Popdust

✖

The Golden Globes Still Pretend Female Directors Don't Exist

The Best Director nominations for the 77th Golden Globes completely omit women, but who's surprised?

Photo by: Official website of the Hollywood Foreign Press Association® and the Golden Globe® Awards

Today, the nominations for the 77th Annual Golden Globes were unveiled.

It was a good year for Netflix productions, Scorcese, and Tarantino, but history has repeated itself in that women are, yet again, entirely absent from the Best Director category and immensely underrepresented throughout.

— (@)

The Best Director nominees are Bong Joon-ho for Parasite, Sam Mendes for 1917, Todd Phillips for Joker, Martin Scorsese for The Irishman, and Quentin Tarantino for Once Upon a Time in Hollywood. (Other categories, including Best Motion Picture and Best Screenplay, were significantly male-leaning.) But as always, it's not like women haven't flashed their directing chops this year. Lorene Scafaria (Hustlers), Lulu Wang (The Farewell), Olivia Wilde (Booksmart), Greta Gerwig (Little Women), and Alma Har'el (Honey Boy) are all deserving of nominations at the very least—hey, that's enough to fill the entire category! Nominate them all!

Though the Golden Globes' glaring ignorance towards women hurts, it sadly doesn't come as a shock. Barbra Streisand is the sole woman to ever win Best Director in over seven decades of the Golden Globes; only four others have been nominated. Looks like Natalie Portman's viral call-out while presenting at the 2018 Golden Globes will remain evergreen.

Natalie Portman Notes the All-Male Director Nominees

Awards ceremony celebrating the best in TV and film; Seth Meyers hosts; Oprah Winfrey receives the 2018 Cecil B. de Mille Award.

Check out the very manly nominees below.

Best Motion Picture – Drama

"The Irishman" (Netflix)

"Marriage Story" (Netflix)

"1917" (Universal)

"Joker" (Warner Bros.)

"The Two Popes" (Netflix)

Best Actress in a Motion Picture – Drama

Cynthia Erivo ("Harriet")

Scarlett Johansson ("Marriage Story")

Saoirse Ronan ("Little Women")

Charlize Theron ("Bombshell")

Renée Zellweger ("Judy")

Best Actor in a Motion Picture – Drama

Christian Bale ("Ford v Ferrari")

Antonio Banderas ("Pain and Glory")

Adam Driver ("Marriage Story")

Joaquin Phoenix ("Joker")

Jonathan Pryce ("The Two Popes")

Best Motion Picture – Musical or Comedy

"Dolemite Is My Name" (Netflix)

"Jojo Rabbit" (Fox Searchlight)

"Knives Out" (Lionsgate)

"Once Upon a Time in Hollywood" (Sony)

"Rocketman" (Paramount)

Best Actress in a Motion Picture – Musical or Comedy

Ana de Armas ("Knives Out")

Awkwafina ("The Farewell")

Cate Blanchett ("Where'd You Go, Bernadette")

Beanie Feldstein ("Booksmart")

Emma Thompson ("Late Night")

Best Actor in a Motion Picture – Musical or Comedy

Daniel Craig ("Knives Out")

Roman Griffin Davis ("Jojo Rabbit")

Leonardo DiCaprio ("Once Upon a Time in Hollywood")

Taron Egerton ("Rocketman")

Eddie Murphy ("Dolemite Is My Name")

Best Motion Picture – Animated

"Frozen 2" (Disney)

"How to Train Your Dragon: The Hidden World" (Universal)

"The Lion King" (Disney)

"Missing Link" (United Artists Releasing)

"Toy Story 4" (Disney)

Best Motion Picture – Foreign Language

"The Farewell" (A24)

"Les Misérables" (Amazon)

"Pain and Glory" (Sony Pictures Classics)

"Parasite" (Neon)

"Portrait of a Lady on Fire" (Neon)

Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates ("Richard Jewell")

Annette Bening ("The Report")

Laura Dern ("Marriage Story")

Jennifer Lopez ("Hustlers")

Margot Robbie ("Bombshell")

Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks ("A Beautiful Day in the Neighborhood")

Anthony Hopkins ("The Two Popes")

Al Pacino ("The Irishman")

Joe Pesci ("The Irishman")

Brad Pitt ("Once Upon a Time in Hollywood")

Best Director – Motion Picture

Bong Joon-ho ("Parasite")

Sam Mendes ("1917")

Todd Phillips ("Joker")

Martin Scorsese ("The Irishman")

Quentin Tarantino ("Once Upon a Time in Hollywood")

Best Screenplay – Motion Picture

Noah Baumbach ("Marriage Story")

Bong Joon-ho and Han Jin-won ("Parasite")

Anthony McCarten ("The Two Popes")

Quentin Tarantino ("Once Upon a Time in Hollywood")

Steven Zaillian ("The Irishman")

Best Original Score – Motion Picture

Alexandre Desplat ("Little Women")

Hildur Guðnadóttir ("Joker")

Randy Newman ("Marriage Story")

Thomas Newman ("1917")

Daniel Pemberton ("Motherless Brooklyn")

Best Original Song – Motion Picture

"Beautiful Ghosts" ("Cats")

"I'm Gonna Love Me Again" ("Rocketman")

"Into the Unknown" ("Frozen 2")

"Spirit" ("The Lion King")

"Stand Up" ("Harriet")

Best Television Series – Drama

"Big Little Lies" (HBO)

"The Crown" (Netflix)

"Killing Eve" (BBC America)

"The Morning Show" (Apple TV Plus)

"Succession" (HBO)

Best Performance by an Actress in a Television Series – Drama

Jennifer Aniston ("The Morning Show")

Olivia Colman ("The Crown")

Jodie Comer ("Killing Eve")

Nicole Kidman ("Big Little Lies")

Reese Witherspoon ("The Morning Show")

Best Performance by an Actor in a Television Series – Drama

Brian Cox ("Succession")

Kit Harington ("Game of Thrones")

Rami Malek ("Mr. Robot")

Tobias Menzies ("The Crown")

Billy Porter ("Pose")

Best Television Series – Musical or Comedy

"Barry" (HBO)

"Fleabag" (Amazon)

"The Kominsky Method" (Netflix)

"The Marvelous Mrs. Maisel" (Amazon)

"The Politician" (Netflix)

Best Performance by an Actress in a Television Series – Musical or Comedy

Christina Applegate ("Dead to Me")

Rachel Brosnahan ("The Marvelous Mrs. Maisel")

Kirsten Dunst ("On Becoming a God in Central Florida")

Natasha Lyonne ("Russian Doll")

Phoebe Waller-Bridge ("Fleabag")

Best Performance by an Actor in a Television Series – Musical or Comedy

Michael Douglas ("The Kominsky Method")

Bill Hader ("Barry")

Ben Platt ("The Politician")

Paul Rudd ("Living with Yourself")

Ramy Youssef ("Ramy")

Best Television Limited Series or Motion Picture Made for Television

"Catch-22″ (Hulu)

"Chernobyl" (HBO)

"Fosse/Verdon" (FX)

The Loudest Voice (Showtime)

"Unbelievable" (Netflix)

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever ("Unbelievable")

Joey King ("The Act")

Helen Mirren ("Catherine the Great")

Merritt Wever ("Unbelievable")

Michelle Williams ("Fosse/Verdon")

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott ("Catch-22")

Sacha Baron Cohen ("The Spy")

Russell Crowe ("The Loudest Voice")

Jared Harris ("Chernobyl")

Sam Rockwell ("Fosse/Verdon")

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette ("The Act")

Helena Bonham Carter ("The Crown")

Toni Collette ("Unbelievable")

Meryl Streep ("Big Little Lies")

Emily Watson ("Chernobyl")

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin ("The Kominsky Method")

Kieran Culkin ("Succession")

Andrew Scott ("Fleabag")

Stellan Skarsgård ("Chernobyl")

Henry Winkler ("Barry")

From Your Site Articles

Phoebe Waller-Bridge Brings Her Brand of Psychopathic Raunch to "SNL"

The "Fleabag" writer shines brightest (in her usual vulgar way) in her opening monologue.

Phoebe Waller-Bridge has had a successful past few years, to say the least.

The Emmy-winning writer of Fleabag and Killing Eve brought her brand of unfiltered brashness to the SNL screen this Saturday in an episode that felt like a victory lap. Still, while worth watching for any Waller-Bridge fans, the show wasn't quite able to live up to the level of comedic brilliance we've come to expect from her.

The best part was probably Waller-Bridge's opening monologue, in which she stated that everything she writes has a "grain of truth" to it, discussed genit*lia for several minutes, and definitively explained why Fleabag's "Hot Priest" is so hot: It's because he actually listens. She discussed psychopathy, which is brought to the fore on Killing Eve, and theorized that she herself might even be a psychopath (or at least, everyone she knows is). She closed with some killer lines like, "Back then horny women were to be burned at the stake. Now they're given Emmys!"

Unfortunately, the rest of the show took a slightly downward turn following that monologue. While it might be a bit harsh to call SNL an "aging, decrepit beast that should've been put out of its misery seasons ago," as Vice did in its review of this episode, several of this show's sketches faltered dangerously. Last week's debut episode was promising with its clever depiction of the Democratic presidential candidates, but then again, those jokes kind of write themselves.

At least this episode, despite no shortage of lackluster jokes, we got to see Phoebe Waller-Bridge use many different accents and play a couple of memorable roles, including a psychopathic war wife who gallivants around with Hitler in the sketch "Words of the War." That sketch was possibly one of the episode's best, mostly thanks to Waller-Bridge's excellent deadpan and the scene's escalating absurdity. Weekend Update was also a highlight, featuring Kate McKinnon's lovably aggressive Elizabeth Warren, a well-placed Pete Davidson joke, and a flamboyant Chen Biao, played by freshman cast member Bowen Yang. "Mid-Day News" was also excellent, bringing racial politics and stereotypes to the fore as South Floridian news anchors try to determine whether the criminals they're reporting on are black or white.

Weekend Update: Chen Biao on US-China Trade War - SNLwww.youtube.com

Mid-Day News - SNLwww.youtube.com

On the other hand, the odd sketch "Royal Romance" made fun of Meghan Markle and Prince Harry but never quite hit its stride, and its jokes pushed the boundaries between satire and racism. Then there was the painful "Kaylee, Crystal, and Janetta," a sketch which featured four women at a bar. Perhaps meant to be a subversion of the super-feminine, stereotypical Sex and the City type of girl gang, characters portrayed are loud, tattooed, mullet-wearing, totally unfeminine, and frequently violent women. But that sketch doesn't seem to do many favors for any of them, instead asking the audience to laugh off a sequence where they each attack an ex-lover, refusing the kind of self-aware nuance that makes Fleabag such a standout example of how to write a "difficult woman" character.

Kaylee, Crystal & Janetta - SNLwww.youtube.com

It's hard to say exactly why SNL has struggled so much over the past few years. Comedy writing is incredibly hard, but with all the absurdity in the modern era, we need excellent satire now more than ever to put it all into perspective. Still, the show could benefit from more diverse perspectives, more boundary-pushing and nuanced comedy, and stronger characters—the latter of which, specifically, Waller-Bridge is so good at creating. One has to wonder what would've happened had Waller-Bridge been able to write a few sketches herself.

I Might Actually Watch "American Horror Story: Macaulay Culkin"

A girl can dream.