Film

SANTA FE, N.M. — A new conservation agreement will preserve land with breathtaking desert vistas that inspired the work of 20th century painter Georgia O’Keeffe and ensure visitors access to an adjacent educational retreat, several partners to the pact announced Tuesday.

Initial phases of the plan establish a conservation easement across about 10 square miles of land, owned by a charitable arm of Presbyterian Church (U.S.A.), on the outskirts of the village of Abiquiu.

That easement stretches across reservoir waterfront and native grasslands to the doorstep of a remote home owned by O’Keeffe’s estate, a few miles from her larger home and studio in Abiquiu. Both homes are outside the conservation area and owned and managed separately by the Georgia O’Keeffe Museum in Santa Fe.

The view from the rangeland should be familiar to even casual O’Keeffe afficionados — including desert washes, sandstone bluffs and the distant mountain silhouette of Cerro Pedernal.

“The stark colorful geology, the verdant grasslands going right down to the Chama River and Abiquiu lake — all that just makes it such a multifaceted place with tremendous conservation value,” said Jonathan Hayden, executive director of the New Mexico Land Conservancy that helped broker the conservation plan and will oversee easements.

Hayden said the voluntary plan guards against the potential encroachment of modern development that might subdivide and transform the property, though there are not any imminent proposals.

Land within an initial easement has been the backdrop to movie sets for decades, including a recreation of wartime Los Alamos in the hit 2024 film “Oppenheimer, ” on a temporary movie set that still stands.

The conservation agreement guarantees some continued access for film productions, as well as preserving traditional winter grazing for farmers who usher small herds down from the mountains as snow arrives.

The state of New Mexico is substantially underwriting the initiative though a trust created by state lawmakers in 2023.

An approved $920,000 state award is being set aside for easement surveys, transaction costs and a financial nest-egg that the Presbyterian Church Foundation will use — while retaining property ownership — to support programming at the adjacent Ghost Ranch Education & Retreat Center and its use of the conservation area.

The center attracts about 10,000 visitors a year to overnight spiritual, artistic and literary retreats for people of all faiths, with twice as many day visitors, said center CEO David Evans.

Two initial phases of the conservation plan are part of a broader plan to protect more than 30 square miles (78 square kilometers) of the area through conservation easements and public land transfers, with the support of at least one wildlife foundation. That would extend protections to the banks of the Chama River and preserve additional wildlife habitat.

Many Native American communities trace their ancestry to the area in northern New Mexico where O’Keeffe settled and explored the landscape in her work.

Lee writes for the Associated Press.

Before Stuart Scott, the phrase “Boo-yah,” was used to express joy. When he made it one of his catch phrases on ESPN, the expression entered the sports vernacular.

Director Andre Gaines explores the impact Scott had on the media landscape in his 30 for 30 documentary for ESPN, “Boo-Yah: A Portrait of Stuart Scott,” premiering Wednesday.

“He can easily be reduced down to a number of different things, maybe his catchphrases, maybe his style,” he told The Times. “All of these types of things are very reductive and have the ability to sort of diminish his legacy, but the reality is that broadcasting, prior to Stu, looked very different than it did after Stuart.”

The Times spoke to Gaines about the emotional journey he had making the film and capturing the “grit and perseverance” that made Scott a staple of journalism. The following interview has been edited for length and clarity.

How did you decide to open the film with a Stuart Scott quote about his dreams?

Gaines: It really had to do with one of the main themes, conceptually, of the film — the fact that Stuart truly believed that you could manifest your own destiny. It was part of his belief when he tried out for the Jets, was part of his belief when he became the icon that he was. It was something that he really saw, and we had this proof of this through his video journals that he kept over the course of his life that we try to showcase very heavily in the film. So, I wanted to start the film off with a quote from him that was exemplary of that.

Why did you decide to use Scott’s voice throughout the documentary?

Gaines: I always try to tell my stories from the perspective of the subject. I don’t want other people dominating the story or telling the story on behalf of the subject. I want the lead character to be the person to narrate their own story, to narrate their own journey, and for Stuart, this proved to be a bit of a challenge, just because he, for so long, was the interviewer and not the interviewee, and there wasn’t, particularly in the early years of his life, there weren’t a lot of interviews to cut a glean from. But after some heavy research, and digging, we were able to find those little gems, either from his own personal archive, of footage that he shot or from interviews that he conducted, or interviews that he was the subject of the interview with other folks, and able to tell that story. I really wanted to give him the platform to carry us through the entire film and be kind of our spirit guide that takes us through his journey and let him be the leader of his own show.

Black sports reporters only make up less than 34%, according to a report by The Institute for Diversity and Ethics in Sports. How do you hope this film changes the landscape of sports journalism?

Gaines: The third of the landscape in the first place, we have Stuart to thank for a lot of that. He was very cognizant of the shoulders of the giants that he stood upon, and understood his place, and once he realized the level of authenticity that he was bringing to a very stilted medium, he took on that burden by just continuing to be himself. My hope is that those numbers just continue to grow. The closer that we get to equity, I think is honoring Stuart’s legacy in the best way possible. Yes, we have this tribute to him. We have this opportunity to see his life in pictures, and really understand his legacy from the ground up, and where it began, but at the end of the day, there’s always gonna be more work to do.

Many athletes want to be rappers, many rappers want to be athletes, Scott managed to smash both worlds together by incorporating some of the language into his reporting. How different is the collaboration between these two worlds because of Scott?

Gaines: What was needed was a glue, something to admonish and recognize both of those realities and how to bring them together. And that was Stuart. That was one of the many things that set him apart. When you look at what Stuart had to endure as a newbie at ESPN 2, and the reason why they ended up hiring him is the same reason why they ended up trying to squash him. The same reason why they were discriminating against him and being prejudiced against him. But he was there as a spirit guide for these two things to come together in such a clear and cohesive and harmonious way. We do have him to thank for so many of the television personalities that we have today as a result of that. He gets a lot of credit for his celebrity. He gets a lot of credit for bringing personality to a very buttoned up and scripted media. But he doesn’t get a lot of credit for being the excellent journalist that he was.

You managed to get a lot of good stories from athletes and his co-workers. What was a story that didn’t make the final cut but still wanted to get out there in the public?

Gaines: There was definitely a really interesting story about a very, very competitive game of pickup basketball between Stuart Scott and Dan Patrick that was pretty incredible, but ended up getting cut for time. There’s another story about a flag football league that they had at ESPN, and they’re playing against some local news stations and guys. Jay Harris tells a story about how Stuart showed up in full pads like this was a real football game. Full pads and goggles and knee high socks and gloves. It was that level of competitiveness that was baked into his soul that showed us what a real fight against cancer actually looks like. He was physically fighting cancer, physically fighting what it was doing to his body, and trying to defeat it through diet and exercise and just a rigorous workout routine. There were a couple of those tidbits that if we had more time, I would love to add in there, but the essence of what those stories are did make the film ultimately.

You really captured his essence in the film. What does he mean to you as a Black filmmaker?

Gaines: For me, he was always a North Star. I started my career in journalism, I should say, went to school for journalism at Northwestern University, and Stuart was also a member of my fraternity Alpha Phi Alpha. There were a couple of the dots that were connected already there for me. So when ESPN called to ask me to do this, it was a thousand times yes. I never got the opportunity to meet him, unfortunately, but I always looked at him as a symbol. It was just an honor to be able to memorialize this incredibly beloved cultural figure in a way that it will live forever, that people can watch again and again, and come back to relive some of the great moments that we all know and love, and learn a whole hell of a lot about the real human being behind it at the end of the day, someone who had trials and triumphs and difficulties and successes just like all of us do. He just had to experience those things on a display as a public figure.

There is an original song by Common in the end-credits. How did that song come about?

Gaines: Common and I have known each other for quite some time. We were working on a TV show several years ago, and he’s just a wonderful human being, an incredible artist, also someone who’s touched so many. I wanted to interview him for the film, because I knew that he had some relationship with Stuart. We talked, and he said, yeah, you know, I’d love to do a song. And I said, you really read my mind. [The song] was just perfectly fitting for what it is that we needed for the end of the film, both solemn and sublime and uplifting at the same time. And that’s a special sauce that he really has among so many musicians.

What do you hope people take away after watching this documentary?

Gaines: I really hope that they’re inspired. I wanted the movie to be so much more than Stuart being defined by the last battle of his life. I wanted it to be defined by his perseverance through his life. Prior to the battle with cancer, he had a series of different challenges that he had to overcome. And so when cancer showed up, I don’t think, uh, he or his family or anybody around him felt that this wasn’t a hurdle that he was going to not overcome, just like he did anything else in his life. But what he showed us all was what real grit and perseverance looks like.

What will be Scott’s legacy in sports journalism?

Gaines: His legacy really should be looked at through that lens as somebody who changed media, somebody who changed broadcasts, news, for the better. Because now we take someone’s having that level of personality on screen, we take that for granted, but that just wasn’t something that existed prior to him.

Less than five years ago, the Golden Globes were hanging by a thread.

In the wake of a Times investigation that exposed the group’s self-dealing and ethical lapses and a complete lack of Black representation among its membership, NBC pulled the ceremony off the air as Netflix and Amazon Studios and more than 100 publicity agencies cut ties with the embattled Hollywood Foreign Press Assn.

It got so bad that Tom Cruise sent back his three Golden Globes to the HFPA in protest, an act not quite on the level of Sean Penn’s 2022 threat to smelt his Oscars, though it grabbed headlines all the same.

But the Golden Globes have returned from the brink. The awards show, now run by Penske Media Eldridge, owned by Jay Penske and Todd Boehly, announced its latest slate of film and television nominations Monday. And the coverage, led by trade publications owned by Penske, has contained little to no mention of the show’s troubled past — or the controversies that continue to swirl around the ceremony, which will again air in January on CBS as part of a five-year broadcast deal signed in 2024.

So, yes, for all intents and purposes, the Golden Globes are back. But regarding ethical practices, today’s for-profit Globes may well be worse than ever, crossing the line in ways that are more egregious than the shady maneuverings that put the awards on life support not so long ago.

As part of the show’s rehabilitation, the Globes have expanded their voting pool to 300 people, including Black voters. Fifty of the original HFPA members were grandfathered into the group and offered an annual salary of $75,000. The Globes terminated that policy earlier this year, calling the move “an acknowledgment that continuing to pay members could add to a perception of bias in voting.”

It’s hard not to be skeptical of such principled reasoning in light of more recent events. In May, the Globes announced a new category for podcasts. A shortlist of 25 followed in October, selected by audio analytics company Luminate, which, surprise, is also owned by Penske Media.

The eligible titles ranged from Dax Shepard’s “Armchair Expert” and Amy Poehler’s “Good Hang” to political programs like “Pod Save America.” Conservative commentators Tucker Carlson, Joe Rogan, Megyn Kelly, Ben Shapiro, Theo Von and Candace Owens all made the shortlist. (Surprisingly, “New Heights,” the popular podcast hosted by Jason Kelce and his brother Travis, the all-pro Kansas City Chiefs tight end engaged to singer Taylor Swift, was omitted. If the goal in creating the new award was to find a way to coax Swift into attending the ceremony, somebody forgot to save her a seat.)

But the real motivation behind the podcast category became apparent soon afterward: money. Per the Ankler, Penske-owned trade publication Variety had its sales team pitch nominated podcasts an array of paid marketing partnerships, including a $25,000 buy to become a Podcasting FYC Fest supporting partner and a $75,000 deal for the podcaster to be given the Variety Creative Impact Award in Podcasting.

With those prices, no wonder Luminate seems to have made popularity — and thus financial resources — a core criterion for eligibility. Plus, there was the hope that some of the 25 shortlisted shows would buy FYC ads in Variety and Penske’s other trade publications, the Hollywood Reporter and Deadline, all of which rely on FYC dollars to keep the lights on.

How many bit? Shapiro is one prominent name, buying ads on Deadline and partnering with awards prediction website Gold Derby (yes, another Penske property) in a paid video interview with his podcast team. (The stumping failed to pay off in the end: The final six nominees in the category were “Armchair Expert,” “Call Her Daddy,” “Good Hang With Amy Poehler,” “The Mel Robbins Podcast,” “SmartLess” and “Up First.”)

“It’s just a money grab,” says a veteran awards consultant, who asked not be identified in order to protect industry relationships. “Everybody used to knock the Globes, but they were just goofy. … This is next level.”

You want next level? How about Penske offering three pairs of Golden Globes tickets for $70,000 each via a “concierge gift guide” in its luxury lifestyle magazine Robb Report? After the New York Post reported these shenanigans, the offer disappeared on the publication’s website.

Privately, there has been pushback. Publicly, not so much. We live in a culture at large where we’ve come to accept flagrant corruption as the norm, and Penske’s Globes are just another example, skating through our collective numbness.

The Golden Globes have long been excused for their scandals and idiosyncratic membership and, of course, mocked for their irrelevance. Ricky Gervais dismissed them as “worthless,” calling the award “a bit of metal that some nice old confused journalists wanted to give you in person so they could meet you and have a selfie with you.”

The membership has turned over, but the trophy’s value is still inconsequential.

Yet the ceremony keeps on chugging along, remaining, in the view of filmmakers behind the sort of grown-up movie fare that’s becoming an increasingly endangered species, an essential marketing platform. The January ceremony brought in 9.3 million viewers — not “Sunday Night Football” numbers, but not shabby in this fragmented media landscape.

For one night, the thinking goes, movies like “Marty Supreme,” “Hamnet” and “Sentimental Value” (among this year’s most-rewarded contenders) are celebrated and, perhaps, discovered. Studios still platform their films’ expansion into more theaters on the weekend after the Globes ceremony. If you award it, the thinking goes, people will come.

We all want these movies to continue to be made. No doubt a fair number of moviegoers bought a ticket to see the Brazilian political drama “I’m Still Here” after its lead Fernanda Torres won a Globe earlier this year.

But adding categories for podcast and, two years ago, “cinematic and box office achievement” only squeezes the amount of time that the show can spotlight the nominated films and their actors.

There’s a saying, first coined by Maya Angelou, that’s been repopularized in recent years: “If someone shows you who they are, believe them.” The same could be said of awards shows.

The Golden Globes may be here to stay. But let’s stop pretending they’re any better than they were before the last scandal.

WICKED: For Good has had less-than-favourable reviews compared to the first Wicked film, but there were still horrified gasps after it was snubbed from the biggest category in the Golden Globe nominations last night.

While Cynthia Erivo landed a Best Female Actor nod and Ariana Grande was nominated in the Best Supporting Female Actor shortlist, Jon M Chu’s film missed out for Best Film in the Musical/Comedy category.

Sydney Sweeney will also have her head in her hands as her new boxing biopic Christy failed to get a single nomination for the ceremony, which will take place next year in Los Angeles on January 11.

Leonardo DiCaprio will be ordering in the tequila though as his new film, One Battle After Another, is leading the nods in the film categories and is up for a total of nine Golden Globes, including Best Picture, Best Director and Screen Writer.

Sentimental Value is just behind with eight, while Michael B. Jordan’s Sinners has seven nods.

In the telly categories, The White Lotus leads the pack with six nominations, while Netflix’s brilliant Adolescence is just behind with five nods.

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Its teenage acting sensation Owen Cooper is nominated in the Best Supporting Male Actor category.

His co-stars Erin Doherty, Ashley Walters and Stephen Graham — who lives just a stone’s throw from my mum — are also in the running for awards.

Plenty of other Brits feature in the TV categories, including Helen Mirren, Bella Ramsey, Adam Scott and Gary Oldman.

In films it’s not a stellar year for homegrown talent, with only Cynthia and Emily Blunt — up for her role in The Smashing Machine — representing us in the acting categories.

Irish stars Jessie Buckley and our favourite Glastonbury raver Paul Mescal both have nominations for Hamnet.

With luck, us Brits will bring it home with Adolescence, and my fingers are crossed for Aimee Lou Wood and Jason Isaacs in The White Lotus.

JESSIE J-JINGLES ALL THE WAY

JESSIE J was in a reflective mood as she closed the final night of Capital’s Jingle Bell Ball with Barclaycard.

She opened up about her tough year after she was diagnosed with breast cancer as she bounced through hits including Bang Bang, H.A.P.P.Y and Price Tag.

Jessie told the packed London’s O2 Arena: “A lot of this stuff is smoke and mirrors. What really matters is who we are behind the camera and what we do in our lives when we wake up in the day.

“I’ve learnt a lot this year. I’ve learnt to slow down and be more present. I’ve learnt to live more in the moment, and I’ve learnt to know that life is not promised in the way we might want it to be.”

Louis Tomlinson, Celebrity Traitor Cat Burns and Kylie Minogue also took to the stage for the show – which also saw Five pulling up in a massive hummer for their Barclaycard Out Of The Blue surprise performance.

JUNGLE WAS NO EASY RYDER

SHAUN RYDER was glued to I’m A Celebrity so he could cheer on fellow Mancunians Aitch and Angry Ginge – who was crowned King Of The Jungle on Sunday night.

But in an exclusive chat to celebrate the 35th anniversary of Happy Mondays’ landmark album Pills ‘N’ Thrills And Bellyaches, Shaun, admits his time in the jungle in 2010 wasn’t such smooth sailing.

Shaun, who finished runner-up to Stacey Solomon, recalls: “I got really bad mosquito bites when I was in the jungle.

“My face swelled so much that medics had to come to my rescue. I also got badly bitten by a snake. But I survived.”

It didn’t get much better when he signed up to the All Stars series of the show back in 2023 either.

“My hip came out,” Shaun explains. “I was down on one of the low beds.

“And I dived out, forgetting where I was, and my hip just went boom.

“I screamed and woke the whole camp up.

“And I had to stick it back in straight away. It’s a titanium hip. But it just comes out.

“A couple of my implanted teeth were sticking into the side of my mouth, too.

“So I had blisters every time I opened my mouth. They really did cause me a lot of hassle.

“I think my teeth went from the crystal meth and crack cocaine.”

That’s rock ‘n’ roll for you.

MILEY GOT TRUMP’S BACKING

WE’VE seen a lot of unlikely celebrity friendships over the years, but Miley Cyrus and Donald Trump was not a pairing we saw coming.

Miley has revealed that the US President comforted her after her infamous 2013 MTV VMAs performance which saw her grinding up against Robin Thicke while belting out her hit We Can’t Stop.

The performance led to the former Hannah Montana star being slammed by prudish bores who branded it inappropriate.

On a recent episode of the Awards Chatter podcast Miley said: “It’s never been about that expectation of reaction for me.

“My mum is often the brains behind the crazy things.

“But it was all my idea and mum really supported it.

“I didn’t know what the big deal was and never thought it was a big deal until I woke up the next day.

“I was staying at the Trump hotel and Trump sent me a message saying, ‘Don’t let them get you down.’”

KYLIE MINOGUE is on course to land her 11th No1 album with her new festive record. Kylie Christmas (Fully Wrapped) is currently holding Sam Fender‘s deluxe version of People Watching off the top of the charts.

Depeche Mode’s Memento Mori: Mexico City is also sitting at No6 but could climb higher ahead of Friday.

MILLIE SUCH A SWIFTY

MILLIE BOBBY BROWN is a self-confessed Swiftie and she used her encyclopaedic knowledge of Taylor Swift‘s albums to craft her monologue on Jimmy Fallon‘s The Tonight Show.

Referencing her Stranger Things character, Millie said: “Eleven has always been totally Fearless and that taught me to Speak Now. I wore a Red dress when we won our first SAG Award. And Eleven needs to save the world before 1989. Eleven gave me a Reputation.”

Finishing up, Millie added: “I had my first kiss on the show, married my Lover and had a baby girl. Like, isn’t that the best Folklore you’ve ever heard?

“I’m so lucky to have played Eleven and will be for Evermore in debt to the Duffers and Netflix for giving me this opportunity. I could keep thanking everyone, but I’d be here long past Midnight.”

Millie also took part in Pup Quiz – where for every question she got right she was given a dog to cuddle.

Cinderella is getting flipped on its head with the classic fairytale told from the perspective of her “evil” step-sisters

Netflix Beef actress and an Everything Everywhere All At Once star are teaming up for Cinderella with a twist.

Steps is Netflix ’s next big animated film which is going to show Cinderella’s “not-so-evil step-sisters in a new light” during the princess’ biggest night of her life.

The official synopsis reads: “When misunderstood Lilith (played by Ali Wong) is blamed for hijacking the Royal Ball with a stolen magic wand, she accidentally turns her sister Margot (Stephanie Hsu) into a frog and allows the kingdom to fall into the hands of a prince-obsessed mean girl.

“Now Lilith must team up with Cinderella (and a surprisingly dreamy troll) to save the kingdom, repair the fractured fairy tale, and prove that even so-called villains deserve a shot at happily ever after.”

Taking on the role of Lillith is actress and comedian Ali Wong who is famed for playing Amy Lau in the hit Netflix show Beef.

She also portrayed Sasha in the heartwarming romcom Always Be My Maybe with MCU star Randall Park and Matrix icon Keanu Reeves.

Wong is joined by Academy Award-nominated actress Stephanie Hsu who has been in Everything Everywhere All At Once and The Marvelous Mrs Maisel as Mei Lin.

As of yet, there has been no official word on who is set to voice Cinderella but director Alyce Tzue has opened up on what attracted her to this unique fairytale adaptation.

She shared: “This story is, at its core, about two very different sisters — one who fits perfectly into this fairy tale kingdom and one who doesn’t — realizing they’re more alike than different.

“It’s such a personal story for me because, growing up as an awkward, artsy Taiwanese kid in suburban New Jersey, I often felt like an outsider, like ‘happily ever after’ wasn’t meant for me.

“I wanted to create a film for everyone who has ever felt like they didn’t belong — and show how a single act of kindness can change everything.”

Also working behind the cameras as a co-director of Steps is John Ripa who directed Raya And The Last Dragon but has additionally worked on Frozen and Zootopia.

They will be joined by producers Jane Hartwell, Kim Lessing and actress and comedian Amy Poehler who has starred in Parks and Recreation and the original Mean Girls film.

Steps will premiere on Netflix in 2026.

THE star of a hit superhero movie has barely aged since became a global superstar more than 40 years ago.

Ornella Muti played Princess Aura in Flash Gordon in 1980 and looked incredible at a recent book signing event.

The actress made her English-speaking film debut in the sci-fi movie and was voted “The Most Beautiful Woman in the World” in 1994 by a worldwide poll of readers of Class magazine.

Flash Gordon, which celebrated its 45th anniversary this month, follows the adventures of American football quarterback Flash as he ventures into space to unite the planet Mongo and save Earth from destruction.

Ornella, who was born in Italy with Russian ancestry, has recently been on a book tour on the Italian island of Calabria.

She released her autobiography, This Is Not Ornella Muti, in September and shared a series of photos from her tour in Calabria.

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Ornella looked striking a red maxi dress and dark-framed glasses as she greeted fans in the Italian bookstore.

The beauty worked as a model before making her film debut as a 14-year-old in 1970.

She would go on to have an illustrious film career in Italy before making her Hollywood debut in the 1980s.

After starring in Flash Gordon, Ornella worked with many well-known movie directors, including Woody Allen, John Landis and Eugene Levy.

In 2008, Ornella launched her own jewellery line and opened a number of retail stores in Italy.

She had a brush with the Italian law in 2015 when she was sentenced to 10 months in jail for cancelling a theatre performance.

Ornella had cited a health reason for cancelling the show in 2010, but then attended a dinner with Russian President Vladimir Putin in St Petersburg.

The actress is mum to three children, including her model daughter, Naike Rivelli.

Naike and her mum became the topic of a heated debate when it was revealed, Ornella and Naike’s step-father had snapped nude pics of the model for Instagram.

In 2016 Naike, who is well-known in Italy for uploading racy snaps, posted a photo of her standing on one leg covering her breasts and groin with her hands.

Underneath the picture, she wrote: “Who in the world took this picture of me? The man I don’t have? The woman I don’t have? The friends who aren’t here right now? Who?”

Then, she revealed another snap showing her stepfather, Fabrice Kerherve, taking the shot – as her mother lies under a dressing table taking even more pictures.

Next to this photo, Naike added: “In the end, it’s so much simpler than it seems.

“A simple crazy morning with my mum Ornella Muti and my stepdad Fabrice Kerherve family moments.”

But far from ‘liking’ the social media posts, many online commenters felt there was something distasteful about the model being photographed by her stepdad.

Coming off of the massive box office success of “Wicked: For Good,” Cynthia Erivo is also making history.

Erivo was nominated for a Golden Globe for lead actress in a musical or comedy on Monday morning, marking her second nod. She received her first nomination just a year ago for “Wicked.”

With the two nominations, Erivo became the first Black woman to be recognized twice in the female actor in a musical or comedy category. The award has been given out for several decades since the Golden Globes split the acting categories by genre in 1951.

A handful of Black women have had repeat nominations in the category‘s drama counterpart, including Halle Berry and Viola Davis.

Erivo is nominated alongside Rose Byrne (“If I Had Legs I’d Kick You”), Kate Hudson (“Song Sung Blue”), Chase Infiniti (“One Battle After Another”), Amanda Seyfried (“The Testament of Ann Lee”) and Emma Stone (“Bugonia”).

The performer has a host of nods, awards and accolades under her belt, including Daytime Emmy, Grammy and Tony wins. She’s an Oscar away from coveted “EGOT” status and is expected to earn her fourth Academy Award nomination later this year for “Wicked: For Good.”

“Wicked: For Good” received five nominations, including one for Erivo’s co-star Ariana Grande, who is in the running in the supporting category.

Two original songs written for the film — “No Place Like Home” and “The Girl in the Bubble” — are nominated, and the film is up for the recently created cinematic and box office achievement category, but it is snubbed for best musical or comedy. Director Jon M. Chu was also left out in the directing category.

The Golden Globe Awards return to the Beverly Hilton on Jan. 11. The ceremony starts at 5 p.m. PT. Viewers can watch live on CBS or stream live on Paramount+.

Kate Winslet has opened up about the painful experience of reliving her mother’s 2017 death while making her directorial debut Goodbye June, which stars Helen Mirren

Kate Winslet has opened up about the emotionally challenging experience of “reliving” her mother’s death whilst working on her latest film, Goodbye June.

The Titanic star has stepped behind the camera for her directorial debut with this feature-length drama, offering a poignant portrayal of a family coming together around their dying mother over the Christmas period. The script was penned by her son, Joe Anders.

Arriving on Netflix on 24th December, Oscar-winning actress Helen Mirren takes on the role of matriarch June, whilst the ensemble cast features Toni Collette, Johnny Flynn, Andrea Riseborough and Timothy Spall.

Ahead of the film’s limited cinema release this Friday (12th December), Winslet discussed the loss of her own mother in 2017, admitting it “still feels like yesterday”.

During an appearance on Fearne Cotton’s Happy Place podcast, the actress explained she’d initially hoped to “keep that private experience separate” from the project, before recognising this wouldn’t be feasible, reports the Express.

“It wasn’t necessarily cathartic, but there were days when I was literally reliving what happened when I lost my own mum, even though our film is fictional. And I would find myself strangely trying to almost hide in a funny way.”

Winslet told Cotton she frequently found herself “sitting quietly” behind Max, the production’s focus puller, during particularly intimate moments featuring Mirren and Spall.

“I would just sit with him quietly watching his monitor and sort of crying on his back,” she recalled. The star described the crew member as a “great spirit” to lean on during the more demanding moments of filming.

Winslet also expressed her hope that the film will ignite family discussions about the harsh realities of loss, reflecting on several enlightening conversations that took place among the cast and crew during production.

“Actually in this country, I don’t think we’re very good at talking about loss. I don’t think we’re very good at processing grief,” she elaborated.

“And in an interesting way it did bring up a lot of those conversations and people were quite grateful to be able to have them, not just the cast, but sometimes the crew as well.”

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Discussing her shift from actress to director, Winslet noted that she has observed her male peers make the same transition “without any judgment or scrutiny”, a luxury not often extended to women in the industry.

“It feels like for you personally, not only is this an amazing challenge for you to make that switch, but also you’re doing it on behalf of women to help this cultural shift in the very male-dominated Hollywood directing scene,” she stated.

Goodbye June is in limited UK cinemas from Friday, 12th December and on Netflix from 24th December.