La La Land had a record-breaking evening, Moonlight snagged its only award for Best Drama, and Meryl Streep had a lot to say about politics and the value of cinema.
The 2017 awards season kicked off in earnest on January 8 with the 74th Annual Golden Globes, and it turns out: The voters of la-la land love La La Land.
The Hollywood Foreign Press Association bestowed a record number of trophies on Damien Chazelle’s original musical about two lovers trying to make it in Hollywood. The other major contender of the evening, Barry Jenkins’s quietly powerful Moonlight, didn’t win the Best Supporting Actor and Best Director awards it was tipped for, but it did come away with the Best Motion Picture (Drama) prize over Manchester by the Sea. Other big winners included The Crown, Elle, Atlanta, The Night Manager, and The People v. O.J. Simpson: American Crime Story.
Read more updates below, or check out our full wrap-up of the evening.
After being shut out for the majority of the 2017 Golden Globes, Moonlight finally triumphed where it really mattered, with a win for Best Picture (Drama). Barry Jenkins’s stunning film about the coming-of-age of Chiron, a young boy growing up in Miami, was nominated for six awards but took home only one, with the loss of Mahershala Ali in the Best Supporting Actor category coming as a particular surprise. Moonlight will now have some extra momentum heading toward the Oscars in February, although whether it can beat this year’s Globes juggernaut, La La Land, is anyone’s guess.
Jenkins adapted Moonlight from a play by Tarell Alvin McCraney, who grew up in the same Liberty Square housing project in Miami as the director. If you haven’t seen it already, this New York Times story by Nikole Hannah-Jones, who visited the area with the two men, is well worth a read.
Jimmy Fallon at the Globes: Game, Charming, and Barely There
Host Jimmy Fallon presents during the 74th Annual Golden Globe Awards show in Beverly Hills, California, on January 8, 2017. (Paul Drinkwater / NBC / Reuters)
When it was announced, this summer, that Jimmy Fallon would be hosting the 2017 Golden Globes, The Guardian’s Brian Moylan argued that Fallon’s selection could herald a new era for the awards show. Fallon, Moylan wrote—as opposed to the show’s previous hosts, Tina Fey and Amy Poehler, and certainly to Ricky Gervais—“promises to be a totally different kind of host.”
As Moylan put it,
As the steward of The Tonight Show, he’s not known for telling jokes in the same way that Gervais or Fey and Poehler are. Instead his most resonant bits are ones of collaboration, when he brings out the best in other celebrities and gets them to engage in wacky games or silly stunts. Also, his humor doesn’t have the sardonic edge of the previous hosts. Fallon has the temperament of a labrador retriever: always happy to be there, excited for anything that comes his way, and just dying for someone to scratch his belly.
Fallon did, indeed, offer moments of wackiness this evening. He began the Globes telecast with that La La Land-inspired musical number. He brought Questlove in as the show’s DJ. He did an “Oprah-Uma”-reminiscent play on the sort-of-rhyming names of Jessica ChastAIN and Eddie RedMAYNE.
Beyond that, though, the most notable aspect of Fallon’s hosting approach was … his general non-presence as a host. He had, overall, very little screen time.
That wasn’t Fallon’s fault. It was a reminder, though, of how different the demands that are made of the hosts of the Globes versus, say, the hosts of the Oscars. Fallon’s semi-presence during the evening highlighted the extent to which the “host,” at the Hollywood Foreign Press Association’s annual affair, is really more of an emcee than anything else. He introduces other people. He makes fun, but he also, more importantly, makes way. Fallon does indeed, as Moylan put it, “bring out the best in other celebrities”—which is a good thing, since that, apparently, is the job he was tapped to do for the evening.
The director Damien Chazelle holds his Golden Globe Award for directing La La Land. Paul Drinkwater / Courtesy of NBC / Reuters
As the night winds down, it’s a clean sweep for La La Land, the L.A.-set original musical that will surely be tipped for similar Oscar success next month. The film won seven Golden Globes in total: Best Picture (Comedy or Musical), Best Actor and Actress for stars Emma Stone and Ryan Gosling, Best Director and Best Screenplay for Damien Chazelle, and Best Original Score and Song. In winning all seven of the awards it was nominated for, La La Land became the most-awarded film in the 70-plus year history of the Globes.
Could such sweeping success lead to a backlash for La La Land, which is now the clear favorite for the Oscar for Best Picture? Perhaps. There were some slightly awkward optics as the film’s winners repeatedly took the stage and triumphantly noted how “daring” it was to try and make an original musical. Original musicals are few and far between in Hollywood these days, to be sure, but the (so far un-awarded) Moonlight, funded independently, featuring no major stars, and sprung to surprising word-of-mouth success on the back of critical acclaim, feels a little more “daring” than a nostalgic, if well-made, showbiz musical starring Stone and Gosling.
Meryl Streep vs. Donald Trump (and Mixed Martial Arts)
Handout / Reuters
Meryl Streep might be Hollywood’s best example of actor as craftsperson; now she’s making a play as statesperson. After a moving introduction from Viola Davis, Streep accepted the Cecil B. DeMille Award for a career’s worth of work by giving a full-throated articulation of the current Hollywood political mindset. She reassured the entertainment world of its value, and she took aim at Donald Trump and what he might represent.
The meat of the speech came with Streep reflecting on the episode where Trump seemed to mock a disabled reporter, or as she called it, the “moment when the person asking to sit in the most respected seat in our country imitated a disabled reporter, someone he outranked in privilege, power, and the capacity to fight back.”
“It kind of broke my heart when I saw it, and I still can’t get it out of my head because it wasn’t in a movie, it was real life,” she continued. “This instinct to humiliate when it’s modeled by someone in a public platform, by someone powerful, it filters down into everyone’s life because it kind of gives permission for other people to do the same thing. Disrespect invites disrespect. Violence incites violence. When the powerful use their position to bully others, we all lose.
She transitioned to the need for a “principled press” to “call them on the carpet for every outrage,” adding that the “famously well-heeled Hollywood Foreign Press and all of us in our community” should support the Committee to Protect Journalists.
Perhaps most surprisingly, in defending “the most vilified segments in American society right now”—by which she meant the type of people who attend the Golden Globes—she said something likely to be taken as a culture-war salvo: a highbrow-type aiming lower. “Hollywood is crawling with outsiders and foreigners,” she said, “and if you kick us all out, you’ll have nothing to watch except for football and mixed martial arts, which are not arts.”
Cue the politically divided reads of the moment:
An important lesson from #MerylStreep for Democrats and progressives: Speak truth.
With dignity.
With confidence.
Winning will follow.
'Hidden Fences': A Terrible Gaffe, but a Pretty Great Meme
Janelle Monae at a special screening of the movie Hidden Figures in West Hollywood, California, on January 4, 2017. Reuters / Mario Anzuoni
On the red carpet before the start of the Golden Globes ceremony, NBC’s Jenna Bush Hager began her question to Pharrell—who produced Hidden Figures, the new film about three black women who helped to send men to the moon in the 1960s, and for which he is nominated for a best original score—like so: “You’re nominated for Hidden Fences.”
It was a flub that would be repeated during the Globes ceremony itself by Michael Keaton, announcing the nominees for best supporting actress in a motion picture. (“Since the camera was focused on the actresses,” the New York Timesnotes, “it’s unclear if Mr. Keaton said it with a wink and a nod.”)
It was also a flub, however, that would quickly lead to some very good jokes on Twitter.
I can't believe I haven't seen #hiddenfences yet!! But you know, I still need to see Boo! A Madea Moonlight, so...I'll get to it.
Tom Hiddleston Makes a Humblebraggy Humanitarian Speech
Handout / Reuters
It would not be charitable to write off Tom Hiddleston’s Golden Globes acceptance speech as a total humblebrag. But it would be inaccurate to say it was not, a little bit, a humblebrag.
First, though, it was an attempt to raise awareness about the humanitarian crisis and an appreciation of entertainment’s role even in dangerous situations. Accepting the prize for Best Supporting Actor in a Miniseries from his turn in BBC and AMC’s The Night Manager, he launched into a story about having recently visited South Sudan with the United Nations’ Children’s Fund. He spoke of there being a “terrible situation” for children there (cue producers’ cut to the Stranger Things kids), and he dedicated his award to “those making a difference.”
But the main point of his speech seemed to be an anecdote about him grabbing a “dirty beer” with other humanitarian workers. There, he was approached by Médecins Sans Frontières doctors and nurses who told him they’d watched The Night Manager as bombs fell in the country. “The idea that I could provide, or we could provide, some relief and entertainment for the people who work for Unicef and Médecins Sans Frontières, who are fixing the world in the places where it is broken, made me immensely proud,” he said.
Reaction to the speech online was … mixed:
That was a long story Tom Hiddleston told to pay himself a compliment. #GoldenGlobes
Claire Foy arrives at the 74th Annual Golden Globe Awards in Beverly Hills. Mike Blake / Reuters
When trying to predict the Golden Globe television winners, always remember two things: The Hollywood Foreign Press Association loves to pick the hot new TV show. They also love any prestige drama to come out of the UK. The Crown, Netflix’s epic chronicling of the reign of Queen Elizabeth II, was both, so of course it was guaranteed a couple trophies. The first went to star Claire Foy, who dedicated her award to Elizabeth; the second was for Best TV Series (Drama).
The Crown had some hot competition this year from new dramas—NBC hit This Is Us, Netflix’s summer smash Stranger Things, and HBO’s much-discussed Westworld were among the nominees—but the Globes will always break a tie for the Brits. The same goes for The Night Manager, a BBC miniseries adaptation of a John le Carré novel that aired on AMC last April, which won four Globes tonight. Though American Crime Story: The People vs. O.J. Simpson was the bigger hit with both critics and viewers, The Night Manager surprisingly beat it in every category it was nominated for (Best Miniseries, Best Actor in a Miniseries, Best Supporting Actor, and Best Supporting Actress).
Hugh Laurie Suggests 2017's Show Will Be the Final Golden Globes ... Because Trump
Hugh Laurie celebrates with his award for best actor in a TV drama series for House at the 64th annual Golden Globe Awards in January 2007. Reuters / Mike Blake
Hugh Laurie won the Golden Globe for Best Supporting Actor in a limited series or TV movie for his performance in The Night Manager. The Brit used his speech—the third time he had occupied the Globes stage as an award winner—not just to thank the Hollywood Foreign Press Association for the honor, but also to take another of the evening’s swipes at the incoming U.S. president.
"Thank you, first of all, to the Hollywood Foreign Press Association for this amazing honor,” Laurie began. He paused. “I suppose it’s made more amazing by the fact that I’ll be able to say that I won this at the last ever Golden Globes.”
The crowd didn’t quite get what Laurie was hinting at. They offered him a few tepid laughs; then he tried again.
“I don’t mean to be gloomy,” the actor said. “It’s just that it has the words ‘Hollywood,’ ‘foreign,’ and ‘press’ in the title. I just don’t know what—”
At this point, the crowd got it. Laurie was suggesting that a Trump administration might do away with the organization that was handing out the awards he and his fellow Hollywooders had just received. Those Hollywooders began laughing, and applauding.
“I also think that, to some Republicans, even the word ‘association’ is slightly sketchy,” Laurie continued, to more laughter.
The actor continued with more traditional acceptance-speech fare: expressions of gratitude, expressions of humility. And then—an homage to his Night Manager character, Richard Roper, and perhaps to another person, as well—he concluded his speech: “I accept this award on behalf of psychopathic billionaires everywhere."
Viola Davis Wins a Long-Awaited Prize for 'Fences'
Viola Davis arrives at the 74th Annual Golden Globe Awards on January 8, 2017. Reuters / Mike Blake
“This is my fifth nomination. I took all the pictures, went to the luncheon,” Viola Davis joked as she won the first Golden Globe of her career. “But this is right on time.” The trophy came for Best Supporting Actress in a Motion Picture for her work in Denzel Washington’s Fences, an acclaimed adaptation of August Wilson’s Pulitzer Prize-winning play. She praised Washington and the film’s producers for taking on such a stage-bound work, noting, “It doesn’t scream moneymaker. But it does scream art. It does scream heart.”
Fences has actually proven a solid moneymaker, already grossing $40 million since its December 16 release, buoyed by rapturous reviews and Washington’s star presence. Davis’s work in the film is extraordinary (she’s arguably a quasi-lead, taking over the film for its last act) and has been hotly tipped to win an Oscar for months; her Globe victory marks the first step. Davis thanked Washington before leaving the stage, calling herself “a friend and a fan.”
The Surprising First Golden Globes Winner of the Night
Aaron Taylor-Johnson at the 60th British Film Institute London Film Festival in October 2016. Hannah Mckay / Reuters
Perhaps Aaron Taylor-Johnson’s Best Supporting Actor win for Nocturnal Animals shouldn’t have been a surprise—the Hollywood Foreign Press clearly enjoyed the movie, handing it three nominations including Best Director and Screenplay to Tom Ford. Still, Taylor-Johnson has largely been off the radar this awards season—his part is somewhat small and esoteric in the film, which got mixed reviews and made little impact at the box office. Aside from tonight’s Golden Globe, the only other trophy Taylor-Johnson has gotten this year is the Santa Barbara Film Festival’s “Virtuoso Award.”
The two Best Supporting Actor frontrunners were thought to be Mahershala Ali, who has cleaned up with critics associations for his work as Juan in Moonlight, and Jeff Bridges, a beloved veteran who did career-best work in Hell or High Water. Taylor-Johnson is still seen as having only an outside shot at even grabbing an Oscar nomination, but he got his moment in the sun tonight, directing most of his speech to his wife Sam Taylor-Johnson, who directed him in the 2009 film Nowhere Boy, and their four children.
Jimmy Fallon Compares Donald Trump to King Joffrey
Jimmy Fallon hosting the 74th Annual Golden Globe Awards show. Reuters
The most controversial thing about Golden Globes host Jimmy Fallon has, historically, been in how uncontroversial he is. The SNL alum and Tonight Show host’s friendliness is legend—but when that friendliness extended to Donald Trump in September, his ruffling of the then-candidate’s hair ruffled some viewers who wondered why he hadn’t asked any tough questions.
He brought a bit more political bite to his show-opening monologue tonight. “This is the Golden Globes, one of the few places left where America still honors the popular vote,” he said early on.
Then he turned his attention to Game of Thrones. “A lot of people have wondered what it would have been like if King Joffrey had lived,” he said, referring to a vindictive school-age tyrant who once served as the show’s big villain. “Well, in 12 days we’re going to find out.”
And the firm that tabulates the Globes votes? “Ernst and Young, and Putin.”
Those quips didn’t quite pierce the typical Fallon aura of affability and awkwardness, though. The night started with a chipper pre-taped musical number that flaunted the Hollywood Foreign Press’s rolodex by enlisting many of the year’s acting nominees (highlight: Eleven from Stranger Things rapping), climaxing with Fallon and Justin Timberlake partnering for a La La Land-esque reverie. Then Fallon took the stage to a supposedly malfunctioning teleprompter; if his ensuing clumsiness—“cut to Justin Timberlake, please!”—was meant to be a joke about Mariah Carey’s New Year’s Eve debacle, he should have thrown in a “It just doesn’t get any better” or something.
Once he began his monologue in earnest, he made the strange choice to impersonate Chris Rock at length. The bit seemingly existed just to deliver a punchline about The People vs. O.J. Simpson nominees not being able to thank Simpson himself in their acceptance speeches. The joke wasn’t all that edgy—but apparently Fallon still felt he had to deliver it in the voice of an edgier comedian than himself.
With Jimmy Fallon behind the podium as this year’s host, the Globes promises to be a more Hollywood-friendly affair (last year’s host Ricky Gervais was perhaps too focused on mocking the inflated egos in the room). Still, the awards can be hard to predict because of the nebulous nature of the Hollywood Foreign Press Association, which decides on the winners.
The 90-member group votes on the best cinema and television of the year, bifurcating the former into comedies and dramas and the latter into comedies, dramas, and miniseries/TV movies. The film awards can be particularly crucial in setting the narrative for the Oscar race ahead (the Academy Award nominations are announced later this month): A publicity-grabbing speech, or shocking victory, can help catapult an actor or movie into frontrunner status. On the TV side, the Globes are less good at predicting the Emmys (which aren’t given out until September), but the Hollywood Foreign Press tends to gravitate toward new shows, so nominees like Westworld, The Crown, and Atlanta could do well.
For the best-drama category, the race seems to have come down to Moonlight and Manchester by the Sea, two critical favorites that are hotly tipped for Oscar victory. Casey Affleck and Jackie’s Natalie Portman are frontrunners in the lead-acting categories, but neither seems secure—Denzel Washington in Fences, in particular, could begin a run at his third Oscar here. On the comedy side, the musical La La Land is the obvious frontrunner in every category; it’s viewed as the consensus favorite filled with old-fashioned movie magic. Meanwhile, the best-director category—where Barry Jenkins’s Moonlight and Damien Chazelle’s La La Land are both competing—will be the most crucial indicator of which film will see more support as the Oscars draw nearer. (I broke down the nominations in more detail here.)
With the arrival of vaccines, compassion for COVID deaths began to dry up, sometimes replaced by scorn.
After Andreea’s mom died of COVID-19 in April, the harassment started. Noxious messages started coming in after she wrote a Facebook post letting friends and family know about her loss.
One person messaged her to say they couldn’t believe her mother hadn’t protected herself. Andreea has since deleted most of the other messages, but she remembers people saying things like “I can’t believe your mom was an anti-vaxxer” and “I can’t believe she didn’t understand that COVID could kill you.” “Instead of people saying that they were sorry for my loss, they would question my mom’s medical choices. It became all about her vaccine status. It was incredibly hurtful,” Andreea, a language instructor, who asked to be identified by only her first name in order to prevent further harassment, told me.
SNL’s inaugural episode of 2022 turned to dark, and often awkward, absurdity to explain our exasperating moment.
Saturday Night Live’s first episode of 2022 attempted to make up for the strange, empty show that ended 2021 amid the rise of the coronavirus’s Omicron variant. The cast was back, the masked audience was back, and the show, as they say, went on. But it couldn’t escape the world outside of 30 Rock’s doors.
This season has thus far blended thin political fare with dour-noted escapism, as though the pleasure of putting on a live show is more about continually agitating a bruise than finding true comedic relief. Like so many of its viewers, SNL has been waiting to turn a corner, to move past a scenario with little to laugh about. Last night’s episode felt like one long exasperated sigh. As James Austin Johnson’s Joe Biden wretchedly joked in the opening presidential address, “People got vaccinated and the pandemic got worse.”
As patience with the pandemic wanes, leaders in widely vaccinated democracies are deploying a new political strategy.
Politicians rarely set out to piss off their constituents, much less admit to doing so. So when French President Emmanuel Macron expressed his desire to antagonize France’s unvaccinated citizens into receiving COVID vaccinations, observers and many ofhisrivals were appalled, and some were a bit confused. Macron is up for reelection in April, and a quarter of his country remains unimmunized.
But what looked like a risky move for Macron could prove to be a more politically shrewd calculation, not because of whom it alienates, but rather because of whom it doesn’t. In France, and in other democratic countries around the world, the unvaccinated make up a relatively small segment of the population. Macron and his peers in countries such as Australia and Italy have calculated that condemning this group could be more politically effective than pandering to it. Even world-famous celebrities such as tennis star Novak Djokovic, whose unvaccinated status dashed his hopes of defending his Australian Open title, have become the targets of politicians’ ire. By taking a tougher line on the unvaccinated, Macron and other democratically elected leaders facing elections this year may be courting an energetic new voter base: the vaccinated, and ever more impatient, majority.
For such a familiar celestial body, the sun is still very mysterious—but we’re getting closer to it than ever before.
Kelly Korreck is still thinking about the time her spacecraft flew into the sun, how one moment, the probe was rushing through a stormy current of fast-moving particles, and the next, it was plunging somewhere quieter, where the plasma rolled like ocean waves. No machine had ever crossed that mysterious boundary before. But Korreck and her team had dispatched a mission for that exact purpose, and their plan worked. For the first time in history, a spacecraft had entered the sun’s atmosphere.
“This is a totally cool place to go—well, I guess, hot place to go,” Korreck, an astrophysicist at the Harvard-Smithsonian Center for Astrophysics, told me. “We’ve touched plasma and gas that actually belongs to the sun.”
I thought I was done dating. But after moving across the country, I had to start again—this time, in search of platonic love.
Thirty-seven minutes after sitting down to lunch, Francesca and I hugged goodbye in a strip-mall parking lot. We were both fairly certain, I think, that we would not be seeing each other again. The high-school classmate of a friend’s friend’s husband, she’d been such a promising friendship prospect: She was a professional violinist and fellow New Yorker who was writing her dissertation on pollen. But I was awkward, smiling too much and saying things like “That’s so funny” in lieu of actual laughter, while Francesca (not her real name) was overworked and seemed full of derision for Bozeman, Montana, the town to which I had just moved, and from which she and her husband were determined to flee.
Recently I met the astronomer Pascal Oesch, an assistant professor at the University of Geneva. Professor Oesch and his colleagues share the distinction of having discovered the most distant known object, a small galaxy called GNz-11. That galaxy is so far away that its light had to travel for 13 billion years to get from there to here. I asked Professor Oesch if he felt personally connected to this tiny smudge on his computer screen. Does this faint blob feel like part of nature, part of the same world of Keats and Goethe and Emerson, where “vines that round the thatch-eves run; to bend with apples the moss’d cottage-trees”?
Oesch answered that he looks at such distant smudges every day. Sure, they’re part of the universe, he said. But consider the abstraction (thought I). A few exhausted photons of light from GNz-11 dropped on a photoelectric detector aboard a satellite orbiting Earth, produced a tiny electrical current that was translated into 0s and 1s, which were beamed to Earth in a radio wave. That information was then processed in data centers in New Mexico and Maryland and eventually landed on Professor Oesch’s computer screen in Geneva. These days, professional astronomers rarely look at the sky through the lens of a telescope. They sit at computer screens.
A nationwide standard of voting rights now seems like a pipe dream.
The decision by Senators Kyrsten Sinema and Joe Manchin to block their fellow Democrats from passing new federal voting-rights legislation clears the path for years of tightening ballot restrictions in Republican-controlled states. It also marks a resounding triumph for Chief Justice John Roberts in his four-decade quest to roll back the federal government’s role in protecting voter rights.
Roberts as much as anyone set in motion the events that have led to this week’s climactic Senate confrontation over voting legislation. In a series of rulings over the past 15 years, the Supreme Court, often in decisions written by Roberts himself, has consistently weakened federal oversight of voter protections and struck down federal regulations meant to reduce the influence of money in politics. Almost all of those decisions have unfolded on a strict party-line basis, with the Republican-appointed justices outvoting those appointed by Democrats.
Is it okay to walk into a bar if you might sicken someone who might need hospital care?
“Three people walk into a bar …” What once launched a thousand jokes now sends a frisson of anxiety. What’s their vaccination status? Are they masked? Did they test before going out?
Nothing in life is risk free. I live in the United Kingdom, where every year several people die, according to the official statistics, by falling from a lower surface to a higher one. I’m still puzzling that one out. But if we’re always ambiently aware of risk, the coronavirus crisis has made us acutely sensitive to it, and pushed us to think beyond questions of personal risk to something much more ethically tangled: When is it morally acceptable for one person to subject another to risk? Is it okay to walk into a bar if you might sicken someone who might need hospital care? Each society settles the risk contract its own way, and that contract evolves over time. Right now, it’s evolving about as fast as the virus.
During the holiday week, I spent a frigid afternoon standing in a long line outside the local library to pick up a rapid COVID test. Lines for essential goods are a pretty good sign of failed public policy. When food runs low, there are bread lines. Where gasoline is in short supply, there are gas lines. But there I stood, nearly two years into a pandemic, shivering inside a depressing metaphor of state failure. As I bounced from foot to foot to stay warm, I asked myself: How on earth did this happen?
America’s miserable—and miserably timed—testing shortage was a policy choice. The FDA has continually slow-walked the approval of rapid tests for development. The Trump administration was utterly uninterested in any COVID policy outside the vaccines. The Biden administration and Democrats didn’t announce bulk orders of rapid tests until the Omicron wave had already swept through the country. Other countries, including the United Kingdom and Canada, approved more kits and prioritized their manufacture and distribution, giving their citizens access to millions of free tests throughout the past year. America lacks the test abundance of the U.K. and Canada because instead of choosing abundance, we chose scarcity.
In Disney’s latest blockbuster, Encanto, a magical family called the Madrigals have escaped the violence and chaos of their homeland by crossing a river into an enchanted paradise that endows each with wondrous gifts that they use to protect and enhance their community. As the generations go by, however, the magic of the new world starts to fade and the family buckles under the pressure of their responsibilities while struggling to maintain the illusion that everything is fine. One grandchild, we learn, has no gift at all; another worries that she cannot keep up the appearance of perfection that is crushing her from the inside out; while another, still, panics that she is losing her superhuman strength. Luisa, the strong one, sings out her fears:
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