‘Homeland’: An Abusive Love Affair

Homeland Season 3 Banner

It’s no secret that I love Homeland, or at least I don’t keep it a secret. Well, I guess the more apt phrasing is that I used to love Homeland, a torturous relationship we have had. I can still remember my reaction to the pilot, mouth agape, something seemingly ripped out of a great film and a twist that kept me wanting more. The episode and the entire first season was a mix of all my favourite things in a TV show. Action, conspiracy theories, good acting, drama, dark humour, twists, spy shit and probably a bunch of other stuff I’m forgetting. Season one was pretty perfect for me, except for one small part, Brody’s fate. If I had my ultimate way, I guess, I would’ve loved to see Brody die at the end of the season, detonating the bomb and completing one of the best mini-series of all time. On the other-hand, I wanted Brody to survive, because I wanted the show to continue, granted he could have died and the show still continue (as it will now…), but Lewis was such a fantastic element that losing him so soon felt disastrous.

I was apprehensive for season two, mainly because I had no clue where they would go with everything and possibly how they could ever top it. Of course, they weren’t able to top it, but I was favourably content with the season, and more so than a lot of people it seems across the Internet. The first half of the season was incredible, burning through plot and revelations that it seemed it would take them seasons to get to, but within a matter of episodes, everything was coming down. There were stand-out episodes like “Q&A”, one of my top two or something episodes the show has produced, along with some not-so-great ones later on in the season. Brody was still an integral part at first, but his mortality increasing got in the way, and seemed a detriment to the series that everything always had to be linked or go through him in one way. I was hoping for his death at the end, we didn’t get it, instead he went into seclusion, and out of our minds, but of course always primed for a return sometime in the third season.

Going into season three I was pretty concerned, Brody was still around in some capacity, and again it looked to be a slog having to always rope him into the action. Surprisingly, the show kept Brody out for an increasingly long time, and only made him of any real on-screen significance near the latter part of the season. This year, though, I felt there was not really much to grab on story-wise and nothing to adamantly keep me engaged. The villain was really aimless and Brody’s play in everything, we knew he was going to fit in somehow, was murky at first, and relatively quick to resolve when we did find out. I still enjoy the show, but on a completely different level than I did before. Where season two was overall pretty mediocre, it also had some fantastic stand-out episodes and some propulsion to it. With season three it was all just a through-line of average material, where I couldn’t pick out a great episode for you, nor a terrible one (although it’d probably have some degree of Dana in it). Where I used to enjoy a smart, thriller with calculated twists and turns in the first season, has gave away to an oft dumbly plotted show with finicky motivations. Where before it was an interesting, character and thrilling drama, now it’s more of an action-y globe jumping spy series, while still cool and enjoyable on the surface, it isn’t what I originally signed on for.

What happened in turning the show into this action-type jaunt is something that I feared could happen, with the big brain trust of 24 behind it, but I didn’t think it actually would. See, I love 24, it’s honestly one of my favourite shows of all time, but because of it realizing what kind of show it was. 24 was a straight-out action movie spread over a TV season. Action, twists and turns that sometimes made sense, and often didn’t, with ridiculous characters and happenings, but it was fun and rarely dis-interested you. When Howard Gordon and such moved onto make Homeland I thought “Awesome, they’ll bring the addictiveness and twists and turns of 24, but ground it in a more real-world and consequence driven story against terrorism in our current world and show how it has permeated into our culture.” I got that for a bit, but as we’ve seen the rope started to unravel from its fixed point, slowly devolving into the show we have now. It’s like Gordon and co. held this show up as high as they could, only to feel their arms slowly weaken, gently letting the show down as they became weaker and unable to hold it to the level they once could, and eventually see it fall down around them. Now I don’t even know if a show like the first season could ever be retained for numerous following seasons, hence why the first one was so great, maybe a need for this change in action was needed for the show to run, like, eight years like Showtime will almost certainly demand. Maybe, with Brody dead, the show will find new life, with the strings cut from his character (and his family) and the promise of building new off this burnt land.

I would say that Brody’s death is too little too late, but that’s kind of ignorant on my part, not really knowing what next year will be like. Who knows if seasons two and three would’ve been any better if Brody had died in that bunker in season one. All I know is that I’m happy that they seemed wise enough to finally let Brody go, and invested enough to see how this show will and can change without him. It’s a new challenge and something I bet the writers especially take to and run with, and I’m pretty sure they will. That’s something great about Homeland that seems different from a lot of other series. They always write to a new challenge having to be faced in the new season where it’s hard to figure out where they will go. I’m again, and as always, apprehensive about season four, but yet again, there’s something to be excited about in the possibility of new waters once the anchor has been shed.


65th Annual Primetime Emmy Awards Wrap-Up

(Getty Images)

(Getty Images)

Welp, the Emmys were something that happened last night, and oh, boy, were they terrible. I’m talking like worst I’ve ever seen. Bit after bit fell dead, and even while NPH was his usual charming, affable self, he didn’t do much to elevate the dead material. I usually quite enjoy the opening video or whatever excuse they use to plod out a bunch of celebs and lampoon the hit shows, but that was not to be seen. Instead, we watch NPH binge-watch a bunch of TV, and then the ghosts of Emmy hosting past came out, with Conan O’Brien literally looking like a ghost. We got some NPH dancing finally late, but then they gave over way too much time to the choreography category to give them a bit. Which is fine, I guess, but in the grand scheme of things it echoed a larger problem with the show in time management and allocation of things that ran too long, and stuff that could’ve been easily cut. I thought it was an alright idea to single out some of the bigger deaths of the year and have a close friend talk about them, but then some seemed so disconnected from the show and following a weird ‘60s theme that nobody was aware they were doing. A tribute to the 1960s by Carrie Underwood? Alright. Elton John singing one of his own songs (I think) as a tribute to Liberace, just because his bio-pic was nominated? Alright. There was just some weird, weird decisions that never worked individually or even in any sort of whole. Hey, now, on to the actual awards…

Man, what the hell happened here? There were surprises galore, and people I had written of to having no chance of winning, were walking out of the building with a new trophy. I’m terrible at predicting the Emmys, but even this year was an extra special disaster zone for me. Merritt Wever won, which was like whoa, I love her and all, she’s so, so great, but I never thought anybody would win something for last season of Nurse Jackie. Tony Hale and JLD won for Veep, which is awesome because that show is great, but I didn’t think JLD would actually win her fourth and Tony Hale like whoa. Jim Parsons won and well, yeah, even that wasn’t gonna change this year. Jeff Daniels now has a Emmy for best lead actor in a drama and hahaha, but what exactly is happening here? Now, Daniels is alright in The Newsroom, he’s good for what it is, but doesn’t hold a candle to the mainstays of Cranston, Lewis, Hamm and even Spacey. This pretty much assures that Jon Hamm will be the Steve Carell of the best actor drama category, never winning the awards for something he deserved so many times over. Bobby Cannavale now has an Emmy as well, and I did quite enjoy him on “Boardwalk,” but didn’t think he’d actually win. A well-deserved and yet again surprising win. Anna Gunn won, which I happily called, and now all the top three leads have at least one Emmy, with a fantastic chance to win another one next year. Claire Danes won, and water is also wet. Modern Family of course wasn’t going to get shut out all the way, Steve Levitan sauntered up the stage to deliver his annual acceptance speech for best comedy, and yeah. Best drama, running high off it being the most buzzworthy show now, Breaking Bad took home the title, and I of course thought there was a good chance, but thought a House Of Cards, Mad Men, or even the shaky season of Homeland would still beat it out. It’s going to be very hard to beat Breaking Bad next year, in basically all the dramatic categories, but there’s still a year left, let’s see what shakes out and hopefully we’re left with a better overall show next year. I can dream.

65th Annual Primetime Emmy Awards Predictions

NPH 2013 Emmys

Alright, so the Emmys are tonight, and I’ve been pretty sparse on this here blog, which I’m trying to change, so let’s predict some Emmy winners! I’ll pick two, the one who I THINK is going to win, and the one who DESERVES to win.

Also, I should say that I’m uniformly pretty terrible at predicting awards show winners, and this year is especially tricky where I could see things going either way and I wouldn’t be surprised in the least with whoever wins. This is also a clever little fallback disclaimer that I can rely on when come Sunday night all my picks are wrong. Let’s do this.

Outstanding Drama Series:

This is a prime example where I could see it going multiple ways and not being surprised. Mad Men was a king crusher until Homeland came along and won last year. Mad Men’s as good as its ever been and I wouldn’t be surprised if it won. Homeland won last year for a terrific season of TV, but season 2 was pretty lackluster in spots and a definite step down, but, hey, sometimes the academy is dumb and just votes on name. Breaking Bad is what everybody’s obsessing over now, its never won one of these, but its got that acting category on lock. It’s good as well, and deserving, so, maybe. The new kid on the block, House Of Cards was pretty much tailored to win Emmys, and it’s alright, but not deserving, but again, it’s the type of show that the academy LOVES. Game Of Thrones was good too, but still a little too out of the Emmy wheelhouse to actually win. So, yeah, I’m gonna say House Of Cards wins, while I personally would give it to Mad Men to win. It could go so many ways, though.

Outstanding Lead Actor In A Drama Series:

I’ll come right out and say that Kevin Spacey wins this, and I feel semi-pretty good in that. He’s got the name recognition, everybody loves him and he was pretty good. Most deserving? I’d say Damian Lewis, a lot was demanded out of him in season 2 of Homeland and how he was able to flip the script and shift into different modes and sides of Brody was some awe-inspiring work.

Outstanding Lead Actress In A Drama Series:

Claire Danes deserves it and wins it on Sunday. No real competition here, she was fantastic yet again. Robin Wright was good, if never given much to do, and I guess Elisabeth Moss is the next threat, but, nah, Danes got this thing. If I had my way though, Connie Britton would win, because I love her more than most of my family members, and she’s awesome and everything positive should go her way. Connie 4 lyfe.

Outstanding Supporting Actor In A Drama Series:

I think Peter Dinklage wins this thing again, but Mandy Patinkin is the most deserving. Dinklage is great, and although not as good in this last season of GoT, I still think he gets it again. Patinkin is arguably the best part of Homeland and he’s just fantastic. Plus, that fedora and beard. The man knows old man chic.

Outstanding Supporting Actress In A Drama Series:

I’m going to say Anna Gunn wins this, but I’m not really that confident in it. Nobody else really jumps out at me, even while I enjoy every single nominees work on their show. I don’t even know who’s most deserving, so, hey, Emmys, just make it a six-way tie. Emmys for everybody.

Outstanding Comedy Series:

We all know Louie should and deserves to win this thang, but that just ain’t gonna happen, because we live in a cruel and unjust world. So, say hello to The Big Bang Theory or Modern Family winning. Modern Family is not a good show, but it was slightly better this year. I’ve stopped watching The Big Bang Theory for awhile now, but people tell me it’s on kind of an uptick and doing good things, so it wins tomorrow. You guys can all wear your totally awesome BAZINGA! shirts in celebration. You know you want to.

Outstanding Lead Actor In A Comedy Series:

Do you think Alec Baldwin is gonna win this thing for the 395th time? I don’t know, but I think there’s something in his contract that even now with 30 Rock off the air, he’ll continue to be nominated into eternity, a forever reminding cloud that makes you question your life just so, because what kind of world would it be if Alec Baldwin had to cease being nominated in this category. What kind of world I ask of you. Anyways, Jim Parsons wins, but Louis C.K. is most deserving.

Outstanding Lead Actress In A Comedy Series:

Strong candidates abound and I love them all, except one. I’ll let you figure out which one that is. JLD ain’t gonna win this again, though I love her so. I don’t think they give it to Tina Fey even though it’s her swan song. No on Dunham and Falco. So, Amy Poehler wins and Laura Dern is so, so deserving of it. Writing this just reminded that Enlightened is gone, and I’m so sad now, guyz. You should watch it if you haven’t, it’s such a beautifully poignant, sad, funny and uplifting show. Please, someone give Mike White another show.

Outstanding Supporting Actor In A Comedy Series:

Ty Burell wins this, and yeah, I think he deserves it. I absolutely loved Burell in the first seaon of MF, but just got tired of his schtick. I’ve come around, it is what it is, I love Ty Burell, he’s funny, so give him the Emmy.

Outstanding Supporting Actress In A Comedy Series:

Sadly, I think Sofia Vergara wins this. I can’t stand her because the show only derives two outlets of comedy from her, her nationality, and how hot she is (I’d argue against her perceived attractiveness, but, hey, that’s just me a sane straight male). Jane Krakowski deserves this to the world’s end, because she’s been my favourite thing about 30 Rock since it began. She is so great, I can’t even function how good she was on that show and never gets any recognition for it. Krakowski 4 lyfe.

Outstanding Miniseries or Movie:

I’ve only seen a couple of these, but knowing things I’d say Behind The Candelabra wins and deserves it.

Outstanding Lead Actor In A Miniseries Or Movie:

Emmys just can’t wait to give Michael Douglas an Emmy. Wins and deserves.

Outstanding Lead Actress In A Miniseries Or Movie:

Again, the Emmys love their old, distinguished and creditable thespians (am I using that word right?). Jessica Lange wins, and deserves because the only other one in the category I’ve seen was Laura Linney in The Big C, and no, just no.

Outstanding Supporting Actor In A Miniseries Or Movie:

I’m gonna say the American Horror Story love doesn’t leave Lange, so Scott Bakula continues the “Candelabra” love. I don’t know, maybe the Emmys might really love Zachary Quinto. Who knows.

Outstanding Supporting Actress In A Miniseries Or Movie:

Man, I have no clue. I think Political Animals was bad, I don’t know, I didn’t watch it. So, lets say Ellen Burstyn wins because she’s an OG and just great and kinda looks like all of our grandmothers. Sarah Paulson was cool and had commitment for days in AHS, so maybe she pulls the rug out.

Outstanding Variety Series:

The Daily Show, are you even kidding with other nominees? It’s the don mega of variety series. Which is, like, the most broad category ever.

Outstanding Reality – Competition Program:

Where’s Big Brother? Hahaha, I’m a jokester, but seriously I don’t watch any of this. The Amazing Race had the crown for awhile, until Top Chef screwed it up a few years back. I don’t really care, but we’ll say Phil Keoghan and company retain the award. I haven’t watched it since, like, Reichen and Chip just totally Jordan/Pippen’ed the entire show.

Let’s keep going, because why not, I have nothing better to do on a Saturday night

Outstanding Directing For A Drama Series:

You’ve gotta be dreaming if you think David Fincher doesn’t win this. An A-list director directs one of the most anticipated and Emmy bait shows of the past year? Get outta here. I think my girl Michelle MacLaren deserves this, though.

Outstanding Directing For A Comedy Series:

“New Year’s Eve” is such a beautiful piece of television that C.K.’s gotta win. I’d like to think that the academy has started to turn even more towards C.K. after last year, and less towards the perennials of Modern Family and Glee and such. They probably haven’t, but I’m gonna stick with C.K. winning.

Outstanding Directing For A Miniseries, Movie Or A Dramatic Special:

Steven Soderbergh is the boss and he wins this. Hahaha, you actually thought dude was retiring to paint?

Outstanding Directing For A Variety Series:

Man, I don’t know. None of these have real unique directing styles except for Portlandia. Maybe, it wins because of this. But, lets just give it to The Daily Show because they haven’t won enough. I don’t know.

Outstanding Writing For A Drama Series:

I was going to say that one of those Breaking Bad episodes was gonna win, but I completely forgot about “Q&A,” because I’m an idiot, with it being a jaw agape hour of television written by the late and forever great Henry Bromell. He’s gotta win.

Outstanding Writing For A Comedy Series:

Louie, Louie, Louieeeee. And Pamela Adlon. They’ve got this in the bag, with a decidedly weird and inventive episode.

Outstanding Writing For A Miniseries, Movie, Or A Dramatic Special:

Behind The Candelabra, please come and accept another award.

Outstanding Writing For A Variety Series:

The Daily Show, please come and accept another award.

Outstanding Choreography:

What? You think we’re not gonna talk about choreography? Of course we are. Some would argue that it is the most important category, and I cast myself as chief among them. Some would also say that I always forget how many goddamn Emmys categories there are, and I’m just reading these off the Wikipedia page. That could also be true. Good thing I also always forget that the Creative Arts Emmys are a thing, as well. Anyways, my girl cousins like that So You Think You Can Dance show, so one of its four nominees wins. Let’s say the “Sonya Tayeh” one wins, sounds like a cool enough name.

So, I hope this was all informative. No real need to watch the Emmys now I guess, sorry for the spoilers, but whatever, watch Breaking Bad instead or the sure to be cracking Dexter series finale. All the props to you if you read this far, but I think my own eyes glossed over this thing about halfway through. Happy Emmys watching, I’m gonna go watch some hockey.

‘Homeland’: Season 2

'Homeland' Banner

*SPOILERS for seasons one and two of Homeland follow (duh!), and also some 24 spoilers as well*

I loved season one of Homeland, I was hooked from that insane first episode, which eerily feels like a film, to the wondrous “The Weekend”, all the way up to “Marine One” which literally had me on the edge of my seat, and somehow sweating more than Brody. I love it so much, because it was so audacious, and nothing like I’d ever really seen attempted in a serialized manner before. This made me extremely nervous for season two, mainly because how the hell could they ever top this, and also, where the hell do they go from here? Now that season 2 is finished, myself and everybody else has their answers. It seems the majority of the internet is disappointed and crying about how “bad” this show is now and of the huge missteps it took. Now while I agree a lot on some similar points, and yes, it was a significant step-down from season one, I appreciated what Alex Gansa and Howard Gordon did, and it presented some interesting ideas that seem destined to fall on two sides of the same spectrum for different people.

Lets start out with the not so good things. The Brody/Carrie romantic relationship was interesting in season one, because it still held that mask up to whether Brody was a legitimate terrorist or not, and that suspense fed into their relationship, making Carrie forever at risk. We never truly knew either of their motives, especially Brody’s at the time, while Carrie’s shifted from using the relationship to gain more info on Brody to her actually sustaining legitimate feelings for him. In season two, Carrie went full head-over-heals, second grade puppy love on Brody, where she unequivocally believed Brody to be the man for her, while Brody seemed to reciprocate the feelings, but his true extent of his love for her, doesn’t seem to match Carrie’s for him. I don’t think this romantic relationship really needed to quite reach this extent, as their tangential, random hook-up type style served the disparity and closeness of the two to make the early season two episodes of Carrie using their relationship to get Brody to flip to really sing.

Season two felt a bit scattershot as well, where there wasn’t a single driving goal or force, like there was in season one (even if we weren’t fully aware of it at times). Sure, Abu Nazir was again the main target in season two, but he didn’t really come to prominence until the last few episodes, and his major blow (get it?) occurred in the back-half of the last episode, setting the stage for season three. I couldn’t believe all the plot they were burning through in the first five episodes or so, revealing Brody as a legitimate terrorist and getting him to flip. Obviously, in retrospect it works out, as the whole season was about getting him to flip sides and try and take down Nazir from inside congress. But, the season seemed a bit segmented, and a little “start and stop”, instead of coasting on a seamless plot or ultimate driving force.

Because the show is created by ex-24 crew and it being one of my favourite shows of all time, I’m going to draw some light comparisons between the two. Main character and fan favourite Tony Almeida was killed off in season five (amid a bunch of other prominent cast-member deaths), and it was pretty big as he was one of the main secondary characters, and perhaps the biggest behind Jack Bauer. Everything seemed legit, until over the next couple seasons, rumours would go around that Tony wasn’t actually dead, and he would come back as a villain, and of course that is what eventually happened. Now I’m not entirely sure if they intended this all along that Tony wasn’t actually dead, or that he was and they just ran out of ideas and were like “Fuck it, what if we bring Tony back from the dead!?”. Either way, it seemed like they just used his exit as a cheap chip to hold over the show, and eventually use it to their own supposed advantage. This reversal zapped all the energy and emotion out of Tony’s “first death” and made it an empty void. By having Brody seemingly leave the country and flee, and subsequently the show (it would be goddamn stupid if he just shows up next year, which would void what I’m about to say, but, I doubt it), the Homeland writers are doing the same thing. Presumably Brody will be off the show for a bit, only to have him fucking rappel in through a window in the back-half of season 4 to save Carrie from a Russian arms dealer or something. Holding this over the show is silly, because we know he’s at least coming back at some point, and his return most likely will not be justifiable enough. Killing Brody, which would have been perfect, would’ve been the most efficient way to go about things. You succinctly and relatively neatly tie up the terrific arc of Brody by putting a cap on everything, ending his story, and assuring he never pops up somewhere down the road, just for the Internet to get a big Brody stiffy again. The writers obviously know there’s really nowhere else to go with Brody now, that’s why they put him on the lam, but why not just kill him? I realize permanently letting Damien Lewis’ acting talents go is extremely scary, and I’d of course miss them as well, but I think it would’ve been a worthy sacrifice for the show’s future.

Some good things now. The acting, holy jeez, the acting. You know what, it was probably even better this season than last, actually, it was. I love Claire Danes acting, no matter how much people make fun of her crying face, she’s so brutally honest in her face and everything seems so goddamn real, you just want to reach out and give her a hug. I think by far though, Damian Lewis takes the cake in every acting category. He seems to know this character so well now and watching him sway between both sides, and how this all just destroyed him mentally was absolutely fantastic to watch. This was a man screwed on both ends, and was never really safe whichever way he looked. The way Lewis portrayed this was heartbreaking and depressing as Brody was broken down physically and mentally maybe even as much as when he was held captive. Mandy Patinkin again plays Saul with the intense, but comforting and solid demeanor that makes him uniformly sweet, but also capable of outbursts and doing what is right no matter the cost.

Now my main defence of the season (for the most part) is how Gansa, Gordon and co. shook things up and took us places completely different in formant and in content from season one. This seems like the chief complaint from critics I’ve been reading on the Internet, that this season was so different, and that they changed the formula and moved away from what made them so successful in season one. That is the thing though, erase your memory, go back and watch season one, and please tell me a logical fucking way to go from there. I don’t see an “easy path” to follow, and even though revealing Brody and making him flip seems like an end-game type thing, there’s no way they could have vamped for multiple seasons until then without it being excruciatingly terrible. They had to throw caution to the wind and do this shit now, while it was still fresh and viable. Setting up for next season it looks like there’s going to be a major shift and an even more wildly different format without Brody as a foil, and Carrie and Saul being really the only main focal points. The main premise of this show is entirely un-sustainable, that’s why season one was so good, they delivered on the log-line, even as it seemed fit to be a mini-series, but it isn’t, it’s a serialized (and now popular) television show that is going to run multiple seasons (quite literally, since it is on Showtime after all…). As much as I loved the first season, and realize no subsequent season will ever be as great as it, I respect Gansa and Gordon for doing something completely different each season (as it seems) and am vastly interested to see how they tackle the next set of challenges.

Coming out of season one, I was so goddamn excited because of what I had just watched, but so nervous to how they would even attempt to follow it. The conclusion of season two leads me to think they did the best that they could. There was some fantastic episodes, basically those first five or so episodes, there was some pretty bad episodes near the middle, and some average episodes into the season finale which I dug quite a bit (probably would have loved if they literally pulled the trigger on Brody). My emotions going into season three are pretty mixed, I still love having this show in my life and find it pretty funny the people who vehemently are shunning the show now because it wasn’t exactly what it was in season one. A show gives you an utterly phenomenal first season, they follow it up with a differently formatted and plotted, yet still good second season, and you write it off as garbage just because it’s different? Jeez. Again, I have no clue what season three will look like, maybe Brody will be back, I don’t know, but I am more apprehensive coming off a bumpy season like this. It will be vastly different, that’s for sure, I don’t care, I’m enjoying the ride so far.

Emmy Awards 2012

The Emmy’s were relatively fine tonight, even if they seemed like a retread of years’ past. ‘Louie’ and ‘Homeland’ received some awards, but beyond them what really seemed new? ‘Modern Family’ sadly continued their steamroll through the awards even as Nolan Gould and Rico Rodriguez remained the only good parts from the show (prove me wrong). We were delivered an Emmys that was slightly different, but lets face it, was pretty much the exact same as we’ve seen in years’ past.

For years now I’ve been a champion for Jimmy Kimmel hosting the Oscars. I’ve simply had enough with these random non-comedians who have hosted the Oscars of late and have no comedic timing and are relegated to dumb musical numbers (I’m looking at you Hugh Jackman, James Franco and Anne Hathaway). I’m a traditionalist and love when a hard to the core comedian hosts an awards show and does a solid 10 minute monologue rather than some silly musical number. History has shown how great legitimate stand-up comedians have done at awards shows like Whoopi Goldberg, Ellen DeGeneres, Chris Rock and Jon Stewart (even though he’s not really a stand-up comedian). I’ve always enjoyed Jimmy Kimmel from ‘The Man Show’ through ‘Jimmy Kimmel Live’ and since he is based off ABC, would be a perfect Oscars or Emmys host. Ultimately, he was solid, fine in the monologue, not great, but as the night wore on, like all hosts, was given less to do and hardly felt like a presence. He didn’t really do anything wrong, but wasn’t spectacular either, and nowadays I guess that’s the best you can expect from an Emmys host.

Because I don’t want this to drag on forever, I’m not gonna break-down every category, but instead just the ones that effected or impacted me the most.

Ummm, so, Louis C.K., won for best writing in a comedy series and for best writing in a variety special. He simultaneously seemed grateful and reticent when receiving these much deserved awards. ‘Louie’ is one of the best shows on TV, and even if a conservative show like the Emmys will recognize it’s writing, I’ll be happy.

But, just when you think the Emmys is being awesome and giving Louis C.K. awards, they also keep giving ‘Modern Family’ and its cast members awards as well as goddamn Jon Cryer. Like, c’mon, I thought we were at least past giving Jon Cryer another fucking award for the lowest common denominator of comedy. ‘Modern Family’ is another show that scrapes the bottom of the barrel for ‘Two And A Half Men’-esque racial and sexist jokes.

Okay, now lets get to the awesome stuff, namely Julia Louis-Dreyfus winning for Best Actress in a Comedy for ‘Veep’. I’ve recently found out through Twitter that there’s actually quite a few people who don’t like ‘Veep’ for some reason? Okay, I guess you don’t like smart political jokes, name-calling, layered jokes and acidic come-backs, that’s cool for you though. Think about this, forget about the ‘Seinfeld’ curse, JLD has won an Emmy for ‘Seinfeld’, ‘The New Adventures Of Old Christine’, and now ‘Veep’, that is quite the accomplishment for the comedic goddess who we shorten to JLD.

If you know me at all, you’ll know my undying love for ‘Homeland’, my favourite show of last year. Now, Claire Danes was an absolute lock for Best Actress, and wasn’t she just adorable/deserving accepting it? I thought Damian Lewis would have a good chance to win Best Actor, but thought it might slip away. Little did I know, the Academy decided to slay Bryan Cranston, and give the award to Lewis, I’m not complaining. Again, I thought Best Drama was a possibility, but not an actuality, but little did I know ‘Homeland’ would take home all the gold.

There really isn’t much to say about this mediocre edition of the Emmys. It was all pretty par for the course, besides the ‘Homeland’ victories, which when you look back aren’t all that much of a surprise. Louis C.K.’s wins were beyond awesome but not completely surprising as everyone knew how great they were, but just took the Academy to notice. Otherwise, we were left with dumb ‘Modern Family’ winning everything, a lackluster HBO movie (‘Game Change’) and other bits and pieces that were easily predicted, such as Lange, Paul, Smith and Moore winning.

There was some nice surprises, and solid wins, but more of the same dominated the Emmys, who had hardly even deserved Emmys in their “best” seasons. Some new blood was nice, but when there’s so much of the old, do we really recognize the new? Or is it just a bump in the road?

Also, Lena Dunham is all sorts of awful.