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
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.
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)
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.
Winning will follow.
'Hidden Fences': A Terrible Gaffe, but a Pretty Great Meme
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
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
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 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'
“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
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
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.)
A lasting effect of this pandemic will be a revolution in worker expectations.
I first noticed that something weird was happening this past spring.
In April, the number of workers who quit their job in a single month broke an all-time U.S. record. Economists called it the “Great Resignation.” But America’s quittin’ spirit was just getting started. In July, even more people left their job. In August, quitters set yet another record. That Great Resignation? It just keeps getting greater.
“Quits,” as the Bureau of Labor Statistics calls them, are rising in almost every industry. For those in leisure and hospitality, especially, the workplace must feel like one giant revolving door. Nearly 7 percent of employees in the “accommodations and food services” sector left their job in August. That means one in 14 hotel clerks, restaurant servers, and barbacks said sayonara in a single month. Thanks to several pandemic-relief checks, a rent moratorium, and student-loan forgiveness, everybody, particularly if they are young and have a low income, has more freedom to quit jobs they hate and hop to something else.
Female doctors have always dealt with appearance-related confusion and disrespect. That only got worse during the pandemic.
In the spring of 2020, as Boston’s first COVID-19 wave raged, I was the gastroenterologist on call responding to a patient hospitalized with a stomach ulcer. Wearing a layer of yellow personal protective equipment over a pair of baggy scrubs, I spent 30 minutes explaining to him that he needed an endoscopic procedure. We built a rapport, and by the end of our conversation about the pros and cons, he seemed to agree with my recommendation. I told him we would be ready to perform his endoscopy within half an hour.
“Well, before we do anything, I’m going to need to discuss it with the doctor.”
When I entered the room, I had introduced myself as the doctor. I had also just explained, in great detail, a highly specialized procedure.
Even when the president’s party passes historic legislation, voters don’t seem to care.
It’s common now for Democrats to argue that the agenda they are struggling to implement on Capitol Hill represents the party’s most ambitious since the “Great Society” Congress convened in 1965. That’s a reasonable assessment—but one that the party today should consider as much a warning as an inspiration. Under the relentless prodding of President Lyndon B. Johnson, the Democratic-controlled House and Senate passed landmark legislation at a dizzying pace during that legendary 1965–66 legislative session.
Over those two years, the 89th Congress, finally completing a crusade started by Harry Truman almost two decades earlier, created the massive federal health-care programs of Medicare for the elderly and Medicaid for the poor. It put a capstone on the civil-rights revolution by approving the Voting Rights Act. It created the first large-scale system of federal aid to elementary and secondary schools and launched the Head Start program. It approved breakthrough legislation to combat pollution in the air and water. It created new Cabinet departments, a new agency to regulate automobile safety, and national endowments to fund the arts and humanities. It transformed the face of America with sweeping immigration legislation that finally undid the restrictive quotas that had virtually eliminated new arrivals since the early 1920s.
The Tribune Tower rises above the streets of downtown Chicago in a majestic snarl of Gothic spires and flying buttresses that were designed to exude power and prestige. When plans for the building were announced in 1922, Colonel Robert R. McCormick, the longtime owner of the Chicago Tribune, said he wanted to erect “the world’s most beautiful office building” for his beloved newspaper. The best architects of the era were invited to submit designs; lofty quotes about the Fourth Estate were selected to adorn the lobby. Prior to the building’s completion, McCormick directed his foreign correspondents to collect “fragments” of various historical sites—a brick from the Great Wall of China, an emblem from St. Peter’s Basilica—and send them back to be embedded in the tower’s facade. The final product, completed in 1925, was an architectural spectacle unlike anything the city had seen before—“romance in stone and steel,” as one writer described it. A century later, the Tribune Tower has retained its grandeur. It has not, however, retained the Chicago Tribune.
Does everyone have a right to know their biological parents?
Damian Adams grew up knowing that his parents had used an anonymous sperm donor to conceive him, and as a teen, he was even proud of this identity. He considered donating to help other families have children. Becoming a father himself, however, changed everything. When his daughter was born 18 years ago, he cradled her in his arms, and he instantly saw himself in her and her in himself. He felt a biological connection so powerful that it made him reconsider his entire life up until then. “What I’d had there with my daughter,” he says, “was one thing I had been missing in my life.” He felt the need to know where he came from.
Adams, a biologist in Australia, would spend years searching for his biological father, running into one dead end after another. Meanwhile, he also began campaigning to end donor anonymity for others like him. In 2016, he and fellow activists pushed the state of Victoria to retroactively abolish anonymity for all sperm donors. (A previous law had already banned it from 1998 onward.) Donor-conceived people in the United Kingdom have also successfully campaigned to ban anonymous sperm donation. In the United States, where anonymous donation is still technically offered, some donor-conceived people are asserting a right to know their genetic origins and even to contact their biological parents, who may or may not welcome the surprise.
The comedian’s latest special blurs the line between victim and bully.
At the end of Dave Chappelle’s latest Netflix stand-up special—after 72 brutal, bruised, combative minutes that conclude with the story of a suicide—my other half turned to me and said: “That wasn’t very funny, was it?”
Was it even meant to be? The emotion that defines The Closer is not laughter, but anger. Chappelle once delivered his most offensive jokes with a goofy, quizzical, little-lost-boy smile, removing some of their sting, but here the humor feels sour and curdled. The stoner who never gave a shit seems genuinely frustrated and goaded on by social-media pile-ons. An alternative title for the special might be A Response to My Critics.
Artists tend to be annoyed when critics grade their work on its political content rather than its technical and creative choices, and yet responding to The Closer any other way is hard. The special draws its energy from one of the hottest debates in popular culture, about competing claims to victimhood. Its jokes about LGBTQ people have led to boycott threats, calls to remove the special from Netflix, and even the brief suspension of a transgender Netflix employee who protested the special. In GQ, the writer Saeed Jones declared, “I feel like a fool to have rooted for Dave Chappelle for so long.”
As international attention subsides, the group is reverting to its old tactics.
From the moment when scores of Afghans were filmed clinging to an American aircraft in a desperate bid to escape Taliban rule to the day of the departure of the last American soldier, international attention was trained almost exclusively on Afghanistan—until it wasn’t. By mid-September, just weeks after the Taliban took control of Kabul, the sense of crisis that had galvanized the world’s focus began to wane. Today, Afghanistan has all but disappeared from daily headlines.
This is the opportunity that the Taliban has likely been waiting for. In the initial days and weeks that followed the group’s recapture of Kabul, it reaffirmed its commitment, set out in a 2020 peace deal with the United States, to leave its old way of doing things in the past. The Taliban pledged that under new leadership, women, who were once subject to some of the group’s most hard-line restrictions, would have their rights respected (albeit within a strict interpretation of Islamic law). The press would not be inhibited from doing its work so long as it didn’t go against “national values.” Those who had worked with the former Afghan government, or alongside the U.S. and other NATO forces, would not be subject to reprisals.
She thought that her daughter would want to meet her one day. Twenty-five years later, that’s not true.
My daughter gave a child up for adoption about 25 years ago. She already had one child, and although I offered to help her raise both children, she felt it wouldn’t be fair to us or to the baby, so she gave her up to a very nice couple, whom we both interviewed and liked. The couple has kept in touch with us both over the years, sending pictures and updates on their daughter.
My daughter always felt that in time the child would want to get in touch with her, and in fact, her adoptive parents have encouraged this, but the girl has always said she didn't want to. This is very painful for my daughter. Can you give us an idea as to why the young woman might not want to meet her birth mother, or offer any explanation that would make my daughter feel less rejected? She has even tried contacting her on Facebook, and the response was that Facebook was not an appropriate place to discuss this relationship. But no reciprocal contact has ever been made.
In 2014, the executives at a brand-new start-up called Andela made a decision whose consequences they would only understand much later. Andela’s model was to recruit and train promising African engineers, then place them at Western tech firms, which meant its employees and clients were scattered across time zones; it desperately needed a way for its distributed workforce to share information and make decisions easily and asynchronously, ideally without subjecting anyone to a deluge of emails. So the company started using Slack.
The maker of the chat software had recently become one of San Francisco’s trendiest new companies, based on a promise to make work communication more transparent and fluid. And at Andela, it did. As the company grew, Slack became its central nervous system, the place where business was conducted and where the company’s culture was formed.
Even if children are less vulnerable to the coronavirus, they don’t suffer any less from the loss it causes.
Throughout the pandemic, media outlets and online dashboards have provided constant updates on the number of people who have died from COVID-19. Far less prominent—but just as striking—are the tallies of those left behind.
According to an estimate published recently in the journal Pediatrics, at least 140,000 American children had lost a parent or caregiver because of the coronavirus by the end of June—meaning that one of roughly every 500 children lost one of the most important adults in their life. Susan Hillis, a co-author of the study and an epidemiologist at the CDC, told me that as of earlier this month, the total had reached at least 170,000.
Fully grasping this complicates some of the standard narratives about the tragedy of the pandemic. It is not only the number of lives cut short by COVID-19 that should mark the scope of our losses, but also the millions of people who had a loved one die. And it is not just older Americans who suffer—even if kids are less vulnerable to the virus itself, they are no less vulnerable to the loss it causes.