Arts & Entertainment
The Golden Globes make a shaky return
Ryan Murphy delivers emotional, queer-centric speech
When the Golden Globes returned to television this week, nobody was sure how things would play out.
The Globes were known as the “best party” of Hollywood’s awards season until they were plunged into scandal by a 2021 LA Times report that exposed a profound lack of diversity within the Hollywood Foreign Press Association – the organization behind the Globes – and alleged a pattern of ethical violations around the expensive “perks” accepted by its voting members from PR reps campaigning for nominations. They were denounced and boycotted by most of the film and TV industry’s biggest power players, and NBC, the network that had televised the ceremony since the ‘90s, declined to broadcast the show again until the HFPA had cleaned up its act. In 2022, the Globes went on, but they happened behind closed doors, with no audience in attendance and the winners announced via YouTube, and Hollywood paid – or at least pretended to pay – little attention.
Now, a year later, the ceremony was back on the air, but despite the penitent HFPA’s massive retooling from within, widespread disapproval of the organization was still percolating in Hollywood, there was no guarantee anyone would show up to accept an award or even to sit in the audience.
In hindsight, of course, there shouldn’t have been any doubt. After two years of pandemic-mandated abstinence from its accustomed social whirl, Hollywood was ready for a party, and the stars – except for a few notable holdouts – just couldn’t say no.
No doubt in hope of getting home viewers to come to the party, too, the Globes kept with its tradition of enlisting edgy, irreverent comics to host the show – and shrewdly underscored its newly forged commitment to diversity – by handing those duties to openly gay Black comedian Jerrod Carmichael; eloquent, handsome, and dapper in pink, he wasted no time in stirring controversy, delivering an opening monologue that humorously acknowledged the Awards’ history of racism and stoked skepticism about their good intentions. While many in the crowd seemed to find him hilarious, some were visibly uncomfortable; the latter sentiment became increasingly palpable as he continued to troll the HFPA – and a few other plumb targets – throughout the show. Comments from viewers on social media, predictably, mirrored that divided response.
As for the awards themselves, the Globes seemed to make good on its promise of diversity. Several major prizes went to Black actors, including Angela Bassett (Best Supporting Actress in a Motion Picture, “Wakanda Forever”), Quinta Brunson, Tyler James Williams (Best Actress and Supporting Actor in a Musical or Comedy TV Show, “Abbott Elementary”), and Eddie Murphy, who was given the honorary Cecil B. DeMille Award.
Asian-American stars Michelle Yeoh and Ke Huy Quan (Best Actress in a Musical or Comedy Film and Best Supporting Actor in a Film, respectively) took home awards for their work in “Everything Everywhere All at Once,” and Indian composer MM Keeravani took the Best Song prize for “Naatu Naatu” from “RRR” – beating out the likes of Taylor Swift and Rihanna to become the first Indian to win a Golden Globe.
Though none of the few openly LGBTQ nominees won in their respective acting categories, the show still maintained a strong queer presence – partly thanks to Carmichael, who at one point even introduced presenter Niecy Nash by quipping, “We both gay now, so that’s good.” There was also Billy Porter’s show-stopping appearance in a fuchsia Siriano tuxedo gown to present gay entertainment mogul Ryan Murphy with the Carol Burnett Award, followed by an inspiring acceptance speech from Murphy in which he stressed the importance of telling queer stories and sang the praises of some of his frequent queer collaborators – even using some of his time to lead a belated ovation for MJ Rodriguez, whose historic win last year as Best Supporting Actress in a TV Drama was the first for a trans actress at the Golden Globes, and to hold up Black queer actor Jeremy Pope (who lost his Best Actor in a Film Drama nomination to Austin Butler’s acclaimed performance in queer filmmaker Baz Luhrman’s “Elvis”) as “the future” for queer representation onscreen.
So, too, was queer-inclusive content celebrated – most prominently “Everything Everywhere,” which, though it ultimately lost its Best Motion Picture Musical or Comedy nod to Martin McDonagh’s much-lauded “The Banshees of Inisherin,” gave the evening two of its most crowd-pleasing moments through its wins for Yeoh and Quan. In particular, Quan – who made his screen debut at 12 as Harrison Ford’s sidekick in “Indiana Jones and the Temple of Doom” – drew exuberant cheers from the audience with an emotional acceptance speech in which he expressed his gratitude to director Steven Spielberg for giving him his start four decades ago. Later, Spielberg’s win as Best Director for his semi-autobiographical “The Fabelmans” created a neat symmetry that surely resonated among viewers – especially Gen X-ers – and left them feeling warmly satisfied.
Standouts among the other queer-inclusive winners were “Monster: The Jeffrey Dahmer Story,” for which Evan Peters took Best Actor in a Miniseries or TV Film for his unnerving performance as the title character; queer creator Mike White’s “The White Lotus,” which won as Best Miniseries and created another highlight of the evening by allowing Best Supporting Actress in a Miniseries winner Jennifer Coolidge to deliver a sublimely self-lampooning acceptance speech while basking in the delight of an audience clearly as in love with her as the rest of us, not to mention generating one of the show’s biggest laughs when Carmichael apologized to Coolidge on behalf of “all the gays” for what they “tried to do to her on that boat.”
Still, despite a painfully clear priority to make room at the Globes party for everyone, the ceremony’s winners largely still reflected a tendency toward the mainstream. HBO’s “House of Dragons” beat critically acclaimed shows like “Better Call Saul” and “Severance” for the Best TV Drama prize, and “Banshees” dominated the Movie Musical or Comedy categories with additional wins for awards darling McDonagh’s screenplay and its star, Colin Farrell. Finally, sentimental favorite “The Fabelmans” capped the evening by bookending Spielberg’s directing win with a victory in the Best Movie Drama competition. In other words, there were few surprises, and while there were encouraging signs of change on prominent display, the HFPA’s choices managed to remain predictably “safe.”
It’s too early to say if Tuesday’s ceremony will put the Globes back in Hollywood’s good graces. As awards shows go, there have been worse, and the general tone of the evening remained mostly positive – though there was a noticeable sense of rebellion in the room which manifested in an increasingly ugly war of wills between speech-giving winners and the musical playoffs employed to keep them within their time limit. So, too, the ceremony’s compliant display of diversity was not enough to allay suspicions that such concessions were, at their core, all for just show.
For us, the assessment remains the same as usual when it comes to Hollywood awards shows and their efforts toward inclusion: yes, things are better, but there’s still a long way to go.
The complete list of winners is below:
BEST MOTION PICTURE, DRAMA: “The Fabelmans”
BEST MOTION PICTURE, MUSICAL OR COMEDY: “The Banshees of Inisherin”
BEST ACTOR, MOTION PICTURE DRAMA: Austin Butler, “Elvis”
BEST ACTRESS, MOTION PICTURE DRAMA: Cate Blanchett, “Tár”
BEST ACTOR, MOTION PICTURE MUSICAL OR COMEDY: Colin Farrell, “The Banshees of Inisherin”
BEST ACTRESS, MOTION PICTURE MUSICAL OR COMEDY: Michelle Yeoh, “Everything Everywhere All at Once”
BEST SUPPORTING ACTOR, MOTION PICTURE: Ke Huy Quan, “Everything Everywhere All at Once”
BEST SUPPORTING ACTRESS, MOTION PICTURE: Angela Bassett, “Wakanda Forever”
BEST DIRECTOR, MOTION PICTURE: Steven Spielberg, “The Fabelmans”
BEST SCREENPLAY, MOTION PICTURE: Martin McDonagh, “The Banshees of Inisherin”
BEST MOTION PICTURE SCORE: Justin Hurwitz, “Babylon”
BEST SONG: ““Naatu Naatu” (from “RRR”)
BEST ANIMATED FEATURE FILM: “Guillermo Del Toro’s Pinocchio”
BEST TV SERIES, DRAMA: “House of the Dragon”
BEST TV SERIES, MUSICAL OR COMEDY: “Abbott Elementary”
BEST ACTOR, TV SERIES DRAMA: Kevin Costner, “Yellowstone”
BEST ACTRESS, TV SERIES DRAMA: Zendaya, “Euphoria”
BEST ACTOR, TV SERIES MUSICAL OR COMEDY: Jeremy Allen White, “The Bear”
BEST ACTRESS, TV SERIES MUSICAL OR COMEDY: Quinta Brunson, “Abbott Elementary”
BEST SUPPORTING ACTOR, TV SERIES: Tyler James Williams, “Abbott Elementary”
BEST SUPPORTING ACTRESS, TV SERIES: Julia Garner, “Ozark”
BEST LIMITED SERIES OR TV MOVIE: “The White Lotus”
BEST ACTOR, LIMITED SERIES OR TV MOVIE: Evan Peters, “Monster: The Jeffrey Dahmer Story”
BEST ACTRESS, LIMITED SERIES OR TV MOVIE: Amanda Seyfried, “The Dropout”
BEST SUPPORTING ACTOR, LIMITED SERIES OR TV MOVIE: Paul Walter Hauser, “Black Bird”
BEST SUPPORTING ACTRESS, LIMITED SERIES OR TV MOVIE: Jennifer Coolidge, “The White Lotus”
CECIL B. DEMILLE AWARD: Eddie Murphy
CAROL BURNETT AWARD: Ryan Murphy
Sports
English soccer bans transgender women from women’s teams
British Supreme Court last month ruled legal definition of woman limited to ‘biological women’
The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.
The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.
“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”
“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.
The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”
“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.
The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.
The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.
Theater
Theatre Prometheus spreads queer joy with ‘Galatea’
Two girls dressed as boys who find love despite the odds
‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org
In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them.
Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.
Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair.
Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.
“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.”
Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.
“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”
Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time.
There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.
She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.
“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”
Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it.
And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.”
And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”
Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.
In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.
With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”
Movies
Jacob Elordi rides high in ‘On Swift Horses’
Sony Pictures’ promotions avoid referencing queer sexuality of main characters
You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.
Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.
Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.
Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.
Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it
That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.
Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.
As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.
But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.
Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.
That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.
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