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The Golden Globes make a shaky return

Ryan Murphy delivers emotional, queer-centric speech

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4 years ago

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Best Supporting Actress in a Miniseries winner Jennifer Coolidge. (Photo courtesy HBO)

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

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Movies

‘Into the Grey’ unites Cavill, Gyllenhaal for thrills and gay love

Did studio sabotage film’s release because of queer plot?

Published

16 hours ago

on

July 25, 2026

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Jake Gyllenhaal and Henry Cavill star in ‘Into the Grey.’ (Photo courtesy of Black Bear International)

What if they released the LGBTQ-themed action movie we’ve all been waiting for and they didn’t bother to tell us?

It’s a rhetorical question, really, because we already know the answer, and it can be found between the lines in the distribution-and-release history of “In the Grey,” a typically slick and cynical “caper thriller” from veteran filmmaker (and former Madonna husband) Guy Ritchie, which is now available on VOD platforms after a perfunctory theatrical opening in May.

Like almost all of Ritchie’s films, it’s fast-paced, clever, and full of surprises, some of which have to do with the plot, but most of all involve its characters – who, also in the tradition of Ritchie’s former work, inhabit a rarified world in which confidence, bravado, and stoic humor define the moral environment while something else (call it “fate” or “karma” or simply “the consequence of choices”) works behind the scenes to deliver a conclusion that satisfies our jaded sense of justice even as it fairly drips with irony. Also like most of Ritchie’s films, it succeeds in sucking us into its plotting while drawing a clear line between the “good guys” (i.e. the ones who are ostensibly working toward an equitable outcome, if not a moral high ground) and the out-of-balance despotism of a weighted power hierarchy that defines the shadowy status quo of human endeavor.

The caper in question is being run by Rachel Wild (Eiza Gonzalez), an elite lawyer who specializes in retrieving funds owed to high-finance “asset management” firms by wealthy clients, whose latest case puts her into a showdown with ruthless crime boss Manny Salazar (Carlos Bardem) over a billion-dollar debt. She’s elite for a reason, though; she’s backed up by her own small militia of “fixers” headed by trusted “extralegal” operatives Bronco and Sid (Jake Gyllenhaal and Henry Cavill, respectively), who are more than capable of carrying out her plans and have no intention of allowing Salazar to gain the upper hand. The plan involves blocking and handicapping his operations until he is forced to return the money; but when their powerful quarry decides to make things personal by going after Rachel in retaliation, it’s up to her loyal protectors (and their highly skilled team) to keep her safe.

Crafted by Ritchie with his usual blend of intricate plotting, jocular amorality, and shocking violence, it’s also a movie that fairly oozes testosterone; yes, there’s a smart and powerful woman at the center of it all, but she’s got as much (or more) macho swagger as anybody else so the effect is just the same. In fact, there’s a lot of hyper-masculine posturing, attitude, and tough talk that goes on all around, most of it delivered with that jocularity we mentioned. Action, naturally, is key to the formula, and “In the Grey” ramps it up to near orgiastic levels with an escalating collection of high-octane set pieces – chases, gunfights, explosions, zip-lining – all carefully spelled out ahead of time for us, point for point, in expository detail so that we can keep up with them as they unfold. It’s a movie about planning and strategy as much as anything else, and it wants to make sure we’re all prepped and ready for “go time.”

As for feelings, in a film like this, you might just think they don’t matter and leave it at that – but that’s not entirely true. Almost hidden in the middle of all this morally murky bluster and bravado is an unexpected angle, and it lends a touch of tenderness to the whole thing that somehow ends up being essential.

The movie takes pains to create a slow reveal, so it feels like a spoiler (consider this your warning) to say it, but underneath all the non-stop action there’s a love story going on, and it’s between the two leading men. We’re not sure at first, though the jovial banter between Cavill and Gyllenhaal has a distinct “romcom” vibe from the beginning, but as the movie goes on it gradually becomes clear that they are, in fact, a couple.

Perhaps not surprisingly, there was no mention of the nature of their relationship in any of the film’s publicity; the studio (Lionsgate) delayed release for months and eventually gave up distribution rights to Black Bear International. When it hit theaters, it finished ninth at the box office; even the popularity of its two stars was not enough to make up for the lack of push that accompanied its release. Does all of this suggest that the studio scuttled their own movie just because of the “gay angle” and the reaction it might get in today’s environment?  It’s hard not to speculate on that possibility, but either way, those two characters are gay.

Does it matter to the plot? Not really; there’s no lovestruck romance here – these guys have obviously been together a long time, and they carry the comfortable familiarity to prove it – nor is there even a kiss. It’s just a layer to their characters, a nuance that offers a glimpse of relatable, everyday humanity in a plot where almost everything else is bombast. Importantly, it also raises the stakes for the audience; knowing they are together gives us a reason to root for them beyond simple “good guy/bad guy” dynamic (which is complicated in a movie where both sides are trying to gun each other down mercilessly), and while we might not be so invested in the film’s overarching plot – do we really care if a venture capital corporation gets its money back from the murderous gangster they lent it to in the first place? – we can at least hope that these two handsome mercenaries will be able to go home to their cats together at the end.

As for the acting, this is not a film that demands anything more subtle than broad strokes from its players, but Cavill and Gyllenhaal, given such rich possibilities for subtext in their otherwise formulaic dialogue, clearly play it up with enthusiasm; they also convey that all-important tenderness – especially Gyllenhaal, who stirs an occasional echo of his “Brokeback Mountain” performance from two decades back. The rest of the cast – with the exception of Fisher Stevens as Salazar’s long-suffering lawyer, and Rosamund Pike as Rachel’s treacherous client – mostly play stock characters, familiar, predictable, and not too deep, but they do it well enough.

All that said, and with or without the gay couple in the middle of it, “In the Grey” is not a very remarkable movie. It’s more clever than smart, and while it benefits from Ritchie’s signature fast-paced, edgy style it sometimes feels repetitive – it’s nothing we haven’t seen before, and even if the setting within the corrupt world of the financial elite might strike a note for some viewers today, it never gets political enough to stir up any kind of fervor.

Cavill and Gyllenhaal, however, are good enough together to make it worth a watch – so why not? After all, brains (and eyes) like candy once in a while, too.

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Calendar

Calendar: July 24-30

LGBTQ events in the days to come

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2 days ago

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July 24, 2026

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Friday, July 24

The DC LGBTQ+ Community Center hosts Trans Discussion Group from 7-9 p.m. via Zoom. The Trans Discussion Group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, visit the DC Center’s website. 

Saturday, July 25

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

The DC LGBTQ+ Community Center will host Black Lesbian Support Group at 11 a,.m. Join the DC Center and the Beta Kappa Chapter of the Beta Phi Omega Sorority for a peer-led support group devoted to the joys and challenges of being a Black Lesbian. For more details, visit the Center’s website.

Sunday, July 26

“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets are $58.51 and are available on Eventbrite. 

Monday, July 27

The DC LGBTQ+ Community Center will host Queer Book Club at 6:30 p.m. This month’s selection is “Uncomfortable Labels” by Laura Kate Dale. The meeting will be held via Zoom.Email [email protected]  for details.

Tuesday, July 28

Center Bi+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as bi individuals in a private setting. Visit Facebook or Meetup for more information.

Wednesday, July 29

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

Thursday, July 30

The DC Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.  

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a&e features

Summer in D.C. brings sports, Restaurant Week, festivals, and more

Published

3 days ago

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July 23, 2026

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Washington Spirit CEO Kim Stone hosts Pride Night OUT on Sunday, Aug. 23. (Photo courtesy of Washington Spirit)

Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.

Dining

Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.

New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:

  • Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
  • The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
  • Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
  • Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.

Sports

  • Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements. 
  • Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.

Festivals

  • Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
  • Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods. 
  • The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
  • All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
  • Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.

Art and Music

  • United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club. 
  • The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
  • Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
  • ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
  • 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
  • Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
  • Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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