Three-peat vs. newbies

It was an entertaining Emmy show, at least. Wouldn't you say? If Jimmy Fallon ran out of steam, in the midst exhausting Emmy duties that included spontaneous acoustic guitar duets with stars in the audience, it wasn't his fault. He kept the awards going at a sometimes frantic pace, with so many awards to be presented in a mere three hours.



Well, I did pretty well with predictions - except in the drama categories, where Lost was upstaged and upsets set the tone for the night. Otherwise, there weren't too many shockers.

Observations:



-Bryan Cranston - a three-peat for Breaking Bad? Wow. I didn't expect that. Ditto Aaron Paul's victory over Lost veterans Terry O'Quinn and Michael Emerson.

-Kyra Sedgwick's victory for The Closer over The Good Wife's Juilianna Margulies was one of the biggest upsets of the night.

-Meanwhile, Archie Panjabi's win for The Good Wife was a shocking blow to Mad Men actresses Christina Hendricks and Elisabeth Moss.

-Mad Men's three-peat was juxtaposed with a newly minted winner for Outstanding Comedy Series, Modern Family, which bested Glee.

-On the upside for Glee, it nabbed wins for the always deserving Jane Lynch and Director Ryan Murphy.

-Temple Grandin triumphed, as predicted. It won virtually every major TV movie/Miniseries award, with the exception of writing (which went to You Don't Know Jack) and Best Actor, for which it wasn't eligible.



Were there any other surprises (or lack thereof) that bugged you? If Breaking Bad's wins bugged you, it's interesting to note it's note eligible next year since its fourth season premiere is too late for Emmy voting.



Any other omissions or upsets that bothered you? A full list of winners can be viewed at

http://hollywoodinsider.ew.com/2010/08/29/emmy-winners-2010/

For Once, They Won't be Hosted by Neil Patrick Emmy

As I've said many a time, the Emmys - especially compared with all other award shows - are notoriously hard to predict. Academy members tend to be older, less hip, and sometimes get stuck in their ways. (Remember when John Larroquette won for Night Court four years in a row? He graciously bowed out of the race after that.)

That said, here are my fearless predictions. I say "fearless" because almost no one has a good track record with the Emmys. I may get the big ones right, but I'm not counting on an aced ballot. If I did an Emmy pool, the person who played connect the dots might win by default.

Comedy Series

I'm giving the edge to Modern Family over Glee, even though the latter garnered the most nominations this year. Why? Modern Family is at least as funny as Glee, and it's slightly more conventional and sitcom-y. Either is a worthy candidate. Strangely, the victor the last three years, 30 Rock, is now the dark horse.

Comedy Actor

I think Alec Baldwin is out this year, and Steve Carrell has a better chance next year with his swan song. That leaves it to Tony Shalhoub in his Monk finale, or the very deserving Jim Parsons of The Big Bang Theory. I'll give Parsons the edge, but don't be surprised to see Shalhoub up on stage for a fourth time.

Comedy Actress

Who knew this category would be dominated by Showtime? Last year, Toni Collette of The United States of Tara prevailed, and this year the front-runner appears to be past Sopranos champ Edie Falco. Tina Fey, is it possible you'll actually go home empty-handed this year?

Comedy Supporting Actor

This is a tough one. It's Glee's Chris Colfer against all the Modern Family guys. I'm going out on a limb to say Ty Burrell will narrowly beat Colfer. But don't quote me on that.

Comedy Supporting Actress

Jane Lynch of Glee should have this one in the bag. If not, the Academy will receive hate mail. As they should.

Drama Series

I think Mad Men has the edge, but as dork horses, Dexter or Lost (for its final season) could surprise.

Drama Actor

Oooh, a toughie. Two-time champ Bryan Cranston of Breaking Bad has a shot, but let's give this one to Dexter's Michael C. Hall. He won the Golden Globe and SAG. And hey, a tough cancer fight doesn't hurt his chances.

Drama Actress

Hmmm, will Kyra Sedgwick finally win this year? Methinks not. She might have, if not for the unstoppable Julianna Margulies of The Good Wife. Margulies is likely to be that show's primary winner.

Drama Supporting Actor

I say Terry O'Quinn's amazing John Locke/Smoke Monster hybrid should take the cake in any category. He was scary, funny and touching. How could Emmy voters ask for more? If they falter, the default award will probably go to Aaron Paul of Breaking Bad or Michael Emerson of Lost.

Drama Supporting Actress

I think Mad Men might finally prevail in an acting category here. But for who - Christina Hendricks or the equally worthy Elisabeth Moss? I'll give the edge to Hendricks, though Moss could easily prevail - and Christine Baranski of The Good Wife is a past Emmy favorite.

Other categories:

Made for TV movie: Temple Grandin

Miniseries: The Pacific

Actor in a miniseries or movie: Al Pacino, You Don't Know Jack

Actress in a miniseries or movie: Claire Danes, Temple Grandin

Supporting Actor in a miniseries or movie: David Straitharn, Temple Grandin

Supporting Actress in a miniseries or movie: Susan Sarandon, You Don't Know Jack

Mad Men: The Chysanthemum and The Sword

Whoa... so much to take in during this episode. An awkward post-divorce relationship. Parenting a pre-pubescent child. Faking a Honda motorcycle commercial. Overcoming World War II racism. Discussing personal problems in a stuffy office world. What does this episode not offer?

For starters, Sally. What a vulnerable and sad product of Don and Betty's divorce. She's resorted to pleasuring herself on a friend's couch while watching TV, prompting possibly the most awkward phone conversation between Don and Betty ever. Betty's consultation with the child psychiatrist (Dr. Edna, as she prefers to be known) leaves me wondering if Betty might delve back into the psychiatric world, as unsatisfying as she felt when she left it.

Sally also butchers her own hair, prompting Don to (unfairly) snap at the babysitter, his next-door neighbor, the unsuspecting Phoebe.

Roger, rather crude and in the background this season, gets an (unflattering) showcase this week, refusing to adhere to "Jap" clients in a campaign that threatens to showcase him as the office bigot. Strangely, it's Pete who backs Roger into a corner. Pete seems genuinely befuddled how Roger, though a veteran, could let such backward feelings drag down an ad deal. And Joan corners Roger in a very adult scene, purposely lacking in any sexual tension between the two former lovers.

Oh, and did I mention the faux Honda commercial? Any subplot involving Peggy riding a motorcycle around an empty sound stage gets a hilarious "thumbs up" in my book.

Tidbits:

-I'm loving Don's new secretary. "Your daughter's psychiatrist is on the phone!" she shouts. Priceless. "Mr. Peters and Mr. Pryce," she shouts into his intercom, as Pete and Lane emerge. Again, priceless.

-Don's confession to Dr. Miller in the break room is both desperate and honest. I was pleasantly relieved when she walked out during his invitation to dinner.

-Who is Dr. Lyle Evans?
-When will Ken re-emerge?

-What do you think - will Betty re-visit therapy?

-How long until Sally's friend Glenn reappears? He's sure to provide some interesting therapy fodder.

The Chrysanthemum and the Sword: A-

Mad Men: The Rejected

"The Rejected"? What a great episode title. It seems to fit Mad Men's melancholy stance on life. But who is the rejected? Don? Peggy? Her new companions? Pete? His father-in-law? Allison? Don's new secretary?

So, let's start with the not-so-fun stuff first. Don is pathetic as ever this season, or any season. Even he seems to realize it. His secretary Allison, the latest victim of Don's one-night-let's-be-intimate-just-this-once stands, has had enough. She throws a glass at his face after he suggests she write a cover letter (signed by him, of course!) on his stationary. Good riddance to Don, indeed. Sadly, the best comic relief in a while results from Don's new secretary, for once, the least sexy woman in his life who is perhaps a little hard of hearing.

With Betty still off the scenes (apparently to return next week) the bulk of this week's episode revolves around Peggy and Pete - separately, but with intertwining themes.

Peggy... where to start? She has evolved from an uptight, naive career-starter to an experienced career gal, looking for fun in a male-dominated world. She finds that fun in the elevator in the form of Joyce, a clear lesbian who works in the building and invites Peggy out for a good time at a party. A good time indeed: we aren't completely sure if Peggy is drawn to Joyce in a homosexual subtext, or if she genuinely enjoys making out with a no-name straight guy in a closet. (Peggy coming out of the closet... hmmm... food for thought?)

By contrast, Pete is faced with very adult situations. First, he must inform his father-in-law that Clearasil is dead as a client, which forces obvious personal and awkward issues. Second, he finds out - through his father-in-law, no less - that his wife is with child. Rather than dwell on the awkward moment, Pete is elated. You can see it on his face: "There is another smarmy offspring in the works!" Fortunately, since Trudy's father spills the beans about her pregnancy, the Clearasil account seems low on the radar for him.

Other observations:

-Ken! Welcome back! Now, in what capacity will he be around? As a potential competitor, will Sterling Cooper Draper Pryce find him interesting?

-Exactly up which tree is Peggy barking? What about her "fiance"?

-Is Allison coming back? I'd be content to watch Don struggle with a secretary who needs to take estrogen supplements.

-I loved Pete and Peggy's resignation to their situations. It was definitely a "I get where you're going and I totally acknowledge the past" look. Very well-played by both actors.

-I enjoyed Lane's reluctant acknowledgment of Pete's fatherhood. He's just a good guy, in spite of himself.

-This episode was well-directed by John Slattery (otherwise known as Roger Sterling). Well done. I guess the hard liquor is just an act, after all.

The Rejected: B+

Susan Enan: Coming to a Living Room Near You?

Have you ever been to a house concert? No? Know what I'm talking about?

Let me explain. It's becoming more and more popular for up-and-coming artists to perform relatively inexpensive concerts in people's homes. Case in point: Susan Enan, a lovely British Songbird who is just wrapping up a quick tour in the US - in a very personal way.

I attended a concert she gave at a St. Paul residence a couple of weeks ago.

Everyone sat around in the living room, surrounding her keyboard, drinking wine and nibbling on cookies while the family's dog moved the room, giving friendly sniffs. Enan is a great performer in intimate settings, which obviously appeals to her. (She mentioned her disdain for the club atmosphere.) She had a soft voice that sounds almost manufactured because it's so pretty. She's Sarah McLachlan (whom she has worked with) meets Imogen Heap.

She took requests, but stuck closely to what's on her newest album, titled Plainsong, which features lots of catchy, mellow numbers. (My favorite: the gorgeous and abstract "Bring on the Wonder.") She also fielded questions, and although she has a coyness about her, she seems to take her art very seriously.

Some of us chatted over a drink when her set was done. She revealed she's traveling cross-country, giving more house concerts on her way home to Brooklyn. She hopes to have more international tours coming up.

What about you? Keep your eyes peeled for house concerts given by musicians with as much talent as Susan Enan. You'll get way more bang for your buck than seeing anything at X-Cel or 1st Ave. And you might just get a free cookie.

Mad Men: Christmas Comes But Once a Year and The Good News

Sorry for the break, but I was on vacation. I will therefore summarize the last two episodes separately and succinctly:

In "Christmas Comes But Once a Year," Betty is celebrating the holiday with her new husband. Sally, at the Christmas Tree farm, encounters Glenn (remember him from a couple seasons back? You know, the kid who wanted a clip of Betty's hair? Yeeaaahhh....) who seems intent on being Sally's "I know what happens when parents divorce" counselor. He even breaks into their house with a friend to spray cereal and yogurt across the counter when no one's home. Ummm, sexy? (Sally seems to like it. Gross.)

Back at Sterling Cooper Draper Pryce, the ad agency opens its money veins to impress Lee Garner Jr., who apparently has enough authority to make Roger play Santa Claus without complaining. Also, Fred (remember? The guy who pissed himself in front of Pete and Peggy?) returns, and Peggy, noting his lack of professional substance, develops businesswoman turret's, but he doesn't go off on a drinking binge, as we fear. He does, however, help an AA buddy in a similar predicament.

It wouldn't be a holiday episode of Don didn't have casual sex. The other woman this time is not his neighbor - a young nurse who seems potentially kinky - but his grade-A secretary Allison, who falls for Don after agreeing to bring him his keys. The next day at the office? Awkwaaaard... Allison gets a Christmas card with a "bonus" of two 50s. The look on her face as she opens the card is on par with a shamed prostitute. That's how Don makes women feel. Merry Christmas!

In "The Good News," we get two episodes in one. Don is bound for Acapulco, but first stops in California to see Anna Draper. It seems she's broken her knee and has a hard time walking. Her sister and young niece make appearances, and Don nearly seduces the barely-legal niece before she confesses: Anna has cancer. It's bad. It's spread to her bones, which is why she has a fracture. She doesn't know (how very 60s), and Anna's sister confirms this information to Don, asking him to "do the good thing" and not mention Anna's true condition.

Don, perhaps against his better judgment, agrees, in one of the most poignant moments of season 4 thus far. Under the guise of painting Anna's living room, he stays a bit longer than planned, but can't stand to stay long, saying goodbye to Anna after giving one long, wistful look at his past that he'll never see again.

Back at the office (Acapulco is out) Don encounters Lane, whose marriage seems under a strain (his wife will not come to America for the holidays). The two form a surprising and hilarious bond, drinking Lane's father's bland booze, going to a horrible flick (best line of the night belongs to Lane: "This movie is good!") and capping off the evening with a fun-filled evening in Don's apartment in the company of prostitutes.

Lane, ever the gentleman, proposes paying for his companion the next morning (Don reluctantly agrees: "That'll be $25!"). Thus ends, at least for a while, the fascinating Don-Lane holiday bond.

Joan, meanwhile, has her biggest showcase yet. An early scene with an OB-GYN reveals Joan is ready to get pregnant, hopeful her previous abortions haven't harmed her female parts. Back at home, she's extra emotional after cutting her finger, necessitating her husband, Mr. Rape, to suture up her finger. Joan is squeamish and emotional in a great showcase for Christina Hendricks.

The episode ends in a toast to the new year - 1965. Can you believe the show has progressed halfway to 1970? Wow.

Tidbits:

-Peggy's boyfriend: wow. Let's hit upon every cliche of the "first time." Good luck, Bud.

-Loved Joan's disgust at Lane's secretary's grave mistake. It's not everyday Joan will throw long-stemmed roses on your lap.

-What's in store for Betty and Henry? They haven't gotten much screen time this season.

-Speaking of which, Aaron Staton, who plays Ken, is listed in the opening credits. Which begs the question - hello? Where is this guy?

-Is anyone else tired of Don sleeping with some random person and thinking, "Gosh, I probably shouldn't have done that"?

-I like where this season is headed. Which means: I don't really know where it's going. At all. Would we have it any other way?

Christmas Comes But Once a Year: B- The Good News: A

Patricia Neal: Oscar Winner for Hud, Advocate for Stroke Victims

Patricia Neal, the Lead Actress Oscar Winner for 1963's Hud, has died from lung cancer at age 84 at her home in Massachusetts.


Her personal life, and triumph, often rivaled her on-screen drama. An infant son nearly died after his carriage was struck by a car in the early 1960s. Shortly thereafter, Neal's young daughter died of measles.

Her screen career, after an introduction on Broadway, surged in the 60s. She won her Oscar as a housekeeper to Melvyn Douglas, battling his selfish son (Paul Newman). In the mid-60s, she suffered several debilitating strokes before the age of 40. She was paralyzed and unable to speak for a time.

She fought back with rigorous therapy, with a limp and eyesight damage. She returned to the screen and was again nominated for an Oscar for 1968's The Subject Was Roses. She also earned three Emmy nominations between 1970 and 1980.

After a divorce from whimsical author Roald Dahl in 1983, one of her last major film roles was in 1999's Cookie's Fortune, directed by Robert Altman.

Neal was said to keep in good touch with her high school friends, and the Patricia Neal Rehabilitation Center, helping stroke victims, was named in her honor in Knoxville, Tenn. In her autobiography, As I Am, published in 1988, she wrote, "Frequently my life has been likened to a Greek tragedy, and the actress in me cannot deny that comparison."

She was apparently courageous until the end. Her family noted some of her last words were, "I've had a lovely time."