Tag Archives: 30 Rock

The Year End Review: TV

It’s that time of year again. And I mean, it’s really that time of year. Any more time and it’d be next year. Speaking of which, how many of you are absolutely sick of the fact that I can’t get my s**t together and update this thing more regularly? Well, too bad! I’m pretty set in my ways, and if I wouldn’t change for any of my three wives, I probably won’t change for you. Anyway, it was a pretty good year for TV, and for those of you who care, these are my top 10 picks. If I had more time on my hands, this list might look somewhat different**, but I can’t watch everything. So, in no particular order…

Lost. I’d be remiss (what does that mean?) if I didn’t mention one of the greatest TV shows in the history of TV (and shows). ‘Lost’ earns its place on the list more in recognition of the entire series than the sixth season, which most people will admit had its problems. But for all of the questions that were left unanswered and weird, glowy caves that had holes in the middle that needed to be plugged up or else the world would explode — I mean, seriously, what was that? — the show delivered a finale that was as emotionally satisfying as I could have hoped for. And before the numbers, polar bears and four-toed statues, it was the characters that made the show what it was. And that damn dog gets me every time.

Treme. For a little while, ‘Treme’ felt like the kid who was a little too cool for school. It didn’t really invite us into its world, but kept us at arm’s length, telling us that we just didn’t get it. But slowly, as if in the arms of a generous lover, it opened up to us. And once the characters started doing a little more than hang out, drink and play music it turned into appointment television. And the fact that it comes from David Simon and could probably go on for six or seven seasons without building toward any clear ending makes it one of the best character studies in recent memory.

Louie. Hands down, the best comedy of the year. FX told Louie CK that, even though they couldn’t pay him as much as other networks, they would give him complete creative control over his own show, and the opportunity was not wasted. I hate to sound trite (no I don’t), but he’s really reinvented the sitcom, with each episode taking the form of a mostly-self-contained short film. And not only is it hilarious, but introspective and thoughtful. Not to mention gorgeously shot. If you haven’t caught this one yet, you can stream it on Netflix. I really can’t recommend it enough.

Archer. ‘Mad Men’ and ‘Boardwalk Empire’ are all good and well, but man cannot live on live-action drama alone. Solid animated fare is important, and unfortunately ‘American Dad’ can’t carry the load all by itself. ‘Archer’ comes from the fine folks who brought us ‘Frisky Dingo,’ which for two short years carried the mantle ‘Arrested Development’ left behind after it was canceled. The show takes the world’s most self-absorbed incompetent, gives him a double-0 rating and sets him loose on the world. Hilarity ensues. And when I say hilarity ensues, I mean it. Did you read what I said about ‘Frisky Dingo’? The show comes back for another season in January, so check it out.

Breaking Bad. Suck it, ‘Supernatural’ fans. In its third season, ‘Breaking Bad’ made the jump from engrossing (and high-grossing!), to the best show on TV. And the season before was already pretty great. Watching the lengths Walter White is willing to go to, at first to provide for his family, but then to satisfy his own ego is completely devastating. Walter shooting that drug dealer in the head at the end of “Half Measures” had me screaming at my TV, and if the season finale is any indication (it is), things are only going to get darker going forward. Unfortunately, AMC’s schedule is all jacked up, so the show won’t be back until July. The curse of cable television!

Mad Men. This is another show that doesn’t really have any sort of clear end in sight. And because it’s AMC’s darling, they’re probably going to try and keep it around for as long as they can. The trick then becomes how to keep it feeling fresh and not like it’s spinning its wheels. Season 4 did that. Don has his own agency, and now that he’s divorced he’s back out on the prowl. Although I guess that was the case even when he was married. Anyway, the season featured some of the series’ best work. “The Suitcase” and the showdown between Don and Peggy being only one example. Expect that one to be showered with Emmys at next year’s ceremony. For my money, the show came in just a hair behind ‘Breaking Bad’ this year, but…it was a very fine hair.

Fringe. I don’t think anyone really gives a s**t if a show comes “from the mind of J.J. Abrams” anymore. And if you ask me that’s only worked in ‘Fringe’s’ favor. When it wasn’t the hit some expected it to be, it kind of dropped off the radar. That really gave it carte blanche to go balls to wall and make a show for the people who were watching it, the people who were carrying it into second and third season renewals. This season’s proved that like no other, and really shows what risks the showrunners were willing to take with things. Thankfully they all paid off. I’m feeling a little better about the show’s move to Friday now than I was when I first heard about it, so hopefully its audience will move with it and it’ll be back for a fourth season.

Boardwalk Empire. AMC winning all those Emmys must have really pissed HBO off, because they’re coming back in a big way. It took ‘Boardwalk Empire’ about four episodes to find its footing, but after that it was strong all the way to the finish. It’s always good to see such a big show get things right, and that was before we saw exactly how big a freak Agent Van Alden was, and met Richard Harrow (who’s thankfully been promoted to a series regular in season two). What the show lacks in ‘Sopranos’ it makes up for in ‘Deadwood,’ which sucks me in every single time. Can we lay down some cash that season two will open with a montage of all the characters getting dressed in the morning?

30 Rock. Oh ’30 Rock,’ it’s so good to have you back. After a lackluster fourth season, the show’s really amped things up this year, delivering several episodes that are as good as anything they’ve done in the past. I mean, you’ve got Matt Damon! Paul Giamatti! Liz’s Julia Roberts laugh! John Effing Slattery! I cower before the brilliance of his performance. Now, if the show could just find more excuses to bring Jon Hamm back, all would be right with the world. Really, this is the show propping up NBC’s Thursday night lineup. ‘The Office’ has turned into the grandpa with Parkinson’s disease. Every once in a while it remembers how good it was, but it mostly thinks we’re its wife and yells at us for not having supper on the table when it gets home from work. ‘Outsourced’ is garbage and ‘Community’ is too busy smelling its own private parts to do much else. When the lineup grows by a hour come January, it’s gonna be ’30 Rock’ and ‘Parks and Rec,’ so get ready for it.

Justified. FX is really trying to roll with the big dogs as of late, at thanks to shows like ‘Justified,’ it’s paying off. The show had a mix of procedural and serialized storytelling, and I think that as the season progressed, it realized how much stronger those serialized elements were, and so followed them more as the season closed out. Timothy Olyphant is a great actor, and fans of ‘Deadwood’ know that this role was almost tailor-made for him. The back and forth between him and Walt Goggins is great, but honestly, I’d watch a show of Olyphant just ramming Dewey Crow’s face into steering wheels.

And there you have it. A pretty good year, all things considered. And next year we’ve got ‘Game of Thrones,’ ‘Luck,’ ‘Lights Out,’ ‘Curb Your Enthusiasm,’ and more ‘Parks and Rec’ to look forward to, so it’s going to be pretty crowded. So until then and as a always, excelsior true believers!

**’Community’ still wouldn’t be on it, because it still isn’t that good.


The Office, “Viewing Party”: I wanted to eat a pig in a blanket… in a blanket.

I felt like this episode had more highlights than some of the recent episodes, but The Office is still on life support. We may see shadows of its former spark, but it’s gone, people. I can only hope that NBC lets it fade away in peace at the end of this season.

So, what’s good? Erin. Her innocent and naive act is a little annoying at times, but most of the time, it’s just the kind of un-self-aware goofiness that made this show’s best characters memorable. When she very seriously told Gabe that Waco was pronounced wacko in the cold open, it’s hard not to find her well-intentioned ignorance a little endearing. GayMike, best friends?

But for every cute moment (not particularly funny, but cute), there’s also Michael’s grandpa/space station fantasy which is just awkward and makes the audience feel guilty for thinking that Michael is such an idiot. I get that it’s supposed to make his character sympathetic, but you just feel bad that this guy is so socially maladjusted that these dreams are probably never going to come true for him. Womp womp.

As usual, Dwight comes out with a few amusing lines – “Of all feelings to base a show around? Glee? Thirst – now that’s a show I’d watch.” And of course, the line I’ll be co-opting for my own nefarious purposes: “Join the real world. Sex contracts exist!”  I hope his “situation” with Angela is going somewhere – I’ve got to believe it is because it’s starting to drag, and I’m anxious to see what the writers have been building to.

It’s so strange that The Office can be so good about building some storylines for entire seasons – Dwight and Angela’s relationship, Andy pining for Erin, and Michael’s growing dissatisfaction with his work – and with others, they seem to come from nowhere and go nowhere. What was Michael doing in the first scene (not the cold open) when he was running around pretending to be busy and important? If he was imitating something from pop culture or trying to pull off an elaborate and ill-conceived joke, there would’ve been some context, but instead, he does it for no apparent reason and the “pay-off” is him telling Erin, “I was just kidding. I was kidding. I wasn’t mad.” Um, okay.

And the exchange between Michael and Erin? The daughter/father thing? Awkward and horrifying and completely without set-up or pay-off. Are we supposed to read into that strange silence, after Michael says “I am not your father” that Erin has some kind of father issues? That’s a pretty big leap or the audience to make on their own.

Michael bringing the old “that’s what she said” back was fun and familiar, but even that lacked the enthusiasm of previous seasons. I feel like I’m saying the same thing every week – it’s not bad, but it’s not good. The bar was set too high – both by this show in previous seasons and by other shows in the same time block – and now The Office just falls flat. When the best part of the episode is the small piece of 30 Rock I caught on my DVR, that’s not a good sign. But seriously, how hysterical was John Slattery on 30 Rock? Absolutely brilliant.

P.S. God bless Kelly and her spot-on Glee analysis. It’s hysterical to hear those kinds of insights coming from someone as vapid as her. But it works because if she’s going to have valid insights on anything, it’s going to be a pop culture phenomenon.

30 Rock, “Live Show”: Mexican soap opera.

Is it a gimmick for a traditional sitcom to do a live show? Yes. It’s not when it’s an essential piece of the show’s makeup. No one says that the live aspect of SNL is gimmicky. It’s also a gimmick to book guest stars, but it’s not a complaint I’ve heard leveled at ’30 Rock’s’ pantheon of celebrity guests. Performing live obviously isn’t an essential part of ’30 Rock,’ but it’s definitely within the show’s sometimes-meta, self-referential and over-the-top wheelhouse.

From Snapple to Jay Leno to Maryland accents, ’30 Rock’ has always been able to poke fun at itself, and considering the fact that it does take place behind the scenes at a live sketch comedy show, doing a live episode didn’t really feel like a stretch. I mean, ‘ER’ did it. And if the Cloon-hound can do it, then I would never begrudge Tina Fey and co. their shot.

I think there’s much more room for debate as to whether or not the show was able to pull it off. At its lowest points, the episode felt like an extended SNL skit. There were groans to be sure. Gags like Kenneth’s mindless giggling at Lutz’s shirt and Jon Hamm’s PSA (I love Jon Hamm, but he really could have been used a lot better here) were obviously used as filler while the next scene was setting up. The show’s pacing was also affected by the live audience they were filming in front of. But when the show was hitting, it was really hitting. Jack commenting that everything looked like a Mexican soap-opera. Carol telling Liz that he was in on the surprise party from the very beginning and that it was really expensive. Tracy pulling his Oprah wig off in the middle of a skit. And how the Chilean miners didn’t get stuck down there by being geniuses were all great jokes.

’30 Rock’ has a very unique style, and while a lot of that was lost to the logistics of doing a live episode, it still felt distinctly ’30 Rock.’ They got in a lot of topical jokes. There were a ton of guest stars (Dr. Spaceman!). I especially enjoyed the way the show handled its cutaway scenes. Seriously, can we all take a moment to remember how much we love and miss Julia-Louis Dreyfus? I know she was on ‘The New Adventures of Old Christine’ for five seasons, but nobody really watched that show, did they?

Was the episode a runaway hit? It really wasn’t. Some of that was the writing and some of it was forced on them. But I think by and large the whole cast and crew put a lot of work into the night, and it paid off. Color me happy.

30 Rock, “Let’s Stay Together”: It’s an actor me-mergency.

There was a lot to like about last night’s episode. Unfortunately, a lot of that was balanced with stuff that had all been done in previous seasons.

Jack had to testify in front of a Congressional panel over the NBC/KableTown deal. I thought this was handled a lot better in season 2 in episodes like “Cooter.” I did like the way everything came together in the end to make TGS look like one of the most racist shows on TV. I found Jack’s speech to Congresswoman Bookman to be especially relevant, but in the end it wasn’t enough to push the episode over the top.

Trouble in the writers room. And surprise, Liz doesn’t feel appreciated. I actually liked the fact that Liz had Toofer named co-head writer and wished that more time had been given to developing that. It would have at least brought a new dynamic to something we’ve seen several times before.

I didn’t think it was possible for me to like the Kenneth-coming-back story less than I did, but miraculously the show found a way. Faced with the prospect of losing the job he’s already been fired from, Jenna agrees to help him get a leg up. Kind of like that time in “Rosemary’s Baby,” when Kenneth was faced with losing his job and Jenna agreed to help him get a leg up. And what’s worse is that there was no Paul Scheer for Kenneth to play off of. So he’s back, right? We can move on now? Please?

What worked most about this episode were the jokes peppered throughout. Jack telling Liz that in a post-apocalyptic society she could only be used as a radiation canary. Jenna’s me-mergency. The Appleseed family. Dotcom’s TV show, and subsequent rewrite. Putting a bullet in the head of the American farmer (“No! You win!”). The white and colored restrooms. These kept the episode from feeling completely stale, although just barely.

30 Rock, “When it Rains, it Pours”: I want your feet in my mouth!

Hello again, old friend. I’ve missed you. Thursday’s episode may be the best half hour of ’30 Rock’ we’ve seen in the past year, and definitely reminded us how funny the show can be when it’s at the top of its game.

I was happy to see the show acknowledge the fact that Tina Fey is a stone cold fox and completely deserving of men’s affectations, which it really hadn’t done too much of in the past. Her relationship with Carol has kind of given her her groove back, so she doesn’t mind laying on some extra charm for Paul Giamatti, playing here a beponytailed, hockey-loving, Civil War-reenacting editor. I know there were a few clips of Giamatti floating around out there on the internet, but I hadn’t seen them, so seeing him turn up on the show was a big surprise for me. I thought he did a fantastic job, and had a fantastic ponytail. My favorite part of his was reciting Liz’s dialogue along with her as they’re “breaking up” in front of Donna. ’30 Rock’ has always been a show that’s made good use of its guest stars, and he was no exception.

So Jack and Avery are having a kid. That’s big news that was sort of glossed over in light of how funny Jack’s preparations for it were. His video messages to his unborn son make me wonder if there are rolls of unused film with Alec Baldwin just riffing. My favorite lines were, “I then attended Harvard Business School, where I was voted, Most,” and earlier, when the fire alarm goes off and Liz asks him if he’s coming outside, “And stand outside in a crowd like some Italian? I don’t think so.”

For me, Tracy getting caught on Cash Cab wasn’t the comedy gold mine some people thought it was, but I thought it was a good break from form for him, and the back and forth between him and Ben Bailey as he’s trying to get out of cab was pretty good. And his story did bring back some good guest stars. Dr. Spaceman is always a welcome addition on the show (“I have more experience putting babies in women.”), as is Sherry Shepherd as Angie Jordan.

My one complaint about the episode is what the show’s doing with Kenneth. By the end of the episode, it looks like he’s coming back on…as a page. So, if the entire point of getting rid of him was to bring him back all of two episodes later, WHAT THE HELL WAS THE POINT? At the end of the episode Kenneth tells Jack that he’s reapplying to the page program, and Jack says, “I really don’t care.” Really kind of summed up my own feelings. In the end it just feels like the show was trying to shake things up for the sake of shaking things up.

A minor complaint in light of the rest of the episode. Easily forgiven if the show can keep turning out episodes like this one. I could even forgive ‘The Office’s’ sh**ty sixth season if ’30 Rock’ could keep things cranked up to 11 like this.

Random thoughts:

  • Jenna never closes her mouth.
  • Paul Giamatti throwing his Chinese food at Pete.
  • The Julia Roberts laugh.
  • More Lutz, please. Him getting punched in the face and then made love to was hilarious.
  • Brian Williams and Andrea Mitchell.
  • “And that is the art of camouflage.”

30 Rock, “The Fabian Strategy”: My gynecologist committed suicide!

I don’t think anyone will disagree that ’30 Rock’s’ fourth season wasn’t its most impressive. It started with the season premiere and just carried on through the entire year. Occasionally, we’d catch glimpses of the show’s past greatness, but it was always fleeting. Kind of like Rome.[/profound]

While I thought the season finale was definitely a step up, I thought it weird that the writers had concocted this story about Kenneth getting fired almost out of thin air, as if they were scrambling for a cliffhanger for the season to go out on, and Kenneth was the most convenient character to use. In a way it brought the character’s arc over the past year full circle, as we saw him picketing for pages’ rights outside 30 Rock in the premiere. But aside from that one tenuous connection, it didn’t really make any sense, and just seemed to have been thrown in there to stir the pot.

Tonight, ’30 Rock’ played a dirty trick on me. It delivered a hilarious opening, with Jack (seriously, how great was his hair?) calling up Liz to tell her how great things with Avery are going. This was the ’30 Rock’ I knew and loved. Jack as smug as ever. Liz having nightmares about Tom Jones. References I didn’t entirely get but laughed at anyway. And then Liz and Jack hung up, and Liz said, “Okay. Season 5. Here we go.” And it was like, “Ehhhhhhhhhhhh…”

With the season 4 premiere cleverly being titled, “Season 4,” and references to going on hiatus and other show-bizzy things being peppered throughout the series, ’30 Rock’ has always had a sort of meta self-awareness of itself. It’s aware that it lives in a sort of heightened reality in which having sex behind of privacy screen of British butlers is a completely normal thing that happens. And that’s okay. That sense of itself is part of what the show great, but the way the line was delivered just seemed like it was a retread of old material that didn’t deliver in the same way, and suddenly I was worried that we were all going to be in for more of the same this year.

Luckily I was wrong and the show turned out a great episode. And it did it by putting the characters in some genuinely new territory. One of my biggest problems with the show in seasons past was how it beat us over the head with the characters’ problems. Liz can’t keep a man! Tracy and Jenna are CRAZY! And no matter what, none of that is ever going to go away. And that’s alright. Again, one of the things that makes the show great. But tonight we saw the characters move past a lot of that. Liz discovers that Carol (does anyone know how many episodes Matt Damon is going to be in this year?) is almost as emotionally unstable as she is, and while her normal reaction may be to turn in the opposite direction and run, they make things work, after a fashion. Normally I’d say that maybe, just maybe, these two crazy kids have a chance, but I’m pretty sure the show can’t afford Matt Damon’s fee.

With TGS beginning its fifth season, Jenna’s been given a producer credit, and Pete realizes how much more free time he’s got with her doing much of his job. While I loved Pete in knee socks, I liked the cutaway of him screwing his wife even more. But what the hell does that say about me? Most men lead lives of quiet desperation, and of no man is that true than Pete Hornberger, so it’s nice to see him get a little ahead, even if it was back to making the donuts by the end of the episode.

Tracy seeing Kenneth wherever he went gave me a few chuckles, but it’s obviously a story that may take a few episodes to resolve itself. I’m interested to see where it goes.

My wife and I have shortlists of actors we’d go gay for, and after seeing Jack trying to woo James (not Jim or Jimmy, just Jamesssss), I may have to add Alec Baldwin to it. He took being outmanuvered by both Liz and Avery like a man, and his telling Liz that she’s really grown I thought provided a little commentary not only on her character, but on the show as a whole, and maybe even the upcoming season. That’s an awful lot to read into one line of dialogue, but I’m an optimist who’s very happy to have the show back.

But really, does liking the bit with Pete and his wife make me a bad person?

Emmy Love

The Emmy nominations are in, and oddly enough, NO ONE seems to be talking about them. So I thought I’d give my thoughts to the only categories anyone really cares about.

Outstanding Drama
“Breaking Bad”
“The Good Wife”
“Mad Men”
“True Blood”

I don’t watch The Good Wife, so there’s not much I can say about it. I’ve heard some good things, and from what I understand, the fact that the show and Julianna Margulies were nominated isn’t too big a surprise. Breaking Bad and Mad Men earning nominations also lands firmly in the “no big surprise” category, as both shows put out some of their best work this past season. Dexter seems to be a show we should expect to see in this category, although — with the exception of John Lythgoe’s performance in the show’s fourth season — Dexter seems to be a series offering diminishing returns with each season. With the [spoiler alert!] death of Rita at the end of last season, the show has a chance to seriously shake itself up. We’ll see whether or not they’re able to pull it off. Lost has been nominated in this category a couple of times before, but I have a feeling this time around its inclusion has more to do with the show going away FOREVER. Don’t get me wrong, I was satisfied with the way the show wrapped things up in its final season, but taken as a whole, season 6 wasn’t nearly as strong as seasons past. Rounding out this group is True Blood, which I’ve only seen a few episodes of. The fact that it was able to make its way into the drama category is a little amazing to me, given Anna Paquin’s horrible southern accent.

Outstanding Comedy
“30 Rock”
“Curb Your Enthusiasm”
“Modern Family”
“Nurse Jackie”
“The Office”

30 Rock and The Office are a couple of moldy oldies when it comes to Emmy noms, but I don’t think neither one of them is going to take the award away this year. 30 Rock suffered a pretty big dip in quality when stacked against past seasons, and The Office was just horrible. I don’t care if Jim and Pam finally got married and had a kid. The show sucked. Seriously, I don’t understand how The Office was nominated and Parks and Recreation got passed over. I have yet to be disappointed by Curb Your Enthusiasm, and look forward to the show’s eighth season with great relish, but I don’t really think it has any chance of winning. That honor will probably go to Modern Family, which had an incredible first season. Now, I say that Modern Family will win, but of course the country’s strange fascination with Glee will come around to bite it in the ass. With 19 nominations, I’m worried. And you should be, too.

Outstanding Actor in a Drama
Bryan Cranston (“Breaking Bad”)
Hugh Laurie (“House M.D.”)
Jon Hamm (“Mad Men”)
Kyle Chandler (“Friday Night Lights”)
Matthew Fox (“Lost”)
Michael C. Hall (“Dexter”)

Nice to see Matthew Fox, but again, I think his best work on the show came in previous seasons. I count Michael C. Hall and Jon Hamm out. They’re both great actors, BUT Bryan Cranston’s also been nominated, and has won in this category two years running now. And as much as I love Mad Men, Breaking Bad is just doing more for me right now. That aside, what I’m really happy about in this category is Kyle Chandler’s nomination. It’s a long shot, but his work on Friday Night Lights these past four years has been phenomenal and it’s a shame that it’s taken so long for him to be recognized here.

Outstanding Actress in a Drama
Connie Britton (“Friday Night Lights”)
Glenn Close (“Damages”)
January Jones (“Mad Men”)
Julianna Margulies (“The Good Wife”)
Mariska Hargitay (“Law & Order: Special Victims Unit”)
Kyra Sedgwick (“The Closer”)

Again, Friday Night Lights. I could easily see Connie Britton winning this category, but that may be my utter lack of interest in L&O, Damages and The Closer speaking. Realistically speaking, Julianna Margulies has a real chance here.

Outstanding Actor in a Comedy
Alec Baldwin (“30 Rock”)
Jim Parsons (“The Big Bang Theory”)
Larry David (“Curb Your Enthusiasm”)
Matthew Morrison (“Glee”)
Steve Carell (“The Office”)
Tony Shalhoub (“Monk”)

I don’t see how Alec Baldwin doesn’t get this one. Although seeing as how Monk is going away, Tony Shalhoub’s also got a shot. I’d love to see a Larry David win, but it probably isn’t in the cards. Again, for shame Steve Carell, for shame.

Outstanding Actress in a Comedy
Amy Poehler (“Parks and Recreation”)
Edie Falco (“Nurse Jackie”)
Julia Louis-Dreyfus (“The New Adventures of Old Christine”)
Lea Michele (“Glee”)
Tina Fey (“30 Rock”)
Toni Collette (“The United States of Tara”)

I’m glad to see Parks and Recreation wasn’t completely passed over. Although I’m not sure Amy Poehler can defeat Tina Fey’s star power. From what I understand, Edie Falco is the least comedic thing about Nurse Jackie, so I wouldn’t put much stock in her this year. From the rest of the pack, Lea Michele is the only one I can see winning, in one of those bonehead stunts the Academy likes to pull, like when James Spader beat out James Gandolfini a few years back. No, James Spader. You are not a better actor than James Gandolfini.

Outstanding Supporting Actor in a Drama
Aaron Paul (“Breaking Bad”)
Andre Braugher (“Men of a Certain Age”)
John Slattery (“Mad Men”)
Martin Short (“Damages”)
Michael Emerson (“Lost”)
Terry O’Quinn (“Lost”)

Just a few thoughts on these supporting categories. I love John Slattery, Terry O’Quinn and Michael Emerson, but none of them did what Aaron Paul did this past year on Breaking Bad. If he doesn’t walk away with the award this year, it’ll be a travesty. Congrats to Andre Braugher for sneaking in under the radar here.

Outstanding Supporting Actress in a Drama
Archie Panjabi (“The Good Wife”)
Christine Baranski (“The Good Wife”)
Christina Hendricks (“Mad Men”)
Elisabeth Moss (“Mad Men”)
Rose Byrne (“Damages”)
Sharon Gless (“Burn Notice”)

I used to date Christina Hendricks, so I’m partial to her in this category, and thought she showed more range than Elizabeth Moss in this season of Mad Men. Again, I don’t watch The Good Wife (or Damages for that matter), and as of yet, no one’s offered to pay me to watch Burn Notice.

Outstanding Supporting Actor in a Comedy
Chris Colfer (“Glee”)
Eric Stonestreet (“Modern Family”)
Jesse Tyler Ferguson (“Modern Family”)
Jon Cryer (“Two and a Half Men”)
Neil Patrick Harris (“How I Met Your Mother”)
Ty Burrell (“Modern Family”)

This one’s pretty crowded, but I would put my money on either Eric Stonestreet or Ty Burrell. I’m just desperately hoping that Glee doesn’t come in and sweep the whole thing.

Outstanding Supporting Actress in a Comedy
Holland Taylor (“Two and a Half Men”)
Jane Krakowski (“30 Rock”)
Jane Lynch (“Glee”)
Julie Bowen (“Modern Family”)
Kristen Wiig (“Saturday Night Live”)
Sofia Vergara (“Modern Family”)

My heart says Kristen Wiig, but this one is probably going to go to Jane Lynch. She’s obviously a great comedian, and her character on Glee is pretty funny. Congrats to both Julie Bowen and Sofia Vergara for their nominations, although now that I think about it, this is one that I can’t really see Julie Bowen winning.

Other thoughts…

  • Suck it, Charlie Sheen.
  • Suck it, Entourage.
  • Really surprised to see Ed O’Neill snubbed this year.
  • Not surprised to see Sons of Anarchy snubbed.
  • I’m not the biggest Community fan out there, but not a single nomination? Come on, now.