'Surreal' scenes and unguarded moments from the SAG Awards party

It’s 3 p.m. at the Fairmont Century Plaza, about half an hour after the Screen Actors Guild Awards cocktail reception in the stylish red-clad lobby. The nominees trickle in, with the likes of “Better Call Saul’s” Jonathan Banks and “1883’s” Sam Elliott ready for their close-ups. It’s a bit incongruous to see Elliott looking smart in his tuxedo, his neck-length white mane just unkempt enough to counter the black tie – but at least he’s still to stand like a cowboy, hands in both pockets, knees slightly bent.

Later, Elliott will take the actor-in-a-miniseries award, calling it “the most significant recognition of my career.”

Katharine Ross, left, and “1883” winner Sam Elliot meet at the cocktail reception at the Screen Actors Guild Awards.

(Jay L. Clendenin / Los Angeles Times)

Meanwhile, as the reception fills up, the place darkens – probably due to the influx of tuxedos and little black dresses. The starkness of the black duds and red decor is reminiscent of a Melania Trump Christmas, albeit with an atmosphere too jovial for a full-on “Eyes Wide Shut” Holiday Special.

With the show 45 minutes away, the champagne and negronis are flowing – after all, the reception is sponsored by Campari –
and you can’t take a step without bumping into a previous winner (Ariana DeBose, who looks fully recovered from her viral BAFTA moment) or stepping on the intricate train of a nominee’s gown (I’m sincerely sorry, Danielle Deadwyler). More stars in this star cluster could cause a singularity.

The casts of ‘Better Call Saul’, ‘Barry’ and many others crowd to your left and right. There’s “The Whale” nominee Hong Chau, not exactly visible over the shoulders of several admirers. There’s Gabriel LaBelle from “The Fabelmans” hanging out at the bar – wait, is he old enough to drink?

Then the doors open as if a plug is being pulled and the elegant gowns and suits spill out into the great room with dining tables. The “light dinner” consists of a few cylinders of chicken and a beet purée jingling on the plate. Plus copious bottles of wine with custom labels for the occasion.

man in tuxedo and woman in navy blue dress raise their thumbs

Once the ceremony begins, the actors prove to be an unruly couple. From the stage Tony and two-time Emmy winner Courtney B. Vance struggles to quiet the audience so he can begin. He has to repeatedly silence the crowd during his remarks. Really mature.

He announces the creation by the SAG Foundation of the Meryl Streep Center for Performing Artists with sound recording booths, on-camera studios and the Tom Hanks and Rita Wilson Screening Room (100 seats). Vance says naming rights to the chairs can be purchased to benefit the foundation, and the eventual winner for “The Whale” Brendan Fraser is the first to stand in the room and declare that he’s in.

two women in dresses look behind their shoulder and smile

As miniseries actor Paul Walter Hauser’s nomination clip plays, he dramatically sings along with the scene directly to a roaming camera – which the streaming audience can’t see because the actual clip plays. Then, with perfect timing, just before the feed goes live to reveal him, he takes a comically large bite of his sandwich.

There are heartfelt moments, of course: “Everything Everywhere All at Once” winner Ke Huy Quan, who embodies the struggling actor’s story, continues his steak of moving speeches and wins over stars like DeBose with his remarks. And the ballroom crowd’s favorite party of the night comes when his winning co-star Michelle Yeoh surrenders to the moment and utters a profanity with gusto.

two young men in tuxedo talk to each other

There is even a hint of melancholy. After “The White Lotus” ensemble collects its trophy and exits the stage, the “Saul” table rises and toasts to each other, their awards running – which has extended their time together after the show has ended – approaching their final leg, the 2023 Emmys.

After the awards are all handed out, the after party kicks off in a giant room upstairs with plenty of satisfying appetizers (sliders, skewers, chicken and waffles, cookies) – I told you this was a really tough gig – and a DJ spinning Stevie Wonder and Lizzo.

woman in a dress looks over her right shoulder

Now the stars are really mixing. Hauser and Jon Gris (a winner tonight with the “Lotus” ensemble) exchange enthusiastic pleasantries and phone numbers. The “Abbott Elementary” crew (comedy ensemble winners) dug together on a couch. Deadwyler talks to fellow nominee Viola Davis.

Jason Bateman, who won the last SAG award from “Ozark” for his starring role (his third for the role), says in a comment reminiscent of the “Saul” toast: “It was just so good to get to all the people. thank them to the show. This was our last chance because this was the last show of the awards ceremony.”

woman in a dress and sweater smiles happily

Meanwhile, it’s getting very tight here. You can’t struggle a few feet without accidentally photobombing someone. Still, the mood remains high. The people of “Abbott” turn their reserved space in the middle of the room into their private dance floor. The DJ manages to kick off an impromptu sing-along through part of the chorus of Whitney Houston’s “I want to dance with someone (who loves me)Nominated Evan Peters among those who cut out a rug and enter.

All good things must come to an end, and on their way out Brian and Andy Le, known to fans of the Best Ensemble winner “Everything Everywhere All at Once” for their involvement in an extended sex toy fight scene, stop to chat . They are still figuring out what reality they are in, from which they departed martial arts action comedy videos on YouTube to the highest credit of SAG.

“It was the craziest concept in the world, but they said everything straight,” Brian Le of director-writers The Daniels pitch tells them. “We didn’t understand a word they were saying, but we knew one thing: they were just like us.”

As bizarre as the multiversal action-comedy family drama is, it’s not quite as baffling to the Les as being on the SAG stage to people they grew up realizing they voted for their movie.

“It’s surreal,” says Andy Le. “I’m actually still trying to unfold this. But I believe, as Ke Huy Quan said, it’s changing. We are just happy to be part of the movement.”