Listicle: Trophy or not trophy

Minari (2020) saw Yeun nominated for an Oscar for Best Actor. He didn’t win, but maybe 2024 will be his year? Both Yeun and his co-star, Ali Wong, were fantastic in Netflix’s edgy comedy-drama, Beef. Yeun played the frustrated contractor Danny Cho to absolute perfection. Remember when he burst into tears during a song about Jesus in Episode 3, the first time we see his character being vulnerable? Anyone who says they weren’t moved is lying.

Of course, the sixth Martin Scorsese x Leonardo DiCaprio collab will be up for Best Picture at the Oscars. But it will also be up against Oppenheimer. We want to see Lily Gladstone, who played Mollie, an Osage woman living in 1920s Oklahoma, win the Golden Globe Award for Best Actress in a Motion Picture – Drama. That scene where she sits at the bottom of the stairs screaming, knowing that her sister was killed, is enough to melt steel beams.

It is a toss-up between Culkin and his co-stars Sarah Snook and Matthew Macfadyen for a drama acting Emmy. But Culkin — as Roman Roy — aced the funny and dramatic scenes (they were often the same scene). In S4, when tasked with delivering the eulogy for his father, his dramatic breakdown in church (he hadn’t pre-grieved after all) is so ridiculous and sad at the same time, we can’t help but applaud.

Who would have thought that a post-apocalyptic show based on a video game would be so damn good? Between Pedro Pascal, Bella Ramsey and Nick Offerman (And Murray Bartlett. Still not over that, IYKYK), there was humour, there was grit, there was great writing and fantastic acting. The mushroom-zombie prosthetics will sweep the Primetime Creative Arts Emmy Awards, we think. But this show is so much more. It’s also been nominated for Outstanding Drama Series at the Primetime Emmy Awards. Fingers crossed.

Barbie is nominated for five Oscars, but we hope I’m Just Ken wins for Best Original Song. Ryan Gosling poured everything into it – heart, soul, plastic. It was stuck in our heads for weeks, until the Pete Davidson version came along. For pure stickiness alone, this one has our vote.

We all know that newly minted billionaire Taylor Swift is going to pick up all the Grammys. Sza will probably win Record of the Year. Ice Spice will take Best New Artist. They’ll probably throw in something for Olivia Rodrigo and Billie Eilish. Miley Cyrus deserves Song of the Year for Flowers. I can take myself dancing/ And I can hold my own hand/ Yeah, I can love me better than you can. We’ll die on this blooming hill.

Celine Song absolutely deserves to win Best Original Screenplay for Past Lives at the Critics Choice Awards. The film was written and directed by Song and is her feature directorial debut. It stars Greta Lee and Teo Yoo, playing friends over the course of 24 years, contemplating their relationship even as they live very different lives. The plot is semi-autobiographical and inspired by events from Song’s life.

If nothing else, you’ve seen that phenomenal, funky dance sequence between Mark Ruffalo and Emma Stone on Instagram by now. While the two are also nominated for Best Actress in a Leading Role and Best Actor in a Supporting Role at the Golden Globes, we think this movie, based on the 1992 book by Alasdair Gray, is likely to win Best Adapted Screenplay. Pssst, read the book.

Three Irish actors -- Cillian Murphy, Andrew Scott and Barry Keoghan- - are up for Best Actor at the Golden Globes. Cillian Murphy for his role in Oppenheimer, Barry Keoghan for Saltburn (this is definitely picking up a BAFTA) and Andrew Scott for All of Us Strangers. Personally, we’re rooting for hot priest, Scott in the 2023 British romantic fantasy, based on the 1987 novel Strangers. It’s hard to pick a scene without giving away the plot, but Scott makes his character seem like a boy again in a scene where he decorates a Christmas tree with his parents, listening to the Pet Shop Boys.

This British comedy-drama premiered at Sundance 2023, where it won the World Cinema Grand Jury Prize: Dramatic Competition. Charlotte Regan’s London-set indie shows the relationship between 12-year-old Georgie and her previously absent father Jason, who pops up out of the blue after her mother dies. The film is surprisingly complex and heartfelt and does a good job of making you feel grief and loss through a child’s eyes, while not being overly dramatic or predictable. We’re predicting a surprise BAFTA nomination, if not win.