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.)
Trump’s fear of damaging press was so much greater than his fear of criminal accountability that he ended up making an incriminating recording.
Almost exactly six years ago, James Comey begot a new mantra for the Trump era: “Lordy, I hope there are tapes.” In most cases, none has emerged: not of the former FBI director’s conversation with Donald Trump about loyalty, not of the fateful call with Ukrainian President Volodymyr Zelensky, and not, well, that other fabled tape.
In the ongoing classified-documents scandal, though, the tapes seem to exist. CNN and The New York Timesreport that Justice Department Special Counsel Jack Smith, who is investigating Trump’s removal of secret records to Mar-a-Lago, has obtained a recording in which the former president discussed his possession of a sensitive document. According to the outlets, Trump indicates that he knows it’s classified and is aware he cannot share it.
Nothing is healthier or more happy-making than loving attachment. Don’t deprive yourself.
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Shu-Sin was the king of Sumer from about 2000 B.C.E. Although his wife’s name is lost to history, her legendary words are not. Carved on a cuneiform tablet is an ode to their love, containing these lines:
Your spirit, I know where to cheer your spirit,
Bridegroom, sleep in our house until dawn,
Your heart, I know where to gladden your heart,
Lion, sleep in our house until dawn.
And down to today, this kind of romantic attachment is one of the best predictors of happiness that social scientists have identified. For example, my review of the General Social Survey finds that although 27 percent of married Americans said they were “very happy” with their lives, only 11 percent of those respondents who were never married, divorced, separated, or widowed answered this way. (Obviously, marriage is not the only romantic arrangement, but it is the one most often studied.) And research in the Journal of Research in Personality has shown that marriage can protect happiness in adulthood.
The worst of the industry is expensive and runs from useless to counterproductive.
The diversity, equity, and inclusion industry exploded in 2020 and 2021, but it is undergoing a reckoning of late, and not just in states controlled by Republicans, where officials are dismantling DEI bureaucracies in public institutions. Corporations are cutting back on DEI spending and personnel. News outlets such as TheNew York Times and New York magazine are publishing more articles that cover the industry with skepticism. And DEI practitioners themselves are raising concerns about how their competitors operate.
The scrutiny is overdue. This growing multibillion-dollar industry was embedded into so many powerful public and private institutions so quickly that due diligence was skipped and costly failures guaranteed.
Talking about mysterious sightings in the sky can be a nasty business.
At a meeting in NASA headquarters yesterday, the public had some blunt questions about UFOs, or, as the government now calls them, “unexplained anomalous phenomena.” A NASA spokesperson summarized them aloud: “What is NASA hiding, and where are you hiding it? How much has been shared publicly? Has NASA ever cut the live NASA TV feed away from something? Has NASA released all UAP evidence it has ever received? What about NASA astronauts—do they have an NDA or clearance that does not allow them to speak about UAP sightings? What are the science overlords hiding?” In short: Are you guys lying to everyone?
There was some gentle laughter among the panelists, whom NASA had convened on the subject. No, NASA “has never intentionally cut a live feed to hide anything,” a senior agency official said. A retired astronaut who worked at NASA for 20 years chimed in: “There was never any formal or informal discussions at all about UAPs or UFOs or anyone reporting anything that would suggest something from beyond our planet.” An astrobiologist—the kind of scientist whose job revolves around finding extraterrestrial life—said that scientists are a “rebellious” type, and if someone told him to keep a secret as big as this, he’d want to spill.
In a time of fentanyl and meth, we need to use law enforcement differently—and more often.
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In Louisville, Kentucky, not long ago, I heard the story of a woman named Mary. She grew up middle-class, cheerful at times, though she struggled with depression. She took antidepressants. After her marriage broke up in 2006, Mary switched to pain pills, and her life spiraled.
She had a son in 2016. A couple of years later, methamphetamine from Mexico flooded Louisville, and she began using meth too. After that, her mother, Carole, told me, Mary heard voices coming from a ceiling vent, saw a phantom hand reaching from the back seat of her car. She abandoned her son and lived on the street. Her teeth withered. “She became a person I didn’t recognize,” said Carole, who is now raising Mary’s son. (Carole asked that their last name not be used, because she’s concerned that the late father’s family might seek custody.)
Five years ago, when Bill Ferro would take a road trip in his electric BMW i3, he needed to be ready for anything.
Driving from Boston to Charlotte meant bringing along a 50-foot extension cord; a blanket, in case he needed to turn the car’s heater off to maximize its range; and a spreadsheet full of alternate plans in case the unexpected happened at public charging stations. In one memorable instance, he was forced to rush several miles at midnight to a backup charger when a plug in a dark mall parking lot not only failed to work but refused to unlatch from his car.
Today, Ferro gets into his Tesla, punches his destination into its navigation system, and doesn’t think much about running out of electrons.
The Biden administration undermines its cause with strategically witless statements.
A small flock of drones descends on Moscow; Russian rebels raid over the border into their estranged motherland, mysterious fires break out in Russian cities, oil-storage depots experience explosions, and Russian trains suffer an unusual number of derailments. How does the White House react? “As a general matter, we do not support attacks inside of Russia.”
This is an administration that has done some things very well, including blowing the whistle on Russian invasion plans and building a coalition to support Ukraine. It has done other things moderately well: giving the Ukrainians high-end weapons, though only after repeated agonizing, delaying, and prevaricating. However, it often undermines its cause with speech that is strategically witless. Sometimes, this takes the form of leaks from officials to friendly journalists, who then report the officials’ fears of Russian escalation, hopes for negotiations, and doubts about Ukrainian abilities. More commonly, it appears in an unwillingness to say the obvious, which is that we want Ukraine to defeat Russian armies thoroughly and drive them from all of its territory.
Trump may be unpopular nationally, but within his own party, the devotion has not subsided.
Every successful politician follows roughly the same path: First, they become prominent on some stage. They become more successful, maybe graduating to a larger stage. Then, eventually, they peak and decline, with the affection of even their strongest supporters cooling somewhat.
If they are lucky (Harry Truman, George H. W. Bush), they eventually experience some historical revision that burnishes their reputation. (If they are very lucky, they even live to see it.) If they are not (Herbert Hoover, Richard Nixon), they don’t. This happens whether a politician’s departure from office comes in defeat at the polls or at the top of their popularity, as with Bill Clinton, who has seen his reputation suffer—personally and politically—in the past 15 years.
In her latest work to be translated into English, Annie Ernaux examines the malaise of the modern supermarket.
The sliding doors of a supermarket open into a dilemma: Though one may find comfort in the grocery store’s order and abundance, its high stakes can also provoke anxiety—after all, this is the place where we trade hard-earned money for sustenance. “Everything was fine, would continue to be fine, would eventually get even better as long as the supermarket did not slip,” Don DeLillo’s narrator Jack Gladney observes in White Noise, commenting on the structure that supermarkets, with their rows of neatly ordered products, impose on his chaotic life. Thirty years later, Halle Butler’s protagonist in the novel Jillian enters a gourmet grocery store on a whim because “there were delights there.” The prices are so out of her budget that she has to give herself a pep talk before buying anything. “I mean, I work all the time,” she mutters. “This is why I work, isn’t it? I’m a hard worker. I can buy this cheese. It’s just cheese, I guess.” But it’s not just cheese.
Big Tech is struggling to evolve beyond a flawed model, and generative AI isn’t helping.
At a glance, the tech giants don’t seem to have a lot in common. Google delivers information quickly. Meta connects you to friends and family. Amazon is a store. Apple makes phones and computers. Microsoft is all about business software.
But under the hood, they are united by advertising, referred to as the “dark beating heart of the internet” by the author Tim Hwang in his book Subprime Attention Crisis. About 80 percent of Google’s revenue comes from the ads it places next to search-engine results, on sites across the internet, and before YouTube videos. Meta makes considerably more than 90 percent of its billions in revenue from advertising. Amazon has the third biggest share of the U.S. ad market, thanks to what it charges independent retailers for placement on its site. And although few people think of Microsoft as a company that benefits from digital ads, it, too, makes billions from them every year.
