The Fourth Annual Critics' Choice Television Awards were held Thursday night, with AMC's Breaking Bad, Netflix's Orange Is the New Black, and FX's Fargo coming away with the big wins. The awards, which are chosen by TV critics, have a knack for recognizing the programs and performances that are often overlooked by the other big television award shows. But do the slightly out-there nominees have a chance for gold when it comes to the Primetime Emmys? We've decided to predict the nominees and winners of this year's Emmys based on the winners of last nights Critics Choice Awards. The two award shows might have more winners in common than you would expect.
BEST DRAMA SERIES
Critics' Choice AwardsThe Americans Breaking BadGame of Thrones The Good Wife Masters of Sex True Detective
Emmy PredictionsBreaking BadGame of ThronesThe Good WifeHouse of CardsMad MenTrue Detective
Last year's Emmy winner, Breaking Bad, is coming off a fantastic final season, so it's hard to reason how Vince Gilligan's masterwork won't win the night's big award yet again. But on the slim chance that Bad doesn't win (and we mean slim), True Detective is the most sensible alternative. We don't expect low profile dramas like Masters of Sex and The Americans to be recognized by the Emmys, and the hype on Downton Abbey has cooled of considerably this year. Another Emmy favorite, Homeland, had its worst season yet last year, freeing the category up for some new blood.
BEST COMEDY SERIES
Critics' Choice AwardsThe Big Bang Theory Broad City Louie Orange Is the New Black Silicon Valley Veep
Emmy PredictionsThe Big Bang TheoryLouieModern FamilyOrange Is the New BlackParks and RecreationVeep
Freshman dramedy Orange Is the New Black will certainly get nominated at the Emmys, but we're doubtful that Netflix's prison series will win the top prize like it did at the Critics' Choice Awards, certainly not in a race that includes Modern Family. The juggernaut of a sitcom has won the category four times in a row, and there's nothing with enough buzz to stop it's warpath. Elsewhere, Critics' Choice nominees like Silicon Valley and Broad City are way off the Emmys radar, and don't stand a chance of getting nominated.
BEST ACTOR IN A DRAMA SERIES
Critics' Choice AwardsBryan Cranston, Breaking Bad Hugh Dancy, Hannibal Freddie Highmore, Bates Motel Matthew McConaughey, True Detective Matthew Rhys, The Americans Michael Sheen, Masters of Sex
Emmy PredictionsBryan Cranston, Breaking BadJeff Daniels, The NewsroomJohn Hamm, Mad MenDamien Lewis, HomelandMatthew McConaughey, True DetectiveKevin Spacey, House of Cards
McConaughey came out on top at the Critic's Choice Awards, but despite his massive performance in True Detective, we're doubtful he will best Cranston at the Emmys. We're expecting the rest of the category's Emmy nominees to be rounded out with the usual suspects. While the critics recognized the great performances in Hannibal, The Americans, and Bates Motel, we're doubtful that any of those shows will make it to the Emmys this year, or any year for that matter.
BEST ACTRESS IN A DRAMA SERIES
Critics' Choice Awards Lizzy Caplan, Masters of Sex Vera Farmiga, Bates Motel Julianna Margulies, The Good Wife Tatiana Maslany, Orphan Black Keri Russell, The Americans Robin Wright, House of Cards
Emmy PredictionsClaire Danes, HomelandJulianna Margules, The Good WifeElisabeth Moss, Mad MenTatiana Maslany, Orphan BlackKerry Washington, ScandalRobin Wright, House of Cards
When the dust settles, we're expecting Tatiana Maslany to also win the Emmy in this category. At this point, her hype is insurmountable, and riots might break out if she doesn't leave the Nokia theater with something golden.
BEST ACTOR IN A COMEDY SERIES
Critics' Choice AwardsLouis C.K., Louie Chris Messina, The Mindy Project Thomas Middleditch, Silicon Valley Jim Parsons, The Big Bang Theory Adam Scott, Parks and Recreation Robin Williams, The Crazy Ones
Emmy PredictionsDon Cheadle, House of LiesLouis C.K., LouieMatt LeBlanc, EpisodesJim Parsons, The Big Band TheoryAndy Samberg, Brooklyn Nine-NineRobin Williams, The Crazy Ones
The Big Bang Theory's Jim Parsons will likely walk home with both awards. In terms of the other nominations, there's no way Chris Messina or Thomas Middleditch have a chance at securing an Emmy nomination. We're also betting that Robin Williams gets nominated, due mostly due organization's usual affection for "veterans" ... or so the Emmys have an excuse to invite the actor to the show and hear his Genie voice.
BEST ACTRESS IN A COMEDY SERIES
Critics' Choice AwardsIlana Glazer, Broad City Julia Louis-Dreyfus, Veep Wendi McLendon-Covey, The Goldbergs Amy Poehler, Parks and Recreation Amy Schumer, Inside Amy Schumer Emmy Rossum, Shameless
Emmy PredictionsZooey Deschanel, New GirlLena Dunham, GirlsEdie Falco, Nurse JackieJulia Louis-Dreyfus, VeepMelissa McCarthy, Mike & MollyAmy Poehler, Parks and RecreatonLouis-Dreyfus' foul-mouthed vice-prez will likely win the Emmy along with the Critics' Choice Award this year. As for the other nomination slots, Glazer and Schumer have no chance at getting nominated for Emmys. We're expecting the rest of the nomination list to be filled up with Emmys regulars like Melissa McCarthy and Edie Falco.
BEST SUPPORTING ACTOR IN A DRAMA SERIES
Critics' Choice AwardsJosh Charles, The Good Wife Walton Goggins, Justified Aaron Paul, Breaking Bad Peter Sarsgaard, The Killing Jon Voight, Ray Donovan Jeffrey Wright, Boardwalk Empire
Emmy PredictionsPeter Dinklage, Game of ThronesWalton Goggins, JustifiedAaron Paul, Breaking BadDean Norris, Breaking BadMandy Patinkin, HomelandJeffery Wright, Boardwalk Empire
Aaron Paul seems like a lock for the Emmys this year. The only person we could see upsetting what is basically destiny at this point is Peter Dinklage, who had a massive year on Game of Thrones. As for the other nominees, we are actually expecting the two award shows to stack up pretty similarly. Mandy Patinkin will definitely get an Emmy nod, while there might be enough space in the mix for long-snubbed Walton Goggins. One can dream, right?
BEST SUPPORTING ACTRESS IN A DRAMA SERIES
Critics' Choice AwardsChristine Baranski, The Good Wife Anna Gunn, Breaking Bad Annet Mahendru, The Americans Melissa McBride, The Walking Dead Maggie Siff, Sons of Anarchy Bellamy Young, Scandal
Emmy PredictionsChristine Baranski, The Good WifeEmilia Clarke, Game of ThronesAnna Gunn, Breaking BadChristina Hendricks, Mad MenMichelle Monaghan, True DetectiveMaggie Smith, Downton Abbey
While Anna Gunn didn't secure a Critics' Choice Award for the last season of Breaking Bad, we're betting she goes home with an Emmy this September. As for the other nominees, we don't expect Maggie Siff, Melissa McBride, and Annet Mahendru to get an Emmy nod, even though each actress certainly deserves the recognition.
BEST SUPPORTING ACTOR IN A COMEDY SERIES
Critics' Choice AwardsAndre Braugher, Brooklyn Nine-Nine Keith David, Enlisted Tony Hale, Veep Albert Tsai, Trophy Wife Christopher Evan Welch, Silicon Valley Jeremy Allen White, Shameless
Emmy PredictionsAndre Braugher, Brooklyn Nine-NineJesse Tyler Ferguson, Modern FamilyEric Stonestreet, Modern FamilyTy Burrell, Modern FamilyTony Hale, VeepNick Offerman, Parks and RecreationAt this point, the supporting actor in a comedy category should be renamed the "Which Modern Family actor hasn't won in a while?" and that honor goes to Ferguson. Even though the Critics' Choice Awards don't feature a single nominee from ABC's dominant sitcom, expect at least three nominees from the show on Emmy night. Four if Ed O'Neil sneaks his way onto the bill. Also, kudos to the Critics Choice awards for nominating Albert Tsai for Trophy Wife. Bert will live in our hearts forever.
BEST SUPPORTING ACTRESS IN A COMEDY SERIES
Critics' Choice AwardsMayim Bialik, The Big Bang Theory Laverne Cox, Orange Is the New Black Kaley Cuoco, The Big Bang Theory Allison Janney, Mom Kate Mulgrew, Orange Is the New Black Merritt Wever, Nurse Jackie
Emmy PredictionsMayim Bialik, The Big Bang TheoryJulie Bowen, Modern FamilyAllison Janney, MomKate Mulgrew, Orange Is the New BlackSofia Vergara, Modern FamilyMerrit Weaver, Nurse Jackie
It might be crazy talk, but we think this category is Orange Is the New Black's best chance for its first Emmy. The show has such a dynamite supporting cast and heavy following that it may be able to crack the winner's circle in its first year of eligibility. We're thinking Kate Mulgrew has a good chance since Modern Family isn't nearly as dominant in this category as it is in Best Supporting Actor.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Falling in love with Max Black (Kat Dennings) on 2 Broke Girls is easy. Putting up with her personality, however, is a difficult exercise.
Max boasts about numerous failed relationships, random hookups and dates gone awry. She's not a happy person, no way. Her glass is always half empty; it's surprising that she doesn’t fill her customers' drinks only partially at the diner. Unloved as a child, always broke and a constant pessimist, Max isn't the type of girl to build a strong relationship.
That may change.
Happiness has overcome the busty beauty (although she won't admit it). She's in pastry school and now, she may have finally found a suitable suitor.
Deke (Eric Andre), Max's goofball partner in school, digs her. They have acted like chums since working together, but the sneaky subtext says they're both hot for each other.
Like always, the affection had to win Max over. Finally, Max's feelings got the best of her. She realized that Deke was a good guy. Better than good, she felt attracted to him.
Confusion filled Max’s soul — was this love? How could she be so unsure of herself? Turns out, it was legit. Deke planted a big, seductive kiss on Max, one that could make a hardened heart such as Max's beat with joy.
Deke is good for her. He may be oblivious to life, but he's funny, hard working and kind. Max isn't used to kind. And they both love baking.
They may survive. Their relationship is still in the infancy stage. This one's on Max. If she accepts Deke's love (hopefully, it's real), there could be a happily ever after ending. We hope so.
The New Girl pilot is pretty smart. A dorky girl, Jessica Day (Zooey Deschanel), loses everything and moves in with three guys. Each guy represents aspects of stereotypical masculinity. Schmidt (Max Greenfield) is both the high-maintenance metro-sexual and the Dudebro douche. Nick Miller (Jake Johnson) is the slacker and curmudgeon. Coach (Damon Wayans, Jr.) is the athlete and most prototypically masculine.
When Wayans was called back for the second season of Happy Endings, rather than just recast the role of Coach, they did a 1970s sitcom change-up. It’s calls to mind horrible flashbacks of Jenilee Harrison as Cindy Snow, Chrissy’s cousin, who appeared after Suzanne Somers unceremoniously left the show. It’s unclear as to whether this choice was trying to avoid reshoots for the pilot, leave room for Wayans to return, or just poor choices. It’s worth mentioning that Merrin Dungey played Dr. Naomi Bennett in the Private Practice back-door pilot but Audra McDonald played her in the actual series.
Because the role of Coach was out of the equation, writers had to invent a story and character for Lamorne Morris: Winston, a former Latvian basketball player was the original third roommate and moved back into the apartment. However, writers never found Winston’s voice and what happened bordered on racially insensitive. Winston was underemployed and had no real character traits except being useless. Most of his storylines were outside the apartment and didn’t involve his roommates. When he was with his roommates, they were usually making jokes at his expense. For example, in “Backslide,” Winston gets an earring and his roommates make racist-adjacent jokes like calling him “Captain Black Sparrow.”
Morris has done his best to try and integrate himself into the series including randomly singing and doing all kinds of degrading physical bits. It’s a pity because he just doesn’t seem to fit with the cast. Wayans has returned for a Season 3 story arc and has instantly re-assimilated into the show. It’s sad to see the three original cast members of the pilot with Morris continuing to be the red-headed stepchild of the series.
Sure, given the hipster nature of the series, they could have afforded to replace Wayans with an actor with more Williamsburg-street cred like Eric Andre (Don’t Trust the B- in Apartment 23) or Echo Kellum (Sean Saves the World). Regardless, the writers on the show should find a way to integrate Winston in the show, hire a writer to create a realistic character, and give him more of a personality than an obsession with his cat.
Don't Trust the B in Apt 23/Facebook
You can’t afford to miss Don’t Trust the B in Apartment 23. The series has all of the makings of a long-lasting television series. It has a stellar cast including TV darling Krysten Ritter (Veronica Mars, Breaking Bad). It has a groundbreaking pilot that subverts what you expect from a television sitcom. It capitalizes on the success of memes featuring James Van Der Beek and has awesome writing. The cast is comprised mostly of seemingly unlikeable characters that form an ensemble you’d die to be part of.
The series begins with June (Dreama Walker) walking in on her roommate Chloe (Ritter) having sex with her fiancé...on her birthday cake. We find out June lost her job and apartment so she meets Chloe on Craigslist. Chloe is an amazing party girl who is best friends with actor James Van Der Beek. What June doesn’t know is that Chloe is a sociopath, with a stalker, Robin (Liza Lapira), a pervy next-door-neighbor named Eli (Michael Blaiklock), and a hostile relationship with James’s assistant Luther (Ray Ford).
The show is downright irreverent but it still blends with reality in such a delightful way. Sure, June is obnoxious and burdened by trying to find work during a major recession. And yet, Chloe capitalizes on her ability to hustle through New York City with a magical get out of jail free card. The writing is also genius level and rivals series like 30 Rock and Community.
Once you watch this series you will see how you were robbed. There was a lot of traction on the pilot and a lot of buzz around the series. However, due to scheduling errors the series never was able to grow an audience. Also, this is a series with balls. Nothing is off limits and yet it doesn’t rely on offensive humor or cheap jokes. It is just wholeheartedly funny and obscenely well-written.
Don’t Trust the B in Apartment 23 is one of your all-time favorite shows...but you have to see it first. Luckily, both of the short seasons of the series are available on Netflix.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Hollywood, always at a loss to keep churning out original entertainment often likes to take characters from other shows and give them their own vehicle. Some are successful... but others, you find youself asking - what if they took THIS character and gave them a spin-off instead?
After Homicide ended its run, John Munch got to mosey his way from Baltimore to New York to join Law & Order: SVU. Richard Belzer's a fine actor, but Andre Braugher's Pembleton was the backbone of Homicide. Imagine him and Ice-T on the same set?
Laura Winslow/Family Matters
This would have been a reward for Winslow's putting up with Steve Urkel. Urkel could have been on the first episode of the new show...and had a bank safe dropped on his head. Then she could have gone on dates with real interesting people that didn't involve a nerd stepping dangerously close to the line of stalking.
Dylan McKay/Beverly Hills, 90210
Brandon Walsh: too earnest. Kelly Taylor: too annoying. David Silver: Too generic '90s. Steve Sanders: Too many shiny teeth. Donna Martin: Ha ha ha. No. So Dylan, the world-weary fellow would have been perfect for his own show.
Shawn Hunter/Boy Meets World
There's a Girl Meets World spin-off/reboot happening, but Hunter should have had his own show after Boy Meets World. Rider Strong would have had to stop looking constipated when he was supposed to be feeling moody though. He could have ditched his half-brother Jack, but Eric Matthews would need to make appearances just to keep the comedy level high.
Joey Tribbiani got the spin-off, but the witty Bing would have been the better choice. Could it BE any more obvious? Monica would have had to go, but Matthew Perry could carry the show. Perhaps this would have halted Perry's horrible post-Friends freefall.
What, you thought I would suggest Niles Crane, which would mean another show featuring a stuffy psychiatrist? They could have had Martin go to Boston to get away from everyone and find a new aide for him. Ted Danson could take a break from CSI and reprised Sam Malone.
Dr. Dick Solomon/3rd Rock From The Sun
Any show with just John Lithgow would have been awesome and I know I don't risk incurring the wrath of the Big Giant Head by saying this. Lithgow has the face and personality to carry his own just as Solomon. He coud have a fake Inception dream scene with Joseph Gordon-Leavitt.
Jazz/The Fresh Prince of Bel Air
Jazz could barely act his way out of a paper bag sometimes, but it would have been fun to see how many different ways he could get thrown out of houses in his own show. I always had a soft spot for him and his doomed courtship of Hilary Banks.
Sophia Petrillo/Golden Girls
Let's forget that Golden Palace dreck, shall we? Sophia deserved better and she could have ruled her own nursing home. Out of the four "girls," she was the most feisty, funny and quotable of them all. Forget Shady Pines - Petrillo Manor would have been infinitely better.
10. Ricardo Tubbs/Miami Vice
Tubbs was the smoother of the two on Miami Vice. I'm talking the Philip Michael Thomas Tubbs here, not Jamie Foxx. Thomas danced circles around Foxx when it came to suaveness. Tubbs could have opened up an agency in Los Angeles - that OTHER place with extremely attractive women and high style.
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The 2013 nominees for the Writers Guild of America awards have been announced. Writers, you say? Yes, writers! The people that make words dance on pages to create the worlds in which our favorite shows flourish. Some people, when confronted with a brilliant episode of television automatically assume the credit for its general goodness should go to the actors. But what about the writers? They are often just as (if not more so) likely to be the reason you laughed, cried, gasped, guffawed, or squirmed in your seat during last week's episode of your favorite show.
These makers of televised scripts carry a good chunk of a show's success (and failure) on their shoulders, and leading the pack of successful witty wordsmiths? Lena Dunham and her HBO darling Girls. Overall, it seems as though cable dramas fared better than broadcast (which, duh), but on the flip-side, broadcast comedies outdid their cable brethren. Breaking Bad cleaned up in the episodic drama category, and comedy lady hero Amy Poehler got herself a nod for the episode of Parks and Recreation she penned, "The Debate."
Check out the full list of nominees below!
Boardwalk Empire written by Dave Flebotte, Diane Frolov, Chris Haddock, Rolin Jones, Howard Korder, Steve Kornacki, Andrew Schneider, David Stenn, Terence Winter; HBO
Breaking Bad written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC
Game of Thrones written by David Benioff, Bryan Cogman, George R. R. Martin, Vanessa Taylor, D.B. Weiss; HBO
Homeland written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Meredith Stiehm; Showtime
Mad Men written by Lisa Albert, Semi Chellas, Jason Grote, Jonathan Igla, Andre Jacquemetton, Maria Jacquemetton, Brett Johnson, Janet Leahy, Victor Levin, Erin Levy, Frank Pierson, Michael Saltzman, Tom Smuts, Matthew Weiner; AMC
30 Rock written by Jack Burditt, Kay Cannon, Robert Carlock, Tom Ceraulo, Vali Chandrasekaran, Luke Del Tredici, Tina Fey, Lauren Gurganous, Matt Hubbard, Colleen McGuinness, Sam Means, Dylan Morgan, Nina Pedrad, John Riggi, Josh Siegel, Ron Weiner, Tracey Wigfield; NBC
Girls written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
Louie written by Pamela Adlon, Vernon Chatman, Louis C.K.; FX
Modern Family written by Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Audra Sielaff, Brad Walsh, Bill Wrubel, Danny Zuker; ABC
Parks and Recreation written by Megan Amram, Greg Daniels, Nate Dimeo, Katie Dippold, Daniel J. Goor, Norm Hiscock, Dave King, Greg Levine, Joe Mande, Aisha Muharrar, Nick Offerman, Chelsea Peretti, Amy Poehler, Alexandra Rushfield, Michael Schur, Mike Scully, Harris Wittels, Alan Yang; NBC
Girls written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
The Mindy Project written by Ike Barinholtz, Jeremy Bronson, Linwood Boomer, Adam Countee, Harper Dill, Mindy Kaling, Chris McKenna, B.J. Novak, David Stassen, Matt Warburton; Fox
Nashville written by Wendy Calhoun, Jason George, David Gould, David Marshall Grant, Dee Johnson, Todd Ellis Kessler, Callie Khouri, Meredith Lavender, Nancy Miller, James Parriott, Liz Tigelaar, Marcie Ulin; ABC
The Newsroom written by Brendan Fehily, David Handelman, Cinque Henderson, Paul Redford, Ian Reichbach, Amy Rice, Aaron Sorkin, Gideon Yago; HBO
Veep written by Jesse Armstrong, Simon Blackwell, Roger Drew, Sean Gray, Armando Iannucci, Ian Martin, Tony Roche, Will Smith; HBO
“Buyout” (Breaking Bad), written by Gennifer Hutchison; AMC
"Dead Freight” (Breaking Bad), written by George Mastras; AMC
“Fifty-One” (Breaking Bad), written by Sam Catlin; AMC
“New Car Smell” (Homeland), written by Meredith Stiehm; Showtime
“The Other Woman” (Mad Men), written by Semi Chellas and Matthew Weiner; AMC
“Say My Name” (Breaking Bad), written by Thomas Schnauz; AMC
“The Debate” (Parks and Recreation), written by Amy Poehler; NBC
“Episode 9” (Episodes), written by David Crane & Jeffrey Klarik; Showtime
“Leap Day” (30 Rock), written by Luke Del Tredici; NBC
“Little Bo Bleep” (Modern Family), written by Cindy Chupack; ABC
“Mistery Date” (Modern Family), written by Jeffrey Richman; ABC
“Virgin Territory” (Modern Family), written by Elaine Ko; ABC
LONG FORM – ORIGINAL
Hatfields and McCoys, Nights 2 and 3, teleplay by Ted Mann and Ronald Parker, Story by Bill Kerby and Ted Mann; History Channel
Hemingway & Gelhorn written by Jerry Stahl and Barbara Turner; HBO
Pilot (Political Animals), written by Greg Berlanti; USA
LONG FORM – ADAPTED
Coma, Nights 1 and 2, teleplay by John McLaughlin, based on the book by Robin Cook; A&E
Game Change written by Danny Strong, based on the book by Mark Halperin and John Heilemann; HBO
“A Farewell to Arms” (Futurama), written by Josh Weinstein; Comedy Central
“Forget-Me-Not” (Family Guy), written by David A. Goodman; Fox
“Holidays of Future Passed” (The Simpsons), written by J. Stewart Burns; Fox
“Ned and Edna’s Blend Agenda” (The Simpsons), written by Jeff Westbrook; Fox
“Treehouse of Horror XXIII” (The Simpsons), written by David Mandel & Brian Kelley; Fox
COMEDY / VARIETY (INCLUDING TALK) – SERIES
The Colbert Report writers: Michael Brumm, Stephen Colbert, Rich Dahm, Paul Dinello, Eric Drysdale, Rob Dubbin, Glenn Eichler, Dan Guterman, Peter Gwinn, Barry Julien, Jay Katsir, Frank Lesser, Opus Moreschi, Tom Purcell, Meredith Scardino, Scott Sherman, Max Werner; Comedy Central
Conan writers: Jose Arroyo, Andres du Bouchet, Deon Cole, Josh Comers, Dan Cronin, Michael Gordon, Brian Kiley, Laurie Kilmartin, Rob Kutner, Todd Levin, Brian McCann, Conan O'Brien, Matt O'Brien, Jesse Popp, Andy Richter, Brian Stack, Mike Sweeney; TBS
The Daily Show With Jon Stewart writers: Rory Albanese, Kevin Bleyer, Richard Blomquist, Steve Bodow, Tim Carvell, Hallie Haglund, J.R. Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart; Comedy Central
Jimmy Kimmel Live writers: Tony Barbieri, Jonathan Bines, Joelle Boucai, Sal Iacono, Eric Immerman, Gary Greenberg, Josh Halloway, Bess Kalb, Jimmy Kimmel, Jeff Loveness, Molly McNearney, Bryan Paulk, Danny Ricker, Rick Rosner; ABC
Key & Peele writers: Jay Martel, Ian Roberts, Keegan Michael Key, Jordan Peele, Sean Conroy, Colton Dunn, Charlie Sanders, Alex Rubens, Rebecca Drysdale; Comedy Central
Portlandia writers: Fred R. Armisen, Carrie Brownstein, Karey Dornetto, Jonathan Krisel, Bill Oakley; IFC
Real Time With Bill Maher writers: Scott Carter, Adam Felber, Matt Gunn, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Mike Larsen, Bill Maher, Billy Martin; HBO
Saturday Night Live Head writer: Seth Meyers. Writers: James Anderson, Alex Baze, Neil Casey, Jessica Conrad, James Downey, Shelly Gossman, Steve Higgins, Colin Jost, Zach Kanin, Chris Kelly, Joe Kelly, Erik Kenward, Rob Klein, Lorne Michaels, John Mulaney, Christine Nangle, Mike O’Brien, Josh Patten, Paula Pell, Marika Sawyer, Sarah Schneider, Pete Schultz, John Solomon, Kent Sublette, Bryan Tucker, Additional Sketch By Emily Spivey, Jorma Taccone, Additional Material By Frank Sebastiano; NBC Universal
COMEDY / VARIETY – MUSIC, AWARDS, TRIBUTES – SPECIALS
66th Annual Tony Awards written by Dave Boone; special material by Paul Greenberg; opening and closing songs by David Javerbaum, Adam Schlesinger; CBS
2012 Film Independent Spirit Awards written by Billy Kimball, Wayne Federman; IFC
After the Academy Awards Head writers Gary Greenberg, Molly McNearney. Writers Tony Barbieri, Jonathan Bines, Sal Iacono, Eric Immerman, Jimmy Kimmel, Jeffrey Loveness, Bryan Paulk, Danny Ricker, Richard G. Rosner; ABC
National Memorial Day Concert written by Joan Meyerson; PBS
Days of Our Lives written by Lorraine Broderick, Carolyn Culliton, Richard Culliton, Rick Draughon, Christopher Dunn, Lacey Dyer, Janet Iacobuzio, David A. Levinson, Ryan Quan, Dave Ryan, Melissa Salmons, Roger Schroeder, Elizabeth Snyder, Christopher J. Whitesell, Nancy Williams Watt; NBC
One Life to Live written by Lorraine Broderick, Ron Carlivati, Anna Theresa Cascio, Daniel J. O’Connor, Elizabeth Page, Jean Passanante, Melissa Salmons, Katherine Schock, Scott Sickles, Courtney Simon, Chris Van Etten; ABC
The Young and the Restless written by Amanda Beall, Jeff Beldner, Brent Boyd, Susan Dansby, Janice Ferri Esser, Jay Gibson, Scott Hamner, Maria Kanelos, Natalie Minardi Slater, Beth Milstein, Michael Montgomery, Anne Schoettle, Linda Schreiber, Lisa Seidman, Sarah K. Smith, Christopher J. Whitesell, Teresa Zimmerman; CBS
CHILDREN'S – EPISODIC & SPECIALS
“The Good Sport” (Sesame Street), written by Christine Ferraro; PBS
CHILDREN’S – LONG FORM OR SPECIAL
Girl vs. Monster story by Annie De Young; teleplay by Annie De Young and Ron McGee; Disney Channel
Winners will be announced on February 17th at events in New York and Los Angeles. What do you think of this year's nominees? Let us know in the comments!
[Photo Credit: Jojo Whilden/HBO]
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It's Emmy time! The 64th Primetime Emmy Awards nominations are here, and the television industry will no doubt be audibly buzzing over the next two months leading up to the awards telecast on Sept. 23rd (which will be hosted by Jimmy Kimmel).
Kimmel (who stepped in for scheduled presenter Nick Offerman, wearing nothing but his pajamas) and Kerry Washington announced the nominees from North Hollywood early this morning. So who made the cut?
American Horror Story and Mad Men emerged on the top, with 17 nominations each. Downton Abbey, in its first year submitting as a regular drama series, swept through the acting categories with the aplomb of an experienced butler: in addition to six acting nods, the show earned 16 nominations (along with the miniseries Hatfields & McCoys). Hemingway & Gellhorn earned 15, Modern Family and Saturday Night Live both earned 14, and Breaking Bad (which rewarded not only Walt, but Jesse, Gus, Skyler and Tio!), 30 Rock and Sherlock: A Scandal in Belgravia each rounded out the top with 13 noms. See the rest below: Best Drama SeriesBoardwalk Empire Breaking Bad Downton Abbey Game of Thrones Homeland Mad Men Best Comedy SeriesThe Big Bang Theory Curb Your Enthusiasm Girls Modern Family 30 Rock Veep Best Leading Actor in a Drama SeriesHugh Bonneville, Downton Abbey Steve Buscemi, Boardwalk Empire Bryan Cranston, Breaking Bad Michael C. Hall, Dexter Jon Hamm, Mad Men Damian Lewis, Homeland Best Leading Actor in a Comedy SeriesAlec Baldwin, 30 Rock Don Cheadle, House of Lies Louis C.K., Louie Jon Cryer, Two and a Half Men Larry David, Curb Your Enthusiasm Jim Parsons, The Big Bang Theory Best Leading Actress in a Drama SeriesKathy Bates, Harry's Law Glenn Close, Damages Claire Danes, Homeland Michelle Dockery, Downton Abbey Julianna Margulies, The Good Wife Elisabeth Moss, Mad Men Best Leading Actress in a Comedy Series Zooey Deschanel, New Girl Lena Dunham, Girls Edie Falco, Nurse Jackie Tina Fey, 30 Rock Julia Louis-Dreyfus, Veep Melissa McCarthy, Mike & Molly Amy Poehler, Parks & Recreation Best Miniseries or MovieAmerican Horror Story Game Change Hatfields & McCoys Hemingway & Gellhorn Luther Sherlock Best Leading Actor in a Miniseries or MovieWoody Harrelson, Game Change Clive Owen, Hemingway & Gellhorn Benedict Cumberbatch, Sherlock: A Scandal in Belgravia (Masterpiece) Idris Elba, Luther Kevin Costner, Hatfields & McCoys Bill Paxton, Hatfields & McCoys Best Leading Actress in a Miniseries or MovieJulianne Moore, Game Change Connie Britton, American Horror Story Nicole Kidman, Hemingway & Gellhorn Emma Thompson, The Song of Lunch (Masterpiece) Ashley Judd, Missing Best Reality CompetitionThe Amazing Race Dancing With The Stars Project Runway So You Think You Can Dance Top Chef The Voice Best Reality HostTom Bergeron, Dancing With The Stars Cat Deeley, So You Think You Can Dance Phil Keoghan, The Amazing Race Ryan Seacrest, American Idol Betty White, Betty White's Off Their Rockers Best Variety ProgramThe Colbert ReportThe Daily Show with Jon StewartJimmy Kimmel LiveLate Night with Jimmy FallonReal Time with Bill MaherSaturday Night Live Best Supporting Actor in a Drama Series Aaron Paul, Breaking Bad Giancarlo Esposito, Breaking Bad Brendan Coyle, Downton Abbey Jim Carter, Downton Abbey Jared Harris, Mad Men Peter Dinklage, Game of Thrones Best Supporting Actress in a Drama SeriesArchie Panjabi, The Good Wife Anna Gunn, Breaking Bad Maggie Smith, Downton Abbey Joanna Froggatt, Downton Abbey Christina Hendricks, Mad Men Christine Baranski, The Good Wife Best Supporting Actor in a Comedy SeriesEd O'Neill, Modern Family Jesse Tyler Ferguson, Modern Family Ty Burrell, Modern Family Eric Stonestreet, Modern Family Bill Hader, Saturday Night Live Max Greenfield, New Girl Best Supporting Actress in a Comedy SeriesMayim Bialik, The Big Bang Theory Merritt Wever, Nurse Jackie Julie Bowen, Modern Family Kristen Wiig, Saturday Night Live Sofia Vergara, Modern Family Kathryn Joosten, Desperate Housewives Best Supporting Actress in a Miniseries or MovieSarah Paulson, Game Change Frances Conroy, American Horror Story Jessica Lange, American Horror Story Judy Davis, Page Eight (Masterpiece) Mare Winningham, Hatfields & McCoys Best Supporting Actor in a Miniseries or MovieEd Harris, Game Change Denis O'Hare, American Horror Story David Strathairn, Hemingway & Gellhorn Martin Freeman, Sherlock: A Scandal in Belgravia (Masterpiece) Tom Berenger, Hatfields & McCoys Best Guest Actress in a Comedy SeriesDot-Marie Jones, Glee Maya Rudolph, Saturday Night Live Melissa McCarthy, Saturday Night Live Elizabeth Banks, 30 Rock Margaret Cho, 30 Rock Kathy Bates, Two and a Half Men Best Guest Actor in a Comedy SeriesMichael J. Fox, Curb Your Enthusiasm Greg Kinnear, Modern Family Bobby Cannavale, Nurse Jackie Jimmy Fallon, Saturday Night Live Will Arnett, 30 Rock Jon Hamm, 30 Rock Best Guest Actress in a Drama SeriesMartha Plimpton, The Good Wife Loretta Devine, Grey's Anatomy Jean Smart, Harry's Law Julia Ormond, Mad Men Joan Cusack, Shameless Uma Thurman, Smash Best Guest Actor in a Drama SeriesMark Margolis, Breaking Bad Dylan Baker, The Good Wife Michael J. Fox, The Good Wife Jeremy Davies, Justified Ben Feldman, Mad Men Jason Ritter, Parenthood Best Writing for a Comedy SeriesCommunity, Chris McKenna for "Remedial Chaos Theory"Parks and Recreation, Amy Poehler for "The Debate"Parks and Recreation, Michael Schur for "Win, Lose, or Draw"Girls, Lena Dunham for "Pilot"Louie, Louis C.K. for "Pregnant" Best Writing for a Drama SeriesDownton Abbey, Julian Fellows for "Episode 7"Mad Men, Semi Chellas and Matthew Weiner for "The Other Woman"Mad Men, Andre Jacquemetton and Maria Jacquemetton for "Commissions and Fees"Mad Men, Erin Levy and Matthew Weiner for "Far Away Places"Homeland, Alex Gansa, Howard Gordon, and Gideon Raff for "Pilot" Follow Marc on Twitter @MarcSnetiker More:2012 Emmy Awards: Our Predictions! 2012 Emmy Longshots: Our Picks!
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.