Entertainment
Best and worst moments of the 2025 Emmys, from Stephen Colbert to that money clock
Sunday’s Emmy Awards had the usual mix of light-hearted moments and powerful speeches, along with some surprise wins in the acting categories. So if there’s one thing we should always remember about television’s biggest night, it’s this: What might seem predictable sometimes isn’t and that’s what makes this awards show worth watching.
Here, Times writers share their favorite moments of the night, and one that perhaps shouldn’t be repeated.
Best standing ovation: Stephen Colbert
Stephen Colbert with his “Late Show” crew after winning his first Emmy for talk series.
(Jason Armond/Los Angeles Times)
We knew going into the Emmys that Stephen Colbert would be on the receiving end of the night’s biggest outpouring of love. But even knowing that, I wouldn’t have guessed just how electrifying the ovation Colbert would receive when he won the talk series Emmy for his recently canceled late-night show. That the ceremony was aired on CBS, the network that unceremoniously dumped him, offered a bit of delicious irony, as well as an opportunity for Colbert to air a grievance or two. But that’s not the man’s style.
Colbert said he initially wanted to make a late-night comedy show about love. But as the years passed in his 10-year run, he realized the show was really about loss.
“And that’s related to love, because sometimes you only truly know how much you love something when you get a sense that you might be losing it,” Colbert said. “And in September of 2025 my friends, I have never loved my country more desperately. God bless America. Stay strong, be brave.” And one more thing, he added in a nod to Prince. “If the elevator tries to bring you down, go crazy and punch a higher floor.” — Glenn Whipp
Best speech: ‘Culture belongs to the people,’ Cris Abrego says
One of the most riveting and truthful speeches of the night came not from a celebrity, but from Television Academy Chairman Cris Abrego, who used his time onstage before presenting the Bob Hope Humanitarian Award to lament the cataclysmic Congressional funding cuts for the Corp. for Public Broadcasting. When Abrego first mentioned the cuts, the audience erupted in an effusive and concerted round of booing.
“In a time when division dominates the headlines, storytelling still has the power to unite us,” Abrego said. “Television and the artists who make it do more than reflect society. They shape our culture, and in times of cultural regression, they remind us of what’s at stake and what can still be achieved.”
Abrego also said that generations of artists have used the power of television to, “broaden horizons, challenge the status quo and bend that arc of history, towards justice.” The words hit home in a room full of creatives struggling with how to walk a tightrope between corporate mandates to make money and not offend, and government attacks on diversity, equity and inclusion.
“All of us in this room must continue to champion that power and wield it responsibly,” Abrego said. “In moments like this, neutrality is not enough. We must be voices for connection, inclusion, empathy.”
Culture, Abrego concluded, “Doesn’t come from the top down. It rises from the bottom up. Culture belongs to the people. So if our industry is to thrive, we need to make room for more voices, not fewer.” — Jessica Gelt
Best squeal of the night: Katherine LaNasa
Katherine LaNasa of “The Pitt” won her first Emmy for supporting actress in a drama series.
(Myung J. Chun/Los Angeles Times)
Katherine LaNasa’s radiant smile is contagious enough, but when she let out that girlish squeal after a clearly unexpected victory, I felt her excitement in my bones. Clearly so did LaNasa’s partner-in-care Noah Wyle, who looked just as proud to see the first-time nominee up on the stage as he would end up scaling it an hour later.
Beating out “The White Lotus” actors was no small feat — especially considering the season-saving monologue from Carrie Coon — and that LaNasa delivered a fan-favorite performance while dancing her way through it between takes is all the more heartening. Hopefully the same nurses that LaNasa toasted to in her speech, those whose grit and gentleness are manifest in Dana Evans, will feel that they are sharing in this win.
This one is also for the “Imposters” groupies, who know LaNasa should have gotten her flowers for embodying a tough maternal figure long ago. — Malia Mendez
Best shout out to their mom: Tramell Tillman
Tramell Tillman with his mother after winning the Emmy for supporting actor in a drama series for “Severance.”
(Jason Armond/Los Angeles Times)
Tramell Tillman had a historic victory on Sunday, becoming the first Black actor to win for supporting actor in a drama series. His performance as Seth Milchick in Season 2 of “Severance” showcases his range, as his character seesaws from a cheery to chilling middle manager. Whether it was a tête-à-tête with Lumon boss Mr. Drummond, where Mr. Milchick is told to shorten his words before choosing to do the opposite — his phrase “devour feculence” seethes with quiet rage — or leading a drumline in the dramatic season finale, Tillman stole many scenes.
In his acceptance speech, Tillman thanked his mother for his achievement: “Mama, you were there for me when no one else was, and no one else would show up. This is for you.”
I think Kier would approve this moment of frolic for him and his mother. — Maira Garcia
Best reference to their innie/outie: Britt Lower
Britt Lower of “Severance” after winning the Emmy for lead actress in a drama series: “It feels like getting to play this role within all of her layers has been a real kind of meeting of a soulmate.”
(Jason Armond/Los Angeles Times)
First-time Emmy winner Britt Lower, star of “Severance,” thanked (one) of her characters in the drama series in her acceptance speech for “choosing” her. When she headed backstage to speak with reporters, she said she wasn’t quite sure what she meant by that.
“It feels like getting to play this role within all of her layers has been a real kind of meeting of a soulmate. Getting to walk through the world the way she does and see the world from her point of view has given me a lot of strength,” Lower told The Times of her dual role as Helly R./Helena Eagan. “I don’t know how she chose me, that’s just how it feels.”
When she got another question from a reporter who joined the press room via Zoom, Lower looked around for where the booming voice over the speakers could be coming from.
“I couldn’t see your face, so it felt like you were kind of like Lumon,” she said. “A disembodied voice in the room.”
Something I wish I’d asked about before she headed backstage was the message scribbled on the back of her speech notes: “LET ME OUT,” it read, perhaps invoking the spirit of Helly R. — Kaitlyn Huamani
Best surprise win for a small yet powerful show: Jeff Hiller
Jeff Hiller of HBO’s “Somebody Somewhere” accepting the award for supporting actor in a comedy series.
(Myung J. Chun/Los Angeles Times)
Jeff Hiller winning supporting actor in a comedy series for “Somebody Somewhere” is the best thing I’ve seen on an awards show in … well, possibly ever. HBO’s dramedy is a small show by any metric, but like many small things, it is exquisite and Hiller is a big reason why. Playing Joel, a gay, devoutly Christian man in a small town, Hiller fearlessly leaned into dichotomy and sincerity, which is very difficult to do. His Joel had a gimlet eye and wore his heart on his sleeve; he was sometimes goofy but always in on the joke. There was nothing flashy or predictable about Hiller’s performance. A deceptively quiet role in a deceptively quiet series, it was astonishingly powerful.
Still, despite some critical acclaim, no one expected Hiller to be nominated, much less win, including Hiller himself. As bigger shows took the stage again and again, his teary-eyed acceptance speech reminded us that television is full of tremendous shows that, for whatever reason, fly under the radar. And those shows are full artists of all kinds who endure the rejections and compromises, make a years-long career out of small gigs, who consistently hone their craft and when they are finally given the chance, do amazing work. “Somebody Somewhere” may, as he said in his acceptance speech, have changed Hiller’s life but he was there all along, just waiting to shine. — Mary McNamara
Best nod to ‘Star Wars’ fans: Dan Gilroy
Dan Gilroy accepting the award for writing for a drama series for “Andor.” He nodded to “Star Wars” fans with the phrase, “We have friends everywhere.”
(Myung J. Chun/Los Angeles Times)
When “Andor’s” Dan Gilroy took the stage to accept the Emmy for writing for a drama series and said, “We have friends everywhere,” I cheered. As fans of the “Star Wars” series know, the phrase was a play on the words members of the Rebellion say to each other on the show to confirm their allegiance when meeting for the first time.
Gilroy’s win marked the first Primetime Emmy Award bestowed upon the spy thriller, which had won four awards at the Creative Arts Emmys just last week. I’ve sang “Andor’s” praises since its first season premiered way back in 2022, so I’m glad the Television Academy is finally catching up. As Gilroy mentioned in his speech, “Andor” is “a story about ordinary people fighting impossible odds.”
The episode that he wrote involves an elected government official taking a very public stand against authoritarianism, propaganda and genocide in a speech meant to coalesce the various resistance cells into one Rebel Alliance. And while the show itself is inspired by history, its themes have never felt more relevant than they do now. I hope this moment helps convince people who had written off “Andor” because of their preconceptions of the “Star Wars” franchise to finally check it out. — Tracy Brown
Best chat about an ‘Ugly Betty’ reboot: Michael Urie
Michael Urie as he was preparing to attend the 77th Primetime Emmy Awards.
(Jason Armond/Los Angeles Times)
With a ceremony that spent time paying tribute to “Golden Girls” and “Gilmore Girls,” maybe it was fitting that in spending my afternoon with first-time nominee Michael Urie, nominated for his supporting role in Apple TV+’s “Shrinking,” I mentioned my love (and recent rewatch) of ABC’s mid-aughts primetime soap “Ugly Betty,” which celebrates the 20th anniversary of its premiere next year. So you can imagine my excitement when Urie, who starred in the show, as he was getting into his plum-hued ensemble for the night, stopped to point out the “Ugly Betty” Season 4 wrap gift he had in tow: A medium-sized sling bag with a patch reading “UBS4” adhered to its side, commemorating the season.
“I just realized that I’ve had it all these years,” he says, stopping to give me a tour of the weathered black bag. “It’s the greatest bag I’ve ever had and over the years I’ve tried to phase it out, and I’ve gotten other bags, but they don’t make it like this one — and this one survives.”
It gets us on the topic of reboots — and my hesitation with Hollywood’s proclivity to try to recapture lightning in a bottle.
“The further we get from it, the less I would be interested,” he says. “I mean, we all would, of course, do it if they want us to do a revival. And we talk about it every year, but the further we get, the more I don’t know. I just don’t see how you could get those characters back in the same dynamics.”
Could Marc St. James, the loyal and snarky assistant to top high-fashion magazine creative director Wilhelmina Slater (Vanessa Williams), who Urie perfectly portrayed, be a big shot editor these days? When the series ended in 2010, Wilhelmina becomes editor-in-chief, with Marc remaining by her side.
“You’d have to figure out some way to get him back under Wilhelmina,” he says. “And I’m too old to be running around to as an assistant.” — Yvonne Villarreal
Worst countdown: That money clock
Emmys host Nate Bargatze on stage, where a screen displays the dwindling Boys & Girls Club donation.
(Myung J. Chun/Los Angeles Times)
This year’s Emmys employed a novel, off-putting and deeply annoying way of trying to keep acceptance speeches short. At the beginning of the show, host Nate Bargatze announced that $100,000 was going to be donated to the Boys & Girls Club of Los Angeles, but whenever a winner went over, the money would start to drop. The visual of winners trying to express themselves while a projection of the money going to a beloved children’s charity plummeted behind them, was not great. It also had unpredictable results. John Oliver raced through his speech in about five seconds and ran off stage. Others, like Hannah Einbinder, kept talking and said she’d pay the swiftly depleting money back.
The funds plunged to $30,000 when 15-year-old Owen Cooper gave his speech after making history as the youngest person ever to win in an acting category. After Cooper left the stage, Bargatze deadpanned, “That was a show ‘Adolescence’ that did that to adolescents.”
When there were 10 minutes left of the telecast, the total stood at negative $26,000. “We’re already in debt,” said Seth Rogen, as the speeches ran long after “The Studio” won for best comedy series. “We’ve f—ed over the boys and girls.”
As Homer Simpson would say, “It’s funny ‘cause it’s true.” At the very end of the night Bargatze announced he would up the total donation to $350,000, but it still came across as an afterthought. — J.G.
Let’s just say that the wedding band has never occupied the most exalted rung of the ladder in music.
Playing “September” and “Celebration” is often what’s most required. As one member of the Bride and the Groove, the band at the center of John Carney’s new film, puts it: They’re not rock stars. They’re human jukeboxes.
But in “Power Ballad,” a wedding band singer and pop star cross paths. For one night, all of the stratification of the music world falls away. “Power Ballad” starts like a fairy tale.
Since 2007’s “Once,” the Irish writer-director has focused his films on the redemptive capacity of music. Carney, who was once a bassist for the Frames, knows from experience. From “Sing Street” to “Flora and Son,” he has made unabashedly earnest tales where a song, or just picking up an instrument, changes lives.
This can, undoubtedly, lead Carney into sentimental territory. Lucky for him, his chosen subject — music — is more worthy of sentiment than almost anything else. Yet the song doesn’t quite remain the same in “Power Ballad,” a movie that begins with the gentle sweetness Carney is known for, but detours into something more discordant.
Rick (Paul Rudd) is an American musician who gave up on his once-promising rock band’s future to instead live with his wife (Marcella Plunkett) and teenage daughter (a spunky, underused Beth Fallon) in Dublin. His former group was called Octagon, a perfect former band name if there ever were one.
But for years, Rick has fronted the Bride and the Groove. It’s an unromantic day job (or rather a night one) that hasn’t entirely sapped his belief in his own songwriting. During an encore at one wedding, he plays an original tune and is mentally transported to an arena full of swaying fans. When he snaps out of it, he’s staring at an empty dance floor and faces that say: That wasn’t Kool & the Gang.
At another wedding at at a castle, the band is asked to let a friend of the newlyweds sit in. They reluctantly agree, and are surprised to see the very popular boy band veteran, Danny (Nick Jonas), step on stage. He sings Stevie Wonder’s “I Wish,” and it’s great. Though Rick had just dismissed Danny’s music as “manufactured content for young, excitable teens,” he discovers Danny is a genuine musician.
But, later that night, something even more remarkable transpires. Rick bumps into Danny, and the two quickly hit it off. They begin jamming together and sharing songs that need work. They are both so jazzed by their unlikely collaboration that they play into the next morning.
The actual moment of artistic creation, and the craft it requires, is something the movies almost always skip over. But capturing collaborative juices flowing is exactly what Carney excels at. You can feel his joy in it. So it’s fitting that one of the unfinished songs Rick plays for Danny, “How to Write a Song (Without You),” is about creative invention.
It’s here when you wonder where “Power Ballad” is headed. Is this, for Rick, the beginning of a beautiful friendship? Will they turn into the next great songwriting duo, lifting Rick out of weddings and proving to the world that Danny is more than a boy-band pretty face?
That is very possibly the movie Carney might have made a decade ago. But “Power Ballad,” which he co-wrote with Peter McDonald (who also co-stars as a band member), shifts six months ahead in time. Rick is standing in a shopping mall when the familiar lyrics of “How to Write a Song” softly float through the stores. He stands dumbfounded in the gleaming halls of commerce, a befuddlement that slowly turns into outrage the bigger and bigger Danny’s smash hit grows.
“Power Ballad” loses some of its steam in its second half, which follows Rick’s struggle for justice. Making things considerably harder is that he can find no recorded demo of the song. His family and his band don’t even really believe him.
But even as the movie struggles to sustain its opening refrain, Carney’s film is always riffing on ideas of authenticity and aspiration in music. That Jonas is, himself, a former boy band star who has at times gone it alone, lends the movie a direct connection to contemporary music, where tussles over authorship are increasingly common.
Jonas has been good in other films (notably the “Jumanji” movies), but this is his most ambitious and convincing performance to date. It’s a testament to the movie that Danny’s theft isn’t a purely villainous act. He gives the song a bridge and the vocal power to take it to another level. He’s under mounting pressure from his label to deliver a hit. An executive (Jack Reynor) wants “Danny 2.0” but has little faith he can supply it.
But it’s an even more well-tailored role for Rudd. He memorably and very goofily played a bassist in the 2009 comedy “I Love You, Man.” But while he sings well, it’s not his musical chops that lift the performance. It’s more that Rick, a contented family man with unrealized rock-star dreams, gives the exceptionally genial Rudd more notes to play as an actor. Rudd makes for a very likeable everyman out to convince the world he is capable of a beautiful song.
And that’s the abiding belief of Carney’s. No matter all the struggles, the artistic injustices, the corporate hegemony, he still believes that if you make something truly soulful, it will break through. It will claw its way to the surface, and move people. It’s undoubtedly gotten harder since “Once,” this movie seems to admit. The world is against you. But what one person can offer, a ballad or otherwise, still has power. Fairy tale or not, that’s worth believing in.
“Power Ballad,” a Lionsgate release in theaters Friday, is rated R by the Motion Picture Association for “language throughout and some drug use.” Running time: 108 minutes. Three stars out of four.
Entertainment
Review: Muscling past a flat script, a big-screen ‘Masters of the Universe’ embraces its own silliness
What will today’s kids think of He-Man, the muscle-bound ’80s relic with the most iconic bob after Anna Wintour? Launched in an era where machismo meant a goofy wrestler or metal singer with an eight-octave falsetto, the steroidal beskirted barbarian has always been a bit ridiculous. C’mon, his name is He-Man. What in the testosterone is that?
And so, director Travis Knight (“Bumblebee”) has made his reboot of “Masters of the Universe” a dopey, friendly comedy about modern masculinity in crisis with a He-Man who openly wonders what kind of a man to be. Hurtled out of the kingdom of Eternia as a boy, this Prince Adam (a terrifically game Nicholas Galitzine) came of age in Oklahoma City as a sweet guy who happens to be obsessed with swords. Instead of transforming into the strongest man in the galaxy to protect his throne from the evil duo of Skeletor (voiced by Jared Leto) and Evil-Lyn (Alison Brie), earthbound Adam parries HR complaints while sitting behind a desk plate that labels his gender identity not as He-Man but He/Him.
Times have changed. Even He-Man’s talking pet tiger (Tom Wilton) asks for consent before giving him a lick.
Galitzine’s He-Man is more Clark Kent than Superman, a gentle, funny, under-estimated dweeb. On a blind date, his descriptions of magical griffins and burning deserts sound humiliatingly immature. Dumped before dessert, he sulks home where his bro-y roommate (Christian Vunipola) secretly watches the weepie “The Notebook” when no one is looking as the soundtrack spins an acoustic cover of the Cure’s “Boys Don’t Cry.” Every man in this movie has a public persona and a private one. Even Adam’s irritable female boss, Suzie (Sasheer Zamata), hides under a people-pleasing mask. “This is my mega-serious face,” she says with an unnerving grin.
The performances are good; the plot, postcard-sized: Adam returns to Eternia, unleashes his alter-identity He-Man and wrestles with the pressure to live up to his new biceps. Although Adam must rescue his royal parents (James Purefoy and Charlotte Riley) from Skeletor, he reaches for empathy before a blade. Could Skeletor really be that bad, he asks his childhood friend Teela (Camila Mendes). “He has a skull for a face,” Teela insists. In this world, everyone’s measured against their looks.
Here’s another question: Could Skeletor really be Jared Leto? Physically, of course not. Skeletor is all pixels with a clattering jaw perfect for chewing the scenery. (The bully is especially hilarious when the story transplants him to an ordinary weight-lifting gym — call him Skele-Chad.) Leto’s grumbling Brit-inflected baritone is an unrecognizable concoction of trilled r’s and plummy vowels — and the best performance he’s done in years. With apologies to Bette Midler, you should hear the gravitas Leto brings to calling his minions “the buttworms beneath my feet.”
Yes, that’s the humor level of the dialogue. Chris Butler, Aaron Nee, Adam Nee and Dave Callaham have written a heavy-handed script in which, when Castle Grayskull comes under attack, Idris Elba’s soldier is forced to yell, “We’re under attack!” You know, in case the exploding laser beams weren’t obvious.
Obviousness is this film’s handicap — and the main joke. In this movie’s lore, juvenile Adam, played by an adorable Artie Wilkinson-Hunt, is the guilty child who invented his meathead He-Man moniker, as well the nicknames of his allies Ram-Man, Mekaneck and Fisto, who all look exactly as they sound to their chagrin. “I don’t fist anyone,” Fisto (Jóhannes Haukur Jóhannesson) protests. The grown-ups in the audience snicker.
Knight was a kid himself when the cartoon version of “He-Man and the Masters of the Universe” debuted on television. As with his “Transformers” spin-off “Bumblebee,” he makes movies like a child who loves taking his action figures out of the box and giving them a silly soul.
He’s no hack: Knight’s debut film, “Kubo and the Two Strings,” was nominated for an Academy Award for animation. Raised with an affection for brands (his father, Phil Knight, is the co-founder of Nike), he also feels obliged to include so much fan service for his generation that kids will have to swashbuckle through confusing callbacks to discover He-Man for themselves. One battle scene is scored to 4 Non Blondes’ “What’s Up?” simply as a nod to a He-Man mash-up video that went viral back in 2005, a clash as wonky as it sounds. Yet Daniel Pemberton’s opening theme music is a rousing crescendo of stadium rock synthesizers. You can hear Queen guitarist Brian May in the score — not merely as an influence. It’s actually him.
Culturally, hyper-machismo has oscillated from cool to lame to ironically cool and back again for decades. Even Queen itself was deemed lame until “Wayne’s World” resurrected “Bohemian Rhapsody” as headbanging slapstick. If you spot a guy swaggering like a brute from Eternia on the sidewalk, masked or not, he probably thinks he’s more awesome than everyone else does. Likewise, when He-Man smashes skulls to a wailing metal soundtrack, I no longer know if I’m meant to be snickering with the electric guitars or at them. Neither does the movie, which seems to decide each scene’s individual tone on a coin flip.
Frankly, the dorky version of Adam is more fun than the heroic He-Man, even with Knight hammering us every minute to laugh that he’s a total weakling. Galitzine embraces the indignity. Zooming through the air in a flying Sky-Sled, he wedges his face into a triple chin. Dazed and enthusiastic, Galitzine’s human charm counterbalances Eternia’s synthetic feel, a blandscape of bright forests and cliffside dungeons that looks dated — not to 1983 but to last decade’s greenscreen-heavy would-be fantasy franchises like “Clash of the Titans” and “John Carter.”
Please don’t make Galitzine do five of these movies, even though he’s very good. An unusually pretty leading man who is quirkier and funnier than he looks, Galitzine is the kind of rising talent Hollywood rarely knows how to handle. In his previous roles, he gave off the impression of being flummoxed by his own attractiveness, whether as a queer prince (“Red, White & Royal Blue”), a Harry Styles-esque pop star (“The Idea of You”) or a popular football jock whose high school classmates are oblivious that he has the IQ of a second-grader (“Bottoms”). Here, Galitzine multiplies that self-conscious gag times a thousand, visibly dazzled by his own six-pack when he transforms from himbo to gym-bro. Even Skeletor is agog over the “big long sword dangling between his thighs.”
Smartly cast, Galitzine could prove to have the potential of Brad Pitt, another blond hunk who longed to get weird, chafing against roles that made him take off his shirt until he hit 55 and realized it was a flex. But shouldering a wobbly, expensive summer tentpole is a risk — just ask Sam Worthington or Taylor Kitsch. If “Masters of the Universe” tanks, here’s hoping Galitzine summons the strength to dig himself out of the rubble.
‘Masters of the Universe’
Rated: PG-13, for sequences of violence/action, some suggestive material, and language
Running time: 2 hours, 21 minutes
Playing: Opening Friday, June 5 in wide release
NEW YORK (OSV News) – As America’s Catholic bishops prepare to mark the semiquincentennial by consecrating the nation to the Sacred Heart of Jesus, a French docudrama that can aid viewers in understanding the full significance of such an action makes its timely appearance.
A Fathom Entertainment presentation, “Sacred Heart: His Reign Has No End” will have a limited theatrical run June 9-11 and June 14. The version screening on June 10 will be dubbed in Spanish.
Following its initial release in France last fall, the film proved to be phenomenally popular, with ticket sales reaching the half-million mark in a country usually regarded as deeply secular. This unusual development clearly indicates that the movie resonated with audiences in a way that even its creators may not have expected.
Filmmakers Sabrina and Steven J. Gunnell examine the origins, meaning and enduring relevance of devotion to the Sacred Heart. They begin their exploration even before the landmark revelations received in the 1670s by St. Margaret Mary Alacoque, a Burgundian Visitation nun, showing that earlier saints had focused on the subject in medieval times.
Using reenactments, interviews and archival images, the Gunnells also highlight the theological connection between the Sacred Heart and the Eucharist. This is done, in part, by recounting a few of the many Eucharistic miracles granted to the Church over the centuries.
By profiling contemporary devotees of the Sacred Heart, including formerly inactive Catholics, the picture demonstrates the impact the insights given to St. Margaret Mary continue to have on the lives of people around the world. Locations visited range from the gang-infested streets of a Parisian suburb to the once war-torn Central American country of El Salvador.
An excellent and enjoyable catechetical resource, the feature is also both moving and uplifting. It can be recommended for all but the youngest kids.
For theater locations and showtimes, go to: sacredheartfilm.us
Dubbed into English.
The film contains gory images of the Crucifixion. The OSV News classification is A-II — adults and adolescents. Not rated by the Motion Picture Association.
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