Tag Archives: Television

July 8, 2010 · 1:40 am

Cultural Catchup Project: One Faith, Three Narratives (Buffy and Angel)

One Faith, Three Narratives

July 8th, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

When I wrote about the first crossover between Buffy and Angel, I wrote that it wasn’t so much a crossover as it was ancillary elements (a returning Spike, the Gem of Amara) crossing between the two series and created largely independent stories which happened to share a basic foundation. However, Spike was a fun villain at that time as opposed to a neutered anti-hero, and the Gem of Amara was a simple MacGuffin without much meaning, so the episodes were meaningful less for what crossed over and more for the stories which those elements created for each series’ respective arc.

As we arrive at the final crossover event (stretching, technically, over five episodes) of the season, what’s clear is that the rules have changed: while the awakened Faith is, like Spike, a character-based connection between the two worlds, it is a connection with much more baggage than Spike’s villainy, and one with wide-reaching complications for both narratives. Whedon is very interested in Faith’s story, which remains diverse and compelling over the course of these episodes, but he is acutely aware of the different role her story plays in each series: while there is technically a clear thread which charts Faith’s behaviour over the course of the four episodes in which she appears, there is a distinction between how much each series focuses on her story as opposed to the story of those around her.

The result is three separate stories, unquestionably connected but distinct in terms of their sense of momentum. While a single narrative of Faith’s awakening stretches over both series, and Buffy and Angel travel back and forth between the two shows working out some of their lingering issues, Faith’s impact on Buffy’s narrative (in “This Year’s Girl” and “Who Are You”) is very different from Faith’s impact on Angel’s narrative (in “Five by Five” and “Sanctuary”), her story finding the series in two very different places which result in unique consequences.

For Buffy the Vampire Slayer, Faith’s return is a continuation of a past storyline and a thematic reminder for the series’ ongoing arc; for Angel, Faith’s return is a turning point for the series’ sense of narrative momentum and character dynamics. Throw in Faith’s individual narrative, and you’ve got the sort of television event that you don’t see every day, and one which helps justify the decision to watch the two series simultaneously even in its quasi-fractured structure.

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July 7, 2010 · 11:45 pm

Invasion of the Fan Perspective: So You Think You Can Dance’s Top 8

Invasion of the Fan Perspective: SYTYCD’s Top 8

July 7th, 2010

You could argue that tonight’s episode of So You Think You Can Dance is, in itself, fan service: after some have complained that the series’ switch to an All-Star format has taken away from the audience’s engagement with the dancers, the series took an opportunity with the Top 8 in order to bring back the old format as dancers performed two dances (one with an All-Star, and one with one of their fellow competitors). As someone who has been underwhelmed by the supposed benefits of the All-Star format, I was pleased to see the series return to its roots, and I actually quite liked the balance between the individual and paired performances – it was a twist of sorts on the “Paired Dance + Solo” structure the show has worked with in the past, and I preferred it to those episodes as I’ve always found the solos to be pretty uniformly boring.

However, fan response to the show’s seventh season invaded the series in another, less formal, fashion in this week’s episodes, as the fans were acknowledged within both the rehearsal packages and critiques for a number of the dancers. The series has acknowledged its fans before, but I’ve rarely seen them viewed as such a force within the competition in both explicit and implicit fashions, which is contributing to what has been a very intriguing (if not necessarily even) season for the series.

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July 7, 2010 · 5:20 pm

Point of View: Bravo’s Work of Art a (Fascinating) Piece of Work

Point of View: Bravo’s Work of Art a (Fascinating) Piece of Work

July 7th, 2010

In the second episode of Bravo’s newest reality series Work of Art: The Next Great Artist, a contestant created a sculpture which derided reality television, a sculpture which led to him being sent home.

Mind you, he wasn’t sent home just because he had little love for the form of television in which he was taking part: the sculpture was lifeless and uninteresting, and relied on an inside baseball art joke that not even the contestants/judges (yet alone the home audience) understood. But the fact remains that he wasn’t here to play a game of any sort, unwilling to engage in any sort of drama and, more importantly, not in a position where he would be willing to step outside of his comfort zone in order to compete in what most would consider a competition. Another contestant, eliminated the following week, went home because she refused to take a challenge seriously because it was a commercial “job,” and she doesn’t make art to appease clients; she, too, ended up making something of limited value (and hadn’t done much interesting previous to that piece), but the fact remains that it was her refusal to “play along” which separated her from other failures.

Reality Competition series require participation, not only in terms of creating strong personalities (and the conflict which arises from them) but also in terms of creating compelling narratives for viewers to follow. What I find so fascinating about Work of Art is that it is both a tremendous success and an absolute failure, a series which is flawed by traditional reality competition standards and yet offers ancillary, and unique, opportunities for viewer connection which the show’s structure isn’t built to really capture. While many contestants aren’t participating in the reality series they’ve been cast on, they are participating in a larger quest for creative fulfillment, and at moments the show successfully invites us into their own little worlds and gives us a legitimately fascinating glimpse into their creative process which overshadows the tired machinations of the Magical Elves.

And allows us to find our own point of view on the competition at hand, even if Bravo isn’t willing to fully embrace this sort of potential.

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July 7, 2010 · 10:15 am

Why I’m Not Writing 2010 Emmy Nominations Predictions

Why I’m Not Writing 2010 Emmy Nominations Predictions

July 7th, 2010

Like anyone who follows the Emmy Awards, I have accepted that I will derive equal parts pain and pleasure from this particular interest. While I pride myself in remaining objective about the awards, I wouldn’t follow them the way I did if I didn’t get giddy on Nomination morning and if I didn’t spend the hours after the announcement bemoaning the mistakes the Academy has made. While my interest in the awards may be more intellectual than emotional on average, the fact remains that my analysis comes from a genuine love for the flawed and frustrating notion of award shows rather than simply an outsider’s curiosity surrounding a fascinating nomination system.

And so when I sat down to write out my final predictions, I balked: I’ve handicapped the major categories in comedy and drama, looked at the individual changes for a number of series of interest, and chatted about it on Twitter, and I sort of feel like I’ve run out of momentum. I think I have made most of the points I really wanted to make, and staking my claim on particular nominees doesn’t feel necessary or particularly valuable to me personally. It’s not as if I begrudge those who predict every category, or that I feel they are degrading a complex process: rather, the part of the process in which I have the least interest in is trying to consolidate all of the potential circumstances into a set of predictions that will be almost surely wrong.

You wouldn’t be wrong to suggest that I’m effectively copping out of this particular process, but it isn’t because I’m worried about being wrong: rather, I just feel like I’ve written so much already that going into every individual category seems like a daunting task which would make me less, rather than more, excited about the nominees and the process of sorting through the lists seeing how the races are shaping up.

However, since I don’t want to appear to be flaking out too much, here’s my basic feelings heading into tomorrow’s nominations in terms of who I’m hopeful for and who I’m hoping doesn’t make it onto the ballot, which best captures my state of mind as we enter the next stage of the process.

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July 7, 2010 · 1:58 am

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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July 6, 2010 · 11:19 pm

Huge – “Letters Home”

“Letters Home”

July 5th, 2010

Huge is definitively a dramatic series, a quality which sets it apart from the rest of ABC Family’s lineup in a pretty substantial fashion. While Greek is an hour-long comedy with dramatic elements, and shows like Secret Life of the American Teenager, Make it or Break It, and Pretty Little Liars fall pretty comfortably into the teen soap opera category, Huge is a series about the “real” life of a subsection of American teenagers. While the title implies a satirical glimpse into the lives of those who struggle with their weight, the show itself is a deconstruction of words like “Huge,” providing a multi-generational portrait of the challenges facing those labeled “obese” or “overweight” in our society. It takes ownership of the word, just as Wil (our central protagonist) takes ownership of her fat, and the result is a really compelling television series.

I wrote a piece for Jive TV discussing my basic response to the series, but since I quite enjoyed “Letters Home” (the second episode of the series), and because I know that there are some who find the series completely uninteresting, I thought I’d expand on those thoughts a bit. What “Letters Home” does so well is how it manages to create character development out of one-way communication, and how that theme extends from the basic letter writing to the personal interactions involved in the episode. While it continues to peddle in cliches, it treats those cliches with a great deal of respect, and looks at them from enough different angles that the show never feels like it is about the cliche but rather about the reality of those who are swept up in those stories.

In the process, it’s becoming the Friday Night Lights of summer camp cliches, which isn’t a bad spot to be in.

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July 6, 2010 · 1:09 pm

Handicapping the 2010 Emmys: FX’s Sons of Anarchy

Handicapping the 2010 Emmys: FX’s Sons of Anarchy

July 6th, 2010

When I started handicapping the Emmy awards, I had presumed that Sons of Anarchy would be the kind of show heralded by critics but ignored by voters: the show got no attention for its first season, and FX’s Emmy hopes have centered on Damages to the point where I expected them to ignore the series. As a result, I was surprised (in a good way) to discover that FX was actually placing Sons of Anarchy at the front of its Emmy materials, a move which reflects its critical, creative, and viewership surges in its second season.

The series’ Emmy chances are still a long shot: while Damages broke into the field for FX last year, it was on the back of Glenn Close, and voters tend to value star power over critical praise or viewership numbers (Damages, for example, has been a ratings failure in its final two seasons). However, while the show may be a dark horse in Outstanding Drama Series, I’d argue it’s a legitimate contender in both Writing and Directing: Kurt Sutter submitted strong episodes which reflect the season’s strong points, and like Battlestar Galactica before it I think that voters will gravitate towards it for these creative awards where the series’ accomplishments may be better recognized.

The series’ other contender is its most deserving: Katey Sagal absolutely deserves to be part of the conversation surrounding Lead Actress in a Drama Series, and FX’s decision to promote the series more heavily (and feature her pivotal episode, “Balm,” in their DVD mailer) has placed the actress in legitimate contention. Her work as the matriarch of the series’ dysfunctional family, holding a terrible secret inside so as to avoid the family tearing itself and others apart, was the anchor of the show’s second season, and she’s got a real shot at this one: not only is she truly fantastic on the show, but there’s the potential for an amends narrative here, as Saga – along with likely nominee in Comedy Ed O’Neill – was never recognized by the Academy for her work on Married…with Children, an oversight which they may want to rectify for this very different, but deserving, work. Mind you, she still has to compete with stablemate Glenn Close, and stalwarts like TNT’s Sedgwick/Hunter, and a bevy of other contenders, but if anyone is going to break into that fold outside of January Jones I believe it is Sagal.

As for the rest of the series, its chances are unfortunately slim: Charlie Hunnam and Ron Pearlman did some great work in the season but are unlikely to be recognized, while Ryan Hurst gave a stunning performance early in the season which will be summarily ignored by voters. There are also a bevy of guest stars who did some great work during the season, like Adam Arkin, Henry Rollins, and Ally Walker, who deserve to be part of these conversations but who might as well not even be on the ballot as far as voters are concerned.

Like with a show like Battlestar Galactica before it, voters will admit that the show is good, admit that it has a key lead performance or two, and that it is well crafted in terms of writing, directing and perhaps some technical awards as well. However, they’re not likely to dig a little bit deeper to find the supporting players who really sell the series’ complexity, a fact which has become sadly commonplace for the Emmys. While I understand that there are a lot of shows on television, and that the Supporting categories are particularly challenging in terms of the sheer volume of strong peformances, the fact remains that some of the best work on television never even enters into the conversation for various Emmys. Thankfully, with FX’s support, the series and Sagal have captured the Academy’s ear, so let’s hope that they’re paying attention.

Contender in:

  • Lead Actress in a Drama Series
  • Writing for a Drama Series
  • Directing for a Drama Series

Dark Horse in:

  • Outstanding Drama Series

Should, but Won’t, Contend In:

  • Lead Actor in a Drama Series (Charlie Hunnam)
  • Supporting Actor in a Drama Series (Ryan Hurst, Ron Pearlman, Kim Coates)
  • Supporting Actress in a Drama Series (Maggie Siff, Ally Walker)
  • Guest Actor in a Drama Series (Adam Arkin, Henry Rollins)

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July 5, 2010 · 5:13 pm

Handicapping the 2010 Emmys: FOX’s Glee

Handicapping the 2010 Emmys: FOX’s Glee

July 5th, 2010

[This is part of a series of posts analyzing individual show’s chances at the Emmy Awards ahead of the nominations, which will be announced on July 8th. You can find all of my posts regarding the 2010 Emmy Awards here.]

While critics have been somewhat divided on Glee’s quality, they have been fairly consistent in terms of its importance to the current television landscape: with its unique business models and its nearly earth-shattering levels of hype, the fact of the matter is that Glee is a phenomenon, so in some ways it represents the ultimate test of how “success” measures with the Emmy Awards.

The show has a lot of things going for its beyond the metric ton of promotion surrounding the series’ first season: it has a breakout supporting performer in Jane Lynch, Broadway imports like leads Matthew Morrison and Lea Michele to lend its musical elements some credibility, and some meaningful messages about difference and humanity sharing space with its elaborate production numbers. While I’d argue that Lynch’s Sue Sylvester was inconsistently used, and that Morrison and Michele were overshadowed from a character perspective by Chris Colfer and Mike O’Malley, and that its messaging was highly contradictory at various points, I think Glee is going to get an “A for Effort” by Emmy voters. Sure, the show isn’t perfect, but it’s doing so many interesting and potentially brilliant things that voters seeing only the episodes that work (the Pilot, “Wheels,” etc.) are probably going to look past smaller issues and focus on the parts of the series which brought it so much hype and success.

While part of the show’s appeal is its ensemble cast, FOX’s Emmy campaign has been pretty focused: Morrison and Michele have been labeled as leads and will contend in the category on the strength of their musical performances, while Lynch is the breakout “Comic” side of things and so is a shoo-in for a nomination and a likely favourite to win in the Supporting Actress category. For the most part, though, the more emotional storylines (like Kurt and his father, or Artie and his disability) are being lumped in with the series as a whole, a compliment to the musical performances which set the series apart. And to be fair, while I think Chris Colfer and Mike O’Malley gave the series’ best performances, they weren’t particularly comic, although the same could be said for more or less everyone but Lynch and Heather Morris (whose Brittany was the series’ comic highlight in the back nine).

The series’ best chances for wins, to be honest, probably come in the Guest categories: Neil Patrick Harris, shut out for his work on How I Met Your Mother, gets a number of strong performances and a meaningful (but still funny) storyline in “Dream On,” while Kristin Chenoweth (who won for a quasi-musical role on Pushing Daisies last year) has a similar turn in “The Rhodes Not Taken” which is going to garner her a nomination. These roles manage to capture, within a single character, all of the things that make Glee work, which is not always true for the other characters (Michele’s Rachel, for example, only got to become a dramatic character when her birth mother was revealed, while Morrison’s dramatic material with his ex-wife was a series low point). I’ve often argued that Glee would work better without serial continuity, and these guest roles best capture that sort of fleeting, but powerful, emotional connection the series is going for.

The Glee being sold to voters is the Ryan Murphy-led Glee of “Wheels,” which is perhaps the smartest choice: while I prefer Brad Falchuk-led Glee (“Sectionals” and “Journey,” for example), FOX is trying to connect with voters’ emotions immediately, and the show’s finales are sort of dependent on you having some sort of attachment to the characters in question. The fact of the matter is that Glee is the kind of show which will create those emotional reactions for better or for worse, and I think it will play to its favour with voters: while it might be messy and inconsistent, that isn’t going to matter with Emmy voters who pop the screener into their DVD players and see something completely different than everything else on TV and anything that’s been on TV in the last decade.

And that’s going to go a long way for the show on Thursday morning.

Contender in:

  • Outstanding Comedy Series
  • Lead Actor in a Comedy Series (Matthew Morrison)
  • Lead Actress in a Comedy Series (Lea Michele)
  • Supporting Actress in a Comedy Series (Jane Lynch)
  • Guest Actor in a Comedy Series (Neil Patrick Harris)
  • Guest Actress in a Comedy Series (Kristin Chenoweth)
  • Writing for a Comedy Series
  • Directing for a Comedy Series

Dark Horse in:

  • Supporting Actor in a Drama Series (Chris Colfer)
  • Guest Actor in a Comedy Series (Mike O’Malley)
  • Guest Actress in a Comedy Series (Idina Menzel)

Should, but Won’t, Contend In:

  • Supporting Actor in a Comedy Series (Kevin McHale)
  • Supporting Actress in a Comedy Series (Dianna Agron, Heather Morris)

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July 5, 2010 · 3:44 pm

Handicapping the 2010 Emmys: ABC’s Modern Family

Handicapping the 2010 Emmys: ABC’s Modern Family

July 5th, 2010

[This is part of a series of posts analyzing individual show’s chances at the Emmy Awards ahead of the nominations, which will be announced on July 8th. You can find all of my posts regarding the 2010 Emmy Awards here.]

Last September, I would have called Modern Family the favourite in the Comedy categories, but times have changed: after winning at both the Golden Globes and the SAG awards, Glee has all of the momentum, which means that handicapping Modern Family’s chances becomes a bit more complicated.

A lot of it will come down to how much people appreciate Modern Family’s sturdiness: while it has been related with The Office (for its mockumentary style) and other single-camera comedies, its focus on family dynamics and fairly traditional sitcom plots makes it a far more comfortable show than one might have imagined when it debuted, especially compared to the messy but ambitious Glee. The show, not unlike CBS’ The Good Wife, hearkens back to the classic era of the family sitcom while using the trendy single-camera style, and so the show feels like it would appeal to voters from both camps. The problem, though, is that there are a lot of comedies which “pick a side” a bit more comfortably, and last year’s nominations skewed towards the trendy (30 Rock, Family Guy, The Office, Flight of the Conchords, Weeds, Entourage).

These reservations, however, are more about the series winning than about the series being nominated: there’s no question that Modern Family will be nominated for Outstanding Comedy Series, and it will certainly compete in the Writing and Direction categories. The question, though, is in the acting categories, where the entire cast is submitting in the Supporting races. This isn’t a bad reflection of the series’ dynamic (able to mix things up and being anyone into a “leading role” when asked of it), but it makes predicting the categories somewhat challenging, and there’s the risk that the show will garner fewer nominations as a result of vote-splitting.

In Supporting Actor, there are three front-runners: Ed O’Neill has sitcom pedigree (if not Emmy pedigree) that earns him some respect, Ty Burrell was the breakout performer from the Pilot, and Eric Stonestreet was the breakout performer from the rest of the season. The other two floating around the race, Jesse Tyler Ferguson and Rico Rodriguez, are in the race but not to degree I wish they were: Rodriguez would probably be my choice if you forced me to pick one of these contenders, but I don’t think he can compete with the big three.

In Supporting Actress, meanwhile, there are two contenders that could easily make it into the race: Julie Bowen and Sofia Vergara are playing such different characters (the former as the straight woman, and the latter as accent-accentuated comedy) that they won’t split votes to the degree of the men, which means each could garner a nomination. I think Bowen has a slightly better chance (since she’s been around longer, and was largely well-liked for her turn on Ed), but Vergara is arguably the “funnier” of the two performances, although it’s never clear just how much voters value that within these particular awards.

In some ways, Modern Family’s most direct historical comparison comes from ABC’s Desperate Housewives: yes, they’re very different shows (calling Housewives a comedy is a stretch, really), but both have expansive casts which threaten to split votes, both represent a turning point for ABC in terms of critical and ratings success, and both seem like “ideal” Emmy candidates but could still get beat out by other contenders (in Housewives’ case, by Everybody Loves Raymond). Housewives wasn’t the last time ABC had a nominee in Outstanding Comedy Series (Ugly Betty broke through in 2007), but it’s the first time they’ve had a real contender since then, so we’ll see if the network can finally enter the winner’s circle for the first time since The Wonder Years in 1988.

Contender In:

  • Outstanding Comedy Series
  • Supporting Actor in a Comedy Series (Ed O’Neill, Ty Burrell, Eric Stonestreet)
  • Supporting Actress in a Comedy Series (Julie Bowen, Sofia Vergara)
  • Writing for a Comedy Series
  • Directing for a Comedy Series
  • Guest Actor in a Comedy Series (Fred Willard)

Dark Horse In:

  • Supporting Actor in a Comedy Series (Jesse Tyler Ferguson, Rico Rodriguez)

Should, but Won’t, Contend In:

  • Guest Actress in a Comedy Series (Shelley Long, who didn’t submit)

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July 5, 2010 · 3:10 pm

Handicapping the 2010 Emmys: CBS’ The Good Wife

Handicapping the 2010 Emmys: CBS’ The Good Wife

July 5th, 2010

[This is part of a series of posts analyzing individual show’s chances at the Emmy Awards ahead of the nominations, which will be announced on July 8th. You can find all of my posts regarding the 2010 Emmy Awards here.]

There is a great deal of buzz surrounding CBS’ The Good Wife this Emmy season, and what’s remarkable is that I’m willing to join the chorus. When the show picked up a surprised nomination in the “Ensemble Cast” category at the Screen Actors’ Guild Awards, I was sort of perplexed, believing that the series was more or less a star vehicle for Julianna Margulies and that it didn’t deserve taking the place of Lost, or Sons of Anarchy, or Breaking Bad. However, as The Good Wife’s first season progressed, I was able to see the show is more than Margulies’ triumphant return to television, and its blend of procedural and serialized elements have created a series that deserves to be part of this conversation.

The series benefits from being both familiar and unfamiliar to voters. On the one hand, the show has a comfortable legal procedural/workplace drama structure which hearkens back to Emmys past (when Law & Order was dominant, or when The Practice and Boston Legal each saw considerable success). However, on the other hand, the show very clearly expands beyond that structure with a complex serialized storyline surrounding Alicia’s relationship with her husband and the scandal which surrounds his life, which interrupts and complicates the ongoing procedural elements. The show has its cake and eats it too, which will allow voters to feel comfortable voting for the show either for its well-executed simplicity or for the risk in adding serialized elements to the series (while the show takes far fewer risks than Lost or Breaking Bad, they seem riskier considering The Good Wife is ostensibly a CBS procedural).

Margulies is unquestionably the frontrunner in the Lead Actress in a Drama Series race: her wins at the Golden Globes and the SAG Awards were not flukes, and her Emmys pedigree is just as strong (and while she has a win for ER, it was in the Supporting category, so she’s searching for her first win in five nominations this year). It’s a deserved place for the actress, whose work on the show has been extremely strong and who truly does anchor the cast. The question, however, is how much the show (which I’d consider a strong contender for a nomination in the Drama field) expands into further caregories: while I’d say that the series’ pilot is a contender in both Direction and Writing (as most high-profile, successful drama pilots are), I’m more interested to see what happens to the rest of the SAG-nominated cast.

In Supporting Actor, Chris Noth has to be considered a threat – he’s part of the season’s prominent serialized arc (and makes a big impact in the pilot), has some notoriety from his time as Mr. Big, and is quite great on the show. However, Josh Charles (who is Emmy-nomination free despite the genius of Sports Night) is equally as good on the show, and has to merit some consideration as well. Similarly, Christine Baranski has a real chance in the Supporting Actress field (having won for Cybill in 1995 and having grabbed a guest actress in a comedy nomination just last year), but arguable Archie Panjabi’s Kalinda has been the breakout character from the series, and so she probably deserves greater consideration even if her lack of name recognition will keep her from breaking through (although, we said the same about Aaron Paul last year, and he made it into the field). Throw in some guest acting contenders (Alan Cumming for his extended guest arc, Mary Beth Peil recurring as Peter’s mother, Martha Plimpton as a rival attorney, Dylan Baker as a sadistic client), and the series could land in a big way.

The Drama field is pretty crowded this year, but The Good Wife is in a good position to take advantage of this as a freshman series: its newness will serve it well against some established, but less noteworthy contenders, and this is likely to grab it a number of key nominations that will provide some considerable momentum (which the show might need, as its ratings dropped quite a bit after its early renewal). A nomination for Outstanding Drama Series would be CBS’ first since CSI and Joan of Arcadia in 2004, and if it garners over 6 nominations it will be CBS’ most-nominated drama series since Chicago Hope’s years of dominance in the 1990s, and I think CBS will have a lot to be happy about on Thursday morning.

Contender in:

  • Outstanding Drama Series
  • Lead Actress in a Drama Series (Julianna Margulies)
  • Supporting Actor in a Drama Series (Chris Noth)
  • Supporting Actress in a Drama Series (Christine Baranski)
  • Writing for a Drama Series
  • Directing for a Drama Series
  • Guest Actor in a Drama Series (Alan Cumming)
  • Guest Actress in a Drama Series (Mary Beth Piel)

Dark Horse in:

  • Supporting Actor in a Drama Series (Josh Charles)
  • Supporting Actress in a Drama Series (Archie Panjabi)
  • Guest Actress in a Drama Series (Martha Plimpton)
  • Guest Actor in a Drama Series (Dylan Baker)

Should, but Won’t, Contend In:

  • Honestly, I think it’ll contend in some capacity in every place it really deserves to: Matt Czuchry did well with his part, but his character’s real potential will be next season (considering where the season left his character), and no one else really played a pivotal enough role to be considered. However, the one omission above is Titus Welliver, who I think could have contended in Guest Actor but who didn’t submit himself for consideration (for this or for Lost), which is a pity.

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