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?

Advertisements

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?

Squee! It’s…

Ooh, double squee tonight. The brilliant William H. Macy returns to ER in their continuing self-congratulatory parade of former stars (eh, they survived 15  years–let ’em have their parade. If it weren’t for Macy, we wouldn’t notice it going by anyway). Though perhaps best known for films such as Fargo, Boogie Nights, Seabiscuit, and Pleasantville, Macy’s won a boatload of awards for his work in TV movies like The Wool Cap and Door to Door and has been a guest on many well-known series. We, unsurprisingly, will always love him for stirring up trouble and then resolving it on Sports Night.

On Bones, Deirdre Lovejoy pops up as a US Attorney. You’ll remember Ms. Lovejoy not as part of the reverend’s family on The Simpsons, but from Eli Stone, Law & Order: Honey Barbecue Flavor, and the last great episode of The West Wing (“The Supremes”). We remember her most fondly, however, as another attorney: ADA Rhonda Pearlman on The Wire. Just thinking about her makes us happy, because Pearlman was one of the few characters who got an unobstructed happy ending (Cedric Daniels/Lance Reddick, rowr). She’s joining Bones for the return of the Gravedigger storyline; since that plot produced what might be the show’s finest episode (2006’s “Aliens in a Spaceship”), we expect all kinds of sparks to fly tonight. Bones appears on FOX at 8pm Eastern and Pacific; ER on NBC at 10.

The Ten Best Television Moments of 2008

I’m one of those grouches who generally doesn’t love New Year’s Eve, spending the evening grousing in a corner about another year slipping away into the ether. In a lot of ways, however, 2008 has been great enough to kick me out of that rut. This year, we saw whales in two different oceans and camped with alligators and saw David Tennant and Patrick Stewart in Hamlet (side note: truly excellent) and touched Paul Revere’s headstone and made awesome Brussels sprouts and actually did workout programs. Heck, one of us even survived a hurricane and a week without power by washing dishes in rainwater while one of us had a chunk of her head removed and lived to tell the tale (should we give out prizes if you guess which was which?). Good year.

A lot of times, it didn’t feel like TV kept up–although we did (and still do) support the WGA in their strike, the repercussions slammed down 2008 TV pretty hard. We can’t say there’s a new show from the fall docket we actually, you know, watch, and that probably has a lot to do with the munched-up development season. We lost a bunch of old TV friends this year, too (shut up, ABC). Upon further reflection, however, we found plenty to celebrate in TV 2008.

This is only our list, of course, made up of shows that we watched. If your top ten list is different, feel free to leave a comment letting us know what we’ve egregiously omitted (or criminally overrated). Fair warning–any video or links may have spoilers.

10. Tina Fey asks whether the vice presidential debate will include a talent portion on Saturday Night Live (October 4 on NBC): It’s probably stretching things to suggest that a comedy show decided the US presidential election, but it’s hard to deny that David Letterman’s jilted outrage and Fey’s spot-on impression of Sarah Palin put the McCain/Palin campaign in an unenviable position: they moved from being candidates to lead a superpower to being punchlines. Fey might have done more to revitalize late-night comedy in a couple of months than she did in years as SNL‘s head writer.

9. Amber shuffles off this mortal coil after trying to do House a solid (“Wilson’s Heart,” May 19 on Fox): House is essentially a procedural, just one set in a hospital and with a really tremendous lead. House will guess the Disease of the Week is vasculitis about ten minutes in and then manufacture a crash cart crisis right before every commercial break. It really stands out, then, when they break that pattern, and they’ve never broken it like they did when they broke Wilson’s heart. Watching doctors who deal with life and death every day shed their professional armor to say goodbye to the colleague they can’t save gave us emotion we rarely see from this crew, and the resulting break-up between Wilson and House drove the fall run of the show. Part of the reason Hugh Laurie is so great on this show is because Robert Sean Leonard raises his game, and Mr. Leonard has never been better than here.

8. Shawn asks his (appalled) father for a pair of his underwear in an auto shop classroom on Psych (Murder?…Anyone?…Anyone?…Bueller?,” July 25 on USA): Maybe Psych is more fun for those of us old enough to remember all the pop culture gags the show tosses out at lightning speed. No episode had more of those gags than the one centering around Shawn and Gus’ 13-year (yes, you read that right) high school reunion, which was a cornucopia of 80s teen movie jokes. Having a reference to Abe Froman, Sausage King of Chicago, or ending the show with the Breakfast Club fist in the air is nice, but what really put us over the edge was Shawn bonding with Henry in a dark auto shop classroom…and then asking for his underwear in a Sixteen Candles homage so funny it makes us want to break into a chorus of “If You Were Here.” We wonder if Shawn’s long-lost mother will claim that she paid a buck to see Henry’s underwear at the dance.

7. Desmond finally finds Penny–or is it the other way around?–on Lost (“The Constant,” February 28 on ABC): I’m neither the biggest Lost fan around nor the biggest romantic, and even I got all teary at the end of this one. After an episode of bouncing dangerously through time and space revisiting his own past and salting in potential clues about physics and relativity, Desmond faces the same fate as others who have messed with the island: death by nosebleed and seizure. How is he able to avoid such a sorry end? He has a constant in time and space. Penny’s looking for him, too. In one quick scene, Lost gains more emotional momentum and satisfaction from an oft-referenced but rarely seen character than it does from many of its regulars.

6. Jason Lezak’s come-from-behind relay leg keeps Michael Phelps’–and NBC’s–Olympic dreams alive (4X100m freestyle relay, August 11 on NBC): The Beijing Olympics left a big footprint on the television landscape this year, and no athlete was more of a Sasquatch than 8-time-gold medalist Michael Phelps. We were able to learn more about his diet, his mother, and his dog, however, because his 32-year-old teammate, Jason Lezak, hunted down recent world record holder Alain Bernard of France to keep Phelps’ record hopes alive. Lezak made up half a body length in 25 meters and merely swam the fastest relay split in history. It wasn’t an implausible comeback–it was an impossible comback. And it was almost more fun to watch Phelps scream his teammate to victory just like we were than it was to watch Phelps swim.

5. Crews and Reese find unhappy surprises in trunks scattered across LA in the season opener of Life (“Find Your Happy Place,” September 29 on NBC): Other detective shows focus on how ugly the world can be. Life is different because it focuses instead on how unsettling the world can be. A nearly dialogue-free opening with our heroes helplessly opening trunk after trunk containing dead bodies underscores why the conspiracy hiding who framed Charlie Crews is so important. In a world so unsettling, we need Charlie Crews (and Dani Reese) to find the bad guys and keep us safe…but Charlie isn’t even able to protect himself, not even with a Zen attitude and a lot of fruit. The typically brilliant musical choice accompanying the scene–Gram Rabbit’s “Devil’s Playground” –says it all: the mean streets aren’t so cheap as to just murder you. They’ll play with you first. Better hope Charlie is there to help.

4. Chuck hears her mother talk about giving birth to her on Pushing Daisies (“Oh Oh Oh…It’s Magic!,” October 29 on ABC): Lonely Tourist Charlotte Charles can occasionally be a little grating (did you see that? Did you see how I slipped that little cheese pun in there? Hello?) in her insistence that everyone be as fascinated by their origins as she is. Still, given that her boyfriend accidentally killed her father with his magic finger and she’s only recently discovered that the aunt who raised her is actually her mother, Chuck’s obsession with her family tree is understandable. The end of this episode, with ever-patient third-wheel Olive wearing a wire and asking Aunt/Mother Lily an eavesdropping Chuck’s questions, gave us a window into how much these bits of information mean. We can’t put too fine a point on it: Chuck, who was told her mother died giving birth to her, is able to hear her mother say she knew her baby was an angel. It would have softened us toward Chuck’s perspective, but we were too busy crying our little hearts out with her. (And did Olive retreating to fantasy love while singing “Eternal Flame” make us cry, too? Maybe. A little. Hush, you.)

3. The TARDIS tows the Earth home on Doctor Who (“Journey’s End,” July 5 on BBC One; August 1 on Sci Fi): Doctor Who‘s season finales can be…a bit messy, and this one was no exception. Several old buddies didn’t really do much plot-wise but get in the way (really, what were the odds Martha Jones was going to use the Osterhagen Key?), but they needed to be there for one purpose: they needed to be there so we could see the TARDIS fully staffed, flown the ways TARDISes are meant to be flown. For one glorious moment, the TARDIS is viewed in all of its potential, with all of its might–it’s towing a planet. And it can because it’s piloted by a family, restoring to the Doctor so much of what he’s lost. Yes, the end of Donna’s story minutes later is crushing, but it hurts so good because everything was singing so beautifully such a short time before. From this point forward, every time we see the Doctor running around the TARDIS’ console and hitting things with sledgehammers, we’ll miss this moment, and something so indelible in a show that is so much about how things change is special.

2. David Simon and Co. say goodbye to Baltimore to close the series finale of The Wire (“-30-,” March 9 on HBO): One of television’s greatest achievements, The Wire revisited over and over again the idea that unless institutions change, the same patterns of poverty and corruption will keep destroying people’s lives. Perhaps the most amazing thing, however, was that in the midst of that soul-deadening truth, both the show and the viewers found characters to love, the most notable of which was Baltimore itself. The series-closing montage showed us not only where each of our beloved characters ended up (sweet merciful crap, how did he become police commisioner?!? The circle really is unbroken), but also the beauty and pain of the city they loved in so many different ways. I’ll never love a dining room table as much as I did in this moment of watching television.

1. Barack Obama’s acceptance speech (November 4 on various networks): Regardless of your political leanings, the sight of as many as a quarter of a million people crowding into Grant Park to hear the newly elected US president was a spectacle made for television. At the same time, the sight of sheets of bulletproof glass separating said newly elected president from the people he will represent is the kind of thing politicians used to be able to hide before the advent of television. Can you imagine FDR keeping his health issues a secret if there had been 24-hour news channels in his day? The thing that makes television different from other medium is the shared nature of the experience–millions of people might see the same film, but they don’t do it all at the same time. Obama’s acceptance speech, so rousing that researchers are using it to try to study emotional elevation, would likely have affected people anyway, but the exponential expansion of that elevation that comes from sharing it with millions of other people comes thanks to television. And the inability to hide things less elevating, things that still need fixing, is in many ways thanks to the real-time, moving pictures television is able to provide. There’s some talk that web-based communication will supplant this function, but I’m not sure texts can ever create elevation the same way watching history unfold can. Even in a television year that may not have been historic itself, this kind of participatory history gives us something to celebrate about television.

LIFE Makes AFI’s Top Ten of 2008

life_s2_promo

NBC’s Life received its first ever awards attention Sunday when the American Film Institute announced its top 10 TV programs of the year. The other television honorees (which include series, telepics and minis) are Breaking Bad, In Treatment, John Adams, Lost, Mad Men, The Office, Recount, The Shield, and The Wire.

Conspicuously missing from the list is award-darling 30 Rock, as well as other frequent nominees Entourage, Weeds, Damages, Dexter, and House. AFI awards are selected by a 13-person jury composed of “scholars, film artists, critics and AFI trustees.” Creative teams for the selections will be honored at a luncheon on Jan. 9 in Beverly Hills.

Why HEROES Is Killing Me

The Baconeers like comic books. We get it. We’ve been to Comic-Con more than once and read Brian K. Vaughn’s website and are dying to see what happens next in Powers and are worried about the Watchmen movie and are excited that Pia Guerra is drawing the new Doctor Who comic. I once cried like a baby while reading Runaways (it was something the Leapfrog said. Shut up.). Really–we like comic books. Heck, we’re even very fond of Tim Sale and Jeph Loeb together. So it’s not an anti-comic worldview that leaves us easily irritated with Heroes. In fact, we wonder if it’s just the opposite–maybe it’s that we’re familiar with comic book structure and find it’s not working very well on TV…or maybe just on Heroes (even with Loeb and Sale on the team).

So we try to avoid Heroes, because, to be perfectly frank, we haven’t got time for the pain. There are too many characters complaining too often about having superpowers, for heaven’s sake, and making too many stupid choices about too many alternate universes (I’m especially fond of Alan Sepinwall’s assertion that if you give either Peter or Mohinder any two choices in the world, they will pick the wrong one). Even Hiro seems to have the special power to get dumber every time he uses his superpower, which is just about the end of things as it ruins the only character worth rooting for.

Why, then, can you catch me tuning in to Heroes on a fairly regular basis? In spite of accusations of masochism (which may not be entirely unfounded), it’s because they’re as good at casting as they are bad at telling a story that makes any sense. Starting in Season 1 with the reveal of Malcolm McDowell as an ultmate baddie, the show has larded in more characters than any three shows could handle–but they’ve gotten some of the most engaging actors around to play them. Veronica Mars love means we’ll follow Kristen Bell almost anywhere–even to Heroes. We got a kick out of the brief reunion with Level 5 villain Francis Capra (Mars‘ Weevil). Dana Davis‘ upcoming turn on Pushing Daisies reminds us that her Monica disappeared into the Heroes void to make more space for characters like Maya (sigh). Jamie Hector has brought his scary smoothness over from The Wire, and he was joined recently by former castmate and TV Bacon’s top Emmy vote-getter this year, the wonderful Andre Royo…who was promptly sucked into his own vortex just as we got to know him. Now they’ve topped themselves by introducing Robert Forster as Arthur Petrelli. This season has been a lot about the questionable family ties in the Petrelli family, and I’m guessing this means Peter isn’t really a Petrelli–Robert Forster can act.

Please, Heroes, we’re begging you–either figure out how to translate comic book grammar to the small screen, or start pulling cast from The Hills and put us out of our misery.

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?

THE WIRE, SCRUBS Honored as Humanitas Finalists

The Humanitas Prize has announced this year’s finalists, which included episodes from Boston Legal, John Adams and The Wire in the 60-minute television category and The Bill Engvall Show (that sound you hear is me scratching my head), In Treatment and Scrubs in the 30-minute category.

The Humanitas honors film and TV writing that “explores the human condition in a way which affirms the dignity of the human person and reveals common humanity.” The complete list of finalists is behind the cut.

Continue reading

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.

Squee! It’s…

Double squee! It’s Percy Daggs III and Wendell Pierce on In Plain Sight tonight. While Daggs has appeared in everything from Any Day Now to Freaks and Geeks to NYPD Blue, we loved him as Veronica Mars’ best buddy Wallace Fennel. If you didn’t forgive them for the hackery that was “One Angry Veronica” when Wallace showed up at Veronica’s door on New Year’s Eve, your heart might be a titch hard.

Wendell Pierce has been in a ton of movies and one-off appearances in shows as diverse as I’ll Fly Away and Women’s Murder Club, and he has a penchant for appearing in shows named after people (The Gregory Hines Show; The Brian Benben Show; The Weber Show. When did you ever think you’d see those shows together?). Perhaps most amusing, he shows up on Law and Order (Original Flavor) every three or four years–as different characters. He was at his most brilliant, however, as Detective Bunk Moreland on The Wire, a cop who drinks way too much and lets Jimmy McNulty get away with way too much, but who can’t help being the one guy standing tall in the end. It appears the shoe is on the other foot tonight, as he’ll have to deal with Marshal Mary and Marshal Marshall. I suspect he’ll like the latter better.