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Nikki Glaser’s Monologue and Other Moments From the 2025 Globes

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Nikki Glaser’s Monologue and Other Moments From the 2025 Globes

The bar wasn’t set very high for the Golden Globes on Sunday night. After last year’s host, Jo Koy, memorably bombed, the emcee this year, Nikki Glaser, could hardly do worse. But she wasn’t content to merely do better. After workshopping her opening monologue in dozens of club appearances over the holidays, she killed when it counted, cracking up the stars on hand at the Beverly Hilton in Beverly Hills, Calif., and winning over viewers on social media. The rest of the night went more or less smoothly, with a mix of expected and surprise winners. But it wouldn’t be an awards ceremony if there weren’t some truly off-kilter moments. Here are the highs and lows as we saw them.

When Glaser began putting together her Golden Globes monologue in early December, she told her writing staff, “Don’t be scared to be weird.”

You saw evidence of this in her stellar monologue on Sunday, which included the kind of hard punchlines she is known for, including a good insult of Paramount+ and a joke about the effect of Sean Combs’s arrest on the after-party. But there was also an impression of Adam Sandler pronouncing Timothée Chalamet’s name that was just pure silliness — Sandler even joined in. Glaser doesn’t usually do impressions, but she committed and it went over really well, adding to the celebratory, fun tone to kick the night off.

If there was a joke that crushed in every test run, it was probably when she mentioned a few nominees: “‘Wicked,’ ‘Queer,’ ‘Nightbitch,’” then added “Not just things Ben Affleck yells after sex.” On Sunday, it killed again. — Jason Zinoman

Glaser’s night started on the red carpet with a billowing strapless gold ball gown. For her first onstage appearance, she changed into a sequined silver sleeveless gown. By 8:30, she was on her third dress of the night. An hour into the ceremony, she was on Dress No. 5 (a sequined pink sleeveless stunner). By the end of the night, she had donned what seemed like 47 more. All that was missing? We’d have loved to see a dupe of Demi Moore’s viral yellow “Substance” coat. — Sarah Bahr

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Thus far, it’s been an excitingly unpredictable awards season, and though the Globes certainly gave a lot of hardware to already-strong contenders like “Emilia Pérez” and “The Brutalist,” it still feels like a wide open field. In the acting races, unexpected wins for the likes of Demi Moore, Fernanda Torres and Sebastian Stan produced some of the most heartfelt speeches of the night and made already competitive Oscar categories even harder to predict. And a total shutout of “Anora,” which went into Sunday flying high, means that little is decided this season, a fun development after several years in which the ultimate Oscar winners seemed a foregone conclusion long before the Globes weighed in. — Kyle Buchanan

Given that Hollywood awards shows celebrate the art of playing a role, perhaps it shouldn’t have been a big surprise that the dominant trend of the 2025 Globes red carpet was … retro role-playing. Ariana Grande did her best Audrey Hepburn impression in 1966 Givenchy couture; Selena Gomez channeled Jackie Kennedy in ice-blue Prada and a stylized bob; and Nicole Kidman and Margaret Qualley sported enormous Catherine Deneuve bouffants — all in a sea of mostly traditional tuxedos.

You can call it a return to classicism, or a retreat to the past, or the legacy of Joan Rivers, who instilled the fear of mockery in celebrities everywhere. But by the time Elle Fanning and Monica Barbaro had arrived in their newfangled Balmain and Dior versions of oldfangled 1950s ball gowns, it was hard not to wish that the stylists and designers working behind the scenes would start facing forward rather than back, and convince their clients to take a few more (unscripted) risks. — Vanessa Friedman

Read more about the red carpet looks.

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While the Globes have no direct bearing on Oscar nominations, academy members are surely paying attention, and Demi Moore, who won for “The Substance,” may have landed herself a spot in the best actress category with her rousing speech. Both poignant and relatable, Moore spoke movingly about her career struggles over more than 30 years, including being told she was a “popcorn actress.” She added that she had received the “bonkers” script for “The Substance” when she was at a low point in her career, thinking she was done.

But at 62, Moore has had a reversal of fortune and the stars in the room cheered her on, some even giving her a standing ovation. Thinking of “those moments when we don’t think we’re smart enough, or pretty enough, or skinny enough, or successful enough, or basically just not enough,” Moore said, a woman told her, “Just put down the measuring stick.” — Nicole Sperling

Many Golden Globe nominees have been to the Beverly Hilton before. And although the Globes are now a more serious operation than they once were, actors still treat wins with varying levels of reverence. That made Tadanobu Asano’s acceptance speech for “Shogun” stand out. It was his first win, on his first nomination, and it showed. “Maybe you don’t know me,” he began. “I’m an actor from Japan. My name is Tadanobu Asano. Wow!” His peers stood and cheered him on. And as he grinned and clutched his award, he added: “This is a very big present for me!” He sure seemed like he meant it. — Matt Stevens

The award for “cinematic and box office achievement” debuted in 2024, and this year it was, unsurprisingly, given to “Wicked.” The official criteria is that it is the “most acclaimed, highest-earning and/or most viewed” feature, which basically describes every nominated film. But it also must have made $150 million worldwide, with at least $100 million domestically, which is pretty much the dictionary definition of a blockbuster. (“Wicked” finished 2024 with well over $680 million worldwide.)

This is a weird award to give out, and its presenter Vin Diesel made it even weirder by contrasting, in his preamble, his own “Fast and Furious” series and the work of Steven Spielberg (who invented the summer blockbuster with “Jaws” in 1975). But it’s also just a tad participation trophy-ish to hand out a golden statue to celebrate a movie making bank at the box office, no matter how fun the movie is. To quote Don Draper: “That’s what the money’s for.” — Alissa Wilkinson

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Amid an onslaught of commercials for weight loss injections and various pharmaceutical creams, pills, drops and supplements, Nikki Glaser took some of the usual potshots at Hollywood’s penchant for plastic surgery. “I love where you put your cheekbones!” she riffed to the audience in her opening monologue.

But unlike other hosts, she acknowledged that she had been getting her tweaks on, too. Claiming, with air quotes, that she had started healthy habits like “drinking more water,” she said: “I love how meditating removes your eyelids” — aka the common tuck known as an upper bleph. “I learned nothing from ‘The Substance,’” she added.

That that movie, a feminist body horror tale, won Demi Moore her first Globe for playing an aging star who finds a grotesque way to youthify herself, only added to the evening’s hall of mirrors. — Melena Ryzik

Hey, did you know that Mindy Kaling was named after the TV show “Mork & Mindy?” Or that Zoe Saldaña’s go-to karaoke song is “Piece of My Heart”? The Golden Globes went all “Pop-Up Video” during the telecast, sharing these “facts” about winners and presenters via onscreen text. At first, the addition seemed semi-clever, but it all became too much when the announcer shared more facts on top of the ones we had to read. Even if you’re celebrity-obsessed, this turned out to be T.M.I. — Mekado Murphy

I found the trivia at the Golden Globes to be refreshingly weird. Awards season fun-facts can feel so canned: who spent time with who to prepare for a role, when was the last big win for a nominee. T.M.I. or not, my night was greatly improved by learning that Demi Moore is an avid doll collector with a separate residence to house her more than 2,000 vintage dolls. — Annie Aguiar

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The Globes are a notoriously boozy affair, but after “Hacks” won for best television comedy, Paul W. Downs, a co-creator of the series, warned against giving his star a celebratory drink. The show is currently in production on its fourth season, and a 6 a.m. call time awaited the cast and crew the next morning.

“So if Jean Smart asks you for a shot, please do not give it to her, OK?” Downs said. “Kate Winslet, I’m looking at you, wherever you are. Give her water.” The camera cut to Winslet, who shook a finger at Downs. Downs relinquished, “Just a little shot. Maybe one.” — Esther Zuckerman

Elton John reacted like a proud parent when he announced that Trent Reznor and Atticus Ross had won best original score for “Challengers,” yelping with utter, seemingly genuine delight. He was a good stand-in for those of us in the audience who were thrilled to see a win for that thumping, propulsive music. When Reznor and Ross took the stage, John could be seen grinning eagerly behind them, as if he had just won himself. — Kellina Moore

For an ostensibly glamorous ceremony, the show itself looked terrible onscreen. Presenters were filmed awfully close up, giving everything a harsh and casual vibe. The swirling camera work during some of the acceptance speeches felt like the red carpet slo-mo booth had broken out of its enclosure. And presenters did not face the entire theater, but rather turned directly to a camera off to one side. Seth Rogen called it out, saying “It’s inelegant. It’s strange. This whole half of the room can see my bald spot. I would have filled that in. I said no, but I regret that now.” — Margaret Lyons

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Video: Prada Peels Back the Layers at Milan Fashion Week

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Video: Prada Peels Back the Layers at Milan Fashion Week

new video loaded: Prada Peels Back the Layers at Milan Fashion Week

At Milan Fashion Week, Prada showcased a collection built on layering. For the models, it was like shedding a skin each of the four times they strutted down the runway, revealing a new look with each cycle.

By Chevaz Clarke and Daniel Fetherston

February 27, 2026

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Baz Luhrmann will make you fall in love with Elvis Presley

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Baz Luhrmann will make you fall in love with Elvis Presley

Elvis Presley in Las Vegas in Aug. 1970.

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“You are my favorite customer,” Baz Luhrmann tells me on a recent Zoom call from the sunny Chateau Marmont in Hollywood. The director is on a worldwide blitz to promote his new film, EPiC: Elvis Presley in Concert — which opens wide this week — and he says this, not to flatter me, but because I’ve just called his film a miracle.

See, I’ve never cared a lick about Elvis Presley, who would have turned 91 in January, had he not died in 1977 at the age of 42. Never had an inkling to listen to his music, never seen any of his films, never been interested in researching his life or work. For this millennial, Presley was a fossilized, mummified relic from prehistory — like a woolly mammoth stuck in the La Brea Tar Pits — and I was mostly indifferent about seeing 1970s concert footage when I sat down for an early IMAX screening of EPiC.

By the end of its rollicking, exhilarating 90 minutes, I turned to my wife and said, “I think I’m in love with Elvis Presley.”

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“I’m not trying to sell Elvis,” Luhrmann clarifies. “But I do think that the most gratifying thing is when someone like you has the experience you’ve had.”

Elvis made much more of an imprint on a young Luhrmann; he watched the King’s movies while growing up in New South Wales, Australia in the 1960s, and he stepped to 1972’s “Burning Love” as a young ballroom dancer. But then, like so many others, he left Elvis behind. As a teenager, “I was more Bowie and, you know, new wave and Elton and all those kinds of musical icons,” he says. “I became a big opera buff.”

Luhrmann only returned to the King when he decided to make a movie that would take a sweeping look at America in the 1950s, ’60s, and ’70s — which became his 2022 dramatized feature, Elvis, starring Austin Butler. That film, told in the bedazzled, kaleidoscopic style that Luhrmann is famous for, cast Presley as a tragic figure; it was framed and narrated by Presley’s notorious manager, Colonel Tom Parker, portrayed by a conniving and heavily made-up Tom Hanks. The dark clouds of business exploitation, the perils of fame, and an early demise hang over the singer’s heady rise and fall.

It was a divisive movie. Some praised Butler’s transformative performance and the director’s ravishing style; others experienced it as a nauseating 2.5-hour trailer. Reviewing it for Fresh Air, Justin Chang said that “Luhrmann’s flair for spectacle tends to overwhelm his basic story sense,” and found the framing device around Col. Parker (and Hanks’ “uncharacteristically grating” acting) to be a fatal flaw.

Personally, I thought it was the greatest thing Luhrmann had ever made, a perfect match between subject and filmmaker. It reminded me of Oliver Stone’s breathless, Shakespearean tragedy about Richard Nixon (1995’s Nixon), itself an underrated masterpiece. Yet somehow, even for me, it failed to light a fire of interest in Presley himself — and by design, I now realize after seeing EPiC, it omitted at least one major aspect of Elvis’ appeal: the man was charmingly, endearingly funny.

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As seen in Luhrmann’s new documentary, on stage, in the midst of a serious song, Elvis will pull a face, or ad lib a line about his suit being too tight to get on his knees, or sing for a while with a bra (which has been flung from the audience) draped over his head. He’s constantly laughing and ribbing and keeping his musicians, and himself, entertained. If Elvis was a tragedy, EPiC is a romantic comedy — and Presley’s seduction of us, the audience, is utterly irresistible.

Unearthing old concert footage 

It was in the process of making Elvis that Luhrmann discovered dozens of long-rumored concert footage tapes in a Kansas salt mine, where Warner Bros. stores some of their film archives. Working with Peter Jackson’s team at the post-production facility Park Road Post, who did the miraculous restoration of Beatles rehearsal footage for Jackson’s 2021 Disney+ series, Get Back, they burnished 50-plus hours of 55-year-old celluloid into an eye-popping sheen with enough visual fidelity to fill an IMAX screen. In doing so, they resurrected a woolly mammoth. The film — which is a creative amalgamation of takes from rehearsals and concerts that span from 1970 to 1972 — places the viewer so close to the action that we can viscerally feel the thumping of the bass and almost sense that we’ll get flecked with the sweat dripping off Presley’s face.

This footage was originally shot for the 1970 concert film Elvis: That’s The Way It Is, and its 1972 sequel, Elvis on Tour, which explains why these concerts were shot like a Hollywood feature: wide shots on anamorphic 35mm and with giant, ultra-bright Klieg lights — which, Luhrmann explains, “are really disturbing. So [Elvis] was very apologetic to the audience, because the audience felt a bit more self conscious than they would have been at a normal show. They were actually making a movie, they weren’t just shooting a concert.”

Luhrmann chose to leave in many shots where camera operators can be seen running around with their 16mm cameras for close-ups, “like they’re in the Vietnam War trying to get the best angles,” because we live in an era where we’re used to seeing cameras everywhere and Luhrmann felt none of the original directors’ concern about breaking the illusion. Those extreme close-ups, which were achieved by operators doing math and manually pulling focus, allow us to see even the pores on Presley’s skin — now projected onto a screen the size of two buildings.

The sweat that comes out of those pores is practically a character in the film. Luhrmann marvels at how much Presley gave in every single rehearsal and every single concert performance. Beyond the fact that “he must have superhuman strength,” Luhrmann says, “He becomes the music. He doesn’t mark stuff. He just becomes the music, and then no one knows what he’s going to do. The band do not know what he’s going to do, so they have to keep their eyes on him all the time. They don’t know how many rounds he’s going to do in ‘Suspicious Minds.’ You know, he conducts them with his entire being — and that’s what makes him unique.”

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Elvis Presley in Las Vegas in Aug. 1970.

Elvis Presley in Las Vegas in Aug. 1970.

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It’s not the only thing. The revivified concerts in EPiC are a potent argument that Elvis wasn’t just a superior live performer to the Beatles (who supplanted him as the kings of pop culture in the 1960s), but possibly the greatest live performer of all time. His sensual, magmatic charisma on stage, the way he conducts the large band and choir, the control he has over that godlike gospel voice, and the sorcerer’s power he has to hold an entire audience in the palm of his hands (and often to kiss many of its women on the lips) all come across with stunning, electrifying urgency.

Shaking off the rust and building a “dreamscape” 

The fact that, on top of it all, he is effortlessly funny and goofy is, in Luhrmann’s mind, essential to the magic of Elvis. While researching for Elvis, he came to appreciate how insecure Presley was as a kid — growing up as the only white boy in a poor Black neighborhood, and seeing his father thrown into jail for passing a bad check. “Inside, he felt very less-than,” says Luhrmann, “but he grows up into a physical Greek god. I mean, we’ve forgotten how beautiful he was. You see it in the movie; he is a beautiful looking human being. And then he moves. And he doesn’t learn dance steps — he just manifests that movement. And then he’s got the voice of Orpheus, and he can take a song like ‘Bridge Over Troubled Water’ and make it into a gospel power ballad.

“So he’s like a spiritual being. And I think he’s imposing. So the goofiness, the humor is about disarming people, making them get past the image — like he says — and see the man. That’s my own theory.”

Elvis has often been second-classed in the annals of American music because he didn’t write his own songs, but Luhrmann insists that interpretation is its own invaluable art form. “Orpheus interpreted the music as well,” the director says.

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In this way — as in their shared maximalist, cape-and-rhinestones style — Luhrmann and Elvis are a match made in Graceland. Whether he’s remixing Shakespeare as a ’90s punk music video in Romeo + Juliet or adding hip-hop beats to The Great Gatsby, Luhrmann is an artist who loves to take what was vibrantly, shockingly new in another century and make it so again.

Elvis Presley in Las Vegas in Aug. 1970.

Elvis Presley in Las Vegas in Aug. 1970.

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Luhrmann says he likes to take classic work and “shake off the rust and go, Well, when it was written, it wasn’t classical. When it was created, it was pop, it was modern, it was in the moment. That’s what I try and do.”

To that end, he conceived EPiC as “an imagined concert,” liberally building sequences from various nights, sometimes inserting rehearsal takes into a stage performance (ecstatically so in the song “Polk Salad Annie”), and adding new musical layers to some of the songs. Working with his music producer, Jamieson Shaw, he backed the King’s vocals on “Oh Happy Day” with a new recording of a Black gospel choir in Nashville. “So that’s an imaginative leap,” says Luhrmann. “It’s kind of a dreamscape.”

On some tracks, like “Burning Love,” new string arrangements give the live performances extra verve and cinematic depth. Luhrmann and his music team also radically remixed multiple Elvis songs into a new number, “A Change of Reality,” which has the King repeatedly asking “Do you miss me?” over a buzzing bass line and a syncopated beat.

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I didn’t miss Elvis before I saw EPiC — but after seeing the film twice now, I truly do.

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