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      Golden Globes Nominees 2025: See the Complete List

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      The movies and TV series competing for the 82nd Golden Globe Awards. The ceremony will air on Jan. 5.The nominations for the 82nd Golden Globes were announced Monday, and “Emilia Pérez” and “The Brutalist” are the top nominees.The musical “Emilia Pérez” received the most nominations at 10, followed by the epic period drama “The Brutalist” with seven. On the television side, “The Bear” led with five nominations, but was in good company with “Only Murders in the Building” and “Shogun” receiving four each.The ceremony, hosted by the comedian Nikki Glaser, will air on Jan. 5 on both CBS and Paramount+. See below for the full list.Best Motion Picture, Drama“The Brutalist”“A Complete Unknown”“Conclave”“Dune: Part 2”“Nickel Boys”“September 5”Timothée Chalamet in “A Complete Unknown.”Searchlight PicturesBest Motion Picture, Musical or Comedy“Anora”“Challengers”“Emilia Pérez”“A Real Pain”“The Substance”“Wicked”Best Motion Picture, Animated“Flow”“Inside Out 2”“Memoir of a Snail”“The Wild Robot”“Wallace and Gromit: Vengence Most Fowl”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? Log in.Want all of The Times? Subscribe. More

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      ‘The Creep Tapes’ Finale, Plus 6 Things to Watch on TV This Week

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      Mark Duplass reprises his serial killer role in a new series. And reality TV royalty, Paris Hilton and Nicole Richie, reunite.Between streaming and cable, there is a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that are broadcast live or available for streaming this week, Dec. 9 to Dec. 15. Details and times are subject to change.Christmas With the CreepsJust because Halloween has come and gone doesn’t mean you can’t keep enjoying some spooky content. (The holidays, after all, can be plenty scary.) Since I, a veritable horror nerd, am taking over the column this week, I am garnishing it with some ghouls.It may seem strange to call a serial killer character beloved, but Mark Duplass’s Josef is just that. Originally introduced in the found-footage horror movie “Creep,” from 2014, the eerie yet endearing villain returns in “The Creep Tapes,” which will air its season finale this week. “This is going to be a comfort show, weirdly, for people who love this character,” Duplass said in an interview with The New York Times. Consider me comforted. Streaming on Friday on Shudder and AMC+.In “The Creep Tapes,” Duplass reprises his role as Josef, a man who lures videographers to his home and kills them on camera.ShudderIf you’re tired of pleasant, family-friendly holiday specials, look no further: The comedian and critic Joe Bob Briggs is here to shake things up. The special “Joe Bob’s Christmas Carnage” will take his usual format of providing crude commentary alongside two gory B-movies (this time of the holiday variety). The films included will be kept secret until the show airs, but one thing’s for sure — there will be plenty of bloodshed. Friday at 9 p.m. on Shudder and AMC+.While I’m mentioning my favorite monsters, it’s worth noting that the latest season of “Dragula” (like the cooler, goth cousin of “RuPaul’s Drag Race”) is now streaming in its entirety. The artists competing this season were truly formidable, and it’s thrilling to see the freaky and gorgeous looks they construct. Plus, the hosts, the Boulet Brothers, subject the talented performers to twisted, “Survivor”-esque feats of courage, like jumping out of planes and swimming with sharks. Now on Shudder and AMC+.Reality RoundupIt’s no secret that the early 2000s — its fashion, its stars and its music trends — are back in a big way. But perhaps the strongest signal of their return is the reunion of Paris Hilton and Nicole Richie, 20 years after their reality show “The Simple Life.” Time to don your Juicy Couture sweatsuits and warm up your vocal fry for three-part limited series “Paris and Nicole: The Encore,” in which the aughts royalty attempt to stage an opera inspired by their inside-joke phrase “sanasa.” Lifelong friendship? Now that’s hot. Streaming Thursday on Peacock.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? Log in.Want all of The Times? Subscribe. More

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      ‘Dune: Prophecy’: Travis Fimmel on His Character’s Fiery Rise to the Top

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      Desmond Hart has been a wild card since he burned a young prince alive with his mind. The actor who plays him talked about what motivates Desmond’s drive for power.This interview contains mild spoilers for Season 1, Episode 4 of “Dune: Prophecy.”His character has used his supernatural powers to murder a child prince in the shadows and massacre an emperor’s enemies in public. But the “Dune: Prophecy” star Travis Fimmel doesn’t know if people hate him for it.“No idea,” said Fimmel, an Australian actor, whose friendly speech in an interview last week was sprinkled liberally with the word “mate.” “I’m on a little ranch, so I haven’t been anywhere, really. People could be hating on me. Wouldn’t be the first time, buddy.”Fimmel has portrayed men of great destiny and dubious morality before entering the Dune-iverse: a grasping young king in the historical epic “Vikings,” a mad messiah in the sci-fi mind-bender “Raised by Wolves.” Here, Fimmel stars as Desmond Hart, an ex-soldier returned from a near-fatal tour of duty on the resource-rich desert planet of Arrakis. Seemingly swallowed alive by one of the planet’s massive sandworms, he emerged supernaturally augmented — and wildly ambitious.Now an imperial adviser with deadly telepathic abilities, Desmond is a wild card in this highly structured fictional universe, which is set some 10,000 years before the events of the original “Dune” book by Frank Herbert and the two “Dune” films by Denis Villeneuve. As Fimmel put it, Desmond likes to mess with people’s heads.“Desmond acts like he knows what’s going on and what’s going to happen,” Fimmel said, “but he is unsure of himself, and he is unsure what the power he has can do to him.”Attila Szvacsek/HBO“I’m not in a position of power,” he said, speaking from Desmond’s point of view. “I’m not rich. I’ve got nothing. I’m from the other side of the tracks. Messing with people’s heads is the only power I can get.”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? Log in.Want all of The Times? Subscribe. More

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      ‘Dune: Prophecy’ Season 1, Episode 4 Recap: Ol’ Blue Eyes

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      The sisters have a terrifying vision. Desmond gives a terrifying display of his power and loyalty. Any connection?Season 1, Episode 4: ‘Twice Born’Two blue lights shine in the darkness, like the eyes of an insectoid machine. Guttural sounds, like speech in a language not yet invented, accompany them, but only for a second.Throughout “Dune: Prophecy,” this menacing pairing of sight and sound has recurred in dreams and visions. Are they the eyes of God, judging the Sisterhood, as Sister Emeline argues? Are they the eyes of the tyrannical force that Raquella, the Sisterhood’s first Mother Superior, warned about with her dying breaths? Are they the eyes of whatever entity gives Desmond Hart his “beautiful, terrible” power to burn people alive with his mind? Are all these things one and the same?I suspect we’ll get the answer eventually, but part of me thinks that’s a shame. Right now, the blue lights and the garbled grunts are the most Lynchian thing this franchise has served up since the director David Lynch himself was in charge of it 40 years ago. And as Lynch has demonstrated time and again, sometimes the mystery is its own reward.Not that the Sisterhood would agree. From Emeline on down, all of them — with the alleged exception of Sister Jen — experience simultaneous nightmares one night. They each begin differently, but they end in the same place: in the sands of Arrakis, standing before a sandworm’s maw, ready to fall in and meet that pitiless blue-eyed gaze. Mother Tula’s experiment with automatic drawing to uncover the meaning of the dreams almost ends in disaster when she completely loses control of the trance into which she places the acolytes, leaving them in the clutches of whatever force sent the dream in the first place.In a time of apocalypse, cults of personality spring up like fungus. So it is in the Sisterhood: Emeline revives the teachings of Valya’s rival, Mother Dorotea, whose death, we learn, was labeled a suicide by the Harkonnen sisters and their cronies. (In reality, Valya used the Voice to command Dorotea to kill herself.) In what appears to be a nightmare or a vision — though by the end of the episode, that distinction is slim indeed — Emeline confronts Tula with the truth, vowing to inform the Imperium; then Tula slits her throat. (This is the same fate Emeline met in her own nightmare, though in the dream it was she who wielded the blade against herself.)But the next thing Tula knows, she is sitting placidly by the side of Sister Lila’s stasis chamber once again, where Emeline found and confronted her. There’s no evidence Emeline has been there. But Lila is gone, broken free of her chamber; she emerges from the shadows, her eyes bright blue from overexposure to the psychoactive spice. Are those the eyes everyone is so afraid of?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? Log in.Want all of The Times? Subscribe. More

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      Hunter Biden and Matt Gaetz Are Church Lady’s Guests on ‘S.N.L’

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      Playing his old familiar character, Dana Carvey talks about Jesus, tweaks celebrities for their sins and skewers Satan.A quick primer for the younger readers of this recap: The late 1980s were a creatively fruitful time for “Saturday Night Live” where for some reason every third sketch was a fake talk show. Among the most popular of these recurring bits was a segment called “Church Chat,” in which a piously persnickety host known simply as the Church Lady (played by Dana Carvey) would roast celebrities of the day and accuse pretty much everyone of working in the service of Satan.After a yearslong hiatus, “S.N.L.” brought back “Church Chat” to open this weekend’s broadcast, which was hosted by Paul Mescal and featured the musical guest Shaboozey. Carvey, once again clad in the prim attire of the Church Lady and seated in front of a stained-glass window, said he was back to “ring out the end of 2024, the most satanic year in history.”“Everywhere you look, you’ve got 11-year-olds dressing up like that vixen Sabrina Carpenter,” Carvey proclaimed. “You know who’s the best carpenter? Jesus.”Church Lady then introduced the first “Church Chat” guest, Matt Gaetz (Sarah Sherman), the former representative from Florida, who last month withdrew from consideration as President-elect Donald J. Trump’s attorney general.“Are you OK, Matt?” Carvey asked Sherman. “You look a little surprised to be here.”“No, this is just how my face is,” Sherman answered.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? Log in.Want all of The Times? Subscribe. More

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      How I Aged Into the Bad Christmas Movie

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      When I first discovered the existence of made-for-television Christmas movies, maybe 15 years ago, they struck me as sentimental and anti-feminist. Also, they seemed to be made for older people. The leads were always floundering in midlife until their romantic and professional lives were reformed through the magic of Christmas. Then, one December morning, I awoke to find that I had transformed into the target demographic. I am older now, and the movies are made just for me.The crop of Christmas movies released this year — broadcast most prominently on the Hallmark Channel, though increasingly rivaled by Netflix’s holiday machine — are sprinkled with millennial bait. They feature weathered stars from nostalgic childhood properties and crib plots and vibes from touchstone films. They have anticipated my critiques, modulating the melodrama with self-conscious winks and dialing up the sexual innuendo.Romantic comedies are about one party lowering her defenses and another raising his game until they finally meet on level ground. That’s what’s happened here: The bad Christmas movies grew more cynical, and I grew softer. As I neared the end of “Our Little Secret,” a Netflix Christmas movie starring Lindsay Lohan, I actually cried.Lindsay Lohan, star of “The Parent Trap” and “Mean Girls,” is now building a midlife holiday empire at Netflix, including “Our Little Secret.” Chuck Zlotnick/NetflixWhat’s happening to me? In recent years, my feelings about work, romantic love, big city living, small town charm and secular holiday cheer have not appreciably changed. It’s my relationship to rote sentimentality that has shifted. Recently I have felt so pummeled by stress and responsibility that I have found it difficult to turn on a compelling new television show at the end of the day. I have no extra energy to expend familiarizing myself with unknown characters, deciphering twists or even absorbing scenes of visual interest.What I’ve been looking for, instead, is a totally uncompelling new television show — one that expects nothing from me, and that gives me little in return. The bad Christmas movie’s beats are so consistent, its twists so predictable, its actors and props so loyally reused, it’s easy to relax drowsily into its rhythms. The genre is formulaic, which makes for a kind of tradition. Now it plays through the winter like a crackling fireplace in my living room.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? Log in.Want all of The Times? Subscribe. More

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      Miho Nakayama, Japanese Music and Movie Star, Dies at 54

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      A top-selling pop singer as a teenager in the 1980s, she also had an award-winning career as a dramatic actress.Miho Nakayama, a reigning J-pop star of the 1980s who broke through to become a critically acclaimed dramatic actress and gained international attention for her starring role in the sentimental Japanese drama “Love Letter,” died on Friday at her home in Tokyo. She was 54.Ms. Nakayama was found dead in a bathtub, according to a statement from her management company. The statement added, “We are still in the process of confirming the cause of death and other details.”The Japan Times reported that Ms. Nakayama had canceled an appearance at a Christmas concert in Osaka, Japan, scheduled for that same day, citing health issues.Ms. Nakayama — known by the affectionate nickname Miporin — rocketed to fame in 1985, becoming one of Japan’s most successful idols, as popular young entertainers there are known, with the release of her first single, “C.” That same year, she took home a Japan Record Award for best new artist.She exploded on both the big and small screens that same year with starring roles in the comedy-drama series “Maido Osawagase Shimasu” (roughly, “Sorry to Bother You All the Time”) and the film “Bi Bappu Haisukuru” (“Be-Bop High School”), an action comedy set on a dystopian campus filled with uniformed schoolgirls and brawling schoolboys.Such stories were popular teenage fare at the time, as evidenced by her subsequent role in “Sailor Fuku Hangyaku Doumei” (“The Sailor Suit Rebel Alliance”), a television series that made its debut in 1986, in which Ms. Nakayama played a member of a group of martial arts-savvy girls who squared off against wrongdoers at a violence-marred high school.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? Log in.Want all of The Times? Subscribe. More

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      Silvia Pinal, Golden Age Star of Mexican Cinema, Is Dead

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      She found outsize success in her native land and gained international recognition for her work with the acclaimed Spanish surrealist director Luis Buñuel.Silvia Pinal, an award-winning actress who was considered one of the great stars of Mexico’s golden age of cinema, and who earned worldwide acclaim for her work with the groundbreaking Spanish-born Surrealist director Luis Buñuel, died on Nov. 28 in Mexico City.Her death, in a hospital, was announced on social media by President Claudia Sheinbaum of Mexico, who said that Ms. Pinal’s “cinematic and theatrical talent is part of Mexico’s cultural memory.” She was generally believed to be 93, although some news reports gave her age as 94.A star of both stage and screen, the golden-haired Ms. Pinal, who collected more than 100 film and television credits in a career that began in the late 1940s, was known for balancing urbane glamour with saucy humor and sensuality.The Mexican television network Las Estrellas posted on social media that she was her country’s “last diva.” She starred with celebrated leading men like Pedro Infante, the dashing screen idol and celebrated ranchera singer; Germán Valdés, known as Tin-Tan; and the comedy heavyweight Mario Morena, known as Cantinflas.Ms. Pinal won her first of three competitive Ariel Awards — the Mexican equivalent of an Oscar — as best supporting actress for her performance in the 1952 film “Un Rincón Cerca del Cielo” (“A Corner Near Heaven”), which starred Mr. Infante as a poor man who encounters love and hardship after moving to Mexico City.The award helped vault her to lead actress status, and she enhanced her budding stardom with a sultry performance in the 1955 thriller “Un Extraño en la Escalera” (“A Stranger on the Stairs”). The next year, she teamed with Mr. Infante again in the comedy “El Inocente” (“The Innocent”), in which she played a moneyed and capricious woman who takes up with an auto mechanic.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? Log in.Want all of The Times? Subscribe. More