![]() The WB had its first major statue winner, and while it would continue to struggle for industry respect well beyond its transition into the CW, the Golden Globes could be counted on every now and then to award one of its breakthrough stars, like Gina Rodriguez in 2014 and Rachel Bloom in 2015. The implications for Felicity’s win were huge. Abrams and Matt Reeves and her then-boyfriend Tony Lucca, it was over. “This is so … encouraging is the word that comes to mind, more than thanks,” she said, composing herself rather quickly, all things considered. Russell herself, all of 22 years old and only four years removed from her stint on The Mickey Mouse Club, seemed the most stunned of all. It was that rarest and most beautiful moment: a true awards-show shocker. ![]() Fox’s face said it all when he read Keri Russell’s name as the winner (co-presenter Calista Flockhart’s face stayed fixed in its traditional formation). Russell was stacked up against some heavy hitters, including The X-Files’ Gillian Anderson, who’d won two years prior Emmy winners Julianna Margulies for ER and Kim Delaney for NYPD Blue and Emmy nominee Roma Downey for Touched by an Angel. Still, nobody thought for a second that Felicity could actually win. Felicity had its hurdles on the road to mainstream respectability, but coming on the heels of shows like My So-Called Life (Claire Danes was a Globe winner just a few years prior, though she had the advantage of representing “real” network ABC) meant that the hallowed ground of awards-worthy television was ever-so-thawed for coming-of-age shows about young women. It’d already gotten a decent amount of critical acclaim for Buffy the Vampire Slayer, but the deep genre nature of that show meant that its supporters kept having to convince people that, yes, a series with that title based on that movie could actually be great. And then came the 1998 Globes, where, for the first time, the fledgling, three-year-old “netlet” the WB got a pair of surprise nominations: Best Drama Series for Felicity, its freshman series about a young girl who follows her unrequited high-school crush across the country to college, and its star, Keri Russell, for Best Actress.įelicity was a very important show for the WB. Sure, every few years it’d toss a statue at Dabney Coleman for The Slap Maxwell Story (despite the many intriguing possibilities of the title, it was just a sitcom about a sportswriter), but for the most part, its winners looked like M.A.S.H and Cheers and NYPD Blue and ER, just like the Emmys. Up through most of the ’90s, the Golden Globes TV picks were a reasonably reliable rubber stamp for the major TV networks and their awards-friendliest shows. But in the time of Peak TV, when there are too many actually great shows to award, the Globes’ continuously inexplicable TV nods feel almost perverse.īelieve it or not, this all began from a place of pure optimism. Mozart in the Jungle as TV’s best comedy? Billy Bob Thornton in Goliath for Best Actor? Last year’s haul for The Kominsky Method? That these shows and performances would triumph would raise eyebrows in any era. The HFPA often shamelessly swerves toward the newest shows on the block - sometimes without strict regard for quality. ![]() Some of these jabs are fairer than others.īut one particular habit of the Hollywood Foreign Press Association has come to define the organization’s last 15 or so years: its tendency for nominating completely bananas television. For continuing to pick Ricky Gervais to host. For not nominating any women directors this year (though it’s been better about that than the Oscars!). For nominating big, glitzy stars for the ratings potential. For letting the big film studios wine and dine them. We make fun of the Globes for good reasons and for petty ones. For having blinders on when it comes to smaller projects.
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