The 2025 Golden Globes. Hollywood’s Glittering Stage or a Relic Holding on by a Thread?
Cate Blanchett. Photo Dan MacMedan, USA TODAY.
The Golden Globes have always been the messy cousin of awards season. Less stuffy than the Oscars, less fawning than the Emmys, the Globes live in a world of their own—boozy tables, unpredictable winners, and the occasional eyebrow-raising moment. Last night at the Beverly Hilton, that chaos was on full display. But beneath the glitter and the gowns, one question lingered: does this night still matter in a Hollywood that’s rapidly reshaping itself?
The ceremony, hosted by the whip-smart Nikki Glaser, walked the tightrope between old Hollywood charm and a post-pandemic industry desperate to prove it’s still relevant. Glaser’s opening monologue set the tone—a cocktail of biting humor, self-aware jabs at the Globes' recent scandals, and just enough edge to keep the room slightly uncomfortable.
Winners That Say Something—Or Do They?
The Globes have a reputation for trying to seem "in touch" by making bold, sometimes baffling choices (The Tourist for Best Picture, anyone?). This year was no different. The night’s big winner, The Brutalist, a searing exploration of mid-century architecture and post-war trauma, swept the drama categories, including Best Picture and Best Actor for Adrien Brody. Critics loved it, but will audiences flock to watch? Unclear.
Meanwhile, Emilia Pérez, a musical-comedy about identity and reinvention, snagged the Best Picture award for its category. Zoe Saldaña, who took home Best Supporting Actress, called the film "a love letter to everyone who’s ever had to rewrite their story." It felt genuine—until you remembered she said it while clutching a gold statue in a room where no story ends without PR spin.
TV’s Shining Stars
On the television side, Shōgun dominated, and rightly so. A lush, violent adaptation of James Clavell’s novel, it brought historical drama back to the forefront with unapologetic intensity. Anna Sawai and Tadanobu Asano both walked away with awards, their speeches a poignant reminder of Hollywood’s slow (but hopefully permanent) embrace of diverse narratives.
Then there was Hacks, the beloved comedy about a fading diva comedian, which won Best Comedy Series and another trophy for Jean Smart. If Hacks winning feels like a safe choice, it probably is. But let’s be real—who doesn’t love Jean Smart?
The Awkward Dance of Legacy and Progress
Beyond the awards, the night was a study in contradictions. Viola Davis receiving the Cecil B. DeMille Award was a moment of pure, unfiltered greatness. Her speech was a masterclass in poise, power, and calling out the systemic inequities that still plague the industry. But it was hard to ignore the irony: a show dogged by accusations of racism and lack of diversity patting itself on the back for honoring one of Hollywood’s most accomplished Black actresses.
Ted Danson, a favorite since the Cheers days, picked up the Carol Burnett Award, his charming humility a reminder that not all legends need to try so hard to prove they still belong.
So, Does It Matter?
The Globes have always thrived on their ability to blur lines—the lines between film and TV, between respectability and irreverence, between a celebration of art and a networking event with better lighting. But in 2025, where streaming wars, social media scandals, and audience apathy threaten the very idea of awards shows, the Globes feel like they’re clinging to relevance by a thread.
Yes, there were moments of brilliance, and yes, the fashion was dazzling (special shoutout to Jodie Turner-Smith, who served intergalactic royalty on the red carpet). But as the night ended with a slightly awkward rendition of “We Are Family,” one couldn’t help but wonder: is Hollywood’s glittering machine evolving fast enough to stay alive, or are nights like these a glamorous distraction from an industry struggling to find its next act?
