Deadline’s Pete Hammond and Awardsline’s Christy Grosz discuss Emmys odds for Comedy Series with ENTV YouTube channel host Brian Corsetti:
Ray Richmond is contributing to Deadline’s Emmy coverage.
Nominations released this morning for the 63rd Primetime Emmys continued to demonstrate the intriguing trend of broadcast dominating comedy series and cable the drama side, to the point of near-exclusivity. No cable series broke through in the Outstanding Comedy race. The last time that happened was 2005, which coincidentally was also the most recent year that all four major nets, NBC, ABC, CBS and Fox, each landed at least one best comedy series nom apiece, as they did this time. (That last fact is sure to please the Big 4, which just signed a new eight-year, $66 million deal with the TV Academy to carry the Primetime Emmy Awards through 2018.) Last year, HBO’s Curb Your Enthusiasm and Showtime’s Nurse Jackie both cracked the list, while in ’09 the group included HBO’s Entourage and Flight of the Conchords as well as Showtime’s Weeds. This time, however, it was a broadcast sweep with NBC’s 30 Rock and The Office, first-timers Parks and Recreation and The Big Bang Theory as well as Fox’s Glee and ABC’s defending champ Modern Family.
In the Outstanding Drama Series race, meanwhile, the superiority was almost equally absolute on the cable/satellite side, with HBO freshmen Boardwalk Empire and Game of Thrones and Emmy maiden Friday Night Lights from DirecTV joining AMC’s three-time champ Mad Men and Showtime’s annual nominee Dexter to give non-broadcast hours five of the six slots. Only CBS’ The Good Wife prevented a clean sweep. It’s the first time that broadcast has claimed just a single nominee in any major Emmy series category. (Last year, The Good Wife was joined in the category by departing ABC series Lost.)
Christopher Lloyd is co-creator and co-showrunner with Steven Levitan (his Q&A here) of last year’s Emmy winner for Outstanding Comedy Series, Modern Family. But Lloyd didn’t go onstage to accept the accolade. This recipient of eight Emmys for his work on comedy series including Frasier and The Golden Girls prefers to stay in the shadows and let his chatty partner bask in all the public limelight. Now, Lloyd breaks his silence and talks to Deadline TV Contributor Diane Haithman for an interview one TV publicist claimed was harder to nab than “a sitdown with Osama Bin Laden”:
DEADLINE: Obviously, I first have to ask why do you rarely speak publicly about Modern Family, and why do you let Steve Levitan do all the talking about it?
LLOYD: I think Steve started out wanting to be a broadcast journalist, an on-camera guy. He likes doing things that I don’t like to do. I tend to avoid things like award shows and panels and interviews, not remotely because I feel I’m above them or wish to cultivate the image of the intriguing recluse. I’m just not very good at them. There are some comedy writers who came up on the performing side and might welcome those sorts of events. There are others to whom an auditorium full of people looks like a welter of angry torch-bearers. I have nothing against the first group but when I see members of my own tribe in public appearances sweating like murder suspects and spraying the front row with Xanax flecks, I wonder why they didn’t choose, like me, to stay home. Look, the work we do on the show gets plenty of accolades, and I get plenty of pleasure from it. But I sense from people that they get frustrated with me for not being out and about. But I guess I’m a shy boy.
DEADLINE: What’s the division of showrunning between you and Steve?
LLOYD: He goes off and talks to the camera and gets every interview, and I stay home and do all the hard work with the writing staff. (laughs) But seriously, we have a large staff of 10 writers including myself and Steve, and we can fairly easily divide the room in half: he takes four, and I take four. We generate stories separately, but that’s early on in the process. Once we get on track, we confer with one another and feel free to intermingle the groups. A lot of the work with the actors we do separately because we each take every other episode and see it through to the end. We have a five-day shooting schedule, 10 hours Monday through Friday, all the way through the season. That’s one of the more fun aspects of the job. It would be overkill to have both of us onstage. Plus, if we did that, I don’t know what would be happening with the writers back in the room. Given that we have slightly different styles, it’s a good system.
DEADLINE: What does an Emmy mean to a show that’s already successful?
LLOYD: It’s wonderful acknowledgment of what you’ve done. What comes with that is a challenge not to repeat yourself, and to keep the show good, and maybe even to make it better. Continuing recognition says you’ve done that job. No one wants to be in charge when the show starts to slide and people say: ‘Meh, it’s seen better days.’ But then there are those shows that go away and come back. Everybody Loves Raymond was in that category. And I think Cheers. I’m not an Emmy historian, but there is some fun andsome challenge in a show being thought of as on top, then a little passé or whatever, and then comes back and proves everybody wrong.
Competition for Emmy nominations among this year’s Outstanding Comedy Series contestants is no laughing matter. The showdown between two 20th Century TV hits is more intense than ever, with Modern Family showrunners Steve Levitan and Christopher Lloyd trying to score their second consecutive Emmy win, while Glee executive producer Ryan Murphy is hoping to edge them out. That is, if one or more of a duo of up-and-comers — Community or Parks and Recreation — don’t act as spoilers. Then again, past Emmy stalwarts 30 Rock or The Office could resurface. Or Showtime’s bold, female-skewing dramedies Nurse Jackie or newbie The Big C might seize the spotlight. And don’t rule out the possibility of CBS’ The Big Bang Theory finally scoring a nod in its fourth season, or How I Met Your Mother receiving recognition in its sixth. And then there are the underdogs. As The Middle’s co-showrunner Eileen Heisler (with DeAnn Heline) says about ABC’s Wednesday night lineup, “We’re really grateful to Modern Family for bringing attention to family shows. We’ve benefi tted from their success, but I think it takes a little longer for people to realize the next door neighbor in The Middle is edgy and wry.”
If Modern Family does repeat, no ABC sitcom has managed that feat since Taxi more than 30 years ago. Of course, NBC’s won three years running. And Frasier took home a record five in succession between 1994 and 1998. So it can be done. But that doesn’t mean Modern Family’s Christopher Lloyd thinks it’s a shoo-in. “Among certain segments of the blogosphere who first anointed the show that everybody is supposed to be watching, there’s another rush to declare that it stinks now. And then there will be others who’ll want to say ‘I told you so’ when it wins again.”
There’s general agreement it would take a miracle for any freshman broadcast network comedy to crash this year’s top comedy series’ Emmy party, with the possible exception of Fox’s Raising Hope. Though there’s a sliver of daylight for a newbie cable show like The Big C, despite the fact it’s a dramedy. Cable continues to make inroads in the comedy series categories, evidenced by Showtime’s Nurse Jackie capturing eight Emmy nominations last year, including one for top comedy; with Showtime’s Weeds as well as HBO’s Entourage and Curb Your Enthusiasm landing series nods in recent years. This year, TV Land’s Hot in Cleveland has Emmy buzz. But only one cable comedy has ever won: HBO’s Sex and the City in 2001.
Here’s our assessment of the chances for this year’s comedy series in alphabetical order:
Although the NBC hitcom’s three-year winning streak ended last year (done in by ABC’s freshman breakout, Modern Family), it remains an industry darling — with good reason. While not as consistent as its earlier seasons, its comedy quality never seems to wane. So, without ever actually going away, it could be primed for a comeback. But the show, which celebrated its 100th episode this season, may also be mistakenly placed in the “been there, done that” category, even with red-hot writer/producer/actress/author Tina Fey at the helm (the recent Tracy Morgan scandal notwithstanding). But if the Academy revisits NBC’s quirky workplace comedies, they just might opt for the newer Parks and Recreation or Community.
THE BIG BANG THEORY
As popular as this CBS smash is, it has yet to be Emmy nominated despite originality in its scripts and ensemble. Kudos to the producers for broadening the cast this season and stepping up the romance for Mayim Bialik’s and Melissa Rauch’s roles, especially after Jim Parsons was acknowledged as last year’s Outstanding Lead Actor in a Comedy Series winner for nerd-chic hilarity. If you’re going to vote for a Chuck Lorre show this year, this one’s decidedly less baggage-laden than Two and a Half Men, which lost its Sheen.
THE BIG C
With lead Laura Linney considered a shoo-in for an Emmy nod, a side effect is that her show’s chances of breaking into the Outstanding Comedy Series Emmy race likely increases as well. Question is, did they increase enough? Is the TV Academy ready to honor a dark comedy centering on a woman’s battle with cancer? Perhaps it’s time. If so, there could be two Showtime noms in this category for the first time, assuming Nurse Jackie repeats. Says showrunner Jenny Bicks, “It’s not going to be an easy fight for us.”
Forever floating on the renewal bubble (it will live on for a fifth and final short season of 13 episodes next season), Chuck has a well-earned reputation as The Little Show that Could. But, plucky as it is, the unlikely spy yarn remains a significant Emmy long-shot. Besides, NBC already has a couple of potential sleeper contenders at the ready in Parks and Recreation and Community.
What is arguably NBC’s most innovative comedy shoots high creatively but has yet to land commensurate ratings. Critics, however, have been quick to sing the show’s praises, perhaps loudly enough to help get it noticed by Emmy voters. Remember when Fox’s Arrested Development used critical praise to trump low viewership? Showrunner Dan Harmon likens Community’s comedy to “Krispy Kreme — we just have to get it into people’s mouths.” Or, in the case of Academy voters, into their DVD players.
In its second season, the wine-soaked “Friends for grownups” really came into its own as an ensemble comedy rather than just a Courteney Cox vehicle. And it’s even poking fun at the icky title that long ago ceased to have anything to do with the series premise. Nonetheless, it’s probably not ABC’s Wednesday night show with the most heat in this comedy category because of Modern Family.
EASTBOUND & DOWN
This back-to-fi rst-base comedy about a washed-up baseball player enjoys the prestige of HBO and the marquee value of Will Ferrell as a producer. But it’s perhaps too raunchy for older TV Academy voters. Given that producer-star Danny McBride says this forthcoming third season will be its last, Eastbound & Down likely will strike out Emmy-wise.
After landing nominations in the top comedy category for three years running, HBO’s Hollywood insider send-up didn’t make the cut the last go-round. If shut out again, it’s because Academy voters have moved on from an aging series that returns for its shortened eighth and final season on July 24th. It didn’t help when news leaked out in May that HBO pulled it from broadcast syndication by Warner Bros Domestic TV.
If the television industry’s insiders love anything more than laughing, it’s laughing at itself (see 30 Rock, Curb Your Enthusiasm). And there’s been buzz about how this Showtime Brits-out-of-water comedy reinvented Matt LeBlanc. But, even if he might, the series probably doesn’t have a high enough profile yet to garner an Emmy nod.
In 2009, the Fox show that wouldn’t die became the first animated series in nearly half a century to win an Emmy nomination for Outstanding Comedy Series. But it was shut out the very next year. So expect the next TV Academy recognition for Family Guy around 2060. One question mark is whether the toon’s unique in-your-face way of campaigning for Emmy helps or hurts to sway voters. Then again, this is the comedy series category.