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2010 Emmy Award Predictions: Lead Acting in a Comedy Series

Lead Acting in a Comedy Series

August 25th, 2010

There is nothing particularly progressive about the Lead Acting awards on the comedy side: with Modern Family’s cast choosing to submit in supporting across the board, and with Lea Michele and Matthew Morrison both submitting poorly, the big comedy battle of the year really isn’t relevant here, which means that we’re left with less interesting battles.

Or, more accurately, some less heartening battles: the reality is that these awards are unlikely to go to new faces, with previous winners dominating both fields. I’d like to believe that someone like Amy Poehler or Jim Parsons could walk away with these awards, but only the latter really has a chance, and even then something big, boring, and potentially enraging stands in his way.

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And Your Winner, by Submission…: Analyzing 2010’s Emmy Tapes

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.

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The Trick is to Actually Watch TV: The 2010 Emmy Nominations

The Trick is to Actually Watch TV: The 2010 Emmy Nominations

July 8th, 2010

The Emmy nominations (which you can find in full here) are less a sign of what’s truly great on television and a more a sign of what the Emmy voters have actually been watching.

Series and performers are nominated for Emmys for one of two reasons: either the Academy members watched episodes carefully and saw them deserving of an award, or they looked at their ballots and chose a familiar name, a much buzzed-about series, or the first name on the ballot. And, frankly, most years the latter seemed to be their modus operandi, to the point where I’ve started to disassociate voters with any notion of television viewership – I’m not even convinced most of them own televisions.

However, for once, I’d say that the 2010 Emmy nominations seem to have been made by people who actually enjoy the medium, with plenty of evidence to demonstrate that voters actually watched many of the shows they nominated and discovered not only the most hyped elements of that series but also those elements which are truly deserving of Emmys attention. There are still plenty of examples where it’s clear that Emmy voters didn’t truly bother to watch the series in question, and all sorts of evidence which indicates that the Emmy voters suffer from a dangerously selective memory and a refusal to let go of pay cable dramedies, but the fact remains that this is the most hopeful Emmy year in recent memory.

It isn’t that every nominee is perfect, but rather that there is evidence of Academy voters sitting down in front of their television and watching more than a single episode of the shows in question, making them less like soulless arbiters of quality and more like actual television viewers – it might not stick, but for a few moments it’s nice to finally see some nominees that indicate voters aren’t so much different from us after all.

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Season Premiere: Warehouse 13 – “Time Will Tell”

“Time Will Tell”

July 6th, 2010

Warehouse 13 ended its first season on one of those cliffhangers that I generally despise – like White Collar’s mid-season finale late last year (where it seemed like Peter was the series’ big bad), the show ended on a note which implied a huge change in direction (in this case that Artie had been killed in the explosion at the Warehouse’s entrance, and that Leena was in league with MacPherson) but which in reality was entirely inconsequential. Any uncertainty you have about Artie being legitimately dead is ended within a few minutes, and any concerns about Leena are erased when she continues to appear in the main credits.

I’m fine with the fact that a sci-fi procedural isn’t going to make these sorts of huge changes, but my response to the second season was very much dependent on how they used the uncertainty surrounding the finale to its advantage. While it may be cheap storytelling in a lot of ways, Warehouse 13 has the unique ability to explain away sudden twists under the guise of expanding its catalogue of artifacts with inexplicable powers – while I thought White Collar took a few episodes to recover from the bait and switch, Warehouse 13 uses its pre-existing rules in order to leap frog over the initial uncertainty to confidently map out the season to come. “Time Will Tell” is a strong premiere, although in a different way than I had expected, giving viewers one last glimpse at the first season’s highly personal conflict between Artie and MacPherson before replacing it with a more generic, but also more inventive, narrative.

It’s a decision I think works in the show’s favour, going against the common logic of these types of procedurals by through simplification rather than complication while continuing to embrace the quirky, charming potential within the series’ premise.

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Handicapping the 2010 Emmys: Comedy Acting

Handicapping the 2010 Emmys: Comedy Acting

June 2nd, 2010

In comedy this year, a lot depends on what shows make it big: we know that Glee and Modern Family are going to make a statement (as noted in my piece handicapping the Comedy Series race), but is it going to be a statement of “this is a great show” or a statement of “this is the greatest show since sliced bread?” The difference will largely be felt in the acting categories: both Modern Family and Glee have multiple Emmy contenders, but it’s unclear whether some of the less heralded performers will be able to rise along with the big “stars,” or whether the halo of series success won’t help them compete against some established names already entrenched in these categories.

Ultimately, I’m willing to say that there’s going to be some pretty big turnaround this year in some of these categories, but others feature quite a large number of former nominees who likely aren’t going anywhere, so it should be interesting to see how things shake out on July 8th. In the meantime, let’s take a look at the four major Comedy Acting Emmys and see where the chips lie.

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Season Finale: Dexter – “The Getaway”

“The Getaway”

December 13th, 2009

When Dexter started its season, I spent a lengthy post comparing the show to 24, arguing that the show’s initial interest in Dexter as a psychological case study has been all but eradicated by seasons which have turned the show into your basic serial thriller that fails to take into account just how complex the character truly is. The show took two seasons to establish that Dexter is someone who has a code, and who kills those who deserve to be killed, and now it has taken that stock character and turned him into the blood analyst equivalent of Jack Bauer, happening to find himself wrapped up in compelling cases each and every season that speak to Dexter more than something wholly random but often do so in a superficial way. And like 24, these situations can often be quite compelling, but if you stop and think about the real potential in this character and the series you can’t help but feel that all involved could do better.

If we choose to accept that this is all Dexter is going to be, the fourth season has been quite solid, benefitting from a terrific and terrifying performance by John Lithgow as Arthur Mitchell, also known as the Trinity Killer. And much as 24’s fifth season was one of its strongest due to the amount of time spent crafting Gregory Itzin’s President Logan into a complex antagonist, the show works infinitely better when it takes the time to create a character that can give us chills, and who brings out interesting shades in Dexter’s character. So long as we ignore how convenient it is that Trinity is based in Miami, the consequences (like Jennifer Carpenter’s fine work post-shooting, like more time with Keith Carradine, etc.) are quite engaging, and viewed on their own represent some great dramatic television.

But they’re surrounded by a show that can’t help but call attention to its faults, and how those faults could have been prevented. Harry Morgan, once an integral part of the series’ mythos, has devolved to the point of serving as an exposition tool, a physical representation of Dexter’s self-conscience that the writer aren’t even willing to define as either angel or devil because they’re afraid that question would be too complex to handle. The supporting characters, like Batista and LaGuerta, are given stories that are literally just excuses for them to remain in the cast. Rita and her kids, once a beard for Dexter’s inner emptiness, have become a way for the show to investigate fidelity and suburban life, but never in a way that feels like it goes beyond melodrama.

“The Getaway” takes a lot of these elements and puts them to good use, unearthing Dexter’s bloody past in a way which feels organic and concluding the Trinity arc with the sort of momentum that the show is so very good at developing. And in its conclusion, which is in fact truly game-changing, there contains the DNA for the show to reinvent itself, to send it down a darker and more complex path that harkens back to the show’s first season.

And I’d be a hell of a lot more excited if I thought that was actually going to happen.

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Predicting the 2009 Emmys: Lead Actor in a Comedy Series

Emmy2009Title

Lead Actor in a Comedy Series

Predicting the 2009 Emmys

And the nominees are…

  • Jemaine Clement (Flight of the Conchords)
  • Alec Baldwin (30 Rock)
  • Steve Carell (The Office)
  • Charlie Sheen (Two and a Half Men)
  • Tony Shalhoub (Monk)
  • Jim Parsons (The Big Bang Theory)

This is a battle that I have spent a lot of time thinking about, and even spent an entire post handicapping the category very carefully. There are three major contenders in this race (Baldwin, Carell and Parsons), and all have really compelling cases for their victory. While Shalhoub has won before (too many times), and Sheen is on a very popular show, and Clement is hilarious in his submitted episode (Carol Brown FTW), they are all out of this race that boils down to the safe, the overdue, and the next big thing.

As you’ll see in my handicap post, I think all actors have something going for them. Baldwin has a gimmicky performance that is integrated into all of the stories in his episode (which would be screened in its entirety for voters), Carell displays a pivotal moment for his character while nicely straddling that line between idiot and genius, and Parsons provides the single-most satisfying scene in the show’s two seasons. When you balance those things out against each other, it’s tough to pick a winner based on their tapes alone, especially as they all have their downsides (like Baldwin lacking subtlety, Carell lacking in broadness, and the rest of Parsons’ submission proving less effective).

So, then, it becomes about stories. Baldwin is a safe choice since he won last year and there are no signs of the 30 Rock train slowing down any time soon. And Parsons is (rightly) considered the next huge comic talent that could really breakthrough with a win here. At the same time, Baldwin is too safe a choice in some respects and his submission isn’t as good as last year’s, while Parsons is still young and one feels he is going to have plenty more opportunities to win this award.

As a result, my mind goes to two years ago. It was Alec Baldwin’s first year competing for 30 Rock, before the show really picked up, and the award seemed like a battle between his celebrity and the celebrity of Steve Carell, who was competing for the second time for his work on The Office. However, to the surprise of just about everyone, Ricky Gervais took home the award for his time on Extras, a decision which genuinely shocked people (even Gervais, who didn’t attend the ceremony).

And, as such, I think Steve Carell is going to pull a Ricky Gervais, just as I thought after watching their three submitted episodes. It’s a likeable performance for a character who some may view as unlikeable, and it’s an emotional performance from a show that some people might think cruel and cold. It’s the kind of performance that proves how vital Michael Scott is to the show and how crucial Carell’s characterization is to ensuring its success. And, while Baldwin might be the safe bet and while Parsons might be the epitome of a dark horse, I’ve got my money on the main in the Woman’s suit.

Predicted Winner: Steve Carell (The Office)

The Michael Scott Paper Company arc was the best thing about a strong season for The Office, and its conclusion was one of those moments where the show’s subtle qualities (especially in Carell’s performance) were on full display.

Dark Horse: Jim Parsons (The Big Bang Theory)

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