Another year, another Golden Globes. But though the awards have been handed out, the formalwear neatly tucked away, and the attending celebs are starting to recover from their hangovers, we still have some burning questions about the ceremony itself.
1. Why did Lena Dunham thank Chad Lowe?
The Girls creator and star had announced on Twitter that the next time she won an award she would right Hilary Swank’s wrong of 13 years ago: forgetting to thank her husband Chad Lowe when accepting her Best Supporting Actress Oscar for Boys Don’t Cry. So that’s exactly what Dunham did. However, she forgot to name-drop Lowe during her first Globe win last night, for Best Actress in a TV Comedy. Lowe immediately tweeted, “Congrats to @lenadunham on your Golden Globe win. But, seriously? You forget to thank me?! After all we've been through? I'm shocked.” Order was restored to the universe when Dunham did thank him after winning for Best Comedy Series. "I also promised myself that if I ever got this chance, I would thank Chad Lowe,” Dunham said. That prompted Lowe to respond, “Dearest Lena Dunham, you complete me” and “Now that I'm trending worldwide (finally) does that mean I don't have to give my daughters a bath or change their diapers anymore?”
2. Was Paul Rudd and Salma Hayek’s awkward presentation of Best Actor in a TV Drama due to technical difficulties?
Afraid so. Rudd and Hayek started off fine with a joke about the nominees, Bryan Cranston, Damien Lewis, Jon Hamm, Steve Buscemi, and Jeff Daniels. Hayek set up the punchline with, “They drink, they do drugs, they have a huge ego, and they are not to be trusted,” followed immediately by Rudd’s, “And that’s just their agents!” Okay, that kinda bombed since maybe agent-related humor is off-limits at awards shows. But it was better than what followed: silence. After their quip, Hayek and Rudd just stood there. It turns out the teleprompter did not display the names of the nominees they were to rattle off. Rudd tried to fill dead air by saying, “Hello, how’s everyone doing?” (Maybe if Tina Fey and Amy Poehler had been around more, they could have salvaged this awkward moment!) Finally, the video of the nominees started to roll, and Rudd and Hayek were spared. But that wasn’t the only glitch of the night. A strange buzz was heard over the speech from outgoing HFPA president Aida Takla O’Reilly, which is a shame because she was pretty funny. And on two different occasions the NBC producers’ countdown clock was heard after the broadcast had already resumed. Maybe the nominees weren’t the only ones drinking….
3. Who did Tarantino fist bump?
The Django Unchained director seemed all smug when he fist-bumped someone at his table after Amy Poehler called movie actors beautiful and TV actors “rat-faced.” It was like, “Look at me. I’m a movie director, and I only surround myself with the genetically gifted.” Definitely a faux pas. But its severity is lessened when you find out whom exactly he fist-bumped, since the recipient was unfortunately out of frame: Sofia Vergara. If she’s “rat-faced,” call me a fan of the Order Rodentia. Obviously, Tarantino was joking.
4. Was Savannah Guthrie’s red carpet dress the same as the one Hilary Swank wore to the 2005 Oscars?
We’ll let you decide for yourself.
5. Is this the first year that no broadcast network series won anything at the Golden Globes?
Yes. Call it another ominous milestone for the Big Four, but not a single broadcast network took him a Globe on Sunday. That marks a departure from last year when Modern Family won for Best TV Comedy. Even then, that was the only award a broadcast network received. This year, the drama categories were dominated by Showtime’s Homeland and PBS’ Downton Abbey, the comedy categories by HBO’s Girls and Showtime’s House of Lies, and the miniseries category by History’s Hatfields & McCoys and HBO’s Game Change.
6. Were the TV Categories basically just a redo of the Emmys?
Almost entirely — except for the fact that the Television Academy hasn’t fully abandoned network TV just yet. Emmy is still hung up on Modern Family, and Julie Bowen and Eric Stonestreet won in September, with the series itself being honored as Best Comedy. And they also awarded Jon Cryer Best Actor in a Comedy. The only other alteration was that Julia Louis-Dreyfus won Best Actress in a Comedy for HBO’s Veep, but otherwise the awards are precisely the same.
7. How does Michael J. Fox’s son qualify as a "philanthropist"?
The Spin City alum's 23-year-old son, Sam Fox, was Mr. Golden Globe last night, which he meant he shared the duty of handing out the statuettes to the winners alongside Miss Golden Globe, Francesca Eastwood. (Mr. and Miss Golden Globe are traditionally the children of Hollywood A-Listers.) Fox the Younger was described on-air as a “philanthropist." So what exactly does he do? He works for a website called Farmers Web, which is a startup platform that assists small farmers in selling their goods to wholesale buyers like restaurants, so that they can stay competitive against corporate agriculture. As for the tangential burning question, “Can you be a 23-year-old philanthropist, unless you’re the child of a Hollywood star, politician, or business leader?” I think we all know the answer to that.
8. What’s up with Tommy Lee Jones’ Col. Sanders ‘stache?
There was quite a bit of odd facial hair on display at the Beverly Hilton. Bill Murray opted for the full walrus effect. Bryan Cranston’s Walter White goatee was well under way (meaning that the remaining episodes of Season 5 are about to go into production. Yay!). Idris Elba opted for a Burt Reynolds semi-handlebar. But the strangest bit of face whiskers had to be those worn by Tommy Lee Jones, with a mustache and a patch below his lips. Just when you thought you wouldn’t see anything follicle-related from Jones that was more unsettling than his wig in Lincoln! Not to worry, though. He isn’t about to enter the fried chicken racket. Jones has just wrapped shooting Luc Besson’s mob thriller Malavita (due Oct. 18) and he obviously just hasn’t wanted to get a shave yet.
9. Um, why doesn’t Maggie Smith ever show up for awards shows?
She’s never made a public statement about why she's almost always a no-show, but the most likely reason is that she’s just really, really busy. If not on TV or in movies, the 78-year-old is still very frequently to be found on the British stage. In fact, her last appearance at any awards ceremony was at the 2002 BAFTAs when she presented a career achievement honor to Judi Dench. The last time she accepted an award in person in the United States? In 1979, when she won her second Oscar, as Best Supporting Actress for the film California Suite.
10. Was Damien Francisco robbed of the Globe for Best Actor in a TV Movie or Miniseries for Dog President?
Yes, yes, a thousand times yes! The miniseries’ answer to Johnny Depp was up for his stirring turn in Dog President, which we assume is another Quality with a Capital Q HBO production from the makers of Warm Springs. But Francisco lost to Kevin Costner for Hatfields & McCoys. Maybe he'll get another shot if Dog President spinoff Canine-in-Chief ever goes into production.
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credits: NBC (2); Jason Merritt/Getty Images; Jody Cortes/WENN]
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The new fall pilots haven't even premiered yet, but already the networks are looking forward to their next big task: finding the right pilots and scripts to order for the 2013-2014 season. Development season is well underway and has been for the past few weeks — although this season is marked by a declaration from some networks (namely ABC and NBC) that the typically order-happy suits would not be as quick to bulk up their pilot orders this year. In other words, less is more.
Most of the majors have already made their first-round choices for specific projects, and the trends that have emerged seem to be all about big-name attachments (e.g. Vince Vaughn, Jodie Foster, Ryan Reynolds), period dramas (e.g. Aztec empire, Cold War America, 1890s Europe), international transplants (from Israel, England and Scandinavia) and — in an interestingly-revived yet well-worn trend — book adaptations (including Dracula and two Sleepy Hollow reboots).
Here's what ABC, CBS, The CW, FOX, NBC and more have coming down the '13-'14 pipeline so far:
— Dumb F*ck: Single-camera comedy about an average Joe and his brilliant wife who move in with her intelligent yet emotionally stunted family of geniuses; written by Hank Nelken (Saving Silverman), executive produced by Vin Di Bona, Bruce Gersh, Susan Levison and Shaleen Desai.
— Burns & Cooley: Medical procedural about two New York neurosurgeons who compete as they strive to be the top in all aspects of their lives; written by Meredith Philpott (Awkward), exec produced by Matt Gross (Body Of Proof).
— Founding Fathers: Drama about a war veteran whose Texas hometown is in the hands of a militia group led by his older brother; written by Rich D'Ovidio (Thir13en Ghosts), produced by Lorenzo Di Bonaventura and Dan McDermott.
— Untitled McG Project: Retelling of Romeo and Juliet, revolving around two rival families fighting for control over Venice, California; written by Byron Balasco (Detroit 1-8-7), produced by McG (The OC, Supernatural, Nikita).
— Untitled Kurtzman/Orci Project: Drama about a mysterious game; written by Noah Hawley (The Unusuals), produced by Heather Kadin, Alex Kurtzman and Bob Orci.
— Dracula: 1890s-set period piece about the iconic vampire; written by Cole Haddon, produced by Tony Krantz and Colin Callender; starring Jonathan Rhys Meyers (The Tudors).
— The Blacklist: Drama about an international criminal who surrenders himself and helps the government hunt down his former cohorts; written by Jon Bokenkamp, exec produced by John Davis, John Fox and John Eisendrath.
— Hench: Based on the comic about a man who becomes a temp for super villains; written by Alexandra Cunningham (Desperate Housewives), exec produced by Peter Berg and Sarah Aubrey (Prime Suspect).
— Cleopatra: Period drama about the Egyptian queen Cleopatra; written by Michael Seitzman (Americana), exec produced by Lorenzo Di Bonaventura and Dan McDermott.
— Pariah: Drama inspired by Freakonomics about a rogue academic who uses economic theory to police San Diego; written by Kevin Fox (The Negotiator), exec produced by Kelsey Grammer, Stella Stolper and Brian Sher.
— After Hours/The Last Stand: Medical drama about Army doctors who work the night shift at a San Antonio hospital; revisited from last season; written by Gabe Sachs and Jeff Judah.
— Untitled Parkes/MacDonald Project: Drama about an interpreter at the United Nations who works with diplomats and politicians from around the world; written by Tom Brady (Hell on Wheels), produced by Walter Parkes, Laurie MacDonald and Ted Gold.
— Untitled Charmelo/Snyder Project: New Orleans-set drama, described as a "sexy Southern Gothic thriller"; created by Eric Charmelo and Nicole Snyder (Ringer), exec produced by Peter Traugott and Rachel Kaplan.
— Untitled Rand Ravich Project: Drama-thriller following a secret service agent at the center of an international crisis in Washington, DC; created by Rand Ravich (Life), produced by Far Shariat.
— Island Practice: Based on the book Island Practice: Cobblestone Rash, Underground Tom, and Other Adventures Of A Nantucket Doctor, about an eccentric doctor with a controversial medical practice on an island off the coast of Washington; written by Amy Holden Jones (Mystic Pizza, Beethoven), produced by Brian Grazer, Francie Calfo and Oly Obst.
— The Brady Bunch: Reboot of the series, about a divorced Bobby Brady who re-marries a woman with children of her own; written by Mike Mariano (Raising Hope), co-developed and exec produced by Vince Vaughn (Sullivan & Son).
— A Welcome Grave: Based on the book series about a private investigator who comes under suspicion when a rival turns up dead.
— Backstrom: Based on the book series about a House-like detective who tries to change his self-destructive nature; written by Hart Hanson (Bones), produced by Leif G.W. Persson (novel) and Niclas Salomonsson.
— Ex-Men: Single-camera comedy about a young guy who moves into a short-term rental complex and befriends the other men who live there after being kicked out by their wives; written and directed by Rob Greenberg; starring Chris Smith and Kal Penn.
— Sleepy Hollow: Contemporary reinterpretation of the Sleepy Hollow short story; written by Patrick Macmanus and Grant Scharbo, produced by Scharbo and Gina Matthews.
— Gun Machine: Based on an upcoming novel (of the same name) about a New York detective whose chance discovery of a stash of guns leads back to a variety of unsolved murders; written by Dario Scardapane (Trauma), produced by Warren Ellis (book author), Scardapane, Peter Chernin and Katherine Pope.
— Sleepy Hollow: Modern-day thriller based on the Sleepy Hollow short story, following Ichabod Crane and a female sheriff who solve supernatural mysteries; written by Alex Kurtzman and Roberto Orci (Fringe, Hawaii Five-0) and Phillip Iscove, produced by Heather Kadin and Len Wiseman.
— The Beach: Based on the 1996 novel and 2000 movie about a group of youths who try to start society over on a remote paradise; written by Andrew Miller (The Secret Circle).
— Hard Up: Single-camera comedy based on Israeli series about four twentysomething guys who are strapped for cash; written by Etan Frankel (Shameless), produced by John Wells.
— Lowe Rollers: Animated comedy about a struggling Titanic-themed casino in Las Vegas; written by Mark Torgove and Paul Kaplan (Outsourced) and Ash Brannon, produced by Ryan Reynolds, Jonathon Komack Martin, Steven Pearl and Allan Loeb.
— Untitled Chris Levinson Project: Cop drama about a detective who puts his life under surveillance when he begins to lose his memory; written by Chris Levinson (Touch), produced by Peter Chernin and Katherine Pope.
— Untitled Friend/Lerner Project: Drama set on an aircraft carrier following young naval officers and a female fighter pilot who tries to solve an onboard murder; written and produced by Russel Friend and Garrett Lerner (House).
— Untitled Ryan Reynolds Project: Half-hour comedy about a disgraced hotelier forced to manage a rundown airport hotel; written by Matt Manfredi and Phil Hay (Clash of the Titans), produced by Ryan Reynolds, Allan Loeb, Jonathon Komack Martin and Steven Pearl.
— Untitled Jason Katims Project: Romantic comedy about a single female attorney; written by Jason Katims (Parenthood, Friday Night Lights) and Sarah Watson.
— Getting On: U.S. adaptation of a British comedy about a group of nurses and doctors working in a women's geriatric wing of a run-down hospital; Big Love creators Mark V. Olsen and Will Scheffer to exec produce with Jane Tranter, Julie Gardner and Geoff Atkinson.
— Buda Bridge: Belgian-set crime drama about a woman who is found dead on a famous bridge in Brussels; written and directed by Michael R. Roskam (Bullhead), produced by Michael Mann (Luck) and Mark Johnson (Breaking Bad).
— Hello Ladies: Comedy about an oddball Englishman who chases women in Los Angeles; written, directed by and starring Stephen Merchant (The Office), produced by Lee Eisenberg and Gene Stupnitsky (The Office).
— Angie's Body: Drama about a powerful woman at the head of a crime family; written by Rob Fresco (Heroes, Jericho), directed and executive produced by Jodie Foster, Fresco and Russ Krasnoff.
— Conquest: Period drama about Spanish conquistador Hernan Cortes, who clashes with the Aztec ruler Moctezuma II; written by Jose Rivera (The Motorcycle Diaries), produced by Ron Howard, Brian Grazer and Francie Calfo.
— Low Winter Sun: Based on 2006 British miniseries about the aftermath that follows the murder of a cop by a fellow detective; written by Chris Mundy; James Ransone, Ruben Santiago Hudson and Athena Karkanis to star.
— Those Who Kill: Based on Danish series about a detective and forensics scientist who track down serial killers; written by Glen Morgan, produced by Brian Grazer, Francie Calfo, Peter Bose and Jonas Allen, directed by Joe Carnahan.
— Untitled LaGravenese/Goldwyn Project: Legal thriller about an attorney who discovers new evidence that re-opens a sensational murder case; written by Richard LaGravenese, directed by Tony Goldwyn, exec produced by David Manson; Marin Ireland to star as female lead.
— The Americans: Period drama about two KGB spies posing as Americans in Washington, DC; created by Joe Weisberg, exec produced by Weisberg, Graham Yost, Darryl Frank and Justin Falvey; directed by Gavin O'Connor; Keri Russell, Matthew Rhys and Noah Emmerich to star.
— The Bridge: Based on the Scandinavian series, about a murder investigation opened up after a dead body is discovered on a bridge connecting the United States and Mexico; written by Meredith Stiehm and Elwood Reid (Cold Case), produced by Carolyn Bernstein, Lars Blomgren and Jane Featherstone.
— Untitled Dr. Dre Project: One-hour drama about music and crime in Los Angeles; written by Sidney Quashie, exec produced by Dr. Dre.
Follow Marc on Twitter @MarcSnetiker
[Photo Credit: ABC, CBS, Fox, NBC, The CW]
At the moment there are few greater clichés in the media than the freaking out single woman on the cusp of 30. Of course clichés are clichés for a reason worth exploring even through the lens of just one or two women as in Lola Versus. Unfortunately while the intention behind Lola Versus isn't that we should all be happily married by the age of 30 it still fits into the same rubric of all those "Why You're Not Married" books.
Lola (Greta Gerwig) has a gorgeous fiancé Luke (Joel Kinnaman) and they live in a giant loft together the kind of dreamy NYC real estate that seems to exist primarily in the movies. Just as they're planning their gluten-free wedding cake with a non-GMO rice milk-based frosting Luke dumps her. It's cruelly sudden — although Luke isn't a cruel man. Lola finds little comfort in the acerbic wit of her best friend the eternally single Alice (Zoe Lister-Jones) who is probably delighted to see her perfectly blonde best friend taken down a peg and into the murky world of New York coupling. Lola and Luke share a best friend Henry (Hamish Linklater) a messy-haired rumpled sweetheart who is kind and safe and the inevitable shelter for Lola's fallout. Her parents well-meaning and well-to-do hippie types feed her kombucha and try to figure out their iPads and give her irrelevant advice.
Lola Versus is slippery. Its tone careens between broad TV comedy and earnest dramedy almost as if Alice is in charge of the dirty zingers and Lola's job is to make supposedly introspective statements. Alice's vulgar non-sequiturs are tossed off without much relish and Lola's dialogue comes off too often as expository and plaintive. We don't need Lola to tell Henry "I'm vulnerable I'm not myself I'm easily persuaded" or "I'm slutty but I'm a good person!" (Which is by the way an asinine statement to make. One might even say she's not even that "slutty " she's just making dumb decisions that hurt those around her just as much as she's hurting herself.)
We know that she's a mess — that's the point of the story! It's not so much that a particularly acerbic woman wouldn't say to her best friend "Find your spirit animal and ride it until its d**k falls off " but that she wouldn't say it in the context of this movie. It's from some other movie over there one where everyone is as snarky and bitter as Alice. You can't have your black-hearted comedy and your introspective yoga classes. Is it really a stride forward for feminism that the clueless single woman has taken the place of the stoner man-child in media today? When Lola tells Luke "I'm taken by myself. I've gotta just do me for a while " it's true. But it doesn't sound true and it doesn't feel true.
In one scene Lola stumbles on the sidewalk and falls to the ground. No one asks her if she's okay or needs help; she simply gets up on her own and goes on her way. It's a moment that has happened to so many people. It's humiliating and so very public but of course you just gotta pick yourself up and get where you're going. In this movie it's a head-smackingly obvious metaphor. In one of the biggest missteps of the movie Jay Pharoah plays a bartender that makes the occasional joke while Lola is waiting tables at her mom's restaurant. His big line at the end is "And I'm your friend who's black!" It would have been better to leave his entire character on the cutting room floor than attempt such a half-hearted wink at the audience.
Lister-Jones and director Daryl Wein co-wrote the screenplay for Lola Versus as they did with 2009's Breaking Upwards. Both films deal with the ins and outs of their own romantic relationship in one way or another. Breaking Upwards a micro-budget indie about a rough patch in their relationship was much more successful in tone and direction. Lola Versus has its seeds in Lister-Jones' experience as a single woman in New York and is a little bit farther removed from their experiences. Lola Versus feels like a wasted opportunity. Relatively speaking there are so few movies getting made with a female writer or co-writer that it almost feels like a betrayal to see such a tone-deaf portrayal of women onscreen. What makes it even more disappointing is how smart and likable everyone involved is and knowing that they could have made a better movie.