At a Glance
- Ludwig Göransson won the Golden Globe for Best Original Score for Sinners during an unaired commercial break
- Three-time winner Hans Zimmer publicly criticized the decision, saying “you don’t have a movie without” composers
- Producer Glenn Weiss told Variety the category was cut to fit time constraints but insists the award was still presented in front of peers
- Why it matters: The move reignites debate over which film crafts receive prime-time recognition at major awards shows
Ludwig Göransson’s Golden Globe victory for Best Original Score was kept off the live broadcast, prompting fellow composer Hans Zimmer to speak out against the Golden Globes’ scheduling choice.
The 2026 ceremony aired live via CBS from the Beverly Hilton in Los Angeles on January 11. Göransson received the award for his work on Sinners from presenters Charli xcx and Joe Keery, but the moment happened during a commercial break and was not shown to television viewers.
Zimmer Voices Disappointment Pre-Show
Zimmer, nominated in the Best Original Song category for F1, addressed the issue on Variety‘s pre-show livestream.
“I think it’s a shame not to honor those people – my friends – who work so hard to become a voice,” Zimmer said.
The composer, already a three-time Golden Globe winner, continued:
- “As a person who has been making films forever, everybody who works on a film works their utmost, doesn’t get any sleep, there are no weekends.”
- “Sometimes my children wonder who I am – I come into the house and they call the police.”
- “I think the work should always be acknowledged.”
- “This year is a fantastic year for composers – don’t ignore them, you don’t have a movie without them.”
Producer Explains Off-Air Decision
In a post-broadcast interview with Variety, Golden Globes producer Glenn Weiss provided insight into why certain categories were moved out of the televised portion.
Weiss stated that the production team does not control the total number of awards given. Instead, that total triggers a “bigger group discussion/decision” about what can fit into the allotted broadcast window.
“Here’s what we brought to it, in my opinion: I’ve seen on other shows that they literally surprise winners by handing awards on red carpets, or different ways of doing it,” Weiss said.
He emphasized that the ceremony still preserved dignity for winners:
- The award was presented inside the ballroom, “in front of their peers and everybody else”
- Göransson’s full speech was recorded and posted online
- The online clip includes a cutaway to Sinners writer-director Ryan Coogler when Göransson mentions him
- The digital presentation was designed to appear “just like it would present on the show”
“It was important to us that what lives online is as respectful as every other award,” Weiss said. “It’s not just a name mentioned or a throwaway.”
Communication Timeline Questioned
Variety pressed Weiss on the fact that composers learned their category would not air only two days before the ceremony.
“The organization is facilitating communication with the nominees and such, though I’m not exactly sure the thinking behind when and how they were informed,” Weiss replied.
Göransson’s Win Stands
Despite the off-air presentation, Göransson’s victory remains officially recorded by the Hollywood Foreign Press Association. His score for Sinners beat out fellow nominees:
| Nominee | Film |
|---|---|
| Hans Zimmer | F1 (song category) |
| Other composers | Not listed in original coverage |
The composer’s acceptance speech, available on the Golden Globes’ digital platforms, mirrors the length and tone of on-air remarks, according to Weiss.
Key Takeaways
- Ludwig Göransson’s Best Original Score Golden Globe was announced off-air, repeating a recent pattern of limited craft-category coverage at award shows
- Hans Zimmer’s public criticism highlights ongoing tension between broadcast entertainment demands and recognition of below-the-line talent
- Producer Glenn Weiss maintains the decision was time-based and that the Golden Globes prioritized in-room dignity for winners
- The controversy underscores the challenge of balancing a ratings-driven telecast with the film industry’s desire to honor all disciplines
