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 history of evangelicalism in America is shot through with fear—but it also contains an alternative.
White conservative evangelicals in America are anxious people. I know because I am one.
Our sense of fear, perhaps more than any other factor, explains why evangelicals voted in such large numbers for Donald Trump in 2016 and continue to support his presidency.
The Pulitzer Prize-winning novelist and essayist Marilynne Robinson once wrote, “Fear is not a Christian habit of mind.” The great poet of the Jersey shore, Bruce Springsteen, sings, “Fear’s a dangerous thing. It can turn your heart black you can trust. It can take a God-filled soul, and turn it to devils and dust.”
Robinson and Springsteen echo verses in nearly every book of the Bible, the sacred text that serves as the source of spiritual authority in evangelical life. Moses told the Israelites to “Fear not, stand firm, and see the salvation of the Lord, which he will work for you today.” The Hebrew God told Job: “At the destruction and famine you shall laugh, and shall not fear the beasts of the earth.” The Psalmist wrote: “Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff they comfort me.”
When it comes to children’s development, parents should worry less about kids’ screen time—and more about their own.
Smartphones have by now been implicated in so many crummy outcomes—car fatalities, sleep disturbances, empathy loss, relationship problems, failure to notice a clown on a unicycle—that it almost seems easier to list the things they don’t mess up than the things they do. Our society may be reaching peak criticism of digital devices.
Even so, emerging research suggests that a key problem remains underappreciated. It involves kids’ development, but it’s probably not what you think. More than screen-obsessed young children, we should be concerned about tuned-out parents.
Yes, parents now have more face time with their children than did almost any parents in history. Despite a dramatic increase in the percentage of women in the workforce, mothers today astoundingly spend more time caring for their children than mothers did in the 1960s. But the engagement between parent and child is increasingly low-quality, even ersatz. Parents are constantly present in their children’s lives physically, but they are less emotionally attuned. To be clear, I’m not unsympathetic to parents in this predicament. My own adult children like to joke that they wouldn’t have survived infancy if I’d had a smartphone in my clutches 25 years ago.
Thirty years after his death, the painter commands millions for his work and defies easy categories. Was he an artist, an art star, or just a celebrity?
In May 2016, a painting by Jean-Michel Basquiat sold for $57.3 million. One year later, another painting of his from 1982, Untitled, sold for $110.5 million, making it the sixth-most-expensive work of art ever purchased at auction, and setting a record for an American artist. Basquiat is not the first painter to have a canvas sell for a price that strikes ordinary people as obscene. But when Jeffrey Deitch, a prominent curator and dealer, said after the sale, “He’s now in the same league as Francis Bacon and Pablo Picasso,” it was hard to pin down the precise meaning of the word league. Was Basquiat now considered as great an artist as Picasso? Or was he merely as expensive to own?
Basquiat became famous in the early 1980s, when the idea that artists were supposed to be commercial innocents fell apart for good, and when the idea of the “art star”—a funnily abbreviated inversion, if you think about it, of starving artist—first came into vogue. In 1985, The New York Times Magazineran a cover story on Basquiat, titled “New Art, New Money.” Its tone was both awed and suspicious, with constant references to a hot, possibly gullible, market in contemporary art. His work was said to be selling “at a brisk pace—so brisk, some observers joked, that the paint was barely dry,” and Basquiat himself was quoted as worrying he had become a “gallery mascot.” Whatever else was true, as the art historian Jordana Moore Saggese has said since, “this was not the starving artist the public was accustomed to seeing.”
By studying rats in a smarter way, scientists are finally learning something useful about why some drinkers become addicted and others don’t.
For Markus Heilig, the years of dead ends were starting to grate.
A seasoned psychiatrist, Heilig joined the National Institutes of Health in 2004 with grand ambitions of finding new ways to treat addiction and alcoholism. “It was the age of the neuroscience revolution, and all this new tech gave us many ways of manipulating animal brains,” he recalls. By studying addictive behavior in laboratory rats and mice, he would pinpoint crucial genes, molecules, and brain regions that could be targeted to curtail the equivalent behaviors in people.
It wasn’t to be. The insights from rodent studies repeatedly proved to be irrelevant. Many researchers and pharmaceutical companies becamedisillusioned. “We cured alcoholism in every rat we ever tried,” says Heilig, who is now at Linköping University in Sweden. “And at the end of every paper, we wrote: This will lead to an exciting treatment. But everything we took from these animal models to the clinic failed. We needed to go back to the drawing board.”
Hormones? Surgery? The choices are fraught—and there are no easy answers.
Claire is a 14-year-old girlwith short auburn hair and a broad smile. She lives outside Philadelphia with her mother and father, both professional scientists. Claire can come across as an introvert, but she quickly opens up, and what seemed like shyness reveals itself to be quiet self-assuredness. Like many kids her age, she is a bit overscheduled. During the course of the evening I spent with Claire and her mother, Heather—these aren’t their real names—theater, guitar, and track tryouts all came up. We also discussed the fact that, until recently, she wasn’t certain she was a girl.
Sixth grade had been difficult for her. She’d struggled to make friends and experienced both anxiety and depression. “I didn’t have any self-confidence at all,” she told me. “I thought there was something wrong with me.” Claire, who was 12 at the time, also felt uncomfortable in her body in a way she couldn’t quite describe. She acknowledged that part of it had to do with puberty, but she felt it was more than the usual preteen woes. “At first, I started eating less,” she said, “but that didn’t really help.”
The class divide is already toxic, and is fast becoming unbridgeable. You’re probably part of the problem.
1. The Aristocracy Is Dead …
For about a week every year in my childhood, I was a member of one of America’s fading aristocracies. Sometimes around Christmas, more often on the Fourth of July, my family would take up residence at one of my grandparents’ country clubs in Chicago, Palm Beach, or Asheville, North Carolina. The breakfast buffets were magnificent, and Grandfather was a jovial host, always ready with a familiar story, rarely missing an opportunity for gentle instruction on proper club etiquette. At the age of 11 or 12, I gathered from him, between his puffs of cigar smoke, that we owed our weeks of plenty to Great-Grandfather, Colonel Robert W. Stewart, a Rough Rider with Teddy Roosevelt who made his fortune as the chairman of Standard Oil of Indiana in the 1920s. I was also given to understand that, for reasons traceable to some ancient and incomprehensible dispute, the Rockefellers were the mortal enemies of our clan.
A recent mission atop a Hawaiian volcano shows humans still have much to learn before they set foot on another world.
The drive to the little white dome on the northern slope of Mauna Loa is a bumpy one. Mauna Loa, the “Long Mountain,” is a colossal volcano that covers half of the island of Hawaii. The rocky terrain, rusty brown and deep red, crunches beneath car tires and jostles passengers. Up there, more than 8,000 feet above sea level and many miles away from the sounds of civilization, it doesn’t feel like Earth. It feels like another planet. Like Mars.
For the past five years, small groups of people have made this drive and moved into the dome, known as a habitat. Their job is to pretend that they really are on Mars, and then spend months living like it. The goal, for the researchers who send them there, is to figure out how human beings would do on a mission to the real thing.
Humanity may be as few as 10 years away from discovering evidence of extraterrestrial life. Once we do, it will only deepen the mystery of where alien intelligence might be hiding.
Enrico Fermi was an architect of the atomic bomb, a father of radioactivity research, and a Nobel Prize–winning scientist who contributed to breakthroughs in quantum mechanics and theoretical physics. But in the popular imagination, his name is most commonly associated with one simple, three-word question, originally meant as a throwaway joke to amuse a group of scientists discussing UFOs at the Los Alamos lab in 1950: Where is everybody?
Fermi wasn’t the first person to ask a variant of this question about alien intelligence. But he owns it. The query is known around the world as the Fermi paradox. It’s typically summarized like this: If the universe is unfathomably large, the probability of intelligent alien life seems almost certain. But since the universe is also 14 billion years old, it would seem to afford plenty of time for these beings to make themselves known to humanity. So, well, where is everybody?
Many have claimed to know the origin story of the service industry’s most infamous number. But the real roots of the term have been largely forgotten.
White House press secretary Sarah Huckabee Sanders confirmed rumors that she was asked to leave a Virginia restaurant on Friday evening. “Last night I was told by the owner of Red Hen in Lexington, VA to leave because I work for @POTUS and I politely left,” Sanders tweeted on Saturday. “Her actions say far more about her than about me.”
In a widely shared tweet about the incident, Brennan Gilmore, director of the environmental group Clean Virginia, posted what appears to be a note left by the restaurant’s staff for the morning manager, reading: “86 — Sara Huckabee Sanders.”
.@PressSec got kicked out of the Red Hen restaurant in Lexington, Va tonight. Apparently the owner didn’t want to serve her and her party out of moral conviction. pic.twitter.com/jr3bfiY3XY
Three Atlantic staffers discuss “The Passenger,” the final episode of Season 2.
Every week for the second season of Westworld, three Atlantic staffers will discuss new episodes of HBO’s cerebral sci-fi drama.
Sophie Gilbert: So much of the last half-hour of “The Passenger” felt like a series finale. Dolores was reborn (born isn’t quite the right word but we do the best we can) into Charlotte Hale’s body, waved through security protocols by a (perhaps) in-on-the-secret Stubbs, and escorted onto a boat to her new life among humans on the mainland. Maeve made a triumphant escape, and survived long enough to usher her daughter to safety in a kind of robot paradise coded by Ford. Akecheta also made it to the other side, and a reunion with Kohana that was one of the most poignant moments of the season. Sizemore went out in a blaze of glory that seemed ... unnecessary, logically? (He couldn’t have bought Maeve that much time, and Hector died anyway.) Dolores somehow (it’s unclear) brought Teddy back to life and dispatched him to Host Eden, even though the portal had already closed.