpected but, hell yeah finally people can shut up,” one user wrote in the comments section of the monologue on YouTube.

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Others, however, argued that the joke itself did little to change their view of Styles’ public image.

“He just queerbaited again, nothing more,” one critic claimed.

Harry Styles Has Previously Brushed Off Questions About His Sexuality

Harry Styles on the red carpet
ZUMAPRESS.com / MEGA

In August 2022, Styles sat down with Rolling Stone for a wide-ranging interview about his record-breaking tours, his transition into acting, and aspects of his personal life.

During the conversation, the modern-day pop icon spoke unprompted about how little weight he places on questions surrounding his sexuality.

Styles emphasized that much of the public conversation about his relationships is built on assumptions rather than confirmed details.

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“Sometimes people say, ‘You’ve only publicly been with women,’ and I don’t think I’ve publicly been with anyone,” he explained. “If someone takes a picture of you with someone, it doesn’t mean you’re choosing to have a public relationship or something.”

The Singer Says Berlin Gave Him Rare Feeling Of ‘Freedom’

Harry Styles on the red carpet
ZUMAPRESS.com / MEGA

Styles also recently revealed how he began visiting Berlin in search of a place where he could feel normal.

In an interview with PEOPLE, the singer explained that the city’s nightlife culture, particularly its strict no-phones club policies, allowed him to relax in public in a way he usually can’t.

“I remember standing in the middle of the dance floor feeling ‘Oh, I’m no longer scanning the room to see if anyone’s filming or anything,’” Styles said. “I just felt like, ‘Oh, I’m just on my own right now and I feel so free.’”

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Oscars' first new category winner in over 25 years playfully jabs Paul Thomas Anderson: 'I have one before you'

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The first award for Best Casting comes amid the Academy’s initiatives to diversify its voting ranks and competitive brackets.

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Sean Penn is a no-show at Oscars as he wins third Academy Award, Kieran Culkin makes playful jab

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The “One Battle After Another” star previously won Oscars for “Mystic River” and “Milk.”

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2026 Oscars Nods to Ballet, Opera After Timothee Chalamet Diss

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After Timothée Chalamet took aim at the ballet and opera communities, that was pretty much all the 2026 Oscar attendees could speak about.

“Security is extremely tight tonight,” host Conan O’Brien opened his Sunday, March 15, monologue. “I’m told there’s concerns about a tax from both the opera and ballet communities.”

Chalamet, nominated for leading actor for his role in Marty Supreme, recently proclaimed that he wasn’t interested in either art form.

“Some people want to be entertained quickly. I’m really right in the middle because I admire people [saying], ‘Hey, we gotta keep movie theaters alive. We gotta keep this genre alive,’” Chalamet told Variety in February. “I don’t want to be working in ballet or opera where it’s like, ‘Hey, keep this thing alive, even though no one cares about this anymore.”

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Chalamet, whose grandmother and mother are retired ballerinas, quickly walked back his comments and gave “all respect to the ballet and opera people out there.”

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“Damn, I just took shots for no reason,” the actor quipped.

Chalamet didn’t further address the controversy in the lead-up to the Oscars or at the ceremony itself.

Keep scrolling for a guide to all the ballet and opera mentions at the 2026 Academy Awards:

Conan O’Brien’s Monologue

Oscars host Conan O’Brien couldn’t resist adding in a joke about Timothée Chalamet’s comments in his monologue.

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“Security is extremely tight tonight. I just got to mention that,” O’Brien said. “I’m told there’s concerns about a tax from both the opera and ballet communities.”

O’Brien paused as the camera panned over to Chalamet, who coyly laughed off the reference.

“They’re just mad you left out jazz,” O’Brien added.

A Ballet Pioneer

Misty-Copeland-Oscars-inline-GettyImages-2266299086
Patrick T. Fallon / AFP

During the Sinners musical tribute, the cast was accompanied by Misty Copeland for its rendition of “I Lied To You.” (Copeland was the first Black principal at the American Ballet Theatre before her retirement in 2025.)

“That’s definitely how it seems, but it was not at all,” Copeland told Vogue ahead of Sunday’s performance, denying her performance was a rebuttal to Timothée Chalamet. “I had agreed to do this before any of this stuff was happening and had blown up the way that it has.”

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Ballet and Opera Can Change the World

The Best Live Action Short Film was awarded to The Singers and Two People Exchanging Saliva. During the latter’s acceptance speech, Alexandre Singh touched on the two art forms.

“We believe that art can change people’s souls,” Singh said in his speech. “Maybe it takes 10 years time but we can change society through art, through creativity [and] through theater and ballet … and also cinema.”

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Kevin O’Leary Is Still All-In on Timothee Chalamet

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Timothee Chalamet.
Julian Hamilton/Getty Images

On the red carpet, Shark Tank star Kevin O’Leary speculated that Timothée Chalamet’s comment wouldn’t have an impact on his chances at winning an Oscar.

“I just put 1,000 bucks on [betting app] Kalshi walking in here that he’s gonna win,” O’Leary told Variety. “Because I know the voting stopped long before that controversy happened. He’s a really great guy, his mother’s really nice. The kid is a great kid. He took a bum rap on that. By the way, he gave a lot of promo to opera houses and ballet.”

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Conan O'Brien makes jabs at Donald Trump, American pedophiles at 2026 Oscars

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The two-time host isn’t holding back tonight.

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‘Hamnet’s Jessie Buckley Wins Best Actress in a Leading Role at the 2026 Academy Awards

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Jessie Buckley clasping her hands and leaning on the stage with the crowd in Hamnet

Jessie Buckley has officially won Best Actress at the 2026 Academy Awards for her work in Hamnet, turning one of the most acclaimed performances of the season into an Oscar win and giving Chloé Zhao’s literary drama one of the biggest victories of the night. The win caps off a major awards run for Buckley, who had already emerged as a frontrunner throughout the season. Reports had framed her as the outstanding favorite heading into Oscar night, with Hamnet also positioned as a major contender in several top categories, but it’s still satisfying to see the favorite deliver.

That makes tonight feel less like a surprise than a coronation — but it is still a huge deal. Buckley’s performance as Agnes has been the emotional centerpiece of Hamnet’s entire awards story, with critics and awards voters rallying around her work in a film that reimagines the grief and private life surrounding Shakespeare’s family. The film was directed by Zhao, who also co-wrote the screenplay with Maggie O’Farrell, adapting O’Farrell’s bestselling 2020 novel. The cast is led by Buckley as Agnes and Paul Mescal as William Shakespeare, with Emily Watson, Joe Alwyn, Jacobi Jupe, and Noah Jupe in supporting roles.

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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

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🐦Birdman

🪙No Country for Old Men

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01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





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02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





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03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





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04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





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05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





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06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





Advertisement

07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





Advertisement

08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





Advertisement

09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





Advertisement

10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





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The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

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Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

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Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

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Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

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Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

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No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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Strap on Your Hockey Masks; It’s Friday the 13th — The Collider Movie Quiz!

Because today is Friday the 13th, let’s march our way through the iconic slasher franchise. Ch-ch-ch-ch. Ha-ha-ha-ha.

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How Good Is ‘Hamnet’?

Collider’s review by Ross Bonaime stated that Buckley’s portrayal is remarkable not only in the film’s most emotional moments but in the quiet details. A hesitant touch. A hand reaching for someone who is no longer there. A confused glance at a world that suddenly feels unrecognizable. Buckley makes Agnes’ grief feel deeply physical, as if the loss has fundamentally altered the way she moves through life.

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Both Buckley and Mescal are incredible in Hamnet, showing an unflinching emotional rawness. The complete and utter destruction of one’s soul is exactly what Buckley is portraying, and it’s nothing short of magnificent what she’s able to pull off here. Not only is she heartbreaking in the major moments, but it’s in her smaller touches that her role of Agnes has a remarkable amount of power. Even just reaching out a hand at the right moment or the utter confusion of who she is now that her son is gone make for some of the most powerful scenes in Hamnet. It’s a gorgeous performance that will burrow itself into your heart.”

Stay tuned to Collider for more coverage of the Academy Awards.


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Release Date
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November 26, 2025

Runtime

126 minutes

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Director

Chloé Zhao

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Why Gene Hackman wasn't featured in the 'In Memoriam' segment at the 2026 Oscars

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No, the “French Connection” star wasn’t snubbed.

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‘One Battle After Another’ Is the 2026 Best Picture Winner at the Academy Awards

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friday-the-13th-collider-quiz

For months, One Battle After Another looked like the movie to beat. It had the reviews, the momentum, the pedigree, and the kind of across-the-board support that usually signals a Best Picture winner before envelopes are even opened, and now it is official.

One Battle After Another has won Best Picture at the 2026 Academy Awards, giving Paul Thomas Anderson the night’s biggest prize and closing out one of the strongest awards runs of the season. Written and directed by Anderson, the film stars Leonardo DiCaprio as a former political radical and single father, with a cast that also includes Regina Hall, Sean Penn, Teyana Taylor, Benicio del Toro, and Chase Infiniti.

The film entered the ceremony with 13 Oscar nominations, making it the second-most-nominated movie of the year, behind only Sinners. It was widely seen as one of the top contenders all season long, with major outlets and prediction-market coverage all pointing to it as a major frontrunner heading into Oscar night. By the time the Oscars arrived, the movie had already solidified itself as a consensus prestige heavyweight, with outlets repeatedly describing the Best Picture race as essentially a showdown between Anderson’s film and Sinners.

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Advertisement
Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

Advertisement

🐦Birdman

🪙No Country for Old Men

Advertisement

01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





Advertisement

02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





Advertisement

03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





Advertisement

04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





Advertisement

05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





Advertisement

06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





Advertisement

07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





Advertisement

08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





Advertisement

09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





Advertisement

10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





Advertisement

The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

Advertisement

Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

Advertisement

Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

Advertisement

Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

Advertisement

Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

Advertisement

No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

Advertisement

friday-the-13th-collider-quiz


Strap on Your Hockey Masks; It’s Friday the 13th — The Collider Movie Quiz!

Because today is Friday the 13th, let’s march our way through the iconic slasher franchise. Ch-ch-ch-ch. Ha-ha-ha-ha.

Advertisement

How Good Is ‘One Battle After Another’?

Collider’s review stated that One Battle After Another finds Paul Thomas Anderson working on his largest canvas yet — and proving that even at blockbuster scale, his filmmaking instincts remain as sharp as ever. Known for ambitious, character-driven films like Boogie Nights, Magnolia, There Will Be Blood, and Licorice Pizza, Anderson has spent decades refining a style that blends humor, emotional depth, and sweeping storytelling. With this sprawling new project, loosely inspired by Thomas Pynchon’s novel Vineland, he delivers something unexpected: a politically charged action film that still feels unmistakably like a Paul Thomas Anderson movie, as Ross Bonaime opined.

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“Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times. One Battle After Another is the type of film that only comes along a few times a generation, a masterfully crafted work that speaks to our present as a defining work of what it was like to live in our present era. Anderson does that with humor, tension, fear, and care, in a film that’s both one of the director’s and 2025’s best.”

One Battle After Another is streaming now on HBO Max. Stay tuned for more updates.


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Release Date
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September 26, 2025

Runtime

162 minutes

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Director

Paul Thomas Anderson

Writers
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Paul Thomas Anderson, Thomas Pynchon

Producers

Adam Somner, Paul Thomas Anderson, Sara Murphy

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Oscars host Conan O'Brien calls out show for cutting off winner's speech, retracting microphone

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The telecast cut off the “Two People Exchanging Saliva” honorees midway through their acceptance of Best Live-Action Short — which resulted in a tie.

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“Dark Winds ”recap: Leaphorn and Manuelito team up with some unexpected allies

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Meanwhile, Chee goes further undercover.

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“Bridesmaids” cast reunites at 2026 Oscars for film's 15th anniversary

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The Paul Feig-directed comedy picked up two nominations at the 2012 award ceremony, losing both.

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