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.)
For the first time in 50 years, the rich are buying more free time.
This is Work in Progress, a newsletter by Derek Thompson about work, technology, and how to solve some of America’s biggest problems. Sign up here to get it every week.
One of the weirdest economic stories of the past half century is what happened to rich Americans—and especially rich American men—at work.
In general, poor people work more than wealthy people. This story is consistent across countries (for example, people in Cambodia work much more than people in Switzerland) and across time (for example, Germans in the 1950s worked almost twice as much as they do today).
But starting in the 1980s in the United States, this saga reversed itself. The highest-earning Americans worked longer and longer hours, in defiance of expectations or common sense. The members of this group, who could have bought anything they wanted with their wealth, bought more work. Specifically, from 1980 to 2005, the richest 10 percent of married men increased their work hours by more than any other group of married men: about five hours a week, or 250 hours a year.
Our constant need for entertainment has blurred the line between fiction and reality—on television, in American politics, and in our everyday lives.
This article was featured in One Story to Read Today, a newsletter in which our editors recommend a single must-read from The Atlantic, Monday through Friday. Sign up for it here.
“Do a Dance”
The trend started, as so many do, on TikTok. Amazon customers, watching packages arrive through Ring doorbell devices, asked the people making the deliveries to dance for the camera. The workers—drivers for “Earth’s most customer-centric company” and therefore highly vulnerable to customer ratings—complied. The Ring owners posted the videos. “I said bust a dance move for the camera and he did it!” read one caption, as an anonymous laborer shimmied, listlessly. Another customer wrote her request in chalk on the path leading up to her door. DO A DANCE, the ground ordered, accompanied by a happy face and the word SMILE. The driver did as instructed. His command performance received more than 1.3 million likes.
What to do about the deadly misfits among us? First, recognize the problem.
Some years ago, I got a call from an analyst at the National Counterterrorism Center. After yet another gruesome mass shooting (this time, it was Dylann Roof’s attack on a Bible-study group at a Black church in Charleston, South Carolina, that killed nine and wounded one), I had written an article about the young men who perpetrate such crimes. I suggested that an overview of these killers showed them, in general, to be young losers who failed to mature, and whose lives revolved around various grievances, insecurities, and heroic fantasies. I called them “Lost Boys” as a nod to their arrested adolescence.
The NCTC called me because they had a working group on “countering violent extremism.” They had read my article and they, too, were interested in the problem of these otherwise-unremarkable boys and young men who, seemingly out of nowhere, lash out at society in various ways. We think you’re on to something, the analyst told me. He invited me to come down to Washington and discuss it with him and his colleagues.
Amid all this posturing, a more practical concern is getting lost: How much does gas actually matter when it comes to cooking? Are there some dishes that just can’t be made on electric stoves?
I called up J. Kenji López-Alt—a chef, a New York Times columnist, and the author of The Food Lab and The Wok—to discuss. While we chatted, López-Alt cooked on his gas stove in the background. But don’t take that as an endorsement: He told me that the stove came with his house, but that if he were to build a kitchen from scratch, he’d probably opt for an induction range.
Lots of Republicans want Donald Trump to disappear from politics. Their main strategy is hope.
Press them hard enough, and most Republican officials—even the ones with MAGA hats in their closets and Mar-a-Lago selfies in their Twitter avatar—will privately admit that Donald Trump has become a problem. He’s presided over three abysmal election cycles since he took office, he is more unstable than ever, and yet he returned to the campaign trail this past weekend, declaring that he is “angry” and determined to win the GOP presidential nomination again in 2024. Aside from his most blinkered loyalists, virtually everyone in the party agrees: It’s time to move on from Trump.
But ask them how they plan to do that, and the discussion quickly veers into the realm of hopeful hypotheticals. Maybe he’ll get indicted and his legal problems will overwhelm him. Maybe he’ll flame out early in the primaries, or just get bored with politics and wander away. Maybe the situation will resolve itself naturally: He’s old, after all—how many years can he have left?
I worked in law enforcement for decades. The culture is what’s rotten.
Some 25 years ago, I remember sitting on the Shooting Review Board for the King County Sheriff’s Office, a large metropolitan police department serving the Seattle region. I recall listening to an investigator explain the chain of events that had led to the fatal shooting of a man fleeing the scene of an armed robbery. My memory is that the man had a long criminal record and had just committed another felony. Not a sympathetic figure to me or the public, but still a human being.
The presentation we heard contained evidence that the responding officers’ tactics had created the conditions that made the shooting necessary, to ensure their own safety. (The term of art is “officer-created jeopardy.”) But the review process had been negotiated with the police union and by design had remained out of the public’s view and tightly focused on the moment the officers had fired their weapons.
If Ron DeSantis wants to gut Florida’s public colleges, that’s up to Floridians.
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Elections have consequences. Florida’s governor has decided to root out wrong-think at one of Florida’s public colleges, and his harebrained meddling will likely harm the school, but he has every right to do it.
But first, here are three new stories from The Atlantic.
Florida’s governor, Ron DeSantis, has set out to ruin one of Florida’s public colleges. He’s appointed several board members to the ideologically progressive New College of Florida with, apparently, a mandate to somehow rebuild it and thus save it from its dreaded wokeification. Helpfully for the cause of screwing up a college, most of the new overseers aren’t from Florida and don’t live there; one of them, in fact, is Christopher Rufo, a young man from the Manhattan Institute who has no actual experience in higher education but does have a genuine talent for rhetoric that he seems to have gained at the Soviet Higher Institute of Pedagogy somewhere in Moscow or Leningrad circa 1970.
She hasn’t been a great parent to me, and I don’t want her repeating those patterns with my future kids.
Dear Therapist,
My husband and I are planning to have children in the very near future, and I have concerns about my mother’s ability to be a positive influence in their lives. Is it inappropriate to ask her to see a therapist as a condition for being present in the lives of my children?
My mother is often emotionally immature, reactive, and self-centered. When we have a difference of opinion, she views it as a personal judgment. My parents, who are still married, live several states away, and I currently limit contact with my mother. I see her on holidays and call her once a month. I’m closer with my father.
Growing up, I was heavily parentified by my mother; my father tried to stop this, but was largely absent. My father has matured as he has aged, and sincerely wishes he had done better in many areas. My mother cannot handle any conversation that alludes to her less-than-perfect motherhood, and has not matured since my childhood.
Online culture favors influencers who pinball from one enthusiasm to the next.
On YouTube, a British influencer named Tom Torero was once the master of “daygame”—a form of pick-up artistry in which men approach women on the street. “You’ll need to desensitise yourself to randomly chatting up hot girls sober during the day,” Torero wrote in his 2018 pamphlet, Beginner’s Guide to Daygame. “This takes a few months of going out 3-5 times a week and talking to 10 girls during each session.”
Torero promised that his London Daygame Model—its five stages were open, stack, vibe, invest, and close—could turn any nervous man into a prolific seducer. This made him a hero to thousands of young men, some of whom I interviewed when making my recent BBC podcast series, The New Gurus. One fan described him to me as “a free spirit who tried to help people,” and “a shy, anxious guy who reinvented himself as an adventurer.” To outsiders, though, daygame can seem unpleasantly clinical, with its references to “high-value girls,” and even coercive: It includes strategies for overcoming “LMR,” which stands for “last-minute resistance.” In November 2021, Newsweek revealed that Torero was secretly recording his dates—including the sex—and sharing the audio with paying subscribers to his website. Torero took down his YouTube channel, although he had already stopped posting regularly.
The sketch show’s pretaped segments are outshining its live comedy.
The defining quality of Saturday Night Live throughout its staggering 48 years on the air has been its live factor. Where other sketch or variety shows have had the benefit of post-production—namely planning and polish—SNL’s spirit has most often emerged under the pressure of live television. You see it in the little things, like unexpected wardrobe gaffes and uncontrollable laughter; like when the actors in a Disney World–themed “Debbie Downer” sketch labored to deliver their lines in the face of her outrageous observations.
Yet this season, the live sketches are where SNL has struggled most for a spate of reasons: underdeveloped premises, writing that misses the mark, a lack of recurring characters outside of the “Weekend Update” desk, and a relatively new cast still learning to work together. The show’s pretaped segments have shouldered a lot of the heavy lifting, delivering consistently notable comedy and commentary. Last night, SNL’s post-production team—which recently authorized a strike after contract negotiations with its newly formed union stalled—assembled two of the strongest sketches. An announcement from Southwest Airlines sarcastically apologized for canceling more than 16,000 flights during the busy holiday travel season, and a State Farm commercial pursued a delightful twist featuring the fictional company rep Jake from State Farm. These sketches were so fully developed that they highlighted the ways this season’s live sketches have steadily fallen short of that goal line.
