However, this snub is just one of many invalidations of any progress that has been made over the past few years, and it is disappointing to see.
There was hope that after the #MeToo #OscarsSoWhite and #BlackLivesMatter movements that Hollywood would reflect this growing frustration with gender and racial inequalities, and I May Destroy You skilfully tackles each of these subjects. Not to mention that I May Destroy You features an almost exclusively black cast, whereas Emily in Paris is as whitewashed as its title suggests. The glamour of Paris and Lily Collins's kitsch outfits have clearly blinded the judging panel to Cole's hat-trick of subversive writing, co-direction and arresting performance set against the backdrop of gritty London. Other industry writers, actors, and even former US President Barack Obama have expressed their love of the show. Paradoxically, this resulted in a writer on Emily in Paris declaring the unfairness of the snub.
#GOLDEN GLOBES I MAY DESTROY YOU SERIES#
Emily in Paris garnered two nominations for Best TV Series and Best Actress, while I May Destroy You was nowhere to be seen. The Golden Globes mark the beginning of Hollywood's award season, so, needless to say, its nominations are a big deal. Now, which one sounds like it deserves award nominations? At most, it was good mindless lockdown fodder. Cringeworthy and superficial, the only good thing that can be said for the supposed comedy is that it is beautiful to watch, but even this is down to the setting of Paris itself and cannot be credited to the show. Lily Collins, a clueless American, gets a job in Paris and finds trouble adjusting to French customs and sensibilities. Meanwhile, Netflix's Emily in Paris literally does what it says on the tin. Cole's character Arabella grapples with revenge plots, fantasies and self-destructive behaviour, as the show also raises questions about friendship and loyalty through its supporting characters. Without trying to simplify its ingenuity, the overarching message of the show is that there is no right or wrong way to process a traumatic experience such as rape. Let's hope it doesn't take another hashtag - #GlobesTVSoWhite, perhaps? - to push the HFPA to recognize quality work in television no matter who delivers it.To say that Michaela Cole's critically acclaimed drama I May Destroy You is brilliant feels like an understatement.It takes the commonly experienced trauma of sexual assault and the taboo surrounding it and balances a haze of flashbacks, emotional shock and questions of memory with a frank portrayal of survival that does not allow its audience to look away. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic's Choice Awards, I know that someone always gets snubbed, sometime.īut I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. Alex Jung, who spent hours talking to Coel for the magazine's July cover story last year. So this diversity problem seems uniquely confined to the Globes' TV side. 'I may destroy the Golden Globes,' tweeted New York Magazine 's E. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film Emma). For the first time, three women were nominated for best director, including Regina King.
When this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.īut the Globes made some amazing choices in its film nominations this year. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled - Cops and Live PD - that excuse doesn't pass muster any longer. In the past, when people of color came up short in high-profile industry nominations and awards - the #OscarsSoWhite hashtag feels like it happened a century ago, doesn't it? - the argument was that the performances weren't there. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX's Fargo.Īll high-quality work. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz' P-Valley. Joshua Caleb Johnson from Showtime's The Good Lord Bird. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC's This Is Us. Pop Culture Happy Hour 'I May Destroy You' Is HBO's New Unforgettable, Unmissable DramaĪnd there was the work from non-white males.
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