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2009 Golden Globes: TV Nominations Analysis

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2009 Golden Globe Awards: TV Nominations

December 11th, 2008

Predicting the Golden Globe awards is, quite literally, a devil’s bargain. While the Movies side is its own monster, the Television nominees are perhaps one of the most difficult to predict in all of awards-dom. Yes, the Emmy Awatds are a broken process, but they at least have a structure that allows for observant parties to analyze. With the Globes, it’s about the Hollywood Foreign Press Association’s whim – it’s what they consider hype-worthy, what they wake up one morning obsessed with, and overall what about 100 obscure and oft-maligned international journalists decide people should be watching.

Which makes this more fun than anything: we can’t take it too seriously, so it’s just a fun head shaking exercise. The big question is what big new show they’re focusing their attention on (The answer: HBO’s cult hit True Blood, although not as much as they could have), which returning shows they continue to be obsessed with much to my chagrin (The answer: HBO’s Entourage), and which nominees actually sneak in to be deserving independent of their trend-driven qualities (The answer: Neil Patrick Harris).

Overall, these nominees aren’t bad, but they do little to save the show’s reputation: while often lauded as potential kingmakers for films during Oscar season, they are still content to pretend that liking HBO is still hip and cool. While they were the first to recognize Mad Men, and will good reason, there were some other cable shows this year (Breaking Bad and Sons of Anarchy, in particular) which probably could have snuck in for some attention. Unfortunately, the awards don’t quite work that way, and I guess we can’t expect them to. All we can do is sit back or, if you’re me and obsessive about award shows, delve into each individual category with critical gusto. So, let’s take a look at the madness.

Best Television Series: Drama

Dexter, House, In Treatment, Mad Men, True Blood

This category tells us a few things. First, it tells us that the HFPA are fans of both Dexter’s dark sensibilities and House’s dour but occasionally light-hearted medical mysteries, along with being big fans of the show’s eponymous performances. Second, it tells us that Mad Men is going to be a show that the HFPA continues to like: after winning last year, the show is back in the awards’ marquee category. The other two nominees are no surprise: often one to pass over great seasons of returning dramas (See: Lost) and shows which don’t have the same international appeal as others, it is no surprise that their interest in international connections, HBO series and hip new series would lead them to the low-rated but Israeli-created In Treatment and the buzzworthy vampire lust of True Blood. If there’s one show missing, it’s AMC’s Breaking Bad, but it couldn’t repeat Mad Men’s successful ascension from AMC to the interest of the HFPA (even with Cranston’s Emmy win), plus it aired quite some time ago.

Best Television Series: Comedy

30 Rock, Californication, Entourage, The Office, Weeds

While I am more than slightly annoyed that it is the uneven and kind of boring Californication and not Pushing Daisies that proved to have legs for the HFPA following their freshman frames last year, I’m more annoyed at their continued obsession with HBO’s Entourage. I just don’t see how the show belongs in this category over some other, much better, comedies. This isn’t a new sentiment for me, sure, but it warrants mentioning. I’m glad that The Office and 30 Rock have both stabilized in this category, something that is difficult for a show like The Office being in its fifth year. Similar to Entourage, Weeds is a HFPA favourite, having been the first to recognize Mary-Louise Parker for her role in the series; they’ll apparently nominate it until the cows come home. Missing shows here include any new network sitcoms (The Big Bang Theory) as well as some deserving holdovers (How I Met Your Mother, It’s Always Sunny…)

For all of the acting nominations, click below.

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Entourage – “Play’n with Fire”

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“Play’n with Fire”

November 16th, 2008

It has been a good many episodes since I last discussed Entourage, a period explained by a variety of reasons. Perhaps first and foremost, I don’t quite have time: while Mad Men left a gap in my Sunday nights, other commitments have meant that The Amazing Race is all the time I’ve got (I’m two weeks behind on Dexter and barely catching up with Brothers & Sisters as it is).

But if Entourage had been anything but a mixed bag over these past few weeks, I may have been more likely to discuss it in earnest. Whether it had been horrible (like much of the fourth season) or fantastic (like the early days of the series), I would have found time to make note of the various developments; instead, the season just took its initial setup (Vince is in tough shape career wise, needs a new opportunity) and played that chord over and over again.

It was a good chord, in the begnning, and I’d tend to argue that it’s a good chord in the end; the entire on-set experience of “Smoke Jumpers” has been a return to the show’s proper perspective, and the explosion that takes place within this episode is a far more natural and logical wrinkle in the development process than anything we saw from the caricature of Billy Walsh. “Play’n with Fire” features a lot of things which feel natural: by abandoning the member of the group who has most resembled a walking punchline (Drama, that’d be you) for the one who is perhaps the most emotionally interesting and undefined (Turtle), and by frontlining Vince as someone facing a crisis of his own, the show just feels likes it’s on a more logical path heading into next week’s finale.

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Entourage – “The All Out Fall Out”

“The All Out Fall Out”

September 21st, 2008

From those who had seen screeners of the start of Entourage’s fifth season, it was this episode that in Alan Sepinwall’s words, that “gave [them] some faint hope that “Entourage” might be at least decent again.” A blisteringly paced half hour, it gave us two interesting, funny, and well-balanced storylines that interweaved in numerous recurring characters along with introducing yet more tension into our already complicated situation.

What it represents first and foremost, though, is that Entourage is a show still capable of being complicated without being bogged down by it – seeing as Eric loses sight of the script he’s selling for his new clients, or as Vince plummets further into bankruptcy, doesn’t feel tonally inconsistent with the sheer absurdity of Ari Gold’s feud with Adam Davies which involves human feces and male strippers. The show is at its worst when either of these two elements overpowers the other, but through some shrewd guest casting and some smart touches, “The All Out Fall Out” is, indeed, a harbinger of hope for Entourage.

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Cultural Learnings’ 2008 60th Primetime Emmys LiveBlog

I’m foregoing the Jimmy Kimmel-style opening hour that ABC is airing (Edit: Or I was, until a particular moment), or any of the red carpet deals, in favour of digging into some of the actual awards themselves. I wrote my predictions late this week, and had planned to write up more of a general preview, but time got away from me.

In truth, there’s isn’t much to say that I didn’t say when the nominees were announced: it’s an awards show that offers the most opportunity for legitimate winners accepted by both viewers and critics that the Emmys have seen in recent years. At the same time, it also has every opportunity to remove all relevance the Emmys could ever have. This is the double edged sword of having more progressive nominees: the fall from grace is only going to be harder.

For example, the Best Actor in a Drama Series category is like a ticking time bomb: Hugh Laurie, Michael C. Hall, Jon Hamm, Bryan Cranston, Gabriel Byrne all stand as strong candidates from well-liked shows, but James Spader (Three-time winner in the category) sits waiting to wipe out any sort of optimism we may have about the rest of the awards. Even those of us who watch the Emmy Awards with great interest are going to be shaken by such a decision: as the night goes on, we are going to have many of these moments, beacons of hope either raised up or snuffed out.

So, follow along as we go on this epic rollercoaster ride, this wondrous journey through a year in television as a bunch of (likely) out of touch or (hopefully) intelligent saw it.

7:30pm: I was informed by my brother that Tracy Morgan was going to be part of Jimmy Kimmel’s opening Barbara Walters mock-fest, and I’m darn glad I turned in considering that it features a baseball-bat wielding Morgan attacking the set of How I Met Your Mother in order to enact revenge against nominee Neil Patrick Harris.

7:33pm: Okay, so this has definitely more comic value than expected: notification process goes from Ben Stein, to Brad Garrett, to Nich “Buttercup” Lachey, to William Shatner, to Rachael Ray, to Kobe Bryant, to Jon Hamm, to Martin Short, to Nastia Liukin, to THE HOFF, to Regis and Kelly, to Tina Fey. Purple Monkey Dishwasher style. And then she dances. And she owns a Macbook like mine. This makes me happier than it should.

7:42pm: Selma Hayek was on Ugly Betty? Her whole self? I don’t remember…most…parts of that.

7:49pm: Is anyone aware of a Canadian network who is actually doing a pre-show? I realized at a certain point that I didn’t care enough to find one – instead, relocating to the basic cable TV and catching the end of the newly Steven Weber-infused Without a Trace.

7:56pm: We’re getting close – Tom O’Neil over at The Envelope has the order of events, so we’re starting off with Oprah! And then Supporting Comedy Actor (go NPH).

7:58pm: Honestly, how many crime procedurals did storylines with nearly murdered leads? CTV is having a field day sensationalizing Without a Trace and CSI: Miami.

8:00pm: And here’s our opening, complete with the various memorable TV quotes being quoted by various industry types. There’s too many to note: ends on Spader and Shatner.

8:01pm: Man, am I ever glad to see the normal stage again: Oprah, meanwhile, saunters out to welcome us to the show reminding us that nothing else speaks to us like television. That was a really, really bad line about the book buying, though – we get it, you own our souls.

8:04pm: And now it’s our cavalcade of hosts, with Probst going tie-less, and Heidi Klumn wearing a suit. It’s really, really attractive. Meanwhile, Howie talks over everyone, Seacrest is his schmaltzy self, and Heidi Klum kind of looks like she is terrified to be there amongst these people. Mandel breaks out the political jokes, and they keep saying it isn’t a bit, but Bergeron and Klum are just standing there. It’s just strange. This whole five hosts thing seems…unfortunate. “The odds have improved considerable,” though, is sharp.

8:07pm: And Shatner for the save.

8:08pm: Okay, that being said, I will have to say that Heidi Klum is muchbetter in the dress. And now for our first award: Tina Fey and Amy Poehler, both nominees later in the show and one of them enormously pregnant, to present Supporting Comedy Actor. This comedy bit is too simple by half, but they love it. Nominees: NPH, Rainn Wilson, Cryer, Piven, Dillon. This is, sadly, Piven’t to lose.

8:10pm: The graphics feature really cheap little picture photoshop work, and it must be said: NPH definitely had the best little clip. And the Emmy goes to…Jeremy Piven? Ugh, I’m getting bored out of my mind with this, Emmy Voters. Please, for the love of all things good, stop giving this man awards.

8:11pm: Jeremy Piven gets mad points for making fun of the opening, though, but still – completely deserved, but utterly pointless and growingly frustrating win. I hate being so frustrated with a win that in a bubble makes so much sense, but the history says otherwise.

8:15pm: I’m hoping that a Jeremy Piven vs. The Hosts feud goes on all evening, but I don’t think Probst or Klum could handle it. Okay, actually, from her appearance on HIMYM Klum could handle it.

8:16pm: “LIVEEEE!…it’s like a nervous tick.” Oh Bergeron, you’re so much better than your show. In other news: they’re going to let Bergeron and Seacrest handle most of this type of stuff, I hope.

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Cultural Learnings’ 2008 60th Primetime Emmy Awards Predictions

Last year, during this important period of the pre-Emmy festivities, I had a bit more time to really delve into some key issues. This year, things are busier, but that doesn’t mean that I’m not going to make some prognostications about the end results. I’m going to be discussing more themes and the like tomorrow in my Emmy Preview, but for now let’s get to what we really care about: predicting who is actually going to walk home with Emmy Awards.

Outstanding Drama Series

  • Boston Legal (ABC)
  • Damages (FX)
  • Dexter (Showtime)
  • House (FOX)
  • Lost (ABC)
  • Mad Men (AMC)

There is some wiggle room here, as each some has something (Pedigree, viewership, buzz, etc.) that makes it stand out, but there is nothing on this list quite as emphatically received and, more importantly, different from your standard fare than Mad Men. I’ll discuss more of this tomorrow, but its combination of a small network, a small fanbase, fresh-faced actors and its attention to detail will be unstoppable.

Lead Actor in a Drama Series

  • James Spader (Boston Legal)
  • Jon Hamm (Mad Men)
  • Michael C. Hall (Dexter)
  • Hugh Laurie (House)
  • Bryan Cranston (Breaking Bad)
  • Gabriel Byrne (In Treatment)

This is a category where only one thing is important: that James Spader finally loses. Either Hamm, C. Hall or Laurie are in a position to usurp last year’s winner, and I’ve got my money on Michael C. Hall. After getting snubbed here last year, and with his show in the big race, voters might choose to recognize his brave and fantastic performance even when the show itself loses them with its dark atmosphere. But, this is maybe the night’s most up in the air race.

Lead Actress in a Drama Series

  • Sally Field (Brothers & Sisters)
  • Kyra Sedgwick (The Closer)
  • Holly Hunter (Saving Grace)
  • Glenn Close (Damages)
  • Mariska Hargitay (Law and Order: SVU)

This race, however, is not up in the air at all. Its highly serialized nature and red herring use might keep it from being the best drama series on television, but there is no way that Emmy Voters can ignore Close’s pedigree with such a richly portrayed character (even if I’d argue that character isn’t nearly as important as voters might think it is to the show’s success).

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Entourage – “Unlike a Virgin”

“Unlike a Virgin”

September 14th, 2008

Perhaps I’ve been watching too much Mad Men, but part of me can’t help but listen to Ari’s big pep talk to Vince about his future and wonder whether there is some type of meta-commentary about the series itself hidden within. His argument is that Vince is a movie star, not an actor: the reasons he has been successful have nothing to do with his abilities, and as a result he needs to get a big studio picture and return to being someone who cares about the machinations of “the game” that is the movie industry.

Of course, the general argument I hear about Entourage is that it’s just supposed to be escapist fun, that it’s supposed to be about the escapades of this actor and his friends he’s brought with him to the big show and not about complicated storylines; in other words, in this parallel, it’s a movie star and not an actor. I think the problem though is that, like Vince, the show stopped caring about it: yes, it went through the motions in its fourth season, occasionally resulting in some decent comedy, but the show stopped caring about itself.

I don’t know if the writers were pointing ahead to their direction for the season, but the episode itself did a wonderful job of reminding us how Entourage works best: tongue-in-cheek guest appearances, Vincent Chase growing as a character in a way that’s actually interesting to watch, Eric stepping outside of Vince’s shadow in a way that brings Carla Gugino back onto our television screens, and letting Turtle and Drama be Turtle and Drama without overplaying them.

The end result is a show that feels like its been around the block once or twice, has learned from its mistakes, and just might be ready to combat my fervent skepticism about the show’s future

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The Good, the Bad and the Ugly: Dissecting the 60th Annual Primetime Emmy Awards Nominations

Emmy nomination morning is kind of like Christmas morning – you’re all excited about it as it approaches, wary of the potential surprises and the like, etc. But, unlike Christmas that ends in the complete elimination of suspense, the Emmy Awards are the start of a whole new game. In this case, not only do we react to what just happened (The good, the bad and the ugly of it) but also to what will happen in September when somebody in each of these categories has to win one of the darn things.

For now, it’s time to take a look at the big stories out of this morning’s nominations (You can check out the fill list here).

30 Rock Domination

The Good: With a ridiculous 17 nominations, 30 Rock is the most nominated series at the awards. This includes nods for the series itself, Alec Baldwin, and Tina Fey, along with two writing and one directing nomination for the series, along with well deserved guest acting noms for Elaine Stritch, Edie Falco, Carrie Fisher, Will Arnett and Rip Torn.

The Bad: The rather unfortunate snubs of Jane Krakowski and Jack McBrayer sting a little bit, but they had tough races and this isn’t too much of a surpise.

The Ugly: Steve Buscemi and Tim Conway do not deserve guest acting nominations for this show – Buscemi was great, but he was barely in the episode, while Conway coasted on his past success with a role that never fit into the episode. Matthew Broderick, Dean Winters and David Schwimmer all did considerably better work on the series, and that they are not represented here is extremely unfortunate.

Lost is Back in the Race

The Good: In perhaps my favourite news of the ceremony, a bump to six nominees in the Drama Series category sees Lost make it into the fray ahead of Grey’s Anatomy, securing its first nomination in the category since its first season. Michael Emerson also grabbed a Supporting Actor nomination, as expected, while I’m extremely pleased to see Michael Giacchino pick up a nod for his great composing for “The Constant.”

The Bad: Still a bit annoyed that so few other supporting players were eligible for the major awards, so it’s a bit disheartening to see most of the show’s nominations coming from sound editing, mixing, editing, etc. when the cast is so deserving.

The Ugly: Despite getting the show nominated for an Emmy, no room is found for “The Constant” in writing or directing categories; the latter isn’t too disappointing, but the former is a bit more surprising and disheartens me as to Lost’s chances in the major categories.

Pushing Daisies Blooms…and Busts

The Good: Announcing the nominees was good luck for the ever charming Kristin Chenoweth, who along with co-star Lee Pace picked up an acting nomination to go with the series numerous technical, writing and directing awards resulting in the third highest total with 12 nominations.

The Bad: Unfortunately, they weren’t joined by their co-star Chi McBride, who really should have made the Supporting Acting Top 10.

The Ugly: And yet, despite all of this, the show failed to net a nomination for Best Comedy Series, an omission that just doesn’t make any sense. I will rant about who I think should have gotten the boot in a moment, but this is an oversight that will haunt the Emmys for a long time in my books, and is surprising considering both Pace and Chenoweth making their respective races.

Damages Gets it Right

The Good: So much, mainly the fantastic inclusion of Zejlko Ivanek in the Supporting Actor race, is right with this picture. Along with Ted Danson, they are a strong force in that category, and they’re joined by Glenn Close in the Best Actress race, and writing/directing/series nominations for the fantastic pilot.

The Bad: While it’s not quite what I’d call a bad thing, it’s a big surprise to see Rose Byrne snubbed in Supporting Actress Drama. Mind you, I was never a fan of her performance so I would personally not put her into the category, but that Emmy voters didn’t is surprising.

The Ugly: Not much, to be honest – while I felt the series fell apart at the end, the nominated performers and the Pilot were both great, so I’m content with this performance.

The Rise and Fall of The Office

The Good: Rainn Wilson and Steve Carell return to the nominations circle along with their series this year, including a number of directing and writing nominations for the uneven but very solid fourth season.

The Bad: Amy Ryan, fantastic in the finale “Goodbye, Toby” gets snubbed for her great turn in the episode, joining Sarah Chalke as examples of Emmy voters ignoring great performances from younger female competitors in favour of older ones (With Sarah Silverman being the only youth candidate, and a kind of annoying one).

The Ugly: Jenna Fischer, deserving of a win last year, doesn’t even break into Supporting Actress Comedy this year, and John Krasinski literally has his spot stolen away in Supporting Actor. Apparently the love for Jam at the Academy is limited, which is unfortunate as they both do great work.

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