Tag Archives: Christine Baranski

2010 Emmy Award Predictions: Supporting Acting in a Drama Series

Supporting Acting in a Drama Series

August 23rd, 2010

The complete lack of a frontrunner in neither Supporting Actor nor Supporting Actress in a Drama Series isn’t particularly surprising: these categories are always fairly stacked, and so predicting them is always a bit of a crapshoot.

This year, though, the lack of a frontrunner should prove particularly interesting, and potentially quite frustrating for the majority of television viewers.

Supporting Actor in a Drama Series

  • Andre Braugher (Men of a Certain Age)
  • Martin Short (Damages)
  • Aaron Paul (Breaking Bad)
  • Terry O’Quinn (Lost)
  • Michael Emerson (Lost)
  • John Slattery (Mad Men)

On the Actor side of things, it’s a problem of too much talent: while many are right to complain about John Lithgow getting dropped down to (and winning) Guest Actor from Supporting on a technicality, I think this category is better for his absence, as it allows people like Aaron Paul (still looking for his first Emmy win for this spectacular work on Breaking Bad) to have a legitimate shot at the trophy instead of appearing as also-rans. However, when he’s alongside someone as respected as Martin Short, and when former winners Terry O’Quinn and Michael Emerson are riding the momentum of Lost coming to its conclusion, Paul still seems like a small fish in a big pond (Slattery, as good as he is, is simply not going to be the Mad Men actor to break the series’ drought in performance categories).

Continue reading

Advertisements

2 Comments

Filed under Emmy Awards

The 2010 Primetime Emmy Award Nominations

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
  • Dexter
  • Lost
  • 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)

Continue reading

5 Comments

Filed under Emmy Awards

Handicapping the 2010 Emmys: CBS’ The Good Wife

Handicapping the 2010 Emmys: CBS’ The Good Wife

July 5th, 2010

[This is part of a series of posts analyzing individual show’s chances at the Emmy Awards ahead of the nominations, which will be announced on July 8th. You can find all of my posts regarding the 2010 Emmy Awards here.]

There is a great deal of buzz surrounding CBS’ The Good Wife this Emmy season, and what’s remarkable is that I’m willing to join the chorus. When the show picked up a surprised nomination in the “Ensemble Cast” category at the Screen Actors’ Guild Awards, I was sort of perplexed, believing that the series was more or less a star vehicle for Julianna Margulies and that it didn’t deserve taking the place of Lost, or Sons of Anarchy, or Breaking Bad. However, as The Good Wife’s first season progressed, I was able to see the show is more than Margulies’ triumphant return to television, and its blend of procedural and serialized elements have created a series that deserves to be part of this conversation.

The series benefits from being both familiar and unfamiliar to voters. On the one hand, the show has a comfortable legal procedural/workplace drama structure which hearkens back to Emmys past (when Law & Order was dominant, or when The Practice and Boston Legal each saw considerable success). However, on the other hand, the show very clearly expands beyond that structure with a complex serialized storyline surrounding Alicia’s relationship with her husband and the scandal which surrounds his life, which interrupts and complicates the ongoing procedural elements. The show has its cake and eats it too, which will allow voters to feel comfortable voting for the show either for its well-executed simplicity or for the risk in adding serialized elements to the series (while the show takes far fewer risks than Lost or Breaking Bad, they seem riskier considering The Good Wife is ostensibly a CBS procedural).

Margulies is unquestionably the frontrunner in the Lead Actress in a Drama Series race: her wins at the Golden Globes and the SAG Awards were not flukes, and her Emmys pedigree is just as strong (and while she has a win for ER, it was in the Supporting category, so she’s searching for her first win in five nominations this year). It’s a deserved place for the actress, whose work on the show has been extremely strong and who truly does anchor the cast. The question, however, is how much the show (which I’d consider a strong contender for a nomination in the Drama field) expands into further caregories: while I’d say that the series’ pilot is a contender in both Direction and Writing (as most high-profile, successful drama pilots are), I’m more interested to see what happens to the rest of the SAG-nominated cast.

In Supporting Actor, Chris Noth has to be considered a threat – he’s part of the season’s prominent serialized arc (and makes a big impact in the pilot), has some notoriety from his time as Mr. Big, and is quite great on the show. However, Josh Charles (who is Emmy-nomination free despite the genius of Sports Night) is equally as good on the show, and has to merit some consideration as well. Similarly, Christine Baranski has a real chance in the Supporting Actress field (having won for Cybill in 1995 and having grabbed a guest actress in a comedy nomination just last year), but arguable Archie Panjabi’s Kalinda has been the breakout character from the series, and so she probably deserves greater consideration even if her lack of name recognition will keep her from breaking through (although, we said the same about Aaron Paul last year, and he made it into the field). Throw in some guest acting contenders (Alan Cumming for his extended guest arc, Mary Beth Peil recurring as Peter’s mother, Martha Plimpton as a rival attorney, Dylan Baker as a sadistic client), and the series could land in a big way.

The Drama field is pretty crowded this year, but The Good Wife is in a good position to take advantage of this as a freshman series: its newness will serve it well against some established, but less noteworthy contenders, and this is likely to grab it a number of key nominations that will provide some considerable momentum (which the show might need, as its ratings dropped quite a bit after its early renewal). A nomination for Outstanding Drama Series would be CBS’ first since CSI and Joan of Arcadia in 2004, and if it garners over 6 nominations it will be CBS’ most-nominated drama series since Chicago Hope’s years of dominance in the 1990s, and I think CBS will have a lot to be happy about on Thursday morning.

Contender in:

  • Outstanding Drama Series
  • Lead Actress in a Drama Series (Julianna Margulies)
  • Supporting Actor in a Drama Series (Chris Noth)
  • Supporting Actress in a Drama Series (Christine Baranski)
  • Writing for a Drama Series
  • Directing for a Drama Series
  • Guest Actor in a Drama Series (Alan Cumming)
  • Guest Actress in a Drama Series (Mary Beth Piel)

Dark Horse in:

  • Supporting Actor in a Drama Series (Josh Charles)
  • Supporting Actress in a Drama Series (Archie Panjabi)
  • Guest Actress in a Drama Series (Martha Plimpton)
  • Guest Actor in a Drama Series (Dylan Baker)

Should, but Won’t, Contend In:

  • Honestly, I think it’ll contend in some capacity in every place it really deserves to: Matt Czuchry did well with his part, but his character’s real potential will be next season (considering where the season left his character), and no one else really played a pivotal enough role to be considered. However, the one omission above is Titus Welliver, who I think could have contended in Guest Actor but who didn’t submit himself for consideration (for this or for Lost), which is a pity.

Leave a comment

Filed under Emmy Awards, The Good Wife

Handicapping the 2010 Emmys: Official Ballot Miscellany

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.

Continue reading

12 Comments

Filed under Emmy Awards

Handicapping the 2010 Emmys: Drama Acting

Handicapping the 2010 Emmys: Drama Acting

June 3rd, 2010

On the drama side of things, there’s fewer trends that we can follow through to the nominees than there are in comedy. There, we can look at Glee and Modern Family and see some logical directions the awards could take, but in Drama there’s really only one new contender (The Good Wife), and the other variables are much more up in the air in terms of what’s going to connect with viewers. Lost could see a resurgence with voters in its final season, or it could be left in the dust; Mad Men could pick up more acting nominations now that its dynasty is secure, or it could remain underrepresented; Breaking Bad could stick to Cranston/Paul, or it could branch out into the rest of the stellar cast.

That unpredictability isn’t going to make for a shocking set of nominations, but I do think it leaves a lot of room open for voters to engage with a number of series to a degree that we may not have, so it’s an interesting set of races where I’m likely going out on some limbs.

Continue reading

11 Comments

Filed under Emmy Awards

Season Finale: The Good Wife – “Running”

“Running”

May 25th, 2010

A lot has been written about how The Good Wife is a wolf in sheep’s clothing, presenting itself as a combination of legal procedural and workplace drama on a weekly basis while at its heart remaining a serialized character study. The series’ pilot was one of those skillful bits of television where they presumably lay out all their cards and yet really tell you nothing at all. The clear “structures” of the season were put into place (the competition with Carey, the complications surrounding Peter’s trial, Alicia’s romantic tension with Will, etc.), but it couldn’t tell us that those structures would evolve, and that from their “resolutions” would emerge structures which offer greater complexity.

Ending where the series began, “Running” very purposefully asks us how much has changed since Alicia Florrick stood on stage with her husband one year ago, a cyclical conclusion which for some shows would seem a bit cute (and, admittedly, the ending eventually veers into that territory). However, when you actually consider that question beyond the rote cliffhanger that the episode provides, you realize how much more complex this environment seems, how much it feels like we’ve lived in Alicia Florrick’s shoes and understand the ways in which she’s trapped between different definitions of the series’ title.

And while its ending may be predictable when taken out of that context, I would very much argue that the series’ position heading into its second season is more impressive than even the strong pilot predicted.

Continue reading

3 Comments

Filed under The Good Wife

The Good Wife – “Boom”

“Boom”

April 28th, 2010

The Good Wife is a lot like Fringe.

This likely seems like an odd statement, but both are shows which despite fairly substantial serialized elements largely present themselves as procedurals. Both shows are also at their best, when telling procedural stories, when those stories feel in some way distinct: like Fringe, the characters are usually interesting enough that a more mundane trial can largely be carried by the show, but The Good Wife (and Fringe) are both capable of twisty, complex narratives that embody the shows’ particular universes as different as they might be.

“Boom” eventually succeeds due to some interesting serialized elements and some nice work around the edges, but the central case feels like something pulled out of an episode of Law & Order. This isn’t a slight on Law & Order so much as a sign of The Good Wife’s limitations: this show isn’t as capable of “solving” a case in the way that show is, and the case eventually becomes a burden which interrupts, rather than complicates, the show’s other drama.

Continue reading

1 Comment

Filed under The Good Wife