Hope and Desperation: Predicting This Years Emmys

As I say almost every time I try to offer my predictions this time of year, trying to make picks for Emmys is always a very frustrating problem. Not because there aren't a lot of good choices - this column is testament to the fact that there are - but because the Emmy voters seem determined, with each successive season, to make them seem less and less relevant. However, there may be an argument otherwise.

In last years column, the fact is, while I may not have like a lot of the series that got nominated, I was a lot more satisfied with the winners. I thought that the majority of the triumphs ('Game of Thrones' excluded') were good choices that generally showed that TV was going in a better direction. And if this year has proven anything, its that the Emmys seem capable of making better choices when they have more options. Which is why I'm going to do something I haven't done in five years of this column: widen my field.

Many of the better accomplishments this year were in the miniseries/limited series production. So many, in fact, that I think for once, Emmy viewers won't change the channels when it comes to giving out these particular awards. Because of this, I have decided that I will, for the first time, consider the choices for Limited Series this year. I am well aware that this also involves the choices for Best Movie, a category dominated for more than twenty years by HBO. But I think I can make some educated guesses as to which ones will fill in the spots, and for once, I'm not going to be disappointed.

So lets get started, as per usual, with Best Drama.

BEST DRAMA

"The Americans" (FX)

FX had one of the best seasons in its history this year, but it still seems to need vindication for what remains one of the best series on television. This season, the show had a high body count, and featured some of the more frightening twists, as the Jennings began to enmesh their daughter Paige more and more in the espionage game, dealt with more tensions at work and at home, and faced perhaps their biggest threat to their safety yet. Considering that 'Mad Men' is gone, and 'Downton Abbey' is finished, maybe we can finally find room for one of the more understated performers?

"Better Call Saul" (AMC)

It's amazing how truly brilliant this series has become, considering it starts each season with us knowing the fate of its lead. The acting remains astonishing, and the mix between drama and comedy always a bit better than even "Breaking Bad" managed. While the series widened its scope by including a few more characters from the "Bad" verse, it continued to be very much its own series. Its easier to be sympathetic to Jimmy McGill now than it was before, and the newer characters become more intriguing each season.  Let's hope they let some more viewers on the stage.

'The Good Wife' (CBS)

Forget that controversial ending. The fact remains that this may be the truly last great series ever to air in broadcast television. Considering how many great things there were about it, the fact that it continued to be great in its dying fall, and that it had some of the most indelible characters in the history of the medium, I think it at least deserves to be recognized one last time. Especially considering how many times it was shafted for series that were inferior to it - something I'm pretty sure the Kings have never let go of. (What do you think those glimpses of TV were for)

"Homeland" (Showtime)

Continuing to demonstrate a real ability to evolve - something that seemed unlikely just two years ago - the fact that this series was willing to take on completely different takes on our central characters in a way that '24', in particular never could. And seeing mentor and student Saul and Carrie at complete loggerheads for half the seasons was a brilliant touch, as well as the sad fate of Peter Quinn, a man who seemed so tormented for much of the series, and changed dramatically in his final year. The last episode had one of the more moving moments possible, one that by itself deserved a nomination.

"House of Cards" (Netflix)

There are a lot of great dramas on Netflix, and honestly 'Cards' isn't even the best one on it these days. But given the level of political climate this year, the way that the Underwoods - particularly Claire, in one of the most frightening character arcs in history - were willing to  do anything to hold on to power - this series seems more and more relevant than it ever has been. I'm told a lot of people would still like to see an Underwood presidency. How frightening is that for our country, even if it is the stuff of meaty drama?

"The Leftovers" (HBO)

Yes, its almost a sure thing that "Game of Thrones" is going to take this series spot.  But the fact remains that this literary spinoff - almost the complete opposite of "Game" in, well, everything - is by far the better series. More wrenching and perplexing, more human and more unsettling, this is a series that shows that Damon Lindelof has taken the lessons from "Lost", and learned how to make them work. This is a more deserving nominee than any other drama HBO put on this year. Let's have it hear for the record.

"Mr. Robot" (USA)

Yes, I know. I'm a very late convert to this series. But the fact remains brilliant dramas are popping up on the most unlikely of channels this year. This series plays like a very good independent film, deals with issues that are very relevant to the political and social climate, has some of the most remarkable acting on TV, and has the timing of a Swiss watch. It's already won a Golden Globe and critics Choice award. I've got a feeling there are a lot more awards in its future.