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Awards Tracker: A Drama Series Race Without ‘Game of Thrones’

In a first look at the Emmys drama series race, Jalal lays out what shows are competing for top drama series and what shows are falling from grace.

Not even a week after the most significant moment of our lifetime (Moonlight, people. Moonlight.), and we’re jumping right into Emmy season. For the first time in years, the drama series race is wide open with three new shows competing against popular favorites that have been waiting years for the chance at the top award now that Game of Thrones is in hiatus.

Top Contenders

Stranger Things – After winning the top SAG and Producers Guild awards of the year, Stranger Things seems poised to become the most unlikely Emmy winner in the history of the award. Popular genre hits don’t usually get anywhere close to major Emmy awards, but America has gone crazy for the upside down and Millie Bobby Brown to the point where no one can escape. The show’s only major detractor is how early in the year the first season premiered, but Netflix has done a great job at keeping the show relevant with constant appearances by the actors at awards shows and talk shows as well as updates on the second season.

The Crown – As the first major costume drama to premiere post Downton Abbey, it’s automatically assumed that The Crown will be a major contender, but just how popular will it be? The show is clearly a hit with costume designers, art directors, and actors. The big question is whether or not Netflix will campaign the The Crown to the same extent they will push their other major dramas on the other voters?

Westworld – Westworld premiered as HBO’s answer to the eventual end of Game of Thrones. It offered a 10-week first season that seemed to be spiraling into a cultural phenomenon and began the season as a potential front runner in a year without any of the voters’ old favorites. After being nominated by every award group without any major wins, it seems that voters are more likely to admire the show than they are to reward it. That’s similar to Game of Thrones first few seasons.

Possibilities

Mr. Robot – It’s crazy to think that, after a breakout first season where some critics hailed the show as the future of television, that Mr. Robot might be forgotten in a classic sophomore slump. The second season premiered last summer to great reviews, but an usually tepid reaction from fans resulted in the show being virtually shutout from just about every major guild as well as the top award at the Golden Globes which it had won just the year before. Voters typically stick with a show for a few years once they bring it into the club, but in a year with so many more accessible new shows Mr. Robot could get left out of the top award.

Homeland – The one time best drama winner has had a fickle relationship with Emmy voters over the past six years. It went from one time favorite to being left out in a truly awful year to sneaking back into the drama series race. Now with Homeland constantly dwindling in terms of nominations this might be the year where it gets booted for good.

This Is Us – No network drama has been nominated for best series since The Good Wife in 2011 (unless you count Downton Abbey). With television quality at an all time high, it would take a pretty special show to standout to voters. Voter snobbery aside, there seems to be a lot of people in 2017 with a need for a sentimental family drama. However, there is a bigger chance the show shows up in other races like supporting actor, writing, and casting, while still missing out on the top award.

Worth Mentioning

Ray Donovan – The focus has been on the plethora of new dramas this year, but there is a chance that an old favorite might sneak in. Over the years voters have shown that they love Ray Donovan, especially last year when in the third season the show earned three acting nominations as well as a directing nod.

The Young Pope – Oscar winning director Paolo Sorrentino’s first attempt at television is definitely a prestige series starring Jude Law and Diana Keaton about the bizarre inner workings of the Vatican but European pretension doesn’t necessarily translate into a successful Emmy series. My initial impression of the show is that it isn’t provocative enough to excite Emmy voters especially in a drama series race overflowing with pop culture phenomenons and crowd pleasers but if anyone knows how to push a show like The Young Pope it’s HBO. In the end their best bet at a nomination is probably with the show’s cast whether it be Jude Law or Diane Keaton. Note: This show could be submitted in the Limited Series category.

Yet to Premiere

Better Call Saul – AMC pushed back the third season of the Breaking Bad spinoff to April, which is probably a good sign for the show’s Emmy chances. Saul has been a constant Emmy player for the past two years and constantly fills up various guild awards including 3/5s of one ACE Eddie category and four WGA nominations.

The Americans – After a breakout year at the Emmys last year, there were some questions on whether or not the Russian spy saga could become a major contender to actually win this year in such a wide open race. Now that the Writers Guild named it the best drama of 2016, there is at least proof that there is enough excitement behind the show. In a year dominated by sci-fi and fantasy shows, The Americans might seem important enough to pull ahead depending on how well-liked the upcoming fifth season is after it premieres next week.

House of Cards – The borderline campy political thriller has had an interesting couple of years at the Emmys, always over-performing in terms of nominations (especially with actors) but almost always failing to actually win an award. Even actors might be moving on from the show after the fourth season was left out of the drama ensemble race at SAG. Netflix isn’t releasing the newest installment of the show until the day before the Emmy eligibility window ends, which might help keep the show at the forefront of Emmy voters minds or not give them enough time to actually watch the show before voting.

Early Predictions

1. Stranger Things
2. The Crown
3. Westworld
4. The Americans
5. Better Call Saul
6. House of Cards
7. Mr. Robot
———————
8. Homeland
9. This Is Us
10. Ray Donovan
11. The Young Pope

The first six seem like obvious Emmy choices. The only unknown is how new seasons of Better Call Saul, The Americans, and House of Cards are received. Underwhelming seasons of Mr. Robot and Homeland will probably be battling it out for the final slot. In the end, even with lukewarm reactions, voters will probably bring Mr. Robot back for the second season simply because the show feels important and voters aren’t so quick to abandon shows they once loved so quickly.

What drama are you predicting to take the top award? Are there any dramas being underestimated right now?

‘Big Little Lies’ Episode 3 Kicks Things Into High Gear

Big Little Lies Episode 3 drops Sunday night. Here’s a preview of the series best episode to date with Laura Dern and Nicole Kidman dominating.

It’s no secret that we here at Awards Daily are huge fans of Big Little Lies. HBO’s acclaimed mini-series seems destined for Emmy glory later this year. Sunday night’s Big Little Lies Episode 3 underscores our opinion with a tight hour. Flawless performances from Nicole Kidman and Laura Dern highlight the hour which further explores Jane’s (Shailene Woodley) past. Check out the episode and then share your thoughts here at AwardsDaily TV!

Here is a special clip provided by HBO for Big Little Lies Episode 3.

Big Little Lies Episode 3 – “Living the Dream”

Synopsis: Hoping to get under Renata’s (Laura Dern) skin, Madeline (Reese Witherspoon) organizes a trip to compete with Amabella’s (Ivy George) birthday party. After another argument, Celeste (Nicole Kidman) succumbs to Perry’s (Alexander Skarsgård) charms before their first session with Dr. Amanda Reisman (Robin Weigert), a therapist. Madeline gets called for a meeting with Abigail’s (Kathryn Newton) guidance counselor. Principal Nippal (P.J. Byrne) announces the theme for the Fall Gala Fundraiser. Later, Jane (Shailene Woodley) seeks Madeline’s help with Ziggy’s (Iain Armitage) family tree project, and opens up about her past.

Written by David E. Kelley; directed by Jean-Marc Vallée.

Big Little Lies Episode 3 — (Ziggy and Jane. Photo: Hilary Bronwyn Gayle/HBO)

‘Feud: Bette and Joan’ Boasts Strong Visuals and Performances

FX’s ‘Feud: Bette and Joan’ stars Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford. Does Ryan Murphy’s limited series live up to the catty hype?

When FX announced the Ryan Murphy production Feud: Bette and Joan, those familiar with his style instantly imagined the worst. The series focuses on the intense rivalry between Bette Davis (Susan Sarandon) and Joan Crawford (Jessica Lange). Potential cat fighting, old Hollywood glamour, and the backstory of What Ever Happened To Baby Jane all seem tailor-made for Murphy. Given that, many imagined the series would devolve into a high class trash-fest. Something perhaps akin to a limited series Mommie Dearest. Turns out, that’s not at all what Murphy intended.

Feud: Bette and Joan immediately settles on the theme of tossed-aside actresses “of a certain age.” The first two episodes available for press featured less about the actual making of the classic horror film than Davis and Crawford’s pitied state in Hollywood. Crawford, desperate for cash, scoured female-centered novels for the right material, something Hollywood wouldn’t provide. Davis, a 2-time Oscar winner, found herself relegated to New York theater. Crawford’s discovery of Henry Farrell’s original Baby Jane novel spurred hit-starved director Robert Aldrich (Alfred Molina) to drive the production forward.

Ryan Murphy directs much of the series. Judging from the two episodes I’ve seen, that’s both a blessing and a curse. Murphy’s steady hand behind the camera helped set a respectful tone for The People v. O.J. Simpson, surprising many with his nuance. He tries to strike the same tone here as clearly the topic of aging Hollywood actresses carries the same gravitas as the O.J. Simpson case. He understands working with actors and framing them in exquisite set design. However, the material longs for a juicier touch. The pilot’s script by Ryan Murphy large eschews the bitch-camp factor we’d all expected. Kudos to him for continuing to defy expectations, but the material, while often very entertaining, runs the risk of becoming too dry, too stately to enjoy.

FEUD: BETTE & JOAN — Pictured: Susan Sarandon as Bette Davis. CR: Kurt Iswarienko/FX.

Emmy-worthy Performances

This being a Ryan Murphy production, Feud: Bette and Joan‘s performances are uniformly very good. Neither Sarandon nor Lange try particularly hard to completely impersonate their famed actress counterparts. Lange gives a very “Ryan Murphy production” performance with echoes of American Horror Story: Coven‘s Fiona Goode sprinkled throughout. Still, she’s the weaker of the two here, miscast and instantly appearing much older than Crawford at the time of Baby Jane. She tries to explore the alcoholism and resentment that plagued Crawford’s personal life, but you watch the performance feeling you’ve seen it all before rendered through the now-patent Jessica Lange mannerisms.

Sarandon, on the other hand, is a breath of fresh air. I haven’t seen her give a performance this bold in a long time. While her voice isn’t quite right, she completely nails the overall aura of Bette Davis. She parades around the sets in Davis’s uniquely confident, fuck-you way. In public, she’s a bitch on wheels, but in private, she’s desperately lonely, unable to nurture healthy relationships. My favorite scene of the series thus far belongs to her – the construction and revelation of her Baby Jane costume and infamous makeup. Molina also registers a strong performance as the constantly “between a rock and a hard place” director, and Judy Davis’s Hedda Hopper performs Hedda Hopper exactly as you imagined she would.

FEUD: BETTE & JOAN — Pictured: Jessica Lange as Joan Crawford. CR: Kurt Iswarienko/FX

Final Verdict

I have a hard time imagining exactly who Feud: Bette and Joan appeals to. It’s a very strong limited series with a lot to offer, but it doesn’t dig enough into Baby Jane to satisfy hard-core film enthusiasts. On the flip side, it doesn’t offer enough depth to engage more serious-minded viewers. The two leads feel relatively well written and fleshed out, but the Greek chorus of Olivia de Havilland (Catherine Zeta-Jones) and Joan Blondell (Kathy Bates) annoyed me intensely. Also, the role of Jack Warner (Stanley Tucci) has all the subtlety of a mustache-twirlling villain.

Feud promised the sauciness of a Hedda Hopper headline, but it feels watered down and vaguely neutered. That said, there’s still much to admire in the series. The set designs and costumes are literally perfect and seem destined for Emmy glory. Sarandon, too, appears to be the natural front-runner here, but it’s unlikely Lange will be campaigned in the Supporting category. But the theme of Hollywood throwing away women “of a certain age” already feels stretched very thin over the first two episodes. Feud is something the Television Academy will clearly embrace, just perhaps not as hard as they did O.J. Simpson.

HBO’s Vice Will Explore Trans Youth

The timing of tonight’s episode of HBO’s VICE couldn’t be more relevant after Trump and his administration withdrew transgender bathrooom protections. The episode explores transgender youth and their families and how early the medical transition process begins for trans children. Gianna Toboni explores this emotionally charged and rapidly evolving issue with trans youth and their parents in the midst of that intense process.

The episode airs tonight on HBO at 11pm and will stream from Saturday, March 4th at 10:30AM EST for two weeks.

Watch the clip below:

‘The Wizard of Lies’ Debut Set for May 20

HBO’s ‘The Wizard of Lies,’ the Bernie Madoff drama directed by Barry Levinson, will drop May 20. Robert DeNiro and Michelle Pfeiffer star.

HBO’s take on the Bernie Madoff Ponzi scheme scandal will premiere in the coveted late May slot. Starring Oscar-winner Robert DeNiro and Oscar-nominee Michelle Pfeiffer, The Wizard of Lies will premiere Saturday, May 20, at 8pm ET. This slot provides the hotly anticipated property prime Emmy real estate. It will be fascinating to see how director Barry Levinson makes the property his own after last year’s ABC miniseries Madoff . HBO boasts the higher star wattage, though with DeNiro and Pfeiffer taking the roles played last year by Richard Dreyfuss and Blythe Danner. AwardsDaily TV anticipates the property will receive a warmer reception from the Television Academy. Levinson, DeNiro, and Pfeiffer all seem likely to factor into the Emmy conversation.

Here’s the official press announcement from HBO.

HBO has confirmed that the HBO Films presentation THE WIZARD OF LIES will debut SATURDAY, MAY 20 at 8:00 p.m. (ET/PT).

Starring Robert De Niro, who also serves as an executive producer, and Michelle Pfeiffer as Bernie and Ruth Madoff, the film examines Bernie Madoff’s Ponzi scheme — his deception, lies and cover-up, all as the financier’s wife and sons are catapulted into a harsh and unrelenting spotlight. Alessandro Nivola, Nathan Darrow, Kristen Connolly, Lily Rabe and Hank Azaria also star.

THE WIZARD OF LIES is directed by Barry Levinson, who also serves as executive producer along with Jane Rosenthal, Robert De Niro, Berry Welsh and Tom Fontana; Jason Sosnoff co-executive produces. Produced by Joseph E. Iberti. The film was written by Sam Levinson and John Burnham Schwartz and Samuel Baum, based on the book “The Wizard of Lies: Bernie Madoff and the Death of Trust,” written by Diana B. Henriques.

Amy Schumer and Iron Fist Highlight March Netflix Titles

Here are the hot new titles in March Netflix offerings, led by Emmy-winner Amy Schumer and the latest Netflix Marvel property Iron Fist.

Looking for something great in March Netflix titles? Take a look at our sampling of the biggest titles premiering on the streaming service.

Amy Schumer: The Leather Special

Emmy® and Peabody Award-winning comedian Amy Schumer targets binge drinking, her relationship with her boyfriend and navigating the unknown terrain of being a newly famous woman who looks like someone you grew up with. Schumer also directed The Leather Special, which was filmed at Denver’s Bellco Theater.

Premieres on Netflix March 7.

Buddy Thunderstruck

From American Greetings Entertainment with Stoopid Buddy Stoodios, Buddy Thunderstruck is an action–comedy, stop–motion extravaganza that follows the adventures of a semi–truck racing dog named Buddy and his albino ferret mechanic. It all goes down in race–obsessed Greasepit, a place chock full of larger–than–life characters and nitro–burning, gear–slamming, tire–squealing, fish–tailing good times.

Premieres on Netflix March 10.

Burning Sands

Deep into a fraternity’s Hell Week, a favored pledge is torn between honoring a code of silence or standing up against the intensifying violence of underground hazing.

Burning Sands stars Trevor Jackson, Alfre Woodard, Steve Harris, Tosin Cole, DeRon Horton, Trevante Rhodes, Christian Robinson, Rotimi, Octavius Johnson, Malik Bazille, Mitchell Edwards, Imani A. Hakim, Serayah, and Nafessa Williams. Directed by Gerard McMurray, Written by Christine Berg & Gerard McMurray and Produced by Stephanie Allain, Jason Michael Berman, Reginald Hudlin, and Mel Jones. Executive Produced by Caroline Connor.

Burning Sands competed in the Sundance Film Festival’s US Dramatic Competition in January 2017.

Premieres on Netflix March 10.

Deidra & Laney Rob a Train

Life is moving fast for whip-smart high school senior Deidra (Ashleigh Murray) and her younger sister Laney (Rachel Crow). Graduation looms, their part-time dad is a full-time schemer, and adolescent embarrassments arrive daily — just like the train that rambles noisily through their backyard. But things take a turn for the worse when their mother Marigold (Danielle Nicolet) is thrown in jail for a minor offense after succumbing to the pressure of single parenting. To help her struggling family, Deidra hatches a plan to start robbing trains. Things go off without a hitch, until a railroad detective (Tim Blake Nelson) starts sniffing around.

Directed by Sydney Freeland and written by Shelby Farrell, the Netflix original film Deidra & Laney Rob a Train stars Ashleigh Murray, Rachel Crow, Tim Blake Nelson, Danielle Nicolet, Sasheer Zamata, David Sullivan, Missi Pyle, Arturo Castro, Brooke Markham and Sharon Lawrence. Nick Moceri and Susan Cartsonis serve as producers. Ian Bricke, Funa Maduka and Randy Kiyan serve as executive producers.

Premieres on Netflix March 17.

Marvel’s Iron Fist

Billionaire Danny Rand (Finn Jones) returns to New York City after being missing for years, trying to reconnect with his past and his family legacy. He fights against the criminal element corrupting New York City with his kung-fu mastery and ability to summon the awesome power of the fiery Iron Fist.

Premieres on Netflix March 17.

The Most Hated Woman in America

The true story of Madalyn Murry O’Hair — iconoclast, opportunist, and outspoken atheist — from her controversial rise to her untimely demise.

Premieres on Netflix March 24.

13 Reasons Why

Based on the best-selling books by Jay Asher, 13 Reasons Why follows teenager Clay Jensen as he returns home from school to find a mysterious box with his name on it lying on his porch. Inside he discovers cassette tapes recorded by Hannah Baker—his classmate and crush—who tragically committed suicide two weeks earlier. On tape, Hannah explains that there are thirteen reasons why she decided to end her life. Will Clay be one of them? If he listens, he’ll find out how he made the list. Through Hannah and Clay’s dual narratives, 13 Reasons Why weaves an intricate and heart wrenching story of teenage life that will deeply affect viewers.

13 Reasons Why stars Dylan Minnette as Clay Jensen (Goosebumps), Katherine Langford as Hannah Baker, Kate Walsh as Mrs. Baker (Private Practice), Brian D’Arcy James as Mr. Baker (Smash) , Derek Luke as Mr. Porter (Empire), Brandon Flynn as Justin Foley, Justin Prentice as Bryce Walker, Alisha Boe as Jessica Davis, Christian Navarro as Tony Padilla, Miles Heizer as Alex Standall (Parenthood) and Tommy Dorfman as Ryan Shaver.

Premieres on Netflix March 31.

March Netflix — (Marvel’s Iron Fist. Photo: David Giesbrecht/Netflix)

‘Feud’ Season 2: Charles and Diana

Ryan Murphy and FX announced today the subject matter for Feud Season 2. The legendary battle between Prince Charles and Lady Diana will take center stage.

With Feud: Bette and Joan on the horizon, many (including we at AwardsDaily TV) wondered what historic feuds would fill Feud Season 2. Would he revisit the Hatfields and the McCoys? The War of the Roses? Brittney versus Justin? Taylor Swift versus Katy Perry? Wait no longer, the news is out. Feud Season 2 will consist of the highly publicized royal divorce between Prince Charles and Princess Diana. The new season will consist of 10 episodes with no official air date scheduled.

Let’s call it Feud: Charles and Diana for argument’s sake.

According to Variety, Murphy will work with Jon Robin Baitz to write their infamous story. However, that’s the tricky part for this new season. Feud: Bette and Joan covers material only known to the most invested in historic Hollywood gossip, so many will find it fresh. Finding a new angle with Feud: Charles and Diana will be tough, for sure, with many books, films, television movies, musicals, songs, etc., written about the legendary couple. Murphy took the similarly media saturated O.J. Simpson case and used it as an opportunity to rehabilitate the image of prosecutor Marcia Clark. But what new slant could he take with Charles and Diana?

Personally, I think the Fleetwood Mac story would make for a fascinating chapter of Feud. What famous feuds would you consider the right material? Sound off in the comments below!

2017 Oscar Ceremony Review at the ADTV Water Cooler

Episode 118a: The Water Cooler Gang reviews the 2017 Oscar ceremony, including the performances, the speeches, and that now infamous finale.

In a special edition of the Water Cooler Podcast, Clarence, Megan, and Joey review the 2017 Oscar ceremony. The envelope confusion finale provided one of the most infamous Oscar moments of all time, but how did the ceremony itself rate until that infamous ending? We review the best performances, the best speeches, and talk about what that Moonlight win means for Oscar history. Plus, how did Jimmy Kimmel do? Did his on-going “feud” with Matt Damon provide enough comic juice to keep the long night going?

Thanks for listening! We’ll be back next week with another edition of the Water Cooler Podcast.

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On ‘Baby Jane,’ Bill Paxton, and Being Together For the Very First Time

Episode 118: The Water Cooler Gang embarks on a few firsts, including our first film-related Flashback to 1962’s What Ever Happened To Baby Jane.

This week at the Water Cooler, we’re offering our first film-related Water Cooler Flashback. We’re also recording in person, together, for the very first time. We take on the 1962 camp classic What Ever Happened to Baby Jane. Directed by Robert Aldrich, Baby Jane stars Oscar winners Bette Davis and Joan Crawford in a psychodrama about a washed up actress (Davis) holding hostage her invalid sister (Crawford). We talk about the plot and cinematic merits of the film itself.

However, it’s the juicy backstory between the two actresses (plus Hollywood’s treatment of them) that inspired Ryan Murphy. His new limited series Feud – Bette and Joan premieres March 5. We preview that series, which stars Susan Sarandon as Bette Davis and Jessica Lange as Joan Crawford. But first, we discuss the sudden cancellation of CBS’s Doubt, its impact on star Katherine Heigl’s career, and the sad departure of Emmy-nominated star Bill Paxton.

Then, we’ll close with the Flash Forward to the television we’re most anticipating in the upcoming week.

Please note there is a brief segment impacted by audio issues around the 18-minute mark through 21 minutes. Thanks for listening and thank you, in advance, for remembering to rate us on iTunes!

04:03 – TV Tidbits
14:43 – What Ever Happened To Baby Jane
01:15:40 – Flash Forward

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Primetime Emmy Adds New Categories In Music, Casting Categories

The Television Academy announced two new categories for the Primetime Emmy ceremony in music and reality casting categories.

The Television Academy announced today the addition of two new categories for the Primetime Emmy ceremony. As if they needed more categories… Artists involved with Outstanding Music Supervision and Outstanding Casting in a Reality Series will receive Emmy consideration for the first time. The Television Academy also announced oher 2017 rules and procedure modifications.

Here is the official Television Academy press release detailing the changes.

TELEVISION ACADEMY ANNOUNCES NEW PRIMETIME EMMY® CATEGORIES: OUTSTANDING MUSIC SUPERVISION AND OUTSTANDING CASTING IN A REALITY SERIES

As Emmy season approaches, the Television Academy Board of Governors announced today new rules changes for this year’s Primetime Emmy Awards competition.

A new Emmy category, Outstanding Music Supervision, will acknowledge the creative contributions made by the music supervisor to the music of any television program. In addition, Outstanding Casting in a Reality Series has been added to recognize casting directors responsible for identifying and assembling ensemble casts for structured, unstructured or competition programs within the Reality genre.

“In our ever-changing world of television, it’s important to annually evaluate and refine the rules of Emmy competition,” said Hayma Washington, Television Academy Chairman and CEO. “We are keeping pace with industry innovators, and recognizing excellence within new and changing genres and platforms.”

In addition, other approved Primetime Emmy Awards rules and procedures modifications for 2017 include:

Cinematography for a Single-Camera Series is now split into Cinematography for One–Hour Series and for Half-Hour Series.
Converted, retitled and redefined former juried awards into new interactive media category awards:
- Outstanding Interactive Program (Existing category award)
- Outstanding Original Interactive Program (New category award)
- Outstanding Creative Achievement In Interactive Media Within A Scripted Program (New category award)
- Outstanding Creative Achievement In Interactive Media Within An Unscripted Program (New category award)
- Outstanding Innovation In Interactive Programming (New juried award)