How The Guest Hosts of Jeopardy Are Doing So Far

 

It’s been a little more than two months since the last episode that Alex Trebek shot for Jeopardy before his untimely passing last November. Ever since early January, the show has been going through the process of selecting someone to succeed to the unenviable position of taking Alex’s place.

It’s still unclear who will take that job or when it will happen. (It’s my theory that they will not reach a permanent decision until the next season of the show.) But they’ve announced that for the immediate future, there will be guest hosts taking over for short periods. Among those announced for later are such diverse personality as former quarterback Aaron Rodgers, CNN personality Anderson Cooper, and actress/neuroscientist Mayim Bialik. I thought this would be a good opportunity to evaluate the ones who have been doing the job the past two months.

Ken Jennings: In a way, he is the most fitting person for this job: no one outside of Alex Trebek has appeared on more episodes (as a competitor, of course) and he took a staff position this season, reading out categories.  He has always been deferential to Alex, speaking fondly of him in the first few episodes and ending each broadcast with a ‘Thank you, Alex.” He was also aided by having some good champions in his run – Brian Chang, who won seven games and over $163,000 (including a memorable tie breaker) and the return of Zack Newkirk, a four day champion who was unable to appear until travel restrictions eased. (He won two more games before being defeated.) He also demonstrated a superb sense of humor, when one of the contestants wrote down as an incorrect Final Jeopardy: “What is H & R Block?” an answer that ended his marathon streak. That said, he’s still seemed a bit stiff at times, though that may have been inevitable considering how overwhelming it must be to be the first host after Trebek. He might be able to do the job. Ranking: 4 stars.

Mike Richards: When Jennings had to leave to star on the game show The Chase and there was a hiatus for any guest show, Mike who had been the executive producer of the show stepped in. He showed great humility from the start, clearly demonstrated the debt he owed to Alex, and has been embraced by the internet and the critics. In many ways, he has done the best job probably because he spent years simply observing Alex and therefore knew what to do and what not to do. He has just shown up and done his job, simply and without flair and there’s a great deal to be said about that. One almost wishes that he could take on the job permanently, but the age we live in demands celebrity for Alex’s role and Mike simply is not one. He does, however, deserve praise for being a good sport and simply doing his job. How many celebrities just do that?

Ranking: 4.5 stars.

Katie Couric: There was a great deal of significance in Katie Couric being the first woman to ever host Jeopardy for however long. One would like to give her credit for being a pioneer, but so far she seems the least fit for the job. It’s not so much that she does anything wrong – she has a good back and forth with the contestants, has a level of enthusiasm that the other hosts haven’t had, and clearly enjoys being there. It’s more like her personality is more suiting to interviews than to hosting a game show. In truth, the longer I’ve watched her this week, the more she’s seemed to fit in and it is possible that my problems with her are more due to growing pains than anything else. So far, she’s the only one who I can’t see doing the job permanently – though obviously, she clearly can.

My score: 3.5 stars.

 

I’ll be back with more evaluations as the seasons continues, along with any ideas as to who I think most deserves to fill Alex’s shoes.

It's a Bird! It's A Plane! It's...Yet Another CW DC Show...and it's actually not that bad

 

Let’s be honest: After nearly eighty years, it’s hard to find any life left in Superman. It doesn’t help matters that he’s always been the least interesting superhero of the DC universe and maybe the entire comic book world. Movies and television owe him a debt – and for some of us, a curse – but its been really hard to make his story which has been told and retold so many times any fresher. The movies have tried to make him darker, the animated series have generally paled in comparison to those involving Batman, and the TV series have been running on fumes for awhile. It’s very telling that the most successful one – Smallville – followed a young Clark Kent until he donned the cape and tights and then left him alone. The closer Clark came to his destiny, the duller he tended to get.

One might be encouraged that Greg Berlanti, the genius who, for better or worse, has changed how television approaches superheroes has taken on the franchise in Superman and Lois. The problem is, however, most of what made so many of his early shows work – Arrow, Flash and Supergirl, at least in the early seasons – was that so many of their heroes were obscure properties. Berlanti and his creative team were given a fair amount of range mainly because no one was as invested in them as the ‘major’ DC players. By taking on Superman, he puts himself in a quandary because really, at this point, there doesn’t seem to be anything new to say about them.

What Superman & Lois has tried to do in its early episodes is take a different approach. Clark and Lois have already fallen in love and been married for at least fifteen years. They are now trying an angle that hasn’t really been tried (I expect to be told me where and in the comics it has been). Superman and Lois as parents to teenage twin sons.  This is at least, a little more interesting. Clark/Superman and Lois have been shown as the paragons in just about everything that it’s interesting to see that neither is a particularly good parent. Jonathan is relatively well adjusted; Jordan has anxiety disorder and is particularly withdrawn. It is telling that they have yet to tell their children about Clark’s extracurricular activities.

The Kents are drawn back to Smallville, when Martha suffers a fatal heart attack. A series of events leads Jordan and Jonathan to find out about who their father is, and understandably they are not thrilled to know that their dad has been keeping the mother of all secrets of them. Some people were upset that Jonathan and Jordan were not happy to learn their father was the greatest hero in the world. I actually found it one of the more refreshing – and believable – parts of the series. Jordan is still stewing, and to add to the problems, may have some of the Kryptonian genes.

Perhaps the most interesting part of the series involves Clark’s Smallville sweetheart Lana Lang. Lana has generally taken a lot of abuse in whatever Superman franchise she’s been a part of, because she’s not Clark’s soulmate. Now we see Lana grown up, she’s actually far more sympathetic than she’s ever been. A question that’s never been asked was: how did Lana get over the loss of the boy of steel? And the answer appears to be not well? True, she’s married and has two kids, but the marriage has been clearly falling part and Sarah, her daughter attempted suicide a few months earlier. Jordan is drawn to her, but this doesn’t seem so much like a cliché and rather like two damaged people trying to find something to hang on to.

The chemistry is good between Tyler Hoechlin and Elizabeth Tulloch in the title roles; they have an easy rapport that comes not just from being soulmates but partners that have weathered the storm together. And its also refreshing to see that they’re not the best parent in comparison to Martha and Jonathan Kent. The family dynamics are so much more interesting that I almost wish we didn’t have to have the superhero battles and the villains staking Superman and Lois. I realize it’s a necessity for this kind of show, but by this point it’s actually the least interesting part (so far, anyway.) The villain is a Luthor, whose fighting Superman. He’s from the future (or maybe an alternate universe, I’m not sure). Lois’ storyline, trying to bring down media mogul and Superman heavy Morgan Edge is a little more interesting, but it also involves Kryptonians, which got a little tired on Supergirl after awhile.

There are more interesting things about this series than I was willing to give credit for after the Pilot. It grows on you after awhile, by exploring avenues that most of the films and TV have missed but are in Berlanti’s wheelhouse. Almost makes you wonder how the inevitable crossover event will happen. (For the record, I humbly suggest they start with Stargirl. There at least, most of the costumed heroes are in the characters age range.)

My score: 3.5 stars.

Ray Donovan Gets An Ending. Does It Deserve One?

 

A couple of weeks ago, while I was dealing with my predictions for various awards groups, I came across an item. Ray Donovan would be getting a TV movie to wrap up its run which came to an abrupt end in 2020 when it was cancelled before an expected an eighth season – which presumably would’ve wrapped all of the issues facing the Donavan family – was allowed.

Now normally, I’m all for prematurely cancelled series getting a movie or a limited series to wrap up issues that it never got to deal with and bring closure to its devoted fanbase. Certainly I was over the moon when Deadwood finally got a TV movie to close things out in 2019 and was more than fine when Veronica Mars got a new run. (Though in that case, I’m not sure the fans really were when it ended.) What bothers be about Ray Donovan getting this kind of treatment is that I never understood why people would be that loyal in the first place and more to the point, I was never entirely wild about the trends it brought to Peak TV.

Over the past several years, I’ve said more than my fair share of nasty things about Ray Donovan, so rather than regurgitate my old woes, I’m going to concentrate on what the series may have done to hurt the Golden Age.

No one is denying that part of the Golden Age has been its focus on antiheroes, which were usually bad white men. They were at the center of The Sopranos, The Shield, Mad Men and Breaking Bad to mention just the most famous ones. Showtime had actually been altering the trend for much of this period by focusing its series on difficult women: the most popular were Nancy Botwin on Weeds and Jackie Peyton on Nurse Jackie, but there was also more pleasant characters on United States of Tara and The Big C, which won Emmys for Toni Collette and Laura Linney respectively. And their most successful drama launched during this period focused on an anti-heroine Homeland which focused on the brilliant work of Claire Danes at the center. That’s not to say there weren’t series focused on antiheroes of the Tony Soprano-Walter White archetype -  Dexter and Shameless are the biggest success stories of the network. But there was generally far more variety on Showtime in general.

This came to a screeching halt when Ray Donovan debuted in the summer of 2013. From the start, the entire series always rubbed me the wrong way, and I wasn’t alone. I’ve never entirely understood what the appeal was of this character who had all of the worst aspects of the antiheroes of this age with no apparent virtues. He was monotone, philandered repeatedly, seemed to have no moral center, had no attachments even among his large family (something more antiheroes lacked) and was utterly humorless. Liev Schreiber is a great actor, but I’ve repeatedly questioned what he really saw in taking on such utterly flaccid and unredeemable character, who every time he took a step forward, immediately took three steps back.

Ray Donovan premiered just as Dexter and Breaking Bad were departing and Mad Men was going into its final stretch. From this point, the tone of the age changed. Now there came an avalanche of series where there were antiheroes with fewer redeemable qualities and less interesting stories. House of Cards made its debut around the same time, and Netflix would be a series of shows that more often than not would feature bad white men with little influence. I really can’t imagine Ozark existing without Ray Donovan and probably not Mr. Robot. And those were just the more successful ones. Shows with an awful white protagonist became so common that around this time, The Good Wife began to satirize them (no doubt as an in-joke for the fact that the Emmys would recognize cable series with these kinds of characters at the center but not often superior network shows).

Now, I’ll admit that there is a fair amount of the blame that can be laid at Shonda Rhimes’ doorstep for this, but this is the rare occasion where I actually consider her versions the lesser evil. Say what you will about Scandal and How to Get Away With Murder, but at least they tried to be different (women of color at the center, steamy sex, ridiculous twists) Ray Donovan and so many of its ilk were formulaic shows that never tried to be different and descended into messiness with each successive season. There was at least some spark in watching Olivia Pope work; there was no joy in seeing Ray do his thing.

There have just been so many formulaic antihero based dramas ever since Ray first picked up the phone in his L.A. apartment, and a lot of the luster has dimmed from the Golden Age because of it. We still get great shows – The Americans, Better Call Saul, Stranger Things – but I have to admit, they’ve become harder to find. Given all this, it’s kind of frustrating that a formulaic hit like Ray Donovan is getting wrapped up properly, and not a  brilliant series like GLOW, which is pretty much the antithesis of everything Ray Donavan stands for. I have no doubt they’ll be a fairly big audience for it; I’m just not sure who it is and why they felt so devoted it in the first place.

Even Virtually, The Critics Make Good Choices

 

In case you missed my enthusiastic articles last week, I’m generally a huge fan of the Critics Choice Awards. Ever since they began giving out awards for television ten years ago, they have occasionally shined as a forerunner of what the Emmys will do in September, and more often, shown a bright light on shows that don’t normally get the recognition from the Emmys that they deserve. They gave far more attention to Justified, The Good Place and my personal favorite, The Americans than the Emmys ever did. The Critics Choice makes me proud to be  a critic.

I was disappointed (but not surprised) that this year the awards were given virtually. I was surprised (but not disappointed) that this year, rather than focus so much on the movie side of things, they chose to give the lion’s share of their attention to the TV awards. In the past, this usually affects the winners of Supporting awards who are usually regulated to off-screen acceptance.

And I was generally pleased with most of the awards that were given. Was I a little sad that the Broadcast Critics gave all the awards that the Golden Globes did to The Crown last Sunday? Maybe. But considering how good Josh O’Connor, Emma Corrin and especially Gillian Anderson are in their work on the series, it’s really hard to argue they didn’t deserve it. Would I have liked to see Better Call Saul or This is Us take a trophy or two? Like I said, there are no losers in this category.

The award in Drama, however, that gave me the most pleasure was Michael K. Williams winning for Lovecraft Country. Aside from the fact that it was a brilliant performance on a great show, Williams has been due an award ever since his turn as Omar on The Wire. He’s been getting  his fair share of recognition from the Emmys the last few years, but I hope that this award puts him at the forefront for a trophy he’s deserved for a very long time.

Comedies were equally pleasing. Essentially it came down to a division between Schiit’s Creek and Ted Lasso. Jason Sudeikis (who was more prepared this week) and Catherine O’Hara (who was just as funny) duplicated their Globe wins. Daniel Levy’s prize made me happy and I was absolutely elated by Hannah Waddingham’s minor upset for her fine work on Ted Lasso. After her win, it was a fifty-fifty shot that Ted Lasso would take the grand prize, and I was over the moon that it did. Not just because its one of the funniest and most optimistic series on any service, but because Bill Lawrence has been overdue a win in this category almost as long as Williams has been. Ted Lasso probably moves to the head of the pack for this year’s Emmys. No question.

The greatest generosity of this year’s Critics awards game in the Limited Series category. They were willing to let four of the more impressive series each take a prize: Anya Taylor-Joy and John Boyega’s wins for The Queen’s Gambit and Small Axe, respectively were not unexpected. (I do, however, wonder whether Boyega will have his name submitted in Lead or Supporting, given he’s now won in both.) Uzo Aduba’s win for Mrs. America was not unexpected by me, but I was glad to see Donald Sutherland triumph for his exceptional turn in The Undoing. (His speech was also the most dignified of the night.) The Queen’s Gambit still has a slight lead for the Best Limited Series category (though there’s a lot of time between now and September) but this is a crowded field, and a lot can change. (I would like to see Fargo get recognized more, and I’m half hoping for the Emmys institutional memory to work in its favor.)

I was slightly disappointed (but not that much really) to see Seth Meyers triumph for Best Talk Show. Would I have liked to hear Samantha Bee or Desus and Mero laugh it up? Sure. But Meyers has been criminally underrecognized by the Emmys over the years, and having relied him for entertainment more and more over the last few years, he’s one of the funniest men working and he more than deserves a trophy or two. Hell, I was even glad to see the filmed version of Hamilton winner for Best TV Movie or Special. This is the category it should have been competing in the Golden Globes, not Best Musical or Comedy. And when you give an award in a category that recognized the live production of Jesus Christ Superstar, you know what you’re doing.

Will the Emmys this year acknowledge the wisdom of the Critics instead of the other way around (as is sometimes the case?) It’s hard to say. A lot of the shows up for awards won’t be eligible and there’s still a few months to go. I do know that I can’t wait until next year when hopefully everybody will be at tables and getting very drunk, and maybe they’ll be a couple of more ties. Still, when you hear recipients actually thanking the critics for their prizes, someone like me can’t help but me proud of his profession. And Taye Diggs, you’re still fun.

 

My Humble Attempts To Pick This Year's Critics Choice Winner: Conclusion, Limited Series et al

 

We come last to Limited Series/TV Movie. This is a category where the Broadcast Critics more often than not adhere to the Emmys. But there can be exceptions; just last year, they passed over the Chernobyl juggernaut to recognize When They See Us. And considering some of the nominated series, there’s a lot of room for differences. So here goes.

 

OUTSTANDING LIMITED SERIES

I don’t think Small Axe has enough momentum. Unorthodox and Normal People have been coming up short in the award shows. The Plot Against America deserves recognition, but considering it was ignored before here, I’m inclined to say they’ll be ignored. (No luck for David Simon.) The Undoing came up empty in the Golden Globes, but I think it’s a dark horse.

The Queen’s Gambit would appear to be the early favorite, but I think there’s just as much a chance for either I May Destroy You or Mrs. America. I’m going to give the barest of edges to I May Destroy You.

Should Win: The Queen’s Gambit.

Will Win: The Queen’s Gambit/I May Destroy You.

 

OUTSTANDING LEAD ACTOR IN A LIMITED SERIES/MOVIE.

John Boyega and Mark Ruffalo both triumphed at the Golden Globes, but I think the odds are against them; the former because he was listed as a Supporting Actor at the Globes, the latter because no other nominations. Morgan Spector is a relative unknown and Paul Mescal hasn’t had much luck.

I think that it comes down to a choice between Hugh Grant for The Undoing or Chris Rock for Fargo. Grant still deserves to win, but I think Rock will prevail. He’s one of the most gifted performers, his snub by the Globes was one of their most egregious omission (and there were a quite a few) and Fargo has a good history with the Broadcast Critics; they’ve honored at least one actor from every previous season.

Should Win/Will Win: Rock.

 

OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR MOVIE

The only one with no real chance is Tessa Thompson. Daisy Edgar-Jones and Shira Haas haven’t had much luck this awards season. Cate Blanchett has her best chance of winning with the Critics. Taylor-Joy triumphed at the Globes and I think has a good chance here.

That said, I think the likely winner is Michaela Coel for I May Destroy You. It was one of the most buzzed about series of 2020, considering it dealt with one of the hardest topics for any series to deal with. Coel has become a breakout because of it and I was stunned the Globes ignored her. I think that Coel begins her long streaks towards at least one Emmy here.

Should Win: Taylor-Joy.

Will Win: Coel.

 

OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE

Dylan McDermott is the only nominee with no real chance. Daveed Diggs and Joshua Caleb Johnson were each brilliant in The Good Lord Bird, and Johnson in particular deserves recognition. John Turturro’s being ignored by the Emmys last year for his role in The Plot Against America was a stunner. The argument for Donald Sutherland is just as good as it was last week.

That said, I think the most likely winner is Glynn Turman for his exceptional performance as Dr. Senator, Loy’s right hand man in Fargo. Leaving aside that there were so many good possibilities for this category that were left out, Turman’s work as the world-weary veteran who has the best advice and yet becomes one of the earliest victims of the war was one of the best performances from a great cast. I think Turman has an edge in this very crowded category.

Should Win: Johnson.

Will Win: Turman.

 

OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE

As good as Marielle Heller is in The Queen’s Gambit, I think that this category will come down to one of the three very talented actresses in Mrs. America. Margo Martindale, Tracey Ullman and Uzo Aduba all gave master classes in acting in three of the most brilliant yet forgotten political figures.

For once, I’m going to guess that the Critics will follow the Emmys and go with Uzo Aduba for her work as Shirley Chisholm. It was a great performance and besides, the Critics have been ahead of the Emmys when it came to recognizing Aduba. (She won her first award for Orange is the New Black from this group in 2014.)

Should Win/Will Win: Aduba.

 

One last note: last year the Critics tied when it came to recognizing the Best Talk Show between Seth Meyers and James Corden, and I couldn’t have been happier. So this year, why not tie again and honor Desus & Mero and Full Frontal with Samantha Bee. Both shows are jolts to the way late night variety is done, and both shows are more than deserving. But once again, there are no bad choices in this category.

See you Monday with my reactions.

My Humble Attempts To Pick The Critics Choice, Part 2: Comedy Series

 

OUTSTANDING COMEDY SERIES

Pen15 has no other nominations so it’s out. Mom deserves a win, but it may be too conventional for the Critics. I’d like to see either Better Things or Ramy but they didn’t get nearly enough love, and I think the same goes to The Flight Attendant.

It’s going to be a tossup between Schitt’s Creek, Ted Lasso and one show that was completely ignored by the Golden Globes What We do in the Shadows. The latter is the kind of series that has survived by critics’ favorable reactions, so I think it could pull an upset. That said, I think it’s more like Schitt’s Creek will prevail. The last few years the Critics Choice (at least for comedy) has been closer to the Emmys predictions, and the fact that they ignored until the last couple of years will be enough to carry the day.

Should Win: Ted Lasso.

Will Win: Schitt’s Creek.

 

OUTSTANDING LEAD ACTOR IN A COMEDY

I think Hank Azaria and Nicholas Hoult are out of the running. Matt Brewer could be a dark horse for WWDITS, but it’s unlikely. Again it comes down to the lead three contenders from the Golden Globes: Eugene Levy, Jason Sudeikis and Ramy Youseff.

Youseff probably should’ve won last year, so they could make it up to him. Sudeikis has the momentum from the Golden Globes, Levy from the Emmys. This is a tough call, but I’m going to give the barest of edges to Sudeikis. Youseff’s work was superior and deeper, but Sudeikis’ work had more layers the more you watch it. I really wouldn’t mind a tie.

Should Win: Youseff/Sudeikis.

Will Win: Sudeikis.

 

OUTSTANDING LEAD ACTRESS IN A COMEDY

This is tougher than the Golden Globes. All of the candidates, with the possible exception of Demetriou, have a really good argument for winning. And frankly, Adlon and Rae should’ve won for the series that they created years ago. Cuoco’s had good luck here and Applegate’s deserving.

Of all the actresses, the one I want to win the most is Issa Rae for Insecure. But I think the ultimate winner will be the returning champion, Catherine O’Hara. She’s got the Emmy and the Golden Globes, she’s been very entertaining in the past as a presenter, and we all know how funny her speech was at the Globes.

Should Win: Rae.

Will Win: O’Hara (but really no bad choices).

 

OUTSTANDING SUPPORTING ACTOR IN A COMEDY

This may be the easiest choice of the bunch. Andrew Rannels is unlikely to win. The two nominees from WWDITS probably cancel each other out. I really want Alex Newell to win for an extraordinary performance on Zoey’s Extraordinary Playlist and William Fichtner needs to win for something, and I’m genuinely shocked this his first nomination.

But really, this is Daniel Levy’s to lose. Schitt’s Creek was his inspiration, this is his breakout moment, and he’s really a force of nature. If Mahershala Ali were in this category, I might debate the issue. But I have no problem with Levy winning.

Should Win: Newell.

Will Win: Levy.

 

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY

A bit tougher. I don’t think Ashley Park or Lecy Goranson have much of a chance. Jaime Pressly is one of the great comic actresses of our time, and she is overdue a win. Hannah Waddingham has won me over as the not-as-cold-hearted as she think mogul on Ted Lasso. Rita Moreno is a national treasure.

I think the most likely winner is going to be Annie Murphy for Schitt’s Creek, but this is always the category where you could have an upset. And the Critics might very well spread the love to someone like Waddingham or Pressly. Murphy has the barest of edges right now, but don’t rule out a win for Moreno.

Should Win: Waddingham.

Will Win: Moreno/Murphy (they’d had ties here before.)

 

Tomorrow I wrap it up with Limited Series. I have no doubt here there will be some upsets.

The Only Show Where It IS An Honor Just To Be Nominated: My Picks for this Year's Critics Choice, Part 1

 

Every year, I mention how much pleasure I get from watching the Critic’s Choice Awards. Ever since they began giving awards for TV a decade ago, they have always been at the forefront of recognizing not just the best shows on TV, but so many of the series that don’t get recognized at all. They gave nominations to Rectify, Masters of Sex and The Leftovers, some of the best series of the 2010s and were ahead of the Emmys when it came to acknowledging Better Call Saul, Schitt’s Creek and especially The Americans (twice!)

It can always be extremely difficult to try and guess what series they will acknowledge, and they’re not without their flaws. (Last year, they nominated Watchmen as an original series.) And with so many of last year’s choices for the Emmys ineligible, we don’t have much guidance there. (They also don’t usually pay heed to the Golden Globes either; at least as far as television goes.) So it’s going to be hard to try and predict what they’ll do. But I’ll try.

Let’s start with Drama.

 

OUTSTANDING DRAMA SERIES

The Mandalorian just isn’t the kind of series the Critics honor. The Good Fight and This is Us have been here before and keep coming empty. Perry Mason is a dark horse.

It comes down to a fight between Ozark, Lovecraft County, Better Call Saul and The Crown. Given how the Golden Globes went crazy for it last week, you’d think it would have the advantage, but it’s never done particularly well here.  Better Call Saul is my personal choice – it’s definitely due and the Critics have liked it a lot. Ozark and Lovecraft County tied for the most nominations.

I would like to think that Better Call Saul might be able to get through this year, but I have an inkling it will come down a choice between Lovecraft County and The Crown. And this is an awards show that has had ties in the past, even in this category. I’m giving the barest of edges to The Crown.

Should Win: Better Call Saul.

Will Win: The Crown (but no losers here).

 

OUTSTANDING ACTOR IN A DRAMA

Having won the Golden Globe Sunday, you’d think O’Connor would be the favorite, but it’s a tougher field. Brown, Rhys and Odenkirk have all won here before, bur that’s never stopped the critics. Bateman is due. Jonathan Majors would seem to be the odd man out, but you can’t be sure.

I’m going to give the edge to Odenkirk here. The Critics have liked honoring actors from the Breaking Bad verse and Odenkirk keeps awing with each season. They’re running out of chances to honor him.

Should Win/Will Win: Odenkirk (but again no losers).

 

OUTSTANDING ACTRSS IN A DRAMA

Oh, this keeps getting tougher. The only one who I think is completely out of the running is Claire Danes. Emma Corrin could win, but the Critics have not exactly been kind to actresses in any of these categories. Linney is overdue, and Baranski is way overdue.

I’m going to go out on a limb and go for the one rookie in the category: Jurnee Smollett’s work in Lovecraft County could stand against any of these actresses. She’s a veteran going back as far as Friday Night Lights. And her performance was the best in a great cast.

Should Win: Smollett.

Will Win: Linney (see above)

 

OUTSTANDING SUPPORTING ACTOR IN A DRAMA

Always a category for veteran actors, this is going to be harder to filter. Banks and Lithgow have already won in this category. Menzies dropped from Lead to Supporting, but that doesn’t make him any less great. Michael K. Williams needs to win for something. Justin Hartley has been robbed by the Emmys for four years straight. The only one I don’t think has a real chance is Tom Pelphrey for Ozark.

My heart says Williams. My head says Banks.

Should Win: Williams.

Will win: Banks (ibid).

 

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA

This is the only category I have an out and out favorite in. Rhea Seehorn has given one of the greatest performances in TV history as Kim Wexler, Jimmy’s reluctant soulmate on Better Call Saul. She gave some of the greatest performances of her career in Season 5 – when she confronted Jimmy for double-crossing her, when she stared down Lalo Salamanca in a scene you were absolutely certainly someone would die in, and the finale when we saw just how far she’s fallen. She was robbed by the Emmys and this is the kind of venue where she’d be likely to triumph, even over a strong field.

Julia Garner could prevail for her work on Ozark that’s already earned her two Emmys. Cynthia Erivo probably should get something for her superb performance on The Outsider. And the overwhelming favorite is almost certainly Gillian Anderson for her magnificent performance as Margaret Thatcher in The Crown. Still, don’t rule out Seehorn here.

Should Win: Seehorn.

Will Win: Anderson.

 

It’s not going to be much easier when I try to pick the winners for Best Comedy. Stay tuned to watch me squirm.