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
Photos
PHOTOS: Taste of Point
Annual fundraiser held for LGBTQ youth scholarship, mentorship organization
The Point Foundation held its annual Taste of Point fundraiser at Room & Board on May 2.
(Washington Blade photos by Michael Key)
Theater
Miss Kitty tackles classical mythology in ‘Metamorphoses’
Folger production seen through the lens of the African diaspora
‘Metamorphoses’
May 7-June 16
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Miss Kitty’s words are thoughtful and measured, occasionally punctuated by flamboyant flourishes and uplifting proclamations. Her tried and tested tagline is “live in fierce not fear.”
She describes herself as “AMAB (assigned male at birth), nonbinary, genderqueer, transfemme” as well as “chanteuse, noble blacktress, and dancer.”
Currently, Miss Kitty is testing her talents in Mary Zimmerman’s “Metamorphoses” at Folger Theatre on Capitol Hill.
At 90 minutes, “Metamorphoses,” is made up of interwoven vignettes from classical mythology including the tales of Midas and his daughter, Alcyone and Ceyx, and Eros and Psyche.
“It’s all stories that relate to the human condition: the follies, the happiness, the love, the loss,” Miss Kitty explains. “And a thorough knowledge of mythology isn’t a requirement for enjoyment.”
The language is contemporary and with its 11-person ensemble cast – comprised exclusively of Black or indigenous people of color – they’re adding their own spin to its present-day feel, she adds.
In Zimmerman’s famously staged premiere production, the actors performed in and around a pool of water. At Folger, director Psalmayene 24 has ditched actual aquatics; instead, he suggests the element by introducing Water Nymph, a new character constructed around Miss Kitty.
Water Nymph doesn’t speak, but she’s very visible from the opening number and throughout the play on stage and popping up in unexpected places around the venue.
“It’s a lot of dancing; I haven’t danced the way Tony Thomas is choreographing me in a very long time. At 40, can she still make theater with just my body as her instrument?
The name “Miss Kitty” was born over a decade ago.
Miss Kitty recalls, “She was still presenting as male and going by her dead name. Someone commented that with the wig she was wearing for a part, she looked like Eartha Kitt whom she deeply admires.”
Her penchant for illeism (referring to oneself in third person) isn’t without good reason. She explains, “It’s to reiterate that however she might look, she’s always there; and if you misgender, she will let you know.”
Initially, the moniker was a drag persona at Capital Pride or the occasional fabulous cabaret performance at a nightclub.
But as time passed, she realized that Miss Kitty was something she couldn’t take off. She had always been a part of her.
“She’s helped me to grow and flourish; she’s given me the strength that I never would have had before. I’m so proud of myself for realizing that before it was too late.”
Bringing Miss Kitty into her theatrical career presented some concerns. Would theater folks be open to the new her, especially those she’d worked with before?
Not always, but she’s found new companies who’ve welcomed Miss Kitty with open arms including Avant Bard, Spooky Action Theater, and now Folger.
Last fall, Miss Kitty appeared in Spooky Action’s Agreste (Drylands), a stunning queer story penned by gay Brazilian playwright Newton Moreno.
After being invited to audition and reading the script, Miss Kitty was determined to be a part of the production.
A work dealing with love and being trans, and transphobia, and how people can turn on a dime once they learn the truth about someone, resonated deeply with the actor.
“The play speaks to the idea that if people just let people be who they are and love who they want to love we’d all be a lot happier,” she says.
For her sublime efforts, Miss Kitty nabbed a Helen Hayes Award nomination in the Outstanding Lead Performer category (winner to be determined on Monday, May 20 during a ceremony at The Anthem).
It’s her first time nominated and first time attending. She’s thrilled.
Miss Kitty grew up in Oxen Hill, Md., and now lives near Washington Harbor. Her entry into performance was through music followed by high school plays. She graduated from Catholic University with a degree in music/concentration in musical theater, and from there dove directly into showbiz.
Looking back, Miss Kitty says, “being a person of color AND queer can be a double whammy of difficulty. You have to live in light and do the things you’re afraid to do. That’s the game changer.”
Presenting “Metamorphoses” through the lens of the African diaspora (the cast also includes Jon Hudson Odom and Billie Krishawn, among others) helps us to realize that every story can be universal, especially for marginalized people — South Asian, Native American, or fully queer perspectives, she says.
“Having an all-Black ensemble opens all new worlds for everyone.”
Las Vegas, known for its vibrant and inclusive atmosphere, embraces LGBTQ culture with open arms, making it a thriving hub for the community. Iconic events like the annual Las Vegas Pride Parade and Festival bring together people from all walks of life to celebrate diversity and unity. The 2024 Las Vegas Pride festival is scheduled for Oct. 12, so start planning now.
The city’s commitment to inclusivity is reflected in the diverse range of LGBTQ-friendly accommodations, ensuring that visitors feel welcome and respected. Beyond the nightlife, Las Vegas hosts a variety of LGBTQ-focused community organizations, support groups, and cultural events that contribute to the rich tapestry of the city’s inclusive ethos. Whether exploring the famous entertainment offerings or participating in community-driven initiatives, LGBTQ individuals and allies alike find a warm and accepting home in the vibrant tapestry of LGBTQ culture in Las Vegas.
Ever since I was young, I have always wanted to stay at Bellagio. Its iconic foundations have fascinated me for decades. The hotel stands as an epitome of luxury and sophistication, offering an unparalleled experience that seamlessly blends opulence, entertainment, and fine dining. From the moment you step into the grand lobby, it’s evident that Bellagio is committed to providing a world-class stay, especially when you glance at the ceiling adorned with Chihuly glass sculptures.
I stayed in a recently renovated room in the Spa Tower with an unobstructed view of the Vegas Strip and the fountains. The attention to detail is evident in the tasteful decor, plush furnishings, and modern amenities. Beginning at 3 p.m. on weekdays and noon on weekends, the choreographed water show set against the backdrop of the Las Vegas Strip is a mesmerizing display of artistry, combining music, light, and water in perfect harmony. It sets the tone for the exquisite experiences that await within Bellagio.
Bellagio is also home to the famous Conservatory and Botanical Gardens, a lush oasis that undergoes seasonal transformations, displaying stunning floral displays and thematic installations. This botanical escape provides a serene contrast to the lively atmosphere of the casino and the bustling Strip. During our stay, the staff were completing the new springtime exhibition, which gave us Alice in Wonderland vibes.
For those seeking entertainment, Bellagio offers the spectacular “O” by Cirque du Soleil, a water-themed extravaganza that complements the hotel’s overall theme. Bellagio Gallery of Fine Art is another cultural gem within the hotel, featuring rotating exhibitions that display masterpieces from around the world.
Although it is possible to never leave the hotel, we wanted to experience other MGM Resorts properties, so we headed to LPM at the Cosmopolitan of Las Vegas for dinner. LPM offers an exquisite dining experience that effortlessly marries Mediterranean charm with the vibrant energy of the Strip. From the moment you step through the entrance, you are greeted by an ambiance that strikes a perfect balance between sophistication and conviviality.
LPM’s interior is a visual feast, adorned with chic decor, warm lighting, and an intimate atmosphere. The combination of contemporary design elements and classic French accents creates a welcoming space that feels both elegant and comfortable. Whether you’re celebrating a special occasion or seeking a romantic dinner, LPM’s ambiance sets the stage for an unforgettable dining experience.
LPM’s menu is a culinary triumph, highlighting the rich and diverse flavors of the French Riviera. The emphasis on fresh, high-quality ingredients is evident in every dish. We began our meal with a variety of appetizers, including the Yellowtail Carpaccio, Escargots, and their signature Burrata prepared with heritage tomatoes and basil and topped with white truffles. For our main courses, we decided to focus on seafood entrees, so we tried the Lobster Risotto and grilled Chilean Bass. Both were prepared to perfection and paired very well together if you are looking to share entrees.
Of course, one of the biggest attractions of Las Vegas is the Strip itself. Spend a few hours meandering through each hotel and taking in the Vegas vibe. There is no other place in the world quite like it.
If you are in the mood for a little adventure, head to Area15, located about 10 minutes from the strip. Area15 is an immersive entertainment complex that blends art, technology, and entertainment in a unique and captivating way. Boasting an otherworldly exterior and a dynamic interior, Area15 is home to a variety of innovative experiences, including interactive art installations and virtual reality adventures. Its anchor tenant, the Meow Wolf’s Omega Mart, is a surreal supermarket-like environment filled with mind-bending art and hidden mysteries. The venue also hosts concerts and live events including Beyond Brunch, a variety show hosted by drag queen extraordinaire Andrew Ryan. The two-hour spectacle includes a wonderful buffet and performances by talented acts ranging from hoop dancers to Cirque-style entertainers. The show is well worth the price of admission; it is not your typical drag brunch.
Spend the afternoon touring Area15 or head to The Sphere, Las Vegas’s newest concert venue. Rock icons U2 opened the venue with a 40-night run, but guests can purchase tickets to Darren Aronofsky’s multi-sensory film “Postcard from Earth.”
For a trip down memory lane, especially if you are in you were born in the ‘70s or ‘80s, check out Retro by Voltaggio at Mandalay Bay. The restaurant owned by Top Chef stars, Bryan and Michael Voltaggio, takes diners on a nostalgic journey through time, blending modern culinary techniques with comforting flavors reminiscent of classic American dishes set in a retro-chic environment. The space is adorned with quirky memorabilia, neon accents, and a colorful palette that captures a sense of nostalgia without feeling overly kitschy, creating a welcoming environment for diners to unwind and enjoy the culinary adventure.
Retro by Voltaggio’s menu is a playful exploration of classic American favorites. We started our dinner with the deviled eggs with smoked trout roe along with the beet steak tartare, which was incredible. Next came the bluefin tuna ceviche served over coconut crushed ice. For our entrees we tried the trout meuniere, which was served in a lemon and caper sauce, as well as the lobster thermidor with lobster waffles — yes, you read that correctly. It was as delicious as it sounds.
Save room for the dessert cart, which contains innovative creations that satisfy the sweet tooth. Whether you’re a fan of nostalgic flavors or simply seeking a unique and enjoyable meal, Retro by Voltaggio is worth the visit.
After dinner, catch a performance of Michael Jackson “ONE” by Cirque du Soleil also at Mandalay Bay. The show is a captivating tribute to the King of Pop that seamlessly blends the magic of Cirque du Soleil with the timeless music and iconic choreography of Michael Jackson. From the moment the lights dim to the final bow, the show is a high-energy, emotionally charged celebration of the legendary entertainer’s life and legacy. This isn’t your typical Cirque du Soleil show and is more like a concert featuring all of Michael’s greatest hits, memorable dance moves, and state-of-the-art production. I felt like “ONE” is the type of concert Michael would have wanted to perform if he were still with us.
The thing I like most about Vegas is it is always evolving. Every time you visit, there is something new to see or do. Viva Las Vegas!
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