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.)
The president may be overstating the gang’s impact.
As President Trump sat for Time’s Person of the Year interview last year, he excused himself and returned with a copy of Newsday. He wanted to show editor Michael Scherer a headline. “‘EXTREMELY VIOLENT’ GANG FACTION,” it read, and the article told of murders in Suffolk County, New York, all linked to MS-13. One murder was that of 16-year-old Kayla Cuevas, who’d argued with MS-13 members at her high school. The gang, many of them also teenagers, found Cuevas and a friend walking along the street and beat them with baseball bats and hacked at them with machetes. “They come from Central America,” Trump said to Scherer. “They’re tougher than any people you’ve ever met. They’re killing and raping everybody out there. They’re illegal.”
If the party cares about winning, it needs to learn how to appeal to the white working class.
The strategy was simple. A demographic wave—long-building, still-building—would carry the party to victory, and liberalism to generational advantage. The wave was inevitable, unstoppable. It would not crest for many years, and in the meantime, there would be losses—losses in the midterms and in special elections; in statehouses and in districts and counties and municipalities outside major cities. Losses in places and elections where the white vote was especially strong.
But the presidency could offset these losses. Every four years the wave would swell, receding again thereafter but coming back in the next presidential cycle, higher, higher. The strategy was simple. The presidency was everything.
An analysis to see if the algorithms behind the new emoji contribute to political bubbles in America
James Berri traveled three hours to Sacramento earlier this month for his first Pride parade, one of hundreds of annual LGBTQ celebrations across America. Berri also talked about the experience on Facebook, reading and reacting to other people’s posts with thumbs-up likes and Facebook’s new rainbow “Pride” emoji. Throughout June, the platform is offering a rainbow flag alongside likes, hearts, and angry faces that people can click on to react to others’ posts and comments. Yet Berri, a 21-year-old transgender artist, is conflicted over the fact that not everyone can use this new rainbow button.
Back in Fresno, Berri wondered how Facebook decides who’s eligible. “Why don’t they have it, too?” he asked, referring to friends sitting with him in a salon in the larger, less-prominent California city. “It makes me confused for my friends.”
The South Coast, a 30-mile drive from Palo Alto, is facing an affordable-housing shortage that is jeopardizing its agricultural heritage.
On the drive up the coast from the southernmost part of Northern California’s San Mateo County, Highway 1’s two lanes are surrounded by wind-whipped seas on one side and redwood forests on the other. The landscape is dotted with wild yellow mustard in the spring and pumpkins in the fall. A popular place for day-trippers to picnic, go wine-tasting, and shop at roadside farm stands, the region—affectionately nicknamed “the Slowcoast” for its unhurried pace—is a balm to the busyness nearby in Silicon Valley, to the east, and San Francisco, to the north.
Home to fewer than 3,000 people, the South Coast is the least densely populated part of the Bay Area. While it feels like a region unto itself, it is part of San Mateo County, which is where—just over the Santa Cruz Mountains—several big tech companies, such as Facebook and Oracle, are based. South of those firms’ campuses (in Santa Clara County) are the well-known tech hubs of Mountain View, Cupertino, and Palo Alto. San Mateo County is also the home of some of the wealthiest tech executives: The city of Atherton, about a 30-mile drive from the South Coast, was, according to Forbes, the country’s most expensive zip code in 2015 and the third-most expensive in 2016. The countywide median price for a single-family home reached $1.2 million last year.
Trinity Lutheran v. Comer finds that governments can’t discriminate against churches that would otherwise qualify for funding just because they’re religious institutions.
The Supreme Court ruled on Monday that the state of Missouri cannot deny public funds to a church simply because it is a religious organization.
Seven justices affirmed the judgment in Trinity Lutheran v. Comer, albeit with some disagreement about the reasoning behind it. The major church-state case could potentially expand the legal understanding of the free-exercise clause of the First Amendment of the U.S. Constitution. It is also the first time the Supreme Court has ruled that governments must provide money directly to a house of worship, which could have implications for future policy fights—including funding for private, religious charter schools.
Trinity Lutheran is a big case that hinges on mundane facts. In 2012, when Trinity Lutheran Church in Missouri applied for a state grant to resurface its playground, it was ranked as a strong potential candidate for the program. Ultimately, though, Missouri denied the funding under a state constitutional provision that prohibits public money from going to religious organizations and houses of worship. “There is no question that Trinity Lutheran was denied a grant simply because of what it is,” wrote Chief Justice John Roberts in his decision for the majority. “A church.”
She lived with us for 56 years. She raised me and my siblings without pay. I was 11, a typical American kid, before I realized who she was.
The ashes filled a black plastic box about the size of a toaster. It weighed three and a half pounds. I put it in a canvas tote bag and packed it in my suitcase this past July for the transpacific flight to Manila. From there I would travel by car to a rural village. When I arrived, I would hand over all that was left of the woman who had spent 56 years as a slave in my family’s household.
A controversial new study raises questions about the optimal floor for pay.
Seattle’s decision to hike its minimum wage up to $13 an hour—on its way to $15—ended up costing its low-wage workers time on the job, hundreds of dollars of annual income, and a shot at a better livelihood.
That is a reasonable conclusion one could draw from a blockbuster, if not yet peer-reviewed, new study on the city’s famed minimum-wage increases. The research, performed by a group of academics from the University of Washington, looks at detailed data on the earnings and hours of workers affected by the hike of the wage floor from $9.47 an hour to $11 in 2015, and from $11 an hour to $13 an hour in 2016. It concludes that, for low-wage workers, that second wage increase reduced hours worked by nearly 10 percent and earnings by an average of $125 a month. The findings, though preliminary, call into question years of economic research and the decisions of dozens of states and cities to bump their wage floors up.
The report from the Congressional Budget Office found the proposal would leave 22 million uninsured, seeing little difference in impact from the House-passed American Health Care Act.
Updated on June 26 at 7:35 p.m. ET
The Senate Republican health-care bill would increase the ranks of the uninsured by 22 million over a decade, the Congressional Budget Office found on Monday in an analysis that could determine the proposal’s fate on Capitol Hill.
The CBO’s highly-anticipated report projected just a slight difference in impact between the measure that GOP Senate leaders wrote in secret and a widely-criticized plan the House narrowly passed last month. A key group of undecided senators said the analysis by the non-partisan budget office could determine their votes this week, and the CBO’s finding of steep coverage losses and cuts to Medicaid over the next decade could make it even more difficult—if not impossible—for Majority Leader Mitch McConnell to assemble the 50 votes he needs to pass the bill. Barely two hours after the report’s release, critics of the bill appeared to have enough votes to block McConnell from bringing it to the Senate floor barring a last-minute agreement on changes to the proposal.
The latest winner of RuPaul’s Drag Race is a politically engaged oddball—which is, in its way, pretty traditional.
If you’reever in need of perspective on whether our society is in true upheaval or if we’re only experiencing the same cultural battles that have raged forever, old Geraldo clips on YouTube will always offer some clarity. Recently I found myself binging on the talk show’s coverage of “club kids,” a scene of 1990s New York City partiers who wore fantastical and frequently gender-bending outfits. In various episodes over the years, Rivera invited them on and then scoffed at their floral masks and harlequin makeup, their coy references to drug use, and their queerness. Once, they inspired him to ask, somewhat in earnest, “It’s four in the morning—do you know where your children are?”
Last week, RuPaul retweeted a link to one of those episodes, from 1990, which featured him a few years before he became America’s most famous drag queen. Midway through, Rivera asked whether dressing outlandishly is an art, and RuPaul gave an exuberant yes. “I dropped out of society when Reagan got in office,” he added, then took the opportunity to rally the audience: “Everybody say ‘love!’ Everybody say ‘love!’”
The Supreme Court announced Monday it will review the president’s controversial executive order next term. But in the meantime, the administration can enforce some of its provisions.
Updated at 2:57 p.m. ET
The U.S. Supreme Court agreed to review a series of lower-court rulings blocking the Trump administration’s controversial travel ban on Monday, setting up a major showdown over presidential power and religious discrimination.
In an unsigned order issued on the Court’s last day before its summer recess, the justices scheduled oral arguments in the case for when they return in October. They also partially lifted the lower courts’ injunctions against Section 2(c) of President Trump’s executive order, which temporarily suspended visa applications from six Muslim-majority countries, as well as Section 6, which froze the U.S. Refugee Admissions Program and halted refugee entry into the United States.