Some 8,000 miles (12,800 kilometers) across the globe in Villa Carlos Paz in Argentina, 66-year-old retired teacher Raquel Greco watches an episode of a Turkish romantic comedy, surrounded by memorabilia from her once-in-a-lifetime trip to Istanbul where she visited landmarks she knew from years of watching Turkish shows.

“It seemed to me that I was dreaming, I couldn’t believe I was living what I saw every day in the series,” she said of her visit in April this year.

The global popularity of Turkish TV dramas — or dizi in Turkish — has thrust Turkey into the position of a leading exporter of television, greatly bolstering the nation’s international image and drawing millions of viewers and tourists worldwide to its historical and cultural sites which are backdrops to many of the shows.

The success of television shows has fueled a burgeoning billion-dollar industry that continues to expand into new markets, experts say. The popularity of these shows is also greatly enhancing Turkey’s soft power on a global scale.

Between 2020 and 2023, the global demand for Turkish series increased by 184%, positioning Turkey as one of the biggest exporters of TV shows around the world, according to Parrot Analytics, a research company.

“We reach over 400 million viewers every night around the world,” said Izzet Pinto, CEO of Global Agency, which exports Turkish dramas to world markets. “The soft power we create with Turkish dramas cannot be even compared to what could be done in politics.”

Although “Deli Yurek” was the first Turkish series to be exported — to Kazakhstan in 2001 — it was the 2005 romantic series “Gumus” that catapulted Turkish dizis to global fame. The series, which revolves around a woman from a traditional background adapting to urban life, became immensely popular in the Middle East.

“A Thousand and One Nights,” a 2006 romantic drama loosely based on the collection of Middle Eastern folktales and set in modern-day Istanbul, captivated audiences in the Balkans. “Magnificent Century,” based on the 16th-century Ottoman Sultan Suleyman the Magnificent, led the way for historical fiction.

Once an importer of Latin American telenovelas, Turkey is now exporting its dramas to the region. Venezuelan President Nicolás Maduro visited the set of the historical drama series “Resurrection: Ertugrul” in 2018, highlighting the appeal of the dizi in his nation.

Haley Uganadi, the founder of the Turkish TV series fan platform “Dizilah,” says the popularity of the dramas comes from themes that focus on family, friendship, and love, usually set against the backdrop of luxurious lifestyles in Istanbul or Turkey’s rich history.

“They offer something for everyone, regardless of where you are from. Watching Turkish dramas, I see reflections of my mom, myself, and my siblings,” Uganadi said.

Her platform receives about 1.5 million viewers monthly, with fans from the United States, Canada, Greece, India, and Pakistan.

Pinto points to the family-oriented nature of Turkish dramas. “There’s no nudity, no cursing or bad words, not much hate. So, this becomes watchable by the family,” he explains.

As the industry grows, it is expanding the themes of its series, such as “Red Roses,” which explores the dynamics between a staunchly secular Western-oriented family and a fictional Islamic brotherhood.

During a lull in filming, actor Ozcan Deniz, who previously starred in series such as “The Mansion with Vines” and “Bride of Istanbul,” said this diversification was essential if the industry is to flourish.

“Countries that were not able to transform (into) a different genre are now lagging behind in the export of series,” Deniz said. “Turkey has now caught this momentum, but if it cannot diversify, if it cannot also tell different things, it will end somewhere.”

Toivanen and her mother were touring Bozdag Film Studios, a vast complex in northern Istanbul, where historical Ottoman-era blockbusters like “Resurrection: Ertugrul” and “Foundation: Osman” were shot.

Toivanen says her love of the romantic dramas “Black Money Love” and “Endless Love” brought her to Istanbul. “I like Turkish culture very much,” she said. ”(The series are) very friendly and warm, and there is a lot of drama going on.”

The first episode of “Resurrection: Ertugrul” had over 157 million views on the Urdu-language YouTube channel of Turkish state broadcaster TRT, said producer and screenwriter Mehmet Bozdag, who created the popular historical dramas that fictionalize the lives of Ottoman leaders and heroes. “Foundation: Osman” was broadcast in over 110 countries, he said.

During its run, “Resurrection: Ertugrul” peaked as the fourth most in-demand show worldwide in May 2020, with demand more than 68 times that of the average show worldwide, according to Parrot Analytics.

Dr. Deniz Gurgen Atalay, assistant professor of film and TV at Bahcesehir University in Istanbul, cited Turkish media as saying the industry generated $1 billion in 2023 from overseas exports and has an important impact on tourism, especially in Istanbul.

“The TV series sector has a huge share in this. The image of Istanbul presented by the series, the food eaten here, the drinks drunk, the music listened to, the living standards, and the culture here offer a very pleasant place of appreciation within the framework of the series,.” Atalay said.

Mert Yazicioglu, another star of “Red Roses,” whose eagerly anticipated second season is set to premiere in late September, was clad in the attire of his character, a member of an Islamic sect, when he took a break from filming to chat.

The series has propelled the soft-spoken 31-year-old to stardom, with Turkey’s media tracking his every footstep.

“We have introduced Turkish culture abroad. That makes us very happy,” he said, wearing his character’s baggy beige trousers and matching waistcoat.

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The Grammy winner stayed on his feet as a parade of artists performed his hits — Childish Gambino kicked it off with “U Don’t Have to Call,” joined by Keke Palmer, who took the lead on “You Make Me Wanna…” Coco Jones appeared in the audience for a sultry rendition of “There Goes My Baby,” serenading Usher and his wife Jenn Goicoechea.

Summer Walker hit the stage for “Good Good,” Tinashe did “Nice & Slow,” Marsha Ambrosius tackled “Superstar” and Chlöe performed “Good Kisser.” Teyana Taylor and Victoria Monét teamed up for “Bad Girl,” mirroring Usher and Beyoncé’s choreography from their performance of the song. Latto brought the energy for “Yeah!” In some ways, the homage underscored the women that carried much of the night — dominating the performances.

After introductions by Terry Lewis and Jimmy Jam, Usher accepted the award from music executive L.A. Reid.

“Getting here has definitely not been easy, but it has been worth it,” Usher began his lengthy speech, reflecting on his career, which has spanned over three decades. He questioned the timing, saying, “I’m still running and gunning and I still love this (expletive) like I did when I was 8 years old,” he said.

Much of his speech couldn’t be heard to audiences at home because it was censored.

“I forgive each and every person who had anything to say negative about me because it only motivated me to be who I am,” he said at one point.

Earlier in the night, Will Smith stood in a circle of fire — joined by Fridayy and the gospel choir Sunday Service — to make the live debut of his latest single, “You Can Make It.”

“I don’t know who needs this right now,” Smith opened his set. “But I am here to tell you, you can make it.”

Mid-way through, Kirk Franklin joined, and then two rapped together. “Nobody gets an easy ride,” Smith, who is in the midst of his comeback from slapping Chris Rock at the Oscars two years ago, told the room. “There is wisdom in that fire. Dance in your darkest moments.”

The forthcoming presidential election was a huge topic of conversation throughout the show. After Childish Gambino presented Killer Mike with the album of the year award for “Michael,” the rapper used his acceptance speech to address his Grammys arrest and voting.

“Technically, I was not supposed to be here. I was put in handcuffs, and I was marched out of this building. But I want to tell you, look at God. ’Cause I’m back, baby. I’m back and I’m winning,” he said in his speech. Killer Mike was arrested at the Grammys earlier this year over a physical altercation he said was caused by an “over-zealous” security guard; he was not charged over the incident.

“They going to tell you who we vote for is important,” he continued his speech, “And it is who we vote for on the big stage. It’s important, but it’s more important you know who your city council person is, who your prosecutor is.”

Megan Thee Stallion opened the show by emerging from an egg — a metaphor for her a new musical rebirth — before diving into with an energetic medley of her new singles “Hiss” and “Boa.”

“BET, Where my girls at?” she said, shouting out Monét and Jones in the crowd before launching into “Where Them Girls At” — a track that’s been an immediate fan favorite since Friday’s release of her third studio album, “Megan.”

Taraji P. Henson hosted the show at the Peacock Theater in Los Angeles. Her opening monologue was a performance, Henson rapping “It’s about us,” in a loose parody of Kendrick Lamar’s “Not Like Us,” which he released in the midst of his reignited feud with Drake.

“No beef in here tonight,” she joked, “Can we say plant-based?”

Tyla, the Johannesburg , South African amapiano superstar, won two honors on the show, starting with best international act.

Later in the night, she’d take home the award for best new artist. “This is crazy,” she said. “I just want to dedicate this one to Africa.”

Monét, who earlier this year won the Grammy for best new artist, made her BET debut and set a high bar for performances, condensing a full set into a few mins with three costume changes and a pair of songs, “On My Mama” and “Alright.”

Then Sexyy Red took the stage, performing her smooth bedroom ballad “U My Everything” before moving to another stage and a costume change — tackling “Get It Sexyy” in front of an LED screen depicting the White House and dancers dressed like the Secret Service.

The show took a tonal shift when VanVan and Heiress Harris, two child rappers, their empowerment anthem “Be You” in a school room set. Harris is the daughter of rapper T.I. and singer Tiny Harris.

Best female R&B/pop artist went to SZA and best actress to Regina King, both of whom were not in attendance; the BET HER award went to Monét for “On My Mama.” She brought her mother up to accept it.

Country musician Tanner Adell brought her “Buckle Bunny” and her new song, “Cowboy Break My Heart.” GloRilla emerged from above, descending to join her dancers for “Yeah Glo!” and “Wanna Be” — the latter of which saw a surprise appearance from Megan Thee Stallion. Shaboozey kept the country coming with “A Bar Song (Tipsy)” and was joined by rapper J-Kwon, who appears on the track, creating an unexpected and rewarding collaboration across genres.

Lauryn Hill closed the night, beginning with “The Miseducation of Lauryn Hill” going into “Lost Ones,” before introducing her son YG Marley for his reggae tracks “Survival” and “Praise Jah In The Moonlight.” Best of all: Wyclef Jean appeared, and the trio — in front of a full-band — performed Fugees’ “Fu-Gee-La.” Pras, the third member of Fugees, was not present. The rapper, who was accused in multimillion-dollar political conspiracies spanning two presidencies, was convicted in April.

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His accolades began with the CMT performance of the year award for his gospel-assisted rendition of “Need a Favor” at the 2023 CMT Music Awards nearly a year ago to the day. It also was his first-ever awards show performance.

“In that last year you changed my life in every way I never thought my life could be changed,” the tattooed rapper-turned-country breakout star said in an emotional acceptance speech live from the Moody Center in Austin, Texas. The show was broadcast live on CBS and Paramount+.

The music video for “Need A Favor” earned him male video of the year and the biggest award of the night, video of the year.

“I’m having one of the best nights of my life,” he said, before focusing his speech on people who are looking for “second chances,” specifically those in juvenile detention facilities. “I once heard a man say that ‘you don’t change until the pain to remain the same is greater than the pain it takes to change,’ and that’s what it takes. I love you, Texas.”

In some ways, it was déjà vu from the 2023 awards show, where Jelly Roll also took home three awards, winning over audiences for his larger-than-life personality and outsider songs.

Kelsea Ballerini hosted the awards for fourth time in a row, opening with a comedic sketch about reading the minds of country music’s biggest names that ended with Keith Urban hugging the beaver mascot of beloved Texas gas station chain Buc-ee’s.

Her many outfit changes were only the first of a few surprises, which also included Melissa Etheridge appearing on a duet of “Come to My Window” with Ballerini.

Early on, Carly Pearce and Chris Stapleton won collaborative video of the year for their song, “We Don’t Fight Anymore.” She thanked Stapleton, who wasn’t in attendance, and “Fans, fans, fans, fans, fans!”

Ashley Cooke won breakthrough female video of the year for “Your Place,” her first-ever award. “I just won a CMT award, oh my god, good night!” she cheered as she headed off stage. Warren Zeiders took home the male equivalent for “Pretty Little Poison,” thanking God and his best friend: his dad.

Live performances were fast and furious. Three-time CMT award winner and Texas native Cody Johnson opened the 2024 show with his ode to the lone star state, “That’s Texas.” Jason Aldean performed “Let Your Boys Be Country” in front of the University of Texas at Austin, a less controversial choice than his radio hit “Try That in a Small Town.” Its music video was removed from CMT last year.

Wilson spent a lot time on stage, taking home female video of the year for “Watermelon Moonshine.” “Thank you for supporting women in country,” she told the audience.

Jennifer Nettles and Kristian Bush of Sugarland reunited on the CMT stage for the first time since 2011 in a collaborative performance with Little Big Town. The six voices teamed up for a cover of Phil Collins’ “Take Me Home.”

Trisha Yearwood was awarded the inaugural June Carter Cash Humanitarian Award, which honors musicians or industry veterans who demonstrate “an exceptional dedication to community and their fellow artists, embodying June’s spirit as a fierce advocate and initiator in paying it forward,” a statement said.

The country star was honored for her charitable contributions, including longstanding work with Habitat for Humanity and the annual Jimmy and Rosalynn Carter Work Week Project.

“I don’t think anyone who’s ever gotten a humanitarian award has thought they deserve it,” she began, agreeing with the sentiment before turning her attention to the woman the award is named after.

“June Carter Cash was a force, and she was married to a force. I know a little bit about that,” she said, in reference to her husband Garth Brooks, before applauding Carter Cash’s ability to keep shining a light on her own successes. “She was strong in a very human way,” Yearwood said.

Later in the night, she debuted a new song from her forthcoming album, the acoustic ballad, “Put It in a Song.”

The emotional center of the award show no doubt came later, in an all-star tribute to the late Toby Keith, with Brooks & Dunn tackling Keith’s 1993 breakout hit, “Should’ve Been A Cowboy,” Sammy Hagar doing “I Love This Bar” and Lainey Wilson covering “How Do You Like Me Now.” They all were backed by Keith’s longtime band.

Keith, a hit country crafter of pro-American anthems who riled up critics and was loved by millions of fans, died in February at 62 after being diagnosed with stomach cancer.

In the crowd, artists including Ashley McBryde and Jelly Roll raised their red solo cups in a cheerful tribute to the singer, who immortalized the humble plastic cups in his 2011 hit, “Red Solo Cup.”

After the musical tributes on stage, Keith’s longtime friend and baseball star Roger Clemens, his eyes watering, thanked Keith’s wife and children in the audience for sharing their husband and father with the world.

Clemens led a toast to those on stage, in the crowd, and at home: “Repeat after me. ‘Whiskey for my men, and beer for my horses,’” a reference to a comedic song by Keith featuring Willie Nelson.

It was a fitting homage: a little funny, with a whole lot of country heart.

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Megan Moroney brought her breakup anthem, “No Caller ID,” to the CMT stage and Parker McCollum teamed with Brittney Spencer for “Burn It Down.” NEEDTOBREATHE and Jordan Davis teased “CMT Crossroads” by tackling each other’s “Brother” and “Next Thing You Know,” respectively.

Lainey Wilson reminded the audience that “Country’s Cool Again,” leading into an outdoor performance of “Where It Ends” by Bailey Zimmerman. Veteran Keith Urban brought the first single of his forthcoming album, “Straight Line.”

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After passing over arguably Hollywood’s foremost big-screen auteur for years, the Oscars made up for lost time by heaping seven awards on Nolan’s blockbuster biopic, including best actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and best director for Nolan.

In anointing “Oppenheimer,” the Academy of Motion Pictures Arts and Sciences did something it hasn’t done for more than a decade: hand its top prize to a widely seen, big-budget studio film. In a film industry where a cape, dinosaur or Tom Cruise has often been a requirement for such box office, “Oppenheimer” brought droves of moviegoers to theaters with a complex, fission-filled drama about J. Robert Oppenheimer and the creation of the atomic bomb.

“For better or worse, we’re all living in Oppenheimer’s world,” said Murphy in his acceptance speech. “I’d like to dedicate this to the peacemakers.”

As a film heavy with unease for human capacity for mass destruction, “Oppenheimer” also emerged — even over its partner in cultural phenomenon, “Barbie” – as a fittingly foreboding film for times rife with cataclysm, man-made or not.

Sunday’s Oscars at the Dolby Theatre in Los Angeles unfolded against the backdrop of wars in Gaza and Ukraine, and with a potentially momentous U.S. election on the horizon. Awards for the documentary winner, “20 Days in Mariupol,” and best international film, “The Zone of Interest,” brought geopolitics into the Oscar spotlight.

The most closely watched contest went to Emma Stone, who won best best actress for her performance as Bella Baxter in “Poor Things.” In what was seen as the night’s most nail-biting category, Stone won over Lily Gladstone of “Killers of the Flower Moon.” Gladstone would have become the first Native American to win an Academy Award.

Instead, Oscar voters couldn’t resist the full-bodied extremes of Stone’s “Poor Things” performance. The win for Stone, her second best actress Oscar following her 2017 win for “La La Land,” confirmed the 35-year-old as arguably the preeminent big-screen actress of her generation. The list of women to win best actress two or more times is illustrious, including Katharine Hepburn, Frances McDormand, Ingrid Bergman and Bette Davis.

“Oh, boy, this is really overwhelming,” said Stone, who fought back tears and a broken dress during her speech.

Sunday’s broadcast had razzle dazzle, including a sprawling song-and-dance rendition of the “Barbie” hit “I’m Just Ken” by Ryan Gosling, with an assist on guitar by Slash and a sea of Kens who swarmed the stage.

But protest and politics intruded on an election-year Academy Awards. Late during the show, host Jimmy Kimmel read a critical social media post from former president Donald Trump.

“Thank you for watching,” said Kimmel. “Isn’t it past your jail time?”

Nolan has had many movies in the Oscar mix before, including “Inception,” “Dunkirk” and “The Dark Knight.” But his win Sunday for direction is the first Academy Award for the 53-year-old filmmaker. Addressing the crowd, Nolan noted cinema is just over a hundred years old.

“Imagine being there 100 years into painting or theater,” said Nolan, who shared the best-picture award with Emma Thomas, his wife and producer. “We don’t know where this incredible journey is going from here. But to know that you think that I’m a meaningful part of it means the world to me.”

Downey, nominated twice before (for “Chaplin” and “Tropic Thunder”), also notched his first Oscar, crowning the illustrious second act of his up-and-down career.

“I’d like to thank my terrible childhood and the academy, in that order,” said Downey, the son of filmmaker Robert Downey Sr.

“Barbie,” last year’s biggest box-office hit with more than $1.4 billion in ticket sales, ultimately won just one award: best song (sorry, Ken) for Billie Eilish and Finneas’ “What Was I Made For?” It’s their second Oscar, two years after winning for their James Bond theme, “No Time to Die.”

Protests over Israel’s war in Gaza snarled traffic around the Dolby Theatre in Los Angeles, slowing stars’ arrival on the red carpet and turning the Oscar’ attention toward the ongoing conflict. Some protesters shouted “Shame!” at those trying to reach the awards.

Jonathan Glazer, the British filmmaker whose chilling Auschwitz drama “The Zone of Interest” won best international film, drew connections between the dehumanization depicted in his film and today.

“Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October the 7th in Israel, or the the ongoing attack on Gaza, all the victims, this dehumanization, how do we resist?”

A year after “Navalny” won the same award, Mstyslav Chernov’s “20 Days in Mariupol,” a harrowing chronicle of the early days of Russia’s invasion of Ukraine, won best documentary. The win, a first for The Associated Press and PBS’ “Frontline,” came as the war in Ukraine passed the two-year mark with no signs of abating.

Chernov, the Ukrainian filmmaker and AP journalist whose hometown was bombed the day he learned of his Oscar nomination, spoke forcefully about Russia’s invasion.

“This is the first Oscar in Ukrainian history, and I’m honored,” said Chernov. “Probably I will be the first director on this stage to say I wish I’d never made this film. I wish to be able to exchange this (for) Russia never attacking Ukraine.”

In the early going, Yorgos Lanthimos’ Frankenstein-riff “Poor Things” ran away with three prizes for its sumptuous craft, including awards for production design, makeup and hairstyling and costume design. “Poor Things” fared second best to “Oppenheimer,” with a total of four awards.

Kimmel, hosting the ABC telecast for the fourth time, opened the awards with an monologue that emphasized Hollywood as “a union town” following 2023’s actor and writer strikes, drew a standing ovation for bringing out teamsters and behind-the-scenes workers — who are now entering their own labor negotiations.

The night’s first award was one of its most predictable: Da’Vine Joy Randolph for best supporting actress, for her performance in Alexander Payne’s “The Holdovers.” An emotional Randolph was accompanied to the stage by her “Holdovers” co-star Paul Giamatti.

“For so long I’ve always wanted to be different,” said Randolph. “And now I realize I just need to be myself.”

Though Randolph’s win was widely expected, an upset quickly followed. Hayao Miyazaki’s “The Boy and the Heron” won for best animated feature, a surprise over the slightly favored “Spider-Man: Across the Spider-Verse.” Miyazaki, the 83-year-old Japanese anime master who came out of retirement to make “The Boy and the Heron,” didn’t attend the ceremony. He also didn’t attend the 2003 Oscars when his “Spirited Away” won the same award.

Best original screenplay went to “Anatomy of a Fall,” which, like “Barbie,” was penned by a couple: director Justine Triet and Arthur Harari. “This will help me through my midlife crisis, I think,” said Triet.

In adapted screenplay, where “Barbie” was nominated — and where some suspected Greta Gerwig would win after being overlooked for director — the Oscar went to Cord Jefferson, who wrote and directed his feature film debut “American Fiction.” He pleaded for executives to take risks on young filmmakers like himself.

“Instead of making a $200 million movie, try making 20 $10 million movies,” said Jefferson, previously an award-winning TV writer.

The Oscars belonged largely to theatrical-first films. Though it came into the awards with 19 nominations, Netflix was a bit player. Its lone win came for live action short: Wes Anderson’s “The Wonderful Story of Henry Sugar,” based on the story by Roald Dahl.

The win for “Oppenheimer” offered Hollywood a chance to celebrate despite swirling storm clouds in the film industry. Nolan’s film debuted last year just as actors joined screenwriters in a prolonged strike over streaming economics and artificial intelligence. The actors’ strike ended in November, but little of Hollywood’s unease subsided. Streaming has proved less lucrative for most studios not named Netflix.

But “Barbenheimer” was the kind of unplanned phenomenon Hollywood needs more of. The two films could also give a lift to the Oscar telecast, which has historically benefitted from having big movies in contention. The Academy Awards’ largest audience ever came when James Cameron’s “Titanic” swept the 1998 Oscars.

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The book about a British navigator shipwrecked in feudal Japan was massive — over 1,000 pages. And old: “It was the book that was on our parents’ nightstand.” Plus it sounded culturally out of step. He assumed it couldn’t be adapted for 2024.

Marks laughs that he “was being a jerk” and judging a book by its cover. With urging from his wife, novelist Rachel Kondo, he eventually picked it up and soon realized why Clavell’s novel was so celebrated.

“When you open it and you go through it, it is a remarkably modern story,” he said. “It really does get to the core of what it is to encounter another culture and to encounter oneself in that culture.”

Marks and his wife plunged into the fish-out-of-water tale and now are ready for the world to see their 10-episode fictional limited series “Shōgun.” Set in Japan in 1600, it’s rooted in the real history of the period, a dangerous time when several warlords jockeyed for ultimate power as European powers warily circled the island nation.

The arrival of a shipwrecked Englishman — John Blackthorne — disrupts the balance in Japan and yet offers intriguing possibilities since he knows important global information. A pawn at first, he rises to become a trusted adviser and ally.

“It really came down to being the story about agency and this story about characters who are trying to exert control over the path of their own destiny in a very chaotic world where you can literally lose your head at any moment,” said Marks.

The series has elements of intrigue and spectacle like “Game of Thrones,” with brutal beheadings, people boiled alive or sliced open with katanas, blood splashing on window screens and fire-tipped arrows.

It also shows the hesitant understanding growing between Blackthorne (Cosmo Jarvis) and Lord Toranaga (Hiroyuki Sanada) and a love story between Blackthorne and translator Lady Mariko (Anna Sawai).

“Maybe fate brought you here for a reason,” Blackthorne is told shortly after shipwrecking in Japan. “Maybe you’ll live long enough to find out what it is.”

Sanada says the cast and creators came at the project hoping to respect the novel but also to ground it in historical reality and make the characters believable. “Our North Star was authenticity from the beginning,” he said.

The series is riding a wave of new TV offerings that embrace Asian culture, including Max’s “Ninja Kamui,” “Warrior” and “Tokyo Vice,” Paramount+’s “The Tiger’s Apprentice,” and “Avatar: The Last Airbender” and ”House of Ninjas,” both on Netflix.

The 1975 book “Shogun” sold millions and a 1980 TV miniseries, starring Richard Chamberlain and Toshiro Mifune, was watched by 1 in 3 U.S. households, winning three Emmys and three Golden Globes. Both the series and book triggered a wave of interest in feudal Japan, from kids playing with toy katanas to video games to Tom Cruise starring in “The Last Samurai.”

“It’s almost impossible not to continue to read ‘Shogun’ once having opened it,” The New York Times said in its review. “Yet it’s not only something that you read — you live it. The imagination is possessed.”

The new series — with Clavell’s daughter Michaela as a producer — adjusts the story. Sanada said that if the book was “blue eyes watching Japan,” the FX series puts on “Japanese lenses.” Blackthorne is less the hero here than a catalyst, as co-creators Marks and Kondo explore power dynamics.

Those tuning in may feel a whiff of “The Godfather,” another epic in the 1970s with a strong sense of loyalty, family and honor, while violence lurks nearby. There’s also a note of “Succession,” which Marks doesn’t deny.

“There’s always in a writers’ room a show we’re all watching when we’re doing it and ‘Succession’ was that show,” he says with a laugh. “We really were sort of just loving it. And in some ways it probably bled into the mix.”

Perhaps the most enjoyable parts of the series is the moments when both East and West realize they can learn from the other.

At first, Blackthorne calls the Japanese “barbarians,” and they, in turn, use the same term to describe him. But his bravery and expertise with weapons makes him valuable, and he learns about karma and inner calm.

“Do not be fooled by our politeness, our bows, our maze of rituals,” Lady Mariko tells him. “Beneath it all, we could be a great distance away, safe and alone.”

Sanada said it was appropriate that Western and Japanese crew members worked together to create the show. “The making of ‘Shogun’ itself has great drama and overlaps the story,” he says. “This is another good message for now: If we get together, we can create a better future together.”

Marks, who also served as showrunner and executive producer, says the “Shogun” team tried hard to fix mistakes in the novel, but such errors are always going to happen when bridges are built between cultures.

“We’re never going to get to place where we don’t make mistakes. What we do reach, hopefully, is every 40 years, whatever it may be, we reach a point where we just make better mistakes.”

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She began her speech by thanking her producer and friend Jack Antonoff and added, “I would love to tell you this is the happiest moment of my life,” she told the crowd, but said she feels this happy when she creates music and plays shows.

Earlier in the night, Taylor Swift used her 13th Grammy win on Sunday to announced her new album, “Tortured Poets Department,” will arrive April 19.

“I know that the way that the Recording Academy voted is a direct reflection of the passion of the fans,” she said while accepting the best pop vocal album award. “So, I want to say thank you to the fans by telling you a secret that I’ve been keeping from you for the last two years which is that my brand-new album comes out April 19. It’s called ‘The Tortured Poets Department.’ I’m gonna go and post the cover right now backstage.”

One of the night’s biggest awards, record of the year, went to Miley Cyrus for “Flowers,” her second-ever Grammy and second of the night.

“This award is amazing. But I really hope that it doesn’t change anything because my life was beautiful yesterday,” she said in her speech.

Victoria Monét won best new artist. “Thank you to the champagne-servers tonight,” Monét started her acceptance speech. “Thanks to my mom, a single mom raising this really bad girl.” Then she started to cry, telling the room that this award was “15 years in the making.”

Billie Eilish won song of the year for writing the “Barbie” hit, “What Was I Made For?”

“Thank you to Greta Gerwig for making the best movie of the year,” Eilish said during her acceptance speech.

It was just one of several standout moments from Sunday’s show, broadcast live from Cypto.com Arena in downtown Los Angeles.

Karol G made Grammy history Sunday by becoming the first female performer to win best música urbana album for her blockbuster “Mañana Será Bonito” record.

“This is my first time at the Grammys,” she told the audience in English. “And this is my first time holding my own Grammy.”

Performances were many. Olivia Rodrigo brought her bloodsucking ballad “vampire” – or in this case, bloodletting, as red liquid dripped from the walls behind her. Joni Mitchell, 80, made Grammy history by performing “Both Sides Now” from her 1969 album “Clouds”; Travis Scott did a medley of “My Eyes,” “I Know?,” and “Fein.” Burna Boy was joined by Brandy and 21 Savage and did “On Form,” “City Boys,” and “Sittin’ on Top of the World.”

A long and touching In Memoriam segment celebrated many of the musical greats lost in the year. Stevie Wonder performed “For Once in My Life” and “The Best Is Yet To Come” in honor of Tony Bennett; Annie Lennox delivered “Nothing Compares 2 U” for Sinéad O’Connor. “Artists for ceasefire, peace in the world,” Lennox said at the end of the song, her fist extended in the air.

Jon Batiste did a medley of “Ain’t No Sunshine,” “Lean On Me,” and finally “Optimistic” with Ann Nesby for the late great music exec Clarence Avant. Oprah introduced a fiery Tina Turner tribute of “Proud Mary” by Fantasia Barrino and Adam Blackstone.

SZA also took the stage – performing a medley of her larger-than-life hits “Snooze” and “Kill Bill,” joined by dancers wielding katanas. Later, she’d take home the trophy for best R&B song — for “Snooze,” handed to her by Lizzo. SZA ran to the stage and gave a charming, out of breath speech because she was “changing, and then I took a shot,” before starting to tear up and saying, “Hi Taylor… I’m not an attractive crier. Have a good evening.”

Mariah Carey presented the night’s first award, for best pop solo performance, to Miley Cyrus for “Flowers.” It was also the singer’s first ever Grammy.

Afterward, Luke Combs’ delivered a heartfelt rendition of “Fast Car” with Tracy Chapman – his cover of the Chapman classic has dominated country radio and won him song of the year at the 2023 CMAs. In 1989, Chapman won best pop vocal performance, female for the song.

Dua Lipa opened the show with a high-octane medley: first, a tease of her forthcoming single, “Training Season,” then, her most recent single, “Houdini,” and finally, her disco-pop “Barbie” hit “Dance the Night.”

Eilish and Finneas brought their “Barbie” ballad to the Grammys stage with live string accompaniment, the second of two songs from the blockbuster film in one hour. They were followed by Cyrus, who performed “Flowers” for the first time live on television – moments after receiving her first ever Grammy.

“Why are you acting like you don’t know this song?” she teased the crowd — John Legend and wife Chrissy Teigen were among those in the audience who got up to dance — and later cheered mid-song, “I just won my first Grammy!”

Four-time Grammy host — and two time nominee — Trevor Noah greeted an excited crowd, starting things off with a kiss on the cheek from Meryl Streep. “The Grammys are gonna win as Oscar,” he joked about the moment.

Best country album went to Lainey Wilson for “Bell Bottom Country,” — her very first Grammy — as presented by Kacey Musgraves. “I’m a fifth-generation farmer’s daughter,” she told the crowd, adding that she’s a “songwriting farmer,” and that’s where the musical magic came from.

Jay-Z was awarded the Dr. Dre Global Impact Award and used his speech to talk about the hip-hop greats that came before him – and heavily suggesting at the Grammys history of placing rap on the backburner – or at the very least, not in the televised version of the show. (This year, there were no rap categories on screen, but two pop, one Latin, one country and one R&B.)

“We want you all to get it right,” he said. “At least get it close to right,” before switching focus to Beyoncé. “Most Grammys, never won album fo the year. How does that work?”

Bridgers took an early lead at the Grammys, quickly winning four trophies ahead of the main telecast, with her and her boygenius bandmates bringing an infectious energy to the Premiere Ceremony.

Songwriter Justin Tranter gave her the first award Sunday, best pop duo/group performance, which went to SZA and Bridgers for “Ghost in the Machine.”

Jack Antonoff took home producer of the year, non-classical for a third year in a row, tying Babyface as the only other producer to do so consecutively. “You need the door kicked open for you,” he said in his acceptance speech. “Taylor Swift kicked that (expletive) door open for me,” referencing their work together.

The first of three new categories in 2024, best pop dance recording, was given out shortly afterward and went to Kylie Minogue for “Padam Padam” — her first win in 18 years.

About 80 Grammys were handed out pre-broadcast. Regional Mexican star Peso Pluma won his first Grammy for his first and only nomination, for best música Mexicana album for his “Genesis.”

Best African music performance, a new category which aims to highlight regional musical traditions and recognizing “recordings that utilize unique local expressions from across the African continent,” went to South African singer Tyla for her ubiquitous hit, “Water.”

“I never thought I’d say I won a Grammy at 21 years old,” she said in her acceptance speech. “Last year God decided to change my whole life.”

Killer Mike won three awards in quick succession Sunday night, but somehow ended up in police custody before the main Grammys ceremony began. Police spokesperson Officer Mike Lopez said Mike being detained stemmed from an altercation inside the arena around 4 p.m.

The rapper won his first first Grammy in 21 years, for best best rap performance went to Killer Mike Featuring André 3000, Future and Eryn Allen Kane for “Scientists & Engineers.” Soon afterward, they won for “best rap song.” Killer Mike also took home best rap album for “Michael,” cheering, “It is a sweep! It is a sweep!”

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Earlier in the night, she won the first award of the telecast for best pop solo performance, also for “Flowers.”

After Meryl Streep and Mark Ronson proclaimed her winner of record of the year, she danced with fellow nominee Billie Eilish as she made her way to the stage.

Cyrus made several swerves during her speech, saying: “My life was beautiful yesterday. So please don’t think this is important. Even though it’s very important.”

Then after giving several thank-yous, Cyrus — clad in at least her fourth outfit of the night — said, “I don’t think I’ve forgotten anyone, but I might have forgotten underwear.”

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Accepting the Grammy for best pop vocal album, Taylor said she’d been keeping a secret for two years.

“My brand-new album comes out April 19. It’s called The Tortured Poets Department. I’m going to go and post the cover right now backstage,” she announced.

And so she did.

On her Instagram, Swift posted a black-and-white image of her reclining across pillows. The top half of her face and lower half of her legs are cut off in the low-contrast image.

“All’s fair in love and poetry…” her caption read. In a little over an hour, the Instagram post alone had amassed nearly 7 million likes.

“And so I enter into evidence / My tarnished coat of arms / My muses, acquired like bruises / My talismans and charms / The tick, tick, tick of love bombs / My veins of pitch black ink,” read what appeared to be handwritten lyrics posted after the album cover.

Swift had provoked mass speculation earlier in the night when her site seemed to go down. Some theorized she was gearing up to release “Reputation (Taylor’s Version),” but cryptic clues on the “crashed” site indicated that might be a misdirect.

And so it was.

The site’s back up now, focused around the upcoming album, with preordering and merchandise options. This will be Swift’s 11th studio album, not counting her re-recordings. Her last original album was “Midnights,” released in October 2022. Since then, she’s launched the billion-dollar Eras Tour and released “Speak Now (Taylor’s Version)” and “1989 (Taylor’s Version).”

Swift was accepting the Grammy for “Midnights” when she made the surprise announcement. As she walked the red carpet, she paid homage to her album title, donning a choker with a small clock embedded. And yes, the time was set to the midnight — even if the viewer had to tilt their head to see the hands pointing to “12.”

While a nod to the album — and reminiscent of the “tick, tick, tick” in “The Tortured Poets Department” post — the watch seemed particularly apt, given the superstar’s seemingly packed schedule over the next week. Swift is set to head back out on her Eras Tour this week, performing for four nights in Tokyo. She still will be able to make it back to the U.S. later in the week to catch her boyfriend Travis Kelce playing in the Super Bowl.

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If awards season has been building toward a second match-up of Barbenheimer, this round went to “Oppenheimer.” The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.

“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.

Along with best comedy or musical, “Poor Things” also won for Emma Stone’s performance as Bella, a Victorian-era woman experiencing a surreal sexual awakening.

“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently.”

Lily Gladstone won best actress in a dramatic film for Martin Scorsese’s “Killers of the Flower Moon.” Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.

“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”

The Globes were in their ninth decade but facing a new and uncertain chapter. After a tumultuous few years of scandal, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was remade.

“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.

It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California . The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running “Oppenheimer.” (“I needed another hour.”)

After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.

“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”

Downey’s win, his third Globe, denied one to “Kenergy.” Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between “Oppenheimer” and Greta Gerwig’s “Barbie.” The filmmakers faced each other in the best director category, where Nolan triumphed.

It was two hours before “Barbie,” the year’s biggest hit with more than $1.4 billion in ticket sales, won an award Sunday. Billie Eilish’s “What Was I Made For?” took best song, and swiftly after, “Barbie” took the Globes’ new honor for “cinematic and box office achievement.” Some thought that award might go to Taylor Swift, whose “Taylor Swift: The Eras Tour” also set box-office records. Swift, though, remains winless in five Globe nods.

Margot Robbie, star and producer of “Barbie,” accepted the award in a pink gown modeled after 1977’s Superstar Barbie.

“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.

“Barbie” and “Oppenheimer,” two blockbusters brought together by a common release date, also faced off in the best screenplay category. But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama “Anatomy of a Fall.” Later, Triet’s film picked up best international film, too.

Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.

Other contenders loom, though, like “Poor Things” and “The Holdovers.”

Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s “The Holdovers.” Giamatti, reuniting with Payne two decades after “Sideways,” won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.

“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”

Hayao Miyazaki’s “The Boy and the Heron” won best animated film, an upset over “Spider-Man: Across the Spider-Verse.”

The final season of “Succession” cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by “Mad Men” and “The X-Files.” Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.

“It is bittersweet, but things like this make it rather sweeter,” said “Succession” creator Jesse Armstrong.

Hulu’s “The Bear” also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company. Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.

“To the people who answer my emails, you’re the real ones,” said Edebiri.

“Beef” won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.

The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for “Selective Outrage,” his stand-up response to the Will Smith slap.

A few years ago, the Golden Globes were on the cusp of collapse. After The Los Angeles Times reported that the HFPA had no Black members, Hollywood boycotted the organization. The 2022 Globes were all but canceled and taken off TV. After reforms, the Globes returned to NBC last year in a one-year deal, but the show was booted to Tuesday evening. With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.

The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture. The HFPA (which typically numbered around 90 voters) was dissolved and a group of some 300 entertainment journalists from around the world now vote for the awards.

Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.) This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.

With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.

The most comical evaluation on the Globes came from presenters Will Ferrell and Kristin Wiig, who blamed the awards body for the constant interruption of a song they found irresistible while otherwise solemnly presenting best actor in a drama.

A furious, dancing Ferrell shouted: “The Golden Globes have not changed!”

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Also among the streaming offerings worth your time, as selected by The Associated Press’ entertainment journalists, are some new game shows on Fox and “Transformers: Rise of the Beasts” stomping onto Amazon Prime.

NEW MOVIES TO STREAM

— Director J.A. Bayona knows his way around an agonizing survival story. In 2012, he gave audiences a harrowing look at a family’s experience during the 2004 Indian Ocean tsunami, and now he’s back with “Society of the Snow,” about the Uruguayan Air Force Flight that crashed in the Andes mountains in 1972. The disaster has been recounted and studied in many books and movies over the years, including Frank Marshall’s 1993 film “Alive.” But Bayona was inspired to take another look after reading Pablo Vierci’s “Society of the Snow.” Bayona has said that he wanted to tell the stories not only of the survivors but of those who didn’t, in a “documentary style.” The Spanish-language film was selected to represent Spain at the Oscars and has been shortlisted for best international film. “Society of the Snow” is now streaming on Netflix.

Netflix also has Dan Levy’s directorial debut, “Good Grief,” coming on Friday. Levy, who also wrote, co-stars alongside Luke Evans, Ruth Negga, and Himesh Patel as a widower who has recently lost his husband and takes his friends to Paris for some soul-searching.

— The Criterion Channel has several treats for January, including a series on cat movies (from “That Darn Cat” to “Inside Llewyn Davis”), an ode to Ava Gardner (including “The Barefoot Contessa” and “Pandora and the Flying Dutchman”), but perhaps the most January of all the collections is James Gray’s New York. The films include his 1994 debut “Little Odessa,” in which Tim Roth plays a hit man who has come back to Brighton Beach, and the intoxicating romance “Two Lovers,” with Joaquin Phoenix and Gwyneth Paltrow as the beguiling Michelle. And if that wasn’t enough Joaquin for you, they’ll have “The Yards,” “We Own the Night,” and “The Immigrant” as well.

— And over on Prime Video are two movies that didn’t get the best reviews, but if you’re intrigued and have an Amazon Prime account, they’re there for the sampling. First, there is the globetrotting action pic “Transformers: Rise of the Beasts,” which centers on the charismatic stars Anthony Ramos and Dominique Fishback, who travel from Brooklyn to Peru. Directed by Steven Caple Jr., it is technically a sequel to “Bumblebee.” There’s also Garth Davis’ “Foe,” a sci-fi psychological thriller with Saoirse Ronan and Paul Mescal. Both start streaming on Friday.

— AP Film Writer Lindsey Bahr

NEW SHOWS TO STREAM
Fox is adding some new game shows to its roster in the new year. Rob Lowe executive produces and hosts a new trivia show called “The Floor” while Anthony Anderson and his mother Doris Bowman co-host the musical “We Are Family.”. The latter was originally intended to star Jamie Foxx and his daughter Corinne, but the Oscar winner, who experienced an undisclosed medical condition in 2023, will now executive produce. Both shows will also stream on Hulu.

— The acclaimed Hulu series “Only Murders in the Building” comes to broadcast television in early 2024. The comedy whodunit stars Steve Martin, Martin Short, and Selena Gomez as neighbors in a posh New York apartment building who start their own true crime podcast after another resident is murdered. The first three episodes of season one began airing on ABC on Tuesday.

— Season one of NBC’s rebooted “Night Court” ended on a cliffhanger, with the return of original series regular Marsha Warfield in an unexpected spot. Season two, which launched Tuesday and arrives the next day on Peacock, picks up where last season left off. The rebooted show stars series original John Larroquette and Melissa Rauch as the new night court judge.

— Alicia Rancilio

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