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      Jewish Group Assails Film Academy’s Diversity Efforts

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      An open letter signed by notable actors and producers criticized the organization for not including Jews as an underrepresented group as part of a new initiative.More than 260 Jewish entertainment figures — including the actors David Schwimmer, Julianna Margulies and Josh Gad, and the producers Greg Berlanti and Marta Kauffman — signed an open letter to the Academy of Motion Picture Arts & Sciences on Tuesday, criticizing the organization for excluding Jews as an underrepresented group in its diversity efforts.In 2020, the academy issued a set of standards as part of its diversity initiative that recognized a number of identities as “underrepresented,” including women, L.G.B.T.Q. people, an underrepresented racial or ethnic group, or those with cognitive or physical disabilities.Religion is not one of the categories considered.These initiatives will become part of the standards required for a film to compete in the best picture category beginning this year. For a film to be eligible, at least one of the lead actors or a significant supporting actor must be from an underrepresented racial or ethnic group. The academy has said that includes actors who are Asian, Hispanic, Black, Indigenous, Native American, Middle Eastern, North African, native Hawaiian or other Pacific Islander.“An inclusion effort that excludes Jews is both steeped in and misunderstands antisemitism,” said the letter, which was organized by the Hollywood Bureau of the group Jew in the City. “It erases Jewish peoplehood and perpetuates myths of Jewish whiteness, power, and that racism against Jews is not a major issue or that it’s a thing of the past.”The letter added that Judaism was not just an issue of faith, but also an ethnicity.This is not the first time in recent years that the academy has faced criticism from the Jewish community. When the organization opened its long-awaited museum in Los Angeles in 2021, the contributions of Jewish immigrants like Jack Warner and Louis B. Mayer, who were largely responsible for the founding of the Hollywood studio system, were barely acknowledged. In response, the academy said it would open a permanent exhibition dedicated to the birth of Hollywood and the Jewish filmmakers who established it. Called “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” the exhibit will debut on May 19.According to Allison Josephs, the founder and executive director of Jew in the City, the letter has been in the works since the summer, months before the Hamas attack on Israel on Oct. 7, as the new academy standards were being discussed.“It feels like a very big mistake to not recognize that we are maybe the most persecuted group throughout all time,” she said in an interview.The academy declined to comment. More

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      What Songs Would ‘Saltburn’ Characters Have Spun in 2007?

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      The soundtrack to Emerald Fennell’s movie has been a talker. Hear tracks by M.I.A., Girl Talk, Nelly Furtado and others that would have been a good fit.“Saltburn” has catapulted the 2001 song “Murder on the Dancefloor” back to the charts, but there’s a lot more to discuss about the film’s soundtrack.Chiabella James/Amazon StudiosDear listeners,Over the weekend, I finally watched “Saltburn,” the provocative, polarizing and occasionally downright icky coming-of-age thriller that no one can stop talking about right now.The movie, written and directed by the “Promising Young Woman” filmmaker Emerald Fennell and starring the current It Boys Barry Keoghan and Jacob Elordi, charts the fates of two unlikely friends who meet at Oxford and later spend a debauched summer at the titular estate where the (much) wealthier of the two boys lives with his aristocratic family.“Saltburn” plays out like a diabolically dark, millennial take on “Brideshead Revisited.” And the operative word there is millennial, since the 38-year-old Fennell delights in planting innumerable period-specific details — including an evocative soundtrack — that remind viewers that these boys belong to the Class of 2006.The soundtrack has elicited such potent nostalgia that it has catapulted Sophie Ellis-Bextor’s 2001 neo-disco hit, “Murder on the Dancefloor,” used in a crucial scene, back into the Top 10 on the British charts. This week, the song cracked the Billboard Hot 100 for the first time.Fennell has confirmed that most of the movie takes place in summer 2007, and ever since, armchair script supervisors on social media have made a sport out of pointing out the film’s most chronologically questionable cultural references. (For example: Some of the characters are watching a DVD of “Superbad,” which was still only out in theaters that summer.)The most egregious music cue is a karaoke scene featuring Flo Rida’s party anthem “Low,” which was released in October 2007 and didn’t become a global smash until early 2008. Eagle-eared listeners have also pointed out that an Arcade Fire song released in mid-2007 plays in a pub scene meant to take place near the beginning of the 2006 school year, and that MGMT’s “Time to Pretend,” the song that’s the soundtrack to a languid summer 2007 montage, appeared on an album that didn’t come out until that fall. (The movie’s music supervisor has responded, “It’s as close as possible, really, just to put you back in that space. If it had been a couple of years later, that would have been an absolute no.”)Still, ever since watching the movie, I’ve become obsessed with these quibbles and consumed with one question: What would the characters in “Saltburn” have actually been listening to in summer 2007? Today’s playlist is my attempt to answer that.I am not a professional music supervisor, nor am I member of the king’s nobility — I’m not even British. But I do have credentials that make me exceptionally qualified to create this particular playlist: In the summer of 2007, I was a rising junior in college with a nearly full 160GB iPod.I consulted a number of primary sources, including a playlist on said iPod that I actually created at the end of the year “Saltburn” takes place (titled, with undergraduate melodrama and for reasons I now truly do not recall, “2007 Was a Bad Year”). It features a few artists whose music does appear in “Saltburn” (MGMT, Bloc Party) and quite a few whose songs do not, but whose sounds I think would have potently conjured the era (M.I.A., Hot Chip, that auteur of the aughts sound Timbaland). It is probably not as quintessentially British as the film’s actual soundtrack, but alas, I did not go to uni, I went to “college.”As you can probably already tell, I had way too much fun putting this playlist together. You may call this sound “indie sleaze,” but I just call it my early 20s.Listen along on Spotify while you read.1. MGMT: “Time to Pretend”Hilariously, or perhaps just fittingly, the first song on my actual 2007 iPod playlist is a song that was prominently featured in “Saltburn.” Few albums were debated as hotly around my college radio station office that year as MGMT’s glam-pop debut, “Oracular Spectacular.” While it technically wasn’t released until Oct. 2, this song is such a perfect, montage-ready encapsulation of that era’s sound that I will permit Fennell a little poetic license with this one. (Listen on YouTube)2. Spoon: “Don’t You Evah”Another one from my 2007 iPod playlist, from another album I played a lot that summer: Spoon’s effortlessly tuneful sixth album, “Ga Ga Ga Ga Ga.” I can picture the elegantly wasted denizens of Saltburn vibing to this bass line. (Listen on YouTube)3. Johnny Boy: “You Are the Generation That Bought More Shoes and You Get What You Deserve”Any 2007 playlist worth its salt had to have at least one semi-obscure, critically adored indie-pop track downloaded from a music blog. This 2006 should-have-been-smash from the short-lived British duo Johnny Boy checks that box, with flair. (Listen on YouTube)4. M.I.A.: “Boyz”It was also the summer of “Kala,” M.I.A.’s bold, blown-out sophomore album, which I think still stands as her greatest achievement. Though “Kala” was not released until early August, this exuberant single came out in June, setting the season’s tone. (Listen on YouTube)5. Hot Chip: “Boy From School”I actually cannot believe this song was not used in “Saltburn”: The title says it all! Though released in 2006, the British electro-pop group Hot Chip’s moody dance floor anthem would still have been getting plenty of play the following summer, especially in Britain, where it peaked at No. 40 on the singles chart. (Listen on YouTube)6. Justin Timberlake featuring Timbaland: “SexyBack”Another 2006 banger that would have still been ubiquitous the following summer, the Timbaland-produced “SexyBack” was released at the height of Justin Timberlake’s commercial popularity and his poptimist-approved hipster cred. (Listen on YouTube)7. Chamillionaire featuring Krayzie Bone: “Ridin’”This is the song I would have put in place of “Low”: another instantly recognizable, era-defining hip-hop track, but one that would have by then been out for long enough that an out-of-touch bloke could have credibly mangled it at karaoke. (Listen on YouTube)8. Nelly Furtado: “Maneater”It was simply not a party in the summer of 2007 until someone put on “Maneater,” the sublime and slightly hipper alternative to Furtado’s other 2006 single about a lascivious woman. (Listen on YouTube)9. Bloc Party: “Banquet”Of course there was song from the post-punk revivalists Bloc Party’s 2005 debut, “Silent Alarm,” in “Saltburn”; I just would have chose this more propulsive and admittedly on-the-nose selection instead of “This Modern Love.” (Listen on YouTube)10. Girl Talk: “Bounce That”And finally, nothing said “college party in the mid-to-late-aughts” like a cut from Girl Talk’s 2006 hyperactive mash-up opus, “Night Ripper” — or maybe just someone stealing the aux cord and playing the entire album from start to finish. (Listen on YouTube)Take ’em to the chorus,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“2007: The Summer of ‘Saltburn’” track listTrack 1: MGMT, “Time to Pretend”Track 2: Spoon, “Don’t You Evah”Track 3: Johnny Boy, “You Are the Generation That Bought More Shoes and You Get What You Deserve”Track 4: M.I.A., “Boyz”Track 5: Hot Chip, “Boy From School”Track 6: Justin Timberlake featuring Timbaland, “SexyBack”Track 7: Chamillionaire featuring Krayzie Bone, “Ridin’”Track 8: Nelly Furtado, “Maneater”Track 9: Bloc Party, “Banquet”Track 10: Girl Talk, “Bounce That”Bonus TracksAfter I featured the British musician and poet Labi Siffre in Friday’s newsletter, a Times editor sent me a link to Siffre’s exquisitely funky 1975 song “I Got The …” — which is prominently sampled in Eminem’s star-making 1999 single, “My Name Is.” I admit that this kind of blew my mind. It also led me to two fascinating facts I’d like to share with you.First, that Beck and his producers the Dust Brothers were planning to sample “I Got The …” on a single from the 1999 album “Midnite Vultures,” but Eminem beat him to it. (What could have been!) Also, even more impressively, Siffre refused to clear the Eminem sample for the producer Dr. Dre until they removed all lyrics that Siffre had deemed homophobic. “Diss the bigots not their victims,” Siffre said years later in an interview. “I denied sample rights till that lazy writing was removed.” If only every Eminem song had undergone the Labi Siffre test! More

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      Jo Koy Responds to Golden Globes Criticism: ‘It’s a Tough Room’

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      In an interview on the ABC program “GMA3” the morning after the awards show, Koy said he would “be lying” if he said the criticism “doesn’t hurt.”Hosting a Hollywood awards show can be a notoriously difficult job, with its audience of image-conscious A-list celebrities on the receiving end and a large television audience scrutinizing the material in real time. After Jo Koy’s performance as the host of this year’s Golden Globes drew criticism, he acknowledged Monday that it had been “a tough room.”“Well, I had fun — you know, it was a moment that I’ll always remember,” Koy said Monday on the ABC program “GMA3,” noting that he had only had a week and a half to prepare. “It’s a tough room. And it was a hard job, I’m not going to lie. Getting that gig, and then having the amount of time that we had to prepare — that was a crash course.”At Sunday’s awards show, parts of Koy’s opening monologue seemed to fall flat in the ballroom, drawing a defensive aside from the comedian. “I got the gig 10 days ago!” he said. “You want a perfect monologue? Yo, shut up. You’re kidding me, right? Slow down, I wrote some of these — and they’re the ones you’re laughing at.”Koy’s material gravitated toward more standard celebrity teasing. Last year, when Jerrod Carmichael was the host, he delivered a provocative performance, immediately addressing the turmoil over a lack of Black voting members at the Hollywood Foreign Press Association, the organization that ran the Golden Globes until it was dissolved.Koy’s opener did address diversity, pointing out the whiteness in the room, but it otherwise stuck with more standard fare, including a joke about Hollywood’s favorite weight loss drug. (“By the way, ‘The Color Purple’ is also what happens to your butt when you take Ozempic,” he joked.)Many of the onscreen cutaways showed tepid reactions, but the responses on social media and from some critics were harsher. (A headline in The Guardian read: “The joke’s on Jo Koy: Golden Globes host delivers a bad gig for the ages.”)Koy said in the interview that he would “be lying” if he said the criticism “doesn’t hurt.”“I hit a little moment there where I was like, ‘Ah, hosting is just a tough gig,’” Koy said. “Yes, I am a stand-up comic but that hosting position, it’s a different style.”One reaction from the crowd became an instant meme: When Koy joked that the Globes would have “fewer camera shots of Taylor Swift” than N.F.L. telecasts — referring to the frequent reaction shots of her recent appearances at Kansas City Chiefs games to cheer on the team’s tight end, Travis Kelce — Swift, who was seated in the audience, looked unamused, coolly sipping from her drink. In his interview, Koy acknowledged that the joke fell “just a little flat.”So, one of the interviewers asked, if he could do it all again, would he say yes to the hosting invitation?“That’s a tough gig,” he replied, “I’m not going to lie.” More

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      Watch the Opening Scene of ‘Oppenheimer’

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      The writer and director Christopher Nolan narrates a sequence from his film, which won the Golden Globe for best drama.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.Raindrops help usher in the opening moments of “Oppenheimer,” Christopher Nolan’s ambitious, Golden Globe-winning biopic about J. Robert Oppenheimer, known as the “father of the atomic bomb.” Those simple raindrops give way to high resolution images of bomb detonation that are both sobering and fascinating.Narrating the sequence, Nolan said that the idea to open with the raindrops came late to him and his editor, Jennifer Lame, “but ultimately became a motif that runs the whole way through the film and became very important.”The scene introduces us to the two timelines the feature is broken into: fission and fusion, two approaches to releasing nuclear energy. The fission sequences are in color, while fusion segments are shot in black and white on special IMAX film developed expressly for the movie.The scene, which features Cillian Murphy as Oppenheimer and Robert Downey Jr. as Lewis Strauss, encapsulates the themes of hubris and regret that will be explored more deeply over the course of the film.Read the “Oppenheimer” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      Jonathan Majors Says He Was ‘Shocked’ by Assault Conviction

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      Mr. Majors spoke on ABC’s “Good Morning America,” his first interview since being convicted of misdemeanor assault and harassment for attacking his girlfriend in a car.Jonathan Majors, an ascending Hollywood star whose career was upended when he was found guilty last month of assault and harassment for attacking his girlfriend, said in an interview broadcast on Monday that he was “absolutely shocked” by the verdict.In the interview, portions of which were shown on ABC’s “Good Morning America,” Mr. Majors, 34, said that the episode had been “very hard” and “confusing in many ways.”“I’m standing there and the verdict comes down. I say, ‘How is that possible based off the evidence, based off the prosecution’s evidence, let alone our evidence? How is that possible?’” he told Linsey Davis of ABC News.A six-person jury in Manhattan convicted Mr. Majors last month on misdemeanor assault and harassment charges for an altercation with Grace Jabbari, who was then his girlfriend, as they rode in a hired S.U.V. in March.Shortly after the verdict was announced, Marvel Studios parted ways with the actor, clouding the prospects of his once promising acting career. Marvel Studios had previously intended to build several films around the character Mr. Majors played in “Ant-Man and the Wasp: Quantumania.” (Both Marvel and ABC, which ran the interview, are owned by Disney.)Mr. Majors’s sentencing is scheduled for Feb. 6.During a whirlwind two-week trial, the courtroom heard Ms. Jabbari describe the altercation that left her ear bloody and finger fractured. She said that Mr. Majors had received a flirty text from another woman, and that she had grabbed his phone out of his hand. First, she said, he tried to pry her fingers away; then he twisted her hand and her arm.“Next,” she said, “I felt like a really hard blow across my head.”Eventually, she said, Mr. Majors asked the driver to stop the vehicle. Video that jurors watched showed Mr. Majors jumping out, followed by Ms. Jabbari. He turned around, picked her up and placed her back in the car, appearing to push her back in when she tried to get out.Mr. Majors did not testify during the trial. But in the interview broadcast on Monday, he continued to dispute Ms. Jabbari’s account of the altercation and said that he did not know how she suffered the cut behind her ear and fractured finger.“I wish to God I knew,” he said.In a statement, Brittany Henderson, a lawyer for Ms. Jabbari, said that Mr. Majors “continues to take no accountability for his actions.”“His denigration of our jury system is not dissimilar from the above-the-law attitude that he has maintained throughout this legal process,” Ms. Henderson said in the statement. “The timing of these new statements demonstrates a clear lack of remorse for the actions for which he was found guilty and should make the sentencing decisions fairly easy for the Court.”Mr. Majors first gained attention in 2019 with the independent film “The Last Black Man in San Francisco” and quickly expanded into blockbuster movies, delivering acclaimed performances in “Creed III” and “Quantumania.” He also starred in “Magazine Dreams,” about a troubled aspiring bodybuilder — a film acquired by Searchlight Pictures, a Disney subsidiary. But the movie, originally scheduled to be released this fall, was removed from the studio’s calendar last year amid the actor’s legal troubles.Asked if he thinks he will work again in Hollywood, Mr. Majors said, “Heck yeah, I do. I pray I do,” in the interview. “But it’s God’s plan and God’s timing.” More

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      See Golden Globes Winners Celebrate Their Big Moment

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      What Winning a Golden Globe Looks LikeLily Gladstone, Paul Giamatti, Billie Eilish and stars from “Succession,” “Beef” and “The Bear” are captured in their moments of glory.The Los Angeles-based photographer Erik Carter was backstage at the Beverly Hilton Hotel on Sunday, where he photographed Golden Globes winners for The Times.Best Performance by an Actress in a Supporting Role in any Motion PictureDa’Vine Joy Randolph, ‘The Holdovers’“I hope I’ve helped you all find your inner Mary. Because there’s a little bit of her in all of us.” — Da’Vine Joy Randolph, in her acceptance speech. She played Mary, the mourning mother, in Alexander Payne’s “The Holdovers.”Best Television Series, Musical or Comedy‘The Bear’From left: Abby Elliott, Jeremy Allen White, Lionel Boyce, Ayo Edebiri, Liza Colón-Zayas (foreground), Ebon Moss-Bachrach, Matty Matheson and Edwin Lee Gibson.“There are so many people I probably forgot to thank. Oh, my God, all of my agents’ and managers’ assistants! To the people who answer my emails. Y’all are real ones. Thank you for answering my crazy, crazy emails.” — Ayo Edebiri, in her acceptance speech for best actress in a TV comedy.Best Original Song, Motion PictureBillie Eilish and Finneas, ‘What Was I Made For?,’ from ‘Barbie’“It was exactly a year ago, almost, that we were shown the movie and I was very, very miserable and depressed at the time. Writing that song kind of saved me a little bit. A year later and here we are, and it’s really surreal. I feel incredibly, incredibly lucky and grateful.” — Billie Eilish, in her acceptance speech.Best Performance by an Actress in a Motion Picture, DramaLily Gladstone, ‘Killers of the Flower Moon’“This is for every little rez kid, every little urban kid, every little Native kid who has a dream, who is seeing themselves represented.” — Lily Gladstone, in her acceptance speech.Best Performance by an Actor in a Limited Series, Anthology Series or Motion Picture Made for TelevisionSteven Yeun, ‘Beef’Best Motion Picture, Musical or Comedy‘Poor Things’From left, the director Yorgos Lanthimos, Emma Stone, Willem Dafoe, Ramy Youssef and Mark Ruffalo.Best Performance by an Actor in a Motion Picture, Musical or ComedyPaul Giamatti, ‘The Holdovers’Best Performance by an Actress in a Limited Series, Anthology Series or Motion Picture Made for TelevisionAli Wong, ‘Beef’“I really need to thank the father of my children and my best friend, Justin, for all of your love and support. It’s because of you that I’m able to be a working mother.” — Ali Wong, in her acceptance speech.Best Performance by an Actress in a Television Supporting RoleElizabeth Debicki, ‘The Crown’Best Performance by an Actor in a Television Series, DramaKieran Culkin, ‘Succession’“Thanks to ‘Succession,’ I’ve been in here a couple of times. It’s nice, but I sort of accepted I’m never going to be onstage, so this is a nice moment.” — Kieran Culkin, in his acceptance speech. More

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      Best and Worst Moments From the 2024 Golden Globes

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      Lily Gladstone made history, Jo Koy did not. And dressing on a theme proved a hit. These were just some of the highs and lows.The Golden Globes had a lot to prove Sunday night. It was the award show’s return to a primo broadcast time slot after a series of scandals over finances and lack of diversity upended what used to be known as the biggest party of the year in Hollywood. Now privately owned with a greatly expanded pool of voters, the Globes were making a bid for relevance. Did that bid succeed? Well, it helped that this was the first major televised ceremony since the writers’ and actors’ strike brought Hollywood to a halt, and stars and studios looking to goose their Oscar chances turned out after some skipped last year’s event. Then again, this wasn’t the liveliest show. Here are the highs and lows as we saw them.Most Historic Win: Lily GladstoneIn a momentous triumph, Lily Gladstone became the first Indigenous person to win a Golden Globe for best actress, for her turn in “Killers of the Flower Moon” as an Osage woman whose family members are killed in a plot to take their fortune. Gladstone, whose background is Blackfeet and Nez Perce, was only the second Native actress to receive recognition from the Globes: Irene Bedard was nominated in 1995 for “Lakota Woman: Siege at Wounded Knee,” a television movie.After receiving a standing ovation, an overcome Gladstone spoke a few lines in the Blackfeet language, “the beautiful community nation that raised me, that encouraged me to keep going, keep doing this,” she explained in English.“I’m so grateful that I can speak even a little bit of my language,” she added later, “because in this business, Native actors used to speak their lines in English, and then the sound mixers would run them backwards to accomplish Native languages on camera.” She dedicated the award to “every little rez kid” who had a dream. — Esther ZuckermanLeast Suspenseful Rivalry: ‘Oppenheimer’ vs. ‘Barbie’The presenter Oprah Winfrey, far right, watches as the “Oppenheimer” team accepts best drama. From left, Robert Downey Jr., Matt Damon, Emma Thomas, Ludwig Goransson, Florence Pugh, Christopher Nolan and Cillian Murphy. Sonja Flemming/CBSIn the end, the great “Barbenheimer” face-off was a complete fizzle. “Oppenheimer,” with eight nominations, won five trophies — best drama, director, actor, supporting actor and score. After sitting on the sidelines for most of the night, “Barbie,” the ceremony’s most-nominated film, with nine nods, finally got in the game with a win in the rather meaningless category of best blockbuster (“cinematic and box office achievement”). “Barbie” got a second prize in the form of best song, which was kind of a no-brainer because the film’s tunes filled three of the category’s six slots. Time to rev up that Oscar campaign, Babs! — Brooks BarnesBest Looks: Stars Dressing on a ThemeFrom left, Oprah Winfrey, Margot Robbie and Taylor Swift.Getty ImagesJust in case anyone forgot about the “Barbie” effect of last year, which turned entire crowds pink, Margot Robbie managed to out-“Barbie” her own red carpets past in a sequined slither of hot pink Armani paired with a bristling pink tulle boa, all of it inspired by the 1977 Superstar Barbie.As it turned out, however, that was just the beginning of the on-theme dressing. Oprah Winfrey wore Louis Vuitton in the color purple, in honor of — you guessed it — “The Color Purple,” for which she served as a producer. And Taylor Swift wore glimmering Gucci in the sort of bright leafy shade that evoked nothing so much as the color of money and made it impossible to forget just how much green her Eras Tour has generated.Together they made for a more interesting trend than the traditional strapless frocks that also proliferated. (The best of those being Elle Fanning’s vintage Balmain and Rosamund Pike’s not-quite-vintage 2019 Dior: if you’re going to go with the classics, might as all go back to the source). And the theme dressing added a new dimension to the brand-marketing machine that the red carpet has become. — Vanessa FriedmanFlattest Monologue: Jo KoyThe host, Jo Koy, onstage at the Beverly Hilton ceremony.Sonja Flemming/CBSI had high hopes for Jo Koy, the 52-year-old Filipino American comedian who is only the second Asian American to host the Golden Globes. (Sandra Oh was the first, in 2019.) But Koy’s opening monologue felt like a highlight reel of mortifying moments. From a weird joke about being attracted to a plastic Barbie to one about the “Killers of the Flower Moon” filmmakers stealing the plot, Koy’s jokes met an icy reception from the audience. To be fair, he had barely any time to prepare. “I got the gig 10 days ago!” he said from the stage. “You want a perfect monologue?” It’s a shame, but Koy’s jokes will probably end up being best remembered for the memes they inspire on social media. — Christopher KuoFlattest Joke: Koy Riffing on Taylor SwiftWhy you gotta be so mean? The host’s jokes did not really improve as the night went on.“We came on after a football doubleheader,” Koy said as the ceremony returned from its first commercial break. “The big difference between the Golden Globes and the N.F.L.? On the Golden Globes, we have fewer camera shots of Taylor Swift.”Koy seemed to swallow the word “camera” as he said it. And when the actual camera, on cue, panned to Swift, she appeared deeply unamused, her lips pursed, her eyes stern as she sipped a drink.It is true that Swift has been shown many, many times on N.F.L. telecasts since she began showing up at Kansas City Chiefs games to cheer on the team’s tight end, Travis Kelce.But Koy’s joke, at the expense of perhaps the most famous person in a room full of famous people, fell flat again. So flat, that he muttered, “Sorry about that.” — Matt StevensMost Historic Double Win: Steven Yeun and Ali Wong of ‘Beef’Steve Yeun and Ali Wong with their trophies for “Beef.”Robyn Beck/Agence France-Presse — Getty ImagesThey may have gone head-to-head in a bitter feud that crossed 10 episodes of “Beef,” the Netflix road rage comedy that gained a huge online fandom last year, but Ali Wong and Steven Yeun both left the Globes on Sunday with statuettes in hand, as the first actors of Asian descent to win honors for a limited series or TV movie. First, Wong won best actress in the category and delivered an emotional acceptance speech, thanking her ex-husband and children for making it possible for her to be a working mother in Hollywood. A few minutes later, Steven Yeun won best actor in the same category. How do we order up a sophomore outing for Amy and Danny? — Sarah BahrBest Speech With a Twist: YeunThe most entertaining speeches take us on a ride. That’s what Yeun did when he won for actor in a limited series. He started out with a serious and vulnerable tone, saying, “The story I usually tell of myself to myself is one of isolation and, like, separateness.” But then he threw in a twist, saying that once he climbed onto the stage he realized that — wait, that inner monologue “feels a lot like the plot to ‘Frozen.’” It was unexpected yet heartfelt, a joke for his daughter. — Brooks BarnesBest Speeches With a Dose of Honesty: Kieran Culkin and Robert Downey Jr.Kieran Culkin accepting his “Succession” trophy.Sonja Flemming/CBSRobert Downey Jr. accepting his best supporting actor award.Sonja Flemming/CBSAwards show speeches tend to be mash-ups of gushing adjectives meant to communicate maximum gratitude — “amazings” and “incredibles” aplenty — but a couple of actors were refreshingly measured in their delight. This isn’t the Oscars, after all. Winning for his role as Roman Roy in “Succession,” Kieran Culkin told the audience, simply, “This is a nice moment for me.” And when Robert Downey Jr. stepped up to the microphone, he deflected applause for his supporting performance in “Oppenheimer” by addressing the prescription medication powering his nonchalance onstage: “Yeah, yeah, I took a beta blocker,” he said, “so this is going to be a breeze.” — Julia JacobsBiggest Upset: Best Screenplay for ‘Anatomy of a Fall’The previous group of Golden Globe voters could always be counted on to give us a few unpredictable wins, and though they weren’t always welcome swerves, they at least lent the night a charge of anything-could-happen frisson. That feeling was hard to come by this year, thanks to a series of respectable, safe choices, though the unexpected triumph of “Anatomy of a Fall” in the screenplay category certainly woke up the ballroom: In years past, Globe voters almost certainly would have chosen a starrier pick like “Barbie” or “Oppenheimer,” and it was fun to get a worthy upset. — Kyle BuchananWorst Award: The Cinematic and Box Office Achievement GlobeGreta Gerwig, left, and Margot Robbie enjoy their “Barbie” win.Sonja Flemming/CBSThe Globes added a new box-office trophy this year, with nominees required to have earned at least $150 million (or, as the guidelines put it, “commensurate digital streaming viewership”). The whole thing is a little silly, especially in a year in which two huge hits — “Barbie” and “Oppenheimer” — were also popular with critics and nominated for many awards. Is it an effort to revive the academy’s widely derided attempt to add a best popular film category to the Oscars? Or just to get more A-listers in the room (including, yes, Taylor Swift)?Entertainment plaudits are basically made up of vibes and campaigning, meant to create heated discussions. But if there’s anything in movies that’s impossible to argue with, it’s box office receipts and clicks. So what was the undisputed biggest box office achievement in 2023? “Barbie.” Who won this new Globe? “Barbie.” Who else could it have been? — Alissa WilkinsonBest Writers’ Revenge: A Script ‘Written’ by Studio ExecutivesDaniel Kaluuya, left, Hailee Steinfeld and Shameik Moore at the Globes.Sonja Flemming/CBSPerhaps as an ode to the recently settled Hollywood writers’ strike, the presenters Daniel Kaluuya, Hailee Steinfeld and Shameik Moore announced they would introduce the best screenplay nominees with words written by studio executives — although given the dry, stilted language, the script may well have been generated by ChatGPT.“I am relatable,” Steinfeld intoned. “I am enjoy the Golden Globes.”“I do agree,” Moore said.“As do I,” Kaluuya agreed.At least the “executives” generated a few laughs.— Jonathan AbramsLeast Satisfying Reunion: ‘Suits’What is a “Suits” reunion without Meghan Markle? The law-firm drama that has found unprecedented success on Netflix more than a decade after its debut deserved a moment in the sun just for the sheer number of viewers it accrued in recent months. And I’m sure actors Gabriel Macht, Patrick J. Adams, Gina Torres and Sarah Rafferty were thrilled to present the award for best drama series. But where was Meghan, Duchess of Sussex, who was a star of the show and played a key character? She doesn’t live very far from the Beverly Hilton, where the ceremony was held. “Suits” fans had to be thrilled that their beloved cast was alive and well, but without Meghan, can you really call it a reunion? — Nicole SperlingMost Improved Angle: Shots of the Audience Behind the PresentersAmerica Ferrera and Kevin Costner were among the presenters shot from different angles.Sonja Flemming/CBSKeeping things interesting visually during an awards show can be a challenging task. Talking heads. Nominees. Award. Speech. Rinse. Repeat. But on Sunday night, the producers mixed it up by pulling a simple reversal and shooting some of the presenters with the audience in the background. It changed the feel while allowing us at home to peek behind some of the presenters during the more boring banter to check out the celebrities behind them. Who’s paying attention? Who can’t be bothered? One drawback was that the lighting didn’t always favor the presenters at these varying angles. But overall, it felt fun and gave a little jolt to the proceedings. — Mekado MurphyMost Surprising (Apparent) Spoiler: ‘Anatomy of a Fall’“Anatomy of a Fall” took home two Globes for its taut dissection of the frictions in a marriage, exposed when a wife is put on trial and accused of pushing her husband to his death at their home in the French Alps. Under the scrutiny of a court and the couple’s preteen son, Sandra (Sandra Hüller), defends herself as viewers are left to plumb the evidence for signs of whether her husband’s death resulted from an assault, an accidental fall or his own leaping.But as she accepted the award for best screenplay for the film, written with her husband, Arthur Harari, Justine Triet maybe revealed what her script did not. Describing their thinking when they completed the script, she said: “OK we are having a lot of fun but it’s radical and dark, nobody’s going to see this movie. It’s too long, they talk all the time, there’s no score — a couple fighting, suicide, a dog vomiting. I mean, come on.” The (accidental?) disclosure of the manner of death seemed out of step for one of the creators of a film so meticulously built to leave audiences guessing. — Elena BergeronBest and Worst Reinvention: The Globes ThemselvesWith the Globes trying to claw their way to semi-legitimacy, this was a perfectly reasonable attempt, but it all felt perfunctory.High: Intro segments tend toward the cringey at every awards show, and there were plenty of awkward moments here, too, but there were some bright spots: Keri Russell and Ray Romano’s fun repartee, Andra Day and Jon Batiste’s giggly banter and especially Kristen Wiig and Will Ferrell’s goofy dance bit. Ferrell’s signature outburst — “The Golden Globes have not changed!” — was probably the biggest laugh of the night.Low: Kind of everything? The whole ceremony had sort of a blah energy. The speeches were all fine, but none was especially wild. The biggest shock came when the broadcast included what sounded like glasses clattering to the floor. — Margaret Lyons More