
Katseye on ‘Saturday Night Live’
When it was announced earlier today that Greta Gerwig’s “Narnia: The Magician’s Nephew” is moving from a plum Thanksgiving theatrical release to now going wide in IMAX on February 12, 2027, the inevitable question followed: what does this mean for its Oscars potential?
Netflix originally placing its highly anticipated new take on the world of “Narnia” on the calendar right around the same time its recent comp, blockbuster Best Picture nominee “Wicked,” first launched was an early indication that the streaming service had faith in Gerwig delivering her fourth Best Picture nominee in a row. That would have meant breaking her own record as the most-nominated female filmmaker in the category.
But the initial concern of “Narnia” being pulled from contention in the 99th Oscars race is not one presumably shared by the writer/director herself.
First of all, we have yet to receive any sort of first look at the project, so we can also make the assumption that the film will need more time to come together, especially considering the visual effects involved in nailing a character like Aslan, the godlike lion figure key to the book series. Second, the new Netflix gamble on a more substantial IMAX release, with a longer theatrical window, gives it more time to breathe in February. Now, it will not compete for premium format screens with what will presumably be the biggest films of the year like “Avengers: Doomsday” and “Dune: Part Three” — both of which are set to come to theaters before the “Narnia” theatrical run would have likely ended via the film arriving on the streaming service on Christmas Day.
If Gerwig or Netflix’s true concern were for the film to win Oscars, either party would have pushed to hold the line, or delay the film even further into a spot that more naturally engenders awards attention. But Gerwig’s M.O. has treated those achievements in Oscars recognition as supplementary. For example, she told IndieWire in 2023 that the reason she took on the challenge of making a “Barbie” movie was because “there was a confluence of circumstances which made us able go for broke. Because we thought, ‘Well, this will never get made. So if it will never get made, let’s make the greatest, craziest thing that will never get made.’ There was a private wish to conjure back the world. And let’s make something that people would want to see together. But the more immediate reality was, ‘They’re not going to let us do it.’”
The same line of thinking could have fueled her first project after the success of her directorial debut “Lady Bird” being a new “Little Women” adaptation. A fair reading of Gerwig’s career seems to be that she has a keen understanding of what kind of intellectual properties are already inevitably set into motion, and a willingness to be the brave soul daring to push through the best versions of those adaptations.

In other words, with “Barbie,” it does not sound like she and partner Noah Baumbach wrote it thinking, “How do we write a ‘Barbie’ movie that will be nominated for Oscars?” Everything she has said about the project makes it sound like the real question was, “How do we make a ‘Barbie’ movie that people actually want to see?’”
The discussion around the Barbenheimer phenomenon was much more about “Barbie” and Christopher Nolan’s “Oppenheimer” driving audiences back to the theaters after the COVID-19 pandemic nearly ended theatergoing altogether. Not Oscars attention, which still followed.
This is not at all to say that there isn’t a desire for “Narnia” to win an Oscar or five. Netflix is definitely still hungry for its first Best Picture win, and Gerwig has not been the type to show any aversion to awards campaigns. But another recent development in the awards space is that a late fall release is no longer the be-all and end-all for a Best Picture win. In fact, four of the last five Best Picture winners already had their premieres before the start of fall festival season.
The concern over whether or not Ryan Coogler’s “Sinners” would be perceived as an “awards contender,” having been released in April 2025, was eradicated by the film breaking the record for most Oscar-nominated film of all time. Phil Lord and Chris Miller’s “Project Hail Mary” being scheduled for a March 2026 release was seen as a hindrance on the film’s Oscar chances, up until the Andy Weir adaptation quickly and easily became the highest-grossing Amazon MGM Studios release of all time.
So while it is true that a Best Picture contender premiering in theaters in February is unconventional, recent history supports the idea that Netflix and Gerwig’s concerns are much more about delivering a film that people will enjoy and pay money to see. Think of it as a more “if you build it, he will come” approach, with the “he” being Oscar voters whose overall onus is to nominate what they think are the best films of the year, regardless of which month they came to theaters.
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At this weekend’s Zurich Summit a group of film financiers were asked by Deadline for their thoughts on the prospects of a U.S. federal film incentive.
Last week, a bipartisan group of lawmakers unveiled the bill for a 20% incentive, which with bonuses could bring the total rebate to 30%. The move has long been called-for by the U.S. industry concerned by the exodus of production overseas.
Alex Walton, former Co-Lead & Partner at WME Independent, told the Summit the move was “hugely positive”: “It’s wild to think there hasn’t been an efficient tax credit in America. It has helped many other countries. Spain is booming because of it now; and all over Europe. It’s going to take some time to be realized and for financial institutions to be able to cash flow it. But you’ve got to believe it will happen within the next three-four years, and then that will see all the foreign tax credits compete harder to maintain their positions.”
A start date is not yet set. The proposed text from last week stated that the credit would apply to qualifying film and TV productions beginning in taxable years after December 31, 2026 (effectively targeting projects starting in 2027). But bills can take years to pass.
Andrea Scarso, Managing Partner at prolific financier IPR.VC, whose credits include Marty Supreme and Materialists, agreed that a U.S. incentive would be “positive” but also cautioned against rising production costs: “It remains to be seen whether the prices and budgets are also going up by the same amount, which is something that happens in some foreign territories when they increase the amount of tax credit or soft money. It’s always a balance. But overall, I think it’s good news.”
Sarah Schweitzman, Co-Head CAA Media Finance, noted: “What’s important is that when you look at some of the international markets, you realize that we’re making movies there because of a tax incentive situation and I think if we’re able to federalize a tax incentive program in the U.S. it’s going to create many more jobs and invigorate crews, which is something we absolutely need in the U.S.”
A recent Motion Picture Association study claimed that a federal film tax credit could increase U.S. production spending by $125BN and add more than 143,000 jobs by 2035.
You can read more about the bill here.
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Hot on the heels of his Golden Eye award ceremony on Saturday night, John Turturro entertained another crowd at a Zurich Film Festival masterclass on Sunday.
The Emmy-winning U.S. star has been recognized for his performance in Noah Segan’s The Only Living Pickpocket in New York, a project that is already garnering awards buzz. In the film, Turturro plays Harry, a seasoned pickpocket whose carefully controlled life is thrown into turmoil when a job goes wrong, setting off a tense chain of events that unfolds over the course of 36 hours.
In a career-spanning conversation with Deadline‘s Melanie Goodfellow — the actor’s shining Golden Eye trophy neatly nestled between them — Turturro discussed growing up in an immigrant household, his decades-long friendship with Spike Lee, and the transition from acting to filmmaking.
Turturro, who has steadily become one of the industry’s most formidable actors yet to put “Oscar nominee” on his resume, was asked about joining the best actor race this year with the Sundance success The Only Living Pickpocket in New York. “I never really have gone the whole hog with it,” he responded about the upcoming awards campaign. “But now I’m the lead in the film, so I’m going to support the film because I love the film.”
He explained that being pulled into awards conversations is “helpful to help you do the next thing.” Turturro continued: “Is it nice to be acknowledged? Great, but that’s not why you do it. […] Just because a film is really popular doesn’t mean it will have staying power, but it’s nice to be in the conversation. I don’t look upon myself as being a competitive person. I’m competitive with myself,” he added. “I want to get the most out of what I can do, but it’s not sports!”
However, he admitted to feeling surprised by the positive critic reaction out of Sundance. “Finally,” he thought, “I’m in something that people will see… My job is I like to try to improve, and I feel like being an actor is one of the few things you can improve in. You may not be able to run as fast as you did when you were younger, but I have a lot of life experience, and as you get older, you accumulate that, and you can distill things in a way that you couldn’t do when you were young, because you didn’t really experience all those things. And now I’ve experienced life, death, loss, being a parent, being married — what it is to really love someone versus falling in love. That’s a huge difference,” he giggled.
Turturro regaled attendees with stories about his impressive stage career. He naturally came on to two major TV performances of his in the last decade: HBO’s The Night Of and Apple’s Severance.
He coyly confirmed a return for his character, Irving Bailiff, in season three of the Emmy-winning Severance with Adam Scott. “Yeah,” he (eventually) told the room. “As long as they give me interesting things to do, then I’m interested.” He swiftly took the opportunity to gush over friend and colleague Christopher Walken, whose character, Burt Goodman, began a romance with Turturro’s Irving in season one. “‘Who’s going to be my love interest?’” Turturro asked before joining the show. “And they were like, ‘All these younger guys.’ I said, ‘Well no, I’ve worked with Chris Walken,’ and I said, ‘I want Chris, because I love Chris.’ And I don’t have to act that I love him because I love him.”
Though Walken “didn’t understand a lot of the show,” Turturro was able to guide him through their authentic, real-life friendship. “I said, ‘Don’t worry about it. You just look at me.’ We have so much fun because I directed him like three times, and we’ve acted, and we’ve worked together a lot. And he’s a wonderful theater actor, and people obviously think he plays only strange [characters] but he can do a lot of different things. He’s also very sensitive, but he has a childlike joy in his work, and when that happens, anything is possible.”
Turturro received a round of applause when discussing the HBO crime drama The Night Of, which ran for one season in 2016 and co-starred Riz Ahmed. It would later win five Emmys, and Turturro was nominated for his role as the eczema-stricken defense lawyer John Stone. “The Night Of is something I’m very proud of,” said Turturro on Sunday. “It was originally a BBC thing, which I actually never watched because I didn’t want to be influenced.”
He even confirmed that he actually wanted to do another season of it. “But they couldn’t agree on what the story would be,” revealed the actor. “But I loved doing it. It was one of those great experiences in my life.”
Turturro’s career spans four decades, having worked with acclaimed directors such as Spike Lee, the Coen brothers, Martin Scorsese, Robert Redford, Robert De Niro, Nanni Moretti and Pedro Almodóvar.
He first gained international recognition through his collaborations with Lee, appearing in Do the Right Thing and Jungle Fever. With Joel and Ethan Coen, he acted in Miller’s Crossing, Barton Fink, O Brother, Where Art Thou? and The Big Lebowksi, in which Turturro created the iconic Jesus Quintana. For his lead performance in Barton Fink, he won best actor at the 1991 Cannes Film Festival, an experience that Turturro reflected on at his Zurich masterclass. He even confessed to feeling like he lands “more normal” roles in Europe than across the Atlantic, and said he has turned down scripts “again and again” that involve his character being violent towards women.
At his Zurich Golden Eye ceremony Saturday night, Turturro collected the award and quoted Italian novelist Cesare Pavese. “[He] once said that the only great thing in life is to begin. I still consider myself a beginner in many ways,” said the star. “I’m very fortunate. I wanted to make a living doing something that interested me and to do interesting work — to share that with an audience, [and that] wouldn’t diminish their intelligence at the same time,” he laughed. “I consider this an encouragement to continue.”
Turturro joins 2026 Zurich honorees Julianne Moore and Tom Hiddleston. The 22nd edition runs Sept. 24-Oct. 4.
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Following the Knicks’ big win at Madison Square Garden, Jalen Brunson took the stage at 30 Rockefeller Center for his Saturday Night Live hosting debut.
On Saturday’s Season 52 premiere, the NBA Finals 2026 MVP showed off some comedic chops in an otherwise business-as-usual episode of the NBC sketch comedy show, which featured Katseye as its musical guest.
Introducing new cast members Grace Reiter and Saidah Belo-Osagie, Katseye returned to a parody season of The Debut: Dream Academy to crown a new girl group. The quartet also performed in a mini music video with the awkward group of ladies, also featuring Jane Wickline and Veronika Slowikowska.
The next sketch was a support group featuring Brunson as one of several men whose spouses were grinded on at Usher and Chris Brown’s The R&B Tour.
“When I spent $1,200 on that meet-and-greet, I never expected her to actually greet his meat,” said Brunson as the other group members comforted him.

Katseye on ‘Saturday Night Live’

Jeremy Culhane and Jalen Brunson in ‘Saturday Night Live’

Jalen Brunson, Jeremy Culhane and Ben Marshall on ‘Saturday Night Live’
Brunson also starred in the parody sketch High School Musical: The New Generation as an athletically gifted new student who hilariously keeps dunking on the new Troy Bolton stand-in (Jeremy Culhane) and steals his girlfriend (Slowikowska).
As Shark Tank judge Daymond John, Brunson asked if the invention Respectacles, a pair of glasses that sounds an alarm when the wearer looks at breasts, “works for ass.” The inventors’ (Culhane and Ben Marshall) presentation keeps getting interrupted as they check out Lori Greiner.
Saturday Night Live kicked off its 52nd season this weekend on NBC with host Brunson and musical guest Katseye. The season continues with guest hosts Dakota Johnson, Shane Gillis and Inde Navarrette, along with musical guests Turnstile, Rosalía and Gracie Abrams.
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