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      How to Watch the Golden Globes 2024: Date, Time, Streaming

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      Hollywood usually looks to the annual awards as a party, but this year they also have an unlikely mission: A bid for relevance.The bar for a successful Golden Globes is usually low: Did at least one winner crack an acceptance-speech joke they’d probably regret the next day? Was there unpredictable political pontificating? Was the champagne still flowing into the wee hours?But then a Los Angeles Times investigation in 2021 revealed that the Hollywood Foreign Press Association, the eccentric, cloistered nonprofit of about 85 journalists that voted on the Golden Globes for some seven decades, had exactly zero Black members. The event has spent the last two years undergoing a reboot: The H.F.P.A. was dissolved. Private ownership took over, and new leadership was hired.This year, the Globes are back on TV, in their normal Sunday-night slot. (NBC didn’t broadcast the event in 2022, and last year’s pared-back Globes were booted to a Tuesday night because of football.) Now they’re on CBS, and a diversified voting body of more than 300 entertainment journalists has chosen the winners and added two new categories. (Oh, and they also found a new way to nominate Taylor Swift.)Will it be enough to win back audiences? (The 2023 Globes had about 6.3 million viewers, down 10 percent from the last televised Globes ceremony in 2021; by comparison, the Oscars draw about 19 million viewers.) Will the A-listers show up? Will the ceremony be a nod to the boozy, freewheeling affairs of old or play it more strait-laced like last year’s sober — some said, “boring” — ceremony?We’ll find out Sunday night. Here’s how to watch.What time does the show start, and where can I watch?The ceremony begins at 8 p.m. Eastern, 5 p.m. Pacific at the Beverly Hilton in Beverly Hills, Calif. CBS is the official television broadcaster.Online, you can watch the show live on the CBS app, which is free to download, though you’ll need to sign in using the credentials from your cable provider. The show will also stream on Paramount+, though only subscribers who have the Showtime add-on will be able to watch live. For those who do not, the ceremony can be streamed beginning Monday on Paramount+. There are also a number of live TV streaming services that offer access to CBS, including Hulu + Live TV, YouTube TV and FuboTV, which all require subscriptions, though many are offering free trials.Is there a red carpet?Variety will stream red carpet arrivals beginning at 6:30 p.m. Eastern, 3:30 p.m. Pacific on its website and social media platforms as part of the official Globes preshow, which will be hosted by the Variety journalists Marc Malkin and Angelique Jackson and the “Entertainment Tonight” correspondent Rachel Smith. You can also watch on ETonline.com or the Golden Globes website.Who is hosting?The comedian and actor Jo Koy, who has released multiple Netflix specials and starred in the comedy movie “Easter Sunday” in 2022, will take the reins for the first time.Who is presenting?The lineup of actors, comedians and musicians who will hand out awards includes Amanda Seyfried, America Ferrera, Angela Bassett, Daniel Kaluuya, Florence Pugh, Gabriel Macht, George Lopez, Issa Rae, Julia Garner, Justin Hartley, Michelle Yeoh, Oprah Winfrey and Will Ferrell.Who votes on the awards?With the H.F.P.A. dissolved, an expanded group of more than 300 entertainment journalists from around the world is now responsible for selecting the nominees and winners. And the Globes have promised it’s a much more diverse group that now includes Black voters.What’s new this year?The Globes introduced two new categories, one for stand-up comedy on television and the other for blockbuster films — defined as those taking in at least $100 million at the domestic box office and $150 million worldwide (hello, “Barbie”-”Oppenheimer”-“Taylor Swift: The Eras Tour” showdown).With the exception of the blockbuster category, which has eight slots, the categories now have six nominees each, up from five. In other words, more stars to populate the televised ceremony and the red carpet spectacle.Who is nominated?“Barbie,” Greta Gerwig’s live-action take on the popular doll, leads the pack with eight nominations, including three in the original song category. (Yes, “I’m Just Ken” made the cut.) Close on its heels is “Oppenheimer,” Christopher Nolan’s three-hour blockbuster biopic about the theoretical physicist who led the effort that produced the first nuclear weapons. It’s up for best drama, director and actor, among other awards.On the TV side, it looks to be a big night for “Succession,” which ended last spring and earned a record nine nominations. The audience favorites “The Bear” and “Only Murders in the Building” picked up five apiece.What should you watch for?“Oppenheimer” will be looking to bolster its case at the Oscars with wins here in the best drama and director categories. But don’t count out “Killers of the Flower Moon,” whose female lead, Lily Gladstone, could become the first Indigenous performer to win best actress in a drama.Among the TV nominees, Meryl Streep, who is up for best supporting actress in a comedy for her role as the actress Loretta Durkin in Season 3 of “Only Murders in the Building,” could break her own record for the most Golden Globe acting wins with a victory (this would be her ninth statuette). Ali Wong, who played a successful businesswoman drawn into a road-rage-fueled feud in the Netflix comedy “Beef,” could become the first actress of Asian descent to win best actress in the limited series category.And, if “Succession” wins best drama, it will tie the record for most wins in the category (currently held by “Mad Men” and “The X-Files,” which each have three).Will Taylor Swift be there?The singer picked up her fifth Golden Globe nomination, for her concert film, “Taylor Swift: The Eras Tour,” thanks to the new blockbuster film category, but no word yet on her plans for the evening. Will the winners in the TV categories offer any hints about the Emmys next week?What a strange year: The dual actors’ and writers’ strikes that largely brought Hollywood to a standstill also bumped the Emmys from their normal September spot, even though voting took place in June. They’re now set to air after Jan. 15, even though the winners for the 2022-23 season were locked in months ago. Which is to say: Nope! More

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      What to Read After Watching ‘Killers of the Flower Moon’

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      Now that the Scorsese epic is on demand, you can catch up with the drama from home, then go down a rabbit hole with our guides.“Killers of the Flower Moon,” Martin Scorsese’s telling of the terrible history of the killings of at least 60 Osage people in the 1920s by white neighbors who coveted their oil money, has been part of the film conversation since it was first unveiled at the Cannes Film Festival in May. This month, New York Times critics named it their top movie of 2023. Now that it’s available on demand (and is expected to reach streaming later this month), here’s a guide to what to read about the drama:The HistoryThe film is based on David Grann’s 2017 nonfiction best seller of the same title, which examined both the horrifying murder plot and the birth of the F.B.I. The Times said of the book, “It will sear your soul.” Here’s the review.The movie largely jettisons Grann’s F.B.I. angle and focuses on the wealthy Osage woman Mollie Kyle (played by Lily Gladstone); her white husband, Ernest Burkhart (Leonardo DiCaprio); and his uncle, William King Hale (Robert De Niro), the ringleader of the conspiracy. Here’s a rundown of the facts behind the drama.The ProductionInitially the film was going to follow the book more closely and track an F.B.I. agent as he investigated the mystery. But “I think Marty and I just looked at each other and we felt there was no soul to it,” DiCaprio told our columnist Kyle Buchanan. So they started over again. Here’s what the stars and director had to say.In the wedding scene, Mollie wears what looks to be a soldier’s uniform with a tall hat as her bridal outfit. In fact, the look was based on military dress and hewed closely to Osage tradition, according to designers and members of the tribe. Here’s a closer look at the costumes.The film is stocked with cameos from musicians like Jason Isbell, comedians like Tatanka Means and even a filmmaker (we won’t give it away here). Find out who’s who in the cast.The ReactionThe Times’s chief film critic, Manohla Dargis, called the film a “heartbreaking masterpiece” and “a true-crime epic that Scorsese — with grace, sorrow and sublime filmmaking clarity — has turned into a requiem for the country.” Here’s the review.The Times’s two film critics both named “Killers of the Flower Moon” the best film of 2023. “Manifest Destiny makes a hell of a gangster movie,” Dargis wrote. And Alissa Wilkinson wrote that Scorsese proceeds “from the firm belief that guilt is generational, just like grief.” Here are their Top 10 lists.DiCaprio’s Burkhart is unlike any Scorsese protagonist because, well, he’s dumb as rocks. And that changes the film in a fundamental way. Here’s a critic’s notebook explaining why.Scorsese has long been identified with ornately edited, violent set pieces. In “The Irishman” and now “Killers,” those flourishes have given way to blunt truth, argues one writer. Learn how Scorsese has rethought violence. More

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      Martin Scorsese’s Unwise Guys

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      From Travis Bickle to the protagonist of “Killers of the Flower Moon,” the director has excelled at depicting a certain kind of male antihero.If “Men Without Women” seems painfully apt as a title for Ernest Hemingway’s fiction, the equivalent for Martin Scorsese’s work might be “Men Failing Women.” From “Who’s That Knocking at My Door” to “Killers of the Flower Moon,” for more than 50 years, his movies have been a dismal and heartbreaking primer on what not to do when you love someone. His male protagonists continue to fail their significant others even when given multiple chances to reverse that pattern: a paradigm even more fraught if the protagonist is a white dimwit and his wife a long-suffering Osage. In his welcome to the audience before “Killers” begins, Scorsese confides that his film is deeply personal, and it is, not just because he has always had a keen sense of social injustice but also because of its obsession with the jaw-dropping gap between the man his protagonist wants to be and the man he is. Which helps explain an aspect of the movie that has most puzzled some reviewers: If it is about what happened to the Osage, then why are we spending so much time with a white schnook?Maybe because the self-deluded sinner who wants to repent but refuses to change has been Scorsese’s most persistent and agonized subject. At their most dysfunctional, those figures are so terrifying that they’ve become cultural totems of toxic masculinity — Travis Bickle! Jake La Motta! — as their rage at their inadequacies lacerates everything, including, of course, the women closest to them.Even at their best, Scorsese’s protagonists never want to face certain hard facts, and in their pursuit of a good time, they’re masters of what “Animal House” memorialized as a “really futile and stupid gesture.” It figures that they’re often hoods or hustlers, either with a pool cue or hedge fund. And happily for us, Scorsese has never been able to resist the energy they bring to a movie. “Goodfellas” is peerless at viscerally rendering the appeal of the gangster’s freewheeling heartlessness, and when “Killers” comes closest to that energy — when the two male leads frantically argue over the pea-brained implementation of a murder they’ve arranged — the result is the movie’s most high-spirited comic moment. What we’re confronting in these movies is self-absorption without understanding: the self as an incomprehensible spectacle. Leonardo DiCaprio’s Ernest Burkhart seems flummoxed by his actions every step of the way, given how much he is sure he loves Lily Gladstone’s Mollie. He tells his uncle that he loves money and women, and Mollie’s a dream combination of both, given her oil wealth. At first his courting goes nowhere, but eventually she is won over — DiCaprio is DiCaprio, after all, even if he does spend the movie in a permanent frown, and she’s also drawn to his honesty when he wryly confesses his own laziness and greed — and the question for the audience becomes why she isn’t acting on his transparent duplicity. One reason might involve the sheer scale of his treachery — he’s betraying her as a part of a conspiracy to murder her entire family, including her, as well as any number of others — but another might be how much when in love we work to deny what we know in the name of faith or hope. After her sister is murdered, Mollie’s voice-over reveals that she keeps her fears at bay by closing her heart and keeping what’s good there. She knows not to trust corrupt doctors with her insulin, but she can’t bring herself to acknowledge Ernest’s role in what is happening. She confides to her priest that she’s afraid to eat in her own house, but when he asks who might want to harm her, she remains silent. When she is discovered at death’s door by F.B.I. agents, even in her extremity she asks, “Where’s my husband?” And if Mollie is the angel on Ernest’s shoulder, his uncle William Hale (Robert De Niro) is the devil: playing on Ernest’s humiliation by reminding him that she’s making things harder on him and informing him that she had another husband she has kept secret (as if Hale is aware that a reliable trigger of abusiveness in a Scorsese movie is the murderousness of male jealousy) and finally appearing at Mollie’s bedside so much like the Angel of Death that in her delirium, she asks if he’s real.But this passion play is Ernest’s. Because he insists that he loves Mollie, he therefore would never want to hurt her, and therefore can’t be doing so. As Rob Corddry of “The Daily Show” put it on the subject of Abu Ghraib: “Just because torturing prisoners is something we did, doesn’t mean it’s something we would do.” Which is where the movie’s race politics becomes so brutal as well: Mollie is, after all, not white, and as such even easier to disregard. As his uncle’s plotting gets ever more destructive, Ernest begins to grope his way toward opting out — he hesitates, at least, about contacting the thug tasked with blowing up his sister-in-law’s house with her in it — and the subsequent long shot of the devastation he confronts afterward works nicely as a figure for his inner life. By administering the insulin he has poisoned, he can simultaneously enact his love and eradicate the problem she poses to his sense of himself as not an awful man. In the same way, he caves to his uncle’s demand that he sign the insurance policy on his own life; he knows what it implies but resolves to act as though he doesn’t. Like so many of Scorsese’s sinners, he wants to do penance, and so drinks the drug he has been adding to Mollie’s insulin, while the fires of hell apparently burn outside (fields set afire, also the work of Uncle Hale).Jesse Plemons’s F.B.I. agent Tom White, the main figure of rectitude, finally says to Ernest, “You’re a good man, Ernest, and you love your wife and children.” He continues, “I don’t think this is how your life was meant to turn out,” and reminds him that his uncle has done nothing except make him do bad things and take advantage of him because of his disposition, that last noun reminding us of both his flaws and his agency. After he finally testifies, in Mollie’s presence, to most of what he has done, in the movie’s most excruciating scene, the couple are given time in a room, and DiCaprio and Gladstone are spectacularly good at what direness can pass between a married couple even if they love each other. She waits for him to come clean, and he won’t. She asks if he has told her the whole truth. He answers he has. She has to keep pressing — What did he give her, in her insulin? What was in the shots? — and though he is demolished by her pain and his guilt, he won’t confess. Her face hardens, and she leaves. Scorsese’s movies have persistently left their protagonists in this semi-disingenuous state of sitting clueless amid the rubble. From Jimmy Doyle to Ace Rothstein to Howard Hughes, however much they intermittently adore their women, they find themselves gaping at the pain they’ve caused as if through the wrong end of a telescope. Their regard, when they feel it, is intense, but in the male-dominated world of striving they inhabit, that regard evaporates periodically, and they’re baffled if not enraged to be called on that. They’re indemnified by their knowledge of who they meant to be, and that ideal self becomes the version they stridently defend. Just because torturing prisoners is something we did … The last time we see Ernest, he’s still pitching between self-pity and self-awareness. He is in that same maddening state in which “Raging Bull” left Jake La Motta, who at one point manages to figure it out: “I’ve done a lot of bad things, Joey. Maybe it’s comin’ back to me.” Source photographs for illustration above: Apple TV+; Getty Images.Jim Shepard has written eight novels, including most recently “Phase Six” and “The Book of Aron,” which won the PEN/New England Award for fiction and the Clark Fiction Prize. He teaches at Williams College. More

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      Gotham Awards 2023: ‘Past Lives’ and Lily Gladstone Win Big

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      The movie prize season kicks off with honors for the A24 drama and for the star of “The Unknown Country” (who’s better known for “Killers of the Flower Moon”).“Past Lives,” the elegiac drama about a young Korean immigrant and the romantic path not taken, won best feature at the 33rd annual Gotham Awards, which were handed out Monday night at Cipriani Wall Street in New York.The A24 film from the writer-director Celine Song stars Greta Lee as a married writer in New York who reconnects with her childhood sweetheart from South Korea, a meeting that has her contemplating the Korean concept of inyeon, about fated connections between different people.“Thank you for believing in me when all I had was a script written in two languages,” Song said to the cast and crew members lined up behind her during her acceptance speech. “Everybody on this stage is my inyeon.”Considered the first notable awards ceremony of Oscar season, the Gotham Awards have the advantage of corralling contenders while they’re still fresh, before the thank-you lists in their acceptance speeches become rote and the golden dreams of some nominees have been ground into dust.This year’s show was particularly well-positioned since the actors’ strike had, until recently, thwarted many contenders from full-scale campaigning. At the Gothams, A-list attendees like Margot Robbie, Leonardo DiCaprio and Adam Driver were finally permitted to partake in an unabashed, shoulder-rubbing schmoozefest.As a harbinger of future Oscar success, the Gothams can be a mixed bag. Two of their last three best-feature winners, “Everything Everywhere All at Once” and “Nomadland,” went on to win top honors at the Academy Awards, but the Gothams are chosen by small juries that consist of a handful of film insiders, while the Oscars are voted on by around 10,000 people.The Gothams also tend to lean indie: Though the $35 million budget cap for eligibility was waived this year, jurors only found blockbuster representation for “Barbie” star Ryan Gosling, nominated for outstanding supporting performance. The Gothams’ adoption of gender-neutral categories have reduced the acting races from four to two — here, there are only categories for lead and supporting performance — while also expanding the list of nominees in each acting category from five to a somewhat unruly 10.Still, it never hurts to be seen winning, and the Gothams offer contenders a high-profile place to break out of the pack and deliver a memorable speech.One unique example of that was the Gothams win for Lily Gladstone, who triumphed in the lead-performance category not for Martin Scorsese’s “Killers of the Flower Moon,” her big-budget breakthrough, but for her role in the indie “The Unknown Country,” about a woman who embarks on a road trip after the grandmother she was caring for passes away.“At the heart of it, we have Native voices, because Morrisa shot reality,” said Gladstone, praising writer-director Morrisa Maltz. “You listened, like Marty did.”The supporting-performance award went to an overcome Charles Melton, the former “Riverdale” star at the burning heart of the Todd Haynes drama “May December.” The Korean American actor was one of many Asian winners at the Gothams, which also handed out TV awards to the Netflix limited series “Beef” and one of its lead performers, Ali Wong.“Anatomy of a Fall,” the Justine Triet courtroom drama that won the top prize at the Cannes Film Festival, took home best international feature and best screenplay for its examination of a marriage after a man dies in a family’s remote home in the French Alps. The award for breakthrough director went to A.V. Rockwell, the filmmaker behind the mother-son drama “A Thousand and One.”“I really did not see this coming,” Rockwell said, tearing up as she talked about the fight to make her first film as a Black woman. “Just to be frank, it is very hard to tell a culturally specific story when you look like this.”Though most of the show ran smoothly, presenter Robert De Niro was visibly irritated when a portion of his speech during a tribute to “Killers of the Flower Moon” was “cut out, and I didn’t know about it,” the actor said. Peeved not to find it in full on the Telepromptr, he doubled back and read it on his own.“In Florida, young students are taught that slaves developed skills that could be applied for their personal benefit,” De Niro said. “The entertainment industry isn’t immune to this festering disease: The Duke, John Wayne, famously said of Native Americans, ‘I don’t feel we did wrong in taking this great country away from them. There were great numbers of people who needed new land and the Indians were selfishly trying to keep it for themselves.’”De Niro also used his speech to criticize Donald Trump, a frequent bête noire of the actor: “Lying has become just another tool in the charlatan’s arsenal,” he said. “But with all his lies, he can’t hide his soul. He attacks the weak, destroys the gifts of nature and shows disrespect, for example, by using ‘Pocahontas’ as a slur.”De Niro noted that he had planned to wrap his speech by thanking the Gothams and Apple, the studio behind “Killers of the Flower Moon,” but had now changed his mind: “I don’t feel like thanking them at all for what they did. How dare they do that, actually.”In addition to the competitive honors, the Gothams paid tribute to Ben Affleck, Bradley Cooper, Greta Gerwig, Michael Mann and George C. Wolfe.Here is a complete list of winners:Best feature: “Past Lives”Outstanding lead performance: Lily Gladstone, “The Unknown Country”Outstanding supporting performance: Charles Melton, “May December”Best documentary feature: “Four Daughters”Best international feature: “Anatomy of a Fall”Best screenplay: “Anatomy of a Fall”Breakthrough director: A.V. RockwellBreakthrough series (over 40 minutes): “A Small Light”Breakthrough series (under 40 minutes): “Beef”Outstanding performance in a new series: Ali Wong, “Beef” More

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      ‘Past Lives’ and Lily Gladstone Win Big at the Gotham Awards

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      The movie prize season kicks off with honors for the A24 drama and for the star of “The Unknown Country” (who’s better known for “Killers of the Flower Moon”).“Past Lives,” the elegiac drama about a young Korean immigrant and the path not taken, won best feature as the 33rd annual Gotham Awards were handed out Monday night in New York.The ceremony was not without controversy. As Robert De Niro was paying tribute to “Killers of the Flower Moon,” in which he co-starred, the actor said his anti-Trump comments had been removed from his speech without his knowledge when it was added to the Telepromptr. “The beginning of my speech was edited, cut out, I didn’t know about it,” he told the audience at Cipriani Wall Street. “And I want to read it.” He went on to note that “history isn’t history anymore, truth is not truth, even facts are being replaced by alternative facts.”But the evening largely stayed focused on the films themselves, like “Past Lives,” from Celine Song. It stars Greta Lee as a married writer in New York who reconnects with her childhood sweetheart from South Korea.Outstanding lead performance went to Lily Gladstone but not for “Killers of the Flower Moon,” her big-budget breakthrough. She was honored for her turn in “The Unknown Country,” about a woman who embarks on a road trip after the grandmother she was caring for passes away.Other winners included Charles Melton, the former “Riverdale” star at the burning heart of the Todd Haynes drama “May December.”“Anatomy of a Fall,” the Justine Triet courtroom drama that won the top prize at Cannes, took home best international feature and best screenplay for its examination of a marriage after a man dies in a family’s remote home in the French Alps.The prizes, sponsored by the Gotham Film & Media Institute, serve as the kickoff to the film awards season, which culminates in the Oscars next year. In addition to the competitive honors, the Gothams paid tribute to Ben Affleck, Bradley Cooper, Greta Gerwig, Michael Mann and George C. Wolfe.Here is a complete list of winners:Best feature: “Past Lives”Outstanding lead performance: Lily Gladstone, “The Unknown Country”Outstanding supporting performance: Charles Melton, “May December”Best documentary feature: “Four Daughters”Best international feature: “Anatomy of a Fall”Best screenplay: “Anatomy of a Fall”Breakthrough director: A.V. RockwellBreakthrough series (over 40 minutes): “A Small Light”Breakthrough series (under 40 minutes): “Beef”Outstanding performance in a new series: Ali Wong, “Beef” More

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      ‘The Unknown Country’ Review: A Granddaughter’s Road Trip

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      Lily Gladstone’s achingly measured performance braided with the actual stories from nonprofessional actors makes Morrisa Maltz’s film a memorable road trip.Snow-bordered highways, a cat winking its jade eye, the tentative yet always observant expressions of the main character Tana (Lily Gladstone) are among the low-key pleasures of “The Unknown Country,” the director-writer Morrisa Maltz’s luminously photographed, delicately paced road movie.After the death of her grandmother, whom she cared for, Tana accepts an invitation to attend her cousin’s wedding in South Dakota. She hasn’t been with her Oglala Lakota family since she was eight.Tana’s wintry drive from Minneapolis to her cousin Lainey Bearkiller Shangreaux’s in Spearfish, S.D., is just the first leg in a journey that will take her to the Pine Ridge Reservation and southward to Texas, as she traces an itinerary taken from her grandmother’s photo album. One picture shows Tana’s grandmother as a young woman, a craggy vista in the distance, and finding where the photo was taken starts to shape Tana’s sojourn.Shangreaux, her husband, Devin, and their daughter, Jasmine, are among the performers here portraying themselves. In the film’s most inventive, gently disruptive gesture, the nonprofessional cast members’ actual stories are recounted in their voice-overs. Think of these mini-documentary profiles — of a waitress (Pam Richter), a gas station attendant (Dale Leander Toller), a motor lodge owner (Scott Stampe), and the nonagenarian Florence R. Perrin, a two-stepping mainstay at the Western Kountry Klub in Midlothian, Texas, as rest stops in Tana’s trip.Gladstone, who stars in Martin Scorsese’s upcoming “Killers of the Flower Moon,” delivers a performance that is hushed and anchoring. But the film’s gentle detours into the real-life stories remind us that it is the people met on the road that so often make the trip memorable.The Unknown CountryNot rated. Running time: 1 hour 25 minutes. In theaters. More