Official Ballot Miscellany
June 4th, 2010
Earlier this evening, Emmy voting officially began; this isn’t particularly important to us non-voters, but it does mean that the official ballots were released (PDFs: Performers, Writing, Directing), which means that we know who submitted their names for Emmy contention and can thus make our predictions accordingly. In some cases, this simply confirms our earlier submissions regarding particularly categories, while in other cases it throws our expectations for a loop as frontrunners or contenders don’t end up submitting at all.
For example, Cherry Jones (who last year won for her work on 24) chose not to submit her name for contention this year, a decision which seems somewhat bizarre and is currently being speculatively explained by her unhappiness with her character’s direction in the show’s final season. It completely changes the anatomy of that race, removing a potential frontrunner and clearing the way for some new contenders (or, perhaps, another actress from Grey’s Anatomy). Either way, it’s a real shakeup, so it makes this period particularly interesting.
I will speak a bit about some surprising omissions and inclusions in the categories I’ve already covered this week, but I want to focus on the categories that I haven’t discussed yet, including the guest acting categories, writing, and direction, which are some interesting races this year.
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.
Handicapping the 2010 Emmys: Drama and Comedy Series
June 1st, 2010
What’s weird about predicting the Emmy nominations (which are on July 8th, for the record) is that it really doesn’t have anything to do with quality: sure, a bad season can certainly hurt your chances at getting an Emmy, and a good season is sure to be of some assistance, but the objective quality of a series doesn’t really matter until they’re nominated. Until that point, it’s one big popularity contest, combining old habits, much-hyped new series, and those nominees who seem particularly newsworthy.
This is why it’s possible to predict the nominees, or at least the long-list of contenders who could logically garner a nomination on July 8th, before the eligibility period even ends (which isn’t really that big a deal this year, as any series which aired the majority of its season before the deadline [like Breaking Bad] will still be able to submit their concluding episodes). And while it may seem a bit premature, I’m pretty Emmy obsessive, and wanted to take some time this week to run down the potential nominees in each category. In the case of the series and acting categories, I’ll single out some who I believe are guaranteed nominations, while I’ll likely be less able to do so with Writing and Directing (which are often much less predictable, outside of a few exceptions).
We’ll start with Outstanding Drama Series and Outstanding Comedy Series today, both because they’re a bit easier to handicap and because they’re the “big” races. They’re also the categories where I’m willing to put money down on a majority of the nominees, leaving only a few spots remaining for the other series to fight over in the months ahead.
And what a fight it’s going to be.
[Before we start, hats off to the great work of the Gold Derby forum members, especially moderator Chris “Boomer” Beachum, whose work continues to make projects like this a lot easier. Check out their Official 2010 Emmy Campaign Submissions thread for a full list of submitted nominees; you’ll end up there for at least a half hour before you realize how much time has elapsed.]
“The Master Plan”
May 13th, 2010
I hate to keep driving my “Parks: It’s the New Office!” comparisons into the ground, but I want you to think back to the start of The Office’s third season (which, not entirely coincidentally, picks up right after “Casino Night,” which I compared with last week’s “Telethon”). The show took a pretty considerable risk in introducing an entirely new workplace with Jim’s move to the Stamford branch, and the idea of introducing entirely new characters and “disrupting” the show seemed like a huge risk.
However, while these new characters (Andy and Karen, in particular) were brought into the picture to help emphasize the division within the show, the Stamford branch was comically consistent with the show as a whole. While it was a different environment, and their arrival in Scranton later in the season created plenty of conflicts, we accepted the characters because they fit in with what the show was trying to accomplish on the whole.
What Parks and Recreation did tonight, however, was perhaps even more impressive: they managed to not only humanize a character who is introduced as a point of conflict, but they managed to completely integrate a fairly big star into an existing comedy ensemble with remarkable proficiency. The credit at the start of “The Master Plan” may have jokingly read as “Introducing Rob Lowe,” but both the show and Lowe do such an amazing job of introducing these new characters into this existing group that any sense of conflict within the series’ actual narrative is non-existent, and we’re left to enjoy a pretty fantastic ramping up of both new and existing storylines without seeming distracted or chaotic.
Basically, I’m deep in the pot at this point, so if you’re at all not feeling the love I suggest you leave now before I lose all objectivity.
March 18th, 2010
While Parks and Recreation rarely shows its roots as a spin-off of The Office, emerging instead as a cousin of sorts, I think “Park Safety” was as close as the show has come to feeling like its predecessor. This is, in some ways, a compliment, in that The Office is a show I enjoy, and this was certainly a funny episode of the show.
However, the show went out of its way to create some very specific situations that brought the show more towards broad situational comedy, something that the show has managed to do a bit more subtly in the past. It didn’t end up damaging the episode too much, as those sequences remained funny, but for a show that has been going out of its way to form its own identity there were parts of this week’s episode that made it seem like the production team from The Office had gone into the wrong office for a day. Of course, there were also parts of the episode that dealt with Parks-specific story types, so the Pawnee charm was certainly not lost.
It was just, perhaps, viewed through a slightly different lens, which seemed purposeful in terms of viewing a running joke in a new light.
The Shows of the Year
December 21st, 2009
When you’re selecting the Top 10 shows of the year, you reach the point where you have to ask yourself: what would the year have been like if this show hadn’t been on the air?
And this criteria oddly kept a few shows off this list that I thought would have been here, shows which felt like they made a fairly substantial impact at the time but eventually felt defined more by a single episode than by the season as a whole, or by a single performer rather than the entire ensemble. And then there were shows which I love, shows that hold a special place in my heart and held special places within my End of Decade retrospective, but delivered seasons this calendar year which felt as if they were relying on rather than building on previous success. And then there were shows that I know are objectively better than some of the series which are on this list, but yet never felt integral to the year in television as we know it, that never felt as if they had made an impact on my experience with this medium over the past twelve months. Throw in the shows I just don’t watch, and those which just barely missed the cut despite meeting my criteria, and I’m sure there’s plenty of shows which you would contend should have a place on this list.
However, the shows on this list are a reflection of what was a really great year in television, a year where shows with intense fan support proved to withstand critical scrutiny and where shows with strong reputations delivered seasons that demonstrated intense control over their characters and their journeys. It was also a year where we recognize the joys of the Sophomore Season, where a network shows enough faith in a series to give it a second kick at the can and is rewarded with a creative explosion impossible to ignore. And it was also a year where, according to the list below, the network with the worst track record somehow managed to be affiliated with five of the best shows on television, demonstrating that there are some shows capable of transcending industry finagling to simply be great television.
Episodes of the Year
December 20th, 2009
[This is the second of three lists recognizing the best of 2009 in Television: Performers of the Year has been posted, and Series of the Year will be posted tomorrow morning. These other lists will recognize parts of some of the shows missing from this particular list.]
When you review individual episodes all year, you might presume that it’s easy to be able to then categorize those episodes for the sake of an end of year Top 10.
You would be right…and wrong.
See, on the one hand, I have a pretty good memory of individual episodes that really made an impact, ones which stood out from the pack and connected with me. However, on the other hand, comparing an episode of Lost to an episode of 30 Rock doesn’t feel particularly natural, and more importantly you can’t actually create a list like this in a bubble. You have to consider which shows are making it onto other lists, and whether the sum of their parts are perhaps more worthy of recognition than a single episode. And you also need to consider whether a single performance was more likely the cause of an episode’s greatness as opposed to its collective influence. Throw in concerns about nostalgia or proximity clouding your judgment, and you have just as large a challenge whether or not you write episode reviews for the heck of it.
As such, my Top 10 Episodes of the Year are not, perhaps, the best episodes that aired this past year, but rather those which either really connected with me, or felt incredibly important to their individual shows’ success, or those which are on the list so that I’m not so embarrassed as to have those shows represented on none of the lists I put together. It’s not an exact science, but it eventually created a list (which is ordered by air date, in case that isn’t clear) of ten television episodes that really stuck with me this year.