Why the Golden Globes are irrelevant in 2024
It’s that time of the year again – the 81st Golden Globe Awards are just around the corner, buzzing with the excitement of new beginnings and potential upsets. The Hollywood Foreign Press Association, once clouded with controversies, has been replaced by a diverse group of 300 journalists.
What does this mean for the prestigious awards? Will this year’s ceremony mark a significant shift in the Globes’ legacy, often shadowed by its more illustrious cousin, the Oscars?
Predicting the Unpredictable
In true award-season spirit, let’s dive into the whirlpool of predictions for all 27 categories. Remember, these are not just any predictions; they’re educated guesses in a landscape that’s more unpredictable than ever. From film to television, these categories are brimming with talent and surprises.
Starting with Best Supporting Actress, Da’Vine Joy Randolph is a strong contender for her role in The Holdovers. Her performance, already celebrated by critics, combines emotional depth and a heartbreaking vulnerability, making her a favorite in this race.
In the Best Supporting Actor category, we’re veering off the beaten path with Charles Melton for May December. Despite strong competition from industry veterans like Robert Downey Jr. and Ryan Gosling, Melton’s standout performance alongside seasoned actors Natalie Portman and Julianne Moore sets him apart as a potential upset winner.
The Best Actress category in drama is shaping up to be a head-to-head battle between Lily Gladstone for Killers Of The Flower Moon and Emma Stone for Poor Things. With the Golden Globes’ division of drama and comedy/musical films, both actresses won’t face each other directly, tipping the scales in Gladstone’s favor.
The Biopic Charm
Cillian Murphy in Oppenheimer is poised to take the Best Actor Drama award. Biopics have a way of capturing the hearts of award voters, and Murphy’s transformative portrayal in this historical epic gives him an edge over his competitors, including Bradley Cooper’s impressive turn in Maestro.
Emma Stone for Poor Things seems like a clear frontrunner in the Best Actress Comedy/Musical category. Her portrayal of Bella Baxter stands out with a unique blend of physicality and fierce determination, overshadowing strong performances by Margot Robbie and Natalie Portman.
Paul Giamatti in The Holdovers is a fascinating choice for Best Actor Comedy/Musical. His ability to humanize a grumpy character without tipping into cliché makes him a standout. The nuanced performance is what might give Giamatti the edge in this category.
For Best Director, Christopher Nolan’s work in Oppenheimer makes him the favorite. The film’s expansive scope and historical significance could tilt the scales in his favor, though he faces tough competition from Greta Gerwig for Barbie and Martin Scorsese for Killers Of The Flower Moon.
The Safe Bet
Oppenheimer is also likely to snag Best Picture Drama. Its mix of prestige and popularity makes it a safe choice for voters looking to please both critics and audiences. However, surprises from Killers Of The Flower Moon or Anatomy Of A Fall shouldn’t be counted out.
In Best Picture Comedy/Musical, Poor Things stands out. Its sheer creativity and originality could eclipse other contenders like Barbie and The Holdovers, despite Barbie being the most nominated film this year.
Spider-Man Across The Spider-Verse is expected to continue the legacy of its predecessor by winning Best Animated Feature. Its improved storytelling and visuals make it a strong contender, overshadowing other notable nominees.
In the newly added category of Cinematic and Box Office Achievement, Barbie seems to fit the bill perfectly. This category, a blend of artistic merit and commercial success, is tailor-made for a blockbuster like Barbie, despite its nebulous criteria.
The Critics’ Favorite
Anatomy Of A Fall is poised to win Best Foreign Language Film. Its critical acclaim and strong storytelling make it a frontrunner, overshadowing other worthy nominees like Past Lives and The Zone Of Interest.
coupled with the film’s numerous nominations, positions them as frontrunners in a category bursting with talent. The screenplay’s originality and inventiveness set it apart in a race where each nominee has showcased exceptional writing.
Ludwig Göransson’s score for Oppenheimer is anticipated to win Best Original Score. His unique and organic musical composition not only enhances the film’s narrative but also aligns with the perceived dominance of Oppenheimer in this year’s awards. Göransson’s work stands out in a field of beautiful scores, cementing the film’s status in the awards circuit.
In the Original Song category, “I’m Just Ken” from Barbie is expected to triumph. Despite facing competition from its own soundtrack with tracks like “What Was I Made For?” and “Dance The Night,” this particular song’s integral role in the film and its memorable musical number give it an edge over the others.
A New Era?
As we wrap up these predictions, it’s clear that this year’s Golden Globes are not just about who takes home the trophies. It’s about the potential shift in the landscape of award shows, driven by a revamped and diversified voting body. With this new perspective, will we witness a groundbreaking change in how excellence in film and television is recognized?
So, are the Golden Globes ready to step out of the Oscars’ shadow and carve out a unique identity? Will this year set a new precedent for inclusivity and diversity in award selections? Only time will tell, and all eyes will be on the ceremony come January 7. Who do you think will be the night’s biggest surprise?
