TNRLM Emmy Shortlist: Drama Series

Even though Battlestar Galactica was still one of the best shows on TV, and had many stellar episodes as it wound down, including “Blood on the Tracks” and “Someone to Watch Over Me,” I’m considering this nomination more of a “lifetime achievement award” than a pure recognition of the final season’s overall quality, since the series finale was such a letdown. Don’t get me wrong, “Daybreak” was about 90% there, and a beautiful and thematically fitting capper to a thoughtful, challenging and unrelenting reinvention of TV sci-fi. But months later, there are still too many loopholes and copouts that nag at me to call it “perfect.” You can’t please all of the people all of the time, and Ron Moore ended the show the way he wanted to, and for that, we should appreciate his vision and save the quibbles and debate for blog posts and message boards, and thank the gods we were able to enjoy as many years of this masterpiece as we did. So say we all.

This season, Big Love finally found the right “calibration” to elevate it to the level of TV’s best dramas. It had the menace and laughable lunacy of the compound again, but only in smaller, more effective doses. We had Bill’s harebrained marital and business schemes, but they didn’t overwhelm the fundamental reason why Big Love is so damned good – the complicated and interdependent relationships between the three sister wives. Each had an involving and juicy throughline this season: Barb, who struggled with her faith and her church, in addition to having a health scare; Margene, who lost her mother and realized a growing sense of independence; and Nicki, who is always involved in something juicy (this year, it was plotting with and then against her father, carrying on a quasi affair and then discovering her ex husband and child had returned from exile). Yes, there were other twists and turns for the Henricksons this year, including expanding their gaming business to a casino, daughter Sarah getting pregnant and then miscarrying, Joey tragically losing his new wife and even a kidnapping by the demented Hollis Greene, but it was the trials and tribulations of the three wives, and their relationships with each other, that give this show its heart.

There’s no way you can describe In Treatment to someone who hasn’t seen it and make it sound sexy and compelling. “Well, it’s about a troubled shrink who sees four different patients and then goes for a session with his own therapist. Each episode is usually two people in a single room talking about their problems for 30 minutes.” WOW, right? No robots, no vampires, no smoke monsters and no superheroes. Then why is it so damned watchable? ACTING. With the exception of one session (whose primary problem didn’t really hook me, and featured the issues divided, to the detriment of the segment, among three family members vs. a single patient) every single performer on this season made my Emmy Shortlist. The quality of the acting (and the writing, and in a low key way, the directing) was consistently excellent, and it would be hard to find that level of sustained performing brilliance on 35 episodes elsewhere.

All the splashing around in the time space continuum in season five of Lost may have confused or alienated some viewers, but I loved it. Whether or not it was all “worth it” won’t be known until the end game is played out, but I can’t ever recall a show giving us a never ending stream of WTF moments like Lost: They’re in 1977! Sawyer and Juliet! There’s a nuclear bomb! Ben’s at the dock with Des and Penny! Locke hangs himself! No he doesn’t! Ben strangles him! Sayid shoots young Ben! We’re not going to Guam! Dan’s mom shoots him! There’s Jacob! There he is again! Let’s blow the nuke! White screen of WHAT?! The thing about Lost is, despite all the genre trappings and knock you off the couch moments, it’s still all about the characters, who are splendidly written and acted, and not even the last hour return of the accursed “quadrangle” can diminish the fun we had on and off the island this year.

How in the world did HBO pass on this show? Last year’s freshmen sensation showed zero signs of a sophomore slump, and continued to establish its credentials as one of the great TV shows of all time. Every moment, every script, every visual, every performance and every detail of the era are so perfectly realized, you feel like you’ve traveled back in time (without the aid of a magical island). On the surface, Mad Men didn’t have the crazy, twisting plot elements that many of the best shows of the past year did, but the smaller, more human complications faced by the characters inhabiting the Sterling Cooper universe were no less involving. When a tense dinner scene, a missing dog, a trip to the stables, or a poolside party can be just as riveting as a spectacular space battle for the future of the human race or the detonation of a nuclear bomb, you know you’re watching a work of art that’s no ordinary show.

At the end of the last season, Rescue Me had gone so far off the tracks I didn’t even know if I would keep it in my TiVo season pass list. But some time off, abetted by the WGA strike, obviously gave the powers that be time to recharge and refocus, because Rescue Me came galloping out of the gate and hasn’t let up since. Everything we love about the show has come back in spades: human frailty and strength, forged in the rubble of the twin towers. Barbed, witty and profane male bonding. Sharply drawn characters, given a life of their own by outstanding performances. Writing that can make you guffaw one second, and then turn on a dime into something dark, disturbing and reflective. Sexual games and farce that feels straight out of a Blake Edwards movie. And that’s not even mentioning Michael J. Fox’s award-worthy turn as a pill popping, wheelchaired force of nature who is dating Tommy Gavin’s ex-wife Janet. Rescue Me may not be for everyone, but it’s certainly proven it deserves a place on this list this year.

Emmy Shortlist: Drama Lead Actors

TNRLM Shortlist: Lead Actor/Drama

Gabriel Byrne, In Treatment: It’s a shame this show doesn’t attract more viewers, because those who aren’t watching are missing a master class in acting from all involved. It takes special talent to make watching two people sitting on a single set talking for 30 minutes riveting television, but that’s what In Treatment is. Byrne, given more to play with this year than last, was spectacular, and made “listening” into an art form.

Jeffrey Donovan, Burn Notice: Several shows featured charismatic leads anchoring enjoyable procedurals (including Nathan Fillion on Castle and Simon Baker on The Mentalist), but Burn Notice really upped its game in the second season, and went from popcorn munching summer fun to must watch, thanks mainly to Donovan’s portrayal of outcast spy Michael Weston (good scripts and a fabulous supporting cast also helped). Donovan was also great in USA’s little seen and underappreciated remake of Touching Evil several years ago, so how about a little overdue recognition?

Michael C. Hall, Dexter: Hall has created one of TV’s most enjoyable and fascinating characters, a sympathetic serial killer. Though he can propel the show all on his own, it was great watching him in a cat and mouse game with Jimmy Smits in season three.



Jon Hamm, Mad Men: Season two of Mad Men gave us lots of Don Draper to appreciate. From his professional machinations with the Sterling Cooper crowd and obnoxious comic Jimmy Barrett (and his wife) to his existential time on the west coast, Hamm gave subtle shadings to a character who shows little on the outside, but has everything going on on the inside.

Josh Holloway, Lost: With his nicknames and bad boy behavior, Sawyer has long been one of the best things about Lost. Last season, however, Holloway got to play another side of everyone’s favorite conman, as “Jim LaFleur” attempted to build a new life for himself back in the 1970s era Dharma Initiative. His doomed relationship with the equally Emmy-worthy Elizabeth Mitchell was a highlight of a terrific season five.

Hugh Laurie, House: Yeah, the overall show has slipped a bit, but Laurie continues to bring the brilliance week after week, and it’s inconceivable that he hasn’t taken home a gold statue yet.


Denis Leary, Rescue Me: No show benefited from a break more than Rescue Me, which had fallen into a serious ditch, quality wise. But this year, it’s come roaring back with better scripts and inspired casting (including Michael J. Fox as Janet’s antagonistic new boyfriend), and fantastic lead performance from Leary. He handles the laugh out loud comedy and trips to the dramatic dark side with equal aplomb, and should be recognized for helping rescue Rescue Me.

TNRLM Shortlist: Lead Actress/Drama

Ginnifer Goodwin, Big Love: Big Love enjoyed its best season yet, and much of the credit has to go to the actresses who played the Henrickson wives, all of whom I’ve put on this list. Goodwin’s Margene dealt with the death of her mother, and the youngest sister-wife began to blossom as she started her own home shopping network career. Denial and ambition made an adorable package this year for Margene.

January Jones, Mad Men: Betty Draper took an interesting voyage on the second season of Mad Men, as she experimented with the power of her own allure and independence. Jones was up to the challenge, giving the audience a compelling view of a woman trapped in a difficult situation in a very different era.


Mary McDonnell, Battlestar Galactica: How is it even possible that McDonnell has never been nominated for one of the most iconic female roles in all of science fiction? Oh yeah, it’s “science fiction.” Despite the disturbing lack of attention given to extraordinary performances in “genre” programming, McDonnell deserves kudos for breathing life into a complicated character, and I could watch her “I’m coming for all of you!” scene over and over.

Elisabeth Moss, Mad Men: It was tough to be an ambitious career gal in the Mad Men era, as Moss’s nuanced and intelligent performance constantly reminds us. While she was great all year long, Moss should be on the Emmy list if only for her scene with Pete in the season finale. Great stuff.


Chloe Sevigny, Big Love: All the sister wives got compelling storylines this past year, and Sevigny was no exception. Nicki lived a double life, spied for her treacherous father, got caught taking birth control pills, reconciled with her slimy brother Alby and had to deal with the return of her abusive first husband and little seen daughter. Amazingly enough, Sevigny created sympathy for a character that on the surface would seem to engender little.

Jeanne Tripplehorn, Big Love: Concluding the Big Love troika is Tripplehorn, who masterfully took Barb Henrickson through a monumental crisis of faith and questionable commitment to “living the principle” in her plural marriage. Her performance was delicate, true and heartbreaking.

Emmy Shortlist: Drama Supporting Actors

TNRLM Shortlist: Supporting Actress/Drama

Hope Davis, In Treatment: Davis took a character that on the surface - baby crazy, daddy issues, aggressive mood swings, inappropriately flirtatious – could have been an annoying cliché, and turned Mia into a mesmerizing foil for Paul. She was sexy, demanding, vulnerable and electric and totally believable.

Allison Pill, In Treatment: In Treatment has been a showcase for young actresses that I wasn’t that familiar with: last year, it was Mia Wasikowska and this year, it was Allison Pill. Pill was riveting as the cancer patient reticent to pursue medical treatment, and her sessions on Paul’s couch were as honest as they were showstopping.

Elizabeth Mitchell, Lost: Juliet has long been my favorite female character on the show, and Mitchell, despite how they wrote her character in the last hour of the season, was outstanding throughout the trek back to 1977. Mitchell and Josh Holloway made the audience totally invest in the Sawyer/Juliet pairing, and Mitchell is a master of conveying a lot with a little. The Dharma times were good, but her scenes at the drilling shaft in “The Incident” were heartbreaking.

Annie Wersching, 24: It’s hard to be the “sidekick” on 24, because you’re probably going to wind up dead or a mole. Agent Walker turned out to be neither of those, and we were the better for it. Wersching brought a touch of sass and emotional depth to the role, and helped frame Jack Bauer’s humanity and struggles to do the right thing.



Dianne Wiest, In Treatment: Wiest was fantastic as Paul’s friend/therapist Gina this season, and her character had her hands full as Paul dealt with a lawsuit, familial troubles and crises of professional faith.


Olivia Williams, Dollhouse: Adelle DeWitt could have been a Machiavellian, clichéd icy Brit (and at first, she was), but as the layers of the Dollhouse were peeled back, so too were the layers of the character. DeWitt showed us additional colors in two episodes (the one where she and Topher were under the effects of a drug that caused them to “loosen up,” where she was hilarious, and the one where we learned about her personal uses for Victor), and Williams knocked those out of the park.

TNRLM Shortlist: Supporting Actor/Drama

Jeremy Davies, Lost: Nobody was more crucial to Lost’s time trippy fifth season than Daniel Faraday, and Davies imbued the doomed, damaged scientist with a tragic nobility. If his scenes with Charlotte didn’t bring tears to your eyes, you don’t have a heart, and his note perfect acting grounded the loopier plot elements.


Michael Emerson, Lost: Originally intended to be nothing more than a guest for 3 or 4 episodes, Emerson turned Benjamin Linus into a must watch linchpin for the entire series. With his dry line readings and unique spin on the material, Emerson is fascinating to watch, and nobody makes persistent prevarication this entertaining.


Michael Hogan, Battlestar Galactica: Since donning the patch after the exodus from New Caprica, Hogan has done more with one eye than most actors do with their entire faces. In the final season, Saul Tigh dealt with the nature of his Cylon heritage, the loss of a child and the reappearance of his long lost true love, and Hogan was stellar.


John Mahoney, In Treatment: Mahoney’s Walter was one of the more difficult patients on the couch this year, and watching Mahoney and Byrne go toe to toe through the character’s arc was a delight.



John Noble, Fringe: Was there another character on a drama this year more fun to watch? Walter Bishop was indeed the stereotypical mad scientist, but Noble gave him more than just a childlike id and wonderment and obsession with cows and snacks. He also showed us a man struggling with his sanity and tenuous grasp on reality, and living with the ramifications of the things he believes he’s done.

Terry O'Quinn, Lost: Few things on TV this year were more heartbreaking than Locke’s “final moments” in that run down apartment in “The Life and Death of Jeremy Bentham. No matter what the producers ask him to do, O’Quinn always delivers, and his “reappearance” in the final episodes of the season as a more confident, motivated John Locke was no exception.

Jon Scurti, Rescue Me: The show has come back with a vengeance this season, and Scurti continues to shine as the funniest member of the crew. Nobody on the show is better with a joke, but we also saw different sides of Lou as he dealt with his memories of 911 with the French reporter, and in what should be his Emmy highlight reel, castigated Tommy for his ongoing self-absorption.

Saturday Morning Entertainment Potpourri!

Rescue Me's Dammit Janet! will be appearing on Lost next year.

The talented and adorable Kristen Bell makes her first appearance on Heroes Monday. Can she use all her charm to make me give a shit about Peter and the Lucky Charms gang? Perhaps. Check out a preview of her here.

Nine reasons to Love Mad Men from TV Guide, here. I've yet to watch the season finale, though my non-spoilery web-skimming indicates that it is fantastic -- though with a controversial plot element. Hmmm. That should be interesting.

More from TV Guide: notes about the debut of the 24 Season 7 trailer. After last season's colossal misfire, I'm hoping for a strong rebound. I posted my thoughts on how to "fix" things here. Doesn't sound like they really listened to me, but I am mildly intrigued. Billy Walsh/Wally Balls? Faux Kristen Chenowith's real life girlfriend as the Prez? Tony! Left wing nutjob though still adorable Janeane Garofalo? Will she and Chloe have a pout and snark-off? Doctor Phlox? Amateur poon-ographer Brent from Dirt? I'll check it out. Here's the countdown to the trailer premiere.

One of my pet peeves is mis-quoted movies. Here is a list of the most frequently mis-quoted quotes. And another one.

And you thought people were through debating whether or not Tony Soprano is dead? Think again. Apparently, David Chase made a comment about Gerry Torciano's whacking in the restaurant in front of Silvio, and that spurred another round of detailed analysis. Fascinating stuff.

I finally watched last Friday's premiere of Women's Murder Club. It played like a combination of Sex In The City and CSI, and was a decent enough way to pass an hour while drinking beer and eating pizza. I love Angie Harmon (my favorite Law and Order ADA) and Laura Harris is a long time celebrity crush, with absolutely perfect hair. As I watched the credit unroll, I was flabbergasted by the producers: James Patterson, the former adman turned novelist, who wrote books on which the show is based. Showrunners/writers Elizabeth Craft and Sarah Fain, former writers and story editors for Angel. Creepy daughter pimping loon Joe Simpson. Chubby Hollywood starlet-banging playa and hack director Brett Ratner. Did the latter two hatch this idea when they were sitting around Brett's hot tub talking about Jessica's tits? Just bizarre. Still, I like the cast and I'll always give a shot to any show featuring former Whedon writers.

The Canon: Best Modern Credit Sequences

Television opening credit sequences have come a long way since the days of our youth. "Back in the day" (excuse me while I check on the earlybird dinner special and line up my bingo and shuffleboard games) credits almost always followed the same formula: catchy jingle, expository lyrics and images, list of players.

Sitcoms were particularly adept at this. Think about it. Who couldn't still break off a barroom rendition of The Beverly Hillbillies? Or Green Acres? The Brady Bunch? The Jeffersons? Gilligan's Island? Everything we needed to set up the story was right there in the first minute. While not adhering as strictly to formula, dramas also used the opening moments to give you what you needed. Who didn't know exactly what to expect after getting revved up by the opening of Hawaii Five O? Or Magnum PI? Or Classic Star Trek? Or even a more obscure show, like The Wild, Wild West?

Nowadays, the playing field has changed somewhat. There are more commercials and less time for 1-2 minutes of catchy theme music to play each week. There's the pressure to "hook" potential channel flippers, so the "cold open" has gathered steam as a marketing tool and storytelling device to capture your attention right off the bat. Full credits aren't actually contained within the "theme song" and many shows just show them on a crawl during the first act.

So before we get to the actual list, a few caveats.

1. I'm only including current shows. So we won't be seeing the iconic images of Tony Soprano and the fabulous strains of "Woke up this morning, got yourself a gun." Or the first season of dearly departed Veronica Mars. Or Firefly. Or the late (lamented?) John From Cincinnati. Or the pitch perfect Buffy the Vampire Slayer opening.
2. I'm only considering shows I watch with some regularity (i.e. "good" shows. That use a script). So I don't care if Beethoven and Prince collaborated on the opening credits of America's Next Top Model with Orson Welles and Martin Scorcese, you won't be seeing that here.
3. The list also includes shows with actual "credit sequences." So while I love Lost's moody spinning logo and strange music, and The Closer's blues line interspersed with the opening of act one, those are not necessarily a credit sequence.

Got it?

Okay, here we go.

1. Battlestar Galactica


It's all right there. The set up. The premise. Gorgeous imagery. Emotion, drama, conflict -- all perfectly set to the music. Plus, the unusual tactic of split second images from the episode to follow.

2. Dexter


Beautiful. Disturbing images of seemingly innocuous everyday activities, highlighted by frequent splashes of blood and underscored by a whimsical to the point of creepy theme. What better way to kick off a show about a "good guy" moonlighting as a serial killer?

3. Monk


Randy Newman's sprightly ditty is one for the ages, perfectly capturing the essence of Adrian Monk.

4. Mad Men


The score here is terrific and the imagery even better. Evocative of the classic work by Saul Bass, the falling adman sets up the personal, professional and existential conflict of primary character Don Draper.

5. Rescue Me


Set to a driving uptempo rave by the Von Bondies, Rescue Me's credits also give you everything you need to know aurally and visually right away. The "smoking" player credits are a great touch.

6. Bones


This is from season 2, which improved on season 1 by synchronizing the actor names with their appearance onscreen. The music, by The Crystal Method, rhythmically suggests the creepy nature of the cases while the jittery visuals remind viewers of Se7en and set the tone of the show while never losing the focus on the two primary characters.

7. CSI


It's been around a while, and been "exported" thematically to sister shows New York and Miami, but the original is still the best. Combining the high energy music of The Who and lyrically on point in the search for the criminal, CSI is a great blend of song and image that sets up the "scientific" nature of the crime lab without sacrificing any of the drama.

8. Psych


Another perfect marriage of lyrical storytelling that suggests the premise while conveying the fun and farcical nature of the show, all in 20 seconds.