Reacting to the 2025 Golden Globe Nominations

Summary

All Of It: Reacting to the 2025 Golden Globe Nominations

Episode Release Date: December 11, 2024
Host: Alison Stewart
Guest: Nate Jones, Vulture Senior Writer

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Introduction

In this engaging episode of All Of It, hosted by Alison Stewart, the focus centers on the highly anticipated 2025 Golden Globe nominations. Alison welcomes Nate Jones, Vulture's senior writer who specializes in film coverage and co-authored the article “The Biggest Snubs and Surprises of the 2025 Golden Globe Nominations.” Together, they delve into the transformations within the Golden Globes, notable nominations, and the snubs that stirred conversations among audiences and critics alike.

Golden Globes: A New Era

[02:20] Nate Jones:
Nate begins by outlining the significant changes the Golden Globes have undergone in recent years. "A few years back, they were literally canceled... they were just sort of blatantly corrupt and not very diverse," he explains. The revival involved bringing in new members and voters, implementing salaried positions to enhance accountability, though he acknowledges ongoing issues within the organization.

[03:33] Alison Stewart:
Alison probes further into the format changes for this year's awards. Nate responds by comparing the Golden Globes to the Critics Choice Awards, noting an increase in nominees from five to six to ensure broader representation. "They cannot be accused of leaving anybody out," Nate adds [03:35].

Notable Nominations and Performances

Demi Moore in "The Substance"

[04:46] Alison Stewart:
Alison highlights Demi Moore's nomination for Best Actress in a Musical or Comedy for her role in "The Substance," one of only four films nominated for Best Picture, Director, and Screenplay.

[04:46] Nate Jones:
Nate attributes Moore's nomination to the film's daring narrative and her fearless performance. "It's a very naked performance, both physically but also emotionally... There's a comedy to it and a lightness that is very accessible," he remarks.

[06:08] Alison Stewart:
Alison raises a critical question about Hollywood’s interest in self-reflection, considering the industry's focus on youth and beauty versus genuine performance depth. Nate concurs but suggests that the Golden Globes favor films with "gonzo" elements and accessibility over more uncomfortable introspection [06:18].

Listener Interactions and Community Opinions

Listeners play a significant role in this episode, sharing their favorite films and performances:

• Steve from Montclair praises "Kneecap," an Irish rap trio’s autobiographical biopic, lamenting its absence from the nominations [07:13]. Nate expands on this, explaining the film's cultural significance and its status as Ireland's official entry for Best International Film [07:52].

• Tess lauds "Shogun!" for its combination of hilarity and action, highlighting director Sean Baker's excellence [08:53].

• Linda from the West Village commends Ellen Kuras's "Lee," focusing on Heather Winslet's portrayal of Lee Miller, a pioneering female photojournalist [13:16]. Kate Winslet shares insights into her role, emphasizing the film's focus on Miller's defining decade and the importance of portraying her strength beyond reductive labels [14:10].

• Steve from Roselle Park, NJ and Willie from Charlotte, NC discuss their favorite shows like "The Diplomat" and "Beef," while another listener praises "Blink Twice" for its sharp social commentary and stunning direction by Zoe Kravitz [20:57-23:10].

Surprising Snubs and Category Debates

The conversation shifts to notable snubs and the phenomenon of category fraud:

[11:07] Nate Jones:
Nate defines category fraud as the strategic placement of films into certain categories to enhance nomination chances. He cites "Challenger" in the Best Musical Comedy category as an example, suggesting it may not fit perfectly but was slotted to increase its visibility [11:07].

[26:18] Alison Stewart:
Alison asks Nate to highlight significant snubs, particularly focusing on African American talent. Nate points out that performances by Marianne Jean Baptiste and others were overlooked, possibly due to the overseas nature of the Golden Globes' voting body, which may not fully resonate with quintessentially American stories [26:20].

Standout Films and Performances

"Emilia Perez" Musical

[19:59] Nate Jones:
Emilia Perez's musical received ten nominations, the most of any film this year. Nate attributes this to the Golden Globes' affinity for "glitz and glamour" and big emotional swings, akin to opera [19:59]. He notes that while the film may not work for everyone, it aligns well with the Golden Globes' preferences.

"Nickel Boys"

[24:29] Nate Jones:
Nate discusses "Nickel Boys," directed by Romel Ross, highlighting its unique narrative structure told through multiple first-person perspectives. He praises its originality and the cinematography, predicting strong recognition in categories like Best Picture and Best Director [24:29].

Conclusion

Alison Stewart wraps up the discussion by reiterating Nate Jones's insights into the Golden Globes' nominations, the balance between popular appeal and critical acclaim, and the ongoing challenges within the awards landscape. The episode underscores the dynamic nature of cultural awards and their reflection of broader societal trends.

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Notable Quotes with Timestamps:

• Nate Jones [02:29]: "The Globes have remade themselves... they have new members and new voters... there's a little more accountability."

• Nate Jones [04:46]: "It's a very naked performance, both physically but also emotionally... there's a comedy to it and a lightness that is very accessible."

• Nate Jones [11:07]: "Category fraud is a thing that happens where awards campaigns maybe slot themselves into places that they possibly don't belong just to make it easier to get nominations and awards."

• Nate Jones [26:20]: "Many of them are African American talent. And there's a lot of things we can speculate about for that reason."

This episode of All Of It provides a comprehensive look into the 2025 Golden Globe nominations, offering listeners insightful analysis, diverse perspectives, and a deep dive into the intricacies of one of Hollywood's most prestigious award shows.

Transcript

[WNYC Studios]

Listener supported WNYC Studios.

[Alison Stewart]

This is all of it. I'm Alison Stewart live from the WNYC studios in soho. Thanks for spending part of your day with us. I'm grateful you're here. I'm grateful for today. I wanted to mention a couple of upcoming conversations that you should have on your radar. Join us tonight at 8pm for a special all of it broadcast devoted to one of New York's most engaging and media savvy mayors. We'll learn about the life of Fiorello LaGuardia who was born on this day in 1882. I'll speak with Terry Galway. He's the author of the book I Never Did like politics, how Fiorello LaGuardia became America's mayor and why He Still Matters. We have a lot of great archival tape because at the time WNYC was owned by the city of New York and boy, did LaGuardia take advantage of that fact. So be sure to listen ton at 8pm on this show on Friday, Sunset Boulevard star Tom Francis joins us in studio. We'll talk about his performance as Joe Gillis, which involves an epic live sequence that spills onto 44th street that is in the future. Now let's get this hour started. This year's Golden Globe nominations were announced this week and, well, they appear to be a new and improved Golden Globes. You may remember that the Golden Globes were canceled a few years back. The LA Times found that the Hollywood Foreign Press engaged in some wild behavior and didn't have any black members. Well, welcome to 2024 and let's just say they've had a little work done. The Netflix musical slash opera Emilio Perez, about a Mexican cartel leader who transitioned got the Most nods with 10 and big stars in thoughtful films. Kate Winslets and Dea and Nicole Kidman lead the way. Nate Jones is a Vulture senior writer who covers film and has written about the renewed Golden Globes in the last few years or what he calls, quote, a critics circle with a TV deal. He recently co authored the article the Biggest Snubs and surprises of the 2025 Golden Globe nominations. Hi, Nate, nice to talk to you.

[Nate Jones]

Hi. Thank you for having me.

[Alison Stewart]

Let's start broadly. You write the Globes have remade themselves in the past few years as an award show. Roads Awards show. How so?

[Nate Jones]

So basically, yes, they if you may recall, a few years back, they were literally canceled. They kind of put out their awards just on Twitter because they didn't have a TV deal anymore. And this was over the fact that yes, they were just sort of kind of blatantly corrupt and not very diverse and just very willing to be kind of sort of bribed. And then after those scandals, they've sort of remade themselves. They have new members and new voters. The old ones are still mostly there and they are now salaried employees, which sort of takes away some of the bad behavior. There's a little more accountability. The organization itself still has its own sort of little corruptions. It's now part of sort of a corporate media monopoly that also owns all of the Hollywood trade magazines. So there's a lot of sort of payola scandals around that like many multinational corporations, they're sort of willing to get in bed with authoritarian regimes overseas. So these are not perfect bodies by any means. They have not, you know, become morally pure or anything, but they still have awards and they still have nominations. And, yeah, that's all we're here to talk about.

[Alison Stewart]

What about the format this year?

[Listener]

It's a different format.

[Nate Jones]

Yeah, the format is sort of more like what we would see at the Critics Choice Awards where they're, you know, the Oscars have five nominees and the Critics Choice and the Golden Globes now often have six that way sort of basically to ensure that they don't leave anybody out and they cannot be accused of leaving anybody out. But of course, you know, with the way these things go, you always do leave someone out.

[Listener]

Listeners, we want to hear from you. What is the best thing you've seen this year and why? It could be a movie or a TV show. Call in and text us now. 2124-3396-9221-2433. WNYC or maybe there was a standout performance from an actor that just blew you away. Who was it? What about their performance was moving or funny or sexy? Pascal, I'm, I'm looking at you, Pablo. Pascal 2124-3396-9221-2433. WNYC let's get into some of the nominations. We're talking with about the substance. You wrote voters took the substance and loved it. The film star Demi Moore was nominated in the best actress in a musical or comedy. It's also one of only four films this year nominated for best picture, director and screenplay. Why do you think they ate this up? The substance?

[Nate Jones]

I think one of the things we know about the Golden Globe Soders is that they are mostly overseas journalists working in Hollywood. I think there's now more of them who are just overseas journalists plain. But they have a certain what you could say maybe European sensibility where they love things that are sort of gonzo. They love big wild swings. And this is a movie that if you've seen it, it is sort of the definition of a wild swing. It's a body horror satire about aging in Hollywood. It climaxes with the reveal of this sort of very grotesque monster. The last 30 minutes are probably the grossest thing that you will see in a movie theater this year. And so yes, coming into this week, there was sort of a question about whether awards voters would be into it. And the Golden Globes at least, I mean, they don't have any overlap with the Academy, but the Globes voters at least have said yes, this is right down our alley.

[Alison Stewart]

What did they like about Demi Moore's performance?

[Nate Jones]

My guess would be it's a very. I mean this is sort of a cliche, but it's a very fearless performance. It's a very naked performance, both physically but also emotionally. She has to go to some very sort of deep dark places. It's a performance sort of dripping with self hatred in a way that is very palpable. But there's also a comedy to it and there's a lightness to it that I think is sort of very accessible. You know that when you see this film you're going to have a good time. It's not just sort of a dark, depressing slog.

[Alison Stewart]

It makes me wonder if Hollywood institutions are interested in self reflection. You have to be young and gorgeous or is it just a good performance?

[Nate Jones]

I think they are interested in self reflection to a limit. I think, you know, if you have it in a film that is sort of gopher broke and gonzo and wild and features copious female nudity, I think that maybe will go down a little bit smoother rather than things that are sort of operating more in a more realistic tone that maybe will cause some self reflection in a more uncomfortable way.

[Alison Stewart]

Let's talk to Steve calling in from Montclair. Hi, Steve.

[Steve]

Hi there. Frequent listener, frequent caller. How's it going?

[Listener]

It's going forward.

[Alison Stewart]

How about you?

[Steve]

Pretty good. So the best thing I saw this year was actually a Golden Globe snug snub. It is called Kneecap. It is a film about a Irish rap trio, Belfast. And it's a. It's a really good movie. I was sad to see it. Non nominated.

[Listener]

All right.

[Alison Stewart]

Love the. Love the name of the movie. Kneecap. You said Kneecap. It is to. Why do we call it Kneecap?

[Steve]

Yes. Yeah, it's a. It's a foreign language film to an extent. The whole movie is kind of just about Gaelic and rapping in Gaelic and kind of keeping the language alive.

[Listener]

Gotcha.

[Steve]

So I think at its core, it is a foreign language film. But the name of the movie is derived from the rap trio named Kneecap. Gotcha. And it's actually the actors are also the rap trio, so they're kind of playing themselves.

[Listener]

Love it. Thank you so much for calling.

[Nate Jones]

Yes, Kneecap are a real sort of rap trio from Northern Ireland. They play themselves in this autobiographical biopic. The term kneecap, as you may be familiar, is they name themselves after the IRA's traditional punishment for drug dealers, which is shooting people in the kneecaps. And so it's sort of a dark joke in that regards. But, yeah, no, that film got no nominations at the Golden Globes. I would say it is not entirely out of the Oscar race. It is Ireland's official entry for the Best International Film award. I think it's in a mix of Irish language and English, but I think it must have. I think the rule is you have to have over 50%, not English. So it must, you know, 55% Irish. But yeah, so it is still on the hunt. That's going to be a hard award to break into just because there's a lot of, you know, very classy art house films in that race. And this is sort of a more of a wild good time. But there's certainly a lot of love for it. And that is not the first time I've heard someone mention that that is one of their favorite films of the year.

[Alison Stewart]

We got a Tess that says Shogun, exclamation point. Anor was such an achievement, Such a great combination of hilarity and action. Extreme honesty and heartfelt moments, performances, directions, excellent. Sean Baker continues to deliver and he deserves the success. Your thoughts about Honora?

[Nate Jones]

Yeah, I think Honora is coming into this season as one of the sort of ostensible frontrunners. There's still obviously a lot of season left, but I think most people believe that it should do well. It's been doing really well with critics awards. I believe it won Best Film at the Los Angeles Film Critics Circle this past weekend. I think it won Best Screenplay at the New York Film Critics Circle last week and it did really well at the Globes. That was one of the four films that also got picture, director and screenplay as well as it got a Best Actress award or nomination for Mikey Madison. And it got Yura Borisov, who, if you've seen the film, plays this with a sort of Charming, very quiet Russian goon. He got a supporting actor nod, which many people were sort of not quite expecting. They weren't sure if his performance was sort of big enough to make it into the field. So the fact that it's showing up in all these places, yeah, people think Honora will be very strong. And it's a very likable film. It's a crowd pleaser. It's got romance, it's got heart, it's got laughs. Those traditionally are things that do pretty well, especially in the past decade. Now that the Oscars go to their preferential ballot, it's very important that you are a likable movie. And so, yeah, for all those reasons, people think Honoris should continue to do well into March.

[Listener]

My guest is Nate Jones. He's Vulture's senior writer who covers film. He co authored the recent Vulture article, the Biggest Snubs and surprises of the 2025 Golden Globe nominations. We want to ask our listeners, what is the best thing you've seen this year and why? It could be a movie, it could be a TV show, or maybe there's a standout performance from an actor that just blew you away. Our number is 212-433-969-2212, wnyc. You can call in and join us on air or you can text to us at that number. We have to talk challengers. It's nominated in the best musical comedy category. You write light Category fraud, as the movie is not especially funny, but we'll take it. All right, first of all, explain category fraud.

[Nate Jones]

So category fraud is a thing that happens where awards campaigns maybe slot themselves into places that they possibly don't belong just to make it easier to get nominations and awards. It's a debate that happens every year. You see it especially in terms of like, what is a lead performance and what is a supporting performance. And all of these things are so subjective that, you know, there's never always one answer. And, you know, and the Golden Globes, because they divide their, you know, their nominations between dramas and music or comedies, there is a lot of wiggle room there. In the case of challengers, I would say that the reason it is in comedy is perhaps because there's a lightness to it, like it's not especially funny or laugh out loud, but it is not super serious. And so I think it's been slotted in that, in that side of the ballot, you know, one to make it easier because traditionally that's, you know, a little bit less competitive over there. But Also, yeah, to be to, you know, it's not the brutalist. You know, it's not a very dark drama about Holocaust survivors. It's just a tennis movie where people almost have a threesome.

[Listener]

Let's listen to a little bit of the Challenger score. It was nominated for best score. So what does the score capture about the story and the character?

[Nate Jones]

So well, I think the score is very propulsive and it's very intense. And it kind of puts you in the mindset of these three very driven people who will all, in various modes, stop at nothing to achieve their goals. Whether that is successful on the tennis court or whether that is success in the field of love or, you know, in Zendaya, Zendaya's case, it's sort of a little unclear. She just kind of wants, you know, to kind of mold these people into. So funny, though, clones of herself in some way.

[Listener]

Yes, let's take a call from Linda calling in from the West Village. Hi, Linda, thanks for calling, all of it.

[Linda]

Oh, thank you. I was awed by Ellen Quiras film Lee about Lee Miller, the photojournalist for Vogue during World War II. She had been a model for Vogue, then became photojournalist. And amongst beautifully well done lighting, we saw the challenges and obstacles female journalists had to face at that time during the war. Oh, my goodness. I was awed. I'm still talking about it. I have to see the film again. I usually don't do that.

[Alison Stewart]

That's a good.

[Linda]

Thank you.

[Alison Stewart]

Thank you for calling. We actually had Kate Winslet on to talk about Lee a little bit. Lee Miller, one of the first photographers to document the concentration camps in World War II. Let's listen to a little bit of her interview.

[Kate Winslet]

We knew that it was going to be impossible to tell a cradle to grave story about Lee Miller. We also knew that we didn't want to make a quote unquote biopic, but we wanted to focus on the defining decade of Lee Miller's life. When I believe Lee truly became Lee, you know, this was a woman who had walked away from the labels that were placed on her in her 20s, former muse, ex lover of man Ray, former cover girl, these sort of slightly sexist reductive terms that history was in danger of leaving Lee in that way under the male gaze. I knew it was important to lift her out and not only give her her place at the table, but to place her at the head of that table.

[Alison Stewart]

So Kate Winslet is nominated along with her performance in the HBO miniseries the Regime. You called her Nom's Globetacular pick. A globetacular pick, yeah.

[Nate Jones]

Yes. I would say in the best actors in the drama category, it features both Kate Winslet for Lee and also Pamela Anderson for the Last Showgirl, which is sort of a smaller film that takes place in Las Vegas. They are globetacular picks, not in a terrible way, but in the sort of very old globe style way where if you are a famous person who has a sort of long track record and they would really love you to show up at their award ceremony, that usually has given you a better chance to get nominated. The most infamous case came around a decade ago with Angelina Jolie and Johnny Depp for the Tourist. I would say I think Lee has generally more fans than the Tourist. Lee has also been campaigned very hard. I don't know if you remember the two Leslie scenario from a few years back where there was a bunch of famous Hollywood actors all kind of came together and launched this social media campaign to get Andrea Riseborough in Oscar Daub, which was ultimately successful. In a funny little echo. Many of those same people are also stumping very hard for Kate Winslet's turn in Lee. But then also as a somewhat echo of that experience, you know, Andrea Riseborough wound up pushing out Danielle Deadweiler of Till and Viola Davis of the Woman King in this case. Not to take anything away from Pamela Anderson or Kate Winslet, but in this case the Globes went with them over one of sort of the more heralded performances of the year, which is Marion's Jean Baptiste in Hard Truths. It's a Mike Lee film, essentially like many Mike Lee films. It's sort of a very delicate slice of life film about a London woman who's just kind of in a bad mood all the time. But it's a very blistering performance. If you haven't seen it, check it out. I think it just opened in New York this past Friday.

[Listener]

And also Danielle Deadweiler in the Piano Lesson.

[Nate Jones]

Yes, she was also left out in the supporting category, which, you know, it's. You can. You don't want to read too. You don't want to make too much of it because, you know, they did nominate Zendaya, they did nominate Denzel Washington in supporting. They did nominate Colman Domingo in lead performance for Sing Sing. But also when you add up all the kind of so called snubs, there is sort of one unifying factor, which is many of them are African American talent. And there's a lot of things we can speculate about for that reason. One of them, I think is perhaps that this is sort of an overseas group still. And one thing we've seen in awards season for years is that overseas groups do not always reward stories that they kind of feel are sort of quintessentially American stories about the African American experience in some ways. And, you know, there's a stat that we always return to which is that Denzel Washington has never been nominated for a bafta. You know, there's just something, you know, for whatever reason, it does not resonate with them as much. Marianne Jean Baptiste, you know, is British. Her story is a very British story. So I don't want to, you know, make too much of that. But yes, it is. We can speculate reasons, but all we can say is, you know, it is. It's worth raising an eyebrow, you know, or giving a side eye to.

[Listener]

We'll have more with Nate Jones after a quick break.

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[Listener]

All of It.

[Alison Stewart]

You're listening to all of it on wnyc. I'm Alison Stewart. Nate Jones is with me. He's Vulture senior writer who covers film. He co authored the article the biggest snubs and surprises of the 2025 Golden Globe nominations. Let's lead a. Let me read a couple of texts here. I really, really love the new Ripley. It was so well done. Zoe Saldana in Emilia Perez deserves all the awards. She was phenomenal. What do you think?

[Nate Jones]

Yeah, I mean, Emilia Perez is one of the big stories out of this year's nominations. It got the Most nominations of this year's field, the second most all time, it got 10. That's sort of what happens when you are a musical. You have a whole side of the ballot to yourself. And in the case of Emilia Perez, if you have multiple songs, those multiple songs get nominated. But yeah, but not to take anything away from Emilia Perez, I mean, when we said earlier that the Globes love sort of glitz and glamour, this is a perfect example. It's a big wild swing that doesn't work for a lot of people. But for the people who it does work for, they love it. And I think again, we can say it has maybe, you know, the European sensibility, which is maybe not told with the kind of sensitivity that you or I might tell this story with, but if you can kind of get on its wavelength. Yeah, those people really love it. They compare it to an opera. You know, they say there doesn't need to be reason, there doesn't need to be sensitivity. We just want these big emotions.

[Listener]

Let's talk to Steve calling from Roselle Park, New Jersey.

[Alison Stewart]

Hi, Steve, thank you so much for calling all of it.

[Caller]

Hi, Allison. Yeah, great. A great topic. So I've been watching Netflix a lot and I watched the Diplomat with Keri Russell and was so excited when season two came out and I binged that. And she's amazing. I was so disappointed when it ended and Alison Janney, who I love, came on for two episodes and she's amazing. And I think they said they're going to come back first for season three. So that was wonderful. And just this week I found a show called a limited series called Beef B E F and it was 10, 10 episodes and it had nothing to do with meat, but it had to do with road rage. So that was their beef. And it was amazing. It was a little far fetched at times, but it was, I thought it was so well done, so totally watchable.

[Listener]

I agree with you on both of those.

[Alison Stewart]

Let's talk to Willie, who's calling in.

[Listener]

From Charlotte, North Carolina.

[Alison Stewart]

Hi, Willie.

[Nate Jones]

Hello.

[Caller]

Sorry, let me get out of the noise there. I was wondering if the guest has seen the Madness on Netflix. A thriller and just one season. I just finished it. It was wonderful. Any chance on that thriller to have a second season?

[Listener]

So, yeah, it's Colman Domingo series. Where? Yeah.

[Nate Jones]

Oh no, I haven't seen it. I do have Netflix, but like so many of us these days, people tell me to see movies and I have the big long list on my phone or TV shows to check out. But I'll Add that one to it.

[Listener]

Well, he.

[Alison Stewart]

Oh, he's up for Sing Sing.

[Listener]

Yes.

[Nate Jones]

Yes. He was nominated for best actor in a drama.

[Listener]

The best movie I saw this year was Blink Twice, a super dark film that I think really held a mirror up to the power dynamics between the haves and the have nots in our society. That rings particularly tr in light of recent events in the news. It also had impressive performances from Naomi Ackee and Channing Tatum and a stunning directorial debut by Zoe Kravitz. I really like that movie.

[Nate Jones]

Yeah, I didn't see it, but that. That was one of those ones that came out kind of in the dog days of summer, I believe.

[Listener]

Yeah, that's interesting. Does it matter when a movie comes out for it to be nominated?

[Nate Jones]

Not a hard and fast one, but it generally does seem to be important to come out near the end of the year, if only as a matter of kind of positioning in that. Right. We have this mental model of, okay, the end of the year is when all the serious awards movies come out. Which is not to say that you have to come out at the end of the year. I mean, at least in the Oscars, we've been on a three year streak of the eventual best picture winner coming out from earlier in the year, which helped everything everywhere all at once gain steam. Oppenheimer was such a steamroller. And also, I think if you remember, Coda from the year before, that was like a very tiny streaming release from the summer. So there's no rule that says, like, you have to be after September, but, like, to get, like, people like me talking about it, you know, in a very cynical way, you. Yeah, it generally helps to be, you know, October, November, December.

[Alison Stewart]

We're gonna speak to Ramel Ross tomorrow about Nickel Boys, an adaptation from Colson Whitehead's book. It's nominated in the best motion picture drama category. There's some really big swings in this film. I don't know if she'd give them away. Do you think big swings. Do you think big swings earn a film more attention or does it kind of like, ugh, I don't know.

[Nate Jones]

I would say that there's sort of a different type of big swing in Nickel Boys than there is in a film like Emilia Perez. Whereas just. Just so listeners have the information, Nickel Boys is told almost entirely in first person point of view. And so you basically are in behind the eyes of the main character for the first half of the movie. And then as the movie goes on, we jump into a second character's point of view and it's very well done and I don't want to say it's like nothing that's ever been seen before. And there are a handful of movies in film history, but the fact that there are three other movies in the hundred plus years of Hollywood that have done this, it is a very original conceit and I think it definitely earns you credit with especially the more highbrow or auteur friendly voters and voting bodies. Romel Ross has been doing really well in what I like to call the tastemaker season, which is sort of the Critics Awards and the Gotham Awards. So he won Best Director at the Gothams. Last week he also won best Director at the New York Film Critics Circle. The movie's been getting cinematography prizes as well because of its pov.

[Listener]

Beautiful.

[Nate Jones]

Yeah, it's beautifully shot. Romel Ross was a documentarian. He was nominated for his first documentary, Hell county this morning. This evening, I believe it's called, from like six years ago. But yeah, no, I think that this is a movie where the way it is told and the ambition and the sort of boundary breaking form that it takes is sort of. You can't talk about the movie without talking about it. Right. It is a thing where the form is the content. And yeah, no, I think that that is 100% this movie. It's a little bit on the Oscar bubble in some categories, but it seems likely that it will be in the conversation and could compete for things like best picture, best director, best cinematography, Acting awards. Possibly. No, because it does seem like sort of the story of it now is its sort of unique look. But. But yes. No, I think it's 100% getting credit.

[Alison Stewart]

What is something that got snubbed that.

[Listener]

You just want to shout out?

[Alison Stewart]

You just thought, man, I'm really sad that didn't get nominated.

[Nate Jones]

I mean, for the big one it is Marianne Jean Baptiste. I just went back last night and revisited Secrets and Lies, which was the great Mike lee film from 1996. That was their first collaboration. And in that she plays a totally different character. She plays sort of a very level headed, fairly successful optometrist who kind of, you know, enters this one family and kind of her presence stirs up a lot of buried resentments. And in this new film she's playing a completely different character. She's playing someone that in real life you would want to get away from as quickly as possible. But for some reason when you are in a movie theater watching her for two hours, it's totally delightful. A review I remember once said at the start of the movie, you hate her and by the end of it, you are rooting for her perversely.

[Alison Stewart]

But you also, there's also a leaning towards her being mentally ill in that film.

[Nate Jones]

Yes. The movie sort of takes a quite light touch about exactly why she is the way she is. And I think it sort of lands at a place of empathy. And that's just like the why doesn't quite matter. But we just have to have sympathy for her for being the way she is.

[Alison Stewart]

Nate Jones is Vulture senior writer who covers film. He's been walking us through the 2025 Golden Globe nominations. Thanks for coming to the studio.

[Nate Jones]

Oh, thank you very much for having me, Alison.

[Listener]

So many options for toilet paper, quintuple ply. This roll is titanium in forest. This one is made from elderly trees. Is that good?

[Ira Flatow]

Just grab Angelsoft.

[Kate Winslet]

It's simple, soft and strong.

[Listener]

And for any budget, Angelsoft.

[Nate Jones]

Soft and strong.

[Alison Stewart]

Simple.

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