{"id":236270,"date":"2026-01-13T21:08:07","date_gmt":"2026-01-13T21:08:07","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/236270\/"},"modified":"2026-01-13T21:08:07","modified_gmt":"2026-01-13T21:08:07","slug":"the-golden-globes-dont-care-about-film","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/236270\/","title":{"rendered":"The Golden Globes don’t care about film"},"content":{"rendered":"

If you happened to miss Sunday\u2019s jumbled mess of a Golden Globes<\/a> ceremony, the telecast can be best summed up by a scene from one of the night\u2019s most nominated films. In Joachim Trier\u2019s \u201cSentimental Value<\/a>\u201d\u00a0\u2014 which won the supporting actor trophy for Stellan Skarsg\u00e5rd\u2019s <\/a>lovely performance as an emotionally stunted but artistically revered film director named Gustav Borg \u2014 Gustav blows up at a journalist during a press junket being held for him and his new muse, Rachel Kemp (Elle Fanning<\/a>). After acquiring the film\u2019s distribution rights on the star power of Kemp\u2019s name alone, Netflix<\/a> has organized the junket as a pre-production preview to tout its next big awards contender.<\/p>\n

But Gustav\u2019s hair raises when the journalist asks him whether the film will have a theatrical release, given Netflix\u2019s disdain for the classic cinematic experience. A rep interjects to confirm that the details are still being ironed out, but it\u2019s too late. Gustav\u2019s feathers are ruffled. And when the journalist follows up with a question for Rachel about the tepid reception of her previous film, Gustav shuts down the interview. \u201cWhat kind of question is that?\u201d Gustav asks. \u201cRachel Kemp is the best actress of her generation. You\u2019re lucky that she\u2019s here. You should be grateful. Get out!\u201d In a flash, the journalist is gone, leaving Gustav to grumble, \u201cTikTok troll.\u201d<\/p>\n

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(Rich Polk\/2026GG\/Penske Media via Getty Images) Stellan Skarsg\u00e5rd at the 83rd Annual Golden Globes held at The Beverly Hilton on January 11, 2026 in Beverly Hills, California.<\/p>\n

And just like his character in \u201cSentimental Value,\u201d Skarsg\u00e5rd used the moment to champion his industry and cut through all of the Globes\u2019 noise, both literal and figurative, providing a heartening reminder that the real value is in the art, and not the awards.<\/p>\n

Watching the 83rd annual Golden Globes was like seeing this scene all over again, just stretched out into three and a half painful hours. Throughout the night, actors and filmmakers were left to advocate for themselves, their colleagues, and their art while the telecast prioritized lame cross-promotional spon-con for Paramount+ and gaudy awards forecasts from the ever-so-astute users of the prediction betting app, Polymarket. The walk-on and walk-off music was a perplexing mix of catchy but inapplicable pop hits, as though someone threw the Beverly Hilton\u2019s sole aux cord at the first gay guy they saw and asked him to DJ. Even the nominees seemed largely unhappy to be there, with their palpable exhaustion reaching through the television screen.<\/p>\n

Watching the show felt like thumbing through TikTok, assaulted by walls of sound, garish ads and the occasional familiar face. When Skarsg\u00e5rd took the stage to accept his award \u2014 to the tune of Usher\u2019s \u201cYeah!,\u201d for some reason \u2014 that scene from \u201cSentimental Value\u201d was almost eerily prescient. And just like his character in the film, Skarsg\u00e5rd used the moment to champion his industry and cut through all of the Globes\u2019 noise, both literal and figurative, providing a heartening reminder that the real value is in the art, and not the awards.<\/p>\n

\u201cI\u2019m very happy for this [award], because this is a small Norwegian film with no money for advertising or anything, that gets to see the world in this way,\u201d Skarsg\u00e5rd began. \u201cAnd hopefully you\u2019ll see it in a cinema. Because they\u2019re an extinguished species now. In a cinema, where the lights go down, and eventually you share the pulse with some other people. That\u2019s magic. Cinema should be seen in cinemas.\u201d<\/p>\n

There\u2019s something so very poetic and moving about the way Skarsg\u00e5rd phrases the collective experience we\u2019re lucky to have when we go to the movies. \u201cYou share the pulse with some other people\u201d almost seems like an abstract way to put it, but at the same time, there\u2019s no better way to talk about what it\u2019s like to see a film with a crowd of strangers. As time marches on and technology finds new ways to isolate us, the theatrical experience only becomes more precious. There are so few places left where we can feel the physical and emotional phenomena that moviegoing allows us. For 90-some odd minutes, we\u2019re bonded with people we\u2019ve never met before, as we all submit ourselves to someone else\u2019s vision. We react in tandem with everyone else; we laugh, cry, scream, jump and gasp at the same time. Our bodies all move together. There\u2019s nothing else quite like it, and it\u2019s fading away.<\/p>\n

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But not if the people who make the movies have anything to say about it. Moments after losing the award for best performance by a female actor in a drama for \u201cAfter the Hunt<\/a>,\u201d Julia Roberts<\/a> emerged to present the night\u2019s next award. (To the tune of Kylie Minogue\u2019s \u201cPadam Padam,\u201d for some reason). Maybe it was because the audience was in the presence of Hollywood royalty, or maybe it was a glimpse of Tinseltown\u2019s most cheerful smile, but the atmosphere in the room noticeably improved. \u201cWhat a beautiful night to be an artist,\u201d Roberts said. After the nominations for best picture, musical or comedy, were read, Roberts paused to joke about losing in her category, but took the opportunity to do something unexpected, pointing out<\/a> brilliant newcomer and first-time nominee Eva Victor, whose debut film, \u201cSorry, Baby<\/a>,\u201d was one of the finest films of 2025.<\/p>\n

\u201cI lost a minute ago,\u201d Roberts said. \u201cMe and Eva Victor, who is my hero. \u2018Sorry, Baby,\u2019 if you have not seen it, see it.\u201d The cameras cut to Victor in the audience, welling up with tears. While one could read Roberts\u2019 comment simply as a lovely gesture, the shoutout was much more significant than it initially seemed. Oscar voting opens this week, and awards voters keep their eyes on the Globes every year to see which films take home the gold. For a promising filmmaker like Victor \u2014 who wrote, directed and starred in \u201cSorry, Baby\u201d and managed to score major nominations for their very first cinematic outing \u2014 an endorsement from Roberts could mean everything; not just Oscar glory, but more financing and trust in whatever project Victor produces next. Beyond that, it\u2019s a verbal encouragement for viewers who might not know about Victor\u2019s film to seek it out. With the film industry in flux, every little bit helps. What a beautiful night to be an artist, indeed. (And you can watch \u201cSorry, Baby\u201d on HBO Max right now, just saying.)<\/p>\n

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(Michael Buckner\/2026GG\/Penske Media via Getty Images) Eva Victor at the 83rd Annual Golden Globes held at The Beverly Hilton on January 11, 2026 in Beverly Hills, California.<\/p>\n

For a promising filmmaker like Eva Victor \u2014 who wrote, directed and starred in \u201cSorry, Baby\u201d and managed to score major nominations for their very first cinematic outing \u2014 an endorsement from Julia Roberts could mean everything; not just Oscar glory, but more financing and trust in whatever project Victor produces next.<\/p>\n

Yet, as excited as those artists were to support their industry comrades, their efforts were repeatedly blunted by the Globes\u2019 worst impulses. The constant Polymarket ads felt cheap and unsavory to say the least, reducing all of the stellar films nominated to fodder for basement-dwelling creeps to bet on. And when Hollywood trades posted on social media that the award for best original score was announced during a commercial break, the Globes felt all the more distasteful. It\u2019s not uncommon for an awards show to announce some awards during the break or before the show. It is always disrespectful, though, especially since awards given during commercial breaks tend to be the awards for below-the-line craftspeople, whose work is just as important to a film as anyone else\u2019s. But it felt pointed that viewers were forced to watch an unfunny bit of UFC spon-con simply because Paramount Skydance recently acquired the sport, and didn\u2019t get to see Ludwig G\u00f6ransson accept the award for his terrific \u201cSinners\u201d score. Given that so much of the hype surrounding \u201cSinners\u201d was because of its music, the choice wasn\u2019t just disappointing; it was irresponsible to the artists the Globes claim to venerate.<\/p>\n

As aggravating as these decisions were, they\u2019re not entirely surprising for a show like the Globes, which is known for its boozy environment and general chaos. For so long, it was treated as the joke award show, a cause for laughter when film trailers would categorize an actor as a \u201cGolden Globe nominee\u201d after a string of Oscar winners were billed before them. However, just because the show has a mixed reputation doesn\u2019t mean that the Golden Globes telecast doesn\u2019t matter, or that it\u2019s not taken seriously by the people in Hollywood with power and the hundreds of thousands of people watching at home. That\u2019s why it was so heartening to see filmmakers, actors and artists openly rooting for their work, and fighting for the success of their industry.<\/p>\n

A cynic might argue that celebrities don\u2019t want film and moviegoing as we know them to die because they don\u2019t want to lose their source of income, and maybe that\u2019s true for some. Most of the nominees could never work again and spend the rest of their lives doing brand sponsorships. But that\u2019s not what they want to do. Peddling products doesn\u2019t enrich the soul \u2014 the Globes\u2019 incessant in-show ads were proof of that\u00a0 \u2014 but art does. Films are poignant and important, no matter how much the institutions designed to award them have come to denigrate them. And even if that trend persists (and it\u2019s looking like it will), we\u2019re lucky that so many others in the industry haven\u2019t lost sight of just how wonderful it can be to go to the movies and share a pulse with everyone else in the room.<\/p>\n

Read more<\/p>\n

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