What is it about Catholic priests that fill us with thoughts that are anything but godly?
Is it that they're sexually unattainable? That their robes emphasize their shoulders? That they're obligated to listen to our problems? Whatever it is, the trope of the hot priest has become a cultural staple that can be found in myriad of books, movies, and TV shows. Here are 10 of the hottest priests to ever make it on-screen.
Many media worlds have collided at once in the new music video for Phoebe Bridgers' "Savior Complex."
The black-and-white music video stars Paul Mescal, the gorgeous Normal People co-lead who shot to fame earlier this year thanks to his brilliant performance and now-infamous neck chain.
Mescal went from being a relative unknown to achieving a rare kind of superstardom this year; his boyish good looks and complexity made him the subject of many a profile.
As if that weren't enough of a high-profile collaboration, the video was directed by Phoebe Waller-Bridge, creator and star of Fleabag and the subject of many a Phoebe Bridge-related joke.
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This has been a huge month for Bridgers, whose album, Punisher, was met with critical acclaim and garnered her several Grammy noms. Her orchestral EP Copycat Killer just came out, and a cover of the Goo Goo Dolls' "Iris" with Maggie Rogers raised $173,703.59 for Stacey Abrams' Fair Fight organization, which is mobilizing voters in Georgia.
Bridgers and Mescal met earlier this year in Ireland, which sparked many dating rumors. No one knows for sure what they actually talked about, but perhaps Bridgers asked him to star in her music video.
Bridgers has also long been a fan of Waller-Bridge, and apparently, according to the press release, "the feeling was mutual." "After connecting over email during Covid quarantine, the two hatched a plan to collaborate together on a music video for 'Savior Complex,'" the press release reads.
"The result, starring Emmy-nominated Irish actor Paul Mescal and introducing an exceptional new talent known only as Charlotte is released today exclusively on Facebook," the statement continues. Charlotte is a small fluffy dog, who is obviously the true star here.
Phoebe Waller-Bridge, Phoebe Bridgers, and Paul Mescal all seem to love projects that involve sad, horny white people making mistakes, crying, having sex, and being very wry, so it makes sense that they all collaborated—though the video is surprisingly not all that horny given its subjects' typical interests.
The video is, true to form, a bit sad, a bit funny, and a bit surreal. It follows a beat-up Paul Mescal and his relationship with a small, fluffy dog, and takes place in what appears to be Ireland. In the beginning, Mescal, beat-up and looking destitute, steals a car and drives to a hotel, only to discover the little dog he met on the beach has come with him.
Eventually, we realize Mescal faked all his injuries for some reason, perhaps as part of a heist. He eventually befriends the dog and becomes fond of her, but then the dog steals all Mescal's belongings and brings them back to Bridgers as part of another heist. The video ends with Bridgers and the pup sitting by the seaside, both wearing capes.
What does it all mean? Perhaps it's about the way that we, as people, betray and fool each other. Maybe it's about the way that everyone is playing a role, performing weaknesses and vying for sympathy in efforts to scam each other. People with "savior complexes" only feel good about themselves when they're saving others, even if that help ends up being harmful.
In the song, Bridgers says she's a "bad liar with a savior complex," and then says, "All the skeletons that you hide, Show me yours, I'll show you mine." The song seems to follow a destructive relationship wherein both partners are tormented by their own demons.
According to Bridgers, the song is about "dating someone who hates themselves," and it does encapsulate the strange loops that define those kinds of relationships. Dating someone who hates themselves is also something that Phoebe Waller-Bridge's main character in Fleabag and Paul Mescal's Connell in Normal People can relate to, so it all coheres in the end.
All in all, it's a fine collaboration by some of this year's most beloved breakout stars, all of whom — somewhat ironically — have found great success by expressing extreme self-loathing in their songs and characters. Perhaps Mescal's fake wounds in the video represent the fact that artists often perform and exploit their and their characters' emotional wounds for audiences to gawk over.
Regardless, the Phoebe Bridgers Extended Universe is growing at a simply unstoppable pace; all we can do is watch in awe.
Russell Crowe wanted the world to know that he wasn't at the Golden Globes because his country is on fire.
And what better way to let the world know about something than to get beloved actress Jennifer Aniston to read it out loud?
In the speech she gave in Crowe's honor, Aniston said that Crowe wasn't at the awards ceremony because he was "at home in Australia protecting his family from the devastating brush fires." She continued to deliver a pointed message: "Make no mistake, the tragedy unfolding in Australia is climate change-based. We need to act based on science, move our global workforce to renewable energy, and respect our planet for the unique and amazing place it is. That way, we all have a future."
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Crowe received the award for Best Actor in a Limited TV Series or Movie for his work in The Loudest Voice, but as we all know, all the awards in the world don't matter when your home is on fire. The bushfires in Australia have killed half a billion animals and 24 humans, displaced six thousand people, and eviscerated nearly 1.65 million hectares. According to scientists, these fires were driven by a lack of rain and low soil moisture, a direct consequence of climate change.
Crowe and Aniston aren't the only ones taking action for Australia. The mastermind behind Fleabag, Phoebe Waller-Bridge, is auctioning off the sequined suit she wore to the Golden Globes and will donate the money to disaster relief.
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"We worked with Ralph & Russo, who are the Australian designers who created this couture suit ... which is the most extraordinary thing I've ever worn, and we're going to auction it," Waller-Bridge said of her decision to sell the suit.
Many other stars have also voiced their support for those affected by the disaster, which is certainly indicative of a much, much larger global problem that is already a reality for so many people. Lizzo pointed out that the fires are part of an interconnected web of decay that is damaging our entire planet.
"Being over here in Australia has really given me a real-time view into what's happening with these devastating fires and for all of my followers who are mostly American, I just want to say that this is a global crisis," she wrote on Instagram. "These CO2 emissions will affect the entire earth. All of our atmosphere, all of our air."
While it's inspiring to see so many people speaking out, it's also true that many of these celebrities are part of the overarching problems that created this issue in the first place—which is capitalism.
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Though it's clearly a problem that celebrities hypocritically take private jets while tweeting about how sad they are about dead koalas, the problem is even deeper than that, and it won't be solved by a few famous people flying coach. The issue is our global reliance on fossil fuels—and our refusal to put laws into place that actually regulate the industry that profits off of them. We have tried and failed to rely on the altruism of the global elite. It's time for the systemic, democratically conceded implementation of processes like the Green New Deal to mandate the redistribution of wealth and a transfer to renewable resources.
In order to prevent more of what's going on in Australia, we shouldn't just sporadically funnel money into disaster relief or content ourselves with a few celebrity platitudes. We need to embark on a global effort to combat climate change on a massive scale before it torches us all.
Thanks to streaming platforms like Netflix and Hulu, it was suddenly possible to watch multiple episodes of a single TV series in one sitting without the interruptions of commercials. As the way we watched TV changed, so too did the kind of shows we watched. Gone was the overabundance of vapid, sugary-sweet sitcoms, and in came the era of political satire, dramatic comedies, and searing commentaries on everything from abortion to Hollywood. Summarily, the 2010s saw a golden age of television. Here are our 50 favorites, with the top 25 and bottom 25 listed in alphabetical order.
The Top 25 TV Shows of the 2010s
Atlanta
Atlanta first aired in 2016, with Donald Glover's Earn learning that his cousin Alfred has released a hit song under the stage name Paper Boi. Since then, the show has followed Earn's struggle to navigate different worlds as he takes over managing his cousin's burgeoning music career while also trying to be a good father to his daughter, Lottie, and to prove himself to Van, his ex-girlfriend and Lottie's mother. The show uses varying perspectives to flesh out the city of Atlanta and the complexities of being black in America with surreal touches that highlight the real-world absurdity. Yet despite the heaviness of much of its subject matter, it frequently manages to be among the funniest shows on TV.
Barry
For anyone who ever wondered whether or not SNL-alum Bill Hader could carry a serious TV show, Barry answers with an overwhelming "yes." To be clear, Barry is technically a dark comedy, or perhaps a crime comedy-drama, but Bill Hader brings a level of unprecedented seriousness to his titular character that oftentimes makes the show feel like a straight tragedy.
Playing a hitman who wants to leave his life of crime behind in order to pursue a career in acting, Bill Hader imbues Barry with an earnestness that makes us as an audience truly want him to succeed. This likability serves to make Barry's violent acts all the more disturbing. Barry's greatest success is its ability to effortlessly fluctuate between the quirks of life as a struggling actor in LA and the violent inclinations of a man who murders for a living and can never really escape that truth. It's one of the best character studies currently on TV and is sure to cement Bill Hader as an extremely versatile A-list talent.
Baskets
Baskets premiered on FX in 2016, telling the story of Chip Baskets, an aspiring clown played by Zach Galifianakis, who is moving back to Bakersfield, California to live with his mother after a failed stint at clown school in Paris. Galfianakis' talent for melancholy slapstick makes the show by turns hilarious and touching, but it's his mother Christine Baskets—artfully portrayed by Louie Anderson—whose simple enthusiasm for small-town life makes the show one of the best of the decade. Watching Christine, Chip, and his twin brother Dale (also Galifianakis) heighten relatable family drama to exquisite absurdity never gets old.
Black Mirror
Nothing would be the same without Black Mirror. Though its later seasons have been inconsistent in quality, its earliest contributions were digital horror at its finest, with some of the episodes being downright visionary in terms of how accurately they predicted the near future. From the nostalgic visions of virtual afterlife in "San Junipero" to the eerie foresight of "Nosedive" and its digital ranking systems, Black Mirror made an indelible impact.
Bob's Burgers
Whatever you've heard about Family Guy or South Park, Bob's Burgers is the true successor to the golden age of The Simpsons. The Belcher family offers an update to The Simpsons' satirical view on middle class family life that reflects how America has changed since the 90s—slightly more urban, with less overt child abuse and a lot more economic precarity. And just as with the best seasons of The Simpsons, Bob's Burgers maintains a touching core of familial love and solidarity amid the absurd hijinks and veiled political commentary. Throw in the added value of the frequently hilarious, occasionally moving musical numbers, and Bob's Burgers easily secures a spot as one of the best shows of the decade.
Bojack Horseman
In terms of the quality of its writing, BoJack Horseman outdid itself season after season. What began as a parody of Hollywood's excesses quickly turned into a searing, and boundary-pushing meditation on depression, addiction, and what it means to change (or to be unable to). Increasingly self-aware and conscious of its hypocritical tendency to obsess over the misadventures of an evil but sympathetic celebrity, thereby glorifying them while criticizing them, BoJack Horseman is the political, devastating, timely, often hilarious show about an animated horse that none of us knew we needed. It's buoyed by the strength of its secondary characters, from the workaholic Princess Carolyn to asexual Todd to self-loathing Diane, and altogether the show takes deep-rooted fears that many share and refracts them in a funhouse mirror that's impossible to look away from.
Broad City
Ilana Glazer and Abbi Jacobson began producing an independent web series about their struggles to "make it" in New York City in 2009. Soon, Amy Poehler took interest in the series, and it moved to Comedy Central in 2014. The smash hit comedy was not only laugh-out-loud funny, but a beautiful portrait of a genuinely healthy, supportive female friendship—something TV has historically seen little of. Broad City can be credited for helping to usher in a new generation of female comedy creators and has become a cultural touchstone for millenials.
Catastrophe
Catastrophe, created and written by the show's stars, Rob Delaney and Sharon Horgan, is one of the realest, grossest, and funniest takes on love and the mess of life. Two people entering middle age meet and hit it off, they spend a reckless night together, and when she gets pregnant, they decide to make things work—not realizing how complicated that will be. It's a simple enough premise, but the cutting dialogue and the absurd comedy that plays out as two near-strangers build a life together make Catastrophe one of a kind.
Fargo
Anthology series like True Detective and American Horror Story can be really hit or miss, but in the three seasons that have aired on FX since 2014, Fargo has been consistently great. Maybe it has to do with the leisurely production schedule, the all-star cast, or the near-perfect movie that forms the basis for its tone, but whatever the cause, Fargo delivers murderous midwestern tragicomedy better than any show on TV—and nearly as well as the original. Season three, which followed the rivalry of the Stussy brothers—as played by Ewan McGregor—deserves a particular call-out, with season four due next year and featuring Chris Rock, Timothy Olyphant, and Jason Schwartzman.
Fleabag
Phoebe Waller-Bridge's stage-play-turned-two-season-TV masterpiece took the world by storm at the end of the 2010s. In the series, the viewer is made into the protagonist's (an unnamed woman played by Bridge) confidante as she uses sex to cope with grief and complicated family dynamics. As the show progresses, the closely protected inner life of the protagonist begins to reveal itself. Many consider the second season to be an essentially perfect season of television, in large part because of the hot priest (played by Andrew Scott). Fleabag is a funny, searing commentary on what it means to exist as a sexual, complicated being in a world with ever-changing expectations of women.
Grace and Frankie
70 is the new 30, or 20, or whatever arbitrary year of life we as a culture are deciding to glorify for no reason, because age is just a number. If you weren't aware that Jane Fonda glowed with money or that Lily Tomlin is our collective spiritual mother, then Grace and Frankie enlightened you. When two septuagenarian women are told that their husbands are gay and in love with each other, the best phase of their lives begins.
Haikyu!!
It's almost 2020, the world is upside down, and yes, an anime about high school volleyball is genuinely one of the best shows of the decade. Haikyu!!, literally "Volleyball" in Japanese, is about the trials and tribulations of the Karasuno High School Boys Volleyball Team. Unlike pretty much every other high school sports anime out there, Haikyu!! takes a relatively realistic approach to...well...high schoolers playing sports. In doing so, Haikyu!! translates the genuine passion that goes into high school sports and the real dynamics of teamwork, better than any other show I've ever seen.
The protagonist, Hinata, isn't a superpowered Volleyball God; he's an extremely short boy who can't reach the top of the net, but works his butt off because he loves the game. Likewise, all the other boys in Haikyu!! have realistic strengths and weaknesses (both on and off the court) that they work to overcome with help from their teammates. Haikyu!! is an exercise in wholesomeness––there are no villains, just other kids at other schools who love the same sport our boys do––and in a decade full of so much bitterness, it's a much needed dose of medicine.
Hunter x Hunter
For anyone who likes long-running shonen anime, Hunter x Hunter is, without a doubt, the pinnacle of the genre. While the original manga began publication in 1998, and a previous anime adaptation ran from 1999-2001, the 2011 adaptation re-started the series from scratch and, most importantly, covered the Chimaera Ant arc (or season––kind of––for you non-anime watchers).
The entirety of Hunter x Hunter is fantastic, featuring likeable protagonists, dastardly villains, and a brilliantly creative power system called "Nen." But there's a reason the Chimaera Ant arc is often considered the greatest shonen arc ever, and that's because it's a total deconstruction of the genre's tropes and conventions. Everything from the "always optimistic protagonist" to "the ultimate evil villain" is turned completely inside-out. The Chimaera Ant arc is intensely brutal and ultimately poignant, making us question the very nature of what makes us human.
Killing Eve
Phoebe Waller-Bridge can do no wrong, and even if she could and did, I'd probably still clap. The combination of Waller-Bridge's cutting wit and Sandra Oh and Jodie Comer's flawless performances makes for a TV show that never quite lets you find your balance before sending you spinning again. It's dark and surreal, while managing to still be deeply human.
Marvelous Mrs. Maisel
Being a professional stand-up comedienne is hard, but being Midge Maisel is wrapping chaos in a designer dress. Created by the fast-talking husband and wife behind Gilmore Girls, The Marvelous Mrs. Maisel created a stage for Rachel Brosnahan to showcase her comedic timing and Alex Borstein to be a solid, deadpan pillar within Mrs. Maisel's world of quippy, fast-talking, energy. Also Michael Zegen (Joel) is dead cute.
Mob Psycho 100
While One Punch Man might be manga artist One's best known series (and is fantastic in its own right), his other series, Mob Psycho 100,is profound in a way quite unlike anything else I've seen. The show revolves around Mob, an awkward, unconfident middle school boy with god-like psychic powers. Any other shonen anime would use this premise as a gateway to epic battles (and there are a few, and their animation is absolutely incredible), but Mob Psycho 100 focuses far more on the coming-of-age angle instead.
See, Mob doesn't like his psychic powers because they make him feel weird. So instead of focusing on the one thing he's innately talented at but doesn't like, Mob tries to improve himself in the ways he actually cares about improving––making friends, talking to girls, working out with his school's Body Improvement Club. If anything, Mob's incredible psychic powers are a backdrop for the show's larger message––that no person, no matter what natural abilities they may have, is better than anyone else. Mob Psycho 100 shows that everyone has their own struggles, and that the only person you should ever hold yourself up in comparison to is the person you were yesterday.
The OA
Brit Marling and Zal Batmanglij's labyrinthine show only ran for two seasons, but it managed to earn a cult following during that time. Deeply weird, profoundly earnest, and full to the brim with observations on the connections between the environment, parallel universes, and technology, the two seasons that we do have are irreplaceable and paradigm-shifting examples of what TV could become, if we let ourselves believe.
Orange Is the New Black
Piper Kerman's post-grad rebellious stage went from a felony to a cultural touchstone. As Netflix's most-watched original series, OITNB boasted a female-led cast and cutting commentary on race, class, and the industrial prison complex.
PEN15
Those who didn't have a gruelingly awkward middle school experience are, by scientific evidence, simply inhuman. Maya Erskine and Anna Konkle tell it best in Hulu original PEN15, which co-stars the real-life BFFs (who also wrote and executive produced together) as 13-year-olds. Here, there's no sugarcoating the calamities of tweenhood, whether they're as trivial as thongs and AIM messaging or as weighty as race identity. All delivered with Erskine and Konkle's razor-sharp wit, it's absolutely hysterical to anyone who's lived past the seventh grade.
Rick and Morty
"To be fair, you have to have a very high IQ to understand Rick and Morty. The humour is extremely subtle, and without a solid grasp of theoretical physics most of the jokes will go over a typical viewer's head."
Okay, so first things first, we need to separate Rick and Morty from the Rick and Morty fandom. The Rick and Morty fandom is so annoying that memes making fun of them are barely distinguishable from the things they actually say. But, to be fair, Rick and Morty really is a great show full of smart writing, surprisingly deep characterization, and the exact kind of bizarre, abstract humor that lends itself perfectly to endless memes. No doubt, Rick and Morty will be the defining animated comedy of the 2010s.
Russian Doll
This tightly-wound and big-hearted thriller stars Natasha Lyonne as a jaded New Yorker who gets caught in a loop in time and has to relive the night of her 36th birthday party over and over again. A perfect blend of humor and seriousness, and riddled with quantum leaps and profound connections, it's as satisfying as it is provocative.
Shameless
We fell in love with the trainwreck family the Gallaghers when it debuted on Showtime in 2011. William H. Macy brought so much toxic charm to the abusive and neglectful father Frank Gallagher that we actually found him, if not likable, then good television. Emmy Rossum managed to cause tears and laughter within the same scene, and the entire cast was as impressive as their characters were appalling.
Shingeki no Kyojin (Attack on Titan)
After the first season of Attack on Titan premiered in 2013, it received so much hype that even people outside of the anime community were raving about it. The show featured an incredibly high-concept premise, following the last surviving humans as they tried to fight back against giant, man-eating monsters called Titans. Had Attack on Titan stuck to that premise, it would have been top-notch action-horror, albeit not necessarily one of the best shows of the decade.
But Attack on Titan turned out to be so much bigger than its initial premise. As the seasons progressed, Attack on Titan reshaped itself time and time again, leading viewers through an increasingly complex, expertly plotted narrative featuring some of the most compelling characters and intensely emotional moments that I've ever experienced in fiction. At its core, Attack on Titan is a deeply thematic contemplation on war, othering, and humanity's will to survive against impossible odds, alongside the moral sacrifices they oftentimes make to do so.
Shrill
It shouldn't be revolutionary for a show to feature a fat female lead, but it is. Shrill, the brilliant Hulu adaptation of Lindy West's memoir, Shrill: Notes from a Loud Woman, gave audiences a badly needed narrative about a woman who is actively seeking to change her life for the better, in ways that have nothing to do with her body. It's funny, it's heartfelt, and it shows a woman getting an abortion and finding it empowering. Woah. Hell yes.
Steven Universe
When Steven Universe first aired on Cartoon Network in 2013, it was a light-hearted and silly children's show with some super-powered action from the Crystal Gems and a lot of silly jokes from their sidekick—the childish titular character. Since then an entire galaxy has been fleshed out around the boardwalk of Beach City where much of the show takes place. Along with the alien gem creatures and their elaborate history, the show has introduced us to a cast of characters that have grown and changed—overcoming insecurities and facing complex questions of love and identity. While Steven matured and developed into a hero worthy of his last name, the show evolved to become one of the best of the decade.
The race for the 2020 Emmys already has impressive contenders. On Netflix's Unbelievable, the trio of Kaitlyn Dever, Toni Collette, and Merritt Wever should not only receive nominations but win for their moving performances.
Unbelievable is inspired by the 2015 Pulitzer-winning ProPublica and The Marshall Project's report, "An Unbelievable Story of Rape," which chronicles the 2008-2011 Washington and Colorado serial rape cases. Kaitlyn Dever plays Marie Adler, a teenager who experienced a brutal assault and rape at the hands of an attacker who broke into her apartment in 2008. At first, the police showed sympathy and care towards Marie. However, due to her crippling anxiety and inability to lean on and trust those in power, Marie began to forget and alter tiny details in the assault after days of constant torment and questioning from the detectives. Instead of focusing on the big picture (i.e.finding the culprit), the police berated Marie for these minute details and eventually coerced her into lying about the rape. Then they charged Marie with filing a false report and dropped the case entirely.
The pilot displays Marie's tragedy and its aftermath in the community. The episode includes harrowing and disturbing flashbacks to the night of Marie's assault. The 58-minute episode is tear-jerking with its depiction of the police's lack of compassion and overall negligence.
In particular, the show gives Dever a chance to showcase her impressive acting ability. The 22-year-old is having a landmark year thanks to her starring role in Booksmart. Dever's performance is raw, gut-wrenching, and powerful. Throughout the series, her character's arc is uncomfortable to watch. You find yourself wanting to look away but feel compelled to see for yourself how the system failed this poor victim.
After the pilot, the series takes a much-needed emotional break from Marie's saga and introduces two new characters, Detective Grace Rasmussen (Toni Collette) and Detective Karen Duvall (Merritt Wever). Rasmussen and Duvall are detectives in neighboring Colorado towns who are brought together in 2011 when they discover similar characteristics in their respective rape cases. By sharing case details and interviews with new victims, it becomes clear that the same attacker in Colorado is more than likely the same criminal who assaulted Marie in Washington three years prior. Essentially, the series becomes two shows in one: a tragic look into Marie's case in 2008 and a buddy cop drama about two female detectives working together to solve the case.
The chemistry between Collette and Wever is magnetic. Collette's foul-mouthed and witty Rasmussen counteracts and meshes perfectly with Wever's patient and empathetic Duvall. While Marie's story is excruciating to witness, Rasmussen's and Duvall's relationship is far more entertaining and enjoyable. Collette and Wever keep the audience entertained and engaged despite discussing tough matters of sexual assault and domestic violence. The quest to find the serial rapist wraps you into the story and keeps you coming back even if it means revisiting disturbing case details.
Unbelievable has rightly been called one of the best shows of 2019 by Vulture, and both the series and its actors deserve Emmy nominations in the limited series categories next year (they sadly missed the cut off date for the 2019 Emmys). Both Collette and Wever have previously won Emmys (Collette for United States of Tara and Wever for Nurse Jackie and Godless), while Dever has given multiple noteworthy performances so far in her young career.
Sexual assault and victim shaming are tricky topics to portray onscreen because of their sensitivity and likeness to real crimes. Marie's case is just one of the many sexual assault cases that are reported each day. According to RAINN, one American is sexually assaulted every 92 seconds. That's why Unbelievable treats this subject with the professionalism and respect it deserves. Thanks to three superb performances that channel the trauma of the case so expertly, Unbelievable is a difficult, but necessary watch.
Love them or hate them, you have to respect the Kardashians for managing to keep the American public enthralled with their lives and careers for over a decade.
Keeping Up with the Kardashians has won four Emmys in its 17-season-run, a respectable number for any reality TV show. But, apparently, the success of the program doesn't mean the TV industry respects the sisters. Last night, when Kendall Jenner and Kim Kardashian-West took the stage to present at the 2019 Emmy's, Kardashian-West said seriously, "Our family knows firsthand how truly compelling television comes from real people just being themselves." In response, a wave of laughter came from the audience. To claim that Keeping Up with the Kardashians is some kind of truthful documentary about people "just being themselves" is pretty absurd, considering the reality show is known for its inflation of drama and general inauthenticity.
Kim Kardashian & Kendall Jenner LAUGHED AT While Presenting at 2019 Emmys?www.youtube.com
But then again, maybe the line was intended as a tongue-in-cheek acknowledgement of the show's vapid reputation. If that's the case, Kardashian-West was clearly not in on the joke. Frankly, regardless of the intention of the statement, it's difficult to imagine an awards show audience heckling the all-powerful Kardashians even as recently as a few years ago. But with so many shows featuring truthful depictions of women nominated across categories this year, perhaps the often toxic and shallow world of Keeping Up with the Kardashians is finally going out of style in Hollywood. Maybe the reign of the Kardashians is finally coming to an end, and figures like Phoebe Waller-Bridge, Alex Borstein, and Billy Porter will take their place and elevate the conversation.
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