U.S.A.
January 21, 2019
THE ASIAN REPORTER n Page 7
Snubs, surprises, and a Satanic shout-out? Key Globes moments
By Jocelyn Noveck
The Associated Press
t was a moment when everyone — absolutely
everyone — expected to see an ebullient Lady Gaga
climbing to the stage in her dramatic periwinkle
gown. Instead, a visibly stunned Glenn Close got the
Golden Globe. But her deeply personal speech about
women’s need for fulfillment outside the family soon had
the crowd on its feet, providing the emotional highpoint of
the night.
A year ago the Golden Globes were all about #MeToo
and Time’s Up. A year earlier, it was all about politics. The
2019 Globes were much less overtly activist or political,
but speeches by Close as well as co-host Sandra Oh and
actress Regina King kept issues of equality and diversity
alive in a more personal way.
Oh, and of course there was the usual Globes craziness:
Bohemian Rhapsody as best drama? The groundbreaking
Black Panther snubbed? And nothing for Bradley Cooper
— really?
Some notable moments of the night, in no particular
order:
The power of nice
Taking the stage for their opening monologue, co-hosts
Oh and Andy Samberg had an explanation for why they’d
I
Here On This Bridge: The –Ism Project premieres January 24, 2019.
Here On This Bridge: The –Ism Project
Continued from page 6
profiling in Oregon; and an
Asian American reflects on
four generations of family
who lived through Oregon’s
exclusion laws.
Here On This Bridge: The
–Ism Project is directed by a
mixed-race Asian Ameri-
can, Catherine Ming T’ien
Duffly. The show high-
lights people of color in the
cast and employs a crew of
mostly people of color.
We’re excited to present
the
world
premiere
January 24 through 27 as
part of the Fertile Ground
Festival with the final
weekend scheduled for
February 7 through 10. All
performances are held in
the Boiler Room Acting
Studio at Portland State
University’s Lincoln Hall,
located at 1620 S.W. Park
Avenue. For more infor-
mation, or to buy tickets,
visit
<www.theatre
diaspora.org> or <www.
mediarites.org>.
I’m eager to hear the
discussions sparked by
people after viewing the
show. Fundraising efforts
TALKING STORY IN
ASIAN AMERICA
n Polo
Polo’s “Talking Story”
column will return soon.
are currently underway to
bring Here On This Bridge
to other communities in
Oregon.
I often ask myself why I
continue this type of work.
As a theatre and media
artist, I want to respond to
the world around me. That
has been my guiding light
as far as the topics and the
communities on which I’ve
focused. Right now, in
2019, our country is
frankly a mess. If I can
make it a little better for
people
who
are
marginalized and find it
difficult to find allies in
Oregon, then perhaps this
work may build a bridge to
make that happen. We’re
all on this big old meta-
phorical bridge. And the
only way we are going to
get through it is to find
some common ground, to
hold on to each other if
possible, and to talk, really
talk, and more impor-
tantly, listen. Without
two-way communication,
we will not evolve. We need
to meet in the middle if we
can. This project is my hope
for 2019.
ASTHMA
IS
ON
THE RISE.
Help us find a cure.
1-800-LUNG-USA
been chosen: they were “the only two people left in
Hollywood who haven’t gotten in trouble for saying
something offensive.” Then they riffed on that by
pretending to roast people by actually saying nice things.
(“Bradley Cooper: You are hot!” Jeff Bridges, I wish you
were my dad!”) The bit didn’t get uproarious laughs but
was pleasantly, well, pleasant.
But ... Satan?
Was this the first time Satan got a shout-out in an
acceptance speech? If so, we have Christian Bale to thank.
The Welsh actor was accepting his award for Vice, in
which he made a stunning transformation into a chubby
and bald Dick Cheney. After thanking castmates and
director Adam McKay, he extended a “thank you to Satan
for giving me inspiration for this role.” He also mused that
he might try to play senate majority leader Mitch
McConnell next.
A decent night for “old men”
Mary Poppins Returns may have gone home
empty-handed, but 93-year-old Dick Van Dyke, who has a
wonderfully spry cameo in the film, got a big ovation when
he came out with Emily Blunt, who plays Mary. And
Michael Douglas, winning his Globe for The Kominsky
GOLDEN GLOBES. This image released by NBC shows hosts Andy
Samberg, left, and Sandra Oh at the 76th Annual Golden Globe Awards at
the Beverly Hilton Hotel on January 6, 2019, in Beverly Hills, California.
(Paul Drinkwater/NBC via AP)
Method, exulted that “alte kakers rule!” using the Yiddish
term for “old man.” The 74-year-old actor also dedicated
his award to his 102-year-old father, Kirk Douglas.
A time’s up challenge
A year after the Globes carpet was a sea of shimmering
black, worn in solidarity with #MeToo and Time’s Up,
colorful gowns were back — though some attendees wore
ribbons saying “TIMESUPx2,” marking the second year of
the gender equality movement. On the carpet was actress
Alyssa Milano, who sent the tweet that made #MeToo go
viral; she noted that in the past year, a “really wonderful
sisterhood has formed.”
It was actress Regina King of If Beale Street Could Talk,
though, who made the most memorable reference to
Time’s Up, resisting the orchestra’s efforts to play her off,
and vowing that in the next two years, her producing
projects would be staffed by 50 percent women. She
challenged those in other industries to do the same.
Oh turns emotional
After an opener with Samberg full of zingers, Oh
suddenly became emotional, explaining that she’d agreed
to host the show — and overcome the fear — to celebrate
the diversity of the nominated casts. “I wanted to be here
to look out on this audience and witness this moment of
change,” she said. “I am not fooling myself. Next year
could be different. But right now this moment is real.”
Soon after, Oh herself won best actress in a TV drama for
“Killing Eve,” and thanked her parents, movingly, in
Korean.
Up close and personal
When Close won best actress in a movie drama, she
seemed as shocked as everyone else. But then the
71-year-old actress made a heartfelt connection between
her role in The Wife, in which she plays a wife who
sublimates her own ambitions to those of her husband in a
Continued on page 8
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