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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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‘Reflections in Black’ celebrates history of Black photography with expanded issue

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‘Reflections in Black’ celebrates history of Black photography with expanded issue

Four African American women sit on the steps of a building at Atlanta University in Georgia in this 1890s photograph by Thomas E. Askew. The image is one of the hundreds included in Reflections in Black, written and edited by scholar and NYU professor Deborah Willis.

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Deborah Willis, professor and chair of the Department of Photography and Imaging at NYU’s Tisch School of the Arts, has released an updated anniversary edition of Reflections in Black: A History of Black Photographers, 1840 to the Present.

Deborah Willis, professor and chair of the Department of Photography and Imaging at NYU’s Tisch School of the Arts, has released an updated anniversary edition of Reflections in Black: A History of Black Photographers, 1840 to the Present.

Willis: Laylah Amatullah Barrayn; Cover Image: Maud Sulter.


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Willis: Laylah Amatullah Barrayn; Cover Image: Maud Sulter.

For decades, Deborah Willis has dedicated her career to unearthing, cataloging and showcasing Black photographers and photographs of Black people. The MacArthur “Genius Award” winner is the author of a spectacular collection of books including the seminal Reflections in Black: A History of Black Photographers, 1840 to the Present.

Twenty-five years after its publication, a new edition of Reflections in Black is out with 130 new images and a gallery show inspired by the book. In the expansion of this book, Willis considered the effects of migration and the importance of images for people forced to leave home.

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“The aspect of migration is a central way of me reading these images, today there are so many people who are from the diaspora that are photographers now,” she said. “When families had to leave home, with disaster today, what do you take with you now? Photographs are what people are taking.”

Morning Edition’s Michel Martin visited Willis at New York University’s Tisch School of the Arts, where she teaches and leads the photo department.

Here are four takeaways from their conversation.

1. Willis’ upbringing shaped her love for photography

An interior view of a tobacco and newspaper store photographed by Daniel Freeman around 1917, from Reflections in Black.

An interior view of a tobacco and newspaper store photographed by Daniel Freeman around 1917, from Reflections in Black.

Estate of Dr. James K. Hill, Washington, D.C.


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Estate of Dr. James K. Hill, Washington, D.C.

Willis grew up in North Philadelphia, Pennsylvania, where her mother had a beauty shop and kept what Willis calls: “the Black color wheel of magazines.”

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The publications included Ebony, Jet, and Tan and featured images that influenced her growing up. Her father, a policeman and tailor, was also an amateur photographer.

2. Reflections in Black started as an undergrad paper 

From Reflections in Black: Portrait of an unidentified woman taken by photographer J. P. Ball circa 1890s.

A portrait of an unidentified woman photographed by J.P. Ball in the 1890s, from Reflections in Black.

Smithsonian National Museum of African American History and Culture.


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Smithsonian National Museum of African American History and Culture.

Willis was studying at the Philadelphia College of Art (the college merged with another institution to become the University of the Arts in Philadelphia in 1985. UArts closed its doors in 2024) when she asked a professor why Black photographers were missing from the history books.

“Where are the Black photographers?” she recalled. That question morphed into the monumental project that became Reflections in Black. She began her research by reading city directories.

“Because of segregation in the 19th century, I was able to identify with the asterisk the colored photographers … I created this list of 500,” she said.

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She took that list to the Schomburg Center in Harlem, where she found some of the photographers’ images and created portfolios for each one. Later, with the help of Richard Newman, her “publishing angel,” the paper she wrote as an undergraduate grew into a book.

3. Frederick Douglass understood photography as biography

Frederick Douglass was one of the most photographed people during the 19th century. The writer and abolitionist is known to have had about 160 photographs and portraits made of him.

“I believe in reading his words that photography was biography,” Willis said. “We’ve not found a photograph of him smiling.” She emphasized Douglass himself collaborated with the photographer behind the lens in part as an effort to counter degrading images of Black people.

4. Willis searched for “The Exhibit of American Negroes,” which W.E.B. Du Bois organized for the 1900 Paris Exposition 

Members of the First Congregational Church in Atlanta pose outside the church in this photograph by Thomas E. Askew. The image appears in W.E.B. Du Bois’ albums of photographs of African Americans in Georgia exhibited at the 1900 Paris Exposition Universelle, and is included in Reflections in Black.

Members of the First Congregational Church in Atlanta pose outside the church in this photograph by Thomas E. Askew. The image appears in W.E.B. Du Bois’ albums of photographs of African Americans in Georgia exhibited at the 1900 Paris Exposition Universelle, and is included in Reflections in Black.

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Wills first heard about the exhibit in the 1970s, when she went to the Library of Congress looking for photographs from it. She said staff told her the photographs didn’t exist.

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Twenty years later, photographs from the exhibit were retrieved by a young Black man working in the archives. “They didn’t exist because they weren’t processed,” Willis told NPR.

Du Bois, she said, understood the importance of photography and often asked, “Why aren’t there more Black photographers, Black men studying photography?”

The digital version of this interview was edited by Majd Al-Waheidi and Danielle Scruggs.

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Can a ‘speed roommating’ event help you find a perfect match in L.A.?

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Can a ‘speed roommating’ event help you find a perfect match in L.A.?

Inside a dim New Orleans-style bar in Hollywood, dozens of strangers mingle under the thump of pop music while nursing complimentary cocktails. Each person is sporting a name tag along with a personality sticker, or a few, that best captures their vibe. Neat freak. Plant parent. Night owl. Craft beer aficionado.

The scene reads like a friendly singles mixer, but listen to their conversations and it’s clear the chemistry they are hoping for isn’t romantic. They are here to find the perfect roommate.

Participants mingle around the bar area during SpareRoom’s “speed roommating” event at the Sassafras Saloon in Hollywood.

(Kendra Frankle / For The Times)

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Hosted by rental platform SpareRoom, the monthly “speed roommating” event connects people who are renting rooms with those who are looking for one in a low-key, in-person setting — no endless online profiles to fill out, no awkward interviews. Loosely based on speed dating, sans the timed interactions, attendees put on name tags indicating either “I need a room” or “I need a roommate” along with their ideal budget and neighborhoods. Then they wander freely. One woman passed out fliers for a furnished studio in downtown L.A. with air conditioning, a Murphy bed, an in-unit washer and dryer and streaming TV. Another woman showed people her rental on an iPad.

Pris Liora, 40, who was looking for someone to rent the extra room in her Koreatown apartment, didn’t prepare any questions for potential housemates, saying she just wanted to do a vibe check. Her only deal breakers? “No pets, no children, no cigarette smoking and no secret cocaine problem,” she says with a laugh.

With the average rent for a studio starting about $1,688 per month, $2,166 for a one-bedroom apartment and roughly $2,983 for a two-bedroom apartment in Los Angeles, according to Apartments.com, more people are embracing shared living arrangements. Rupert Hunt, founder and CEO of SpareRoom, says they’re doing so not only to cut expenses, but also to foster community. The company’s mixers can help spark those connections, he believes — they’ve been hosting speed roommating events in L.A. since June, following successful events in London, San Francisco and New York.

"There's something so immediate about the event," says Rupert Hunt, founder and CEO of SpareRoom.

“There’s something so immediate about the event,” says Rupert Hunt, founder and CEO of SpareRoom.

(Kendra Frankle / For The Times)

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“There’s something so immediate about the event,” Hunt says. “You meet 10 people in the time it would take you to meet one the traditional way.”

Hunt even found a housemate for himself at one of the mixers. “I love sharing,” says Hunt, who notoriously rented out two rooms in his New York City apartment for just $1. “I think I’m a better version of myself. I think I get a bit lazy if I’m living on my own.”

At the event, Aeris DeLeon, who was wearing a sticker with the phrase “foodie,” says her mother was the person who told her about the speed roommating event. The 25-year-old was temporarily living in Bakersfield but recently moved back home to L.A.

“It was just dead over there and I was just home sick, and it wasn’t really working out for me,” she says.

Upon arrival, attendees can pick out personality stickers with phrases like coffee addict, plant lover and early bird.
Upon arrival, attendees can pick out personality stickers that matches their vibe.

Upon arrival, attendees can pick out personality stickers with phrases like coffee addict, plant lover and early bird. (Kendra Frankle / For The Times)

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She decided to attend the event because it’s more “personable than just going on Craigslist or Facebook, and it’s the best [way] to weed out scammers,” she says. Her mission was to find an apartment that cost $1,300 a month max with someone preferably close in age.

James Caton, 68, was just getting started in his search for a room. After learning that his apartment building — where he’s lived for nearly a decade — might be sold, he jumped into action.

“To me, as soon as you find out, it’s better to go ahead and start looking for something,” says Caton, who attended the mixer with his childhood friend who was looking to rent a room.

SpareRoom’s speed roommating events are free with an RSVP, and each person receives two complimentary drinks along with a one month trial of SpareRoom premium.

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Speed roommating is free to attend and comes with co drinks.

Speed roommating is free to attend and comes with complimentary drinks.

(Kendra Frankle / For The Times)

Even if attendees didn’t find a roommate at the event, several of them continued their conversations late into the evening. Some even stayed for karaoke at the bar. It seemed that in a world where talking about finances can be seen as taboo, having a space to openly discuss rent prices, how to deal with nightmare landlords and housemates and other grievances was its own win, a moment when they could feel a bit less alone.

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‘Wait Wait’ for November 22, 2025: With Not My Job guests Niki Russ Federman and Josh Russ Tupper

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‘Wait Wait’ for November 22, 2025: With Not My Job guests Niki Russ Federman and Josh Russ Tupper

Josh Russ Tupper and Niki Russ Federman

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This week’s show was recorded in Chicago with host Peter Sagal, judge and scorekeeper Bill Kurtis, Not My Job guests Niki Russ Federman and Josh Russ Tupper, and panelists Joyelle Nicole Johnson, Faith Salie, and Zach Zimmerman. Click the audio link above to hear the whole show.

Who’s Bill This Time

The NBA’s Elder Statesman; Fettuccini Frenzy; An Adorable Trash Eater

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Panel Questions

A Little Cave Romance

Bluff The Listener

Our panelists tell three stories about an up and coming Hollywood star, only one of which is true.

Not My Job: The 4th generation owners of the legendary Russ & Daughters answer questions about Harry Houdini

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Niki Russ Federman and Josh Russ Tupper, the 4th generation owners of New York’s legendary Russ & Daughters, play our game called, “Lox Meet Locks.” Three questions about Harry Houdini.

Panel Questions

Small, But Mighty; An Anti-Heist; Wool Grindrs

Limericks

Bill Kurtis reads three news-related limericks: Charlotte Builds a Mansion; A Cat Café for Danger Lovers; Monarch Monitors

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Lightning Fill In The Blank

All the news we couldn’t fit anywhere else

Predictions

Our panelists predict, after raccoons, what will be the next pet we welcome into our homes.

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