Everything Everywhere All at Once (Movie)

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      Producers Guild Awards Nominate Several Blockbusters and Omit Films by Women

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      ‘Avatar: The Way of Water,” “Black Panther: Wakanda Forever” and “Top Gun: Maverick” made the cut. “The Woman King” and “Women Talking” were snubbed.After a hectic few days of guild nominations and awards shows, the Producers Guild of America announced the 10 nominees for its best feature film award on Thursday, and this list may be the most consequential yet when it comes to predicting the strongest Oscar contenders: Over the last four years, only three movies made it into the Oscars’ best-picture lineup without first being nominated for the PGAs.Here is the producers’ list of feature-film nominees:“Avatar: The Way of Water”“The Banshees of Inisherin”“Black Panther: Wakanda Forever”“Elvis”“Everything Everywhere All at Once”“The Fabelmans”“Glass Onion: A Knives Out Mystery”“Tár”“Top Gun: Maverick”“The Whale”The producers guild has historically been inclined toward blockbuster product, and this list includes several big-screen success stories, including three of the highest-grossing films of 2022 — “Top Gun: Maverick,” “Avatar: The Way of Water” and “Black Panther: Wakanda Forever” — and two other box-office hits, “Elvis” and “Everything Everywhere All at Once.”But the exclusion of epic-scaled projects like the glitzy “Babylon” and Gina Prince-Bythewood’s action drama “The Woman King” may doom those films’ chances at making the Oscars’ best-picture lineup: When academy voters replace a PGA pick with one of their own choices, they typically substitute an indie or international film instead.Another notable snub was the Sarah Polley-directed drama “Women Talking,” which debuted at the fall film festivals with plenty of buzz but has struggled since its theatrical bow during the crowded Christmas holiday. None of the films on the PGA list were directed by women, and if “Women Talking,” “The Woman King” and Charlotte Wells’s acclaimed “Aftersun” fail to make the Oscars best-picture list, it will be the first time the category has excluded female filmmakers in four years.Only three films earned nominations from the producers, directors and actors guild this week: Steven Spielberg’s autobiographical “The Fabelmans,” the sci-fi hit “Everything Everywhere All at Once,” and the dark feuding-friends comedy “The Banshees of Inisherin.” That trio should be considered the strongest Oscar contenders as voting for the Academy Awards begins Thursday.The winners will be announced in a ceremony on Feb. 25. Here is the rest of the Producers Guild list:FilmAnimated Feature“Guillermo del Toro’s Pinocchio”“Marcel the Shell with Shoes On”“Minions: The Rise of Gru”“Puss in Boots: The Last Wish”“Turning Red”Documentary“All That Breathes”“Descendant”“Fire of Love”“Navalny”“Nothing Compares”“Retrograde”“The Territory”TelevisionEpisodic Drama“Andor”“Better Call Saul”“Ozark”“Severance”“The White Lotus”Episodic Comedy“Abbott Elementary”“Barry”“The Bear”“Hacks”“Only Murders in the Building”Limited Anthology Series“Monster: The Jeffrey Dahmer Story”“The Dropout”“Inventing Anna”“Obi-Wan Kenobi”“Pam & Tommy”Television Movie“Fire Island”“Hocus Pocus 2”“Pinocchio”“Prey”“Weird: The Al Yankovic Story”Nonfiction Television“30 for 30”“60 Minutes”“George Carlin’s American Dream”“Lucy and Desi”“Stanley Tucci: Searching for Italy”Live, Variety, Sketch, Standup and Talk Show“The Daily Show With Trevor Noah”“Jimmy Kimmel Live!”“Last Week Tonight With John Oliver”“The Late Show With Stephen Colbert”“Saturday Night Live”Game and Competition Television“The Amazing Race”“Lizzo’s Watch Out for the Big Grrrls”“RuPaul’s Drag Race All Stars”“Top Chef”“The Voice”Sports Program“Formula 1: Drive to Survive”“Hard Knocks: Training Camp with the Detroit Lions”“Legacy: The True Story of the LA Lakers”“McEnroe”“Tony Hawk: Until the Wheels Come Off”Children’s Program“Fraggle Rock: Back to the Rock”“Green Eggs and Ham”“Sesame Street”“Snoopy Presents: It’s the Small Things, Charlie Brown”“Waffles + Mochi’s Restaurant”Short-Form Program“Better Call Saul: Filmmaker Training”“Love, Death + Robots”“Only Murders in the Building: One Killer Question”“Sesame Street’s #ComingTogether Word of the Day Series”“Tales of the Jedi” More

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      Is Stephanie Hsu the ‘Dark Horse’ of Award Season?

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      Every time Stephanie Hsu thinks she has gotten used to the reactions to “Everything Everywhere All at Once,” something new manages to throw her for a loop.And on Friday night at a West Hollywood hotel bar, it was Steve Buscemi.“I’m sorry to be so rude,” said the 65-year-old actor, who sidled up to our table during an interview to say hello to Hsu. It turned out that Buscemi was a major fan of “Everything Everywhere,” the sci-fi hit in which Hsu plays the unhappy daughter of Michelle Yeoh’s multiverse-skipping savior: He’d seen the movie multiple times, including at an actors guild screening earlier that evening.Hsu, 32, is often stopped by people who love “Everything Everywhere,” but this was a pinch-me moment that she met with a big grin. Buscemi asked for a picture, and the buoyant Hsu leaped out of our booth to pose with him, then returned to her dirty martini. “That was crazy,” she told me after he left. “It’s all crazy!”Though the film came out nearly a year ago, its award-season afterlife has proved so potent that “Everything Everywhere All at Once” has begun to sound less like a title and more like the organizing principle of Hsu’s day planner. On the day we met, she had just completed several interviews and a pit stop at the Palm Springs International Film Festival; a few days later, she’d attend the Golden Globes, where her co-stars Jamie Lee Curtis, Ke Huy Quan and Yeoh were all nominated and where the latter two won major awards.Hsu was not nominated for a Globe, and as the ensemble’s least-known member, she has sometimes been left out of the awards conversation, though she did receive a Screen Actors Guild nomination on Wednesday morning. Funny and refreshingly honest, Hsu understands that nothing is guaranteed this awards season, and many may see her as an underdog. “The elephant in the room,” she said, “is the dark horse of me.”Still, even if Hsu isn’t as famous as her veteran co-stars, her presence is no less pivotal. In “Everything Everywhere,” Hsu plays Joy, who is crestfallen that her mother, a Chinese American laundromat owner named Evelyn (Yeoh), makes so little effort to understand her. It’s crucial that we feel for Joy because we soon learn that in every other universe but ours, she’s a flashy, universe-collapsing supervillain named Jobu whom our Evelyn is charged with defeating. Hsu drew a map to track how fed-up Joy became the nihilistic Jobu, and tried to imbue her baddie with a strong emotional core: Underneath it all, this is a supervillain who wants nothing more than to be embraced by her mother.Hsu bristled initially when Jamie Lee Curtis advised her to stay centered with the film starting to take off. But Hsu added, “As the year has unfolded, I’ve realized how little I knew about anything.”Ryan Pfluger for The New York TimesThe result is a big-screen breakthrough for Hsu, who had been best known for playing Mei Lin on “The Marvelous Mrs. Maisel” and for Broadway roles in “SpongeBob SquarePants: The Musical” and “Be More Chill.” She likens her awards-season stint to film school on steroids. “There are moments where it’s so fun, so joyous, so inspiring,” Hsu said. “And then there are moments where maybe you feel a little bit icky, because you realize that something’s happening behind the curtain that perhaps you were always suspicious about, but you just didn’t know how political it gets.”Still, whenever she gets too caught up in award shows and industry attention, Hsu endeavors to remember the often-tearful reactions of the fans who have flagged her down to talk about how much “Everything Everywhere” moved them.“I’m witnessing other people’s humanity in a way that is very alive,” she said, “and I’m like, ‘Oh my God, we did that. We did something that made people start crying even when they think about it.’ And that’s crazy. That came from our labor of love.”Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown.Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy.The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves.A Lovelorn Romantic: An ‘80s child star, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blending action and drama.The Costume Designer: Shirley Kurata, who defined the look of the movie, has a signature style that mixes vintage, high-end designers and an intense color wheel.Gotham Awards: At the first big show of awards season, which is a spotty Oscar predictor but a great barometer for industry enthusiasm, the film took the top prize.Here are edited excerpts from our conversation.It’s been almost a year since “Everything Everywhere” came out, and you’re still going. How does it feel at this late date?A whole pandemic happened between when we filmed and now, so it’s kind of surreal. Obviously, it’s my first time on a press run like this, and it’s been wild, but so many people haven’t actually seen the movie yet, and it’s been really delightful to still bring it into people’s lives. I think its superpower is to somehow be able to make you feel a part of the mess of humanity again. To feel those roller-coaster feelings beside a stranger is a special thing.This script came to you shortly after you wrapped the third season of “Mrs. Maisel,” which you shot alongside “Be More Chill.” Did you feel ready for it?That was the first year where I finally admitted to myself that I was an actor. I’ve always been a little bit punk rock — probably in an impostor syndrome way — where everything always felt like an accident: How did I stumble onto Broadway? How did I stumble onto this TV show? And to do a show on top of that, it asked so much of my discipline and rigor that I was like, “OK, this is what I do.” And with that came a lot of responsibility and weight.It’s not fun to talk about identity or race because you want to talk about art and the craft, but the reality was that I’d never seen myself as a lead on Broadway because I was like, “I’m not a ‘Miss Saigon’ person, so there’s no path for me there.” And I never thought I could be in a period piece on television because every version I’ve ever seen of that is incredibly offensive. And so that year, I was breaking down all these barriers that had been placed around me, carving my own path in a really real way.Hsu, left, with Ke Huy Quan, Michelle Yeoh and James Hong in “Everything Everywhere All at Once.”Allyson Riggs/A24, via Associated PressBefore you had those stage and screen roles, you spent a lot of time doing experimental theater. Do you think you were rejecting the mainstream because you thought it might reject you?At the time when I was finishing school and living in New York, those roles were not available in the mainstream. And I had no interest in selling myself or just shrinking myself to an inappropriate cameo just so that I could say I added one more thing to my résumé. I remember in 2012, I went into a commercial audition and they were like, “OK, could you do it again, but with a more Asian accent?” And I said, “I’m so sorry, but this role is not for me. I don’t do that and I’m not interested in this part.”I walked out and I was fuming. I sat next to this actor and asked him, “Did they ask you to do an accent?” He was Asian and spoke perfect English, and he was like, “Well, yeah.” And I’m like, “Did you do it?” And he said, “I have no other choice.” I understand that people want to make it and they only see one path and have to bend and fold to have a life in the arts, but I always thought if that’s how it’s going to go for me, then I’m going to work at a bar or in a wood shop. I have to make things that matter to me. Life is too short to completely dehumanize yourself.When you came on board “Everything Everywhere,” did you think about how the movie would resonate for people who also don’t tend to see themselves onscreen?I knew the movie was going to be special, but I had no idea it was going to do what it has done. And it’s been really healing for me to hear how many people have been affected by it. So many daughters and mothers have been coming to me crying, saying, “I saw myself in the movie,” or “My relationship with my mother is just like that.”When you say that it’s been healing, what was it healing in you?I don’t know if I could ever make this film again because at that point in my life, I had nothing to lose. There really were no eyes on me, so I got to bring everything I value as an artist into that role, and the affirmation I have received has validated that the wildness and imagination inside of me is really resonating with a large mass of people.Your directors, Daniel Scheinert and Daniel Kwan, said this awards season has been emotional for the cast and crew. How have you experienced it?At the Gotham Awards, [the “Tár” director] Todd Field said we have to eradicate the word “best” when we talk about how we value art, and I felt that so deeply. But also on the same evening, when Ke won best supporting actor, I stood up so fast and screamed so loud that I almost passed out. And then when we won best picture, I couldn’t believe it. I’m not sentimental about this kind of stuff and yet I could not stop crying onstage.Why do you think you reacted that way?Even as a kid with ideas, I just never thought it could be me up there with my friends, making something I believe in that is being celebrated. I remember sitting in front of a TV when Halle Berry won at the Oscars — the only woman of color who’s ever won best actress — and I don’t remember anyone else who won that night, but I remember that moment. I’ve been reflecting on that a lot, because I didn’t realize how much I had deleted the possibility from my mind that I could actually ever be a part of this industry in a real way, doing something that I value and love. So to get to be there and feel this big hug from our peers felt completely surreal.I’m still processing all of it. I’m trying to allow myself to also feel vulnerable in this ride, because there are highs and there are definitely a lot of lows. I think the biggest thing I’ve been trying to balance is how to genuinely receive the goodness while not protecting myself too much that I can’t enjoy the ride. It’s a sweet, sweet moment that may never come again. But also, you can’t get attached to the sweetness, because then you start chasing something that’s not real.Hsu saw few actresses of color winning honors when she was coming up: “I didn’t realize how much I had deleted the possibility from my mind that I could actually ever be a part of this industry in a real way.”Ryan Pfluger for The New York TimesTell me more about those highs and lows.After Jamie Lee Curtis saw the movie at South by Southwest, she took me aside and said, “This year is going to be a total roller coaster for you. Center yourself.” And I remember thinking, “Jamie, listen, I’m a grown-ass woman and I’ve been around the block. I know how to stay centered.” But as the year has unfolded, I’ve realized how little I knew about anything.You have to hold onto your self-worth in such a profound way, and it’s hard, because it feels like other people’s opinions of you are going to affirm whether or not you get to keep making movies, which is such a crazy trap and also very real, right? But I’ve had to continue to remind myself that I got to this moment without anyone ever knowing anything about me, so it really is just all about the work.And it’s work that people are responding to with a lot of passion.Yeah, but this industry is weird. You have moments like the one we just had with Steve Buscemi, and then you also have moments where you walk on a carpet and people are like, “Lana Condor, Lana Condor!”No! Did that happen?It was just once, but it was very pronounced. In everybody’s defense, my mom also thinks I look like Lana Condor: She sent me a picture of Lana Condor a year ago and was like, “You look like this woman.” But after the Lana Condor thing happened, we were at a screening in New York, and a bunch of people kept going up to my publicist and the Daniels’ publicist, who are both Asian, and they were like, “Congratulations, your performance is incredible.” And they were like, “Huh?”So listen, this ride is amazing, but that is real. We have not transcended this moment, right? James Hong [who plays Yeoh’s father] started acting at a time when people wouldn’t even say his name, they would literally just call him “Chinaman” and say “Get on your mark.” Michelle waited almost 40 years for her first chance of being No. 1 on the call sheet, and Ke left acting for [nearly] 20 years. As successful as this film has been, the biggest fear on the other side is “What if this is my last chance?”How different are you now than you were a year ago?The biggest thing I’ve learned from this past year is how to continue to show up for myself. This is not something I ever thought I would be in the conversation for, but I know I brought something to this project that is completely singular. Sometimes, things have made me want to just completely disappear into the background, but there are people who felt something in this character, people who are rooting for roles like this to exist, people who are rooting, also, for me to elbow more space or even just to stand here.And so it really is the masses that have been continuing to push me forward to show up for myself. Because as confusing as all of this is, I am so proud of our movie and what I was able to bring to it, and proud for it to be my big introduction to what I believe art can or should be. Whether that is clean enough for people to digest, that’s a whole other story. More

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      Michelle Yeoh Wins Best Actress Golden Globe for ‘Everything Everywhere All at Once’

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      Michelle Yeoh’s star turn as a multiverse-cruising immigrant mother in the sci-fi comedy “Everything Everywhere All at Once” was a hit with both critics and audiences, propelling her to her first Golden Globe. The martial arts star, who has performed in dozens of action films, took on a part that the writer-directors Daniel Kwan and Daniel Scheinert originally wrote for the actor Jackie Chan.Here is her full acceptance speech:Wooo, OK, I’m just going to stand here and take this all in. Forty years, not letting go of this. So just quickly, thank you Hollywood Foreign Press for giving me this honor. It’s been an amazing journey, an incredible fight to be here today. But I think it’s been worth it.I remember when I first came to Hollywood, it was a dream come true until I got here because — look at this face. I came here and was told, “You’re a minority” and I’m, like, “No, that’s not possible.” And then someone said to me [speaking slowly], “You speak English.” I mean, forget about them not knowing Korea, Japan, Malaysia, Asia, India. And then I said, “Yeah, the flight here was about 13 hours long, so I learned.”As time went by — I turned 60 last year. And I think all of you women understand this as the days, the years, and the numbers get bigger, it seems like opportunities start to get smaller as well. And it probably was at a time where I thought, “Hey, come on girl, you had a really, really good run, you worked with some of the best people, Steven Spielberg, Jim Cameron and Dan Boyle.” And so it’s good, it’s all good. Then along came the best gift, “Everything Everywhere All at Once.”[music starts]Shut up, please. [Laughter] I can beat you up. And that’s serious. I thank you A24 for believing in these two goofy, insanely smart, wonderful geniuses, the Daniels, who had the courage to write about a very ordinary immigrant, aging woman, mother, daughter, who was trying to do her audit; she was being audited by the I.R.S., played by the most amazing Jamie Lee Curtis. I love you.I was given this gift of playing this woman who resonated so deeply with me and with so many people because at the end of the day, in whatever universe she was at, she was just fighting, fighting for love for her family.And Evelyn Wang was no one without Ke Huy Quan — Raymond Wong — and there was no joy in her life without Stephanie Hsu. The most amazing Stephanie Hsu and my hot dog lover, Jamie Lee Curtis, to Jonathan Wong, my producer, thank you for being there with us every step of the way. My manager, David Unger, and Kit Wong, who believed in me. And this is also for all the shoulders that I stand on, all who came before me who looks like me, and all who are going on this journey with me forward. So thank you for believing in us. Thank you. Thank you so much. More

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      Ke Huy Quan’s Emotional Journey Leads to Golden Globes Win

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      All awards season long, Ke Huy Quan, who plays the sweet but ignored husband of a laundromat owner in “Everything Everywhere All at Once,” has been winning fans with his heartfelt story: He found early success as a child star in the 1980s. You may remember him as Short Round in Steven Spielberg’s “Indiana Jones and the Temple of Doom”; he was also in “The Goonies.” But after a long dry spell when he couldn’t even land a three-line role, he turned to stunt choreography instead. When he saw the success of “Crazy Rich Asians,” he decided to give acting another try, and the first audition he went on led to “Everything Everywhere All at Once,” directed by the team of Daniel Kwan and Daniel Scheinert.Now 51, he thanked the directors who helped him along the way in his emotional acceptance speech for the Golden Globe for best supporting actor:Wow. Thank you, thank you so much. I was raised to never forget where I came from, and to always remember who gave me my first opportunity. I am so happy to see Steven Spielberg here tonight. Steven, thank you!When I started my career as a child actor in “Indiana Jones and the Temple of Doom,” I felt so very lucky to have been chosen. As I grew older, I started to wonder if that was it, if that was just luck. For so many years, I was afraid I had nothing more to offer. No matter what I did, I would never surpass what I achieved as a kid.Thankfully more than 30 years later, two guys thought of me. They remembered that kid, and they gave me an opportunity to try again. Everything that has happened since has been unbelievable. Dan Kwan, Daniel Scheinert, thank you so, so much. You have given me more than I could have ever hoped.Thank you to the Hollywood Foreign Press Association for this incredible honor. Thank you to A24, thank you to our incredible producer, Jonathan Wong, thank you to Michelle Yeoh, Jamie Lee Curtis, Stephanie Hsu and our entire family. And last but not least, I want to thank the most important person in my life, the one person that has never stopped believing in me. My wife, I love you with all my heart. Thank you, thank you, thank you! More

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      Golden Globes: How to Watch, What to Know About the Scandal

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      The group that puts on the ceremony has promised reforms since it plunged into scandal two years ago. On Tuesday, it will try to win back viewers.In 2021, actors accepted Golden Globes remotely at a time when organizers were just beginning to grapple with a growing scandal around finances, ethics and diversity in its ranks.Last year, NBC refused to air the show at all, saying that the Hollywood Foreign Press Association, the troubled organization at the center of the scandal, needed time to make “meaningful reform.”But on Tuesday, the 80th annual Golden Globe Awards are back on NBC with a show that will attempt to win the trust of viewers and participants.What is not yet clear is how many of those viewers will return, after a precipitous drop in ratings during the pandemic, and whether celebrities and other members of the industry will appear en masse.The Globes have long had a reputation for booziness and irreverence. Will the revived ceremony still be seen as a less-staid alternative to the Academy Awards? Or will the Hollywood Foreign Press take the show more seriously?Here’s a brief history of the ceremony’s downfall, how its organizers are trying to rehabilitate it and what to expect from this year’s telecast.What brought down the Golden Globes?Days before the ceremony in 2021, an investigation by The Los Angeles Times took account of financial and ethical lapses at the Hollywood Foreign Press Association and revealed that it had no Black members.Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown.Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy.The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves.A Lovelorn Romantic: An ‘80s child star, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blending action and drama.The Costume Designer: Shirley Kurata, who defined the look of the movie, has a signature style that mixes vintage, high-end designers and an intense color wheel.Gotham Awards: At the first big show of awards season, which is a spotty Oscar predictor but a great barometer for industry enthusiasm, the film took the top prize.At the time, there were 87 total members in the group, and a lawsuit filed by a Norwegian reporter, Kjersti Flaa, who had thrice been denied admittance to the group, accused members of accepting “thousands of dollars in emoluments” from members of the industry who were campaigning for recognition at the Globes. (A lawyer for the association said the lawsuit was a “a transparent attempt to shake down the H.F.P.A. based on jealousy,” The Los Angeles Times reported.)One story of wooing voters became emblematic of a reputation for accepting lavish perks. The Netflix comedy series “Emily in Paris,” which was the subject of lackluster reviews, received two nominations after dozens of association members flew to Paris to visit the “Emily” set and were put up by the Paramount Network at a five-star hotel.There was also scrutiny over how much members were paid for their involvement. According to filings from the tax year ending in June 2019, the nonprofit paid more than $3 million in salaries and other compensation to members and staff. Serving on one committee, for instance, meant $1,000 a month, a 2021 internal association report shows.How did the H.F.P.A. react?At the ceremony in 2021, the hosts, Tina Fey and Amy Poehler, made repeated jabs at the press association over its lack of Black members, and midway through the program, leaders of the group took the stage and pledged to increase the diversity of its membership.In the two years since, it has recruited new members, overhauled eligibility rules and enacted a stricter code of conduct. All existing members — some of whom have had their journalistic credentials questioned over the years — needed to reapply. The 96-member group now has six Black members — up from zero in 2021 — and has added 103 nonmember voters, a dozen or so of whom are Black.Todd Boehly, the interim chief executive, has moved to end the association’s tax-exempt status and turn it into a for-profit company with a philanthropic arm. (He has been awaiting final governmental approval for that plan, after which he is expected to disband the H.F.P.A.)How has Hollywood responded?The H.F.P.A.’s practices have been scrutinized for decades, but this time, Hollywood couldn’t turn away.Netflix, Amazon and WarnerMedia said they would not work with the association unless changes we made.There were condemnations by A-list stars and producers. Shonda Rhimes called out the organization for its treatment of her shows; Tom Cruise returned his Globe trophies; Scarlett Johansson suggested the industry step back from the H.F.P.A. until it tackled “fundamental reform.”And more than 100 Hollywood publicity firms called on the association to “eradicate the longstanding exclusionary ethos and pervasive practice of discriminatory behavior, unprofessionalism, ethical impropriety and alleged financial corruption.” Until the group made its plans for change public, the firms said, they would not advise their clients to engage with the group’s journalists.Now that the organization has outlined its plans for reform, publicists and agents say that some stars are open to participating, while others want the Globes to be permanently retired. Based on this year’s list of presenters — which include Billy Porter, Natasha Lyonne and Quentin Tarantino — many are planning to show up on Tuesday.When and how do I watch?Wait, aren’t awards shows usually on Sunday? Typically, but this one was bumped to avoid clashing with NBC’s “Sunday Night Football.”Held at the Beverly Hilton in Beverly Hills, Calif., the telecast will air at 8 p.m. Eastern time, 5 p.m. Pacific time on NBC. For the first time, the show will also be available simultaneously online, through NBCUniversal’s streaming service, Peacock.Who is the host?The comedian Jerrod Carmichael will be the master of ceremonies. His HBO special “Rothaniel,” in which he came out as gay, won an Emmy and was considered among the best of 2022. And he may be familiar to NBC viewers from his 2015-17 sitcom, “The Carmichael Show,” or from his turn as host of “Saturday Night Live” last year.Who is expected to attend?The show has announced a list of presenters, including Ana de Armas, who is nominated for her performance as Marilyn Monroe in the Netflix biopic “Blonde”; Jamie Lee Curtis, who is up for a supporting actress award for “Everything Everywhere All at Once”; and Niecy Nash, who is nominated for her role in Netflix’s “Monster: The Jeffrey Dahmer Story.”Also listed as presenters are Ana Gasteyer, Colman Domingo, Michaela Jaé Rodriguez, Nicole Byer and Tracy Morgan. Eddie Murphy and the producer Ryan Murphy are receiving special honors.It is not likely to be clear until Tuesday whether a significant group of celebrities intends to boycott the ceremony.Brendan Fraser, who is nominated for best actor in a drama for his performance as a morbidly obese man in “The Whale,” has said that he would not attend the ceremony, citing the H.F.P.A.’s handling of his accusation that a former leader of the organization, Philip Berk, groped him at a luncheon in 2003. Berk denied the accusation and is no longer a member.Who is up for awards?The film with the most nominations is “The Banshees of Inisherin,” an Irish drama from the writer-director Martin McDonagh about a fractured friendship. It is up for eight awards. “Everything Everywhere All at Once” — the sci-fi comedy about a Chinese immigrant and laundromat owner, which is co-directed by Daniel Kwan and Daniel Scheinert — is up for six.The best film directing category contains some heavyweights — James Cameron for “Avatar: The Way of Water,” Steven Spielberg for “The Fabelmans” and Baz Luhrmann for “Elvis” — as well as McDonagh, Kwan and Scheinert.On the television side, the schoolroom sitcom “Abbott Elementary,” created by Quinta Brunson, is up for the most awards, with five nominations, including best musical or comedy series.In the increasingly prestigious limited series category, the talked-about drama “White Lotus” is up against “Pam & Tommy,” “The Dropout,” “Black Bird” and “Monster.”HBO Max and Netflix are tied with the highest number of nominations, at 14 each.Brooks Barnes contributed reporting. More

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      Will These Be the 10 Best Picture Oscar Nominees?

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      Now that critics’ laurels and box office results are in, the race for the top honor is clearer. But there’s still room for an outside contender to slip in.Earlier this week, I got a text from a harried colleague. “I’m not ready for Oscar season,” she wrote.I blinked for a second before responding. Ready? This season has been going for months!Of course, I took her point: January ramps things up considerably, since we’re about to get televised awards shows (the Golden Globes on Tuesday followed by the Critics Choice Awards the following Sunday), nominations from the acting, directing and producing guilds, and then the all-important Oscar nominations, which will be announced Jan. 24.But we can already make an educated guess about the titles we’ll hear that day, since your Projectionist has spent the last few months weighing valuable factors like voter buzz, box office battles, laurels from critics groups, below-the-line Oscar shortlists, and influential citations like the Gothams and the American Film Institute Awards. With all that in mind, I’ve arrived at a list of 10 movies that I think currently have the greatest shot at making the best picture lineup.Still, this is an unusual year when even the strongest movies come with significant debits, which means there’s still room for big-budget entertainments (like “Babylon,” “Nope,” “Glass Onion: A Knives Out Mystery” and “Black Panther: Wakanda Forever”), foreign-language films (including “RRR,” “Decision to Leave” and “All Quiet on the Western Front”), and indie films with strong performances (like “The Whale,” “Till,” “She Said” and “Aftersun”) to pull through. At this time last year, “CODA” looked like a middle-of-the-road contender, but a few consequential weeks later, it won enough hearts to clinch the best picture Oscar.So consider these 10 films to merely be the starting lineup, ranked in descending order according to their certainty.Steven Spielberg Gets Personal in ‘The Fabelmans’The director’s latest movie, starring Michelle Williams, focuses on Sammy Fabelman, a budding filmmaker who is a lot like Spielberg himself.Review: “The Fabelmans” is “wonderful in both large and small ways, even if Spielberg can’t help but soften the rougher, potentially lacerating edges,” our critic writes.Michelle Williams: With her portrayal of Mitzi, Sammy’s mother, the actress moves from minor-key naturalism to more stylized performances.Judd Hirsch: The actor has been singled out for his rousing performance in the film. It’s the latest chapter in a career full of anecdotes.Making ‘The Fabelmans’: In working on this semi-autobiographical movie, Spielberg confronted painful family secrets and what it means to be Jewish in America today.‘Everything Everywhere All at Once’Ke Huy Quan and Michelle Yeoh in “Everything Everywhere All at Once.”Allyson Riggs/A24After making a film with sci-fi trappings and outlandish dildo fight scenes, the directors of “Everything Everywhere” never expected it to become an awards-season sensation. Still, if you look under the hood, this movie has everything Oscar voters typically spark to: It’s a critically acclaimed box office hit with a veteran star in a showcase role (Michelle Yeoh), a wildly rootable actor making his long-awaited comeback (Ke Huy Quan), and an original, inventive story that concludes with a series of heartwarming scenes. The only downside (and it could prove to be a potent one) is that many older voters just can’t get past the aforementioned sci-fi trappings and dildo fight scenes, and the film’s appeal is therefore lost on them. Will the passion of the academy’s younger and hipper voters be enough to make up that shortfall and push “Everything Everywhere” to the top?‘The Fabelmans’Though we may think of Steven Spielberg as an Oscar staple, it’s been more than two decades since he won his last statuette, for “Saving Private Ryan” (1998). If voters consider the most successful director of all time to be overdue for another little gold man, they might think it fitting to reward him for “The Fabelmans,” the most personal project he’s ever made. This semi-autobiographical family drama was hobbled by headlines about its meager box office take, but it’s hardly the only prestige drama to struggle in theaters this year. And once the nominations are sorted, the film should fare very well on the preferential ballot for best picture, which favors consensus crowd-pleasers.‘The Banshees of Inisherin’Could nearly half of the 20 acting nominations be sewn up by just two movies? If “Everything Everywhere” overperforms, Yeoh, Quan, and supporting actresses Stephanie Hsu and Jamie Lee Curtis could all be nominated. Ditto Martin McDonagh’s “The Banshees of Inisherin,” which I think has an even better shot at earning nominations for all four of its principal actors: leading man Colin Farrell and his supporting co-stars Brendan Gleeson, Barry Keoghan and Kerry Condon. (Sadly, Jenny the donkey was not eligible last time I checked.) And though McDonagh failed to make it into the best director lineup for his last film, “Three Billboards Outside Ebbing, Missouri,” the stunningly photographed vistas of “Inisherin” ought to put him over the top this time.‘Tár’Don’t be fooled by the recent best picture wins for simple-pleasure dramedies like “CODA” and “Green Book”: There is still a significant bloc of highbrow voters within the academy, and I suspect “Tár” will serve as their standard-bearer. Todd Field’s ruthlessly contemporary drama about a disgraced conductor has already entranced critics: The New York Film Critics Circle and Los Angeles Film Critics Association both awarded Cate Blanchett’s lead performance and voted “Tár” the best film of the year (though the West Coast group split the difference on the latter, claiming a tie between “Tár” and “Everything Everywhere”). Field made the best picture lineup back in 2002 for his first film, “In the Bedroom,” and voters will be pleased to see that their early bet on him has more than paid off.‘Avatar: The Way of Water’From left, Tsireya (Bailey Bass), Neytiri (Zoe Saldaña), Neteyam (Jamie Flatters), Lo’ak (Britain Dalton) and Jake Sully (Sam Worthington) in “Avatar: The Way of Water.”20th Century StudiosJames Cameron’s first “Avatar” was presumed to be the runner-up in 2010’s best picture race, which ultimately crowned his ex-wife Kathryn Bigelow’s military drama “The Hurt Locker.” Can “The Way of Water” succeed where the first film failed? I don’t think it’s got much of a chance at actually winning best picture, since Cameron has often said that the franchise is mapped out over five movies, and voters will probably wait until the far-off denouement to decide the ultimate worth of the series, as they did with the “Lord of the Rings” trilogy. Still, a long list of nominations is all but certain, since the movie is both a blockbuster triumph and a dazzling auteurist work that only Cameron could have pulled off.‘Elvis’It’s been 21 years since director Baz Luhrmann scored an Oscar breakthrough with the musical “Moulin Rouge” — which was nominated for eight Oscars and won two — and I expect he’ll be welcomed back in a big way for this glittery biopic of the iconic singer, played by surefire best actor nominee Austin Butler. One of the year’s only adult dramas to succeed in theaters, “Elvis” plays as though “Bohemian Rhapsody” were executed with actual panache, and Luhrmann’s maximalist aesthetic could even push him into the best director lineup, since that branch goes gaga for technical audacity.‘Top Gun: Maverick’If a well-reviewed action sequel becomes the biggest movie of the year and helps bolster struggling theaters, shouldn’t that be enough to cram it into the best picture race? Well, that argument didn’t get “Spider-Man: No Way Home” into last year’s lineup, but domestic box office champ “Top Gun: Maverick” is already off to a better start, picking up best film nominations from the Golden Globes and Critics Choice Awards that eluded Marvel’s web-slinger. But is this Tom Cruise star vehicle actually about something, or is it just a high-flying entertainment? Oscar voters tend to turn their nose up at action sequels — the only one nominated for best picture in the last 15 years was George Miller’s astonishing “Mad Max: Fury Road” — and the next phase of this awards campaign will have to convince them that there’s more to “Top Gun: Maverick” than meets the eye.‘Triangle of Sadness’After “Parasite” won the Palme d’Or at the Cannes Film Festival nearly four years ago, the upstart film studio Neon successfully leveraged the movie’s international appeal and turned it into an awards-season darling. Can the studio pull off the same feat for Ruben Ostlund’s social satire “Triangle of Sadness,” which also took the Palme and similarly mines class warfare for big laughs and shocking set pieces? It helps that this cruise-ship comedy has a secret weapon in supporting-actress contender Dolly de Leon, who plays a maid-turned-despot: At a time when most contenders are still wary of ascribing too much weight to the controversial Golden Globes, the Filipina actress has drawn headlines for discussing how much the Globe nomination means to her, and many Oscar voters will be eager to extend her awards-season moment.‘Women Talking’Judith Ivey, left, and Claire Foy in “Women Talking.” Michael Gibson/Orion PicturesAfter a big fall-festival launch, Sarah Polley’s well-reviewed Mennonite drama may have waited a little too long to come out in theaters: It was swallowed in limited release over the Christmas weekend, and will have a rough go expanding into new locations until the Oscar nominations are announced. Still, Polley is a respected actress-turned-director, the ensemble is filled with awards-friendly ringers like Claire Foy, Jessie Buckley and Frances McDormand, and the film’s bracing conversations about gender and sexual assault make a strong case for its relevance.‘The Woman King’Gina Prince-Bythewood’s well-mounted action epic about female warriors in 19th-century Africa has an Oscar-winning star in Viola Davis and a lot of handsome tech elements, though I’m concerned that it didn’t manage to make the Oscar shortlists for its superlative costume design and hair and makeup. (At least Terence Blanchard’s thundering score made the cut in its category.) Next week’s Producers Guild nominations could foretell the film’s ultimate fate, since that group likes to recognize rousing theatrical successes and “The Woman King,” which earned a worldwide gross nearly double its $50 million budget, will almost certainly show up there if it’s got the mettle to impress awards voters. More

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      Quinta Brunson, Jack Harlow and More Breakout Stars of 2022

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      Here are the actors, pop stars, dancers and artists who broke away from the pack this year, delighting us and making us think.For many of us, 2022 was the year we emerged more fully from our pandemic cocoons, venturing out to movie theaters, museums, concerts — exploring our entertainment with eager, if weary, hearts and eyes before returning home to our TVs. Along the way, artists and performers across the world of the arts had, for the first time in years, the chance to connect more closely and fully with audiences, and deliver big. Here are seven stars who captured our attention in this moment and gave us a fresh perspective.TelevisionQuinta BrunsonIn 2014, Quinta Brunson had a viral Instagram hit on her hands: a series of videos called “The Girl Who’s Never Been on a Nice Date.” At BuzzFeed, where she was first paid for taste-testing Doritos, she made popular comedic videos for the site and then sold the streaming series “Broke” to YouTube Red. In 2019, she starred in and wrote for the debut season of HBO’s “A Black Lady Sketch Show.”That trajectory set her up to deliver a rare feat: a warmhearted but not saccharine network sitcom with a pitch-perfect ensemble cast that has managed to delight critics and audiences — all while illuminating the problems of underfunded public schools. The mockumentary-style comedy, “Abbott Elementary,” which she created and stars in, debuted on ABC in December 2021 and was nominated for seven Emmy Awards this year, of which it won three.“I think a lot of people are enjoying having something that is light and nuanced,” Brunson, 32, told The New York Times Magazine earlier this year. “‘Abbott’ came at the right time.”MoviesStephanie HsuIn “Everything Everywhere All at Once,” Stephanie Hsu plays a despairing daughter named Joy and the chaos-inducing villain Jobu Tupaki.A24When Stephanie Hsu was a child, she told her mother that she wanted to be an actor. Her mother “pointed at a TV screen and said, ‘There’s nobody that looks like you — that seems impossible,’” Hsu, 32, told Variety this year. Turns out, her presence onscreen was both possible and unforgettable, particularly her jaw-dropping performance in this year’s “Everything Everywhere All at Once,” a mind-twisting acid trip through the multiverse (and the human condition) that was a box-office hit and had critics raving.In “Everything,” her first feature film, Hsu nailed the complex role of both a depressed, despairing daughter (opposite Michelle Yeoh as her mother) and the maniacally evil, chaos-inducing villain Jobu Tupaki.“I think it’s so rare that you get to experience the scope of range within one character in one movie,” Hsu told The Times.Next up for the actress is a role in the Disney+ action-comedy series “American Born Chinese”; in Rian Johnson’s Peacock series, “Poker Face,” alongside Natasha Lyonne; and in “The Fall Guy,” an action movie starring Ryan Gosling and Emily Blunt.Pop MusicJack HarlowThe rapper Jack Harlow, who released the album “Come Home the Kids Miss You” in May, earned three Grammy nominations in November.Eduardo Munoz/ReutersThose on TikTok probably first caught wind of the rapper Jack Harlow in 2020 with his viral track “Whats Poppin.” But it wasn’t until his verse on Lil Nas X’s “Industry Baby” last year — the song topped the Billboard Hot 100 — that his star really began its ascent.The Highlights of 2022, According to Our CriticsCard 1 of 3Salamishah Tillet. More

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      The Breakout Stars of 2022

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      Here are the actors, pop stars, dancers and artists who broke away from the pack this year, delighting us and making us think.For many of us, 2022 was the year we emerged more fully from our pandemic cocoons, venturing out to movie theaters, museums, concerts — exploring our entertainment with eager, if weary, hearts and eyes before returning home to our TVs. Along the way, artists and performers across the world of the arts had, for the first time in years, the chance to connect more closely and fully with audiences, and deliver big. Here are seven stars who captured our attention in this moment and gave us a fresh perspective.TelevisionQuinta BrunsonIn 2014, Quinta Brunson had a viral Instagram hit on her hands: a series of videos called “The Girl Who’s Never Been on a Nice Date.” At Buzzfeed, where she was first paid for taste-testing Doritos, she made popular comedic videos for the site and then sold the streaming series “Broke” to YouTube Red. In 2019, she starred in and wrote for the debut season of HBO’s “A Black Lady Sketch Show.”That trajectory set her up to deliver a rare feat: a warmhearted but not saccharine network sitcom with a pitch-perfect ensemble cast that has managed to delight critics and audiences — all while illuminating the problems of underfunded public schools. The mockumentary-style comedy, “Abbott Elementary,” which she created and stars in, debuted on ABC in December 2021 and was nominated for seven Emmy Awards this year, of which it won three.“I think a lot of people are enjoying having something that is light and nuanced,” Brunson, 32, told The New York Times Magazine earlier this year. “‘Abbott’ came at the right time.”MoviesStephanie HsuIn “Everything Everywhere All at Once,” Stephanie Hsu plays a despairing daughter named Joy and the chaos-inducing villain Jobu Tupaki.A24When Stephanie Hsu was a child, she told her mother that she wanted to be an actor. Her mother “pointed at a TV screen and said, ‘There’s nobody that looks like you — that seems impossible,’” Hsu, 32, told Variety this year. Turns out, her presence onscreen was both possible and unforgettable, particularly her jaw-dropping performance in this year’s “Everything Everywhere All at Once,” a mind-twisting acid trip through the multiverse (and the human condition) that was a box-office hit and had critics raving.In “Everything,” her first feature film, Hsu nailed the complex role of both a depressed, despairing daughter (opposite Michelle Yeoh as her mother) and the maniacally evil, chaos-inducing villain Jobu Tupaki.“I think it’s so rare that you get to experience the scope of range within one character in one movie,” Hsu told The Times.Next up for the actress is a role in the Disney+ action-comedy series “American Born Chinese”; in Rian Johnson’s Peacock series, “Poker Face,” alongside Natasha Lyonne; and in “The Fall Guy,” an action movie starring Ryan Gosling and Emily Blunt.Pop MusicJack HarlowThe rapper Jack Harlow, who released the album “Come Home the Kids Miss You” in May, earned three Grammy nominations in November.Eduardo Munoz/ReutersThose on TikTok probably first caught wind of the rapper Jack Harlow in 2020 with his viral track “Whats Poppin.” But it wasn’t until his verse on Lil Nas X’s “Industry Baby” last year — the song topped the Billboard Hot 100 — that his star really began its ascent.Now, the laid-back Harlow, 24 and a Kentucky native, had his first solo No. 1 hit, the Fergie-sampling “First Class,” from his second major-label album, “Come Home the Kids Miss You,” which dropped in May. In November, he earned three Grammy nominations, including for best rap album. And in October, he served as both host and musical guest on “Saturday Night Live.”“I’m looking to get away from rapping in a way where people can marvel at it and more something we can all enjoy together,” he told The Times this year.Soon, Harlow will star in a remake of the 1992 film “White Men Can’t Jump.”ArtTiona Nekkia McCloddenThe artist Tiona Nekkia McClodden in her studio; she had three major presentations of her work in New York this year.Hannah Price for The New York TimesOver the last few years, Tiona Nekkia McClodden, 41, “has emerged as one of the most singular artists of our aesthetically rich, free-range time,” Roberta Smith, co-chief art critic of The Times, wrote in her review of McClodden’s exhibition “Mask/Conceal/Carry,” a meditation on guns shown at 52 Walker in TriBeCa this year. Smith called it a “brooding beast of an exhibition, bathed in blue light.”And that was only one of three major presentations of McClodden’s work in New York in 2022. At the Museum of Modern Art, she presented a room-size fetish-themed tribute to Brad Johnson, a Black gay poet who died in 2011. At the Shed, she celebrated the groundbreaking 1983 festival Dance Black America with a program that included custom dance floors and video portraits of dancers.McClodden, who was a star of the 2019 Whitney Biennial (she won the Bucksbaum Award), emerged as a filmmaker before expanding to boundary-pushing art installations.Amid the pandemic and the George Floyd protests and counter protests, she decided to learn how to shoot guns, an activity that bore “Mask/Conceal/Carry.” “The statement is that I’m in the world, I didn’t try to run away from my position in this world, and I wanted to be able to defend myself,” she told The Times this summer.TheaterJulie BenkoA scene from the Broadway musical “Funny Girl” with Jared Grimes, left, as Eddie Ryan and Julie Benko as Fanny Brice.Evan Zimmerman for MurphyMade, 2022Few can say they’ve seized an opportunity like Julie Benko, whose monthlong summer run as Fanny Brice in the Broadway revival of “Funny Girl” changed a lot for the actress-soprano who stepped into the role full-time between Beanie Feldstein and Lea Michele in the highly talked-about production. But even that degree of pressure didn’t weigh her down.“When you get the chance to play such an amazing role, there’s no need to take it too seriously,” Benko told the Times. “You just have to enjoy it.” Now, Benko has the title of “alternate” in “Funny Girl,” not “understudy,” performing the lead in most Thursday night shows (with an extra performance on Monday, Dec. 26, and for a full week in late February).Benko, 33, had understudied several roles before “Funny Girl,” including in the national “Spring Awakening” tour in 2008, and later in the “Les Misérables” tour, where she worked her way up to Cosette, the protagonist, from roles like “innkeeper’s wife.”In December, she will be performing at 54 Below in New York alongside her husband, the pianist Jason Yeager.Classical MusicDavóne TinesThe bass-baritone Davóne Tines performs a scene in “Monochromatic Light (Afterlife)” by Tyshawn Sorey at the Park Avenue Armory.Jeenah Moon for The New York Times“No one could accuse Davóne Tines of lacking ambition,” Oussama Zahr, a classical music critic, wrote recently in The Times when reviewing “Recital No. 1: MASS,” the bass-baritone’s personal and thoughtfully arranged Carnegie Hall debut“I really like structures,” Tines, who is in his mid-30s, told The New Yorker of “MASS” last year. “The ritualistic template of the Mass is a proven structure — centuries of culture have upheld it. Anything that I put into it will assume a certain shape. And what I put into it is my own lived experience.”Accolades for Tines have been mounting, including for, this fall, his performance in a staged version of Tyshawn Sorey’s “Monochromatic Light (Afterlife),” at the Park Avenue Armory; and for “Everything Rises,” his collaboration with the violinist Jennifer Koh, which opened at the Brooklyn Academy of Music.In the work, Tines and Koh recount their complicated relationships with classical music as people of color. “I was the moth, lured by your flame,” Tines sings. “I hated myself for needing you, dear white people: money, access and fame.”DanceCatherine HurlinThe ballerina Catherine Hurlin, who was recently promoted to principal dancer at American Ballet Theater, in “Of Love and Rage,” by Alexei Ratmansky at the Metropolitan Opera House.Julieta Cervantes for The New York TimesShe may only be 26, but the ballerina Catherine Hurlin has been ascending for more than half of her life. As a girl, she secured a full scholarship to the American Ballet Theater’s Jacqueline Kennedy Onassis School. Not long after, she became an apprentice with the A.B.T., then a member of the corps de ballet and eventually a soloist in 2018.Then this summer, she was one of three dancers promoted to the role of principal.“The simple serenity of Hurlin’s face, framed by cascading curls, is riveting, as is the daring amplitude of her expressive, singular dancing,” Gia Kourlas, the dance critic of The Times, wrote in June of Hurlin’s performance in Alexei Ratmansky’s “Of Love and Rage.”And in July, when Hurlin made her debut in the double role of Odette-Odile in “Swan Lake,” Kourlas called her “the future of Ballet Theater, the kind of dancer who has a fresh take on story ballets.”Her nickname? Hurricane. More