The 2011 Oscar Nominations
January 25th, 2011
On Twitter, I suggested that I was relatively bored with this morning’s Oscar nominations…or, more accurately, I tweeted “Oscar nods = yawn,” which frankly says more about how much I enjoy being up at 7:30 in the morning than it does about the nominations themselves.
Still, though, I must admit to being fairly unexcited by the whole affair. While there were a few pleasant surprises, and a few snubs which raise my ire in the way that I more or less enjoy, something about the nominations just doesn’t sit right. While the nature of the 10 Best Picture nominations means that a large number of major films from the year enjoy a moment in the spotlight, I would actually argue that there are subtle ways in which this is ruining some of the other categories where voters should be more willing to go out on a limb. With the Academy’s populist and avant garde recognition now done in the main category, the ability for a director like Christopher Nolan to earn a Best Director nomination has been severely diminished, as the legacy of the five-film Best Picture race continues to hang over the remainder of the awards.
And while I wouldn’t quite call it a travesty, I would say that it demonstrates how awards voters only break out of patterns where they are absolutely required to do so.
Ode to Perabo: Celebrating Golden Globetrocity
December 14th, 2010
Normally, I wake up to watch the Golden Globes nominations (which you can read here) early…at 9am. Living in the wonderful Atlantic time zone for so long, I got spoiled by the notion that I need only wake up a little bit early to witness the countless (relative) atrocities the Hollywood Foreign Press Association commits each year, and so I’d often offer robust analysis of the nominations after they were finished.
However, now that I find myself in the Central time zone, I lack the advantage of having considerably more sleep than the poor souls on the West Coast – sure, 7am might not be 5am, but it’s still early enough to dull my senses and render any sort of complex analysis impossible.
And yet, regardless of the numerous ludicrous nominations that I could complain about (and which fit nicely into my previous theorum regarding the HFPA’s modus operandi in my analysis of last year’s nominations), I can say this: this morning, the Hollywood Foreign Press Association entertained me in ways I never thought possible by nominating Piper Perabo of USA’s Covert Affairs for Lead Actress in a Drama Series.
And just so we’re clear, this is not the kind of entertainment they were going for.
More “Not Boring” Than Usual:
Surprises Elevate the 2010 Primetime Emmys
As a whole, the Emmy Awards live and die on surprise: sure, there’s always favourites, but the idea that “anything can happen” is what keeps us watching a show which so often punishes us for becoming emotionally involved. For every pleasant surprise there has been soul-crushing complacency, and so we watch hoping that something will cut through the pain in order to give us some sense of hope for the legitimacy of these awards.
And while we eventually leave each evening lamenting numerous mistakes, comfortable in our superior knowledge of what is truly great in television in a given year, I don’t want that to obfuscate the moments of transcendence. Sometimes, moments come together that defy our cynical expectations, moments that find the spontaneity in the scripted or make the spontaneous feel as if it was planned all along. And while I remain the jaded critic that I was before the show began, any chance of carrying that attitude through the entirety of the show was diminished at the sight of Jon Hamm booty-dancing towards Betty White, and all but gone by the time Top Chef finally ended The Amazing Race’s reign of terror over Reality Competition program.
It was a night filled with surprises, whether in terms of who was winning the awards (with a huge number of first-time winners) or in terms of emotional moments which resulted from those winners – sure, there were hiccups along the way, and there were still a number of winners which indicated that the Emmys are still stuck in their ways, but there was enough excitement for me to designate these Emmys as “not boring.”
In fact, I’d go so far as to say they were more “not boring” than usual.
Outstanding Drama & Comedy Series
August 29th, 2010
Despite being the biggest awards of the evening, I’ll admit that this is one of my least favourite categories to analyze: yes, this is where things should become even more interesting, but more often than not this is where the complacent power of inertia kicks in worst of all. While a good actor being killed by a bad submission has nuance, and a great submission can truly change the nature of a category, there is a sense with the Series awards that the episodes themselves are more or less irrelevant. If they submit tapes that resemble the series’ cultural influence, then it will be enough to make this a race of hype vs. hype rather than actuall quality.
Of the legitimate competitors for these awards, there is nothing that would cause me to become outraged or anything – while there are certainly some contenders which I would prefer, it’s more a question of which series have the quality to go beyond the hype, and whether or not the voters will actually see through those layers to find the actual most outstanding series on television.
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.
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.
Supporting Acting in a Comedy
August 24th, 2010
When it comes to the supporting acting awards in comedy, it’s an interesting microcosm of the larger comedy race: while 30 Rock is unrepresented in a competitive fashion, both races boil down to a showdown between the freshman contenders, Modern Family and Glee.
The problem is that what works from a series perspective won’t work from an acting perspective: the overwhelming positivity of Glee, or Modern Family’s rekindling of the family sitcom tradition, won’t be as evident in acting submissions. However, it will be a part of the process when Jane Lynch’s position as frontrunner is tested, and where we see whether the men of Modern Family can deal with vote-splitting.
Supporting Actress in a Comedy Series
- Julie Bowen (Modern Family)
- Jane Lynch (Glee)
- Kristen Wiig (Saturday Night Live)
- Holland Taylor (Two and a Half Men)
- Jane Krakowski (30 Rock)
- Sofia Vergara (Modern Family)
With Supporting Actress, Lynch has been the frontrunner from the beginning despite the fact that she’s yet to win anything: with SAG not recognizing supporting players, and with the Golden Globes lumping her in with far more substantial roles like Chloe Sevigny’s, she has yet to found a platform where her comic role could be recognized. It’s a broad, juicy comic role, which makes it an ideal fit in this category. While Glee as a series could prove divisive, everyone seems on the same page that Lynch’s scenery-chewing is some really strong work, and any problems people have with the role are regarding how the writers use her as opposed to Lynch’s performance.
Supporting Acting in a Drama Series
August 23rd, 2010
The complete lack of a frontrunner in neither Supporting Actor nor Supporting Actress in a Drama Series isn’t particularly surprising: these categories are always fairly stacked, and so predicting them is always a bit of a crapshoot.
This year, though, the lack of a frontrunner should prove particularly interesting, and potentially quite frustrating for the majority of television viewers.
Supporting Actor in a Drama Series
- Andre Braugher (Men of a Certain Age)
- Martin Short (Damages)
- Aaron Paul (Breaking Bad)
- Terry O’Quinn (Lost)
- Michael Emerson (Lost)
- John Slattery (Mad Men)
On the Actor side of things, it’s a problem of too much talent: while many are right to complain about John Lithgow getting dropped down to (and winning) Guest Actor from Supporting on a technicality, I think this category is better for his absence, as it allows people like Aaron Paul (still looking for his first Emmy win for this spectacular work on Breaking Bad) to have a legitimate shot at the trophy instead of appearing as also-rans. However, when he’s alongside someone as respected as Martin Short, and when former winners Terry O’Quinn and Michael Emerson are riding the momentum of Lost coming to its conclusion, Paul still seems like a small fish in a big pond (Slattery, as good as he is, is simply not going to be the Mad Men actor to break the series’ drought in performance categories).
2010 Creative Arts Emmys Predictions
August 21st, 2010
Each year the Creative Arts Emmys are a celebration of the unsung heroes, albeit a celebration which remains largely unsung: few ever really get to see the awards, and so there’s a certain lack of fanfare. However, with the Guest Acting awards given out at the show and with the battles between shows like Glee and Modern Family unfolding for the first time, it’s a good early indicator for how the big awards will fall.
I’m still grappling with the idea of doing predictions for the big awards, and waiting until the Creative Arts ceremony is over is a good reason to put it off for another day. So, let’s take a look at the Creative Arts awards, and go from there.
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.