I’ll withhold comment on the award
for Best TV Movie, save for two remarks. First, if nothing else, this year
should persuade the Academy to at least consider separate categories for
Directing and Writing for a Movie. It may add a few more minutes to an already
lengthy night, but this is the second straight year Movies have been shut out
of all major categories, and that’s unreasonable, even for a category HBO has
dominated.
Second, I really want Deadwood to win. It was mostly ignored
by the Emmys in its all too brief time on the air, and this would be a way to
make up for it. Besides, given the state of David Milch’s health, and the fact
that this movie got made at all, it honestly should be a sentimental favorite,
goddamn it.
OUTSTANDING LIMITED SERIES
Arguably the most frightening of
the nominated series, it’s hard to know what was honestly more terrifying about
it: the carnage and utter wreckage of the fallout of the nuclear incident, or
how the USSR ’s
concerns of not looking terrible in the eyes of the world may have led to God
knows how many more deaths. A bleak and frightening series, this was a high point of HBO’s year
of exceptional limited series. Pro: Considering
the underlying message that truth must prevail in spite of the state, this is a
far more relevant period piece than almost any other series this year. Plus HBO
and FX have alternated wins in the Limited Series category for the last four
years. It’s their turn. Con: As brilliant
as it was, this was one of the hardest things to watch on TV last year. The
Academy tends to like its winners to be entertaining as well as informative.
Escape
at Dannemora: 9-2
The amazingly true life story of a
prison break, this was one of the more fascinating series to air this season.
And its all the more remarkable considering it comes from Ben Stiller, a man
definitely not known for wrenching drama. A story about two men determined to
escape prison and the desperate woman trying to escape a humdrum life, this was
by far had some of best lead performances at the center of it. Pro: Featuring one of the most
memorable character stints at the center of it from Patricia Arquette, had the
Emmys stopped at 2018, it would almost assuredly have won. As it is, it’s still
one of the more dazzling pieces of work. Con:
It’s been eight months since it debuted, and it did so on Showtime, a
network that has a decidedly mixed track record at the Emmys. Time, like it was
for so many of the characters, is the series enemy.
Fosse/Verdon:
9-2
The brilliant story of two legends
in musical theater, told from the voice of their child, this may be the least
serious of the nominated series. Which doesn’t make any less important. Telling
the story of Bob Fosse, warts and all one of the most brilliant creative minds
who could handle failure only slightly less well than success, was equally
matched by the story of Gwen Verdon, an ignobly forgotten legend of Broadway,
who the series makes clear was just as important to Fosse’s success as the man
himself. A series with two of the most brilliant tour de forces of the entire
year. Pro: It features two of our
greatest actors today playing two of the most iconic figures in Broadway
history, and it goes to great lengths to show just how brilliant – and how
flawed –they were. Con: This was by
far the most erratic of the nominated series, with brilliant episodes mixed
with deeply flawed ones. The actors may triumph, the series probably won’t
Sharp
Objects: 9-2
The only work of fiction among the
nominated series, this adaptation of Gillian Flynn’s first best seller was one
of the most wrenching experiences of them all. More than that, it was by far
the most female centric, featuring searing performances by Amy Adams and
Patricia Clarkson as a mother and daughter who never loved each other, and
whose destructive behavior led to sickness, abuse, and the most horrific crimes
of all. The murders at the center of the story almost paled compared to the
carnage of the mother and daughters. Pro:
Featuring some of the greatest performances by actresses all year, this
series demonstrated that you don’t need a true story to show horrible things.
And it’s clearly lasted with the academy. Con:
It aired more than a year ago, and considering the length of the novel it
was based on, it really suffered from padding more than any other series on the
list.
When
They See Us: 82-25
Ava Duvernay took one of the most
horrible miscarriages of the justice system – the arrest and conviction of the
Central Park Five – and turned it into a look at some of the greatest horrors
in life – police investigation, the justice system, incarceration and
post-prison life. These was one of the most unsettling series all year, and the
fact that it ended with some of the police refusing to admit they’d done
anything wrong - and the implied
criticism of the President – remains one of the most terrifying things yet. Pro:
This series bore the hallmarks of one of the great accomplishment in
television – American Crime, a series
that took a bleak, uncompromising look at America today. The fact that When They See Us takes place thirty
years ago doesn’t make it any less relevant or necessary viewing. Con: As brilliant as the acting,
directing and writing were, a lot of the time the series was harder to watch
than all the other nominees. (This was one of American Crime’s biggest problems as well. It’s extraordinary, but
that doesn’t necessarily mesh with entertaining.
PREDICTION
I’d honestly prefer to see Sharp Objects win, but I expect When They See Us too. Though honestly,
no losers in this category. (They should still have more than five nominees,
though.)
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