HBO is most likely to dominate this
category and the most likely winner may have been determined as far back as
July. But there are a lot of good possibilities, and even a couple of actresses
who are likely to double dip, as well as at least one who might cancel each
other out for their work in two shows. So let’s go through the list.
Patricia Clarkson, Sharp Objects
Ever since the Golden Globes,
Clarkson has been the heavy favorite in this category, and there’s a very good
reason why. Not since the days of Livia Soprano and Betty Draper has there been
just a dysfunctional, oppressive mother. For most of the series, she remained a
quiet force, suppressing Adams ’ character so
well, it was easy to see why her family turned out the way it did. And when we
learned the truth about her, it was quite easy to see why we thought she was
the killer behind everything. Clarkson is one of the great actresses of our
time, and I will be delighted if she wins.
Carmen Ejojo, True Detective
Just for playing the first purely
sympathetic female character in a series that has gone out of its way to be
misogynistic at times is a remarkable feat. But Ejojo’s work as Amelia, the
schoolteacher whose life and future become intertwined with Wayne ’s and the crime was one of the more
remarkable works this year. She ultimately became the series conscience – and
not just in the sense she was the voice in Wayne ’s head as his memory began to collapse.
I knew nothing of this actress before Season 3 began. I have a feeling
regardless of the results, that’s not going to be the same.
Julia Garner, Dirty John
She had a hell of a year. Playing
Connie Britton’s daughter, and the one person who suspects early on that her
mother’s new husband is not what he seems, Garner managed to achieve what so
many other characters don’t – being correct in her assumptions and staying
unsympathetic through most of the series.
The SAG awards recognized Garner for her work and on Ozark – both time as a lead with very
tough competition in each category. I have a feeling the Supporting category
will be friendly to her here as it for her in the Drama category.
Eliza Scanlan, Sharp Objects
The virtual unknown in a series
with some of the greatest actresses working today, Scanlan’s performance as Adams ’ much younger half-sister was absolutely one of the
most mesmerizing works all year. As another girl who was supposedly raising
hell, and who seemed to have a level of sexuality that her sister must have,
Scanlan’s character seemed to another victim of her mother. This made the last
second revelation just as shocking to those who knew it was coming. (She also
had one of the great last lines in the history of any television show). She’s
been less acknowledged then even other actresses in this series, but she more
than deserves to be there.
Emily Watson, Chernobyl
Watson has always been one of the
most undervalued actresses, playing characters that seem to repress everything.
And as the investigative scientist in Chernobyl , the one who relentlessly pushed for
the truth, even though it might cost her her freedom, was one of the most
remarkable portrayals. In the final episode when she persuaded Harris – a man
who had given up his life to try and save all he could – that the world needed
to know what had happened at Chernobyl was just the frosting on a performance that featured so many moments of quiet
dignity. She should be here.
Robin Weigert, Deadwood: The Movie
Considering that for so much of the
series run, Calamity Jane basically was adjacent to the main action and rarely
a part of it, it is a testament to the remarkable ability of Weigert that she
made Jane the most memorable character on a series full of so many ones. (It’s
also stunning, when you see Weigert in Big
Little Lies, that you realize just how much work she had to do to make
herself look utterly undesirable.) Seeing Jane in her utterly drunk and
miserable state one last time, returning to Camp to see the woman that she
loved was another joy that reminds us how grateful I am that Weigert came out
of the muck and mire of this utterly brilliant series. She more than deserved
an Emmy when Deadwood was on the air,
and she more than deserves a nomination now. (Besides, you know her acceptance
speech would be awesome.)
FOR YOUR CONSIDERATION
Margaret Qualley, Fosse/Verdon /Native Son
Sometimes when actresses have
brilliant years, they are fortunate enough to be in two different categories.
I’ve already discussed Julia Garner’s work and Patricia Arquette’s brilliance
in The Act as the murderous maternal
figure will likely land her a Supporting nod in this category. But sometimes,
even in the Golden Age, actors compete against themselves. And Qualley is the
prime case. She gave two brilliant performances this year: as Mary, the woman
that the modern Bigger ends up driving around town, and eventually becomes a
figure of love and violence, and she played Ann Renking in Fosse/Verdon, the Broadway ingĂ©nue who would launch to success in Chicago in Verdon’s place, and eventually
become Fosse’s new lover. In both of these parts she was brilliant. If she had
just been in one, she’d be likely the frontrunner for a nomination. But she was
in both, and she’ll probably get recognized for neither. Like Garner and
Scanlan, she’s young and will get over. I just hope the voters can remember one
performance in which she shown.
See you in mid-July when the nods come out.
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