Amazon unveils 5 new pilots featuring Ron Perlman, Mena Suvari, more

The mix of comedies and dramas include shows from creators include David Gordon Green, Whit Stillman and Jay Chandrasekhar. Depending on how these shows are received, one or more of them could turn into Amazon series.

Hand of God, a one-hour drama starring Ron Perlman as “a morally-corrupt judge who suffers a breakdown and believes God is compelling him onto a path of vigilante justice.” Dana Delaney, Garret Dillahunt, and Andre Royo (The Wire) costar. Watch it here.

From David Gordon Green (Pineapple Express) comes Red Oaks, a 30-minute comedy starring Jennifer Grey, Paul Reiser and Richard Kind about a student’s last summer before college in the ’80s. Watch it here.

Whit Stillman (Metropolitan, Damsels in Distress) brings us The Cosmopolitans, a 30-minute comedy-drama about a bunch of young Americans adrift in Paris. Adam Brody stars. Watch it here.

Mena Suvari and Laura San Giacomo star in Hysteria, an hour long mystery drama about a doctor investigating an epidemic in her hometown “that may be linked to social media – and her own tragic past.” Watch it here.

Broken Lizard’s Jay Chandrasekhar (Super Troopers) delivers this 30-minute comedy starring himself and Sarah Chalke as a couple of married-with-childrens. Watch it here.

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‘Arrow’ & ‘Point of Honor’ add cast, Hyde Pierce joins ‘Good Wife’

Rila Fukushima, who notably kicked ass in the big screen’s Wolverine, has joined the CW’s Arrow as martial arts expert Katana (alter ego Tatsu Yamashiro). Described as a “major recurring character,” Katana will be featured in flashbacks as a mentor to Oliver Queen (Stephen Amell) who is based on DC’s Green Arrow character.

The Newsroom‘s Riley Voelkel, has been added to the cast of Amazon’s Civil War drama pilot Point of Honor which is being co-written by Lost‘s Carlton Cuse. It tells the story of two Virginia best friends who wind up on different sides of The Civil War. Voelkel will play the wife of one of the leads.

Fraisier‘s David Hyde Pierce will return to TV in a recurring role in the sixth season of CBS’ The Good Wife starring recent Emmy winner Julianna Margulies. According to Deadline, he’ll play a news commentator fed up with the system who decides to run for office.

Rila Fukushima, Riley Voelkel, David Hyde Pierce
Rila Fukushima, Riley Voelkel and David Hyde Pierce

Extant: Feeding Frenzy

Last week, CBS “treated” us to a 2 hour Extant special.  It was so special that they felt the need to pull a double feature on us again this week.  Yay?  I expressed my desire to see this freshman season come to a close, but it appears it just keeps going and going.

At the top of the first episode (titled “Care & Feeding”), Sparks is influenced by a vision of his dead daughter to take the baby (or the offspring, as it is always referred).  He tells Yasumoto that he lost it, and he goes off the grid.  John turns to Yasumoto for help and Kryger double crosses Molly by leaving her in the lab.  Lesson learn, people.  Do not trust the guy who you initially believe to be dead and then get caught up in his conspiracies.  He will double cross you.  That’s what I’ve learned on this season of Extant.

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Odin is getting pretty interested in Ethan.  He shows Ethan his fake arm, and later Ethan shows Odin how to change his power pack.  Julie is a pretty crappy babysitter in this episode—where is she when all these plot important details go down?  Poor Molly has to climb her way up an elevator shaft to get out of the lab.  She might have to go through some more training before auditioning for American Ninja Warrior, though.  Even though she later hangs off the side of the elevator to evade capture from armed ISEA officials, Molly slips and gets knocked out.  She dreams of John’s reluctance for Molly’s space travels, but she tells him it might be good for their marriage.

Kryger teams up with Kern to hunt down Sparks.  Sparks, meanwhile, is still on the run with his own vision of young Katie right beside him.  We all want to see something (especially a loved one that has passed), but Sparks’ eagerness to get away is obviously mixed with his regret of what happened to his daughter.  Sparks is staying in a camp ground of sorts run by his older friend Esther.  When she goes to investigate Sparks’ door ajar (shotgun in hand), she sees a vision of her dead husband who urges her to go back inside.  Sparks appears and struggles with Esther, and she gets shot by her own shotgun.  Way to go, Sparks.  Now you have literally and figuratively killed people.

As Molly fends off armed guards in the lab, Yasumoto convinces John that he can keep Ethan safe at his house.  John is so trusting, and he doesn’t realize that Yasumoto’s wife, Femi, is in on Odin’s plan to snuff out Ethan.  Odin shows Ethan how he can use a lighter on his hand, and he won’t feel a thing (“would I ever steer you wrong?! Odin asks Ethan”).  Is he going to try and eliminate Ethan that slowly?

Molly finally gets out of the Claypool Industries building with a guard in tow.  His phone rings as she’s about to drive out, and when she answers, she finds Yasumoto on the other end.  He tells her they need to talk.  Oh, and Sparks?  He’s full-tilt crazy.  When a sheriff comes to Esther’s property, he finds Esther’s dead body.  Sparks flies out of nowhere and almost kills him, but Katie stops him.  She tells him, “he’s hungry…not that kind of hungry…”

Molly meets with Yasumoto, and he assures her that they want the same thing: to see her baby alive and well.  She is, obviously, reluctant to join forces with him, but he tells her, “together we can show the world his true potential.”  Yasumoto introduces her to Dr. Mason (who has a degree in everything), and the three discover that Sparks’ wife didn’t disable the tracking device on his car.  When it cuts back to the cabin that Sparks is staying, we see the sheriff tied up and gagged on the floor.  It switches to a cloudy, perspective and it must be feeding time.  Molly’s offspring starts to feed off the sheriff as the circular patterns appear all over his face.

The first half ends with Molly and John finally making contact.  She tells him that Yasumoto has the resources to find their baby, and John is taken aback that she won’t let him help.  Molly hangs up, and Mason takes her phone—you know, just so they aren’t tracked.  Molly sure is trusting a lot of people to find her baby.  Is Molly’s judgment being clouded by the baby?  Shhhh!!!  Another episode is starting!

The second episode begins with the death of a child and the rebirth of another.  As Mason drives with Molly to find her baby, we see a flashback of the accident that killed Marcus.  She loses Marcus at the scene, and when she wakes up in the hospital, Sam gently tells Molly that she lost the baby.  Immediately those notions about Molly’s potentially crazy behavior are dashed.  With all the crazy technology and the Humanichs, sometimes you forget that Molly wanted a baby so badly at the beginning of the season.  She was overjoyed to tell John, and then it all gets crapped on by conspiracy and cover-ups (I mean, the baby is evil as hell, but still…).  The rebirth happens when Sparks reintroduces his ex-wife, Anya, to Katie.  The look on Anya’s face when Katie calls to her is so touching and warped and oddly heartwarming.  This episode isn’t messing around with the emotions from the get-go.

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When Mason and Molly (surely this is a buddy comedy in the works at CBS?) stop at a restaurant, they discuss their encounters with the being on the ship.  Molly explains that it doesn’t feel like loved ones are being brought back to life, but it seems like people are given the chance to start over again.  Mason shares her excitement, and it’s refreshing to see someone on the same side as Molly for a change.  John believes in Molly, but he’s cautious.  Mason shares an unapologetic excitement with Molly.

Kryger and Kern are still looking for Sparks.  They stop at a police station, and Sheriff Dugan—yes, an alien Lean Cuisine one episode earlier—says he knows where Sparks is, and offers to take them.

Just when things seem to be going well between Mason and Molly, she sees a flock of birds form that damn circular pattern in the sky.  The birds drive the van off the road, and Molly gets away.  When she calls John, she tells him that the baby doesn’t want her to be with Mason, but Mason eventually catches up with her.  He slaps a handcuff on her and drags her away.

Katie can still manipulate her father into doing whatever she wants.  She tells Sparks that they need to do another feeding.  If not, she will go away.  Katie should ask for a pony, but she clearly doesn’t have her priorities in check.  Sparks and Anya lure a mechanic to their site, and Molly’s baby feeds on it.  When Molly gets to the site, Mason explains he only cuffed her for her own safety.  They are joined by a legion of soldiers, but Molly protests the idea—even if it’s for everyone’s protection.  When Molly peers through a window, she sees Sparks and Anya reading a story to no one.  The proud parents can see Katie, but no one else can.  Sparks learns that Molly is there, and he asks her if she wants to meet her son.

When Molly enters the cabin, her reality completely changes.  We are taken back to her hospital room after her accident, and everything is fine.  Sam tells Molly that Marcus is intensive care, but he will be fine.  She then introduces Molly to her baby, a gorgeous baby boy.  After the scene ends, Sparks leads a very disoriented Molly out of the cabin.  While under the influence of her hospital illusion, Sparks directs Molly to re-route a ship back to Earth.  Meanwhile, John hatches a plan to get Ethan out of Yasumoto’s control, but it appears that Femi Dodd is catching on.  Odin and Femi might be too quick and scheming for John to outwit.

Everything comes to a head at the cabin in the very last scene.  Kern and Kryger have made their way through the woods to find Sparks while Molly is being taken with Sparks and Anya.  Violence breaks out, snapping Molly out of her illusion, and Sparks fatally shoots Kryger in the stomach.  As he dies, he pleads with Molly, “It’s getting strong…you brought it here…you need to stop it…”

Phew!  All right.  This pairing of episodes was kind of crazy, but I am anxious for Molly and John to get back together on screen.  I like them working together.  This second episode had everyone pairing off, and it felt like it spread the series out some more.  Sparks is absolutely crazy, but I love the stuff with Anya (played by Jeannetta Arnette, who was great So NoTORIous as Tori Spelling’s airhead agent).  There are dozens of dramas that deal with parents losing a child, but not very many have a convincing sci-fi twist like this.  I will admit that these two weeks have sort of exhausted me (two episodes each week), so I am looking forward to it going back to one hour for the last three episodes.

Under the Dome: “The Red Door” recap – Guess Who’s Back in the Dome

“The Israelites would paint their doors red with the blood of lambs as a symbol of sacrifice,” said Lyle, in the latest episode of  “Under the Dome,” aptly titled “The Red Door.”

Let’s not start in with this biblical allusion shit, UTD. Save that for “LOST.” If there’s anything that’s consistent with this CBS show, it’s its ability to not make sense, and I think if viewers are anything like me, that’s what keeps them coming back (that, and an obligation to write recaps for an awards site).

Terrorist Barbie

After last week’s dramatic reunion between Barbie and Julia at the dome, Barbie got taken to an interrogation room to prove he wasn’t a terrorist. But the interrogator knew the truth about Barbie and had some questions—specifically how he got out of Chester’s Mill—before urging Barbie to get Julia to hand over the power source.

“I just think you want something you’re never going to get,” said Barbie.

Soon after, Barbie received a visit from his father in the interrogation room, and his father admitted that the email message to Julia was tweaked by the government in order to try to get the magic egg. Don Barbara told his son that getting the egg would be the only way he would get released and probably not killed. But Barbie told him, “Can’t help ya.” Outside of the interrogation room, Don pressed one of the guards to do whatever it took to get Barbie to hand over the egg. But we knew how this would end: After getting roughed up by the guard, Barbie managed to escape because that’s just what he does on this show.

Meanwhile, Don went back to his office and got Hunter to send a new video message to Julia. . .

Egg-cellent

Big Jim paid Julia a visit at her house, asking why there were army man camped right outside of the dome area near her house (even though he knew that Barbie was on the outside). He also asked her if she wanted to do a memorial for Barbie because BJ also stands for “Big Jerk.”  Julia put on her best Meryl Streep face and pretended like she was still in mourning, even though she had figured out that Big Jim was on to her.

Soon after Big Jim left, Julia shut the door to reveal a house full of teenagers—Melanie, Norrie, Joe, and Junior. Yep, she’s kind of become the Mary Kay Letourneau of Chester’s Mill. After some discussion, they decided to go back to the high school to see if they could get a Wi-Fi signal and send another email to Barbie. Julia ushered the kids out of her house like a slew of bozos from a damn clown car. Junior decided to go back to the station to keep an eye on his dad.

At the high school, Julia and the teenagers discovered Barbie’s father’s video message for Julia, where he pleaded with the redhead to hand over the egg so Barbie could be let go safely. Melanie found Don Barbara’s voice familiar to her (foreshadowing).

Julia was torn. She wanted to try to save Barbie, but Melanie pleaded with her to reconsider, since the dome was meant to protect them and also because Barbie had basically told her to stay put. Because Julia was leaning toward handing over the egg (and because Norrie and Joe were being big jerks to her), Melanie left in a huff.

Down at Fraggle Rock

At the station, BJ confronted Junior and asked him if he knew Barbie was alive. When Junior caved and yes, BJ told him he wanted him to keep telling him the truth and to go to the cliff with him.

Just when you thought Big Jim was going to jump off the cliff, Junior told him that Barbie didn’t want Julia to jump off the cliff, which made BJ second-guess the whole thing (I mean, if Julia didn’t jump off a bridge, would you?). According to Junior, Barbie had warned Julia about something to do with the power source, which was still missing. Since Big Jim was still trying to find his purpose within the dome, he told Junior that as the only two lawmen in Chester’s Mill, they had better track it down (although Junior knew exactly where it was).

First method of tracking it down: Accosting an innocent scientist. Big Jim bee-lined for Rebecca Pine, thinking that she knew what was going on, but she didn’t have a clue. However, she did agree to once again play both sides and help Big Jim figure out what was going on with the Barbie situation.

Junior went back to Angie’s to retrieve the egg to take it to his father. But Melanie caught up with him, changing his mind, and the two decided to find a new place to keep it safe: the bunker where Junior had kept Angie hostage all those days ago (yes, “days”).

“Red Door! Red DOOR!”

“Why red? Why a door?” said Pauline, of her own artwork. Seriously, what was she thinking?

Outside of the dome, Pauline, Sam, and Lyle were going through Pauline’s old drawings, trying to figure out how these played into the dome universe. Somehow, the three decided that if they found the red door in her pictures, they could find a way back into Chester’s Mill.

So they headed back to the playground where Barbie had crash-landed and discovered a shed with a red door. Surely, this had to be the way back into Narnia. Nope. Inside this particular shed was a precocious little kid who said, “No grown-ups!” before running to a tire swing to make himself dizzy. For Pauline, this was reminiscent of her son Junior who used to twist himself around in the same manner.

Later, the three met Pauline’s former best student—Hunter! Yes, in addition to being Don Barbara’s assistant, he was also connected to Junior’s mother. The meeting got interesting when Barbie, dressed as a guard, came running into the room for Hunter’s help only to discover Sam and Lyle alive and well.

Barbie told Pauline that her brother had killed Angie, which caused Pauline to come to this logical conclusion: “We have to go to Chester’s Mill to atone for our sins.”

Via his nerd technology, Hunter found them all of the red doors in Zenith. But Barbie knew the red door in Pauline’s pictures IMMEDIATELY—he’d grown up there.

The Best Scene of “Under the Dome”. . .EVER

If there’s one thing I want to remember about “Under the Dome,” it’s the intense scene between Big Jim and an army man outside of the dome, where Big Jim wrote messages on a notepad, ala Michael Hutchence in INXS’ “Mediate” video.

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Since top secret stuff is apparently not top or secret, the army man showed BJ a map and the big man immediately knew that the power source was in Angie’s place.

Through the Red Door

Julia learned that Junior had taken the egg, so she went to pay Big Jim a visit, but he didn’t know where it was either. Junior had double-crossed both of them. Big Jim revealed that he knew Julia wanted to trade the egg for Barbie.

Meanwhile, Barbie concocted an elaborate plan where he paid a lookalike kid $10 to distract his father, while he, Lyle, Hunter, Pauline, and Sam escaped the energy facility and to the red door Barbie had grown up with.

Once through the red door, each character had a vision. Barbie saw Melanie talking to him as a child—with his father in the background. Sam saw an exchange between himself and Junior at Pauline’s “funeral.” Pauline saw the spot in the woods where she had discovered the egg 20-some years before, with Melanie telling her: “This is where it all began and this is where it ends. For all of us.”

Also, Hunter willed himself through the red door and into the dome for no other reason than that he doesn’t have a life. “You think your dad’s gonna give me a promotion if he catches me?” Just another unnecessary new character in an old dome.

So where do all of these characters end up after going through the red door? Big surprise—back in the dome. In the lake, specifically.

And what was the first thing Pauline did when she got back? Headed to her house, natch, where she saw the man she hadn’t seen in decades.

It’s kind of ironic that “Under the Dome” was up against the Emmys Monday night. The best of the best on television versus the campy sci-fi series that strays so far from the Stephen King novel that it may as well be a spin-off. But isn’t that what makes UTD a guilty pleasure?

What do you think of all of the characters being back in the dome? Is life better on in the inside or outside?

Amazon’s ‘Transparent’ Gets Premiere Date, Trailer

Amazon is hard at work trying to duplicate the original programming success of rival streaming service Netflix. After mixed results from its initial 10 pilots earlier this year, Amazon commissioned 10 more in March with 4 that wound up making the final cut. The pickups included cop-drama Bosch based on the Michael Connelly novels featuring LAPD Detective Hieronymus ‘Harry’ Bosch; the mystery-drama The After from X-Files creator Chris Carter; and the dark half-hour comedy drama Transparent starring Jeffrey Tambor as a divorced parent who reveals to his family he is transitioning as a woman. Amazon has released a trailer for Transparent and given all 10 episodes of the show a release date of September 26.

In addition to Tambor, Transparent co-stars Judith Light (Who’s the Boss?) as Tambor’s ex-wife and Gabby Hoffman (Uncle Buck, HBO’s Girls), Amy Landecker (A Serious Man) and Jay Duplass (The Mindy Project and co-director of Jeff Who Lives at Home) as Tambor’s grown children.

With a punny title like Transparent, it’s easy to fear the worst about this show, but the on-screen talent involved and the fact the show was created by Jill Soloway who wrote four seasons of HBO’s Six Feet Under and was the showrunner on Showtime’s Diablo Cody show The United States of Tara inspires confidence.

The Transparent pilot which carefully and respectfully walks the line between comedy and drama while serving up realistic and relatable human emotions is still available for free at Amazon.

Jeffrey Tambor in Transparent

Netflix picks up ‘Bojack Horseman’ for Season 2

The first 12 episodes of the new animated Netflix original series BoJack Horseman debuted to semi-good reviews on Friday and according to The Hollywood Reporter, the show has already been picked up for another season.

The show, created by comedian Raphael Bob-Waksberg of Olde English comedy troupe, features the voice of Arrested Development‘s Will Arnett as the titular horse-headed former sitcom star dealing with life in Hollywood 20 years after he was a household name. Breaking Bad‘s Aaron Paul (a producer of the show) voices BoJack’s “house guest” Todd, Amy Sedaris voices his feline agent Princess Carolyn (there are a lot of random talking animals in this show because why not?) and Community‘s Alison Brie voices the human Diane who is helping BoJack write his memoir.

In the three episodes I’ve watched, guest voices have included Kristen Schaal, Patton Oswalt, Wendie Malick, J.K. Simmons, Judy Greer and Keith Olbermann. The show itself hasn’t wowed me so far. It’s fine, but it’s not even close to Archer, current gold standard of animated TV comedy, or even half as good as Rick and Morty co-created by Community‘s Dan Harmon.

Anyway, BoJack Horseman gets another season to find its groove.

 

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Forget it, Jake. It’s Emmytown.

Judging unscientifically by my Twitter feed last night, Emmys are an exercise in hate-watching. Judging by the internet headlines I’m seeing this morning, there are as many opinions on how to fix the awards as there were women in red dresses at the ceremony itself. Well, I’m here to tell you not to bother. They probably can’t be fixed. Enjoy them or not, but don’t take them seriously.

Believe me. I feel your pain. Even though Breaking Bad is one of my favorite shows in the past decade, I found myself wondering whether it was really necessary to reward it again when it already had multiple wins spread across every category. The Emmy voters, the only people whose opinion counted for anything last night, decided it was absolutely necessary. While Sherlock wound up with the most statues overall if you count the awards that weren’t handed out on TV last night (7 in the Miniseries/TV Movie categories), Breaking Bad won for Outstanding Drama, Lead Actor, Supporting Actor, Supporting Actress and Writing to go along with the Editing award it had already won off camera. It was a near sweep of the Drama categories and I’m sure Julianna Margulies went to sleep last night grateful the show did not have any lead female characters.

The biggest head scratcher for me though was Modern Family marching to its 5th straight Emmy for Outstanding Comedy. It’s a likable enough show, it’s always reliable for a few laughs and it still performs well in the ratings, but quality-wise I would be surprised if even its fans didn’t admit it’s been on a downward slide. Modern Family perfected its routine (quirky group of relations who don’t always like each other but realize at the end of every half hour episode that they love each other) in the first couple of seasons and has since simply been repeating it with diminishing results season after season. Meanwhile, several new shows including Veep and Louie have come along to shake things up and to challenge what we think of when we think of TV comedy. I could add the terrific Orange is the New Black to that list, and it was nominated, but there is much debate whether that even belongs in the Comedy category and that’s a subject for a completely different post.

It’s less about this or that individual winner and more about the repetition running contrary to innovation that makes the Emmys seem so irrelevant and everyone has an opinion about how to improve the results. Eliminating category fraud is thrown around a lot as regular stars are submitted as guest stars, hour long comedy/dramas are submitted along with half hour sitcoms and limited series compete with the dramas or vice versa. Firming up the rules in those areas would certainly reduce some of the controversy, but it’s not going to force the voters into making more interesting choices.

The Television Academy could introduce a whole new level of categories that focus on new shoes and performers, but if anything there are already too many categories and the show is already too long. Changing the voting mechanic is another suggestion I’ve read as though somehow the current system favors mediocrity.

The most common suggestion I’ve seen is to limit the number of wins any show or performer can receive. Obviously, if a performer wins for one role, they would still be eligible to win for future roles, just not the same one. This is the suggestion that would most likely have the desired result of keeping the Emmys fresh and interesting, but it also moves the awards the furthest away from what their real goal should be: to award the best. I’m not going to defend Modern Family, but I can’t argue that Breaking Bad did not deserve to win last night, especially since this season was its last and it accomplished the rare feat of wrapping up its story satisfactorily. I’m not sure I want an awards body that doesn’t let its voters pick what they truly think is the best.

The problem in the end is the voters themselves. As a body, they favor the safe over the challenging and the familiar over the new. That’s an unfortunate side-effect of pretty much any democratic process. Likable and non-threatening tends to rise above edgy and divisive. This is further complicated by the sheer number of hours of television the average person has to choose from. 12 episodes of a series running 50 minutes is 10 hours. Most series run more than 12 episodes and the number of them almost seems endless with all the different cable channels and even Netflix and Amazon getting into the series game. It’s doubtful if anyone working in the TV business has time to actually watch everything that is good to great in the medium they create. There wouldn’t be time for anything else.

The Oscars, flawed as they are, are a much more closed system. There are a finite number of movies eligible for consideration every year and of those, most are easily and quickly weeded out as non-contenders. Even so, the Oscars are constantly being tinkered with to the satisfaction of no one. It’s still an unruly beast prone to safe, boring choices. If you can’t fix the Oscars, there is no hope at all for the Emmys. Watch the show if you want and root for your favorites. Enjoy the spectacle if that’s your thing, but don’t expect the Emmys to actually mean something outside of the theater where they are presented.

Emmy Kiss

Emmy bids Breaking Bad a fond fairwell

The Emmys veered wildly between stupid, boring picks and comfortable but awesome picks. I have no explanation for the continued enthusiasm for Modern Family in the face of vibrant competition like Veep and Orange is the New Black; and in my heart I was rooting for True Detective in the drama categories, but in the end I’m thrilled Breaking Bad got a great send off. For me it’s one of the best shows in the last many years.

The ceremony itself was mostly a snooze. Seth Meyers has always been a better writer than performer, but he wasn’t terrible. The musical cues were all weird. The In Memorium tribute was kind of devastating and the best part of the show was Billy Crystal capping it off with a loving remembrance of his friend Robin Williams. I’m still a little teary about that.

Anyway, that’s that. Your winners:

  • Drama: Breaking Bad
  • Comedy: Modern Family
  • Miniseries: Fargo
  • TV Movie: The Normal Heart
  • Variety Series: The Colbert Report
  • Reality: The Amazing Race
  • Actor – Comedy: Jim Parsons, The Big Bang Theory
  • Actor – Drama: Bryan Cranston, Breaking Bad
  • Actor – Mini/TV: Benedict Cumberbatch, Sherlock
  • Actress – Comedy: Julia Louis-Dreyfus, Veep
  • Actress – Drama: Julianna Margulies
  • Actress – Mini/TV: Jessica Lange, American Horror Story
  • Supporting Actor – Drama: Aaron Paul, Breaking Bad
  • Supporting Actor – Comedy: Ty Burrell, Modern Family
  • Supporting Actor – Mini/TV: Martin Freeman, Sherlock
  • Supporting Actress – Drama: Anna Gunn, Breaking Bad
  • Supporting Actress – Comedy: Allison Janney, Mom
  • Supporting Actress, Movie/Mini: Kathy Bates, American Horror Story
  • Writing – Drama: Moira Walley-Beckett, Breaking Bad, “Ozymandias”
  • Writing – Comedy: Louis C.K., Louie
  • Writing – Mini/TV: Steven Moffat, Sherlock
  • Writing – Variety Special: Sarah Silverman, We Are Miracles
  • Directing – Drama: Cary Joji Fukunaga, True Detective
  • Directing – Comedy: Gail Mancuso, Modern Family
  • Directing – Mini/TV: Colin Bucksey, Fargo
  • Directing – Variety Series: Glenn Weiss, 67th Tonys

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ADTV Emmy Live Tweet and Results

Join us tonight during the Emmy broadcast beginning at 8pm Eastern (5pm Pacific). You can even chime in during one of the pre-shows if you have the stomach for it. Use #EmmysADTV for Awards Daily approved shits and giggles. You can also tweet along right here with the handy widget below.

Before the show, check out the Awards Daily TV crew’s predictions here, and enter the ADTV prediction contest here.

Results will be posted after the jump as they happen. See you tonight!

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Masters of Sex: Master of His Domain

“The real shock, that night, was your child. The night I stood on your doorstep, I wasn’t looking at Shelley. I was looking at your daughter, wrapped around this stranger’s leg… one of how many strangers that have met your children their way in and out of your bed. And I thought I cannot be a part of this… And I know better than to be yet another man who parades through their lives while the mother they do have tries to keep clean sheets on the bed.”  – Bill Masters to Virigina Johnson

That line, a harsh and mean-spirited (but not entirely inaccurate) takedown of Virginia Johnson by Bill Masters, is but one of the many examples of the greatness of this week’s episode, Asterion. Responding to last week’s pallet-cleansing season reboot, Asterion sends its characters hurdling into the future, initially five months but eventually two years by episode’s end.

But the episode never feels rushed or without direction. Quite the opposite, it feels delicately and expertly plotted, stopping in to give us pulse-checks of the main characters. This episode almost felt like the true beginning of season two, allowing us to comfortably omit some of the less praise-worthy moments of season two thus far.

It’s as if head lice never existed!

The true star of the episode is Michael Sheen’s Emmy reel-worthy performance. As the character of Bill Masters is often drawn as the clinically aloof surgeon, Sheen is rarely given the sort of heft or meaty material awarded his counterparts. But, here, the build-up resulting from the emotional rift with Johnson results in several Bill Masters explosions and, in turn, several opportunities for Sheen to potentially monologue his way to an Emmy nomination in 2015.

Masters should be happy enough – he has finally branched out and started his own practice where he can conduct his sex study independently without the interference of unsupportive hospital administrations. Yet, it isn’t really about the sex study any longer… It’s his undying love for Virginia Johnson that fulfills him. Resentful for her taking a lover (or four), Masters punishes Johnson by, initially, not including her in important decision making and, later, in his hostile take-downs where he ridicules her sexuality and, most damagingly, her ability to provide a stable environment for her children.

What I love most about Asterion, the title referring to Greek mythology and to a point on the human skull through which neurosurgeons orient themselves, is the way the audience gracefully drifts in and out of different time periods within the story. These transitions are cleverly interpreted visually by gradual fades or appearances of timely neighboring storefronts: a Communist headquarters fades into a CORE (Congress of Racial Equality) field office in addition to the modeling agency that initially dabbles in the burlesque but morphs into providing talent for stag films.

Masters of Sex S02E07

Our orientation point is Lester Linden (Kevin Christy), the cameraman once awed by the Masters and Johnson study, as he returns to document not only study participants but also Masters and Johnson themselves. As he says early in the episode, “Some men come home to fame and fortune… some to measure ejaculate.” His familiar presence and the lens through which he films many of the important scenes in the episode are indications that the show is returning to the more ensured tone of season one but tweaked just enough to maintain intrigue moving into season two.

Also serving a similar orienting purpose is Betty DiMello, now freshly divorced, who has indeed returned to the Masters clinic as office manager – something I’d predicted just last week. Even Barbara (Betsy Brandt), Masters’s failed secretary, reappears to unsuccessfully seek admittance into the sex study. I anticipate we will hear more of her story in the future.

Somewhat exhaustingly, the brilliant episode is so incredibly detailed and rich with content that it’s almost impossible to catch all of the subtleties on a single viewing. Still, focusing on the central relationship of Masters and Johnson, it is ultimately Virginia Johnson who provides the most forward momentum by giving in to the undeniable link that irreversibly binds the two. Even Libby Masters, now with a second child to fill the gaping hole in her marital life, acknowledges that Masters is only bearable when he is around Johnson. With an air of inevitability, Johnson gives in and returns to the hotel room trysts that caused their professional relationship to evolve into a personal one.

The episode closes poignantly with Masters and his mother (the great Ann Dowd) coming to a truce over their long-standing estrangement. Despite the Bill Masters we’ve seen over the past hour, his mother stands firmly by his side: “I am so very proud of my son.”

But The Shirelles “Will You Still Love Me Tomorrow” ironically plays us out to black, a great way to end the episode and kick off the rebirth of Masters of Sex.