EMMY WATCH: Critic's Choice TV Awards

Ok, so ahead of the Emmy nominations on July 15, there are basically two precursor awards for the television season  (not like the Oscars, where there are now a million precursors that usually determine the winners before the show ever airs). There's the Television Critics Association (TCA) that's been around since the 80's, and there is now the much newer Broadcast Film Critic's Choice TV Awards, which started handing out prizes in 2011. They had their third annual ceremony tonight and since precursors are becoming more important every year, it's worth noting the winners, as they may or may not end up shining a light on certain Emmy contenders. Here are the results for the major categories announced tonight:

COMEDY

Supporting Actress: Kaley Cuoco (The Big Bang Theory) & Eden Sher (The Middle) (tie)

Supporting Actor: Simon Helberg (The Big Bang Theory

Actress: Julia Louis-Dreyfus (Veep

Actor: Louis CK (Louie

Series:The Big Bang Theory

DRAMA

Supporting Actor: Michael Cudlitz (Southland

Supporting Actress: Monica Potter (Parenthood

Actress: Tatiana Maslany (Orphan Black) (!!!!!) 

Actor: Bryan Cranston (Breaking Bad

Series:Game of Thrones & Breaking Bad (tie

MOVIE/MINISERIES

Supporting Actor: Zachary Quinto (American Horror Story: Asylum

Supporting Actress: Sarah Paulsen (American Horror Story: Asylum

Actress: Elisabeth Moss (Top of the Lake

Actor: Michael Douglas (Behind the Candelabra

Movie/Mini:Behind the Candelabra

As you can see, most of my excitement is reserved for Tatiana Maslany, who not only won here, but also secured a TCA nomination today and could very well win that too. I still think it's too much to hope for Emmy recognition, but given how incredible her performance is, if the critics keep pushing her through and people actually watch Orphan Black, she may be too much to ignore. If she did somehow pull off a miraculous nomination she's got the episodes to easily win- she's that good. No real surprises in the other categories, although this sudden critical love for The Big Bang Theory is kind of interesting. I'm thinking it's in response to its massive ratings and pop culture prominence, which keep increasing every year, and that could very well spill over into Emmy love as well. Michael Douglas begins here what will be his complete and very deserving sweep of the TV awards this season, and likely dominance in the Movie/Mini category for Behind the Candelabra as well. And here's hoping Elisabeth Moss can win her category for Top of the Lake, where she was SO good, and since she'll likely never win for Mad Men, it could easily be seen as a consolation prize from voters. And for what it's worth, I do expect the Drama Series Emmy this year to probably be between Game of Thrones and Breaking Bad, so this result hints toward that coming as well.

RECAP: Mad Men 6X11 "Favors"

Well, let's get to the big reveals right off the bat, shall we? First up, Sally. My request for more of her last week was answered in abundance tonight, as Sally and her friend stay at Don's, and the teenager who's already seen and been through more than she should have is finally the woman to catch Don in the act.

Sylvia re-enters the picture in this episode, with her 18 year old son Mitchell, who's been drafted and about to be called up. In response to Arnold's request for help, Don embarrasses himself by bringing up the subject in front of the GM clients, so Ted volunteers to pull some strings with an International Guard buddy of his, on the condition that Don stop his internal war against him and come on board with his attempt to bring joint clients into the firm. Don is of course, doing this to get back into Sylvia's good graces, and it ends up working perfectly. Except for the part about Sally sneaking into the Rosen's apartment while Sylvia and Don are going at it to retrieve the love note for Mitchell her friend had slipped under the door. This leads to Don running after her to no avail, getting wasted in a bar, and coming home to kiss Megan and accept Arnold's gratitude right in front of her, which is too much for Sally to take, as she lashes out at him and flees to her room. Don weakly and pathetically attempts to tell Sally through her door that she didn't see what she thought she saw and that it's complicated. Sally is at first angry, but soon slips into grief and acceptance all in a few moments as she leans against her door and resignedly accepts her father's explanation. It's a knockout scene from Jon Hamm and little Kiernan Shipka, who's shown over and over again how good she is with difficult emotional material. But questions of course remain: How will Sally take this going forward? Is she going to stay quiet about it? Is she going to continue to meekly accept her father's rather terrible excuses and lies (first the robbery of their apartment weeks ago, and now this). We don't know yet, but here's my plea for the remainder of the season- can the Don/Sylvia affair be dead now, please, for good? Despite Linda Cardellini being very effective in this part, she's been my least favorite Don floozy ever, and i'd be more than happy to see her go.

In other news, the mystery of Bob Benson has finally been revealed! Or has it? We learn tonight in no uncertain terms, that Bob is in love with Pete, as he makes a pretty clear pass at him in his office. Pete is of course, unsettled by this, and we don't know where it's headed from here, but I have just one question. Really, Bob? Pete? Ok, so he's gay, that was one of my early guesses that i now wish i hadn't abandoned, but Pete? Of all people, i really can't see what the attraction could be, especially to explain the intense level of Bob's devotion, as he spells it out for him. But we'll see where this goes, as there could very well be more to the Bob Benson mystery in the next couple of episodes.

Finally, Peggy is relegated to being the comic relief tonight, as she battles a rat in her apartment, and is subjected to a terribly awkward conversation with Pete's mother about her attraction to the Spanish nurse Pete hired on Bob's recommendation. This does however, lead to a scene between Pete and Peggy for the first time in many years (i'm pretty sure it's been since season 2), where they actually seemed like friends. Pete claims a closeness between them and observes that Ted is in love with her, much to Peggy's delight.

So even though all my predictions have been wrong so far, I just can't help myself and I'm going to close with one more: as soon as Sally came back to the apartment I knew she was going to see something but I immediately assumed Don was too obvious and that it was going to be Megan having a surprise affair. It didn't happen, but since I still think something momentous will happen in Don and Megan's relationship, I'm now throwing that out there as a possibility. She claimed to be calling her agent in a random scene in this episode, but something about her demeanor was suspicious. What do you think? Could that be the twist?

REVIEW: Orphan Black Season 1

BBC America's Orphan Black is a Canadian series created by Graeme Manson & John Fawcett, which just finished its run last week, and if you've never heard of it (which was me until about two weeks ago) I am highly recommending it- find it, and watch all ten episodes now, because boy am I hooked.

Tatiana Maslany plays Sara Manning, a troubled orphan with a rap sheet, who returns home to Toronto after a year's absence, only to stumble across her doppelganger on a train station before said doppelganger jumps off the platform and kill herself in front of her. Don't worry, this happens in the first five minutes of the first episode and serves as the jumping off point to the show, so I haven't spoiled anything yet. The event serves as the catalyst to a web of cloning conspiracy that Sara finds herself caught in the middle of, and every episode of this first season was in equal parts entertaining, creepy, funny and suspenseful, with an absolutely fantastic performance in the title role. The show plots its surprises and revelations to unfold at perfect intervals, while never sidestepping the intersecting personal lives and emotional turmoil of each character targeted by the nefarious villains in the shadows and at the heart of the conspiracy.

picture-of-tatiana-maslany-in-orphan-black-large-picture.jpg

But a show with this setup depends on the star's ability to play multiple versions of herself, and i really can't say enough about Tatiana Maslany here, who has the opportunity to create at least 5 fully distinct characters with different accents, manners, attitudes and styles, and interact with several of those people simultaneously, even occasionally impersonating someone who's actually impersonating someone else. As hard as that would seem to pull off, she completely knocks it out of the park in a way that would grab the attention of every awards body if this show was on any network besides BBC America. But since it is, and also since it's part of a sci-fi genre that's routinely ignored, I won't count on that to happen- but trust me, this is the best performance I've seen on TV all year- she'd be a breakout star if this was on ABC or FOX. So check out Orphan Black, it's addictive- Season 2 comes back in Spring 2014 and I've already marked my calendar.

Grade: A

Here's the trailer: 

WGA 101 Best Written Shows of All Time

The Writer's Guild of America has announced their selection of the best written shows of all time. Here are the top ten: 

  1. The Sopranos
  2. Seinfeld
  3. The Twilight Zone
  4. All in the Family
  5. MASH
  6. The Mary Tyler Moore Show
  7. Mad Men
  8. Cheers
  9. The Wire
  10. The West Wing

Not a bad group. Seinfeld, West Wing, Mad Men, MTM and Cheers would all be on my personal best shows of all time list, so I can't launch too many complaints there. Go to the WGA site for the full 101, but it's amazing to me how many dramas from the last decade made the list overall. We truly are in a golden era of television. And I'm personally psyched to see another all time fave of mine, Buffy the Vampire Slayer at No. 49! (Although it should have been higher)

RECAP: Mad Men 6X10 "A Tale of Two Cities"

Here we are, knee deep into Mad Men's 6th season, so of course it's time for another "Don Goes to California" episode- this time with Roger and Harry in tow. The historical backdrop is the Democratic Convention of 1968, and we get to see lots of characters watching TV footage of the infamous riots, and commenting on the upcoming election with naive pronouncements about things we, the audience can feel superior about already knowing (at one point a client proclaims "the Democrats are dead... maybe forever" - wink-wink). Of course, the show can never help when historical events intrude on the fictional world, but it's always a jarring collision, and this season, because it's 1968 the outside world is closing in ever more constantly.

While on the coast, the guys wind up at a Hollywood hippie party, which allows for the show's first full on depiction of late 60's counterculture. Speaking of jarring collisions, it's always been a bit awkward whenever Don interacts with a group of people who are fundamentally opposite his persona (think the beatnicks from season 1), and here it feels no more natural. But we do get to see him get high and hallucinate visions: first of Megan, who in his altered imagination has quit her job and followed him to CA in full hippie garb, with news that she's pregnant again and offering them another chance at happiness, and then the marine he met in the season premiere, who's now missing an arm and tells him to his face that he's been killed in action. I don't know about you guys, but this ominous vision coupled with Don and Megan's short, sad and somewhat foreboding phone conversation in this episode has me seriously worried about the continuation of Megan's corporeal self. I'm getting some anxious signals here, but hopefully I'm all wrong (sorry, but I'm not one of the Megan haters).

 

Meanwhile, back in New York, Joan accidentally stumbles on the chance to land a major client all by herself and seizes the opportunity, which would prove to everyone in the office that her contributions as a partner could be tangible and not just the lasting image of having bedded the disgusting Herb Rennett for a Jaguar account they no longer have. This storyline gives Christina Hendricks her best episode of the season and likely Emmy submission tape, as she and Elizabeth Moss show how great Peggy and Joan can be as a team, while exposing all the ways their relationship has evolved as both women have climbed up the ranks through different means. This is Joan as assertive and determined about her career and her worth as we've ever seen. Pete's not happy about this of course, throwing a fit over her worming her way into Accounts business, but well, Pete hasn't been happy about much of anything this season. As we see in the last scene, he goes down grumpily and in slow motion defeat to the tune of the great Janis Joplin's "Piece of My Heart," his protest having been futile.

Finally, the newly merged ad agency we've had for at least three episodes has  decided on a name: Sterling-Cooper and Partners., or SC&P. Huh. For all the fuss they made about the name for the last few weeks, I expected something a bit less anti-climactic and with more pizazz, but hey, if it's the best they can do I guess we'll take it.

 

Character Notes:

Ginsberg- he continues to be my favorite secondary character, as he can wittily insult just about any random office member, this week targeting new boss Jim Cutler (whose name I can never remember and always just want to call Harry Hamlin while I keep having to look him up)

Bob Benson- ok, so last week I thought he might be a serial killer, this week I'm back to thinking he's just a corporate climber. I've pretty much given up on figuring out what's going on with this guy. He keeps vacillating between mysterious and creepy, to brown-nosy and interloping, so until Matt Weiner wants to tell me, I assume nothing

Sally- nope, she wasn't in this episode. And she wasn't in the last one either. Did you notice that too? They seemed to have decided to replace Sally's screen time this year with Bobby's, a choice that I'm completely baffled by. After being such a presence on this show for so many seasons, it's unfortunate that her becoming a teenager has for some reason coincided with the writers' decision that she is no longer interesting. Come back Sally! We miss you!