AWARDS SEASON | GOLDEN GLOBE AWARDS WINNERS

The 81st Golden Globe Awards kicked off the official calendar for Awards Season and was hosted by Jo Koy (Awkwafina is Nora From Queens, Haunted Mansion, Leo). Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.

BEST MOTION PICTURE, DRAMA

“Oppenheimer” (Universal Pictures)
“Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)
“Maestro” (Netflix)
“Past Lives” (A24)
“The Zone of Interest” (A24)
“Anatomy of a Fall” (Neon)

BEST PICTURE, MUSICAL OR COMEDY

“Barbie” (Warner Bros.)
“Poor Things” (Searchlight Pictures)
“American Fiction” (MGM)
“The Holdovers” (Focus Features)
“May December” (Netflix)
“Air” (Amazon MGM Studios)

BEST DIRECTOR, MOTION PICTURE

Bradley Cooper — “Maestro”
Greta Gerwig — “Barbie”
Yorgos Lanthimos — “Poor Things”
Christopher Nolan — “Oppenheimer”
Martin Scorsese — “Killers of the Flower Moon”
Celine Song — “Past Lives”

BEST SCREENPLAY, MOTION PICTURE 

“Barbie” — Greta Gerwig, Noah Baumbach
“Poor Things” — Tony McNamara
“Oppenheimer” — Christopher Nolan
“Killers of the Flower Moon” — Eric Roth, Martin Scorsese
“Past Lives” — Celine Song
“Anatomy of a Fall” — Justine Triet, Arthur Harari

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, DRAMA 

Bradley Cooper — “Maestro”
Cillian Murphy — “Oppenheimer”
Leonardo DiCaprio — “Killers of the Flower Moon”
Colman Domingo — “Rustin”
Andrew Scott — “All of Us Strangers”
Barry Keoghan — “Saltburn”

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, DRAMA 

Lily Gladstone — “Killers of the Flower Moon”
Carey Mulligan – “Maestro”
Sandra Hüller – “Anatomy of a Fall”
Annette Bening — “Nyad”
Greta Lee — “Past Lives”
Cailee Spaeny — “Priscilla”

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, MUSICAL OR COMEDY 

Fantasia Barrino – “The Color Purple”
Jennifer Lawrence – “No Hard Feelings”
Natalie Portman – “May December”
Alma Pöysti – “Fallen Leaves”
Margot Robbie – “Barbie”
Emma Stone – “Poor Things”

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, MUSICAL OR COMEDY

Nicolas Cage — “Dream Scenario”
Timothée Chalamet — “Wonka”
Matt Damon — “Air”
Paul Giamatti — “The Holdovers”
Joaquin Phoenix — “Beau Is Afraid”
Jeffrey Wright — “American Fiction”

BEST SUPPORTING ACTOR – MOTION PICTURE 

Willem Dafoe — “Poor Things”
Robert DeNiro — “Killers of the Flower Moon”
Robert Downey Jr. — “Oppenheimer”
Ryan Gosling — “Barbie”
Charles Melton — “May December”
Mark Ruffalo — “Poor Things”

BEST SUPPORTING ACTRESS, MOTION PICTURE 

Emily Blunt — “Oppenheimer”
Danielle Brooks — “The Color Purple”
Jodie Foster — “Nyad”
Julianne Moore — “May December”
Rosamund Pike — “Saltburn”
Da’Vine Joy Randolph — “The Holdovers”

BEST TELEVISION SERIES, DRAMA 

“1923” (Paramount+)
“The Crown” (Netflix)
“The Diplomat” (Netflix)
“The Last of Us” (HBO)
“The Morning Show” (Apple TV+)
“Succession” (HBO)

BEST TELEVISION SERIES, MUSICAL OR COMEDY 

“The Bear” (FX)
“Ted Lasso” (Apple TV+)
“Abbott Elementary” (ABC)
“Jury Duty” (Amazon Freevee)
“Only Murders in the Building” (Hulu)
“Barry” (HBO)

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES, DRAMA 

Pedro Pascal — “The Last of Us”
Kieran Culkin — “Succession”
Jeremy Strong — “Succession”
Brian Cox — “Succession”
Gary Oldman — “Slow Horses”
Dominic West — “The Crown”

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES, DRAMA 

Helen Mirren — “1923”
Bella Ramsey — “The Last of Us”
Keri Russell — “The Diplomat”
Sarah Snook — “Succession”
Imelda Staunton — “The Crown”
Emma Stone — “The Curse”

BEST ACTRESS IN A TV SERIES, MUSICAL OR COMEDY 

Ayo Edebiri — “The Bear”
Natasha Lyonne — “Poker Face”
Quinta Brunson — “Abbott Elementary”
Rachel Brosnahan — “The Marvelous Mrs. Maisel”
Selena Gomez — “Only Murders in the Building”
Elle Fanning – “The Great”

BEST ACTOR IN A TV SERIES, MUSICAL OR COMEDY 

Bill Hader — “Barry”
Steve Martin — “Only Murders in the Building”
Martin Short — “Only Murders in the Building”
Jason Segel — “Shrinking”
Jason Sudeikis — “Ted Lasso”
Jeremy Allen White — “The Bear”

BEST SUPPORTING ACTOR, TELEVISION 

Billy Crudup — “The Morning Show”
Matthew Macfadyen — “Succession”
James Marsden — “Jury Duty”
Ebon Moss-Bachrach — “The Bear”
Alan Ruck — “Succession”
Alexander Skarsgård — “Succession”

BEST SUPPORTING ACTRESS, TELEVISION 

Elizabeth Debicki — “The Crown”
Abby Elliott — “The Bear”
Christina Ricci — “Yellowjackets”
J. Smith-Cameron — “Succession”
Meryl Streep — “Only Murders in the Building”
Hannah Waddingham — “Ted Lasso”

BEST LIMITED SERIES, ANTHOLOGY SERIES OR A MOTION PICTURE MADE FOR TELEVISION 

“Beef”
“Lessons in Chemistry”
“Daisy Jones & the Six”
“All the Light We Cannot See”
“Fellow Travelers”
“Fargo”

BEST PERFORMANCE BY AN ACTOR, LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION 

Matt Bomer — “Fellow Travelers”
Sam Claflin — “Daisy Jones & the Six”
Jon Hamm — “Fargo”
Woody Harrelson — “White House Plumbers”
David Oyelowo — “Lawmen: Bass Reeves”
Steven Yeun — “Beef”

BEST PERFORMANCE BY AN ACTRESS, LIMITED SERIES, ANTHOLOGY SERIES OR A MOTION PICTURE MADE FOR TELEVISION 

Riley Keough — “Daisy Jones & the Six”
Brie Larson — “Lessons in Chemistry”
Elizabeth Olsen — “Love and Death”
Juno Temple — “Fargo”
Rachel Weisz — “Dead Ringers”
Ali Wong — “Beef”

BEST ORIGINAL SCORE, MOTION PICTURE 

Ludwig Göransson — “Oppenheimer”
Jerskin Fendrix — “Poor Things”
Robbie Robertson — “Killers of the Flower Moon”
Mica Levi — “The Zone of Interest”
Daniel Pemberton — “Spider-Man: Across the Spider-Verse”
Joe Hisaishi — “The Boy and the Heron”

BEST PICTURE, NON-ENGLISH LANGUAGE 

“Anatomy of a Fall” (Neon) — France
“Fallen Leaves” (Mubi) — Finland
“Io Capitano” (01 Distribution) — Italy
“Past Lives” (A24) — United States
“Society of the Snow” (Netflix) — Spain
“The Zone of Interest” (A24) — United Kingdom

BEST ORIGINAL SONG, MOTION PICTURE 

“Barbie” — “What Was I Made For?” by Billie Eilish and Finneas
“Barbie” — “Dance the Night” by Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt
“She Came to Me” — “Addicted to Romance” by Bruce Springsteen and Patti Scialfa
“The Super Mario Bros. Movie” — “Peaches” by Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, and John Spiker
“Barbie” — “I’m Just Ken” by Mark Ronson, Andrew Wyatt
“Rustin” — “Road to Freedom” by Lenny Kravitz

BEST MOTION PICTURE, ANIMATED 

“The Boy and the Heron” (GKids)
“Elemental” (Disney)
“Spider-Man: Across the Spider-Verse” (Sony Pictures)
“The Super Mario Bros. Movie” (Universal Pictures)
“Suzume” (Toho Co.)
“Wish” (Disney)

BEST PERFORMANCE IN STAND-UP COMEDY OR TELEVISION

Ricky Gervais — “Ricky Gervais: Armageddon”
Trevor Noah — “Trevor Noah: Where Was I”
Chris Rock — “Chris Rock: Selective Outrage”
Amy Schumer — “Amy Schumer: Emergency Contact”
Sarah Silverman — “Sarah Silverman: Someone You Love”
Wanda Sykes — “Wanda Sykes: I’m an Entertainer”

CINEMATIC AND BOX OFFICE ACHIEVEMENT

“Barbie” (Warner Bros.)
“Guardians of the Galaxy Vol. 3” (Disney)
“John Wick: Chapter 4” (Lionsgate Films)
“Mission: Impossible — Dead Reckoning Part One” (Paramount Pictures)
“Oppenheimer” (Universal Pictures)
“Spider-Man: Across the Spider-Verse” (Sony Pictures)
“The Super Mario Bros. Movie” (Universal Pictures)
“Taylor Swift: The Eras Tour” (AMC Theatres)

Read the latest issue of Athleisure Mag.

TALKING ILLUSION WITH JOAN JULIET BUCK

We live in an age where we have the opportunity to get an inside look in the careers and people's lives via social media, reality TV or directly from the person themself! Growing up, we enjoyed reading Vogue as a means to be transported to high style, fabulous designers, locations and more. As we grew up, we realized that this signified the best of the best regardless of what edition we happened to be flipping through. 

French Vogue represents one of the most iconic titles and has had a number of notables helm this cover. We had the opportunity to chat with Joan Juliet Buck, who shares her time at Vogue (1994 - 2001); growing up in a family whose connections to those in film; art and literature is astounding and how she navigated her world is a page turner. Readers see how she befriended Karl Lagerfeld; her love affair with Donald Sutherland; her connection to Anjelica Huston; and more interactions that are effortlessly shared in 'Price of Illusion.' As a writer for a number of prestigious titles (Vanity Fair, American Vogue, Travel + Leisure, The Los Angeles Times and Conde Nast Traveler), feature editor at British Vogue, Editor in Chief of French Vogue her memoir navigates her journey via frank honesty about her world, her participation in it  and how she was able to step back and take the life she truly wanted is one that is refreshing! 

ATHLEISURE MAG: What is the meaning behind the 'Price of Illusion?'

JOAN JULIET BUCK: It's sort of well, now you know because you read the book.

AM: Yes, so what made you decide to write the book and to make it so personal.
 
JJB: Well the only way to write is to do so completely honestly. I'm not interested in writing fiction. I think that the most important thing for me was to sit down and write. The original manuscript was a lot longer. I think I had 20 edits to get it down as I was numbering them. I kept thinking that I was finished and done, but I edited a lot. It took me about 2 years to write the first 1,050 pages and then it took me 4 years to sculpt the story out of it.

The thing that became more and more important was this guardian angel that I read about when I was 7 years old. The guardian angel says to the little girl, "Don't go playing with the pretty people of the gorgeous garden. The pretty children wearing the beautiful clothes in the beautiful garden - don't go." Of course what the guardian angel doesn't say is that if you go, you will pay the price of illusion.

Of course, I went into the pretty garden with all of the pretty children and the beautiful clothes and flowers. Just like in the dream in the book that I read at 7 years old, let's just say it wasn't for me.

AM: Do you feel that maybe because of your upbringing of growing up around Peter O'Toole, John Huston and Anjelica Huston that it became a natural inclination to go into this garden because you were born into that world?

JJB: Of course. I was and that is what I considered natural. But one way to reclaim it would have been to become an actress, but my father (Jules Buck, an American film producer) said don't become one. So I thought I would become a writer and of course, I went towards beautiful magazines. Then I chose the beautiful world. I first went to Conde Nast magazine for Glamour at the age of 19 and then Vogue when I was 23. I couldn't leave - it was a beautiful garden and I couldn't leave. I thought it was my reproduction of what I grew up in - you're exactly right - you got it completely!

AM: Obviously, we work in the magazine industry and we were struck by how you integrated the state of the magazine world at that time with the consolidations in titles, the merge to going online and how you dealt with creating great content with such lower budgets. What do you think of the state of the fashion magazine business which is still battling these issues now?

JJB: They're in a very difficult state. There are certain magazines that manage to be surprising and glamorous. W and Harper's Bazaar both manage. But so many of the other magazines have gone so mainstream. The way we managed in French Vogue, as you saw is that for example, the model Caroline Murphy was AMAZING. She would work for our shitty prices, we would have to borrow horrible places in the country where people were practically in sleeping bags and she wouldn't care! She was really a trooper. But these days, the people who still work with Vogue or used to work for me say, "they used to put me on a plane to do an interview and now it's all on the phone!"

AM: Would you ever see yourself going back to working as an Editor in Chief or starting your own publication?

JJB: No - I think you have to be young and full of energy. I realized a lot of stuff about myself in life and then again when I wrote the book. I'm one of those people who need a lot of sleep. I can't function on 6 hours. It's really grueling and a hard job. 

AM: I had to laugh as we don't get a lot of sleep around here so your point is very valid!

JJB: It's true - but you're having fun though right?

AM: We love our readers, sharing the athleisure culture and being able to share the voices in our community. Everyday is different than the next which keeps it interesting. If you're not passionate and in in tune with what you're doing, it can really suck you dry!

JJB: That is so true and the difference for being a writer as I had always been and then being a boss - which I had never been, was so different. The days were fuller with events that had to do with other people and it didn't exhaust me in the same way that writing does as you're birthing something. It's almost a physical feeling. When going to events, I felt punch drunk from small talk.

AM: Were you concerned when you were writing this book that you had to go back and let people know that they were being included in this book as you include a number of people such as Anna Wintour, Karl Lagerfeld, Mario Testino.

JJB: No because I had done enough reportage on my own life by keeping a diary that I didn't feel that I needed to speak to anyone about what had happened because I knew very well. It was all in my diary. Are you asking if I needed to ask permission?

AM: Well yes, I know a number of the people that you're talking about in the book and I think that you're spot on. But there's always what you know that happened and what people like to revise in their heads and I just wondered if in that process that you were concerned that there would be a letter or email from someone who may have had an issue.

JJB: You're always concerned. I was concerned with certain friends who looked in the index and saw that they weren't in it. But that's ok and we had a conversation about it. Remember, I didn't belong to anything when I wrote this book. I didn't owe anyone anything and I didn't have any allegiance. I was gone. That's a fantastic freedom.

AM: I think that's what really draws you to this book because of the frankness and honesty. When you're in the industry, there are politics and things to consider so it would be tough to write something of this nature while navigating those associations.

JJB: You can't write honestly if you're protecting something. I was in a very privileged position. I decided to make my exile from Vogue a privilege instead of a drawback. 

AM: What are some of the things that you liked while you were at French Vogue Paris and duties that you had to do as a part of your job that you may not have enjoyed?

JJB: Well, let me see - you know this very well, but to be the person whose decision is final. I had that when I was there and when I went back to American Vogue and my decision wasn't final - I could provide my opinion, but I had to go ahead with it. Just being the decision maker was great. Watching people spark to an idea and watching how this thing would be like firecrackers - that was very energizing. It would also make me wistful because they would go off to do the photoshoot or reporting and I would be sitting behind the desk and then going to a cocktail party. I don't drink, I hate going to cocktail parties as I don't like standing. I don't mind walking, but I don't like standing around and I really don't like small talk. It was all kind of a nightmare. I also liked having the access! I loved going to museum shows before they even opened. It was nice to buy my clothes at wholesale prices, but it was weird as you would order 6 months in advance at the showroom and it felt more like business than shopping. 

I didn't like having people do things that they didn't want to do. If they didn't want to do it, I could usually see why and it made me say things to get them to do it - which I didn't want to do - I'm lousy at manipulating people. The schedule - the fashion shows - putting on your costume and the marathon of shows! I need my sleep and I need my food! It felt like torture.
 

AM: After going through all of this, how essential is balance to you?

JJB: It's everything!

AM: How do you envision success?

JJB: Well that's interesting. Because for me success is being able to write what I want to write and not having to do things that I don't want to do. That's the number one. It would be nice if success came with an enormous amount of money to reward me for my efforts. 

There is a line from Gertrude Stein who says, "I write for myself and for strangers." The success of the book - right now what I'm feeling for the first time in my life is because I wrote honestly and didn't write - so many strangers are reacting to this book with a full heart. In the fashion world, you don't see a full heart. I'm seeing that. The communication and atomization of everything from letters, Instagram etc and there are all these hashtags from strangers who are reading it. 

They have opened their heart to the story that I told which is extraordinary. In a world of magazines, you don't think that that is possible. In magazines people react because they want something from you.

AM: If this became a movie who would play you and your parents?

JJB: So think of it more like a very long TV series like Mad Men - going on and on. I've actually got my casting. Have you ever seen Orphan Black?

AM: Yes we're obsessed with the show!

JJB:  Of course you have! I think Tatiana Maslany is it. She is an extraordinary actress and like me, she can look like a whole bunch of different people. It's not consistent and one of the interesting things that I found doing this book because I was excavating - I played all these different parts and role. So I think Tatiana's talent to look like so many different people and she's not really pretty but she can be - that is so me! For the young me, it's Hailee Seinfeld.

AM: Good choice - she's fantastic!

JJB: Didn't you love her in The Age of 17? Hailee looks so much like Tatiana so it's perfect! For my parents, I keep thinking of Michael Stuhlbarg for my father. For Uncle Don, definitely Mark Ruffalo. 

That's who he looks like and the feeling - slightly rumpled, sloppy but with a really big heart! For mom, Natalie Portman!

AM: When you were talking about your mother from her style, jewelry, and movement - she seemed to have such an ethereal air. That's a perfect casting choice! 

JJB: Mom was so classy and the absolute embodiment of grace, beauty, charm, and style. Not quite me!

AM: We were so blown away about the book as there are so many layers that intersect!

JJB: The thing is, this book is not about fashion, Hollywood - they're in there. But this book is about people who are obsessed with such a beauty and things being wonderful. Everybody has that.

AM: Yes and historically, there are events that you mention that are mirrored today in terms of terrorism/bombings - that these things unfortunately still happen but that life also has to continue on with our personal chaos along with the global one. The weaving of these elements is what makes it so intriguing.

JJB: I love it and am thrilled that you felt so connected to it!

Read more from the April Issue and see Talking Illusion with Joan Juliet Buck in mag.