Emmys with a Side of Bacon: 2011 Edition

The 2011 Emmys take place tonight, and we’re still kind of squinting at them, trying to figure out what’s going on. We were prepared to post in outrage when the nominations came out, but with the exception of the nearly across-the-board snubbing of Community (boo! Boo, I say!) they were…largely adequate. No, seriously, we agreed with 56% of the nominations, which is more than double our norm, so it was hard to get too outraged. Whether this is because the academy is drawing closer to our tastes–or we to theirs–or just because we’re not terribly excited by the dramatic offerings so we shrugged and accepted what we were given, this could have been worse.

Still, we’re always interested in who wins, and are often astonished. And just as often, that astonishment is not the good kind. This leads to all kinds of curiosity about what people vote for and how they come to vote that way. We also wonder how outcomes might be different if different voting systems were used. So this year, we solicited our own Bacon voters and asked them to rank the nominees, just like the real voters do. Let me note for the record that our sample is small compared to the actual voting pool, and that it was certainly non-random (although the real Academy membership is, too). There’s another key difference between our voters and the real ones we’ll get to in a minute, but I can vouch for the fact that the Bacon pool is made up of serious TV watchers and thoughtful voters (even if the winners listed below sometimes ended up different than our personal choices!). Thanks again to all who participated!

So what did we learn? Different ways of counting up votes often led to nominees swapping places, but that was usually something like swapping third and fourth places–it typically didn’t change winners. When it did make a difference, however, it made a pretty big difference, as you’ll see below. We were also interested to find that, generally speaking, people rank things they’re unfamiliar with last. “Buzz” or critical acclaim just didn’t seem to matter much, at least to our group of voters–if they hadn’t seen it, it came in last on their ballots. The one exception to this was when there was something they genuinely loathed in the category–they were happy to rank that behind something they’d never laid eyes on. We can’t prove it with these data, but we wouldn’t be surprised if that’s human nature and the real voters work this way, too. Similarly, some voters reported ranking people higher simply because they like them from other projects, not because of their work this year. Again, it wouldn’t surprise us to learn that the Emmy voters think that way, too.

One key difference that might affect things like the above, however, is that we didn’t ask our voters to actually watch the episodes the nominated shows or actors submitted. Real Emmy voters are divided into panels and sent DVDs containing the submitted episodes, which the producers or performers select as their best work. Voters sign an affidavit saying they’ve viewed the submissions before making their selections, although of course no one’s watching them do the watching. This seems to be the key–an actor from a less popular or established show might come from behind with a canny or stunning episode submission. Our voters didn’t have that luxury (maybe next year!), but at the same time we can only hope the real voters take advantage of it. We may never know for sure, but we have two data points from our little game that are interesting: Two of our voters’ least favorite candidates, Paul McCrane from Harry’s Law and Gwyneth Paltrow from Glee, have already won Emmys this year, as the guest categories were awarded at the Creative Arts Emmy ceremony. We can’t entirely separate out all the factors that might have contributed to that–Paltrow’s a movie star “slumming” on TV; McCrane had the type of David E. Kelley bombast we’re just tired of–but maybe their episodes were persuasive.

The finding that might have surprised me the most, however, was that everything’s loved by someone: Almost every nominee got at least one first place vote. Pretty much everything, no matter how little viewed by the public or how disrespected by the critics, has someone who loves it. The only exceptions? Harry’s Law‘s Kathy Bates and Paul McCrane (an actual Emmy winner, I remind you) and Two and Half Men‘s Jon Cryer. Yes, even Gwyneth got a first place vote–everything’s got someone who loves it. Perhaps even more surprising, there wasn’t a single case where two ballots were identical. Let me reiterate that: there was not a single case where two people completely agreed who or what deserved an Emmy. Not one. That’s something to put in your pipe and smoke as we think about how the voting happens and why voters make the choices they do–even in a relatively small, relatively homogenous group such as our voting pool, there was no agreement on what’s good, bad, enjoyable, annoying. Maybe we’ll never figure out the patterns at all–maybe there aren’t any.

Or maybe we’ll try having voters actually watch the submissions next year, and we definitely want to see if a different pool/different voting systems make a difference at the key nomination stage. Never say die! So plan now to be a Bacon voter next year!

Drama Series: Friday Night Lights (FNL–and pretty much everything associated with it–were the clearest winners in any category.)

Lead Actor in a Drama Series: Kyle Chandler, Friday Night Lights

Lead Actress in a Drama Series: Connie Britton, Friday Night Lights (Britton had the most #1 votes of any nominee in any category, making her, I guess, the Pork Queen Extreme.)

Supporting Actor in a Drama Series: Peter Dinklage, Game of Thrones (An interesting case–Dinklage was much loved even by people who ranked GoT very low in the series category.)

Supporting Actress in a Drama Series: Christina Hendricks, Mad Men (Mad Men‘s only win, and nothing else came terribly close. We’re unsure whether that’s because our pool doesn’t watch it as much as real Emmy voters, if they felt it had been recognized enough in previous years, or if there was a push to reward FNL‘s last chance.)

Guest Actor in a Drama Series: Michael J. Fox, The Good Wife (We note he has actually already lost to the aforementioned McCrane.)

Guest Actress in a Drama Series: Joan Cusack, Shameless (Cusack is perhaps the best example of residual affection from other projects, as many of our voters reported never having heard of Shameless, let alone having watched her in it. Cusack lost to Loretta Devine of Grey’s Anatomy.)

Comedy Series: Modern Family (An easy win over a 2nd place Parks and Recreation, which people either loved or hated.)

Lead Actor in a Comedy Series: Ah, and here we hit trouble. Using the Emmys’ preferential ranking system, the top three choices are Steve Carell from The Office as the winner, Jim Parsons from The Big Bang Theory in second, and 30 Rock‘s Alec Baldwin in third. Other voting systems, however, flop that all around, with the most common outcome being Baldwin winning ahead of Carell and Parsons. Since the preferential ranking has benefited both Baldwin and Parsons in the past but never Carell, we’re content giving him the win, but it’s interesting.

Lead Actress in a Comedy Series: Martha Plimpton, Raising Hope (A winner by a comfortable margin; it will be interesting to see the actual Emmys and whether this is an artifact of our specific pool or if everyone has such excellent taste. As she is awesome.)

Supporting Actor in a Comedy Series: A tie, between Ty Burrell of Modern Family and Chris Colfer of Glee. Alternate voting systems pretty invariably had Burrell in front. (Colfer was remarkably polarizing even among our voters, whom I happen to know lean toward people who actually like him even when they were ranking him low, so it’s hard to imagine that real voters wouldn’t have the same polarization for about a hundred reasons, including his episode submission positioning him as the genuine contrast candidate.) (I should probably also note the opportunity for a new CBS mulit-camera, laugh-track sitcom called Everybody Hates Jon Cryer, because wow, most voters really, really did.)

Supporting Actress in a Comedy Series: Ooh, fun, more trouble. The preferential voting system actually used by the Emmys gave us a pretty clear win for Glee‘s Jane Lynch. Other approaches, however, bumped her all the way down to third, behind Modern Family‘s Sofia Vergara and Julie Bowen (in that order). (Glee is an interesting case–it did poorly in series, but some voters seemed to carry that over to the actors, while many were willing to “forgive” the actors the show’s sins.)

Guest Actor in a Comedy Series: Will Arnett, 30 Rock (He actually lost the Emmy to Justin Timberlake’s SNL hosting gig, which finished fifth in our pool. Screeners? Star…whoring? Our voters being uninteresting in bringing sexy back?)

Guest Actress in a Comedy Series: A tie, between Raising Hope‘s Cloris Leachman and Glee‘s Dot-Marie Jones. Alternate voting systems put Jones on top. (Gwyneth Paltrow actually won. I’m sure she’ll be posting instructions on how to turn your own Emmy into a fashionable paper towel holder for your guest house kitchen on GOOP soon.)

I have a sneaking suspicion the actual winners will look quite different–that’s the pattern so far–but it will be interesting to see where and speculate as to why. Please join us in untangling it all!

One and Done–Are There Any Solutions to Emmy Love Affairs? (And Should There Be?)

Over the past few days, we’ve been examining how often Emmy voters go for the tried and true and to what degree this prevents other deserving shows or performers from winning. The numbers suggest there’s a lot of clumping–in many categories, we’ve gotten nearly 2/3 recycled winners over the last two decades.

The first question, I suppose, is whether this is a problem. If there are obviously superior shows or actors, why should they be punished for being superior–why shouldn’t they get an Emmy every year? We tend to be okay with that in other competitions, like sports–if someone is clearly fastest or strongest, they win, regardless of whether this blocks other athletes from victory. Judging something as subjective as art makes that comparison suspect, but multiple winners might fairly claim they’re simply better.

Feelings on that likely lie with whether you’re in the winners’ camp or the losers’. Die-hard fans of The West Wing are probably less troubled by that show’s four straight wins than fans of The Sopranos are. Fans of CSI: Original Flavor (should they exist) are probably frustrated by the six awards the West Wing and Sopranos crews soaked up. When the Baconeers have picked our potential nomnees, we tend to find we agree with the Academy about 25% of the time. To some extent, people who aren’t crazy about repeat winners just have to accept that Emmy voters’ taste doesn’t match their own.

What’s a little more unsettling, and less just an issue of subjectivity in judging art, perhaps, is the way repeat winners might reveal just what makes up that taste. In terms of shows, patterns appear to reveal a taste for upper-class, well-polished, professionals. Lawyers, politicians, lawyers, doctors, lawyers, psychiatrists, lawyers, TV producers, lawyers, real estate agents/contractors, lawyers, fashionistas, lawyers, admen, and lawyers tend to dominate. Looking at this, it’s amazing shows like The Sopranos, The Office, or Everybody Loves Raymond ever won. As we’ve pointed out in previous pieces, anything labeled as “genre”–science fiction, mystery, romance–stands little chance of being nominated, let alone winning. While it’s true there are few shows about the experiences of people of color on TV, such shows are even less likely to be nominated for or win Emmys. Yes, I’m still bitter about The Wire. As the television universe continues to both expand and splinter, more and more quality–and niche–programming is being made. With so much more good stuff to choose from, repeat winners seem less and less justifiable.

Could making changes to the Emmy procedures help break these logjams and spread the wealth to repeat nominees like Hugh Laurie or Steve Carell? Could changes break up the class-taste nexus and bring recognition to other parts of the television spectrum? If so, what should those changes be?

The short answer: heck if we know. We’ve played with lots of possibilities–more categories? Recognizing ensembles? Recognizing the rise of the dramedy?–and have found them all to be largely as arbitrary as the current system. How do you decide who’s a lead actor, a supporting actor, or an ensemble actor? How funny does a show have to be before it gets moved from a drama to a comedy? We don’t know, and we suspect the industry doesn’t know either. We’d love to hear your suggestions, and provide a few possibilities to kick off the chat:

  • Getting rid of categories altogether for nominations. We tried this as an experiment and were astonished how quickly things came together and how easily we were able to find victors in the traditional four acting categories from our list of nominees. Granted, our experiment was very much a pilot study, as the Baconeers tend to be on the same page on TV–how would a broader application work? We kept the nominees segregated by sex–should even that be done away with?
  • Viewing panels. The Academy has tried several variations on this over the past few years, including general voting that created a 10-candidate list from which a “blue ribbon panel” chose the final nominees as well as screening panels for final voting that ensured that–unless they fell asleep in the screening–panelists were voting based on the actual work instead of buzz or social networks. Some argue (and I might agree) that both of these systems shook up the repeat/multiple patterns, but both systems were probably more expensive than the current system and may have further diluted the pool of willing voters (not a great thing if you want to broaden the taste profile of voters). 
  • Forcing winners to sit out a year. Sure, maybe winners tend to be of very high quality (maybe). But are repeat winners really that much better than their competition? If we just said “one and done,” the last five years would look like this:

Drama: 24, The Sopranos, Mad Men, ???, ???

Comedy: The Office, 30 Rock, ???, ???, Modern Family

Actor, Drama: Keifer Sutherland, James Spader, Bryan Cranston, ???, ???

Actress, Drama: Mariska Hargitay, Sally Field, Glenn Close, ???, Kyra Sedgwick

Actor, Comedy: Tony Shalhoub, Ricky Gervais, Alec Baldwin, ???, Jim Parsons

Actress, Comedy: No change

Supporting Actor, Drama: No change

Supporting Actresss, Drama: ??? (Blythe Danner clipped from the year before), Katherine Heigl, Dianne Weist, Cherry Jones, Archie Panjabi

Supporting Actor, Comedy: Jeremy Piven, ???, ???, Jon Cryer, Eric Stonestreet

Supporting Actress, Comedy: No change

Going back only five does lose some of the pattern in some categories–which may be a good sign–and obviously new winners would depend on which years you remove from multiple winners. But there would be more variety. Is that a good thing, or is this merely a Hugh Laurie problem that doesn’t really need fixing? Would opening up just one slot–the repeat or multiple winner–per year open enough room for genre candidates? The first basic cable shows have been nominated in the last few years–is this a sign the Academy tastes are shifting? Is the issue fixing itself? Since our tastes don’t always match the actual nominees very well, we’d hope so–what do you think?

Monday: Ballots are out! We’re hoping for nonsense and weirdness. Rob Lowe, I’m looking at you.

Parallel Universes: Repeat Emmy Winners among Supporting Acting Nominees

Over the past couple of days, we’ve been exploring the question of how Emmy voters’ love affairs with a handful of shows or actors might create a sort of Emmy carousel, with the same few favorites winning over and over while others are forever kept off the ride. While there have been a lot of repeat winners over the past two decades, nine different women have won the Emmy for Lead Actress in a Comedy in the last nine years. Does this signal a new dawn of diversity for the Emmys?

We’re especially curious about how these patterns work for supporting categories. Not only are ensemble shows where all of the actors submit in supporting categories common (think Modern Family, for example, where everyone from Ed O’Neill to Nolan Gould submitted in the supporting category last year), but shows that center around a lead character, such as House or The Closer or The Office, are often successful because of the strength of their supporting casts. There are so many supporting roles and so many excellent performances in them that we often have great difficulty narrowing down these categories to just a few nominees. With so many possible nominees, repeat winners might be an even bigger problem in supporting categories. So–are they?

Supporting Actor in a Drama: 5% repeat winners, 5% multiple winners

I would have sworn on my grandmother’s grave that William Shatner had won multiple times, but nope–only Ray Walston for Picket Fences all the way back in 1995 and 1996. We have tons of complaints about who doesn’t get nominated, but the wealth certainly gets spread in this category, at least in terms of wins. And last year’s winner, Aaron Paul, can’t repeat this year because of Breaking Bad‘s broadcast schedule. So much variety might point to the popularity and quality of ensemble shows, with many deserving performances from which to choose. But since the Academy shows here that they can be eclectic, why aren’t they in other categories?

Supporting Actress in a Drama: 10% repeats, 15% multiple winners

In fairness, this is probably less balanced than it seems, as Allison Janney might have dominated for years if she hadn’t started entering in the lead category after winning here twice. Still, it’s much more balanced than the lead category, where 65% were multiple winners. I blame Blythe Danner, who won in 2005 and 2006, for blocking CCH Pounder, Chandra Wilson, and Sandra Oh, but mostly I blame her for foisting Gwyneth Paltrow on the world.

So far, it seems like things are looking up–there are many more winners in the supporting categories as compared to the lead categories, where more than three times out of five we’re getting repeats. Rather than greater numbers of terrific performances leading to greater numbers of actors left in the cold, the ensemble shows are producing a greater variety of winners. This might be plain old common sense, since there should be many more supporting performances to choose from than there are lead performances. That doesn’t mean the Academy would have to use common sense, though, so hooray for them. It’s all good from Diego to the Bay, right? Right?

Supporting Actor in a Comedy: 25% repeats, 65% multiple winners

Really? Really. Puzzling. This category is regularly at least as difficult to narrow down as the supporting actor in a drama category–let’s examine the possibilities this year. Aziz Ansari. Ty Burrell. Chris Colfer. Ted Danson. Charlie Day. Garrett Dillahunt. Peter Facinelli. Jesse Tyler Ferguson. Zach Galifianakis. Donald Glover. Ian Gomez. Neil Patrick Harris. Ed Helms. John Benjamin Hickey. Josh Hopkins. Ken Jeong. Nick Kroll. Stephen Mangan. Rob McElhenney. Nick Offerman. Ed O’Neill. Oliver Platt. Danny Pudi. Stephen Rannazzisi. Paul Scheer. Adam Scott. Atticus Shaffer. Eric Stonestreet. Brian Van Holt. Rainn Wilson. I know I watch too much TV, but that’s 30 excellent actors in excellent performances of excellent roles just this year–just off the top of my head. That doesn’t count previous winners who just aren’t to my taste (Jon Cryer and Jeremy Piven, for example), or probably good performances on shows I just don’t like (the Big Bang guys or the great Weeds ensemble), or good actors I just don’t think are getting good enough material (former nominees Tracy Morgan and Jack McBrayer, or Cory Monteith), or the fourth person from the same show who is great but doesn’t rank quite as highly as his brethren (Chevy Chase or Mark Duplass), or actors and performances I like that I’ve just never thought of in terms of Emmy quality (the guys from Chuck and Psych, for example). Add those in, and you’re up to around 50 actors off the top of my head who could have a justifiable claim on a nomination this year…and yet a handful of winners take home the hardware over and over (and over).

David Hyde Pierce won four times for his role as Niles Crane on Frasier, and Michael Richards, Brad Garret, and Jeremy Piven won three Emmys each. During those same years, actors who didn’t win included Jeffrey Tambor, Phil Hartman, Peter Boyle, John Mahoney, Bryan Cranston, Will Arnett, Rainn Wilson, and Neil Patrick Harris. Shoot, I can’t stand Seinfeld and I still feel sorry for Jason Alexander. And that’s just among the actual nominations, which also tend to circle around the same people over and over. With so many worthy performances to choose from, why is this category so stuck on the same winners over and over?

Supporting Actress in a Comedy: 25% repeats, 65% multiple winners

The same as their funny brethren. Double winners include Bebe Neuwirth, Kristen Johnson, and Megan Mullaly, while Laurie Metcalf and Doris Roberts won three apiece. While there has been more variety recently, nominees who never won in those repeat years include Faith Ford, Estelle Getty, Rhea Perlman, Janeane Garofalo, Jennifer Aniston (who finally won in lead), Kim Catrell, Wendie Malick, Cheryl Hines, Vanessa Williams, Amy Poehler, Elizabeth Perkins, and Jessica Walter. (And, again, that’s just among the nominees, most of whom were nominated multiple times.)

So…what the what? The idea that Emmy voters just get stuck on the same few winners, whether that’s because of buzz, comfort, or plain old love, makes sense, as the supporting comedy numbers are similar to those in all four lead categories. But then why are the supporting drama categories so different? The theory that the wealth will be better spread in supporting categories makes sense, too–the numbers for the drama categories suggest that when there are lots and lots of great possibilities, Emmy voters are capable of enjoying a large variety of performances. But then why are the comedy supporting categories so much different than the dramatic categories? Friend O’ Bacon Bgirl suggests that people who make TV have little time to watch TV and tend to vote based on buzz and social networks. Even though voting panels change annually, there’s probably not a huge shift in the overall population of Academy members from whom those panels are drawn from year to year, so that explanation makes a lot of sense for the categories that are stagnant–people vote for their friends or what they hear is good year after year without seeing other notable performances. But if that’s the case, why doesn’t it hold true for the supporting dramatic categories? We’d love to hear your explanations.

Sunday: Is this a problem? I mean, it’s not like According to Jim ever won for Outstanding Comedy. Maybe Academy voters just recognize the best quality, and quality doesn’t go away from year to year. But if stagnation is an issue, or if there are lots of high-quality programs and performances that could be equally honored, are there solutions to break away from repeat winners and spread the wealth?

You Just Keep Me Hanging On: Repeat Emmy Winners among Lead Acting Nominees

All hopped up on the excitement of Emmy ballots coming out on Monday, we posed the question yesterday of whether Emmy voters’ love affairs with certain shows might be blocking other deserving winners. 30 Rock and Mad Men are great, but does rewarding them over and over “cheat” other great shows out of the prize? It’s a tricky question–maybe these shows (or their submissions) really are the best, or really do best match voters’ tastes. While voting panels change from year to year, it’s not like there are sweeping changes to the overall Academy membership across short periods of time.

Still, the numbers suggest that there’s a pretty good case to be made that logjams among series winners are creating a few victors and a block of losers. We wondered, however, whether the pattern of repeat winners would be the same for performers. There are obviously many more actors to choose from than series, and since actors submit a single episode to be judged, an especially striking performance or storyline might propel a seeming underdog to victory. At the same time, everyone can think of anecdotal evidence suggesting that some lauded actors just aren’t able to break through. Hugh Laurie and Steve Carell, for example, have both done seven seasons of their signature roles, they’ve both been nominated for performance Emmys five times for those roles…and they’ve both won exactly zero times. Could repeat wins for other actors be the explanation? Today we look at 20 years of actors in lead categories.

Lead Actor in a Drama: 25% repeat winners, 60% multiple winners

Dennis Franz, who was terrific on NYPD Blue, won four times; during those years George Clooney, Anthony Edwards, Jimmy Smits, Jerry Orbach, Sam Waterston, and David Duchovny were nominated multiple times and never attained the prize. (You thought Jimmy Smits won one of those years, didn’t you? Me too. Like Laurie and Carell, he was nominated five times without a win.) James Gandolfini’s three wins kept Orbach, Peter Krause, and–hold me closer, tiny dancers–Martin Sheen off the podium, while James Spader’s and Bryan Cranston’s three wins apiece have pretty effectively blocked Laurie, Michael C. Hall, Gabriel Byrne, Denis Leary, and Jon Hamm.

Lead Actress in a Drama: 15% repeats, 65% multiple winners

To be fair, the annual nominations of the usual suspects in this category probably reveals a dearth of quality roles for women. But from year to year, this tends to be the same small number of women trading off the trophy. With a historic lack of good leading roles for women, is rewarding the same good stuff over and over a problem? As much as I like Angela Lansbury, for example, I can’t get that worked up over Kathy Baker’s three victories keeping Murder, She Wrote out of the winner’s circle. Still, The Edie Falco and Allison Janney Hootenanny Variety Hour (I would totally watch that) that soaked up five Emmys effectively blocked Jennifer Garner and Frances Conroy from winning for notable performances, and a second win for Glenn Close for a lesser season of Damages could have gone to someone like Holly Hunter.

Lead Actor in a Comedy: 20% repeats, a staggering 70% multiple winners

The six-year Kelsey Grammar/John Lithgow stranglehold shut out John Goodman, Gary Shandling, and even Michael J. Fox’s Spin City performance until he was forced to leave his show. (It also shut out Paul Reiser while Helen Hunt won four Emmys in a row for the same show and Jerry Seinfeld while his show was the biggest phenomenon on TV, but, like Sue Sylvester, I don’t care so much about that.) While Tony Shaloub’s Monk was certainly a great performance, his three wins came at the expense of  Matt LeBlanc, Bernie Mac, and Steve Carell, who I note again has never won for playing Michael Scott. (Alec Baldwin’s repeat win in 2009 helped with that little blockade.)

Lead Actress in a Comedy: 25% repeats, 50% multiple winners

While the 50% multiples number is a lot, there hasn’t been a repeat winner in almost a decade. The Candice Bergen/Helen Hunt (four in a row)/Patricia Heaton era, during which five women won in 12 years, meant no awards for Betty White, Delta Burke, Marion Ross, Cybill Shepherd, Ellen DeGeneres, Calista Flockhart, and Jane Kaczmarek. Since Heaton’s repeat win in 2001, however, nine different women have taken home the Emmy in this category. A sign of a sea change?

All of this is only mentioning the repeat nominees who were blocked–second, third, and fourth wins also beat out solo nominations for the likes of Ian McShane, Dylan McDermott, Matthew Fox, Kyle Chandler, Amber Tamblyn, Minnie Driver, Zach Braff, Jason Bateman, Bonnie Hunt, Marcia Cross, and Connie Britton (although we’re still hoping Chandler and Britton will become two-time nominees this year). And of course, repeats mean leaving out a laundry list of never-nominated actors too long to list here. As was true of serial series nominations and wins, there is little representation for genre stories (where is Mary McDonnell’s Emmy? Where is Nathan Fillion’s? Where is Kristen Bell’s? Where is Sarah Michelle Gellar’s?)–would requiring a winner to sit out, even a year, open up the field for unexpected nominees and maybe even winners? Would instituting such a rule have solved your favorite example of a great performance that missed out on a nomination or win?

Saturday: Ensemble shows probably make up the bulk of TV–quality and otherwise–today, and we tend to find the supporting categories the toughest to winnow down as we try to pick nominees. With so many actors to choose from, is the winners carousel even more problematic in supporting categories?

Repeat Offenders: Consequences of Emmy Love Affairs

Ah, spring–when a TV watcher’s heart turns to Emmy consideration. Ballots come out on Monday, and since there’s nothing the Baconeers love so much as a good list (you may have noticed), said ballots whet our appetite. As much as we are sometimes frustrated with the Emmys–and oh, how frustrated we get–last year’s had some surprisingly great moments. Remember the murderous comfort food cookoff judge from the greatest Pushing Daisies episode ever? Eric Stonestreet has an Emmy now. How neat is that?  While we might gripe about who was excluded from nominations–wherefore art thou, Community and Friday Night Lights?–Modern Family and Mad Men were deserving winners. Huh. Maybe that adorable Jimmy Fallon-Glee opening just put everything in a more flattering light.

Bryan Cranston gives me pause, though. I love Cranston–I thought he was robbed of an Emmy for his Hal on Malcolm in the Middle, and his performance on Breaking Bad is a genuine tour de force. It’s certainly hard, then, to argue that he shouldn’t have won. At the same time, this was Cranston’s third win in a row, while nominees like Hugh Laurie–who, believe it or not, has never won for House–continue to languish unrewarded. While I’m not ready to ask Cranston to remove himself from contention this year (Breaking Bad‘s broadcast schedule takes care of that), it got me to wondering about how often the Emmys get “stuck” on one winner, and what repercussions that might have beyond the winner.

We looked back at the last 20 years, examining in particular three things: first, the percentage of repeat winners (winning in consecutive years for the same role or show), such as the Cranston example above. Second, we looked at the percentage of multiple winners (winning in non-consecutive years for the same role/show)–two lauded performances trading off wins across several years might block notable others from winning just as much as one repeat victor might. Third, we looked at who the other nominees were during years with repeat or multiple winners. Who is potentially being blocked from an Emmy when the Academy becomes obsessed with a single winner? If, for example, Frasier‘s multiple wins came at the expense of The Nanny, maybe that’s not a problem–maybe it’s justice.

Drama Series: 40% repeat winners; a whopping 75% multiple winners

While Mad Men has won the last three trophies, the most notable repeat winner in this category in the past 20 years was The West Wing. The show usually cited as a close second-place–or robbed, depending on your perspective–was The Sopranos…which won the Best Drama Emmy twice, so maybe things turned out just fine. In the past 13 years, however, only 6 series have won (The Practice, The West Wing, The Sopranos, Lost, 24, and Mad Men). Notable nominees during that time who never won? Six Feet Under, Deadwood, House, Grey’s Anatomy, Boston Legal, Damages, Breaking Bad, and Dexter. While I like some of those shows very much, and while I would have preferred to see some of them win in their nominated year(s) (hi, Deadwood), the repeat winners do look pretty strong.

Maybe the problem is in the nomination process: notable shows that couldn’t break the repeat stranglehold because they were never nominated include Buffy the Vampire Slayer, The Wire, Battlestar Galactica, Veronica Mars, and Friday Night Lights, among others. If repeat winners had to skip a year or took themselves out of contention, would genre spoilers sneak into contention?

Comedy Series: 30% repeats and 60% multiple winners

Two non-consecutive wins each for Murphy Brown and Everybody Loves Raymond (Except Me), but four consecutive wins for 30 Rock and five for Frasier (Modern Family‘s win certainly raises the question of whether Christopher Lloyd has the submission process dialed in). Frankly, I personally have more trouble with some poorly chosen one-time winners than these repeaters (Ally McBeal? Really?), but notable nominees who lost to repeaters include Scrubs and The Larry Sanders Show. On the other hand, I can’t feel that bad about Two and a Half Men.

Still, perhaps the problem is–again–in the nominating process, since Frasier and 30 Rock tended to beat the same competition over and over: Pushing Daisies, Gilmore Girls, and, perhaps most notably, The Simpsons were boxed out entirely during these repeat winner years.

Are repeat winners a problem, or just rewards for a job well done? Should the Academy attempt to spread the wealth more? What series do you think were most unfairly denied the gold by repeat winners?

Friday: But you were talking about Bryan Cranston and Hugh Laurie. Does the tendency toward repeat winners hurt individual actors more than series?

Emmys with a Side of Bacon

Susannah and I have been kicking back at the Emmys for a good long time now. We’ve wept. We’ve wailed. We’ve gnashed our teeth. Personally, I’ve worn sackcloth and ashes, but that’s just my general fashion aesthetic.

Part of the issue is that we can’t put our finger on what the problem is–something’s wrong (really, Academy–Entourage? Really?), but what is it? We’re inclined to blame the Emmy categories–is Pushing Daisies really the same kind of beast as Two and a Half Men? Should Dirty Sexy Money–or Boston Legal, for that matter–really be considered a drama? We’re embarrassed to admit, however, that every new categorization scheme we tried went exactly nowhere.

We considered doing away with “Drama” and “Comedy” and going instead with “Half-hour”/”Hour” or “Single-camera”/”Multi-camera”, both of which are already used in the technical and animated categories. In today’s television landscape, however, that left us with a couple of strong contenders and a couple we could argue about in the half-hour or mutli-camera categories while overloading the hour/single-camera even more than the current drama category already is. We toyed with the idea of honoring more actors by creating lead, supporting, and ensemble categories. These might allow for, say, Hugh Laurie (lead), Robert Sean Leonard (supporting), and Omar Epps (ensemble) or Steve Carell (lead), Rainn Wilson (supporting), and Ed Helms (ensemble) to be nominated for the same show, or for the large ensemble casts of, say, Lost or Friday Night Lights to be considered separately from shows that focus on true leads, like House or Life. The details necessary to make that work, however (“if the character appears on-screen for less than 30% of the broadcast…”), both felt arbitrary and were, frankly, nearly impossible to hammer out. We played with the possibility that there just aren’t enough slots available to honor all of the great performances out there, so we tried adding and dividing up categories differently–“Classic Sitcom”! “Workplace Drama”! “Speculative Fiction”! “Human Interest (read: Soap Opera”)! Each of those seemed just as arbitrary as “Comedy” and “Drama,” though–is Grey’s Anatomy a workplace drama or a human interest show? You could argue either category for Mad Men. We were stumped.

And then it occurred to us: maybe the categories are the problem–and maybe that means there shouldn’t be any categories at all. This was a strangely liberating idea. We kept the sex split, both because it seems less arbitrary than the above and because we feared our lists would be swamped with male roles otherwise (try filling out the female comedy roles under the traditional categories–brutal). We limited ourselves to people on the official Emmy ballot, which meant excluding favorites because of production-based eligibility problems (goodbye, British-based Doctor Who crew), because of genre (sorry, Venture Brothers–we’ll catch you next time), and because they simply didn’t appear on the ballot for reasons beyond our understanding (who dropped the ball on submitting Dan Byrd from Aliens in America?). We began with a list of 40 actors of each sex, then narrowed the list to 30 and ranked them. By assigning points to those rankings, we were able to compare and combine our lists to create a category-less Bacon Emmys. After complaining that there just weren’t enough spots to honor all of the excellent performances out there, we were pretty surprised to find that in the end we shared 21 ranked male actors and 21 ranked female actors–with one tie in the Lead Actor in a Drama category leading to 21 official male Emmy nominees in the “major” acting categories this year, that means our numbers are pretty much right on the real numbers. Some other patterns surprised us, too:

Male actors (in alphabetical order):

  • Alec Baldwin, 30 Rock
  • Steve Carell, The Office
  • Kyle Chandler, Friday Night Lights
  • Gaius Charles, Friday Night Lights
  • Henry Ian Cusick, Lost
  • Glenn Fitzgerald, Dirty Sexy Money
  • Neil Patrick Harris, How I Met Your Mother
  • Ed Helms, The Office
  • Michael Hogan, Battlestar Galactica
  • Hugh Laurie, House
  • Robert Sean Leonard, House
  • Zachary Levi, Chuck
  • Damian Lewis, Life
  • Zeljko Ivanek, Damages
  • Jack McBrayer, 30 Rock
  • Chi McBride, Pushing Daisies
  • Lee Pace, Pushing Daisies
  • Wendell Pierce, The Wire
  • Andre Royo, The Wire
  • Michael K. Williams, The Wire
  • Ray Wise, Reaper

Female actors (in alphabetical order):

  • Julie Benz, Dexter
  • Connie Britton, Friday Night Lights
  • Rose Byrne, Damages
  • Kristin Chenoweth, Pushing Daisies
  • Glenn Close, Damages
  • Tina Fey, 30 Rock
  • Anna Friel, Pushing Daisies
  • Ellen Greene, Pushing Daisies
  • Christina Hendricks, Mad Men
  • Holly Hunter, Saving Grace
  • January Jones, Mad Men
  • Angela Kinsey, The Office
  • Swoosie Kurtz, Pushing Daisies
  • Mary McDonnell, Battlestar Galactica
  • Elizabeth Mitchell, Lost
  • Adrianne Palicki, Friday Night Lights
  • Amy Pietz, Aliens in America
  • Jamie Pressley, My Name Is Earl
  • Sarah Shahi, Life
  • Sonja Sohn, The Wire
  • Natalie Zea, Dirty Sexy Money

For the record, Susannah’s top two ranked actors I didn’t list were Lost‘s Michael Emerson and FNL‘s Jesse Plemmons, while my top ranked she didn’t list were Breaking Bad‘s Bryan Cranston and It’s Always Sunny in Philadelphia‘s Charlie Day. For the women, her top two ranked picks I didn’t list were The Riches‘ Minnie Driver and Lost‘s Evangeline Lily, while my top picks she didn’t list were Tricia Helfer of Battlestar Galactica and Sunny‘s Kaitlin Olson.

These 42 actors represent 17 shows, which isn’t as many as the real nominees (24 shows). So maybe the Emmys do a better job of spreading the wealth than we would. On the other hand, they spread that wealth by nominating Charlie Sheen and Mariska Hargitay, and…yeah, we’re not going to apologize for not spreading the wealth quite that far. In fact, TV Bacon and the Academy agree on slightly fewer than 25% of the nominees (ten out of 41/42). It’s a supporting-heavy list, although that’s slightly skewed by self-submissions we’d place elsewhere (in what universe is Connie Britton supporting?)–that may reflect the current popularity of the ensemble shows we had such a hard time categorizing. It’s a very, very white list, especially for the women. Thank goodness for The Wire–if we remove their four candidates, 35 out of 38 of the remaining nominees are white. We’re still doing a little better than the real Emmys, who, including The Wire (from which they chose zero nominees), had four minority nominees out of 41 total. While we’ve both had America Ferrera and Edward James Olmos on our lists in the past, even including them wouldn’t hide the whitewash that is American television in 2008.

Perhaps most interesting, however, is that after all our complaining about the traditional categories–and we’re still plenty irked about several exclusions among the real nominees–it wouldn’t take us long to declare winners in each of those. Adding together our rankings to create a “winner,” we’d have to go exactly four names down our list of female actors to fill the four traditional categories, as our top four were Connie Britton (supporting actress in a drama), Glenn Close (lead actress in a drama), Kristin Chenoweth (supporting actress in a comedy), and Anna Friel (lead actress in a comedy). The pattern for the men isn’t nearly so clear, since we’d have to go five whole places down our list to declare winners in the four traditional categories: Andre Royo (supporting actor in a drama), Lee Pace (lead actor in a comedy), Alec Baldwin (lead actor in a comedy), Kyle Chandler (lead actor in a drama), and Jack McBrayer (supporting actor in a comedy). If we’d hewn even more strictly to the Emmy rules and judged a single episode the actors submitted, Baldwin’s tour de force journey through 70s sitcoms might well have pushed him over the top. So after all our complaining and rearranging–are the categories really the problem after all?

What do you think? How would you have rearranged the Emmy categories? Who do you think was robbed? Are you coming after me with pitchforks because it was my list that kept John Krasinski out? Will the Emmys ever get it right?

Emmy Hoorays and Horrors

We here at TV Bacon have some issues with the Emmy nominations. This is…not unusual. We remember with something less than glee 2002, when the Academy saw fit to honor Ray Romano for acting. Still, nominees tend to be bifurcated between glorious and ghastly–after all, 2002 was the same year they recognized John Spencer. Below we outline the most exciting moments and the most egregious omissions of the 2008 nominations.

The Horror! The Horror! 

Maybe They Think Masturbation Means Chewing Your Food: The exclusion of Pushing Daisies from the Best Comedy Series lineup is nigh unforgivable. Granted, we’re not convinced this show belongs among comedy company either, but voters had no trouble nominating it for 12 other awards as a comedy. So, having some of the best writing, directing, actors, music, costumes, production design, editing, and hair and makeup means you aren’t as good as Entourage. Nice. Also, where is the cinematography nod?

Game’s The Same–Just Got More Fierce: The Wire got as many nominations as According to Jim. One of the greatest achievements in American television history ends with two total Emmy nominations. Two. Total. Across five stellar seasons. So…convince us the Emmys mean anything.

Kyle Chandler and Connie Britton Get Sacked: Yes, only five people watch Friday Night Lights. Yes, even people who don’t watch the show heard the bad buzz surrounding this season’s ludicrous murder plot. Chandler and Britton still turned in some of the most subtle, detailed, wrenching performances on TV. Thank goodness Boston Legal was there to provide James Spader’s fantasia courtroom grandstanding and Candice Bergen’s ninth nomination instead.

Bear McCreary Must Be in A Galaxy Far, Far Away: We love Battlestar Galactica, but even we’ll acknoweldge that the episodes that fell within the eligibility period were perhaps not the strongest the show has ever put out (we’d hold out more hope that they might be recognized next year as they sign off, but…The Wire). Maybe we should celebrate that a show on the Sci Fi Channel about spaceships gets any nominations at all, let alone six, let alone one in a major category (Drama Writing). Even though it’s a travesty that Mary McDonnell goes unnominated while the likes of Mariska Hargitay get in again, episodes focusing on her character fell outside of the eligibiity period. But no matter how hard we try, we can’t understand how Bear McCreary’s epic, innovative work scoring this show can go unrecognized. We threatened previously to unleash Katherine Heigel if this happened, so batten down the hatches and bar the door against Katie.

Thank Goodness Things Have Changed Since the 60s: Three acting nominations for Mad Men, and they’re all for men, in spite of the complex, beautifully acted female characters on the show. It’s not like television is overflowing with outstanding roles for women, leaving no room for the likes of Elisabeth Moss, January Jones, and Christina Hendricks.

Evacuate the Children!: Classical Baby: The Poetry Show. Hannah Montana. High School Musical 2. Nick News with Linda Ellerbee: The Untouchable Kids of India. The Suite Life of Zack and Cody. Even with a couple of classy entries, this might be the Emmy category with the lowest batting average. We weep for the future.

Lest We Forget: So much for the greatest generation. Ken Burns’ epic, moving, historic documentary on World War II received nominations for writing, directing, sound, and editing, but is nowhere to be found in nonfiction series or special. Inside the Actors Studio, which was nominated, interviewed Charlie Sheen last year. Well, he is an Emmy nominee. As is his personal hairstylist.

Even A Stopped Clock Is Right Twice A Day: Kudos and Huzzahs

And This Award You Just Got? It’s A Cookie: 17.5 nominations (including one for Kenneth’s the Page’s webpage) for 30 Rock…and they probably deserved more. Where’s the recognition for costume design for Will Arnett’s super-short robe? Shine a spotlight on Tina Fey and turn a wind machine on her–she might be on stage a lot come Emmy night.

Better Award Winning through Chemistry: Bryan Cranston was robbed during his time on Malcolm in the Middle, never winning for his warm, rubbery Hal. Here’s hoping that his performance as a terminally ill teacher who becomes a quietly angry meth dealer garners him the Emmy he so deserves. Don’t mess with him, voters–he can melt you in a bathtub.

Perhaps This Will Make Him Feel Warm and Safe and Loved: With a loaded Lead Comedy Actor category, we worried that Lee Pace’s mild, sad, lovestruck piemaker would be overlooked. Finding his name on the list was better than than a cup-pie with urban honey baked into the crust.

He Knew Which Palms to Grease: It wasn’t for his role as The Wire‘s corrupt ex-mayor, but Glynn Turman’s nomination for In Treatment is a huge–and most welcome–surprise in a category that often recognizes movie stars regardless of the size or quality of the role they play. Frankly, we thought he’d lose out to Robin Williams. Now we just want to see Turman beat him.

No More Kings–Just A Bunch of Emmy Nominees: John Adams was uneven as all get-out, but the wide range of supporting actors breathing life into the architects of a new country took our breath away. From the always-brilliant Tom Wilkinson as an earthy Ben Franklin to a surprising David Morse as George Washington to Laura Linney as the backbone helping to hold a country together, the characters surrounding Adams outstrip the second president.

Because We Know Patty: FX’s bold, beautifully shot Damages seemed to suffer from all the things that usually keep shows from being recognized by the Emmys. First, it’s really good. Second, it’s on basic cable–HBO’s award-grubbing budget is probably bigger than FX’s total budget. The intricate mystery doesn’t lend itself to the Emmy screening process. And yet, quality wins out for a change. Let’s hope the same holds true for the final victors.

PUSHING DAISIES, MAD MEN Take DGA Honors

madmen.jpg

Mad Men director Alan Taylor beat out double nominees from The Sopranos and Lost, winning the DGA award for outstanding directorial achievement in a dramatic series. The guild prizes were handed out at non-televised ceremony Saturday night.

Variety reports that the guild’s swift contract resolution with the AMPTP was a running theme throughout the evening, which included a standing ovation for chief negotiator Jay D. Roth when he was awarded an honorary lifetime membership to the guild.

A complete list of television winners is behind the cut… Continue reading

2007 Golden Globes Television Winners

It just doesn’t get lamer than NBC’s Golden Globes “Winners Special” tonight, folks. Instead of the festival of drunken celebrities we’ve all come to know and love, we got Nancy O’Dell and a constipated-looking Billy Bush standing awkwardly behind a podium. The real highlight, though, was after each category was announced when Nancy would try unsuccessfully to banter with Billy’s hair, which has begun to resemble the ‘do sported by Loverboy’s Mike Reno in the 1980s. It’s okay, Billy, we’re all just working for the weekend, too.

For those of you lucky enough to miss it, here’s the complete list of television winners… Continue reading

2007 ADG Production Design Nominees

The Art Directors Guild today announced the nominees for its 12th annual Excellence in Production Design Awards for both television and feature films. These are the folks who make the sets of our favorite shows look so fantastic and we congratulate them all! Winners will be announced Feb. 16 at the Beverly Hilton Hotel in Los Angeles.

A complete list of television nominees is behind the cut… Continue reading