Turns out, Roberts is willing to loan the suit outside the bounds of her family, upping the ante for her co-star, saying, “I’m going to bring it to work tomorrow and I want you to wear it.”
The suit isn’t just on offer for friends and family: Roberts herself wore a similar look this week, donning a dark two-piece ensemble for her guest slot on The Late Show With Stephen Colbert on October 1.
Elizabeth Stewart, Roberts’ longtime stylist, told Vanity Fair that the star’s latest menswear moment was the result of a collision of nostalgic sartorial and personal influences.
“The suit is from Salon 1884 and they were inspired by Julia’s wardrobe in My Best Friend’s Wedding and I was inspired by Julia in the ’90s, so it was the perfect storm,” she said via email.
Decades later, the dapper silhouette—paired Wednesday with a steely top and skinny floral-embellished necktie—still suits her.
Julia Roberts is seen leaving “The Late Show With Stephen Colbert” at Ed Sullivan Theater on October 1, 2025 in New York City.Gilbert Carrasquillo
Originally published on Vanity Fair Italia with additional reporting by Kase Wickman.
Yes, the line to get into the party was long. But the process was efficient, and once inside, the venue was spacious enough to allow schmoozing with relative ease. At the party, Sydney Sweeney told me that the Christy premiere on Friday was the most emotional of her career. She sat behind former professional boxer, Christy Martin, whom she plays in the film, and couldn’t help but cry as the credits rolled. Sweeney felt a deep connection to the whole cast as they made their way onto the stage for their Q&A. Whatever online drama she had experienced in the last couple of weeks seemed behind her as she looked forward to the release of this film—and its potential awards season campaign.
Richard E. Grant and John Slattery at the 2025 Road to the Golden Globes Party.
Penske Media/Getty Images
Nina Hoss, co-star of the Amazon film Hedda—based on the play Hedda Gabler, and set to premiere Sunday night—was excited to finally see the film with an audience. At the party, Hoss (who was spotted chatting with Hedda costar Tessa Thompson) said that when she read the script, she was excited by the idea the idea of changing the gender of her character; she was interested to see what audiences thought about the decision, made by director Nia DaCosta.
Nina Hoss, Nicholas Pinnock, Tessa Thompson at the 2025 Road to the Golden Globes Party.
The Substance, Coralie Fargeat’s darkly funny film about an aging Hollywood movie star, who is played unforgettably by Demi Moore, has been submitted for Golden Globes consideration as a musical/comedy, rather than a drama, The Hollywood Reporter has learned.
Ahead of the Globes’ Nov. 4 submission deadline, the classification of the MUBI release was the last remaining question mark among top-tier contenders. (Last week, THR shared the classifications for all of the others.) This is because there was debate even within the film’s and Moore’s camps about how the film should be entered.
On the one hand, The Substance a very disturbing horror flick, with levels of blood and gore that would make David Cronenberg blush. On the other hand, though, it’s a biting satire of a business in which youth and beauty are often prioritized above all else.
In the end, a deciding consideration may well have been where Moore will stand the strongest shot at a nomination, or even a win. Had the film been pushed as a drama, Moore would have been pitted against — among others — well-established veterans such as Maria’s Angelina Jolie, Babygirl’s Nicole Kidman, The Outrun’s Saoirse Ronan and The Room Next Door’s Tilda Swinton.
On the comedy side, however, Moore’s strongest competition will come from a pair relative newcomers, Anora’s Mikey Madison and Emilia Pérez’s Karla Sofía Gascón, as well as, perhaps, Wicked’s Cynthia Erivo, Nightbitch’s Amy Adams and Challengers’ Zendaya.
The 82nd annual Golden Globe Awards will be held on January 5, 2025, from 8 p.m. to 11 p.m. ET (5 p.m. to 8 p.m. PT) on CBS. They will also be available to stream on Paramount+ in the United States.
Who is hosting the 2025 Golden Globe Awards?
Per Variety, comedian Nikki Glaser has been tapped to host the 2025 awards show.
“I am absolutely thrilled to be hosting the Golden Globes,” Glaser said. “It’s one of my favorite nights of television and now I get a front row seat (actually, I think I have to host from the stage). The Golden Globes is not only a huge night for TV and film, but also for comedy. It’s one of the few times that show business not only allows, but encourages itself to be lovingly mocked (at least I hope so). (God I hope so). It’s an exciting, yet challenging gig because it’s live, unpredictable, and in front of Hollywood’s biggest stars (who also might be getting wasted while seated next to their recent exes).
“Some of my favorite jokes of all time have come from past Golden Globes opening monologues when Tina, Amy, or Ricky have said exactly what we all didn’t know we desperately needed to hear. I just hope to continue in that time honored tradition (that might also get me canceled). This is truly a dream job. Plus, I no longer have to feel guilty for every TV show and movie I’ve binged over the past year. It was all worth it. (‘Below Deck: Sailing Yacht’ Season Four will be nominated, right?).”
Golden Globes president Helen Hoehne added, “Nikki Glaser is a comedic powerhouse whose daring and unfiltered humor is the perfect match for the Golden Globes. She is sure to bring a unique energy and spontaneity to the show that will keep the audience entertained all night.”
Glaser — who previously released stand-up specials such as 2022’s Good Clean Filth and 2024’s Someday You’ll Die — follows Jo Koy, who hosted the 2024 Golden Globe Awards.
Glenn Weiss and Ricky Kirshner will executive produce the awards show, while Dick Clark Productions will plan, host, and produce the event.
Celebrities, prepare to be roasted. Variety has announced that comedian Nikki Glaser will host the 82nd Golden Globes Awards.
“I am absolutely thrilled to be hosting the Golden Globes,” Glaser told Variety. “It’s one of my favorite nights of television and now I get a front row seat (actually, I think I have to host from the stage).”
A veteran comic and host of Max’s Fboy Island, Glaser ascended to new heights this year with her viral roast of football legend Tom Brady on Netflix’s The Roast of Tom Brady a.k.a The Greatest Roast of All Time. “I didn’t know how big it was until it was over because, obviously, it was live,” Glaser told VF earlier this year. “Text messages were rolling in like someone in my life had died.” Glaser followed up her roast with an HBO comedy special called Someday You’ll Die, nominated for outstanding variety special at this year’s Emmys.
Now she’s taking on one of the least sought-after gigs in town: award show host. Four-time Oscar host Jimmy Kimmel recently turned down the opportunity to return to that show in 2025, saying that taking on the gig “was just too much.” Last year’s Governor Awards host, JohnMulaney, also reportedly turned down the gig. As of writing, the 2025 Oscars still do not have a host.
The Golden Globes—dubbed Hollywood’s Party of the Year for the ceremony’s more laid-back feel and sometimes tipsy acceptance speeches—also has a spotty track record with hosts. Ricky Gervais was the go-to emcee in the 2010s, hosting for the fifth and final time in 2020. But after the longtime Golden Globes voting body, the Hollywood Foreign Press Association, was rocked by multiple scandals in 2021—which returning hosts Tina Fey and Amy Poehler had no trouble making light of—the awards regrouped, dissolving the HFPA and canceling the telecast in 2022.
Since returning to television, the Globes have been hosted by Emmy-winning comedian Jerrod Carmichael in 2023, and, most recently, comedian Jo Koy in 2024. Koy notoriously flopped as host, lobbing punchlines that earned weak laughs and causing celebrity guests like Taylor Swift to visibly turn on him as the night wore on. It wasn’t all bad news for Koy, though: the 2024 Golden Globes ceremony averaged 10 million viewers, up nearly 50% from the previous year, and reached its largest audience since 2020. Still, after the ceremony, Koy told ABC program GMA 3 that it had been a rough night.“It’s a tough room,” he said. “And it was a hard job, I’m not going to lie.”
Glaser, however, sounds up for the challenge. “The Golden Globes is not only a huge night for TV and film, but also for comedy,” she said in a statement. “It’s one of the few times that show business not only allows, but encourages itself to be lovingly mocked (at least I hope so). (God I hope so). It’s an exciting, yet challenging gig because it’s live, unpredictable, and in front of Hollywood’s biggest stars (who also might be getting wasted while seated next to their recent exes).”
The 2025 Golden Globe Awards will take place on January 5th, 2025, airing live on CBS Television Network and streaming on Paramount+. Unlike Koy, who said he only had a week and a half to prepare material for his hosting stint, Glaser’s got ample time to get ready—and after her Brady roast, it’s clear that she thrives in live situations. Nominees, you might want to start thickening your skin now.
The Hollywood Reporter has learned that on Tuesday, the Globes will be launching an official streaming platform — compatible with all major digital media providers including AppleTV, iOS, Roku and Amazon Fire — through which film and television companies will be able to make their content available directly to Globes voters in their homes.
Indee advertises itself as a highly secure go-between for content providers and awards voters — “with multiple security options for video assets, including forensic and visible watermarking and multi-DRM” — and a much more eco-friendly option than hard-copy screeners.
All uploads will come with a $5000 non-refundable “Golden Globe administrative fee,” which includes one email blast to members. Beyond that, pricing will depend on whether an upload is episodic (up to 60 minutes) or feature-length (61 to 999 minutes), and the level of security desired: no security, with no watermarks ($100 for episodic, $250 for feature-length), medium security, with overlay watermarks ($200 for episodic or $1000 for feature-length) or high security, with forensic watermarks ($350 for episodic or $2000 for feature-length).
The former Fox News host Megyn Kelly is speaking out to slam the “classless” Jimmy Kimmel for the way he hosted the Oscars on Sunday night after he used the show to shamelessly bash Donald Trump. Kelly fired back by torching Kimmel and bringing up his documented history of blackface.
Kelly Eviscerates Kimmel
Though Kimmel initially avoided politics while hosting the Oscars, he took a shot at Trump at the end of the show after the former president bashed his hosting style on social media.
“Thank you, President Trump,” Kimmel said, according to CBS News. “Thank you for watching. I’m surprised you’re still up. Isn’t it past jail time?”
This didn’t sit well with Kelly, who fired back at Kimmel on her eponymous SiriusXM talk show.
“He found time to take a shot at Trump, he found time to take a shot at Katie Britt, he did not find any time to make fun of Joe Biden who is the sitting president of the United—I just guess there’s no fodder there, nothing to joke about,” Kelly said.
Kelly’s guest Andrew Klavan, a conservative political commentator, responded by saying that Kimmel “just following what the news media is doing.” He added that he was surprised that Kimmel never mentioned President Joe Biden, who had just given “the worst State of the Union address in my lifetime,” which he called “ugly and divisive.”
👇🏻WATCH: Megyn Kelly goes🔥SCORCHED EARTH🔥on Jimmy Kimmel, Robert De Niro, and George Stephanopoulos, “Sanctimonious Leftists.”
🔥On Stephanopoulos: “Remember when you created a whole command center designed to smear Bill Clinton’s sexual assault and rape accusers so you could… pic.twitter.com/QLwh8fAQHz
Earlier in the show, Kelly criticized the Oscars audience, “who laughed and curried favor with the man who wore blackface so many times, he’s second only to Justin Trudeau in his fondness for the practice.”
Kelly went on to say that the Hollywood stars “absolutely ate up the performance by Hollywood darling Mr. Kimmel” even though “some of the very same celebrities who wanted you to believe they were horrified — horrified — after yours truly said in 2018 that people used to don dark makeup to imitate well-known black celebrities and it wasn’t a big deal.”
The New York Post reported that this was a reference to Kimmel wearing blackface to portray the black Utah Jazz star Karl Malone in a skit on “The Man Show” back in the 1990s. He also wore dark makeup to portray Oprah Winfrey in another skit. In contrast, Kelly was fired by NBC in 2018 after she simply weighed in on those wearing blackface, saying that “in the 70s/80s, it used to be viewed differently.”
“Obviously Kimmel’s love of blackface was not a deal-breaker for ABC — which already employs him as a late-night host and which, in addition to its many blackface awards shows, also produced and promoted many shows and stars in blackface,” Kelly lamented.
“It appears the real sin with blackface, you see, is talking about how standards on it have changed, not actually wearing it,” she continued. “You can still win Oscars and host the Oscars after doing that.”
Check out her full comments on this in the video below.
Kelly also ripped into Kimmel for a joke he made at the expense of Robert Downey Jr., who won the Best Supporting Actor Oscar on Sunday night for his work in Oppenheimer.
“This is the highest point of Robert Downey Jr’s career… well, one of the highest points,” Kimmel said during the opening monologue. When Downey Jr. responded by tapping his nose in a sign of recognition, Kimmel asked: “Was that too on the nose or a drug motion you made?”
A visibly annoyed Downey Jr. reacted to this by signaling Kimmel to move on from the joke.
“What Kimmel did last night, was he tried to mock people’s weaknesses and things they had genuinely fought hard to overcome, like he did to Robert Downey Jr, who wound up being a favorite of the night,” Kelly said.
“But before he won Best Supporting Actor for Oppenheimer, Kimmel, in his opening monologue, decided to take a shot at—everyone knows about Robert Downey Jr’s long history with drugs and alcohol,” she continued. “It’s something no one celebrates but he needs to be given credit for overcoming.”
After Kelly played a clip of the exchange, she added, “What was that? That was just classless.”
Kelly concluded by comparing the way Kimmel hosted the Oscars to the way the British comedian Ricky Gervais hosted the Golden Globes on five separate occasions in 2010, 2011, 2012, 2016 and 2020, according to Newsweek.
“Last night, one of the things I think stood out about Kimmel’s hosting was, he didn’t get it. The reason Ricky Gervais did so well when he hosted those Golden Globes and just eviscerated everyone in that room is because he was making fun of them on things that we knew were true,” Kelly explained.
“Y’know kind of, their abuse of their own power, their self-importance and that kind of thing and he was punching up, which is okay,” she stated.
Check out Kelly’s full comments on this in the video below.
George Stephanopoulos’ Gross Hypocrisy, and Kate Middleton Fake Photo Controversy, with @andrewklavan and @DM_Maureen_ Callahan
Plus, Kimmel at the Oscars, Biden apologizes for calling Laken Riley’s killer “illegal,” and more. Watch today’s FULL show, here on X: pic.twitter.com/5aFtVB3nbg
The hypocrisy of Kimmel and the rest of Hollywood never ceases to amaze, and good for Kelly for calling them all out. No wonder the Oscars has been struggling to get anyone to watch for years!
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Da’Vine Joy Randolph is on the hunt for a few more tickets to the Oscars. “They’re telling me I may only have one extra ticket, so that’s my mission,” the Holdovers star tells me. “Can you imagine the people in your life that are like, ‘I want to come!’ And you’re like, ‘And you should come because you’ve helped me significantly in my life.’” The first-time nominee shares this conundrum on this week’s Little Gold Men (listen below) with both firm conviction and good humor—after all, this is a moment that doesn’t come around even once for most in her profession. “If I can get five—I don’t care if my people are back there [on the balcony], I don’t need five people in my row,” she says. “Get Oscar tickets, or buy Oscar tickets, whatever we’ve got to do—I have some family members that would be very upset, so I’ve got to figure that out.”
Call it a new kind of problem for Randolph, a Tony nominee turned Hollywood utility player now on the cusp of Oscar gold. (She’s already won the Golden Globe and Critics Choice Award for best supporting actress.) Her turn in The Holdovers as Mary Lamb—cafeteria manager of the boarding school where she, classics teacher Paul Hunham (Paul Giamatti), and misanthropic student Angus Tully (Dominic Sessa) get holed up together during the Christmas break—showcases deft range. Randolph somehow serves as both the film’s comic relief, mediating tense standoffs between the two men, and its tragic heart. As Mary grieves the death of her son over the lonely holiday, Randolph’s work is devastating—bringing an emotional depth that allows The Holdovers’ explorations of connection and kindness to land all the more potently.
The role was awards-tipped the moment The Holdovers bowed in Telluride over Labor Day, during the SAG-AFTRA strike. The film is distributed by Focus Features, the specialty studio under Universal’s umbrella, which meant the cast did not complete any promotion until the studios and the guild reached an agreement more than two months later. Randolph was thrust into the campaigning machine at that point, racing between interviews and red carpets and tastemaker events, and hasn’t stopped since.
The closer she gets to the actual Oscars, the more she thinks back to her childhood watching the show every year with her family. “The Oscars were like the Olympics…I remember that as a kid being like, ‘Wow, this is everything to these people’—which is so unique, especially, as you start to experience it,” she says. “All of this is very out of body. None of this stuff has processed.”
It can be easy to get swept up in the circus. There’s so much noise around you, you’re meeting so many people, your work is being recognized like never before. Randolph’s presence on the trail, though, has stood out for its authenticity. “I’m just trying to be true to myself,” she says. This goes even for the acceptance speeches. Randolph has already delivered a few on national television, writing each out in advance. She’ll start thinking about the speech’s shape while on the plane ride over to the show, the “forced timeout” of being tens of thousands of feet up in the air. Then she writes it out while in hair-and-makeup, just before hitting the red carpet. “It feels raw—doing it any other time just doesn’t hit the same way,” she says.
Randolph approaches this part of the season as she does everything else: considered, careful, open-hearted. “It’s a wild thing to be sitting there and then people are screaming and yelling and clapping and cheering—it’s one of the most beautiful sounds, but it can be intimidating, it can be overwhelming, and then you have to calm your nervous system and go up there and deliver this beautiful speech,” Randolph says. “It’s an intense feeling. You just try to steady yourself in the midst of it.” So far, she’s done a pretty good job of that.
Listen to Vanity Fair’s Little Gold Men podcast now.
Every year, Awards Season is special for one reason: we all come together in outrage against a very specific group of voters, and publicly shame them until we grow bored. The Golden Globes and Emmys are great predictors of who will be ultimately nominated for an Oscar…but this year, it appears that the Academy stopped watching movies altogether.
When I woke up yesterday, I was bombarded by thousands of Tweets calling for the evisceration of the Academy after the 2024 Oscar Nominee list was revealed. It’s your modern-day mob mentality — and get your pitchforks ready, because there were quite a few notable snubs.
Okay, so I was already up in arms about the lack of nominations for Jacob Elordi and Charles Melton. But nothing was more offensive than the glaringly obvious Barbie irony: the Academy chose to honor “I’m Just Ken” by Ryan Gosling in a movie created by women, for women, about the struggles of feminism in a male-dominated society.
This is no hate to Ryan Gosling, who has owned his Ken-ergy in the best, candid way possible. He has supported his cast and uplifted its women during every single press event, red carpet, and personal statement. But the fact that they chose to nominate the one song about men taking over is laughable. Commenting on the lack of nominations himself, Gosling took to social media to say:
“ But there is no Ken without Barbie, and there is no Barbie movie without Greta Gerwig and Margot Robbie, the two people most responsible for this history-making, globally-celebrated film…To say that I’m disappointed that they are not nominated in their respective categories would be an understatement,”
Sure, Billie Eilish’s “What Was I Made For” was nominated considering it’s a beautiful, haunting ballad that perfectly fits the film. But the Oscars have proven they’re Billie stans before by honoring her James Bond ballad. What about the two women who made Barbie possible? Who revived cinema and brought millions of moviegoers to the theaters dressed in pink? Who created a whole movement surrounding celebrating women after years of being told we should bring each other down?
Barbie was a statistically bigger first-week success story than its release-day twin, Oppenheimer, and the biggest film of the year. Yet, no nomination for the director and face of the film. It’s almost like the Academy realized this movie was about them…
Here’s the worst part: you don’t have to let them win if you don’t want to. To not even recognize Margot Robbie and Greta Gerwig’s work and impact on the 2023 cinemascape is like saying Taylor Swift didn’t dominate the music industry this year. It’s just a lie.
So I will end this the way Taylor Swift would, with lyrics from “The Man”:
But, instead, it was Spider-Verse writers Phil Lord and Chris Miller who crafted the memorably stilted dialogue, The Hollywood Reporter has learned.
“We were really happy that they wanted to have Hailee, Shameik and Daniel present and present a prestigious award,” Lord tells The Hollywood Reporter. “I think it’s a nice acknowledgment that the cast of our movie is full of Oscar nominees. Hailee is an Oscar nominee and an Academy member. Kaluuya is an [Oscar] winner. And we wanted to make sure they looked great. It’s a fun show, but you want to make sure you don’t go up there and whiff on a bit. So I think our objective was: How do we make something for them that makes them look great, that honors the category, that is still playful?”
In coming up with the segment, the duo — who have a history of writing for the Lego and Cloudy With a Chance of Meatballs franchises and for Apple TV+’s The Afterparty but who admit they’re “not professional variety show writers” — came up with eight options, trading ideas and soliciting suggestions from friends even as late as the Friday before the awards show. The Spider-Verse team ran through the options in rehearsal, and they knew the “studio executives” bit was a winner.
“It was very clear anytime it was pretend banter, it just always felt canned,” Lord says. “At least with the three of them, the thing that they gravitated toward and really were able to lean into and felt really confident about was the thing where they could play it really straight but still be in on the joke.”
The segment also offered one of the show’s few allusions to last year’s writers strike, which was appreciated by the head writers for the Globes, who explained they hadn’t yet found a way to acknowledge the strike, Lord and Miller recall. “They were excited about the bit because it was a way to do it with a friendly touch,” says Miller.
The moment was a hit with the star-studded audience, which included the executives who supported Spider-Verse who were sitting next to Lord, Miller and Spider-Verse directors Kemp Powers, Justin K. Thompson and Joaquim Dos Santos, who spoke with THR about the bit at the National Board of Review Awards last Thursday.
Powers elaborated that he thought that segment reflected the film.
“I think that speaks to the spirit of the film that we made and the characters that we had them portray,” Powers told THR. “It was great to have our actors in our film, who are great personalities in their own right, highlighted.”
As for why they attributed the speech to studio executives and not AI, Miller calls the technology “comedy clam,” or something a bit “hackneyed.”
“We certainly have no love for AI and don’t want it anywhere near script-writing,” he added.
Jo Koy spent most of the week with a frown on his face. That’s understandable, given the flat reception and disastrous reviews his last-minute host gig at Sunday’s Golden Globes received. Apparently, even a supportive public message from Steve Martin left him blue. At least, that’s what he reportedly told a supportive crowd at the Stifel Theatre in St. Louis Friday, saying “I haven’t laughed in four days.”
The gig was Koy’s first since the Globes, Variety reports, and almost didn’t happen, as the storms whipping the Midwest diverted his flight from LA. “The weather is better in Hollywood, but I’m happy to be in this blizzard. When it rains, it pours.”
The cliche was likely an allusion to a week during which Koy found himself explaining the more challenging moments of his time on the Golden Globes stage. “It’s a tough room. And it was a hard job, I’m not going to lie,” he toldGMA3 Monday of a performance Vanity Fair termed “bleak and awkward.”
In a subsequent interview, Koy told the LA Times that critics who accused him of sexism fail to “understand who I am as a person … Because if you’ve ever seen me, you’ll see just how much I praise and shine light on women, from my ex-wife to my mom.”
“What happened to society where we can’t even joke with each other anymore,” Koy asked the LAT. It was a sentiment he reportedly repeated Friday, saying “I see the changes that are happening,” perhaps a reference to society’s slight progress against systemic and historic misogyny. “I get it, but goddamn, can we fucking laugh at ourselves?” (Vanity Fair reached out to Koy’s representatives for context on his remarks, but has not received a response as of publication time.)
Presumably referring to the icy yet highly memable response to some of his Globes routine by celebrities such as Taylor Swift, Koy told the St. Louis crowd that he’d faced a “Lot a marshmallows, man. They’re delicious, but goddamn, they’re soft. I just come from a different time.”
Koy also seemed to revel in the politics of the Missouri crowd, a heavily Republican state in which abortion is illegal, gender-affirming care is under fire from its attorney general, and legislators oppose accurate history education in favor of classes in “patriotism.” Despite that, Koy said “Here in St. Louis, [you’ve got] people that listen to you, understand you, and understand we’re not all out to attack each other. It’s stupid in LA.”
It’s unsurprising that the favorable comparison between liberal California and deep-red Missouri pleased the crowd, which reportedly responded with pleasure. “I haven’t laughed in four days,” Koy reportedly said in response. “You guys make me so happy.”
When a Netflix show centers around a road-rage incident and the snowballing catastrophes that follow, how much of that fictional universe is safe to carry off set? “I do find myself wearing a lot of cream and neutrals like Amy,” Ali Wong writes by email, referring to her role in Beef, the 10-episode hit that swept three top awards at Sunday’s Golden Globes 2024. (Wong and costar Steven Yeun each earned statues for their shimmeringly unhinged performances; Beef also won for best television limited series. All eyes on Monday’s Emmy Awards.) Wong’s character, Amy Lau, runs an upscale plant boutique while juggling home life with a young daughter and an imperviously upbeat husband—the kind of face-value success that leaves her emotions simmering just below the surface. When a parking-lot confrontation ignites a spiraling feud with a contractor (Yeun), her muted good taste becomes an aesthetic counterpoint. “Helen Huang, our costume designer, thought it was so funny for Amy to choose such calming, zen tones, while having the most insane thoughts,” Wong says. The actor’s Globes dress—a white Dior Couture column, seemingly fit for a marble caryatid on the Acropolis—carried on that sartorial serenity. This time, though, the emotional tenor was a match.
Chanel’s glass-encased lipstick—31 Le Rouge, in the shade Rouge Beige—brings a Cinderella effect.Courtesy of Daniel Martin.
“She loves getting us all together and just kiki-ing and laughing,” says makeup artist Daniel Martin of the day’s red-carpet crew, which included stylist Tara Swennen and Clayton Hawkins on hair. Martin recalls first meeting the comedian through Opening Ceremony cofounders Carol Lim and Humberto Leon, during a pre-pandemic event for Wong’s 2019 book, Dear Girls. “We had so many mutual friends, so when we met, it was just [like finding] a lost sister. We totally clicked,” Martin says. For Sunday’s Globes makeup, he took inspiration from a 1996 Chanel runway show, which paired a “frosty, light pink lip” with a smoky eye—an element of drama that Martin carefully calibrates around Wong’s ever-present glasses. The evening’s gold-rimmed selection, with an oversize cat-eye silhouette, echoed the actor’s Swarovski collar and drop earrings. “She said something today that was like, ‘Glasses are the shoes for your face’—how everyone has a fancy pair of shoes, so why not wear a fancy pair of glasses?” Martin recounts with a laugh.
The day’s lineup of Tatcha skin care and Chanel makeup.
Courtesy of Daniel Martin.
For Wong, who followed last April’s Beef premiere with a cross-country slate of stand-up shows (she picks back up next month), the return to awards season has its perks. “Onstage, I wear mostly co-ord knit sweats that are kid’s size 11-12Y. I look like Paulie Walnuts with just some liquid eyeliner when I’m on tour,” she says by email. “I’m so grateful for all of the talented people who bippity boppity boop me into a red-carpet look because there’s no way I could do a fraction of what they contribute on my own.” She describes an all-day hang. “Daniel Martin always kicks it off with a dreamy face massage and a ’90s R&B playlist that has me body-rolling in the chair.”
Wong with her creative team: from left, stylist Tara Swennen, makeup artist Daniel Martin, and hairstylist Clayton Hawkins.
Natalie Portman and Julianne Moore both responded to Vili Fualaau’s criticism of May December on Sunday, emphasizing the movie was not meant to tell the exact story of his relationship with ex Mary Kay Letourneau.
“It’s not based on them,” Portman told Entertainment Tonight from the red carpet at the 2024 Golden Globes. “Obviously their story influenced the culture that we all grew up in and influenced the idea. But it’s fictional characters that are really brought to life by Julianne Moore and Charles Melton so beautifully.”
May December tells the story of fictional actress Elizabeth Berry (Portman) sent to visit married couple Gracie (Moore) and Joe (Melton). Gracie met and victimized Joe when he was 13, doing time in prison for child rape before being released and marrying Joe. The two share three children, one of whom she gave birth to while in prison. Screenwriter Samy Burch has cited Letourneau — who started a sexual relationship with Fualaau when he was 12 and she was 34 in 1996 — as an inspiration for the film.
Portman added that the movie is “its own story — it’s not meant to be a biopic.”
Moore agreed with her co-star, saying the film’s director, Todd Haynes, “was always very clear when we were working on this movie that this was an original story. This was a story about these characters. So that’s how we looked at it too. This was our document. We created these characters from the page.”
Fualaau told The Hollywood Reporter in a story published last week that he was “offended by the entire project and lack of respect given to me.”
“I’m still alive and well,” Fualaau, now 40, said. “If they had reached out to me, we could have worked together on a masterpiece. Instead, they chose to do a ripoff of my original story.”
He continued, “I love movies — good movies. And I admire ones that capture the essence and complications of real-life events. You know, movies that allow you to see or realize something new every time you watch them.”
Source: Christopher Polk/Billboard via Getty Images
Hollyweird was back and better than ever at last night’s Golden Globes that kicked off Awards season with hilarious shenanigans headlined by a messy “scandal” involving Taylor Swift, Selena Gomez, Kylie Jenner, and her boo thang Timothée Chalamet.
In an eyebrow-raising moment that immediately trended across social media, Selena appeared to spill some sort of scalding hot “tea” to Taylor Swift who appeared to be appalled at what she was told.
The third person in the circle of trust is their friend Keleigh Sperry who can be seen mouthing was appears to be “Timothee???” in the viral video seemingly confirming that Selena was speaking about Kylie allegedly blocking her from taking a pic Timothée (or Timothée saying no).
Naturally, social media created its own juicy narrative without actually knowing what was being said which prompted a Selena source to clear things up in PEOPLE.
“She was absolutely not referencing anything about Timothée or Kylie,” the source exclusively told the outlet.
Other notable moments included emerging stars Ayo Edebiri (Best Actress in a Television Comedy, The Bear) and Da’Vine Joy Randolph (Best Performance by a Female Actor in a Supporting Role in any Motion Picture award, The Holdovers) exuding Black girl magic, Charles Melton melting panties through the screen, and host Jo Koy doing everything in his power to get boo’d off the stage.
Taylor Swift reacts to joke from #GoldenGlobes host Jo Koy about the NFL.
“The big difference between the Golden Globes and the NFL? At the Golden Globes, we have fewer camera shots of Taylor Swift”
At one point, he snapped at the audience who grew increasingly sick of his jokes as the night went on.
Golden Globes host Jo Koy just went off-script after one of his jokes bombed: “I got the gig 10 days ago! You want a perfect monologue? Yo, shut up. You’re kidding me, right? Slow down. I wrote some of these, and they’re the ones you’re laughing at.”#GoldenGlobes2024pic.twitter.com/K6DIDtdCes
In case you missed it, the 81st annual Golden Globes took place last night in Los Angeles. There were many notable beauty looks, but it should come as no surprise that Margot Robbie was among them. The actress paired her hot-pink custom Armani Privé dress with a glowing complexion and glossy hair. In my opinion, the look was complete and utter perfection—especially when you consider the underrated (and fairly unnoticed) element that took her Barbie commitment to a whole new level…I’m talking about her barely-there manicure.
Nail Artist Betina Goldstein created a nude manicure that matched Robbie’s skin tone perfectly. Usually, nail experts recommend choosing a nude nail polish that’s one shade lighter or darker than your skin tone for contrast, but Goldstein opted for an exact match..and for good reason. Goldstein posted a picture of Robbie’s nails on her Instagram page, explaining, “For Margot’s nails, I wanted them to blend in with her skin to create the illusion of Barbie doll hands.”
Jo Koy was an unambiguous flop as the 2024 Golden Globes host. Some of Koy’s “jokes” made no sense—why are you ranting about the length of Oppenheimer (180 minutes) when Killers of the Flower Moon (206 minutes) is right there? Others were flat out asinine—even your middle school bully could have come up with something more creative to say about Barbie then comment on the doll’s “big boobies.” In any case, it was painfully clear that the veteran comedian was simply not up for the job of emceeing one of Hollywood’s glitziest nights. Koy seemed to realize this in the middle of his monologue, grinning and bearing it while throwing his writers under the bus: “I wrote some of these, and they’re the ones you’re laughing at.” I guess we’ll have to take his word for it.
Not all of the writing featured on the telecast was bad. Perhaps it was the incredibly low bar set by Koy’s monologue, but the 2024 Golden Globes featured some of the stronger presenting bits we’ve seen in recent awards shows history. It was hard not to crack a smile when Elizabeth Banks made Dua Lipa say “vitamins” in her British accent. Who didn’t giggle when Andra Day struggled to read the word “strip mall” on the teleprompter to the amusement of Jon Batiste? And Kevin Costner paraphrasing America Ferrera’s Barbie monologue back to her when he clearly had no idea what he was talking about was the second best Costner Golden Globe moment after Regina Hall accepted an award on his behalf last year. Problems with the framing aside—why were they standing with their backs to the audience?—the presenter bits brought some of the only levity of the night to an otherwise predictable and near-train wreck of an evening.
The low of Koy’s hosting stylings mixed with the relative high of the presenter bits made one thing clear: The Golden Globes have progressed past the need for a host.
Hosting the show is a uniquely tough gig. As many people noted during their acceptance speeches last night, it’s a particularly intimidating room even in the grand scheme of awards shows. The Globes combines the biggest names in both movies and television—the Meryl Streeps with the Pedro Pascals with the Jennifer Anistons with the Martin Scorseses and Oprahs of the world (all of whom were present last night). It’s like the Emmys and the Oscars rolled into one, held in the more intimate Beverly Hilton. Sure, the SAG Awards also celebrate film and television, but the awards held by the actors union tends to have a more serious “for us, by us” feel. The Globes, meanwhile, style themselves as a televised party, a social gathering where the world gets a peek behind Hollywood’s velvet curtain for one glorious evening. Anyone not already in the Hollywood elite would understandably feel the pressure when hosting a night like this, as Koy clearly was. You could feel him wanting to both make jokes but also impress everyone in the audience, taking shots while also desperately wanting to be accepted, which flatlined the room. Taylor Swift’s withering look after a joke at her expense said it all: Koy is not one of us.
Ricky Gervais became de facto Golden Globes host for many years because he was able to play on that dynamic, skewering Hollywood’s A-list from within the gilded cage. Although he positioned himself as something of an outsider, he clearly was in the club—his Golden Globe win last night in the newly introduced best-stand-up category is proof enough. Last year, Emmy-winning comedian Jerrod Carmichael leaned into the fact that he was very much on the outside of the Hollywood inner circle, cracking jokes about how much he was paid for the gig and why he was hosting the besmirched awards show. (“I’m here ’cause I’m Black,” he quipped.) While he got middling reviews, in hindsight Carmichael’s ability to wring jokes out of cold, hard truths seems incredibly impressive given his relative newcomer status in the industry.
But we no longer need an insult-wielding insider-y comedian or a truth-telling outsider to emcee the proceedings. What we need is stars being stars.
Take Will Ferrell and Kristen Wiig, whose bit while introducing the best actor in a musical or comedy was both stupid and surprisingly cutting, with Ferrell offering, “The Globes have not changed!” as the punch line of the evening. Just as they did in 2013 (“Judi Dench. Where did she come from?”), they delivered exactly what we want from the Golden Globes—megastars so comfortable and at home in their environment that they are unafraid to be their silliest selves.
Of course, the Globes would probably love it if Ferrell and Wiig volunteered to host the whole shebang. Unfortunately, a mix of declining ratings for awards shows plus diminishing returns on the host’s investment seems to have resulted in celebrities of a certain standing no longer champing at the bit to host splashy awards shows. (How we miss you, Billy Crystal.) Rather than settle for [insert comedian here], the answer to the Golden Globes telecast problem was standing right under their nose: Just get rid of a host—something the Globes have done many times before—and have celebrities present their little bits together and then get back to their seats to enjoy the rest of their evening.
“Yes chef!” Efron, 36, wrote via his Instagram Story on Monday, January 8, after White, 32, took home the trophy for Best Performance by a Male Actor in a Television Series – Musical or Comedy for his work in The Bear. “Huge congrats on the W.”
Efron’s post included a still from The Iron Claw, in which he and White play real-life brothers Kevin Von Erich and Kerry Von Erich. In the snap, Kevin massaged Kerry’s shoulders as he prepared for a wrestling match.
White and Efron — and their costars Harris Dickinson and Stanley Simons — seemingly became fast friends on the set of The Iron Claw, which hit theaters last month. Efron recently revealed that Simons went so far as to tease him by playing High School Musical songs while filming a scene where the Von Erich brothers were Simons’ character’s band play at a party.
The 2024 Golden Globes have commenced! The biggest names in TV and film have blessed Us with their style sense at the Beverly Hilton Hotel in Beverly Hills, California on Sunday, January 7. From gorgeous gowns to dapper suits, viewers were able to feast their eyes on some serious fashion — especially after the 2023 […]
“People like to [bring up High School Musical] to mess with me. It’s pretty funny. We had a scene where we show up to a party where Stanley, I think, is singing a song,” Efron recalled during an interview with W magazine published on Wednesday, January 3. “He performed it live, and then they just continued to move on to another song and it was something from High School Musical.”
In response, Efron tried valiantly to remain unbothered. “I had to stay in character while that was going on, and everybody else was just losing it,” he explained. “The camera was on me, and I was just trying to stay in character. I felt very uncomfortable.”
A24
White, meanwhile, has said that he’s never seen any of the High School Musical films, which were released between 2006 and 2008. “Sorry, Zac. I will watch them. I will,” White said during a December 2023 episode of the “Just for Variety” podcast. He went on to joke that he would watch the Disney movies “only if Zac holds my hand through them.”
In a separate interview, White quipped that Efron was “annoying” because of his impressive body transformation for The Iron Claw. “I had been training for months, lifting, doing this and doing that and eating more and I showed up and I saw him and I’m like, ‘What is this even for? Why do I even try?’” White told Variety at a December 2023 screening of the film.
Jeremy Allen White has had Us swooning since Shameless. White rose to fame as Phillip “Lip” Gallagher on the Showtime hit since its 2011 premiere. “The whole cast [is] really close,” White exclusively gushed to Us Weekly in March 2019, noting that he “definitely” would miss TV sister Emmy Rossum’s “presence” on set after her […]
White then gushed about his costar, calling him the “captain of the ship” on set. “He was a great motivator with his preparation physically, all the preparation he did emotionally and mentally,” White said. “I look up to that guy.”
Sunday was a big night for White’s The Bear, which won Best Television Series in the musical or comedy category. White’s costar Ayo Edebiri also took home the trophy for Best Performance by a Female Actor in a Television Series – Musical or Comedy for her turn as Sydney Adamu.
