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.)
Why Lindsey Graham, Kevin McCarthy, and so many other cowards in Congress are still doing Trump’s bidding.
When he wasn’t melting down over how “very badly” he was treated or acting like a seditious lunatic, Donald Trump could be downright serene in certain Washington settings—and never more so than when he would swan in for dinner at the Trump International Hotel, a few blocks down Pennsylvania Avenue from the White House and the only other place where he would ever agree to eat.
Unlike the Obamas, who would sneak out for date nights at trendy restaurants, Trump was hardly discreet when he went out to dinner. For Trump, a big, applauded entrance was as essential to the experience as the shrimp cocktail, fries, and 40-ounce steak. Each night, assorted MAGA tourists and administration bootlickers would descend on the atrium bar on the small chance they’d get to glimpse Trump himself in his abundant flesh—like catching Cinderella at the castle, or Hefner at the mansion.
This is an edition of The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here.
I wonder if the remaining sensible Republicans have accepted the irretrievable loss of the GOP they once knew.
But first, here are three new stories from The Atlantic.
In 1991, the last president of the Soviet Union, Mikhail Gorbachev, was briefly deposed in a coup by hard-line members of the Soviet Communist Party. Gorbachev, upon his return to Moscow, tried to differentiate between the plotters and the Party itself. One of his closest advisers, Aleksandr Yakovlev, told him that this effort was pointless, akin to “serving tea to a corpse.”
Office workers work in offices, for better or for worse.
I noticed the shoes first. That I was wearing them. Real shoes, the leather kind, with laces. After a year and a half, I was finally returning to the office, and that meant giving up the puffer slippers and slides that had sustained me for so long. Real shoes, I quickly remembered, are terrible. Likewise pants. Likewise getting to work, and being at work. Whew.
That was summer 2021. I’ve since acclimated to the office once again: I don the uniform; I make the commute; I pour the coffee; I do my job; and then I go back home. There are costs to this arrangement, clearly. I lose some time—time I could spend working!—transporting myself, in shoes and pants, from one building to another. I miss the chance to finish household tasks between my meetings, or fix myself a healthy and affordable lunch. As a university professor and administrator, I have more flexibility than most professionals, and I’m not required to go in each and every day. But even so, I have less control over each hour of my life than I used to—a fact that could very well be making me less productive overall. Indeed, it’s possible, or even likely, that my employer—and yours—could help their workers and the bottom line, simply by allowing us to work from home or come in on a hybrid plan. Remote, flexible employment might be a win for everyone.
There are not enough humans to take care of all the animals.
When Michelle Stokes noticed a necrotic wound on her cat, Jellyfish, last July, she and her husband had to call about 50 vets before finding one that could squeeze them in.
The local emergency animal hospital was so backed up that it said the wound—serious but not yet life-threatening—wasn’t really an emergency. Jellyfish didn’t have a regular vet, because Stokes and her husband had just moved to the Cleveland area. They pulled up Google Maps and started going down the list of offices they found. It was the same response every time: no vacancies, not taking new patients, not until August or even September. Meanwhile, Jellyfish was getting sicker and more lethargic. “We just kept trying and trying and trying,” Stokes told me. “We pretty much called every single vet’s office in the greater-Cleveland area.” A week in, they finally got a lucky break. They managed to speak directly to a vet at one practice, and when Stokes sent over a photo of the wound, the vet said to bring Jellyfish in for surgery. The cat’s now doing just fine.
Carl von Clausewitz observed in his classic On War that “the maximum use of force is by no means incompatible with the simultaneous use of the intellect.” That means, in part, acting thoughtfully but with the utmost effort, understanding that war is more bar fight than chess game. Or, to put it in the simpler words of Jim Malone, Eliot Ness’s counselor in The Untouchables, “You wanna know how to get Capone? They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That’s the Chicago way! And that’s how you get Capone.”
Al Capone is an apt analogy for what the West confronts in Russia: a particularly noxious mix of Mafia mentality, hypernationalist ideology, and totalitarian technique. Elegance is not the Russian way, and it cannot be our way. This is the light in which one should measure the accomplishments of NATO’s recent gathering in Madrid.
No legal doctrine should shield anyone—including Donald Trump, if reelected—from prosecution for criminal wrongdoing.
Donald Trump’s interest in another run at the presidency is reportedly connected to his intensifying concerns over the January 6 Select Committee hearings. Most recently, after the vice chair, Representative Liz Cheney, suggested that the committee might make multiple criminal referrals for his conduct, Trump exploded at the “warmongering and despicable human being Liz Cheney, who … keeps saying, over and over again, that HER Fake Unselect Committee may recommend CRIMINAL CHARGES against a President of the United States who got more votes than any sitting President in history.”
Various motivations may feed into Trump’s electoral calculation for 2024, but one in particular is coming into focus. In seeking office, he would be seeking legal immunity.
The prime minister’s fake populism led to his undoing—and will keep haunting his country.
Not too long ago, I heard one of the leading Brexiteers describe his political philosophy in a room full of CEOs and senior politicians. He started by talking to this elite group about the great division between “elites” and “the people,” the victors and the victims of globalization, the haves and the have-nots of modernity. The longer he spoke, the more his words began to seem rote, remote, and stale. The energizing slogans of the Brexit campaign of 2016 sounded hollow and clichéd in 2022.
Partly, this is because the slogans were not true. Globalization was indeed bad for some people and good for others, but those groups didn’t split neatly along a rural-urban or rich-poor divide, or along any other easily defined demographic line. Some farmers in the distant countryside turned out to be huge beneficiaries of Britain’s European Union membership. Some of the least-well-off Britons benefited from foreign investment. Besides, many of the people loudly attacking the “elite” were not actually among globalization’s losers themselves. Boris Johnson was the standout example of this phenomenon: He attended Eton and Oxford (just as in America, where all of the loudest “anti-elitists” seem to have gone to Yale or Harvard Law School), and his campaign was paid for by hedge-fund managers and billionaires.
Too many Americans are blithely dismissing threats that could prove cataclysmic.
Even as we watch the reservoirs and lakes of the West go dry, we keep watering our lawns, soaking our golf courses, and growing water-thirsty crops.
As inflation mounts and the national debt balloons, progressive politicians vote for ever more spending.
As the ice caps melt and record temperatures make the evening news, we figure that buying a Prius and recycling the boxes from our daily Amazon deliveries will suffice.
When TV news outlets broadcast video after video of people illegally crossing the nation’s southern border, many of us change the channel.
And when a renowned conservative former federal appellate judge testifies that we are already in a war for our democracy and that January 6, 2021, was a genuine constitutional crisis, MAGA loyalists snicker that he speaks slowly and celebrate that most people weren’t watching.
Two weeks into the pandemic, a box of Cheerios sent me into an existential tailspin. I’d just returned from an unnerving trip to a New York City supermarket, where bandanna-masked customers with carts full of toilet paper dodged one another like bandits. As I unpacked my groceries, I was gripped by fear. If I don’t Lysol the living daylights out of this cardboard, I wondered, will I die?
I kept up the cleaning for weeks. My garbage bin, like so many in America, turned into a disposable-wipe repository. It took until May 2020 for the CDC to confirm that the coronavirus is rarely transmitted by touching things. My Cheerios boxes became markedly less soggy, but even then, other, more public surfaces—elevator buttons, subway poles, shopping-cart handles—remained in a continuous wash cycle. I knew this because signs everywhere told me they had recently been cleaned.
In pursuit of money, universities and conferences are uprooting traditional rivalries and regional loyalties.
College-sports traditionalists were appalled last week when the Big Ten athletic conference announced that it will add UCLA and the University of Southern California to its membership in 2024—creating a seismic shift in the college-sports landscape that will generate millions of dollars in revenue for the two California powerhouse programs.
This reorganization is the strongest indicator yet that college sports is cannibalizing itself. In pursuit of greater revenue from broadcast rights, schools and conferences are more and more willing to ignore traditional rivalries, customs, and regional loyalties.
For now, USC and UCLA are members of the Pac-12, long the premier conference in the West. Athletes at the two schools are about to spend a lot more time traveling to play faraway new rivals in the Midwest, where the Big Ten is based. But many college football programs are going to be facing new realities. CBS Sports reported that another major conference, the Big 12, may soon peel as many as six more members away from the now-beleaguered Pac-12.
/media/None/sims/original.png)
/media/video/img/2020/03/Thumb1/original.png)
/media/video/img/upload/2012/12/screen-shot-2012-12-14-at-31458-pm/original.png)
