House Of Cards

In a year where the outlook appeared to be barren without Breaking Bad and True Detective in contention, House of Cards began as the default Emmy consensus front-runner earlier this year, says ADTV’s Ryan Showers. It just seemed to “fit” as the next Drama Series winner after having to stand by Breaking Bad for two Emmy cycles as a bridesmaid. In theory, House of Cards would be the perfect winner: it’s the show that “started it all” for Netflix’s original series success (if ever the time to make a declarative statement about the development of streaming to the television landscape, this is it); it’s rooted in film industry star-power (David Fincher and the two leading actors); and it has the qualities Emmy voters are attracted to (its somber tone, a political setting, upscale production values, and dramatic storylines and twists).

And voters would be wise to reward Netflix soon, as its influence is growing, and they have a great opportunity with the third season of House of Cards, which is the most independent season of the series to date. While Beau Willimon focused more on Frank Underwood’s climb to power in plot-driven arcs in its first two years, he the took the risk of letting the characters drive the narrative of the third season.

Read Ryan’s full Emmy article at ADTV…


“Unbreakable! They alive, damnit! It’s a miracle!” sings ADTV’s Robin Write of the Unbreakable Kimmy Schmidt’s brilliant first season.
The instantly clever, quirky title sequence of Unbreakable Kimmy Schmidt is a viral video mash-up video of a neighbor being interviewed following the discovery of the mole women in an underground bunker, held there for fifteen years by a cult leader “reverend.” A familiar-sounding, disturbing premise, bravely given a comedy makeover. A show essentially about acclimatizing to the reality of the modern world had you been completely sheltered from it. It also pokes fun and makes acute observations about today’s society (race perceptions, cosmetic surgery, the American law system, etc.). And primarily the plight of women – “but females are strong as hell.”

On deciding upon a stay in New York City, a misunderstanding in communication lands Kimmy (wonderful Ellie Kemper) a job with rich, privileged, but completely unable to take care of herself Jacqueline (hilarious Jane Krakowski). In fact her friendship with the clueless, neglected housewife also prospers after a rocky start. Though on their second meeting, Jacqueline forgets Kimmy’s name, “Cornmill, is it?” she asks, one of many absurdly amusing quips. Jacqueline’s step-daughter Xanthippe appears as a pain in the ass teenage girl who thinks she knows it all (“I will chew you up and spit you out like my food.”), as we endearingly later discover though she knows very little and is actually a rather vulnerable, according to Robin.

Read more at ADTV…


Awards Daily TV’s Joey Moser thinks it’s criminal that Orange is the New Black is only nominated for 4 Emmys. Did everyone think that everyone else was going to nominate it for stuff, so they didn’t bother? Is this an example of the Netflix/binge schedule hurting one’s chances for awards (Unbreakable Kimmy Schmidt and Transparent racked up tons of nominations)? The second season of Orange is the complete antithesis of a sophomore slump. It opens up the yard of Litchfield to a tapestry of characters that regular network television seriously lacks, according to Joey. 

The first season of Orange was a scrappy newcomer, but the second season gave us permission to meet the characters to a greater extent than another program would. One cannot argue a case in favor of this show without first and foremost describing these women. You love these characters—love, love, love them. You crave their histories prior to getting involved with the law and you gravely anticipate watching them making the mistake that lands them in the clink.

Read more of Joey’s Making the Case at ADTV…


Parks and Recreation had a great run on NBC thanks to a brilliant, tight-knit cast and lead Amy Poehler’s infectious enthusiasm. It was a unique series that spent time finding the humor in decent, ordinary people. It’s the rare sitcom that finely honed its craft as it aired, growing its characters and allowing them evolve over the series run. Now, it’s time for the Emmys to reward it for being the nice kid on the television block, according to Awards Daily TV’s Megan McLachlan.

P&R does something that very few shows do: It finds humor in good people. It’s easy to be funny when you’re poking fun at outlandish or morally reprehensible characters (Jim torturing Dwight Schrute or Michael providing a caustic aside about Lucille Bluth), but most of the characters on P&R are more normal, less cartoonish, which can be challenging when trying to garner laughs.

Read more over at ADTV…

Veep Emmy

Change is in the air for Best Actress in a Comedy Series, but just how much? Joey dives into the category and finds the frontrunners. Read all about it at AwardsDaily TV.

TCA Americans

The Television Critics Association announced their nominees for the 2015 television year. Full list at AwardsDaily TV

silicon fyc

Silicon Valley‘s T.J. Miller’s star seems on the upswing, making him a distinct possibility for an Emmy nomination in the Supporting Actor Comedy category. Who else will join him at the Emmys? Megan McLachlan is on the case at AwardsDaily TV


Clarence weighs in on whether the CCTV awards matter when it comes to Emmy and, if so, for whom.

Check it out at AwardsDaily TV.


AwardsDailyTV contributor Joey Moser makes the case for everyone’s favorite drag queen in the Reality Host Emmy category.

Check it out at ADTV.


AwardsDaily TV contributor Clarence Moye makes the Emmy case for Mrs. Bates. Check it out.


Everyone interested in the outcome held their breath to see how AMC’s Mad Men would land. Would it end with the widely predicted (without significant evidence, mind you) Manson or D.B. Cooper angles? Would it go the way of The Sopranos and refuse to grant a satisfying conclusion to the beloved-by-television-elitists series? The final episode, fortunately, stayed true to the heart of the series by in some ways resolving the inner conflict of its central character Don Draper / Dick Whitman (Jon Hamm) that has plagued him since day one. It avoided dramatic histrionics or extravagant plot mechanics and focused instead on what people loved about the series most: its characters.

Continued at ADTV…


Kyle Chandler is the latest of the strong best actor contenders to join this year’s Emmy race. Chandler, who first rose to prominence with Friday Night Lights burns up the screen in Netflix’s Bloodline, probably his most challenging role to date. Chandler plays the sheriff in town but more importantly the older brother of a troubled family. He’s the “good guy,” like his Friday Night Lights character but is also in the business of hiding lies big and small from other people about the family.

Continued on ADTV


Congratulations to Olivier Lepine who correctly predicted 13 of this year’s Emmy winners. Footnote: According to Craig Kennedy, “the easiest category was Outsanding Miniseries with 89% correctly guessing Fargo. The hardest was Outstanding Writing in a Miniseries or TV Movie with only 7% correctly picking Sherlock.”


Breaking Bad won 6 Emmys, tonight, including climactic wins for Bryan Cranston, Anna Gunn and Aaron Paul. Sherlock won 3 Emmys, including those for the renowned duo Benedict Cumberbatch and Martin Freeman. Fargo and The Normal Heart won for Outstanding Mini-series and Outstanding Movie. Directors Cary Fukunaga and Colin Bucksey won Emmys for their work on True Detective and Fargo.


Partial list of Emmy winners. (see the full list at AwardsDailyTV)

  • Drama: Breaking Bad
  • Miniseries: Fargo
  • TV Movie: The Normal Heart
  • Variety Series: The Colbert Report
  • Actor – Drama: Bryan Cranston, Breaking Bad
  • Actress – Drama: Julianna Margulies
  • Actor – Mini/TV: Benedict Cumberbatch, Sherlock
  • Actress – Mini/TV: Jessica Lange, American Horror Story
  • Supporting Actor – Drama: Aaron Paul, Breaking Bad
  • Supporting Actor – Movie/Mini: Martin Freeman, Sherlock
  • Supporting Actress – Drama: Anna Gunn, Breaking Bad
  • Supporting Actress, Movie/Mini: Kathy Bates, American Horror Story
  • Writing – Drama: Moira Walley-Beckett, Breaking Bad, “Ozymandias”
  • Directing – Drama: Cary Joji Fukunaga, True Detective
  • Directing – Mini/TV: Colin Bucksey, Fargo

true detective

Game of Thrones leads with 19 nominations, followed by Fargo with 18, American Horror Story: Coven with 17, The Normal Heart with 16 — and Breaking Bad with 16 nods for its final season. Full list at AwardsDailyTV.


The relationship between Twitter and Breaking Bad has been an odd phenomenon to watch.  After a while it seemed like Breaking Bad’s reception on Twitter, or maybe netwide, took on a life of its own. Whatever people wanted it to be, however they wanted it to end, seemed to have little to do with the show itself. The collective obsession could probably never have been fully satisfied, no matter how the show ended.  But after all of this time, the “holy shit Breaking Bad!” tweets before the show aired here on the West Coast, the idolatry of Walter White, and now, the inevitable downfall/backlash I have to say I’m glad it’s over.  That kind of stalker obsessiveness never ends well. It was best Breaking Bad made a clean break without trying to make its fans feel better by lying to them.

Continuing on ADTV.



1. Surprises are almost never good, even when we think we want them.  A good surprise is when someone totally out of left field wins and seems to deserve it. A bad surprise is when someone wins who doesn’t seem to deserve it.  The predictions machine had been predicting, pretty much, anyone but Jeff Daniels to win Best Actor in the drama category last night.  But the Emmys are often criticized for choosing the same actors over and over again. Bryan Cranston from Breaking Bad has won three in a row.  Jon Hamm, on the other hand, is one of a very few with the most nominations and no wins in that category.  Kevin Spacey, the newcomer from House of Cards, was also a formidable competitor.  In Daniels’ defense, anyone who likes The Newsroom most likely likes Daniels in the role.  He’s also one of the few bonafide good guys in the category, not an anti-hero, bucking the trend in television.

2. Making history is never easy. Kerry Washington was set to become the first black actress to win in the lead category. Emmy voters had their chance and they went, again, with Claire Danes for the second year in a row.  It was an interesting moment at the Emmys when Diahann Carroll made a point of singling out Washington for this all too rare opportunity. Nobody watching thought Washington could or would beat Danes but for a brief moment it was quite something to contemplate the possibilities. That no black actress has ever won in that category is shameful. This, because of the too few roles for black women to play to get those wins, and because when the Emmys had a chance to change that power dynamic they chose not to.

3.  Television is enjoying a new golden age that doesn’t require a specific formula to work – it works if it works. When David Fincher won Best Director for House of Cards it was a way of validating the new.  The creativity isn’t driven by the need to win Emmys – it is being solely to create great programming, pushing boundaries, having corporate suits support that kind of freedom means more, not less of projects like House of Cards. Many films are driven by the need to win Oscars in order to get adult people to buy tickets anymore. The Oscars seem to be holding up the film industry that still gives a damn about making great films. But it was plainly clear watching the Emmys where the juice is.  The Oscars couldn’t award Fincher for The Social Network because it wasn’t touchy-feely enough.  The Emmys, thankfully, have no such need to only pick the characters and films that paint human beings in the best light. Can you imagine?

4. Women really do rule on television, and at the Emmys. It is remarkable to look at the difference between the women winning for actual starring roles. The leads are leads, the supporting contenders are supporting. Julia Louis-Dreyfus IS Veep. Claire Danes IS the star and central figure of Homeland. You can count on one hand films that will be headed into the Oscar race this year with those kinds of strong leads.

5. Nobody knows anything. What the Emmys lack that Oscars have in spades is precursors. If only the Oscars could go back to being that way. Now, each giant guild pushes a winner closer to the Oscar.  The Emmys have no such influencer. The Globes are held at a different time of year and no one cares about the TCA (sorry). The Critics Choice are growing and perhaps their awards might start to influence the Emmys but they are, for all intents and purposes, pure.  That makes them sometimes harder to predict, even if you could bet the house on Modern Family winning again.  The Oscar race has become such a machine that surprise wins are becoming more and more rare, especially in the top categories. It was refreshing to see an Emmys show that all of the pundits got almost completely wrong.


Behind the Candelabra won 3 Primetime Emmy Awards tonight and 8 more at the Creative ceremony last week.

Outstanding Drama Series: Breaking Bad
Outstanding Comedy Series: Modern Family
Outstanding Movie/Miniseries: Behind the Candelabra
Outstanding Variety Series: The Colbert Report

Outstanding Lead Actress, Drama: Claire Danes, Homeland
Outstanding Lead Actor, Drama: Jeff Daniels, The Newsroom
Outstanding Lead Actress, Comedy: Julia Louis-Dreyfus, Veep
Outstanding Lead Actor, Comedy: Jim Parsons, Big Bang Theory
Outstanding Lead Actress, Movie/Mini: Laura Linney, The Big C Hereafter
Outstanding Lead Actor, Movie/Mini: Michael Douglas, Behind the Candelabra

Outstanding Supporting Actress, Drama: Anna Gunn, Breaking Bad
Outstanding Supporting Actor, Drama: Bobby Cannavale, Boardwalk Empire
Outstanding Supporting Actress, Comedy: Merritt Wever, Nurse Jackie
Outstanding Supporting Actor, Comedy: Tony Hale, Veep
Outstanding Supporting Actress, Movie/Mini: Ellen Bursten, Political Animal
Outstanding Supporting Actor, Movie/Mini: James Cromwell, American Horror Story

Outstanding Guest Actress, Drama: Carrie Preston, The Good Wife
Outstanding Guest Actor, Drama: Dan Bucatinsky, Scandal
Outstanding Guest Actress, Comedy: Melissa Leo, Louie
Outstanding Guest Actor, Comedy: Bob Newhart, Big Bang Theory

Outstanding Director, Drama: David Fincher, House of Cards
Outstanding Director, Comedy: Gail Mancuso, Modern Family
Outstanding Director, Movie/Mini: Steven Soderbergh, Behind the Candelabra
Outstanding Director, Variety: Don Roy King, Saturday Night Live

Outstanding Writing, Drama: Henry Bromell, Homeland
Outstanding Writing, Comedy: Tina Fey & Tracey Wigfield, 30 Rock
Outstanding Writing, Movie/Mini: Abi Morgan, The Hour
Outstanding Writing, Variety: Staff of The Colbert Report

(via The Wrap)

Drama Series

  • Breaking Bad
  • Downton Abbey
  • Game of Thrones
  • House of Cards
  • Homeland
  • Mad Men

Comedy Series

  • 30 Rock
  • The Big Bang
  • Girls
  • Louie
  • Modern Family
  • Veep

Miniseries or Movie

  • American Horror Story
  • Behind the Candelabra
  • The Bible
  • Phil Spector
  • Political Animals
  • Top of the Lake

(Complete list at Awards Daily TV)


This could be the year when everything changed. Though there has been a gradual shift evolving over the past decade– beginning with David Simon’s The Wire, continuing through with The Sopranos and Mad Men — now with David Fincher’s House of Cards, Jane Campion’s Top of the Lake and Steven Soderbergh’s Liberace all hitting television this year; it isn’t just that viewers are turning to TV because the movie experience is more disappointing; it’s that audiences are turning to TV because of its own undeniable heat. Honored by the American Academy in Rome Monday night Bernardo Bertolucci says he’s discouraged by the Hollywood he once revered: “The American films I like now do not come from Hollywood studios but from television series, like ‘Mad Men’, ‘Breaking Bad’, ‘The Americans.”

House of Cards took everyone by surprise.  Much was made of the idea that House of Cards couldn’t build buzz because it wasn’t being rolled out week by week; audiences couldn’t involve themselves in the plot, cook up conspiracy theories, or attach themselves to any one storyline. Since fandom drives so much of what makes any TV show popular, it was thought that none could be built for House of Cards. It was there to be swallowed whole, the entire story arc, all ten episodes. Viewers devoured it.  But in some sense, no one knew how to manage it — it was unharnessed power, and it was out now.  The kind of darkness at work, though tongue-in-cheek, speaks honestly to the sentiment of the time, how most of us view our government officials: Trust no one.  Worse, behind every great leader is a team of self-serving corrupt vipers. The one bright spot in House of Cards, is Corey Stoll, who tries to do the right thing, the idealistic thing, and fails. House of Cards came on the heels of President Obama’s re-election, so it didn’t quite capture the liberal zeitgeist, that the best of the two contenders had won. The more cynical among us doesn’t see much of a difference between the two.

David Fincher, the Edgar Allen Poe of film directors, refused to fill House of Cards with uplifting characters. Because he had the freedom of the format being Netflix, he could head towards discomfort, not run from it. When Kevin Spacey goes down on Kate Mara while she’s calling her father for Father’s Day, who among us wasn’t icked out?  Maybe at some point that repulsion flipped, and it became a turn-on. Either way, it was the kind of thing you couldn’t really unsee. Or forget.


Sign In


Reset Your Password

Email Newsletter