All in all, the evening was a striking display of both cosmetic and factual diversity. Although some of the night’s big winners — in particular The Handmaid’s Tale and Big Little Lies — were overseen artistically by white guys (Bruce Miller and the team of Jean-Marc Vallée and David E. Kelley, respectively), they still offered woman-centric stories that unfortunately could not have been better timed. Big Little Lies’ story of women rising up against a serial abuser resonated against President Donald Trump’s history of sexist remarks, including his notorious brag during the 2016 election that stardom made it easy to sexually assault women; and The Handmaid’s Tale — well, duh. The more harrowing parts of it could probably double as short documentaries of the inside of Vice-President Mike Pence’s mind.But these visible signs of progress and/or resistance were undercut by instances of lameness or hypocrisy. Throughout the evening, there were small and large digs at Trump and his administration. This was to be expected on a night that celebrated a politically very liberal industry during a time of Trump-fueled public displays of racism, anti-Semitism, sexism, and xenophobia, plus a documented rise in hate crimes during the presidential election year of 2016, which Trump had entered the previous summer by declaring that Mexico brought drugs, crime, and rapists into the United States.
All in all, the evening was the snoozeroo that it's always been--with or without the anti-Trump folderol.But with the conspicuous exception of Jane Fonda, Lily Tomlin, and Dolly Parton comparing Trump to their piggish boss in the 1980 hit 9 to 5, many of the jokes Sunday night lacked any discernible sharp edge...
That said, I do enjoy the sight of "progressives" shooting each other in the keester for supposed ideological failures.
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