“The Doctor’s Wife”
May 14th, 2011
It isn’t exactly news that Steven Moffat’s Doctor Who is expressly interested in the poetic: between The Girl Who Waited, The Boy Who Waited, and the tragic love story of the Doctor and River Song, Moffat’s world is filled with characters whose relationships are defined by strong emotional hooks. Even when the show built towards the fifth series’ grand finale, watching as the Doctor is slowly erased from time as he rewinded through the events of the series, it all turned into one big poetic moment where the “Old, New, Borrowed and Blue” story began to make so much more sense.
“The Doctor’s Wife,” scripted by acclaimed author Neil Gaiman (my relationship to whom I will discuss after the jump, is a truly wonderful outing on a large number of levels, but it’s the poetry of it all that makes it work. There’s a point early on where the Doctor can’t come up with a proper analogy to explain their location “outside of the universe” to Amy and Rory, and that’s very much part of Moffat’s approach: we don’t need to know what it means or how it works, all we need to know is what it means.
Or, rather, all we need to know is that we enjoyed the bloody hell out of it even though we’ve still got a whole lot of questions.
November 8th, 2010
To check in on a show you haven’t watched for a while is always a bit disarming, but being as media saturated as I am sort of softens the blow. I think the last time I watched House regularly was early in its fifth season, since then tuning in for special episodes (like “Broken” and “Wilson”) where the internet suggested it would be worth my time. However, because I spent so much of my time surrounded by people who do keep watching the show, I get bits and pieces: I wasn’t shocked to see Thirteen missing, for example, and I was thankfully prepared for the alarming sight of Cuddy pressing her lips against House’s lips (I think they call it kissing? It was icky).
And yet, the whole point of House is that we’re supposed to be able to jump right in, especially in an instance like “Office Politics” where a new character (and subsequently a slightly new dynamic) is being introduced. Amber Tamblyn’s arrival as Masters, who effectively replaces Thirteen since Olivia Wilde is off becoming a movie star, is not the seismic shift that perhaps the show needs to enter back onto my radar full time, but the episode has just enough dynamism to feel like an event for those of us who appreciate Tamblyn and like to imagine a world where House remains a relevant television program.
Of course, at the same time, the sheer similarity of the formula means that stepping back out is just as easy as one might imagine.
The Stealth Launch: Lie to Me, Caprica Return
October 4th, 2010
This week marks the return of two series which were supposed to remain on the bench for a bit longer.
FOX’s Lie to Me was originally scheduled to return in November, but its third season will slot behind House (where it was last season) starting tonight at 9/8c.
SyFy’s Caprica, meanwhile, wasn’t going to return until January, but the decision was made to pair the conclusion of the series’ first season (10/9c) with the return of Stargate Universe on Tuesday.
As someone who was compelled by Caprica, and who finds Lie to Me to be a solid procedural, I should be excited by these returns. However, both because of a general lack of promotion in one case and a sheer lack of warning in the other, these series risk being missed by their prospective audience. While there is some value to flying under the radar, and it is possible that reduced awareness could lead to reduced expectation, I can’t help but feel that these series are being put in a position where sooner is not necessarily better.
Lead Acting in a Drama Series
August 26th, 2010
The Lead Acting awards on the Drama side this year are polar opposites: one has a clear frontrunner and a slightly tired set of nominees, while the other category has a ridiculously packed lineup of potential winners where no clear frontrunner exists and where I’d be happy with anyone winning the trophy.
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.
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.
Handicapping the 2010 Emmys: Drama and Comedy Series
June 1st, 2010
What’s weird about predicting the Emmy nominations (which are on July 8th, for the record) is that it really doesn’t have anything to do with quality: sure, a bad season can certainly hurt your chances at getting an Emmy, and a good season is sure to be of some assistance, but the objective quality of a series doesn’t really matter until they’re nominated. Until that point, it’s one big popularity contest, combining old habits, much-hyped new series, and those nominees who seem particularly newsworthy.
This is why it’s possible to predict the nominees, or at least the long-list of contenders who could logically garner a nomination on July 8th, before the eligibility period even ends (which isn’t really that big a deal this year, as any series which aired the majority of its season before the deadline [like Breaking Bad] will still be able to submit their concluding episodes). And while it may seem a bit premature, I’m pretty Emmy obsessive, and wanted to take some time this week to run down the potential nominees in each category. In the case of the series and acting categories, I’ll single out some who I believe are guaranteed nominations, while I’ll likely be less able to do so with Writing and Directing (which are often much less predictable, outside of a few exceptions).
We’ll start with Outstanding Drama Series and Outstanding Comedy Series today, both because they’re a bit easier to handicap and because they’re the “big” races. They’re also the categories where I’m willing to put money down on a majority of the nominees, leaving only a few spots remaining for the other series to fight over in the months ahead.
And what a fight it’s going to be.
[Before we start, hats off to the great work of the Gold Derby forum members, especially moderator Chris “Boomer” Beachum, whose work continues to make projects like this a lot easier. Check out their Official 2010 Emmy Campaign Submissions thread for a full list of submitted nominees; you’ll end up there for at least a half hour before you realize how much time has elapsed.]