Entertainment
Grammy Awards announce 2026 nominations with Kendrick Lamar leading. See the list of the nominees.
The 68th Grammy Awards nominations are out with Kendrick Lamar leading with nine nods.
Following Lamar, Lady Gaga, Jack Antonoff and Canadian record producer and songwriter Cirkut received seven nominations. Bad Bunny, Sabrina Carpenter, Leon Thomas and Serban Ghenea were all nominated in six categories.
Music released between Aug. 31, 2024, and Aug. 30, 2025, is eligible for Grammy nominations — meaning some notable recent winners, including Beyoncé and Taylor Swift, were not eligible for nominations.
This year’s awards include two new categories: best traditional country album and best album cover. The existing best country album category was renamed to best contemporary country album.
The award show will take place on Sunday, Feb. 1, in Los Angeles. It will air on CBS and Paramount+.
Here’s a look at the 2026 Grammy Awards nominees:
Album of the Year
- “DeBÍ TiRAR MáS FOToS” — Bad Bunny
- “SWAG” — Justin Bieber
- “Man’s Best Friend” — Sabrina Carpenter
- “Let God Sort Em Out” — Clipse, Pusha T & Malice
- “MAYHEM” — Lady Gaga
- “GNX” — Kendrick Lamar
- “MUTT” — Leon Thomas
- “CHROMAKOPIA” — Tyler, The Creator
Song of the Year
- “Abracadabra” – Lady Gaga, Henry Walter & Andrew Watt, songwriters (Lady Gaga)
- “Anxiety” – Jaylah Hickmon, songwriter (Doechii)
- “APT.” – Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Chae Young Park, Theron Thomas & Henry Walter, songwriters (ROSÉ, Bruno Mars)
- “DtMF” – Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Benito Antonio Martínez Ocasio, Hugo René Sención Sanabria, Tyler Thomas Spry & Roberto José Rosado Torres, songwriters (Bad Bunny)
- “Golden” [From “KPop Demon Hunters”] – EJAE & Mark Sonnenblick, songwriters (HUNTR/X:EJAE, Audrey Nuna, REI AMI)
- “luther” – Jack Antonoff, Roshwita Larisha Bacha, Matthew Bernard, Scott Bridgeway, Sam Dew, Ink, Kendrick Lamar, Solána Rowe, Mark Anthony Spears & Kamasi Washington, songwriters (Kendrick Lamar With SZA)
- “Manchild” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
- “WILDFLOWER” – Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
Record of the Year
- “DtMF” — Bad Bunny
- “Manchild” — Sabrina Carpenter
- “Anxiety” — Doechii
- “WILDFLOWER” — Billie Eilish
- “Abracadabra” — Lady Gaga
- “luther” — Kendrick Lamar With SZA
- “The Subway” — Chappell Roan
- “APT.” — ROSÉ, Bruno Mars
Best New Artist
- Olivia Dean
- KATSEYE
- The Marias
- Addison Rae
- sombr
- Leon Thomas
- Alex Warren
- Lola Young
Producer of the year, non-classical
- Dan Auerbach
- Cirkut
- Dijon
- Blake Mills
- Sounwave
Songwriter of the year, non-classical
- Amy Allen
- Edgar Barrera
- Jessie Jo Dillon
- Tobias Jesso Jr.
- Laura Veltz
Best album cover
- “CHROMAKOPIA” — Shaun Llewellyn & Luis “Panch” Perez, art directors (Tyler, The Creator)
- “The Crux” — William Wesley II, art director (Djo)
- “Debí Tirar Más Fotos” — Benito Antonio Martinez Ocasio, art director (Bad Bunny)
- “Glory” — Cody Critcheloe & Andrew J.S., art directors (Perfume Genius)
- “moisturizer” — Hester Chambers, Ellis Durand, Henry Holmes, Matt de Jong, Jamie-James Medina, Joshua Mobaraki & Rhian Teasdale, art directors (Wet Leg)
Best pop solo performance
- “DAISIES” — Justin Bieber
- “Manchild” — Sabrina Carpenter
- “Disease” — Lady Gaga
- “The Subway” — Chappell Roan
- “Messy” — Lola Young
Best pop duo/group performance
- “Defying Gravity” — Cynthia Erivo & Ariana Grande
- “Golden” [From “KPop Demon Hunters”] — HUNTR/X: EJAE, Audrey Nuna, REI AMI
- “Gabriela” — KATSEYE
- “APT.” — ROSÉ, Bruno Mars
- “30 For 30” — SZA Featuring Kendrick Lamar
Best pop vocal album
- “SWAG” — Justin Bieber
- “Man’s Best Friend” — Sabrina Carpenter
- “Something Beautiful” — Miley Cyrus
- “MAYHEM” — Lady Gaga
- “I’ve Tried Everything But Therapy (Part 2)” — Teddy Swims
Best rock performance
- “U Should Not Be Doing That” — Amyl and The Sniffers
- “The Emptiness Machine” — Linkin Park
- “NEVER ENOUGH” — Turnstile
- “Mirtazapine” — Hayley Williams
- “Changes (Live From Villa Park) Back To The Beginning” — YUNGBLUD Featuring Nuno Bettencourt, Frank Bello, Adam Wakeman, II
Best metal performance
- “Night Terror” — Dream Theater
- “Lachryma” — Ghost
- “Emergence” — Sleep Token
- “Soft Spine” — Spiritbox
- “BIRDS” — Turnstile
Best rock song
- “As Alive As You Need Me To Be” — Trent Reznor & Atticus Ross, songwriters (Nine Inch Nails)
- “Caramel” — Vessel1 & Vessel2, songwriters (Sleep Token)
- “Glum” — Daniel James & Hayley Williams, songwriters (Hayley Williams)
- “NEVER ENOUGH” — Daniel Fang, Franz Lyons, Pat McCrory, Meg Mills & Brendan Yates, songwriters (Turnstile)
- “Zombie” — Dominic Harrison & Matt Schwartz, songwriters (YUNGBLUD)
Best rock album
- “private music” — Deftones
- “I quit” — HAIM
- “From Zero” — Linkin Park
- “NEVER ENOUGH” — Turnstile
- “Idols” — YUNGBLUD
Best R&B performance
- “YUKON” — Justin Bieber
- “It Depends” — Chris Brown Featuring Bryson Tiller
- “Folded” — Kehlani
- “MUTT (Live From NPR’s Tiny Desk)” — Leon Thomas
- “Heart Of A Woman” — Summer Walker
Best R&B song
- “Folded” — Darius Dixson, Andre Harris, Donovan Knight, Don Mills, Kehlani Parrish, Khris Riddick-Tynes & Dawit Kamal Wilson, songwriters (Kehlani)
- “Heart Of A Woman” — David Bishop & Summer Walker, songwriters (Summer Walker)
- “It Depends” — Nico Baran, Chris Brown, Ant Clemons, Ephrem Lopez Jr., Ryan Press, Bryson Tiller, Elliott Trent & Dewain Whitmore Jr., songwriters (Chris Brown Featuring Bryson Tiller)
- “Overqualified” — James John Abrahart Jr & Durand Bernarr, songwriters (Durand Bernarr)
- “YES IT IS” — Jariuce Banks, Lazaro Andres Camejo, Mike Hector, Peter Lee Johnson, Rodney Jones Jr., Ali Prawl & Leon Thomas, songwriters (Leon Thomas)
Best R&B album
- “BELOVED” — GIVĒON
- “Why Not More?” — Coco Jones
- “The Crown” — Ledisi
- “Escape Room” — Teyana Taylor
- “MUTT” — Leon Thomas
Best rap performance
- “Outside” — Cardi B
- “Chains & Whips” — Clipse, Pusha T & Malice Featuring Kendrick Lamar & Pharrell Williams
- “Anxiety” — Doechii
- “tv off” — Kendrick Lamar Featuring Lefty Gunplay
- “Darling, I” — Tyler, The Creator Featuring Teezo Touchdown
Best rap song
- “Anxiety” — Jaylah Hickmon, songwriter (Doechii)
- “The Birds Don’t Sing” — Gene Elliott Thornton Jr., Terrence Thornton, Pharrell Williams & Stevie Wonder, songwriters (Clipse, Pusha T & Malice Featuring John Legend & Voices Of Fire)
- “Sticky” — Aaron Bolton, Dwayne Carter, Jr., Dudley Alexander Duverne, Tyler Okonma, Janae Wherry, Gloria Woods & Rex Zamor, songwriters (Tyler, The Creator Featuring GloRilla, Sexyy Red & Lil Wayne)
- “TGIF” — Lucas Alegria, Dillon Brophy, Yakki Davis, Jess Jackson, Ronnie Jackson, Mario Mims, Jorge M. Taveras & Gloria Woods, songwriters (GloRilla)
- “tv off” — Jack Antonoff, Larry Jayy, Kendrick Lamar, Dijon McFarlane, Sean Momberger, Mark Anthony Spears & Kamasi Washington, songwriters (Kendrick Lamar Featuring Lefty Gunplay)
Best rap album
- “Let God Sort Em Out” — Clipse, Pusha T & Malice
- “GLORIOUS” — GloRilla
- “God Does Like Ugly” — JID
- “GNX” — Kendrick Lamar
- “CHROMAKOPIA” — Tyler, The Creator
Best country solo performance
- “Nose On The Grindstone” — Tyler Childers
- “Good News” — Shaboozey
- “Bad As I Used To Be” [From “F1® The Movie”] — Chris Stapleton
- “I Never Lie” — Zach Top
- “Somewhere Over Laredo” — Lainey Wilson
Best country duo/group performance
- “A Song To Sing” — Miranda Lambert And Chris Stapleton
- “Trailblazer” — Reba McEntire, Miranda Lambert, Lainey Wilson
- “Love Me Like You Used To Do” — Margo Price & Tyler Childers
- “Amen” — Shaboozey & Jelly Roll
- “Honky Tonk Hall Of Fame” — George Strait, Chris Stapleton
Best country song
- “Bitin’ List” — Tyler Childers, songwriter (Tyler Childers)
- “Good News” — Michael Ross Pollack, Sam Elliot Roman & Jacob Torrey, songwriters (Shaboozey)
- “I Never Lie” — Carson Chamberlain, Tim Nichols & Zach Top, songwriters (Zach Top)
- “Somewhere Over Laredo” — Andy Albert, Trannie Anderson, Dallas Wilson & Lainey Wilson, songwriters (Lainey Wilson)
- “A Song To Sing” — Jenee Fleenor, Jesse Frasure, Miranda Lambert & Chris Stapleton, songwriters (Miranda Lambert And Chris Stapleton)
Best traditional country album
- “Dollar A Day” — Charley Crockett
- “American Romance” — Lukas Nelson
- “Oh What A Beautiful World” — Willie Nelson
- “Hard Headed Woman” — Margo Price
- “Ain’t In It For My Health” — Zach Top
Best contemporary country album
- “Patterns” — Kelsea Ballerini
- “Snipe Hunter” — Tyler Childers
- “Evangeline Vs. The Machine” — Eric Church
- “Beautifully Broken” — Jelly Roll
- “Postcards From Texas” — Miranda Lambert
For a complete list of all 95 categories, visit GRAMMY.com.
The latest round of cross-border strikes between Pakistan and Afghanistan has been quickly absorbed into a familiar vocabulary of sovereignty violations and regional instability.
Such descriptions are incomplete and inaccurate. For Pakistan, militancy emanating from Afghanistan is not a distant geopolitical abstraction. It is an immediate security exposure shaped by geography, history, and a border that remains porous despite decades of militarisation.
Over the past several years, Islamabad has repeatedly stated that anti-Pakistan groups, most prominently the TTP, have found space to regroup across the border. Afghan authorities have rejected the characterisation.
No state can indefinitely absorb violence that originates beyond its formal jurisdiction while relying solely on diplomatic assurances. Pakistan’s security establishment operates under domestic pressure. Civilian casualties from militant attacks do not register as abstract policy debates but as institutional demands for response. In such an environment, cross-border strikes become a tool of signaling as much as of disruption, showing that tolerance thresholds have been reached.
This does not imply that air power alone can neutralise sanctuary dynamics. Militant networks that straddle borders are sustained by terrain, local alliances and ideological overlap. The Afghan authorities, for their part, face internal constraints. Dismantling groups with shared histories or intertwined loyalties risks fragmentation within a political order that is still consolidating itself after decades of war.
Yet Pakistan’s calculus is shaped less by Kabul’s internal difficulties than by the immediacy of its own exposure. The Durand Line has long been more than a demarcation; it is a corridor through which commerce, kinship and militancy have flowed in equal measure. Expecting strategic patience in the face of repeated attacks misunderstands how states prioritise internal order.
International commentary often frames such strikes as escalatory by default, as though restraint were a neutral baseline. That assumption overlooks the asymmetry of cost. Afghanistan does not experience the same volume of attacks originating from Pakistani soil. The burden of spillover has, in recent years, fallen disproportionately on Pakistan. In that context, Islamabad’s calibrated use of force is an assertion that territorial lines cannot serve as shields for non-state actors.
Critics frequently invoke international law in isolation, detached from the persistent failure to neutralise armed groups operating in ungoverned or under-governed spaces. Legal principles cannot substitute for effective territorial control.
There are risks embedded in this approach. Repetition without resolution can normalise cross-border action as a routine policy instrument. Each episode narrows diplomatic space and deepens mistrust. It also reinforces a cycle in which militant actors benefit from the absence of sustained coordination between the two governments.
A durable solution would require intelligence sharing, verifiable commitments and a political understanding that militant groups targeting one state cannot be compartmentalised as peripheral concerns by the other.
Such coordination remains elusive, in part because the broader diplomatic relationship is unsettled. Questions of recognition, sanctions and international legitimacy continue to shape Kabul’s external posture. Pakistan’s engagement has oscillated between cautious accommodation and visible frustration.
The resulting ambiguity has limited the development of institutional mechanisms to manage cross-border threats more effectively.
Pakistan cannot relocate itself away from Afghanistan, nor can it insulate its western provinces from developments across the frontier. In security terms, adjacency compresses reaction time and magnifies perceived threat. When militant attacks accumulate, strategic restraint is weighed against domestic expectations of response, and the balance shifts accordingly.
Whether the current cycle stabilises or intensifies will depend less on rhetorical condemnation and more on demonstrable action against groups operating in border regions. Without credible steps to address sanctuary concerns, episodic military measures are likely to recur. They are imperfect instruments, but they reflect a state confronting a security environment in which passivity carries its own risks.
For Pakistan, the issue is practical containment. The sustainability of any alternative approach will rest on evidence that cross-border militancy is being curtailed in measurable ways. Until such evidence materialises, Islamabad’s actions will continue to be shaped by the logic of proximity and the imperative of internal security rather than by external preference for restraint.
The writer is a non-resident fellow at the Consortium for Asia Pacific & Eurasian Studies. He tweets/posts @umarwrites
Disclaimer: The viewpoints expressed in this piece are the writer’s own and don’t necessarily reflect Geo.tv’s editorial policy.
Originally published in The News
Entertainment
Netflix drops $83 billion bid for Warner Bros. Discovery, paving way for Paramount Skydance deal
Netflix said on Thursday that it will not match Paramount Skydance’s latest bid for Warner Bros. Discovery, clearing the way for a massive merger that could shake up the entertainment and media industry.
Netflix agreed in December to buy part of Warner Bros. Discovery for $27.75 a share, or $82.7 billion. But Paramount Skydance had made a $30 a share all-cash offer to buy all of the company, and on Tuesday raised its offer for Warner Bros. Discovery to $31 a share (Paramount Skydance owns CBS News.)
Earlier on Thursday, Warner Bros. Discovery’s board of directors notified Netflix that Paramount’s $31 per share offer constituted a “superior proposal” for the company.
“The transaction we negotiated would have created shareholder value with a clear path to regulatory approval,” Netflix co-CEOs Ted Sarandos and Greg Peters said in a statement Thursday. “However, we’ve always been disciplined, and at the price required to match Paramount Skydance’s latest offer, the deal is no longer financially attractive, so we are declining to match the Paramount Skydance bid.”
Paramount Skydance didn’t immediately respond to a request for comment.
Warner Bros. Discovery owns streaming and film studios, along with cable channels including CNN, Food Network, HBO, HGTV, TBS, TNT and Turner Classic Movies.
The merger of Paramount Skydance and Warner Bros. Discovery will require approval from federal antitrust enforcers. Paramount Skydance executives have said that combining the companies would benefit consumers and help boost the entertainment industry, which has struggled to recover from the pandemic.
Some entertainment industry groups and lawmakers have raised concerns that uniting two major Hollywood studios could undermine competition.
For its part, Paramount Skydance executives had argued that a union of Netflix and Warner Bros. Discovery, which owns streaming platform HBO Max, was likely to arouse antitrust objections.
In enhancing its offer this week, Paramount Skydance said it would pay a $7 billion termination fee if its acquisition of Warner Bros. Discovery collapsed over regulatory concerns.
Gigi Hadid and Bradley Cooper are sticking together while the actor faces backlash on social media, following scandalous allegations about him.
The supermodel, 30, and the American Hustle star, 51, stepped out in coordinating fall-themed outfits on Wednesday, February 25, in New York City.
Hadid sported a pair of grey trousers and a chocolate-brown coat, with her hair in a messy bun, and Cooper paired black trousers with a beige shacket and black puffer jacket.
The couple were seen leaving the screening of Frankenstein, with a Q&A Event featuring Jacob Elordi at the DGA Theater.
Hadid and Cooper have been together since 2023, and have already hard-launched their relationship on Instagram.
Last December, they attended a Broadway performance of Samuel Becket’s Waiting for Godot, and posed for a picture together behind-the-scenes.
While the duo has kept their relationship lowkey, it has been in the spotlight in recent times as fans were speculating about the next step for the couple.
Social media sleuths also called out Cooper for his name being in the Epstein files. Neither Hadid or Cooper have addressed the allegation.
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