TIME movies

Hollywood Reacts To Oscar Snubs at Critics’ Choice Awards

SELMA
Left to right, foreground: Colman Domingo plays Ralph Abernathy, David Oyelowo plays Dr. Martin Luther King, Jr., André Holland plays Andrew Young, and Stephan James plays John Lewis in Selma. Atsushi Nishijima—Paramount Pictures

Actors, directors and writers talked Oscars on the red-carpet

Two major Hollywood events took place on Thursday: first, the 2015 Academy Award nominees were announced and, later, many of the same actors, directors and producers honored — and snubbed — gathered together on the red carpet of the Critics’ Choice Awards, though the Oscars were clearly at the front of everyone’s thoughts.

Selma’s Carmen Ejogo, who played Coretta Scott King, said in an interview with USA Today, that she wished co-star David Oyelowo and director Ava DuVernay had been nominated. “I would have love to have seen them nominated,” she said. “They should have been, in my opinion.”

When Jessica Chastain, an awards’ favorite who wasn’t nominated for any of her four films this year, spoke to The Hollywood Reporter on the red carpet about the frustrating lack of diversity in Hollywood, she also seemed disappointed about the Selma snubs. “I long to see diversity in things in American cinema,” she said. “Some of my favorite films are foreign films because I know I’m going to get diversity when I see films from all over the world. It’s something that we lack here. Of course this morning it made it poignant. It’s Martin Luther King Jr.’s birthday today.”

Meanwhile Gone Girl writer Gillian Flynn, who adapted her best-selling novel for David Fincher’s film and was widely expected to earn a nomination, said simply, “I thought I’d get one.” But the writer spent more time praising the star of her film, Rosamund Pike, who was nominated for a Best Actress Oscar. “[Her nomination] was so well deserved. I was not remotely surprised. I just knew in my bones that she would have to get it. The amount of work that she did behind the scenes to make that role feel effortless and real and as crazy as it got. She’s just incredible.”

Phil Lord, the director of The Lego Movie, which wasn’t nominated for a Best Animated Feature Oscar, tried to keep it all in perspective. He initially responded to the snub on Twitter, before telling THR, “We made [the movie] in order to inspire families and kids and people and we’ve been really justly rewarded I think for that. We feel really lucky and the awards stuff is it’s own thing, and of course we’re disappointed, but it’s not the reason we made the movie.”

TIME awards

Boyhood Wins Best Picture and Director At Critics’ Choice Awards

Golden Globes 2015 - Boyhood
Ellar Coltrane as Mason Evans Jr. in Boyhood IFC Films

Birdman walked away with the most statues

Awards season continued Thursday night with the 20th Annual Critics’ Choice Movie Awards.

Live with Kelly and Michael‘s Michael Strahan hosted the show at the Hollywood Palladium, and kept the mood “light and easy,” as promised (starting with a Magic Mike-inspired strip-tease to open the show).

Birdman walked away with the most statues, and Kevin Costner, Ron Howard and Jessica Chastain received special awards during the ceremony.

Birdman entered the race with the most nominations, 13, and took six of the categories.

Not far behind was Boyhood, which took four of its eight nominated categories, and The Grand Budapest Hotel with 11 nominations and three wins.

Below is a full list of winners:

BEST PICTURE

Birdman
Boyhood
Gone Girl
The Grand Budapest Hotel
The Imitation Game
Nightcrawler
Selma
The Theory of Everything
Unbroken
Whiplash

BEST ACTOR

Benedict Cumberbatch, The Imitation Game
Ralph Fiennes, The Grand Budapest Hotel
Jake Gyllenhaal, Nightcrawler
Michael Keaton, Birdman
David Oyelowo, Selma
Eddie Redmayne, The Theory of Everything

BEST ACTRESS

Jennifer Aniston, Cake
Marion Cotillard, Two Days, One Night
Felicity Jones, The Theory of Everything
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild

BEST SUPPORTING ACTOR

Josh Brolin, Inherent Vice
Robert Duvall, The Judge
Ethan Hawke, Boyhood
Edward Norton, Birdman
Mark Ruffalo, Foxcatcher
J.K. Simmons, Whiplash

BEST SUPPORTING ACTRESS

Patricia Arquette, Boyhood
Jessica Chastain, A Most Violent Year
Keira Knightley, The Imitation Game
Emma Stone, Birdman
Meryl Streep, Into the Woods
Tilda Swinton, Snowpiercer

BEST YOUNG ACTOR/ACTRESS

Ellar Coltrane, Boyhood
Ansel Elgort, The Fault in Our Stars
Mackenzie Foy, Interstellar
Jaeden Lieberher, St. Vincent
Tony Revolori, The Grand Budapest Hotel
Quvenzhane Wallis, Annie
Noah Wiseman, The Babadook

BEST ACTING ENSEMBLE

Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Into the Woods
Selma

BEST DIRECTOR

Wes Anderson, The Grand Budapest Hotel
Ava DuVernay, Selma
David Fincher, Gone Girl
Alejandro G. Inarritu Birdman
Angelina Jolie, Unbroken
Richard Linklater, Boyhood

BEST ORIGINAL SCREENPLAY

Birdman – Alejandro G. Inarritu, Nicolas Giacobone, Alexander Dinelaris, Jr., Armando Bo
Boyhood – Richard Linklater
The Grand Budapest Hotel – Wes Anderson, Hugo Guinness
Nightcrawler – Dan Gilroy
Whiplash – Damien Chazelle

BEST ADAPTED SCREENPLAY

Gone Girl – Gillian Flynn
The Imitation Game – Graham Moore
Inherent Vice – Paul Thomas Anderson
The Theory of Everything – Anthony McCarten
Unbroken – Joel Coen & Ethan Coen, Richard LaGravenese, William Nicholson
Wild – Nick Hornby

BEST CINEMATOGRAPY

Birdman, Emmanuel Lubezki
The Grand Budapest Hotel, Robert Yeoman
Interstellar, Hoyte Van Hoytema
Mr. Turner, Dick Pope
Unbroken, Roger Deakins

BEST ART DIRECTION

Birdman – Kevin Thompson/Production Designer, George DeTitta Jr./Set Decorator
The Grand Budapest Hotel – Adam Stockhausen/Production Designer, Anna Pinnock/Set Decorator
Inherent Vice – David Crank/Production Designer, Amy Wells/Set Decorator
Interstellar – Nathan Crowley/Production Designer, Gary Fettis/Set Decorator
Into the Woods – Dennis Gassner/Production Designer, Anna Pinnock/Set Decorator
Snowpiercer – Ondrej Nekvasil/Production Designer, Beatrice Brentnerova/Set Decorator

BEST EDITING

Birdman, Douglas Crise, Stephen Mirrione
Boyhood, Sandra Adair
Gone Girl, Kirk Baxter
Interstellar, Lee Smith
Whiplash, Tom Cross

BEST COSTUME DESIGN

The Grand Budapest Hotel, Milena Canonero
Inherent Vice, Mark Bridges
Into the Woods, Colleen Atwood
Maleficent, Anna B. Sheppard
Mr. Turner, Jacqueline Durran

BEST HAIR & MAKEUP

Foxcatcher
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Into the Woods
Maleficent

BEST VISUAL EFFECTS

Dawn of the Planet of the Apes
Edge of Tomorrow
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Interstellar

BEST ANIMATED FEATURE

Big Hero 6
The Book of Life
The Boxtrolls
How to Train Your Dragon 2
The Lego Movie

BEST ACTION MOVIE

American Sniper
Captain America: The Winter Soldier
Edge of Tomorrow
Fury
Guardians of the Galaxy

BEST ACTOR IN AN ACTION MOVIE

Bradley Cooper, American Sniper
Tom Cruise, Edge of Tomorrow
Chris Evans, Captain America: The Winter Soldier
Brad Pitt, Fury
Chris Pratt, Guardians of the Galaxy

BEST ACTRESS IN AN ACTION MOVIE

Emily Blunt, Edge of Tomorrow
Scarlett Johansson, Lucy
Jennifer Lawrence, The Hunger Games: Mockingjay Part 1
Zoë Saldana, Guardians of the Galaxy
Shailene Woodley, Divergent

BEST COMEDY

Birdman
The Grand Budapest Hotel
St. Vincent
Top Five
22 Jump Street

BEST ACTOR IN A COMEDY

Jon Favreau, Chef
Ralph Fiennes, The Grand Budapest Hotel
Michael Keaton, Birdman
Bill Murray, St. Vincent
Chris Rock, Top Five
Channing Tatum, 22 Jump Street

BEST ACTRESS IN A COMEDY

Rose Byrne, Neighbors
Rosario Dawson, Top Five
Melissa McCarthy, St. Vincent
Jenny Slate, Obvious Child
Kristen Wiig, The Skeleton Twins

BEST SCI-FI/HORROR MOVIE

The Babadook
Dawn of the Planet of the Apes
Interstellar
Snowpiercer
Under the Skin

BEST FOREIGN LANGUAGE FILM

Force Majeure
Ida
Leviathan
Two Days, One Night
Wild Tales

BEST DOCUMENTARY FEATURE

Citizenfour
Glen Campbell: I’ll Be Me
Jodorowsky’s Dune
Last Days in Vietnam
Life Itself
The Overnighters

BEST SONG

“Big Eyes” – Lana Del Rey, Big Eyes
“Everything Is Awesome” – Jo Li and the Lonely Island, The Lego Movie
“Glory” – Common/John Legend, Selma
“Lost Stars” – Keira Knightley, Begin Again
“Yellow Flicker Beat” – Lorde, The Hunger Games: Mockingjay Part 1

BEST SCORE

Alexandre Desplat, The Imitation Game
Johann Johannsson, The Theory of Everything
Trent Reznor & Atticus Ross, Gone Girl
Antonio Sanchez, Birdman
Hans Zimmer, Interstellar

This article originally appeared on People.com

TIME movies

The Sad State of the Best Actress Oscar Race

Julianne Moore in Still Alice Linda Kallerus—Sony Classics

Prestige drama is still a man's world

While much ink was spilled today about whether David Oyelowo of Selma or Jake Gyllenhaal of Nightcrawler were unfairly shut out of the best actor Oscar race, there’s little controversy over who received Best Actress nods this year. The Academy (yet again) picked from just a handful of female candidates, and their limited choices suggest that little progress has been made since last year when Cate Blanchett used her Oscar acceptance speech to critique “those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences — they’re not. Audiences want to see them, and in fact, they earn money.”

In the 11 months since that speech, Blanchett has in many ways been vindicated. The Hunger Games: Mockingjay – Part 1, Maleficent, Gone Girl, Frozen, Lucy and The Fault in Our Stars, all of which featured female protagonists, were among the top 25 grossing films of 2014. And yet the prestige lower-grossing dramas from which the best actress nominations are usually chosen were still largely dominated by men: Only one of the eight nominees for best picture also produced a best actress nominee (Felicity Jones for The Theory of Everything), while four of those films yielded best actor nominations.

Here are this year’s nominees for best actress:

Marion Cotillard, Two Days, One Night
Felicity Jones, The Theory of Everything
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild

MORE: How Hollywood Can Get More Women to See Movies

Jones and Pike are newcomers, but the majority of women on this list should look familiar. This is Cotillard’s second Oscar nomination, Moore’s fourth and Witherspoon’s second. If it weren’t for the snub of five-time Academy Award nominee Amy Adams, who won a Golden Globe for Big Eyes last week, one might think the Academy voters never got fatigue in this category.

Despite the familiarity of the names, the films may require a Google search. The general public will not have seen or perhaps even heard of most of these films, save Gone Girl and Theory of Everything, and whether these two are “female films” is up for debate: Both relationship dramas give top billing and the majority of screen time to the man (Ben Affleck for Gone Girl and Eddie Redmayne for The Theory of Everything).

That can’t be said for any of the movies that produced the best actor nominees. Foxcatcher is about as testosterone-heavy as a movie can get, and the majority of American Sniper is spent following a group of male Navy SEALs. Though there are some phenomenal supporting performances from women in Birdman and The Imitation Game, the male actors in those films are indisputably the protagonists.

Why big-budget prestige dramas continue to be so male-centric is no mystery. This year’s Celluloid Ceiling report from the Center for the Study of Women in Television found that only 17% of any of the almost 3,000 people working in behind-the-scenes roles on films (directors, writers, producers, editors, cinematographers, etc.) were women. Though male filmmakers can bring complex, interesting female stories to the screen, artists tend to create what they know.

That leaves few options for actresses seeking Oscar gold. Reese Witherspoon, fed up with most studios’ refusal to develop female centric films, created her own production company, Pacific Standard, and quickly optioned two of the most buzzed-about books by female authors from recent years, Gone Girl and Wild. She’s immediately seeing the payoffs with nominations for herself and Pike both playing highly unlikable but completely absorbing women in those two films.

Meanwhile, other actresses have had to seek out films with smaller budgets and releases. The Belgian film Two Days, One Night surprised most by earning Marion Cotillard a best actress nomination despite getting a very small distribution in the United States at the very end of December. And the independently-financed Still Alice hit the Toronto Film Festival with no buzz and no distributor. Though Julianne Moore is now considered a lock for the win, the film was a wild card until Sony snatched it up after the festival screening.

It’s hard to imagine a film with a best actor frontrunner having such a low-profile debut. But such is the state of great female performances until studios begin to invest in them.

MORE: Reese Witherspoon Isn’t Nice or Wholesome in Wild, and That’s What Makes It Great

TIME movies

Oscars 2015 Best Picture Nominees: Read the Original Reviews

From 'American Sniper' to 'Whiplash' and everything in between

This year’s Oscars nominations were announced Thursday morning and, despite a few snubs and surprises, the Best Picture nominees were mostly the usual batch of well-received prestige pics—though they also received reviews that weren’t always 100% positive. TIME’s critic Richard Corliss reviewed each of the nominees as they were released, and here’s what he had to say:

American Sniper, reviewed Dec. 31, 2014: “It’s a gritty, confident portrait of a man whose life may have been somewhat messier than this Hollywood version.”

Read the full review here

Birdman, reviewed Oct. 27, 2014: “This isn’t truly a one-take movie, like Alexander Sokurov’s enthralling Russian Ark–here, scenes lasting 10 minutes or more are edited together with invisible transitions–but Birdman is still a unique technical accomplishment. Shot in 30 days, with the actors’ and the camera’s movements calibrated to the inch and the millisecond so that the action flows smoothly, the picture has the jagged energy of a sustained guerrilla raid choreographed by Bob Fosse. It’s a precision ballet whose most impressive effect is that it plays out like real theatrical life.”

Read the full review here

Boyhood, reviewed July 10, 2014: “A home movie of a fictional home life, an epic assembled from vignettes, Boyhood shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.”

Read the full review here

The Grand Budapest Hotel, reviewed Mar. 10, 2014: “A dizzyingly complex machine whose workings are a delight to behold, the movie has a wry smile for frailties, a watchful eye for tyranny and a heart that — under the circumstances of this dark, fanciful tale — must be called heroic.”

Read the full review here

The Imitation Game, reviewed Dec. 1, 2014: “Alan Turing in The Imitation Game may be [Benedict Cumberbatch’s] oddest, fullest, most Cumberbatchian character yet. The Cambridge genius who fathered the modern computer, known as the Turing machine–and who presciently asked, “What if only a machine could defeat another machine?”–seems part machine himself.”

Read the full review here

Selma, reviewed in Jan. 19, 2015, issue of TIME: “This is a film set not on great lawns but mostly in back rooms, where a forceful whisper can have more effect than a pulpit homily. Oyelowo gives a warm, acute performance and lends King a presence that makes everyone from his wife Coretta (Carmen Ejogo) to LBJ feel the power of his argument, the singe of his soul.”

Read the full review here

The Theory of Everything, reviewed Nov. 17, 2014: “For a movie about the author of A Brief History of Time, this is a doggedly chronological retelling of Stephen and Jane’s 30-year marriage. Theory finds its saving nuances in the story of a vigorous young man transformed by disease into his wife’s invalid child.”

Read the full review here

Whiplash, reviewed Oct. 9, 2014: “A hit at Sundance and the Toronto Film Festival, where it was nicknamed Full Metal Drum Kit, Damien Chazelle’s Whiplash adds welcome flavor to the fall movie season, like Raisinettes sprinkled on a tub of popcorn. Directing with a cool, steady hand that renounces shaky-cam the way Fletcher would denounce rock ‘n roll, and getting strong performances from his two leads, Chazelle provides a potent metaphor for artistic ambition as both a religion and an addiction.”

Read the full review here

See the full list of 2015 Oscars nominees

TIME awards

Golden Globes Ratings Dip 11%

71st Annual Golden Globe Awards - Show
Hosts Tina Fey and Amy Poehler speak onstage during the 71st Annual Golden Globe Award at The Beverly Hilton Hotel on Jan. 12, 2014 in Beverly Hills, Calif. NBC/Getty Images

Compared to last year

UPDATE: The adjusted national numbers have the awards at 19.3 million viewers and a 5.8 rating, down about 11 percent from last year.

Previous: The third time may not have been the charm for Tina and Amy as viewership of the 72nd annual Golden Globes took a dip Sunday night compared to the past two years. Yet the show still had a strong performance overall.

According to Nielsenwhose ratings for the telecast were delayed by the measurement company for several hours Mondaythe three-hour telecast from the Beverly Hilton hotel averaged 16.1 million viewers and a 5.0 rating among adults 18-49 in the preliminary ratings. That’s down a bit from last year’s telecast, which was a 10-year high for the show and therefore was naturally very tough to beat.

And the show’s tally was still higher than many previous years before three-time hosts Tina Fey and Amy Poehler took the stage. NBC says last night generated 2.6 million tweets, up 24 percent from last year. The telecast saw Boyhood and Grand Budapest Hotel take the top honors.

This article originally appeared on EW.com

TIME awards

Margaret Cho Isn’t Sorry About Mocking North Korea at the Golden Globes

72nd Annual Golden Globe Awards - Show
Tina Fey, Margaret Cho and, Amy Poehler speak onstage during the 72nd Annual Golden Globe Awards. Handout—Getty Images

The comedian says she has every right to make fun of the country and its leadership

Comedian and actress Margaret Cho defended her appearance Sunday at the Golden Globes, where she played a North Korean journalist-general character that some viewers deemed as racist.

“I’m of mixed North/South Korean descent — you imprison, starve and brainwash my people you get made fun of by me,” she tweeted on Monday. Cho also elaborated to BuzzFeed, saying, “I am from this culture. I am from this tribe. And so I’m able to comment on it.”

Cho worked on the character of Cho Young-ja — who mostly wanted to take a picture with Meryl Streep and share opinions on Orange is the New Black — with hosts Amy Poehler and Tina Fey, who previously had Cho skewer North Korea on her sitcom 30 Rock. But Cho — the only Asian-American on-stage that night — did speak in a heavy accent and walk in what one critic called “an unmistakable fascist goose-step.”

“I can do whatever I want when it comes to Koreans — North Koreans, South Korean,” Cho told BuzzFeed. “I’m not playing the race card, I’m playing the rice card,” she said, echoing one of her tweets. “I’m the only person in the world, probably, that can make these jokes and not be placed in a labor camp.”

TIME Television

Review: From Cosby to Charlie, This Golden Globes Had Something to Say

Beyond the usual boozy fun, it was a night of outspokenness and messages. But is Hollywood really Charlie Hebdo, or does it just play it on TV?

Accepting the Golden Globe for best actor in a TV drama, Kevin Spacey shared a story about meeting Stanley Kramer late in the legendary director’s life. “I just wish my films could have been better,” Kramer said.

It was a fitting anecdote Sunday. Kramer was known for “message movies”–films like Guess Who’s Coming to Dinner, On the Beach and Judgment at Nuremberg, which made pointed, hard-to-miss, unabashedly liberal comments on bigotry, war and other big issues. And Sunday’s broadcast was in many ways the message Golden Globes. This year, Hollywood had more to get off its chest than the fabric from its plunging necklines. (About which, Globes viewers were witness to more exposed sternums Sunday night than thoracic surgeons see in their careers.)

It started with Tina Fey and Amy Poehler, hosting what they’d announced in advance was their last Globes, and they clearly meant to leave their audience talking. Their routine–the now-familiar, seemingly effortless ping-ponging between them–began with the usual skewering of the latest movies mixed with on-point pokes at the industry’s shallowness and sexism. Patricia Arquette’s role in Boyhood, Poehler said, was proof that “there are great roles for women over 40, as long as you get hired when you’re under 40.”

But at the end, the two former SNL-mates whittled their comedy down to a spearpoint, targeting–as they suggested they would–Bill Cosby, and the rape accusations that recently resurfaced against him. The fairytale movie Into the Woods, Poehler said, included Sleeping Beauty, who “just thought she was getting coffee with Bill Cosby.” Fey launched into a Cosby imitation that she’d brought out years ago on Weekend Update in connection withe the charges: “I put the pills in the people!” she said, in her best Pudding Pop expostulation.

A few awards later, they brought on some help to hit another recent Hollywood hot button, the North Korean attacks on the film The Interview, and the industry’s response or lack thereof. (Earlier, Fey said the awards would celebrate the best TV, “as well as all the movies that North Korea was OK with.”) Comedian Margaret Cho played a North Korean general and movie critic (for Movies Wow! magazine) who cast a glowering eye on the festivities. (Besides The Interview, she disapproved Orange Is the New Black competing in the comedy category: “It’s funny, but not ‘ha-ha’ funny!”)

The statements in the acceptances themselves were, not surprisingly, more earnest. Common, accepting the best-song award for Selma, expressed solidarity both with unarmed black kids shot by police and with the two New York City policemen who were recently assassinated. Joanne Froggatt, a winner after a season of Downton Abbey in which her character was raped, dedicated the award to real-life rape survivors. And the winsome Gina Rodriguez of The CW’s Jane the Virgin accepted a best comedy actress award, tearfully citing the show’s importance to Latino viewers, “a culture that wants to see themselves as heroes.”

That last award was also an example of the Golden Globes’ continued streak of honoring new shows and new faces in its TV awards (in this respect, it’s almost the anti-Emmys). The Golden Globes, voted on by a relative handful of journalists, don’t mean a lot in terms of predicting other awards or turning shows into hits. But one thing the awards can do is give mass-audience publicity to off-the-radar shows.

And the Globes did that last night for 2014’s best show, Transparent on Amazon, which won best comedy and best actor for Jeffrey Tambor. (It was a big night for streaming TV and anything that wasn’t traditional broadcast: only The CW and PBS won from the latter category.) Tambor, who plays transgender parent Maura Pfefferman, continued the earnest theme by thanking the transgender community; creator Jill Soloway dedicated the show’s award in part to Leelah Alcorn, a transgender teenager who became a social media icon after her suicide.

The Globes’ openness to the new continued to a fault in the drama category, won by Showtime’s The Affair–an ambitious, challenging, well-acted he-said-she-said drama that was also often a morose, overengineered mess in its first season.

But again: it’s the Globes! No need to get too worked up. Indeed, the very appeal of the Globes traditionally is their lack of seriousness or import–they’re generally a loose, boozy good time packed with stars. But a heavy year in the news gave us a heavier Globes, and it seemed fitting that this year’s Cecil B. DeMille lifetime achievement award went to Hollywood’s speaker-outer-in-chief, George Clooney. Late last year, it was Clooney who chided the industry for the lack of vocal support for the victims of the Sony hacking. And Sunday night, Clooney ended his speech on a note of solidarity with the French cartoonists massacred by Islamist extremists in Paris: “Je suis Charlie.”

Vraiment? Yes, Clooney and his wife Amal wore their support for artists’ expression literally, wearing badges with the slogan on the red carpet, where other attendees were brandishing pens in solidarity. But when it came to the Globes’ own satire, reaction was decidedly mixed. Reaction shots showed much of the crowd uncomfortable at Fey and Poehler’s Cosby jokes, and there’s already been social-media reaction against those, as well as attacking Cho’s sendup as a racist caricature.

Anyone surprised? For all the horror at the shootings and support for the right to expression, Americans get nervous about satire long before it reaches the scathing, vicious tone of Charlie Hebdo‘s cartoons. We’ve had numerous debates over whether a rape joke can ever be good and funny (though I’d say Fey and Poehler’s, aimed at a powerful person accused of assault, are Exhibit A of how one can be). And though Cho herself is Korean, playing a foreign character–and though she already played dictator Kim Jong Il on Fey’s 30 Rock–any lampooning of a heavily accented Asian character on this stage was likely to trip the outrage meter.

As with the Charlie Hebdo cartoons themselves, it was an example of a tension in American melting-pot culture, especially in left-leaning communities like Hollywood: classical liberalism (which emphasizes expression and personal and artistic liberties) bumps up against progressivism (which emphasizes identity politics and power dynamics). And one sad week in the news isn’t likely to change that.

So, nous sommes tous Charlie? Maybe. But more in theory than in practice.

Read next: Golden Globes Recap: At This Show, Politics Only Go So Far

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TIME awards

Amazon and Netflix Crash the Golden Globes Party

Two companies that grew out of new technology for delivering stuff just proved they can make it just as well as the Hollywood establishment

Amazon.com and Netflix Inc both underscored their coming-of-age as providers of original content, with high-profile wins at the annual Golden Globes ceremony Sunday.

Amazon’s ‘Transparent’, a comedy-drama series about a transgender father, won the award for the Best TV Series – Musical or Comedy, the first time the e-commerce giant’s in-house studio had competed and won against the big guns of Hollywood since its creation in 2010.

Jeffrey Tambor, who plays the series’ main character Morton (later Maura) Pfefferman, also won a Globe for best performance in a TV comedy series.

Meanwhile, Netflix also chipped away at the dominance of the Hollywood establishment as Kevin Spacey walked away with the award for best performance in a TV drama for his role as the scheming Francis Underwood in the political series ‘House of Cards’.

The Golden Globes traditionally are a good foretaste of how the Academy Awards pan out. If the form of recent years repeats itself, then the Oscars too could be in for a shock this year. The award for best film was taken by Richard Linklater’s ‘Boyhood’, produced by the relatively low-profile IFC films, an offshoot of New York-based AMC Networks Inc.

Meanwhile, the best foreign film award went to Andrey Zvagintsev’s ‘Leviathan’, a movie that is scathingly critical about the state of contemporary Russia. Somewhat surprisingly for western critics, the film was backed by the Russian Ministry of Culture.

This article originally appeared on Fortune.com

TIME awards

Golden Globes 5 Most Surprising Winners

The Golden Globes has a reputation for honoring fresh talent and making unexpected moves, and in that regard, Sunday’s ceremony did not disappoint. Sure, as expected, Boyhood took home best drama and Jeffrey Tambor won best TV actor for the heavily acclaimed Transparent. Yet there were plenty of jaw-dropping moments too as several dark horses surged forward to cross the finish line:

5. Fargo beats True Detective — and Billy Bob Thornton beats Matthew McConaughey. The two acclaimed freshman crime anthology dramas finally squared off in a major race (for the Emmys they competed in different categories). Both shows are terrific; you can make an argument for either one winning this category. Yet True Detective has enjoyed more buzz and Thornton topping McConaughey was definitely a shock given the latter’s mesmerizing performance that was such a large part of True Detective‘s success.

4. How to Train Your Dragon 2 wins best animated movie. Most assumed The LEGO Movie and Big Hero 6 were duking it out, yet Dragon swooped in for the kill—and they didn’t even begrudge the movie for having a “2” on it.

3. Gina Rodriguez wins best actress in a TV comedy: Her nomination was already a surprise. Rodriguez made headlines when she made it into this category as relative unknown actress on the never-before-nominated The CW network. But that Rodriguez beat out Lena Dunham and Edie Falco and Julia Louis-Dreyfus and Taylor Schilling was the sort of uplifting Cinderella moment that makes awards shows so fun to watch. “My father used to tell me to say every morning, ‘Today is going to be a great day. I can and I will,’” she said. “Well, Dad, today is a great day. I can and I did.”

2. The Affair wins best TV drama and Ruth Wilson wins best TV actress in a drama. In retrospect, The Affair taking the drama category should have been more obvious. Showtime’s sexy acclaimed drama might not have the highest profile, but it’s exactly the sort of boundary-pushing freshman series the HFPA loves. For Wilson, competition was really steep, with the actress edging out Claire Danes, Viola Davis, Julianna Margulies and Robin Wright. “I am very amazed,” Wilson said.

1. Grand Budapest Hotel wins best motion picture comedy. Odds-makers bet heavily on Birdman, yet Wes Anderson’s wistful story of a hotel concierge took home the prize.

This article originally appeared on EW.com

Read next: Golden Globes 2015: See All the Winners

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