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And here’s the fourth and final hunk of Emmy predictions from Clarence and me. Check out the comedy picks here, the movie/miniseries picks here and the variety/reality/animation picks here and don’t forget our very own McLachlan and Moser who made their picks here.

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Here’s part 3 of my and Clarence’s look at tomorrow’s Emmy nominations. Check out our movie/miniseries picks here, the variety/reality/animation picks here, the drama picks here and last but not least, Megan and Joey’s picks here.

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In case you’re just joining us, Clarence and I are in the middle of predicting tomorrow’s Emmy nominations. As soon as I sat down to make my own predictions, I instantly regretted suggesting we tackle the reality categories. But…. here we are. Check out our movie/miniseries predictions here, comedy predictions here, drama predictions here and of course complete predictions from Joey and Megan here.

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Unlike the Oscars which have months of precursors and thousands of people analyzing all the ins and outs leading up to the nominations announcement, the Emmys just kind of happen. As a result, they’re much more difficult to predict. On the other hand, Emmy does seem to favor the same shows year in and year out so large chunks of many categories can be penciled in.

Here so far are my and Clarence Moye’s predictions in the movie/miniseries categories. Check out variety/reality/animated here, drama picks here, comedy picks here and if that’s not enough for you, Megan McLachlan and Joey Moser have complete predictions here.

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Steven Soderbergh quietly continues to prove that the Internet made way too big a deal out of his so-called “retirement.” With his early 20th century New York hospital drama ‘The Knick’ set to drop on Cinemax later this summer, Deadline reports that Soderbergh will executive produce a 13-part anthology series based on his 2009 film ‘The Girlfriend Experience.’ Indie filmmakers Lodge Kerrigan (Keane) and Amy Seimetz (Sun Don’t Shine) will write and direct.

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I could nitpick here and there, but for the most part I have to admit these awards are pretty decent. Winners at the top of the list.

BEST DRAMA SERIES

  • Breaking Bad (AMC) (WINNER)
  • The Americans (FX)
  • Game of Thrones (HBO)
  • The Good Wife (CBS)
  • Masters of Sex (Showtime)
  • True Detective (HBO)

 

BEST ACTOR IN A DRAMA SERIES

  • Matthew McConaughey, True Detective (HBO) (WINNER)
  • Bryan Cranston, Breaking Bad (AMC)
  • Hugh Dancy, Hannibal (NBC)
  • Freddie Highmore, Bates Motel (A&E)
  • Matthew Rhys, The Americans (FX)
  • Michael Sheen, Masters of Sex (Showtime)

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HBO’s Veep is a show that took me a while to warm up to. In fact, I’m not even sure the phrase “warm up to” can apply to a show that is so cold and unsparing in its satire as to never rely on a warm, gooey center to engage the audience. To laugh at Veep is to ridicule all of its characters. No one is competent save Sue Wilson (Sufe Bradshaw) who has emerged as the closest thing the show offers to an audience surrogate.

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Fargo is the best show on TV no one is really talking about. It’s a slow burn, admittedly, which hasn’t caught the same kind of zeitgeist fire that True Detective or House of Cards caught. But that’s probably because it’s an acquired taste – and besides, so many other TV shows have people talking, like Game of Thrones, of course.

Fargo probably has another strike against it – people don’t quite know what to make of it. They wonder, is it the movie? Is it not the movie? It is partly the movie but it departs greatly from it. Martin Freeman plays Lester, a kind of William H. Macy character who is far more diabolical. Colin Hanks is fantastic as one of the deputies, and of course, here is the one show with balls enough to cast a normal looking woman in the lead Allison Tolman as Molly. She’s kind of a Frances McDormand character but younger and more wet behind the ears. And finally, Billy Bob Thornton as the shape-shifting bad guy very nearly steals the show.
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AMC’s The Walking Dead has largely been a non-starter in the Emmy conversation. Relegated to the well-deserved makeup and effects categories, the show is largely dismissed as “the zombie show,” evidently repelling the voting body of the Television Academy. And I’m not sure that anyone at AMC is losing sleep over that. Upwards of 18 million people tune in every week for its sometimes creative (sometimes repetitive) zombie gore.

With numbers like that, who needs Emmys?

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[Ed: Sadly, there’s no new Hannibal on tonight, but Guest Writer Kevin Klawitter (@KevinKlawitter) offers up his best Emmy case for the show.]

In completing its second season, Bryan Fuller’s Hannibal  enraged some, enraptured others, and continued to push the boundaries of network television, not just in terms of graphic violence, but also in visual style and creative storytelling.  Seeing the cat-and-mouse (or cat-and-cat, as Fuller puts it) chase between Hugh Dancy’s Will Graham and Mads Mikkelsen’s Hannibal Lecter unfold was entertaining and frightening, as you never really knew who was in charge.  Was Will seducing Lecter into a false sense of security so he could be arrested, or was Lecter seducing Will into becoming a new member of his circle of killers?  Perhaps a bit of both?

Unfortunately, one of the best shows on TV has many obstacles in its way if it wants to be a strong contender for the Emmys:  the anti-network bias, of course, the genre bias, and the comparatively low ratings all work against it.  But if Emmy voters were to actually sit down and watch it, I can’t see how they wouldn’t become as caught up in the horror as the legions of Fannibals who already prowl the internet.

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