Every year, writers and directors kind of get the short straw, if you will, when it comes to Emmy night. In the past, these categories have served as catch alls for the Academy to recognize series that aren’t getting the same level of attention at higher levels. Two years ago, House won for Best Writing in a Drama Series while Lost swept Directing/Drama Series; last year, My Name is Earl won writing and directing despite being otherwise shut out. This year, these categories will be yet another chance for shows to be recognized.
Today, I want to highlight five comedy episodes in both directing and in writing that, I believe, should be recognized by the Academy and its voters this year. [For my list of Drama candidates, click here]
Oustanding Writing in a Comedy Series
30 Rock – “Hard Ball” (Writer: Matthew Hubbard)
It’s hard to believe a former staff writer on Joey was capable of writing such a fantastic episode of 30 Rock, but it happened: this episode made Jenna tolerable, had some great moments from Jack and Liz, and gave Tracy and Kenneth an engaging storyline. It was satirical, it was funny, and while it isn’t perfect I think it’s as close as 30 Rock came to achieving it in its first season.
Entourage – “Manic Monday” (Writers: Doug Ellin, Marc Abrams & Michael Benson)
I think that Entourage had a few well-written episodes, but Manic Monday caught me eye for being so focused on Ari. Jeremy Piven knocks all of his material out of the park, but this particular episode showcased a human side, just briefly. The writing allows Ari to progress naturally, and features perhaps the best overall arc of the show’s eligible episode within his character.
Desperate Housewives – “Bang” (Writer: Joe Keenan)
Joe Keenan did the impossible: he took a character that was seriously just there to be annoying, and by the end of the episode you actually mourned her death. While Laurie Metcalf and Felicity Huffman certainly elevated the material to a different level, Keenan’s bones were structurally fantastic and resulted in a tense, engaging hour of television.
The Office – “Business School” (Writer: Brent Forrester)
A former writer on The Simpsons, I think Forrester absolutely nailed so many characters in this episode that I don’t see how it can’t be nominated. Michael was funny, Pam was crushed, and Jim and Dwight were as ridiculous as ever. It was an episode that has emotional sentiment and a lot of universal themes…and a bat in the office. That’s inspired writing.
How I Met Your Mother – “Slap Bet” (Writer: Kourtney Kang)
From the episode ending 80s-inspired Robin Sparkles reveal to the initiation of the Slap Bet, this episode is a slow build to a conclusion that is basically just a music video…but it works. We spend the entire episode wondering what Robin’s secret it, and its reveal is about as perfect as you could imagine. This is the episode that could have garnered the series an Emmy nod; it’s also a strong writing candidate.
Outstanding Direction in a Comedy Series
The Office – “Business School” (Director: Joss Whedon)
The Buffy/Angel/Firefly creator was one of two guest directors in the month of February, and I think that he personally nailed the comic timing of the series for me. The show felt the same, but the angles were really a lot of fun. He had the classroom, the art show and the office to play with, and he used some dynamic camera moves and really cool angles to get the most out of them. Listening to commentaries that he does shows he has an eye for direction, and it was proven here.
In preparing to write these pieces, I knew that I was going to have a problem with Heroes. I have a lot of opinions about this series, and admittedly not all of them are positive: despite enjoying the series immensely at certain points, at others I cringed and wondered just why I was watching it. So, knowing that I would likely end up writing an article about its season as a whole, I tried to distill my thoughts into something positive, but tentative. But then I realized that would not work, and that I needed to be honest. And so, here we are, with what is my first venture into this territory. Because, you see, even though it officially made the Drama Series Top 10…I don’t think that Heroes should be considered for an Emmy award for Outstanding Drama Series.
There are certain shows that are all hype and no follow through; they launch in September to rave reviews and high ratings, but immediately falter and fail to pull you in. For a brief period, I felt Ugly Betty was that show. And then, something clicked: the soap opera elements of the show’s plot were given resonance, and the series returned to its characters and settings that made it a success in the first place. And that’s really the hallmark of a series’ first season: does it end in worse or better shape than when it started. With perhaps the strongest melodramatic finale of the season (Take that, Grey’s), Ugly Betty proved that its initial success was no fluke, and its growth makes it deserving of Emmy consideration.
Attempting to sell people on NBC’s Friday Night Lights has always been difficult, as it is tough to describe just what makes it one of the best shows on television. Is it a football show, or is it just another teen drama? Does it value principles such as family or principles such as teen lust? Is it trying to be a broad political commentary on the War in Iraq, or rather a representation of isolated small town America? What I believe I’ve decided upon is that Friday Night Lights is that it is an amazing achievement because it manages to be all of these things: through a handheld camera lens, Peter Berg and Jason Katims have created a window into the lives of families, teenagers, high school football, and even the ramifications of world politics on small town America. The best new network drama of the Season, Friday Night Lights it without a doubt worthy of Emmy consideration.
I don’t quite understand why How I Met Your Mother was almost not renewed for a third season this past year. The show’s second season was a bit uneven, but it has a charm and wit that few multi-camera sitcoms can relate to. On a network where its most successful sitcoms star middle-aged men and women, How I Met Your Mother follows twenty-somethings adjusting to life out of college and in the real world. What began as a moderately intriguing premise of figuring out how Ted met his wife has turned into a cohesive and diverse comedy that has been able to exist outside of the cultural radar.
If there was a success story in television this past year, I believe that it would have to be Greg Berlanti. After the unfortunate cancellation of Everwood last year, Berlanti was out of a job. However, there was a show in need of assistance: ABC’s Brothers & Sisters was spiraling out of control with showrunner Marti Noxon and they needed some help. Berlanti was asked to step in, and he took a show headed off the rails and turned it into one of the strongest dramas of the season. Jobless a year ago, Berlanti now has two pilots ordered by ABC and a returning drama series with a plum timeslot.
Cultural Learnings 