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Paul Thomas Anderson’s latest film was the most-nominated film of the evening, but it only walked away with one (quite big) award.
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From picking up an audience member’s call in the middle of his session, to going around the auditorium and asking people what they would call their biopic- Anupam Kher’s talk on ‘Giving Up Is Not A Choice’ at the 56th International Film Festival of India had something in store for each person present.
He shared personal anecdotes, all in sync with the topic. For example, in his very first film Saaransh, he was replaced even before he started shoot! “I had prepped for months, and asked Mahesh Bhatt ji ‘Why did you cast me?’ He replied ‘Bald hai na!’ because the character required and old man. After some time, I was told I have been replaced by Sanjeev Kumar. I got so angry… maine Mahesh Bhatt ko jaakar bola ‘aap duniya ke number one fraud ho. Main Brahmin hoon, main aapko shraap deta hoon!’ And I had packed my luggage onto a taxi, and stormed off downstairs after showing him the taxi, adding that I was going to leave Mumbai. Upar se Mahesh ji ne awaaz maari ‘vaapis aaja’ ! I did this because giving up was just not a choice for me.”
Years have passed by, and now Anupam is going to sign his 550th film in December, as revealed by him. “I have told all media to never address me as a veteran or thespian. That would mean ‘your career is over, now you are a veteran and should retire’, but why should anyone else decide when I should retire? This is why I have decided I will not accept any lifetime achievement award for the next 20 years,” he said.
Working with Robert de Niro
Further recalling the first time he got a chance to act alongside Robert de Niro, ‘God of acting’ for him, in Silver Linings Playbook (2012), he continued, “I remember on the first day, I went to Robert’s van, I wanted to meet him and present an idol of Lord Ganesh made of ruby. His assistant told me ‘Bob (Robert’s nickname) doesn’t meet anyone before the shot’, par main Hindustani tha, peeche padh gaya. He had to meet me. Then I was looking forward to when I would have a scene with him.”
And what happened next left everyone shocked on set. “During the scene, Robert said to the director David O. Russell ‘this guy has been the cause of my son getting drunk, he could have gone back to the mental asylum, I will throw this character out of the house’ His POV was right. What he did in the shot is, he got angry and threw me out of the room, locked the door. I was standing out in the cold, no one gave me even a sweater because de Niro had thrown me out (as part of the scene). I was there for 45 minutes.”
Anupam came back inside later to find the director saying ‘I think this is working’. “I decided mujhe kaam hi nahi karna Hollywood mein,” Anupam recalled further, “I asked for five minutes, and everyone was sitting there- Bradley Cooper, Gwyneth Paltrow was drinking something. I said ‘there are eight characters in this scene, you didn’t ask for their interpretation’ There was pin drop silence. I further said ‘My character should tell Robert’s character that you brought up your son in this manner. I further said to David ‘you had this scene in your mind for years, are you throwing me out only because Mr de Niro told you?’ Aisa lag raha tha sab barbaad hai. Robert asked for another rehearsal and this time didn’t throw me out.”
Robert later agreed with Anupam’s take after inviting him to his van post the shoot. “Today I feel proud that I can call Mr Robert de Niro one of my friends. I did all that on the shoot day because giving up was not a choice,” he beamed.
A new industry study, The Business of Awards: 2025 Industry Insight, reveals that while the global awards sector remains a multi-billion-pound powerhouse, it faces mounting challenges around credibility, return on investment (ROI), and the disruptive role of artificial intelligence (AI).
The report — based on a cross-stakeholder survey of awards organisers, sponsors, entrants, and judges, alongside interviews with leaders from Epica, Arc Europe, the PPA, Arena International, and more — highlights that fewer than half of stakeholders believe judging processes are transparent. Nearly a fifth go further, describing them as opaque.
“Trust is the currency of awards. Without transparent judging and clear separation of sponsorship from results, the commercial model risks collapse,” said Mark Tungate, Editorial Director of the Epica Awards.
Other key findings include:
- Credibility under scrutiny – Less than half of stakeholders rate judging as transparent; scams and “pay-to-play” perceptions are widespread.
- ROI pressure – Sponsors cite brand visibility and networking as top objectives, but demand measurable outcomes “beyond the night.”
- Formats in flux – Almost two-thirds of stakeholders favour in-person awards, with hybrid models a strong secondary preference.
- AI disruption – Judges are already encountering formulaic, AI-generated entries, raising urgent questions about authenticity.
- Future growth – Year-round engagement, lifecycle analytics, and international expansion are identified as key opportunities.
“The awards industry is resilient, but long-term success will depend on credibility and proof of value,” said Ben Flight, Arena International. “Sponsors increasingly demand evidence that their investment delivers impact.”
The 50-page report combines survey data with expert commentary from:
- Mark Tungate (Epica Awards)
- Sophie Eke (Arc Europe)
- Sarah Austin (British Business Excellence Awards)
- Melissa Irving (emap)
- Hannah Bray (PPA)
- Helen Wilson (Haymarket Media Group)
- Paul Schnell (Evessio)
- Simon Burton (Power 100)
- Donna O’Toole (August Recognition)
Adam Parry, Co-Founder of Event Industry News and lead editor of the report, said:
“Awards remain a vital part of the events economy — but credibility, innovation, and ROI are now non-negotiable. Our research provides organisers, sponsors, and entrants with a roadmap to navigate the next decade of recognition.”
Availability
The Business of Awards: 2025 Industry Insight is available to download now at: https://evessio.com/live/en/page/awards-report-2026
The Kid LAROI has seen the world, and, at times, owned it with a string of chart hits, awards and records smashed. On Monday night, Nov. 17, the inner-Sydney raised, Los Angles-based singer returned home in triumphant fashion for a secret gig, a launch pad for ARIAs Week.
Performing with a four-piece backing band, and wearing an all-black ensemble, including a black tie and leather jacket, LAROI is grateful and in a soulful mood, laughing at times as he slides through a mid-tempo collection of songs.
Gone are the hoodies, baggies and the floppy blonde locks. This 22-year-old is all grown up.
SYDNEY, AUSTRALIA – NOVEMBER 17: The Kid LAROI performs onstage the Spotify Artist Party at Cell Block Theatre on November 17, 2025 in Sydney, Australia. (Photo by Hanna Lassen/Getty Images for Spotify)
Getty Images for Spotify
“It’s been a crazy last year. I don’t know how to process it still,” he tells the gathering at Cell Block Theatre in Darlinghurst, where the likes of Ninajirachi, Baker Boy and members of the Wiggles watch on.
When he last time performed on home soil, exactly a year ago, LAROI played arenas for his The First Time tour, and at Accor Stadium, for the NRL Grand Final. On Monday, for this inaugural Spotify Artist Party, LAROI played to a space smaller than some of the L.A. parties he attends.
ARIAs Week is always a special time of year. The Australian sun is typically baking in mid-to-late November, the holiday period is closing in, and the ARIA Awards, the national recording industry’s flagship event, is the crescendo for the year in music.
Homegrown stars Dom Dolla, Missy Higgins, Amy Shark and many more will stroll the red carpet, and brave the heat, alongside internationals Kacey Musgraves and Olivia Dean.
LAROI won’t be there. He bailed for a flight early Tuesday. The Kid admittedly has work to do setting up his next record, but he played his part in this annual celebration of Aussie music.
Spotify wants in, too. 2025 marks the first in the streaming giant’s three-year partnership with the ARIA Awards, and comes at a time when domestic artists are struggling to impact the national charts, the official singles tally in particular.
According to data supplied by Spotify, this campaign has already driven hundreds of thousands of additional streams for ARIA-nominated artists, and included 800-plus “high-impact” placements across Australia and key global markets, including the United States, United Kingdom, Korea and Japan.
Ahead of the big show, more than 250,000 Australians have already cast votes in-app for the public-voted categories, including best music festival, a new category. That result is said to surpass total engagement for the past two years combined.
Billboard caught up with Joe Hadley, Spotify’s global head of music partnerships & audience, to peel back the layers on the ARIAs collaboration.
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Billboard: Let’s talk about the three-year partnership, how that came about and why?
Joe Hadley: If you were to just zoom out and look at our partnership strategy as a whole, we really want to show up as a company where culture is happening, in a way that we can be supportive of both the industry and the artists.
When we were looking at the ARIAs, it was a no-brainer to show up here for this community.
It’s not about sponsoring an event. It’s about creating something together with the artists and the labels and our partners to build long-lasting impact.
You worked closely with the Music Awards Japan. Were there any lessons to learn from that?
That was a little bit different. It was the first year that something like that had happened in Japan. It was an incredible moment, so we were really in it with them from the beginning, to build something special. The ARIAs are long-established. We wanted to make sure that if we were to partner, we could amplify and take a national event and make it truly global, so we’ve worked really hard in partnership with the ARIA to do that. One thing you’ll hear me keep repeating through this is we’re taking something that has been a truly incredible national event and helping to globalize it.
Spotify is traditionally looked at as a digital company. We wanted too show up in real life in places where it matters, so seeing the artist-facing billboards in-person adds another layer of realness, to what we’re doing. But then having the event, the party with some incredible performances, that was also a key part of bringing this all together.
Do you have any takeaways from the ARIAs’ in-app voting?
What I think is more interesting is that the last couple of years, the most voted-for category has been international artist of the year, and with this shift to in-app voting on Spotify, that’s now changed to song of the year, which is obviously local artists. Which is a really incredible moment for us in the ARIAs to really push local music.
Is Australian music having a moment, or is it anywhere near having a moment?
Australian music is always having a moment. Dance and electronic music is leading the global breakthrough story. Dom Dollar, FISHER, Ninajirachi are in that genre and it’s having a real explosive moment right now.
Cate Blanchett in lavender Stella McCartney at the Bambi Awards in Germany. She looks like a glamorous Muppet. [RCFA]
Eddie Murphy talks about why he stayed away from SNL for so long. [Pajiba]
Pluribus is AppleTV’s latest hit? [LaineyGossip]
Cynthia Erivo sprang into action to protect Ariana Grande on the red carpet. A fan or some kind of YouTuber rushed at Ari and grabbed her. [Socialite Life]
Catching up with Diane Kruger’s recent outings. [Go Fug Yourself]
Megyn Kelly is a huge POS, big surprise. [Buzzfeed]
Nicki Minaj did what?? [OMG Blog]
Isla Fisher talks about rebuilding her life post-divorce. [Just Jared]
Millie Bobby Brown’s Elf of the Shelf vibe. [Seriously OMG]
A Love After Lockup star was arrested again. [Starcasm]
More photos from The Devil Wears Prada 2. [Hollywood Life]
The Academy of Television Arts & Sciences said Friday that its board has re-elected Cris Abrego to serve a second term as chair.
The Television Academy is the organization that oversees the Primetime Emmy Awards.
Abrego, the former chairman and CEO of Endemol Shine North America and Banijay Americas, is currently CEO of Hyphenate Media Group. He was initially elected chair of the Television Academy two years ago, and his new term will begin on Jan. 1, 2026, and will run through 2027.
“I’m honored to continue in this role,” Abrego said in a statement. “The past two years have underscored the vital role that the Academy serves in supporting our members, strengthening the television community, and advancing the initiatives that support the long-term health of our industry. I look forward to working alongside our newly elected officers and governors as we build on this momentum and continue guiding the Academy and the Emmy Awards through a dynamic period of transformation for our industry.”
The Academy says that under his leadership the organization had “record membership and retention” and launched Televerse, the Academy’s inaugural multi-day public-facing television festival, among other initiatives.
The Emmy Awards, meanwhile, have turned around a ratings slump, growing audience at a time when few other things outside of live sports are.
The Television Academy also announced its new officers and governors. The officers include Jacob Fenton (Professional Representatives), Vice Chair; Jo DiSante (Television Executives), 2nd Vice Chair; Megan Chao (Documentary Programming), Secretary; and Tony Carey (Producers), Treasurer.
The energy was high yesterday as the Event Tech Awards 2025 brought the first day of Event Tech Live in London to a close, celebrating the standout technologies, teams and innovators shaping the future of the global events industry.
With a record number of entries and some of the strongest submissions to date, this year’s competition showcased innovation across every corner of the event tech ecosystem—from AI-driven platforms and sustainability solutions to next-generation engagement, content and production tools.
Among the evening’s multi-award winners were Sitka and Blink, each recognised by judges for their continued contributions to improving organiser and attendee experiences. Sitka collected honours including Best Chief Technology Officer and Best Sustainable Tech Solution, while Blink was celebrated in categories such as Best Event App and Best Personalisation Technology. They joined an impressive cohort of winners representing a diverse and vibrant marketplace.
This year’s awards were proudly supported by One World Rental, the Event Tech Awards 2025 headline sponsor, whose commitment to innovation continues to elevate the global events sector. The programme was once again powered by Evessio, whose technology underpins the awards’ judging, entry and ceremony experience.
Adam Parry, Co-Founder of the Event Tech Awards and Event Tech Live, said:
“Every year we’re reminded just how fast this industry moves, and 2025 is no exception. The innovation we’re seeing isn’t incremental — it’s transformative. Tonight’s winners represent the creativity, intelligence, and ambition driving event technology forward. Congratulations to all the finalists and winners for raising the bar yet again.”
The full list of Event Tech Awards 2025 winners is available here https://eventtechnologyawards.co.uk/eventtechnologyawards2025/en/page/winners-2025
The Event Technology Awards celebrate the most forward-thinking and impactful tech in the event industry. In this exclusive feature, we’re spotlighting a select group of 2025 finalists who are proud to showcase their cutting-edge solutions and share why they’ve been recognised as leaders in their field.
Take a look at some of the standout technologies that earned a place on this year’s shortlist and discover what makes them award-worthy.
Stream7 shortlisted for Best Live Streaming and Video Production
Sheffield-based event production company Stream7 has been announced as a finalist in the Best Live Streaming and Video Production category at the 2025 Event Technology Awards, which will take place during Event Tech Live this November.
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RSVPify finalist for Best Visitor Registration Technology
RSVPify is proud to announce its selection as a finalist for Best Visitor Registration Technology at the 2025 Event Tech Awards. This recognition underscores RSVPify’s commitment to empowering event professionals with cutting-edge tools that simplify and elevate the event registration experience.
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Lüp Events: Complex Events Made Simple – Maximising Data & Engagement
Lüp Events is proud to be shortlisted for the 2025 Event Technology Awards, recognising our solutions that transform exhibitions and conferences for organisers, exhibitors, and attendees alike. With over 14 years of experience growing our technology, Lüp has become a trusted partner, powering over 3.5 million registrations and scans annually.
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momencio: Finalist in four categories and built for more
Lead capture isn’t the goal – conversion is. And yet most tools still stop at the badge scan. That’s where momencio takes over, and why it’s a finalist in four categories at the 2025 Event Technology Awards.
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Givergy shortlisted for Best Use of Technology for Engagement & Interaction
With more than £1.2 billion raised for nonprofits since inception, Givergy has become the giving sector’s trusted fundraising partner. From gala dinners to digital campaigns, our platform and services are designed to take pressure off organisers while maximising results. With over 15 years of experience, our fundraising experts provide the tools, support and insight that charities need to raise more.
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CampVents: Made to Connect
Every year, universities and student communities have the same mission, running events that bring students together, such as cultural nights, society fundraisers, career fairs, and parties. Unfortunately, often those events go unseen. Promotion is scattered across posters, group chats, and social media, while ticketing tools are expensive or complicatedly designed for large corporate organisers rather than students. CampVents was created to bridge this gap.
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Jomablue three-time finalist in the Event Technology Awards 2025 with Conscience
Jomablue is proud to be recognised as a three-time finalist in the Event Technology Awards 2025, for Best Use of Technology for Event Analytics, Best Onsite Badging and Check-In, and Best Event Management Platform. These nominations reflect our commitment to delivering intelligent, scalable, and measurable event experiences that drive real business impact.
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A new era in event management: how Corsa’s modern platform simplifies complexity for organisers everywhere
Corsa was born from a simple but powerful idea: to revolutionise event management by making it truly straightforward, accessible, and profitable. In an industry often hampered by cumbersome processes and fragmented tools, our innovative platform provides a seamless, all-in-one solution tailored to meet the evolving needs of organisers worldwide. Built with cutting-edge technology and scalable for events of any size, Corsa unifies essential functions—streamlining planning, registration, engagement, merchandising, and real-time analytics into a single, easy-to-use platform.
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Turning Attendees into Marketers with Premagic
Premagic is an AI-powered event tech platform redefining how photos, moments, and memories become high-converting marketing assets. Their mission is simple: turn attendees into event marketers through real-time user-generated content, distribution, personalised engagement, and attendee-driven storytelling.
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Fenix has gone from launch to global recognition, earning trust from leading organisers and repeat business worldwide
Fenix Event Tech is redefining what seamless event delivery looks like. Founded in 2024, we’ve grown from a bold start-up to a global player in less than two years, delivering for major events across Europe, the UK, the U.S., and beyond. Our mission is simple: to make event technology frictionless, adaptable, and human-focused.
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Ginger Owl’s GOAllAreas: The Future of Event Management Recognised with Three ETA Nominations
Ginger Owl has been a leading provider of accreditation staffing and systems since 2013. Founded by Nancy Skipper and Julie Chennells, the company leverages over 30 years of extensive expertise to deliver successful, schedule-driven events with exceptional results.
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Present Communications shortlisted for the Event Technology Awards 2025
At Present, we often say that great streaming doesn’t have to be complicated. It should just work. When we were tasked with building a multi-platform live stream for a high-profile client, the brief was clear: “Design a system that cannot fail.” That’s exactly what we did.
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Rozie Synopsis, Triple Finalist at the 2025 Event Technology Awards, Transforms Event Content into Lasting Value
Rozie Synopsis has been named a triple finalist at the 2025 Event Technology Awards, recognized for its innovative AI-native event experience production platform that elevates live event moments into continuous, valuable knowledge ecosystems.
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For smaller independent films, running an awards campaign can be a pipe dream; it’s just too expensive to consider. Picture Motion’s new “To Be Seen: Awards Impact Initiative” is betting it can level the playing field.
Social impact marketing agency Picture Motion launched the initiative with backing from Pop Culture Collaborative, a philanthropic fund that resources storytellers working to transform narratives around people of color, immigrants, refugees, Muslims, and Indigenous peoples. The initiative provides marketing support for films from underrepresented filmmakers, casts, and talent during awards season, helping these films reach voters, tastemakers, and audiences who decide which movies earn recognition.
Two Films Leading the Charge
This year’s inaugural cohort features two acclaimed films: the narrative feature “Bob Trevino Likes It” and the documentary “Speak.”
The To Be Seen initiative will deliver custom impact campaigns for both films, including high-profile FYC screenings in New York and Los Angeles, press outreach, and digital storytelling to engage voters and audiences. To expand visibility, Picture Motion is collaborating with Seed&Spark on crowdfunding campaigns for both films. The initiative will also work with clipping platform Litebeem to drive social media clips.
“Bob Trevino Likes It,” directed by Tracie Laymon and starring Barbie Ferreira, John Leguizamo, French Stewart, and Lauren “Lolo” Spencer, tells the story of a lonely twenty-something who finds unexpected connection through an online friendship. The film has racked up 30+ festival awards, including 13 Audience Awards, and secured theatrical distribution through Roadside Attractions, Photon Films, and Cinépolis Distribución in Mexico and international markets. It’s currently streaming on Hulu.
“It means the world to us to receive this honor and invaluable support from Picture Motion,” said director Tracie Laymon. “Our values and mission as filmmakers are fully aligned with theirs, and we’re excited to see what we can do together in raising awareness for our film ‘Bob Trevino Likes It’ this award season.”
“Speak,” directed by Jennifer Tiexiera and Guy Mossman, follows ambitious teen orators chasing glory on the global public speaking stage. The documentary premiered in U.S. theaters in early December and has collected major honors including the Grand Prize at Shine Global’s Resilience Awards and the Kathleen Bryan Edwards Award at the Nantucket Film Festival. It’s also won awards from DC Environmental Film Festival, Oxford Film Festival, and the Ridgefield Independent Film Festival.
Why This Matters
Oscar campaigns mean parties, consultants, advertisements, and other exercises that carry steep price tags. That reality was highlighted in 2023 when Andrea Riseborough earned an unexpected Oscar nomination for the small indie film “To Leslie” after celebrities like Charlize Theron, Gwyneth Paltrow, and Kate Winslet hosted screenings and flooded social media with support for her performance. The campaign prompted an Academy investigation into whether any rules were violated, but it also sparked a conversation about how the system favors well-funded studios over smaller productions.
“By leveraging the intersection of culture, advocacy, and awards strategy, To Be Seen builds on Picture Motion’s decade-long legacy of using storytelling to drive social impact — ensuring that filmmakers from underrepresented backgrounds have the resources, visibility, and reach to thrive,” said Bridgit Antoinette Evans, CEO of Pop Culture Collaborative.
“The To Be Seen Initiative is about more than just getting these films on voters’ radars,” said Brian Walker, CEO of Picture Motion. “It’s about amplifying stories that will have a lasting cultural impact, stories from diverse voices that have historically been overlooked. This initiative ensures that films like ‘Bob Trevino Likes It’ and ‘Speak’ are seen, heard, and celebrated in a meaningful way.”
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