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.)
Short of an outright constitutional crisis, a lot could still go horribly wrong.
A brazen refusal by the president to leave office is surely a nightmare scenario. But even if President Donald Trump were to lose and accept the results on November 3 or soon thereafter, he could nevertheless wreak significant damage during the period between the election and the inauguration of Joe Biden—endangering the incoming administration, at best, and actively sabotaging it, at worst.
Presidential transitions are perilous even in normal times. With each inauguration of a new president every four to eight years, the executive branch undergoes a massive overhaul; more than 4,000 new political appointees flood into federal departments and agencies, including 1,200 senior officials who require Senate confirmation. The minute a new president is sworn in, his administration assumes responsibility for everything from nuclear launch codes to pandemic response, economic policy, and counterterrorism—at the very moment when the government’s capacity is most diminished. At the Defense Department alone, the nation’s largest employer and perhaps the world’s most complex organization, the top 59 senior civilian leaders, from the secretary of defense on down, are political appointees requiring Senate confirmation. A private-sector company would be crazy to emulate this approach, yet the security, the health, and the prosperity of Americans depend on its success.
“Mystery” toys that kids peel open and cast aside speak volumes about consumer culture.
Kids like weird things: Yellow sponge-boys, talking doe-eyed ponies, ruddy-cheeked rodents that say only “pika pika,” and, especially in the past few years, unboxing videos.
Kids’ unboxing videos are YouTube series in which children, or in some cases just disembodied hands, take toys out of their packaging and play with them as uplifting music plays in the background. One particularly popular video shows a small boy unwrapping and then assembling a child-size electric car, using plastic tools that would surely fall apart in less practiced hands. He then drives the car down the sidewalk through an eerily empty neighborhood to a playground that is also completely empty, where he plays by himself, presumably because all the other neighborhood children are busy watching YouTube. The video has 267 million views.
It’s difficult to imagine the party nominating two white men for president and vice president ever again.
In the final rally Joe Biden held before COVID-19 shut down the country in March, he clasped hands on a stage in Detroit with a group of emerging Democratic stars. “I view myself as a bridge, not as anything else,” he declared a few minutes later. “There is an entire generation of leaders that you saw standing behind me. They are the future of this country.” Yesterday, Biden took a major step toward redeeming those words when he chose Senator Kamala Harris of California, one of the Democrats on that stage, as his vice-presidential nominee.
By selecting Harris, Biden has positioned the Democratic Party for a profound generational and demographic transition, and he’s addressed the fundamental incongruity of his candidacy: the inherent strain of a nearly 78-year-old white man leading a political coalition that relies on big margins among young voters, people of color, and women.
The infamous hacker group reemerges from the shadows.
At the end of May, as protests against the police killing of George Floyd got under way, reports started to circulate that the shadowy hacker group Anonymous was back.
The rumors began with a video depicting a black-clad figure in the group’s signature Guy Fawkes mask. “Greetings, citizens of the United States,” the figure said in a creepy, distorted voice. “This is a message from Anonymous to the Minneapolis Police Department.” The masked announcer addressed Floyd’s killing and the larger pattern of police misconduct, concluding, “We will be exposing your many crimes to the world. We are legion. Expect us.”
The clip generated a wave of renewed enthusiasm for Anonymous, particularly among young people. Twitter accounts associated with the group saw a surge of new followers, a couple of them by the millions.
Boris Johnson has faced his share of blame for the country’s death count. But the British system was failing long before the coronavirus struck.
Faced with the coronavirus pandemic, Britain’s leaders asked their people to do three things, captured in one pithy slogan: “Stay home. Protect the NHS. Save lives.”
On the first of those edicts, Britons largely followed through. Main streets, town centers, and public spaces were mostly abandoned, and the government pulled together a far-reaching job-protection program, ensuring that those who feared losing their jobs felt safe enough to not go to work.
The second request was more unusual. During the pandemic, Britain was the only major country in the world to make protecting its National Health Service a central goal. Signs and placards went up outside people’s homes, declaring their appreciation. The words Thank You NHS can now be seen on sidewalks and soccer jerseys, in children’s bedrooms and even, until recently, the windows of 10 Downing Street. In part, this worked. The NHS adapted to the crisis at extraordinary speed, creating the emergency capacity required to deal with the surge of patients. When Prime Minister Boris Johnson was released from the hospital after contracting COVID-19, he said that Britain was winning its battle against the disease because the public had “formed a human shield around this country’s greatest national asset,” the NHS.
The coronavirus could change lingering cultural assumptions about what makes for a full and happy life.
A few weeks into the pandemic, a meme circulated among some of the mothers I follow on various social-media platforms. “Check in on your friends with little kids,” the words in a tiny black serif font on a light-pink background read, followed by a fairly long list of things parents with young kids couldn’t do, including “go for a run by themselves,” “peacefully read a book or start a new project,” and “go to the bathroom by themselves.” This innocuous-seeming post caught my eye because it felt like a cry for help. My friends were getting honest about how hard it is to raise children right now.
I also read it as an indirect plea to not take my child-free privileges for granted. I don’t know what it’s like to parent a young child, let alone parent in a pandemic. I can imagine it, but like most life-altering experiences, it’s one of those things you have to live to truly understand. I’ve always been ambivalent about whether I would have children, but as I entered my early 40s, I started exploring the possibility of having a child on my own. And then the pandemic happened.
In attacking her record on crime policy, her critics are ignoring how politics actually works.
The racial-justice movement sparked by the murder of George Floyd has had two quite different effects on Joe Biden’s presidential campaign. It has intensified the pressure on Biden to choose a Black woman as his running mate. And it has also intensified the pressure on him to choose a running mate with a history of challenging police brutality. Those two political imperatives are now colliding in the debate over whether Biden should pick Senator Kamala Harris—a former prosecutor whom some progressives in California have characterized as too deferential to police.
Biden had previously vowed to choose a female running mate, and the typical vice-presidential pick is a senator or governor. Harris is the sole Black woman in either category. In one sense, therefore, she clearly benefits from the new political reality that the Black Lives Matter movement has created. But that new political reality has also amplified criticism from progressives. In yesterday’s New York Times, the reporters Danny Hakim, Stephanie Saul, and Richard A. Oppel Jr. quoted David Campos, a former member of the San Francisco Board of Supervisors, who argues that when Harris “had the opportunity to do something about police accountability” as the city’s district attorney, “she was either not visible, or when she was, she was on the wrong side.” Criticisms like these, the Times notes, have led progressives to ask: “Is Ms. Harris essentially a political pragmatist, or has she in fact changed?”
A long obsession with Mars makes all the other worlds seem a little neglected.
Paul Byrne loves Mars. He wrote his doctoral thesis and several research papers about the planet. Most of his graduate students study Mars. And yet, earlier this year, he posed this question on Twitter: “If you could end the pandemic by destroying one of the planets, which one would you choose and why would it be Mars?”
What does Byrne, a planetary scientist at North Carolina State University, have against the red planet? Nothing, he told me. But everyone else loves Mars too, and maybe a little too much.
Aside from Earth and the moon, humankind has studied Mars more than any other world in the universe. In the United States, many planetary scientists are devoted, in one way or another, to the study of Mars. Since 1996, NASA has sent more than a dozen robots to orbit, rove, dig, and hop around the planet. The latest NASA rover, Perseverance, departed for Mars in July, days after China and the United Arab Emirates launched their own missions to the planet.
American conspiracy theories are entering a dangerous new phase.
If you were an adherent, no one would be able to tell. You would look like any other American. You could be a mother, picking leftovers off your toddler’s plate. You could be the young man in headphones across the street. You could be a bookkeeper, a dentist, a grandmother icing cupcakes in her kitchen. You may well have an affiliation with an evangelical church. But you are hard to identify just from the way you look—which is good, because someday soon dark forces may try to track you down. You understand this sounds crazy, but you don’t care. You know that a small group of manipulators, operating in the shadows, pull the planet’s strings. You know that they are powerful enough to abuse children without fear of retribution. You know that the mainstream media are their handmaidens, in partnership with Hillary Clinton and the secretive denizens of the deep state. You know that only Donald Trump stands between you and a damned and ravaged world.
Three members of the Yakuza, Japan's storied organized crime syndicate, have tested the Playstation game Yakuza 3,
where players get to be virtual Yakuza members. The verdict: They love
it. The Yakuza game testing started when journalist Jake Adelstein, who
met Yakuza while reporting on crime in Japan, "showed up at a shady real
estate office in Tokyo one Thursday afternoon with a pack of cigarettes
and a bottle of Duty-Free whiskey to teach these gangsters how to
handle a PlayStation controller."
The Yakuza evaluated the game
on five accounts: environment, "depiction of the Yakuza," fight scenes,
fashion, and story. Adelstein says the men agreed "the [depicted]
stereotypes about the yakuza are more or less correct, with the
exception of their alleged prowess in martial arts." They called the
depicted cities "dead on," the flamboyant fasion "realistic," and the
characters convincing. One said of the heavily involved plot line, "The
whole plot about resort expansion in Okinawa and the CIA and the
politicians involved and all that? Wow. That game came out last year,
right. That's totally happening in Okinawa right now."
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