After a year off the air following scandal, upheaval and reforms at the Hollywood Foreign Press Association, the Golden Globe Awards will return to TV on Jan. 10. With the broadcast of the 80th edition of the ceremony, which will be hosted by comedian Jerrod Carmichael and produced by awards show vet Jesse Collins, the HFPA is essentially auditioning for its future, given that its (recently renegotiated) deal with longtime partner NBC expires at night’s end. At a time when all awards shows are struggling to find audiences (the SAG Awards won’t even be televised this year), and the industry is still figuring out how it feels about the HFPA’s efforts to reform itself (few stars publicly acknowledged their nominations, but several studios noted them in advertisements and on billboards), what should one expect from the Globes? It’s hard to say.

Whether enough of Hollywood’s big names return — and some, like best drama actor nominee Brendan Fraser, have pledged not to — the Globes will face an uphill climb to generate strong ratings due in part to Carmichael not yet being a household name and NBC slating the show for a Tuesday evening, ostensibly to avoid a conflict with Sunday Night Football.

However, Globes voters have, predictably, nominated a ton of A-listers — the best original song category alone includes Lady Gaga, Rihanna and Taylor Swift — and if even a fraction show up, NBC’s promotion of the show as “the party of the year” might not seem hyperbolic. The show has lined up presenters like Quentin Tarantino, Ana de Armas and Natasha Lyonne, and the attendance of Eddie Murphy and Ryan Murphy is assured: They already have agreed to accept the Cecil B. DeMille Award and Carol Burnett Award, respectively.

This year’s Globe nominations were determined by 96 HFPA members (journalists who cover Hollywood for non-American outlets) and — for the first time, as a result of reforms aimed at increasing the diversity of the electorate — 103 international voters. Unlike the HFPA, the new voters are relatively diverse — and won’t receive the five-figure salary that organization members will receive as a result of the HFPA’s switch from nonprofit to for-profit after an acquisition by Eldridge Industries. (The Hollywood Reporter is owned by PME Holdings, a joint venture between Penske Media Corp. and Eldridge.) Perhaps because of the influx of voters based abroad, the most notable thing about this year’s film noms is how much they tip toward non-Americans who have been on the periphery of the awards conversation. Elvis was recognized with expected noms for best drama and best drama actor (Austin Butler), and also best director for Aussie Baz Luhrmann — over the American directors of fellow best picture nominees Babylon (Damien Chazelle), Tár (Todd Field) and Top Gun: Maverick (Joseph Kosinski). Luhrmann’s fellow Aussie Hugh Jackman was nominated for best drama actor for The Son, despite the film’s 42 percent standing on Rotten Tomatoes, over Top Gun: Maverick‘s Tom Cruise (I’m sure Cruise returning his three Golden Globes to the HFPA in the wake of the recent controversy didn’t endear him to the group).

Meanwhile, alongside Jackman, Mexican Diego Calva (Babylon) and Brit Ralph Fiennes (The Menu) were selected over Tom Hanks (A Man Called Otto) and Adam Sandler (Hustle). And, in the drama actress race, Brit Olivia Colman (Empire of Light) and Cuban Ana de Armas (Blonde) were nominated for their poorly reviewed films — 45 and 42 percent, respectively, on Rotten Tomatoes — over stars of several acclaimed films, Danielle Deadwyler (Till), Jennifer Lawrence (Causeway) and Zoe Kazan (She Said). In the supporting races, Irishman Barry Keoghan (The Banshees of Inisherin) was picked over The Fabelmans‘ Paul Dano and Judd Hirsch and Elvis‘ Hanks, while Filipina Dolly de Leon (Triangle of Sadness) made the cut and Janelle Monáe (Glass Onion: A Knives Out Mystery), Keke Palmer (Nope) and Gabrielle Union (The Inspection) did not.

A final observation about the film nominations: In an era in which streaming services are supposedly taking over, only one film from a streamer cracked into either of the two best picture categories: Netflix’s Glass Onion, on the musical/comedy side.

This story first appeared in the Jan. 5 issue of The Hollywood Reporter magazine. Click here to subscribe.