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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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      Taraji P. Henson on Almost Walking Away from ‘Color Purple’

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      Before things started to click for Taraji P. Henson, she sought career counseling from the man upstairs.“I had a talk with God a long time ago when things didn’t pop,” she said. Invoking the women she had watched as a child, like Carol Burnett, Lucille Ball, Bette Davis, and Diahann Carroll, she told him, “I want longevity and work that matters.”This, Henson has had: At 53, she is an Oscar-nominated actress with a long career that includes films like “Hidden Figures,” “Hustle & Flow” and “The Curious Case of Benjamin Button.” She also spent six seasons playing the music-industry matriarch Cookie on the Fox series “Empire,” a juicy role that netted her a Golden Globe and Critics Choice Award.But she is candid about the frustrations she still faces in an industry that undervalues Black actresses. “The fact that I made it through is a blessing because a lot has happened,” she said, noting that she had to step away from work last year when things got to be too much. A monthlong trip to Bali helped to recenter her, as did attending to her successful beauty brand, TPH.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Safdie Brothers Are Done Making Movies Together

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      Josh and Benny Safdie are officially splitting up.The Safdie brothers, the filmmaking duo behind “Uncut Gems” (2019) and “Good Time” (2017), are splitting up.Benny Safdie confirmed the “amicable” breakup with his brother, Josh, in an interview with Variety, calling it “a natural progression of what we each want to explore.”“I will direct on my own, and I will explore things that I want to explore. I want that freedom right now in my life,” Benny Safdie told the publication in a wide-ranging interview.A new film that was to be a follow-up to “Uncut Gems,” which would have seen the brothers reunite with Adam Sandler, has been put on pause, according to Variety.The publication reported that while the two were set to co-direct the film, Benny Safdie said “he did not co-write the script and hasn’t been a meaningful part of the creative process, despite reports to the contrary.”In its review of “Uncut Gems,” The Times called the brothers “two of the more playfully inventive filmmakers working in American cinema,” noting that the pair “clearly like working your nerves.” More

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      Glynis Johns, a Tony Winner and Actress in ‘Mary Poppins,’ Dies at 100

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      In a trans-Atlantic career that endured for more than 60 years, she was also known for her role in the hit 1965 Disney movie “Mary Poppins.”Glynis Johns, the British actress who in a trans-Atlantic career that endured for more than 60 years won a Tony Award for her role in “A Little Night Music,” giving husky, emotion-rich voice to the show’s most memorable number, “Send In the Clowns,” and played an exuberant Edwardian suffragist in the Disney movie classic “Mary Poppins,” died on Thursday in Los Angeles. She was 100.The death, at an assisted living facility, was confirmed by her manager, Mitch Clem.Ms. Johns was 49 and on the brink of her fourth divorce when the Stephen Sondheim musical “A Little Night Music” opened at the Shubert Theater in February 1973. The New York Times described her character, Desirée Armfeldt, as “a slightly world‐weary and extremely lovewise actress in turn‐of‐the‐century Sweden.”The critics adored her. To Clive Barnes of The Times, “the misty-voiced and glistening-eyed Glynis Johns was all tremulous understanding.”To Walter Kerr, also writing in The Times, she was “that cousin of bullfrogs and consort of weary gods”; she was “discreet, dangerous … and gratifyingly funny.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Night Swim’ Review: Hold Your Breath, Forever

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      The backyard pool is a symbol of love and of terror in this uneven but scary horror film.Hollywood horror often attempts to work out collective anxiety about the suburbs, that place full of pleasant-looking houses creaking with ghosts and terrors. Suburban life is, admittedly, fundamentally strange, with neighborhoods full of atomized worlds and natural features turned into individual, highly-controlled assets. A forest becomes manicured bushes. A lake becomes a pool.Pools are ubiquitous across the American suburbs (just peek out the window when you fly), and the affluence, comfort and fun they represent can turn a middling kid into the most popular one at school, at least during the hot months. They are also ubiquitous in horror, from “Gremlins” to that greatest instance of suburban anxiety, “Poltergeist.” For the Waller family of “Night Swim,” the pool means freedom, friends and a new lease on life. But pools can also be deadly (accidental drowning is the No. 1 killer of young children), so the pleasure comes with an edge, a fact the Waller family are about to learn.Ray Waller (Wyatt Russell) is a former major-league baseball player, a real slugger, whose multiple sclerosis has taken him out of the game. His wife, Eve (Kerry Condon), is eager to finally settle down, proving a lasting home for their two children: breezy teenage Izzy (Amélie Hoeferle) and Elliot (Gavin Warren), who struggles more than his sister to fit in with other kids. They find an old house outside the Twin Cities, fall in love, and buy it, then commence cleaning out the gloppy, unused pool in the backyard. It becomes an oasis. And for a while, the pool seems to be helping Ray get better.But this is a horror film, so the Wallers cannot have nice things and, unfortunately, neither can we. “Night Swim” is the feature debut of Bryce McGuire, produced by the horror mavens James Wan and Jason Blum and based on McGuire’s 2014 short film. (A tidbit too odd to ignore: that short was filmed in the musician Michelle Branch’s backyard pool.) The first half of the movie is remarkably effective, especially if you’ve ever had a pool, and especially if you’ve swam in it at night, though lots of “Night Swim” happens during the day. Jumps abound, and a scene with Izzy and her crush is especially terrifying.But it goes downhill at some point. The inciting concept is so strong — the pool, to rephrase the meme, that makes you dead — that all additions after a certain point start to feel like overkill. The strongest horror concepts are spare and uncluttered: something is chasing you, something is thumping under the bed. They tap into an anguish that is fundamental and gut-level, a level way lower than your head.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Memory’ Review: A Contrived Drama With Jessica Chastain and Peter Sarsgaard

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      In this contrived movie, Peter Sarsgaard stars as a man with dementia, and Jessica Chastain plays a caretaker with buried family secrets.In “Memory,” a woman haunted by her past meets a man who’s scarcely holding onto his. That’s the setup in the writer-director Michel Franco’s contrived drama with Jessica Chastain and Peter Sarsgaard, whose work in this artsified slab of exploitation cinema is strong enough that you wish their characters would run off to an entirely different movie.Chastain plays Sylvia, a recovering alcoholic with a day job caring for disabled adults. She and her sweet teenage daughter, Anna (Brooke Timber), have a spacious, sunlit apartment in an industrial-looking building in Sunset Park, Brooklyn. There’s a tire store next door and multiple locks on their apartment door. Each time Sylvia returns home, she fastens the locks and arms the alarm with great deliberation, a ritual that Franco repeatedly presents. It’s a habit that like Sylvia’s wariness and physical reserve — she doesn’t readily make eye contact and tends to cross her arms in front of her chest — underscores her guardedness.One night, Sylvia and her sister, Olivia (the always welcome Merritt Wever), attend a high-school reunion. There, a visibly uncomfortable Sylvia withdraws into herself, but when a man — Sarsgaard as Saul — approaches her, she splits for reasons that become torturously clear only later. He follows her onto the subway and all the way to her building’s front door, where he stays even when it begins pouring. The next morning, Sylvia finds him shivering and near-incoherent, sitting in a spare tire on the ground. It turns out that Saul has early-onset dementia and lives in his handsome brownstone, watched over by his no-nonsense brother, Isaac (Josh Charles), whose daughter, Sara (Elsie Fisher), comes and goes.Soon, Sylvia begins taking care of Saul part-time, a job that turns intimate and then unsurprisingly romantic. The relationship doesn’t cohere dramatically, alas, despite the demonstrative tenderness and commitment that the actors bring to it, and the story’s multiple gaps in logic don’t help. It doesn’t make sense that Isaac, who comes off as a fairly self-important professional, doesn’t have any hired help when Sylvia arrives, especially given the family’s obvious economic resources. (I also seem to have missed the scene when he runs a background check on her.) Like Olivia’s husband and kids, a collection of bland types, Isaac mainly serves as a convenient bourgeois prop that Franco can swing at before blowing it up.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Mayhem!’ Review: Just When You Think You’re Out

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      A former convict struggles to go straight in this ultraviolent revenge thriller.No one in the mood for subtlety or nuance is likely to be beckoned by “Mayhem!,” a slugfest that cleaves to its title with punishing fidelity. A mood board of mashing, slashing, snapping and splintering, this feature, directed by Xavier Gens, is revenge-movie cliché ground down to the studs.Our rampaging antihero is Samir (Nassim Lyes), a French-Algerian parolee determined to uncouple from his troubled past. His former associates, however, have other ideas; and when Samir is forced to put the kibosh on one of them, his only remaining option is to flee. Five years later, we find him happily settled in East Thailand with a wife (Loryn Nounay), an adorable stepdaughter (Chananticha Tang-Kwa) and a baggage-handling job. This paradise soon implodes when a yen for beachfront property leads Samir to a local gangster (Olivier Gourmet) whose eyebrows outnumber his scruples.Hobbled by a stoic lead character who is all muscle and no mouth (Samir is about as voluble as the original Terminator), “Mayhem!” is emotionally stagnant. Yet Gens and his action designer, Jude Poyer, have clearly benefited from working on the dazzlingly destructive AMC series “Gangs of London,” and they stage the film’s battles with brutal grace. The stunt work is often extraordinary — notably in an elevator melee that unfolds like a deadly game of Twister — and Lyes, a former French kickboxing champion, has moves most action stars can only approximate.These are some consolation for a plot that smothers its immigrant heart beneath a blanket of blood and sweat. Though when the system blocks you from doing the right thing, sometimes your only recourse is to slice open a stomach or two. In slow motion, of course.Mayhem!Rated R for seamy nightlife and shattering violence. In French, with subtitles. Running time: 1 hour 39 minutes. In theaters and available to rent or buy on most major platforms. More

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      ‘Society of the Snow’ Review: The Stranded and the Faithful

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      Another movie tackles the story of the Uruguayan rugby players who survived a plane crash and turned to cannibalism.Filmmakers love survival stories, but there are aspects of the so-called “miracle in the Andes” that pose special difficulties for any movie, not least because, a half-century on, the most notorious turn that events took will be well known to most viewers going in.On Oct. 13, 1972, a Uruguayan plane bound for Santiago, Chile, carrying 45 people, including the rugby team known as the Old Christians, crashed in the Andes. By the time of a rescue operation 10 weeks later, 16 survived. They did so through a mix of resourcefulness, endurance, faith and, famously, the decision — in a snowy, mountainous environment without food — to eat the dead. Roberto Canessa, a survivor who became an eminent pediatric cardiologist and long-shot 1994 presidential candidate in Uruguay, told National Geographic that “anthropophagy” is a better word for what happened than “cannibalism,” which might imply killing people for consumption.Mingling shots from the Andes with locations in the Sierra Nevada mountains in Spain, the Spanish-language “Society of the Snow,” directed by J.A. Bayona (“The Orphanage”), has a verisimilitude missing from the 1993 film “Alive,” with its substantially American cast led by a pre-“Reality Bites” Ethan Hawke, sporting magazine-ready hair. But “Society of the Snow,” based on a book by Pablo Vierci, lacks the immediacy that comes from seeing the real survivors, a spectacle offered by the documentary “Stranded: I’ve Come From a Plane That Crashed on the Mountains” (2008).For an action veteran like Bayona, the crash is the easy part. The foreshadowing is relentless and redundant. “This could be our last trip together,” Pancho Delgado (Valentino Alonso), in the early Montevideo scenes, tells Numa Turcatti (Enzo Vogrincic), a passenger who narrates the film (and whose fate the movie reserves for one its cheaper tricks). In flight, a newspaper headline alerts viewers to a boat that has sunk off Montevideo’s coast. The young men discuss how dangerous it is to fly through the Andes because of the suction created by warm winds from Argentina and the cold mountain air.The plane accident is frighteningly visceral. Snow, debris and wind swirl through the opened fuselage. Rows of seats collapse like accordions, impaling some of the passengers. The soundtrack is a whir of rattling metal. After the wreckage comes to a stop, Bayona shoots the first moments in disorienting close-ups, as the characters struggle to piece together what just happened and the geometry of where they are.The long haul proves trickier from a dramatic standpoint. “The problem is, no movie can really encompass the sheer enormity of the experience,” Roger Ebert wrote of “Alive” 31 years ago, and that remains true today. Cinema does sight and sound well, but it’s less effective at capturing hunger, cold and duration, at least when duration is measured in days and weeks.Then there is the matter of how graphic this film ought to get; on that score, “Society of the Snow,” despite at least one rib cage visibly picked to the bone, stays coy. No version of this story has depicted the survivors’ decision to eat human flesh as hasty or carelessly reasoned. This time, once that choice is made, initially three men do the butchering out of the sight of the others. But when an avalanche snows in the group, killing some of them, suddenly eating meat without names and faces attached becomes impossible, Numa says in voice-over. Bayona then shows Roberto (Matías Recalt) cutting into some ostensibly non-anonymous flesh — but tactfully keeps out of frame anything identifiable about the body.The material is fundamentally gripping, and parts of it are tough to resist, including the first sighting of another person by Nando Parrado (Agustín Pardella) and Roberto after the two of them have spent days climbing their way toward civilization. But “Society of the Snow” is a perverse movie to watch the way most people will see it — on Netflix, in the comfort of their homes, with a refrigerator nearby.Society of the SnowRated R. Terror and solitude; anthropophagy. In Spanish, with subtitles. Running time: 2 hours 24 minutes. Watch on Netflix. More