Monday, December 10, 2018

Critics Choice Should Be Yours Too: Part 1, Dramas


Less than a week after  the Hollywood Foreign Press delivered some fascinating first looks as to some of the best TV, the Broadcast Critics have announced their annual nominees in film and TV. And for those few but faithful among us who have following them ever since they began broadcasting their awards in 2011,  we know that the Broadcast Critics can often shine an interesting light among series that the Emmys either should acknowledge or (more likely) have chosen to ignore. Sometimes, their ultimate selections presage the Emmys (they picked Breaking Bad, Homeland, and Game of Thrones before the Emmys did) , and often they shine a light on series that the Emmys should be considering (The Americans, Orange is the New Black, Mr. Robot,). And almost always, the nominations themselves will recognize series and actors that never quite get their just deserts (Walon Goggins, Mayim Bialik, and John Noble have been frequent guests at this ceremony even though the Emmys have never given them their due.)
The actual awards can often be far more entertaining than so many others (though last year, when they cut their three hour ceremony to two for the CW was horrible to watch). When it officially airs January 13, they’ve blocked 3 hours for it, though hopefully they’ll also have a more engaging host than the usually reliable Olivia Munn.
In any case, here are my reactions to this year’s nominees in television. As always, I will begin with the dramas.

BEST DRAMA
It’s hardly a surprise The Americans is the leader; the Broadcast Critics have always thought more favorably of this show than the Emmys. Killing Eve and Homecoming aren’t exactly shocks either, giving the high reviews for both. Neither is Better Call Saul, which remains one of the best shows on the air. The Good Fight more than deserves to be here; I’m just disappointed that there were no acting nods this year. And My Brilliant Friend given the immense critical reception for it, also deserves to be acknowledged. Even Pose isn’t much of a shock, considering that the Globes looked favorably on it last season.
The only real stunner is Succession, the HBO freshman drama about a billionaire family fighting over a media empire. Personally, I’d prefer Billions or This is Us to be here, but then again, they didn’t put Bodyguard or Handmaid’s Tale, either. It’s just an odd choice.

BEST ACTOR, DRAMA SERIES
Matthew Rhys, hardly a shock. I really hope he wins this season. But Bob Odenkirk will offer formidable competition, considering he’s already won twice in this category. I’m intrigued that the Critics thought that Milo Ventimiglia’s performance on This is Us was more worthy than Sterling Brown, but it’s not a bad choice.  Freddie Highmore isn’t a shock, either (critical response to Good Doctor aside, the Broadcast Critics loved his work in Bates Motel). I raised my objections to Billy Porter and Richard Madden in the Golden Globes last week, but I may now need to reassess it.
The bigger shock is Diego Luna for Netflix’s critically acclaimed Narcos series. He’s not a bad choice over all, but I still would’ve preferred to see Brown or Paul Giamatti for Billions. But nominations like this are why I like the Broadcast Critics.

BEST ACTRESS, DRAMA
Keri Russell deserves to be here. So do Sandra Oh and Jodie Comer for Killing Eve. Julia Roberts in Homecoming is a strong series. And I’m delighted that someone saw enough of The Deuce to give Maggie Gyllenhaal a nomination for her fine work. I’m even willing to give credit to Elisabeth Moss for her still fine work on Handmaid’s Tale.
Elizabeth Olsen in Sorry for Your Loss,  a series that aired on the Facebook’s venture into original series, is just the kind of nomination the Broadcast Critics will give. You wonder if anybody else actually saw it. Frankly, Claire Danes or Mandy Moore deserved it far more.

BEST SUPPORTING ACTOR IN A DRAMA
This is where things get fun, and often, there are a lot of pleasant surprises. I was overjoyed to see Noah Emmerich recognized for his superb work on The Americans – his confrontation scene with the Jennings alone should’ve gotten him something from the Emmys, and I’m glad they made up for it here. Justin Hartley was also ignobly shunned for his superb work on This is Us, and I’m glad the Broadcast Critics remembered him. Asia Kate Dillon is one of biggest talents working on TV today, and I’m glad Billions didn’t forget them (gender assignment aside) And Shea Whigham has been a favorite actor of mine since the early days of Boardwalk Empire, so I’m glad he got recognized for his performance as the government agent on Homecoming. I’m even willing to give a certain amount of latitude for Richard Schiff as the elder statesmen in The Good Doctor, because I’ve always liked his work.
The other two – Richard Cabral’s recognition for Mayans M.C. strikes me as a little arbitrary. The Critics have always had a fascination with Sons of Anarchy, and they may be carrying it over into the spinoff. And Matthew MacFayden while a good actor, seems to be something of a random choice, even for Succession – is he any better than Kieran Culkin, who the Globes nominated last week? Maybe I’m just bitter because neither Jonathan Banks or Delroy Lindo is here.

BEST SUPPORTING ACTRESS IN A DRAMA
Interesting mix here, too. Thandie Newton ahs more than earned her spot. Holly Taylor was shunted aside so often on The Americans, I’m glad the Critics remembered her as a farewell. I’m hoping Rhea Seehorn, who’s been overdue an Emmy nod for her superb work on Better Call Saul for at least two years, will be able to use her nomination her as a springboard. And Dina Shihabi’s work on Jack Ryan was a new chapter in how female Muslims should be portrayed.
I have the same objection to Yvonne Strahovski’s nomination for The Handmaid’s Tale as I did at the Globes –  there are so many great female candidates in this category, why Strahovski in particular? Julia Garner as the daughter is an interesting choice from Ozark – hell, if you can steal scenes from Laura Linney and Jason Bateman, you deserve a nomination. Still, considering every other category had room for seven, couldn’t we have found room for some of the superb ladies in The Good Fight?

Tomorrow, the comedies.

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