I Am DB

April 11, 2015

Let the Game Begin

Filed under: TV — DB @ 5:30 pm
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This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, steer clear. There are more Season 1-4 spoilers to come than there were pots of Wildfire stored in King’s Landing.

So…where were we?

This game’s board continues to broaden, but before tomorrow night’s Season Five premiere, let’s see if we can catch up with where things stand for its many players. Before we begin, a statement of intention: there are many recaps available around the web, and most of them are probably more succinct than this one. But as I talk to people who are excited about the return of the show, I’m stunned by how few of them can even name the major characters. I hear things like, “Yeah, the chick with the dragons,” or “What’s his name, the brother whose hand got cut off, or “You know the one, oh, what’s his name, kid with the broken legs who can possess the giant.” I don’t understand how someone can be invested in a show, watch it week after week — even if only for ten weeks out of the year — and not know the names of the characters. I admit that I have a good memory for characters, story details, etc. (a knack which helped make me an effective recapper of Lost, thank you very much), but I don’t expect people to know the name of every Lannister soldier. Really though, you can’t name Dany or Cersei or Arya right off the top of your head? If that’s you, then you probably need a recap as detailed as the one I’m about to dish out. It may not be as entertaining as, say, this one…

…or as elegant as this one…

…but it will better prepare you for the new season. That I promise.

Having been accused of killing Joffrey (the title of Bill O’Reilly’s next book, FYI), Tyrion opted for a trial by combat rather than let dear daddy Tywin determine his fate. Wanting to ensure her brother’s death once and for all, Cersei chose as her champion the enormous Gregor Clegane, aka The Mountain Who Rides, aka The Mountain, aka That Crazy Motherfucker Who Chopped His Horse’s Head Off After Losing a Joust – a man who Tyrion’s sellsword pal Bronn would accurately describe as “freakish big and freakish strong.”  With Jaime unable to fight due to the loss of his hand, and Bronn unwilling to put his life on the line against The Mountain, Tyrion found a surprise champion in Dornish prince Oberyn Martell, who had journeyed to King’s Landing with his special ladyfriend Ellaria Sand for Joffrey’s wedding. Oberyn’s sister Elia had been married to the Mad King’s son Rhaegar Targaryen, but he left her for Ned Stark’s sister Lyanna, even though she was betrothed to Robert Baratheon. When Tywin and his army — allied with a rebelling Robert — stormed King’s Landing right around the time Jaime was earning the nickname “Kingslayer,” The Mountain killed Elia’s children and then raped her before killing her too. Oberyn has long sought vengeance on The Mountain, and on Tywin, who he is convinced gave the order. So Oberyn fought for Tyrion and appeared to mortally wound The Mountain, only to find his massive opponent had a few moves left…like the move where he crushed Oberyn’s head to a pulp with his bare fucking hands. Tyrion was condemned to death, but Jaime and Varys plotted his escape. Jaime got him out of his cell, and on his way to meet Varys, Tyrion couldn’t help but take a detour. He went to Tywin’s chambers and found his ex-lover Shae in his father’s bed. She went on the defensive and tried to kill him, but he choked her to death. Then he found Tywin sitting on the toilet, and put two arrows in him. By the time Varys got him to the ship that would carry him across the Narrow Sea to exile and maybe safety, the toll of bells signaled that Tywin’s death had been discovered. Varys knew he could not return to court, so he took a place on the boat alongside Tyrion.

In other King’s Landing news, Joffrey has been succeeded by his brother Tommen, a sweet, decent kid who is almost certainly doomed and who doesn’t to deserve to die the horrible death that will probably befall him eventually as the competitors for the Iron Throne close in. For the time being though, Tommen is king, and with Tywin dead, Cersei is now the true power in King’s Landing, answering to nobody. Margaery Tyrell, who was married to Joffrey for all of a few hours before he was gloriously poisoned — by her grandmother, the supremely awesome Olenna Tyrell, as it turned out — is now set to wed the much younger Tommen. This puts Cersei in a difficult position, since she detests Margaery…though in point of fact, Cersei detests almost everyone who isn’t a Lannister. And almost everyone who is a Lannister, really. But she also seems to recognize the need for an alliance with the Tyrells, the wealthiest family in the kingdoms second to her own.

Olenna’s murder of Joffrey was conducted in cahoots with Westeros’ schemer extraordinaire, Lord Petyr Baelish, aka Littlefinger. He arranged to have Sansa Stark unwittingly wear a poison-laced necklace to the wedding, where Olenna would have access. As Joffrey gasped his last breaths, Littlefinger had an accomplice whisk Sansa away and deliver her to Littlfinger’s ship anchored in the mists of the bay. The two sailed to the Vale and made for the fortress of the Eyrie, where Littlefinger married Sansa’s aunt Lysa Arryn, sister of her late mother Catelyn Stark. Lysa has always been a little crazy, however, and was convinced that Littlefinger had romantic designs on Sansa. She might have been right; he’s always been creepy, but the way he looks at her takes it to a whole other level. With Lysa unhinged by jealousy, Littlefinger decided the best thing for everyone would be if she weren’t alive anymore, so he pushed her ass out the moon door. Under Littlefinger’s tutelage, Sansa finally began to display some cunning, spinning a story to a small tribunal that held Littlefinger responsible for Lady Arryn’s death. Sansa convinced them that Lysa had killed herself, and that Littlefinger was her kind, brave savior and protector who rescued her from Joffrey’s clutches. Recognizing the creepy fixation he has on her — perhaps because she’s the daughter of his lifelong object of desire — Sansa began to use his feelings to her advantage. Considering the revelation that Littlefinger convinced Lysa to poison her husband — an act which set the whole game in motion back in the very first episode — it will be fun to see if Sansa can get him to lower his guard…and if she can play his own game better than he can.

Meanwhile, north of The Wall, Bran Stark continued his journey to find the three-eyed raven, accompanied by siblings Jojen and Meera Reed as well as faithful Hodor (Hodor.) Bran’s visions revealed their destination to be a weirwood tree, which they finally reached after a few setbacks — the last of which was an attack, just feet from their destination, by a band of wights — reanimated corpses with a connection to the White Walkers. They received help from a mysterious being who looked like a young girl — though she was probably something else entirely — but Jojen didn’t survive the attack. Once safely inside the tree, Bran, Meera and Hodor meet the raven in his human form…or human-like; I’m not really sure what this dude is, all gnarled up and looking as though he’s growing out of the tree’s branches. He tells Bran that he’s been waiting for him a long time, and that although he will never walk again, he will fly. So there’s that.

At Castle Black, a badly outnumbered Night’s Watch made a valiant stand against the first attack from wildling leader Mance Rayder’s army. Jon Snow further demonstrated his leadership by taking command when Ser Alliser Thorne was injured by fierce wildling Tormund Giantsbane, who was eventually captured. The Night’s Watch won the day but suffered heavy losses, including Jon’s friends Pyp and Grenn, and of course his wildling lover Ygritte, who died in his arms after taking an arrow from a young boy whose father she’d killed in an earlier village raid. Silver lining: Jon’s best bud Samwell Tarly survived, and was reunited with Gilly, the object of his affection. Knowing that the Watch will not be able to hold off another wildling assault, Jon ventured beyond The Wall to Mance’s camp, hoping to either kill the leader and thereby scatter his army, or perhaps reach some kind of agreement. Their talk was interrupted when a large army appeared out of nowhere and rode on Mance’s ranks. Wanting to avoid more bloodshed among his group, Mance surrendered to the new arrivals: Stannis Baratheon, accompanied by Davos Seaworth.

Stannis had been back on his rocky island of Dragonstone trying to figure out his next move after his loss to the Lannisters at Blackwater Bay (all the way back in Season Two, people). That defeat heavily depleted his resources, but he finally made some headway when, at Davos’ behest, he sailed across the Narrow Sea to visit the Iron Bank of Braavos. The Iron Bank had been funding the Lannisters as far back as Robert Baratheon’s rebellion, and funded the crown in the War of the Five Kings as well. The crown and the Lannisters — if the two are even considered separate entities at this point — are deep in debt to the bank, and when its representatives initially decline Stannis’s request for a considerable loan, Davos convinced them that backing Tywin Lannister is not a profitable move. Now armed with the funds necessary to reinvigorate his forces, Stannis has arrived beyond The Wall, where he and Davos meet Jon and Mance. This move is a such a big one for Stannis that he’s even brought along his priestess Melisandre, his wife Selyse and his daughter Shireen. There’s no Westeros Disney World, so I suppose The Wall is as good a place as any for a family trip.

With me so far? Cause we ain’t done yet. Ramsay Snow — the bastard son of Stark bannerman-turned-Robb Stark murderer-turned Warden of the North, Roose Bolton — completed a total physical and psychological breakdown of his prisoner Theon Greyjoy, reinventing him as a loyal servant called Reek. So loyal that when Theon’s sister Yara led a mission to rescue him, he refused to go with her. Roose tasked Ramsay with capturing Moat Cailin, a ruined but strategically necessary fortress that was occupied by Ironborn soldiers fighting for Theon’s father, Balon. Fucking with his plaything’s head even further, Ramsay had Reek pretend to be Theon Greyjoy and enter Moat Cailin with terms of surrender on behalf of Bolton. The weary Ironborn accepted, and were promptly killed by Ramsay’s forces. As a reward for his success, Roose stripped away the bastard surname of Snow from Ramsay and allowed his son to take the Bolton name. Theon went back to being Reek, because the only reward he ever gets these days is a warm bath.

There were some other duos making their way across Westeros who were more endearing than vicious Ramsay and tragic Theon. Jaime sent Brienne in search of Sansa, intending to honor his promise to Catelyn Stark that her daughters would be returned to her in exchange for his freedom. Lady Stark is dead of course, but Brienne is sent to find Sansa anyway and protect her. Accompanying her is Tyrion’s squire Podrick Payne, who the imprisioned Tyrion released from his service and sent away from King’s Landing to save him from any harm that might befall him for being associated with Joffrey’s accused killer. Brienne had little patience for Podrick at first, but the loyal boy started to grow on her, and proved knowledgeable about things such as family connections throughout the kingdoms. This led him to suggest that Sansa might be in the Eyrie with her aunt Lysa, so off they went. Before that, however, they stopped to eat at an inn — the same inn that purchased Arya’s former traveling companion Hot Pie from the Brotherhood Without Banners. When Brienne told him of their search for Sansa Stark, Hot Pie confided that he knew an Arya Stark and had been in her company not so long ago. He tells them where she was headed when they parted ways, and that her traveling companions included The Hound. As Brienne and Pod get close to the Eyrie, who do they encounter but that very pair.

After barely missing the Red Wedding at Walder Frey’s stronghold The Twins, they too had been journeying to the Eyrie. The Hound hoped to sell Arya to her aunt, but they arrived three days after Lysa’s death. They were making their way back across the Vale with no clear destination when they met Brienne and Pod, who recognized The Hound, allowing Brienne to realize that she’d stumbled upon the elusive Arya. She told Arya of the promise she made to Catelyn, but with The Hound interjecting, her story didn’t come off so clearly. Brienne and The Hound launched into an epic fight that ended with The Hound bloodied and broken. Arya hid herself, so Brienne and Pod ran off in the hopes of finding her again. When they were gone, Arya approached The Hound, with whom she had shared a reluctant bond. But as he begged her to finish him off and take him out of his misery, she merely regarded him with indifference, finally stealing his money and leaving him to die. She made her way to a port where she found a ship bound for Braavos. In a moment I’ve been waiting for since the end of Season Two, she offered the Braavosi coin given to her by Jaqen H’ghar to the ship’s captain, securing herself passage across the Narrow Sea in the hopes of finding H’ghar, the assassin who once offered to train her in his art. (Unfortunately, if she does hook back up with Jaqen, his transformation means he can probably no longer be played by the awesome Tom Wlaschiha, who was so good in the part. I just hope they aren’t stuck with that goofy looking guy from the end of the clip. I hate his stupid face.)

Which brings us to our final set of major players on the board. Daenarys’ invasion of Westeros continued to take a backseat to her insistence on freeing every single goddamn slave on the continent of Essos. After liberating the city of Meereen, she learned that other cities she had freed along the way were not faring so well once she’d moved on. She decided to earn her right to the Iron Throne by spending time first ruling in Meereen. It wasn’t without its challenges. Not all the slavers were the monsters she painted them as, and not all the slaves felt victimized by their situations. As she grappled with the subtleties of the slave city dynamics, she also had to face the fact that her growing dragons were beyond her control, terrorizing the countryside. She finally had to put them in chains and lock them in a large, windowless chamber…though she was only able to do this to two of them, as the third was off on an adventure somewhere, maybe getting domesticated by a scrawny, clever Viking kid. Still, having to lock up her dragons wasn’t the biggest setback Dany suffered. She learned — through the machinations of Tywin Lannister — that her closest friend and adviser Ser Jorah Mormont had been spying on her in the early days of their relationship, reporting on her to Robert Baratheon, who wanted her killed before she could try and re-take the Iron Throne for the Targaryens. Though Jorah had committed himself to her before too long, even stopping her from drinking poisoned wine, she could not forgive him for this initial betrayal, particularly the fact that he had informed her enemies she was pregnant with Khal Drogo’s child. She banished him from the city and told him she would have him killed if she laid eyes on him again. But it wasn’t all depressing news for Team Targaryen. With no small degree of bemusement, Dany finally gave into the romantic overtures of Daario Naharis, the captain of the Second Sons, a sellsword company now backing her along with the massive Unsullied army. Grey Worm, the commander of the Unsullied, has taken an interest in Dany’s translator Missandei. Although his castration as a child would seemingly curb any stirrings of desire, he is clearly enamored of her, and she appears to be receptive to his attention.

So…that’s where we were. And now we arrive at Season Five.

Some fine teasing on display in those trailers, and as the new episodes begin there are plenty of questions about what’s to come for those like me who haven’t read the books. Cersei’s no dummy; will she figure that Jaime helped Tyrion escape, and how will that affect their relationship? After being rather cold to him throughout most of last season, she came around at the end, even coming clean to Tywin with the truth that his twins’ incestuous relationship was no rumor. Granted, throwing herself at Jaime surely had the ulterior motive of getting him to choose her over Tyrion, but he didn’t put one before the other. So where will that leave them?

Is there more to come with The Mountain? He was barely alive after his fight with Oberyn, but Cersei allowed Qyburn to perform some sort of vague treatment on him. Qyburn is the former Maester — like Pycelle or Aemon or Luwin — who was expelled from The Citadel for his radical ideas and experimental techniques. He treated Jaime’s wrist after the hand was cut off, and helped Cersei with some undisclosed issues as well. I only bring up his attempts to save The Mountain because the show seemed to place suspicious emphasis on what would seem a minor story point. He ominously tells Cersei that even if The Mountain can be saved, the process “may change him…somewhat,” also indicating with barely contained delight that whatever happens, he won’t be weakened. I don’t know what Qyburn’s deal is, but after this scene, you know that dude is just a few imprisoned rapists away from inventing the first human centipede. So something tells me this is going somewhere.

When last we saw Sansa, Littlefinger and Lysa’s oddball son Robyn, they were embarking on a tour of the Vale. I thought and hoped they might cross paths with Arya and The Hound, but might they still stumble upon the latter? We didn’t actually see him die, and while there’s zero hope he could survive, maybe the travelers will come upon his body, causing them to wonder what brought him to the Vale.

Seeing Jon’s world collide with Stannis’ should make for some great material. There was a loaded moment in last season’s finale when Melisandre locked eyes with Jon across a burning pile of corpses. Is the Red Priestess going to bust a move on Jon? How will Stannis exert his power at The Wall? How will Mance deal with this turn of events? And will we see more from the White Walkers? One of last season’s most chilling events was when the last baby boy born to Craster was taken by a White Walker into what some kind of ceremonial tableau, where a Walker with a different look from the others we’ve seen so far touched an icy fingernail to the baby’s cheek and turned him into…well, into a White Crawler I guess. This scene garnered a lot of attention for being a significant plot development that had not been part of the books.

One of the impressive things about this saga is how it expands even as it contracts. Tyrion, Varys and Arya are now on the same continent as Dany, Jorah and Ser Barristan, and you can bet that some of those characters will cross paths eventually. And with the Jon and Stannis stories now intertwined, the world of the show could be seen as getting smaller. But then we’ll visit a new locale this season: the late Prince Oberyn’s home of Dorne. There, we’ll catch up with Cersei’s daughter Myrcella, who was sent there back in Season Two, and meet a number of new characters, including Oberyn’s older brother Doran, and three of his daughters. The vengeful girls are known as the Sand Snakes, and word is they will not take the news of their father’s death with peaceful acceptance. We’ll also get to better know the Sand Snakes’ mother Ellaria, whose part last season was smallish. But the move to Dorne and the aftermath of Oberyn’s death should provide her more to do. As the show’s co-creator D.B. Weiss says about actress Indira Varma, “Once you have someone of her caliber, you want to double down on that casting strength.” (Incidentally, with the enlarging of Myrcella’s role, a new actress has been cast in the part, just as Tommen was recast last season. The actress who played the role in Seasons One and Two took the news with a sense of humor.)

Just as the world simultaneously expands and contracts by means of locations and merging storylines, so too does this occur through character additions and deletions. Many die, but new ones get introduced. Along with all of these Dornish figures we’ll soon meet, another key arrival to the story will be a King’s Landing-based religious figure known as The High Sparrow, who could make life difficult for Cersei and Tommen. Whatever he does, he should be intriguing to watch as played by the veteran character actor Jonathan Pryce, who starred in Terry Gilliam’s Brazil and had major roles in such movies as Glengarry Glen Ross, the Pirates of the Caribbean series, Something Wicked This Way Comes, Evita and Tomorrow Never Dies.

And as we get to know these new arrivals, let’s not forget all the characters that are still out there, out of sight, but not out of mind. Not out of mine, anyway. The youngest Stark, Rickon, and his wildling protector Osha; Brotherhood Without Banners leaders Thoros of Myr and Beric Dondarrion; Robert Baratheon’s bastard son Gendry; Catelyn’s uncle Bryndyn “The Blackfish” Tully, who escaped the Red Wedding; Cat’s brother Edmure, who was the groom at that wedding and is apparently imprisoned by his now-father-in-law Walder Frey; Walder Frey himself, that treacherous lecher; and Benjen Stark, Ned’s brother, a ranger of the Night’s Watch who went beyond The Wall in Season One and hasn’t been seen since. Will any of these characters show up again this season? You can can be sure that at least some of them still have a part to play in the game, but when will they make their move?

One major character we won’t be seeing this year? Bran. In a bold move by showrunners Weiss and David Benioff, the clairvoyant Stark child, along with his companions Hodor (Hodor) and Meera Reed, has been benched for this entire season. One reason is that at this point, the show has apparently caught up with Bran’s storyline in the books, and from a standpoint of chronology, continuing would move beyond the timeframe that all of the other characters occupy. It may be worth noting here that Martin’s fourth and fifth books — A Feast for Crows and A Dance with Dragons — take place concurrently and do not both feature each and every major character. Crows follows one group of characters, while Dragons follows another group during the same time period. While each season of the TV show thus far has roughly corresponded to a book — with the third novel A Clash of Kings serving as the basis for Seasons Three and Four of the show — this hasn’t been an exact science. Benioff and Weiss have introduced some elements into the show earlier than they appear in the books, and other elements later. As such, they must have jumped ahead with Bran’s storyline and drawn from book four or five (whichever one he appeared in; I’m not sure). They have still made it clear that by and large, Season Five is based on Crows and Dragons. So again, pushing ahead with Bran’s story would move him too far beyond the other story threads chronologically. (I’m left to assume that his events in book four or five weren’t too far ahead of other characters’ events in book three, allowing them to avoid the issue of timing last season that they’re encountering now.)

To complicate things further, I’ve heard that Sansa’s storyline had also pretty much caught up to the books by the end of last season, yet she and Littlefinger are not getting sidelined like Bran. Now maybe I’ve been misinformed and there is still more Sansa action in the published books. But it could also be that the gap between Sansa’s story in Crows/Dragons and wherever it picks up in the next book is easier to bridge than the same gap for Bran. To that point — perhaps — Benioff and Weiss have further justified holding off on the Bran story by explaining that he’s about to enter a period of training, learning from the Three-Eyed Raven how to use his powers. Benioff puts it in terms of Star Wars: “It would be far less interesting, after The Empire Strikes Back to have an hour-long movie in between Empire and Return of the Jedi where Luke is training. It’s so much cooler to cut from end of Empire to beginning of Return, where he’s become the Jedi.” He elaborates, “It made sense to stop where we did. He’s now entering a training period which is going to take quite some time, much of which isn’t particularly cinematic. So rather than being stuck in a cave for a year, we figured it would be interesting to leave him out for a little bit, so when you see him again…”

I have to disagree on this point. I’ll bet that if Thrones wanted to devote an hour-long episode to Bran’s experience tapping into his abilities, they could make it pretty dramatic and compelling. I think it would be interesting to watch him grow and learn about his gifts. Surely they could draw enough from this premise to visit it periodically over the course of a ten-hour season. But Benioff mentions “being stuck in a cave for a year.” So if that isn’t just a random time period he’s tossing out there, but rather the actual amount of time in the story it will take Bran to do what he’s got to do, I can go with the Chronology Explanation, as it’s a more valid argument to me. Such a training period would  believably be prolonged enough that it might move Bran too far ahead in time than the other characters.

Whatever the case, it will be a shock when Bran returns in Season Six having grown another few inches and looking like a young man far removed from the adorable boy who got thrown from a window by Jaime Lannister. Of all the young actors on the show, Isaac Hempstead-Wright is already the one whose appearance has altered most dramatically with age. By the time we see him again, it will be a jarring sight.

This all brings us to another much-discussed element of the new season: diversion from the books. It was confirmed a few months ago that the sixth book, The Winds of Winter, will not be published in 2015. This news seemed to erroneously give way to the idea that starting now, the show will be carving its own path almost entirely. I’m not sure where this notion came from. As mentioned above, this season is primarily based on books four and five — Benioff and Weiss confirmed this in an interview at the recent premiere event in San Francisco — with the understanding that yes, as always, there will be differences. Asked about taking detours from the books, Benioff replied:

I think every season has been a little bit more. The first season was extremely faithful. The next season had a few more deviations. Each season has had to go a little more. If we were to remain entirely faithful to A Feast for Crows, half the characters — the most popular characters — would be absent from the screen this season. It’s always been about adapting the series as a whole and following the map George laid out for us and hitting the major milestones, but not necessarily each of the stops along the way. It’s an adaptation, it will have to adapt in order to survive. There are always going to be some people who want everything to remain exactly as in the books. For us, it was never a choice.

Producer Bryan Cogman added, “This is the riskiest season, from a storytelling perspective, and certainly the most difficult. We were faced with adapting two huge books and following up on arcs and themes that — while certainly inspired by the books — were a little more our own thing.” Those differences between the books and the show will include some deaths, as Martin stated that there will be characters who die on the show this year but are still alive in the books. However he also explained more recently that the death of a character on the show can carry a different weight than the death of that same character on the page, since the show has fewer main characters to work with than the book does. When it comes to deviations between the source material and the adaptation, we also have to keep in mind that Martin has told Benioff and Weiss the broad strokes of how the story ends, and we don’t always know if things from the show that aren’t in the books — like that White Walker ritual with the baby, for example — were invented by Benioff and Weiss, or are in fact things that Martin is planning but hasn’t gotten to yet. And all of this of course bleeds into the issue of the show catching up to and overtaking the books. There are new comments on that too, from all parties involved, but I think it makes more sense to save those for our post-season check-in…though I will add that for the first time, Martin did not write the script for one of this season’s episodes, choosing instead to devote his time to the The Winds of Winter. I think he made the right call.

Now…on to the fun stuff. Being the cultural phenomenon that it is, there’s always plenty of Thrones-centric fodder in the pop culture stratosphere, and here are the latest additions to my collection. First, how about this interactive map of Westeros and beyond, which not only serves the basic need of helping clarify the geography, but even allows you to trace the paths of various characters — in either their book journey or their TV journey — and even follow them only up to the point you’ve seen if you’re not caught up yet. I haven’t played around with that more advanced functionality yet, but this was helpful of late as I wanted to see where Braavos was in relation to Pentos.

As a fan of visual effects, I always enjoy seeing breakdowns like this one, which show all the ways that effects are used to enhance the scenery and make the entire world of the show believable. This reel is put together quite nicely.

Nerdist offered up this parody of the Taylor Swift song “Blank Space” called “Blank Page,” in which George R.R. Martin sings of his tendency to kill characters. The song’s amusing, but really I just enjoy the guy playing Martin. I wasn’t familiar with Swift’s tune, but it’s worth a listen for a better appreciation of what the parody is riffing on.

And this…this was just begging to happen. I’m surprised it took this long. [Note: It didn’t take this long, as it turns out. Several hours after this post went live, I realized that I actually included a similar but different GoT/Princess Bride mashup in another post a couple of years ago. It’s not inconceivable that there are others out there too. Oh well. This is still good.] 

Plenty of other amusing videos have made the rounds. Things can get awfully grim on the show, and most of the characters don’t like each other very much, so it’s nice to see some moments of levity on the set. The bloopers here are more amusing than hilarious; mostly flubbed lines. But it’s still nice to see them all having fun. Earlier this week, Seth Meyers offered a look at what Jon Snow might be like as a dinner guest. Answer: not great. There was also this Sesame Street clip that wasn’t as funny as some other TV show parodies they’ve done, but still worth a look. Because it’s Sesame Street. Doing Game of Thrones. Oh, and after the requisite Thrones-inspired couch gag a few years ago, The Simpsons dipped into the Westeros well again this year in an episode when Homer is given the opportunity to be the new face of Duff Beer.

The Simpsons, Sesame Street…there’s nothing like some good pop culture cross-pollination, and these minimalist Thrones-style house sigils, courtesy of artist Miguel Lokia, are another fine example. The Starks have “Winter is Coming,” the Targaryens have “Fire and Blood,” and the Greyjoys have “We Do Not Sow.” But what about these prominent families? (See here for others.)


Also in the Art of Thrones files, illustrators Peter and Radu came up with these travel posters that almost make you want to visit Westeros. Almost. (See here for larger versions, plus additional posters inspired by Harry Potter and Lord of the Rings.)

Finally, I came across an interesting story a while back that Martin has plans to republish a children’s story he wrote years ago called The Ice Dragon, which is set in the same world as his Song of Ice and Fire. If you’re anything like me, your reaction to that is something like, “George R.R. Martin wrote a children’s story???” Apparently so. In fact, now he’s even adapted Game of Thrones for kids.

And with that, I think I’d best go and emotionally prepare myself for the brutality, the distress and the bloodshed that shall begin anew tomorrow night. Gods, I love it.

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August 24, 2014

Emmy Nominations 2013-14: Reaction Mishmash

Filed under: Emmys,TV — DB @ 9:45 am
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The Emmy Awards are upon us, and once again this year’s crop of nominees reminds us that there is an astonishing level of quality across today’s television landscape…if it can even still be referred to as television now that online entities like Netflix, Amazon and Hulu are presenting original programming. Unfortunately, it tends to be what isn’t nominated that serves as the reminder, for no matter what makes the cut, there remains so much great work that is left out. As I say every year, there is simply too much good work out there for all of it to receive the celebration it deserves come Emmy season. But that doesn’t stop TV critics and avid watchers from sounding off anyway. For the past couple of years I’ve offered a slate of write-ups for work that stood out to me as nomination worthy but went unrecognized. I really need to work on those throughout the season, while the shows are fresh in my mind, but I dropped the ball this year. Still, I have thoughts on what was and wasn’t nominated, and I’ll be damned if I’m just going to keep them to myself. I’m a blogger! So here’s a down-and-dirtier version of this annual post. I’m not making predictions here; the Emmys are far too erratic and offbeat for me to apply my Oscar mojo. This is just a rundown of the nominees, accompanied by thoughts and opinions where I have them. Maybe I’ll get my act together next year. Until then….

 

OUTSTANDING COMEDY SERIES
The Big Bang Theory
Louie
Modern Family
Orange Is The New Black
Silicon Valley
Veep

Thoughts: As entertainment award travesties go, the annual omission of Parks and Recreation is one for the books. How does this show get passed over year after year after year? With all respect to the fine Modern Family, Parks and Rec dances circles around it. It’s more ambitious in its storytelling, it develops its characters with greater depth and it continues to offer surprises each season while Modern Family and other shows just do more of the same…even if they do it well. And on top of all that, it’s hilarious and still has the best comedic ensemble on TV right now. I don’t watch The Big Bang Theory, but I’d bet it too falls short of Parks and Recreation in almost every metric.

On the upside, it’s nice to see Silicon Valley land a nomination for its debut season. The show came out of the gate strong and never faltered. I have yet to get around to Orange is the New Black, but by all accounts it’s a true original and a deserving nominee…if not necessarily the right fit for this category.

OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES
Lena Dunham – Girls
Edie Falco – Nurse Jackie
Melissa McCarthy – Mike & Molly
Julia Louis-Dreyfus – Veep
Amy Poehler – Parks and Recreation
Taylor Schilling – Orange is the New Black

Thoughts: At least Amy Poehler got some love for Parks and Rec, though the fact that she hasn’t won yet is every bit as scandalous as the show itself not being nominated. Yes, we all adore Julia Louis-Dreyfus, but she’s got plenty of Emmys at this point, and while her work on Veep is excellent, the character doesn’t have the range of Poehler’s Leslie Knope. She won her first Golden Globe for the role in January. Perhaps this will finally be her year at the Emmys as well?

Also, how about getting some Mindy Kaling up in this joint?

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OUTSTANDING LEAD ACTOR IN A COMEDY SERIES

Louis C.K. – Louie
Don Cheadle – House of Lies
Ricky Gervais – Derek
Matt LeBlanc – Episodes
William H. Macy – Shameless
Jim Parsons – The Big Bang Theory

Thoughts: Ricky Gervais’ nomination for the Netflix series Derek is quite the surprise. The series hasn’t garnered the acclaim or noteriety of The Office or even Extras, so it’s a testament to Gervais’ appeal that he made the cut over more widely predicted people like Brooklyn Nine-Nine‘s Andy Samberg (who took the Golden Globe) and Silicon Valley’s Thomas Middleditch. I’m also giving a shout-out to the great Chris O’Dowd, who was a real joy as the lead in Christopher Guest’s mellow HBO comedy Family Tree.

As for the win, I gotta go with Louis C.K.

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
Mayim Bialik – The Big Bang Theory
Julie Bowen – Modern Family
Anna Chlumsky – Veep
Allison Janney – Mom
Kate McKinnon – Saturday Night Love
Kate Mulgrew – Orange is the New Black

OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
Fred Armisen – Portlandia
Andre Braugher – Brooklyn Nine-Nine
Ty Burrell – Modern Family
Adam Driver – Girls
Tony Hale – Veep
Jesse Tyler Ferguson – Modern Family

Thoughts: Can someone explain to me how Fred Armisen is a Supporting Actor on Portlandia? He’s the co-lead and co-creator of the show. He doesn’t belong here, especially at the expense — yet again — of any member of the Parks and Recreation crew. Nick Offerman remains the show’s most egregiously overlooked cast member, but Chris Pratt, Aziz Ansari and Adam Scott are plenty deserving.

Silicon Valley also boasts an impressive group of supporting players, any of whom — T.J. Miller, Martin Starr, Kumail Nanjiani, Zach Woods or the late Christopher Evan Welch — would have been welcome additions here.

Returning nominees Adam Driver, Tony Hale and Ty Burrell all deserve a place once again, and Andre Braugher is a welcome addition for his deadpan precinct captain. His co-star Joe Lo Truglio would have been deserving too…though again, neither outshine the men of Parks and Rec. I really don’t get the Emmy’s aversion to that show.

I would love to see Driver take this. Reigning champ Hale is terrific, but Adam Driver is one of the most exciting actors anywhere right now. His work on Girls has been remarkable from day one, and he continues to take his character in fascinating and unexpected new directions.

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OUTSTANDING GUEST ACTRESS IN A COMEDY SERIES

Uzo Aduba – Orange is the New Black
Laverne Cox – Orange is the New Black
Joan Cusack – Shameless
Tina Fey – Saturday Night Live
Natasha Lyonne – Orange is the New Black
Melissa McCarthy – Saturday Night Live

The Guest Performer Emmys were handed out last weekend at the Creative Arts ceremony, and the prize went to Uzo Aduba. As I mentioned above, I have yet to see Orange is the New Black, but even I’m aware of her breakout character Crazy Eyes.

OUTSTANDING GUEST ACTOR IN A COMEDY SERIES
Steve Buscemi – Portlandia
Louis C.K. – Saturday Night Live
Gary Cole – Veep
Jimmy Fallon – Saturday Night Live
Nathan Lane – Modern Family
Bob Newhart – The Big Bang Theory

Thoughts: Another Parks and Recreation omission: is it not far past the time to recognize Ben Schwartz for his hilarious recurring work as Jean-Ralphio Saperstein? This is a show that has done such a phenomenal job of building up a roster of recurring characters to fill out the town of Pawnee, and none are funnier or more well-honed than hipster doofus Jean-Ralphio. His impact on the show has been significant enough that the creators gave him an equally hilarious sister Mona Lisa (Jenny Slate) and this past year introduced Henry Winkler as their father. Given how this show has been passed over by Emmy voters across the board, I can hardly expect Schwartz to be singled out. But he sure deserves it.

All that aside, the winner was Jimmy Fallon.

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OUTSTANDING WRITING FOR A COMEDY SERIES

David Crane, Jeffrey Klarik – Episodes (Episode 305)
Louis C.K. – Louie (So Did the Fat Lady)
Liz Friedman, Jenji Kohan – Orange is the New Black (I Wasn’t Ready – Pilot)
Alec Berg – Silicon Valley (Optimal Tip-To-Tip Efficiency)
Simon Blackwell, Tony Roche, Armando Iannucci – Veep (Special Relationship)

Thoughts: Cheers to the voters for nominating the season finale of Silicon Valley, which featured one of the funniest sequences I saw anywhere all year: a serious discussion amongst software engineers about how one of them could theoretically jerk off 800 men in ten minutes. This was inspired. The best part is that, as with much of the show’s shop talk, the concept had to be worked out with the help of a legitimate engineering genius — 27 year-old MIT grad Vinith Misra. While discussing his work as an advisor to the show in this interview, he mentioned that his tasks included “performing a detailed mathematical analysis in support of a penis joke.” Fantastic.

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OUTSTANDING DIRECTING FOR A COMEDY SERIES

Iain B. MacDonald – Episodes (Episode 309)
Paris Barclay – Glee (100)
Louis C.K. – Louie (Elevator, Part 6)
Gail Mancuso – Modern Family (Vegas)
Jodie Foster – Orange is the New Black (Lesbian Request Denied)

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OUTSTANDING DRAMA SERIES

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

Thoughts: Although I don’t watch The Good Wife, I gathered that it had a strong season. I couldn’t escape the news of a major cast member’s dramatic exit, so it’s surprising that the buzz didn’t translate into a nomination. Much as I enjoy Downton Abbey, I’m not sure if it belongs here when other acclaimed shows like Good Wife, The Americans, or Masters of Sex were shut out. The Bridge had an impressive debut run too. It would also be nice to see more genre shows join Game of Thrones. Neither The Walking Dead nor Bates Motel have Thrones’ prestige factor, but both are coming off high-quality seasons. And Hannibal is not only riveting, but one of the most visually arresting shows on the air. Also, I have to say, True Blood bounced back in a big way last year.

I’d like to think this will be the year that Game of Thrones triumphs, but it’s a tough call. It’s unanimously agreed that Breaking Bad’s final season completely nailed it, and might even have been the show’s best yet. But those episodes aired a year ago, and it may be too far out of mind to claim the prize for the second year in a row…though most fans of the show would say that only one Outstanding Drama Series win is not enough. True Detective is the big threat here. Fueled by the presence of Woody Harrelson and Matthew McConaughey, the show was highly anticipated and lived up to the potential. It was an instant hit — smart, engrossing and atmospheric. And it’s probably more in Emmy voters’ wheelhouse than Game of Thrones. One potential hiccup is that earlier this month, accusations surfaced that True Detective‘s creator Nic Pizzolatto plagiarized portions of the show’s dialogue. He and HBO have denied the charges, and the timing does seem suspicious. The show ended its run in March, but this story doesn’t hit until August, in the middle of the Emmy voting period? Sounds like the work of Tywin Lannister…

OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES
Lizzy Caplan – Masters of Sex
Claire Danes – Homeland
Michelle Dockery – Downton Abbey
Julianna Margulies – The Good Wife
Kerry Washington – Scandal
Robin Wright – House of Cards

Thoughts: Does Michelle Dockery really belong here? She does good work as Lady Mary, but in a crowded field, I can think of a few performances that have more going on than hers. How about Vera Farmiga, nominated last year for her wonderful work on Bates Motel? The Bridge’s Diane Kruger, might have been a more interesting choice as well. I don’t watch any of the following shows, but what I hear of Tatiana Maslany (Orphan Black), Keri Russell (The Americans), Connie Britton (Nashville), Katey Sagal (Sons of Anarchy) and the usually-nominated Elisabeth Moss (Mad Men) suggests that all are eminently Emmy worthy.

OUTSTANDING LEAD ACTOR IN A DRAMA SERIES
Bryan Cranston – Breaking Bad
Jeff Daniels – The Newsroom
Jon Hamm – Mad Men
Woody Harrelson – True Detective
Matthew McConaughey – True Detective
Kevin Spacey – House of Cards

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Thoughts:
Poor Michael Sheen. The Masters of Sex star is always the bridesmaid to his co-stars. The Queen: Helen Mirren wins the Oscar, but he’s not nominated. Frost/Nixon: Frank Langella gets the Oscar nomination, Sheen is passed over. Now Lizzy Caplan is welcomed into the Emmy race for Masters while Sheen is yet again ignored. Perhaps he can take some consolation in the fact that as always, this is a jam-packed category. There’s really nobody here who doesn’t deserve their place. Some might say Jeff Daniels, who pulled off a surprise win last year, but critics and pundits just don’t like The Newsroom. Whatever they think of the show though, Daniels is terrific. Many expected James Spader to be a shoo-in for The Blacklist, and there were hopes that Matthew Rhys would find his way in for The Americans. But there can be only six.

Jon Hamm remains Emmy-less for Mad Men, which probably should be rectified at some point, but it’s unlikely to be this year. While Bryan Cranston could take it one final time for Breaking Bad, this award seems destined for McConaughey, who was spellbinding on True Detective. His first foray into series television further bolstered the hot streak that he’s been on in the movies. He’ll need some more shelf space to add all the True Detective awards he’s bound to win over the next six months to the swarm he already collected for Dallas Buyers Club. His next two projects are with Christopher Nolan and Gus Van Sant. Dude is crushing it.

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
Christine Baranski – The Good Wife
Joanne Froggatt – Downton Abbey
Lena Headey – Game of Thrones
Anna Gunn – Breaking Bad
Christina Hendricks – Mad Men
Maggie Smith – Downton Abbey

Thoughts: I’m always pleased by any recognition for the Game of Thrones cast, so I’m happy to see Lena Headey score her first nomination. I still say Maisie Williams is the cast’s most deserving female, but I’ll take what they give me.

I didn’t expect the Emmys to suddenly find room for The Walking Dead in a main category, but Melissa McBride certainly deserved a place here this year. McBride’s Carol has had the best character arc on the show, coming a long way from the meek, abused wife she was at the start to the badass warrior momma she is now, one of the toughest of the survivors, who makes difficult life or death decisions and then follows through, all for the greater good. Her evolution and do-what-needs-to-be-done attitude were crystallized in this season’s episode “The Grove,” which saw Carol execute her most heartbreaking decision yet. I had some issues with the how the story played out — I think the writing failed to explore the situation as fully as it needed to (and easily could have) before the ultimate solution was reached — but I have no issues with McBride’s performance. It was a textbook example of the kind of showcase episode that should earn an actor a nomination.

I also want to make a stand for Caitlin FitzGerald, from Masters of Sex. As the warm, supportive wife to Michael Sheen’s intense title character, FitzGerald had the challenge of taking a 1950’s housewife whose lot in life seems to be supporting her man, and turning her into a character who was, in her way, just as strong and compelling as Lizzy Caplan’s less conventional woman of the era. FitzGerald quickly evolved into my favorite character on the show, as I found myself looking forward to her scenes more than anyone else’s.

Lastly, while I can’t comment on Baranski, Gunn or Hendricks, I can say the category should have found room for The Newsroom’s Olivia Munn. Probably the least experienced of the show’s primary cast members when it debuted, she was strong from the start and does great work week in and week out. If she had been giving the same performance on The West Wing, she’d have been nominated.

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OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES

Josh Charles – The Good Wife
Jim Carter – Downton Abbey
Peter Dinklage – Game of Thrones
Mandy Patinkin – Homeland
Aaron Paul – Breaking Bad
Jon Voight – Ray Donovan

Thoughts: Could sentiment be with Josh Charles, given his character’s high-profile departure from The Good Wife? Or will voters look to Aaron Paul one last time for Breaking Bad? No surprise, I’m rooting for Dinklage to win for a second time. His arc this season provided great material, both showy and subtle, and he was as stellar as ever. Unfortunately, he is once again the show’s sole representative. Several of his castmates could just as easily join him here, but all were overlooked. One particular absence stings because the character won’t be returning, and has been one of the standouts each year. I’m avoiding his name for spoilers sake, but those of you watching probably know who I mean. Frankly, if this entire category were comprised of Thrones actors,  it would be entirely justified.

Voters might also have considered Jeffrey Wright’s work on Boardwalk Empire. He was an excellent addition to the show, and a more interesting character than Bobby Cannavale’s Emmy-winning villain from the previous season.

OUTSTANDING GUEST ACTRESS IN A DRAMA SERIES
Kate Burton – Scandal
Jane Fonda – The Newsroom
Allison Janney – Masters of Sex
Kate Mara – House of Cards
Margo Martindale – The Americans
Diana Rigg – Game of Thrones

Thoughts: Kate Mara? Really? Nothing against her or her performance, but her arc on House of Cards was pretty brief this year. Does she really deserve this slot? Diana Rigg is so good on Game of Thrones, but she was in much less of the season this year than last. If she didn’t win then, it’s unlikely that she would now.

And she didn’t. The award went to Alison Janney, and that’s hard to argue with. Janney was heartbreaking as a wife and mother experiencing her sexual awakening as she learns that her husband — fellow nominee Beau Bridges — is not the man she thought he was.

OUTSTANDING GUEST ACTOR IN A DRAMA SERIES
Dylan Baker – The Good Wife
Beau Bridges – Masters of Sex
Reg E. Cathey – House of Cards
Paul Giamatti – Downton Abbey
Robert Morse – Mad Men
Joe Morton – Scandal

Thoughts: Pedro Pascal came into the crowded Game of Thrones cast and immediately carved himself a place of honor with a compelling portrayal of a revenge-minded prince. He seemed a shoo-in for recognition here. I mean, it was fun to see the great Paul Giamatti pop up on Downton Abbey, but I’d trade his one-episode appearance for Pascal’s pivotal season-long role in a heartbeat. It’s disappointing to see him passed over.

I’ve only seen half of these nominees — Giamatti, Bridges and Cathey. I’d have gone with Bridges’ wrenching turn as a married man grappling with his homosexuality. The scenes of his professional relationship — he plays Michael Sheen’s longtime friend and boss — are terrific, but the character’s personal struggles deepen the role and allow Bridges to do some beautiful work. Alas, the winner was Joe Morton (Miles Dyson, for all you Terminator 2 fans). Though I don’t watch Scandal, I’ve always liked Morton, so it’s nice to see a working actor like him get some recognition.

OUTSTANDING WRITING FOR A DRAMA SERIES
Moira Walley-Beckett – Breaking Bad (Ozymandias)
Vince Gilligan – Breaking Bad (Felina)
David Benioff, D.B. Weiss – Game of Thrones (The Children)
Beau Willimon – House of Cards (Chapter 14)
Nic Pizzolatto – True Detective (The Secret Fate of All of Life)

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OUTSTANDING DIRECTING FOR A DRAMA SERIES

Tim Van Patten – Boardwalk Empire (Farewell Daddy Blues)
Vince Gilligan – Breaking Bad (Felina)
David Evans – Downton Abbey (Episode 1)
Neil Marshall – Game of Thrones (The Watchers on the Wall)
Cary Joji Fukunaga – True Detective (Who Goes There)

Thoughts: Without having seen the Breaking Bad episodes, I have no doubt both were expertly crafted. And the nominated episode of True Detective got a lot of attention for its lengthy tracking shot that moved in and out of several houses as it followed McConaughey’s character on an undercover assignment gone bad. But how can anything here compare to the directorial challenges and superb execution of the battle for Castle Black on Game of Thrones? The extensive use of visual effects to create so much of the surroundings, the multiple storylines playing out within the limited location, the ability to make it all look so impressive and cinematic on a TV budget. This is the first directing nomination Thrones has received in three seasons, and its omission from the past two years is absurd. It deserves the award not just for this episode, but as compensation for past mistakes.

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OUTSTANDING MINISERIES

American Horror Story: Coven
Bonnie & Clyde
Fargo
Luther
Treme
The White Queen

Thoughts: American Horror Story is always a force to be reckoned with, but Fargo was the buzzy critic’s darling this year, and accomplished the impressive feat of standing on its own in the shadow of a classic piece of contemporary cinema. I wasn’t totally sold on it at first, but it grew on me steadily as it went along, and I still find myself thinking about it. I’ll definitely have to revisit it eventually.

OUTSTANDING TELEVISION MOVIE
Killing Kennedy
Muhammad Ali’s Greatest Fight
The Normal Heart
Sherlock: His Last Vow
The Trip to Bountiful

OUTSTANDING LEAD ACTRESS IN A MINISERIES OR MOVIE
Helena Bonham Carter – Burton and Taylor
Minnie Driver – Return to Zero
Jessica Lange – American Horror Story: Coven
Sarah Paulson – American Horror Story: Coven
Cicely Tyson – The Trip to Bountiful
Kristen Wiig – The Spoils of Babylon

Thoughts: How awesome is it to see Kristin Wiig sneak into this line-up for her performance in the absurd comedic series The Spoils of Babylon? This show was totally ridiculous, and totally hilarious. Not everyone’s style of comedy, I’m sure, but for those who appreciated what they were going for, it was lots of fun, and Wiig was aces.

OUTSTANDING LEAD ACTOR IN A MINISERIES OR MOVIE
Benedict Cumberbatch – Sherlock: His Last Vow
Chiwetel Ejiofor – Dancing on the Edge
Idris Elba – Luther
Martin Freeman – Fargo
Mark Ruffalo – The Normal Heart
Billy Bob Thornton – Fargo

Thoughts: The delightful ubiquity of Martin Freeman is evident in the fact that half his fellow nominees are actors he’s worked with. He’s joined here by his Fargo co-star Thornton, as well as his Sherlock and The Hobbit pal Cumberbatch. Plus he and Ejiofor were both in Love, Actually. But they had no scenes together, so maybe that doesn’t count? You decide.

Jesus, this is a strong line-up. Tough, tough call.

OUTSTANDING SUPPORTING ACTRESS IN A MINISERIES OR MOVIE
Angela Bassett – American Horror Story: Coven
Kathy Bates – American Horror Story: Coven
Ellen Burstyn – Flowers in the Attic
Frances Conroy – American Horror Story: Coven
Julia Roberts – The Normal Heart
Alison Tolman – Fargo

Thoughts: No surprise that this category is dominated by ladies of American Horror Story. Bassett, Bates and Conroy were all fantastic. The former two especially, had probably the best roles they’ve had in ages thanks to Ryan Murphy and his team, who can always be counted on to create roles that actresses can tear into. It’s no wonder they signed on to return for the upcoming season, American Horror Story: Freak Show. It will be a challenge to choose between them. So maybe the voters won’t, going instead for Allison Tolman’s wonderful breakout turn in Fargo.

OUTSTANDING SUPPORTING ACTOR IN A MINISERIES OR MOVIE
Matt Bomer – The Normal Heart
Martin Freeman – Sherlock: His Last Vow
Colin Hanks – Fargo
Joe Mantello – The Normal Heart
Alfred Molina – The Normal Heart
Jim Parsons – The Normal Heart

Thoughts: This category is kind of a slap in the face to Taylor Kitsch. He was the only main cast member of The Normal Heart to be overlooked, and he was just as good as everyone else. He certainly had a bigger role than Joe Mantello, but Mantello had something that Kitsch unfortunately didn’t: a showstopping scene in which he took center stage and was allowed to fly. He was basically nominated for that one scene. All the other cast members had at least one standout moment like that. Kitsch’s character didn’t, and it probably cost the actor a nomination.

OUTSTANDING WRITING FOR A MINISERIES, MOVIE OR DRAMATIC SPECIAL
Brad Falchuk – American Horror Story: Coven (Bitchcraft)
Noah Hawley – Fargo (The Crocodile’s Dilemma)
Neil Cross – Luther
Larry Kramer – The Normal Heart
Steven Moffatt – Sherlock: His Last Vow
David Simon, Eric Overmeyer – Treme (…To Miss New Orleans)

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OUTSTANDING DIRECTING FOR A MINISERIES, MOVIE OR DRAMATIC SPECIAL

Alfonso Gomez-Rejon – American Horror Story: Coven (Bitchcraft)
Adam Bernstein – Fargo (The Crocodile’s Dilemma)
Colin Bucksey – Fargo (Buridan’s Ass)
Stephen Frears – Muhammad Ali’s Greatest Fight
Ryan Murphy – The Normal Heart
Nick Hurran – Sherlock: His Last Vow

OUTSTANDING VARIETY SERIES
The Colbert Report
The Daily Show with Jon Stewart
Jimmy Kimmel Live
Real Time with Bill Maher
Saturday Night Live
The Tonight Show Starring Jimmy Fallon

Thoughts: The golden of age of television we continue to find ourselves in is not limited to fictional series. The late night field is also full of gems, as evidenced by how strong this category is. Saturday Night Live is always going to be hit or miss, but the rest of these shows are just great. Conan could easily be here too, as could some of the other shows which pop up in the Writing category below (despite the list of nominees, this isn’t actually a late night category). Last Week with John Oliver probably debuted too late in the season to qualify, but its chances next year are looking great. Strong as all of these shows are though, none of them equal the satirical brilliance of The Colbert Report, which finally won this award last year after a record-setting 10 years of domination by The Daily Show.

OUTSTANDING WRITING FOR A VARIETY SERIES
The Colbert Report
The Daily Show with Jon Stewart
Inside Amy Schumer
Key & Peele
Portlandia
The Tonight Show Starring Jimmy Fallon

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OUTSTANDING ANIMATED PROGRAM

Archer (Archer Vice: The Rules of Extraction)
Bob’s Burgers (Mazel Tina)
Futurama (Meanwhile)
South Park (Black Friday)
Teenage Mutant Ninja Turtles: The Manhattan Project

Thoughts: Much was made of the fact that for the first time in 23 years, The Simpsons wasn’t nominated. The consenus may be that the show is long past its prime, but I still probably laugh harder and more often during a Simpsons episode than I do at any other series. Now maybe Teenage Mutant Ninja Turtles is good…but better than The Simpsons? I seriously doubt it.

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I’m looking forward to seeing how it all shakes out. Seth Meyers hosts the show, which airs tomorrow night, Monday, August 25, on NBC. Go Amy Poehler and Game of Thrones!

And now I leave you with another classic moment of Emmy past.

 

June 29, 2014

Sunday Mourning (A Lament for Game of Thrones)

Filed under: TV — DB @ 10:00 am
Tags: , , , , ,

This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, make like a heart tree — you know, the kind with the faces of the Gods carved on them  and leave.

It never gets easier. Another season of Game of Thrones ends, and the impact of the loss doesn’t really hit until a week after the finale, when there is no new episode to watch. Then you start to think about the 40 or so more weeks that you have to get through before the show will be back, and you try to get excited about True Blood, and sure it’s good to see Lafayette and Eric and Jessica again, but nothing can fill that hole. Here we are two weeks later, and still I can’t let go. Perhaps getting all of this out of my system will help.

BRING OUT YOUR DEAD
If last year’s Red Wedding seemed like an untoppable twist of fate, that notion was dispelled early in the season with the first of what would be many high profile deaths this year. The only disappointment about Joffrey’s inevitable demise is that we no longer get to root for Joffrey’s inevitable demise. That, and we had to bid farewell to Jack Gleeson, who brought him to such brilliantly bratty life. George R.R. Martin and showrunners David Benioff and D.B. Weiss all said in interviews that they hoped watching Joffrey’s desperate gasps for breath would make people feel a little bit of pity for him, perhaps recognizing that at the end of the day he’s just a kid who’d been living out a grossly inflated sense of entitlement. If that was their goal, I’m sorry to say they failed. I don’t think anyone felt sympathy for this devil. He beheaded Ned Stark, endlessly tormented Sansa, abused prostitutes, pumped Ros full of arrows, ordered the murder of every dark-haired bastard in King’s Landing, respected nothing and nobody, ridiculed everyone around him from Tyrion to The Hound to Jaime to Tywin…he was a loathsome little fucker and the only thing people seemed to regret about his death was that it was neither painful nor prolonged enough. To that end, Vulture asked several of the cast members how they would have killed Joffrey, collecting a range of colorful answers…none of which go further than what one friend of mine suggested in an email:

Not good enough.  I wanted to see his flesh boiled away while he watched his mom penetrated by that knife dildo from Seven. After their nails were pulled out along with their teeth. After hungry pigs fed on their hands and feet. After they ate shit that spewed directly from a donkeys anus that had just eaten another donkey’s shit.

After the entire kingdom got to urinate on him.

Still glad to see him die though!

And of course, social media had plenty of fun reactions, several of which were supposedly tweeted by characters on the show, including Joffrey himself. In the end, as loathsome as he is on paper, a significant chunk of our feelings about Joffrey are due to Gleeson’s spot-on portrayal. Both he and the character will be missed, and if you’d like to bid a final farewell to the actor as he really is, here’s a 30 minute Q&A he did last fall at University College Dublin.

Joffrey’s death so early in the season was definitely among Thrones’ best surprises to date, but the most shocking moment I’ve witnessed on the show came with the eye-popping defeat of Oberyn Martell. Despite being a new addition to the story this year, Oberyn — so wonderfully played by Pedro Pascal — quickly earned everyone’s affection and seemed like a character destined to be around for a while, especially once he tied his fate to Tyrion’s. Even though Martin has proven that no one is safe in his stories, you kinda figure that some people are pretty safe…at least until the series gets closer to ending. I just didn’t believe that Tyrion was going to die, and so it stands to reason that going into his trial by combat, Oberyn was bound to prevail over Gregor Clegane, The Mountain Who Rides. But I should have known by now that if something seems so obvious, Martin will find another way. Even as The Mountain was gouging out Oberyn’s eyes, I was thinking, “Okay — he’s gonna stab The Mountain in the head and crawl out from underneath, and the cost of his revenge will be the loss of his eyes.” Nope! Martin took it further and had The Mountain pop Oberyn’s entire head like a watermelon at a Gallagher show. I will NEVER unsee that sight.

It was such a crushing loss (no pun intended, really), as Oberyn went into the fight brimming with confidence. His victory — again, given the Tyrion factor if nothing else — seemed a foregone conclusion. And although the headbusting is a demise I’ll not soon forget, I think the moment before that was the one that is truly seared in my brain – The Mountain pressing his thumbs into Oberyn’s eyes, blood seeping from around the edges as Oberyn wails in pain he was so certain he would not experience that day. I imagine that for most who haven’t read the books, Oberyn’s death doesn’t top the Red Wedding as far as killer twists go, but perhaps because I pretty much knew the Red Wedding was coming, the loss of Oberyn hit me even harder. Well…no — losing Robb, Catelyn and Talisa all at once like that hit me harder as a story point. But the grisly specifics of Oberyn’s death — that’s what I was referring to when I called it the most shocking moment I’ve seen on the show. Even the pregnant Talisa getting stabbed repeatedly in the abdomen didn’t get to me as much as this did.

It amused me that in interviews following the episode in question, Pascal (and maybe Benioff and Weiss, I can’t remember) pointed out that Oberyn’s Inigo Montoya-like prodding did in fact result in The Mountain confessing his crimes. I appreciate the attempt to find a silver lining, but I suspect the pressure one feels when their eyes are getting liquified and their skull is getting crushed would be too much of a distraction to really hear a confession, let alone take any satisfaction in it.

Though his time on the show was brief, Oberyn emerged as one of my favorite characters. I took his loss hard. While this is little consolation, I enjoyed seeing Pascal riff about how Oberyn’s funeral should play out, while illustrators for Vanity Fair transferred his description to paper.

The only problem with that drawing? There’s still a head on the body.

Joffrey and Oberyn are just the tip of the broadsword, of course. This season was a goddamn bloodbath. We lost so many characters — some major, some minor, but all essential parts of the fabric that make the show what it is. Jon Snow’s Night’s Watch brothers Grenn and Pyp may not have been key characters, but they were there with him at Castle Black since day one, and I was sad to lose them. Locke, the man who cut off Jaime’s hand, was a great character who met a rough end when his neck was snapped by a Bran-controlled Hodor. (Hodor.) We lost Ygritte and crazy Lysa Arryn along the way, and then came the season finale, knocking four primary players permanently off the board.

Of these, the one that most fans will probably be least troubled by is Bran’s spiritual guide and fellow warg, Jojen Reed, but I’ll miss him. He didn’t appear until Season Three, and even with two years on the show we didn’t get to spend as much time with him as I would have liked. In my previous GoT post, I wondered whether Bran’s gift would allow him to eventually discover the identity of Jon Snow’s mother — a question that is bound to be important down the line — because I was under the impression that everyone who might know the answer is dead. But someone reminded me that Jojen and Meera’s father, Howland Reed, was a close friend to Ned Stark who was with him during Robert’s rebellion and might well know the truth about Jon’s lineage. Though we haven’t met him yet, Howland Reed is alive and well in the north. With Jojen now gone, Meera lives on (for now, at least) to potentially help connect those dots. (Speaking of Jon’s mystery mother, Kit Harington recently weighed in on the subject, but read at your own risk: this article reveals the prevailing theory, and touches on a few other Snow-related theories that could be considered slightly spoiler-ish.)

Tyrion lived to see another day, but the same can’t be said for Shae or Tywin. Finding Shae in his father’s bed must have been an even bigger heartbreaker for Tyrion than when she lied about him at the trial. Now he’s fleeing Westeros for the free cities, something that Shae repeatedly begged him to do ever since his near-murder at the Battle of Blackwater. Their love story dissolved so tragically this season, from him cruelly dismissing her early on in an effort to save her life, to her lies about him at the trial, to that final violent encounter. Poor Tyrion. Even killing Tywin was surely a conflicted act, given that no matter what an asshole his father was, Tyrion always sought his love and approval. He might have even settled for grudging respect, which Tywin tried to sell him while sitting on the loo, but it was too late.

Losing Tywin is rough. He’s easily one of the show’s strongest characters, as fascinating to watch when he’s silently writing a letter as when he’s confidently manipulating everything and everyone around him. Charles Dance has nailed this guy so perfectly, right from his first appearance back in Season One when he was skinning a stag and lecturing Jaime. I guess it goes back to no one being safe. As Weiss said in Entertainment Weekly‘s March cover story, “There are several characters whose loss would [hurt the show]. But that doesn’t mean they won’t die.” Tywin is one of many we’ve lost who proves that point. Let’s take a moment to enjoy him in this deleted scene from Season Three, shall we? (I love this because it also pays off that great non sequitur gag from the Season One finale in which Grand Maester Pycelle reveals his true self.)

The last death in the finale is also a hard one to take, and who would have thought back in the show’s early days that The Hound would emerge as such a vital presence? But over the past season and a half in particular, he’s become a standout. Pairing him with Arya was a stroke of genius, and their scenes together have been dependable highlights of the show. Rory McCann really stepped up to the demands of the role, as the normally monotone, stoic warrior showed his vulnerable side, talking to Arya about his childhood burning at the hands of his brother, and ultimately begging her to end his suffering. His fight with Brienne was a heartstopper — not just physically intense, but emotionally as well since both characters are so great that no matter who wins, we lose. I suppose there’s a chance we could still see him next season — perhaps Littlefinger, Sansa and Robin Arryn will come upon him while exploring the Vale. But even if we see him again, survival is hard to imagine.

HURTS SO GOOD
As if all of these deaths weren’t bad enough, the show found other ways to break my heart this season, starting with Daenarys and Jorah. From the beginning, Jorah has been one of my favorite characters, so to see the spying he did on Daenarys in their early days together catch up with him now, after he’s been such a loyal adviser, kinda devastated me. It’s a significant plot development, and I think the show could have emphasized it a little more. I wanted Jorah to make more of a case for himself, and I wanted Dany to consider all the support he’s given her. How the scene plays out in the books I can’t say, but it felt like the impact should have been bigger. Regardless, seeing those two “break up” breaks me up. I stumbled upon a small spoiler about what the future holds for Jorah, and I’m definitely intrigued, but it doesn’t indicate much. I can only hope that he and Dany will eventually reconcile. After she dismissed him, I imagined a few seasons down the road, Dany is finally in Westeros, she’s in the throes of a battle for the Iron Throne, and just as an opponent is about to attack her, Jorah steps in and saves her life, having been tracking her movements and continuing to fight for her from afar. It’s a totally clichéd, “hero” moment…and therefore something Martin would never do. I’m sure he’ll come up with something much more interesting. I just worry that it will be interesting and soul-crushing instead of interesting and redemptive.

Also bumming me out? The likelihood that we’ve seen the last of Tyrion’s sellsword pal Bronn. He didn’t die, so I can be thankful for that at least, but he no longer seems to have a role to play in the story now that he’s marrying some King’s Landing noblewoman and Tyrion is sailing across the Narrow Sea. Perhaps he’ll show up again down the line, but at the moment there doesn’t seem to be a place for him. Now I have to add him to the list of characters who have departed the story for now and who I can only hope will return someday, like Gendry, Thoros of Myr, Bryndyn “The Blackfish” Tully and as of earlier this season, Olenna Tyrell, Littlefinger’s co-conspirator in taking out Joffrey. Love her.

Another of the season’s most notable events was the revelation that Jon Arryn’s murder — which set this whole game of thrones in motion from the very first episode — was committed by his wife Lysa, at the behest of Littlefinger. (Lysa wrote to Catelyn claiming the Lannisters were responsible.) Even knowing what a cunning player Littlefinger is, I could not believe that he had been pulling the strings from the beginning. If there was any doubt that his name belongs on Arya’s list, this clinches it.

THERE WILL BE BLOOD
So what’s next? Books Four and Five of Martin’s saga take place concurrently, covering different sets of characters, so both will serve as source material for the coming season. These books are considered to be less eventful that the previous three, but I’m expecting plenty of juicy developments nonetheless, considering that the board is so shaken up at the end of this season. Season One concluded with nearly every main character positioned in an exciting way, and this season accomplished the same. Arya is off to Braavos, where she will hopefully hook back up with Jaqen H’ghar; Tyrion and Varys are headed across the sea as well, and whatever that duo gets up to, you know it will be terrific. I loved Stannis and Davos meeting up with Jon Snow, and can’t wait to see where that storyline goes. Did you note that loaded stare exchanged between Jon and Melisandre? We should also be getting more of Mance Rayder now that he’s Stannis’ prisoner. Bran will finally start learning about his destiny and how his special gifts will serve him; and Dany is going to be pretty lonely with her dragons locked up, Jorah banished, and Grey Worm and Missandei getting lost in each other’s eyes. Ser Barristan is good company, but the Khaleesi is fast becoming acquainted with the challenges — and the isolation — of leadership.

Oh, and can we talk about Sansa for a minute? She always gets a bad rap, but sometimes playing the game means being smart enough to keep quiet and not ruffle any feathers. (This solid piece from TV Guide makes a strong case for the eldest Stark daughter.) You may remember back in Season Two when Joffrey was tormenting Sansa in the throne room, ordering Ser Meryn to beat her and tear her clothes off while onlookers stood and watched. Tyrion came to her rescue, and while he escorted her out of the room, he asked quietly if she wanted out of her arranged marriage. Sansa composed herself and replied that she was loyal to her beloved Joffrey. As he watched her walk away, Tyrion remarked to himself that Sansa might survive them yet. If she manages to wrap Littlefinger around her little finger, Tyrion’s assessment may prove correct. Littlefinger’s interest in Sansa grows ever more creepy. There is a mentor/student-like quality to their relationship, but he also appears to have some sketchy romantic intentions toward her, likely seeing traces of his beloved Catelyn when he looks at her. Sansa seems wise to his interest, and now appears to be playing it to her own benefit, as evidenced by her detailed lie about Lysa’s death and the mature confidence that she’s suddenly wearing along with her decidedly more daring new outfit. Can a player of Littlefinger’s stature be played, and by a novice like Sansa at that? Time will tell.

Lastly, let’s not forget the shitstorm that awaits at King’s Landing. Tyrion’s escape will have Cersei seeing red just as Tywin’s death returns her to a position of considerable power. Surely she’ll have no doubt that Jaime helped Tyrion escape, which should lead to some damning repercussions. Their relationship was already tenuous this past season, and even though she reignited their flame in the finale, I am dubious of her true intentions. As Tyrion said to Oberyn, “Making honest feelings do dishonest work is one of her many gifts.” Maybe her renewed affection toward Jaime was genuine, but it was also a power play against Tywin, coming immediately after she made it clear to her legacy-obsessed father that the rumors about her and Jaime were true. Her subsequent moves on Jaime could be a calculated effort to keep him in check. Not that it worked — even after their romp on the table he still helped Tyrion flee. With Tommen still too young to take the throne, Cersei will once again be flexing her power. Who will be the new Hand of the King? Where will this leave Margaery? Her planned marriage to Tommen, like her marriage to Joffrey, was an alliance of Tywin’s design. But Cersei is no fan of Margaery — I believe “doe-eyed little whore” was one description she used — and without Tywin there, who will stop Cersei from making whatever arrangements she wants?

By the way, how much does it suck to be the kid who played Tommen in the first three seasons? He barely gets to say two words, and then when things start to get interesting for the character, they re-cast the part! Imagine you’re Tommen, and Margaery Tyrell sneaks into your bedroom at night wanting to share secrets with you and talk of your future wedding. You would probably experience the entirety of puberty right at that moment. Now imagine you’re the actor playing Tommen, doing that scene with Natalie Dormer. The result would probably be about the same.

Even the storylines that are less shaken up at the moment promise to remain interesting. What kind of leadership will Roose and Ramsay Bolton impose on the North, and where will Theon Reek fit in? What’s the next move for Theon’s father and sister? After letting Arya slip away, will Brienne and Podrick (another of the story’s inspired, unexpected, sitcom-worthy pairings) have better luck finding Sansa? And even if they do, what then?

How about new characters and locations? The show is supposed to travel to Oberyn’s homeland of Dorne next season, where we can expect to meet at least some of Oberyn’s daughters, plus reconnect with Cersei’s daughter Myrcella. Maybe Oberyn’s special ladyfriend Ellaria Sand will be featured more prominently. She didn’t have much to do this season, but with no reason to stick around King’s Landing, she would presumably head back to Dorne.

A DILEMMA WITH DRAGONS
I gather that the show has started to diverge from the books with greater frequency and has even started moving beyond the books, a point which garnered a lot of attention midway through the season when a White Walker took one of Craster’s last sons, carried him into some sort of ritualistic setting, touched an icy fingertip to the baby’s forehead and turned him into a blue-eyed, frost-lipped MiniMe. It was chilling…and not just because of those sub-zero northern temperatures. This scene was called out as a major spoiler, but I think you have to be keeping up with the books to understand why. For those of us just watching the show, I don’t see what’s been spoiled.

Yet it does reinforce that the show is on the precipice of not just catching up to the books, but moving beyond them. “The locomotive is coming up behind me and I’m still laying the tracks,” Martin told EW.com at Comic-Con last year. He is still working on The Winds of Winter, the sixth book of his planned seven, and I don’t think anyone expects it to be published before Season Five of the show hits next spring. Then again, just this week he offered some hints — which I haven’t read — about what readers can expect, so who knows. Maybe the tease is meant to suggest that he’s further along than we realize. And just recently there was buzz about Martin needing eight books to finish his story, though that sounded more like wishful thinking on the part of his editor than anything to which Martin has lent genuine credence.

When it comes to the show, Benioff and Weiss have stated this year that seven seasons is their current trajectory, which means we’re now more than halfway through, with two full books yet to be completed. On the other hand, this article — which says that the showrunners spent a week with Martin last year learning about his plans for the final books so that they can guide the show accordingly — mentions eight seasons total and the possibility of multiple seasons once again covering one book, just as Seasons Three and Four were both based on Book Three. Yet I’ve read other comments from them that contradict that. In other words, nobody knows how this timeline will shake out. While I haven’t read beyond Book Two and so have no idea what’s coming in Books Four and Five let alone after that, three more seasons doesn’t feel like it will be enough. Martin doesn’t think so either, and whatever the number works out to be, he has understandable concerns about the conclusion of the series being depicted on the show before he gets to write it. He’s suggested that once the show catches up to him, it should go on hiatus until he completes the last book, and then wrap up with a movie, adding that a feature film budget might be required to visualize the scope of his endgame. “Those dragons get real big,” he said (and from this picture, which he says accurately represents his vision of a full grown firebreather, he ain’t kidding).

THE WORLD OF ICE AND FIRE - Aegon_on_Black_Dread_J.Gonzalez

A movie is not a bad idea, but the usual season of TV would be preferable for HBO, and unless there’s a big time jump to come, the show’s kids — those that survive up to that point — aren’t going to be kids anymore. Hell, look at how young they are in that picture below from a 2009 book signing with Martin. That was posted two years before the pilot aired. That kid in the glasses is Jon Snow! And none of them are showing their age more than Isaac “Bran” Hempstead-Wright. If for no other reason than all of this dramatic growth, the show needs to conclude sooner than later. Everyone involved — not least of all Martin — wants to see the story wrap up on the page, his way, before it’s exposed on television. Martin, Benioff, Weiss and HBO have been considering these scenarios for over a year now, addressing all of these points in an interview after Season Three’s finale (which I think I included in my corresponding post last year.) But with the passing of another season, the concerns grow more acute.

The irony of all this is that the show has probably slowed down Martin’s progress on the books considerably. His fame has blown up since the show began, and though he only writes one episode per season, there are premieres and events to attend, press interviews to give throughout each season, talk shows to guest on and other related activities and appearances. If the guy could be left alone to write, he might be well into A Dream of Spring, the seventh (and if plans hold, final) book by now, instead of still at work on Book Six.

THE IRON BANK OF HOLLYWOOD
The Emmy nominations will hit in a few weeks, and hopefully Thrones will be well-represented in the top categories. It was certainly a strong, compelling season. For Best Drama Series it will likely be up against the final batch of Breaking Bad episodes, a well-received run of Mad Men, the breakout True Detective and possibly The Good Wife, which had a lot of positive attention this year. House of Cards, Homeland, Downton Abbey, Boardwalk Empire, Scandal, The Newsroom and Masters of Sex will also be jockeying for the six available slots, but I have to think Thrones will make the cut. But can it finally win?

Peter Dinklage is also a safe bet to earn his fourth nomination, and just might be able to win again this year, for the first time since Season One. His trial episode gave him some showy moments, and everyone assumes that will the one he submits for Emmy consideration. But I think he did even stronger work in the following episode, which featured three lengthy scenes in Tyrion’s prison cell: one with Jaime, one with Bronn and one with Oberyn which instantly took its place among the series finest scenes ever. Between the three, he found unexpected moments of humor in Tyrion’s dark hours, and did some of the best reacting he’s done yet on a show where his reacting is never less than perfection.

Not sure what to expect beyond that. The acting roster is certainly full of deserving nominees, but few ever break through. Emilia Clarke was nominated last year, but if I could only pick one cast member aside from Dinklage to represent the ensemble, it would be Maisie Williams, who is a ceaseless wonder as Arya. Unfortunately, the Emmys almost never nominate child actors. Only one episode, meanwhile — season finale “The Children” — was submitted for writing consideration, and it would be really nice to finally see the show earn directing nomination, which hasn’t happened since the pilot. Nothing for Season Two’s “Blackwater,” nothing for Season Three’s “The Rains of Castamere.” Maybe “The Watchers on the Wall” can break in this year. Any episode would be fine, really. It’s a spectacularly well-directed show, week in and week out. (Here are this season’s submissions for Emmy consideration in the acting, writing and directing categories.) Fantasy and sci-fi always face an uphill battle winning top awards from these voting bodies, but Thrones has undoubtedly proven its worth. Hopefully the big wins it deserves will come to pass. Bran, any visions?

FOR THE LOVE OF THE GAME
As usual, I’m pleased to share some of my favorite Thrones-inspired creations from around the internet, beginning with the continuation of the stunning Beautiful Death series, which had plenty of fodder this season. I’ve reduced the size of these, but you really need to check out the larger versions via the link above to appreciate the details. Fantastic.

Geekdom ambassador Wil Wheaton applied The Brady Bunch credits to the twisted relationships of Westeros, resulting in this amusing mash-up.

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Those who wish the show was more family friendly so they could share the joy with their kids can at least indulge in the make-believe of Walt Disney Pictures’ Game of Thrones, as some artists have been doing. In addition to the selections in that link, there’s Bran and Hodor (Hodor), Arya and The Hound, and a White Walker. A Google Images search will reveal plenty more Disney/Thrones mash-ups, but these are my favorites. The collection by Anderson Mahanski and Fernando Mendonça hits the nail on the head. I hope they keep adding more to their gallery.

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Getting back to R-rated territory, have you heard of Gay of Thrones? Jonathan Van Ness is a hairstylist in L.A.’s upscale Westwood neighborhood who recaps each episode for his clients in this hilarious Funny or Die series. Here’s his take on the season finale, which includes an amusing cameo near the end. Before you watch it though, it may help to review this handy guide that covers some of his nicknames for the characters. (Cersei = Blonde Cher, Melisandre = Stevie Nicks Red Riding Hood or Evil Gloria Estefan and Grey Worm = Baby Barack Obama). The list isn’t even complete, so the video still holds some surprises. His character names alone make the recaps worth watching. (The link also includes embeds of two earlier episodes, including one featuring Alfie “Theon” Allen as Jonathan’s customer.)

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For the mathematically inclined among you, Vulture examines the show through charts and graphs such as these.

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Those who appreciated all those YouTube videos last year of viewer reactions to the Red Wedding should relate to College Humor’s Watching Game of Thrones with People Who Haven’t Read the Books.

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Did you hear that Queen Elizabeth II and Prince Philip visited the Thrones set in Belfast last week? I don’t know if this took place simply because the show is such a popular export from her kingdom, or if it was because the Queen of England and her husband are fans, holing up in Buckingham Palace on Sunday nights to watch just like the rest of us commoners. Naturally, that’s what I prefer to think. Who wouldn’t love the idea of the Queen watching Littlefinger instruct a pair of his whores as they practice the art of oral pleasure on one another, or Oberyn get his head smushed, or Theon get castrated? While some fans were disappointed she didn’t sit on the Iron Throne, I’m just utterly charmed by the fact that she was even there.

There’s actually a 47 minute video of the entire visit online, which includes the Royal entourage meeting Benioff and Weiss in the parking lot before going into one set to view a display of the show’s props and costumes, then the throne room set, where cast members Maisie Williams (Arya), Sophie Turner (Sansa), Rose Leslie (Ygritte), Kit Harington (Jon), Conleth Hill (Varys) and Lena Headey (Cersei) were on hand. You can’t hear any of the conversation unfortunately — how I would love to know what they all talked about — but it still fascinates me to see some of the interaction. (Skip ahead to the 22 minute mark for the Queen’s arrival; the video inexplicably begins with 20 minutes of mostly static Iron Throne footage.) I can only assume that from here, she was off to visit the Crawleys at Downton Abbey.

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And finally, this. Because there’s nothing better I could leave you with than this. Not even the Queen of England admiring the Iron Throne from a rather wise, cautious distance. I posted this to my Facebook page when I discovered it in May, but if you missed it, or just need another taste, click the picture. Seriously. Click the picture.

With that, I leave you to endure the long winter in your own way. May we all find peace of mind as we wait for the game to resume in 10 months. 10 long, torturous, meaningless, empty months. Valar dohaeris.

April 6, 2014

Game On

Filed under: TV — DB @ 2:31 pm
Tags: , , , , ,

This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, sprint away like a direwolf and don’t look back.

Sweet relief! Game of Thrones is about to return.

People seemed to appreciate my attempt last year to provide a reminder of where things stood at the end of the previous year, so let me try that again. Or you can watch this 25 minute HBO special recapping the season, which would be much cooler and only slightly less time-consuming.

Obviously the effects of the infamous Red Wedding will be felt as the season begins. Robb Stark, his wife Talisa and his mother Catelyn are all dead, killed in an ambush orchestrated by Walder Frey with the backing of Tywin Lannister and the assistance of Roose Bolton, a Stark bannerman who turned against the house to which he owed his allegiance. In addition to his hand in this slaughter of the Stark army, Tywin Lannister made other moves to assure his family’s continued stranglehold on the Seven Kingdoms. He orchestrated the marriage of Tyrion to Sansa Stark, and blackmailed Lady Olenna Tyrell into betrothing Loras to Cersei. Joffrey and Margaery’s wedding approaches, and the queen-to-be is proving a much more cunning political player than the naive Sansa. Tyrion is being as decent as he can to his reluctant bride, while trying to hold onto his secret relationship with Shae, who continues to pose as Sansa’s handmaiden.

Jaime finally made it back to King’s Landing after an arduous journey on the road that saw him first antagonize and then later bare his soul to Brienne of Tarth, sharing with her the true story behind his murder of the Mad King that long ago earned him the derisive label “Kingslayer.” His vulnerable confession came after his sword hand was chopped off by Locke, a solider of House Bolton who captured Jaime and Brienne after they had been sent to King’s Landing by Catelyn Stark. And speaking of House Bolton, the sociopath who took such pleasure in fucking with Theon Greyjoy, torturing him physically, emotionally and psychologically, and ultimately cutting off his manhood, turned out to be Bolton’s bastard Ramsay Snow. So…nice gene pool.

Jon Snow, a much more likable bastard of the north, who went undercover with Mance Rayder’s wildlings, scaled The Wall but was forced to reveal his true loyalties when his fellow travelers wanted to murder an innocent farmer. Jon killed the antagonistic Orell before nearly being killed himself by Ygritte, who shot him with three arrows before he managed to ride out of range. He barely made it back to Castle Black alive. He was found there by Pyp (unseen since Season One) and Sam, who made it back to The Wall not long before, having endured his own harrowing series of events. He escaped a revolt plotted by some unsavory brothers of the Night’s Watch, who killed their host Craster as well as Lord Commander Mormont. Sam fled with Craster’s daughter Gilly and her newborn son, leading her to Castle Black and discovering along the way that an arrow carved from obsidian could destroy the White Walkers.

Upon reaching The Wall, Sam and Gilly crossed paths with Bran Stark and his companions Hodor (“Hodor”) and siblings Meera and Jojen Reed. The Reeds, from a family loyal to the Starks, sought Bran out so that Jojen could help Bran understand and develop his newfound gift of “sight” — an ability to see future, past and present that the two young men share. Their talent also allows them to enter the minds of animals and control them, but Bran discovered he could take that gift even further when he entered the head of Hodor (“Hodor!”) and briefly controlled him too, an ability which Jojen has never heard of before. Bran and company are headed beyond the wall on a vision quest to find the three-eyed raven (get out of my dreams, get into my wheelbarrow). Bran sent his younger brother Rickon to seek safety with Stark bannermen the Umbers, under the protection of Osha, the wildling girl turned caretaker of the Stark boys. And then there’s the remaining Stark sibling Arya, who had been so close to reuniting with Robb and Catelyn before their murder, and who now remains in the company of The Hound. When last we saw her, she was handling the Braavossi coin given to her by Jaqen H’ghar, who had offered to help her follow in his footsteps and become a deadly assassin who can travel unseen and literally change his face. God, I hope she does it.

gendryOver on Dragonstone, Stannis Baratheon continues to plot his next move against Joffrey. Melisandre attempted to help by delivering Stannis’ nephew — Robert’s bastard son Gendry — who she intended as a sacrifice for the power of his king’s blood. But Stannis’ advisor Davos Seaworth helped Gendry escape, and then convinced Stannis and Melisandre not to execute him for treason by sharing news from The Night’s Watch: that an army of White Walkers is amassing north of the wall and moving south. Even Melisandre admitted that this threat was real, and more important than the ongoing struggle for the Iron Throne.

Finally, Daenerys’ quest to reach the Seven Kingdoms and reclaim the Iron Throne for the Targaryen family continues to be delayed, more recently because she insists on freeing the slaves of every city she comes across. She now has three growing dragons, the enormous, highly skilled army of Unsullied under her command, and the loyalty of Missandei (the C-3PO of the Seven Kingdoms and beyond…because she can speak, like, every language), Jorah Mormont, Barristan Selmy and now Daario Naharis, a warrior for an army called the Second Sons, who has pledged his loyalty — and his heart — to the former Khaleesi. What will she do with all these slaves she keeps freeing, and how many more cities will she liberate before crossing the Narrow Sea?

Did I say finally? Don’t forget about Littlefinger, who sailed away from King’s Landing en route to the Eyrie, where he is expected to marry Catelyn’s sister Lysa Arryn, last seen fuming when Tyrion managed to win his freedom from her with the help of Bronn’s skillful swordplay. Before leaving the capital, Littlefinger disposed of Ros, the prostitute who had become his business associate but was reporting to Varys behind his back. Varys, meanwhile, unsuccessfully tried to convince Shae to leave Westeros so that she would not continue to be a complication for Tyrion, who he believes is one of the few people in the kingdoms who could bring peace and stability. She seemed to think that Tyrion had asked Varys to make this proposal on his behalf, though I don’t think that’s true. Will we ever learn about Shae’s past? If you recall the drinking game she played with Tyrion and Bronn in Season One, she clearly doesn’t fit the profile of the typical Westerosian whore. What’s her story?

The show’s ability to juggle all of these characters and storylines is among its most impressive feats. And while more will surely die this year, others will arrive. The most notable new addition set to join the cast is a character named Oberyn Martell, from the kingdom of Dorne (where Tyrion sent Cersei’s daughter Myrcella for protection). Known by the badass nickname The Red Viper, Oberyn is expected to stir up some serious shit with the Lannisters.

As we enter the new season, many of my curiosities center around supporting characters and their fates. With such a vast and complex story, I worry for some reason that figures on the periphery might disappear. Catelyn’s uncle Brynden (The Blackfish) managed to escape the Red Wedding and will presumably be headed for the Eyrie, so perhaps he’ll be back in play when Littlefinger arrives. Catelyn’s brother Edmure, meanwhile — the guy whose marriage put the “wedding” in Red Wedding – is in the dungeons at the Twins, where he is newly tied to the worst in-laws e-v-e-r. Will he be forgotten, or does his story continue? Will we see Gendry again, or is his fate irrelevant now that Melisandre seems to see the battle north of the Wall as more pressing than the quest for the Iron Throne? What about Rickon and Osha? How important is the youngest and heretofore most narratively undeveloped Stark child? Will we see more from the Brotherhood Without Banners, that underground rabble led by seven-times killed, seven-times revived Beric Dondarrion and Thoros of Myr, the Red Priest with a fondness for alcohol, who has served as the Red God’s vessel for those seven resuscitations? And what happened to the rest of the Night’s Watch? In the chaos of the mêlée at Craster’s Keep, it wasn’t clear what happened to the ones who were not part of the rebellion. Did Grenn and Doleful Edd make it out alive? What’s in store for Rast, the surly brother who killed Commander Mormont and has it out for Sam? It looks like he appears briefly in the first trailer for the new season, laying a baby down in the snow.

I’m sure that all of these characters will be revisited eventually, even if not this season. I’m encouraged on that point by a glimpse of Alliser Thorne in the trailer above. Not seen since Season One, Thorne is the veteran Night’s Watchman who butted heads with Jon and was eventually sent to King’s Landing by Mormont in order to warn King Joffrey and his advisors of the White Walkers and wights — reanimated dead, impervious only to fire. (In a rare bit of failed continuity, Cersei and the Small Council learned of this news by other means; it was not delivered by Thorne.) He’s back now, just as Barristan Selmy returned last season as protector to Daenarys after being dismissed from Joffrey’s Kingsguard in Season One. So I’m optimistic that these other supporting characters’ storylines will continue.

What’s interesting about the series’ enormous roster of characters is that it came about almost by accident. Showrunners David Benioff and D.B. Weiss have said in interviews, including this one last year from Deadline, that when they were putting together the first season, their inexperience with television led to most of the episodes being too short, sometimes by 10 to 12 minutes. So they had a brief period of time in which to write and shoot several new scenes that would be primarily dialogue driven, since there was no budget left for battles or other expensive setpieces. This led to great scenes that didn’t exist in the books, like the lengthy, almost warm conversation between King Robert and Cersei after Robert has dismissed Ned as Hand of the King for opposing his plan to have Daenarys murdered.

That six-minute scene of two people talking is still among the series’ best ever, and it was born as an afterthought of sorts. It provided depth to characters who weren’t much more than ciphers in George R.R. Martin’s books. That’s not meant to be a slight against the source material. Martin’s approach is to focus on a select group of characters, of which neither Cersei nor Robert were included. They and many others are developed only in the context of their relationship to and interactions with Martin’s chosen few. But Benioff and Weiss were forced to create such scenes, and therefore able to develop more characters more richly. I’ve assumed that many of the great scenes between Varys and Littlefinger came about for the same reason, since neither one is a “point of view” character in the books.

So what’s in store when the saga resumes? Plenty of questions are on my mind. How is Littlefinger going to feel about the death of his beloved Catelyn? Will he feel the need to exact his own revenge, or will he continue to play his role and serve Joffrey and the Lannisters in order to climb to power? (“The climb is all there is.”)

What consequences await Jon now that he’s back with the Night’s Watch at Castle Black? He killed his brother Qhorin Halfhand in order to gain the trust of the wildlings — though it was Qhorin’s idea, and he all but forced Jon to kill him — and then he broke his vow of celibacy by getting steamy in a hot springs cave with Ygritte. And he gave away a few Night’s Watch secrets along the way. Even if Maester Aemon absolves him, Ygritte and charismatic wildling Tormund Giantsbane are still out for his blood. Assuming Ygritte really does want him dead. Does she love him enough to spare him? She did shoot him full of arrows, but at least she seemed conflicted about it. In Westeros, that could pass for an expression of love most true.

What will happen to Theon now that he’s been castrated and psychologically broken? Ramsay Snow sent Theon’s father Balon his boy’s appendage, and Balon immediately wrote his son off. But Theon’s sister Yara took a crew of her best men and left to rescue her brother. To which I  say, that’s nice…but fuck you Yara. Instead of being an asshole to your brother from the moment he returned home to Pyke, humiliating him and treating him like shit, you could have stood in solidarity with him against your father’s cruelty. I’m glad you’re going to get him now, but your sudden loyalty is too little too late. I look forward to eventually watching you and father die.

Will Cersei’s marriage to Loras come to pass? She told Tyrion with confidence in the season finale that she would not be marrying him. Tywin certainly intends otherwise, so how might she avoid it? Does she have something dastardly in store for the Knight of Flowers? How will Jaime’s return affect the plans? And how will Tywin look at his eldest son now that he’s lost his hand and with it his greatest asset? I’m excited to see Jaime and Tyrion together again, as Jaime is the only Lannister who actually loves his brother.

What will Stannis be up to? Have the concerns about what’s happening north of The Wall completely eclipsed his desire to unseat Joffrey and take the Iron Throne, or is the threat of the White Walkers still too remote to deter him from another attack on King’s Landing? Are we to accept that Melisandre’s Red God really is the great power that she claims? We’ve now seen her birth the creature that killed Renly. We’ve seen Thoros revive Beric after The Hound sliced his body in half. We’ve seen Robb die after Stannis cast three leeches that had drawn blood from Gendry into the fire, naming Robb, Joffrey and Balon Greyjoy as each bloodsucking worm shriveled in the flames. Is Robb’s death really the work of the Red God? If so, Balon and Joffrey should follow. But how soon, and by what means?

What’s in store for Bran beyond The Wall? What will his abilities allow him to accomplish? And why is he seeking the three-eyed raven there? When they met in Bran’s dream early in season three, Jojen said of the bird, “You can’t kill it you know…the raven is you.” So if the raven is Bran, why is he going beyond the Wall to find the raven? There’s got to be a more hospitable location for some soul-searching. In the longer term, will Bran’s gift allow him to learn the truth of Jon Snow’s lineage? The identity of Jon’s mother might not seem important, but when Benioff and Weiss first approached Martin about adapting his books for television, the question he posed to them to test their grasp on the material was about Jon’s mother. They offered their thoughts, and Martin was obviously satisfied. I’m guessing that their theory is widely held among fans of the story, and if it’s true, I don’t see how anyone alive in Westeros or beyond could possibly know the truth. Which means if it is to eventually come out, it would take someone with Bran’s abilities to discover it. But I’m sure we’re talking Season Six or Seven material now, so I shouldn’t get ahead of myself.

Over the past two days, HBO has been running marathons of the series starting from the beginning, so I’ve been catching snippets here and there. Revisiting past episodes isn’t just a treat because the show has been so good from day one, but because the evolution of this stunningly rich story has been so carefully crafted. I re-watched the scene when Robb says goodbye to Bran before departing Winterfell with his army. Just after he leaves Bran’s room, Rickon enters, upset about everyone leaving. Bran assures him that Robb will return with their father, and that Catelyn will soon be back too. “No they won’t,” Rickon answers with eerie certainty. Early onset cynicism, or does Rickon have insights of his own into the future? When Bran dreamed of his father’s death, he discovered that Rickon had experienced the same dream. Moments later, Bran learned the news of Ned’s beheading. So what’s the deal with the youngest Stark?

Another of my favorite scenes from the series that I caught again is the one in which Renly tries to convince Ned to move swiftly against the Lannisters. It kills me. Everything he says is right, but Ned will have none of it because it conflicts with his code of honor…even though you can see in his eyes that he recognizes the truth in Renly’s argument. So much tragedy could be avoided if Ned does the smart thing instead of the honorable thing, but that’s not Ned…and so the die is cast.

Yes yes, I know things couldn’t have gone any other way. As I wrote at the conclusion of Season Three about the heartbreak of the Red Wedding and how it might have been avoided, “what if” scenarios are futile. Whatever we may want characters to do in order to avoid such painful ends, the story wouldn’t be as thrilling if it didn’t play out exactly as it does. Valar Morghulis, or All Men Must Die, as the new season’s slogan prominently declares. Rewatching Season Three in its entirety over the past several weeks, I was also reminded how beautifully the show has planted its seeds, which also came to mind over the last two days as I looked back even further into Seasons One and Two. In the same post-Season Three piece mentioned above, I pointed to how the song “The Rains of Castamere” was used earlier in the season to foreshadow the Red Wedding, and it turns out there were even more examples that I missed. Thoros was singing the song when he and his Brotherhood compatriots first encountered Arya and Gendry. And later in the season, an instrumental version played over the end credits of the episode “The Bear and the Maiden Fair.” There was also that wonderful scene before Tyrion and Sansa’s wedding when Cersei told Margaery the story of House Castamere’s fall. This kind of intricate storytelling makes looking back just as enjoyable as looking forward.

And so in these final hours —or at this rate, minutes — of looking forward, I once again use these posts as an opportunity to collect some of my favorite Game of Thrones material that the internets have offered since last June.

This chart came from a piece in Vulture that created infographics for several Pixar movies.

Anyone who has attempted to explain the series to the uninitiated in the hopes that they might jump on the bandwagon knows what a daunting task it is. From his Basic Instructions series, artist Scott Meyer offers some help.

I always say that the highest pop culture honor possible is not an Oscar or a Pulitzer, but an homage on The Simpsons. Game of Thrones achieved this a couple of years ago when its opening credits served as inspiration for a Simpsons couch gag, which I referenced at the time. This more recent recognition is unofficial, but still pretty cool.

Simpsonsized(Click here for larger version)

South Park got in on the action last November, skewering Game of Thrones, the madness of Black Friday, the Playstation vs. Xbox console wars and more in an epic three-episode arc that was a typically inspired affair from Trey Parker and Matt Stone. And Vulture had some fun cross-pollinating Thrones with a few other TV shows to create pictures like this reimagining of Arrested Development.

Arrested

The guys behind Parks and Recreation are huge Game of Thrones fans, and have bequeathed their love of the show to Adam Scott’s character Ben. This clip from a recent episode is their latest tribute.

There’s also an extended clip if you, like Ben, can’t get enough.

As cool as the Iron Throne is, George R.R. Martin said on his blog last year that he envisioned something even more grand and twisted, which just wouldn’t be possible on the show. But check out artist Marc Simonetti’s painting of the throne as imagined by Martin.

That is fucking badass.

Thrones continues to be a rich source of inspiration for artists. The pictures I use along the top and bottom of these posts are usually taken from the Cast a Large Shadow tumblr, which spotlights an ever-growing collection of art based on the show. Some of the work that has appeared there recently comes from a spinoff tumblr called Beautiful Death, for which artists have created incredibly cool, stylized posters representing every significant death the show has delivered since it began. Here are a few of my favorites, but these are all amazing and there’s more on the site, broken down by episode.

Banner-Death1
Banner-Death2

This rendering of The Wall on a London sidewalk is amazing for its illusion of depth, and check out the larger versions of these four posters, which have some nice details relating to four of the show’s strong women.

My favorite recontextualization of Game of Thrones to date has got be this series by Toyko-based artist Mike Wrobel, who placed the characters into 1980’s/1990’s wardrobe. See them all here. They’re mixed in with some other work, but this was the best venue I could find for seeing all 22 in one place. I love these.

Banner-80s-90s

For anyone interested in some audio appreciation of Thrones, here’s an entire album’s worth of rap songs inspired by the show. Common and Big Boi are among the contributors, and though I haven’t heard of the rest of these guys, there’s some good stuff here.

And finally, to provide a bit of light before the darkness arrives, here are some photos from the red carpet of the Season Four premiere, with the actors looking decidedly happier, chummier and cleaner than they do on the show. It’s really weird seeing Kristofer Hivju — aka Tormund Giantsbane — in a suit. And here are some videos taken during the photo shoot for the show’s current Vanity Fair cover story.


X

Two others are available as well — one in which the actors consider what advice they’d give their characters, and another about who they think should sit on the Iron Throne.

Okay, since I was unable to get this post done yesterday as I’d intended, you’re now left with about 10 minutes before the new season begins if you’re on the east coast. So that’s enough from me. See you in Westeros…hopefully not at a wedding.

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!

OUTSTANDING COMEDY SERIES
The Big Bang Theory
Girls
Louie
Modern Family
30 Rock
Veep

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.

OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES
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.

OUTSTANDING LEAD ACTOR IN A COMEDY SERIES
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

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
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?

OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
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?

OUTSTANDING GUEST ACTRESS IN A COMEDY SERIES
Dot-Marie Jones – Glee
Melissa Leo – Louie
Melissa McCarthy – Saturday Night Live
Molly Shannon – Enlightened
Elaine Stritch – 30 Rock
Kristen Wiig – Saturday Night Live

OUTSTANDING GUEST ACTOR IN A COMEDY SERIES
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.

OUTSTANDING WRITING FOR A COMEDY SERIES
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.

OUTSTANDING DIRECTING FOR A COMEDY SERIES
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)

OUTSTANDING DRAMA SERIES
Breaking Bad
Downton Abbey
Game of Thrones
Homeland
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?

OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES
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.

OUTSTANDING LEAD ACTOR IN A DRAMA SERIES
Hugh Bonneville – Downton Abbey
Bryan Cranston – Breaking Bad
Jeff Daniels – The Newsroom
Jon Hamm – Mad Men
Damien Lewis – Homeland
Kevin Spacey – House of Cards

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
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.

OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
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?

OUTSTANDING GUEST ACTRESS IN A DRAMA SERIES
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.

OUTSTANDING GUEST ACTOR IN A DRAMA SERIES
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

OUTSTANDING WRITING FOR A DRAMA SERIES
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.

OUTSTANDING DIRECTING FOR A DRAMA SERIES
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!

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

OUTSTANDING LEAD ACTRESS IN A MINISERIES OR MOVIE
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

OUTSTANDING LEAD ACTOR IN A MINISERIES OR MOVIE
Benedict Cumberbatch – Parade’s End
Matt Damon – Behind the Candelabra
Michael Douglas – Behind the Candelabra
Toby Jones – The Girl
Al Pacino – Phil Spector

OUTSTANDING SUPPORTING ACTRESS IN A MINISERIES OR MOVIE
Ellen Burstyn – Political Animals
Sarah Paulson – American Horror Story: Asylum
Charlotte Rampling – Restless
Imelda Staunton – The Girl
Alfre Woodard – Steel Magnolias

OUTSTANDING SUPPORTING ACTOR IN A MINISERIES OR MOVIE
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

OUTSTANDING WRITING FOR A MINISERIES, MOVIE OR DRAMATIC SPECIAL
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

OUTSTANDING DIRECTING FOR A MINISERIES, MOVIE OR DRAMATIC SPECIAL
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!

OUTSTANDING VARIETY SERIES
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

OUTSTANDING WRITING FOR A VARIETY SERIES
The Colbert Report
The Daily Show with Jon Stewart
Jimmy Kimmel Live
Portlandia
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.

OUTSTANDING ANIMATED PROGRAM
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.)

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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