Appearing live from the Dolby Theatre during the Academy Awards broadcast on ABC, O’Brien returned for his second consecutive year as host, using the ceremony’s opening moments to address topics ranging from artificial intelligence in film production to evolving distribution models in the entertainment business.

The veteran television personality, who previously built his career across late-night television and comedy writing, used the monologue to frame broader changes affecting Hollywood’s creative ecosystem.

Opening Monologue Blends Hollywood Humor With Industry Commentary

O’Brien opened the ceremony with a prerecorded sketch referencing the character “Aunt Gladys,” inspired by the horror film Weapons, before transitioning into a live monologue that included jokes about artificial intelligence’s growing role in entertainment production.

“I am honored to be the last human host of the Academy Awards,” O’Brien told the audience, joking that the ceremony could eventually be hosted by autonomous technology.

The host also referenced the planned move of the Oscars broadcast to the streaming platform YouTube in 2029, a shift widely viewed within the media industry as part of the Academy’s broader digital distribution strategy.

The remark was followed by a mock interruption styled as an intrusive online advertisement, featuring Jane Lynch promoting a fictional product—an example of the show’s recurring comedic segments addressing modern media consumption.

Cultural References Draw Reaction From Hollywood Audience

Several jokes during the monologue referenced comments previously made by best actor nominee Timothée Chalamet regarding classical art forms, including opera and ballet. The camera cut to Chalamet in the audience as O’Brien teased the actor, drawing laughter from attendees.

A later segment included a musical performance by Josh Groban, who appeared in a theatrical sequence imagining O’Brien winning an Oscar for his monologue. The song referenced the historic coronation anthem Zadok the Priest by George Frideric Handel.

Not all scripted moments landed equally with viewers. One gag involving a percussion instrument jokingly named after Chalamet received a more muted reaction from the audience.

Netflix and Studio Politics Enter the Monologue

O’Brien also directed jokes toward streaming industry leadership, including Ted Sarandos of Netflix.

The reference came amid ongoing industry discussions surrounding potential consolidation among major entertainment companies. Netflix had previously explored acquiring assets linked to Warner Bros., whose films were among the night’s leading nominees before negotiations ended without a deal.

The exchange reflected broader tensions between theatrical exhibition and streaming platforms—an issue that has become central to the modern film industry’s evolving business model.

Hosting Stability Returns to the Academy Awards

O’Brien’s return marked a rare period of continuity for the Oscars hosting role. The ceremony experienced a stretch without a host between 2019 and 2021, before a series of rotating presenters helped reestablish the format.

Following a well-received debut the previous year, the Academy quickly rehired O’Brien, who built his reputation as a writer for Saturday Night Live and The Simpsons before hosting multiple late-night talk shows.

Industry observers have noted that securing consistent hosts has been a challenge for the ceremony in recent years, particularly as viewing habits shift across broadcast and streaming platforms.

Improvised Moments Highlight Live Ceremony

Despite the scripted opening, O’Brien also delivered several improvised lines throughout the ceremony.

One such moment came when a stage microphone began retracting during an acceptance speech after a tie in the best live-action short category prolonged the broadcast.

“I know we’re tight,” O’Brien joked, “but retracting the microphone while someone is speaking is hilarious,” drawing laughter from the audience.

The moment underscored the unpredictable nature of live awards broadcasts—an element producers continue to balance with tightly scheduled television production.

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The move could trigger a renewed bidding phase between the two media groups, as Warner’s board weighs whether Paramount’s enhanced offer constitutes a superior proposal under its existing agreement with Netflix. Regulators in the United States and abroad are also closely watching a potential deal that would reshape the global entertainment industry.

Warner confirmed that Paramount lifted its offer from $30 per share — a price it had maintained since launching a hostile bid in December to challenge Warner’s $27.75-per-share agreement with Netflix. Paramount’s new proposal also increases the regulatory termination fee to $7 billion and accelerates a previously outlined “ticking fee,” committing to pay 25 cents per share if the deal does not close by the end of September rather than year-end.

In a statement, Warner said Paramount’s revised proposal “could reasonably be expected to lead to” a superior offer as defined in its Netflix agreement. However, the board has not yet determined that Paramount’s bid is in fact better.

A spokesperson for Netflix declined to comment. Paramount confirmed earlier that it had submitted the revised offer but did not immediately provide further details.

Strategic stakes in the Paramount Warner takeover bid

At the center of the Paramount Warner takeover bid is a portfolio that includes Warner’s major film studio, HBO Max, and television networks such as CNN and Discovery. The outcome could significantly alter the competitive balance among streaming services and traditional media companies.

Unlike Netflix, which has agreed to purchase Warner’s studio and streaming business, Paramount is seeking to acquire Warner in its entirety. That would fold together Paramount’s existing film and television operations with Warner’s assets, potentially combining two of Hollywood’s remaining major studios under one corporate umbrella.

Industry analysts note that either transaction would have sweeping implications. A Netflix acquisition could strengthen its position in subscription video on demand, while a Paramount-Warner merger would consolidate film production, theatrical distribution, cable networks and news operations in a single entity. The scale of the transaction ensures it will face detailed regulatory scrutiny.

Regulatory pressure builds

The U.S. Department of Justice has initiated reviews related to the potential sale, and regulators in other jurisdictions are expected to follow. Lawmakers and entertainment trade groups have raised concerns that further consolidation could reduce competition, limit creative diversity and result in job losses.

Critics argue that combining major studios or expanding Netflix’s content library could narrow consumer choice in an industry already dominated by a handful of global players. Streaming subscription prices have risen in recent years, intensifying debate about the effects of market concentration.

Both Paramount and Netflix have defended their proposals as beneficial to consumers and the broader industry. Paramount has pointed to Netflix’s significantly larger market capitalization, arguing that a Netflix-Warner deal would entrench the streaming company’s dominance. Netflix, in turn, has contended that it competes not only with traditional studios but also with broader video platforms such as YouTube, and has said it would preserve and expand Warner’s studio and distribution operations.

Regulatory outcomes may ultimately determine which bidder prevails. Under the terms of Warner’s agreement with Netflix, if the board concludes that Paramount’s revised bid is superior, Netflix would have four days to match or amend its offer. It could also opt to withdraw.

Political dimension emerges

The takeover battle has unfolded amid heightened political attention. President Donald Trump previously suggested he might play a role in seeing a deal through before stating that any regulatory approval would be handled by the Justice Department.

Trump has longstanding ties to Larry Ellison, whose son David Ellison leads Skydance Media, the company backing Paramount’s bid. Skydance recently completed its own acquisition of Paramount in a transaction that drew public debate, particularly following a $16 million settlement related to a lawsuit involving CBS’s “60 Minutes.”

Under new ownership, CBS News has undergone editorial changes, including the appointment of Bari Weiss as editor-in-chief. Observers have questioned whether similar shifts could occur at CNN if Paramount’s offer succeeds, though no formal plans have been announced.

Trump has also commented publicly on Netflix, praising co-chief executive Ted Sarandos while separately criticizing the company and calling for the removal of former U.N. ambassador Susan Rice from Netflix’s board following remarks she made on a podcast hosted by former federal prosecutor Preet Bharara. Rice, who was reappointed to the board in 2023 after previously serving between 2018 and 2020, said on the podcast that corporations aligning too closely with political leaders could face future consequences.

The political backdrop adds another layer of complexity to a transaction that already faces legal and competitive hurdles.

What comes next

For now, Warner’s board continues to support its existing agreement with Netflix. The company has emphasized that no determination has been made regarding Paramount’s revised bid. The coming days could prove pivotal if the board formally assesses the offer and triggers Netflix’s right to respond.

Beyond shareholder calculations, the contest highlights broader tensions in the media sector as legacy studios and technology-driven platforms compete for scale and global reach. The outcome will shape not only ownership structures but also the direction of content production, news operations and streaming competition in the years ahead.

Source: AP News – Warner Bros gets a higher offer from Paramount in heated fight for the storied Hollywood studio

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