The Golden Globes Didn't Telecast Best Original Score , And Composers Are Calling It Disrespectful

Here's the tea: awards shows love to talk about "celebrating the craft" and "honoring artistry." But let's be real , when it comes time to actually put those words into action, some crafts get the red carpet treatment while others get shuffled off to a commercial break like yesterday's news.

That's exactly what happened at the 2026 Golden Globes, and composers are not staying quiet about it.

What Actually Went Down at the Golden Globes

So picture this: Ludwig Göransson, the incredibly talented composer behind Sinners, wins Best Original Score at the Golden Globes. This is a major recognition for his work , the kind of moment that should have millions of viewers witnessing the celebration of his craft.

But if you were watching the telecast from your couch? You missed it entirely.

The Golden Globes decided to present the Best Original Score award during a commercial break, keeping it off the live broadcast that reaches millions of viewers worldwide. And bestie, the music community noticed immediately.

This wasn't just a scheduling hiccup. This was a deliberate choice about what the Golden Globes considered "worthy" of primetime attention , and apparently, the people who create the emotional backbone of every film you've ever loved didn't make the cut.

Hans Zimmer Wasn't Having It , And Neither Were Other Composers

When Hans Zimmer speaks, people listen. The Oscar-winning composer behind Dune, Inception, The Lion King, and countless other iconic soundtracks publicly blasted the Golden Globes for their decision. And honestly? He had every right to.

Zimmer's criticism wasn't just personal frustration , it was a statement about how the industry treats composers as a whole. When one of the most celebrated and commercially successful composers in modern history is calling out an awards show, you know the problem runs deep.

And he wasn't alone. Industry figures, fellow composers, and producers all weighed in on the decision, viewing the omission as fundamentally disrespectful to the craft of film scoring.

The Golden Globes producer later offered an explanation, suggesting that broadcast time decisions come from larger planning conversations and that the award was presented "respectfully" in-room with the full acceptance speech available online.

But here's the thing , being available online isn't the same as being celebrated on the main stage. And everyone knows that.

Why Film Scores Actually Matter (More Than You Might Think)

Let's talk about why this decision hit so hard, because if you're not a musician or deeply embedded in the film industry, you might be wondering what the big deal is.

Think about your favorite movie moment. Got it? Now imagine it without the music.

• That tension in the horror film that had you gripping your seat? Gone without the score.

• The romance that made you tear up? Flat without those strings swelling in the background.

• The action sequence that had your heart racing? Just people running around without the driving percussion.

• The emotional ending that stuck with you for days? Just dialogue without the composer's work lifting it into something unforgettable.

Film scoring is one of those "invisible until it's missing" crafts. The music is doing heavy lifting every single second of a film, manipulating your emotions in ways you don't even consciously register. It's the difference between a scene that works and a scene that transcends.

When Hans Zimmer scores a moment, you feel something. When Ludwig Göransson brings his artistry to a project, the entire film elevates. These aren't background players , they're essential collaborators in storytelling.

The Bigger Problem: Awards Shows and the Hierarchy of "Important" Art

Here's where we need to zoom out, because this isn't just about one category at one awards show. This is about a pattern that keeps repeating across the entertainment industry.

Awards shows operate on a simple but brutal calculation: what will keep viewers watching? What will trend? What will generate the clips that circulate on social media the next morning?

And based on those calculations, certain categories consistently get pushed aside:

• Technical awards (sound design, editing, visual effects)

• Music categories (original score, original song presentations)

• Documentary and short film categories

• International film recognitions

The message is clear: if you're not a famous face accepting a trophy, you're not primetime material.

But this thinking is fundamentally flawed. Because the "glamorous" performances and celebrity moments that awards shows prioritize? They don't exist without the technical artists, composers, editors, and craftspeople who make movie magic happen in the first place.

You can't have a Best Picture winner without someone scoring it. You can't have a jaw-dropping performance without someone capturing the sound. These aren't separate things , they're interdependent parts of the same creative ecosystem.

The Cultural Impact of Who Gets Celebrated

Now let's talk about something that doesn't get discussed enough: representation in creative recognition.

When awards shows consistently marginalize certain categories, they're sending a message to the next generation about what kinds of creative work "matter." Young people watching these broadcasts are forming ideas about what success looks like in the entertainment industry.

If composers never get their moment on the main stage, aspiring film scorers might internalize the message that their work will always be secondary. If technical artists are perpetually shuffled to commercial breaks, students considering those career paths might question whether their contributions will ever be valued.

This isn't just about hurt feelings among established professionals. It's about the cultural signals we send about which artists deserve visibility and which ones should be content working in the shadows.

What Needs to Change

So what's the move here? How do we actually fix this problem instead of just complaining about it every awards season?

First, awards shows need to stop pretending they can't make time. These broadcasts run for hours. If there's time for elaborate musical performances and lengthy montages, there's time to present major creative categories on air.

Second, the industry needs to push back collectively. When composers, musicians, and technical artists speak up : the way Hans Zimmer did : it matters. Silence is acceptance. The more high-profile voices that call out these decisions, the harder they become to justify.

Third, audiences need to care. If viewers made it clear that they want to see all the major categories presented, that they value the full spectrum of creative talent, networks would respond. Ratings talk.

Fourth, alternative platforms need to step up. If traditional broadcasts won't give these categories their due, maybe it's time for streaming platforms or digital-first events to create spaces where all artists get equal celebration.

The Bottom Line

The Golden Globes made a choice when they sent Best Original Score to a commercial break. They chose to tell composers : and everyone watching : that their work isn't primetime material.

Hans Zimmer, Ludwig Göransson, and the entire film scoring community deserve better than that. The artists who make us feel something every time we watch a movie deserve to have their moment seen by millions, not relegated to an online clip that most viewers will never find.

Awards shows keep saying they celebrate artistry. It's time for them to actually prove it.

Because here's the truth: if the Golden Globes want credibility long-term, they can't keep treating major creative categories like bonus content. The music that makes movies unforgettable isn't an afterthought : and it shouldn't be treated like one.

If you're passionate about how the entertainment industry recognizes (or fails to recognize) creative talent, you're not alone. These conversations matter, and the more we have them, the harder it becomes for awards shows to sweep entire art forms under the rug.

The composers are speaking up. The question is: is anyone listening?

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