July 19, 2013

Emmy Nominations 2012-13: Reaction Mishmash

Filed under: Emmys,TV — DB @ 5:00 pm
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The Emmys do not occupy the same level of alarming obsession I have for the Oscars. For example, I didn’t wake up at the ass-crack of dawn yesterday to watch the live nominations announcement, as I do every year for the Oscar nominations. But that hardly makes me immune to Emmy fever. I’m as hopped up on TV as I am on movies, so the Emmys are firmly on my radar. You won’t find me engaging in the same series of prediction and reaction posts that I dive into during Oscar season (many of you are grateful for that, no doubt) but of course I have plenty of thoughts on the good, the bad and the ugly of today’s nominations.

Now, once again, I have to make the point that the Academy of Television Arts and Sciences—and nearly every other body that hands out awards for television—faces an impossible challenge. There is a staggering amount of TV programming out there, and now that outlets like Netflix, Hulu and Amazon are producing content, the arena is even more packed. How can every show and all their components—acting, writing, directing, production design, etc.—be fairly evaluated? I’ve elaborated before, both in last year’s version of this post and in an earlier, more detailed overview, on the flawed process for Emmy voting at the nomination stage. And once again, you should read the latter, because I was right when I wrote it and I’m even more right now. (This is also a succinct summary of what’s wrong with the Emmys.)

So with that said, I offer a small selection of artists whose work this past year deserved to be recognized. I won’t get into which nominations did happen and shouldn’t have, nor will I argue that any of my choices that didn’t make it are more deserving than certain ones that did. For I am not immune to the problem I describe in my 2009 post; I don’t watch every TV show, so I can’t fairly judge what does and doesn’t deserve an Emmy nomination. I’m simply saying that the offerings below—whether at another’s expense or not—were worthy of the recognition.

But before we get to that, here are the nominations in what I consider the major categories, with some brief thoughts along the way. I’m not a fan of reality TV around these parts, so I’ve omitted those categories. BUT, a huge congratulations to my friend Carl Hansen, who earned his first Emmy nomination yesterday. He was an Executive Producer on Outstanding Reality Program nominee Shark Tank. Way to go, Carl!

The Big Bang Theory
Modern Family
30 Rock

Thoughts: A fine list, but the omission of Parks and Recreation is criminal. That show, along with its ensemble cast—which has to be the best on any current comedy series—continues to kill it every week, without fail. I also would have liked to see Arrested Development here. I know many people were disappointed in the new season, but I thought that while it had some problems, its density and ambition were staggeringly impressive. And even flawed, there was still more than enough hilarity.

Laura Dern – Enlightened
Lena Dunham – Girls
Edie Falco – Nurse Jackie
Tina Fey – 30 Rock
Julia Louis-Dreyfuss – Veep
Amy Poehler – Parks and Recreation

Thoughts: How great to see Laura Dern here. Enlightened was not renewed for a third season due to low viewership, but it was a beautiful show. This nomination for the always underrated Dern is a small but appreciated way to bid it a premature farewell.

Alec Baldwin – 30 Rock
Jason Bateman – Arrested Development
Louis C.K. – Louie
Don Cheadle – House of Lies
Matt LeBlanc – Episodes
Jim Parsons – The Big Bang Theory

Mayim Bialik – The Big Bang Theory
Julie Bowen – Modern Family
Anna Chlumsky – Veep
Jane Krakowski – 30 Rock
Jane Lynch – Glee
Sofia Vergara – Modern Family
Merritt Wever – Nurse Jackie

Thoughts: Seven nominees and they couldn’t find room for Arrested Development‘s Jessica Walter? Jane Lynch’s role on Glee is pretty much played out at this point. She’s great, but I would swap her for Walter in a heartbeat. Or how about some love for Parks and Rec‘s Rashida Jones and Aubrey Plaza?

Ty Burrell – Modern Family
Adam Driver – Girls
Bill Hader – Saturday Night Live
Tony Hale – Veep
Ed O’Neill – Modern Family
Jesse Tyler Ferguson – Modern Family

Thoughts: Bit of a surprise to see Modern Family‘s Eric Stonestreet left off, though it does keep the category from becoming a Modern lovefest once again. Still, I’d always nominate Stonestreet before Jesse Tyler Ferguson, who I’ve always found to be a little too one-note. Great to see Bill Hader and Tony Hale here, but the real delight is Adam Driver’s nomination for Girls. I didn’t expect voters to come through for Driver, so I had included him among my write-ups below. Well, now I can delete that. Every moment of Driver’s performance feels authentic, electric and unscripted. Kudos to the Emmy voters for not overlooking his sensational work. As for disappointing oversights, how about every single male actor on Parks and Recreation? Seriously, line up Nick Offerman, Aziz Ansari, Chris Pratt, Adam Scott and Rob Lowe. Now put on a blindfold and throw a dart. Throw a few. Whoever you hit, they deserve to be here. If this category is going to be dominated by one show, Modern Family ain’t the one. And I say that as a big fan. But these Parks and Recreation guys…they crush it. And how stupendous were Will Arnett and David Cross on Arrested Development?

Dot-Marie Jones – Glee
Melissa Leo – Louie
Melissa McCarthy – Saturday Night Live
Molly Shannon – Enlightened
Elaine Stritch – 30 Rock
Kristen Wiig – Saturday Night Live

Louis C.K. – Saturday Night Live
Bobby Cannavale – Nurse Jackie
Will Forte – 30 Rock
Nathan Lane – Modern Family
Bob Newhart – The Big Bang Theory
Justin Timberlake – Saturday Night Live

Thoughts: As long as we’re giving it up for SNL guest hosts, where’s the love for Martin Short? His Christmas episode was among the season’s strongest. At least they included Louis C.K., whose Abraham Lincoln sketch was the best of the year.

David Crane, Jeffrey Klarik – Episodes (Episode 209)
Louis C.K., Pamela Adlon – Louie (Daddy’s Girlfriend, Part 1)
Greg Daniels – The Office (Finale)
Jack Burditt, Robert Carlock – 30 Rock (Hogcock!)
Tina Fey, Tracey Wigfield – 30 Rock (Last Lunch)

Thoughts: The Office and 30 Rock each went out on a good note, but not good enough to exclude a single nomination for Arrested Development, whose writing was brilliantly ambitious on levels that I don’t think any other show ever has even aimed for.

Lena Dunham – Girls (On All Fours)
Paris Barclay – Glee (Diva)
Louis C.K. – Louie (New Year’s Eve)
Gail Mancuso – Modern Family (Arrested)
Beth McCarthy-Miller – 30 Rock (Hogcock!/Last Lunch)

Breaking Bad
Downton Abbey
Game of Thrones
House of Cards
Mad Men

Thoughts: Yeah, that looks about right. Downton could have been left off. I love it, but the past two seasons have been uneven. I don’t watch them, but based on their reputations, it would have been cool if Justified or Sons of Anarchy had snuck in. There seemed to be a lot of love for The Americans, too. And why can’t The Walking Dead catch a break?

Connie Britton – Nashville
Claire Danes – Homeland
Michelle Dockery – Downton Abbey
Vera Farmiga – Bates Motel
Elisabeth Moss – Mad Men
Kerry Washington – Scandal
Robin Wright – House of Cards

Thoughts: Not that I watch the show, but I’m surprised not to see Julianna Margulies here for The Good Wife. I thought she was a perennial in this category. I also didn’t watch Orphan Black, but heard Tatiana Maslany was off-the-charts amazing. I thought she might find a place among the more recognizable names. On the other hand, I love that Robin Wright made it. I consider Wright, like Laura Dern, to be one of the most undervalued actresses around. Any and every bit of attention she receives is deserved. Great to see Vera Farmiga make the cut too. She did some impressive tightrope walking as the complex mother to Norman Bates. And even though I don’t watch Scandal, I kinda love Kerry Washington, so good for her making it as well.

Hugh Bonneville – Downton Abbey
Bryan Cranston – Breaking Bad
Jeff Daniels – The Newsroom
Jon Hamm – Mad Men
Damien Lewis – Homeland
Kevin Spacey – House of Cards

Morena Baccarin – Homeland
Christine Baranski – The Good Wife
Emilia Clarke – Game of Thrones
Anna Gunn – Breaking Bad
Christina Hendricks – Mad Men
Maggie Smith – Downton Abbey

Thoughts: Emilia Clarke breaks in for Game of Thrones! Nice. Her character had a kick-ass season. She only stands to kick more ass as the show progresses, so I might have gone with her castmate Michelle Fairley instead. But hey, any love for Thrones is fine with me. Good to see Homeland‘s Morena Baccarin recognized too.

Jonathan Banks – Breaking Bad
Bobby Cannavale – Boardwalk Empire
Jim Carter – Downton Abbey
Peter Dinklage – Game of Thrones
Mandy Patinkin – Homeland
Aaron Paul – Breaking Bad

Thoughts: The Station Agent‘s Dinklage and Cannavale, together again! Though frankly, I would sacrifice Cannavale in favor of House of Cards‘ Corey Stoll, who had a terrific, heartbreaking arc as a troubled congressman. I also think Sam Waterston was a worthy contender for The Newsroom. And while I didn’t see The Americans, I heard Noah Emmerich was outstanding. I’m thrilled to see Mandy Patinkin here after he was overlooked last year. Perhaps one of these days, another member of the amazing Game of Thrones cast will join the always deserving Dinklage. A little love for Charles Dance, please?

Linda Cardellini – Mad Men
Joan Cusack – Shameless
Jane Fonda – The Newsroom
Margo Martindale – The Americans
Carrie Preston – The Good Wife
Diana Rigg – Game of Thrones

Thoughts: Diana Rigg = Awesome. And Jane Fonda was a blast on The Newsroom.

Dan Bucatinsky – Scandal
Michael J. Fox – The Good Wife
Rupert Friend – Homeland
Harry Hamlin – Mad Men
Nathan Lane – The Good Wife
Robert Morse – Mad Men

George Mastras – Breaking Bad (Dead Freight)
Thomas Schnauz – Breaking Bad (Say My Name)
Julian Fellowes – Downton Abbey (Episode 4)
David Benioff, D.B. Weiss – Game of Thrones (The Rains of Castamere)
Henry Bromell – Homeland (Q&A)

Thoughts: I figured that Homeland would receive at least one writing nomination, but I wasn’t sure which episode it would go to. I’m glad to see it went where it belonged; that’s another write-up I did that I can now discard. “Q&A” was the stellar episode in which Carrie interrogates Brody after finally confronting him with evidence of his treachery and taking him into custody. Writer Henry Bromell used to write for NBC’s great police series Homicide: Life on the Streets, and penned many of that show’s most intense sequences: Det. Pembleton questioning suspects in an interrogation room known as The Box. He proved with “Q&A” that he still knows his way around that intimate setting. The session between Carrie and Brody is the episode’s lengthy centerpiece, and the writing—from the broad scope of Carrie’s approach to the carefully chosen words and brutal honesty with which she reaches him—is masterful (as are the performances by Claire Danes and Damien Lewis). On top of recognizing this excellent achievement, the nomination doubles as a tribute to Bromell, who died of a heart attack in March. Like James Gandolfini, he was a great contributor to dramatic television who left us too soon.

Tim Van Patten – Boardwalk Empire (Margate Sands)
Michelle MacLaren – Breaking Bad (Gliding Over All)
Jeremy Webb – Downton Abbey (Episode 4)
Lesli Linka Glatter – Homeland (Q&A)
David Fincher – House of Cards (Chapter 1)

Thoughts: Fincher!

American Horror Story: Asylum
Behind the Candelabra
The Bible
Phil Spector
Political Animals
Top of the Lake

Jessica Lange – American Horror Story: Asylum
Laura Linney – The Big C: Hereafter
Helen Mirren – Phil Spector
Elisabeth Moss – Top of the Lake
Sigourney Weaver – Political Animals

Benedict Cumberbatch – Parade’s End
Matt Damon – Behind the Candelabra
Michael Douglas – Behind the Candelabra
Toby Jones – The Girl
Al Pacino – Phil Spector

Ellen Burstyn – Political Animals
Sarah Paulson – American Horror Story: Asylum
Charlotte Rampling – Restless
Imelda Staunton – The Girl
Alfre Woodard – Steel Magnolias

Scott Bakula – Behind the Candelabra
James Cromwell – American Horror Story: Asylum
John Benjamin Hickey – The Big C: Hereafter
Peter Mullan – Top of the Lake
Zachary Quinto – American Horror Story: Asylum

Richard LaGravenese – Behind the Candelabra
Abi Morgan – The Hour
Tom Stoppard – Parade’s End
David Mamet – Phil Spector
Jane Campion, Gerard Lee – Top of the Lake

Steven Soderbergh – Behind the Candelabra
Julian Jarrold – The Girl
David Mamet – Phil Spector
Allison Anders – Ring of Fire
Jane Campion, Garth Davis – Top of the Lake

Thoughts: Soderbergh!

The Colbert Report
The Daily Show with Jon Stewart
Jimmy Kimmel Live
Late Night with Jimmy Fallon
Real Time with Bill Maher
Saturday Night Live

The Colbert Report
The Daily Show with Jon Stewart
Jimmy Kimmel Live
Real Time with Bill Maher
Saturday Night Live

Thoughts: Wow, Saturday Night Live still hanging on here. I would have thought Conan or Late Night with Jimmy Fallon would earn a place.

Bob’s Burgers (O.T.: The Outside Toilet)
Kung Fu Panda: Legends of Awesomeness (Enter the Dragon)
Regular Show (The Christmas Special)
The Simpsons (Treehouse of Horror XXIII)
South Park (Raising the Bar)

For what it’s worth, some stats: HBO was—to nobody’s surprise, I’m sure—once again the most nominated network, but I couldn’t believe how far ahead they were. With 108 nominations, they had just over twice as many as the second most honored network, CBS. (Really? CBS?) The most nominated program was American Horror Story: Asylum, with 17 nominations, followed by Game of Thrones with 16. And while I haven’t seen this factoid called out, I think Louis C.K. may have been the most nominated individual. Between his Saturday Night Live hosting gig and the multiple hats he wore on both his series and his HBO standup special, he received nine nominations. I would think that’s gotta be tops for the year.

Some people actually get paid to watch and write about TV, and are therefore likely to have seen all the eligible shows, so here’s a sampling of their reactions: Vulture‘s Matt Zoller Seitz, The Hollywood Reporter‘s Tim Goodman, and Entertainment Weekly‘s Jeff Jensen and James Hibberd. Goodman had a lot to say (he usually does), and actually wrote three different pieces reacting to (mostly railing against) the nominations. The initial two can be accessed through the one linked here. He talks about what I wrote of back in 2009: the impossible task of fairly evaluating all the choices out there. Then he goes on to damn the voters for too frequently eschewing bolder options in favor of the same old thing. He does have a point. I mean, I love 30 Rock, but it was past its prime. Did the final season really deserve an Outstanding Series nomination over Arrested Development or Parks and Recreation? He also suggests that it’s time for the Emmys to expand the major categories to ten nominees each, in order to better represent the overwhelming number of shows and performances vying for recognition. I think that’s a great idea; some of the categories already have seven nominees. But let’s face it: expanding the categories doesn’t mean that more critically favored but Emmy-retardant shows like Justified, Sons of Anarchy, The Americans or Hannibal would suddenly find a seat at the table. More likely, given Emmy voters’ tendencies, we’d just see more middle of the road choices. This year, the Outstanding Comedy category might have made room for Parks and Recreation, but it would probably have also included shows like Two and a Half Men, The Middle and Mike & Molly over Community, The Mindy Project or Arrested Development. Still, I agree with Goodman; it’s time for an expansion.

As usual many of the nominees released statements of gratitude. Best Reaction Statement: Don Cheadle, House of Lies (Outstanding Lead Actor in a Comedy) – “Given all the hilarious film work I’ve done, from Traffic to Crash to Flight, it’s nice to finally be recognized as the comic genius I am. Thank you, Academy members.” Second Best Reaction Statement goes to Emilia Clarke, Game of Thrones (Outstanding Supporting Actress in a Drama) -“Yer chomoe anhaan. Jin ha Khalaan, shekh ma shieraki anni. For those not fluent in Dothraki, it translates to: You do honor to me. This is for the Khal — my sun and stars.”

Now then, for your belated consideration…

These write-ups make no attempt to avoid spoilers, so if you come across one for a show you haven’t seen yet but intend to watch someday, I advise you to skip it.

Outstanding Supporting Actor in a Drama Series: Denis O’Hare – True Blood
Although it’s past its prime and I watch it more now out of habit, there was a time when True Blood was really killing it (the current season has actually been pretty strong). But the Emmys have never had much use for it. A shame; its terrific second season earned it a nomination for Best Drama Series, and it has garnered some below-the-line nominations over the years – sound editing, makeup, casting, that sort of thing. But probably because it’s an out-there, gothic fantasy soap opera, it has often been unfairly overlooked, especially in the acting department. In five seasons, only a single acting nomination has been bestowed: Alfre Woodard for Outstanding Guest Actress in a Drama Series, from the third season. I like Woodard, but hers was hardly the most deserving or memorable performance True Blood has given us. Nelsan Ellis should have been cited in the first year or two for his great performance as Lafayette, and Michelle Forbes was robbed of recognition for her luscious turn as the second season’s antagonist, Maryann Forrester. And where was the Guest Star nomination after Season Three for James Frain as the sicko vampire Franklin Mott?

Also robbed after season three, was Denis O’Hare for his hilarious, whacked-out performance as extremist vampire king Russell Edgington. After being absent from season four, Edgington returned last year, colorful and crazy as ever, giving voters a chance to rectify their mistake. They failed to do so. O’Hare was nominated last year in the TV Movie or Miniseries group for his role on season one of American Horror Story. If he could get nominated for that, he surely deserves a nod for his far more memorable work as Edgington. (Come to think of it, why has American Horror Story been embraced so enthusiastically by Emmy voters while True Blood has been repeatedly stiffed? If anything, AHS is even more lurid and over-the-top.)


Outstanding Guest Actor in a Comedy Series: David Lynch – Louie
In a three episode arc last season, Louie was under consideration to replace a retiring David Letterman as host of CBS’ Late Show. In order to see if he has the right stuff, the chairman of CBS sends Louie to an old school TV producer named Jack Dall to help whip him into shape. As I watched the episode, I was stunned and delighted to discover filmmaker David Lynch playing Dall. Like his films, Lynch is a little…odd. He’s pleasant and mild-mannered, but always seems just slightly out of sync with the world around him. As C.K. explains in this story about how he got Lynch to do the show, he wasn’t looking for the director to show up and be someone else; he wanted Lynch to be Lynch. Layering his own unique, deadpan persona on top of the cryptic, impatient Dall, Lynch was bone-dry hilarious, fitting right at home with the often surreal tone of C.K.’s show. Lynch the director would be proud of Lynch the actor, and Emmy should have taken note.


Outstanding Supporting Actor in a Comedy Series: Chris Colfer – Glee
An Emmy darling after its first season, Glee has largely disappeared from the awards landscape after subsequent seasons have proven uneven. It picked up some nominations here and there yesterday, but it has mostly dropped off the radar when it comes to awards. I can’t really argue with that. But one aspect of the show that was great from the start and hasn’t faltered is Chris Colfer, who plays Kurt Hummel, a character destined to be remembered as one of the most important in television history. The series may have jumped a number of sharks by now, but it tends to be at its best when Kurt is around, because Colfer is too genuine to let it get away with its more absurd tendencies. He’s a performer who exudes authenticity, and so it seems that the writers—by the very nature of having to serve him—are forced to come up with stronger material. And he never lets us down. His vocal range continues to astound, and across the entire television landscape he’s probably second only to Maggie Smith on Downton Abbey in his ability to deliver a line (especially a cutting one) with brilliant timing and precision. Colfer’s work on Glee has already earned him two Emmy nominations, plus a Golden Globe win, but his fortunes have faded along with the show’s. Too bad; he still deserves the accolades.


Outstanding Directing for a Drama Series: David Nutter – Game of Thrones (The Rains of Castamere)
For the second year in a row, I’m bewildered by the absence of a single directing nomination for the impeccably produced and impossibly scaled epic series that deserves mention in this category for both its narrative accomplishments and its production quality. Seriously, how in the seven kingdoms does this series not get cited for Directing? While almost any episode of the season would actually be a worthy contender here, the obvious choice would be the now infamous ninth episode “The Rains of Castamere,” which climaxes with the shock and awe of the Red Wedding. (At least the episode scored a writing nomination.) The tension builds during the initial scenes at The Twins, and then when we get to those last ten minutes, in which the trauma is parsed out with thrilling dexterity. The closing of the hall door. The change in the music. The looks exchanged between Catelyn and Bolton. The stabbing of Talisa. The rain of arrows. Then we’re outside with Arya, her excitement disintegrating when she sees the Stark men being killed, followed by Grey Wind. Back in the hall, Catelyn’s desperate plea to Walder Frey. Bolton’s final betrayal and Robb’s death. And then Catelyn after she cuts her hostage’s throat, after she lets out a final wail for her murdered first-born, the camera slowly pushing in as she stands there utterly spent, her husband killed, her daughters captive and all her sons dead (as far as she knows). She stands there and we wonder, “Is it done?” And then just when maybe we think the worst is over, in steps one of Frey’s men to end her too. She falls out of frame. The camera holds for another moment before the credits roll in silence. C’mon, Emmy voters. This was a no-brainer.


Outstanding Writing for a Comedy Series: Mike White – Enlightened (The Ghost is Seen)
In just a single half hour of this little seen HBO gem, writer/actor Mike White delivers one of the most honest, heartwrenching, haunting portraits of loneliness I’ve ever encountered. He doesn’t just expose it from an objective, bird’s-eye view; he takes you inside it, right into its beating, yearning heart and shows what it feels like to live with it everyday, enveloped in it, trapped by it, resigned to it. The episode focuses on White’s own introverted character Tyler and the connection he makes with Eileen (nominated guest star Molly Shannon), the executive assistant to the head of the company, and therefore the unwitting foil in Amy’s mission to expose the illegal activities of the corporation and its CEO. The scenes between Tyler and Eileen are as awkward as they are sweet, and if this doesn’t sound like it belongs in a comedy category alongside shows like Modern Family or Parks and Recreation, well, Enlightened is indeed a different ilk, walking that fine line between comedy and drama, and probably leaning slightly toward the other side if we’re being honest. But whether it’s labeled a comedy or drama for awards purposes shouldn’t ultimately matter. The quality of the writing speaks for itself, and this exquisite episode should not have been passed over.


Outstanding Supporting Actor in a Drama Series: Jack Huston – Boardwalk Empire
From the moment he was introduced about halfway through the first season, Huston’s Richard Harrow was one of television’s most interesting characters, and one of my favorites. A WWI veteran who wears a specially designed mask over half of his face to conceal a disfiguring battle wound, Harrow is soft-spoken and alone when he meets Jimmy Darmody in an army hospital. After joining up with Jimmy in the bootlegging business, the former sharpshooter discovered a sense of renewed purpose. Upon his promotion to series regular in the second season, Harrow’s role expanded and deepened. This past season, in the aftermath of Jimmy’s death, he became a caretaker to Jimmy’s little boy Tommy (a duty he shares with Jimmy’s mother, who provides him a room in her brothel). He also falls in love with a kind, pretty woman who loves him back, only to reach the conclusion that his hope for a normal life may not be in the cards.

Harrow is a man divided not just physically, but psychologically. He is gentle and sensitive with those he loves, but brutal with those who threaten him or the people he cares about. Both sides battled it out this season, and Huston’s consistent ability to underplay the character winds up making him one of the show’s strongest performers. It may be Harrow’s face that is damaged, but really his wound informs the way his whole body moves. Huston plays him with deliberate physicality – usually hesitant, but quick and determined when he becomes deadly. He still speaks softly—and nervously—but he also carries a big stick (in the shape of a shotgun). Huston—a member of the showbiz dynasty that includes aunt Anjelica and grandfather John—makes the dichotomy between Harrow’s halves into fascinating, essential, Emmy-worthy viewing.


Outstanding Writing for a Drama Series: Scott A. Gimple – The Walking Dead (Clear)
This quiet, thoughtful episode, which provided a respite from the escalating tension between Team Prison and Team Woodbury, finds Rick, Carl and Michonne taking a drive to Rick’s old town in the hopes of securing weapons from the police station. What they find is the main street rigged with elaborate zombie traps, and the man responsible for it: Morgan, Rick’s former neighbor who saved his life after he woke up in the hospital and wandered home unaware of what had happened to the world. Morgan chose to remain behind when Rick went in search of his family, and this episode finally brought him back, as a broken, half-crazed shell so far gone that he initially doesn’t even recognize Rick, and tries to kill him. As Rick attempts to bring Morgan around, he sees him as a warning sign. He has been dangerously close to the same line that Morgan has crossed, and their encounter becomes an important step in his efforts to reclaim himself. Carl, meanwhile, reveals his own agenda for coming along: the recovery of a family photo that will offer the only picture of his mother that his baby sister will ever have. His determination to get it partners him with Micchone, still seen as an outsider by the group.

The episode offers a stark look at how the new world our characters populate can get the best of those who are incapable of retaining hope, and that survival—not just existence, but real survival—takes more than guns and ammo. Gimple provided an unexpected and creative way to bring Morgan back to the show that didn’t merely satisfy fans, but also furthered the overall story. He also did a nice job balancing Rick and Morgan’s reunion with the side journey that provided some badly needed development for an underserved Michonne.


Outstanding Guest Actor in a Comedy Series: Patton Oswalt – Parks and Recreation
Having made memorable appearances on seven shows during the past year, Patton Oswalt was recently named TV’s Most Valuable Guest Star by Vulture. The most memorable of those appearances may have been on Parks and Recreation, as Pawnee history enthusiast Garth Blundin, whose opposition to Leslie’s planned repeal of numerous outdated town laws leads him to deliver the greatest filibuster in the history of filibustering. Star Wars and Marvel Comics fans should take note. (If Republicans filibustered like this in our actual Congress, we all might be less critical of them flagrantly overusing it.) Leslie and Garth eventually make a wager that finds them living in a Pawnee Historical Cabin with only 19th century tools and methods at their disposal. Oswalt is, of course, the perfect guy to play a part like this, lovably inhabiting a smug, know-it-all nerd and making sure we like him enough not to turn against him when he outdoes our beloved Leslie. Oswalt tapped into his own irrepressible enthusiasm for pop culture when he delivered the entirely improvised filibuster, which lasted for about eight minutes. Of course, only a short piece could be used on the show, but the full speech was released on YouTube and became a viral sensation. If nothing else, Oswalt deserved an Emmy nomination for going so imaginatively above and beyond the call of duty.


Outstanding Lead Actor in a Drama Series: Hugh Dancy – Hannibal
Not that I’ve been following reactions too closely, but the sense I’ve gotten is that the lion’s share of attention for Hannibal‘s acting has gone to Mads Mikkelsen for his quiet, controlled work as Hannibal Lecter. But it’s co-lead Hugh Dancy who delivers the show’s more gripping performance and who deserved recognition from Emmy voters. His Will Graham has such an acute, overdeveloped sense of empathy that he is able to imagine himself as the killers he hunts, executing their crimes himself and therefore gaining unique understanding into their methods and motivations. But this takes an increasingly dire toll on his state of mind, as he begins to identify so deeply with one serial killer in particular that he worries about crossing the line and becoming a killer himself. Hannibal takes us visually into Graham’s point of view to show us what he sees, but Dancy takes us much further and reveals things only an actor can. He wears the oppressive weight of Will’s visions in every fiber of his physical being. He cloaks himself in Will’s fatigue, isolation, and anxiety, drawing us so close that we can practically smell the fevered sweat that accompanies his sleepless nights and haunted dreams. There’s an obvious sadness and loneliness to Will, but while it is directly acknowledged, Dancy never plays it for sympathy. He earns the audience’s identification through the wholeness of his performance, not through cheap emotional manipulation. It’s a truly fascinating portrayal, understated and underrated. Dancy will likely be at the Emmys anyway, accompanying his nominated wife Claire Danes. But he should be there as a nominee himself.

This is off-topic, but I feel compelled to say that I have mixed feelings about Hannibal in general. On one hand, it may be the most gorgeously art directed and photographed TV show I’ve ever seen. The entire visual design is extraordinary. On the other hand, I don’t know if I’ve ever seen anything so relentlessly, overbearingly bleak. This show is daaaark. Not just its highly disturbing imagery (made all the more unsettling because the crime scenes, like everything on the show, are staged so artfully), but the entire sensibility. There is precious little humor or levity to break the tension. It’s not so much a suspenseful tone as it is a severe one. It’s all so Serious and Heavy. In a way, the show has a hypnotic feel that distinguishes it from anything else I watch. But rarely did an episode go by that didn’t have me thinking at least once, “Jesus, this is too much!” (At least they seem to be having fun on the set.) It doesn’t help that some of the violence really bothers me…and I’m not someone who usually has an aversion to on-screen violence. All told, I’m debating whether or not to stick with it when the next season begins. I admire and appreciate so many things about it, but I can’t exactly say that I enjoy it.


Outstanding Directing for a Drama Series: Jeremy Webb – Downton Abbey (Episode 5)
Jeremy Webb did earn a nomination in the Directing category, but I would argue that it was for the wrong episode. The nomination should have come for the subsequent installment, which delivered the shocking death of Lady Sybil. News of actor Dan Stevens’ departure from the show was all over the internet a few months before Downton‘s third season had its U.S. premiere, so we had a pretty good idea of what was coming down the road for his Matthew Crawley. But the departure of actress Jessica Brown Findlay was preceded by no such commotion, allowing the excellent work done by Webb, writer Julian Fellowes and the cast to take us by complete surprise. Sybil’s demise, which comes in the middle of the night, hours after delivering a healthy baby girl, seemed more shocking than so many other TV deaths because it felt so random. Downton Abbey may be classy, but it’s still a soap opera, with all the melodramatic ups and downs that go with such territory. But Webb directed the scene with such plain, stark realism that it transcended the melodrama. The veil between the audience and the screen dropped, and we were brought into the room along with the family, experiencing the terror, confusion and helplessness as palpably as they did while Sybil writhed in her bed, struggled to breathe, turned ghostly pale and finally expired. We shared in the stunned silence when Dr. Clarkson pronounced her dead, and then shared the pang of heartbreak when her newborn daughter began crying offscreen.

I realize that, as with the Game of Thrones example above, I’m focusing on one scene from an hour-long show. But sometimes that’s all it takes to make an episode. And to be clear, many moments that follow were handled just as effectively by Webb: the servants learning the news in the middle of the night, the Dowager Countess’ arrival the following morning, and the final shot of Sybil’s widowed husband Tom, holding his baby as he stands alone at a window of the house in which he has never felt entirely welcome.


So there’s that. Finally, a few other odds and ends from further down the list of nominations:

-The nominees for Outstanding Directing for a Variety Special included Don Mischer for The Oscars. Sorry, but no. At the risk of beating a dead horse (and one that nobody other than me cares about), Mischer’s direction of the Oscars was, as I said at the time, incompetent, and has been for the past few years.

-There are a couple of categories that I hadn’t heard of before, one called Outstanding Special Class – Short-Format Live-Action Entertainment Programs, the other called Outstanding Special Class – Short-Format Nonfiction Programs. I noticed them this time because they included some nominees from the internet that made me smile: Zach Galifianakis’ hilarious faux-interview show Between Two Ferns was cited in the former, along with the brilliant web series Burning Love, while Jerry Seinfeld’s excellent Comedians in Cars Getting Coffee was nominated in the latter. Great to see these three programs recognized.

-There’s an award for Outstanding Music Composition for a Series, and this year’s nominees are Arrested Development, The Borgias, Downton Abbey, House of Cards, Last Resort and Mr. Selfridge. I find it hard to believe that all of those shows offered better dramatic scoring than Game of Thrones, on which composer Ramin Djawadi does better work on a weekly basis than most theatrical movies have done in the past few years. Since each show is cited for a specific episode, I’ll submit this past season’s fourth installment of Thrones. The music accompanying the climactic sequence (Daenarys taking ownership of the Unsullied) and end credits was worth a nomination on its own. Also missing here: composer Mark Mothersbaugh, the former Devo member whose scoring for Enlightened was the most original and effective I can recall for any show in a long while.

-The Emmys give awards for Art Direction, Cinematography, Lighting Design, and other such technical achievements. This year, an obvious nominee in all three of those categories would have been Hannibal, which as I mentioned above, is one of the most visually arresting shows I’ve ever seen. Amazingly, it was passed over in all of these categories. In fact, the show didn’t score a single nomination. If you’ve seen it, you’d agree: that’s unfathomable. (Anyone as geeky as me who might be interested in seeing the full list of nominations that includes these below-the-line categories like Art Direction, Makeup, Special Effects, Music, etc. can have at it here.)

Okay, that about does it. If you’re inclined to share any thoughts of your own, I’d love to hear them.

This year’s Emmy Awards will air Sunday, September 22 on CBS. Until then, I’ll close out with another favorite moment from Emmy past, as I did last year. This one doubles as a tribute to Glee‘s Cory Monteith, who died this week at age 31. The words “too soon” are too small. Here’s the clever, rousing opening to the 2010 ceremony, featuring host Jimmy Fallon, Monteith and some of his Glee comrades, and more.


  1. I agree 100% with everything you said about Parks & Rec – the failure to nominate the funniest show on tv for best comedy is ludicrous, and the failure to recognize such a strong cast in the acting categories (outside of Amy Poehler) is absurd. I’ve long thought a solution to the latter issue would be to create a “Best Ensemble” award so some of these shows with deep rosters can get their due recognition. Also, perhaps the academy wouldn’t feel so compelled to nominate every castmember of, say, Modern Family, if they felt they could recognize most of them with an Ensemble nomination. Then – for example – they could pare down their Modern Family nominations to the very best (Ty Burrell) and leave spots open for some other deserving nominees who might have been overlooked in the past.

    I also agree with Martin Short deserving an SNL nomination, though the Kristen Wiig nomination makes no sense – her episode was terrible.

    The two biggest oversights for me were The Americans only getting 2 nominations and New Girl getting 0. The Americans deserved acting nods for all 3 leads – Keri Russell, Matthew Rhys, and Noah Emmerich – if not for Best Drama; and New Girl (another show that would benefit from a Best Ensemble award) was possibly the second funniest show on tv after Parks & Rec – Zooey Deschanel, Jake Johnson, and Max Greenfield are all standouts. Granted, tv is experiencing an embarrassment of riches these days, but to overlook these two excellent shows is inexcusable.

    Comment by dazizmor — July 20, 2013 @ 12:56 am | Reply

    • And I agree with you about the need for a Best Ensemble award. The Screen Actors Guild Awards do that, but for them it’s the equivalent of a Best Series award (or Best Picture for the movie categories). But yeah, there are so many shows with remarkable ensembles that are just too large to single out all the acting nominations they deserve. Game of Thrones is another show that, like Parks and Rec on the comedy side, is a textbook case of why there should be such a category. Not only is the cast of Thrones huge, but it’s top to bottom outstanding. Way too many performances that deserve mention.

      In addition to your points, an Ensemble award would also give a chance to some of those actors who aren’t big enough names to break through with a nomination. This Vulture article – http://www.vulture.com/2013/07/emmys-2013-netflix-big-names-win.html – is right; the Emmy voters are kinda starfuckers. As the writer points out, it’s hard to understand how they could embrace House of Cards with nine nominations, including Spacey and Wright, but leave off Corey Stoll, who should have been an obvious nominee.

      The total absence of New Girl was a surprise, especially since it got some major nominations last year, including Deschanel and Greenfield.

      Comment by DB — July 20, 2013 @ 4:40 pm | Reply

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