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  • Golden Globes 2023: What You Didn’t See on TV

    Golden Globes 2023: What You Didn’t See on TV

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    The Golden Globes returned on Tuesday night ready to prove that the Hollywood Foreign Press Association had reformed. The live NBC broadcast—where you could catch host Jerrod Carmichael and all the winners—largely felt like a return to normal for the show, which was known for bringing the party ahead of the more serious Oscars in the spring. Vanity Fair got a first-hand look at the mood in the ballroom, backstage, and at the after parties.  

    David Canfield: Well, if there’s one thing I learned from being in the Beverly Hilton ballroom for the Golden Globes on Tuesday night, it’s that a bunch of movie stars love getting dressed up, drinking champagne, and cheering each other (and themselves) winning gold trophies—shocker! This really was the vibe inside the ceremony: a mostly ebullient return to old-school awards-season glamour, as our colleague Richard Lawson put it in his review. Natalie, what was it like in the press room, where you held down the fort for us?

    Natalie Jarvey: Your experience was decidedly more glamorous, David! Press covering the show who didn’t have tickets for the main ballroom, as well as attendees at the viewing party held upstairs at the Beverly Hilton, had to park off-site and shuttle to the venue. Thanks to the rain, we were treated to a muddy journey through back roads that I didn’t even know existed. The setup inside the press room was itself pretty nice. We had a buffet—including roasted veggies, lemon chicken, and vegan lasagna—and even a bar where a waiter was serving water and beer. Everyone was there to work, not to party, but things got more interesting once winners started making their way backstage. 

    What was the mood like in the ballroom as the show got underway?

    Canfield: Carmichael’s winding and rather scathing opening monologue landed fairly well. It felt like there was an understanding no comic could take this role on without not only addressing the elephant in the room, but also really confronting it. And then the producers wisely opened with best supporting actor, for which heavy front-runner Ke Huy Quan won and gave a rousingly earnest speech. This moment indicated, rather immediately, that these awards could carry some weight again and, in turn, that the show could proceed like the boozy and starry bash it’d had always been known for.

    So that was the show side of things. Then there was the actual dinner, or lack thereof. Save two chocolates, all food was taken off the tables half an hour before showtime, as in, before most of these nominees even arrived. I was seated on an upper tier—one day press will get prime seats, Natalie, one day—which meant I had pretty close access to the bar, where a charcuterie board and chicken club sandwiches were stuffed into the same corner where I saw Glen Powell juggling three cocktails while snapping selfies with almost every person in his path. But for actual nominees close to the stage, the bar was much more of a hike. And if you didn’t get in and out in time, you’d be stuck standing next to me for a whole segment rather than eating at your seat. (I hope I was good silent company, Billy Porter.) There were giant champagne bottles on the tables and comparably little water. So Mike White wasn’t exactly wrong to imply the drunkening effect here. I knew of several publicists hearing from clients about being hungry mid-show.

    Natalie, I’ve got to know if the gripe made it to the press room. What did you hear about famished stars? 

    Jarvey: We didn’t hear much about the food—or lack thereof—at the beginning of the show, but by the time the last group of winners made their way backstage, you could tell they were hangry. After Abbott Elementary won the Golden Globe for Best Musical/Comedy Series, the cast filtered into the press room. The thing on their mind was where they could get a bite to eat. “Have they been feeding you?” Lisa Ann Walter asked the journalists who were still gathered in the room after the Globes broadcast had ended. “We got nothing. Anyone got a finger sandwich in their bag?” When one of the journalists mentioned the hot vegan lasagna waiting in the other room, Walter replied, “I don’t eat other people’s lasagna.” 

    Not all the winners chose to come back to the press room. The night started strong, with Ke Huy Quan and Angela Bassett both making appearances. Bassett told us she hasn’t gone back to watch the acceptance speech she gave when she won her first Golden Globe, all the way back in 1994. But she did say of her younger self, “I think she was on a good path.” Quan, meanwhile, was enthusiastic about his win, though he insisted he’s not being inundated with scripts following his star turn in Everything Everywhere All at Once. “I’m not Tom Cruise, I’m not Brad Pitt, I’m not Leonardo DiCaprio,” he said. “I hope there’s a lot more filmmakers and casting directors thinking of me. I’m really excited and optimistic moving forward.” 

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    David Canfield, Natalie Jarvey

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  • SAG Award Nominations 2023: The Biggest Snubs and Surprises

    SAG Award Nominations 2023: The Biggest Snubs and Surprises

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    The nominations for the 2023 SAG Awards, the awards that often line up the closest with the eventual Oscar nominees, may offer our best glimpse yet of which performances have truly caught Hollywood’s attention this year. And while plenty of conventional wisdom turned out to be correct—everyone really is wild about Everything Everywhere All at Once, The Banshees of Inisherin, and Cate Blanchett—there were some curveballs in the mix too. Below, the Awards Insider team breaks down the biggest snubs and surprises. 

    Surprise: Awards Darling Adam Sandler

    Adam Sandler has been everywhere in the awards push for his Netflix basketball dramedy, Hustle, from accepting an honorary award at the Gotham Awards to a handful of actor roundtables to Vanity Fair’s very own Little Gold Men podcast. Seemingly sensing an opportunity after his near miss with an Oscar nomination for Uncut Gems in 2020, Sandler has shown, well, hustle. And today it paid off, earning Sandler a spot in the best-actor category alongside hefty competition like Austin Butler and Colin Farrell—and deserving too, for a role that captures both the best of his comedic appeal and some genuine dramatic chops too. Even if he winds up left out of the Oscar lineup once again, this is a victory worth celebrating. —Katey Rich

    Surprise: Babylon Lands an Ensemble Nod

    Damien Chazelle’s wild, three-hour romp through 1920s and 1930s Hollywood has been met with a very mixed reception, putting its awards chances in peril. So, it’s a bit of a surprise to see it land in the SAG Awards’ top category, along with such obvious front-runners (The Banshees of Inisherin, Everything Everywhere All at Once, and The Fabelmans, plus Women Talking). But SAG voters couldn’t deny the film’s knockout ensemble, a mix of well-liked industry veterans (Brad Pitt and Jean Smart), newer stars (Margot Robbie), and exciting fresh breakouts (Li Jun Li, Jovan Adepo, and Diego Calva). Will this ensemble boost help its Oscar chances for best picture? That remains to be seen, but at least it keeps it in the conversation. —Rebecca Ford

    Surprise: Hong Chau for The Whale

    Almost all of the buzz around The Whale has been for its lead, Brendan Fraser, who easily landed a lead-actor nom. But what a pleasant surprise to see Hong Chau land a supporting-actress nomination for her work as the main character’s caregiver. Chau, who also gave a scene-stealing performance in The Menu this year, will be up against two Everything Everywhere All at Once stars (Jamie Lee Curtis and Stephanie Hsu), newly minted Globe winner Angela Bassett, and The Banshees of Inisherin’s Kerry Condon, so this is one of those situations where the nomination itself is the win, but we’re hopeful it means more people will take note of Chau’s beautifully calibrated performance and limitless range. —R.F.

    Surprise: Ana de Armas for Blonde

    Blonde was not exactly a hit with audiences or critics, but de Ana de Armas’s tour de force performance as Marilyn Monroe has been undeniable from the moment the NC-17 biopic launched at the Venice Film Festival. And pretty consistently, awards voters have tended to agree, with de Armas previously ranking among the Golden Globe nominees and on the BAFTA long lists. Now that SAG has named the star among the best-actress five—over The FabelmansMichelle Williams, no less, surely the biggest snub of the day—it’s safe to say she’s in serious consideration for her first Oscar nod. She may have gone through it, but if anyone’s going to appreciate such an experience, it’s fellow actors. —David Canfield 

    Snub: Glass Onion: A Knives Out Mystery

    The hope for Netflix’s mystery-comedy sequel was that, awards-wise, it could outdo its predecessor, which received an Oscar nod only for Rian Johnson’s original screenplay. But if there was any place this crowd-pleasing smash was going to hit with a group of voters in a sign of big things to come, it was probably the audience-friendly, ensemble-favoring SAG. Instead, coming off of its underperformance on the BAFTA long lists, industry peers dealt another blow to this campaign by snubbing it altogether: both its supporting-actress hopeful Janelle Monáe, and the starry cast itself, which seems built for a prize like this one. The film has got a lot of ground to make up at this point to rank in the Academy’s final top 10. —D.C.

    Surprise: Stephanie Hsu in Everything Everywhere All at Once 

    The chameleonic Stephanie Hsu, who displayed impressive range as angsty teen Joy and the all-powerful Jobu in Everything Everywhere All at Once, scored a much-deserved SAG nomination alongside her costar Jamie Lee Curtis, who has shown up far more frequently in supporting-actor lineups. Can Hsu and Curtis pull off the increasingly popular “two-nominees, one film” Oscar trend, much like their counterparts on the supporting-actor side, The Banshees of Inisherin’s Brendan Gleeson and Barry Keoghan? With this SAG nomination, it’s looking more likely than ever. —Chris Murphy

    Snub: Is The Crown Fading as an Awards Juggernaut?

    Yes, the lavish Netflix series was nominated for best ensemble in a drama series as well as for Elizabeth Debicki’s performance as Princess Diana. But compare that to the show’s last go-round in 2021, when three of the lead actresses were nominated, alongside Josh O’Connor as Prince Charles; Gillian Anderson won in addition to the show’s best-ensemble prize. No show can be an unchallenged awards juggernaut forever, and SAG tastes in TV tend to shift over time, moving from Mad Men to Boardwalk Empire, Downton Abbey to Stranger Things, etc. With the sixth and final season of The Crown approaching, we may be witnessing its awards swan song—or maybe a mere dip before a grand finale. —K.R.

    Snub: Where Are All The Fabelmans Individual Noms? 

    Wait, wait, wait, run back the film—you’re really telling me that Paul Dano is the only individual acting nomination for The Fabelmans? He was great as the Fabelman family patriarch, and the cast was rightfully given a nod in the ensemble category, but Judd Hirsch is wondering why he even bothered ripping that shirt. It’s hard to even mention Michelle Williams not being recognized for her layered performance as Mitzi Fabelman, because wow, that’s bananas, seeing as many predictions lists had her as a shoo-in for a nomination, not to mention a strong contender for the best-actress win. This cast is packed to the gills with memorable, masterclass-level performances in an emotional story about art, family, and memory, so forgive me for scratching my head at the omissions. Michelle Williams did not clip those nails to be treated like this! —Kase Wickman

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    Katey Rich, David Canfield, Rebecca Ford, Kase Wickman, Chris Murphy

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  • The Golden Globes 2023 Really Did Pull Off Their Comeback

    The Golden Globes 2023 Really Did Pull Off Their Comeback

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    When last year’s Golden Globe Awards ceremony took place off the air so that the Hollywood Foreign Press Association could address its myriad internal problems—chief among them that the group of several dozen international journalists had zero Black members at the time—many among us, including myself, figured they were done for good. How can you bounce back from that kind of public relations catastrophe, especially when your group and its irksome (or worse) eccentricities had only been begrudgingly tolerated by the entertainment industry for decades?

    And yet, Hollywood loves a comeback story, so the Golden Globes returned this year, determined to advertise the HFPA as a changed and enlightened organization that can still put on a glitzy, booze-soaked show. That was, to some degree, borne out as the evening unfolded. But, of course, the controversies of the recent past had to be addressed head on, which host Jerrod Carmichael did in his pensive, biting opening monologue. Perhaps it was fitting that his monologue featured none of the usual riffing on various nominated films and television series. There was a bigger topic to tackle, and so Carmichael did just that—admirably not letting the HFPA off the hook by doing some image rehab on their behalf, while also mordantly (and amusingly) acknowledging the morally compromising matter of money. 

    Still, maybe a few of the corny jokes of old would have been fun. Not because the HFPA’s problems didn’t need covering, but because some of the typical routine would have nicely fit in with the tone the broadcast was trying to create. With its lovely Old Hollywood stylings—Art Deco hues awash in the low glow of table lamps—the ceremony was evoking a sense of past grandeur, giving us a show like the ones distantly glimmering in our collective memory. Which is maybe a cynical strategy for this specific awards body—“Remember when it was all so fancy and easy? Let’s go back to that, please!”—but in general provided a welcome rush of nostalgia. Compared to the tinny, People’s Choice Awards-esque vibe of last year’s trying-too-hard (or not enough?) Oscars, these Globes were a pleasant return to luxe elegance.

    One undeniable sign that we are no longer in the past was that the movie awards mostly concluded before TV, putting the small screen in the position of headliner prominence. Television is, in theory (and, yes, in numbers), what people care about more these days, so it was probably appropriate that the dominant medium should linger later in the evening. Or, it just happened that way because there are so many more TV categories—maybe the film industry should figure out a counterpart to the limited series? Either way, the movies got the last huzzah: the two best picture awards, for The Fabelmans and The Banshees of Inisherin, were held to the very end. 

    As the evening wore on, Carmichael’s humor became more caustic, making a joke about Shelly Miscavige in a bit about Tom Cruise returning his Golden Globes to the HFPA, and later reminding viewers that the Beverly Hilton, where the ceremony takes place, is where Whitney Houston died. Carmichael seemed to lose the audience in the room; though he often urged the crowd to pipe down, he was often talked over. (Maybe he had told them to be quiet too much?) It was hard to tell if that was a specific response to his needling jokes, or if everyone was just having too much fun chatting away in the champagne-soaked swell of the evening. 

    The mood in the room did seem genuinely ebullient, after all the sturm und drang and existential wrestling of last year (Would celebrities ever attend the Golden Globes again? Yes, of course they would). The shadow of COVID was cast away, and the HFPA’s problems could be put aside in favor of the simple, silly joy of people breathlessly thanking collaborators and loved ones on a brightly lit stage. What does it really matter who is giving the awards, as long as there are awards to be accepted in front of the eager gaze of television cameras?

    Fitting of an awards ceremony in the classic vein, there were some big, audience-rumbling moments that brought a traditional mix of righteousness and a little Hollywood self-regard to the evening. Ryan Murphy, receiving the Carol Burnett Award, singled out several of the queer and trans actors he’s worked with over the years, offering them up as beacons of hope for kids facing a renewed wave of bigotry across the country. It was an unexpectedly stirring and sincere speech from a creator who often trades in grime and nihilism. The other Murphy award, Eddie Murphy receiving the Cecil B. DeMille prize, was a lighter and more subdued occasion, though the possibly unplanned stage appearance of Jamie Lee Curtis added a little oddball zest. 

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    Richard Lawson

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  • Golden Globes 2023: The Complete Winners List

    Golden Globes 2023: The Complete Winners List

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    By Corey Atad.

    The Golden Globes are back!

    On Tuesday night, The Hollywood Foreign Press Association returned to hand out its awards for the best in film and television, with the gala televised for the first time since 2021.


    READ MORE:
    2023 Golden Globes Presenters Include Ana de Armas, Billy Porter, Quentin Tarantino & More

    Comedian and TV creator Jerrod Carmichael hosted the show, which featured Gal Gadot, Angela Bassett, Joaquin Phoenix and more stars as presenters.

    Not making an appearance this year was Brendan Fraser, who is nominated for Best Actor for his performance in “The Whale”.

    Fraser has said in interviews that he would not be attending, due to his experience of alleged groping by a former president of the HFPA, and the organizations subsequent handling of the case.


    READ MORE:
    Hugh Jackman, Jamie Lee Curtis, And Other Stars React To Golden Globe Nominations

     

    Check out the full list of nominees and winners (in bold) below:

    Best Motion Picture – Drama

    *The Fabelmans*
    Avatar: The Way of Water
    Elvis
    Tár
    Top Gun Maverick

    Best Actress in a Motion Picture – Drama

    *Cate Blanchett, TÁR*
    Olivia Colman, Empire of Light
    Viola Davis, The Woman King
    Ana de Armas, Blonde
    Michelle Williams, The Fabelmans

    Best Actor in a Motion Picture – Drama

    *Austin Butler, Elvis*
    Brendan Fraser, The Whale
    Hugh Jackman, The Son
    Bill Nighy, Living
    Jeremy Pope, The Inspection

    Best Motion Picture – Musical or Comedy

    *The Banshees of Inisherin*
    Babylon
    Everything Everywhere All at Once
    Glass Onion: A Knives Out Mystery
    Triangle of Sadness

    Best Actress in a Motion Picture – Musical or Comedy 

    *Michelle Yeoh, Everything Everywhere All at Once*
    Lesley Manville, Mrs. Harris Goes to Paris
    Margot Robbie, Babylon
    Anya Taylor-Joy, The Menu
    Emma Thompson, Good Luck to You, Leo Grande

    Best Actor in a Motion Picture – Musical or Comedy

    *Colin Farrell, The Banshees of Inisherin*
    Diego Calva, Babylon
    Daniel Craig, Glass Onion: A Knives Out Mystery
    Adam Driver, White Noise
    Ralph Fiennes, Menu, The

    Best Actress in a Supporting Role in Any Motion Picture

    *Angela Bassett, Black Panther: Wakanda Forever*
    Kerry Condon, Banshees of Inisherin, The
    Jamie Lee Curtis, Everything Everywhere All at Once
    Dolly De Leon, Triangle of Sadness
    Carey Mulligan, She Said

    Best Actor in a Supporting Role in Any Motion Picture

    *Ke Huy Quan, Everything Everywhere All at Once*
    Brendan Gleeson, Banshees of Inisherin, The
    Barry Keoghan, Banshees of Inisherin, The
    Brad Pitt, Babylon
    Eddie Redmayne, Good Nurse, The

    Best Director – Motion Picture

    *Steven Spielberg, The Fabelmans*
    James Cameron, Avatar: The Way of Water
    Daniel Scheinert and Daniel Kwan, Everything Everywhere All at Once
    Baz Luhrmann, Elvis
    Martin McDonagh, The Banshees of Inisherin

    Best Screenplay – Motion Picture 

    *Martin McDonagh, The Banshees of Inisherin*
    Todd Field, TÁR
    Daniel Scheinert and Daniel Kwan, Everything Everywhere All at Once
    Sarah Polley, Women Talking
    Tony Kushner and Steven Spielberg, The Fabelmans

    Best Motion Picture – Animated 

    *Guillermo del Toro’s Pinocchio*
    Inu-Oh
    Marcel the Shell with Shoes On
    Puss in Boots: The Last Wish
    Turning Red

    Best Motion Picture – Non-English Language 

    *Argentina, 1985, Argentina*
    All Quiet on the Western Front
    , Germany
    Close, Netherlands/France/Belgium
    Decision to Leave, South Korea
    RRR, India

    Best Original Score – Motion Picture 

    *Justin Hurwitz, Babylon*
    Carter Burwell, Banshees of Inisherin, The
    Alexandre Desplat, Guillermo del Toro’s Pinocchio
    Hildur Guðnadóttir, Women Talking
    John Williams, Fabelmans, The

    Best Original Song – Motion Picture

    *RRR, “Naatu Naatu”*
    Where the Crawdads Sing
    , “Carolina”
    Guillermo del Toro’s Pinocchio, “Ciao Papa”
    Top Gun: Maverick, “Hold My Hand”
    Black Panther: Wakanda Forever, “Lift Me Up”


    Best Television Series – Drama

    *House of the Dragon*
    Better Call Saul
    Crown, The
    Ozark
    Severance

    Best Actress in a Television Series – Drama

    *Zendaya, Euphoria*
    Emma D’Arcy, House of the Dragon
    Laura Linney, Ozark
    Imelda Staunton, Crown, The
    Hilary Swank, Alaska Daily

    Best Actor in a Television Series – Drama

    *Kevin Costner, Yellowstone*
    Jeff Bridges, Old Man, The
    Diego Luna, Andor
    Bob Odenkirk, Better Call Saul
    Adam Scott, Severance

    Best Television Series – Musical or Comedy

    *Abbott Elementary*
    Bear, The
    Hacks
    Only Murders in the Building
    Wednesday

    Best Actress in a Television Series – Musical or Comedy

    *Quinta Brunson, Abbott Elementary*
    Kaley Cuoco, Flight Attendant, The
    Selena Gomez, Only Murders in the Building
    Jenna Ortega, Wednesday
    Jean Smart, Hacks

    Best Actor in a Television Series – Musical or Comedy

    *Jeremy Allen White, Bear, The*
    Donald Glover, Atlanta
    Bill Hader, Barry
    Steve Martin, Only Murders in the Building
    Martin Short, Only Murders in the Building

    Best Performance by an Actress in a Supporting Role in a Musical, Comedy or Drama Television Series

    *Julia Garner, Ozark*
    Elizabeth Debicki, Crown, The
    Hannah Einbinder, Hacks
    Janelle James, Abbott Elementary
    Sheryl Lee Ralph, Abbott Elementary

    Best Performance by an Actor in a Supporting Role in a Musical, Comedy or Drama Television Series

    *Tyler James Williams, Abbott Elementary*
    John Lithgow, Old Man, The
    Jonathan Pryce, Crown, The
    John Turturro, Severance
    Henry Winkler, Barry

    Best Television Limited Series or Motion Picture Made for Television

    *The White Lotus*
    Black Bird
    Dahmer – Monster: The Jeffrey Dahmer Story
    Dropout, The
    Pam & Tommy

    Best Actress in a Limited Series or Motion Picture Made for Television

    *Amanda Seyfried, Dropout, The*
    Jessica Chastain, George & Tammy
    Julia Garner, Inventing Anna
    Lily James, Pam & Tommy
    Julia Roberts, Gaslit

    Best Actor in a Limited Series or Motion Picture Made for Television

    *Evan Peters, Dahmer – Monster: The Jeffrey Dahmer Story*
    Taron Egerton, Black Bird
    Colin Firth, The Staircase
    Andrew Garfield, Under the Banner of Heaven
    Sebastian Stan, Pam & Tommy

    Best Performance by an Actress in a Supporting Role in a Limited Series, Anthology Series or Motion Picture Made for Television

    *Jennifer Coolidge, White Lotus, The*
    Claire Danes, Fleishman Is in Trouble
    Daisy Edgar-Jones, Under the Banner of Heaven
    Niecy Nash, Dahmer – Monster: The Jeffrey Dahmer Story
    Aubrey Plaza, White Lotus, The

    Best Performance by an Actor in a Supporting Role in a Limited Series, Anthology Series or Motion Picture Made for Television

    *Paul Walter Hauser, Black Bird*
    F. Murray Abraham, The White Lotus
    Domhnall Gleeson, The Patient
    Richard Jenkins, Dahmer – Monster: The Jeffrey Dahmer Story
    Seth Rogen, Pam & Tommy

    The 2023 Golden Globes air Tuesday, Jan. 10, at 8 p.m. ET/5 p.m. PT.

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    Corey Atad

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  • ‘House of the Dragon’ Wins Best TV Series at Golden Globes

    ‘House of the Dragon’ Wins Best TV Series at Golden Globes

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    In its eight season run on HBO, Game of Thrones won 0 Golden Globes for Best TV Series, Drama.

    House of the Dragon has already topped it.

    This year’s Golden Globe for Best TV Series, Drama, went to House of the Dragon, the Game of Thrones prequel that recently concluded its first season on HBO and HBO Max. The show was a ratings smash, critically acclaimed, and now it is a Golden Globe winner. The series beat out fellow nominees Better Call Saul (AMC), The Crown (Netflix), Ozark (Netflix), and Severance (Apple TV+).

    House of the Dragon was only nominated for one other Golden Globe this year; Emma D’Arcy was nominated for Best Actress in a TV Series, Drama, but lost to Zendaya from Euphoria. The other big winner of the night at the Globes on the TV side of things was Abbott Elementary, which won Best TV Series, Musical or Comedy, plus Best Actress in a Musical TV Series (Or a Comedy) for Quinta Brunson, as well as Best Supporting Actor in a TV series Musical (or a Comedy) for Tyler James Williams.

    Game of Thrones was nominated for Best TV Series at the Globes on five different occasions, but lost each and every time. But the show did earn some accolades, including a Golden Globe for Best Supporting Actor for Peter Dinklage. And of course the show won a total of 59 Emmy Awards over the course of its eight-year run on cable. So it did just fine without a Best TV Series Drama Golden Globe, thank you very much.

    House of the Dragon Season 1 is still available on HBO Max. The second season is currently in development.

    10 Popular TV Shows That Were Almost Cancelled Too Soon

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    ScreenCrush Staff

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  • Rihanna Was Just a Little Fashionably Late to the Golden Globes

    Rihanna Was Just a Little Fashionably Late to the Golden Globes

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    While Rihanna has been laying low since the birth of her son, she delighted fans Tuesday by making a fashionably late entrance at the 2023 Golden Globes.

    She and A$AP Rocky were the power couple to watch at the prestigious film and television awards show. While they skipped the red carpet, they couldn’t escape eagle-eyed fans, who were quick to spot the two sitting among the star-studded crowd throughout the broadcast.

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    Angela Wei

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  • Michelle Yeoh, Cate Blanchett Win Best-Actress Awards at the Golden Globes 2023

    Michelle Yeoh, Cate Blanchett Win Best-Actress Awards at the Golden Globes 2023

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    “I’m just going to stand here and take this all in,” Michelle Yeoh said as she took the stage to accept her award at the Golden Globes 2023 for best actress in a musical or comedy.

    Yeoh won for her role in Everything Everywhere All at Once, A24’s genre-bending action-drama film in which she plays Evelyn, a laundromat owner who is pulled into a plot across multiple universes to save the human race from destruction. Her competition included Lesley Manville for Mrs. Harris Goes to Paris, Margot Robbie for Babylon, Anya Taylor-Joy for The Menu, and Emma Thompson for Good Luck to You, Leo Grande.

    In her acceptance speech, Yeoh reflected on how her decades-long career resulted in this role that she considers one of her most important and fulfilling. “It’s been an incredible journey, an incredible fight, but I think it’s all been worth it,” she said. 

    Yeoh has been raking in the awards and critics prizes this season already, including the Santa Barbara International Film Festival’s highest honor and the National Board of Review’s actress prize just this past weekend. “I guess my 40 years of experience was like a long rehearsal for this movie,” she recently told Vanity Fair of the role in the film by Daniel Kwan and Daniel Scheinert.

    “I think all of you women understand this. As the days and the years and the numbers get bigger, it seems like the opportunities get smaller,” said Yeoh, now 60, who also reflected on the difficulties she had as an actor of Asian descent in Hollywood. 

    She wrapped up her speech by acknowledging those who came before her. “This is for all the shoulders I stand on, all who came before me who look like me, and all who are going with me on this journey forward.”

    As for best actress in a drama, Cate Blanchett won but was not present to accept the award (presenter Henry Golding stated she was filming in the UK). She faced off against Olivia Colman for Empire of Light, Viola Davis for The Woman King, Ana de Armas for Blonde, and Michelle Williams for The Fabelmans. Blanchett’s gripping work as composer-conductor Lydia Tár in Todd Field’s film has been one of the most talked-about performances of the year ever since the film debuted at the Venice Film Festival, where Blanchett won the award for best actress. Among the awards she’s already received are ones from the National Society of Film Critics and the New York Film Critics Circle, as well as an honor from the Palm Springs International Film Festival. 

    Blanchett and Yeoh are both tipped to earn several other nominations (SAG Award nominations are announced tomorrow) and have all but locked their slots for Academy Award nominations. Their dual wins today cement this year’s best-actress race as one of the most exciting in many years. 

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    Rebecca Ford

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  • Golden Globes 2023: How the Show Addressed the Controversy

    Golden Globes 2023: How the Show Addressed the Controversy

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    The Golden Globes 2023 wasted no time in addressing the series of controversies that led to the show’s removal from NBC last year and a complete overhaul of the voting body that determines the awards. Walking onstage to begin his opening monologue, host Jerrod Carmichael introduced himself thusly: “I’ll tell you why I’m here. I’m here because I’m Black.”

    It was in February of 2021 that a Los Angeles Times report revealed that the Hollywood Foreign Press Association, which presents the Golden Globes, had zero Black members. Or, as Carmichael put it, “They didn’t have a single Black member until George Floyd died. So do with that information what you will.” Calling himself “the Black face of an embattled white organization,” Carmichael devoted much of his monologue to his decision to host at all, but ended on a warmer note, acknowledging the honor of being in a room with the night’s nominees. Then again, he also seemed aware of his power: “They haven’t had a Black host in 79 years, they’re going to fire the first one? I’m unfireable.”

    By acknowledging the controversy head-on at the very beginning, Carmichael seemingly cleared the path for the winners to move straight to their heartfelt thank-yous. Even when thanking the Hollywood Foreign Press Association directly, none of the winners acknowledged the upheaval within the group from onstage. In the press room, best-supporting-actress winner Angela Bassett was asked if she hesitated to attend the awards, and said no: “I wasn’t about to stay home. The Hollywood Foreign Press has made strides to do what they know needs to be done.”

    It was up to Carmichael to bring up the organization’s challenging past midway through the show, appearing onstage after a commercial break clutching three Golden Globes he claimed were the ones Tom Cruise returned. And in his acceptance speech for the Carol Burnett Award, Ryan Murphy obliquely acknowledged last year’s untelevised ceremony when paying tribute to Pose star Michaela Jaé Rodriguez. But, as Murphy said, “The show did go on.”

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  • Angela Bassett Wins Best Supporting Actress at Golden Globes

    Angela Bassett Wins Best Supporting Actress at Golden Globes

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    Black Panther: Wakanda Forever’s awards campaign is off to a very good start.

    The original Black Panther was nominated for three Golden Globes, including Best Picture, but won none of the prizes. This year, Wakanda Forever is nominated for only two awards, Best Supporting Actress and Best Original Song — but it already won one. Angela Bassett took home the prize for Best Supporting Actress, playing the late T’Challa’s mother, Ramonda, the queen of Wakanda.

    Following the death of T’Challa, Ramonda assumes the throne of Wakanda. Although Ramonda still a supporting character in the film, Bassett takes on a much larger role in this sequel than she did in the original Black Panther. She won the Globes’ Best Supporting Actress prize over Kerry Condon for The Banshees of Inisherin, Jamie Lee Curtis from Everything Everywhere All at Once, Dolly De Leon for Triangle of Sadness, and Carey Mulligan for She Said.

    Here is Wakanda Forever’s official synopsis:

    In Marvel Studios’ “Black Panther: Wakanda Forever,” Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje (including Florence Kasumba) fight to protect their nation from intervening world powers in the wake of King T’Challa’s death. As the Wakandans strive to embrace their next chapter, the heroes must band together with the help of War Dog Nakia (Lupita Nyong’o) and Everett Ross (Martin Freeman) and forge a new path for the kingdom of Wakanda. Introducing Tenoch Huerta Mejía as Namor, ruler of a hidden undersea nation, the film also stars Dominique Thorne, Michaela Coel, Mabel Cadena and Alex Livinalli.

    Black Panther: Wakanda Forever debuts on Disney+ on February 1. Follow along with all the Globes winners here.

    Sign up for Disney+ here.

    The Most Absurd Golden Globes Nominations

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  • Every Look From the 2023 Golden Globes Red Carpet

    Every Look From the 2023 Golden Globes Red Carpet

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    The Golden Globes are back, with celebrities ready to kick off the 2023 award show season with head-turning fashion. 

    Despite the controversy surrounding this particular stop on the awards circuit, the Golden Globes are set to attract a head-turning crowd, with nominations for films like “Avatar: The Way of Water,” Top Gun: Maverick” and “Babylon” as well as confirmed appearances from Rihanna, Taylor Swift, Selena Gomez and more. 

    See all the looks from the 2023 Golden Globes as they walk the red carpet below.

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    Andrea Bossi

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  • How To Stream The 2023 Golden Globes — Who’s Hosting, What Time To Watch, Nominees And More

    How To Stream The 2023 Golden Globes — Who’s Hosting, What Time To Watch, Nominees And More

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    By Danica Creahan, ETOnline.com.

    The 80th Golden Globe Awards are kicking off the 2023 awards season tomorrow, January 10. With some brand new awards categories and notable nominees including Emma D’Arcy, Taylor Swift, Jenna Ortega, Jeremy Allen White, Selena Gomez and more, you won’t want to miss the 2023 Golden Globes.

    After the 2022 Golden Globes took place off-air following controversy over the Hollywood Foreign Press Association’s membership and nomination process, this year’s Golden Globes are returning to NBC and Peacock.

    The 2023 Golden Globes will be hosted by comedian and Emmy winner Jerrod Carmichael. Some big Hollywood names such as Ana de Armas, Billy Porter, Jamie Lee Curtis, Natasha Lyonne, Nicole Byer and Quentin Tarantino are among the first string of Golden Globe presenters announced ahead of the ceremony.

    Notable film nominees this year include “Elvis”, “Everything Everywhere All at Once”, “The Fabelmans”, “Glass Onion: A Knives Out Mystery” and “Top Gun: Maverick”. On the TV side, “Abbott Elementary”,“Dahmer – Monster: The Jeffrey Dahmer Story”, “House of the Dragon” and “Pam & Tommy” were recognized.

    Keep reading to find out everything you need to know about how to watch the 80th Golden Globe Awards.

    Andy Samberg and Sandra Oh – Photo: Paul Drinkwater/NBCUniversal via Getty Images

    When are the 2023 Golden Globes?

    This year’s awards season kicks off on Tuesday, January 10, 2023. The ceremony will air live on NBC and Peacock starting at 5 p.m. PT/8 p.m. ET.

    Where to stream the Golden Globes this year:

    After a year off the air, the 2023 Golden Globes ceremony will be available to watch live on both NBC and Peacock.

    Who is presenting at the 80th Golden Globe Awards?

    Ana de Armas – Photo: Christopher Polk/NBC/NBCU Photo Bank via Getty Images
    Ana de Armas – Photo: Christopher Polk/NBC/NBCU Photo Bank via Getty Images

    Ana de Armas, Ana Gasteyer, Billy Porter, Colman Domingo, Jamie Lee Curtis, Michaela Jaé Rodriguez, Natasha Lyonne, Nicole Byer, Niecy Nash-Betts, Quentin Tarantino and Tracy Morgan have officially been announced as presenters at this year’s awards show.

    Who is going to be at the 2023 Golden Globes?

    Jessica Chastain – Photo: Axelle/Bauer-Griffin/FilmMagic
    Jessica Chastain – Photo: Axelle/Bauer-Griffin/FilmMagic

    Elizabeth Debicki, Jenna Ortega, Michelle Williams, Jessica Chastain, Julia Garner and Austin Butler will likely be in attendance this year.

    While he was nominated for his performance in “The Whale”, Brendan Fraser will not attend the 2023 Golden Globes. The actor came forth with a sexual assault allegation against a former president of the HFPA back in 2018.

    “The Fabelmans” – Photo: Universal Pictures
    “The Fabelmans” – Photo: Universal Pictures

    Best Motion Picture – Drama
    Avatar: The Way of Water
    Elvis
    Fabelmans, The
    Tár
    Top Gun Maverick

    Best Actress in a Motion Picture – Drama
    Cate Blanchett, TÁR
    Olivia Colman, Empire of Light
    Viola Davis, Woman King, The
    Ana de Armas, Blonde
    Michelle Williams, Fabelmans, The

    Best Actor in a Motion Picture – Drama
    Austin Butler, Elvis
    Brendan Fraser, Whale, The
    Hugh Jackman, Son, The
    Bill Nighy, Living
    Jeremy Pope, Inspection, The

    Best Motion Picture – Musical or Comedy
    Babylon
    Banshees of Inisherin, The
    Everything Everywhere All at Once
    Glass Onion: A Knives Out Mystery
    Triangle of Sadness

    Best Actress in a Motion Picture – Musical or Comedy 
    Lesley Manville, Mrs. Harris Goes to Paris
    Margot Robbie, Babylon
    Anya Taylor-Joy, Menu, The
    Emma Thompson, Good Luck to You, Leo Grande
    Michelle Yeoh, Everything Everywhere All at Once

    Best Actor in a Motion Picture – Musical or Comedy
    Diego Calva, Babylon
    Daniel Craig, Glass Onion: A Knives Out Mystery
    Adam Driver, White Noise
    Colin Farrell, Banshees of Inisherin, The
    Ralph Fiennes, Menu, The

    Best Actress in a Supporting Role in Any Motion Picture
    Angela Bassett, Black Panther: Wakanda Forever
    Kerry Condon, Banshees of Inisherin, The
    Jamie Lee Curtis, Everything Everywhere All at Once
    Dolly De Leon, Triangle of Sadness
    Carey Mulligan, She Said

    Best Actor in a Supporting Role in Any Motion Picture
    Brendan Gleeson, Banshees of Inisherin, The
    Barry Keoghan, Banshees of Inisherin, The
    Brad Pitt, Babylon
    Ke Huy Quan, Everything Everywhere All at Once
    Eddie Redmayne, Good Nurse, The

    Best Director – Motion Picture
    James Cameron, Avatar: The Way of Water
    Daniel Scheinert and Daniel Kwan, Everything Everywhere All at Once
    Baz Luhrmann, Elvis
    Martin McDonagh, Banshees of Inisherin, The
    Steven Spielberg, Fabelmans, The

    Best Screenplay – Motion Picture 
    Todd Field, TÁR
    Daniel Scheinert and Daniel Kwan, Everything Everywhere All at Once
    Martin McDonagh, Banshees of Inisherin, The
    Sarah Polley, Women Talking
    Tony Kushner and Steven Spielberg, Fabelmans, The

    Best Motion Picture – Animated 
    Guillermo del Toro’s Pinocchio
    Inu-Oh
    Marcel the Shell with Shoes On
    Puss in Boots: The Last Wish
    Turning Red

    Best Motion Picture – Non-English Language 
    All Quiet on the Western Front, Germany
    Argentina, 1985, Argentina
    Close, Netherlands/France/Belgium
    Decision to Leave, South Korea
    RRR, India

    Best Original Score – Motion Picture 
    Carter Burwell, Banshees of Inisherin, The
    Alexandre Desplat, Guillermo del Toro’s Pinocchio
    Hildur Guðnadóttir, Women Talking
    Justin Hurwitz, Babylon
    John Williams, Fabelmans, The

    Best Original Song – Motion Picture
    Where the Crawdads Sing, “Carolina”
    Guillermo del Toro’s Pinocchio, “Ciao Papa”
    Top Gun: Maverick, “Hold My Hand”
    Black Panther: Wakanda Forever, “Lift Me Up”
    RRR, “Naatu Naatu”

    Best Television Series – Drama
    Better Call Saul
    Crown, The
    House of the Dragon
    Ozark
    Severance

    Best Actress in a Television Series – Drama
    Emma D’Arcy, House of the Dragon
    Laura Linney, Ozark
    Imelda Staunton, Crown, The
    Hilary Swank, Alaska Daily
    Zendaya, Euphoria

    Best Actor in a Television Series – Drama
    Jeff Bridges, Old Man, The
    Kevin Costner, Yellowstone
    Diego Luna, Andor
    Bob Odenkirk, Better Call Saul
    Adam Scott, Severance

    Best Television Series – Musical or Comedy
    Abbott Elementary
    Bear, The
    Hacks
    Only Murders in the Building
    Wednesday

    Best Actress in a Television Series – Musical or Comedy
    Quinta Brunson, Abbott Elementary
    Kaley Cuoco, Flight Attendant, The
    Selena Gomez, Only Murders in the Building
    Jenna Ortega, Wednesday
    Jean Smart, Hacks

    Best Actor in a Television Series – Musical or Comedy
    Donald Glover, Atlanta
    Bill Hader, Barry
    Steve Martin, Only Murders in the Building
    Martin Short, Only Murders in the Building
    Jeremy Allen White, Bear, The

    Best Performance by an Actress in a Supporting Role in a Musical, Comedy or Drama Television Series
    Elizabeth Debicki, Crown, The
    Hannah Einbinder, Hacks
    Julia Garner, Ozark
    Janelle James, Abbott Elementary
    Sheryl Lee Ralph, Abbott Elementary

    Best Performance by an Actor in a Supporting Role in a Musical, Comedy or Drama Television Series
    John Lithgow, Old Man, The
    Jonathan Pryce, Crown, The
    John Turturro, Severance
    Tyler James Williams, Abbott Elementary
    Henry Winkler, Barry

    Best Television Limited Series or Motion Picture Made for Television
    Black Bird
    Dahmer – Monster: The Jeffrey Dahmer Story
    Dropout, The
    Pam & Tommy
    White Lotus, The

    Best Actress in a Limited Series or Motion Picture Made for Television
    Jessica Chastain, George & Tammy
    Julia Garner, Inventing Anna
    Lily James, Pam & Tommy
    Julia Roberts, Gaslit
    Amanda Seyfried, Dropout, The

    Best Actor in a Limited Series or Motion Picture Made for Television
    Taron Egerton, Black Bird
    Colin Firth, The Staircase
    Andrew Garfield, Under the Banner of Heaven
    Evan Peters, Dahmer – Monster: The Jeffrey Dahmer Story
    Sebastian Stan, Pam & Tommy

    Best Performance by an Actress in a Supporting Role in a Limited Series, Anthology Series or Motion Picture Made for Television
    Jennifer Coolidge, White Lotus, The
    Claire Danes, Fleishman Is in Trouble
    Daisy Edgar-Jones, Under the Banner of Heaven
    Niecy Nash, Dahmer – Monster: The Jeffrey Dahmer Story
    Aubrey Plaza, White Lotus, The

    Best Performance by an Actor in a Supporting Role in a Limited Series, Anthology Series or Motion Picture Made for Television
    F. Murray Abraham, The White Lotus
    Domhnall Gleeson, The Patient
    Paul Walter Hauser, Black Bird
    Richard Jenkins, Dahmer – Monster: The Jeffrey Dahmer Story
    Seth Rogen, Pam & Tommy


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  • Inside the New York Film Critics Circle Celebration: Heartfelt Thanks, Sake Bombs, and More

    Inside the New York Film Critics Circle Celebration: Heartfelt Thanks, Sake Bombs, and More

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    At Wednesday night’s New York Film Critics Circle gala at New York’s Tao Downtown, there was no suspense to be found, no “envelope please”—the critics’ group voted on and announced its winners a month ago. Instead of awards shows’ usual tension and cutting between contenders to see the elation or disappointment after a winner is announced, at the NYFCC ceremony the rule of the night was celebration only as industry notables paid tribute to their colleagues over plates of lobster fried rice and miso-glazed cod—served, appropriately, family-style. 

    If one big winner of the evening had to be selected it might be Tár, winner of the best actress and best-picture prizes. Director Todd Field was introduced by Martin Scorcese via video, with the legendary director saying that “the clouds lifted when I experienced Todd’s film Tár.” Field himself paid tribute to his star, Cate Blanchett, in his acceptance speech, calling her “a fucking humble artist who stands at the ready,” and “a believer, a defender of the faith.” Blanchett, likewise, told Field in her own speech that “this menu is yours, Todd, every single morsel of it.” (For the uninitiated, it was a reference to the NYFCC’s awards certificate, which is presented sheathed in a large blue portfolio.)

    Stephen Colbert did the honors of introducing Blanchett. “I was truly moved by your performance as a magnetic, larger-than-life, creative woman; a leader at the height of her powers; intensely, feverishly focused on defeating the Dark Lord Sauron,” he said. “Lydia Tár would have taken that fucking ring,” he said before calling himself out as “a huge fan of both Todd Field and his wife’s cookies.” 

    Everything Everywhere All at Once star Ke Huy Quan continued his moving awards-season comeback arc with a win for best supporting actor, thanking directors the Daniels in his acceptance speech.

    He recalled a reporter asking him a bog-standard red-carpet question—“how does it feel?”—while he promoted Everything Everywhere, his first film in decades following his child stardom in the 1980s.

    “I couldn’t quite articulate how I was feeling, aside from saying, ‘It feels incredible,’” he said. “And I realized I couldn’t explain because it was a feeling I hadn’t had for a long, long time. In fact, it was more than 30 years. And it was the same feeling that I had when I was a kid, when I was a working actor.”

    “So I just wanted to give a huge shout-out to Dan Kwan, Daniel Scheinert, and our producer, Jonathan Wang, for making me feel like a kid again.” 

    The directing duo introduced Quan, with Scheinert thanking the actor for being willing to talk about difficult memories and “[promoting] the shit out of this movie this year.” 

    “It’s hard what you went through when Hollywood stopped casting you, like idiots,” he said. 

    Kwan noted Quan’s particularly special presence. “It’s not just his talent or adorable smile,” he insisted. The actor is, he said, “someone who could make us believe in an unkind world that there is still a place for kindness.” The duo toasted Quan onstage with sake (Scheinert called the actor’s sake bombs life-changing), complete with what they said is Quan’s signature move—plopping the empty cup upside down on top of your head after drinking. 

    Banshees of Inisherin actor Kerry Condon found herself in the rare position of winning no awards herself, but accepting two of them, on behalf of best-actor winner Colin Farrell and best-screenplay winner Martin McDonagh, neither of whom could make it to the gala. (Seth Meyers, introducing Farrell’s award, passed on a message from the actor that “he wanted me to tell you, and this is a direct quote, how fecking sorry he is.”) Condon took a few comedic liberties on the speeches her friends prepared, quipping that “Martin is in Southeast Asia, which is a long way to go to avoid an awards ceremony,” and during Farrell’s remarks, “then he goes into this long bit to make me red in the face, and I’m not reading it.” 

    Accepting Marcel the Shell with Shoes On’s award for best animated feature, Jenny Slate said, “I think we tried to make a film that showed the shape of an embrace. It just ended up looking like a shell with one eye and two shoes.”

    The gala was a remarkable gathering of names, the New York film and arts community getting together in person for their traditional January celebration for the first time since 2020 for the presentation of the awards. David Byrne, Keke Palmer, Nan Goldin, Jim Jarmusch, Jordan Peele, and more were on hand. 

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    Kase Wickman

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  • Keke Palmer Kicks Off 2023 Red Carpet Season in Shimmery Michael Kors Collection

    Keke Palmer Kicks Off 2023 Red Carpet Season in Shimmery Michael Kors Collection

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    Keke Palmer kicked off the new year back on the red carpet for the 2023 New York Film Critics Circle Awards – just a month after her surprise pregnancy announcement while hosting “SNL” in December.

    The 29-year-old arrived at Tao Downtown in New York City in a dazzling silver sequin gown hailing from Michael Kors Collection, styled by go-to fashion duo Wayman Deon and Micah McDonald. The shimmery dress features a floor-hitting skirt, a plunging neckline and thin spaghetti straps. The actor accessorized with a gold Lorraine West choker; as for glam, she opted to wear her long twisted braids down, paired with bronzed makeup. 

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    India Roby

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  • The Images of ‘All Quiet on the Western Front:’ Using Light to Capture the Darkness of War

    The Images of ‘All Quiet on the Western Front:’ Using Light to Capture the Darkness of War

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    If there’s one international feature that has the potential to break through with multiple Oscar nominations this year, it’s looking more and more likely that it will be All Quiet on the Western Front. The German-language adaptation of Erich Maria Remarque’s 1929 novel is Germany’s submission in the international-feature category, and it also made the short lists in four other categories, including original score and visual effects.

    Currently streaming on Netflix, All Quiet on the Western Front is epic in scope, following idealistic 17-year-old Paul Bäumer (Felix Kammerer), who comes to realize the horrors of war after he is sent to the trenches on World War I’s Western Front. Directed by Edward Berger, the drama balances the violent tragedy of war with stunning cinematography, shot by James Friend. Filmed in the Czech Republic, Friend uses mostly large-format cameras, taking the viewer through the muddy trenches of war and intense, heart-racing battle scenes.

    Berger and Friend tell Vanity Fair that Paul’s journey was their constant North Star. “Every decision that was made in terms of where to place the camera is to put the audience into Paul’s shoes,” says Berger. “We immediately thought, Alright, it’s one boy’s story, so it’s one camera. We basically only used one camera, and we had another camera to leapfrog to the next location.” Here, Berger and Friend take us through six of their favorite shots from the 52-day shoot, including the harrowing moments on the muddy battlefield and a snowy surprise. 

    The Battlefield

    Courtesy of Netflix. 

    Courtesy of Netflix. 

    The scenes at the Western Front trenches were filmed at an abandoned ex-Soviet air base in the Czech Republic town of Milovice. “The location was a real gem. When you are embarking on a picture like this, you’re only as good as what you can really photograph,” says Friend. 

    The air base had two runways with an enormous plot of land between them, so the team tore it up to build the trenches, with mud-filled craters running as deep as 20 feet. At one point, Friend even found himself stuck in one, sinking deeper every moment. “We had to get a crane to get him out of the mud,” Berger says with a laugh. “You can basically drown in the mud. It’s basically quicksand.” Almost every scene in the trenches was shot on location, says Friend, who, along with Berger, felt that shooting these scenes practically would provide authenticity. The explosions were also practical. 

    Where movie magic did have to step in was when it came to the background actors. Friend says they bunched up all the extras they had for this first shot, to make it look like the German army was being attacked by a giant enemy force. “In the magic of cinema, you give the illusion that there’s actually a thousand people running across a battlefield at once. It was fantastic,” he says.

    The machine gun captured in this image was around 100 years old, creating another problem for the filmmakers when it came to time. “They’re not very reliable. They jam, basically, every five seconds,” says Berger. With only 52 days to complete the film, Berger and Friend needed every moment. They spent several months before the shoot holed up in a hotel in Berlin, storyboarding every single shot. “I genuinely feel that I’ve never gone into a project so prepped before,” says Friend. 

    SCENE-STEALING SNOW

    Courtesy of Netflix. 

    After the war has just ended, Stanislaus “Kat” Katczinsky (Albrecht Schuch) and Paul sneak into a home to steal some eggs or a goose for a celebratory dinner with their fellow soldiers. It was a cold February morning on set, and the sudden arrival of snow created what Berger calls one of his favorite moments in the movie, when Kat is standing guard and there’s a quiet moment when he seems to know his fate. “He stands there and looks up at the snow, and he knows. It’s just a really melancholic, beautiful moment, and the snow made that,” says Berger.

    But the snow wouldn’t even last the whole day. Three hours later, it had melted and Berger and Friend were concerned they’d have to reshoot the whole sequence for continuity. But the producers stepped in and found it in the budget to add in snow visual effects for the rest of the scene so that moment could remain. “You take away the snow element, and it’s still, in my opinion, a beautiful scene,” says Friend. “But it’s nowhere near as beautiful, nowhere near as poetic.” 

    CHECKING IN

    Courtesy of Netflix. 

    In the center of Prague, there’s an art gallery that has this stunning ceiling that Berger and Friend fell in love with. “It’s such a unique location that contrasts other locations in the film—it would’ve been irresponsible not to have shot there,” says Friend. To light the colorful ceiling, Friend was able to stick lighting balloons between it and the upper ceiling and inflate them to get that continuity of light. 

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    Rebecca Ford

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  • Tony Kushner Was a “Really Demented Jeremy Strong Fan” Before They Ever Met

    Tony Kushner Was a “Really Demented Jeremy Strong Fan” Before They Ever Met

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    In Reunited, Awards Insider hosts a conversation between two Oscar contenders who have collaborated on a previous project. Today, we speak with Armageddon Time star Jeremy Strong and Tony Kushner, the cowriter of The Fabelmans. They previously worked together on 2012’s Lincoln.

    If you get together two men who were brought up in the theater and remain fervent fans of it still today, be warned: There will be an endless stream of theater references in their conversation. Tony Kushner will reminisce about seeing Brian Cox playing the title role in Titus Andronicus or casually reference A Midsummer Night’s Dream. Jeremy Strong will quote directly from Kusher’s Pulitzer Prize–winning Angels in America more than once. And they’ll both express how vulnerable it can be to work in theater, and what the audience gains from that. “We watch to see someone’s suffering so that we don’t have to suffer,” says Kushner at one point.

    This year, both Strong and Kusher witnessed that sort of personal vulnerability bleed over into their work in film, each of them collaborating with directors to tell stories from their childhoods, centered on uneasy family dynamics. Strong starred in James Gray’s Armageddon Time, playing a character inspired by Gray’s father; Kushner cowrote the script for Steven Spielberg’s The Fabelmans, which chronicles the director’s parent’s divorce and his coming-of-age as a filmmaker. 

    Longtime fans of each other, the pair first worked together on Lincoln, which Kushner wrote and Strong, who had previously worked as Daniel Day Lewis’s assistant, played the role of John Nicolay, a secretary to the US president. They spoke with Vanity Fair about the power and responsibility of art, their awkwardness at receiving compliments, and what they envy about each other’s profession. 

    Vanity Fair: What do you remember about the first time you met?

    Jeremy Strong: Tony, you probably don’t remember this. But the first time I met you, we had dinner. I was with Michelle [Williams] and Linda Emond and we had dinner in Williamstown, when Linda was doing the Cherry Orchard in 2004.

    Tony Kushner: We just came to Williamstown to see that production because Linda’s one of my oldest and dearest friends. But my chronology must be screwed up—was the first time that we actually spoke after The Great God Pan?… I think I had seen you in a couple of things before that and I just hadn’t talked to you…. I sort of have this memory that we met out in the lobby.

    Strong: It was the lobby of Playwrights Horizons.

    Kushner: And I sometimes get scary and scarily intense when I see an actor that I think is really astounding. At that point I had become a really demented Jeremy Strong fan. So I think I came up to you, and you’re one of those people who you look somewhat stricken when people compliment you. It’s like on some level you feel like, “Oh, I’m hurting, I’m inflicting pain.” I know a lot of people who are like that. I mean it’s difficult to have somebody gush at you. But I loved your work in that so much. 

    How much did you two get to spend time together on Lincoln?

    Strong: In a way, I already felt quite connected to you, Tony, coming from the theater myself. It made the whole environment feel safer to me. I hadn’t met Steven [Spielberg] until the first day. I knew Daniel a bit from having worked for him. Joe Cross and I, who played John Hay and John Nicolay, we would take trips to Washington D.C. to go to the Library of Congress or to visit the White House and do research and be texting with Tony. And Tony was a treasure trove of knowledge about everything. So I remember when you wrote 20-page dossiers for every single person in the House of Representatives for their backstory — that whole experience was completely thrilling for me.

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    Rebecca Ford

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  • Paul Dano and Carey Mulligan Seriously Open Up

    Paul Dano and Carey Mulligan Seriously Open Up

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    Mulligan: In those brief moments, what’s the alternate?

    Dano: Oh, you know, those things that are never going to happen, which I’m really not cut out for, like I’ll go live on a farm. I would like to spend more time writing. I really want to make another film. 

    How is the point you’re both at now in your careers, and since you both now have families, influencing your career choices?

    Dano: First of all, becoming a parent has changed everything. The Fabelmans, frankly, was the first time that I’ve really used so much of my present life, so to speak. It was about marriage. It was about being a father. When I do The Batman, that part of me is not coming to work in the same way. So, it felt transitional almost. I was like I’m stepping into my adult self even further somehow through this character and through this film. In a weird way, it makes it harder. It’s harder to go away. It’s harder to ask your family to go away on location. It’s harder to prepare. It’s harder to come home after work, but I also think that I feel like my priorities just keep becoming clearer. 

    Mulligan: I think it also changes as they get older. It’s different now. When they’re tiny, they are sort of portable. Now mine are getting a bit older, it will become clearer what is and isn’t possible for us. But I think in terms of the work, I feel a lot more relaxed. It’s that old cliché—the acting you do for free and everything else is what you get paid for. I’m so lucky, we’re both so lucky that at the moment we get to do jobs because we want to do them, not because we have to. And that’s such a luxury in life and in the world to be able to do that. I think it’s sort of very obvious when it’s the right time to do something and not, whereas I think I probably debated more in the past. I feel very cut and dry.

    Since you’re friends in real life, can you share something surprising about each other?

    Mulligan: For a long time Zoe and I would hang a lot and it was not like the three of us. Like even at my wedding, Zoe was there all week and you came for the weekend. I think for a while I was so intimidated by you as an actor, from There Will Be Blood. It was so otherworldly and incredible. I think for a while I was like, “Ugh, he’s a proper one.” And, and then after a while I was like, “oh, he’s so goofy.” I don’t know if that’s the perception of serious actors, and I think you are perceived as a serious actor. 

    Dano: But I’m just like a silly person. Yeah, I don’t know why. It’s hard, this part of what we do is weird, right? I do think that I have to save some part of myself for me in my real life, so to speak. Because I think it’s important to separate them actually. When you’re there for work, I do think the character is guiding you. And then when we come to do this, I have to have some sense of separation. I don’t know why. 

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    Rebecca Ford

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  • The Images of ‘Nope’: How Jordan Peele Captured the Impossible

    The Images of ‘Nope’: How Jordan Peele Captured the Impossible

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    Peele: Hoyte, I want you to be able to describe as much of the technique here as you want to. There was a brief period where I offered Hoyte the job of cinematographer for this film. And he very graciously declined because he had a conflict at that time. I was like, “All right, we’ll find something.” And in that time, I went to a few of who I regarded as some of the other best cinematographers in the world. Everyone concluded that shots like this in my script were impossible. About a month later, I don’t know why, but I went back and knocked on Hoyte’s door, and he said, “Actually, timing-wise, this might work out now. And by the way, that is impossible—and I have a couple ideas.”

    Van Hoytema: The impossibility that Jordan is describing is very much in effect. We were about to photograph very big landscapes that also needed to feel big at night. And simply, there’s no technology that can do that. Now, traditionally in filmmaking, people have been doing that by shooting nights during the daytime—“day for night,” it’s called. These always have a very specific look. Especially in old westerns, Lawrence of Arabia, they utilize day for night a lot; things that are shot at sea, everywhere where there’s no practical light available, et cetera, et cetera.

    The only thing is that we both didn’t completely love that look. As an educated filmmaker nowadays, you recognize it and it never feels like actual night. So we started engineering and we came up with this solution in which we were going to shoot day for night, but we were going to acquire one layer of our images through a very different camera than our main camera, meaning an infrared camera. We found out that infrared, used during the day, gives a very similar balance between lightness and darkness as the light does during the night. Unfortunately, it’s a black and white camera natively, so you can in a way approximate the relationship between the exposure of different objects, very similar to how things would look at night or how your eyes would perceive night. So then we utilized another camera that would shoot simultaneously, and they would be aligned on top of each other. The mixture of those two cameras is what gives us this specific look. 

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    David Canfield

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  • How ‘Armageddon Time’ Became a Ghost Story

    How ‘Armageddon Time’ Became a Ghost Story

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    In a film that happens almost exclusively from Paul’s point of view, Johnny’s home life is viewed only briefly, and when he stays in Paul’s backyard, Paul seems willfully unaware of the precarious position Johnny is in. In this scene, Gray says, “Johnny is sort of leaning into the light and leaning back away from it. That was the idea of it—that that identity for us becomes elusive.”

    Courtesy of Focus Features.

    This scene between father and son happens after Paul has done something catastrophic, encouraging Johnny to help him steal computers from his fancy new private school, only for both of them to wind up at the police station. Paul is unwilling to let his friend take the fall, but his father arrives to rescue him anyway, leaving Johnny—whose only parental figure is an ailing grandmother—to fend for himself. 

    In the car afterward, Strong’s Irving delivers a monologue that sums up the film’s complicated attitude toward the striving American dream. Only a few decades removed from the Holocaust, Irving is keenly aware of the discrimination faced by Jews, and feels compelled to take any advantage presented—even at the expense of other minorities, or a friend like Johnny. “It would be imbecilic of the film to try to say that the father’s speech is this lesson the kid learns and then he becomes a better kid,” Gray says. “No, what happens actually is the kid is introduced to an ever more complex, layered, and elusive world. The answer, if we can even call it that, is actually further away, not closer, the older you get.” 

    As in so many other scenes in the film the actors are slipping in and out of the light, designed by Khondji to mimic the street lamps of the period. “It was all about the face-to-face,” Khondji says. “Both their faces are incredible.”

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    Katey Rich

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  • Meet the Chef Behind the “Slutty,” Delicious Cheeseburger of ‘The Menu’

    Meet the Chef Behind the “Slutty,” Delicious Cheeseburger of ‘The Menu’

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    Spoilers for The Menu ahead.

    If you’ve seen The Menu, you’re still probably craving that cheeseburger—that mouthwatering nostalgia trip that Margot (Anya Taylor-Joy) realizes is the key to getting out of the film’s dinner-from-hell alive. She stumbles upon an old clipping of chef Julian (Ralph Fiennes), who’s imprisoned his rich and vapid clientele for a tasting menu of increasingly humiliating and deadly contents, in which he’s making a cheeseburger as a young cook—a moment hearkening back to when he actually loved cooking, and why he loved doing it, long before he started plating fancy dishes for fancy people. It’s the chef he misses. And it’s the chef she has to bring back to survive.

    Director Mark Mylod structures The Menu as a near-real-time dramatization of the dinner, meaning we see Fiennes et al. prepare, serve, and eat the food, course by course. Authenticity was paramount. Mylod brought chef Dominique Crenn on as a consultant to devise and design Julian’s brilliantly ridiculous menu. Then came chef John Benhase, a partner at Starland Yard in Savannah, Georgia, to consult on the authenticity of the cooking and serving. It’s his “slutty” cheeseburger recipe—the recipe suddenly on BuzzFeed, inspiring countless post-viewing burger orders, that all but oozes off the screen—that Fiennes ultimately cooked for The Menu’s delicious climax.

    Vanity Fair caught up with Benhase to learn everything there is to know about that burger.

    Vanity Fair: Thank you so much for taking the time to talk about your suddenly famous cheeseburger.

    John Benhase: Who knew, right? Just a cheeseburger.

    Yeah. I mean, just to start really broadly, how has it been? Have people been coming up to you? How have you gauged the reaction?

    More than anything, I think seeing it in the theaters for the first time and hearing the collective moan at that part of the movie, I was like, “Oh yeah, people really like this. This is good.” But I mean, it’s just a really good cheeseburger. It’s been funny seeing it on BuzzFeed and stuff like that.

    In terms of getting involved with the movie, how was this project described to you and what was your degree of involvement?

    They needed a kind of culinary authenticity consultant. So my main job going into the film was to make sure all the actors and background actors and then the writers and the director had all the tools they needed to make sure that they really looked like they knew what they were doing, since the restaurant and kitchen are such an integral kind of character in itself to the film. So just making sure that every single aspect was accurate and people knew how to move correctly within the space and what they were cooking and why they were cooking it. Then the cheeseburger was a happy accident byproduct of being on set.

    How so? 

    It was pretty random. I was sitting in Video Village with the two writers and they were talking about the burger. I’m sure that Chef Dominique could have made the most beautiful burger that anybody had ever seen, but they wanted a kind of nostalgia—for lack of a better word, the slutty burger. I probably spoke out of turn, but it was a really wonderful collaborative team, so I felt comfortable doing so and just was like, “Hey, I think if we do this burger this way, then it’ll be a perfect fit because it still is such a process-driven burger.” It’s not just slapping a couple of patties on a grill and flipping them a couple times. It can be this labor of love. That’s part of what makes it work within the film. And also, obviously Ralph Fiennes doing such an amazing job doing it. It just looks like he is having the best, most transformative time making that burger again.

    Courtesy of Searchlight Pictures.

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    David Canfield

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  • Your Burning Awards Season Questions, Answered

    Your Burning Awards Season Questions, Answered

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    Why has Brendan Fraser been anointed the comeback king of the best-actor race when Colin Farrell hasn’t? Is Rihanna guaranteed an Oscar, even going up against Taylor Swift and Lady Gaga in the best-original-song race? And if there was one Oscar win from the past 20 years you could force more people to celebrate, which would it be? 

    Those are just some of the head-scratchers presented to the Little Gold Men team on this week’s episode, the last roundtable conversation of 2022. Listeners who emailed littlegoldmen@vf.com presented questions about this year’s Oscar race, the fate of the box office, and Oscar wins of the past, sparking one last lively conversation to wrap up the year. 

    The episode also includes a conversation with Michael Barker and Tom Bernard, the copresidents of Sony Pictures Classics, who cofounded the specialty studio 30 years ago and have held strong through many rounds of doomsaying about the independent film market (this round included). “There’s always a moment in the year where they say the business is over,” Bernard says, with the attitude of someone who has been here many times before. This year, with the ongoing success of their film Living and the best-actor campaign for star Bill Nighy, Barker and Bernard have plenty to be proud of—and with the release of a new 30th anniversary Blu-ray box set with some of the company’s greatest hits, a lot to look back on too. 

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    Listen to the episode above, subscribe to Little Gold Men on Apple Podcasts or anywhere else you get your podcasts, and email littlegoldmen@vf.com to have your burning questions answered next time. 

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    Katey Rich

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