Connect with us

Lifestyle

'Oppenheimer' dominates Golden Globes as 'Poor Things' upsets 'Barbie' in comedy

Published

on

'Oppenheimer' dominates Golden Globes as 'Poor Things' upsets 'Barbie' in comedy

This image released by CBS shows Emma Stone accepting the award for best female actor in a motion picture for her role in “Poor Things” during the 81st Annual Golden Globe Awards in Beverly Hills, Calif., on Sunday, Jan. 7, 2024.

Sonja Flemming/AP


hide caption

toggle caption

Advertisement

Sonja Flemming/AP


This image released by CBS shows Emma Stone accepting the award for best female actor in a motion picture for her role in “Poor Things” during the 81st Annual Golden Globe Awards in Beverly Hills, Calif., on Sunday, Jan. 7, 2024.

Sonja Flemming/AP

Christopher Nolan’s blockbuster biopic Oppenheimer dominated the 81st Golden Globes, winning five awards including best drama, while Yorgos Lanthimos’ Frankenstein riff Poor Things pulled off an upset victor over Barbie to triumph in the best comedy or musical category.

If awards season has been building toward a second match-up of Barbenheimer, this round went to Oppenheimer. The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.

Advertisement

“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.

Along with best comedy or musical, Poor Things also won for Emma Stone’s performance as Bella, a Victorian woman experiencing a surreal life and sexual awakening.

“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently.”

Lily Gladstone won best actress in a dramatic film for Martin Scorsese’s Killers of the Flower Moon. Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.

Advertisement

“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”

The Globes were in their 81st year but facing a new and uncertain chapter. After a tumultuous few years and heaps of scandals, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was flipped.

“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.

It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California . The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running Oppenheimer. (“I needed another hour.”)

After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.

Advertisement

“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”

This image released by CBS shows host Jo Koy during the 81st Annual Golden Globe Awards in Beverly Hills, Calif., on Sunday, Jan. 7, 2024.

Sonja Flemming/AP


hide caption

toggle caption

Advertisement

Sonja Flemming/AP


This image released by CBS shows host Jo Koy during the 81st Annual Golden Globe Awards in Beverly Hills, Calif., on Sunday, Jan. 7, 2024.

Sonja Flemming/AP

Hi, Barbie

Downey’s win, his third Globe, denied one to Kenergy. Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between Oppenheimer and Greta Gerwig’s Barbie. The filmmakers faced each other in the best director category, where Nolan triumphed.

It was two hours before Barbie, the year’s biggest hit with more than $1.4 billion in ticket sales, won an award. Billie Eilish’s What Was I Made For? took best song, and swiftly after, Barbie took the Globes’ new honor for “cinematic and box office achievement.” Some thought that award might go to Taylor Swift, whose Taylor Swift: The Eras Tour also set box-office records.

Advertisement

Margot Robbie, star and producer of Barbie, accepted the award in a pink gown modeled after 1977’s Superstar Barbie.

“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.

Barbie and Oppenheimer, two blockbusters brought together by a common release date, also faced off in the best screenplay category. But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama Anatomy of a Fall. Later, Triet’s film picked up best international film, too.

Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.

Other contenders loom, though, like Poor Things and The Holdovers.

Advertisement

Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s The Holdovers. Giamatti, reuniting with Payne two decades after Sideways, won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.

“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”

Hayao Miyazaki’s The Boy and the Heron won best animated film, an upset over Spider-Man: Across the Spider-Verse.

“Succession” and “The Bear” lead TV winners

The final season of Succession cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by Mad Men and The X-Files. Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.

“It is bittersweet, but things like this make it rather sweeter,” said Succession creator Jesse Armstrong.

Advertisement

Hulu’s The Bear also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company. Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.

“To the people who answer my emails, you’re the real ones,” said Edebiri.

Ayo Edebiri poses in the press room with the award for best performance by an actress in a television series, musical or comedy for “The Bear” at the 81st Golden Globe Awards on Sunday, Jan. 7, 2024, at the Beverly Hilton in Beverly Hills, Calif.

Chris Pizzello/Chris Pizzello/Invision/AP


hide caption

Advertisement

toggle caption

Chris Pizzello/Chris Pizzello/Invision/AP


Ayo Edebiri poses in the press room with the award for best performance by an actress in a television series, musical or comedy for “The Bear” at the 81st Golden Globe Awards on Sunday, Jan. 7, 2024, at the Beverly Hilton in Beverly Hills, Calif.

Chris Pizzello/Chris Pizzello/Invision/AP

Beef won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.

Advertisement

The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for Selective Outrage, his stand-up response to the Will Smith slap.

The Globes comeback

A few years ago, the Golden Globes were on the cusp of collapse. After The Los Angeles Times reported that the HFPA had no Black members, Hollywood boycotted the organization. The 2022 Globes were all but canceled and taken off TV. After reforms, the Globes returned to NBC last year in a one-year deal, but the show was booted to Tuesday evening. With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.

The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture. The HFPA (which typically numbered around 90 voters) was dissolved and a new group of some 300 entertainment journalists from around the world now vote for the awards.

Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.) This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.

With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.

Advertisement

Lifestyle

TMZ Streaming Live, Come Into Our Newsroom and Watch Things Happen!

Published

on

TMZ Streaming Live, Come Into Our Newsroom and Watch Things Happen!

TMZ Live Stream
Come Into Our Office and Watch News Happen!!!

Published

Advertisement

Advertisement

Advertisement
Continue Reading

Lifestyle

Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

Published

on

Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

Warrick Page/HBO Max


hide caption

toggle caption

Advertisement

Warrick Page/HBO Max

The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

Advertisement

Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

Advertisement

To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

Advertisement

As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

Advertisement

As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

Advertisement

There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

Advertisement

Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Warrick Page/HBO Max


hide caption

toggle caption

Advertisement

Warrick Page/HBO Max

Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

Advertisement

The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

Advertisement

I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

Continue Reading

Lifestyle

In Beauty, Private Equity Is Hot Again

Published

on

In Beauty, Private Equity Is Hot Again
As strategic firms slow down their shopping sprees and venture capital dollars dry up, PE firms’ reputation for asset stripping is a thing of the past. Founders are now often hoping for private equity buyouts, but want to be sure there can be a true partnership.
Continue Reading
Advertisement

Trending