I don’t watch that much TV, and I don’t get out to too many movies (being somewhere just between destitute and surviving), but I do have fingers on the pulse of pop culture and some keen intuition. Here’s my guesses as to how the SAG Awards 2010 are going to go, based on reading the list at the link.

Why Are Award Men Always Nude...

• Outstanding Performance by a Male Actor in a Drama Series for Television: I’ve heard wonderful things about both Mad Men and of Breaking Bad, but as Bryan Cranston’s show doesn’t get nearly the hype of the Jon Hamm one, and he didn’t win it  last year or the year before or the year before that(though nominated thrice). My guess is Jon Hamm, for ignoring him this long.
  
• Outstanding Performance by a Female Actor in a Drama Series for Television: I don’t watch any of these shows, but apparently Kyra Sedgwick, Holly Hunter, and Glenn Close are back in the nominations after not winning the year before last. I don’t think they’ll win though, mostly because they’ve only waited two years. My guess is Julianna Margulies, in continuing re-opening the trend (after Sally Field won last year for Brothers and Sisters): doctors and mobsters won the two years before the family drama interruption -  the next logical progression is bringing it back with lawyers.
• Outstanding Performance by an Ensemble in a Drama Series for Television: This one, in my book, goes to Dexter for bringing John Lithgow onto the cast. Though I haven’t watched this season, I know that Lithgow brings awesomeness to any cast he’s in.
• Outstanding Performance by a Female Actor in a Comedy Series for Television: This one goes to Christina Applegate, mostly for the cancer thing and because Tina Fey won the last two years. 
  
• Outstanding Performance by a Male Actor in a Comedy Series for Television: I’m thinking Tony Shaloub because Monk has had its series finale and Alec Baldwin took it for the past three years.
• Outstanding Performance by an Ensemble in a Comedy Series for Television: 30 Rock took it last year and The Office won for two years in a row before that. In my head they’ll give it to 30 Rock to continue the trend and for snubbing them in the other awards.
• Outstanding Performance by a Male Actor in a Television Movie or Miniseries: Jeremy Irons and Kevin Kline are both back on the list, each taking one in the past three years (Paul Giamati is sorely missing). In my mind this only leaves Tom Wilkinson, because I think the running’s slim for Cuba Gooding, Jr. and Kevin Bacon.
• Outstanding Performance by a Female Actor in a Television Movie or Miniseries: Sigourney Weaver is my best guess, considering I never even heard of any of these movies/miniseries and she’s only been up for one once before. Drew Barrymore hasn’t seen any noms from SAG, and this should tide her over for a while yet.
• Outstanding Performance by a Male Actor in a Supporting Role in a Motion Picture: Last year it was Heath Ledger (The Dark Knight), Javier Bardem (No Country for Old Men) before that, and the year before that Eddie Murphy (Dreamgirls), so no theme to draw from. Christopher Plummer has been nominated twice before, and he’s not getting any younger, so I think it’s going to him – a decision based on not seeing any of the movies on the list.
• Outstanding Performance by a Female Actor in a Supporting Role in a Motion Picture: Kate Winslet, Ruby Dee, and Jennifer Hudson won the past three years. If they keep to the trend it’d be Mo’Nique, but something in my gut says they won’t. Nominated previously for The Departed, Vera Farmiga has a good chance, I think.
• Outstanding Performance by a Male Actor in a Leading Role in a Motion Picture: Sean Penn, Daniel-Day Lewis and Forest Whitaker took it these three years past; I think it’s up in the air here between George Clooney and Morgan Freeman.
• Outstanding Performance by a Female Actor in a Leading Role in a Motion Picture: Years past saw Meryl Streep, Julie Christie, and Helen Mirren getting the award. This year, I think it’s Meryl Streep, because everyone loves her and because (with 77 miscellaneous awards over her career) she hasn’t won enough yet.
• Outstanding Performance by a Cast in a Motion Picture: This one went to Slumdog Millionaire, No Country for Old Men, and Little Miss Sunshine in the past years. This year, I say it’s heading for Nine, because it’s artsy-fartsy, has singing and dancing, and because it’s not in a single other category, and sometimes you gotta mess with people’s perceptions.

Wow, we made it through this together. Think I’m way off? If you’ve got your own guesses tell me down in the comments, and be sure to include why you think that award’s going where. Tune in to TNT or TBS 8pm on January 23rd, 2010 to find out who, if any of us, are right.

Also, for your perusal, linkage to my sources for past award winners: 2009 , 2008 , 2007

Check here for the review of the first season.

The experiment gets out of control in the second season of AMC’s Breaking Bad. Bryan Cranston shatters suburban stereotypes in his performance as chemistry teacher turned drug kingpin Walt White. As danger and suspicion around him escalate, Walt continues to straddle two conflicting worlds: A ruthless swirl of drugs, murder and mayhem on one hand, and a complex and emotionally fraught domestic life on the other. In the no-holds-barred world of Walt White, the end justifies the extreme.

Episode 01: Seven Thirty-Seven
Interesting episode, and it felt like a normal episode, like the sequel to the last episode and not really like a monster-hammer-uber-cool season opener. But I am thankful that it’s not. Breaking Bad still concentrates more on the characters and their relationship.
Hank (Dean Norris) and Marie (Betsy Brandt): I hope both of them are getting an interesting story this season, because they managed to get more interest into the characters. And it is nice that Skylar (Anna Gunn) and Walt have exactly the same problems like Hank and Marie – but Skylar is pretty much more into the search for a reason, why the marriage won’t work at the moment.
A shame that I am spoiled, or I would ask myself what the beginning is meaning; but I can’t begin something with the little sex scene of Walt and Skylar in the kitchen. He almost was about to hurt her.
The rest of the episode (the main story arc involving Tuco [Raymond Cruz]) was good. Not only Walt and Jesse (Aaron Paul) get paranoid and try to prevent from being killed by him (interesting episode cliffhanger, btw), but Hank as DEA at the crime scene with the two bodies. And especially Jesse trying to open the revolver (hilarious) and Hank seeing their rob from last season from the eyes of a security camera (“It’s a barrel, roll it!”). Some hilarious scenes in here and a lot of dark character drama. The second season begins like the first season ended. 7,5/10

Episode 02: Grilled
Holy fuck, what an awesome episode. And another example why this series can’t work on network television. Almost everything in this episode was perfect, just the story with Skylar, Walt jr. (RJ Mitte), Marie and Hank trying to find out where Walter is was a bit boring, but the story with Walter, Jesse and Tuco: OMG, how awesome was that? I wished to see a whole episode about that, not interrupted by any other story, and this would be a mega-uber-cool-awesome-whatever-episode.
Tuco really is a crazy person and it is kind of a shame that Hank killed him here – it would be awesome to see him in a few episodes more, because he was just… too crazy in here. But his death gives the writers a chance to begin a new story. Walter and Jesse were in too deep in these last episodes and if Tuco would be still alive and dealing with Walter/Jesse, Hank would come really close to what Walter and Jesse are doing.
All of the scenes in the desert were awesome. Beginning with Tuco talking to Walter about trust, over Jesse’s efforts to poison Tuco until the shoot-out finale Tuco versus Hank. Just awesome, with lots of atmosphere and thrill, a bit humor on the side and a scene full of action.
Really an awesome episode. It would be full ten, if we had less Skylar/Walter jr./Marie. 9/10

Episode 03: Bit By a Dead Bee
The episode was good, but Tuco’s death slows the series kind of down. Like I said, the last episodes with the Tuco story was more than interesting, and now it is over. It’s a bit of a shame, but I am eager to know what is coming for the rest of the season. Walter obviously won’t give up with the cooking (even after all the shit he experienced).
The whole damage control was a nice idea, but I don’t understand why Jesse did all of this and why Walter risked so much. Jesse gets arrested by the ATF and Hank gets to know Jesse – kind of dangerous situation for Walter and Jesse, especially after the deal with Hank and Tuco. At least this brings forward the story a bit. Hank gets closer and closer to the two “idiots” cooking the most clearest meth in the city.
Walter and Skylar were good as well, slowly there is trouble coming for their relationship. Skylar suspects that Walter has secrets (let’s see how long the story around the second cell phone will hold on) and Walter just doesn’t care about it. 7,5/10

Episode 04: Down
Another one of those episodes which feel like a filler, but are actually not. The story concentrates on getting Jesse a new storyline while ending all the other loose ends, and Skylar has difficulties to figure out what’s wrong with Walt, who has no idea what is going on with his family, especially with his son. And even though they are typical storylines, which are suited for a perfectly family series full of emotional drama, it just suited the series right here. Finally Skylar and Walt are having some problems, after they were signs of it from the beginning of the series. And it is probably a preparation for Skylar finding out the truth about Walt and what he’s doing in a couple episodes, maybe the season finale.
Jesse being kicked out by his parents and trying to look for a new stay was interesting; his fall into the John was funny and awkward at the same moment, and I even could feel his “pain”, after he entered the trailer – he is really down in life.
Now the story needs its time to bring Jesse and Walt together back in business again, and it could take a while, after all the problems both of them had – together and separately. And despite the feeling that
the series is told very slow, I hope this story gets picked up fast again. 8/10

Episode 05: Breakage
A good episode, and Jesse and Walt are back in business. And surprisingly in their own business, even though it was predictable that one of them would have the idea to run their completely own business.
Walt with more problems with his wife; Hank partly in the center of the story with his mild panic attack(s) (I say that the supposedly shooting in his house, which was revealed as his beer bottles losing pressure, as another mildly panic attack of his), Skylar trying not to talk to Marie; and Jesse moving into a new apartment and having to learn to deal with his “colleagues” – especially the last point could lead into a really interesting story. But I already know that this won’t come, for that Jesse is still too much of an addict and a pussy to handle “big problems” – Walt clearly has more balls than Jesse.
The episode feels like a new beginning and probably like the “real” season beginning, though we are already in the fifth episode. 8/10

Episode 06: Peekaboo
Awesome episode. And it was over way too fast. I had the feeling, I just watched the episode for 30 minutes, but it was 46 minutes long – awesome how the writers can tell stories without any length. While Walter’s story involving Gretchen (Jessica Hecht) was interesting (and I already forgot about the part that Gretchen and Elliot wanted to pay Walter’s treatment), Jesse’s story was awesome times ten. He tries to get his money back from the guys who stole his meth – and I didn’t even expected that this story wasn’t over. I was surprised, when the opening scene revealed that Jesse wanted to get his money back. And the he breaks into this shit house and there is a little boy… this was a real strong WTF moment, and all this emotional stuff came into my brain and my heart: How can parents like these raise a child in this house under these circumstances and why is nobody else noticing? How Jesse dealt with the boy… awesome acting by Aaron Paul; how the parents dealt with Jesse… awesome acting as well, I totally bought their addiction and their disinterest for what’s happening around them. And then the wife kills the husband, while he tried to crack up an ATM machine… WTF? This story was really awesome and it will stick in my brain for quite a while. Wow.
The side plot with Walter gave some information about his past – interesting development. So he once had a relationship with Gretchen and he left. So, he said that they are saying his treatment, which isn’t right, and Gretchen learns about that. And the dinner Walter and Gretchen had… awesome acting by Bryan Cranston, how he tried to let her hate him, simply wow. And I like the producers for not losing the language they had in season one. They still brought in the “Fuck you”, though it had to be muted. I just wished that Gretchen would have told Skylar the truth, so the story would come forward for once in a while. It looks like Walter has to lie again (and boy did he lie to Skylar at the end). 9/10

Episode 07: Negro Y Azul
This episode was hilarious. Jesse is a hilarious character. He buys a flatscreen, invites Jane (Krysten Ritter, finally on my radar, after I saw her in various TV shows, but never noticed her) to his apartment and both are sitting in front of a flatscreen, who is looking for satellite signal – hilarious, probably the most funny scene in the series so far. The song in the intro scene – hilarious and something complete different. All the opening scenes in the episodes are somewhat complete different from the rest of the episode. And the song could be a chart breaker, I had a little ear worm of it during the episode.
The story was a bit lame though. It mostly prepared for what’s to come (especially a little love relationship between Jesse and Jane) and it foreshadows what problems Jesse and Walter will have in the future, when they really expand (nice explained in the song); and with Hank in his new job we even had a storyline, which could be outside of the main story arc. The explosion of the turtle with Danny Trejo’s head on it (I am sad that he already is dead, I already was hoping he could be a recurring) was awesome and so unexpected. I thought Hank would have another heart attack, but instead the turtle explodes and pulls a few DEA agents with him – such an awesome scene.
And Skylar gets her job back she quit four years ago, together with some revelation of her past – very interesting. It really looks like the writers either want to plan ahead for the next seasons, giving Skylar a probable relationship, when she breaks up with Walter (which will happen, when she finds out), or she gets an own storyline, so that she has problems on her own for a while. The sexual harassment doesn’t seem over for me, and this lies four years in the past… 8/10

Episode 08: Better Call Saul
Well, it looks like another preparing episode. Danny Trejo got killed last episode, so the series needs another recurring actor and character, and why not Saul (Bob Odenkirk), who was introduced here? He is an interesting character and he seems like he wants in to the business Heisenberg and his younger partner have. And I never thought about a third business partner entering their business, and now it seems to happen – could be an interesting storyline, especially with Walter, who only does that for the money, and Jesse who is practically an addict. The standoff at gunpoint between the three in the desert was hilarious; how Saul turned the tables was just awesome. And he was right at the end: When is the ATF finding him? After the scene in which the fake Heisenberg was caught and we saw Hank thinking about it, I was thinking that Hank isn’t believing all this shit happening, like he smells that something ain’t right.
Jesse really has a relationship now, very character developing of him. I am already thrilled what happens when he falls back into his addiction (or when she will fall back) – it just seems illogical that she is starting with him a relationship at all. She is in rehab, she has to know that he would bring her back into the weed, meth or whatever. But as long as Jesse has a different storyline than drugs and dealing, I am excited.
Well, and for the rest: I already forgot it, because it was not important. It was more of a lame episode than revealing; the writers still want to write some new stories and need a few episodes for it. 7/10

Episode 09: 4 Days Out
This show is absolutely awesome. Like “Grilled” and “Peekaboo” an awesome strong episode, and this time the writers chose not to tell a separate storyline in the episode, instead we saw Walter and Jesse all the time. This is probably the best episode of the series so far. Absolutely amazing.
Walter’s and Jesse’s trip to the desert to cook all their meth for the next weeks was awesome, and I didn’t even expect that anything could happen. But from the moment Jesse put the key in the ignition I knew something would happen, at least the battery would go dead and both of them are stuck in the middle of nowhere. And how they got stuck… It is always fun to watch, when the both are fighting with each other; Jesse, the dumbhead and Walter, the genius. They were always complete different persons, and the writers show it all the time, when they are working together. But there was one funny scene: When Walter and Jesse took off their clothes, I had to spontaneously laugh, because I was thinking that Jesse was about to prostitute himself for a paying Walter – at least it is what a cop would think, when he would enter the trailer at this moment.
I am curious how this story will develop during the next episode. The trip definitely won’t be forgotten; either Skylar finds out that Walter wasn’t with his mother, or she looks at the phone bill. That Walter is in remission, is a complete different story, which open new doors, and obviously new developments in the characters. Awesome scene when Walter beat the crap out of the dispenser.
Definitely a highlight in cable TV. 9,5/10

Episode 10: Over
Interesting episode with a really interesting and mind-blowing ending. Obviously Walter wants to keep his territory, and how he told the guys to stay out at the end… awesome acting. I had big eyes and an open mouth, so unexpected was this scene.
The rest of the episode was simple, some parts were preparing for another story, some parts were just interesting. Are Jesse and Jane about to have a real relationship. Until now it was for her just a sex thing, he seems to be in love, and when her father Donald (John de Lancie) entered the picture she made it clear that there is no chance of a proper relationship. This surprisingly gives character development to Jesse and Jane. For Jesse interesting, because he is
about to lose the one thing he hopes for to work his miserable life right (shown in his scenes, where he smoked one cigarette after another and then meth), for Jane interesting, because she gets some character development, though she is only recurring for now (but I don’t think she will be for a while).
While Walter is “renovating” the house, Skylar is about to cheat on her husband. She notices that he doesn’t have any interest in keeping up the marriage, and so she looks for a replacement in her boss Ted (Christopher Cousins). I think this story will develop big, we are three episodes before the season finale, and with Skylar’s relationship to his boss (and Walter’s plans to keep his territory) there is something big coming as season cliffhanger.
To the scene at the beginning: It is really a shame I am already spoiled, or the picture with the two body bags besides Walter’s car would be really awesome, and I would ask myself if somebody from Walter’s family would be in there… 8/10

Episode 11: Mandala
Damn, I seriously like this season with these last episodes; this was another great episode with a really great ending.
I saw it coming that Jane will go back to the drugs, and here it happened. It was a great scene, when she stood at the door and made her choice. She went back to Jesse and knew she would go down the road again, when she opened the door to his room. But to see her actually taking drugs again was a little bit of a shocker. First she smoked the meth, then she came with needles and the strong stuff – not only is it positive that a series about drugs tells a story about drugs, but this scene was just… whoa. To see someone going down the hell road through drugs in a cable show.. well, I didn’t see any shows of that kind. And with that in mind, Jesse has now an addiction to fight against, which will develop into a more different business relationship with Walter.
Who is looking for a deal of his life. When he sat across Gus (Giancarlo Esposito) and talked about the future relationship, both characters clicked instantly, and I hope Gus is returning in later episodes, though his deal with him seems to be over after he didn’t manage to deliver the product in time. The last four, five minutes were awesome, how Walter tried to call Jesse, broke into his apartment and tried to wake him up. The scene was somewhat between hilarious and totally serious with thrill, especially with Skylar having a baby at the same time, when Walter tries to make the deal of his life – the time couldn’t be more bad. 8,5/10

Episode 12: Phoenix
Fuck, a seriously good episode with an ending I didn’t expect. And I totally didn’t expect how fast the story of the series changes. From trying to get money through cooking and dealing with drugs to the drugs you take and bring death to the ones who take them.
It was surprising that Walter made the deal at the beginning of the episode, for the cost to miss the birth of his daughter. The rest of the story involving his family was not really interesting, Walter jr.’s “charity site” even was a bit too much, but necessary if the writers really want to use this plot device for bringing the money into the game.
While Jane got amount of screentime this episode (and her father as well) I was thinking that she could be a recurring for the next season, or at least for some more episodes to show the fall of Jesse into his addiction. And then she dies at the end, choking on her own vomit – whoa. I couldn’t believe what I saw. If this wasn’t enough, Walter was in the room while it happened and did nothing – that was even more cruel to see. Walter is responsible for Jane’s death, he could prevented it, but he did nothing. Excellent acting by Bryan Cranston at the end. He was more than believable in this “I show Jesse that drugs are dangerous, but – oh no – I am responsible of this girl’s death” matter; I really could express the feelings, anger and desperation.
This episode kind of prepares the season cliffhanger for the characters. Walter has to deal with Jane’s death, Jesse has to deal with her death and his addiction, and I already am spoiled what happens in the finale, so everybody has to deal with much bigger problems than before.
This is why I like this series so much and is probably the best TV series currently on the air. 9,5/10

Episode 13: ABQ
The four episodes with the black-and-white intro, connect their episode titles and you get “Seven Fourty-Seven Down Over ABQ” – practically you saw the cliffhanger of the season before the season finale, and the first scene of the season was part of the cliffhanger. Pretty neat of the producers and an interesting way to show us a cliffhanger during the season.
The season finale was good, but after the last episode I had higher expectations about what was going to happen here. I was waiting of more drama, especially between Walter and Jesse. But Jesse didn’t even have much screentime and only was part of the first act (in which Aaron Paul did an awesome acting job), so that was practically missing. But it was nice to see that Walter was there to help him out of this misery. It is just interesting to know what would happen if he learns the truth about Walter witnessing Jane’s death, if the storyline ever comes back. It would be sad, when it comes back, because it would be a cliché.
Jesse and Jane’s father are dealing with Jane’s death (Krysten Ritter can play a corpse pretty good), Jesse is going down the road of drugs, and just can be helped by Walter (it is interesting that there is nobody in Jesse’s life, who could do such thing – he has no friends, no family, and he just lost his girlfriend) and Jane’s father Donald is responsible for two planes crashing, because he can’t get over the grief. Basically Walter is responsible for the plane crashes as well, because he let Jane die. When he learns the truth about that (finding out that Jane’s father was the air traffic controller, who let the plane crash), he will be even more miserable than he already is.
I didn’t know what to make of the 6/7 week jump into the future. First I thought it was awkward, but it was necessary for letting Skylar learn about all the lies Walter told her. But I don’t even know if this cliffhanger was necessary for this episode. It would have been awesome to see this story starting in the season premiere next season. This way, it seems a bit too much and the writers wanted to give Walter all possible cliffhangers he could get. Another thing is that we didn’t see Jesse after the flash forward – what happened to him?
Hopefully Saul and Gus will be in the next season. Saul was an interesting character in the last episode, and I was surprised to see Gus with the ATF here (this definitely was not a tour trip).
All in all: Good season finale, interesting stories for the next season. I am waiting. 8/10

Season average is 8,27, which makes Breaking Bad to my number one show right now. Of all seasons I reviewed here so fast, the two of Breaking Bad landed above the 8-point-mark.
I planned to watch this season way earlier, maybe together with the TV airing, but I didn’t have any time for new TV shows. At least I got this one finished, before AMC starts airing the first season in March 2010. Maybe I will be able to write single episode reviews.
Nurse Jackie is about to get finished soon, and you can expect five seasons of Lost from me before the start of the sixth and final season. Currently I am watching the episodes and write lots of stuff about the episodes.

Somehow this got lost in the shuffle of my tv viewing. I had it all recorded on my tivo but wanted to watch the first season before this season….

Anyway another fantastic season of the show and Bryan Cranston definitely deserved his second emmy award for his brilliant work. I just found every episode interesting and fantastic and I loved how they connected it all together with teases of the final few minutes off the last episode. The whole season you were wondering what happened, why is that bear in the pool? Why are there dead bodies? WHAT COULD HAPPEN? I think the whole message was look at how things are connected and the tiniest little thing can end up being a huge problem.

Lets get back to the beginning. I really like how every episode is a slow build yet from the beginning of the season to the end so much has happened. We had three episodes dealing just with Tuco but by the end of the season the show has moved on that none of that really matters.

The Tuco episodes were done masterfully. “Seven-Thirty-Seven” continued to set up where the season 1 finale finished. Tuco is dangerous and he will do basically anything in order to get his money and not go to jail. The second episode of the season that had Jesse and Walt in his desert house was also well done. Any show that can keep its two leads in the same environment for the entire episode and yet  still keep you on the edge of your seat is brilliant. “Grilled” will go down as one of my favorites.

After Tuco the series moves on a bit as Walt and Jesse try to figure out a new way to deal their crystal meth and decide to basically become their own distributors and have their own dealers that report to them. This of course makes Walt fictitious Heisenberg become a bit of an Urban Legend and the name starts getting thrown around in the DEA offices. Plenty of the episodes then deal with their troubles being distributors and not getting the money that they need or dealing with people who have found out about their little side job.

Walt’s cancer goes into remission, at least for now, and he has to think of a way to get the money to his family which opens up a side plot with the sketchy lawyer Saul Goodman. Another side plot has Jesse in a relationship with his co-tennant and landlord Jane. Who after a drug overdose dies causing her father, an air traffic controller, in grief to crash two planes.

That is basically the plot of this season but there are so many other stories. All of the characters become even more developed and you start getting to know them a lot better than you did in the first seasons seven episodes. Skyler has her baby and doesn’t want anything to do with Walt anymore and moves out. Hank ends up getting a better job with the task force which ends up giving him some extra crazy stress after a shooting and explosion in Jaurez.

Once again this show is a chess game and people end up doing things because of others actions. It can be slow but in one sitting so much happens that it doesn’t really matter. It comes down to the character work that Bryan Cranston and the others have. It makes the show so believable especially with such high stakes of drug dealing and murder. It also stays grounded with Walt’s home life and his family. Plenty of times in this season both Jesse and Walt decide that they are done dealing but get roped back in. Either in greed or for other reasons.

The highlight and turning point in the season is “4 Days Out” that has Walt and Jesse in the middle of nowhere cooking as much meth as possible. Walt thinks his cancer has taken a turn for the worse the whole episode and ends up tearing himself apart when he and Jesse end up getting stranded. The two bond and become even closer because of their life threatening experience. At the end though we learn that Walt’s cancer is actually better than they all thought and it changes the tone of the show. His family starts becoming happier and Walt becomes obsessed with working on the house and spending the money he has made.

It is such a hard show to write and talk about but I feel like it is probably going to be one of the most re-watchable. It is entertaining and makes you depressed at the same time. You start really feeling connected to everyone. Also it looks great. Some of the visuals and shots, along with the subtle music really puts the whole show together.

Definitely I would watch the repeats and pick up this show on DVD and I am so unhappy that it took me so long to watch it. This, like Weeds, is candy tv. Once you watch one episode you want another one.

Cuando uno era jovenzano estaba de moda la música de un fulano con bombachos y gafas que con una canción llamada U can’t touch this copaba las listas de éxitos del mercachifleo musical. Como es obvio, aclamado como precursor del rap y el hip-hop, el tipo en cuestión fue olvidado como siempre en estos casos justo al cuarto de hora de su éxito. Perplejo se quedó quien escribe cuando, todavía de joven y para más inri, en una de las millonésimas reposiciones de El equipo A que emitía (y sigue emitiendo) cierto canal televisivo español con cierta inclinación a lo cutre, descubrió este tema del ya fallecido (pero no creemos que por eso) Rick James, Super Freak, todo un homenaje a sí mismo (mucho ojito, que aunque el meloncio éste gaste semejante pinta en la foto, en sus inicios compartió grupo con todo un Neil Young), en un capítulo que contaba con el intérprete en un pequeño papel. Luego resultó evidente que M. C. Hammer había destrozado la (ya de por sí triste) canción de James para “rapear” (en esa asquerosa moda consistente en tomar una melodía de éxito y devaluarla poniéndole chumba chumbas varios, costumbre convertida en habitual ya y a la que se ha consagrado lo más vomitivo del espectro musical mundial, empezando por ese engendro llamado Madonna), despojándola, eso sí, de la guasa con que se la tomaba el autor original.

Avispados, los responsables de Pequeña Miss Sunshine, esa joya de la comedia dramática dirigida por Jonathan Dayton y Valerie Faris en 2006 recuperaron la versión original para la escena final, el número musical de la pequeña Olive (Abigail Breslin) en el certamen de belleza infantil con cuyo despliegue coreográfico ensayado durante horas en compañía de su abuelo, habitual de los bares de strip-tease, la niña escandaliza a la concurrencia y defeca virtualmente sobre semejante bochorno de concurso (lo cual es extensible a los de la misma especie protagonizados por mayores de edad).

Breaking Bad, a premiada série (vencedora do Emmy de Melhor Ator Dramático para Bryan Cranston em 2008 e 2009) do canal americano AMC, terminou sua segunda temporada em maio e deve retornar apenas em março do ano que vem. Porém o canal já começou a divulgação de spots promocionais. Confira o primeiro abaixo:

Alguém duvida que será uma terceira temporada explosiva?

Whiter Image, a leader in the $14 billion teeth whitening industry, is once again in the hands of the stars.  With growing international media coverage in such magazines as New Beauty, US Weekly, SELF, and NAILS among others, it is no surprise Hollywood has discovered the products.

The Whiter Image Chic-Flic TOGO Whitening & Lip Shine Plumper Pen was distributed to some of the biggest stars at the Albuquerque Film Festival as well as the casts of Breaking Bad and Crash.  The Chic-Flic TOGO Whitening & Lip Shine Plumper Pen has proprietary teeth whitener on one side and lip plumper on the other.  The casing is adorned with LED lights and mirrors for easy on-the-go use.

“Albuquerque is the place to film these days. Both Breaking Bad and In Plain Sight are set in and filmed here, while Crash the series is set in L.A., but filmed here. Whiter image was in the VIP Gift bags for the First Annual Albuquerque Film Festival where Bryan Cranston presented Dennis Hopper with a Lifetime Achievement Award,” said Andre West-Harrision, Promotional Partner.

The Albuquerque Film Festival is held by the non-profit organization Film For Change, a group that dedicates itself to the promotion, presentation, and production of socially relevant media.  The Festival not only celebrates film but all of the arts including dancing and painting amongst others.  Some of this year’s attendees were Dennis Hopper, Bryan Cranston, and Giancarlo Esposito among others.

Breaking Bad is one of AMC’s leading shows.  Breaking Bad and the cast are the winners of 8 Emmys, 1 Satellite Award, 3 Writers Guild Awards, 3 Television Critic Association Awards, and many others.  This stellar drama is about a high school chemistry teacher who suffers from a “mid-life crisis” and becomes a criminal.  Filmed in New Mexico, Breaking Bad has become an instant classic.

Featured on the Starz Network, Crash picks up where the 2004 movie left off.  The show tells the story of racial tensions in Los Angeles, but it is filmed in Albuquerque, New Mexico.  The cast includes Dennis Hopper, Moran Atias, and Ross McCale among other big names.

You can learn more about Whiter Image by checking out the new video: http://www.youtube.com/watch?v=kjbmsFxpl-4

Why Teeth Whitening:  Customers who frequent spas and salons are aesthetically driven customers looking for ways to improve their appearance.  Whiter Image recognizes this need and provides products that help them to achieve their goals.  The products our easy to cross-promote with existing product lines as well as future ones.  Whiter Image realizes that these needs exist, and the company is able to help make your product lines well-rounded by including teeth whitening products.

Teeth Whitening in the Beauty Industry:  The rapidly growing beauty market is the prime place for teeth whitening products.  It is about finding new ways to drive sales with products such as Whiter Image that compliment current products and services.  Teeth whitening products often result in repeat sales from customers as well as opportunities for new sales with their friends and family.

Whiter Image Products:  Whiter Image has been a leader in the teeth whitening industry for over two years.  With excellent name and product recognition, customers have seen the brand in magazines such as Shape and USWeekly, and they know it works.  Whiter Image carries three products: TOGO Pens, the Chic-Flic, and Premium Prefilled Trays for use with L.E.D. lights.  All three items provide customers with exceptional results quickly.  “At the end of the day, vanity has a continuity even in challenging times and the same person who is getting hair highlights or a French manicure is likely interested in white teeth. Why shouldn’t salons take that share of wallet as well versus letting the customer walk out the door and spend their teeth whitening dollars elsewhere?” says Brad Stevens, Founding Partner.

About Whiter Image
Whiter Image™ is proud to be a leader in the teeth whitening industry as a founding member of the Council for Cosmetic Teeth Whitening and an author of industry best practices as chosen by industry leaders.  Whiter Image recognizes the importance of offering advanced teeth whitening products comprised of innovation, ease of use, the highest quality ingredients, affordability, and unsurpassed customer support. www.whiterimage.com.

Hey everybody

If you haven’t already done it, you absolutely need to check out this tv show: Breaking Bad.

I don’t want to tell too much about it, just that it’s awesomely original and the actors are great. By the way the main character is Walter White played by Bryan Cranstan, yes Malcom’s dad from Malcolm in the middle.To sum it up, just mix suspense, fun, drugs, tension and “décalé” and you’ve got it.

Just watch the first scene of the first episode

Often with TV, it’s all a matter of Marketing.  And so is the entire world.  Marketing. Yes, seated atop their utopian skyscrapers with their Gorden Gecko coffee mugs and their smarmy expression, smug Surrey accents and Patrick Bateman haircuts, the Marketing people control everything.  Oh, what a well observed point there young one, for it was a mystery that lingered only in my dreams until you brought it forth into reality with unequalled clarity.

Well, it’s still true, and none more so than in the ratings obsessed media frenzy that is now television, a medium so fragmented and screaming for cash that even ITV has its iPlayer equivalent, which just goes to show that even the channel catering for the elderly has to broaden the way in which its content and advertising can reach the viewers.

This means more than ever that television must cater for  ’key demographics’  and leave the risk of producing oddball comedic mash ups like Man to Man With Dean Learner to the banal fairies who haunt the BBC archives at night.  Those fairies don’t exist by the way; I made them up to illustrate just how rare a TV company willing to take a risk for niche programming is.  Instead, British TV concentrates on homogenised gurn fests like Doctor Who or the BBC’s other Saturday night serials.

Of course, when you have something quite unusual you have to live and let live with the production firms and hop up to the marketing level and that’s really where the gulf widens.  Take the example of Lost, a high concept scenario in which the survivors of a plane crash land on a deserted island and I won’t bother going on because if you don’t know the basic premise behind the show by now you’re either too busy with your life that haven’t had time to watch it – and good on you for that – or you’re a total moron.

Of course, the plane crash turns out to be the most pedestrian thing about the show as things get going.  Bundles of uncanny and mysterious things occur over the shows seasons, including hippy spiritualism, the Zeitgeist and, I’m told, time travel.  It’s a melting point of different paranoia’s.  There’s only so many enigmas I can take personally, and I’m glad to say I bailed on Lost at the advent of its second season.

One of the many twists of 'Lost.'

However, my point is this: these ideas are far removed from your average show and potentially too diverse and scattered to package in one normal sized box – and it probably is to the shows credit that it has managed to keep them all relative control (even if to the discerning viewer, its all completely contrived).  Yet ABC’s Lost has reached its place in the cultural spectrum of the naughties not only with plenty of mysterious to tease the audience with, but with the help of a marathon advertising campaign that seems to rear its head only for air once every year like a bloody werewolf.

The same beast carries the burden of Flashforward, another high-concept ABC drama with weird ideas (what does the kangaroo mean? How zen!).  Flashforward has modelled itself closely upon its forebears rise to prominence.  Of course, one of Lost’s most powerful allies has been its irritant internet fan base, and Flashforward’s very premise seems to draw on the same kind of narrative mysteries that led idiot Lost fans to link together in the first place, forming a cult to ponder its meanings (if there is any that is).  The premise is somewhat simple, but ultimately bizarre: the world’s population, from Swindon to Shanghai, mysteriously pass out for roughly two and a half minutes and then wake up again.  Basically, if you’ve seen the first series of the perennially-disappointing-but-potentially-mind-blowing Heroes, think of Isaac’s premonitory paintings being the ENTIRE premise of the show.

Joseph Fiennes got lost on his way to the new RSC audition.

Of course, when they wake up, bad things have happened.  Aeroplanes lie submerged in the oceans, millions of cars have collided with each other, helicopters shudder and splat into skyscrapers like there’s no tomorrow – the list is endless.  In fact, its a shame it doesn’t show more of the stranger, banal kind of death which would probably run like a tasteless Youtube playlist of stunts gone wrong.  Most horrifyingly, the two minute black out affects surgeons on the operating table, leaving their patients good and dead by the time they wake.  It’s no surprise that the show revels in this chaotic dismantling of our fragile world and that no CGI is spared when visualising the destruction, but because it seems to enjoy itself too much, we have trouble taking the devastation seriously.  True horror this isn’t, and as our characters run through the streets littered with debris, we are left to look at the dead bodies simply as window dressing for the greater mystery of the show.

As soon as Joseph Fiennes turns up, crawling out from the overturned car he’s passed out in (a situation much like we were with Jack the Doctor in Lost’s pilot) we know we’ve found our compulsory straight laced hero with compulsory flaws and compulsory resources to get the job done.  One would hope that Flashforward can offer the diversions from the straight laced type in the same manner as Lost did, because Fiennes character is quite a bore as it is, and all in all, Fiennes just looks a bit lost in a production like this.  Turns out however, that Fiennes’s character (the name is quite forgetful) wasn’t simply dormant while unconscious, but that he was having a vision in which he was cowering in a nightmarish future, looking lost again – but this time with a gun – as tatooed men approach him with bigger guns.

It’s soon established that it wasn’t just Fiennes’ character who experienced a vision during the black out, but everyone in the entire world.  And it soon turns out that these visions take place in the future at precisely the same time on the same day, even the same month! It’s kind of like being beaten over the head with a genetically modified marrow of Truth, and it’s quite unpleasant.

Soon, Fiennes  is revealing to a room of empty suits in the FBI office  - did I not mention that hero comes equipped with Federal Bureau badge? – that in his dream, he was working on a case piecing together the information about the black outs.   Now, I can’t say I know much for the inner workings of the FBI, but I know they are not investigators of the paranormal, and I at least expected the old cliche of the hero being ridiculed by his seniors.  But no, instead of the benevolent boss giving our hero twenty four hours to prove his cases worth despite protestations from colleagues, they just out right believe him.  Of course, most of them had dreams too, but the FBI work with reason and logic, and I find that they adapt to the idea of a global mindfuck so fast just silly.

More on Joseph Fiennes, I guess, who’s followed the likes of Dominic West and Idris Elba (of The Wire, the former an Eaton toff, the latter an ex-employee of Dagenham Motors), Hugh Laurie, Jamie Bamber (Apollo, Battlestar Galactica) to Hollywood and probably landed in a show that is most likely to succeed due to its advertising on every screen on the North American continent.  He’s the aforementioned FBI man, also a family man, with a wife (doctor), kid (small girl) and a house straight out of the Truman Show.  All is well, all is white and middle class and America is alive and well.  But with America in peril, Middle America must once again save the world and Fiennes – a perfectly good actor who  has nailed the accent – is the man for the job.

Sadly, from the pilot, the character is a bore as mentioned.  So is his wife, a doctor, and his daughter, who just smacks of the Dakota Fanning vibe that means Daddy will have to come and save her at some point.  And Daddy spends most of us his time on the show looking pensive and glum, and you almost think that Fiennes was picked because he fits in the bill for cheap, potentially bankable star rather than the character.  It’s probably too much to hope ABC would present to us a progressive casting choice in the form of a black or asian family, but frankly we’ve seen all of this before.

Toilet Trouble

Perhaps though, the lack of characterisation, the lack of a realistic reaction to spectacular events and the glee its takes showing us all the bodies of the dead, Flashforward just wants to power ahead and get the real story going, and it does try hard.  We’re given a few threads to follow, from the revelations of peoples own visions, from Doctor-Wifes dream that in six months she’ll be with another man to a friend* of Fiennes revealing that he saw his daughter alive in his vision despite recently burying her. We get John Cho (more famously Harold from Harold and Kumar (and Sulu!)) as a fellow FBI agent confiding to Fiennes that he never had a vision at all, to the end that he believes he will be dead in six months.   Harold is in fact, one of the good things evident in the pilot, but mainly because he seems like quite a nice bloke rather than showing any massive talent for the small screen.

*Actually, this is supposedly Fiennes’ sponsor from the rehab clinic, and vice versa.  How we were ever supposed to believe Joseph Fiennes was an alcoholic, I don’t know.  But I suppose there’s nothing more heroic than Jack Bauer in rehab.

Flashforward isn’t bad per se, it’s probably perfectly watchable to most, but the pilots got none of the thrills of the extraordinary pilot for Lost or the determination to really get into the hearts and heads of its viewers like the Battlestar Galactica pilot had.  Of course, this is precisely my point: we’re so inebriated with average shows marketed and advertised as if they are the second coming, that we miss the truly great television that’s out there.

One of these is Breaking Bad, a dark comedy-drama that has a lot more to offer than its name suggests – and yes, it sounds like Saved By The Bell, Part II.  Covering both familiar territory in the form of a disillusionment with suburban life and new, stranger turf, its a show that really won’t pull enough interest to be shown anywhere but a backlot digital channel in the UK.  It stars Bryan Cranston, who might be vaguely familiar to anyone who’s ever watched Malcolm in the Middle.  Now, Malcolm in the Middle may have passed some by, it may also have turned off viewers with Malcolm’s frequent confessionals of teenage angst to the camera, but the show had some great moments and some even greater performances from both the young cast and the adult cast (Bryan Cranston was Hall, their Dad).  This is completely different territory, even if Cranston plays the father in a matriarchal suburban family again.

Paedophile Moustache

Cranston is Walter White, a Chemistry teacher who seems to moonlight as an employee of a local garage at night to keep up the family funds while his wife is on maternity leave.  They have an older child, Walter Jr, who has cerebral palsy, and who has a remarkably quick tongue and charismatic presence when compared to portrayals of other sufferers of cerebral palsy on TV.  Skyler, Walter’s wife, has a bigoted sister who’s marriage to a DEA narcotics officer means that although Walter Jr may have a solid role model in his father already, he also has a successful, righteous yet ultimately alpha-male role model also vying for his attention – and by extension threatening Walter’s masculinity.  The monotony of his suburban life however, is placed into perspective, or perhaps even dwarfed by the revelation that he has inoperable lung cancer.

Unlike, say, Kevin Spacey in the familiar set up of American Beauty, Walter takes an altogether extreme path to reasserting his position as family breadwinner, accompanying his ass of a brother-in-law on a drug bust at a Meth Lab – Walter previously witnessing the amount of money to be earned from selling Crystal Meth on a news report in the presence of his gloating brother in law, who was the officer interviewed by the channel.   After discovering one of the dealers of the Crystal Meth is an ex-student, he sets about preparing a mobile Meth Lab with the help of the dealer, Jesse, in order to produce and sell Meth, stocking up enough cash to provide for his family after he has past.

It’s a series that manages to keep both the drama and comedy on an even keel, so you aren’t just yawning through melodramatic ramblings until something outrageous happens.  It’s smart, but not to the extent of alienating its audience, and incredibly well acted by Cranston, who compliments and tones down the more exaggerated gestures and postures of Hall with unexpected layers of depth, self disgust, warmth and determination.  As a show, it explores the psyche of the reluctant criminal, the good, family man turning to the dodgy side of the tracks to provide for his family and yet the characterisation is completely different from previous incarnations of the type,  where the good man will turn to crime to help his family and come out of it with his principles intact, or the good man who turns to the dark side and falls prey to its indigenous natives.  It instead shows easily it is for a normal man like Walter to turn to the other side of the tracks, and keep going.  Walter looks like those men you see on the news, tried for crimes that seem beyond their means.

I’ll soldier on with Flashforward.  It’s at least provoked enough empathy from me in its poor execution that I want to see it flourish, but while I’m sure it will be plastered across the screens of the UK soon, keep in mind Breaking Bad, and watch it.  That is if you haven’t already.

You can catch Flashforward on Five I think, but Breaking Bad remains confined to the FX digital channel.

“Mad Men” repeats as the Emmy winner for the best drama series. “30 Rock” claims its third straight comedy series trophy.

Glenn Close is also a repeat winner. She takes the lead actress trophy for her performance as a ruthless trial attorney on “Damages.” Bryan Cranston’s turn as a meth-making teacher on

“Breaking Bad” wins the actor honors in the drama category at Sunday’s award ceremony.

On the comedy side, Alec Baldwin of “30 Rock” and Toni Collette of “United States of Tara” take lead acting Emmys.

“The Daily Show with Jon Stewart” wins the Emmy for best variety, music or comedy series. That’s the seventh straight win for The Daily Show.

The Nielsen Company estimates that 13.3 million people watched Sunday’s Emmy telecast. That’s 1 million more than last year’s show, which was the least-watched Emmys ever, and the most since the 16.1 million who watched in 2006.

This increase came despite a Giants-Cowboys game on NBC that scored the best overnight ratings of any prime time pro football game in 11 years. Nielsen doesn’t have a final estimate for the football viewership, but network analysts say it’s likely to be in the 20 million to 25 million range.

Neil Patrick Harris earned strong reviews for his turn as Emmy host.

(Copyright 2009 by The Associated Press.  All Rights Reserved.)

Numa cerimônia super dinâmica e ótimamente apresentada, os 61st Primetime Emmy Awards fizeram bonito esse ano. Quem achava, como eu, que os premiados seriam uma repetição do ano passado e que a cerimônia seria uma chatisse quebrou a cara. Neil Patrick Harris foi a melhor escolha possível pra ser apresentador, o moço carregou a cerimônia nas costas, algo semelhante ao Hugh Jackman no Oscar esse ano, mesmo não vendo How I Met Your Mother, torci por ele. Uma das melhores sacadas foi a apresentação dos vencedores por gênero: Comédia, Reality, Filme/Minissérie e Drama, respectivamente. As barbadas ficaram por conta das principais categorias da noite, com a premiação consecutiva de Mad Men em Melhor Série – Drama e em Melhor Roteiro – Drama; 30 Rock em Melhor Série – Comédia, Melhor Ator – Comédia e Melhor Roteiro – Comédia; Glenn Close em Melhor Atriz – Drama; Bryan Cranston em Melhor Ator – Drama; The Amazing Race em Melhor Reality Show de Competição e The Daily Show with Jon Stewart em Melhor Programa de Variedades. Os demais prêmios foram ótimas surpresas e alguns já esperados…

Gostei bastante dos premiados nas categorias cômicas, principalmente as vitórias de Kristin Chenoweth e Toni Collette, vibrei tanto quanto as duas aqui. 30 Rock faturando 3 prêmios do field foram esperados e merecidíssimos, visto que eu acertei as categorias que a série ganhou. Completando os vencedores tivemos The Office ganhando Melhor Direção – Comédia e Jon Cryer como Melhor Ator Coadjuvante, uma grande surpresa que deveria ter acontecido há muito tempo atrás, gosto bastante dele na série mas peguei uma birra imensa com ele devido às suas declarações homofóbicas feitas para chamar atenção justamente da Academia.

Nas categorias de Filme/Minissérie os mais premiados foram Little Dorrit e Grey Gardens, empatados com 3 prêmios cada. A minissérie britânica faturou os Emmys de Melhor Direção, Melhor Roteiro e Melhor Minissérie, enquanto o telefilme da HBO faturou as estatuetas de Melhor Atriz (infelizmente, com Jessica Lange), Melhor Ator Coadjuvante (merecidamente, com Ken Howard) e Melhor Filme Feito Para TV. Completando os vencedores, dois atores que não conferi em seus respectivos traballhos, mas que gosto muito: Shohreh Aghdashloo por House Of Saddam e Brendan Gleeson por Into The Storm.

E finalmente no field mais importante da noite não tivemos muita surpresas. Mad Men saiu triunfante ganhando dois prêmios e os atores principais do ano passado repetiram o feito esse ano e mostraram o quanto são bons, Glenn Close e Bryan Cranston mereceram demais suas vitórias! O quesito surpresa ficou por conta de três categorias. Em Melhor Ator Coadjuvante ganhou, finalmente, Michael Emerson por Lost, um prêmio pra lá de atrasado, mas está em ótimas mãos, visto que Michael entregou um ótimo trabalho nessa temporada da série. Mais surpreendente que o prêmio anterior foi o prêmio de Melhor Atriz Coadjvuante dado à quem ninguém apostava, Cherry Jones, a veterana dos palcos faturou a estatueta por intrepretar mais um dos presidentes de 24. E por fim, ER faturou seu último Emmy com Melhor Direção pelo season finale da série, fator homenagem conta às vezes.

Esse ano ainda contamos com um prêmio de votação pública, o de Breakthrough Performance, algo como melhor momento da temporada e quem ganhou foi True Blood com a cena do encontro de Bill e Sookie. Durante toda a premiação fiquei com o pensamento de que a ATAS devia se arrepender amargamente de não ter dado o devido valor à True Blood. Anotem aí, True Blood vai ganhar o Emmy de Melhor Série – Drama ano que vem. Vai ficar gravado aqui e eu vou provar ano que vem quando isso acontecer!

Bem, é isso pessoal! Se acabou mais uma temporada de Emmys e agora só ano que vem! Agora os Oscars, além de GGs, SAGs, BAFTAs, entre muitos outros prêmios de cinema! E eu estarei aqui pra comentar tudo!

See you guys!

Se adjudicaron los Emmy la pasada noche y no hubo grandes sorpresas. Si acaso, que ni Tina Fey por 30 Rock ni Jon Hamm por Mad Men consiguieron el galardón a mejor actriz de comedia y mejor actor de drama: les levantaron la tostada, respectivamente, Toni Collette (sí, la mamá de El sexto sentido) por The United States of Tara y Bryan Cranston por Breaking Bad.

Del primer párrafo se va deduciendo sin dificultad la tónica de los premios de la tele en USA: series todas que aquí, en España, no son precisamente del dominio público. 30 Rock la da La Sexta a horarios imposibles como Rockefeller Plaza y Mad Men el Plus. Personalmente, lo poco que he visto de la primera no me hace la menor gracia, y de la segunda, de la que pronto habrá reseña en este blog, diré simplemente que su factura es impecable pero resulta terriblemente fría y snob. Sea como fuere, ambas concentraban la mayoría de las nominaciones y han trincado las más importantes: mejor comedia y mejor drama. Alec Baldwin, y esto sí que no lo entiendo, ha vuelto a llevarse el Emmy a mejor actor de comedia (van dos por 30 Rock), y esto sí que no lo entiendo. El amigo es tan limitado como estomagante. Glenn Close, estaba cantado, se ha llevado el de mejor actriz dramática, también su segundo por Damages.

En el terreno de los secundarios ya surge algún título de sobras conocido. Jon Cryer triunfa como mejor en comedia por Dos hombres y medio, que en Estados Unidos parece estar muy bien considerada pero servidor encuentra tirando a muy normalita. El trago es peor para los fans de Entourage, que hubiéramsos querido ver premiado a Kevin Dillon por su impagable Johnny Drama. Otra que nos suena a todos: Perdidos; mejor secundario en drama para Michael Emerson, a.k.a. Benjamin Linus. Las chicas: Cherry Jones por 24, también conocida, y Kristin Chenoweth por Pushing Daisies, esta mucho menos, respectivamente en drama y comedia.

Y poco más. Que la muy recomenable House of Saddam, aquí reseñada, se apunta un Emmy a mejor secundaria en miniserie gracias al buen hacer como esposa del dictador de Shoreh Aghdashloo. Y que Grey Gardens es la mejor tv-movie.

Abaixo os resultados do Emmy Awards 2009. Este foi um ano muito previsível, porém justo. Nas principais categorias, os vencedores do ano passado se repetiram: Mad Men, 30 Rock, Bryan Cranston (Breaking Bad), Gleen Close (Damages) e Alec Baldwin (30 Rock).

Michael Emerson (Lost) e Cherry Jones (24 Horas), foram duas surpresas.  Toni Collette (United States of Tara) não era a favorita, mas merecia demais – e desbancou Tina Fey (30 Rock), a queridinha da América.

Jon Cryer (Two And a Half Man) é figurinha manjada, longe de ser favorito em qualquer premiação, mas levou o prêmio aqui – logo no começo da noite. E alguém não estava torcendo por Kristin Chenoweth (Pushing Daisies)? Ela mereceu demais.

A premiação em si foi bem bacana, diferente de anos anteriores. Neil Patrick Harris (protagonista de How I Met Your Mother) esteve perfeito como anfitrião.

O Emmy 2009 foi visto por 13.3 milhões de telespectadores, fazendo 4.2 pontos na amostragem 18-49. A audiência foi 11% maior que a do ano passado. Em suma, um sucesso!

Lista dos premiados:

Melhor série drama:
Mad Men

Melhor série comédia:
30 Rock

Melhor ator em série dramática:
Bryan Cranston por Breaking Bad

Melhor atriz em série dramática:
Glenn Close por Damages

Melhor ator coadjuvante em drama:
Michael Emerson por Lost

Melhor atriz coadjuvante em drama:
Cherry Jones por 24 Horas

Melhor ator em comédia:
Alec Baldwin por 30 Rock

Melhor atriz em comédia:
Toni Collette por United States of Tara

Melhor ator coadjuvante em comédia:
Jon Cryer por Two and a Half Men

Melhor atriz coadjuvante em comédia:
Kristin Chenoweth por Pushing Daisies

Melhor roteiro em série drama:
Mad Men

Melhor roteiro de série cômica:
30 Rock pelo episódio Reunion

Melhor direção em série drama:
E.R.

Melhor direção em série cômica:
Jeff Blitz, por The Office

Melhor programa de reality show de competição:
The Amazing Race

Melhor talk show:
Daily Show com Jon Stewart

Melhor apresentador de programa de reality show de competição:
Jeff Probst por Survivor

Melhor atriz coadjuvante em telefilme ou minissérie:
Shohreh Aghdashloo por House of Saddam

Melhor ator coadjuvante em telefilme ou minissérie:
Ken Howard por Grey Gardens

Melhor ator em telefilme ou minissérie:
Brendan Gleeson por Into the Storm

Melhor atriz em telefilme ou minissérie:
Jessica Lange por Grey Gardens

Melhor mininissérie:
Little Dorrit

Melhor diretor de programa de variedades:
Bruce Gowers, por American Idol

Melhor roteiro em talk show:
Daily Show com Jon Stewart

Melhor trilha de programa de variedade:
Número de abertura do Oscar 2009 estrelado por Hugh Jackman

Doogie nailed it.

Here’s the list of nominees and winners. I was a miserable 6 of 18 on my predictions, but there were a few upsets. So, attention DVR People – my comments below include spoilers! Now I’ll wait a minute while those people leave the room and seat-fillers take their place…  

Gone? Okay…cue my theme music!

Let’s hear it for the boy! Doogie was great – killing it with an opening number that was acerbic and funny (and props to him for immediately crediting the writers – Scott Wittman and Mark Shaiman from Hairspray) and keeping things moving pretty briskly. Made some great quips and dished out some kudos where and when appropriate without being fawning. Great running gag (with Jon Cryer, among others) after not winning for Supporting Actor, which several critics apparently took seriously. The retort to Academy President John Schaffner in the audience after the latter gave him an Emmy pin (“Yeah, that helps.”) was hilarious. Only the extended “best seat in the house” gag got tired. But really, how can you possibly dislike the guy? He must have a Q rating off the charts. (And if you thought that bit where he breathlessly rattled off the list of networks was great, watch this !)

And speaking of the Harlem Globetrotters – the only time that tired gag was really funny – it was good to see the Washington Generals of the Apple ads get his night. While Justin Long had to sit complacently next to Drew Barrymore, his partner in those hilarious commercials, John Hodgman,  got to zing one-liners from the booth. Between serious voice-overs (“This is her first win and her second nomination“) he peppered the audio with absurdly funny comments (“The Daily Show With Jon Stewart is celebrating its 76th year on the air. It began on Comedy Central Radio as Stewart-Brand Chicken-Fat All-Star Baked Beans Half Hour. This is their 900th Emmy, and frankly, that’s too much“). Likewise, Harris often introduced nominees by “obscure” credits from their resumes.

The tables have turned.

Splitting the show into segments. Very good idea, albeit risky. Of course, they always have to start out strong to keep the audience from flipping, so Comedy was the appropriate leadoff hitter. Exhausting that category so soon risked weakening the overall show but they pulled it off. Better yet, getting to fast-forward through the Reality segment kept the projectiles off my screen and the vomit off my floor. After last year’s program, where TV almost killed its own Golden Goose by kissing the ass of the most unreal programming on television, can you blame me for avoiding that train wreck of a category? (And please explain how American Idol was included within the “Reality” part of the program, but then the director won in the “Variety” category?)

Three cheers also for the set. The theatre is amazing, and the versatile set was configured to expose the composition of the evening like peeling the skin off the skeleton. The band out of the pit, the production booth in view upstage, the host actually able to host from a designated location. Aside from one obvious technical glitch – which Ricky Gervais turned into gold, of course – the show ran very smoothly.

The mood of the show was also interesting. Fairly egoless – our host was a big part of that. Almost everyone got through their lines and cues without issue, and for the most part the presenters and recipients avoided the usual politicking (Washington and Hollywood) that the Oscars seem to bring in droves. There weren’t enough performance clips for my taste – sometimes none at all – and the gimmick about asking some of the non-performer nominees mostly fell flat because some took it seriously while others didn’t (the clip of the night was from Conan O’Brien’s show, where he predicts “YouTube, Twitter and Facebook will merge to form one super time-wasting Web site called YouTwitFace.”)

And thanks to the network for not picking up that ridiculous gimmick that Fox dropped on us recently where the lower third of the screen is filled with scrolling tweets. Die in Hell for that one, television. Isn’t it enough that you pander to wannabe celebretards by cramming as many of these unreal crapfests onto the air in place of creative and scripted programs? Now you have to let couch potatoes try to tweet their way onto the screen so they can – I dunno – tweet their friends that their tweet was broadcast? (That’s like a snake eating its tail, right?) Then you’ll complain that no one could follow the plot of your show.

Best surprise – an appearance by Dr. Horrible, which was perhaps not as funny for people who have not seen the hilarious webisodes starring Harris, Nathan Fillion and Felicia Day.  Of course, the irony that the program was created on the Internet during the writer’s strike and aired without any network or commercial involvement was probably also too subtle as well. But why fret about those who can’t appreciate it, knowing the zeitgeist of 2009 somehow justifies Leighton Meester and Brooke Lively walking on the same stage as Glenn Close and Bob Newhart? (And folks,  Nathan Fillion rules.)

I always get a little verklempt during the In Memoriam segment anyway, but really – bringing Sarah McLachlan out to drive a nail through my heart? Was that necessary? If you’ve been to a memorial service in the past decade you know that song is as requisite as Donna Summer’s “Last Dance” at a wedding reception…and I experienced both within twenty-four hours this weekend. (She did nail the performance, though).  Maybe a good career move for her, since the last few times I’ve seen her on television she’s been asking me to save abused pets. But between those ads and that song, she’s unquestionably the reigning Debbie Downer.

Eat, already!

Kristin Chenoweth squeaked and squirted so much during her crying jag that the high-pitched whine probably killed one of Mickey Rourke’s dogs. I was surprised by her win, but she is talented (Wicked on Broadway? Girl, please!) and now can hopefully afford to buy a sandwich. She was the first person that said “this is really heavy” when holding the Emmy Award that I believed. Really – the girl makes Olive Oyl look fat. Great bit pimping for jobs on Mad Men and 24 now that her show is cancelled.

Ricky Gervais. Pure freakin’ gold. I don’t know if he could keep up that pace for the entire program, but I’d sure like to watch him try. As solid as Neil Patrick Harris was – and he was very good – Gervais has the fastest mind I’ve seen since Robin Williams in his prime. Combine that with a self-deprecating attitude and a bold disregard for convention (I’m willing to go there, and don’t care what you think about it) and you get both humor and unpredictability. He is, as the Brits say, brilliant.

"Fixing the glitch"

Comedy WTF Award: Toni Collette. Really? Really?? I’ll bet more people lost betting on Tina Fey than the ones betting on these guys or them or (sniff!) them. I remember hearing about The United States of Tara being scheduled but that’s the last time I heard it mentioned. Tina Fey might be getting so many accolades that there’s a backlash, but she was funnier than ever this year. But she nailed the guest appearance as Sarah Palin and won that Emmy as expected, plus having 30 Rock win was probably more satisfying, since it works because it’s an ensemble piece. (Well, more satisfying to me, anyway.)

Loved Brian’s Emmy vote. “Suit up!”

Perhaps it was because they front loaded the comedy, but after all those overt verbose kudos to Lorne Michaels,I figured he either was quietly diagnosed with inoperable cancer or owns a scrapbook with incriminating photos of everyone he’s ever worked with. (Probably it’s just that he’s a nice guy).

There were some repeat winners I can’t argue with – Jon Stewart, Alec Baldwin – they deserve the accolades. Happy to see Michael J. Fox snag a Guest Actor win for Rescue Me; it reminded me of some shows and people who got overlooked entirely.

Really Mad Men

Drama kudos: Bryan Cranston. I figured that Jon Hamm would walk off with it as Mad Men gets a lot of Emmy love, but Cranston is unbelievable in his role and well deserving. Can’t knock the win by Michael Emerson, either – here’s a guy who was so good that a guest spot on Lost was transformed into the central character on the show. But I wish the voters showed the love to Aaron Paul, Cranston’s co-lead on Breaking Bad, who had a (ahem) breakout year.

And speaking of breakouts…WTF was up with that “breakout moment of the year” polling? Those were the three most transcendent moments on television this year? Really? Did they limit the voting to people under the age of twelve? Not only was the gimmick itself distracting and juvenile, but the impact was…well, what’s the opposite of buzzworthy?

Some good presenter moments, too. Jimmy Fallon’s dance injury bit was great. Justin Timberlake after Sarah Silverman’s moustache shot (“That’s what hormones will do“). Ken Howard (The White Shadow!!) hoping his speech “doesn’t get interrupted by a Congressman or a rapper”, then cracking an opportune SAG joke. Amy Poehler and Julia Louis-Dreyfus smilingly confirming the end of broadcast television as a vital medium. Jessica Lange -a cougar even at 60-  saying parts (ahem)  ”don’t come around that often for me anymore“. The always randy Dana Delaney  topping that with “I like a man who delivers week after week!” Bryan Cranston saying he’s thankful that Glenn Close is actually a woman. Tina Fey taking a well-deserved shot at NBC by thanking them for keeping 30 Rock on the air “even though its much more expensive than a talk show“.

Who would have thought that after their Super Bowl duet, Justin Timberlake would be so much more popular than Janet Jackson’s breast? I’m still not a fan of his music, but the guy is funny as hell and despite incredible fame seems to be pretty humble about it. If only more famous people took themselves less seriously.

Oh, wait. Then we wouldn’t have Award Shows. Never mind.

My two favorite TV shows were honored in a big way Sunday at the Emmy Awards in Los Angeles.

“Mad Men” was named Best Drama for the second straight year.

In another repeat victory, Bryan Cranston of “Breaking Bad” earned the award for Best Actor, Drama Series. He plays Walter White in “Bad.”

Both shows are absolutely terrific and totally unique. They air on AMC.

Cel mai bun serial drama: MAD MEN

Cel mai bun serial de comedie: 30 ROCK

Cel mai bun actor principal dintr-o drama: BRYAN CRANSTON (BREAKING BAD)

Cel mai bun actor secundar dintr-o drama: MICHAEL EMERSON (LOST)

Cel mai bun actor principal dintr-o comedie: ALEC BALDWIN (30 ROCK)

Cel mai bun actor secundar dintr-o comedie: JON CRYER (TWO AND A HALF MEN)

Cea mai buna actrita principala dintr-o drama: GLENN CLOSE (DAMAGES)

Cea mai buna actrita secundara dintr-o drama: CHERRY JONES (24)

Cea mai buna actrita principala dintr-o comedie: TONI COLLETTE (THE UNITED STATES OF TARA)

Cea mai buna actrita secundara dintr-o comedie: KRISTEN CHENOWETH (PUSHING DAISIES)

Cel mai bun realty-show: THE AMAZING RACE

Cel mai bun film realizat pentru micile ecrane: GREY GARDENS

“Nessun premio e riconoscimento fu più meritato”.Sono infatti state le serie tv MAD MEN e 30Rock a trionfare nella  sessantunesima rassegna degli Emmy Award, i più grandi riconoscimenti USA alle serie.Mad Men” -che praticamente fa miglioni di audience a puntata e che narra le vicende di un gruppo di pubblicitari degli anni 60 , ha vinto l’Emmy come miglior serie drammatica, come nel 2008.Ha trionfato per la terza edizione consecutiva invece ‘30 Rock’ e la sua autrice Tina Fey come migliore serie comica, prodotta, scritta e interpretata dalla travolgente Tina Fey, che racconta le storie di un programma tv .

Tutti i premi nell’articolo.

I primi nel dettaglio:

Miglior serie drammatica: “Mad Men,” AMC.
Miglior serie comica: “30 Rock,” NBC.
Miglior attore protagonista, serie drammatica: Bryan Cranston, “Breaking Bad,” AMC.
Miglor attrice protagonista, serie drammatica: Glenn Close, “Damages,” FX Networks.
Miglior attore protagonista, serie comica: Alec Baldwin, “30 Rock,” NBC.
Miglior attrice protagonista, serie comica: Toni Collette, “United States of Tara,” Showtime.
Miglior attore non protagonista, serie drammatica: Michael Emerson, “Lost,” ABC.
Miglior attrice non protagonista, serie drammatica: Cherry Jones, “24,” Fox.
Miglior attore non protagonista, serie comica: Jon Cryer, “Two and a Half Men,” CBS.
Miglior attrice non protagonista, serie drammatica: Kristin Chenoweth, “Pushing Daisies,” ABC.
Miniserie: “Little Dorrit” PBS.
Film per la tv: “Grey Gardens,” HBO.
Miglior attore protagonista, miniserie o film tv: Brendan Gleeson, “Into the Storm,” HBO.
Miglior attrice, miniserie o film tv: Jessica Lange, “Grey Gardens,” HBO.
Miglior attore non protagonista, miniserie o film tv: Ken Howard, “Grey Gardens,” HBO.
Miglior attrice protagonista, miniserie o film tv: Shohreh Aghdashloo, “House of Saddam,” HBO.
Miglior regia, serie comica: “The Office: Stress Relief,” Jeff Blitz, NBC.
Miglior regia, serie drammatica: “ER: And in the End,” Rod Holcomb, NBC.
Miglior regia per show, show musicale, comedy series: “American Idol: Show 833 (The Final Three),” Bruce Gowers, Fox.
Miglior regia per miniserie, film tv o speciale drammatico: “Little Dorrit: Part 1,” Dearbhla Walsh, PBS.
Varietà, programma musicale o serie comedy: “The Daily Show With Jon Stewart,” Comedy Central.
Miglior reality: “The Amazing Race,” CBS.
Miglior sceneggiatura per una serie comedy: “30 Rock: Reunion,” Matt Hubbard, NBC.
Miglior sceneggiatura per una serie drammatica: “Mad Men: Meditations in an Emergency,” Kater Gordon and Matthew Weiner, AMC.
Miglior sceMiglior sceneggiatura per una miniserie/film tv: “Little Dorrit,” Andrew Davies, PBS.
Miglior presentatore: Jeff Probst, “Survivor,” CBS.
Miglior musica originale: “81st Annual Academy Awards: Song Title: Hugh Jackman Opening Number,” ABC.

List of winners in the creative arts categories of the 61st annual Primetime Emmy Awards:

Miglior guest star maschile in una serie comedy: Justin Timberlake, “Saturday Night Live,” NBC.
Miglior guest star femminile in una serie drammatica: Ellen Burstyn, “Law & Order: Special Victims Unit: Swing,” NBC.
Miglior guest star femminile in una serie comica: Tina Fey, “Saturday Night Live: Presidential Bash 2008,” NBC.
Miglior guest star maschile in una serie drammatica: Michael J. Fox, “Rescue Me: Sheila,” FX Networks.
Governors Award: Sheila Nevins, HBO Documentary Films president.
Animated Program (for Programming One-Hour or More): “Destination Imagination (Foster’s Home for Imaginary Friends),” Cartoon Network.
Animated Program (for Programming Less Than One Hour): “South Park: Margaritaville,” Comedy Central.
Art Direction for a Multi-Camera Series: “How I Met Your Mother: Shelter Island, Not A Father’s Day,” CBS.
Art Direction for a Single-Camera Series: “Pushing Daisies: Dim Sum Lose Some,” ABC.
Art Direction for a Miniseries or Movie: “Grey Gardens,” HBO, and “Little Dorrit,” PBS.
Art Direction for Variety, Music, or Nonfiction Programming: “American Idol: Episode 821-822,” Fox, and “2008 MTV Video Music Awards,” MTV.
Casting for a Comedy Series: “30 Rock,” NBC.
Casting for a Drama Series: “True Blood,” HBO.
Casting for a Miniseries, Movie, or Special: “Little Dorrit,” PBS.
Choreography: “81st Annual Academy Awards: Musicals Are Back,” ABC, and “So You Think You Can Dance: Adam and Eve/Silence,” Fox.
Cinematography for a Half-Hour Series: “Californication: In Utero,” Showtime.
Cinematography for a One-Hour Series: “The Tudors: Episode 303,” Showtime.
Cinematography for a Miniseries or Movie: “Little Dorrit: Part 1,” PBS.
Cinematography for Nonfiction Programming: “Anthony Bourdain: No Reservations: Laos,” Travel Channel.
Cinematography for Reality Programming: “Out of the Wild: The Alaska Experiment, What Did I Sign Up For?” Discovery Channel.
Commercial: “Heist,” Coca-Cola.
Costumes for a Series: “Pushing Daisies: Bzzzzzzzzz!” ABC.
Costumes for a Miniseries, Movie, or Special: “Little Dorrit: Part 3,” PBS.
Costumes for a variety/music program or a special: “So You Think You Can Dance: Episode 415-416A,” Fox.
Directing for a Variety, Music, or Comedy Special: “Beijing 2008 Olympic Games Opening Ceremony,” Bucky Gunts, NBC.
Directing for Nonfiction Programming: “Roman Polanski: Wanted and Desired,” Marina Zenovich, HBO.
Main Title Design: “United States of Tara,” Showtime.
Makeup for a Series, Miniseries, Movie or a Special (prosthetic): “Grey Gardens,” HBO.
Makeup for a Single Camera Series (non-prosthetic): “Pushing Daisies: Dim Sum Lose Some,” ABC.
Makeup for a Multi-Camera Series or Special (non-prosthetic): “MADtv: Episode 1405,” Fox.
Makeup for a Miniseries or a Movie (non-prosthetic): “The Courageous Heart of Irena Sendler (Hallmark Hall of Fame Presentation),” CBS.
Music Direction: “Streisand: The Concert,” CBS.
Music Composition for a Series (Original Dramatic Score):

Cualquier ceremonia de entrega de premios debe tener emoción, porque si no se convierte en previsible y acaba aburriendo (en este caso, ante lo previsible de los premios la salsa suele estar en los monólogos del maestro de ceremonias o presentador de la gala, y en los discursos de los premiados que suben a recoger su galardón y se animan a improvisar algo bueno). En la última gala de los Premios Emmy (la 61ª edición de estos premios), que premia a los mejores actores, a las mejores actrices, a las mejores series… estadounidenses, los ganadores han sido en su mayoría los previsibles, por lo que no ha habido grandes sorpresas.

La gala, presentada por el actor Neil Patrick Harris (encarna al personaje de Barnie Stinson en la serie How I met your mother, traducido al español Cómo conocí a vuestra madre, que emite La Sexta), tenía dos claros candidatos a llevarse la estatuillas de estos Oscar de la televisión, como se conoce a los Emmy. Esos candidatos (las series Mad men y 30 Rock), que partían como favoritos a llevarse el Emmy a mejor drama y a mejor comedia, se han llevado el premio. Igual que en la gala del año pasado.

En las candidaturas a mejor actor y mejor actriz de drama también había dos victorias previsibles: la de Glenn Glose por su papel en Damages (Daños y Perjuicios) y la de Bryan Cranston (que encarnó, entre otros personajes televisivos, al padre de Malcolm en la serie Malcolm in the middle) por su papel en Breaking Bad. En esta categoría tampoco hubo sorpresas, y Glosse se llevó el Emmy a la mejor actriz de drama y Cranston el de mejor actor de comedia.

Una de las pocas sorpresas llegó con el premio a la mejor actriz de comedia. La principal candidata a llevarse el premio, Tina Fey, por su papel en la comedia 30 Rock (la actriz destacó durante la campaña de las Elecciones Presidenciales del pasado mes de noviembre en Saturday Night Live por sus imitaciones de la candidata a vicepresidenta del Partido Republicano, Sarah Palin). Pero la sorpresa se produjo, porque Tina Fey no se llevó el Emmy a mejor actriz de comedia, sino que lo hizo Toni Collette por su papel en United States of Tara.

El que sí se llevó el Emmy a mejor actor de comedia fue el compañero de rodaje de Tina Fey, Alec Baldwin. El actor fue premiado por su papel en 30 Rock (serie que afrontarba la gala con 22 nominaciones), mientras que el Emmy al mejor actor secundario de comedia fue para Jon Cryer (Two and a half men, Dos hombres y medio traducido al español), cuyo compañero de rodaje, Charlie Seen -como se comentó este verano en Sé lo que hicisteis es el actor mejor pagado de todas las series de televisión estadounidenses- no fue premiado. El Emmy a la mejor actriz secundaria de comedia se lo llevó Kristin Chenoweth por su papel en Pushing Daisies.

Esto es lo más reseñable de la gala de los Emmy celebrada esta madrugada del domingo al lunes (horario español) en Los Ángeles (además de los otros premios a la mejor mini-serie o película para televisión, y a los mejores actores y actrices, principales y secundarios, de estas mini-series), y en la que los premiados en las categorías más importantes fueron los que se vaticinaban, por lo que no hubo sorpresas en los Premios Emmy.

Fuente:

www.elpais.com

Oh, awards shows. You and I need to have a serious discussion because I can’t stand being the submissive in this kinky little relationship of ours anymore. Finding myself continually coming back to you each time with a deluded excitement that maybe this will be the year you surprise and thrill me, and after half an hour I cannot stay glued to my seat. Yet I stick with you to the bitter end, bad taste in my mouth with a sense of “meh” and “well, I could’ve just checked the IMDb live winner update feed.”

While this seems a backlash of a post, please read as a request for awards telecasts to step up the entertainment and for the various academies to change up the voting habits - not that I don’t love my 30 Rock or Mad Men (congrats to wins not only for best show in their respective categories, but writing too!) – because sitting through 3 hours of “announce list of nominees, open envelope, read winner, not-amusing-nor-poignant acceptance speech, rinse, repeat” gets a little taxing and I think more of us would welcome some upsets, blunders and outbursts once in awhile.

Tonight’s major category winners:

Drama Series: “Mad Men,” AMC

Comedy Series: “30 Rock,” NBC

Actor, Drama Series: Bryan Cranston, “Breaking Bad,” AMC

Actress, Drama Series: Glenn Close, “Damages,” FX Networks

Actor, Comedy Series: Alec Baldwin, “30 Rock,” NBC

Actress, Comedy Series: Toni Collette, “United States of Tara,” Showtime

Supporting Actor, Drama Series: Michael Emerson, “Lost,” ABC.

Supporting Actress, Drama Series: Cherry Jones, “24,” Fox.

Supporting Actor, Comedy Series: Jon Cryer, “Two and a Half Men,” CBS.

Supporting Actress, Comedy Series: Kristin Chenoweth, “Pushing Daisies,” ABC.

Miniseries: “Little Dorrit” PBS.

Made-for-TV Movie: “Grey Gardens,” HBO.

Actor, Miniseries or Movie: Brendan Gleeson, “Into the Storm,” HBO.

Actress, Miniseries or Movie: Jessica Lange, “Grey Gardens,” HBO.

Supporting Actor, Miniseries or Movie: Ken Howard, “Grey Gardens,” HBO.

Supporting Actress, Miniseries or Movie: Shohreh Aghdashloo, “House of Saddam,” HBO.

Directing for a Comedy Series: “The Office: Stress Relief,” Jeff Blitz, NBC.

Directing for a Drama Series: “ER: And in the End,” Rod Holcomb, NBC.

Directing for a Variety, Music, or Comedy Series: “American Idol: Show 833 (The Final Three),” Bruce Gowers, Fox.

Directing for a Miniseries, Movie, or Dramatic Special: “Little Dorrit: Part 1,” Dearbhla Walsh, PBS.

Variety, Music, or Comedy Series: “The Daily Show With Jon Stewart,” Comedy Central.

Reality-Competition Program: “The Amazing Race,” CBS.

Writing for a Comedy Series: “30 Rock: Reunion,” Matt Hubbard, NBC.

Writing for a Drama Series: “Mad Men: Meditations in an Emergency,” Kater Gordon and Matthew Weiner, AMC.

Writing for a Variety, Music, or Comedy Series: “The Daily Show With Jon Stewart,” Comedy Central.

Writing for a Miniseries, Movie, or Dramatic Special: “Little Dorrit,” Andrew Davies, PBS.

Host, Reality or Reality-Competition Program: Jeff Probst, “Survivor,” CBS.

Original Music and Lyrics: “81st Annual Academy Awards: Song Title: Hugh Jackman Opening Number,” ABC.

2008 Best Actor in a Dramatic Series

“Breaking Bad” is my favorite show. I try to write about it but the show is so intense I can hardly explain it without it sounding far fetched.

Bryan won for the 2nd year in a row and when they annonced his name I got chills up my spine. This little known show is being recognized and I’m glad. Can’t wait for next season.

Other winners:

Outstanding Drama Series: Mad Men

Outstanding Comedy Series: 30 Rock

Outstanding Lead Actor in a Drama Series: Bryan Cranston – Breaking Bad

Outstanding Lead Actor in a Comedy Series: Alec Baldwin – 30 Rock

Outstanding Lead Actress in a Drama Series: Glenn Close – Damages

Outstanding Lead Actress in a Comedy Series: Toni Collette – United States of Tara

Outstanding Supporting Actor in a Drama Series: Michael Emerson – Lost

Outstanding Supporting Actor in a Comedy Series: Jon Cryer – Two and a Half Men

Outstanding Supporting Actress in a Drama Series: Cherry Jones – 24

Outstanding Supporting Actress in a Comedy Series: Kristin Chenoweth – Pushing Daisies

Outstanding Reality Competition Program: The Amazing Race

Outstanding Reality Program: Intervention

Outstanding Host for a Reality or Reality Competition Program: Jeff Probst – Survivor

Outstanding Miniseries: Little Dorrit

Outstanding Lead Actor in a Miniseries or a Movie: Brendan Gleeson – Into the Storm

Outstanding Lead Actress in a Miniseries or a Movie: Jessica Lange – Grey Gardens

Outstanding Supporting Actor in a Miniseries or a Movie: Ken Howard – Grey Gardens

Outstanding Supporting Actress in a Miniseries or a Movie: Shohreh Aghdashloo – House of Saddam

Outstanding Made for Television Movie: Grey Gardens

Outstanding Variety, Music or Comedy Series: The Daily Show With Jon Stewart

Outstanding Variety, Music or Comedy Special: The Kennedy Center Honors

Outstanding Directing for a Drama Series: Rod Holcomb, “And in the End” – ER

Outstanding Writing for a Drama Series: “Meditations in an Emergency” – Mad Men

Outstanding Directing for a Comedy Series: Jeff Blitz, “Stress Relief” – The Office

Outstanding Writing for a Comedy Series: “Reunion” – 30 Rock

Outstanding Directing for a Miniseries, Movie or Dramatic Special: Dearbhla Walsh – Little Dorrit (Part 1)

Outstanding Writing for a Miniseries, Movie or Dramatic Special: Little Dorrit

Outstanding Directing for a Variety, Music or Comedy Series: Bruce Gowers, “Show 833″ (The Final Three) – American Idol

Outstanding Writing for a Variety, Music or Comedy Series: The Daily Show With Jon Stewart

Outstanding Directing for a Variety, Music or Comedy Special: Bucky Gunts – Beijing 2008 Olympic Games Opening Ceremony

Outstanding Writing for a Variety, Music or Comedy Special: Chris Rock – Kill The Messenger

Outstanding Guest Actor in a Drama Series: Michael J. Fox – Rescue Me

Outstanding Guest Actor in a Comedy Series: Justin Timberlake – Saturday Night Live

Outstanding Guest Actress in a Drama Series: Ellen Burstyn – Law & Order: Special Victims Unit

Outstanding Guest Actress in a Comedy Series: Tina Fey – Saturday Night Live

Outstanding Special Class Program: Beijing 2008 Olympic Games Opening Ceremony

Neil Patrick Harris

The 61th Emmy Awards hosted by Neil Patrick Harris proved to be the best broadcast in recent years. Harris, who also hosted this years Tonys, seemed to bring new life to the usually boring awards show. The producers cleverly tried a new format and grouped the awards into genres this time out. There was also a taped look back at the year, broken into the genre segments reality, comedy, drama, variety and movies and mini series. The band, who are usually invisible in a pit underneath the stage,  was live onstage and in an welcomed twist, the directing team was on stage behind a see through booth, allowing them to be a part of the show as well.

Once again Harris was the perfect choice of host as the kidded Jon Cryer who beat him out for best supporting actor on a comedy for Two And A Half Men. As Jon was backstage in the press room, Neil interrupted him, asking him what it felt like to win and what was going on in his mind as he went on stage to accept his Emmy. “All I kept thinking was screw you Neil Patrick Harris!”, Cryer shot back.

Harris performed a great opening number, worked in sing along blog with Castle’s Nathan Fillion. The show ran so smoothly, that is only ran 4 minutes long.

30 Rock and Mad Men repeated as winners this year having also won last year for Best Comedy Series and Best Drama Series, respectively. Jon Cryer of Two And A Half Men and Kristen Chenowith of Pushing Daisies won for Best Supporting Actor and Supporting Actress in a Comedy Series, Alec Baldwin of 30 Rock and Toni Colette of The United States Of Tara won for Best Actor and Actress in a Comedy Series.

Michael Emerson of Lost and Cherry Jones of 24 won for Best Supporting Actor and Supporting Actress in a Drama Series while Bryan Cranston of Breaking Bad and Glenn Close of Damages won for Best Actor and Actress in a Drama Series. For a complete list of winners visit: EMMY Winners.

Another Emmy ceremony is behind us. Tonight’s show managed to throw us a couple of curveballs. Toni Collette beat out Tina Fey for best actress in a comedy series. Bryan Cranston took home best actor in a drama. But when it came down to the two biggies – best drama and comedy – the awards went to 30 Rock and Mad Men, who probably wouldn’t win so much if they weren’t the best shows on TV.

In any awards show — that is, the Emmys, the Golden Globes, and the Oscars — there are plenty of failed jokes and awkward moments, but all in all, tonight’s show was pretty good. I thought Neil Patrick Harris did a solid job as host. Maybe I’m still comparing everything to that big pile of crap they put on last year, hosted by Tom Bergeron, Heidi Klum, Jeff Probst, Ryan Seacrest, and Howie Mandel. Ugh… I cringe.

Some of tonight’s more memorable moments:

• Sarah Silverman’s mustache.
  
• Ricky Gervais saying things.
  
• Jimmy Fallon’s bit with the auto-tuner.
  
• Bob Newhart. Seriously, is there anyone who doesn’t like that guy?
• Finally, Kate Walsh letting her hair grow back out. Yes Kate, I’ll marry you. We can live with my mother.
  

Anyway, if you didn’t watch the show, none of this will mean anything to you, so here’s the full list of winners…

Outstanding Drama Series
“Mad Men” (AMC)

Outstanding Comedy Series
“30 Rock” (NBC)

Outstanding Lead Actor in a Drama Series
Bryan Cranston, “Breaking Bad” (AMC)

Outstanding Lead Actress in a Drama Series
Glenn Glose, “Damages” (FX)

Outstanding Writing for a Drama Series
Kater Gordon and Matthew Weiner, “Meditations in an Emergency,” “Mad Men” (AMC)

Outstanding Directing for a Drama Series
Rod Holcomb, “And in the End,” “ER” (NBC)

Outstanding Supporting Actress in a Drama
Cherry Jones, “24″ (Fox)

Outstanding Supporting Actor in a Drama
Michael Emerson, “Lost” (Fox)

Outstanding Variety, Music or Comedy Series
“The Daily Show with Jon Stewart” (Comedy Central)

Outstanding Original Music and Lyrics
“Hugh Jackman Opening Number,” The 81st Annual Academy Awards (ABC)

Outstanding Writing for a Variety, Music or Comedy Series
“The Daily Show with Jon Stewart” (Comedy Central)

Outstanding Directing for Variety, Music or Comedy Series
Bruce Gowers, “American Idol” (Fox)

Outstanding Miniseries
“Little Dorrit” (PBS)

Outstanding Made for TV Movie
“Grey Gardens” (HBO)

Outstanding Lead Actress in a Miniseries or Movie
Jessica Lange, “Grey Gardens” (HBO)

Outstanding Directing for a Miniseries, Movie or a Dramatic Special
Dearbhla Walsh, “Little Dorrit” (PBS)

Outstanding Writing for a Miniseries, Movie or a Dramatic Special
Andrew Davies, “Little Dorrit” (PBS)

Outstanding Lead Actor in a Miniseries or Movie
Brendan Gleeson, “Into the Storm” (HBO)

Outstanding Supporting Actor in a Miniseries or Movie
Ken Howard, “Grey Gardens” (HBO)

Outstanding Supporting Actress in a Miniseries or Movie
Shohreh Aghdashloo as Sajida in “House of Saddam” (HBO)

Outstanding Reality Competition Program
“The Amazing Race” (CBS)

Outstanding Host for a Reality or a Reality Competition Program
Jeff Probst, “Survivor” (CBS)

Outstanding Lead Actor in a Comedy Series
Alec Baldwin, “30 Rock” (NBC)

Outstanding Directing for a Comedy Series
Jeffery Blitz, “Stress Relief,” “The Office” (NBC)

Outstanding Lead Actress in a Comedy Series
Toni Collette, “United States of Tara” (Showtime)

Outstanding Supporting Actor in a Comedy Series
Jon Cryer, “Two and a Half Men (CBS)

Outstanding Writing for a Comedy Series
Matt Hubbard, “Reunion,” “30 Rock” (NBC)

Outstanding Supporting Actress in a Comedy Series
Kristin Chenoweth, “Pushing Daisies” (ABC)

Hard-Boiled or Sunny-Side Up:

The Divisive but Satisfying 2009 Primetime Emmy Awards

How do you like your Emmys?

Oh, don’t pretend as if you don’t have an opinion. Anyone who is reading this column has some sort of an opinion about the award show and its brethren, lavish ceremonies designed to recognize the very best in a specific industry. However, the Emmys are not a universally accepted success story, and while there are some who view the awards as a valuable institution for recognizing talent others see them as an antiquated and slow-minded organization hellbent on refusing to accept that which is different in favour of more traditional “awards” fare.

As such, Emmy producers really have two entirely different bodies of viewers to be concerned with (throwing out those who would never watch the show in the first place). On the one hand, they have those people who believe in the dignity of the Emmy Awards, who highly respect the work of the Academy and believe quite strongly that this is a serious occasion meant to honour the very best in television. On the other hand, you have those who are angry that Battlestar Galactica never won a major award, and that The Wire and The Shield got snubbed for their final seasons, and who are convinced that any time the Emmys do make a good decision it was by some sort of fluke.

What host Neil Patrick Harris and producer Don Mischer put together for the 61st Annual Emmy Awards was what I would considering to be the Sunny-Side Up version of the Emmy awards. With a charming and self-deprecating Harris at the helm, and a sarcastic and rarely serious John Hodgman playing the role of announcer, they staged a show which spent nearly every moment not taken up by awards being self-deprecating or dismissive of something, whether it’s the future of broadcast television or Harris’ own bitterness over his loss in his own category.

For those who have little to no faith in the Emmy institution, this was an ideal point of view which gave them an entertaining show that one almost feels joins in on their frustration, if not directly. However, for those who look for a more hard-boiled and serious awards ceremony, chances are that they viewed this year’s Emmys as an ill-conceived attempt to pander to younger audiences.

Me? I’m just happy they weren’t scrambled.

It should be no surprise to anyone who reads this blog that I was very happy with Neil Patrick Harris’ job hosting the Emmys, but in many ways I’m impressed with how they handled the gig. Harris is a song and dance man, a gifted comedian and someone who can bring the serious if he needs to, so they could have gone in a lot of different directions. However, they kept things largely very simple: he opened with a musical number written by the team from Hairspray (“Put Down the Remote,” highlight by an exasperated NPH blasting through every channel nominated for an Emmy), but for the rest of the show it was just him standing behind a podium acting in many ways as a traditional Master of Ceremonies like you would have seen back in the early parts of the 20th century. However, it never felt like he was dominating the show either, never so present as to be a distraction from the real focus, the nominees and the eventual winners.

The highlight for fans of Neil Patrick Harris was likely the short interlude from the emmy-winning Dr. Horrible, featuring Harris bringing his Joss Whedon-penned character out of hibernation to deliver a spot-on sketch about the difficulties the internet faces as a medium for television (small viewing size, buffering times, etc.). It’s a sketch that we TV critics and bloggers found hysterical (both for our love of Dr. Horrible and our sympathy with the struggles of online video mentioned in the piece), but something that many viewers at home likely didn’t even come close to getting.

Youtube: Dr. Horrible vs. The Emmys

For those viewers, though, Harris was just as clever and winning in, well, losing – taunting Supporting Actor in a Comedy winner Jon Cryer during his press conference and general pouting were all likely planned bits (he would have been backstage doing the press conference while hosting, I imagine, if he had won – the plan worked both ways), but they were a way for him to both be funny and endear himself to the audience regardless of their previous NPH affliation.

Now, all of this being said, there were a few points where his running gag (announcing embarrassing and little-known credits for all of the presenters) probably got a little bit stale, running on fumes by the end of the night (and perhaps annoying more of the hard-boiled types). However, what Harris might have lacked in killer material at points (such as the running gag about the “Biggest Television Fan” contest winner ending up in terrible seats) he made up for in execution: very few people can take a bad joke and turn it into a good one simply by laughing at it or fake laughing at it in that way, and he’s just personable enough to pull it off. Ultimately, the rest of a good host is whether they managed to be both memorable and secondary, both standing out for their contribution but not taking away from the “point” of the evening, and I don’t think anyone could argue that Neil Patrick Harris does not fit into the former category.

The bigger question, however, likely surrounds John Hodgman (of The Daily Show and the Apple ads) and his less than factual announcing work as the winners came to the stage. Early on in the ceremony, the little quips worked: Hodgman is very funny reading dryly (his audio book(s) taught me that), and it felt very fitting for the comedy portion of the evening when made-up facts seemed to fit in with the awards being presented. However, when they moved into TV Movie/Miniseries, and eventually into drama, you could sense the gag starting the erode. I think the intention of the gag was two-fold: they wanted the “facts” to be funny on their own, but even when the facts weren’t funny they still wanted you to be questioning them and as a result enjoying the experience.

By taking a characteristically dry portion of the ceremony and turning it into an Easter Egg hunt that’s good for an occasional laugh, the show runs into one of those tricky situations where they’re going to get blasted by those who are expecting a more serious sense of victory. When all of the Best Supporting Actress in a Comedy nominees wore funny glasses (an idea brought up by Amy Poehler, according to winner Kristin Chenoweth), it was one of those moments where you realized that these awards can’t be taken too seriously. However, there was still a sense that the crazy glasses were gone once Chenoweth won, that the moment of glory is something sacred and not to be turned into a joke by Hodgman or anyone else but the winner themselves (who can make jokes all they want, of course).

But I don’t buy this: the whole point of an acceptance speech is giving a person their moment, and a few fake facts in a dry tone before that doesn’t distract from the heartwarming, funny, and often emotional speeches that winners can give. While I can understand those who feel that the Emmys lost a certain degree of their pomp and circumstance this year due to such changes, they’ll never lose the power of someone winning an award and taking the stage to thank their friends and family. It’s one thing that manages to cut through my cynical side every year, when even what I deem an undeserving winner impresses me by being very excited and thrilled for this opportunity. So long as that doesn’t go away, I don’t see how a few extra jokes, a couple of after school special credits and some fake stories about the winners could tarnish what really makes the Emmys so special.

This is, of course, not to say that the actual winners of the Emmys didn’t have their problems this year. There’s no universe where I feel that Neil Patrick Harris and Rainn Wilson should have lost to Jon Cryer for his work on Two and a Half Men, a victory which provided some comedy for Harris but ultimately some disappointment. This was the year that both of those men had a chance to break the iron grip of Jeremy Piven, three-time winner in the category but absent this year, but it turns out that the Emmy voters were going to give the award to the long-time Hollywood staple on the hit show as soon as The Thermometer was out of the running. And for fans of chiding the Emmys for being complacent, the show saw a whole host of repeat winners (including 30 Rock and Mad Men for Comedy and Drama series, Bryan Cranston and Glenn Close in Drama Lead Acting, and Alec Baldwin in Lead Actor, Comedy). All were probably at least somewhat deserving (I’d say that Baldwin and 30 Rock won based less on merit than on their hype, although they were certainly strong this past year), but there’s once again that sense that the Emmys never change, a steel trap designed to keep out things new and exciting.

But the show had its share of excitement, don’t let anyone tell you otherwise. When Kristin Chenoweth picked up an Emmy for the cancelled Pushing Daisies in the night’s first award, it began a trend of surprise victories for deserving performers. Toni Colette pulled off the night’s biggest upset defeating Tina Fey for Lead Comedy Actress, demonstrating that a showy cable role is capable of taking down the 30 Rock juggernaut, while Michael Emerson overcame a weaker submission than year’s previous in Supporting Actor, Drama, to pick up a statue for his amazing work as Benjamin Linus on Lost. Combine with Cherry Jones picking up 24’s first ever supporting acting win for portraying the President on the show’s seventh season, and you have a series of victories which really felt earned and, more importantly, a little bit surprising.

And that is, ultimately, the side of the show that the producers can’t control. They don’t know who’s going to win, so it is their job to create a show that will compliment a tremendous slate of victors and distract from disappointment after disappointment coming out of the envelopes. This year, the Emmys got lucky: not only did the winners end up bordering on the acceptable, but the show itself felt prepared for any contingency. The addition of video clips to the writing/directing awards (in the style of the Variety Writing category from years past, but shorter) offered a chance for some extra bits of comedy as well as well as an opportunity to get some sound advice from people not normally in front of the camera. On top of all of that, the show picked some strong presenters: although we had to deal with the usual network self-promotion (Jennifer Love Hewitt misusing irony and Chris O’Donnell’s terrible joke being the worst offenders), there was also the genius of Jimmy Fallon’s Auto-Tune bit and Ricky Gervais once again making a case for why he should be hosting every awards show in existence immediately. Combine with a high-definition set featuring moving video panels and a real “behind-the-scenes” feel all melded into one, and this just felt like a slick awards show.

And perhaps there are those who don’t think the Emmy should be slick, but this is television here. Unlike the Academy Awards, which tend to award everything to dramatic performances with nearly no mention of comedy, this is a medium which welcomes all forms of genre from the lowly reality television to the upper echelon of drama. The way the show divided up the various genres made it expressly clear that television’s diversity is one of its greatest qualities, and what the Emmys are about is bringing all of them together.

Whenever the camera cut to Glenn Close in the audience, she was beaming from ear to ear. She was laughing at all of Neil Patrick Harris’ jokes, loving watching Jimmy Fallon roll around on the stage auto-tuning about his injured back, and just really pleased to be witnessing this all. When she won for Damages, she couldn’t help herself from gushing about how splendid it was to see everyone there celebrating this golden age of television, working in this fabulous industry. And, ultimately, there’s the final word on the matter: whether you’re high-browed and dignified or bitter and angry at the institution, if it’s good enough for Glenn Close it’s good enough for you.

Cultural Observations

• I wonder how Glenn Close takes her eggs.
• For more specific and less measured thoughts on each of the awards and the entire ceremony, check out our Live Blog. For a full list of winners, head to Emmys.org.
• Fun fact: the only network to win more than one series acting award was ABC (Emerson and Chenoweth). NBC (Baldwin), FX (Close), FOX (Jones), CBS (Cryer), Showtime (Colette), AMC (Cranston) spread out otherwise. This, humorously, left only HBO without a single victory (presuming we’re not counting The CW, which we’re clearly not) when they won every single Movie/Mini-Series acting nod.
• The ultimate salt in the wound: playing some of Bear McCreary’s fantastic work scoring Battlestar Galactica during the “Year in Drama” Montage. The montages were a fun touch, giving each genre its due, but that was a slap in the fact from an institution that ignored both the show itself and, particularly in this case, McCreary’s amazing work on the show’s fourth season. Sometimes you win when you take fan favourites and include them outside of the awards themselves, but this was an example of the wound feeling too fresh.
• Speaking of which: I wasn’t paying close attention, but including NCIS and Criminal Minds in the “Year in Drama” reel is heading into dangerous territory if they didn’t include some other shows (such as perhaps The Shield, or something like No. 1 Ladies’ Detective Agency). I didn’t notice those shows, but again – was busy live blogging, so might have missed them.
• Best speech of the night is a tough call, but I was a fan of Dan Harmon (who created NBC’s Community) being so very self-deprecating accepting the Music and Lyrics award as a surprise winner for his work on Hugh Jackman’s opening number from the Oscars. Harmon was right: the only reason they moved this award to the broadcast itself was because of Justin Timberlake’s involvement, so having a group of comedy writers win the award was a fun twist of fate.
• Network television did not have a great night: ABC got a kick in the pants reminding it of losing Pushing Daisies prematurely, NBC got a punch to the jugular from Tina Fey when she thanked them for keeping her on the air even when they’re more expensive than a talk show, and Ricky Gervais attacked more than a few networks in the midst of his speech.
• Like the Oscars, the show had someone (Sarah McLachlan) perform live over the “In Memorial” montage. However, unlike the Oscars, they simply showed Sarah at the beginning and end as opposed to throughout, making it just as unnecessary but less distracting than Queen Latifah.
• My biggest disappointment is probably that Michael Rymer, so amazing every time he directed an episode of Battlestar Galactica, failed to pick up an award for Directing (which went to E.R. for its final season, a win which went un-heralded due to the winner not being in attendance), although the three losses for Generation Kill (all to PBS’ Little Dorrit) were pretty close. I would have really liked to see Simon/Burns get an Emmy to shove in the Academy’s face, but alas.
• If only Hugh Laurie had won for Best Actor, it would have made for the fourth “Foreign Actor who Fakes an American Accent on TV” of the night: Toni Colette, Simon Baker, and Anna Torv all took the stage otherwise.
• My predictions ended up being pretty solid: I get props for picking Colette and Chenoweth as a couple of dark horses, but lose out on pretty much everything else but Glenn Close and the two final categories, without question the most predictable.
• The Amazing Race picked up its 7th straight victory for Reality Competition Series while The Daily Show with Jon Stewart won for the 900th time (although you’ll have to check that fact with John Hodgman); certainly deserving in both instances, but one has to wonder when something else will break the streak. If Saturday Night Live and its much-hyped season couldn’t do it with the Daily Show, perhaps nothing can?