'Oppenheimer,' Lily Gladstone win at 30th Screen Actors Guild Awards
“Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic — already a winner at the Golden Globes and the BAFTAs — has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France — sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes — best ensemble and the four acting winners — have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,'” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
Grammys are Taylor Swift’s world on a night when women like Cyrus, Mitchell and Chapman also shine
It’s Taylor Swift’s world, and she just allows us to live in it.
After weeks where she attracted endless attention for her football star boyfriend and a mystifying right-wing campaign against her, the Grammy Awards put the focus squarely back on her art. “Midnights” earned Swift her fourth career Grammy for album of the year on Sunday, an achievement no one can match.
It breaks a tie with Frank Sinatra, Paul Simon and Stevie Wonder, who each won the honor three times.
“For me, the award is the work,” she said. “All I want to do is keep doing it.”
And she will (more on that later). Swift was the last example of an action-packed show where women earned the biggest honors and had the majority of the most memorable performances. Miley Cyrus powerfully belted “Flowers, which won record of the year. Billie Eilish’s ballad from “Barbie,” “What Was I Made For?” was song of the year for her and co-writer Finneas O’Connell, her brother. Singer-songwriter Victoria Monét is best new artist.
There were so many riches that rock supergroup boygenius, with Julien Baker, Phoebe Bridgers and Lucy Dacus, won three Grammys and didn’t even make it onto the CBS portion of the show.
Making the best pop vocal solo performance the televised show’s first award — where all five nominees were women — was a savvy hint to what was coming.
TRACY’S TURN
Bringing the reclusive Tracy Chapman on to duet with country singer Luke Combs, who had a massive hit covering her “Fast Car” this past summer, was spine-tingling. In a pre-taped segment leading into it, Combs eloquently described what the song meant to him growing up. Clearly moved, Chapman’s eyes glistened when the crowd roared as she played the 1988 song’s unforgettable guitar riff. She’s kept to the background as Combs brought the song to a new generation, and chose a wise place to reemerge.
SOME FLOWERS FOR MILEY
Not to diss more elaborately-staged affairs, but there was a certain power to Cyrus’ performance of “Flowers.” It was just her and the song, essentially. There was no question she could carry it, and she even inserted a couple of ad-libs: “I just won my first Grammy!” Her acceptance speeches were packed with personality. “I don’t think I’ve forgotten anyone,” she said, after a requisite list of thank-yous, “but I may have forgotten underwear.”
JAY-Z NEVER FORGETS
In accepting the Dr. Dre Global Impact Award, Jay-Z proved he has a long memory. He recalled the times that rap artists were outspoken about not getting enough attention from the Grammys commensurate with music sales, even boycotting a show — although “they went to a hotel to watch the Grammys,” he said. “It wasn’t a great boycott.” Jay-Z considers it an injustice that his wife, Beyoncé, has never won album of the year despite her astonishing haul of 32 Grammys. “When I get nervous,” he said, “I tell the truth.”
JONI’S RETURN
Joni Mitchell’s return to the stage earned her a Grammy and her performance Sunday was another emotional highlight. Surrounded by musical friends like Brandi Carlile, the 80-year-old Mitchell sat in an easy chair that resembled a throne, tapping her cane as she sang “Both Sides Now.” Her voice, which she had to recover after suffering a brain aneurysm, brought a richness and perspective to the song that could only be hinted at in the original. Like Chapman, she was visibly moved by the audience’s reception, betrayed by laughter after she finished.
TOUCHING TRIBUTES
Let’s be honest, those “in memoriam” tributes to people who died in the past year usually signal that it’s time for a bathroom break. Not so here. Stevie Wonder honored Tony Bennett on a chilling “duet” with a filmed Bennett on Wonder’s “For Once in My Life,” then sang Bennett’s “The Best is Yet to Come.” Annie Lennox, saluting Sinead O’Connor, sang “Nothing Compares 2 U,” with two of the late songwriter Prince’s accompanists. And Fantasia Barrino shook the walls with “Proud Mary” to honor Tina Turner.
LATE ‘LIGHTS’
The Grammys no doubt intended Billy Joel’s performance of his first new song in 30 years, “Turn the Lights Back On,” to be a big show-capper. But the Grammys’ previous three hours were a hard act to top.
HARD WORK
To the public, it sometimes seems that stars arrive suddenly, but Monét and SZA offered charming reminders of all the hard work and dreams that go into success. After disarmingly thanking “the champagne servers of tonight,” Monét described the 15-year journey that took her to a best new artist award. “My roots have been growing underneath the ground for so long — and I feel like today I’m sprouting,” she said. There was a brief pause before SZA accepted an award for best R&B song, since she was changing backstage. But she was overwhelmed after recalling, with the trophy presented by Lizzo, the days a decade ago when they opened shows in small clubs. She hustled offstage when the tears flowed. “I’m not an attractive crier,” she said.
PROMO TIME
Yes, we understand that artists are always on the lookout to promote their work. But when Swift took time in accepting an award to announce that her new album would come out in April, and said she would share cover art on social media, it felt … cheap. Like she was hijacking the event for her own purposes, with news she knew would overshadow much of what was happening. U2, beamed in from a concert at their Las Vegas residency, felt like they were promoting an arena instead of their own work, lost as they were in the razzle-dazzle. Two forgettable moments for two big stars.
TREVOR KNOWS
Props to Trevor Noah for his job as host. His enthusiasm for the music world can seem puppy dog-like, but it beats insult comics and ironists Opening the show from the arena’s floor, walking around to point out the stars, Noah built spirit for people there and at home alike. He got in some good lines, too, like when he noted Universal Music was removing its artists from TikTok. “How dare you rip off all the artists,” he said. “Shame on you. That’s Spotify’s job.” As Swift arrived late, he said that as she walked in the room, “the economy around these tables improve. Lionel Richie becomes Lionel Wealthy.”
Unlike her glares that torpedoed Jo Koy at the Golden Globes, Swift appeared to be enjoying Noah.
“To the people who answer my emails, you’re the real ones,” said Edebiri.
“Beef” won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.
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 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.
The most comical evaluation on the Globes came from presenters Will Ferrell and Kristen Wiig, who blamed the awards body for the constant interruption of a song they found irresistible while otherwise solemnly presenting best actor in a comedy or musical movie.
A furious, dancing Ferrell shouted: “The Golden Globes have not changed!”
The Golden Globes will be hosted by Filipino comedian Jokoy
Disney says it has $40 billion economic impact in Florida as it battles DeSantis in court
ORLANDO, Fla. (AP) — Disney on Tuesday released a study showing its economic impact in Florida at $40.3 billion as it battles Florida Gov. Ron DeSantis and his appointees over their takeover of the district that governs the entertainment company’s massive theme park resort in central Florida.
Disney accounted for 263,000 jobs in Florida, more than three times the actual workforce at Walt Disney World, according to the study conducted by Oxford Economics and commissioned by Disney, covering fiscal year 2022. Besides direct employment and spending, the study attributed the company’s multibillion-dollar impact to indirect influences, such as supply chain and employees’ spending.
The jobs include Disney employees as well as jobs supported by visitor spending off Disney World property. Disney employs 82,000 workers in Florida, not only at Disney World outside Orlando, but also Disney Cruise Line in Port Canaveral, Fort Lauderdale and Miami, as well as a resort in Vero Beach.
In central Florida, Disney directly accounts for 1 in 8 jobs, and for every direct job, another 1.7 jobs are supported across Florida, Oxford Economics said.
The time period in the study is before the takeover earlier this year of Disney World’s governing district by DeSantis and his appointees after Disney publicly opposed a state law banning classroom lessons on sexual orientation and gender identity in early grades. The law was championed by DeSantis, who is running for the 2024 GOP presidential nomination.
Disney officials in the past year have said the company plans to invest an additional $17 billion over the next decade in central Florida, including potentially adding another 13,000 jobs. However, the company has shown a willingness to pull back investing in the Sunshine State. Earlier this year, Disney scrapped plans to relocate 2,000 employees from Southern California to work in digital technology, finance and product development, an investment estimated at $1 billion.
Disney World already has four theme parks, more than 25 hotels, two water parks and a shopping and dining district on 25,000 acres (10,117 hectares).
Disney is battling DeSantis and his appointees in federal and state courts over the takeover of what was formally called the Reedy Creek Improvement District but was renamed the Central Florida Tourism Oversight District after DeSantis appointees gained control. The district was created by the Florida Legislature in 1967 to handle municipal services like firefighting, road repairs and waste hauling, and it was controlled by Disney supporters until earlier this year.
Before control of the district changed hands from Disney allies to DeSantis appointees, the Disney supporters on its board signed agreements with Disney shifting control over design and construction at Disney World to the company. The new DeSantis appointees said the “eleventh-hour deals” neutered their powers, and the district sued the company in state court in Orlando to have the contracts voided. Disney has filed counterclaims, which include asking the state court to declare the agreements valid and enforceable.
Disney also has sued DeSantis, a state agency and DeSantis appointees on the district’s board in federal court in Tallahassee, saying the company’s free speech rights were violated when the governor and Republican lawmakers targeted it for expressing opposition to the law dubbed “Don’t Say Gay” by its critics.
In an earnings report last week, Disney noted that while its theme parks worldwide had a year-to-year increase in operating income, it had decreased at the Florida theme park resort due to costs related to the closure of its immersive Star Wars-themed two-night experience and lower visitor spending from a decrease in hotel rates.
“Cinderella Story with a Modern Twist: Matea Mahal Smith Claims Miss Filipina International 2023 Crown in Dazzling Beverly Hills Showdown!!
**BEVERLY HILLS, CA** — In an electrifying display of beauty, brains, and cultural heritage, Matea Mahal Smith emerged triumphant as the shining star of the night, capturing the coveted Miss Filipina International 2023 title in a whirlwind spectacle that left Beverly Hills and the world in awe. Born in the unassuming town of Coral Springs, Florida, and with roots reaching all the way to Pililla, Rizal, Matea’s astonishing ascent to fame reached its crescendo on August 5th at the legendary International Ballroom of The Beverly Hilton.
Pundits and fans alike couldn’t have predicted the stunning narrative that unfolded on that magical Saturday evening. Amidst the opulent chandeliers and the glitz of Hollywood, Matea Mahal Smith, a name that will now be etched in the annals of history, wowed judges and spectators with her unparalleled blend of grace, poise, and undeniable charisma.
The International Ballroom, typically reserved for Hollywood’s elite and red-carpet royalty, hosted this spectacular showdown of elegance and empowerment. As cameras flashed and hearts raced, Matea took center stage, embodying a modern-day Cinderella armed with glass slippers and an unwavering commitment to her Filipino heritage.
Matea’s journey to glory was paved with passion and determination, a story of resilience that speaks to the hearts of dreamers and achievers everywhere. From the sun-kissed streets of Coral Springs to the dazzling lights of Beverly Hills, her path was paved with hope, and her victory now shines as a beacon of inspiration to those who dare to dream beyond their circumstances.
This momentous win goes beyond the confines of a beauty pageant crown; it marks a transformative shift in beauty and culture. Matea’s triumph signifies the power of representation, echoing through generations of Filipino descendants who yearn to see themselves represented on the global stage. Her coronation night wasn’t just about captivating gowns and captivating smiles; it was a rallying cry for unity, diversity, and breaking down barriers.
With the world at her feet, Matea Mahal Smith now assumes her role as a trailblazer and role model, transcending the confines of a single stage and embarking on a journey that will undoubtedly impact lives and shape perceptions. As the confetti fell and the applause echoed through the International Ballroom, the story of Matea Mahal Smith was etched into the tapestry of time, a chapter of ambition, triumph, and a modern-day fairy tale that will inspire generations to come.