“The Brutalist” and “Emilia Pérez” triumphed, “Shōgun” and “Hacks” had big nights, and Nikki Glaser reminded viewers what it’s like to have a host who’s actually funny in the most memorable Golden Globes ceremony since the awards show nearly atomized a few years ago. It was a broadcast notably light on politics (Glaser did have a funny bit about Hollywood’s lack of pull in the last election) and heavy on pleas for studios and suits to respect artists and bet on risky projects (preach, Richard Gadd and Brady Corbet!). Best of all, there were plenty of surprises — such as Fernanda Torres’ win for “I’m Still Here” over icons like Angelina Jolie and Nicole Kidman, and Sebastian Stan’s victory for the little-seen indie “A Different Man” — that could reorder the Oscar race.
For the Globes, which have been reimagined in the wake of a 2021 industrywide boycott over the group’s lack of Black members, the event marked another important step in its long and winding path toward reacceptance. The organization, which is co-owned by Variety parent company PMC in a joint venture with Eldridge, has been reconstituted as a for-profit enterprise and now has a more diverse voting body of 300 journalists, as opposed to the roughly 80 who once decided the winners. But beyond the reforms, celebrities — who somehow always find time in their schedules to accept awards — appreciate that a nationally televised ceremony like the Globes can provide an important platform for their movies and shows.
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And though Globes voters’ choices don’t necessarily align with those of the Emmys or the Oscars, an emotional acceptance speech or a viral moment can bolster an awards campaign. As Hollywood wakes up from the Globes parties around town, nursing a case of cocktail flu, here are some takeaways from an unpredictable broadcast.
Too Much Ado About Running Times
Veteran awards analysts worried that “The Brutalist,” a 215-minute historical epic about a midcentury architect, was a tough sell for voters who might prefer something more traditional — or at least shorter — like “A Complete Unknown” or “Conclave.” But “The Brutalist,” which, at its core, is about the struggle between art and commerce, has a message that resonates with cinephiles and creatives. Plus, it is an undeniable cinematic achievement — a movie whose scope and scale belies its $10 million budget. No wonder the film not only picked up prizes for director Brady Corbet and star Adrien Brody, but also won the Globe for best drama.
Nikki Glaser Should Host Everything
The Oscars? The Grammys? David Zaslav’s Super Bowl party? Take your pick — Glaser would nail the assignment. The comic was utterly unafraid to push the envelope with a few Diddy jokes but also struck the right balance, sending up the A-listers in the room, your Timothées and Arianas, without skewering them so mercilessly that it became uncomfortable à la Ricky Gervais. Prediction: Glaser will have many return engagements as Globes emcee.
Will Ted Sarandos’ Oscar Dreams Become Reality?
It’s no secret that Netflix wants to win best picture. The streamer has invested heavily in trying to make that happen, only to come up short with the likes of “Roma,” “The Irishman” and “The Power of the Dog.” Worse, Apple, a relative newbie in the streaming space that Netflix revolutionized, got there first, winning the top honor for 2021’s “CODA.” But “Emilia Pérez,” a strange and stirring musical about a drug lord who undergoes gender-affirmation surgery, could snap Netflix’s cold streak. It was the most honored film of the night, with four prizes, including one for best comedy or musical. Could that set the stage for Sarandos and Netflix to have their big moment on Oscar night?
Return to Oz
Putting on pounds of prosthetics to play Oz Cobblepot, the scheming gangster whose sobriquet lends “The Penguin” its name, paid off with a Globes win for Colin Farrell. The star, who initially waved off the idea of a second season of the comic book series, has softened in recent months, and a few awards should ease the tedium of hours spent in the makeup chair. Moreover, the sequel to “The Batman,” the film that inspired “The Penguin,” has been delayed a year. Getting some more Gotham-related content out there could be an important way to keep fans invested until the Dark Knight can return.
What “Shōgun”’s Triumph Says About TV’s Future
The historical saga about feudal Japan cleaned up at the Globes, earning four prizes, including one for best TV drama. But is the series the last gasp of TV’s renaissance, one that offered up challenging, boundary-pushing shows like “Breaking Bad” and “The Americans,” or a sign of where the business is headed? Namely, you can still take creative risks, but they should be on an epic scale to rival a “Game of Thrones.” At the very least, we know that “Shōgun” isn’t a one-off. Although initially planned as a miniseries, FX and Hulu have wisely commissioned a second season of the streaming smash.
The Demi-ssance Continues
Prematurely put out to pasture by an industry that decided she was past her expiration date, Demi Moore is enjoying an extraordinary comeback with “The Substance,” a body-horror film that sends up Hollywood’s obsession with youth. For Moore, who picked up a best actress in a comedy prize, the film also serves as a reminder of her acting talent — something the entertainment business didn’t fully appreciate back when she was drawing crowds to ’90s hits like “Ghost” and “Disclosure.” As she accepted her statue, Moore remembered being dismissed by a producer as a “popcorn actress.” Well, after “The Substance,” nobody’s putting Demi in a corner.
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Variety Awards Circuit: Oscars