Each year, it becomes a little
easier to go through the Emmy nomination process. Over the better of the 2010s,
the Emmys have become more inclusive than they have perhaps at any time in
their history. And even if you disagree virulently with their final choices,
you can understand why they’re getting there.
But this year’s Emmys come at a
transitional time for television. Many of the better series – as well as some
of the more repeated nominees – are either ineligible this year or have left
the stage entirely. There’s a very good reason for that (especially in the
Drama category) but I prefer to look it as a sign that the Emmys may be ready
to adapt again. And with the reboot factor less likely to be consequential, a
lot of the series will probably emerge in the comedies as well.
In keeping with last years
process, with each category, I will
discuss the likely nominees, and then predictions for what I would nominate, I
will also give a long shot nominee that will likely be ignored, but deserves to
be considered.
Let’s get this party started.
BEST DRAMA
As I’ve made clear repeatedly in
this column, I loathe Game of Thrones. I
never understood why it was beloved so much, and I don’t appreciate the way the
Emmys has overindulged over superior series. (The way it absolutely smothered The Americans last year is just reason
number 814 why I hate the series so much, and will be glad to see it gone.)
But as a result, a lot of other
series have putting off trying to go against it, until next year. Stranger Things, Westworld, The Crown, and
The Handmaid’s Tale are all waiting
until next time out, and Homeland is
delaying its final season til later this year. As a positive, this lack of
obvious contenders means that the Emmys will have to recognize some new blood
again, and there’s a very good chance that some of them will be players in the
decade to come. What are they? So glad you asked.
Better
Call Saul (AMC)
The one series that never flinched
from a fight with Thrones, and
currently the contender for greatest series on the air, Better Call Saul long since passed the phase of being the greatest
origin story in TV history. It’s still not at the same level as Breaking Bad, but it has entered the
conversation for being at least as great a series as it’s parent show. Watching
Jimmy McGill finally begin to embrace his inner con man, as well as begin the
process of isolating himself from everyone who might care for him, brings an
element of tragedy to the series that Breaking
Bad never quite managed for Walter White. And seeing the origin stories of
Mike Ehrmantraut’s first real cold-blooded decision, and the true depths of the
feud Gus Fring has with the Salmanaca clan are so terrifying brilliant they’ve
managed the impossible: make you forget that these characters are just a couple
of years away from their date with Heisenberg.
Billions
(Showtime)
It seems a good possibility that
HBO’s Succession, a dark drama about
a family fighting for control of a telecommunication empire, will probably gain
one of the slots for Best Drama. It’s worth noting that Billions got there first when it came to brilliant dramas about
money and power, has been doing for longer, and is far better at it. Watching
the shifting of struggles and alliances – Axe and Chuck’s is one you could
never anticipated in Season 1 – and all of the blood struggles between Axe and Taylor
Mason, with the Rhoades’ marriage becoming collateral damage – is one of the
most fascinating series in TV. This series deserves to be considered as a
titan, and this is probably its best chance at it.
The
Good Fight (CBS All Access)
The Kings have no luck. They create
the greatest series on broadcast TV, and the Emmys ignore it because they’ve
decided that Downton Abbey is more
relevant. Now, they have a spinoff that’s just as good, with the curses and
nudity that the other series lacked, and now no one nominates because it’s,
what, too hard to find? Well, there’s room this year, so this is the Emmys
chance to nominate a great series that reflects the chaos and madness of our
era better than any other show anywhere, and features the brilliant acting,
strong female roles, and biting humor that its mother show created. Oh yeah,
and Audra McDonald as Christine Baranski sung this year? What the hell are you
waiting for?
Homecoming
(Amazon)
A stark unique series that was only
originally recognized for Julia Roberts return to TV, Homecoming is so much more than that. Sam Esmail brings his unique
level of direction and editing to create one of the most magnificently shot
series since… well, Mr. Robot. But
rather than rely on the foibles of anarchy, Esmail relies on Hitchcockian style
in camera work, paranoia, and the ability to play the audience like a piano.
You want to believe Julia Roberts is really a sign of warmth, but Bobby
Canavale’s industrious businessman convinces you something dark is beneath the surface.
What is Homecoming’s true agenda? Why did Heidi lose her memory? What happened
to Victor? This series is so brilliantly like Esmail’s best work, its
astonishing to know he hasn’t written a word of it. It deserves to be at the
center of any discussion of great shows this year.
Killing
Eve (BBC America)
One of 2018’s breakout series, the
inevitable complaints about a sophomore slump began the minute Season 2
premiered. But watching the dance of two women – one an ordinary government
official, the other an assassin who just likes killing – is one of the more
dazzling works of art in television. Should it have ended when Eve stabbed
Villanelle? It’s part of a multi-book series, so why should it? Sandra Oh has
finally landed the golden role, and it’s a tribute to Jodie Comer that she’s
created a true original when it comes to television – the psychopath who makes
Dexter Morgan seem balanced by comparison. Yes, there’s some grand conspiracy
afoot, but does it matter? It’s all of the women involved, and the sex and the
killing that make us realize this is the series that finally will put BBC
America on the map for something other than Doctor
Who
Ozark
(Netflix)
I’m a late comer to this Netflix
Missouri set drama about a money launderer in over his head with a Colombian
cartel, and its rather sad to say that the only reason this series will get
nominated is because Stranger Things and
The Crown are on hiatus. But take a
closer look. Watching the dance of two families – the Byrdes and the Langmores
– two clans joined together despite their best endeavors and with no clear exit
in site – makes you realize that this is Netflix’s Breaking Bad. Marty is far more committed criminal than Walter was
when we met him, but he’s a lot savvier and a lot more sympathetic. And
watching this peerless cast makes you realize this is one of the less showy and
quietly engaging series on Netflix, and one that may be its future with so many
of its original hitmakers going off the air.
This
is Us (NBC)
The series continues to demonstrate,
even with its major mystery gone, that there is still far more to learn about
the Pearsons. The Vietnam
FOR YOUR CONSIDERATION
The
Bold Type (Freeform)
There are a lot of very good female
based dramas out there, but most of them center around being dark and
oppressive. My submission is one of those series that is the opposite of so
many considers because of its joyful optimism. Centered around three twentyish
female besties working at a women’s magazine, this series delves into issues
like romance, bullying, being black and gay, and racial profiling, and never
stops being entertaining or likable. This is a tonic to the Lena Dunham based
series – a show that is about female empowerment that never stops being
pleasant and fun first. Freeform has a lot of engaging, fun series, but this is
their greatest triumph – so far.
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