Showtime’s The Affair has been ignored by the Television Academy. Let season two’s brilliant turns change that.
In the autumn of 2014, Showtime unveiled The Affair, an ingenious show that rewrote rules for storytelling. During a time when viewers were surrounded by excellent and challenging television, The Affair stood out as original and profound. It was met with high critical reception, many branding it as the best new show of the 2014 fall season. The Hollywood Foreign Press doused it with Golden Globe nominations and and awarded the program two wins, Drama Series and Lead Actress in a Drama Series. Judging from how well it was received until the point of Emmy nominations last year, The Affair was poised to be a big player for primetime television accolades. But it was shut out and did not receive a single nomination from voting members of Television Academy. This was cause for devastation for fans of this superb show.
The Affair returned for a second season, one that was reached higher and farther in its ambition than did the concise and compact first season. The twelve episodes produced in The Affair’s second year represent the uncompromising tenacity and of the artistic team that works on the show. Sarah Treem and Hagai Levi’s series has only grown stronger and more resonant with maturity. The current Emmy cycle is the time to salute The Affair for what it has accomplished and brought to television in the past two years. If the Television Academy does not honor The Affair this year, it’s quite possible they never will. The show would then join the ranks of The Americans and The Good Wife as an Emmy-snubbed artistic masterpiece that is innovative and much smarter than the social climate it was created in.
When we talk about achievements in the arts, it’s quite possible none match what The Affair has done with its premise. Over the course of an hour, the series tells the same story from the perspective of two characters. Something that is easy to forget when one is watching the show is that the viewer is being exposed to two subjective narratives, and the truth, essentially, is being withheld. It’s a dazzling and novel method of telling a story, one that’s intricately drawn by the writers, directors, actors, and everyone who works on the show. The Affair is not an easy production to construct, but the crew makes their elaborate effort appear natural and easy, which benefits the show on a greater scale, allowing for the emotional lives of the characters to densely breathe.
The reason the second season of The Affair was so impressive is because of the intrepid narrative expansion. The writers not only allowed us to see the story being told from the perspectives of the show’s two main characters, but we were granted permission to witness the story from the point-of-views of spouses of the leading characters who were damaged by the events from the first season. Allowing for not only Noah and Allison but Helen and Cole to headline their own stories was such an effective move by the creators that I distinctly remember the visceral emotional reactions I had after watching most of the episodes months ago. And to keep challenging themselves, the show’s writers dropped the premise for one episode and allowed for a more objective tale be told in the most historic episode of in the story of The Affair thus far, episode 209.
There is so much power in the pain and passion The Affair showed this season. Aside from the new formula the show as using, The Affair dug deeper and wider with the plot it put forward. The second season was more epic and told a longer story chronologically than season one. In covering so much ground in such a short span of episodes, things changed rapidly and in big ways, and characters were moved in unpredictable directions. The second season was always grinding out new ideas and never grew stale.
The area of The Affair that shines through any missteps it might take is the acting. Assembled is a group of actors with sharp capabilities, in particular with those who play the four central characters. Ruth Wilson followed her sublime work in season one with another lofty punch, unveiling Allison’s more independent side and hammering in dramatic emotion like few other actresses are able to. Dominic West was given a darker narrative to run with as Noah in the second season and it provided him an opportunity to develop the character in an optimal way that showcased his acting abilities. Joshua Jackson is also memorable and leaves a greater impact than he did in the previous season.
These actors deserve consideration in their respective categories, but the real star of The Affair in this past season was Maura Tierney, who won a Golden Globe for her work this year. Helen instantly became the most interesting character on the show, and Tierney delivered raw and soulful portrait of a woman who is self-destructing under personal suffering. If nominated, Tierney could walk away from the Emmy ceremony with a trophy in hand from her work in “204” alone.
It’s poetic. It drips of class and refinement. No other show has displayed the drive and audacity that it has. The Affair has earned a right to be considered fully and seriously for Primetime Emmy nominations. Members of the Television Academy, please look to Showtime’s series for merits and vote it into the club this year.
Potential Nominations
Drama Series
Ruth Wilson, Lead Actress
Dominic West, Lead Actor
Maura Tierney, Supporting Actress
Cynthia Nixon, Guest Actress Drama
Kathleen Chalfant, Guest Actress Drama
Megan McLachlan talks to You’re the Worst‘s Chris Geere about the brilliantly challenging FXX comedy
It used to be that TV comedies and sitcoms reserved drama for one “very special episode,” after which, everything returned to normal. But FXX’s You’re the Worst threw that concept out the window. In season two, the raunchy romantic comedy revealed Gretchen’s (Aya Cash) depression over the course of many episodes and how it affected everyone around her, including boyfriend Jimmy (Chris Geere).
It’s rare for any series, comedy or otherwise, to address this topic, especially without tying a bow around it at the end of the episode and calling it a day. But You’re the Worst tackled the delicate subject with class, realism, and most impressive of all, laughter. Emmy voters, are you listening?
I chatted with Chris Geere about season two, why it was one of the most challenging moments of his career, and what’s in store for season three, which returns to FXX August 31.
Season two of You’re the Worst on FXX was especially well-received with its depression storyline. Were you a little surprised when you discovered the show was going to go in that direction?
Yeah, I think it was a surprise to combine the word “comedy” with the word “depression.” Actually the bottom line has always been we trust Stephen [Falk] so implicitly that there was never any doubt that it wouldn’t be as accurate and lifelike and funny as it turned out to be. I was so impressed with him and with FX for having the faith in us to do it and to challenge something so serious like that. And I was also just really proud of everyone in the cast. It was great that Stephen gave us all an opportunity to show a real range of acting as well. At the beginning of each episode, it was slapstick-y and funny, and then by the end of it, the audience is crying with us. You don’t get that in many comedies.
You really don’t. And I think you had such a tricky role last season because the focus was on Gretchen with her depression, but you had to be more reactionary as a character that didn’t understand what was going on. How did you approach that as an actor?
That’s so lovely of you to recognize that! Because it was without a doubt the hardest season of TV I’ve ever done. I had to really fight my natural instincts. Jimmy’s doing what a typical man would do, and what I would do as well. He tries to fix the situation. Then he can’t fix the situation, so he automatically goes to the next go-to situation, which is to run away… into the arms of someone else. I had to constantly look at why he was behaving this way. He’s not a bad guy. All this stuff comes from insecurity and a lack of knowing how to handle these social situations.
I think the script, the way that it played out, allowed me to understand what was going on, then really not understand what’s going on, and then be a bit mean. There was a whole range, and I just had to go with it. It was incredibly hard because Aya [Cash] and I, when we’re on set, she’s just excellent. She gives me so much in terms of reacting. But the hardest thing was [when it came to the depression storyline] that I didn’t have any reaction from her at all, because she was so in the zone. She’d be staring at walls or be under a blanket. Or she’d be crying. She’d be texting on her phone in the scene. And I’ve got these two-page monologues going on, and I feel like I’m just doing a scene on my own, because she’s got her own storyline going on. That was really tricky. I think the great thing about Season 3 (which started filming June 20) is that it’s more “Jimmy and Gretchen Versus the World” rather than “Jimmy Versus Gretchen.”
Do you know anything about season three? Can you give us a sneak peek?
Stephen only gives us four episodes at a time, so I only know what happens in the first four. It’s brilliant. It’s gone in a direction that I never thought it would go in. It focuses a lot on the four of us and the relationships developing. We’re evolving in work and in our relationships, and all the problems that come with that are just so funny. I’ve got this speech in episode one, and I’m trying to learn it at the moment. It’s another classic Jimmy rant. There are about 10 words in it that I have to look up because I’ve never heard of them before. I’m a fairly intelligent guy. I have no idea what these words mean! But this monologue, I literally can’t learn it without laughing out loud. It’s so funny.
Photo by Alice Lubbock / Interview Magazine.
What I think is interesting about Gretchen’s depression is that Jimmy is a bit depressed himself, especially with his writing and his career. Do you think Jimmy failing to see Gretchen’s depression reflects a bit of him avoiding something within himself?
Absolutely. Aya said before in an interview, which is very true, is that these people can’t do the amount of drugs and the amount of drinking and behave the way that they do without there being some severe demons in there. I think season three is going to explore why Jimmy behaves the way that he does. To be honest, I think unfortunately, in this day and age, there’s a depressive quality to every human being. With characters like Jimmy, he’d never admit to that. He needs Gretchen to be able to show those darker sides of himself. I think there’s an awful lot going on with his relationship with his family. The betrayal they’ve shown to him over the years has made him into the nightmare that he is now. I think the relationship between Jimmy and Gretchen will be much stronger this year because they’ve said those magic words at the end of season two [they said “I love you” in the last episode].
Were you at all nervous that maybe Gretchen and Jimmy were going to break up? I know I was whenever Nina was introduced.
Bottom line is I knew they’d get back together, because we were already talking about Season 3. Ending the season with them apart would be a bit unfair. They had to earn the fact that they get back together. What I was worried about, which later I realized was actually a good thing, was that the audience was going to suddenly hate Jimmy because of what he was doing. Obviously, cheating on her with Nina was a terrible move, but I had to play that as if he didn’t know how to behave. So he did only what he knows best, which is to run away. I’m glad they got back together at the end.
Where do you see Gretchen and Jimmy going? Do you think they’ll stay together?
Yeah, I think they’ll be together forever. But they always have an out. They can always bail at any time. “I’m gonna leave you anyway.” [Like the theme song says.] “We’re going to end up breaking up, so we may as well enjoy being together.” That’s what they’re doing. They’re falling deeper and deeper in love all the time.
Do you think that the show speaks to the Millennial generation? I personally think it’s one of the most perfect examples of this generation on TV.
Yeah, why aren’t more people watching then? [Laughs] It’s so annoying. It’s not that we want to become the biggest comedy of all time. I think it’s really relatable. It’s just been shown in England, and some of my mates back home finally got a chance to watch it, and they said, “This is exactly what British TV needs.” Honestly, I’ve never met anyone who’s said, “Yeah, I’ve watched it. It was rubbish.” They either love it or haven’t seen it. That’s a pretty good average. I think it relates to everyone. It’s a really tricky time at the moment to find love in this world. There are too many options; social media has an impact on that. It’s very hard to find love, and I think this show is a good demonstration of how hard it is.
Catch up with Chris Geere on You’re the Worst on Hulu before the new season starts on August 31 on FXX.
Veep‘s Jonah Ryan laments the plight of the Emmy voter in The Hollywood Reporter
Oscar voters thought they had it bad. Try talking to an Emmy voter this time of year.
Television critics, Emmy watchers, or Emmy prognosticators lament the absence of their favorite series after the Emmy nominations announcement. It’s inevitable. There are only seven slots for series nominations, six for the performance races. Something is left out. Why is that? Over 400 scripted series are eligible for Emmy consideration. That means over 400 series that a serious Emmy voter should consume before casting their vote, currently due next Monday, June 27.
As such, Veep co-star Timothy Simons penned a comic essay about the plight of the Emmy voter for The Hollywood Reporter. Use “plight” loosely here as the essay is purely comic. Here’s a taste:
It started simply, as a virus would, and spread quickly. Historically we might remember such firsts as Typhoid Mary, the baby in the Lewis house during the Broad Street Pump cholera outbreak or whoever returned from the Rio Olympics with that antibiotic-resistant superbacterium. In my case it was the UnREAL screener…
So, yes, the essay is very funny. And, yes, the essay is cleverly timed during the midst of the Emmy voting window. Simons’s campaign this year seems to be constructed mostly of clever social media quirks. The undercurrent of the piece, however, is the truly ridiculous situation thrust upon Emmy voters this time of year. No one can expect the Television Academy to absorb that much great content over the span of a month. Remember, these are (mostly) all working professionals. Watching an entire TV season – or enough of it to get an understanding of its quality – is a far greater undertaking than simply watching a 2-hour film.
This is probably why The Americans or The Affair or Bates Motel aren’t getting nominated. All shows are widely acclaimed, award-winning series. Yet, for some reason, the shows aren’t making it to the top of the Emmy pile. The Americans in particular is a buzzy series, but only in certain circles: critics and fans. Game of Thrones. Better Call Saul. Veep. Orange Is the New Black. These shows catch the zeitgeist. They’re on everyone’s lips, and they’re in all television conversations. The Americans, by contrast, is most famous at this point for being that show the Emmys never nominate. It’s not particularly a winning platform.
And why is that? Well, a gluttony of great television four years ago most likely made it difficult for the show to gain attention, and The Americans failed to get in. Three seasons later, Emmy voters aren’t going to pick it up and all of a sudden decide it’s “the best show on television.” They have so many other series to watch. They’re going to look at what they know. They’re going to vote for either the show with heat (Game of Thrones) or the comfortably known quantity (House of Cards). Television series face uphill battles to break into serious Emmy wins if their first seasons failed to ignite.
Maybe asking 18,500 members of the Television Academy to get through 400-plus dramatic series is too big of an undertaking? Maybe the method of nomination-by-committee is really the best method? Maybe series should only submit a single episode rather than ask viewers to consider entire seasons? Or maybe the Television Academy should just own up to the widespread quality out there and allow for ten nomination slots in the Drama and Comedy Series races. Perhaps then previously ignored series could finally get their chance at Emmy glory.
Maybe then they’ll get to the top of Timothy Simons’ (and others’) Emmy screener pile.
The themes of power and control run rampant throughout the fourth season of Netflix’s sensation, Orange is the New Black. This is one of the bleakest seasons yet, but it’s also probably the most powerful and timely. Fans who felt slighted by last year’s lighter effort should all agree that Litchfield is the most dangerous it’s ever been.
The newest season picks up immediately where the third concluded, and I personally thought that might have been a mistake. As the season progressed, my nerves were quelled as it set the stage for some newfound conflict. After the guards walked out, the inmates were able to enjoy some freedom by swimming and frolicking in a lake near the compound, but the arrival of almost 100 new bodies into Litchfield promised to touch upon prison overcrowding and allowed new tension between some of the women.
Photo courtesy of Netflix.
At first, it appeared as if the writers were creating new adversaries for some of the more seasoned actors on the show. Cindy clashes with her new roommate, Alison, and Piper (Taylor Schilling) has her panty snatching business threatened when Maria Ruiz (Jessica Pimentel) opens up shop of her own. The Martha Stewart-like figure of Judy King (Blair Brown) is given the royal treatment due to her celebrity status, and it rubs everyone the wrong way. The most prominent villains, however, are the new guards that are brought in to police the women of Litchfield. Led by the imposing Desi Piscatella, the arrogant new guards test the limit of their punishments on the inmates. In one scene, Blanca and Piper are forced to stand on a cafeteria table while everyone eats lunch, and another guard comments, “It’s a bit Abu Ghraib.”
This is one of the darkest and saddest seasons yet, and it’s all connected with themes of control and consent. Pennsatucky (do we still call her that?) confronts her rapist, Donuts, and the arc is sure to open up conversation about forgiveness and moving forward. The storyline is eerily topical given the outcome of the recent Stanford rape case a few weeks ago. Mental illness is also brought to the forefront with new information regarding Healy’s mother’s affliction and an entire episode devoted to Lolly’s background that will break your heart. Judy King even uses her casual influence to get what she wants from Luschek. Whether they know it or not, the people of Litchfield are flaunting and asserting their power. The ending of this season is the most unforgettable yet. The events of the last two episodes will stay with me for a long time, and talking about the circumstances would only spoil the power it will have over each individual viewer.
Photo courtesy of Netflix.
As always, the performances are top-notch, and Orange Is the New Black remains one of the most well-acted shows on television. Samira Wiley’s Poussey and Kimiko Glenn’s Soso have an incredibly casual chemistry that is a beam of light through all of the darkness this time around. Uzo Aduba and Kate Mulgrew are always great as Suzanne and Red, but some of the best acting comes from Pimentel as Ruiz and Nick Sandow as Caputo. Ruiz assumes her position of power like a glove even though flashbacks show us how embarrassed she was by her father’s ambition. Orange has a knack for allowing supporting players to ebb and flow through major storylines, but Pimentel has never been given such a powerful lead like this.
Caputo is always stuck between a rock and a hard place, but he seems like he’s making headway as
Litchfield’s new warden. His heart is in the right place—usually. He begins a romance with Linda, the Director of Purchasing of MCC, and her attitude towards the system in general is very frustrating, especially when Caputo’s ambition is overshadowed by her guidance.
A lot of viewers weren’t thrilled with the third season, but I always defended it. This fourth season reminds us what Orange is the New Black is capable of, and some of the acting is truly breathtaking. Sure, there is lightness and humor (You want a threesome on Molly? Here ya go!). There is a lot going on this season, but it all feels important. There is usually a lot of levity packed into the yearly 13 episodes, but you want the darkness this time around. It’s fiction set in prison, but reality is has always been in the periphery. With any other show, episodes packed with race wars, officer abuse, mental illness and rape would feel saturated and even stilted. The writing and acting prevail and Orange is the New Black might have its best season on its hands.
Jalal Haddad takes a look at the Supporting Actress in a Limited Series/TV Movie Emmy race in a series of posts leading up to the Emmy nomination announcement on July 14th. Over the next month, Jalal will be providing his own expert analysis in individual races and covering the top ten contenders in each category.
1. Jean Smart (Floyd Gerhart), Fargo
The buzz around Jean Smart as the crime-mob matriarch in Fargo last fall almost made it look like she might be one of the biggest locks of the 2016-17 Emmy season. Six months later, she is still a frontrunner for a nomination, but the buzz around her winning has disappeared. A combination of Smart not having a flashy scene or climactic ending with the indifference a lot of fans felt towards the finale pushed her into the background of the category. Smart does have an interesting history at the Emmys, winning when she shouldn’t have (Samantha Who?) and being shut out of a win when she deserved it (24). With no real frontrunner she can still easily win off of old buzz for the show and goodwill for her in general.
2. Melissa Leo (Lady Bird Johnson), All The Way
I was utterly bored with HBO’s All The Way, and I found just about every performance to be one-noted especially Melissa Leo’s portrayal of Lady Bird Johnson. The screenplay never gave her an opportunity to give audiences a fresh perspective on the former first lady and for the first time I found Lady Bird frustrating. With that being said, I would be shocked if she wasn’t nominated next month. HBO has successfully campaigned all of their recent prestige spring films and some of those nominees had a lot less material than Leo. If voters actually paid attention, they would ignore Leo and nominate Aisha Hinds for her small role as activist Fanie Lou Hamer. She gives the only honest performance in the entire film in a single scene, fighting to give her testimony.
3. Kathy Bates (Iris), American Horror Story: Hotel
Emmy voters will nominate Kathy Bates for just about anything. Over the past twenty years she has been nominated for her roles on Harry’s Law, Alice, Annie, Six Feet Under, Third Rock From the Sun, and Ambulance Girl while having won two Emmys for her work on Two and a Half Men and American Horror Story: Coven. It doesn’t matter to voters what the role is – they just love her (and who doesn’t?). Her storyline as a mother trying to save her drug addicted son with a supernatural twist is a lot more interesting than last year’s role as the bearded lady with a dreadful accent. Even though she will continue being nominated the show probably doesn’t have enough support to push her to a third win.
4. Regina King (Terri Lacroix), American Crime
Regina King’s supporting win was the most welcome surprise of last year’s Emmys. King has been working in television for decades on everything from comedies to dramas and even lending her voice to The Boondocks. Last year’s win has put her into the conversation this year for two different performances on American Crime and The Leftovers. Even though American Crime’s second season was even stronger the writing team struggled to keep King’s character connected to the main plot. Even without a standout moment I think the actors branch is going to fully embrace the second season and King will continue being nominated.
5. Connie Britton (Faye Resnick), The People v. O.J. Simpson: American Crime Story
There is nothing I love more than an actor taking a small role, chewing the hell out of the scenery, and disappearing. It is no surprise that I obsessed over Connie Britton’s performance as the infamous Faye Resnick. She deserves a nomination alone for her delivery of “There’s no good time to find out your best friend has been murdered, but particularly not three days into cocaine treatment” while chomping down on a carrot. A lot of people have doubts that she will be recognized for such a small role, but Connie Britton is beloved amongst Emmy voters and The People v. O.J. Simpson is the television event of the season which makes another nomination for Britton very likely, especially since she is the only real supporting actress contender from ACS.
6. Sarah Paulson (Hypodermic Sally), American Horror Story: Hotel
Sarah Paulson is going to receive her fifth nomination in a row this year (and most likely her first win) for her leading performance as Marcia Clark, but she also might earn her sixth nomination in five years for her supporting turn on American Horror Story as the drug addicted ghost, Sally. She was one of the only universally liked elements of the underwhelming fifth season, and Emmy voters haven’t given any sign of moving on from the horror anthology. Sarah Paulson has become incredibly admired (at least in the blogosphere). Now that Lange is gone, she is probably the real face of the AHS franchise, so Emmy voters will most likely continue embracing her.
7. Angela Bassett (Ramona Royale), American Horror Story: Hotel
Ramona Royale, the former Blaxploitation actress and former lesbian lover of a vampire out for revenge, was probably the character with the most potential in the fifth installment of American Horror Story and she was everything I wanted in a campy television franchise. Unfortunately she wasn’t given that much screen-time throughout the season. That hasn’t stopped voters in the past. She has been nominated for the past two years in a row, and there is a good chance voters will make it three in a row. Part of me is hoping voters will nominate her so that she and her husband Courtney B. Vance can walk the red carpet as double nominees.
8. Anika Noni Rose (Kizzy), Roots
As well received as the Roots remake has been I have a lot of doubts in A&E’s ability to campaign individual performances from any of their heavily marketed miniseries (with the exception of Hatfields & McCoys). The remake probably came out to late in the TV season for voters to take the time to watch it and many older voters will probably dismiss it as just a remake. Rose plays Kizzy, the daughter of Kunta Kinte, a role that earned Leslie Uggams a nomination for the 1977 original. If voters put their bias towards certain networks and remakes aside, Anika Noni Rose has the best chance of breaking into the supporting actress race. She has earned rave reviews and has been campaigning all around town, even landing on the cover of The Hollywood Reporter with other members of the Roots cast.
9. Catherine Keener (Mary Dorman), Show Me a Hero
Keener’s performance in last fall’s Show Me a Hero was arguably the most interesting storyline in the saga of a public housing unit in suburban New York. To put it bluntly she was basically one of the only white suburban characters to learn not to be an asshole. Her performance is stronger and more prominent than the other performances listed above but most people have long forgotten the miniseries for some of HBO’s more straightforward and less thought provoking biopics. If Keener ends up getting the nomination she deserves it will be because of HBO’s ability to campaign just about anything to Emmy voters.
10. Queen Latifah (The Wiz), The Wiz Live!
With so many heavy topics being celebrated in the limited series/TV movie races some voters might find themselves wanting to nominate something more fun. The acting branch could easily surprise everyone with a nomination for someone from NBC’s televised production of The Wiz, especially since it is their most well-received of their recent productions. Out of all of their supporting actress submissions Queen Latifah probably has the best shot at a surprise nomination. She arguably the most respected performers in the group and her headshot stands out browsing through the Emmy ballot and some Emmy voters might feel they owe her another nomination after denying her a win last year for her performance as Bessie Smith.
Honorable Mentions: Olivia Colman, Uzo Aduba, Emayatzy Corinealdi, Cristin Milioti, Emily Watson, Mary J. Blige.
Readers, which six actresses do you think will be nominated come announcement morning? Are we completely overestimating or underestimating someone on this list? Sound off below in the comments!
Jalal Haddad takes a look at the Supporting Actress in a Limited Series / TV Movie Emmy race in a series of posts leading up to the Emmy nomination announcement on July 14th. Over the next month, Jalal will be providing his own expert analysis in individual races and covering the top ten contenders in each category.
The Supporting Actor in a Limited Series / TV Movie race has been the most challenging to confidently rank in order of likelihood. At one point I had three Fargo actors in, and I had previous winners ranked even higher. Out of all the options and confusion with this supporting actor race there is only one thing I am confident in: a certain actor with an inclination to repeatedly utter “juice” won’t be recognized come nominations morning.
1. Denis O’Hare (Liz Taylor), American Horror Story: Hotel
Without a doubt the best performance on the unfocused fifth installment of American Horror Story was Denis O’Hare’s performance as a trans woman modeling her appearance off of the one and only Elizabeth Taylor. Her search for love and acceptance was the only relatable element of Hotel, and Liz Taylor is the perfect showcase for O’Hare as an actor. He has been nominated twice in the past but neither of his previously recognized characters are anywhere as striking as Liz. Voters also need to be reminded that they owe him a statue after completely snubbing him after his excellent turn as Russell Edgington on True Blood. I think he has a good chance of winning the award in September, especially if vote splitting happens for the American Crime Story actors.
2. Sterling K. Brown (Christopher Darden), The People vs. OJ Simpson: American Crime Story
At first Sterling Brown wasn’t getting a lot of attention for his portrayal of Darden compared to the big names on the show portraying larger than life personalities but as the show went on Brown’s performance became one of the favorites of fans and critics. Not being a huge personality or star might help Brown’s Emmy chances in the end. Voters won’t be comparing his work to their off-screen impressions of them (John Travolta, Cuba Gooding Jr.) or judging larger than life characters (the Kardashians, Faye Resnick, OJ Simpson). Instead voters will be able to focus on the most likeable character in the series and appreciate the least hammy performance in the ensemble.
3. John Travolta (Robert Shapiro), The People vs. OJ Simpson: American Crime Story
John Travolta’s performance as Robert Shapiro is the exact opposite of Sterling K. Brown’s Darden and is the type of flashy performance from a movie star that voters will pay attention to throughout the anthology and remember come voting time. This is Travolta’s best performance in ten years and it will likely earn him his first Emmy nomination unless voters are distracted by his makeup prosthetics and the nature of his over-the-top presence. There is a chance some voters might be turned off by his off-screen antics over the years especially relating to his relationship with Scientology.
4. Forest Whitaker (Fiddler/Hank), Roots
Forest Whitaker is the type of well-respected actor that could gain the attention of Emmy voters even when giving a performance on a program they might have originally passed up. The Oscar winner’s performance was cited by just about every critic and he was used in all of the promotional material. Whitaker has been campaigning hard and was the only supporting actor in a limited series to be featured in the drama actor roundtable with The Hollywood Reporter. In a weaker year Whitaker would be a lock for a nomination but in a year with so many high-profile limited series in contention this year it will all depend if voters find the time to actually watch the Roots remake.
5. Connor Jessup (Taylor Blaine), American Crime
Connor Jessup gave the most heartbreaking performance of the television season and if it were up to critics he would be winning the Emmy this year. Recent events in the United States make the show all the more timely and voters could Jessup’s performance even more to keep the conversation around gun violence going. In the past I would have completely dismissed any talk of him getting nominated but last year Emmy voters proved that they have the ability to nominate deserving up and coming actors in the supporting races (Finn Wittrock, Richard Cabral, Zoe Kazan) and if they continue to love American Crime as much as they did last year it will be very hard for them to pass up Jessup even if he is probably the least known major contender in any category.
6. Nathan Lane (F Lee Bailey), The People vs OJ Simpson: American Crime Story
Emmy voters love to nominate Lane in the guest categories, having been nominated six times over the past 20 years for his work on The Good Wife, Modern Family, Mad About You, and Frasier. As beloved as Lane is amongst the actors’ branch he is competing against a lot of his own costars who have more significant screentime. In the past however, when the acting branch has liked a limited series/TV movie in the past they have a tendency of going overboard (most recently when The Normal Heart took up 4/6 of the supporting actor slots). American Crime Story will be the biggest show this year in the limited series race and if the voters feel like it they might just fill the entire category with the cast.
7. Frank Langella (Sen. Richard Russell), All The Way
I really didn’t care for HBO’s All The Way (and from the sound of it neither did the rest of the ADTV team). I felt the performances were loud caricatures that said nothing new about the civil rights movement or the people they depicted. Nothing about Langella’s performance made him stand out, but he is the type of beloved actor that Emmy voters would vote for (even though he hasn’t been nominated since 1983). HBO will be able to get All The Way at least one supporting nomination and it really could be Langella, Mackie, or Whitford but they seem to be campaigning Langella the most.
8. Martin Freeman (John Watson), Sherlock: The Abominable Bride
The British actor stole Matt Bomer’s Emmy a couple of years ago when he was part of a bigger Sherlock sweep across the limited series/TV movie categories. He was nominated twice that year, in the supporting category for his work on Sherlock and in the lead category for his work on Fargo (where he lost to his Sherlock costar). Emmy voters love to repeatedly nominate certain actors to the expense of better performances but there is a good chance that Emmy voters have forgotten Freeman after Sherlock’s two year hiatus.
9. Ted Danson (Hank Larrson), Fargo
The second season of Fargo is filled with so many strong supporting performances that you could fill up the category with the cast alone (Bokeem Woodbine, Jeffrey Donovan, Nick Offerman, Zahn McClarnon, Jesse Plemons) so it’s a little crazy that the actor I am arguing has the best chance of receiving a nomination is Ted Danson. He has the least interesting material to work with and a lot of people were critical of his alien conspiracy theory plot, however in such a crowded year he might be able to earn more votes than his costars off of name recognition. Emmy voters are very fond of Danson, having nominated him 15 times in the past and in such a large cast anything to help you stand out to voters is a good thing.
10. Anthony Mackie (Martin Luther King Jr.), All The Way
As I said earlier HBO knows how to campaign in the limited series/TV movie races and this year they gave us a lot of portrayals of past politicians to choose from (Greg Kinnear, Wendell Pierce, Bradley Whitford, Alfred Molina) but the problem is they were all pretty underwhelming and came across more as caricatures than full portrayals. My personal vote would go towards Greg Kinnear or Alfred Molina but voters will probably gravitate towards Anthony Mackie’s performance of Martin Luther King Jr. His portrayal is fine but his biggest detractor is that it is nowhere as strong as the unbeatable performance by David Oyelowo in 2014’s Selma. No one should be surprised if Mackie or any of the other political portrayals mentioned are nominated but they should be disappointed in the television academy for lazy voting if they do take up space in such a crowded competitive category.
Worth Mentioning: Greg Kinnear, Jesse Plemons, Alfred Molina, Wendell Pierce, Bokeem Woodbine, David Schwimmer, Taylor Kitsch
Readers, which six actors do you think will be nominated come announcement morning? Are we completely overestimating or underestimating someone on this list? Sound off below in the comments!
It was not by any means an obvious distinction to make, but, as I was connected to Olivia Colman on the telephone, the first thing I noticed was that her voice sounded exactly as it does in the films and TV in which I have admirably watched her. We can sound different on the telephone like we can look different in the mirror or in photographs. Olivia has a chirpy, honest way about her. She seemed as pleased to speak to me (someone she has not previously met) as much as I was to converse with her.
Before I could interrogate Olivia Colman about her flourishing career, including the recent AMC limited series The Night Manager, she was politely inquisitive about whether I did these interviews for a living and whether or not I was in America or the UK. There was definitely a pleased pang in her voice when she first realized I was a fellow Brit.
At least, that what I think…
What are you favorite films and TV shows from the last twelve months? Anything you loved or are hooked on?
Recently? Filming again now, Broadchurch. The last few weeks have been… we call them lates. We start at two in the afternoon and finish two in the morning. My tele-watching has gone down the shitter. But about to go back into normal hours. I’d quite like to watch Billions. It’s on Sky, but we don’t have that channel at home. But away where I am staying in Bristol we’ve got a Sky box, so quite exited about that. And I saw Deadpool last night with my husband.
Yeah, funny.
Which is very funny. And really shockingly violent. I didn’t imagine them to be chatting and cracking jokes while beheading people. [Both Laugh] I really enjoyed that. Mainly it has been This Morning, that’s the only time I am awake. [Both Laugh]
So, what triggered that ambition to be an actress, and how old were you? What was it were you thought “Oh, that’s it, that’s what I want to do?”
I was sixteen, and it was the first time I had ever done a play at school. After the first night we did Jean Brodie. I was Jean Brodie. The first night with everyone clapping, I had a proper light bulb moment – I was like “Oh you are kidding. If I can get money for doing this, that would be amazing.” It was something I could do, and I loved it. For a long time I was no sure I could be an actor because I didn’t know anyone that was, and my parents weren’t. I didn’t know you could get into it if you didn’t have that sort of background. It took a long time to finally pluck up the courage to say out loud: “I want to be an actor.”
Was there a Plan B?
I just thought I might be a nurse. My mum was a nurse, and I would have loved it – but wouldn’t have loved it as I do my job at the moment. So it would have been nursing if I hadn’t discovered acting, I would have gone down that route.
Before we get onto the TV, and a little bit of film stuff, I know you have done quite a bit of charity work – awareness on Alzheimer’s, women in Afghanistan, depression, violence, domestic violence. Do these transcend into your acting work, or inspire it? Does it become useful for any particular roles?
Some of those are just you get asked to go to them. So it might look like I have done lots of stuff, but I may have only done one thing for a particular charity. It is the domestic violence that became an obsession of mine after filming Tyrannosaur. Now working with a charity called Tender, who like to solve things before things get out of hand, teaching children about equality and kind relationships – which I think every child should have access to these workshops. So that’s part of my mission, I think actors get asked to do things as it is the nature of our society. Sadly people don’t really listen if an expert say something, but they do if someone they have seen on the tele say something. I know an awful lot less than anybody else, but if people are wiling to listen then I am very happy to do it. I don’t know if it does tie in with my work, sometimes it does, for example the research I did for Tyrannosaur. I think anybody has particular causes they feel passionate about, they want to help, and actors just get to say it out loud more often.
Photo Credit: Des Willie /The Ink Factory/AMC
Onto TV then, everyone ought to know you from Peep Show, especially if you are in the UK. I remember you in another great TV comedy, and I think I prefer it, Green Wing.
Do you?
Yeah. It kind of stuck with me more. It’s quite a bonkers show. Does that kind of comedy reflect any facets off your own personality?
[Laughs] Well, I think, and this sounds really wanky, but I think anything you play there are bits of you in it. You know, all of us have the serious us and the funny us, us at home. There s always many faces to everybody so I suppose when I am dicking around that’s me. I just hope I am a little bit more organized than Harriet Schulenburg [her character from Green Wing]. [Both Laugh] I’m marginally there I think.
Yeah. But even in Broadchurch, that character is quite funny sometimes even though the show is very, very serious. So I wondered if that was a bit of you.
Well, that’s all scripted, but the writer has got to know us, he says once he gets to know us a little bit he is still writing as the series is being filmed. So maybe that would be nice, with some of the funny bits. It’s all written by Chris [Chibnall], I can’t take any credit for that.
You have a few big films on your CV too. Quite diverse choices, like Tyrannosaur we mentioned. You did The Lobster as well. Which was bonkers.
Yeah, bonkers that one. I feel very lucky, so grateful to be working. So many much better actors are not working, so always grateful and appreciative. The best thing is I find I am now allowed to do a mixture of things, for a long time you get stuck a pigeon hole – “Oh she is funny, so cant imagine her doing anything else.” [That’s] frustrating for an actor. The whole point is you are meant to be doing all different things, although time and time again women I can think of off hand. They have done comedy sometimes, and then everyone’s surprized when they do drama. I am very grateful I am allowed to do both.
Are these the kind of acting challenges you look for? Even in Locke, the Tom Hardy film, you were the voice [of the woman giving birth]. Are you looking for that kind of thing?
Yeah, in an ideal world you know I would love to play a baddy in my next job and it would just appear, but it doesn’t work like that. I do enjoy the stuff that comes through that is a bit different. I am much more excited by it. I suppose as I want to do different things, often when something comes out you may get a run of scripts sent to you that are in a similar vein, that are perhaps not as interesting. And I don’t want to sound very spoiled, but I suppose in the last few years I have had a bit more of a choice. That’s what I would like to do if possible to pick something different each time.
Yeah, that’s good. So I will touch on more TV now. And Broadchurch. Which I thought was excellent. Particularly the first season.
Yes, the first season was my favorite as well.
I mean, there is loads and loads of drama now, in England, so for something to stand out – and for me that stood out.
Isn’t that great, that there is so much drama on. I think all the channels have just gone “Oh there’s a great market for it.” They are giving us what we want, which is great. Very lucky.
Not enough time to watch them all. We want more drama, and now we have it I am whinging as I don’t have time to watch it all [Both Laugh]
Exactly.
So congratulations on the BAFTA, well deserved, absolutely well deserved.
Thank you very much.
You were great right the way through it, but at the end when you find out “who,” that scene was like watching real life, honestly. I’m sure I am not the first to say that.
Aw, thank you so much. I was very lucky. It was a brilliant part, beautifully written. And there is something about that process too, being done chronologically, as we don’t have all the scripts when we start. So it’s much easier to do your job well when, doing it as you go, feels more real.
[Broadchurch is] one of my favorite shows of the last five years. I wrote about it on AwardsDaily TV, it was a pleasure.
Aw thank you very much. I will tell Chris. He will love that.
Yeah, usually when there is a twist in a show, it’s for the audience and to see it is a shock. But we have Hardy [David Tenant] find out, and then we have to wait for you to find out, so the twist has gone, and then it is your reaction that sort of steals the twist – tramples all over it. I had no idea.
They were so clever to do that. The twist came in episode seven didn’t it, which I thought was brave as I always assumed the twist would come right at the very end. It was clever as you could look at so many other aspects of the fall out from it.
Yeah, great, great show.
Aw great, thank you.
I had to mention Broadchurch, was trying to get my wife to watch it, but she doesn’t like to watch shows about children going missing and things like that.
I don’t blame her I do understand. The first episode was just the worst thing, if you are a parent, or if you are not a parent, it is hard to get around.
Yeah, wondering where they are.
Yeah, worst nightmare.
Photo Credit: Des Willie/AMC
So I have watched The Night Manager. And you were excellent in that as well.
Thank you very much, but you have to say that as you are on the phone to me.
[Laughs] No, no, honestly, you were really, really good. I mean, it’s a great cast, and the director [Susanne Bier] is amazing. So how did you get that role? Where you looking for another drama? Did it land on your lap?
No, that was not through me looking. It was a script that came through, and I heard it had Tom Hiddleston and Hugh Laurie already attached to it so I was “Oh wow, how exciting.” So I read it, think I was sent the first episode, by which time I think they had just decided they would make [Angela] Burr a woman. So a lot of what I read was Burr as a man, but I could completely see why they could make him a her. And I loved it and was really impressed with the decision. I mean the book was written twenty years ago. It was quite right to update it. That was a great way to give it an update. So I went to meet the director Susanne Bier, who I loved. She is really dry and bright and so wise. She looks at you and you crumble ever so slightly. She has those piercing eyes and wants to see what’s going on inside your head. She’s great. I had to break the news to them on the meeting that I had just found out I was pregnant, and I had this spiel ready because, you know, Frances McDormand in Fargo… It would not have been the same if she hadn’t been pregnant. Susanne said [impersonating Bier perfectly] “Yeah, okay, I’ll talk to them. Leave it with me. I will see what they say.”
That’s a really good impression. [Both laugh]
To their credit they all went “Yeah, cool, we can do that” because you know spies are people too. They get pregnant. I think I can relate much more closely what a modern spy is than what we have got used to seeing, like glamorous, cocktail-drinking, jet-setting, which is a bit obvious. A good-hearted, normal person seems to be a proper reflection of a modern spy I think.
Yeah, not just because Burr is a woman, and pregnant, she was not vulnerable in any way, quite panicky about what Jonathan [Hiddleston] was doing. I don’t know how accurate that was. I have never been a spy.
Me either.
But it seemed an honest portrayal.
It’s right. People go into that to look after fellow people, so male or female. It is a better view of modern spies.
And what a cast that is.
What a honor it was to work them. Great.
Did you read John Le Carre’s book?
I didn’t, no. There’s obviously quite a lot that’s changed, and for me I just wanted to be loyal to what I was given in the script. Otherwise I would be like “Oh, I wish I could do that bit, I like that bit.” It was much easier to work with what I was given. I should go back to the book now it is done. Haven’t yet, but I will do that.
It was a clever thing to do, changing the character from a man, as it was written such a long time ago. And I didn’t know that until I spoke to the director last week, and I don’t think you would know that watching it would you.
No, I think it completely fits, doesn’t it?
Yeah, it makes sense that the character is like that.
Yes. And almost nothing was changed about what was said. We are living in a world where we are still fighting for certain equality, even in our country, men and women say the same things, so it was only right.
Do you pay much attention to awards buzz? Not sure about the Emmys and The Night Manager. But it should be there.
There have been years were I have been nominated and never got it, but to be encouraged by your peers is the greatest accolade. I feel blessed and lucky, if it happens then lovely. And it’s great, but there’s no point getting excited about it. Sometimes it does not happen. I say that but when I got my first BAFTA I was always saying “It doesn’t matter.” Then it happens and I was like “It really fucking matters!” A great day. [Both Laugh]
So you are doing Broadchurch, is there anything else I can get excited about that you are going to be in? If you are allowed to tell me.
Oh, well it is a long way off, but Yorgos Lanthimos, who did The Lobster, is doing a film called The Favorite next summer. A film about Queen Anne’s court, and I am Queen Anne. He has cast me before we get there, but so far I am very excited about that.
Oh yeah, great director.
You’ll like that one.
I will do, yeah. My wife is Greek.
Oh is she!??
The Lobster was her favorite film of last year.
So did she see Dogtooth then?
Yeah, we saw that, we liked it.
That’s another bonkers one isn’t it.
Yeah. There is no film like that.
The images in it can only be from that film. He is so original.
He is. Well, you and him working together again is definitely something to look forward to. Thanks for talking to me. I have really enjoyed your work over the past years, it has been terrific.
Did you hear that record scratch? That’s the sound of HBO scrapping plans for Vinyl season 2.
You may recall that back in February HBO renewed the ’70s rock series after its two-hour premiere, much to the chagrin of disappointed viewers who thought this was going to be the next big HBO phenomenon. While most pilot episodes are pretty rough and can be forgiven, Vinyl never got much better beyond that introduction, especially since that first episode delivers hands-down the most hilarious scene of the year.
Vinyl‘s scatterbrained plot could be what did it in. You could tell that it wanted to be Mad Men with its suave, charismatic lead (Bobby Cannavale), female secondary desperate for power (Juno Temple), and hot wife given nothing to do (Olivia Wilde). But whereas Mad Men weaved in mystery with advertising, Vinyl threw everything against the wall to see what would stick.
You want murder? There’s that (see: most hilarious scene of the year). Cool cameos from rock legends that look NOTHING like the real-life icons? There’s that, too (see: Led Zeppelin). Stream-of-consciousness scenes that are supposed to tell us what Richie Finestra (Cannavale) is thinking? Well, I don’t know if anyone asked for that, but Vinyl has it. Don’t adjust your DVRs. There really is a woman playing the tambourine in that pilot episode (believe me, I watched it four times), and no, she’s not connected to the plot. She’s supposed to be the audience’s emotional touchstone to Richie, but she ends up just serving as a nice little interlude between coke binges.
With Martin Scorsese and Mick Jagger on as producers, this show had so much going for it by name alone. And then with Terence Winter, the executive producer behind Boardwalk Empire and *gulp* The friggin’ Sopranos, HBO probably thought they had a hit on their hands. But alas, Vinyl was meant to be a one-hit wonder.
So, goodbye, Vinyl. May you enjoy living in HBO’s attic in a box next to John from Cincinnati and How to Make it in America.
“This could be the greatest thing that has happened to us,” says Sarah Jessica Parker in the first small Divorce teaser. For a few seconds, Sex and the City fans might think that Parker’s return to HBO will be the greatest thing ever.
The Divorce teaser is quite short. Parker plays a woman named Frances who asks for a divorce from her husband, played by Thomas Haden Church (Wings, Sideways). Perhaps a divorce will allow the couple to make peace with one another? Divorce also stars Molly Shannon and Tracy Letts.
If you were looking for something lighter from Parker, you should feel assured that Sharon Horgan is behind the scenes. The creator and star of Amazon’s acclaimed Catastrophe is one of television’s funniest women, and this project would be more high-profile than her sitcom.
The nominations are in for the 32nd Annual TCA Nominations with Mr. Robot and O.J. Simpson in the lead.
USA Networks’ Mr. Robot and FX’s The People v. O.J. Simpson: American Crime Story each snagged four nominations for the 32nd Annual Television Critics Association Awards. For the Ryan Murphy anthology series, these TCA nominations mark the beginning of an assured awards season run.
Photo courtesy of FX Networks.
Instead of breaking the acting categories apart like the Emmys or the Golden Globes, the TCA Awards presents two major acting races, and both men and women compete. It should be noted that of the six comedic acting nominees, only one of them is a man (Aziz Ansari for Master of None). Diversity can also be found in the Outstanding New Program lineup. Each show is led by either a woman or a person of color.
It is also worth noting that Crazy Ex-Girlfriend‘s Rachel Bloom continues her love affair with critics. She received a TCA nomination to accompany her Golden Globe and Critics’ Choice wins.
Will these awards have any impact on this year’s Emmy race? Last year, Empire took Program of the Year, but it failed to secure any real love except for Taraji P. Henson. It’s very doubtful that Making a Murderer and UnReal (both mentioned in the TCA nominations) will land an Emmy nomination. We also should note that this year’s selections include a lot of limited series. The programs up for the Outstanding Movies, Miniseries and Specials are all viable contenders for their respective Emmy races.
Winners will be announced August 6.
PROGRAM OF THE YEAR
“The Americans,” FX
“Fargo,” FX
“Game of Thrones,” HBO
“Making a Murderer,” Netflix
“Mr. Robot,” USA
“The People v. O.J. Simpson: American Crime Story,” FX
“UnREAL,” Lifetime
INDIVIDUAL ACHIEVEMENT IN DRAMA
Bryan Cranston, “All The Way,” HBO
Rami Malek, “Mr. Robot,” USA
Bob Odenkirk, “Better Call Saul,” AMC
Sarah Paulson, “The People v. O.J. Simpson: American Crime Story,” FX
Keri Russell, “The Americans,” FX
Courtney B. Vance, “The People v. O.J. Simpson: American Crime Story,” FX
INDIVIDUAL ACHIEVEMENT IN COMEDY
Aziz Ansari, “Master of None,” Netflix
Samantha Bee, “Full Frontal with Samantha Bee,” TBS
Rachel Bloom, “Crazy Ex-Girlfriend,” The CW
Aya Cash, “You’re The Worst” FXX
Julia Louis-Dreyfus, “Veep,” HBO
Constance Wu, “Fresh Off the Boat,” ABC
OUTSTANDING ACHIEVEMENT IN NEWS AND INFORMATION
“CBS Sunday Morning,” CBS
“Full Frontal with Samantha Bee,” TBS
“Jackie Robinson,” PBS
“Last Week Tonight with John Oliver,” HBO
“Real Time With Bill Maher,” HBO
“United Shades of America,” CNN
OUTSTANDING ACHIEVEMENT IN REALITY PROGRAMMING
“I Am Cait,” E!
“The Circus: Inside the Greatest Political Show on Earth,” Showtime
“The Great British Baking Show,” PBS
“Making a Murderer,” Netflix
“MasterChef Junior,” Fox
“Survivor Cambodia: Second Chance,” CBS
OUTSTANDING ACHIEVEMENT IN YOUTH PROGRAMMING
“Daniel Tiger’s Neighborhood,” PBS
“Doc McStuffins,” Disney Junior
“Nature Cat,” PBS
“Odd Squad,” PBS
“Sofia The First,” Disney Junior
OUTSTANDING NEW PROGRAM
“Crazy Ex-Girlfriend,” The CW
“Marvel’s Jessica Jones,” Netflix
“Master of None,” Netflix
“Mr. Robot,” USA
“Underground,” WGN America
“UnREAL,” Lifetime
OUTSTANDING ACHIEVEMENT IN MOVIES, MINISERIES AND SPECIALS
“All The Way,” HBO
“Fargo,” FX
“The Night Manager,” AMC
“The People v. O.J. Simpson: American Crime Story,” FX
“Roots,” History
“Show Me A Hero,” HBO
OUTSTANDING ACHIEVEMENT IN DRAMA
“The Americans,” FX – (2015 Winner in Category)
“Better Call Saul,” AMC
“Game of Thrones,” HBO
“The Leftovers,” HBO
“Mr. Robot,” USA
“UnREAL,” Lifetime
OUTSTANDING ACHIEVEMENT IN COMEDY
“black-ish,” ABC
“Crazy Ex-Girlfriend,” The CW
“Master of None,” Netflix
“Silicon Valley,” HBO
“Veep,” HBO
“You’re The Worst” FXX
HERITAGE AWARD
“The Larry Sanders Show,” HBO
“The Mary Tyler Moore Show,” CBS
“Seinfeld,” NBC
“Star Trek,” NBC
“Twin Peaks,” ABC
That’s so lovely of you to recognize that! Because it was without a doubt the hardest season of TV I’ve ever done. I had to really fight my natural instincts. Jimmy’s doing what a typical man would do, and what I would do as well. He tries to fix the situation. Then he can’t fix the situation, so he automatically goes to the next go-to situation, which is to run away… into the arms of someone else. I had to constantly look at why he was behaving this way. He’s not a bad guy. All this stuff comes from insecurity and a lack of knowing how to handle these social situations.
