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Entries in TV (485)


Emmy Afterglow. What's Your Take Away? 

My go to caption for all photos of impossibly lovely groups of fierce women is "You can't sit with us!".  But that wouldn't be appropriate here because look how warm and inviting this photo of Marcia Clark, Sarah Paulson and Angela Bassett is after the Emmys!

A day after the Emmys what's your biggest takeaway and favorite win?

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Emmy Winners Open Thread

Veep and Game of Thrones defended their wins in the Comedy and Drama Series categories against first time competitors Black-ish and The Americans as well as the usual suspects in those categories (we can never have more than one fresh player, don'cha know) but the acting wins had some delicious surprises. Here are the winners.

And please also share your takeaways...


Outstanding Drama Series
Game of Thrones (2nd consecutive win)

Outstanding Comedy Series
Veep (2nd consecutive win)

Outstanding Reality Competition Series
The Voice (3rd win, 2nd consecutive)

Outstanding Limited Series
The People vs OJ Simpson: American Crime Story

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Emmys 2016 - Why Keri Russell should win Best Lead Actress in a Drama Series

Here’s Lynn Lee, with a closer look at the newcomer and underdog of the six Emmy nominees for Best Lead Actress in a drama:

When I first started watching The Americans, I was blown away by one actor, and one actor alone: Matthew Rhys, as the male half of a pair of KGB operatives hiding in plain sight in the suburbs of Reagan-era Washington, D.C.  Oh, the rest of the cast was strong, too, but Rhys—whom I’d never previously seen in anything—left everyone else in the dust, including Keri Russell as his partner in espionage.  She was good, I thought, but not quite at the level of her co-star.

Flash forward three seasons, and Russell’s more than made up that gap.  Not only does she now easily hold her own opposite Rhys, there are times when she surpasses him...

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Spike Lee Coming to Netflix

by Kieran Scarlett

It was recently announced that Netflix has ordered ten episodes of a TV series adaptation of Spike Lee’s 1986 debut feature film She’s Gotta Have It.  Lee will direct all ten episodes.  The age of prestige television truly allows for more fluid movement (at least behind the camera) from film to TV and back again. Spike Lee’s last few features (despite good notices for Chi-raq) have had trouble catching fire outside of the arthouse the way his earlier work has, for this reason or that. He’s certainly a polarizing figure and resistance to his work is built in to certain audiences.

Tracy Camilla Johns and Spike Lee in SHE'S GOTTA HAVE IT (1986)

Have you seen She’s Gotta Have It? It’s a very fascinating piece, both on its own and in the larger context of Lee’s filmography. There’s a beautifully bare-bones energy to it that one would expect from a debut, but it still retains Lee’s voice, vigor and artistry. It’s also has a refreshing focus on female characters in a way that even ardent fans of Lee’s work can’t argue is missing from much of his filmography.

Lee’s previous notable foray into television gave us the beautiful and vital “When the Levees Broke: A Requiem in Four Acts,” his in-depth and personal HBO documentary about Hurricane Katrina and its aftermath (if you haven’t seen it, get thee to HBO on demand as soon as possible). Spike Lee adapting his voice for television is definitely something that could yield interesting results.

“She’s Gotta Have It” is expected to premiere on Netflix next year. Will you be watching?


The Beauty of "Queen Sugar"

by Kieran Scarlett

The televised family drama, free of a truly high concept seem to be dying.  The party line would be that watching the inner workings of a family unit—the relational politics and generational issues therein—devoid of something else for the show to be “about” don’t’ capture audiences as easily as those same stories with the overlaid veneer of meth production, mafia ties or a shady family-owned record company.  Over the past decade or so we’ve had several shows that have nakedly been about the dynamics of adult siblings in a family unit and very little else, “Brothers and Sisters” and “Parenthood” being two notable examples. Going back even further, even a show like “Six Feet Under” which had the high-concept premise of a family-owned funeral parlor wasn’t explicitly about that as much as it was the lives of the three siblings and the matriarch. We’ve certainly never seen a show of this nature about a non-white family, as it would seem that “black” shows especially need a hook. The shows with black or any non-white characters that get greenlit and see success tend to suggest the perpetuation of the false myth that audiences need to be given a reason for non-white characters in human drama.

Dawn-Lyen Gardener and Rutina Wesley

This long preface serves to highlight how truly rare—both in concept and in beautiful, artful execution—Ava DuVernay’s “Queen Sugar” feels...

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Crazy Ex-Girlfriend (S1. E15-16)

Dancin' Dan back again to cover the next two episodes of the EMMY AWARD WINNING Crazy Ex-Girlfriend.

Yes, it's true! At the Creative Arts Emmys, our favorite musical comedy TV show won two trophies: Outstanding Single-Camera Picture Editing For A Comedy Series (for the pilot episode) and Outstanding Choreography (for the numbers I'm So Good at Yoga, A Boy Band Made Up of Four Joshes, and Settle For Me). CONGRATULATIONS, SHOW!

But now, back to the business at hand. This time out, Rebecca learns something with a little help from her friends, and embarks on an attempt to make healthier choices in her life.

S1. E15: "Josh Has No Idea Where I Am!"

After running away at the end of last episode, Rebecca falls asleep on her plane to New York and is visited by a "Dream Ghost" vesion of her therapist, who takes her on a journey through her past. Meanwhile, no one else knows where Rebecca is, prompting lots of panicking back in West Covina.

Let's rank the crazy!

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YNMS: The Young Pope

by Laurence Barber

In the wake of House of Cards' success, it seems networks have all been clamouring to make shows about other worlds that are full of their own political intrigue. Netflix itself has the Gerard Depardieu-starring Marseille, which French critics savaged and everyone else mostly ignored, and the upcoming The Crown. In other ways, shows like Mr. Robot and UnReal seem partially derivative of this trend despite updating and resituating it. Now, in a joint production, Sky, Canal+ and HBO have teamed up to produce the latest project from Oscar-winning director Paolo Sorrentino: The Young Pope...

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