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.
Critical Responses to “Ab Aeterno”
March 24th, 2010
While I remain content with my review of “Ab Aeterno” from last night, I think that this is definitely one of those episodes that warrants a second look based on the kinds of responses I’ve seen to the episode online. While being able to write about the episode in advance of its U.S. airing due to Canadian simulcasting conflicts is wonderful, and will last for another week at least, it means that I’m writing about the episode in a relative bubble, and there’s enough hyper-intelligent people watching this show that things will emerge which complement or contradict my own thoughts.
Considering the depth of mythology material presented by “Ab Aeterno,” and the fact that some people are throwing around comparisons with Season Four’s “The Constant,” there’s plenty of discussions surrounding the episode, so I want to highlight some of those reviews while, admittedly, using them to make some points that have come to me since watching the response last night.
March 23rd, 2010
Considering how important “Ab Aeterno” is to the Lost mythos, and considering how much I enjoyed the epiosde, I don’t think I’m going to have a whole lot to say about it – or, more accurately, I didn’t think I’d have a whole lot to say until I actually started writing about it. This does not mean that the episode didn’t live up to my expectations, or that there isn’t plenty of questions to mull over in the week to come. Instead, I simply mean that things were confirmed more than they were revealed, and the questions that were answered actually provided clarity as opposed to more questions.
In many ways, “Ab Aeterno” (which translates as “since the beginning of time”) is about the interrelationship between “how” and “why,” with its answers addressing issues related to both key questions. Structurally speaking, Season Six is no more clear than it was before, but the brief glimpse of Jacob and the Man in Black from “The Incident” is intricately fleshed out into the story of how Richard Alpert made the decision between a man who offered him everything he once had and the man who could assure him that there would be something to live for.
The result is a simple story of love and loss, and an important turning point in our understanding of why these characters are stranded on this island, and how they may play a role in its eventual destiny.
March 10th, 2010
“It was on this island that everything changed.”
I’ve got an extremely early wakeup call tomorrow, so I intend for this to be somewhat less lengthy than previous reviews. However, Lost delivered another solid entry into the sixth season this week, so it’s tough to be too brief: there’s a lot of interesting elements at play in “Dr. Linus” which reveal some new subtleties to the Flash Sideways structure, which reveal more nuance to Michael Emerson’s performance (which I thought was impossible), and which point towards answers to a few key questions without, necessarily, answering them completely.
And so there’s plenty to ruminate, speculate and potentially even pontificate on, so forgive me if my promise of brevity proves to be as inaccurate as the statement above: on the island that we know, everything stays the same, but Benjamin Linus’ story of the island of Elba reminds us that sometimes the most substantial change is how the stagnation of one’s position drives them to the point of disrepair. Napoleon remained Emperor when he was exiled on Elba, but his power was false, and it eventually wore him down: this is the story of a man whose quest for power met a similar end, but it is also a story where change seems plausible and, in another universe, an established fact of life.
From this point forward, it might also be the driving force of this series.