The Best Director line-up showed signs of progress, but this year’s Golden Globes nominations were otherwise wacky,
The Golden Globes have always specialised in a particular type of chaos. This year, to truly drive it home, they’ve nominated cultural menace James Corden for his offensive performance in The Prom while entirely ignoring Michaela Coel’s bruising and evocative I May Destroy You. They have heralded Emily in Paris, a withering Twitter meme disguised as a television show, while snubbing Dave, What We Do in the Shadows and PEN15.
There are minor stabs of progress among the rampant absurdity. The Best Director line-up featured a female majority for the first time in the awards’ history. But their hand was forced in that regard; because of the pandemic, there is a far smaller pool of films for awards voters to choose from. And even with that in mind, Black-led movies like Judas and the Black Messiah and Da 5 Bloods received either scant acting nods or nothing at all.
The Globes have always existed in a strange space where admirable good taste and horrid mistakes collide. It’s partly why they’re so much fun. But this year’s line-up is proof that for all the speculation that the pandemic has upended the cinematic rule book, from how films are released to which ones get celebrated, some things really don’t change.