Yes! Hurray! Veep is ineligible! Some other series and actors can finally have a
chance. And with Master of None over
with, and Transparent dealing with
its own scandals, its likely they'll be a lot more new blood. Of course, given
that we live in the age of the reboot, its equally likely will see some
nominations from much older series, like Curb
Your Enthusiasm, Will & Grace, and possibly Roseanne (though that's also damaged goods). I don't have a problem
with a couple of reboots, but why not nominate some series that are new and
have their own level of quality?
One of the best series on TV right
now is this mediation on race relations and poverty disguised as a comedy.
Donald Glover and company did something nearly impossible with Season 2; they
took an already extraordinary series and kicked it up a notch, doing some truly
brilliant experimental work. From the breakup of Earn and Van, to Paperboi's
walk in the woods, to the incredible 'Teddy Perkins', to the marvelous look
back at how childhood scars never fade. Atlanta
black-ish
(ABC)
When the series premiered with a
musical tribute to Juneteenth, this wonderful comedy series showed that it had
lost none of its edge going into Season 4. (It's spinoff, grown-ish has more than enough material to be nominated for Best
Comedy in a lesser year.) But when Dre and Bow's near perfect marriage started
to crumble, and the series dealt with one of its first serialized arcs, the
show went into territory you didn't think a network comedy could do anymore.
Both Anderson and Ross went to such new levels that when they finally began to
work out their marriage, it didn't seem labored or stressed at all. It more
than deserves to be listed among the great comedies.
Crazy
Ex- Girlfriend (CW)\
I know, I know, I'm shouting in the
wind. How can I convince the Emmys to recognize a series that's on a network
they've decided, as far as they're concerned, doesn't exist? But it's such a
good series. And as Rebecca finally fell apart, was diagnosed with a
personality disorder, managed to find her way to healthy relationship, and
finally began taking responsibility for her actions - all while singing and
dancing her way through songs that are not only great homages but brilliant
music in their own right - it really makes you wonder how the hell the Emmys
can, in good conscience regulate it to technical awards. This series, like its
lead actress-writer-director-everything deserves acknowledgement.
GLOW
(Netflix)
Now this is a true accomplishment.
Ostensibly a series about the formation of a woman's wrestling league for cable
television in the 1980s, this series takes on a strong look at the sparseness
of women's roles anywhere, female friendship, trying to build something out of
nothing, and a real look at what its like to be a woman any time. This is the
first series handled by Jenji Kohan that I am heads over heel in favor of. It's
one of the most brilliant comedies of the year, its also one of the most
brilliant dramas. And the level of performances from the entire cast - from
Alison Brie and Marc Maron on down - makes you realize that this is what
entertainment and messaging merged should be like. I can't wait what the second
season will bring.
The
Good Place
After ending Season 1 with one of
the greatest twist endings in history, you didn't think there was anyway they
could do a season 2 without forking everything up. They didn't. If anything the
series was willing to try and be even more experimental as Michael's reboot
crashed and burned over and over, forcing the characters to go into entirely
new territory as they tried to get out and find the real good place. And by showing that people are capable of evolving
- even after they're dead, even if they're not human in the first place - the
series has taken on an optimistic tone that I didn't think the show could
possibly do. This is a triumph, and I can't wait to see what they do next year.
But while I'm waiting, give them some forking Emmy nominations.
Insecure
(HBO)
All right, even without Veep, there are a lot of good comedy
series on HBO. And I could make a convincing argument for Barry or Vice Principals. But
this series, even though I'm nowhere near its demographic, is an impressive
piece of work. Were it just for the brilliant numbers and fantasy sequence that
Issa Rae creates, it would be worth the time. But the way it take a look at a
lot of impressive area - particularly in its ridiculous yet simmering sex
scenes - as well as some looks at race
that I'm pretty sure not even Shonda Rhimes would dare approach - and you have
one of HBO's most radical series. Both Rae and the series were denied last
year. Let's hope they remember this time.
The
Marvelous Mrs. Maisel (Amazon)
This series has already won the
Golden Globe and the Broadcast Critics prize for Best Comedy. On the other
hand, it is a series created by those marvelous Palladino's, so it needs all
the plugs it can get. This series finds the sweet spot that so many of the
Palladino series tend too, and that it manages to have a brave, trailblazing
heroine stuck in the middle of both an era and a field that doesn't lend itself
to women breaking into it. It's fun, its entertaining, its a period piece. The
writers have been worthy of awards since Gilmore Girls, the lead actress has
been worthy of an Emmy since House of
Cards. Why does this series have to fight to be among the best of the year
when its so clearly, well, marvelous?
FOR YOUR CONSIDERATION
Arrested
Development (Netflix)
Yes, its a reboot. Yes, Jeffrey
Tambor is at the center of it. None of this, however, changes the fact that
this is one of the most remarkable, creative, and imaginative comedy series in
history. Somehow, it manages to be so ahead of its time that by the time it
comes out, its practically passe. But it has the most remarkable comedy cast
assembled since the Mary Tyler Moore show,
none of whom lose their chops even after being apart for five years. Ignore the
controversy. Just laugh. And try to remember that any resemblance between the
Bluth family and people in the White House really is purely coincidental. I
think.
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