Wednesday, December 6, 2023

My Usually Joyous Reaction to the 2023 Critics Choice Nominations, Part 2: Comedy

 

In retrospect it might have been better for me to lead with the comedies when it came to the Critics Choice, not merely because I am far more satisfied with the nominees in almost every category, but because in their nominations they are not only superior to the Emmys but also in some ways better than the HCA. The latter is by far a higher bar to cross, but when I relate the nominees I think some people might very well understand why I think this.

 

BEST COMEDY SERIES

First off, let’s recognize what the Critics Choice got right that the HCA didn’t. They nominated Reservation Dogs for Best Comedy. Indeed, the series is one of the most nominated shows of the group with four. They also did not nominate Ted Lasso for Best Comedy, something the HCA went into some excess for by comparison.

The four series that all three groups are in allegiance on are among the best of the past year: Abbott Elementary, Barry, The Bear and The Marvelous Mrs. Maisel, though in the case of The Bear the TCA is recognizing its second season. There is also love for eternal favorite (pun not intended) for What We Do In The Shadows and new series Poker Face and Shrinking, both of which more than deserve to be here. Only Murders in the Building is the most notable absence but it wasn’t entirely ignored. This is a very good group.

BEST ACTOR IN A COMEDY SERIES

Jeremy Allan White and Bill Hader I think we can all agree gave among the best performances of the year. (I expect both men to win in the HCA.) Jason Sudeikis isn’t here but D’Pharaoh Woon-A-Tai is for Reservation Dogs. No argument. Steve Martin gets his fair share from the TCA. Kayvan Novak has been a favorite from the Critics Choice in the past.

I might question the decision to put Drew Tarver for The Other Two over Martin Short or Jason Segel, but that show is the definition of a critics favorite. No real problem.

 

BEST ACTRESS IN A COMEDY SERIES

Reason number two the Critics Choice has the advantage over the HCA. They are the only major group to nominate Bridget Everett for her dazzling work in Somebody Somewhere. I can always hope that she pulls out an upset, but it’s a tough field.

I doubt anyone would question the validity of four of the five nominees in this group.  Certainly not Rachel Brosnahan, Natasha Lyonne, Quinta Brunson and making her debut in the lead category Ayo Edebiri from The Bear.  I am beyond thrilled that Devery Jacobs was nominated for Reservation Dogs. This is not only the most diverse group of nominees among the comedies but features some of the best performances all year. It’s going to be hard to pick a winner.

BEST SUPPORTING ACTOR IN A COMEDY

Reason number three the Critics’ Choice has it over the HCA this year: they saw the wisdom in nominating Harrison Ford for his incredible work in Shrinking. He is not only the sentimental favorite but by a considerable margin the best candidate in a very strong field.

Henry Winkler, who has won in this category twice before for his incredible work in Barry, is back for the final season. Ebon Moss-Bachrach, who is revelation is back to. James Marsden more than earned his shot for his work in Jury Duty. Harvey Guillen deserves to be here for What We Do In The Shadows.

If I have a nit to pick, it is the presence of Phil Dunster.  Even people who did not like the final season of Ted Lasso admit his work as Jamie was remarkable in this season. I’m just disappointed that he’s here and Tyler James Williams or Chris Perfetti aren’t here for Abbott Elementary.

 

BEST SUPPORTING ACTRESS IN A COMEDY SERIES

I take it back: this category is more diverse than the Best Actress in a comedy series as well as having some brilliant performers. Sheryl Lee Ralph and Janelle James are back in the hunt for their work in Abbott Elementary.  The wondrous Paulina Alexis is also in the hunt for her work in Reservation Dogs. Alex Borstein returns for the final season of Marvelous Mrs. Maisel and given how many people loved her work in the third season of Only Murders in the Building, should we be shocked to see Meryl Streep in the category? I imagine poor Jessica Williams might look at this category and wonder what she’s doing here; I assure you Jessica, you more than deserve to be here and you kind of deserve to win. Best of all, no one from Ted Lasso to muddy up the waters.

 

All in all, this entire grouping represents everything the Critics Choice awards do well. I have almost no complaints at all.

Tomorrow I will wrap things of with my notes on the nominees in Best Limited Series and TV Movie, which if anything have a great mix of both this year and the next as well as missing some gems that every other awards show seemed to drop the ball on.

Tuesday, December 5, 2023

My Usually Joyous Reaction to the 2023 Critics Choice Awards, Part 1: Drama Nominations

 

If you have been a long time follower of this column you know just how highly I hold in esteem the Critics Choice nominations when it comes to television. Since their inception in 2010, they have been the gold standard for what all other awards shows should do when it comes to TV. If the HCA has surpassed them in recent years, it is merely because they have broadened their scope to a degree the Critics Choice have never fully done when it comes to television.

For the last decade with the rise of streaming the TCA has been one of the north stars I have had when it comes to finding TV shows that I would not have the time or energy to find on my own. In the first two years of this decade alone, they helped guide me to Andor, Squid Game and Yellowjackets in drama, Only Murders in the Building and The Bear in comedy, and such brilliant limited series as The Patient and The Queen’s Gambit in Limited Series.  They have also more often then nodded redressed wrongs that the Emmys failed on multiple occasions by nominating such gems as The Good Fight, Reservation Dogs and Gaslit in just the past year.  I’ve spent a lot of time and energy in the past two years giving critics a lot of grief, so I’m glad to know that in shows like this they gets things right.

As you are most likely unaware unless you are a real awards junkie, the Critic’s Choice awards gave their nominations for the best television in 2023 this morning. And in a year that was plagued by labor stoppage as well, so many great series having ended and a general sense the era of prestige TV is over (though I’m not someone who thins so) I was curious to see how they’d react. And the answer turned out to be…very well, under the circumstances.

Their awards will puzzle some and delight others, some surprisingly so. As always the Critics Choice awards never have the finger on the pulse of what is popular, that is in part why I love them so much. Some of their nominations are in recognition of the Emmys that will air the day after this year’s Critics Choice (bizarre timing on their part); others will recognize the year that is to come. But all of them give recognition to some of the very best that television has to offer.  The Emmys has been doing a better job trying to adhere to them over the last few years; they’d do well to do so this time.

I will start with Drama which has some interesting choices.

 

BEST DRAMA SERIES

Succession and The Last of Us were going to be here. It was likely The Crown would be for its final season and The Morning Show has been a favorite of the Critics for a while. I’ve heard good things about The Diplomat for some time and I’m going to be covering it for my blog later on.

The other three choices are puzzling given the rest of the nominations. Winning Time being chosen is odd, but it has been a favorite of the HCA last year. The odder choices in my book are Loki and Stranger New Worlds. Perhaps my bigger problem (by far) is that Yellowjackets was basically ignored (though not entirely) and I’d prefer The Gilded Age or Will Trent among them. Oh well.

 

BEST DRAMA ACTOR

I’m actually overjoyed with this group. I don’t know which nomination pleases me more: Timothy Olyphant for his reprisal of Raylan Givens in the most recent season of Justified or Ramon Rodriguez being recognized for his superb work as Will Trent.

They nominated the right two leads from Succession (Culkin and Strong) and they gave Pedro Pascal the nomination  he was going to get for The Last of Us. Tom Hiddleston is an odd choice, but he’s not a bad one.

 

BEST DRAMA ACTRESS

No one from Yellowjackets? Seriously? You guys are shamed by the HCA. That said..

Bella Ramsey, Sarah Snook and Keri Russell did all get nominated by the Emmys. Jennifer Aniston and Reese Witherspoon are likely to return to the forefront in the season to come. And I will admit I’m thrilled to see Aunjanue Ellis in the hunt for her superb work on Justified. Still, nothing for Melanie Lynskey?

BEST DRAMA SUPPORTING ACTOR

Okay I will give you credit for only one nominee from Succession and it’s the guy who deserves it Matthew MacFayden.  Billy Crudup has been here before. Many thought Rufus Sewell deserved to be nominated by the Emmys.

The others are, in keeping with the Critics’ Choice, an eclectic bunch. Khalid Abdalla, who plays Dody on The Crown, was a good choice. I’m not sure why Ke Huy Quan was nominated for Loki. I think Ron Cephas Jones presence has more to do with his passing than the actual quality of his work in Truth Be Told. I’d honestly have preferred Alan Ruck or Dominic West here.

BEST DRAMA SUPPORTING ACTRESS

Here the Critics are one up on the Emmys; they acknowledged Christina Ricci for Yellowjackets something the Emmys refused to do when they fell in love with literally every performer from The White Lotus. Elizabeth Debicki is likely to repeat for The Crown. Nicole Beharie and Karen Pittman might follow through for The Morning Show… but I’m not thrilled that Star Trek: Strange New Worlds and Loki got nominated and so many of the outstanding women from both Yellowjackets and The Gilded Age were ignored. Oh well.

I’ll admit its an odd mix for drama but it’s also a very interesting group given the circumstances.  Tomorrow I will tackle the comedies. Spoiler alert: I’m much happier with the choices here than many of the Emmys of the past and I hope the Emmys next year takes them seriously.

My Prediction For This Year's Emmys, Week 1, Part 2: Outstanding Lead Actor in a Comedy

 

Before I begin, my only problem with the nominees is quantity, not quality.  The five men is that category by far gave some of the funniest performances this year. The question remains, why only five?  We got up six last year, and there should have been room for Steve Martin and Donald Glover, the latter of whom had his final season of Atlanta with almost no recognition from the Emmys. Oh well.  Still these are five great performances.

Bill Hader, Barry. Odds: 9-2. For Playing: Barry Berkman, a hit man facing prison for his crimes. Pro: No one who has seen Hader’s work in the final season can deny that it is one of the powerhouse performances of all of 2023. Even more lost than he ever was before, he finds himself determined to make a life for himself with Sally, whether she wants to or not. In the final half, we see that he has and he is somehow even more lost and damaged then before. Then he returns to LA to bring about vengeance and ends up paying for his crimes – though it came as a shock how. Hader has created one of the greatest characters in the history of the last decade and it will never be forgotten. Con: Hader has received more than his fair share of recognition from the Emmys for his work here, having won two consecutive Best Actor Emmys. Much as I’d like to him get another, I think even he’d be fine not winning this time.

Jason Segel, Shrinking. Odds: 9-2. For Playing: Paul, a psychiatrist dealing with the death of his wife in the worst way possible. Pro: Astonishingly for a man who has spent the better part of a quarter of a century in TV, this is Segel’s first Emmy nomination. And it’s for playing a character that is suffering from some of the same demons that quite a few nominees in this category are, and he’s not dealing with it well. The difference is Paul is so much funnier doing so  and watching him screw up over and over is endlessly entertaining. It helps that this show fits far better in the comedy category than some of the other nominees and while there is darkness, there’s also light. Segel will be a feature in this category for years to come. Con: Any other year Segel would be the odds on favorite to win, but…well, see below.

Martin Short, Only Murders in the Building. Odds: 9-2. For Playing: Christopher, a theatre producer/podcasts trying to figure out why he and his associates have been framed for murder and by who. Pro: Once you get past the fact that Short is here and his partner in crime (literally in this case) Steve Martin isn’t, you can understand why Short is here. Just as in so many other series Christopher is far more of a buffoon then his colleagues and his constantly being held back when it comes to dealing with the problems. He’s also dealing with being famous again – there’s no such thing as bad publicity – and trying to deal with the possibility his son made not be his. If there was such a thing as a sentimental favorite in this category, Short would be it. Con:  He deserved to win last year as much as Martin did, but I don’t think the odds are in his favor. Next year, Martin, next year.

Jason Sudeikis, Ted Lasso. Odds: 19-5. For Playing: Ted Lasso, coming to terms with why he came to England in the first place. For: The Emmys sometimes likes to reward talent in their final season on the air; they did it with Schitt’s Creek in 2020 and Fleabag the year before. And for all the flaws in the final season, Sudeikis never stopped reminding us why we loved Ted in the first place.  In an era where we’ve been dealing so much with the antiheroes in drama and comedy, Sudeikis reminded us that there was joy to be found in watching the humor of someone who was genuinely good hearted and nice.  The world had to say goodbye to Ted, this season; one last Emmy might be a good parting gift. Con: I think Sudeikis was surprised he took the Emmy last year from his fellow SNL alum Bill Hader, and in that case it was under far more favorable circumstances than this year, when the final season not only underwhelmed but made many question whether the show was any good in the first place. Besides Sudeikis, like Hader, has received more than his fair share of recognition for his work here.

Jeremy Allen White, The Bear. Odds: 16-5. For Playing: ‘Carmy’, a troubled sous chef who has returned to Chicago to save his troubled brothers sandwich shop – whether it can be or not. Pro: White has already won the Golden Globe, the Critics Choice and the SAG-AFTRA award for Best Actor this past year. Each time, he expressed how astonishing it was to win over such legends. He modestly neglected he’s been acting for nearly fifteen years himself and that in one season his work as Carmy is nearly as iconic a character as Barry or Ted.  Carmy is broken like so many other characters, but his trauma comes from the actions of his brother rather than something he did. He spent all of Season One pushing everybody beyond their limits and giving no praise for what he did, denying his feelings for what had happened, and refusing to accept the reality of his situation. Then, in the season finale in a brilliant five minute monologue, he confided that his relationship with his brother was never what he thought it was and began to take responsibility for what he couldn’t fix and what he could. It remains to be seen if he can move past this (I have yet to see the second season) but no one can deny that White is a force to be reckoned with. Con: The Emmys may thing White will have another chance unlike Sudeikis and Hader and choose to honor them instead.

My prediction: It’s pretty clear that the Emmys will say ‘Yes Chef’ and welcome White into their ranks.

Tomorrow in this series, I deal with Outstanding Lead Actress in a Comedy.

Monday, December 4, 2023

My Predictions For This Year's (Next Year?) Emmys, Week 1, Part 1: Outstanding Comedy Series

 

Before we get started a mea culpa on my part. When the Emmy nominations were announced back in July I said with naivety the strikes in Hollywood would be resolved by September because the last thing Hollywood wants to do is mess with awards show season. Clearly I underestimated how much the creative forces desire to receive excessive payment for their work would overshadow their desire for self-gratification. (Forgive me, I’m still slightly bitter about how everything played out. This will be the first and last time I show it.)

But as I said before the sole silver lining was that I as a viewer was able to get caught up on quite a few of the major nominees in all of the categories I will be covering in this series. Therefore I can speak from a slightly more grounded perspective than I usually do. I did not, of course, get to see every nominated series or actor in every category but I think I’ve seen enough to acknowledge that the Emmys did make better choices than I thought (certainly in the acting categories) and that there are fewer bad choices (though to be clear, they’re nowhere near perfect)

Since it’s been quite a big longer than usual, a brief review as to how this will work. For every major category: Comedy, Drama and Limited Series as well as all the acting nominees therein, I will be listed the odds for all of them based on how they are listed at Gold Derby, along with how several other awards show have given out prizes in the leadup to the Emmys. I will also give the pros and cons for each nominee as well as what I want to win and what probably shall. I will start with Best Comedy Series, in part because I know more of the nominated shows and actors then the rest of them.

OUTSTANDING COMEDY SERIES

Abbott Elementary (ABC) 13-2.  Pro: For reasons I do not comprehend (perhaps because the predictions numbers are low across the board) the odds for what should absolutely be the  odds on favorite for this series are ridiculously low.  It swept the Golden Globes, SAG Awards and Critics Choice for Best Comedy Series and dominated the Image Awards as well as the Galeca Awards. The latter came in the aftermath of Season 2 in which every element of Abbott Elementary that had been brilliant before was emphasized (and I’ll be going into detail in the acting awards believe me). While there have been several brilliant comedies that have aired their seasons in the last several months, the idea that anything can stop Abbott is impossible for me to comprehend – and really should be for everyone else. And that is before you consider that everything that is going on in the world today Abbott Elementary is the show TV needs right now on so many levels – racially, gender specific, working class, educational – oh and its still hysterical.  Con: Are we still on the hold up that because this is a network comedy, it is beneath the level of awards? The fact that it’s beaten almost all of the nominated series this past year should really put that to rest.

Barry (HBO) 17-2. Pro: I would think that this show, which along with Abbott Elementary will be among my ten best of the year, would be higher on the list. That said, I do understand why its not. In the final act Bill Hader began to move almost entirely away from comedy that had driven the series and took all of its characters into some truly dark and horrible places. With a move that even some of the dramas in this past year, Hader took us into the future and saw just how miserable the lives of everyone involved had become having been in the aura of Barry. The series went into darker surreal territory – and its series finale ended in a toral bloodbath that was expected. The punchline, in the last ten minutes, may have been the darkest joke Hader did in which we realize that everything the characters went through the last four seasons has been turned into pure Hollywood and that the legend has gone on. Barry in many ways was the most ambitious show of the 2023. Con: Ambitious doesn’t necessarily mean funniest.  I think Hader (who wrote and directed so many of the episodes) deserves as many prizes as possible. But as loose as the definition is for comedy, this was pretty dark stuff in the final season.

The Bear (FX on Hulu) 5-1. Pro: I’m not going to lie. The first season of The Bear is as magnificent as everyone says it is.  It is led by one of the best casts and crews I’ve seen in comedy in a very long time and the writing and directing right now is as good as Hader was at his peak (which to be clear began in Season 2.) Jeremy Allan White is one of the great talents I’ve seen and his entire cast, and guest cast are some of my favorite new characters. I can understand why the TCA ranked it Outstanding Comedy Series and Outstanding New Program of the year.  And I think it will dominate the awards circuit for awhile to come. That said…Con: I think the reason it is ranked so high among so many viewers is the fact that Season 2 dropped this summer and the praise for that was overwhelming. Now I have little doubt if such is the case it will begin to dominate the awards shows that will come starting in the next month. But Emmy voters only judge the season in front of them. (And for the record, I think the final season of Barry was better than The Bear. Not necessarily funnier, but creatively superior.)

Jury Duty (Freevee) 15-2. For: I’m not lying; I had the most doubts about this series being in the comedy category at all when the Emmys recognized in this category. I had similar doubts when the HCA did. But now I’ve seen it, I do understand exactly what the creators were trying to do and I will admit that I’m frankly in awe of their achievement. Jury Duty straddles the line between reality show and comedy show, and in my opinion is far closer to the latter definition. All of the cast are trying to put on a performance to fool a single person – Ronald Gladden. All of them are superb in their work, and Gladden comes across as quite likable as everything twists turns around him – and for being such a good sport when it ended.  I’m not sure if this trick can ever be pulled again but it was a hell of a ride and certainly one of the most original shows of 2023. Con: I have a feeling this may require too many hoops for the Emmys to jump through to recognize it with the grand prize.  Considering that there are now categories for reality programming in the Emmys, it was probably a lot putting here in the first place. I don’t think they’ll go too far.

The Marvelous Mrs. Maisel (Amazon) 17-2.  Pro: The final curtain for Midge as she managed to make it all the way to the top was hysterical to watch.  But the Palladino’s made it very clear just how lonely it was when you got there. We saw that her children were isolated from her as adults, we saw she’d had so many broken marriages, that her parents could never respect her, and perhaps saddest of all her bond with Suzie would end up broken because of a betrayal that put Joel in prison. The happiness she had was bittersweet as we finally got a series by the Palladino’s that came to a natural end. It was a hell of a ride, but you’ll wonder if its worth it. This was nearly as devastating as the final season of Barry, but far more humane and humorous for the viewer. Con: I think that the sun has finally passed from the Mrs. Maisel to so many brighter suns: the fact that it has been essentially ignored by awards shows since the pandemic when it comes to recognition tells you that they think they’ve given it enough.

Only Murders in the Building (Hulu) 9-1. Pro:  Charles, Christopher and Mabel found themselves at the center of another investigation, this time trying to prove they did not commit the murder they had been accused of. They spent it exploring every secret door of the Arconia, the secrets within themselves, looking back and then forward. And always there were so many hysterical cameos, love affairs and great moments for all of us to enjoy.  They need to get recognized. Con: Despite its brilliance, Only Murders did not get a fair amount of recognition compared to some of the other comedies in this category. It deserves to win, but it’s not happening this year.

Ted Lasso (Apple TV) 9-2. Pro: The Emmys loves to say goodbye to a series it loves and they are getting a chance to do so for Ted Lasso, which has made it three and gone. The struggles that made up most of Season 2, including that between Nate and Ted, got fixed. Roy and Keeley ended things (and broke our hearts). Rebecca found happiness and we got to learn some deep truths about everybody. Every show deserves a happy ending.  Con: This is one of those occasions, however, where the Emmys are clearly exercising muscle memory rather than recognizing talent. The third season was given mediocre reviews from critics and even long time fans starting having problems with it before it was even halfway over. By the time the show was nearing its end, many had begun to question whether it was any good in the first place. The fact that it is somehow ranked by voters as the most likely to win this year is just another example of poor muscle memory. Ted may be nice but I think this may have been the rare occasion a nice guy should finish last – or at least not three-peat.

Wednesday (Netflix) 10-1. Pro:  The Addams Family spinoff is the biggest pop culture phenomena in this category: since the beginning of last year, it has dominated both the nominations for Best Comedy and Best Actress for the title role. Having seen most of the first season I can understand why. Jenna Ortega is incredible and glorious in one of the greatest performances I’ve seen, and the series itself is far more ambitious and daring than I thought just from watching the pilot. If anything of the eight nominating shows, I think it deserved far more nominations then it ended up getting. Con: It’s kind of hard to define it is as a comedy series, for one. And given how much controversy Ortega brought upon herself when she said she wrote some of her own dialogue – something that was a picket sign for the WGA this summer – the Emmys probably won’t look highly on either.

My Prediction:  The past might propel Ted Lasso. The future might propel The Bear. I think the present means that Abbott Elementary will complete the sweep it began last January.

Tomorrow I predict Outstanding Lead Actor in a Comedy.

 

Sunday, December 3, 2023

The Pre-Watch for 2023 Emmys Resumes: The 2023 TCA Award Reactions

 

 

For those of you who have been following my blog for a while, you are very aware of how I follow the leadup to the Emmys with breathless anticipation.  Well, sit tight loyal readers cause the next couple of months are going to be going from zero to ninety in a few weeks.

Now that the labor stoppage in Hollywood is finally over and we know the Emmys will be coming for certain next month, I am ready to resume the play by play for every awards show. The one benefit of these strikes was that I was able to get caught up on quite a few of the series that were nominated in all of the major categories I cover and can therefore talk about them with a certain greater level of certainty that I wouldn’t have been able to do had it happened in September as scheduled. (Thanks I guess, various guilds.) Starting tomorrow I will begin that coverage on a regular basis.

In addition as those of you know, next week my two other favorite awards shows the troubled Golden Globes and the always incredible Critics Choice will give their nominations for the year just past. How they will be covering this year given how few new shows there have been the past five months remains to be seen but both groups have been able to adapt to this over the years and I look forward to seeing what happens.  And the HCA has finally announced that it will be airing its awards for this year on January 8th of 2024, so I will go into great detail on that group of awards perhaps with the most pleasure. (This January will be the winter of my content.) Of course though I’m never satisfied with them long term, I will also cover the SAG awards for TV when they come out.

But to start this up, I will begin with covering an awards group that I missed. In my last post in this series way back in July I covered the nominations for the TV critics awards. In the aftermath of the strike I did not know when they would take place and I wasn’t sure they would happen until last month. So I was surprised to find out that in fact, they had taken place in August.

Once I got over the fact I dropped the ball I actually looked at the results and while some of them were not surprising, many of them were very pleasing.

For one I was overjoyed to see that the winner for individual achievement in Drama was not one of the men from Succession but Rhea Seehorn for Better Call Saul. Will this mean she finally gets the Emmy she deserves next month? I can only hope. It did not surprise me nor upset me that Succession took the prize for Best Drama (for the third time) and won Program of the Year. I have realized its brilliance and I’m fine with it, if not overjoyed

Similarly I was delighted to see The Bear take both Best New Program and Best Comedy Series, both of which it more than likely earned. (I’m not convinced it can triumph over Abbott Elementary next month.) And I was overjoyed to see Natasha Lyonne take home the prize for Best Achievement in Comedy an award she has been long overdue since the first season of Russian Doll.  This might improve her chances at the Emmys against Quinta Brunson, the heavy favorite.

Having gotten the chance to see it, I fully appreciate the decision to give Jury Duty the prize for Best Achievement in Reality Programming, where it is frankly a better fit than Best Comedy.  I also think the TCA made the absolutely right call by giving Beef  the prize for Outstanding Achievement in a Movie, Miniseries or Special. And I’m actually okay with Ms. Marvel taking the trophy for Outstanding Achievement in Family programming. Perhaps we should not be shocked that I Think You Should Leave With Tim Robinson repeated as Best Variety Sketch Show as it did last year.

Overall, I’m satisfied with most of the winners: Seehorn would have been my first choice in Drama and of the seven nominees for Best New Show the only one I would have preferred over The Bear was Poker Face. Beef was by far the best choice among the six nominated miniseries and while I would have preferred Abbott Elementary or Barry for Best Comedy, The Bear was at their level.  I would have preferred Better Call Saul and Yellowjackets over Succession in Outstanding Drama and Saul and Abbott for Program of the Year, but I can’t pretend Succession isn’t a worthy choice anymore. I

And its worth noting the TCA record with nominations was fairly good in comparison with the Emmys. Six of their eight nominees ended up in Best Drama and The Crown and House of The Dragon didn’t make the bells ring the way they were predicted. Abbott, The Bear, Barry (and if you want to count it) Jury Duty all made it here and honestly Poker Face probably would have been a better choice than Marvelous Mrs. Maisel. (The other three choices were bound to show up.) I really wish someone other than my fellow critics could acknowledge how great Reservation Dogs is. As for Limited Series: they were right about Beef, Fleishman and Daisy Jones as their choices and despite my thoughts on Dahmer, I still think Black Bird and The Patient should have been nominated in its stead.  No Love and Death, but you can’t have everything.

Well that’s it for this group. Tomorrow I will get started with my Emmy recommendations in earnest. Fasten your seatbelts, it’s going to be a busy couple of months.

 

Friday, December 1, 2023

Lost Rewatch on VHS: The Shape of Things To Come

 

 

When we first see Ben in this episode, he is in a rare moment of relaxation, playing a piece of Rachmaninoff on the piano. We’re stunned not only because we didn’t know he could play but because its one of the few times in the series he actually seems at peace. When the episode ends Ben has been on a globe spanning journey off the island and has been emotionally broken in a way that will change him forever.

The Shape of Things to Come is one of the underrated episodes in the second half of Lost because it delivers in every possible way that makes it a great series.  We get a deeper look at some of the mysteries on the island (and around it), we see some of the most shocking action scenes in the entire series, some of the most violent and terrifying moments, two of the most emotionally heartbreaking moments in the entire series and a final scene that ranks as one of the greatest confrontations in the series canon (even though the showdown behind it never truly panned out.)

And at the center of it is Michael Emerson who deservedly earned his second consecutive Emmy nomination for Best Supporting Actor for this episode. From the moment we met Benry in Season Two, we have never trusted a single word that comes out of his mouth. He is the consummate liar, the unbridled source of evil, the Wizard of Oz.  Of course Jack didn’t believe him when Ben told him in their confrontation in the Season Three finale when he told Jack that Naomi represented someone who meant huge harm to the island who would kill everyone if they made contact with the freighter.  I have little doubt the reason that Jack has spent so much of Season Four, as it has become increasingly obvious to everyone around them that the freighter folk are not here to save them, because he can not accept that Ben is telling the truth about anything. When he finally learns on the beach that Dan and Charlotte have been lying to them all this time, he is angry not so much because they are not getting off the island but because it means that Ben was telling the truth. It also means that Locke was right when he tried to protect everybody but you don’t blame him because at that very moment Locke has lost whatever credibility he had with the people he was ostensibly protecting.

Now the mercenaries have come to the Barracks and Ben is genuinely terrified in a way we haven’t seen before.  His actions are to barricade the house and to try and convince Locke to stay with him but even in his terror what he cares about first and foremost is his own survival. The trouble is as he tries to batten down the hatches, he clearly does not have a plan and he has no ability to project authority over anyone.  Sawyer defies him and runs out to save Claire and Ben has every intention of leaving both of them to die.  He then tries to order the usually docile Hurley into keeping them safe but he refuses to listen even at gunpoint. 

Though this is an Emerson episode Josh Holloway is at the top of his game here.  Sawyer seemed purposeless and broken after killing Cooper at the end of last season but its clear he’s found a way forward.  Throughout his time at the Barracks he’s been showing more warmth and compassion than we ever saw him saw with anyone other than Kate: he and Hurley have become room-mates, they were playing horseshoes earlier this season and at the start of the episode they are playing Risk with Locke.  Sawyer seems to have redirected his rage towards protecting people: he risks his life to save Claire’s, is willing to sacrifice Ben if that means his friends can live and at the end of the episode, warns Locke at gunpoint that if Locke harms one hair on Hurley’s head, he’ll kill him. Then he leads a group of his friends through the dark jungle where he knows mercenaries, Others and possibly a smoke monster are waiting for him.

Ben is still clearly trying to control everything even in his terror.  When Miles (who clearly has come to regret the decision to stay at the barracks) comes to him with a walkie-talkie Ben is still trying to pretend he has things under control. Then Miles tells him they have Alex – and the episode changes.

We’ve occasionally seen Ben taken by surprise throughout the last two seasons but he’s usually great at maintaining his poker face. When he hears Alex is being held prisoner, he flinches and we can see his hand shake as Keamy talks to him.  And it is here that we can see that Ben has made a major miscalculation.

Ben has spent so much time in charge (we assume since the Purge) that he has come to assume that his name and his connection to Jacob alone will strike fear into the heats of all who know him. He knows how dangerous Widmore is and he knows the threat Keamy imposes when he talks to him.  But because he spent his entire life on the island, he assumes that will terrorize Widmore’s subordinates. He got a sign in his confrontation with Miles that wasn’t the case but perhaps he dismissed it because the threat was merely financial. Now he is playing poker with his daughter’s life and with a man who has already more demonstrated he has no respect for it.

The scene where Keamy stands over Alex is one of the most heartbreaking in the show’s history – arguably in the entire first decade of the 2000s.  Ben seems to think that he can call Keamy off by telling him that Alex is just a pawn and that maybe if he things she means nothing to him, he’ll let her go.  When we hear the shot, Ben is stunned emotionally in a way we’ve never seen him before. And for the first time in the entire series, he is paralyzed with grief.  You could say his statement – ‘He changed the rules’ is denial  and he then goes straight into anger and bargaining.  With a single minded purpose he goes to his secret room, which apparently has another secret room, and makes some kind of deal with the devil. And two minutes later, the devil shows up.

We haven’t seen the monster since Left Behind but now we get by far the closest look at it. We’ve known how deadly the monster but now it looks bigger and angrier than we’ve ever seen it.  We don’t know why the monster doesn’t kill everybody in its path (it’s done so before and as we will learn has always done that) but what we see is frightening as a single soldiers runs in terror, starts shooting at it and the bullets pass through it. The man is dragged back almost as if the chains we’ve heard are actually there.  But even in that aftermath Ben knows he has to say goodbye to Alex. As he stands over his daughter weeping, closing her eyes he is broken in a  way he never has been.

It will be a while before we realize it but this episode is where the show begins to shift away from the idea that Ben is truly the source of evil.  The reason that it’s hard to realize it, even in the midst of everything that we’re seeing him endure on the island is because of what we are seeing in the flashforwards.

The first scene where Ben wakes up in the Sahara Desert, wearing a parka with a Dharma logo and is then two Bedouins ride up to him is just as displacing as the opening scene of the series. (Indeed Ben is lying in the exact position Jack was in the Pilot and quickly adapts to his surroundings at the sign of a crisis.) Ben is clearly aware that he has traveled not only through space but time – the flashforward is dated October 24, 2005 – but he also quickly has picked up onto what his happened in the months between.  We’ll eventually get an explanation as to how he ended in Tunisia, but its clear this is something he’s done before.

We’re dealing with something just as painful, far more in fact.  This is as we quickly learn how Ben recruited Sayid and when we learn why, our heart breaks again.  Sayid found Nadia after rescue and married her – and less than a year later, she’s dead. We wondered when we saw Sayid in The Economist why he was killing so ruthlessly, why he seemed so broken and why he was working for Ben. Now we see why.  Naveen Andrews in the second half of Lost will be memorable in many ways but now its because we are watching a man with nothing to live for any more. He spent all his time on the island clearly hoping that he would be reunited with Nadia; it’s clearly one of the few things that has motivated him on and off the island. Now he has nothing left.

It's also why part of me truly wonders if, in fact,  Charles Widmore actually did have Nadia killed. (Indeed by the time the series is almost over we’ll actually have evidence to argue that Nadia’s death had nothing to do with Widmore, maybe not even the island.) Ben, as we know all too well, is a masterful psychological manipulator: he did with Juliet during her time with the Others, he did it with Jack while he was holding him prisoner and he’s been doing it with Locke since the moment they met.  We also know that he is incapable of telling the truth; we don’t know yet how he left the island, but we know it wasn’t by normal methods of transportation.  And I actually don’t believe (despite what we hear at the end of the episode) that he truly has a plan to get back to the island.

I think the only moment he is truly honest with Sayid is when he tells him that “once you let grief become anger, it becomes all-consuming. I speak from experience.”  He is at war with Widmore because he blames him for Alex’s death, and that is the only thing he has left to live for.  That said, I’m pretty sure that’s exactly why he tapped Sayid.  Like Ben, Sayid has lost the only thing he cared for and while there clearly were other people he could turn to, the fact that none of the other Oceanics are at Nadia’s funeral does speak volumes to the distance between them. Sayid needs something to keep him going and without love, he has turned back to being a killer. (That said, I’m pretty sure Ben expected Sayid to turn the gun on him after he killed Bakir.)

The final flashforward is justifiably one of the great moments in television history.  Ben confronts Widmore in his penthouse, and Widmore is completely unsurprised to see him. It’s here we get another critical piece of the saga. Not only do Ben and Widmore know each other, they’ve clearly known each other for a very long time.

We don’t know why Ben can’t kill Widmore, anymore than we know why Widmore didn’t have Ben killed. There seems to be some ‘rule’ about it that both men understand but that the series will never fully spell out. Ben is justifiably angry at Widmore for killing his daughter. Widmore tells him that he had nothing to do with it but Ben did. (It is worth noting that Ben himself will take both sides of the issue throughout the series.) Then Widmore tells Ben that: “I know who you are, boy. I know everything you have you took from me.” Then he asks him why he’s here. Ben tells him coldly: “I’m going to kill your daughter Charles. Penelope, was it? And once she’s dead, you’ll understand how I feel. And you’ll be sorry you changed the rules.”

At that moment the viewer begins to shake inwardly.  Widmore doesn’t blink, but his phrase: “You’ll never find her,” sounds almost like a prayer, as if he is hoping their estrangement will save Penny’s life.  We still don’t know what’s happened to Desmond in the future. He’s not one of the Oceanic 6, but that means nothing: he wasn’t on the plane. We also know that Penny is determined to find Desmond and that she has to know about where he is.  Is it possible that in the future she will go looking for him and end up running into Ben? She clearly knows about the island.  Whatever happily ever after Desmond and Penny might have (and at this point in the series that was very much TBD) Ben being off the island is now the new Sword of Damocles over their future.

The scene ends with Widmore telling Ben: “The island is mine. It was once and it will be again.” Ben tells him that he’ll never find it, leaving out the fact he has before. “I guess the hunt is on for the both of us, Benjamin,” Widmore says. “I guess so. Sleep well, Charles,” Ben says and closes the door behind him.

While the Widmore-Ben storyline will conclude in an anticlimax in the final season, it is scenes like this that will lead to some of the best drama for the next year and a half.  Nikki Stafford spent a fair amount of both Season 4 and Five of Finding Lost trying to convince us that this was a battle of good versus evil and trying to convince us that both men could have been on either side. Her arguments are persuasive, particularly when you consider the lighting  in that scene and the ambiguity of the characters overall. That said, I’m pretty sure at this point in the show I was convinced both men were evil geniuses willing to do everything in their power to obtain their goal.

 It’s hard not to think that way based on the evidence in front of us. Widmore has sent a team of mercenaries with clear mission to kill everyone on the island to get Ben and in the last two episodes they’ve killed at least six people. (We don’t know how many other socks ended up back at the barracks, but the fact that none of them get out afterwards makes me think that more than just the three Sawyer saw got shot died.) Similarly Ben was already a collaborator in the Purge, has been more than willing to send his own people into death, has killed people himself, and has been more than willing to sacrifice everything for the good of the island. Right now, we are sympathetic towards him based on his reaction to Alex, but we know Ben far too well to trust his motives, and the series will spend well into Season Five making us doubt our momentary sympathy for him.  At this point, the question is which of these two men is the lesser of two evils and how many more people will die in their war?

So much is going on at the Barracks that when the body of the doctor washes up on shore with his throat cut and the last message from the freighter tells us he’s still alive, we barely have time to blink at this. (We don’t actually mourn the doctor because frankly, he was a dick.) We’re more concerned with Jack, who clearly has something more than a stomach bug. (Though again, it’s not like its going to stop him from getting off the island in one piece.)

Right now, we’re dealing with far bigger problems. There is now no sanctuary on the island and certainly not on the freighter. The survivors are even more scattered than they were before and a lot of people have died. We know that some people will get off the island soon, but the bigger question will soon be: is it because they are truly the only ones who got out of this alive?  Rationally it’s hard to accept this – the show is going to end in Season 6, and we’re not even through with Season 4. But we’re not sure that even Jacob can solve this crisis. (Turns out, he won’t…but that’s a story for later on.)

I Agree With Jeopardy Fans Who Think We're In Tournament Hell - But A Light May Be At the End of the Tunnel

 

 

At what is essentially the quarter mark of Season 40 of Jeopardy,  it’s fair to say that quite a few devotees of the show are beginning to feel, shall we say, frustrated.  I think how you view the frustrations might depend on how long you’ve been watching the show and it can be summed up between how the long-term viewer might think of it and the short term one (let’s say ten years or less) might think of it.

The viewer who has been watching the show for more than a long time, say someone who remembers when the Jeopardy round dollar figures were $100 to $500 and that there was a cap on five games, might be willing to look at this as a test of their faith. Noah building the Ark, Moses wandering in the desert,  the struggle of Job, basically any Old Testament figure. The less secular fans might view it as having the patience of Penelope, waiting for the return of Odysseus or Hercules having to go through his labors.  The end result will be if we just watch the show and wait long enough, our patience will be rewarded.

The more short term viewer – maybe someone who has only been watching since James Holzhauer showed up – might well view this as the experience of having to go through a Lifetime movie.  We all know the formula: the heroine falls in love with someone who sweeps them off their feet, they enter into a whirlwind courtship and they either move in together or get married.  Now they have entered the main action where they learn their partner is emotionally or psychologically abusive and forcing them to endure endlessly exhausting test. We are at the point where the best friend has intervened for the second or third time and is yelling at time: “Why do you stay with him? Can’t you see what he’s doing to you?” And the heroine just looks at them and says: “He’s only doing it because he loves me.”

I am, as anyone who has read these columns know, in the former category but I have to say that I’m more inclined to sympathized with those who might be willing to think is the latter one. Considering that after sixty games we are still in this ‘postseason’ of Jeopardy I am beginning to think whether the producers have decided to do this out of some emotional testing of their entire fanbase that in fact, is not out of the common of long term emotional damage. I’m not quite on the side of those who claim that we are in Tournament hell, but Tournament purgatory that I’m more than willing to go along with.

As you who have read this column also know, even before the concept of the postseason was playing out, I thought that every aspect of it was a horrible idea that basically went against every principle Jeopardy had spent the last thirty eight years establishing. I thought the Second Chance Tournament was a terrible idea when it first played out last year. The fact the show essentially decided to double down on it at the start of this season did not make me any happier.

While I admit the Wild Card Tournament is at least based in a more rational idea – inviting back 1 to 3 time players from Seasons 37 and 38 -  that still does not make it a better idea or the execution any more excruciating. I knew that spending what amounts to a full quarter of the season was too much for any rational person to deal with and I was certain it would test the patience of the most devoted fans and the most recent ones. I’m not shocked or happy that in recent weeks I’ve been proven right.

I don’t deny that many, if not all, of the games have had a fair amount of excitement, that many of the players have not been endearing and that many of the finishes have been thrilling. It does not change the fact that we’ve spent a full quarter of the season all so that three slots in the 2024 Tournament of Champions have finally been filled. The fact that we have spent the last two months essentially having a bunch of players who over the last thirty eight years would not have even been thought of being invited to a Tournament of Champions at any other time in the shows history makes it worse, as well the fact that the two of the winners – Emily Sands of the Diamonds Leg and Josh Saak of the Spades Leg – were three game winners who in any other year (including for the record the 2021 Tournament of Champions) could just have been let in and no one would have blinked an eye. Indeed each of them in their three games won more money than Michael Falk, who won three games in the 2005-2006 season and then went on to win the Tournament of Champions a month later. In both the cases of Sands and Saak, we seem to have run twice as far to get to the same place.

Worse is the fact that Tuesday’s winner of the Clubs leg Nick Cascone won exactly one game. This is only negligibly better than last year when two winners of the Second Chance Tournament earned the right to compete in the Tournament of Champions. In the sense that one is more than zero, it’s an improvement but it goes against every rule the last several decades have stood for.

And to be clear,  the end is far from in sight. As soon as this Wild Card Tournament gets finished in a couple of weeks, we’re going to have to go through the whole thing again in some form for the players of Season 39! It was clear they were scraping the bottom of the barrel to come up with Second Chance qualifiers for the first group; how the hell are they going to find nine players in one season? God help us if they try to extend it beyond that.

And how many players are they going to invite for the Wild Card Tournament for Season 39? The only comfort is that it’s not going to take nearly as long because it’s one season instead of 2 this time. But even then they admit it’s going to take at least another month to get through it. We will have ended 2023 without having seen a single regular season game.

And then, after all that, we will finally get to the Tournament of Champions – which is, lest we forget, the reason we’ve been stuck in Tournament Hell in the first place.  Despite the labor stoppage in Hollywood, Jeopardy decided that Season 40 must go on even though the writers, Mayim Bialik and the participants in the upcoming Tournament of Champions said that they would not cross a picket line.  Sensible people might have decided that the best thing to do was to wait until the strike was over (in order to appease both the studios and the fans) or at worst, keep on doing regular season games until the strike ended. But apparently the sensible people left Jeopardy when they decided the Second Chance Tournament was a good idea in the first place.

And because of their maddening commitment not merely to expanding the Tournament of Champions to 21 players and to keeping the postseason going, we have the hell were going through right now.  The fact that Tournament seemed built more out of necessity and so many other circumstances did not seem to occur to the show’s producers who seem to be only looking forward and not back. How exactly they will do a traditional tournament format with 21 participants instead of fifteen or eighteen is beyond me; there are no Amy Schneider’s or Matt Amodio’s this season, only the equivalent of a Mattea Roach. The fact that same set up ended up hurting the chances of two of those super-winners might have been considered an argument to go back to normal but again that is not what the producers seem interested in doing. At this point they have reversed the Red Queen’s Race, going twice as slow to arrive in the same place. Whether or not the fans will have had the patience to keep up with them does not seem to have entered Jeopardy’s minds, but then again there is not a single part of this that seems designed to make anybody who has watched the show for an extended or brief period, happy.  Who is supposed to make happy is beyond me; it certainly hasn’t help the show.

But that said, there may yet be a pot of gold at the end of the rainbow.  Now that the Jeopardy Masters is in fact about to come back for a second season and hopefully more,  many have wondered who will return to face off in it.  The three players who are going to appear were the finalists in the 2023 Tournament: James Holzhauer, Matt Amodio and Mattea Roach, three of the greatest Jeopardy players in history. But who will the other three be?

We are about to get an answer to that question. Coming up in 2024 will be the Jeopardy Invitational Tournament. While the terms are still vague the description is very promising: “exceptional players from the show’s past competing to earn a spot in the next Jeopardy Masters Tournament.”

Now if you are a long time fan of the show (like me) or you loved the Jeopardy Masters Tournament earlier this year (and judging from both the online response and the ratings, there are plenty of you who do) this idea cannot help but fill you with joy.  Any chance to see some of the greatest Jeopardy players of all time automatically fills the true fan’s heart with celebration. And considering the legacy of great players from even the post 5-game era (which will cover the last twenty years) would be the kind of thing any fan of the show would delight in.

And indeed having written by share of articles about who should appear in the next Masters Tournament, the Invitational Tournament is a democratic choice.  A Jeopardy great over the past twenty years often wonders if they will ever be invited back to play the game they love again and the fan has been blessed by seeing this happen. Considering that my fondest memories of the show are these tournaments I’d love to see all the players I suggested come back – and trust me, those were merely the tip of a very big iceberg.

Just as inspiring is the possibility that as long as the Masters is successful, the Invitational might become part of the roster as well. Considering that the Tournament of Champions is usually the highlight of the season with its chance to look at the recent glorious players of the past, the idea of having one that goes back to the more distant past is something that I think both old and new fans of the show would enjoy equally. For old fans, it would be a chance to keep going down memory lane with some of their fonder memories. For fans who have started watching the show only recently, it would be a glimpse to look at the players who came before they started watching and demonstrate again how great they were.  For every Jeopardy fan, this would be the kind of Celebrity Tournament they would eagerly look forward too.

There’s also the presence of Ken Jennings would have the same factor we saw demonstrated so well at both last year Tournament of Champions and the Masters Tournament.  There would be sense of nostalgia because I imagine quite a few from the invitees have played against Ken over the years and the banter would be even more fun than it was between Ken and James Holzhauer the first time out.  They could also share some of their fondest memories of Alex Trebek in a way that most of them can appreciate in a way that would be moving and profound. Just as with naming the stage for Alex Trebek, this would be just as good a way to keep his memory alive.

Finally for all of us who are enduring this hell, it’s worth noting that all of this shall pass. The Second Chance Tournament and Wild Card Tournament that came were, as we know, an alternate strategy in case the WGA strike lasted longer than it did.  When it ended in late September, the show had committed to its strategy and knew that while this might be a drag on the viewer, it would also be unfair for the contestants that they had invited back. They also had to have the writers refill the clue vault so that the next set of players did get a fresh set of clues going forward. Indeed, the repetition is notable even if it is only clear to the longtime fan like myself.

So it is likely everything we have gone through the last several months and will have to endure for quite a bit longer is the inevitable consequence of resolution. Both long and short term viewers might think of themselves as Eurydice and the postseason as Orpheus, and we are being led out of Hades and back to normality. We will not look back when this is all over; let’s hope the show’s producers choose not to do the same.