Despite all the raves, I can’t in
good conscience give Veep a
nomination for Best Comedy. While the final episode did at least partially
redeem the series, I believe it’s too bleak a mirror of our times to even work
as a satire. Also, I think far too many of the cast and crew have gotten too
many awards the last few years. (Though unlike Game of Thrones, there are still some cast members who deserve it.)
And especially considering that there were so many good comedies this year that
did end pleasantly, it would be nice
to recognize them instead. Which shows? So glad you asked.
Barry
(HBO)
Now, here’s an HBO series that deserves recognition. Avoiding the
sophomore slump everybody feared, this was one of the more glorious dramedies
that have come out of TV in the new Golden Age. As Barry moved closer to
acknowledging his own dark side, while desperately trying to stop killing, the
world around him became far more shallow… and deep. This has one of the more
engaging casts I’ve seen in awhile, and really does do wild thing that you
don’t expect from your comedy series. (The ‘ronny/lily episode, a miniature
kung-fu movie was nearly as engaging and off-beat as Atlanta ’s Teddy Perkins episode last year.) It
may be impossible for Barry to save himself, but it’ll be fun to watch him try.
The
Big Bang Theory (CBS)
With all the obsession over Game of Thrones final season, I don’t
know why Big Bang Theory’s final year
hasn’t been met with nearly the same level of recognition. This comedy may have
been the last truly great original network hit. It had a perfect mesh of nerdy
laughs and geek humor that rarely got appreciated before. And unlike so many
other comedies and dramas, all of the characters on this series evolved in a
way that we rarely saw before and have rarely seen since. (Could anyone who saw
Howard in the first two seasons imagine him as a happily married father of
two?) And unlike Veep, where the
central character defiantly refused to change at the cost of personal triumph,
Sheldon Cooper used his moment of glory to demonstrate how much he truly had
evolved and become a human being. I really don’t know why it hasn’t been talked
about more in the field of Emmys nods. It’s won a lot of award but not enough.
At least acknowledge it.
GLOW (Netflix)
Now that the series has been picked
up, there are more marvelous things for the show to do. The series is becoming
even more of a character piece than it was last year, and as we see this period
piece about the early eighties, we realize how far we’ve come – and haven’t.
While the relationship between Debbie and Ruth continues to muddle along, the
roster of GLOW continues to expand,
and become more glorious. Marc Maron’s incredible work remains one of the most
undervalued performances on TV series, as he tries to deal with something he
never thought he’d have – success. This is the first series by Jenji Kohan that
I worship unadornedly and its also by far one of the most daring things on
television.
The
Good Place
(NBC)
The awards shows are finally
starting to catch up with one of the most daring and original series on any
platform. As Michael tried to bring the four people he has come to care about
in order to try and show how to make things words, a series which ended its
initial season with one of the darkest twists in the history of television has
become in its own way, one of the most optimistic series on TV. I don’t know
any other series that would even try to make philosophical discussion part of
their work, let alone hysterically funny. And it remains one of the most visual
and psychological daring shows anywhere – ‘Janets’ was one of most remarkable
episode in the entire 2018-2019 season, visual, acting, and in terms of
directing. The series ending season 3 with one of the most heartbreaking
moments the series has done so far, and one that makes me really wish that their
might be a heaven somewhere. If the Emmy judges don’t recognize this year,
they’re out of their forking minds.
Kidding
(Showtime)
So many show these days are about
the twisted, corrupted antihero that its startling to find a comedy about a
pure and good man. It’s even more bizarre to see that show on Showtime a
network where even the comedies reside in the muck. But Michel Gondry and Jim
Carrey have collaborated on one of the more daring series in the entire TV
universe – a gently surreal, wildly funny series about kids public TV host Jeff
Pickles, a man trying to recover from an emotional loss that destroyed his
family and left him with a hole inside that not even his eternal optimism will
allow him to fill. This is one of this series that actually dares to deal with
the medium as a visual, and actually has the mind of a child while remaining
fully, horribly adult. The odds on this series making the cut are remote, I
know, but it more than has earned it
The
Kominsky Method (Netflix)
I undervalued Chuck Lorre’s first
work for Netflix when the Golden Globes recognized it for Best Comedy. I won’t
make that mistake again. Like the criminally undervalued Grace & Frankie , Kominsky
would be a great work just for provided more work for senior actors –
mostly male this time. But it reminds that Michael Douglas truly is one of the
great comic actors of our time, and watching him try to deal with his acting
and romantic life – as well as prostate and financial problems –is truly
satisfying. And Alan Arkin’s continued late career renaissance makes us wonder
why Hollywood
didn’t use him so well for much of what should’ve been his prime years. It’s a
real treat to watch this show, and it deserves the recognition it will get.
The
Marvelous Mrs. Maisel (Amazon)
For once, I’m hoping the Emmys
ridiculous rule of letting the same shows and actors win over and over works in
this delightful comedy’s favor. As Midge tries to reach new career heights
while dealing with the final collapse of her marriage, there are problems all
around. Her mother takes off for Paris .
Her father falls out of love with his dream job. She tries to build a new
career with dangerous people (sort of) following her and her manager
everywhere. Amy Sherman-Palladino got recognition that has been owed her for
nearly twenty years, as did almost its entire cast of female leads. And
according to the early responds on awards, its looking like the critics think
so too. I really hope the rest of the Emmy voters hold the line.
FOR YOUR CONSIDERATION
Jane
The Virgin (CW)
There’s no logic to it. None at
all. With the Emmys recognizes series that aren’t even on TV, how can they
ignore a network show, no matter how fringe? Right now, it’s going to depend on
how this telenovela satire ends to see whether it or Crazy Ex-Girlfriend ends up being one of the greatest shows of
2010s. What I know with certainty is that this series deserves to be recognized
for something in its final season. From the incredible revelation that Michael
was still alive, to Xo’s triumph over cancer, to what appears to be the final
resolution of the Jane-Rogelio-Michael love triangle, and the realization that
just because you have a miracle child doesn’t mean he’s perfect, this is a
series that deserved to be considered for awards before you realized it basically has an all Latino cast. This
series has never been more relevant. But forget that. It’s all one of the
crowning achievements of comedy. Emmy judges: don’t fail to note this.
No comments:
Post a Comment