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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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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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Assessing the Contenders: Lost – “The Constant”

Lost (ABC)

Episode: “The Constant”

During its resurgence in creative vision during the latter portion of its third season, Lost had a number of highpoints. “Flashes Before Your Eyes” was a complex journey into the series’ murky but fascinating science, “Greatest Hits” was a character piece capable of completely changing the audience’s view of Charlie, and “Through the Looking Glass” used the show’s own conventions against itself for one of the most effective season cliffhangers in a long time.

And yet I think “The Constant,” the fifth episode of Lost’s fourth season, is better than all of them.

Now, I don’t make this statement in spite of those other episodes, but rather out of appreciation: “The Constant” borrows all of their various elements but manages to weave them into a single, cohesive hour of television. It is an episode that, although capable of standing on its own outside the context of the series, also represents the various parts which define the series’ high quality. It is what everything was building towards, the kind of episode that a show can only earn with hard work and practice.

And the final product of all of that work is Lost’s Emmy Submission this year, and it might well be the deciding factor in getting the show it’s second nomination or win in the category.
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The Top 12+ Snubs of the Emmy Top 10s

The Top 12 Snubs of the Emmy Top 10s

This post has been delayed a bit after getting captured between my new and old computers, but I think it’s for the best. When the Emmy Nominations are announced in just over a week’s time, more names will be added to this list, but what this list allows us to do is spread out the disappointment. That these contenders won’t even have a chance in front of a panel, though, is its own tragedy, and the more time I had to embrace this fact the more I realized how much this process hurts.

And it’s not that it’s not fair: while it may not always produce results I like, the current Emmy system is perhaps as close to democracy that they could possibly achieve. The reality of popular and patronage-dominated shows performing well at the Emmys will not go away anytime soon, so we should be thankful that there were some pleasant surprises as I discussed last week. But at the same time, we can’t help but feel it: that the people who were snubbed at this end of the process deserve recognition, no matter how they get it.

So, without further delay, and in no particular order, my Top 12 2008 Emmy Snubs…and let’s hope the list doesn’t grow too greatly next week.

1. Connie Britton (Friday Night Lights)

Category: Supporting Actress, Drama Series

What more does she need to do to get noticed? Britton moved herself to the supporting category to avoid juggernauts like Sally Field or Glenn Close, but at the end of the day the category proved to be even more difficult to break into unless you’re heavily featured in a popular show or an award show veteran. She gave a fantastic performance through an uneven season, the constant rock the show could lean on. She makes weak storylines solid and good storylines great, and if that’s not a great supporting actress I don’t know what is.

2. January Jones (Mad Men)

Category: Supporting Actress, Drama Series

January Jones is the victim of her series’ plot – the show’s pilot, the episode most voters would have seen, doesn’t actually feature the character of Betty Draper, revealing her existence only at episode’s end. While someone like John Slattery was able to ride his reputation to a nomination, Jones doesn’t have the name recognition and is unfairly snubbed here. She did some amazing work embodying the 60s housewife, especially in “Shoot,” and that this portrayal won’t be seen by the judges is a disservice to the ensemble nature of the series. While I’m happy for Christina Hendricks, that was Jones’ spot.

3. Chi McBride (Pushing Daisies)

Category: Supporting Actor, Comedy Series

With all three of his primary co-stars breaking into their respective Top 10 lists, forgive me for being upset that my favourite was left off. Not known for his comic work, McBride’s Emerson Cod has been a delight. He’s a knitting private detective, for cripes sake, and he has adapted maybe best of all to the witicisms and whimsy that this world entails (albeit it through cynicism and sarcasm). The shortened season robbed him of a showcase episode (We got hints of a baity fatherhood episode), something that the other actors by comparison had, but that doesn’t mean that the show’s most consistently hilarious character should get snubbed. Here’s hoping the voters smarten up for the show’s second season.

For more snubs including performers from House, Lost and Battlestar Galactica, click on through.

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Academy Reveals Emmy “Top 10s” for Comedy and Drama Series

Earlier this week, Tom O’Neill over at The Envelope’s Gold Derby revealed that the Academy planned, for the first time, to reveal the official Top 10 qualifiers for the Series and Acting prizes. These are the shows that will be screened in front of panels, and then used to decide 50% of the final nomination process. These lists are the cutoff point – if you don’t make the list, you cannot get nominated for an Emmy.

Now, the Academy is making their unprecedented decision a little bit more tentative; they’ve announced the Top 10 Series in both Comedy and Drama, and are going to re-assess the situation tomorrow after they see the critical and industry response to these revelations. This is fair, I guess, but let me be the first to say that as a wannabe TV critic I love this news, and think that it’s only helpful to the process. Yes, it will make a potential nomination for a show like The Wire less surprising (Where before people would have presumed that it wouldn’t even make the Top 10), but now people are actually kind of excited going into the process.

Now, Tom has asked that the list of episode submissions be kept to his blog, but the Top 10 lists are floating around. So, here’s the link to Tom’s list, and then I’ll provide the full list of shows and go into some commentary on the choices, and why releasing the acting lists is still a viable option.

Gold Derby: Emmy Drama/Comedy Top 10 Submissions [Link]

Drama

“Boston Legal”
“Damages”
“Dexter”
“Friday Night Lights”
“Grey’s Anatomy”
“House”
“Lost”
“Mad Men”
“The Tudors”
“The Wire”

The Big Surprise: The Wire, which in its fifth season finally captured a little more of voters’ attention. The show is actually HBO’s only show in the category, trouncing their more heavily promoted In Treatment.

The Big Snub: While one could argue that Big Love’s absence from the list is a surprise, the real surprise is that Heroes (nominated last year) didn’t make the Top 10. That the Academy so clearly judged the second season’s quality correctly gives me high hopes.

The Sentimental Favourite: It’s gotta be Friday Night Lights, which squeaks its way into the category with an uneven, but still quality, second season.

After the break, the comedy list.

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Emmy Nominations: How They Work and Who They Benefit (2008)

[The following is a post I wrote last year around this time, explaining how the Emmy Awards nomination process works. Tomorrow is the deadline for the first stage of the process, where the popular vote will be completed and the Top 10s will be tabulated. Look for more coverage here at Cultural Learnings of the various categories as the process continues, but in the meantime enjoy this updated explanation.]

Tomorrow, June 20th, the first stage of the Emmy Nomination process ends. Getting nominated for an Emmy Award is not an easy task, and the entire process was recently made even more complicated in an effort to create fairness. To help you follow the process as it unfolds over the next month, here’s a rundown on how the decision is made and who benefits from each stage.

Stage One: The Popular Vote

How it Works: Voters select their favourite candidate from all individuals who have submitted themselves for nomination. They read For Your Consideration ads, watch screeners, but in the end likely just pick who they like, allowed to vote for as many as Ten candidates who gets more points the higher they are on their list.

Who it Benefits: Shows that are either perennial nominees or extremely buzz-worthy, and actors that are well-known in Hollywood. Thus, voters don’t really even need to see what these candidates have to offer, they just assume they’re really good. Examples of shows that perform well at this stage are big winners last year like 30 Rock, current awards season sensation Mad Men, or highly rated shows like Grey’s Anatomy, while perennial Emmy favourites like Julia Louis-Dreyfus (New Adventures of Old Christine) or William Shatner (Boston Legal) will place highly based on their past acclaim.

Who it Harms: Ratings-deprived, critically acclaimed programs without any of the above, and actors or actresses who lack star power or past Emmys attention. Friday Night Lights and The Wire are generally the two best examples, shows that so few people watch that their unquestioned quality (Mostly unquestioned, anyways) goes unrecognized when they can’t make their Top 10. Performers, meanwhile, have an even tougher time even on hit shows; multiple Lost performers will make it onto the next part of the process, but for relative unknowns like Yunjin Kim standing out amongst over 100 other names is tougher. It also does nothing for fan favourite shows, as Emmy voters don’t tend to watch recently canceled shows like Jericho or Moonlight, and therefore they have very little chance of emerging out of this round.

Stage Two: The Top 10 Run-Off

How it Works: The Top 10 series from the popular vote are isolated and screened in front of a blue ribbon panel. Each show/actor/actress selects an episode that will be screened for the panel if it makes the Top 10. They also prepare a short written statement explaining their show and the episode in context with the show. For example, should Mad Men make the Best Drama Series panel (Count on it), they will be screening the shows’s pilot, “Smoke Gets In Your Eyes.”

Then, each member of the panel will rank the shows from 1 to 10, and a final ranking will be decided.

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60th Primetime Emmy Awards Preview: Supporting Actress in a Drama Series

The biggest news to emerge from the depths of the Emmy obsessed into mainstream media this year is certainly the news that last year’s winner in this category, Katherine Heigl from Grey’s Anatomy, is not in the running. That itself is a surprise, but it was her reasoning that has sent shockwaves through Hollywood. As she first told TheEnvelope.com’s Tom O’Neill, after GoldDerby reader KellyClarksonFan discovered the omission:

“I am truly grateful for the honor that the Academy bestowed upon me last year. I did not feel that I was given the material this season to warrant an Emmy nomination and in an effort to maintain the integrity of the Academy organization, I withdrew my name from contention. In addition, I did not want to potentially take away an opportunity from an actress who was given such materials.”

Now, the AP amongst others have taken this to its logical location: it’s a clear slap in the face to the show’s writers, and yet another moment where Heigl’s mouth has made more headlines than her acting ability. For the record, I think she’s right on the money in terms of the material she was given, but this is still a bit much. However, I choose to look at the positive side of this: with last year’s (arguably undeserving) winner gone, there’s more room for some of the fantastic candidates in this category.

And there are fantastic candidates: you have multiple candidates who are due for an Emmy win after numerous nominations, a few dark horses who won’t make the Top 10 but deserve recognition, one or two who might slip in based on series hype, and plenty of room for surprises at the top. And with Heigl gone, more of these deserving contenders have a shot.

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60th Emmy Awards Preview – Supporting Actor in a Drama Series

[Leading up to the announcement of the nominees in mid-July, Cultural Learnings will be delving into each of the major categories to highlight a major theme or a certain selection of potential nominees.]

As far as categories go, they don’t get too much more wide open than this year’s race for Supporting Actor in a Drama Series. It’s long been a category dominated by the show of the moment: both The Sopranos and The West Wing saw multiple nominees on multiple occasions, and Lost was added to that list in recent years. So, for a show like Lost, the question isn’t whether one of its actors will get a nomination: it’s which one, and how many.

This goes for other series as well, as this is certainly a year where there’s a lot of shows that probably have multiple deserving candidates. These types of races are always difficult because of two competing phenomena: vote-splitting, which implies that these candidates will struggle to break into the final five or six nominees, and tape-sharing, where the tapes screened for critics could potentially overlap between candidates. The latter, for example, pretty well won Terry O’Quinn the Emmy last year, as he was in Michael Emerson’s submission almost as much as he was in his own.

This year, it’s three competitors from Boston Legal, four from Lost, and two from Damages that will either be fighting more with each other or working together to multiple nominations. And, well, let’s not forget everyone else, too.

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Season Finale – Lost – “There’s No Place Like Home, Parts 2 & 3”

“There’s No Place Like Home, Parts 2 & 3”

May 29th, 2008

“Who the frak is Jeremy Bentham?”

[In case this 4700 word review wasn’t enough, here’s more post-podcast thoughts about the Lost finale! Was the finale spoiled by the one which preceded it, dooming it from the very beginning? Well, no, but it’s a valid argument.]

This is the question that pervades the conclusion to Lost’s fourth season, one that I asked myself the second the name was uttered. Now, I presumed that this (like most Lost names) had special meaning, but resisted the urge to head off to my computer to use Wikpedia to find out which philosopher or some other profession the show was using to describe this intriguing character who, as the finale unfolds, we learn was in the casket we saw a season ago.

And, well, I didn’t even have to wait until I returned to my computer: someone who was only in the TV lounge to watch a show proceeding Lost knew the story, and immediately it clicked: it wasn’t his ideas that made him an ideal choice, but rather his legacy.

From Wikipedia:

As requested in his will, [Jeremy Bentham’s] body was preserved and stored in a wooden cabinet, termed his “Auto-icon”. Originally kept by his disciple Dr. Southwood Smith, it was acquired by University College London in 1850. The Auto-icon is kept on public display at the end of the South Cloisters in the main building of the College. For the 100th and 150th anniversaries of the college, the Auto-icon was brought to the meeting of the College Council, where he was listed as “present but not voting”. Tradition holds that if the council’s vote on any motion is tied, the auto-icon always breaks the tie by voting in favour of the motion.

In an episode full of light bulb moments, pieces falling into place as we knew they had to, this was the biggest: a realization that, in kind with the words of the characters standing beside the casket, there was life after death for its occupant. Death is strange on the island, we know this: whether it’s Christian, Claire or Charlie, it is clear that dying is not final in this world.

And there is nothing final about this finale; while we turn the corner on one chapter of the lives of our castaways, the series has simultaneously created a whole new set of mysteries, a whole new structural question (perhaps even rivaling our post-season three confusion), and certainly more than enough dramatic potential for the final two seasons to resonate just as strongly as this one.

To be frank, this is no “Through the Looking Glass;” its moving pieces were smaller, and its scale (even considering Locke’s mission from Jacob) are in no way going to create something to that level. However, the episode fulfills that finale’s potential, paying off storylines both emotional and adventurous, and providing more than enough fodder for Lost fans to continue salivating for the final 34.

In the meantime, let’s salivate over this one.

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Reflections: Preparing for the Lost Season Four Finale

Preparing for “There’s No Place Like Home”

When Lost ends its fourth season tonight, it has a lot to live up to: not only is the show known for its mind-blowing finales, in particular its most recent one, but it is coming at the end of a season with a lot of momentum. It’s hard to deny that the show’s fourth season has been strong, and also that it has made the best of its shortened schedule. As a result, excuse me if I have high hopes for its end note.

Now, that’s not to say that I think tonight’s finale (airing at 9 EST on ABC, but I’ll be watching it at 6 EST due to the Canadian simulcast) will reach the heights of “Through the Looking Glass,” the stunning conclusion to last season. It’s the same logic I used in defending the slower pace of the season premiere, “The Beginning of the End,” to those who felt that it lost some of its momentum. This sentiment implies, falsely in my mind, that the only momentum the finale created was “OMG, Flash Forwards;” clearly, its success goes beyond that.

I love “Through the Looking Glass” because it feels like a high point in the show’s mythology while also feeling like the climax of a high-powered adventure film. As Michael Giacchino’s score ramps up, and as we get soaring helicopter shots of various travelers, there is something about it that feels epic and sweeping. In the weeks previous, they had set all of the moving parts in place: whether it’s the Looking Glass itself, the trip to the radio tower, the arrival of Naomi, Charlie’s sacrifice, Locke’s apparent death, or the beach ambush, a lot came to a head in that two hours simply on an action level. At the same time, of course, we ended on a realization that it was frakking with the show’s structure more than we ever bargained for.

Season Four, with only fourteen episodes, doesn’t seem like it should have had time to get to that point. After last year’s finale, there was a lot of questions, but the season has done a great job of developing a structure that best serves those questions on a dramatic level. No, they aren’t answering a question a week, but the future has done wonders for the show’s ability to create dramatic pathos. Flash forwards are intriguing in their own right, but their greatest benefit is providing build-in payoff to a season that (even shortened by the strike) that has every ability to feel like a complete ride in the process.

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