Emmy Nom-Noms

I've gone on record here (the equivalent of a tree falling in the forest with no one around) concerning my distaste for the Emmy Awards. With the bounty of excellent programming from just about every platform imaginable, the members of Academy of TV Arts and Sciences have attempted to atone for past sins and woken up to smell the K-cups if the recent nominations for this year's awards are any indication. It's still a circle jerk, but at least it's more of an inclusive wank-fest than ever before.It became a matter of "adapt or die". If there's anything Hollywood hates, it's to not be considered hipper than thou instead being the torchbearer of the old guard, that being the major broadcast networks who are about to lose that adjective any day now.

Though one wrong has finally been made right (the inclusion of Tatiana Maslany from ORPHAN BLACK in the Best Actress category), some glaring oversights cannot go unnoticed.

Where the hell is JUSTIFIED? This has been a critics' darling since Day One and its complete shut-out is baffling. While those that agree with me are mostly complaining about the lack of  recognition for stars Timothy Olyphant, Walton Goggins and Joelle Carter, I myself would have love to have seen an acknowledgment for Nick Searcy. As Raylan Given's boss at the US Marshall Service, Searcy gave a shop-worn character (the firm but fair boss) such a fresh coat of paint it seemed brand new.

Melissa McBride as Carol in THE WALKING DEAD had a stand-out year and should be the poster child.for Actresses of a Certain Age and their obvious potential. McBride brings such a quiet strength to Carol, making her a phoenix rising quietly from the ashes to become the strongest and most fierce member of that pack of post-Apocalyptic survivors, doing so with grace, subtlety and occasional cold-blooded honesty.

ORANGE IS THE NEW BLACK has only a couple of acting noms this year-Uzo Aduba (Suzanne, the artist formerly known as Crazy Eyes) and Pablo Schreiber (Pornstache). No Taylor Schilling or Kate Mulgrew this go-around, which is unfortunate, but the absolute travesty is no love for the best performance given by any actor on television this last season, Lorraine Toussaint as Vee. Toussaint just ruled the roost as that devious, reptilian, yet seductive inmate of that wacky and tragic women's prison. It was a one season role so Toussaint is out for the count for next year and more's the pity for both the Emmys and the show itself.

BETTER CALL SAUL got plenty o' noms, possibly due to BREAKING BAD fall-out, though it could have come up a goose egg with a lesser show (AfterMash, anybody?) Bob Odenkirk really upped his game and it certainly shows, so good on him for his nod. Better yet is Jonathan Banks, repeating his role from BB, particularly for his character's back story episode Five-Oh, as good as the best of the Walter White saga. Ignored however is Michael McKean in a career defining performance as the agoraphobic (among other maladies) stricken lawyer brother of the main character. His scenes with Odenkirk have been heart-wrenching, occasionally recalling the Michael/Fredo scenes from GODAFATHER II.

There have been other shows that have passed over once again such as THE AMERICANS and RECTIFY, but overall they seem to be moving in the right direction. It was either that or head off the edge of that cliff they've been perched upon for the past decade.