To Each Their Own: The State of the Pre-Air Review
July 19th, 2010
There’s currently a stir of controversy around reviews of Mad Men’s fourth season, which was sent to critics in the past few weeks – as always, Matthew Weiner has expressly requested that critics avoid talking about anything in specific terms, which has created some discussion surrounding just how much critics show bow to his wishes (especially considering that many are ignoring them to varying degrees).
For me, this is less an issue of Mad Men and more an issue on the state of pre-air reviews, something which used to constitute the large majority of television criticism but which has now been forced to share the spotlight with the post-air reviews and analysis which have blossomed in the internet age. In a discussion on Twitter, I raised the point that I struggle to see why anyone would really need (or want) to read a pre-air review of Mad Men’s fourth season, and there was rightfully some pushback from Dan Fienberg, who pointed out the role that critics can play in letting viewers know their opinions on a series and whether it’s worth watching.
I didn’t mean to suggest that the critics were part of the problem here, or that their views have no value; rather, I was suggesting that the medium is very much the concern. While new series which represent an unknown quality, or series which are reinventing themselves in a new fashion, are ideal subjects for pre-air reviews, shows which have become as established as Mad Men feel as if they confound this particular method of critical analysis. This isn’t to suggest that critics are unable to have negative opinions about the series, or that they should be forced to bow down to Matthew Weiner’s demands, but rather that there are other mediums through which those opinions will be better represented, and other ways to express this opinion which doesn’t require tiptoeing around plot details in order to communicate with the reader, or not bothering to tiptoe around plot details and potentially angering spoilerphobes like me.
I may be particularly wary of spoilers, and thus steer far clear of pre-air reviews as a result of my stance on this issue, but I think that the diversity of approaches makes pre-air reviews a nebulous medium which seems less and less relevant in the age of outright spoilers and indepth post-air analysis.
And Your Winner, by Submission…: Analyzing 2010’s Emmy Tapes
July 15th, 2010
Last week, I wrote a piece for Jive TV which described the next step in the Emmy Awards process, and the ways in which this post-nomination period is honestly more interesting for me than the pre-nomination period: as my Twitter followers have noted, I’m a bit obsessive about the submissions process, where the nominated series and performers choose episodes to represent their work over the past season.
It fascinates me because of how unnatural it is: performers can’t simply put together a reel of their strongest moments from throughout the season, they need to find a single representative episode (which, for supporting players, is cut down to only their scenes), and so what they choose is incredibly telling. For example, the cast of Glee have very clearly been instructed to submit episodes which feature big musical performances: Chris Colfer submitted “Laryngitis” because of the show-stopping “Rose’s Turn,” while Lea Michele submitted “Sectionals” based on her take on “Don’t Rain on My Parade.” These might not be their more consistent episodes in terms of overall material, but musically they are character-defining performances, and Glee has decided that this will be its Emmy focus. And yet, for Matthew Morrison and Jane Lynch, their submissions don’t work as well when oriented around their most show-stopping musical performances, and so sometimes a series’ approach doesn’t match with each performer.
It’s a delicate balance, and one which I think best captures the equally maddening and addictive nature of this process, which is why I will now take a closer look at the submissions strategy from a number of series: for a look at how they look as categories, and for more submissions I don’t talk about here, check out Tom O’Neill post at Gold Derby.
The Trick is to Actually Watch TV: The 2010 Emmy Nominations
July 8th, 2010
The Emmy nominations (which you can find in full here) are less a sign of what’s truly great on television and a more a sign of what the Emmy voters have actually been watching.
Series and performers are nominated for Emmys for one of two reasons: either the Academy members watched episodes carefully and saw them deserving of an award, or they looked at their ballots and chose a familiar name, a much buzzed-about series, or the first name on the ballot. And, frankly, most years the latter seemed to be their modus operandi, to the point where I’ve started to disassociate voters with any notion of television viewership – I’m not even convinced most of them own televisions.
However, for once, I’d say that the 2010 Emmy nominations seem to have been made by people who actually enjoy the medium, with plenty of evidence to demonstrate that voters actually watched many of the shows they nominated and discovered not only the most hyped elements of that series but also those elements which are truly deserving of Emmys attention. There are still plenty of examples where it’s clear that Emmy voters didn’t truly bother to watch the series in question, and all sorts of evidence which indicates that the Emmy voters suffer from a dangerously selective memory and a refusal to let go of pay cable dramedies, but the fact remains that this is the most hopeful Emmy year in recent memory.
It isn’t that every nominee is perfect, but rather that there is evidence of Academy voters sitting down in front of their television and watching more than a single episode of the shows in question, making them less like soulless arbiters of quality and more like actual television viewers – it might not stick, but for a few moments it’s nice to finally see some nominees that indicate voters aren’t so much different from us after all.
The 2010 Primetime Emmy Award Nominations
July 8th, 2010
[For complete analysis of the 2010 Emmy Nominees, head to my full breakdown, "The Trick is to Watch TV," here.]
Here are the nominees for the 2010 Emmy Awards (and, for added value, my gut feelings in terms of early favourites have been bolded): for all of the awards, click here to download the Academy’s PDF.
Outstanding Drama Series
- True Blood
- Breaking Bad
- The Good Wife
- Mad Men
Lead Actress in a Drama Series
- Glenn Close (Damages)
- Mariska Hargitay (Law and Order: SVU)
- Julianna Margulies (The Good Wife)
- Connie Britton (Friday Night Lights)
- January Jones (Mad Men)
- Kyra Sedgwick (The Closer)
Lead Actor in a Drama Series
- Kyle Chandler (Friday Night Lights)
- Bryan Cranston (Breaking Bad)
- Michael C. Hall (Dexter)
- Jon Hamm (Mad Men)
- Hugh Laurie (House)
- Matthew Fox (Lost)
“Gone in the Teeth”
June 13th, 2010
AMC has officially dubbed their airing of Rubicon’s pilot a month and a half ahead of its premiere as a “sneak preview,” but I think a “teaser trailer” may be a more accurate description of the episode in question. A good teaser trailer shows you atmospheric scenes which give you a sense of the mood a particular movie or television series is going for, but really doesn’t tell you much about the plot in question: for example, HBO’s teaser trailer for Game of Thrones, the much-anticipated adaptation of George R.R. Martin’s A Song of Ice and Fire, shows a few key images and establishes the series’ tagline.
Considering this, it’s fair to say that my use of the designation for “Gone in the Teeth” is symptomatic of my frustration with the enigmatic lack of clarity which pervades this series. If a show’s pilot is supposed to be a teaser trailer, an aesthetic exercise designed to build hype, then I would consider this to be moderately successful: there was absolutely nothing here which would keep me from tuning into the series in August. However, a pilot needs to be something more than a teaser trailer, and the series’ shortcuts in establishing both its central character and its central conspiracy show a lack of elegance which does little to convince me that this belongs in the same breath as AMC’s other original series.
June 13th, 2010
“We had a good run…but it’s over.”
When I sat down at about 3:00 am last night to watch the Breaking Bad finale after arriving home from my trip to Madison, I discovered that AMC was showing “Shut the Door. Have a Seat,” Mad Men’s third season finale. It took me a good ten minutes before I managed to turn on my recording of “Full Measure.” There is something exhilarating about that finale, something immensely pleasurable as lingering storylines that were sort of floating their way through the season (Lane’s dissatisfaction, Joan’s marginalization, etc.) become wrapped up in an unforgettable heist narrative which launches the show in a fascinating new direction.
And as I sit down the next day to consider “Full Measure,” I can’t help but make some comparisons, although less in terms of quality (both are great, we don’t need to qualify which is “better”) and more in terms of structure. “Full Measure” is similar to “Shut the Door…” in that it shows our protagonists struggling to respond to a new set of circumstances which threaten them in some capacity, but the world of Mad Men values creativity first and foremost, something which Breaking Bad tends to oppress (as we see with Jesse as the paralyzed artist figure, his youthful drawings or woodcraft projects signs of wasted potential). So while Don and Co. got out of their situation with some creative thinking, and the series found its finale in contrasting the creation of a new direction while simultaneously dissolving another, Walt and Jesse solve their circumstances with a cold dose of reality, and the series finds its finale in doing as it has always done: following through on the social, psychological, and monumental consequences of going down this dangerous path.
The result is a fairly simple tragedy with less than simple ramifications, as “Full Measure” uses the show’s trademark tension to cap off a stunning season of television which went on a run that is most certainly not over as the series heads towards its fourth season with an obnoxious amount of momentum.
Official Ballot Miscellany
June 4th, 2010
Earlier this evening, Emmy voting officially began; this isn’t particularly important to us non-voters, but it does mean that the official ballots were released (PDFs: Performers, Writing, Directing), which means that we know who submitted their names for Emmy contention and can thus make our predictions accordingly. In some cases, this simply confirms our earlier submissions regarding particularly categories, while in other cases it throws our expectations for a loop as frontrunners or contenders don’t end up submitting at all.
For example, Cherry Jones (who last year won for her work on 24) chose not to submit her name for contention this year, a decision which seems somewhat bizarre and is currently being speculatively explained by her unhappiness with her character’s direction in the show’s final season. It completely changes the anatomy of that race, removing a potential frontrunner and clearing the way for some new contenders (or, perhaps, another actress from Grey’s Anatomy). Either way, it’s a real shakeup, so it makes this period particularly interesting.
I will speak a bit about some surprising omissions and inclusions in the categories I’ve already covered this week, but I want to focus on the categories that I haven’t discussed yet, including the guest acting categories, writing, and direction, which are some interesting races this year.