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!

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Emmy Nomination Ballots Out: Hello, Rob Lowe; Goodbye, Charlie Sheen

Emmy ballots are being posted! (Performers, directors, and writers; note that they are .pdf files. ETA: Here’s a gateway to all categories–the hairstyling/makeup submissions are really fun to read!) We haven’t had much time to look over them, but there are always a few standout crazy moments:

  • Always fun to see the different writing submission strategies (which are also, of course, dependent on the makeup of writing teams)–The Middle submits one, Modern Family submits nine. Nine. Glee submits one per writer, Cougar Town submits eight. Friday Night Lights submits only the series finale; Covert Affairs submits eight and Burn Notice nine. I don’t know that one strategy is superior to another (hard to imagine Burn Notice, which I like very much, getting a nom, while Modern Family will likely get a few), but it’s fun to play with.
  • No America Ferrera for Guest Actress for The Good Wife? Boooooo.
  • No Jennifer Aniston in Guest Actress for Cougar Town? Odd.
  • As suspected, Rob Lowe–God love him–thinks he’s a lead actor on Parks and Recreation. Maybe Charlie Sheen’s absence will open up a slot for Lowe (is there a back door through which Sheen can still make it in? That…is probably not a good way to ask that question).
  • Oh, y’all, Community submitted the Christmas episode in the animated category. Love it!
  • The headshots are golden. Nice knit hat, Alan Cumming. Jennifer Love Hewitt managed to find three different headshots for her three different submission. Bless.

What interesting tidbits are you finding?

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?

GLEE “Showmance”: More Offensive Than An Elementary School Production of “Hair”?

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Should have seen this coming–after such a gleeful pilot, one that probably had quite a bit of time and money behind it, will the time and financial crunches of putting out weekly episodes take a toll on the joy of Glee? Maybe–this first post-pilot episode had access to some great tunes (Gold Digger? Really? Hee–wonder what Kanye thought of that), but the production was much sloppier than what we saw in the pilot (Sync. The. Track. SYNC IT!!). While Jessalyn Gilsig added some shading to her gold digging wife by the end of the episode, it’s hard to cheer for adultery, even if the spouse being cheated on is unsympathetic and even if the cheating to this point is “only” emotional. And for a show that is probably drawing some of the High School Musical crowd, this thing is dirty. I’m not saying that’s necessarily a bad thing–if you don’t know what you’re getting into with a Ryan Murphy show, you’re not paying enough attention, and the dirty jokes were the funniest of the night–but anyone who had been assuming that their Glee-obsessed kids are getting the adventures of some adorable moppets (“Hey, kids, let’s put on a show!”) set to better music than the HSM franchise could ever dream of had probably better sit down and watch the show with their offspring.

On the other hand…Push It. “Get up on this!” never stops being funny. Finn’s version of, um, thinking about baseball statistics gets the brilliant capper of his driver instructor/mother watching him hit the mailman and then screaming, “What are you going to dooooo?!?” Way to parent there, mom. The brochures in the guidance counselor’s office (“My Mom’s Bipolar And She Won’t Stop YELLING” and “Wow! There’s A Hair Down There!”) give us hope that Glee will take up Arrested Development’s commitment to background jokes. It’s so early that the show may still have been finding its Glee legs as this episode was shot–here’s hoping they get the kinks out of the musical production and the love triangles and leave some of the kink in the jokes, because as long as Jane Lynch is striding the earth like a god, I’m going to have to watch Glee.

His Voice Was Filled With Evangelical GLEE: Pilot Rebroadcast Tonight

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Well, the summer heat has clearly fried some Bacon. I have piles of unwatched pineapples ripening on my TiVo since several last-minute summer dashes have taken me places that neglected to provide the USA Network and, therefore, Psych (seriously, national forest, who do you think you are?). It probably didn’t help that both Baconeers bought houses within a couple of months of each other (we shall pause here to allow me to envy Susannah for all of the packing and unpacking she’s already done). I’m just hoping we’ll survive the end of summer and limp across the finish line to the new TV season (whee–Bear McCreary is scoring two new shows!).

We’d be remiss, however, if we didn’t alert you to Fox’s re-airing of the Glee pilot tonight. This warm-hearted, tune-packed vision has gobbled up most of the pre-season buzz, and with good reason. It’s funny, rocking, tender, and ambitious all at once, and it wisely cast the delightful Jane Lynch to snark, just so you won’t go into sugar shock. We’ve already gone into more detail on the pilot, but you can imagine that the news that Kristin Chenoweth (and her four-octave range American Idol keeps touting) has already filmed a guest appearance has us singing, too. Don’t pass up Glee because it sounds too sweet or because you want to rebel against what all the cool kids are doing–you’d be missing out on a show that’s sure to be in contention for the most complete and joyful TV-watching experience of the new fall season. Tonight on Fox at 8:58pm Eastern and Pacific (so I guess not enough people Think They Can Dance to fill a full hour).

GLEE “Pilot”: Questioning Your Commitment to Sparkle Motion

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Fox gave us a little taste of high school choir dramedy Glee last night after American Idol, and let’s be honest: that was good strategy. I loved the darn thing. Loved its guts. Any show with an a capella version of “Moonlight Sonata” and a huge choir’s worth of kids in polka-dot 50s dresses belting out “Rehab” has so got me on its side.

I do wonder, however, whom Fox is targeting with this show. The numbers, particularly among young viewers, don’t look huge but don’t look bad, which gives me hope. Maybe there really are millions of other people out there who, having  just been surprised on a cross-country flight that Delta’s entertainment system includes Spring Awakening (it’s the bitch of flying), screamed “It’s WENDLA!” when Glee’s version of Tracy Flick graced the screen (Lea Michele is a wonderful balance of ego and vulnerability here). Maybe the young people understand the greatness that is Journey. Maybe everyone else who watches Fox has a congenital inability to change the channel if they trip over Camp (hey, where is Fritzi these days? Ooh, she’s Stacey Pilgrim! That’s so cool! Ooh, she’s also in Twilight. That’s so not cool). Maybe millions of other viewers howled laughing when Tracy Flick, upset at the possibility that having the kid in the wheelchair take the lead on “Sit Down, You’re Rocking the Boat” was meant ironically, snapped, “There’s nothing ironic about show choir!”…and then had to wonder if they would have understood the irony of show choir when they were her age or if they were in fact Tracy Flick. Were there enough of us rocking that boat in high school to support what, given the music rights, will have to be an expensive show?

Here’s hoping so, because even with some of the creakiness pilots tend to have (the musical theater kid in a Marc Jacobs jacket [Chris Colfer] gets thrown into a Dumpster by jocks? I’m shocked), this was a hoot. Presumably, we’ll be following the adventures of whether financially-challenged teacher Will (Matthew Morrison of Broadway’s The Light in the Piazza, Hairspray, and Footloose) can support an expanding family while paying for glee club, whether his shaky marriage can withstand both his wife’s spending habits and the adorableness that is fellow teacher Jayma Mays (Heroes, Pushing Daisies), whether star QB Finn (Cory Monteith [Kyle XY]) can bridge the jock/singer divide, and whether our plucky band can win the championship. As long as they sing and dance the whole way (to Journey songs!), I’ll likely follow them down the yellow brick road. You can make the wait until fall shorter by catching the pilot on iTunes (free, at least for the moment) and Hulu.