The controversy surfaced over the weekend when screenshots began circulating that appeared to show the official Bruno Mars Instagram account liking a reel that disparaged Swift’s talent and questioned how she achieved fame. The post reportedly described Swift as “talentless” and referenced “white privilege” while criticizing her success, prompting swift backlash from her fan base.

In response, Mars took to X on Sunday to deny any intention of insulting Swift and to clarify his stance. “Taylor has always been supportive and kind to me,” he wrote in one post, adding, “Only love over here.” He followed up with another message urging users to “Spread Love on these apps!” signaling that he wanted to steer the conversation away from hostility.

Reports from outlets including People, Pakistan Today, and International Business Times Australia indicate that the Instagram like was later removed. Some coverage identified the original reel as having been posted by the account @bopbase, which appeared to be deactivated or altered after the controversy intensified.

Mars has not provided a detailed explanation of how or why his account interacted with the post, leaving open the possibility of an accidental like or other technical mishap. Representatives for Mars did not immediately respond to media requests for additional comment at the time of the initial reports.

Taylor Swift has not publicly commented on the situation as of the most recent coverage. There have been no recent reports of direct conflict between the two artists, who have shared stages at awards shows and events during their parallel careers in mainstream pop.

Both Mars and Swift have long been subject to intense scrutiny from fans and online commentators, including in discussions that intersect with race, gender, and privilege within the music industry. While the disputed reel specifically invoked “white privilege” when criticizing Swift, mainstream coverage of this incident has so far focused more on the alleged personal slight and on Mars’s response than on wider systemic analysis.

The episode underscores how a single like, share, or comment from a celebrity account can quickly ignite controversy in an environment shaped by stan culture and constant social media monitoring. Swift’s fan community, known as Swifties, is particularly active in defending her against perceived insults and often mobilizes rapidly to document and respond to such incidents.

For LGBTQ+ fans and other marginalized listeners, the dispute highlights broader questions about how online spaces handle criticism that references identity and structural privilege while also avoiding personal attacks. Advocates have frequently encouraged public figures and fan communities to engage in dialogue that considers race, gender, and sexuality without resorting to demeaning language about any individual person.

Mars’s call to “Spread Love” aligns with ongoing efforts by many artists and LGBTQ+ advocates to promote safer, more respectful digital environments, including for LGBTQ+ people and other communities who often face harassment online. As attention shifts back to both performers’ music and tours, the incident serves as another example of how quickly narratives about celebrity relationships can form—and dissipate—in a social media landscape where every interaction is visible and often politicized.

The NCAA Indoor Track and Field Championships are being held at the Birmingham CrossPlex in Birmingham, Alabama, with McCall qualifying in the men’s weight throw for Kansas State.

Kansas State University reported that McCall placed eighth in the men’s weight throw at the national meet, securing First Team All-America recognition in his final collegiate competition.

In that NCAA final, McCall threw 22.70 meters , surpassing his previous personal best to record a new lifetime mark in the event.

The university’s recap noted that head coach Travis Geopfert praised McCall for delivering his best performance at the last opportunity and highlighted that this was McCall’s first NCAA postseason accolade of his five-year career.

Geopfert described McCall as a senior whose NCAA indoor appearance would be his final meet in a Kansas State uniform because he no longer has outdoor eligibility.

In an interview with LGBTQ+ sports outlet Outsports published ahead of the championships, McCall spoke on the record about competing as an out gay athlete at a Power Five program and heading into his last NCAA meet with the goal of contending for a national title.

Outsports reported that McCall publicly identifies as gay and has been out in his athletic environment, describing him as an openly gay thrower for Kansas State’s track and field team.

The feature piece framed his NCAA appearance as a “final shot” at an indoor national title in the weight throw, noting that he entered the meet after a strong conference season and consistent marks above 22 meters.

During the 2026 indoor season, McCall established himself among the top collegiate throwers in the country, with performance databases such as TFRRS and Athletic.net listing a season-best distance of 22.63 meters at both the DeLoss Dodds Invitational and the Big 12 Indoor Championships.

Kansas State’s season preview and conference coverage similarly highlighted that McCall won the men’s weight throw at the 2026 Big 12 Indoor Championships with a mark of 22.63 meters, matching his personal best at that time.

That Big 12 title came in a year when the Kansas State men’s team finished as conference runner-up overall at the indoor championships, underscoring the contribution of the throws group to the Wildcats’ team success.

According to his official Kansas State athletics biography, McCall has been a consistent national-level performer throughout his career, earning Second Team All-America honors in the hammer throw at previous NCAA Outdoor Championships and winning at least one Big 12 hammer throw title.

His college record shows multiple seasons of podium finishes at Big 12 Championships in both the hammer and weight throw, as well as several invitational wins for Kansas State.

The NIL and profile platform Opendorse lists McCall as a Kansas State graduate student in nutrition and dietetics, noting that he previously completed undergraduate degrees in kinesiology and integrated physiology at the same institution.

Outsports placed McCall’s story in the broader context of LGBTQ+ representation in college sports, indicating that he is among a growing number of openly gay athletes competing at high levels in NCAA track and field programs.

The article emphasized that McCall’s decision to be open about his sexual orientation within his team community offered visibility for other LGBTQ+ students and athletes navigating similar environments in the Big 12 and across college athletics.

While the piece focused primarily on McCall’s personal journey and competitive goals, it also reflected a broader trend in which more athletes in men’s collegiate sports, including track and field, are speaking publicly about being gay or queer.

Kansas State’s official communications about the NCAA Indoor Championships did not foreground McCall’s sexual orientation, instead centering on competitive results, All-America honors, and team scoring, which is typical of institutional athletics reporting.

From an LGBTQ+ perspective, the combination of an institutionally recognized First Team All-America performance and an openly gay identity makes McCall’s final meet notable for both competitive and representation reasons within collegiate track and field.

McCall’s career-ending performance at the NCAA indoor meet offers a visible example of a gay athlete competing at the top level of college track and field, contributing to ongoing conversations about inclusion and belonging in men’s NCAA sports.

Roach appeared alongside model and television host Heidi Klum as she was being interviewed by “Extra” correspondent Terri Seymour outside the Dolby Theatre on Oscars night. Seymour referenced comments Roach made at the 2026 Actor Awards, where he reportedly suggested that Zendaya and Holland had wed, and asked if he wanted to clarify those statements.

In response, Roach smiled and replied, “No, I said what I said,” indicating he would not soften or retract his earlier remarks. In the video shared by “Extra” and discussed in subsequent coverage, others on the carpet react by paraphrasing Roach’s implication that Zendaya is married, but Roach does not provide further context or details about any ceremony or date.

Zendaya and Tom Holland, who met while working on the “Spider-Man: Homecoming” set and whose relationship became public several years later, have been the subject of frequent engagement and marriage rumors, none of which the pair have confirmed. The two actors have generally kept their relationship private, occasionally acknowledging each other in interviews and on social media but declining to offer detailed commentary on their future plans.

During the red carpet conversation, Roach also briefly discussed Zendaya’s look for the night, noting that she was wearing a custom Louis Vuitton design by creative director Nicolas Ghesquière. The stylist did not link his wedding remark to her fashion choices or to any broader narrative about the couple beyond his short, emphatic response.

People Magazine, summarizing the “Extra” clip, reported that Roach “dodged” the direct question about whether he wanted to clarify the wedding comment, instead doubling down on his earlier statement without elaboration. Entertainment outlets including Entertainment Tonight and E! News similarly highlighted the interaction, framing it as an example of Roach leaning into the speculation while providing no verifiable confirmation.

As of the latest reports, neither Zendaya nor Holland has issued a public statement addressing Roach’s remarks or confirming a marriage. No marriage certificate, public record, or official announcement has been cited by major news organizations in connection with Roach’s comments. Given the lack of independent documentation, most coverage has treated the wedding claim as unverified commentary rather than a confirmed fact.

Roach, a prominent figure in fashion and a self-described “image architect,” has long collaborated with Zendaya on red carpet and editorial looks that many fans and critics have praised as innovative and risk‑taking. His styling work has helped shape Zendaya’s public image as a boundary‑pushing, genre‑defying performer, with outfits that often play with gender expression, silhouettes, and references to fashion history. This visibility has made Roach’s comments about her personal life especially newsworthy, even when they are not accompanied by corroborating details.

From an LGBTQ+–affirming perspective, Roach’s presence as an openly gay, gender‑nonconforming figure in mainstream fashion and awards‑show culture underscores the role of queer and gender‑expansive creatives in shaping red carpet narratives. His work with clients, including Zendaya, has contributed to wider conversations about inclusivity, style, and the ways clothing can challenge traditional expectations around gender and presentation.

At the same time, coverage of Roach’s comments illustrates ongoing tensions around celebrity privacy and speculation about relationships, including those involving LGBTQ+ and heterosexual couples alike. Media‑literacy advocates and LGBTQ+ organizations frequently emphasize the importance of respecting individuals’ autonomy to share or withhold information about their relationships, families, and identities on their own terms, rather than having details disclosed indirectly or without clear consent. While Roach’s “I said what I said” remark has generated significant online discussion, major outlets have been careful to note that any account of a Zendaya–Holland wedding remains unconfirmed without direct statements from the couple or documented evidence.

The 33-year-old television personality made a candid admission about their romantic attractions, stating clearly: "I don't attract gay men and I'm not attracted to gay men. It's just not a thing." Johnson explained that their femme presentation plays a significant role in the types of people who approach them romantically.

When discussing their experiences in LGBTQ+ social spaces, Johnson noted a disconnect between where they feel comfortable and where they find romantic interest. "That's why I don't really go to gay clubs and I don't go to gay things because the men that I attract are not there," Johnson said. They emphasized that this pattern has been consistent throughout their life but has become more pronounced as their personal style has evolved. "It has always been that way but now it's even more so now that I definitely present in more of a feminine way because also it's like my energy is that," Johnson explained.

Johnson also addressed the broader question of identity labels during the podcast conversation. "I think they're just labels you know? That's why I don't care when I'm dating someone, I don't care what you identify as or what you call yourself as long as you're happy being who you are," they said. Johnson noted that some of the men they have connected with previously dated women for much of their lives before meeting them.

The television personality was outed as gay by tabloid TMZ in 2013 but had come out to their parents, Magic Johnson and author Cookie Johnson, several years prior. Johnson reflected on that initial conversation with their father, saying, "I think it was just a lot for him to swallow in that conversation." However, Magic Johnson has since become a vocal supporter of his child. In 2022, he told Variety about his evolution: "I had to accept who he was and who he wanted to be. He actually helped me get there, because he was so proud."

During the podcast, Johnson also shared that they prefer not to use he/him pronouns and would rather be referred to simply as EJ. Johnson continues to build a career in entertainment, including voice work on the animated series "The Proud Family: Louder and Prouder".

The charges relate to an incident on August 21, 2025, when the rapper was arrested in Studio City after police responded to reports of a man walking in traffic on Ventura Boulevard wearing only his underwear and white cowboy boots. Upon arrival, authorities alleged that Hill assaulted three responding officers who were attempting to take him into custody, resulting in injuries to at least three officers.

Hill pleaded not guilty to all four felony counts during his initial arraignment. If convicted as charged, he faces up to five years in state prison.

A diversion program, according to legal experts, is a pretrial agreement that typically includes rehabilitation, community service, or counseling in exchange for a defendant avoiding immediate prosecution, a formal felony conviction, or jail time. The judge granted Hill's legal team a brief delay to file the motion for diversion and ordered him to return to court on Monday, April 6, 2026.

Outside the courthouse, Hill addressed reporters and his fanbase, saying: "All I wanted to say is to my fans, I really love and I miss you, and I appreciate your support so much, and I can't wait to be back hugging you guys."

In the weeks following his arrest, Hill described the experience as "terrifying" in a social media post and subsequently traveled out of state to receive inpatient treatment at an undisclosed facility in September 2025. His father, Robert Stafford, attributed Hill's struggles to significant financial and family pressures, noting the weight of being a breadwinner for multiple family members at age 26.

Hill rose to international prominence in 2019 with "Old Town Road," a record-breaking hit that became a cultural phenomenon. The artist has been open about his identity as a gay man and has become an influential figure in LGBTQ+ popular culture. The case continues to move through the judicial system, with further court dates expected as proceedings advance.

After its $45.3 million debut, The Walt Disney Co.'s “Hoppers” release dipped a modest 37% in its follow-up weekend, a promising sign for an animated movie hoping to have strong legs through March. The Pixar original, about a young woman who transforms into the body of a beaver to help defend a pond from development, is hoping to keep attracting audiences with good reviews (94% fresh on Rotten Tomatoes) and strong audience scores (an “A” CinemaScore).

While many of Pixar's sequels have been blockbusters on arrival — like 2024’s “Inside Out 2” ($1.7 billion worldwide) — their originals have recently needed time to get going. In 2023, “Elemental” launched with a disappointing $29.6 million but went on to gross a hefty $496.4 million globally.

“Hoppers,” which has taken in $164.7 million globally thus far, has a long way to go to match that, but it’s off to a good start. It faced little direct new competition this weekend. The upcoming Amazon MGM sci-fi adventure “Project Hail Mary,” however, will soon take up IMAX screens and compete for family moviegoers.

Universal’s “Reminders of Him” debuted in second place this weekend with a better-than-expected $18.3 million. The film, starring Maika Monroe as a woman attempting to rebuild her life after prison, is the third Colleen Hoover adaptation to reach the big screen, following 2024’s “It Ends With Us” ($351 million worldwide for Sony) and 2025’s “Regretting You” ($91 million for Paramount).

“Reminders of Him,” which cost about $25 million to make, got poor reviews (56% fresh on Rotten Tomatoes) and notched a not-great “B” CinemaScore with audiences. But the film, the first from a screenplay co-written by Hoover, extends the bestselling author's popularity with moviegoers.

“ Undertone,” a micro-budget horror movie from A24, opened with $9.3 million. The film, written and directed by Ian Tuason, has been touted as A24’s best horror film since Ari Aster’s “Hereditary” (2018), one of the movies that helped put the indie studio on the map. With a budget of just $500,000, “Undertone” makes particular use of sound design in a one-setting tale about a paranormal podcaster (Nina Kiri) caring for her dying mother.

After its disappointing debut, Warner Bros. “The Bride!” plummeted in its second weekend, dropping 70% with just $2.1 million. The Maggie Gyllenhaal-directed riff on “The Bride of Frankenstein” cost about $80-90 million to produce, but so far has grossed just $11.3 million domestically.

Oscar weekend is often slow in theaters, with the industry's attention largely focused on Sunday's Academy Awards. But the trio of moderate successes in “Hoppers,” “Reminders of Him” and “Undertone” lifted moviegoing ahead of Hollywood's biggest night. Year-to-date ticket sales are up 15.2% from the same point last year, according to Comscore.

Top 10 movies by domestic box office

With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

1. “Hoppers,” $28.5 million.

2. “Reminders of Him,” $18.3 million.

3. “Undertone,” $9.3 million.

4. “Scream 7,” $8.4 million.

5. “Goat,” $4.7 million.

6. “The Bride!” $2.1 million.

7. “Kiki's Delivery Service,” $1.7 million.

8. “Wuthering Heights,” $1.7 million.

9. “TMNT II,” $1.5 million.

10. “Crime 101,” $1.1 million.

Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: A new “Peaky Blinders” movie called “The Immortal Man,” spring’s buzziest video game, the ambitious role-playing adventure Crimson Desert, and Bradley Cooper directs Will Arnett and Laura Dern in his third feature, “Is This Thing On?”

New movies to stream on March 20

— Get your best Birmingham accent ready, Cillian Murphy’s Tommy Shelby is back in the new “Peaky Blinders” movie, “The Immortal Man,” which will be on Netflix as of Friday, March 20. Series creator Steven Knight wrote the script and Tom Harper directed the film in a cast that includes Rebecca Ferguson and Barry Keoghan. The six seasons of the show are also available on Netflix for re-watches and catching up.

— Bradley Cooper directs Will Arnett and Laura Dern in his third feature, “Is This Thing On?” about a man going through a divorce who turns to stand-up comedy. It’s loosely based on the story of Manchester comedian Joseph Bishop. In her review for The Associated Press, Jocelyn Noveck wrote that it is “a deeply felt film about one teetering marriage, and a work whose power sneaks up on you slowly.” It’ll be on Hulu on Friday, March 20.

— “Wicked: For Good,” the epic conclusion to Jon M. Chu’s two-film adaptation will finally be streaming on Peacock on Friday, March 20. Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jonathan Bailey, Jeff Goldblum and more are all on hand for the decidedly darker second half, which was less well received than the first but still surprised when it received zero Oscar nominations. In his review, AP Film Writer Jake Coyle wrote “‘Wicked: For Good,’ rather than conjuring Oz anew, always feels like it’s jumping from one set piece to another. Maybe this is a silly gripe for a fantasyland. (‘I don’t have any idea where the offices of the Lollipop Guild are!’) But I rarely found myself lifted into a movie world, but rather sat watching it — sometimes with admiration, rarely with delight — from the mezzanine. The rub of going for maximum effect all the time is that the actors never have a chance to simply be.”

— AP Film Writer Lindsey Bahr

New music to stream from March 16-22

— Call it the most anticipated K-pop album of the year, or the biggest comeback: The mighty BTS return on Friday, March 20, with “ARIRANG,” their first full-length project since all seven members — RM, Jin, Jimin, V, Suga, Jung Kook and j-hope — completed South Korea’s mandatory military service. Excitement couldn’t be higher for its loyal audience, called ARMY. And there’s a lot celebrate: In addition to the new release, fans can also stream their comeback performance live on Netflix on Saturday, titled “BTS THE COMEBACK LIVE ' ARIRANG,” broadcast from Seoul’s Gwanghwamun Square.

— Luke Combs has big shoes to fill – his own. The country singer has become a full-on pop phenomenon, due in no small part to his ubiquitous cover of Tracy Chapman’s “Fast Car.” The question is now, what comes next? It’s a simple answer: a new album, “The Way I Am,” out Friday. Singles “Be By You” and “Sleepless in a Hotel Room” have made for fast country radio hits; it’s only a matter of time before the album becomes one of the genre’s biggest releases of the year.

— AP Music Writer Maria Sherman

New series to stream from March 16-22

— Elisabeth Moss, Kerry Washington and Kate Mara star in a new psychological thriller for Apple TV called “ Imperfect Women. ” The trio play longtime friends whose bond is fractured after a crime occurs. Moss and Washington are executive producers on the series which is based on a novel by Araminta Hall. The ensemble also includes Joel Kinnaman, Corey Stoll, Leslie Odom Jr., Sheryl Lee Ralph and Ana Ortiz. The first two episodes of the eight-episode series drop Wednesday.

— “ The Lady ” is a new Britbox limited-series fictionalizing the true story of Jane Andrews, a dresser for the former Duchess of York who ended up in prison for murdering her lover. The four-part series premieres Wednesday and stars Mia McKenna-Bruce as Andrews and Natalie Dormer as Sarah Ferguson.

— After the cringey, ingenious comedy “ Jury Duty ” debuted in 2023, many wondered how they could ever pull off another season. It followed Ronald, a man serving jury duty on what he believed was a real trial. Oh, and the trial was also being covered by a documentary crew. Thing is, everyone was an actor except Ronald. The unsuspecting protagonist of season two is Anthony, a new, temporary hire at a family-owned hot sauce business. The employees attend a company retreat and Anthony has no idea that his new colleagues are actors and all situations are pre-planned. “ Jury Duty Presents: Company Retreat " debuts Wednesday on Prime Video.

— The popular long-running Hallmark series “When Calls the Heart” gets a prequel called “ Hope Valley: 1874 ″ for the streaming platform Hallmark+. Bethany Joy Lenz stars as Rebecca Clarke, a Chicago mother who takes her daughter to settle in the Canadian west and build a new life. When their wagon breaks down, she must accept help from a local rancher who is single. Jill Hennessy also stars. It premieres Saturday, March 21 on Hallmark+.

— Lisa Kudrow returns to HBO as B-list actor Valerie Cherish for a third and final season of “ The Comeback. ” All three seasons of the show have been spaced a decade-ish apart and follow a woman navigating aging and staying relevant in showbiz what its ever-changing landscape. In the new episodes, Cherish lands a new TV series that is written by AI. The dark comedy streams Sunday, March 22 on HBO Max.

— Alicia Rancilio

New video games to play from March 16-22

— Spring’s buzziest game is Crimson Desert, an ambitious role-playing adventure from South Korean studio Pearl Abyss. It’s the tale of a warrior named Kliff in a quasi-medieval world called Pywel. After Kliff and his comrades get ambushed, he sets out on a mission of vengeance — but you know you can expect to fight more than other humans in a sword-and-sorcery epic like this. Trailers have featured intense-looking combat against familiar fantasy foes like witches, demons, ogres and dragons, with a flying mech thrown in for good measure. Take up arms Thursday on PlayStation 5, Xbox X/S and PC.

— Baseball fans got an early treat this year with the World Baseball Classic, so it’s only appropriate that Team USA captain Aaron Judge is on the cover of MLB The Show 26. This year’s edition lets you replay the WBC along with however many Major League seasons you like, whether you’re managing an entire franchise or guiding a player from the minors to Cooperstown. New features include “Bear Down Pitching” and “Big Zone Hitting” for high-stress moments — and you can now challenge balls and strikes! Opening Day arrives Monday on PlayStation 5, Xbox X/S and Switch.

— Lou Kesten

At Sunday's 98th Oscars, The Associated Press was inside the Dolby Theatre scoping out all the things that weren't broadcast to the world.

Before the show began

The stars like to cut things close when it comes to the Oscars. Many of the biggest names of the night didn’t make it to the red carpet until it was just 30 minutes to showtime. But unlike a premiere, live television doesn’t wait for the tardy A-lister to start.

And it can be a helpful excuse when, say, you’re Paul Mescal and you don’t want to do the “glambot.” “Sorry, I don’t have time,” he said politely. But as he made his way up the stairs to the Dolby Theatre with girlfriend Gracie Abrams by his side, she laughed and snarked “you sure you don’t want to do the glambot?”

A Hudson/Hawn/Russell Oscars

Early in the show, after Conan O’Brien’s opening bit, Kate Hudson made her way to the lobby bar during a commercial break where she was soon joined by Goldie Hawn and Kurt Russell. She had a brief moment of panic that she might be needed in the auditorium and found a nearby staffer who eased her worries as they looked over the schedule on an iPad.

“I’m good!” she said as she made her way back to her mom and Russell and the three continued chatting.

They stayed close all evening. As they made their way out of the auditorium after the show, Hudson, who did not win the best actress prize, was still in good spirits and excitedly congratulated Michael B. Jordan on his win. Later, Kieran Culkin stopped Hawn and Russell and said “it was really cool watching you interact with your daughter.”

Drinks for the stars

Part of the fun of the lobby bar experience is getting a little glimpse into what the stars like to drink. After the absent Sean Penn took the best supporting actor prize, Jacob Elordi made his way to the bar with his mom, keeping her close with an arm around her shoulder. He chose a nice tequila, Don Julio 1942, with a bit of ice and lime.

In another part of the room, Nicole Kidman laughed and socialized while sipping champagne. Nearby, Jessie Buckley was doing the same. Mescal chose a pink colored tequila drink, while Abrams opted for champagne.

Nick Jonas held two bottled waters and a mixed tequila drink in his hand, which he sipped slowly. But it seems he or someone else wanted a vodka drink, which a kind server checked on and informed him that there was none to be offered. He thanked her and made his way back to the bar to leave a cash tip.

Some stars weren’t drinking though. Domnhall Gleeson snacked on Hershey kisses with almonds, while “Heated Rivalry” star Hudson Williams ate a single sliced cucumber.

Emma Stone has another dress incident

Ok, so this one wasn’t quite as dramatic, or public, as Emma Stone telling the Oscars audience and millions watching from home that her dress broke as she accepted her best actress Oscar for “Poor Things,” but Stone had another minor dress incident in the lobby. While chatting with “Bugonia” screenwriter Will Tracy and his date, she lost her diamond ring which had affixed itself to the back of her gown. The woman with Tracy performed a delicate operation to remove the ring, dress unscathed and get it back on Stone’s middle finger.

Afterparty planning

Much of the chatter outside of the show revolved around what people were doing after, and complaints about not being on the list for Vanity Fair, which culled its invites this year in an effort to make it more exclusive. Stone made a plan to jump on a big bus with her “Bugonia” peers and stop by the Universal Pictures party before heading to A24's bash. When asked about Vanity Fair, she said, “it’s so weird, even if you’re nominated it doesn’t mean you can go.”

Family support from the mezzanine

Both Jordan and Buckley made special mention of their families in the audience during their acceptance speeches. Both Jordan’s father and Buckley’s family were seated in the same section — not bad seats by any stretch but a bit out of view of the person on stage. After the wins, many around the families were eager to congratulate them as well.

The ‘Sinners’ crew sticks together

When the show ended and the “One Battle After Another” crew lingered on stage, hugging one another and watching, the “Sinners” group made their way out of the auditorium together. Jordan hugged costume designer Ruth E. Carter, while Joachim Trier found his way to Ryan Coogler to do the same. Ryan and Zinzi Coogler paused to look up at the screen which was already replaying Jordan’s acceptance speech.

Omar Benson Miller, who played Cornbread, was still processing the night. In the theater and at the bar, the “Sinners” wins were by far the most enthusiastically celebrated. Though he said he has a tendency to be a “sore loser,” he still felt the palpable love for their film. “Hey, we got a couple!” he said.

Scenes from the Governors Ball

The first stop of the night for most is the Governors Ball, just a few escalator rides up from the Dolby. The happiest area was the Warner Bros. “One Battle After Another” tables where Leonardo DiCaprio, sipping red wine, and Benicio Del Toro, with champagne and not a few small beers, held court with studio executives, including Pamela Abdy. David Zaslav stopped by to chat with DiCaprio too, patting his star on the back. When DiCaprio saw co-star Chase Infiniti approaching the area, he made a gesture that was not entirely dissimilar to his famous cheers from “The Great Gatsby.”

Elsewhere Renate Reinsve ditched her shoes and walked barefoot through the party, which was carpeted. Steven Spielberg told “Train Dreams” director Clint Bentley about his plans to stop by Vanity Fair and how much he wanted to talk to Paul Thomas Anderson. Kirsten Dunst and Jesse Plemons stayed close to Alicia Silverstone, while Kerry Condon sampled the prime rib.

And Mandy Patinkin sat alone sampling sushi and trying to make a phone call as the music blared. Patinkin said he was honored to be there to support his late friend Rob Reiner.

“Rob made a beautiful movie,” he said.

She did exactly that throughout the ceremony, and certainly for its two tentpole performances: Ejae, Audrey Nuna and Rei Ami, the voices behind the fictional girl group HUNTR/X, who performed “Golden” from “KPop Demon Hunters” and Miles Caton and Raphael Saadiq tackling “I Lied to You” from “Sinners.”

For the former, Moore served as a creative director. “It's a huge song. ‘Golden’ is huge.” she said. “There are two pieces to the performance: The first piece is a celebration of traditional Korean culture. And there is traditional drumming and singing and folk dance. And it then transitions into obviously the more kind of modern pop world of the ‘Golden’ performance.”

Preparation was extensive. “Immediately I went to the Oscars team and said, ‘I need to work with someone who is a Korean consultant and I would also love to hire this person to be in the performance.’” They landed DaEun Jung, associate professor from the University of California at Riverside, an expert in “not only the dance styles, but the wardrobe and the music and the singing,” Moore continued. “So, she has really been integral to that whole process of creating the prologue.” She also agreed to dance in the “Golden” performance.

Because “KPop Demon Hunters” is an animated film, Moore said “there's kind of no rules” in what could happen with the performance — as long as the filmmaker's tone and desires are met. And “in no way did they feel that we needed to create a live action performance of this song, to try and do it like the animation. Because you can't.”

They also didn't want the performance to only utilize “K-pop moves,” Moore said. After all, “I am not a K-pop choreographer.” It's not a K-pop concert, but rather, a performance that emphasized “creating visuals.”

However, audience members did wave golden light sticks — a common feature of K-pop concerts — and a wonderful nod to that culture.

Moore also had the idea to incorporate gold flags into the performance. “The way the flags move through the space feels, visually, like I hear the song,” she said. “It needed to be event television, in a way … Something that is so epic in nature and scale that it really transcends just somebody singing and dancing.”

Moore was a bit less involved with the “Sinners” Oscars' performance.

That's because they engaged "directly with the choreographers and the filmmakers from ‘Sinners,’” she said, led by the movie's head choreographer Aakomon “AJ” Jones. He's the man responsible for the incredible dance sequence when “I Lied To You” is performed in the movie — which speaks to why the Oscars' performance was a near-recreation of the iconic scene.

“I'm simply here as a support to Aakomon,” she said.

In addition to Caton and Saadiq, the “I Lied To You” performance featured Misty Copeland, Eric Gales, Buddy Guy, Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey and Alice Smith.

It's exactly “what you would want from a ‘Sinners’ performance on the Oscars,” Moore said.

“And the throughline for both performances is that they start with storytelling, first,” she said. “Its story involved with dance. It's not simply dance steps.”