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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