Elizabeth Snead contributed to Deadline’s Emmy coverage.
Historically, the Emmys is not a couture-heavy red carpet. But last night several Emmy-nominated actresses sashayed into the Nokia Theatre modeling haute couture from international designers like Armani, Elie Saab, Marchesa and Dior.
What does this mean? It could mean that TV actresses are increasingly cross-over film stars (and vice versa) and warrant couture designers’ attention. Or it could mean that the bigger awards — the Golden Globes and the Oscars — are now so competitive that designers are looking to the Emmys for additional celebrity mannequins.
Who got the most gowns on the hottest actresses on the 2011 Emmy carpet? Let’s do a head count.
Giorgio Armani outfitted Julianna Margulies, the Outstanding Actress in a Drama Series winner from The Good Wife. He also garbed Top Chef reality star Padma Lakshmi and fresh face Minka Kelly, star of the upcoming Charlie’s Angels. Marchesa dressed Glee star Lea Michele and Mad Men star Elisabeth Moss. Oscar de la Renta had his designs on Modern Family‘s Outstanding Actress in a Comedy Series winner Julie Bowen.
But Elie Saab dressed Mildred Pierce winner Kate Winslet (left) and nominee Evan Rachel Wood as well as Golden Globe winner Emily Blunt. He gets extra points for dressing Winslet, who won the Outstanding Actress in a Miniseries or Movie Emmy and gave major exposure to his simple elegant red gown, a design that was head and shoulders above the sea of strapless, garish, sparkly and overdone red gowns worn last night. We counted nine. Was there a red dress memo that went out? Read More »
EXCLUSIVE: Within the past year, Melissa McCarthy has gotten a hit show in CBS’ Mike & Molly and a hit movie in Bridesmaids; landed her first-ever starring role (on Mike & Molly); sold her first feature script; and last night she won her first award, a best actress in a comedy series Emmy for Mike & Molly. Now she’s adding another first to her quickly expanding resume: McCarthy has sold her first network pilot script. The actress-writer and her actor-writer husband Ben Falcone, both Groundlings alumni, have a multi-camera comedy project in the works at CBS. Warner Bros TV, the studio behind Mike & Molly, is producing. The untitled multi-camera comedy, which McCarthy and Falcone will co-write and co-executive produce, is “about a woman in her mid-40s who has a spectacular midlife crisis,” McCarthy told me at the HBO post-Emmy bash last night. “The show is about what a midlife crisis means for a woman, which is very different from the way it affects men.”
Last night, McCarthy pulled a major upset by landing the comedy actress Emmy over heavy favorites Laura Linney, Edie Falco and Amy Poehler. But she almost didn’t get the role on Mike & Molly that earned her the trophy. During the 2010 pilot season, McCarthy was an early choice of Mike & Molly creator Chuck Lorre, with WBTV quickly getting behind her. She tested for the role and was put on hold, but weeks went by as the network wasn’t sold on her and continued to see other actresses for the role. McCarthy said she understood the hesitation. “I was always supporting, always playing the girlfriend; I’d never had a lead role,” the Gilmore Girls and Samantha Who? alumna said. She may have not gotten the part had it not been for Lorre, who kept pushing for her to be cast. When accepting her Emmy last night, McCarthy acknowledged Lorre, “who fought for me.” As for landing the Emmy, did the enthusiastic response to her scene-stealing role in the summer smash Bridesmaids help her chances? “I think everything feeds something else,” McCarthy said. Read More »
Emmys Live-Blog; Emmys By The Numbers; Backstage At The Emmys; Emmy Analysis: Broadcast TV’s Big Awards Comeback
UPDATED: The who’s who from the small-screen world were all dressed up for TV’s biggest night. A look at the movers and shakers. (Photos by Lysa Nalin Studios)
Time Warner’s Jeffrey Bewkes, left, and HBO’s Richard Plepler
LEFT: Warner Bros TV Group’s Bruce Rosenblum with wife Andie RIGHT: ABC-Disney’s Anne Sweeney and husband Phil Miller
20th Century Fox TV’s Dana Walden, second from left, with husband Matt, and Gary Newman, right, with wife, attorney Jeanne Newman Read More »
Emmys Live-Blog; Backstage At The Emmys; Emmys By The Numbers; Red Carpet Executive Arrivals
The broadcast networks staged a major comeback on a wild night at the Emmys, which started and ended with wins that were widely predicted but saw some real curve balls in between. Broadcast’s dominating performance was led by the five Emmys for ABC’s heavy comedy favorite Modern Family, which won every category it was nominated in, sweeping the first four trophy presentations of the night — for best supporting actor/actress and best writing/directing in a comedy series — and making the final award of the night, for best comedy series, a foregone conclusion. Modern Family won that too for a second straight year, and its sweep shut out rival Glee, leaving Emmy host Fox empty-handed. Broadcast shows also claimed the lead actor/actress in a comedy series categories, which provided two of the major upsets of the night. Melissa McCarthy of CBS’ Mike & Molly won for lead comedy actress despite most pundits having her as their fifth or sixth pick in the category and Golden Globe winner Laura Linney considered a strong front-runner for The Big C. Fellow CBS leading man Jim Parsons denied Steve Carell an Emmy for his iconic role on The Office. (The Office and fellow 30 Rock were left out completely tonight.) McCarthy’s and Parsons’ wins also meant a comeback for the multi-camera genre, which had its first double lead actor/actress win in a long time.
Broadcast’s big night continued with Julianna Margulies winning as best actress in a drama series for CBS’ The Good Wife. The Eye network scored again in the reality competition series, where The Amazing Race won for the eighth time in nine years in the category. Additionally, Friday Night Lights, which originated on NBC and continued to air second runs on the broadcast network, scored two big wins for its final season. One went to star Kyle Chandler for lead actor in a drama series and another to showrunner Jason Katims for writing. Add to that the strong showing of pubcaster PBS, whose Masterpiece Theatre mini-series Downton Abbey won four major awards: best TV movie/miniseries, best supporting actress, Maggie Smith, and best writing and directing for a TV movie/miniseries. Read More »
Despite fears that Charlie Sheen wouldn’t be on his best behavior during the Emmys tonight, the actor played it straight while presenting the Outstanding Lead Actor in a Comedy Series award. Minutes later, Ashton Kutcher, his Two and a Half Men replacement, joked onstage that he is “not Charlie Sheen.” Evidence of that showed up on Sheen’s Twitter feed in the form of a photo of the two actors backstage. Sheen tweeted, “Seriously… @aplusk great talking to you! We’ll all be watching! Make us proud!!” Later via Twitter, Kutcher wished Sheen well on his new gig and sought his help with his DNA Foundation’s efforts to stop human trafficking.
Emmys Live-Blog; Backstage At The Emmys; Emmy Analysis: Broadcast TV’s Big Awards Comeback; Red Carpet Arrivals
WINS BY NETWORK
(2 or more; includes Creative Arts Emmys)
HBO … 19
PBS … 14
CBS … 11
Fox … 9
ABC … 8
NBC … 6
Comedy Central … 4
Discovery Channel … 4
History … 4
ReelzChannel … 4
AMC … 3
Cartoon Network … 3
DirecTV … 2
Disney Channel … 2
Showtime … 2 Read More »
Emmys Live-Blog; Emmys By The Numbers; Emmy Analysis: Broadcast TV’s Big Awards Comeback; Red Carpet Executive Arrivals
Deadline’s Diane Haithman and Ray Richmond were backstage at the Primetime Emmy Awards tonight to hear what the winners had to say.
Julie Bowen and Ty Burrell came backstage together after winning the awards for Outstanding Supporting Actress and Supporting Actor in a Comedy Series. The Modern Family stars were asked first about being part of a show that is breaking ground for gays. Burrell said, “I don’t know, in terms of America, it feels very, very good to be on a show that seems like it’s slowly changing a lot of minds. Eric [Stonestreet] and Jesse [Tyler Ferguson] deserve all of the credit for that, and our amazing showrunners. It’s a great thing to just peripherally go to events and just basically start to talk about those characters like any other characters, relating to their life — it’s pretty cool.” Bowen joked, “As a straight woman, and part of a straight couple on the show, I feel marginalized.” On a more serious note, she added: “It’s absurd that it’s even an issue, but where it’s an issue, I’m glad that we are part of helping change minds.” Using the word “straight” in a different context, Burrell praised Bowen: “It’s even greater credit to what Julie does that the straight-person wins an Emmy, I don’t think that happens very often. In a couple there’s usually a straight-man and a wilder character. It’s due to her resourcefulness as an actor.” On going back to the set with an Emmy when other cast members were also nominated, Burrell said: “Eric won last year, and Ed [O'Neill] actually just said something really sweet right before the award, ‘whoever wins deserves it.’ I feel like we’re trying to enjoy this moment more than anything — we know this doesn’t last forever; we’re having a lot of fun.” Bowen said about her surprise win, “I kinda thought it was a lock on Betty White. If I didn’t have a dog in this fight, and I had two, I would have voted for Betty White. Claire is not necessarily fall-down funny every time.” She credits the writers for having found ways to make her character have many dimensions and “not just be the mom.” …
Later, Steve Levitan and Jeffrey Richman, winners for Outstanding Writing for a Comedy Series, were asked how it feels for Modern Family to be sweeping the awards so far, with wins in every category they’ve been eligible for. Levitan: “We’re beyond thrilled with the way things have gone, obviously. It’s an embarrassment of riches, and from the bottom of our hearts we feel that Ty Burrell and Julie Bowen deserved to win. (Outstanding Director in a Comedy Series winner) Michael Alan Spiller, not so much. To tell you the truth, it’s a little surreal.” They were then asked what they did to ramp up the stories and quality of Modern Family in Season 2. Levitan: “We feel like we know the characters a little bit better this year. There was such dedication this year to keeping the quality up. We all live in fear of the quality dipping so we work extra hard to make sure that doesn’t happen. … I’ll also tell you that our kids are the unsung heroes of the show. What they do on this show is amazing. We ask them to do such complicated turns and they nail it constantly. They’re playing at the same level as the adults and that’s a rare thing.” … Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Drama Series race.
Mad Men (AMC)
Why It Was Nominated: Because it’s television’s reigning gold standard, that’s why, with 19 total nominations this year (more than any other series and second among all shows behind the HBO mini Mildred Pierce, which tallied 21). Matt Weiner 1960s ad agency hour has won three times in a row here and by winning a fourth would tie Hill Street Blues, L.A. Law and The West Wing for the most Outstanding Drama Emmys. In its fourth season, critics and fans seem to be in agreement that Mad Men remains at the top of its game. So if it’s still about quality, just hand the Emmy over.
Why It Has To Win: Mad Men is on a roll, one that shows no signs of derailing with wins this year from the Television Critics Association and the inaugural Critics Choice Award. “They did some of their best work this season,” one producer says, “and the level that Weiner is operating at sort of leaves a lot of us in awe. It’s astoundingly good.” This show appears to be that rarest of exceptions: One that started out hot and has grown only hotter year after year as well as backlash-proof.
Why It Can’t Possibly Win: There are a couple of monkey wrenches that could squelch this year’s anticipated Mad Men coronation. One is the fact that, unlike its first three years in Emmy contention, the show had no fresh episodes this summer during voting time — pushed to next spring by Weiner’s protracted contract negotiations. The other is those very negotiations themselves that found the headstrong Men creator-showrunner all over the media with the sometimes acrimonious back-and-forth. “There will be some who don’t vote for the show out of jealousy directed at Weiner,” a voting writer believes. “But it’s hard to know how much that will matter.” Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Comedy Series race.
Ryan Murphy Prods w/ 20th Century Fox TV
Why It Was Nominated: Well, of course they had to nominate it. Love it or hate it, Glee remains the rare broadcast comedy that carries as much style as it does substance. It remained true even through a polarizing second season when the online community and critics consistently took the show to task for devolving into a parody of itself. Call it Sophomore Implosion Syndrome. But it’s still undeniably energetic and often imaginative.
Why It Has To Win: Unlike last year, it would be a monumental upset were Glee to take the prize this time. But the TV academy can surprise you. Voters are notorious for lagging a year or so behind the curve. While it’s something of an apples-and-oranges measure when compared with the rest of the category competition, Glee remains a technically flawless production, a fact that can’t be minimized at a time when series steeped in song and dance continue to pack ‘em in.
Why It Can’t Possibly Win: It wasn’t just fans and critics fueling the Season 2 backlash. It’s also been the industry itself, directed at both the show and at showrunner Ryan Murphy for his perceived arrogance amid its charmed early life. One comedy producer also noted, “Between the 3D concert movie and the (Glee Project) series (on Oxygen) and everyone talking about it endlessly, they got annoyingly ubiquitous real fast. I mean, if Glee wins, the sound of retching will prove deafening.” That probably doesn’t bode well. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Lead Drama Series Actress race.
Elisabeth Moss, Mad Men
Why She Was Nominated: The TV academy really had no choice. While this is Moss’ third consecutive nomination for Mad Men (two for lead, one for supporting), it’s one that for the first time raises Moss above the crowd. The submitted episode, “The Suitcase” (written by creator-showrunner Matthew Weiner), is an actress’ dream. It elevates her to the favorite’s position in a year when none of the past three category winners (Kyra Sedgwick, Glenn Close and Sally Field) is in the running.
Why She Has To Win: From the time it premiered, “The Suitcase” episode of Mad Men has been hailed as the show’s clear-cut accolade vehicle. It found Don Draper (Jon Hamm) and Peggy Olson (Moss) hanging together in the office after hours when Don finds out a close friend has died. They get plastered on booze, and Draper lets loose in a way he rarely does. Moss more than holds her with Hamm in an episode that stands to win a bunch of people a bunch of Emmys (Moss included). “This episode is absolute magic,” a producer tells me, “and Elisabeth Moss is a big reason why.”
Why She Can’t Possibly Win: She’s never won before, and neither has anyone else from Mad Men — yet. If it doesn’t happen this year, we can all start writing about the cast being cursed. It’s also a fact that Julianna Margulies could win here and no one would be the slightest bit shocked. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Lead Drama Series Actor race.
Jon Hamm, Mad Men
Why He Was Nominated: The question was never whether Hamm would be nominated. That’s a given. It’s his fourth in a row for his iconic Mad Men role of Don Draper but his first without three-time winner Bryan Cranston from Breaking Bad in the race due to that AMC show’s lack of eligible episodes. Many assume that Hamm has already won a couple of these things. The mystifying truth is that no performer from Mad Men has yet taken home an Emmy.
Why He Has To Win: Mad Men creator/showrunner/control freak Matthew Weiner is said to have specifically penned the episode “The Suitcase” as a performance piece for Hamm and co-star Elisabeth Moss (also nominated). It featured the two of them exclusively and powerfully. With Cranston out of the picture, there should be no keeping Hamm from his rightful cruise down victory lane. As a fellow actor and TV academy voters noted to me, “Everyone I talk to thinks the Emmy belongs to Jon this time. It’s well deserved and frankly overdue.”
Why He Can’t Possibly Win: Hamm hasn’t earned one of these things yet, and he’s been nominated for Emmys six times in all (also twice as a guest on 30 Rock). Plus, he’s up against two guys (Hugh Laurie and Michael C. Hall) who also have been nominated multiple times without winning. Either could well pull an upset. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Lead Comedy Series Actress race.
Laura Linney, The Big C
Why She Was Nominated: Because, well, the TV academy couldn’t very well not nominate her. Her role as the cancer-stricken Cathy Jamison in The Big C showcases Linney’s mesmerizing acting range and depth. And she’s also a three-time Oscar nominee. That fact alone earns Linney significant brownie points and makes her Emmy nomination a foregone conclusion no matter the project or role. Having a past cinematic pedigree remains plenty huge.
Why She Has To Win: Simply stated, Linney never loses. She’s been nominated for Emmys three times: lead actress in a movie/miniseries twice (2002 for Showtime’s Wild Iris, 2008 for HBO’s John Adams) and as guest comedy actress once (2004 for Frasier). She’s won every time. Moreover, Linney’s The Big C submission is the pilot episode that finds her shifting effortlessly between high emotion and dark humor. Oh, plus the past pair of winners in the category — Toni Collette and Edie Falco — hailed from similar Showtime dramedies.
Why She Can’t Possibly Win: Someday, somebody will figure out that if you’re doing a seriocomic turn in a half-hour series, it’s likely more serio than comic. Falco said it herself onstage after winning last year for Nurse Jackie: “Oh this is just the most ridiculous thing that has ever happened in the history of this lovely awards show. Thank you so much. I’m not funny.” Linney isn’t as purely funny in her role as are her competitors here — and, well, this is supposed to be a comedy award. If that matters. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Lead Comedy Series Actor race.
Steve Carell, The Office
Why He Was Nominated: It’s Carell’s sixth consecutive nomination for his role as the dunderheaded Michael Scott on The Office, and his departure from the NBC comedy this past spring spawned a big-time farewell. Credit network marketing as well as the fact Carell has wide popularity throughout the industry. You get the feeling that he could have stayed on this show for 15 years and been nominated every time.
Why He Has To Win: It literally is now or never, and Carell’s submission for the Emmy (his swan song, “Goodbye, Michael”) was a potent blend of pathos, tears and mirth that also generated a nod for writer/exec producer Greg Daniels’ teleplay. If that isn’t enough, there’s the feeling that Carell’s body of work on a show that began life as a warmed-over imitation of the British edition deserves a golden sendoff. “Carell didn’t try to squirm out of his TV contract even after becoming a feature guy,” a writer and academy member notes. “That scores big points.” Historically, both Sarah Jessica Parker (Sex and the City) and Michael J. Fox (Spin City) have won trophies on their final lap.
Why He Can’t Possibly Win: Well, he hasn’t taken the thing home in five previous tries, so it’s possible Carell simply has a big “Bridesmaid” tattoo etched on his forehead. The Office is also seen as having lingered a bit too long at the dance by some. It’s possible that he already blew his best shot here: when the series earned top comedy honors in 2006. And sentiment doesn’t always carry the day, as the perpetually passed-over John Goodman (0-for-7 for Roseanne) could attest. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Comedy Series Writer race.
Greg Daniels, The Office (NBC)
Why He Was Nominated: Being nominated for Emmys is simply what Daniels does. He’s reeled in 19 Emmy nominations all told, including three in this category and three noms this year alone. He’s won here once before, in 2007 for the celebrated “Gay Witch Hunt” episode of The Office. And Daniels has five Emmy trophies to his credit all told, also including previous wins for King of the Hill, The Simpsons and Saturday Night Live.
Why He Has To Win: In earning a nomination for star Steve Carell’s final episode, Daniels becomes something of a prohibitive favorite to win for writing, particularly since he’s already taken one home here previously. The super-sized episode, “Goodbye, Michael,” was heavily hyped by NBC and exceptionally well-received by viewers and the industry. “Greg did a terrific job of walking the line between comedy and sentiment,” one producer told me, “which was quite a feat.”
Why He Can’t Possibly Win: Sentiment doesn’t always go over so big with the TV academy crowd, whether talking about shows or individuals. Voters could well also figure that giving an overdue Emmy to Carell for acting is plenty and need not adorn the farewell with coattails. Plus, there are a couple of other exceedingly worthy contenders here, like a particularly buzzed episode of Modern Family. Read More »
Ray Richmond is contributing to Deadline’s Emmy coverage. Here’s his scorecard assessing the Outstanding Comedy Series Director race.
Beth McCarthy-Miller, 30 Rock (NBC)
Why She Was Nominated: Because the trick that McCarthy-Miller turned here in handling a pair of live performances (one for the East Coast, one for the West Coast) was a huge one, recalling the fly-by-the-seat-of-your-pants trials from TV’s earliest days. It’s her seventh Emmy nomination and second for directing on 30 Rock (the other coming in 2009). Yet McCarthy-Miller still is seeking her first win despite being one of TV’s most respected directors.
Why She Has To Win: It’s safe to say that no one had a bigger series directing challenge during the past year than 30 Rock’s “Live Show.” As McCarthy-Miller told Deadline last month, “It’s fairly hard when you’re live to do that quick kind of dialogue and not fall flat on your face. … There were 108 camera shots before the first commercial break.” In case voters needed added incentive, no woman has won the Emmy for comedy directing in 18 years, or since Betty Thomas took it home for HBO’s Dream On in 1993. Talk about overdue.
Why She Can’t Possibly Win: See above about the last time a woman won in this category. Thomas’ win in ’93 also was the only time a woman earned the Emmy for directing, period. So the TV Academy may have issues giving this statuette to that gender. Too, Modern Family has three entries, and all are awfully strong. That mockumentary style is a director’s dream. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Drama Series Writer race.
Matthew Weiner, Mad Men (AMC)
Why He Was Nominated: What, are you kidding? Weiner has been nominated for 18 of these things and come out on top eight times, including winning both as producer and writer for Mad Men the last three years running. He also took the prize as a producer for a little show called The Sopranos in both 2004 and 2007. The fact that Weiner has personally earned 10 nominations for Mad Men during the past three years alone is a bit astonishing, particularly when you consider that AMC wasn’t on the Emmy map at all until Weiner arrived.
Why He Has To Win: It would take almost an act of God to keep Weiner from taking both the series and writing trophies for a fourth consecutive year, in part because the Mad Men episode for which he’s nominated — “The Suitcase” — is considered both a tour de force for star Jon Hamm and one of the show’s best hours, period. And that’s saying something. The hour was essentially a writing showcase for Weiner and an acting workshop for Hamm and co-star Elisabeth Moss. Cue the bandwagon.
Why He Can’t Possibly Win: That Mad Men is nominated twice here has the possibility of splitting the vote. There’s also the school of thought that the late momentum for Friday Night Lights could carry Jason Katims (nominated for the series finale) to an upset victory. Or, you know, the sun may not rise tomorrow. Anything is possible. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Drama Series Director race.
Martin Scorsese, Boardwalk Empire (HBO)
Why He Was Nominated: What, are you kidding? Had Martin Scorsese not been nominated for having directed the pilot of HBO’s Prohibition-themed mob epic Boardwalk Empire, the embarrassment would have been never-ending. The legendary director has eight Oscar nominations (and a lone win in 2007 for The Departed) to his credit along with three Emmy noms (including three this year). Most important, he’s Martin Scorsese. That’s really all you need to know.
Why He Has To Win: For so many reasons. Start with the fact that, of Scorsese’s five previous Emmy noms, he won none. There’s an oversight that the TV Academy seemingly needs to correct. He’s coming off of a DGA Award triumph for Boardwalk. He’s a universally revered filmmaker and human being. And the competition, while it includes a fellow Oscar winner, isn’t overwhelming. Of course, even if it were, it wouldn’t matter. As one series director told me, “There are a lot of things I can imagine, but Martin Scorsese losing here isn’t one of them.”
Why He Can’t Possibly Win: This would only be possible had Scorsese’s name inadvertently been omitted from the voting ballot. There is a slight possibility that the Boardwalk vote could be split given the fact there are a pair of nominees, but probably not. The fact the series premiere happened a year ago also could lose him a few votes. But not many. Read More »
Ray Richmond is contributing to Deadline’s 2011 Emmy coverage. Here’s his scorecard assessing the Outstanding Reality-Competition Program race.
American Idol (Fox)
FremantleMedia North America w/ 19 TV Ltd
Why It Was Nominated: They can’t very well not nominate the show. It’s now been cited nine times in succession — and is still searching for its first win. American Idol has altered the primetime landscape as television’s top-rated show for the past decade. And this year’s edition with new judges Jennifer Lopez and Steven Tyler — and without Simon Cowell — defied predictions of doom to enjoy a comeback of sorts. It landed 10 noms this time, its most ever.
Why It Has To Win: “We have our best chance ever this year,” believes executive producer Nigel Lythgoe. “If we don’t win it this time, we probably never will.” Quite possible indeed. Idol enjoyed a banner season replete with heavy new injections of publicity thanks to the new judges, who acquitted themselves better than expected. The competition from The Amazing Race and last year’s victor Top Chef isn’t so stiff that it’s likely to keep Idol from finally taking the big prize after eight years of trying in vain.
Why It Can’t Possibly Win: The prevailing wisdom this time is that unfortunately Idol has made the same mistake again — that is, submitting the season finale for consideration. The problem is that there’s no “competition” element in there in a category that has competition in the title. Oops. It’s got Beyonce and Lady Gaga, but then, what doesn’t? This is the same formula that’s failed eight straight times with voters, and perhaps it’s destined to remain forever thus. Read More »