Monthly Archives: July 2008

The 60th Annual Primetime Emmy Awards Nominations

I’ll be back a bit later this morning with a more complete analysis of the various trends and the like, but for now here’s the list of the major awards that were announced just minutes ago by Neil Patrick Harris and Kristin Chenoweth.

Outstanding Drama Series

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

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)

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)

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Season Premiere: Project Runway Season Five – “Episode One”

“Episode One”

July 16th, 2008

You may have noticed that I have never quite blogged about Project Runway in the life of Cultural Learnings, which is for two main reasons. First and foremost, I’m late on the uptake, having only discovered the series in its fourth season. And, second, the strange lack of a Canadian simulcasting means that I’m always delayed in getting my hands on the more recent episodes.

But I won’t let that be a barrier to the only reality competition series to ever win a prestigious Peabody Award. There is something about Project Runway that just clicks in this genre, primarily because these people are actually capable of creating interesting fashion design for both those who know what’s good (Not me) and those who have no idea beyond their own personal taste (That’s me, FYI). It’s got just the right balance of interpersonal conflict that’s expected from reality television and, more importantly, people being outright challenged to complete the tasks at hand.

And for the show’s fifth season, there’s no surprises: it’s the same Heidi, the same Tim, the same diverse/crazy group of contenders, and the same types of challenges and editing. All of that might change for the show’s eventual shift to Lifetime in the Fall, but for now? Familiarity is a darn good thing.

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60th Primetime Emmy Awards Preview: Nominations Predictions for The “Other” Awards

When people predict the Emmy Awards, they predict the big awards: the ones with names we recognize, the ones that we’ll see on TV, and the ones that we’ll remember when the show is over. However, there are dozens of Emmy Awards given out each year, and when the nominees are announced Emmy fantatics like me will be poring over the epic list looking not just for the usual suspects but rather some of the trends that emerge elsewhere.

And it’s really a question of trends more than individual categories – I can’t possibly predict a category like Best Direction in a Comedy Series, but I can tell you who is likely to be kicking around and what kind of shows will perform well in the category. It’s one last bit of Emmy coverage before we head into tomorrow, where I’ll have live coverage of the nominations themselves followed by the full list of nominees and full analysis of how things went down. In the meantime, let’s discuss the “Other” awards, ranging from writing to directing, guest acting to individual performance, and everything in between.

Outstanding Writing in a Drama Series

Trend: The category is usually used to represent the best in episodic television along with the year’s standout pilots. It’s considered one of the best categories, mainly because of said high quality.

Changes: Unlike last year, there’s no show that is going to dominate with a large number of episodes in the tradition of The Sopranos – only Mad Men has a chance at that.

Watch for: Lost’s “The Constant” seems like a lock unless something goes hideously wrong (Even last year, with the show snubbed, they won a nomination for “Through the Looking Glass,” while the Mad Men, Breaking Bad and Damages pilots might represent new series on the list.

Repeat Offenders: Ronald D. Moore was a surprise nominee for Battlestar Galactica last year, so he could be back. Meanwhile, since three Sopranos episodes made the cut last year, there’s room for some returns – David Simon is likely back in the race for the finale of The Wire, for example.

Outstanding Directing in a Drama Series

Trend: A huge, expansive category representing quality drama pilots and standout segments of established series.

Changes: We don’t know if we’ll see yet another seven nomination kudos list, but if we do it means more of the same from the Academy.

Watch for: In terms of the year’s pilots, it’s a pretty safe bet you’ll see cinematic Damages and intoxicating Mad Men on this list (Alan Taylor, who directed the Mad Men pilot, won for The Sopranos last year). As far as other series go, expect Lost’s Jack Bender to pop up again.

Repeat Offenders: Battlestar Galactica could see another nomination here, but Heroes and Friday Night Lights are likely both going to miss the cut. There could be other series, however, that would be more than willing to step in and fill the gap (The Wire and Dexter, in particular).

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Dr. Horrible’s Sing-Along Blog – “Act One”

When Joss Whedon announces during the WGA Writers’ Strike that he was writing a musical, you get excited. When you learn that Neil Patrick Harris and Nathan Fillion are set to star, you get hyped. And when you find out that it will be streaming live online for free, a true test of the online medium for distribution of this nature, a television blogger like myself gets even more enthused about it all.

Link: Dr. Horrible’s Sing-Along Blog Act One

Dr. Horrible’s Sing-Along Blog is not Whedon’s first entry into the television musical of sorts, considering that Buffy the Vampire Slayer’s “Once More…with Feeling” is considered one of the show’s best episodes. And while I don’t quite think Act One of this experiment lives up to that standard (And I’ll explain why below), it does everything you expect it to do: it carefully integrates musical numbers into a charming story featuring actors who, considering the fun nature of this story, are clearly enjoying themselves immensely.

And for a “Free” (Well, not quite) internet event of this nature? I’d say that this is damn entertaining stuff.

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Weeds – “No Man is Pudding”

“No Man is Pudding”

July 14th, 2008

When Weeds started its fourth season with a rather stunning departure from its original setting, there was a question of how long it would take to get back into a groove, so to speak. Albert Brooks did a fine job of integrating into the cast, propping them up for a while, but eventually things would have to return to normal (Or whatever whacked out concept of normalcy applies to these people).

And this is the episode where that happens, albeit not exactly in a welcome fashion across the board. Shane, Silas and Doug are given a paper thing “Bees” storyline (“BEADS?!”), and the show continues to believe that the only characters arcs Andy is capable of are “Crazy Hijinx Leading to Criminal Investigations.” So on those two fronts, normalcy (Sidelining the supporting players to silly storylines that aren’t nearly as interesting as our central conflict) isn’t so much welcome as familiar.

But sometimes familiar can be a good thing, and the episode is the triumphant reunion of probably the show’s best two characters. If you wanted this to feel like the Weeds of old, with high stakes combining with high emotions and dark comedy intersecting with personal drama, look no further than the teaming of Nancy Botwin and Celia Hoades. Elizabeth Perkins and Mary-Louise Parker are at their top of the game here, and the end result is television magic.

And, Andy’s episode title quote is pretty funny too.

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Premiere: Generation Kill – “Get Some”

“Get Some”

July 13th, 2008

When watching Generation Kill, a miniseries event from HBO, it’s impossible not to draw the obvious comparisons to The Wire. While usually shows from the same creator bear moderate resemblance to one another, David Simon and Ed Burns have a style so distinctive that it’s hard to write a single sentence about this series without discuss the other. The Wire was a show about dropping the viewer into a world they didn’t understand without holding their hand about it, developing its own language, identities, and pacing. It wasn’t about telling a story about something, but rather telling the story.

That story, here, is the journey of a Marine Corps Battalion, and their embedded reporter Evan Wright (Who wrote the novel the series is based on), as they invade Iraq in the opening throes of the 2003 invasion. There’s a lot of people thrown around, and like The Wire you never really pick up their names so much as begin to identify them based on other characteristics. Although the first segment is not eventful in the traditional sense, the various bits and pieces we see give us enough of a background so that, when things do go down, we’ll know how people should or do react.

What makes Generation Kill compelling is not just Simon and Burns’ usual sharp writing and ear for realistic drama, or even the great cinematography/direction – rather, it’s seeing all of this play out in a context where we know the basic story at hand. In most stories, there would be attempts to shoehorn politics into this story; to not only show the wrong camouflage being sent to the army, but to show some stuffshirt politician making the decision so as to villainize. Here, the authority is a villain by omission – we as an audience have information they don’t, and that isolation is incredibly compelling.

It is also, however, intoxicating – when a show requires flow charts, you know that you’re not in for a normal television watching experience. Thus far, though? It’s a damn good one.

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Cultural Learnings’ 2008 60th Primetime Emmy Awards Nominations Predictions

When I started my Emmys coverage for this year’s ceremony a while ago, I (as always) had a lot of plans: previews of every category (Got through a lot), reviews of every submitted episode (Almost got through those), and all sorts of other grand schemes that never come to fruition. This is the nature of being a television critic of sorts: you have a lot to say, but balancing it and the rest of your life (See: Watching Television, clearly) can be a bit of a challenge. Let it be known I took most of that free time doing my duty and finally watching shows like The Wire, Six Feet Under and Flight of the Conchords.

However, there’s no way I could possibly procrastinate on writing up my various predictions. Predictions are one of those things that I think about more than I write about (I tried writing more this year, and after a while it petered off). Great sites like AwardsHeaven or Coco at the Movies or TV with Abe keep detailed lists for weeks or months ahead of time updating when the Top 10s come out, but I tend to ruminate a bit more introspectively. We’ll see how that goes this time around, when our access to the Top 10 lists for various categories makes this task easier, yes, but also far more competitive. But, I’m not in it to win it, so to speak; I’m just an Emmy fanatic who enjoys the thrill of participation.

So, without further adieu, my predictions for the nominations for the 60th Primetime Emmy Awards.

Outstanding Drama Series

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

This is a very hard category to call, and admittedly I’m following my own interests here: there’s every chance of Grey’s Anatomy replacing Lost on this list based on its popularity alone, but something tells me that Lost’s episode submission (The fantastic “The Constant”) will elevate them through. Mad Men and Damages represent the new crop of summer cable hits, while Boston Legal and House should ride baity submission and Hugh Laurie, respectively, to nods.

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)

The first four are pretty much locks: while his show is too bloody to make it into major categories, Hall’s Emmy pedigree and the fantastic nature of his performance should get him the nomination he deserved last year. Meanwhile, “should have won before” Laurie and newcomer and Golden Globe winner Hamm will try to dethrone undefeated Emmy king Spader, and that last slot is up for grabs. I’ve gone with Bryan Cranston’s brave performance in the AMC series, one I need to finish watching at some point (Only got through the opening two episodes). Gabriel Byrne is the other option, but I believe that if Cranston made the Top 10 people were watching, and he would have performed well on the panels.

Lead Actress in a Drama Series

  • Sally Field (Brothers & Sisters)
  • Kyra Sedgwick (The Closer)
  • Holly Hunter (Saving Grace)
  • Glenn Close (Damages)
  • Mary McDonnell (Battlestar Galactica)

Those following the Emmy race will sigh at that last name – while the first four are more or less locks based on name recognition and showy performances, the fifth candidate in this category is somewhat more open. However, with previous nominees like Mariska Hargitay and Minnie Driver waiting in the wings, the chances of an actress from a science fiction series breaking through are slim. However, frak that kind of logical thinking: I want to have hope, for once, that they’ll see through the Science Fiction and discover a tremendous performance that is worthy of consideration.

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Mad Men – “Babylon”

“Babylon”

Season One, Episode Six

In the world of Mad Men, normalcy is the goal: for Don Draper, it’s bringing his wife breakfast in bed on Mother’s Day. Of course, as he travels up the stairs, he losing his footing and everything smashes around him. Cue the flashback to his brother’s birth, and another sign that Donald Draper’s life is a giant lie just waiting to be smashed like the falling breakfast tray.

Yes, the opening of “Babylon” is not exactly subtle, but this is an episode that is all about the hidden becoming revealed, the secrets becoming part of common knowledge. The central attempt to commodify Israel into a tourism destination for Americans is about taking a secret and turning it into common knowledge, but there the ad men get to put their spin on it; the facts are one thing, but with the right treatment they can become something far more profound. This episode is about the people who need to spin their own lives, and the one person who’s about to start spinning for others.

And in the meantime, you’re stuck in exile; and as a series about people who find themselves searching to avoid such a position, Mad Men flourishes.

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Season Premiere: Burn Notice – “Breaking and Entering”

“Breaking and Entering”

July 9th, 2008

USA Today’s Robert Bianco, having seen the first two episodes of Burn Notice’s sophomore season, has fairly harsh words for what he views as the show’s shift in tone with the arrival of a more serialized plot development:

So what’s gone wrong? Like so many series today, Burn Notice has overburdened a fragile structure with a weighty continuing story…Unfortunately, the added depth has made the show less interesting, not more. And the time spent on the continuing story means the episodes’ capers are woefully underdeveloped.

However, after watching the premiere, I don’t really understand where he’s coming from here. He seems to argue that the tone of the series has been irrevocably changed from its previous standards, but the show was well within its comfort zone for the entire hour. Burn Notice is a show built on its clever set pieces, its charming interaction between Jeffrey Donovan and his wingpeople (Gabrielle Anwar and Bruce Campbell), and a tone that maintains humour while retaining consequence.

And if anything, the latest bump in the road for Michael Weston does all of these things – even if his trips to see his mother remain as pointless as they’ve ever been, Michael being held hostage by Tricia Helfer’s Carla is no more or less dramatic or grave than last season’s various individuals hired to kill our protagonist. For him to completely skirt the obvious danger that a burned agent as himself would be in would be much too unbelieveable.

The show has never been all about accuracy or tonal consistency, rarely proving a slave to what Bianco calls “comedy-tinged mystery.” And while I won’t argue the point that there are dangerous roads to be followed, I will argue that Burn Notice has not taken that exit: it’s still a fun and enjoyable summer series.

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My Boys – “Take My Work Wife…Please”

“Take My Work Wife…Please”

July 9th, 2008

My Boys is not a subtle show.

There were some expectations that perhaps dropping the sports metaphors would assist the show in developing a shorthand that relies less on traditional sitcom constructs, but the latest string of episodes have shown that My Boys likes showing its cards. In this instance, the show has very clearly laid the groundwork for current storylines: Andy’s work wife, PJ’s awkwardness about Bobby’s wedding, Kenny and Mike’s alternating relationship woes, etc. And, well, I’m disappointed.

It’s not that there isn’t some humour to be found in these storylines, but it just doesn’t feel like something that has developed organically. The introduction of Jo into the series’ narrative feels perhaps the most natural, but everything else feels like they’re hitting the same note over and over again. That they go through the process of making Stephanie’s book about the boys proves that they’re desperate to expose what we already know – rather than a journey of discovery, we’re on a journey that lacks spotaneity and feels like a giant circle.

I don’t quite want to get off, as it remains breezy summer fun, but I certainly have my concerns.

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