He later said of Mr. Weinstein, “Don’t worry, he’ll be back in 20 years when he’s the first person booed during the ‘In Memoriam’ segment.”
Oprah Winfrey invokes #MeToo.
Oprah Winfrey sent a jolt through the audience when she received the Cecil B. DeMille Award for lifetime achievement.
“A new day is on the horizon!” Ms. Winfrey shouted toward the end of her eight-minute speech, which touched on the importance of diversity in Hollywood but focused mostly on the #MeToo movement, noting that it was brought forth by the “insatiable dedication” of journalists and women like the recently deceased Recy Taylor who have spoken up to tell their stories.
“When that new day finally dawns, it will be because of a lot of magnificent women, many of whom are right here in this room tonight, and some pretty phenomenal men,” Ms. Winfrey said. She received multiple standing ovations — some people stayed standing as she spoke — and finished her comments with an assertion of hope, looking forward to “the day when nobody ever has to say #MeToo again.”
It was lost on few that Ms. Winfrey was accepting an award named for a man who helped cement a culture of male domination in Hollywood.
After Ms. Winfrey exited the stage, Natalie Portman arrived to present best director. “Here are the all-male nominees,” Ms. Portman said. (Guillermo del Toro won for “The Shape of Water.”)
Oh, right. The awards.
James Franco won best actor in a comedy for “The Disaster Artist,” a biopic about Tommy Wiseau, an eccentric Hollywood figure best known for his cult film “The Room.” Mr. Wiseau, who had been sitting in the ballroom in wraparound blue sunglasses and looking at his phone, sauntered to the stage, where a hoarse Mr. Franco was espousing his love for his brother, Dave Franco, who also stars in “The Disaster Artist.” Standing nearby, the younger Franco got a little teary.
The night’s first award went to Nicole Kidman, who won best actress in a television movie or limited series. “Power of women!” she said, holding up her Globe and name checking her female co-stars. Ms. Kidman won for her role in the HBO series “Big Little Lies,” in which she plays a battered wife who summons the courage to leave her husband. Her co-stars Alexander Skarsgard and Laura Dern won for best supporting actor and actress and the show won for best miniseries or movie.
As expected, Hulu’s adaptation of Margaret Atwood’s dystopian novel about the repression of women, “The Handmaid’s Tale,” was honored as best drama, matching its win last year at the Emmy Awards. Elisabeth Moss, who stars in that series, also repeated her Emmys win, collecting the trophy for best actress in a drama. The “This Is Us” star Sterling K. Brown was named best dramatic actor, the first time in Globes history that a black man had won that prize.
“You wrote a role for a black man that could only be played by a black man,” Mr. Brown said in his speech, thanking the “This Is Us” creator, Dan Fogelman, for creating his part. “I am being seen for who I am, and being appreciated for who I am, and it makes it that much more difficult to dismiss me or dismiss anybody who looks like me.”
(It was a reminder of how much has changed in Hollywood in recent months. Kevin Spacey won the category at the 72nd ceremony for his performance in “House of Cards,” a series that fired him late last year after men came forward to accuse him of unwanted sexual advances.)
The Amazon series “The Marvelous Mrs. Maisel,” about a perfectionistic 1950s housewife who becomes a stand-up comic, won the Globe for best TV comedy, and its star, Rachel Brosnahan,, collected the trophy for best actress in a comedy.
“Their support was completely unwavering,” Amy Sherman-Palladino, the show’s creator, said of Amazon from the stage while wearing a top hat festooned with feathers. (She made no mention of Roy Price, who helped push forward the series before his resignation in October following allegations of sexual harassment.)
A night draped in black
The Globes were draped in black, quite literally, with actresses and some actors vowing to use their attire to make a statement about sexual harassment in Hollywood and other spheres. Winners were expected to use their moments of glory to rail against the systemic sexism and silence that allowed the behavior of men like Mr. Weinstein, James Toback, Louis C.K. and Mr. Spacey to fester for decades.
NBC and the givers of the Globes, the Hollywood Foreign Press Association, a group of 89 journalists, tried to assure viewers that the night inside the Beverly Hilton’s International Ballroom would be as frothy as ever.
On the red carpet, however, eight actresses walked hand in hand with activists who focus on sexual harassment and gender inequality.
“We don’t want to create hierarchies — saying that women in Hollywood are more important than other women,” Marai Larasi, the executive director of Imkaan, a British network of organizations dedicated to ending violence against black women, said on the E! arrivals special. “We have a platform, and we’re trying to use it in the best way we possibly can.” Ms. Larasi attended as Emma Watson’s guest.
But the tone on the red carpet was not entirely serious. Smiles abounded. Along with discussion about women’s rights came lighthearted banter by nominees about butterflies (the stomach variety) and some of the usual fashion chitchat. Alexis Bledel carried a black crystal clutch from Onna Ehrlich; Gucci dressed Margot Robbie and Dakota Johnson.
And inside the ballroom, the ceremony in many ways felt like business as usual. Stars, producers and studio executives schmoozed in frantic fashion during the commercial breaks and straight through some awards. The vibe even approached easygoing and carefree — as if Hollywood felt it had exculpated itself with all of the serious talk on the red carpet and the sharp-edged jokes Mr. Meyers cracked during his monologue.
Not everyone was convinced. Reaction on social media was mixed. Some people cheered actresses for turning the red carpet into more than a parade of dresses while others recoiled. “A group of elitists, who live behind walls and gated communities, protected by security with firearms, who kept secrets on sexual assaults for decades, that pretend to have the moral high ground,” the conservative activist Scott Presler wrote on Twitter in a post that was retweeted more than 4,000 times.
And it was notable that many of the men who won awards did not mention the current reckoning that Hollywood is undergoing regarding sexual harassment and the role of women in entertainment.
A crowded movie race.
The annual Oscar race, which starts with festival screenings in late summer, has been unusually chaotic this time around. For various reasons — Hollywood’s attention has been elsewhere, the plethora of strong choices in some categories and few in others — consensus has yet to form. So the Globes could bring some clarity.
One nail-biter is best drama. “The Post,” Steven Spielberg’s newspaper drama, could easily win. But so could “Three Billboards Outside Ebbing, Missouri,” about a mother (Frances McDormand) who goes to extremes to keep local police focused on her daughter’s murder. The film won for its screenplay by Martin McDonagh.
Going into the night, supporting actor in a film was a tossup category, with Sam Rockwell (“Three Billboards”), Willem Dafoe (“The Florida Project”) and Christopher Plummer (“All the Money in the World”) seen as running neck and neck. Mr. Rockwell, known for tiny art-house films, took the prize, for his portrayal of a simpleton police officer. “It’s nice to be in a movie that people see,” he said.
In truth, the Globes are often predictive of little. Top honors at the Oscars and the Globes only matched up once over the past three years. (Both agreed on “Moonlight” last year.) But the globular trophies are coveted by studios, which cozy up to the press association in hopes of receiving a box office-boosting blast of attention for winter movies.
A win by Timothée Chalamet, a best actor nominee, might help Sony Pictures Classics sell tickets for the gay romance “Call Me by Your Name,” for instance. That poetic film has taken in about $6 million at North American cinemas since its release in November.
The similarly tiny “I, Tonya” might get a boost because of Allison Janney’s win for best supporting actress.