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Review: NBC’s The Event an Exercise in Zeitgeist-Chasing Self-Indulgence

Review: NBC’s The Event

September 19th, 2010

What is the function of mystery?

You might feel that this is a particularly silly question, but I think that television producers are beginning to misinterpret just what makes mysteries a key component of television drama. Yes, the most basic definition of mystery is uncertainty, so there is a certain value to keeping your audience guessing throughout your narrative. However, mystery is about more than guesswork and confusion; it is about suspenseful situations, and about the way each individual character responds to their uncertainty. In other words, a good mystery isn’t an elaborate conspiracy unfolding in fractured narratives designed to obscure the truth; rather, a good mystery is one which the viewer experiences as opposed to one which has been explicitly created for their consumption, one where the characters and the audience share the same feelings of suspense or uncertainty as the series continues.

This is all a fancy way of saying that NBC’s The Eventwhich debuts at 9/8c on Monday, September 20th – is a show which tries so hard to be mysterious that it loses track of basic principles of storytelling: with a chronology designed to confuse, and with characterization that ranges from vague to non-existent, there is nothing for the viewer to latch onto but the elephant-sized mystery in the room. And yet by organizing the pilot as a series of neon signs with flashing arrows pointing towards the mystery, the manipulations necessary to create said mystery become readily apparent, and render The Event an exercise of zeitgeist-chasing self-indulgence.

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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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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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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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