Will Smith marched on stage and appeared to smack presenter Chris Rock during Sunday night’s Oscars after Rock made a joke about the appearance of Smith’s wife, Jada Pinkett Smith.

The crowd at the Dolby Theatre hushed as Smith twice shouted at Rock to “keep my wife’s name out of your (expletive) mouth.”

Rock took aim at Pinkett Smith’s shaved head, saying, “Jada, I love you. GI Jane 2, can’t wait to see it, all right?”

  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Chris Rock and Will Smith after apparent slap
  • Will Smith and  Jada Pinkett Smith
  • Will Smith and  Jada Pinkett Smith

Pinkett Smith revealed in 2018 that she was diagnosed with alopecia. She has often discussed the challenge of hair loss on Instagram and other social media platforms.

Smith, nominated for best actor for his role in “King Richard,” walked onto the stage and took a swing at Rock with an open palm, generating a loud smack. Smith walked back to his seat and shouted for Rock to leave Pinkett Smith alone. Rock replied that he was just making a “GI Jane” joke — and Smith yelled back at him a second time.

“That was the greatest night in the history of television,” Rock said, then resumed his role as presenter.

A few minutes later, rapper Sean Combs — on stage to introduce a tribute to “The Godfather” — tried to play peacemaker and suggested Smith and Rock settle their differences at an Oscars afterparty.

“Will and Chris, we’re going to solve that like family at the Gold party,” Combs said.

Pinkett Smith was also the subject of jokes from Rock when he hosted the Oscars in 2016. She did not attend the Oscars that year, saying at the time her decision stemmed from a lack of diversity among award nominees and how Black artists were not properly represented.

Later in the ceremony, a tearful Smith won the best actor Oscar, his first, for playing Richard Williams — father and tennis mentor to Venus and Serena Williams — in “King Richard.”

“I know to do what we do, you got to be able to take abuse. You got to be able to have people talk crazy about you in this business. You got to be able to have people disrespecting you and you got to smile and you got pretend like that’s OK,” Smith said.

Smith noted, in tears, that Richard Williams was also fiercely protective of his family. “I want to be a vessel for love,” he said.

He also apologized to the academy and his fellow nominees. “This is a beautiful moment,” he said. “Art imitates life. I look like the crazy father. But love will make you do crazy things.”

Up until the confrontation, the show had been running fairly smoothly. Ariana DeBose became the first Afro-Latina to win an Academy Award for supporting actress, while Troy Kotsur became the first deaf actor to win an acting award.

Jane Campion won the Oscar best director for “The Power of the Dog,” her open-plains psychodrama that twisted and upended western conventions. Campion, who had been the first woman ever twice nominated in the category (previously for 1993’s “The Piano”), is only the third woman to win best director. It’s also the first time the directing award has ever gone to women in back-to-back years, after “Nomadland” filmmaker Chloé Zhao won last year.

After record-low ratings and a pandemic-marred 2021 show, producers this year turned to one of the biggest stars around — Beyoncé — to kick off an Oscars intended to revive the awards’ place in pop culture. After an introduction from Venus and Serena Williams, Beyoncé performed her “King Richard” nominated song, “Be Alive,” in an elaborately choreographed performance from a lime-colored, open-air stage in Compton, where the Williams sisters grew up.

Hosts Wanda Sykes, Amy Schumer and Regina Hall then began the telecast from the Dolby Theatre.

“All right, we are here at the Oscars,” began Hall. Sykes finished: “Where movie lovers unite and watch TV.”

Sykes, Schumer and Hall breezily joked through prominent Hollywood issues like pay equity — they said three female hosts were “cheaper than one man” — the Lady Gaga drama that Sykes called “House of Random Accents,” the state of the Golden Globes (now relegated to the memoriam package, said Sykes) and Leonardo DiCaprio’s girlfriends. Their most pointed political point came at the end of their routine, in which they promised a great night and then alluded to Florida’s “Don’t Say Gay” bill.

“And for you people in Florida, we’re going to have a gay night,” said Sykes.

The first broadcast award went, fittingly, to Ariana DeBose, who became the first openly LGBTQ actor and first Latina to win best supporting actress. Her win came 60 years after Rita Moreno won for the same role in the 1961 original “West Side Story.” DeBose thanked Moreno for leading the way for “tons of Anitas like me.”

“You see an openly queer woman of color, an Afro-Latina, who found her strength and life through art. And that is, I think, what we’re here to celebrate,” said DeBose. “So if anyone has ever questioned your identity or you find yourself living in the gray spaces, I promise you this — there is indeed a place for us.”

Later, Kotsur became the first male deaf actor to ever win an acting Oscar, and joined his “CODA” costar Marlee Matlin at the only deaf actors to win an Academy Award. He received a standing ovation while many in the Dolby gave the Deaf clap, waving both hands in the air.

“This is for the Deaf community, the CODA community and the disabled community,” said Kotsur, signing from the stage. “This is our moment.”

“Encanto,” the Disney hit propelled by its chart-topping soundtrack, won best animated film. Lin-Manuel Miranda, who penned the film’s hit songs, missed the ceremony after his wife tested positive for COVID-19. Ryusuke Hamaguchi’s three-hour Japanese drama “Drive My Car,” one of the year’s most acclaimed films, won for best international film.

After two years of pandemic, and beneath a warm California sun Sunday, the Hollywood rite of glamour again got into swing, with a jammed red carpet and a COVID-tested audience.

To help regain the cultural spotlight, the Oscars leaned heavily on musical performances (Billie Eilish, Reba McEntire), film anniversaries (“The Godfather,” James Bond) and as many mentions of the “Encanto” breakout song, “We Don’t Talk About Bruno,” as possible. That made for an often buoyant ceremony that put less focus on the pandemic. The Ukrainian-born Mila Kunis led a 30-second moment of silence for Ukraine. Some stars, like Sean Penn, had lobbied the academy to have Ukrainian President Volodymyr Zelenskyy speak at the ceremony

Aside from a few blue ribbons spotted on the red carpet, politics were seldom center stage. The Oscars instead doubled down on razzle dazzle, and the movies as an escape. Producers brought in the likes of BTS and Tony Hawk to rope in more viewers. Some things worked better than others. Fan favorite rankings, as voted on by Twitter users — in a moment unlikely to be remember as an Oscar highpoint — honored Zack Snyder’s version of “Justice League.”

Feel-good movies also fared well. Sian Heder’s family drama “CODA,” a coming-of-age film about the hearing daughter of a deaf family, won for best adapted screenplay. Kenneth Branagh’s autobiographical “Belfast,” an affectionate family drama bathed in nostalgia and shot in black-and-white, took best original screenplay.

Eilish and her brother Finneas, won for their Bond theme to “No Time to Die,” a song that was released before the pandemic began. The film was subsequently delayed several times.

The Academy Awards got underway Sunday off-camera, with the first eight awards on the night being handed out at the Dolby Theatre before the start of the ABC telecast. The Dolby was largely full in time for the 7 p.m. EDT pre-show, dubbed the “golden hour” by the academy. Speeches were later edited into the broadcast.

It was a strange and controversial beginning to the first fully in-person Oscars in two years. Earlier this month, more than 70 Oscar winners, including James Cameron, Kathleen Kennedy and Guillermo del Toro, warned that the shift would turn some nominees into “second-class citizens.”

“Dune” got out to an early lead in those early awards, and it kept it through the night. The biggest blockbusters of this year’s 10 best-picture nominees, “Dune” won for production design, cinematography, editing, visual effects, sound and Hans Zimmer’s score. Though it’s not favored in the top awards, “Dune” was widely expected to clean up in the technical categories.

Greig Fraser’s cinematography win denied one chance for Oscar history. Some had been rooting for Ari Wenger, who lensed Jane Campion’s “The Power of the Dog,” to become the first woman to win best cinematography, the sole Oscar category that has never been won by a woman in the Academy Awards’ nine decade-plus history

Best makeup and hairstyling went to Linda Dowds, Stephanie Ingram and Justin Raleigh for “The Eyes of Tammy Faye.” That film’s star and producer, Jessica Chastain, had been among the many academy members who thought all the awards should have been handed out live during the broadcast. Chastain hugged each winner as they took the stage.

“I just hope that each and every day on set everyone takes a moment to just look around and look at all those talented people who work hard,” said Dowds, the make-up artist.

“The Queen of Basketball,” about the basketball great Lusia Harris, took best short documentary film. Its executive producers include Steph Curry and Shaquille O’Neal. Best animated short went to “The Windshield Wiper,” while “The Long Goodbye,” a blistering fictional short starring Riz Ahmed, took best fiction short.

“This is for everyone who feels like they’re stuck in No Man’s Land,” said Ahmed. “You’re not alone. We’ll meet you there.”

Behind this year’s telecast changes was alarm over the Oscars fast-falling ratings. While drops have been common to all major network award shows, last year’s show attracted only about 10 million viewers, less than half of the 23.6 million the year before. A decade ago, it was closer to 40 million.

Netflix’s “The Power of the Dog,” Campion’s gothic western, came in with a leading 12 nominations and a good chance of snagging the top award. But all the momentum is with Sian Heder’s deaf family drama “CODA,” which, despite boasting just three nods, is considered the favorite. A win would be a triumph for Apple TV+, which acquired the movie out of the Sundance Film Festival last year and has spent big promoting it to academy members.