Emmy Throwback: The 2006 Emmy Drama Race

This look at the 2006 Emmy Drama race is the first in a series of new posts exploring past Emmy races and how they have held up over time. Throughout the season we’ll explore various races from over the years including series, acting, and craft categories.

No network drama has competed for the top award since 2011 (unless you count Downton Abbey), so it’s crazy to think that ten years ago – way back in the 2006 Emmy Drama race – the biggest award of the night was between two wildly popular network shows and that network TV represented 80 percent of the nominees in the race. Plus, it’s even more surprising that the one premium cable nominee, The Sopranos, played second fiddle to genre shows and nighttime soaps.

The five nominees in 2006 were 24 (FOX), Grey’s Anatomy (ABC), House (FOX), The Sopranos (HBO), and The West Wing (NBC).  Looking back, 24 seems like an obvious choice, but in 2006 pundits and critics were pretty much split evenly between 24 and Grey’s Anatomy with the final season of The West Wing as the dark horse. 24 led the pack with twelve nominations and Grey’s Anatomy was right on its tail with eleven, although Grey’s actually had more major nominations with eight (compared to 24’s five). Even with the major support for the two frontrunners, there was a lot of room for old Emmy favorites to continue racking up awards.

24
(Photo: FOX)

24

After five years of building momentum 24 finally won its first Outstanding Drama statue after years of racking up support in the tech categories. In addition to winning the top award, 24 was nominated in twelve categories including wins for its lead actor Kiefer Sutherland, directing, editing, and music composition. The excitement around the fifth season should come to no surprise after it kicked off the year by shockingly killing off beloved characters like President Palmer, Michelle, and Tony. Personally I remember season five best for its fierce showdown between President and First Lady. To this day, I’m shocked Gregory Itzen and Jean Smart were snubbed in the supporting races.

Grey’s Anatomy

The primetime soap that made Shonda Rhimes a household name was nominated for its second season after a year of endless water cooler moments: the saga of Izzy & Denny, McDreamy, the infamous post-Super Bowl bomb episode (which earned Kyle Chandler his first Emmy nod). After overstaying its welcome and many inconsistent seasons, a lot of fans and critics have forgotten just how good Grey’s Anatomy was in its prime. Long before mainstream America began to notice the lack of diversity on television, Shonda Rhimes created a workplace that reflected what the country actually looks like while giving fans countless twists that rivaled anything cable dishes out today.

House 

Similar to Grey’s Anatomy, House was the other massively popular network medical drama nominated for the first time in its second season. Unfortunately for House, the show seemed to fall into a sophomore slump with voters after receiving only four nominations and a surprising snub of the show’s titular star, Hugh Laurie.

The Sopranos  

In 2004 The Sopranos became the first cable drama to win the top award, but after a near two year hiatus the Television Academy reacted tepidly to the penultimate season of the show critics champion as the start of The Golden Age of TV. A fraction of fans and critics were bored with the short season (for similar reasons they criticized the split final season of Mad Men) and Gandolfini and Falco were even shockingly left out of the lead races, although that could be credited to a change in the nomination process.

West Wing

Unfortunately for the four time Outstanding Drama Series winner, the final season went out with a whimper with voters after the show struggled in its new timeslot. In its final season, The West Wing earned six nominations and even won a sound mixing award and supporting actor win for Alan Alda, proving the final season was satisfying for the fans that stuck around. Voters moving on from the one-time Emmy juggernaut also signaled a change in desire towards what types of political shows voters wanted to root for. Ten years later voters have completely dismissed Sorkin’s political enthusiasm for a more pessimistic and conniving version of D.C. in House of Cards and Veep.

the west wing
(Photo: NBC)

One thing is for sure, we may never see a top race between two massively popular network shows again, but ten years later network executives are still trying to recreate the magic of the 2006 Emmy Drama race. HBO counted on Terence Winter to recreate the success of The Sopranos with Vinyl (to poor results), 24 is once again being revived by FOX, Grey’s Anatomy is still going strong in its 13th season, and Shonda Rhimes is able to get just about any idea greenlit.

Readers, what drama were you rooting for back in 2006? Do the five nominees hold up ten years later?

Emmy Tracker: Emmy Voters Gear Up for the Vote

What’s Next For Emmy Voters?

The past couple of weeks have been silent in terms of the Emmys as the Television Academy and fans try to catch up on all of the nominated shows and performances. The first step in preparation for the final round of voting begins on Monday. Then, the Emmys post online the contenders’ submitted episodes for any branch member who wanted to do their homework before voting. Emmy voters will then have a week to prepare to make their final decisions, and then we’ll just have to wait. With the Olympics starting tonight, it will be interesting to find out if the acting branch spends their week watching Michael Phelps and Gabby Douglas compete or steamroll through 73 episodes of acting nominees. That’s 73 episodes not even counting all of the Limited Series and TV movie contenders.

On to this week’s categories…

Supporting Actress in a Comedy Series

Allison Janney is one of the most accolated television actresses working in the 21st century. Her popularity has pushed her to two consecutive comedic wins for her work on Mom, a show most voters would probably admit to not even watching. The real question is how long will voters continue to award her when most of the other supporting races have been turning to actors on popular shows? In a category filled with actually liked shows and overdue actresses, this might be the year that voters decide to spread the wealth and give Janney a break from the podium.

This might be the year Kate McKinnon can break the SNL curse as the voting process progresses into a more popular vote system and impressionable to outside forces.  When juries had to judge and rank submitted tapes, actors on sketch shows were never able to come out on top. Now it’s not guaranteed that the entire acting branch will watch the tapes, and a lot of those voters will simply mark off whoever sticks out. Kate McKinnon’s Hillary Clinton impersonations have been shared throughout the year on social media, and she has been the talk of pop culture after her film breakout in Ghostbusters. A breakout film role helped Melissa McCarthy win her first Emmy a couple of years ago, and any praise from critics and fans will help McKinnon standout in such an open year.

Anna Chlumsky had the perfect episode submission last year with “Convention” where Amy finally explodes, but somehow she was snubbed even though Veep went on to be the most awarded comedy of the night. This year’s material pales in comparison, but sometimes voters are a year late and maybe (*hopefully*) enough voters want to apologize for wronging her by giving her a makeup Emmy.

Niecy Nash is the type of hardworking actress in Hollywood who has worked with countless members of the Television Academy and in a close race might be able to sneak ahead off of likability alone. Voters also proved that they really like Getting On this year by nominating Laurie Metcalf in the lead race. Support for the show is out there (fingers crossed). Love for Transparent shouldn’t be counted out especially since voters nominated both Hoffman and Light, but in a season where both women had stellar seasons I seriously doubt that either can collect enough support to win.

Current Ranking

Kate McKinnon, Saturday Night Live

Allison Janney, Mom

Anna Chlumsky, Veep

Judith Light, Transparent

Niecy Nash, Getting On

Gabby Hoffman, Transparent

Supporting Actress in a Drama Series

More than any other race, Supporting Actress in a Drama Series was blown wide open this year when last year’s winner and two-time SAG winner, Uzo Aduba, was knocked out of contention. Instead she was replaced by a former Downton Abbey winner, a third Game of Thrones actress, and a string of surprising nominees from underrepresented shows. This category will be the one that makes or breaks everyone’s Emmy pool, and it’s unfortunate that with so many options voters will likely go for the most boring choice, Dame Maggie Smith. Voters will likely want to bid the show adieu somewhere and this will be the most obvious place. Smith already won two Emmys, and Downton Abbey is almost unstoppable at the SAG awards.

Voters omitted Smith in the past, though, and if they’re ready to award a fresh face they might lean towards last winter’s Critics’ Choice or Golden Globe winner. Of the two, Constance Zimmer probably has a better shot with a breakout role after years of work on TV and the second season of UnReal airing during the voting period. A lot of voters might not vote forMaura Tierney, as overdue as she is, simply because many of them have never seen The Affair even if she has a tape worthy of recognition.

Three nominations for the Game of Thrones women is nothing to dismiss, and if judging panels were ranking their ballots still this would be an easy call for Lena Headey or even Emilia Clarke (if voters were swayed by dragons and weepy romantic movies). Headey should have had an easy time winning last year with her infamous “shame” finale but voters dismissed her for a variety of reasons, likely including the fact that the only part of that scene that was actually her was her face. As much as Cersei has won over my heart, most Emmy voters tend to gravitate towards sympathetic characters – Crazy Eyes or Skyler White in the past – and snub the great villains of TV.

Current Ranking

Dame Maggie Smith, Downton Abbey

Lena Headey, Game of Thrones 

Constance Zimmer, UnReal

Emilia Clarke, Game of Thrones

Maura Tierney, The Affair

Maisie Williams, Game of Thrones

Emmy Voters
(Photo: HBO)

 

Directing of a Drama Series

As much of an emphasis as I have put on the new Emmy voting rules, I seriously doubt they will have much of an impact on drama direction race this year. The directing branch has notoriously been a sucker for the obvious flashy choices, and no moment on TV this year has been bigger than the “Battle of the Bastards.” Game of Thrones is the reigning champ at the Emmys and the DGA, and it’s going to be harder for any show to standout. There is a small chance that voters feel more inclined to vote for a more emotionally wrenching episode like “The Door” although that would be out of character for the directing branch.

Homeland may be slowly diminishing in nominations year after year, but strong support from the show at the DGA awards makes the Showtime drama the unlikely dark horse of the race. Lesli Linka Glatter is well-liked within the Academy. She receives nominations time and time again by the Television Academy and Director’s Guild (where she is also a board member). She even won a surprise DGA award two years ago for her work on Homeland, so after working on so many popular shows voters might decide 2016 is her year.

As celebrated as Downton Abbey is, voters might be want to give the costume drama a final sendoff. However, the directing branch hasn’t awarded a finale since ER (not Lost, Breaking Bad, Mad Men, or even their beloved Boardwalk Empire).  Steven Soderbergh has been nominated two years in a row off of name recognition for a show a lot of people haven’t even heard of so attracting the popular vote might be difficult for him. Ray Donovan has proven to be an industry favorite but in a category with bigger shows and bigger names I’m not sure David Hollander is well-known enough to pull off a surprise win,.

Current Ranking

“Battle of the Bastards,” Miguel Sapochnik, Game of Thrones

“The Tradition of Hospitality,” Lesli Linka Glatter, Homeland

“Episode Nine,” Michael Engler, Downton Abbey

“The Door,” Jack Bender, Game of Thrones

“Exsuscito,” David Hollander, Ray Donovan

“This Is All We Are,” Steven Soderbergh, The Knick

Tituss Burgess Talks Emmy, Geishas, and His Next Project

“I know I don’t often pray, but if you’re listening, Black Jesus from the Madonna “Like a Prayer” video, give me a sign.”

“It will be my toughest role ever, and I once played a straight corpse on America’s Most Wanted.”

“Midnight, Eastern Gay time, which is 3 am.”

One could spend all day listing some of the finest quotes from Unbreakable Kimmy Schmidt’s Titus Andromedon, but we’ll save that for another post. Tituss Burgess received his second Emmy nomination for his portrayal of Andromedon on the Netflix show and deservedly so. From his love of musicals, to his iconic, “Peeno Noir” (Did you know Burgess has launched his own website selling wine?), Burgess plays Kimmy’s BFF to sheer perfection.  We had the chance to catch up and talk Emmys, his new project and of course playing that person who you want as your BFF – Titus Andromedon.

What were you doing when you found out that you were nominated?

I was playing the piano. I’m working on a musical. I was re-writing some material and my partner called me downstairs, and he said, “Did you forget what the day is?” I got downstairs, and he was the one who told me.

What’s this musical you’re working on?

We’ll be announcing it soon, but it’s based on a popular movie that came out in 1996. I’ll be doing some research then. [Laughs]

I remember seeing you on Broadway as Sebastian in The Little Mermaid.

Oh my goodness.

From Broadway to Netflix.

I couldn’t be happier.

How did Unbreakable Kimmy Schmidt change from Season 1 to Season 2 for you?

A lot of the characters got more developed back stories. Particularly for Titus, I thought with the explanation of the marriage, the divorce and the introduction of his boyfriend, that it explained a lot of his eccentricities. Rather than just having to accept Titus as a brazen sassy-prass, you kind of understand how sassy he is on the inside. He’s vulnerable and he comes from a rural town where he could not be his truest self. Sometimes when people are running towards liberty, it goes so far in the opposite direction of who they were sometimes just to over compensate, or it’s just the taste of freedom that creates these large oversized personalities. That has a lot to do with the progression and augmentation of the show from Season 1 to Season 2.

That’s something I really loved about the show – this back story about Titus. What was it like when you were reading those scripts, knowing that we finally got to find out who Titus really is?

It filled in a lot of holes for me. I was given a lot more information to play off of. It helped inform a great many of my choices and my treatment of Titus. We’re quite different. I get a lot of people who are shocked when they meet me because we share a name and we like musicals, but that’s about it. It helped me figure out what other goodies are in that bag of his to bring out and to create some delicious tension, and things to exploit. When I was reading over material I thought it was so helpful, funny, heartwarming, and touching.

How much do you get to improvise on the show?

Very little. They are not those type of writers. Every I is dotted and every T is crossed. Everything that comes off as improvisation is on purpose. Robert and Tina are very thorough. There’s very little room for improvisation, but there’s not a great need for it because they’ve given us well rounded crafted material.

Another highlight of the season, aside from learning more about Titus, was the geisha episode. What was that episode like to read and shoot?

I’ve come to expect that Robert and Tina are going to put me in the most extreme circumstances. [Laughs] I sat down with them and we were very careful not to offend but wanted to acknowledge how hypersensitive people have come because of the presence of social media. We thought what would be the most extreme situation Titus could find himself in, and that’s acting out a dramatization of one of his past lives that he maintains that he remembers. If he believes it to be true, it’s only plausible that his going into full geisha makeup and attire is not mocking, but a full extension of who he was, and because he believes it so fiercely, I was able to be sincere about it and not be disrespectful to another culture.

Once I processed the information that way, it was very liberating, and I have a great deal of respect for what it takes to put on that attire because it’s many many layers. It took an hour to an hour and fifteen minutes to get into that whole thing. It was lovely. The song was hard to learn, I don’t speak fluent Japanese. It was a challenge and I was happy to do it.

You made a gorgeous geisha if I do say so myself.

That is so funny.

 

Tituss Burgess
(Photo: Netflix)


We all want to know where is this relationship with Mike going?

Ah, I think we’re all going to find out at the same time my dear. I would love to say that Tina and Robert call me up and ask how I’d like to proceed with Season 3, but it’s just not that way. [Laughs] Also, I kind of prefer it if information that comes to me and it stays in a gestation period for too long… I find that I don’t give as fresh performance or authentic performance or reaction. I 100 percent prefer not to know until I show up to shoot it.

One thing that was so great, and kudos to Robert and Tina for all they do, was Ellie getting nominated this year. Did you two celebrate?

Ellie is about to pop out a little Elena. We chatted briefly and giggled. We’re both homebodies and don’t really enjoy going out. Work is so intense, and we spend so many hours. We’re around so many people all day. We relish the quietness. We have a very quiet, intense textual relationship. We don’t set foot outside very often. I thought it was so appropriate. It’s long overdue.

I was so happy for the two of you. I think I squeed a little.

That’s my girl. I love her so fiercesomely, it extends outside of work. I consider her to be like my sister, and my affection for her is not false. It’s so easy to go to work when there’s chemistry. It’s not something you can create. It is created unto itself. She brings out such wonderful things in me. I said this last year, and I mean it this year, I share my nomination with her. There would be nothing to play off of. You wouldn’t get some of the nuances in my performance if it weren’t for what she offers up. So, I’m so happy that she too was recognized.

Would you ever do a spin-off if the opportunity came up? The team at AwardsDaily TV have called it Andromedon.

That is really really funny. I would certainly have a conversation about it. I can’t imagine we could cover. I’m not sure what else Titus would do outside of the world of Unbreakable. I don’t know. Hopefully, I have 3 or 4 seasons of this. Titus is an intense person so by the time that ends, I think Tituss Burgess might have worn out his welcome as Titus Andromedon.

Do you miss him when you’re not playing him?

I do not miss him. I will be honest with you. Imagine my scenes and having a 4 or 5am work call, and the first thing you shoot is something that comes out of my mouth, and him being at a ten all the time. It’s a great deal of work. It is exhausting. I hang him up when the show wraps. I have to go back and watch episodes when it’s time to go back to work because I need a refresher as to how he operates and moves.
Jane said she feels the same way. We do it, you guys get it all at once, and then there’s six months before we touch it again. You’re doing other projects, so you have to jump back into it with a bit of assistance from the character.

I feel you. Sometimes I have, “What do I do again?”

It’s weird right.

It’s been so much fun talking to you. Thank you for the comedy. I look forward to the musical.

You’ll love it. It’s going to be great.

‘Tallulah’ Shows a Sad, Poignant Vision of Motherhood

Netflix’s Tallulah shines thanks to its talented cast and insight into being a mother

It is not often you sit back to enjoy a film or TV show and be confronted with not one, not two, but three depictions of the negative side of motherhood. The three women (Ellen Page, Allison Janney, Tammy Blanchard) portrayed in the Sundance film Tallulah (available now on Netflix) are not altogether horrid people, in fact quite far from it. They all, though, share the traits of mothers who are a long way off being fully-focused on their maternal roles, and all demonstrate in varying non-literal ways the ability to abandon a child.

The mothers in question: one more casually distracted than all-out neglectful, one incorporating the role out of desperate and misplaced necessity, and one who perhaps accepts her grown-up child does not need her anymore. All at fault, all misunderstood, but all provide compelling enough characters and the prospect of redemption to see the journey through to the end.

Following a couple of short films (including the Cannes Film Festival selected Mother) and writing credits for Netflix’s Orange Is the New Black, Sian Heder writes and directs her first feature film here – essentially a three-fold drama depiction of the darker side of motherhood. Heder herself was heavily pregnant when the production began with her second child, so who knows how much of her hormones shone through in her directorial execution. Whatever the influence and inspiration, Tallulah is certainly not at all hurt by the woman’s touch. In fact, the rather sporadic and volatile bonds the three women share among themselves is awkwardly intriguing as it is sedately emotive. Is that good or bad?

Tallulah is surprisingly low-key on the emotional scale, giving little exploration into the way these characters roll off each other in somewhat knock-on fashion. Many audience members might see this as a flaw, but I suspect many of those watching have not taken into consideration that Heder is more interested in the motherly dynamic than wanting to make your heart strings tremor. There are moments here, but it is not all soppy and sentimental. The story’s arc is based on people treating each other quite badly with little thought for consequences. It is about trying hard to make things work whether or not another human being is in your way. It is also about making the slow realization to open your reclusive heart as well as your front door to strangers.

With three very different women brought together, it is the audience that is given free reign to make judgments on them and their often detrimental choices. And that happens. At one point I said out loud that the character of Tallulah is just despicable, only for her to moments later break down in the self-awareness of the potentially cruel thing she was about to do. Even I felt a sprinkle of guilt. Your opinions of these people alter, as do the very elements of trust and guardianship these women give to their respective life colleagues. Therein lies a few rough edges and narrative dents. At times it is hard to wonder why you would be entertained by such events, but more so that there appears to be some shifts in character hard to swallow, and it can be distracting. One such character is hard-nosed, bitter, and stubborn on her introduction, but within an hour of liaising with the enigmatic Tallulah (who is a bad apple on the outskirts) she appears to soften quicker than butter. I could have interpreted this as the walls thankfully crashing down from her lonely lifestyle, but I was not quite sure in all.

A film with ample themes of human interest, and a fair-to-good degree of story-telling magnetism, it is the actresses that stand out here. Orange Is the New Black‘s very own Uzo Aduba has an impressive cameo, suited up and playing a detective. Ellen Page, who appears to have been somewhat silenced by the film industry of late, is fine. We have missed her spitball on-screen attitude, and she carries with her a real sense of baggage and balls that make her perfect for Tallulah.

And then there is Allison Janney, who in all honestly tends to be first-rate in her sleep, but you don’t need me to tell you that. Janney rolls with the punches seamlessly as the apartment-clad mother and wife living a life on pause. Meanwhile it is Tammy Blanchard who gulps up the majority of the film’s emotional gravity. Her initially clueless mother grows with the frantic expressions from the heart – instigating a true bond of motherhood stretched too far.

Tallulah
(Photo: Netflix)

Duffer Brothers On Their ‘Stranger Things’

The Duffer Brothers drew on ’80s favorites to create Netflix’s instant cult classic Stranger Things

Talking to Matt and Ross Duffer (the Duffer Brothers as they are known professionally), it’s clear no one expected their Netflix series Stranger Things to be the buzzy hit it is. Lovingly assembled from multiple ’80s pop culture influences, the 8-episode thriller introduces modern audiences to a Goonies-like group of pre-teen boys, one of whom mysteriously disappears into a void called the “Upside Down.” It’s one of those “the least you know, the better off you’ll be” cultural events that the Duffer Brothers hailed from their ’80s-addled psyches.

Even they are stunned at the widespread love streaming audiences showered on it thus far. Nice when that happens, isn’t it?

“To me, my favorite thing is that younger kids are having Stranger Things viewing parties and binge watching it,” said Matt Duffer of the reaction to the series. “Hopefully it leads them to go back and discover some of these movies and books that inspired us so much. I’d love a kid to go ‘Who the hell is John Carpenter?’ and they’re suddenly watching and marathoning his movies.”

But what is it about Stranger Things that inspired millions of jaded 21st century viewers to embrace it whole-heartedly?

Steeped in an ’80s culture

Growing up in Durham, North Carolina, the Duffer Brothers nourished their future careers on an early diet of all the books, television, and cinema they could get their hands on. They recalled trips to Durham’s Carolina Theatre with their father to watch adult-skewing films like Amelie and Memento and how they quickly realized they were the youngest attendees by far. They also engaged in a primitive (by today’s standards) form of binge watching.

“We initially binged the old school way: Netflix through the mail,” said Matt Duffer. “Because of that, we always approached this as one big movie. [Bingeing] really helps me get more emotionally involved in a story to binge it rapidly.”

Duffer Brothers
(Photo: Netflix)

But it’s the ’80s-era films of John Carpenter and Steven Spielberg coupled with the works of Stephen King that gave birth to Stranger Things. The series was originally set in Montauk, New York, as a nod to the Duffer Brothers’ favorite film of all time, Jaws. However, they ultimately set the series in Indiana to reference Spielberg’s Close Encounters of the Third Kind and Peter Yates’s Breaking Away. The quarry scenes are direct references to the latter film’s Indiana locale.

The ’80s of their childhood pops up in everything from the soundtrack (mostly ’80s tunes like “Africa” and “Hazy Shade of Winter”) to the opening credits, a simple yet definitive homage to nearly every Stephen King book cover ever printed. There’s even an unexpected (but very deliberate) Peter Weir homage to 1985’s Witness in Chapter 2. Anime. Video games. It’s all there in one frame or another.

Ultimately, Stranger Things is the sum total of all of the Duffer Brothers favorite things from the books and movies of the 1980s, packaged in Netflix HD for modern audiences.

“It’s especially gratifying to see that it seems to be working for people who hadn’t grown up in that era,” Matt explained. “The story and characters are still resonating with them.”

As deep as the series’ mythology runs, though, it would not be as successful a series without that brilliant cast.

The kids stay in the picture

As initially written, the central four Stranger Things boys were, by the Duffer Brothers’ own admission, more ’80s archetypes than flesh-and-blood characters. Thanks to their dogged, stubborn casting practices, the Duffer Brothers were able to elevate the material by casting authentic kids. It wasn’t until the actors started breathing life into their roles that the roles became something else entirely.

“Their characters were a little bit more stereotypical,” admitted Ross Duffer. “But these kids really did inform these characters. We knew that bad child performances, even one, would really, really hurt the show. They caused us to go back and rewrite the characters.”

Duffer Brothers
(Photo: Netflix)

Armed with a Netflix-approved single script, the Duffer Brothers and co-director Shawn Levy (Night at the Museum) embarked on a national casting call to find the perfect child actors. Their search paid off in spades. The kids, particularly lead Finn Wolfhard (as Mike Wheeler), don’t really look like modern child actors. They appear to have just wrapped a day as extras in E.T. As a result, their performances are emotionally honest and resonate appropriately within the era.

And which Stranger Thing kid most resembled their youth?

“I took the Buzzfeed quiz, and it says I’m a Mike,” laughed Matt. “We were making these really bad home movies, so we were really the leaders of our own nerdy group of kids much like Mike.”

They fondly recalled meeting Finn Wolfhard (to be next seen in the remake of Stephen King’s IT) during his audition. Wolfhard expressed his desire to one day be a film director of his own. A self-proclaimed “movie nerd,” he impressed the Duffer Brothers by professing his love for “early Sam Raimi.” The experience hit very close to home.

One of the more pleasant surprises of the Stranger Things phenomenon is the Internet obsession with supporting character Barb (Shannon Purser). The Duffer Brothers received tons of fan fiction and art revolving around the doomed sidekick.

“It thrills us beyond words that Barb is our breakout fan-favorite,” said Shawn Levy. “It was definitely not anticipated, but I think there’s something resonant about this character who is neither the hero nor the picture-perfect character that we’re used to seeing on TV.”

Unfortunately for us, Barb will live on in the hearts and minds of Stranger Things fans everywhere. Just not in the sequel.

Duffer Brothers
(Photo: Netflix)

And what of Season 2?

While technically not yet approved by Netflix, Stranger Things Season 2 is almost assuredly a done deal. The Duffer Brothers are widely on record as wanting to continue their exploration of the “Upside Down” and of Will Byers’ time in it. Season 1 even ends with some jarring and unexpected scenes that punch through the happy ending.

“There are still a lot of unresolved issues in this other dimension. Obviously, we’ve left some dangling threads at the end of the season that we’d like to resolve,” Ross explained. “Unlike a traditional TV show, what we really want to do is create the second season as if it were a sequel, a movie sequel, in that we do have a new tension. It’s still tied into the original events in Season 1, but there’s a new main tension that needs to be resolved as well.”

Whatever the tension for Season 2, here’s hoping the Duffer Brothers are able to successfully avoid the curse of so many ’80s horror films. The sequel is never as good as the original.

Netflix Sets ‘Mascots’ Premiere Date

Christopher Guest’s newest project, Mascots, will premiere on Netflix on October 13. That’s huge news to fans of the legendary filmmaker. Guest’s entirely improvised comedies Waiting for GuffmanBest in ShowA Mighty Wind, and For Your Consideration spawned legions of fans. The comedy revels in the world of competitive sports mascots as they vie for the prestigious Gold Fluffy.

The series stars many of Guest’s usual stable of actors plus a few new faces. Jane Lynch, Parker Posey, Fred Willard, Ed Begley Jr., Christopher Moynihan, Don Lake, Brad Williams, Zach Woods, Chris O’Dowd, Susan Yeagley, Sarah Baker, Tom Bennett, Kerry Godliman, Bob Balaban, Jennifer Coolidge, Michael Hitchcock, Maria Blasucci, John Michael Higgins and Jim Piddock are all tapped to star.

Check out the date announcement below and stay tuned to AwardsDaily TV for the full trailer reveal. Mascots premieres exclusively on Netflix on October 13.

Full ‘Drag Race All Stars’ Trailer Drops

Tighten those tucks, ladies and gays. The full-size trailer for the new season of RuPaul’s Drag Race All Stars dropped on Tuesday, and it gave us a glimpse of our favorite queens in the Werk Room and runway. Instead of airing on Mondays (they are a drag, after all), the show will switch to Thursday nights.

It feels like the last few seasons were slightly criticized for a lack of spontaneity in the challenges, but RuPaul has a voting trick up her sleeve. Instead of eliminating the queens herself, she will let the returning contestants vote each other off a la Survivor. Or Queen of the Flies? The ad (which mixes in random, colorful shots of the queens fighting over a crown from a photo shoot) also features a great tagline: Queens are Wild.

Here are your contestants:

  • Adore Delano
  • Alaska
  • Alyssa Edwards
  • Coco Montrese
  • Detox
  • Ginger Minj
  • Katya
  • Phi Phi O’Hara
  • Roxxxy Andrews
  • Tatianna

Todrick Hall will replace Ross Matthews at the judges’ table. He will be joined by RuPaul, Michelle Visage, and Carson Kressley.

RuPaul’s Drag Race All Stars Season 2 premieres on Thursday, August 25th, on Logo and VH1. The Season 2 premiere will be a super-sized 90 minutes.

Production Designer Gary Kordan Talks ‘Key & Peele’ Emmy Nom

Gary Kordan designs Key & Peele‘s visual comic flair and received his first Emmy nomination

Call him “the King of Comedy.” (Well, when it comes to production design.)

gary kordan
(Photo: Comedy Central)
Despite more than two decades of work in TV comedies, production designer Gary Kordan received his first Emmy nomination this year for Comedy Central’s Key & Peele, something that came as a surprise to the industry veteran.

“You never think you’re ever going to be the one to get the nomination,” said Kordan. “You just do the work and assume the other people get nominated. But people started to say to me, ‘This show looks cinematic,’ and I started to wonder if maybe we’d get noticed.”

Gary Kordan was bred for comedy. He started his career working at Catch a Rising Star comedy club, watching the likes of Jon Stewart, Rosie O’Donnell, and Joy Behar take the stage. Eventually, he ended up working for The Joan Rivers Show, developing a close relationship with the late comedienne.

“I feel like I understand comedy. It something I gravitate toward and something that gravitates toward me.”

Maybe that’s why things especially gelled for him and the crew of Key & Peele during this final season. In addition to Outstanding Variety Sketch Series and Writing for a Variety Series nominations, the Comedy Central sketch show received an Emmy nomination for Outstanding Production Design for a Variety, Nonfiction, Reality, or Reality-Competition Series. The two nominated episodes, “Ya’ll Ready for This” and “The End,” feature two sketches Kordan is especially proud of: Pirate Chantey (from the episode “Ya’ll Ready for This”) and Negrotown (from the final episode titled “The End”).

For Pirate Chantey, there was little time to prep, but Kordan attributes the success of the sketch to everyone really bringing the best they had to offer to the table, from the hair department and costuming to key assistant location manager. “The process of Pirate Chantey was no different than any other sketch,” said Kordan. “Not a lot of time. Not a lot of budget. But it’s the best example of department heads being so in sync with each other, that we didn’t even need to meet with each other before hand to completely plan everything out.”

gary kordan
(Photo: Comedy Central)
The Pirate Chantey sketch is visually stunning—and hilarious—which is a major feat in comedy, and follows a group of progressive pirates, singing about women they’ve loved (“We say ‘Yo, ho!’ but we don’t say ‘ho,’/’Cause ‘ho’ is disrespectful, yo!).

The other sketch, Negrotown, was just as big of an undertaking as it looked, telling the story of a black man who bumps his head on a cop car and is magically transported to a town where black people can always hail a cab.

“We wanted to create a throwback to musicals with saturated colors and bright costumes. There was an attempt to make it look like a Gene Kelly musical, almost like Gene Kelly in an alternate universe.” There was even great detail given to the sign at the entrance of Negrotown, with its “Welcome to Mayberry” flair mixed with African elements.

Gary Kordan
(Photo: Comedy Central)
Both sketches juxtapose old with the new: archaic pirate songs with feminist undertones, a Gene Kelly parody highlighting racism in America (even though Negrotown aired over a year ago, it could have been written yesterday and still seem timely).

“I’m so proud of these sketches, and they’re highlighted by the writing that won’t ever become dated.”

The nominations are slightly bittersweet, considering they are for Key & Peele’s fifth and final season. Of all the things Kordan will miss, it’s what audiences don’t see on the show, what goes on behind the scenes.

“One of the things that’s rare in the industry is to keep a crew together, and we all stayed together through five seasons and a pilot. We were all crazy, evil geniuses. I trust these people with my career.”

Next, you can catch Gary Kordan’s work in the pilot for the canine comedy Downward Dog, which stars Alison Tolman (Fargo) and was picked up by ABC.

“We filmed an extremely strong pilot,” said Kordan. “It feels like an indie feature. I know people say, ‘It’s a talking dog show,’ but it’s really a single person’s dramedy.” Downward Dog follows the relationship between a woman (Tolman) and her dog, and it was filmed in Pittsburgh. “I had no idea what to expect of Pittsburgh. What I experienced was a thriving arts community. Just really catered to art, music, and coffee. The film and TV crew could rival any other town.”

In the meantime, Gary Kordan is enjoying the moment and all the Emmy accolades for Key & Peele. “Again, you still don’t think you’re ever going to get an Emmy nom, though. It’s an out-of-body experience.” An out-of-body experience that could have production design’s King of Comedy laughing all the way to gold on Emmy night. 

Emmy’s Writers and Were the Conventions Conventional

Episode 88: The Cooler gang takes a look at the recent political conventions and 2016 Emmy’s Writing categories.

On this week’s Water Cooler Podcast, we get a little conventional. Political conventional. The political conventions are on everyone’s mind as each party puts on their best – or hopefully their best – show to convince undecided voters and rally the party faithful. After two weeks of the 2016 Republican and Democratic conventions, we take a non-biased as possible look at each party’s multi-million dollar pep rally. We discuss who had the most consistent message for the at-home audience, whose speeches resonated more, and which late night media host scored the most points on their coverage of the convention.

Then, we continue our analysis of 2016 Emmy below-the-line with the Writing categories – Comedy, Drama, Variety, and Limited Series. We take a look at who is most likely to triumph when the winners are announced in September.

As always, we close with the Flash Forward of what television most excites us in the upcoming week. Thanks for listening!

04:04 – Political Conventions
43:57 – 2016 Emmy Writing Categories and Predictions
01:08:22 – Flash Forward

Netflix August: The Dog Days of Streaming

Johnny Depp as Donald Trump and Baz Luhrmann’s new series highlight the Netflix August lineup

August brings a slow end to the long, hot summer. In addition, the Netflix August offerings are frankly slim pickings, which brings little comfort to those who choose to be shut-ins. Most noteworthy, Baz Luhrmann’s (Moulin Rouge!) highly anticipated musical drama The Get Down finally premieres. Multiple rumors (production delays! most expensive show ever!) plagued the production, but Lurhmann’s recent appearance at TCA seemed to calm the waters slightly. The series is no doubt ambitious. It is described as “a mythic saga of how New York at the brink of bankruptcy gave birth to hip-hop, punk and disco — told through the lives and music of the South Bronx kids who changed the city and the world … forever.”

Netflix will unveil six episodes of the 12-run first season on August 12.

Also premiering in August is Funny or Die’s surprise Emmy nominee Donald Trump’s The Art of the Deal. Johnny Depp plays Donald Trump. That is all you need to know. Check that out August 1 if you haven’t seen it already.

Here are the rest of the Netflix August lineup.

August 1

The American Side (2016)

An Inconvenient Truth (2006)

APEX: The Story of the Hypercar (2016)

Beethoven’s Christmas Adventure (2011)

Big Daddy (1999)

Black Widow (1987)

Critical Condition (1987)

Deadfall (2012)

Destination: Team USA (2016)

Funny or Die Presents: Donald Trump’s The Art of the Deal: The Movie (2016)

The Family Man (2000)

The Fast and the Furious (2001)

The Fast and the Furious: Tokyo Drift (2006)

Final Destination 3 (2006)

From the Terrace (1960)

Holding the Man (2015) ­ 

How To Win The US Presidency (2016)

In the Shadow of the Moon (2007)

ISIS: Women Unveiled (2016)

Masha and the Bear: Season 2 ­ 

Memoria (2015)

The Naked Prey (1966)

NCIS: Season 13

Pay It Forward (2000)

The Real Texas Chainsaw Massacre (2003)

Roseanne Collection: Collection 3

Sleepy Hollow (1999)

Sliding Doors (1998)

Star Trek: Nemesis (2002)

Teacher’s Pet (1958)

The Verdict (1982)

The Wedding Planner (2001)

What Women Want (2000)

Young@Heart (2007)

Zack and Miri Make a Porno (2008)

Netflix August
(Photo: Funny or Die)

August 3

Beat Bugs: Season 1

August 5

David Cross: Making America Great Again (2016) ­ 

Ever After High: Epic Winter ­ 

The Little Prince (2016) ­ 

Punk’s Dead: SLC Punk 2 (2016)

National Firewood Evening: Slow TV (2016)

National Firewood Morning: Slow TV (2016)

National Firewood Night: Slow TV (2016)

National Knitting Evening: Slow TV (2016)

National Knitting Morning: Slow TV (2016)

National Knitting Night: Slow TV (2016)

Northern Passage: Slow TV (2016)

Northern Railway: Slow TV (2016)

Salmon Fishing: Slow TV (2016)

The Telemark Canal: Slow TV (2016)

Train Ride Bergen to Oslo: Slow TV (2016)

Netflix August
(Photo: Netflix)

August 6

The Confirmation (2016)

August 9

Real Husbands of Hollywood: Season 4

T­Rex (2015)

August 10

St. Vincent (2014)

August 11

Flight of the Butterflies (2012)

No Country for Old Men (2007)

August 12

Ask the StoryBots: Season 1 ­

The Get Down: Part 1 ­

Project Mc2: Season 2

Netflix August
(Photo: Netflix)

August 13

13 Cameras (2016)

August 15

Louis CK: Live at the Comedy Store (2015)

August 16

Let’s Go to Prison (2006)

Our Last Tango (2015)

August 17

The Curse of Sleeping Beauty (2016)

The Last Heist (2016)

Puffin Rock: Season 2

August 19

Bottersnikes and Gumbles: Season 1 ­

Fearless: Season 1 ­

I’ll Sleep When I’m Dead ­

August 21

Maz Jobrani: I’m Not a Terrorist, But I’ve Played One On TV (2015)

August 22

Law & Order: Special Victims Unit: The Seventeenth Year

August 23

Septembers of Shiraz (2015)

August 25

Blue Is the Warmest Color (2013)

Dawn of the Croods: Season 2 ­ 

Glitter Force: Season 2 ­

Jeff Foxworthy and Larry the Cable Guy: We’ve Been Thinking… ­ 

Once Upon a Time: Season 5

XOXO (2016)

Netflix August
(Photo: ABC)

August 27

Rams (2015)

August 29

The State of Marriage (2015)

August 31

Ku’damm 56: Season 1