The Daily Beast: "Emmy Awards’ Dark Horse Nominee: Tatiana Maslany of Orphan Black"

If you didn’t watch BBC America’s clone drama Orphan Black, you missed one of the year’s best dramatic performances. My take on why Tatiana Maslany deserves an Emmy nod.

Over at The Daily Beast, you can read my latest feature, "Emmy Awards’ Dark Horse Nominee," in which I offer a look at one of the year's best television performances, that of Tatiana Maslany on BBC America's Orphan Black, and state why this dark horse deserves at least an Emmy nomination.

If you don’t regularly tune in to shows about global conspiracies, illegal medical research, and genetically identical clones, you may be forgiven for not watching Orphan Black, the serpentine Canadian-American science fiction drama that wrapped up its first season earlier this month on BBC America. (Season 2 will air in 2014.)

But not watching this compelling and surprisingly emotional cult drama—created by Graeme Manson and John Fawcett—means that you missed out on one of the year’s most intense and astonishing television performances. In Orphan Black, Tatiana Maslany delivers a daredevil turn, playing no less than seven different roles, each one with their own mannerisms and secrets.

It’s no surprise that Maslany, a 27-year-old Canadian actress, has already been racking up accolades for her electrifying acting. On Monday, she was awarded the Critics’ Choice Television Award for Best Lead Actress in a Drama Series and, on the same day, nominated for a Television Critics Association Award for Individual Achievement in Drama. While roughly two weeks remain before Emmy nomination ballots are due back from voting members, Maslany is already receiving buzz as a dark horse contender for a Best Actress spot. And with good reason, as Maslany’s versatile performance in Orphan Black would be a staggering feat for a veteran actor, much less for one recently starting out.

Maslany plays Sarah Manning, a sharp-tongued British grifter who sees an escape from her problems when a woman—one who looks identical to her—jumps in front of a moving subway train. Desperate to escape her abusive drug dealer boyfriend Vic (Michael Mando) and reclaim her young daughter, Sarah assumes the identity of her lookalike, slipping into her life in order to start a new one. But the dead woman—Beth Childs—is a cop under investigation for the shooting death of a civilian, and by assuming her identity, Sarah is drawn into a conspiracy that reveals her own true nature: that she and Beth are clones, closely monitored by their creators, and that someone is trying to kill them off. (The result is something akin to Ringer crossed with Krzysztof Kieslowski’s La double vie de Véronique with some Alias thrown in for good measure.)

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The Daily Beast: "Homeland Sweeps the Emmys: Why Showtime’s Thriller Exploded"

Mad Men is triumphant no more. I examine Showtime’s superlative terrorist thriller Homeland, which took home the Emmy for best drama Sunday.

Over at The Daily Beast, you can read my latest feature, "Homeland Sweeps the Emmys: Why Showtime’s Thriller Exploded," in which I take a look at Homeland's victory at the Primetime Emmy Awards last night and look at why the premium cable drama toppled Mad Men.

Not only did Mad Men not win the Emmy Award for best drama, the AMC period drama went home empty-handed Sunday, leaving the 64th Annual Primetime Emmy Awards with not a single statuette in its possession.

In the weeks leading up to the awards telecast, Mad Men seemed very much like a sure thing: it had won four of the four times it was eligible for Best Drama, and the odds seemed very much in its favor once more. In fact, Showtime’s Homeland—the taut psychological drama that also nabbed best-actor and -actress awards for Damian Lewis and Claire Danes—had cooled in recent weeks, with Breaking Bad or Downton Abbey poised as far more likely usurpers to Mad Men’s throne.

Yet Homeland did triumph, putting Showtime on the awards map in a very real way and ending the streak maintained by AMC and HBO. It’s not only a victory for showrunners Alex Gansa and Howard Gordon, but also for the new regime at Showtime overseen by David Nevins, whose support for the fledgling Homeland has paid off in dividends.

However, those scratching their heads over what happened to the once-Teflon Mad Men are missing the point. Homeland’s victory isn’t much of an upset, if we’re being honest. While the least expected choice of the viable ones, the Emmy is still very much deserved. While I’m a staunch supporter of Mad Men (and will continue to be), Homeland is new and shiny, and Emmy voters, like magpies, are often drawn to the glitter of a fresh show. But Homeland is also a highly provocative drama, fueled by paranoia, patriotism, zealotry, and madness.

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The Daily Beast: "Why Comedy Writers Love HBO's Game of Thrones"

Game of Thrones is beloved by viewers and critics alike. But the Emmy-nominated HBO fantasy drama is also a surprising favorite in the writers’ rooms of TV comedies around Hollywood. I talk to sitcom writers about why they’re obsessed with the sex-and-magic-laden drama, and how the show informs their own narratives.

At The Daily Beast, you can read my latest feature, "Why Comedy Writers Love HBO's Game of Thrones," in which I talk to writers from Parks and Recreation, Modern Family, and Community about why they love HBO's Game of Thrones, nominated for an Emmy Award for Best Drama.

Fox’s upcoming sitcom The Mindy Project, created by and starring Mindy Kaling, deconstructs the romantic comedy fantasies of its lead character, an ob-gyn whose disappointment in the dating world stems from her obsessive viewing of Nora Ephron films.

At the Television Critics Association Summer Press Tour in July, Kaling was candid about the role that When Harry Met Sally and other rom-coms would play on the show, but also revealed the show might feature shoutouts to HBO’s Game of Thrones, which is nominated for an Emmy Award for Best Drama.

“My writing staff, they are just obsessed with Game of Thrones,” Kaling said. “The show could just have Game of Thrones references: dragons, stealing eggs of dragon babies… You might see a lot—more than your average show—of Game of Thrones references.”

Yet the writers of The Mindy Project are not the only scribes who have fallen under the spell of the ferocious Game of Thrones, which depicts the struggle for control of the Iron Throne of the Seven Kingdoms of Westeros.

“It’s a violent, strange show with lots of sex in it,” Kaling went on to say.

Writers’ rooms—where the plots of television shows are “broken,” in industry parlance—often revolve around discussions of other shows, particularly ones that have a significant hold on the cultural conversation, whether it be Breaking Bad, Mad Men, or Homeland.

“A comedy writers’ room is like a really great dinner party with the smartest and funniest people you’ve ever met,” Parks and Recreation co-executive producer Alexandra Rushfield wrote in an email. Their typical conversations? “The presidential campaign. Whatever articles or books people are reading. Taking wagers on crazy statistics, like how much all the casts in the world combined might weigh. General heckling of co-workers.”

And TV shows such as Game of Thrones that viewers can debate endlessly. Modern Family executive producer Danny Zuker likened Game of Thrones to Lost in terms of the volume of discussion and passionate debate that the show engenders. It’s certainly immersive: five massive novels, two seasons of television, maps, online forums, family trees. Game of Thrones is a show that provokes—or even forces—viewer evaluation, deconstruction, and discussion.

“Many writers that I know are into it,” said Zuker over lunch on the Fox lot. “The setting of the world probably appeals to that nerd that is in most writers… I never played Dungeons & Dragons, but I get why the most disaffected kids who are intelligent and creative did, because in that world you could be powerful…. I basically just described comedy writers.”

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The Daily Beast: "2012 Emmy Awards: Our Predictions for Who Will Win"

Will Breaking Bad unseat Mad Men? Will Maggie Smith be crowned a winner? Ahead of Sunday’s Primetime Emmy Awards telecast, Maria Elena Fernandez and I predict the outcomes of the top races.

Over at The Daily Beast, you can read my latest feature, "2012 Emmy Awards: Our Predictions for Who Will Win," in which Maria Elena Fernandez and I offer our predictions in ten of the key races in Sunday's Primetime Emmy Awards. Will Mad Men remain triumphant? Will Downton Abbey's Dowager Countess reign supreme? Let's take a look

The Emmy Awards aren’t typically known for shocking anyone, but there are some unexpected twists every now and then. Just look at last year’s surprise Best Actor win for Kyle Chandler for the beloved, barely watched Friday Night Lights, and the look of absolute shock upon the face of Best Supporting Actress winner Margo Martindale.

This year’s races are tighter than ever, especially in the acting categories, where no fewer than seven comedians are battling it out for supremacy in the Best Actress race, and the competition is no less fierce in the supporting categories, where Breaking Bad’s Anna Gunn will face off against The Good Wife’s Christine Baranski and Archie Panjabi, Mad Men’s Christina Hendricks, and Downton Abbey’s Maggie Smith and Joanne Froggatt.

The winners will be announced on Sunday’s telecast of the 64th Annual Primetime Emmy Awards on ABC. But before they’re declared, Jace Lacob and Maria Elena Fernandez offer their predictions of who and what will take home the top prizes in 10 key Emmy races.

Outstanding Drama Series

Boardwalk Empire (HBO)
Breaking Bad (AMC)
Downton Abbey (PBS)
Game of Thrones (HBO)
Homeland (Showtime)
Mad Men (AMC)

He Said: This year represents some very real competition to the supremacy of four-time winner Mad Men, but despite the presence of potential spoiler Downton Abbey (the Television Academy loves a cultural lynchpin!), political thriller Homeland, and meth-laced Breaking Bad (and for reasons I discuss at long length here), I think Mad Men will once again emerge victorious, making Emmys history with a fifth win for Best Drama.

She Said: AMC will have lots to brag about, but it won’t be Mad Men making them proud. It’s all about Breaking Bad this year. The show’s fourth season was an unforgettable blast and its strong fifth season (however short it was!) makes it fresh in all of our memories. One of the best shows in the history of television needs to be recognized and this is the year. Walter White did not kill Gus Fring for nothing.

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The Daily Beast: "Abbey's Road: Downton Abbey's Emmy Bid,"

Can Downton Abbey topple Mad Men at the Emmys later this month? Jace Lacob talks to creator Julian Fellowes, as well as actors Hugh Bonneville, Brendan Coyle, Michelle Dockery, and others about Season Two, WWI, and the show’s 16 Emmy nominations. (Come back tomorrow for Part Two, in which the Fellowes and the cast discuss details about Season 3 of Downton Abbey, which launches on Sunday in the U.K.)

At The Daily Beast, you can read my latest feature, "Abbey's Road: Downton Abbey's Emmy Bid," in which I sit down with Downton Abbey creator Julian Fellowes, executive producer Gareth Neame, and the cast (including Hugh Bonneville, Brendan Coyle, Michelle Dockery, Joanne Froggatt, and others) to discuss the British costume drama's road to the Emmys, Season Two, and more.

It’s hardly a surprise that the Television Academy would shower some love upon PBS’ Downton Abbey. After all, the Julian Fellowes–created drama—which airs in the U.S. on the 41-year-old anthology series Masterpiece—walked away with the Emmy Award for Best Miniseries last year, and scored a staggering cumulative audience of 17 million viewers for its second season. And Downton is now competing for a Best Drama award, ahead of the launch of its third season this weekend in the U.K.

The British soap will battle for the top prize with such critics’ darlings as Mad Men, Breaking Bad, Homeland, Boardwalk Empire, and Game of Thrones, all of which hail from cable networks HBO, Showtime, and AMC. But, in a year when not a single broadcast network drama is being represented, Downton’s 16 nominations and its departure from the movies and miniseries category and into the fiercely contested Best Drama race is even more of a feat.

“We were going up against the giants of American television,” creator Julian Fellowes told The Daily Beast. “We were hoping for a look-in and we got 16.”

Fellowes wasn’t alone in that sense of surprise. “It is a big leap to go from being a ‘new boy’ to being in the mainframe,” said Hugh Bonneville, who plays the estate’s Earl, Lord Robert Grantham, and who scored a Best Actor nomination. “To be thought of in the same breath as people like Steve Buscemi and Damian Lewis is just mind-blowing, really.”
Bonneville wasn’t the only member of the show’s sprawling cast to receive a nod, with nominations also secured for Michelle Dockery, Jim Carter, Joanne Froggatt, Brendan Coyle, and Dame Maggie Smith. “It’s the complete antithesis of the usual ‘body of work’ thing that people get a noise for,” said executive producer Gareth Neame. “It can only be that the Academy members love those characters and really respect the actors that play those parts.”

For Masterpiece executive producer Rebecca Eaton, the show’s mainstream success has turned up the volume of the buzz surrounding Downton Abbey to deafening levels. “It keeps exceeding expectations,” she said. “I’m trying to stay calm and carry on.”

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The Daily Beast: "6 Best Spoof Videos of the Emmy Nominated Period Drama Downton Abbey"

PBS’s white-hot British import Downton Abbey, nominated this year for 16 Emmy Awards, is now a bona-fide cultural phenomenon—with its own spoofs. From Jimmy Fallon’s "Downton Sixbey" to the Mean Girls-Downton mash-up, I take on the six best.

Over at The Daily Beast, you can read my latest feature "6 Best Spoof Videos of the Emmy Nominated Period Drama Downton Abbey," in which I take a look at the six best Downton Abbey video spoofs and discuss the swirling pop culture influence of the period drama.

While devotees of costume dramas instantly fell under the spell of Downton Abbey when it first premiered in the U.S. in January 2011 on PBS’s Masterpiece Classic, it took a second season for it to truly permeate popular culture.


Nominated for 16 Emmy Awards this year—including Best Drama, Best Actress in a Drama, Best Actor in a Drama, Best Supporting Actor, Best Supporting Actress, and seemingly a billion others—Downton Abbey has become deeply entrenched in our collective consciousness. It is no surprise, then, that the show has prompted a slew of parodies, turning up everywhere from Saturday Night Live and The Late Show with Jimmy Fallon to an Arby’s commercial.

Fans, meanwhile, have taken to performing their own takes on Downton, spoofing the show with paper dolls, zombies, dogs, and stuffed animals. There’s even a “boyfriend’s guide” to the period drama that educates reluctant viewers about the difference between a “batman” and the Batman. PBS’s Sesame Street, meanwhile, plans to follow up its True Blood and Mad Men spoofs this fall with “Upside Downton Abbey,” described as “a chaotic manor house where gravity is inverted with Big Bird and Cookie Monster trying to maintain order.”

On Twitter, there are accounts dedicated to Lady Mary’s Eyebrows and to lady’s maid Miss O’Brien’s Bangs (@OBriensBangs), which seem to have a life of their own. The latter was created by comedian and actress Kate Hess, who also wrote and stars in her own Downton-themed one-woman show at the Upright Citizens Brigade.

“I had no idea that O’Brien’s Bangs would touch such a nerve!” said Hess in an email. “It made me laugh to think of her bangs having the twitter bio of ‘B. 1913 to a dustmop and a barrister’s wig.’ As an actress, tweeting as O’Brien’s Bangs allows me to explore a character, but I don’t actually have to learn any lines or get out of my pajamas. Also, O’Brien’s Bangs are more omniscient than even O’Brien herself—the bangs see past and future and even have their own tiny Ouija board.”

The producers of Downton Abbey, meanwhile, are only too pleased to see the show get skewered.

“I love them,” Masterpiece executive producer Rebecca Eaton told The Daily Beast. “Imitation is the sincerest form of television, Fred Allen [said]. There have been Masterpiece spoofs over our 40 years: Alistair Cookie, Monsterpiece Theatre. It’s an intersection of wit and humor, and it shows that you’re in the water. I don’t think anybody connected to the production in any respect does not like them.”

Downton Abbey creator Julian Fellowes, meanwhile, was thoroughly charmed by last year’s BBC Red Nose Day two-part spoof of the show, the first part of which can be seen below.

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The Daily Beast: "Christine Baranski: The Grande Dame of The Good Wife"

2012 Emmy nominee Christine Baranski’s character on The Good Wife, Diane Lockhart, is coming off a fierce season. She tells Jace Lacob what lies ahead for the show and addresses those crazy (and untrue) Brady Bunch rumors.

At The Daily Beast, you can read my latest feature, "Christine Baranski on The Good Wife Season 4, Diane, and Brady Bunch," in which I talk to Baranski about what lies ahead in Season 4, playing Diane Lockhart, her binary romantic choice this season, those bizarro Brady Bunch/child actor rumors, and more.

In the third season of CBS’s The Good Wife, Christine Baranski’s Diane Lockhart found herself on the defense, fending off attacks from the equity partners after the suspension of her partner, Will (Josh Charles), a grand jury investigation, uppity clients, and vengeful adversaries.

In the process, Emmy and Tony Award winner Baranski, 60, showed Diane at her fiercest, as she kept a strong hand on the firm’s figurative tiller, even as, in her personal life, she found herself ricocheting between two potential lovers. In an age where television romances are most often limited to women 35 and under, Diane’s romantic journey this season was refreshingly honest.

The Daily Beast spoke to Baranski about how her character has changed since the pilot episode, what’s ahead in Season 4 of The Good Wife, those bizarre Brady Bunch Internet rumors, and more. What follows is an edited transcript of the conversation.

This is your third time being nominated for Diane Lockhart. Why do you think viewers find Diane so compelling?

She has a ferocious work ethic and is such a model of integrity. I love the way they write the character as sometimes the only grown-up in the room, especially in a room full of guys. She has one of those tough journeys that women had in the ‘60s, going into the ‘70s. She followed right behind Hillary [Clinton] and went to Wellesley, and then to law school, and had high aspirations and didn’t have the time or good fortune to meet a partner. She’s a very independent woman, and yet there’s a vulnerability that I often see in the writing that they let me reveal, and a great sense of humor. There’s a maturity that she has that people have really responded to.

In Season 3, Diane took the reins of Lockhart & Gardner, thanks to Will’s suspension and a thwarted power grab from Eli. What was it like being able to show Diane’s tenacity?

She really took strides last year with the firm in a state of eternal crisis. There was this terrific feeling of unease. I just loved the writing last year for the character. I thought, without becoming a bitch or maternal or condescending, she offered tough love to people. She cares fiercely about this firm that she created. She was expected to be this bitchy antagonist for Alicia, but it went the other way; she wanted to mentor a woman who she thought had tremendous promise. She saw in Alicia a ghost of her past: not wanting Alicia to be indebted to a man to make it to the top.

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The Daily Beast: "Mad Men: Matthew Weiner and Christina Hendricks Dissect 5 Scenes From ‘The Other Woman’"

Mad Men’s creator Matthew Weiner and star Christina Hendricks go deep into five pivotal scenes from the Emmy-nominated episode “The Other Woman” in the second of a two-part conversation. Read Part 1 here.

At The Daily Beast, you can read my latest feature, "Mad Men: Matthew Weiner and Christina Hendricks Dissect 5 Scenes From ‘The Other Woman,’" in which Weiner and Hendricks discuss five scenes from Season Five's controversial Joan-centric episode, "The Other Woman."

In Mad Men’s controversial fifth season episode “The Other Woman,” Christina Hendricks’ Joan Harris is offered an indecent proposal: sleep with the head of the Jaguar dealership association and receive a partnership in Sterling Cooper Draper Pryce. Over the course of the episode, Hendricks’ Joan battles with the decision, ultimately choosing to sell her body for a seat at the table next to the men.

In Part 2 of a two-part deconstruction of “The Other Woman,” series creator Matthew Weiner and Emmy nominee Christina Hendricks dissect five sequences from the Emmy Award-nominated installment. What follows is an edited transcript from that conversation. (You can read Part 1 of this story here.)

Pete Offers Joan an Indecent Proposal

Christina Hendricks: People’s reaction to that is, “Oh, Pete, he’s the worst, he’s the creepiest.” He’s not doing anything worse than what everyone else does in the episode, to be quite honest. He brings up the topic for the first time, but if he didn’t, who knows if someone else wouldn’t have stepped in and done it?

Matthew Weiner: He brings it up in a very clever way, which is like a tabloid version. He’s morally outraged by the suggestion and, by the way, what do you think of it?

Hendricks: Yes, yes, I find that to be utterly amusing. I could watch Vincent [Kartheiser] do that scene over and over again.

Weiner: What you’re seeing is a really great, persuasive, morally complex idea, and we love this slippery slope thing. He brings it up, and he has this smile when he stands up and when she says, “you couldn’t afford it,” because that means something different to a salesman than it means to you and me. To a salesman, it’s a crack in the door. His logic is: we’ve all made mistakes for nothing. Are we honestly supposed to think that Joan has never slept with a client? Don has slept with two that we know of. When the Japanese came in for the pitch, they put her front and center. She is the entry to the office and they show her off in all of her beauty and her power. That’s why I love when she says, “how does that come up?” None of this is new in a weird way.

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The Daily Beast: "Mad Men: Matthew Weiner & Christina Hendricks on ‘The Other Woman,’ Part 1"

Season Five’s ‘The Other Woman’ was a controversial, polarizing episode of Mad Men. Show creator Matthew Weiner and star Christina Hendricks offer an oral history of the heartbreaking, Emmy-nominated Joan episode, the first of a two-part conversation.

Over at The Daily Beast, you can read my latest feature, "Mad Men: Matthew Weiner and Christina Hendricks on ‘The Other Woman,’ Part One," in which I talk to Weiner and Hendricks about the controversial Joan-centric Season Five Mad Men episode, "The Other Woman." (Part Two is slated to run tomorrow.) Among the topics covered: the thematic undertones within the episode, Peggy's departure, and what would happen if the writers put Christina Hendricks' Joan Harris and Jon Hamm's Don Draper together.

AMC’s Mad Men has never shied away from uncomfortable or challenging circumstances, but Season 5’s “The Other Woman”—during which Emmy nominee Christina Hendricks’s Joan Harris had sex with a potential client in order to secure a partnership at Sterling Cooper Draper Pryce—was instantly controversial, given Joan’s heartbreaking decision and because she is such a beloved character.

Nominated for writing (for co-writers Matthew Weiner and Semi Chellas) and directing (for Phil Abraham) Emmy awards, “The Other Woman” was also the episode submitted by Jon Hamm, Elisabeth Moss, and Hendricks in their respective categories, and rightly so. It’s an installment that is vicious in its condemnation of the treatment of women as objects of beauty to be owned and possessed, a thematic thread that manifests itself in the circumstances surrounding Joan, Peggy (Moss), and Megan (Jessica Paré). From Joan’s decision to sell herself for a shot at power to the pitch that Don makes to Jaguar—where the tagline reads, "At last, something beautiful you can truly own"—the notion of commodity and ownership provides a strong undercurrent in an episode that is riveting and eye-opening.

The Daily Beast spoke to Weiner and Hendricks about “The Other Woman,” and dissected five of the most indelible sequences from the Emmy-nominated installment. What follows is an edited transcript, the first in a two-part interview.

What did you make of the reaction to “The Other Woman”? Did you anticipate it being as polarizing an episode as it was?

Christina Hendricks: Yes, I did think it was going to be. It is a very controversial scenario.

Matthew Weiner: I was surprised. I knew it was a dramatic moment, and I expected it to be treated as drama, because the stakes were so high, and we knew Joan so well. But I also felt on some level, if we hadn’t used the word prostitution in there, it was more about the public nature of what was going on, and also their love for Joan, and the fact that she was put in this position that was so upsetting to people. I was stunned, though, by the suggestion that there were some people questioning about whether she would have actually done this or not. That shocked me. Maybe what they were saying is they were questioning whether they would have done it, but I was hoping, certainly judging on the history of the show and what Joan has done, obviously this is not the first time this has been an issue for her.

Given that, why do you think that people reacted so viscerally to Joan’s decision?

Weiner: A lot of this is attributed to Christina’s portrayal, but Joan is a very important character and has had a great deal of suffering. Some of it based on her own values and expectations, and I think that the audience really roots for her and was horrified at her having to do this, or having to even be in this situation. I think they felt terrible.

Hendricks: I agree. There has been this wonderful support for the character of Joan, even when she does do something that’s been off-color or bitchy, if you want to use the word, since Season 1. She would say things to Peggy, or to Paul, or do things that you wouldn’t necessarily approve of, but I think people could be, like, “Well, sometimes I do bitchy things too.” They do identify with her, and so this is maybe a step too far for them? Maybe it’s making them question their support of her a little bit more, and it made people uncomfortable?

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The Daily Beast: "2012 Emmy Nomination Snubs & Surprises"

The nominations are out: Homeland, Downtown Abbey, and Girls get their shot at the awards, while The Good Wife, Community, Louie, Justified, and many others are shut out.

Over at The Daily Beast, you can read my latest feature, "2012 Emmy Nomination Snubs & Surprises," in which I discuss which shows and actors were snubbed by the TV Academy as well as a few surprise nominations. Plus, view our gallery of the nominees.

The Television Academy has today announced its nominations for the 64th Primetime Emmy Awards and, looking at the list, you may be forgiven for thinking that every single member of the casts of Downton Abbey and Modern Family had walked away with nominations. (It just seems that way.)


AMC’s Mad Men and FX’s American Horror Story tied for the most nominations, with 17 apiece, while PBS’ cultural phenomenon Downton Abbey—which shifted from the miniseries category into Best Drama this year—grabbed 16 nominations (tying with History’s Hatfields & McCoys), including many in the acting categories. Also getting a lot of love this year: Game of Thrones, Homeland, Modern Family, and Sherlock. Not getting a lot of love: network dramas.

Once again, the dramatic categories are fierce competitions, including the dramatic actress races, which boast Julianna Margulies, Michelle Dockery, Elisabeth Moss, Kathy Bates, Claire Danes, and Glenn Close for Lead Actress and Archie Panjabi, Anna Gunn, Maggie Smith, Joanne Froggatt, Christina Hendricks, and Christine Baranski for Supporting. But for those shows that managed to score a bounty of nominations, there were those that were shut out in the cold altogether.

Hugh Laurie, an Emmy mainstay, failed to get a nomination for the final season of Fox’s House, while Justified didn’t get any love as a show or for its stars, Timothy Olyphant and Walton Goggins. (The show scored only two nominations overall, none in the main categories.) With Downton Abbey in the best drama series mix, CBS’ The Good Wife didn’t score a nomination, and the comedy list, heavy on HBO contenders, failed to include Community, Louie, and Parks and Recreation. (Speaking of which, will Parks’ Nick Offerman EVER get a nomination at this rate?)

Some oversights, however, are more egregious than others, and the nominations this year had their fair share of surprises as well. Here are some of the biggest snubs and most shocking surprises of this year’s Emmy nominations…

SNUB: Parks and Recreation (NBC)
This year’s Best Comedy category boasts no less than three HBO shows—including two newcomers in Girls and Veep, and returnee Curb Your Enthusiasm—leaving little room for much else to break through. The rest of the positions went to 30 Rock, Modern Family, and The Big Bang Theory, all of which have proven over the years to be irresistible catnip to Emmy voters. But to leave out Parks and Recreation, which had one of its best and most nuanced seasons to date, is particularly myopic. Revolving around the campaign of Leslie Knope (Amy Poehler, who was rightly nominated), Season 4 was tremendous, examining the hope and optimism of one political candidate against whom the odds were stacked, thanks to a spoiled candy company offspring (Paul Rudd) and his manipulative campaign manager (the ubiquitous Kathryn Hahn). Omitting Parks from the list of nominees is a slap in the face given just how deserving this show is of some awards recognition.

SNUB: Community (NBC)
Likewise, the final Dan Harmon season of Community was also shut out of the awards process. Putting aside the fact that none (NONE!) of its commendable actors managed to secure nominations in their respective categories, the gonzo and wildly imaginative comedy was also denied a Best Comedy nomination, despite the fact that this season proved to be one of its most absurd and inventive yet, delving into chaos theory, the mystery of a murdered yam (presented as a Law & Order episode), a Civil War parody, 8-bit video games, and a scathing Glee takedown. Perhaps Community is simply too good for the Emmys; perhaps it belongs not to awards committees, but rather to the people instead: to those individuals who appreciate and understand the warped genius of this show.

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The Daily Beast: "Our Emmy Picks!"

While the Primetime Emmy Awards aren’t typically known for offering gasp-inducing surprises, last year’s ceremony did make an instant star out of The Good Wife’s Archie Panjabi, who walked off with the award for Outstanding Supporting Actress in a Drama Series, even as most of the crowd gathered said, “Who?” (Those of us who know and love The Good Wife, however, cheered for Kalinda’s win.)

Anything is possible, particularly in some key races (like Panjabi’s category again this year) that are going neck-and-neck as we move into the days leading up to Sunday’s telecast, which will air—for the second year in a row—live from coast to coast.

The winners will be announced on Sept. 18’s live Primetime Emmy Awards telecast on Fox.

But, in the meantime, over at The Daily Beast, you can read my latest feature, "Our Emmy Picks!," in which Maria Elena Fernandez and I offer their predictions of who and what will take home the top prizes in 10 key Emmy races. Will stealth frontrunner Margo Martindale win for Justified? Will Jon Hamm finally take home the Emmy for Mad Men? And will AMC’s period drama four-peat this year? Let’s take a closer look at the major categories. (Meanwhile, all of our Emmys-related content from the last few weeks--from Mad Men and The Good Wife to Game of Thrones and Downton Abbey--can be found in one location, right here.)

Who do you think will win at this year's ceremony? And who should win? Head to the comments section to discuss our predictions and debate the potential winners.

The Daily Beast: "The Real Race for Best Drama: Why Mad Men May Not Win"

The race for the Emmy Awards’ top drama prize isn’t as cut and dried as it looks.

Over at The Daily Beast, you can read my latest feature, "The Real Race for Best Drama: Why Mad Men May Not Win," in which I examine the cutthroat competition this year for best drama, and why Mad Men may not win the top spot at next weekend's awards ceremony. (Though it probably will.)

What's your take on the drama race this year? Will Mad Men four-peat? Will The Good Wife claim the top pick? Will HBO's Game of Thrones or Boardwalk Empire walk away with the statuette? Or will Friday Night Lights pull off the impossible and finally get some recognition for its outstanding fifth and final season? Head to the comments section to discuss.

The Daily Beast: "Mad Men Up Close: Matthew Weiner and Jon Hamm on 'The Suitcase'"

Mad Men's fourth season episode "The Suitcase" was instantly deemed a classic hour of TV.

Over at The Daily Beast, you can read my latest feature, "Mad Men Up Close," in which series creator Matthew Weiner and star Jon Hamm offer an oral history of the gut-wrenching, Emmy-nominated episode "The Suitcase." Weiner and Hamm dissect six of the most powerful and indelible sequences from “The Suitcase,” the relationship between Don and Peggy, and Hamm’s performance, which Weiner called “magical.”

Get your handkerchiefs ready.

Season Five of Mad Men is slated to begin March 2012 on AMC.

The Daily Beast: "Game of Thrones' Creative Gurus:" (Interview with Dan Weiss and David Benioff)

Hungry for some Game of Thrones scoop? (I know I am.)

Over at The Daily Beast, you can read my latest feature, "Game of Thrones' Creative Gurus," in which I catch up with Game of Thrones writer/executive producers Dan Weiss and David Benioff to discuss the show's numerous Emmy nominations (and Emilia Clarke's snub), the casting of Carice van Houten and Hannah Murray (as Melisandre and Gilly, respectively), "sexposition," and what's to come in Season Two of the HBO fantasy drama.

All together now: "HODOR!"

Season Two of Game of Thrones will launch in 2012.

The Daily Beast: "The Brits' Surprising Emmy Hit" and "Inside Downton Abbey Season Two"

Yes, Downton Abbey adherents, I've got a bit of a treat for you: not just one, but TWO, features about the hit British period drama today.

Over at The Daily Beast, you can read my latest feature, "The Brits' Surprising Emmy Hit," Part One of Two of my Downton Abbey features today, this time an Emmys feature on the British drama, recognized with 11 nominations this year, including Outstanding Made-for-TV-Movie or Miniseries. I talk with creator Julian Fellowes and the cast about Emmy nominations, the show’s insane popularity on both sides of the Atlantic, and what’s coming up on Season Two.

If that's not enough period goodness for you, there's my second feature, entitled "Inside Downton Abbey Season Two," in which Julian Fellowes and the cast of Downton Abbey (including Dan Stevens, Michelle Dockery, Elizabeth McGovern, and Siobhan Finneran) provide me with some clues about what's coming up on the second season of the period drama, beginning September 12th in the U.K. and in January in the U.S. WARNING: CONTAINS SPOILERS!

Season Two of Downton Abbey begins September 12th on ITV in the U.K. and on January 8, 2012 on PBS' Masterpiece Classic. Check your local listings for details.

The Daily Beast: "Margo Martindale: Emmy’s Stealth Frontrunner"

Nominee Margo Martindale, in the running for outstanding supporting actress, may not be prepping an Emmy acceptance speech--but she should be, especially after her magnificently malevolent turn as Mags Bennett on FX's Justified this year.

Over at The Daily Beast, you can read my latest feature, "Emmy’s Stealth Frontrunner," in which I sit down with Martindale to discuss playing Justified’s Mags Bennett, how she won’t be wasted on CBS’s A Gifted Man, and why she believes in ghosts.

Justified returns for a third season in 2012.

The Daily Beast: "Emmys 2011: The Good Wife's Best Actress" (Julianna Margulies)

Julianna Margulies has been nominated for an Emmy Award for CBS’ The Good Wife.

Over at The Daily Beast, you can read my latest feature (and the first in a series of Emmys-centric pieces heading your way), "The Good Wife's Best Actress," in which I speak with Margulies about playing the brilliant and career-driven Alicia Florrick on The Good Wife, Alicia and Will (Josh Charles), Alicia and Kalinda (Archie Panjabi), wigs, gate-crashing the Governor's Ball, and her Emmy nomination.

Season Three of The Good Wife begins Sunday, September 25th at 9 pm ET/PT on CBS.

The Daily Beast: "The Emmy Awards’ 10 Biggest Snubs"

The nominations are out: Parks and Recreation, Game of Thrones, Friday Night Lights, and Mad Men get their shot at the awards, while Community, Nick Offerman, and many others are shut out.

Over at The Daily Beast, you can read my latest feature, entitled, "The Emmy Awards’ 10 Biggest Snubs," in which I examine shows and actors were snubbed by the TV Academy. Plus, view our gallery of the nominees.

The 63rd Primetime Emmy Awards will be televised live on September 18th on Fox.

The Daily Beast: Fire and Ice: Mad Men's Christina Hendricks and January Jones

As promised, the last Emmy-related piece of this year.

While I've already discussed Modern Family and Glee, Friday Night Lights, and to a certain extent Lost, as well as rounded up my picks for who will win a gold statuette and who should have won, I can't imagine not discussing AMC's luminous period drama Mad Men.

Over at The Daily Beast, my latest feature--which is curiously entitled "Mad Men's Ice Queen"--takes a look at Mad Men's Emmy nominated actresses January Jones and Christina Hendricks and explores how they fit into certain female iconic traditions and why our perceptions of their characters seem to spill over into their real lives.

Just why is Betty Draper so misunderstood and disliked? Why does Jones seem so icy whereas Hendricks--a somewhat reluctant sex symbol--seems so vibrant and full of life? Can they escape our own perceptions of them? Head to the comments section to discuss.

Season Four of Mad Men airs Sunday evenings at 10 pm ET/PT on AMC.

The Daily Beast: "Give Friday Night Lights An Emmy Already"

Could Friday Night Lights finally win an Emmy Award? Or, more importantly, isn't about time that the Academy recognized the amazing quality of this fantastic series and its lead actors?

That's the question that I'm asking in a new feature over at The Daily Beast entitled "Give Friday Night Lights An Emmy Already" where I talk to stars--and current Emmy underdogs--Kyle Chandler and Connie Britton.

In the piece, which went live this morning, I talk to Chandler and Britton about their nominations, saying goodbye to one another, the end of Friday Night Lights, and what the fifth and final season of FNL holds for Coach Eric and Tami Taylor.

Head to the comments section to discuss why you think this series has been criminally overlooked by the Television Academy and whether you think Chandler and Britton are more than deserving to take home a statuette or two this weekend at the Primetime Emmy Awards.

Season Five of Friday Night Lights begins October 27th on DirecTV's The 101 Network.