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
Arts & Entertainment
A reign defined by commitment and human impact
Nicole Murray Ramirez defined era in International Imperial Court System
Writing about the reign of Nicole Murray Ramirez and the close leadership of King Father Terry Sidie requires far more than listing achievements, because what has been built over these years cannot be reduced to titles, ceremonies, or public recognition. It must be understood as the result of a sustained vision rooted in service, memory, solidarity, and the real ability to build bridges within and beyond the LGBTQ community.
At this point, looking back and assessing this period means acknowledging that this was not just another chapter in the history of the International Imperial Court System. It was a time shaped by far-reaching initiatives, a clear commitment to concrete causes, and a style of leadership that moved confidently between symbolic representation and public action. In that context, Nicole Murray Ramirez’s announcement that her reign will conclude in February 2027, along with the coronation of the person who will assume the throne as the new Queen Mother of the Americas, should not be read simply as the end of an era, but as a moment to fully recognize what has been built while also understanding that a new chapter is about to begin.
One of the most defining aspects of this reign has been its understanding that visibility alone is not enough. Visibility matters, but it only becomes meaningful when it leads to action, support, and measurable change. That has been a consistent strength of the work led by Nicole Murray Ramirez alongside key figures such as Terry Sidie.
The Jose Nicole Terry Scholarship and Educational Fund reflects that commitment. Reaching $400,000 is significant, but what matters most is what that represents in terms of opportunity and access.
This leadership also prioritized historical memory through initiatives like the National LGBTQ Wall of Honor at the Stonewall Inn and the recognition of Jose Julio Sarria.
Efforts such as the Harvey Milk postage stamp, the USNS Harvey Milk, and multiple recognitions for Sarria reflect a sustained commitment to public recognition and justice.
International outreach, financial support to global causes, advocacy for transgender communities, and engagement with organizations beyond national borders further define this period.
The expansion into Canada and the opening of a new chapter that includes Puerto Rico highlight the evolving nature of this leadership. The upcoming June coronation marks an important step in that direction.
Acknowledging that the reign was not perfect does not weaken its legacy. It reinforces its authenticity.
This was not an individual effort. It was collective work supported by a broad network.
As the transition toward Feb. 5, 2027, continues, what remains is a legacy built on action, commitment, and responsibility.
Theater
Diverse cast tackles ‘Aguardiente’ at GALA Hispanic Theatre
Best friends rediscover their Caribbean heritage in new musical
‘Aguardiente: Where Magic Transcends Borders’
Through May 24
GALA Hispanic Theatre
3333 14th St., N.W.
$25–$65
Galatheatre.org
(surtitles in English and Spanish)
With its latest musical offering “Aguardiente: Where Magic Transcends Borders,” GALA Hispanic Theatre has cast its net wide in gathering a blend of talent including the production’s diverse 18-person cast.
Commissioned by GALA, the spanking new musical is about best friends Alberto and Alejandro (two New York writers from Puerto Rico and Colombia respectively). Together, within a short timeline under unrelenting pressure, they struggle to write the project musical of their dreams.
Along the way, the friends rediscover their Caribbean heritage through cumbia, bomba, currulao, and the magical realism of García Márquez.
Offstage, the work has been created by Luis Salgado (book), and Daniel Alejandro Gutiérrez (music), also respectively from Puerto Rico and Colombia. Multiple Helen Hayes Award-winning Salgado is directing and choreographing the GALA production.
In the role of Alejandro, out actor Sebastián Treviño is making his GALA debut opposite Samuel Garnica who plays librettist Alberto. Alejandro is the music composer who doesn’t come from a musical background. He’s simply a lover of Latin music.
Is Alejandro recognizably similar to Gutiérrez?
“Oh yeah,” says Treviño, 36. “Like Gutiérrez, Alejandro doesn’t necessarily follow musical theater rules and etiquette, and it’s his uniqueness that brings a spark to their partnership.
“I got to know him and Luis [Salgado] while touring with ‘On Your Feet!’ in 2022. You really get to know people by spending endless hours together on a bus.”
Language and voice are intertwined for Treviño, and fortunately for the amiable New York-based actor, he enjoys the challenge of a new way of speaking. To play Alejandro, it helps to sound Colombian.
As a native of Monterrey, Mexico, Spanish and Mexican dialects are Treviño’s first languages. He attended American school starting in kindergarten, consequently acquiring flawless English; and because his mother is Colombian, he is familiar with that accent too.
GALA Spanish speaking patrons can be a tough crowd. For instance, when a Mexican actor is playing a Cuban character, they know at once. And while they may embrace the performance and the production, there sometimes remains a niggling dislike for what feels a vocal inaccuracy.
“Since I’ve arrived in D.C., I’ve been practicing my Colombian accent at restaurants and other places. When a Spanish speaking server asks if I’m from Colombia, I know I’m doing something right.”
“Aguardiente” (translates as “Firewater”) is composed of several layers of reality. He explains: “First it’s us creating the show, the work, and all of those pressures and limitations that the industry places on Latino centered projects; and then there’s the fantasy layer.”
A talented tenor, his lengthy bio includes Mexico City (“Wicked,” “Rent”), Off Broadway (“Kowalski”) and North American national tours (“On Your Feet!”).
He says his “Aguardiente” solo specifically feels like ‘80s Latin rock. Also, he enjoys a fun medley number where they’re playing around with “Tropipop” (Colombian pop), classic Broadway sounds, and there’s even a Beatles moment.
In this show, we meet two determined friends, one is holding an American passport because he’s Puerto Rican, while the other, a Colombian, struggles to secure a visa.
“It’s not a stretch for me to relate to that. I’m here on a working visa, so I know all about the stress and costs that comes with that,” says Treviño.
“So much reflects their own story. That includes the setbacks and obstacles faced when trying to build something from very little, and writing about themes that aren’t considered mainstream to white American audiences.”
At just eight years old, Treviño saw “A Chorus Line” at Mont Tecnológico de Monterrey, the same college that he’d later attend. He remembers, “Seated in the second row, the young actors were rock stars to me. When I asked my father who loved the arts if one day I could perform onstage, he said yes, instantly his son’s new dream.”
Looking forward, is there a role he yearns to play? Treviño ponders the trite query with some seriousness before answering “I think it’s yet to be written.”
Books
New books reveal style trends for a more enlightened century
Guidelines that hint about gendering clothing are out
Books about Fashion and Style
By various authors
c.2026, various publishers
$19.95 – $29.95
Don’t look now, but your legs are showing.
It’s OK, it’s almost summertime and you want to show both skin and style. So how about a few hints for looking your best? Check out these great books and get stylin’.
Who says there are rules about fashion? Wearing white before Memorial Day is OK; socks with sandals not so much? Fine, but in “Bending the Rules: Fashion Beyond the Binary” by Camille Benda with Gwyn Conaway (Princeton Architectural Press, $29.95), you’ll see that any guidelines that hint about gendering clothing are oh-so-last century.
Along with lively, fun narrative, there are lots of photos in this book, ads for how clothing used to be worn along male-female lines, and short biographies of some of today’s best designers. Here, you can check out prom dresses from the 1950s and new haute couture gowns practically right off the runway – and see how one parallels with the other. The timeline reaches back centuries, so you get a nice idea of where certain kinds of clothing originated and how it’s relevant today – making what’s inside here perfect for browsing.
Pick up this book, in fact, and you might also pick up some ideas for filling your closet and creating your very own style.
The fashion you wear on your body isn’t all you’ll find in “Pretend to Be Fancy: A Field Guide to Style and Sophistication” by Whitney Marston Pierce (Chronicle Books, $19.95). You’ll also read about other nice things you can have.
So you’re not a pinky-in-the-air kind of person, whatever. You can easily hang with those who are, once you read and absorb this book.
Tongue-tied at fancy soirees? Not anymore, there are tips for talking here. What do you know about canapes, hors d’oeuvres, and the kind of foods you don’t get at the corner c-store? How do you make a charcuterie that everyone will Ooooooh over? And how do you give a gift for the person whose taste seems scads better than yours? That’s all in here, along with what to drink, how to dress, and how to make every corner of your home look like something right out of a high-end magazine.
Will this book make you chic? Possibly, yes. Will it help you get invited to all the best parties? Maybe, but for sure, it’ll make you laugh, it’ll make you feel fabulous, look fabulous, and live your best life with the surroundings you deserve. Out May 5, so put it on your list.
But let’s say you need more ideas. You have questions or thorny issues with fashion that you really need answering. That’s when you ask for a talented fashionista at your local bookstore or library, that knowledgeable someone knows books and knows how to get what you need to be your most dazzling, best-dressed, finest-appointed self in a home you can be proud of, with comfortable furniture that will be the envy of everyone who sees it.
In the meantime, grab the above titles, because these books got legs.
A reign defined by commitment and human impact
Ukrainian MPs advance new Civil Code without protections for same-sex couples
Gay ICE detainee freed after 150 days in detention
How do you vote a child out of their future?
Under new extremism laws, LGBTQ Russians must fight to survive
Republicans attach five anti-LGBTQ riders to State Department funding bill
Tennessee’s trans data bill a frightening omen
Bill seeks to block global gag rule expansion
New Zealand blood donation rules shift
