dominates

“Sinners,” the blockbuster film that has been a major contender during awards season, was the dominant winner at the 57th NAACP Image Awards.

The film scored trophies for outstanding motion picture and most of the acting awards, including breakthrough performance, awarded to Miles Caton. Michael B. Jordan, who won for actor in a motion picture, also won entertainer of the year.

Before the ceremony, Ryan Coogler won writing and directing honors, while Wunmi Mosaku and Delroy Lindo won the supporting actress and actor awards, respectively.

But the ceremony was not only about honoring Black excellence in entertainment. The event was also flavored by several remarks from celebrities addressing the divisive political climate and recent events that have targeted and affected Black entertainers.

Viola Davis received the chairman’s award during the 57th NAACP Image Awards on Saturday.

(Chris Pizzello / Chris Pizzello/invision/ap)

Host Deon Cole kicked off the ceremony by welcoming the audience to “the Trump Image Awards. Because you know he wants his name on everything.”

Asking permission to “buy a curse word,” he made a joke that was bleeped out during the live stream, but was apparently aimed at federal ICE agents. The comment sparked a standing ovation from the predominantly black-tie audience, many of whom wore anti-ICE pins.

“I don’t want to see no ICE ever again,” he said. “When I looked at the guest list, I took off Ice Cube, Ice-T, Ice Spice. I don’t want no ice cream, I don’t want no ice in my drink.”

Samuel L. Jackson said in a tribute to the late Jesse Jackson, who died earlier this month, that President Trump’s attacks on diversity and his quest to remove references to slavery and Black history from museums would not succeed.

Utilizing one of Jackson’s trademark slogans, Jackson said, “We will not be erased from this country’s history because I am somebody.”

And in accepting the award for actor in a drama series for “Paradise,” Sterling K. Brown added, “Like Sam said, they can’t erase us because there is no country without us.”

The event also continued to put a spotlight on the uproar surrounding the shouting of a racial slur during the BAFTA Awards last week.

Jordan and Lindo were presenters during the BAFTA Awards, which took place at London’s Royal Festival Hall. As they were introducing the visual effects category, a member of the audience shouted the N-word. The two actors paused momentarily before continuing.

Director Ryan Coogler, left, and actor Delroy Lindo presenting the award for actress in a motion picture. The pair addressed the incident at the BAFTAs in their remarks.

(Chris Pizzello / invision/AP)

Later, awards host Alan Cumming addressed the outburst, referencing the nominated film “I Swear,” which is about Scottish campaigner John Davidson, who has Tourette syndrome and shouted the racist slur from the audience. Cumming apologized, while Davidson, an executive producer for the BAFTA-nominated film, left his seat midway through the ceremony. BAFTA later issued an apology to the actors.

Cole delivered a comic prayer referencing the incident: “Lord, if there are any white men out there with Tourette’s, I advise you to tell them to read the room tonight, Lord. It might not go the way they think.”

Actor Rebecca Hall early in the awards show said she wanted to pay tribute to “two kings. Thank you for your grace.”

Lindo later in the ceremony said, “We appreciate all the support we’ve been shown in the aftermath of what happened last weekend. It is an honor to be here among our people this evening … It’s a classic case of something that could have been very negative becoming very positive.”

Here is a list of the night’s winners:

Entertainer of the year
Michael B. Jordan

Outstanding motion picture
“Sinners”

Actor in a motion picture
Michael B. Jordan, “Sinners”

Actress in a motion picture
Cynthia Erivo, “Wicked: For Good”

Breakthrough performance in a motion picture
Miles Caton, “Sinners”

Drama series
“Reasonable Doubt”

Actor in a drama series
Sterling K. Brown, “Paradise”

Actress in a drama series
Angela Bassett, “9-1-1”

Comedy series
“Abbott Elementary”

Actress in a comedy series
Quinta Brunson, “Abbott Elementary”

Actor in a comedy series
Cedric the Entertainer, “The Neighborhood”

Chairman’s Award
Viola Davis

Hall of Fame Award
Salt-N-Pepa

President’s Award
Colman Domingo

MILAN — The U.S. women’s hockey team came into the Milan-Cortina Winter Games ranked No. 1 in the world. And two games into group play, it’s shown that ranking might be something of an understatement.

With Saturday’s 5-0 victory over No. 3 Finland, the unbeaten Americans have outscored their two opponents 10-1 and outshot them 91-25. The goals Saturday came from Alex Carpenter, Taylor Heise, Megan Keller, Hilary Knight and Abbey Murphy. Keller and Laila Edwards each had two assists.

In goal, Aerin Frankel faced just 11 shots in posting the first shutout of the Olympic tournament.

Just as in its opening win over No. 4 Czechia, the U.S. eased its way into the game before going ahead to stay late in the first period on a power-play goal from Carpenter. The score came seven seconds after Finland’s Susanna Tapani was sent off for hooking.

The Americans doubled the advantage 2½ minutes into the second period at the end of a beautiful passing sequence that saw Britta Curl feed Murphy, whose cross-crease pass found Heise on the doorstep for the easy goal.

Sixty-six seconds later Keller’s unassisted goal made it 3-0 and the rout was on.

Next came a power-play goal from Knight, her 14th in Olympic play, equaling Natalie Darwitz and Katie King for the most in team history. Murphy closed out the scoring, banging in a rebound at the right post with less than five minutes to play.

With 10 goals, the U.S. is tied with Sweden for most in the tournament while the Americans’ goal differential of plus-nine is the best. It was the 11th straight Olympic win for the U.S. over Finland, the bronze medalist four years ago.

Successful romances star at least one looker. I don’t mean someone attractive. I mean an actor who gazes at their scene partner with such delight that we swoon, too. Clark Gable was a looker. Diane Keaton was a looker. The combined eyeball voltage of Ryan Gosling and Emma Stone is so powerful that it’s turned silly scripts into hits.

Harry Melling is a late-blooming looker. Onscreen most of his youth as the Muggle brat Dudley Dursley in the “Harry Potter” franchise, Melling is only just now getting to show off that talent in the funny-kinky “Pillion,” which puts him on his knees beaming up at Alexander Skarsgård’s 6-foot-4 biker as though this blond hunk was the sun. His Colin, a shy gay man who sings the high notes in a barbershop quartet, is so visibly infatuated licking Skarsgård’s leather boots in a dark alley that you believe he lusts for humiliation. Colin has only just discovered that fact about himself. He’s yet to even learn this man’s name. (It’s Ray.)

Perhaps you’d like to be taken to dinner first, but “Pillion” is about Colin’s needs — specifically his need to please — and first-time feature filmmaker Harry Lighton challenges us to root for his bliss. This fetishy adventure is a minimalist romantic comedy in which submissive meets dominant, and submissive explores his physical and emotional vulnerabilities. Marriage and a baby carriage are off the table; the journey matters, not the destination.

“Pillion” is what motorcyclists call the passenger seat, at least in suburban England where this is set. It’s a passive position compared to the driver, but still a cooler upgrade from where Colin starts the movie riding in: the rear of a sedan. Out the car’s back window, he sees Ray zoom by in white Stormtrooper-looking gear and, by happenstance, bumps into him that night at a pub where Colin’s mother, Peggy (Lesley Sharp), has set up a blind date with a nice bloke. That guy gets forgotten the instant Ray slips Colin a note with a time and place to meet.

Peggy isn’t panicked by her son’s alpha-male predilections. “I think a biker sounds exciting,” she says with a grin. His father, Pete (Douglas Hodge), just wants him to wear a helmet. Neither parent is privy to the fact that Ray simply isn’t very nice. Ray controls the gobsmacked Colin quietly, calculating the bare minimum of kindness required to have a house boy willing to cook dinner, tend to his Rottweiler and sleep on the floor. He withholds his approval to keep the paler, smaller man anxious.

That Rottweiler contended for the Palm Dog at last year’s Cannes, a prize for the festival’s best canine. Frankly, Melling himself should have won. His performance is pure puppy, from the way he silently studies Ray’s silent cues to the eagerness with which he leaps up to fetch Ray a beer. When Ray lavishes attention on another biker’s pet pillion, Kevin (Jake Shears of the Scissor Sisters), Colin sulks until his master unzips his trousers and gives him a treat.

Flexing his abs in shiny Motoralls, Skarsgård uses his own appeal to expose an unattractive wrinkle in human behavior: Ray is so gorgeous that everyone just takes it as fact that Colin is lucky to be near him. When a coworker asks this scrawny geek how he bagged a hunk like Ray, Colin brags that he has “an aptitude for devotion,” which includes wearing a padlock around his neck and shaving his Byronesque curls so that he looks like a zealot — which in a way, he is.

Over and over, Colin takes stock of his own debasement. But then he looks at his model-handsome lover and calculates that his suffering is worth it. He’s good at compartmentalizing; he’s a parking violations attendant who tickets angry people all day. When he needs an excuse to cry, he finds one (and it hurts to watch).

Lately, it’s been a thrill to see queer stories confidently leapfrog over coming-out narratives to the trickier question of whether two individuals in particular are a decent match. Lighton leaps further than that — he goes full Evel Knievel by daring to ask how we feel about a relationship that’s indecent, but still has worth as a set of training wheels for a wobbly young man learning what he wants.

It’s a more optimistic take on Colin and Ray’s coupledom than was in the book that inspired the script, Adam Mars-Jones’ 2020 novella “Box Hill,” which was subtitled “A Story of Low Self-Esteem.” A study of the psychology of abuse, that story’s more brainwashed version of Colin finds him decades older looking back on the affair and pining for a relationship that reads as horrible between the lines.

Lighton isn’t oblivious to the power imbalance, but he’s made a movie about going forward, not being stuck. He trusts his naif with more agency, and so “Pillion” is freer to play its insults for laughs. You’ll giggle a lot. That gleam in Melling’s eyes makes it feel like a comic fantasy, although who knows? Perhaps there really are BDSM biker gangs hosting afternoon picnics with serving boys tied spread-eagled on a buffet table. That bucolic scene is filmed in a slow pivot around the park, cinematographer Nick Morris getting a chuckle from how the image shifts from Georges Seurat to “Hellraiser.”

Eventually, Colin’s parents will be more flinchy about his new boyfriend, leading to a beat or two that don’t land with the impact they could. Oddly, Lighton might be too restrained himself. Like his leads, he prefers to say everything with a look.

But while Melling is always endearingly open and responsive, Skarsgård stays unreadable. His Ray always seems to be hiding behind a motorcycle visor even when he’s not and when he deigns to speak, the words trail off in a huff of exhaustion. The only thing we know about Ray’s life are the names of his two previous dogs, and that’s only because he has them tattooed on his chest.

Any more personal facts about Ray — his own job or family or romantic history, even his favorite movie — would risk us clinging onto it too tightly as an explanation of what he gets out of this himself. Serving Ray’s pleasure is Colin’s focus. And our focus is on Colin’s pursuit of that.

Yet with subtle skill, Skarsgård reveals that Ray is thinking about Colin more than he’s willing to let on. Curiosity flickers across his face when his submissive surprises him. He stays gruff, of course, but you sense that Ray is as manacled by his authoritarian role as Colin literally is in his hungry, slurping devotion to his master. Puny and pathetic as Colin appears, he begins to seem like the braver of the two. It takes courage to map your own boundaries — then to cross over that line and get hurt, and get back up and out there. Lighton’s biker BDSM rom-com might sound niche, but free yourself to see it and you’ll discover it’s a universal romance.

DENVER — Nikola Jokic had 31 points and 12 rebounds in his first game in a month, Tim Hardaway Jr. added 22 points, and the Denver Nuggets knocked off the Clippers 122-109 on Friday night.

Jokic, the three-time NBA MVP, missed 16 games after injuring his left knee in a Dec. 29 loss at Miami. The Nuggets went 10-6 during that stretch, which also included extended absences from fellow starters Cameron Johnson and Christian Braun.

Jokic’s 29th double-double of the season came despite being on a minutes restriction imposed by coach David Adelman. The 30-year-old Serbian was limited to 25 minutes, his second-fewest this season.

James Harden had 25 points and nine assists for the Clippers (22-25), who had won 16 of their previous 19, the best win percentage in that NBA during that period.

Jokic scored 11 points over a stretch of 3:47 in the fourth quarter that extended Denver’s lead from five to 16. The Nuggets (33-16) improved to 7-3 in the second of back-to-back games.

Jamal Murray had 22 points, and Peyton Watson added 21 for Denver. Murray, who made four of five three-pointers and had a team-high nine assists, scored at least 20 points for the 35th time this season, matching a career high.

Up next for the Clippers: at Phoenix on Sunday night.