5 Great TV Shows On DVD To Get You Hooked: #3

Looking for something great to get into while the writers’ strike is going on and all your TV is off the air? Below is one of five shows that you can get into in the meantime.

Battlestar Galactica




This is probably the best science fiction airing today. The story follows the last group of humans alive after a devastating surprise attack by the Cylons, a robot race created by humans but who rebelled against their masters. It is incredibly inventive, the episodes are thrilling, and the effects are great. Even if the story begins to sag a bit, there is no turning this show off.

When you should be hooked: The four-hour mini-series should do it. If not, give up and watch one of the other shows on this list. The mini-series is absolutely one of the best television presentations ever, period.
How long you should keep watching: There is really no point that lets up enough, as each of the show’s three seasons so far have ended with massive cliffhangers. You’re probably okay to skip the recent TV movie “Razor” and just wait with wicked excitement for the premiere of season four.
How you can get access to the show: The mini-series is included in the Season One DVD, and the seocnd season is split into two parts on DVD (season 2.0 and season 2.5). "Razor" is also out on DVD. The third season is coming to DVD in April, around the time that the show’s highly anticipated fourth and final season premieres on Sci-Fi (believe me, once you’ve caught up, you’ll be researching the date just as hard as I have).
Other shows you might like: Threshold, Star Trek



UPDATE: Just in time for my shows on DVD list, the release of season 3 has been announced. Season 3 should be arriving on March 25th. Click on the DVD cover to see the post with the news from TVShowsonDVD.com

5 Great TV Shows On DVD To Get You Hooked: #4

Looking for something great to get into while the writers’ strike is going on and all your TV is off the air? Below is one of five shows that you can get into in the meantime.

Dexter

Michael C. Hall of “Six Feet Under” is one of the few actors to find a role on a subsequent show that was impossibly better than his previous one. This show is a wondrous crime drama about a forensic expert who moonlights as a serial killer. Set in Miami, this show is truly a fantastic, one-of-a-kind series. This is one of the only shows nowadays that truthfully leaves me on the edge of my seat at the conclusion of each episode.

When you should be hooked: Midway through the pilot. Don’t worry if you’re not, give it a few more episodes.
How long you should keep watching: The second season went a bit downhill towards the end, but it is still easily one of the best shows on television. Season three should be coming back next year, and you’re going to want to tune in for that.
How you can get access to the show: The first season is available on DVD, and the second one should be airing in repeats on Showtime and out on DVD sometime in the near future.
Other shows you might like: The Shield, Six Feet Under, Brotherhood

5 Great TV Shows On DVD To Get You Hooked: #5

Looking for something great to get into while the writers’ strike is going on and all your TV is off the air? Below is one of five shows that you can get into in the meantime.

Sleeper Cell

This violent yet somehow realistic Showtime drama series began as a ten-part miniseries but scored a surprising renewal for a second season. Michael Ealy stars as a Muslim FBI agent assigned to infiltrate a terrorist cell. Each of its members are portrayed by equally talented actors who really delve into their roles. An even better surprise, the second season is even better than the first. This show was aired over the time span of a week on consecutive nights. It was made to be watched in marathon form.

When you should be hooked: Don’t stop after the first episode. The show gets a lot better and definitely improves over the first installment.
How long you should keep watching: Definitely finish the first season, but be wary of starting the second season if you cannot stand cliffhangers. Notice: the show should have been renewed for a third season and I think the writers probably thought it would be.
How you can get access to the show: Both seasons are available on DVD.
Other shows you might like: 24

TV on DVD: The L Word (Season Four)

MAJOR spoilers below about events throughout the show’s fourth season.

Apologies for the rant. I watched the first five episodes all in a row, then the next six all in a row, before watching the finale on the third day. Throughout these marathons, many thoughts went through my head. Without further ado, here they are.

This season was off to an unfortunate start merely because of where the show left itself by the end of its third season. Some of the characters have trouble recover from their plotlines, though I am happy to say that after all that is said and done by this season’s finale, most of the characters should have no trouble bouncing back for the fifth season, which premieres next week.

First, the bad. The show generally creates unnecessarily forced scenes and encounters which are awkward and often almost painful to watch. Any scene which involves Alice or the combination of Bette and Tina is certain to be followed by a minute or two of silence during most of this season. Additionally, the show goes for a new sort of style which really does not work and gets annoying quick. In one early episode, split-screen cell-phone conversations dominate the hour. It all gets to be a bit much. And how Bruce Davison’s Leonard Kroll ever ended up on Alice’s bed is beyond me. The girls talk so much about how they are lesbians, but more often than not, there is little reason to be saying anything at all and the plot should be allowed to speak for itself.

Watching Helena get cut off in the third season finale was one of the best and most exciting moments of the third season. Her fending for herself is a bit much, but she falls far too quickly back into old habits. Her friends, particularly Alice and Papi, constantly berate her about the abusive, servant-like relationship she is willingly in. Yet she does absolutely nothing but deny it and hide behind her British accent. Only in the fourth season ender is there a glimmer of hope that she might actually be ripping off the self-centered Katherine. I truly hope something comes of that.

As I write and think about it more and more, the story is not as bad as I initially thought. Maybe it is the fact that I finished the season with a very good taste in my mouth. The barrage of new characters – Papi, Phyllis, Jodi, and Tasha – is actually quite well handled. Papi bursts onto the scene as a living legend, and she out-performs the expectations of her character in my mind. Her affection for Kit is surprising but gives her an added dimension. Phyllis is absolutely hilarious, and her quick attachment to Alice and subsequent head-over-heels falling in love somewhat predictable yet still amusing to watch. Jodi is exactly how Tina describes her to Bette – her match, someone just as opinionated and outspoken as Bette. Cybill Shepherd and Marlee Matlin portray Phyllis and Jodi very well, and they do fit in with the rest of the cast smoothly. Tasha, on the other hand, began as a sore thumb who hardly smiled and whose romance with Alice was somewhat inexplicable. Her military affiliation did not suit the show, but her going-away party was actually quite affecting. At the time of her introduction, I was not so impressed, but again, I finished off the season feeling quite good about it all.

My major problem before the finale was the complete corruptibility of every single character. The idea that even the angelic Angus would cheat on Kit was unfathomable to me, and that twist made me angry to the point of despising the show. Hazel’s immediate flirtation is representative of the show’s constant need to be provocative and sexual for no reason. The show succeeds with some memorable passionate scenes (Shane and Paige’s fantasy home life montage in the finale), but it really overdoes it sometimes. This season threatened to cross the line with its non-stop flirtation between every single character who appeared on screen. That, for me, was this season’s biggest problem. Also, each of the negative traits of each of the characters is so emphasized and underlined that it becomes too much to bear. Bette in particular could go for a few minutes without being overly controlling or looking like she is about to cry.

I am beyond thrilled that Jenny finally got “bitched out” by someone. After season three, she became even more despicable this year with her attempts to mess up the life of Heather Matarazzo’s reporter and her veterinarian girlfriend. Finally, after completely screwing herself over and alienating all her friends with her less-than-fiction book, she gets fired from her own film. The scene where Tina finally works up the nerve to curse her out was one of my favorites from this year.

Last year’s weak element Max finally gets a chance to shine this season, with a slightly predictable but otherwise productive storyline involving a doomed relationship, quitting his job, going home for his mother’s funeral, and a girlfriend who appreciates him for what he is. I frequently forgot that Max had actually been Moira, and I applaud the writers for making Max into a completely new character devoid of the old and rather boring Moira.

I watched this season over the course of three days, pausing after the 11th episode only because I did not have the disc with the season finale on it. Had I written this before watching the 12th installment, my sentiments would have been very different. There is still something to be said for a show that is addictive enough to watch almost straight through like that. I was enjoying myself, even if I was constantly annoyed with the way the story was moving. After the finale, I am happy that Tina is in fact “back” and no longer straight, and I think that her helping Bette get Jodi back while actually being in love with her again is the most interesting thing they have done with her in a while.

All in all, the show is a fun ride but it does not always succeed in playing its cards right. For a few hours, it made me forget that there are straight people in the world and that not everyone wants to jump each others’ bones all the time. For all its idiosyncrasies (Dana’s appearance in the finale is completely unexplained, but a welcome chance to see Erin Daniels), I do enjoy this show and I am happy that the fifth season premieres in a mere twelve days. The finale left off with most of the characters happy (!) and with a possibility of returning to its former greatness.

“The L Word” Season Five: C+
The finale: B

SAG Nominees

I have decided to condense my reactions to the television SAG nominees to one post because they were simply not too exciting. The film nominations, on the other hand, wow. Check those out. The TV noms bring more of the same kind of people we have been seeing recently at the Emmys and the Golden Globes. The TV movie/mini-series category is uninteresting because "Longford" was completely left off the list, and I have seen none of the other nominated shows (save for the first two hours of "The Starter Wife", and that was far too much as it is). My feeling on the inclusion of Ricky Gervais is that he is fine, maybe sometimes funny, but not over other players. I liked him on the British "Office" and enjoyed it back in 2003 when he won two Golden Globes and felt the need to stay up on stage for a minute even though he had nothing to say. Now, there are just better, funnier performers out there who I feel put in a lot more to their performances. His inclusion at the expense of David Duchovny is unfortunate (the other four nominees in that category were nominated last year). Much to my surprise, Tony Shalhoub is still sticking around, which he definitely deserves to do. I just presumed they would let him go earlier. These nominations do generally adhere to the no-new-fall-network shows rule, with one exception (Christina Applegate). Otherwise, newcomers "Mad Men", "Damages", and "Saving Grace" all made the cut over "Californication" and "The Riches". Of course "Boston Legal" had to be nominated again, but I am ecstatic that the cast of "The Closer" has once again been recognized. I am also thrilled for "30 Rock", which garnered nominations for Alec Baldwin, Tina Fey, and the superb cast. And hey, no more "My Name is Earl"! Sure, "Ugly Betty" got three nominations, but we're focusing on the positives, aren't we? I do find it quite funny that John Slattery somehow got two nominations, for his work in the ensembles of both "Mad Men" and "Desperate Housewives". I copied the nominees list direct from the SAG site because they list which character each actor plays. My prediction rate was 24/33, or 73%, which is actually just about the same as my prediction rate for the film nominees. Winner predictions coming closer to the awards, which air January 27th.

The nominees:
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
MICHAEL KEATON / James Jesus Angleton – “The Company (TNT)
KEVIN KLINE / Jacques – “As You Like It” (HBO)
OLIVER PLATT / George Steinbrenner – “The Bronx is Burning” (ESPN)
SAM SHEPARD / Frank Whiteley – “Ruffian” (ABC)
JOHN TURTURRO / Billy Martin – “The Bronx is Burning” (ESPN)

Outstanding Performance by a Female Actor in a Television Movie or Miniseries
ELLEN BURSTYN / Posey Benetto – “Mitch Albom’s For One More Day” (ABC)
DEBRA MESSING / Molly Kagan – “The Starter Wife” (USA)
ANNA PAQUIN / Elaine Goodale – “Bury My Heart at Wounded Knee” (HBO)
QUEEN LATIFAH / Ana – “Life Support “ (HBO)
VANESSA REDGRAVE / Woman – “The Fever” (HBO)
GENA ROWLANDS / Melissa Eisenbloom – “What If God Were the Sun?” (Lifetime)

Outstanding Performance by a Male Actor in a Drama Series
JAMES GANDOLFINI / Tony Soprano – “The Sopranos” (HBO)
MICHAEL C. HALL / Dexter Morgan – “Dexter” (Showtime)
JON HAMM / Don Draper – “Mad Men” (AMC)
HUGH LAURIE / Dr. Gregory House – “House” (FOX)
JAMES SPADER / Alan Shore – “Boston Legal” (ABC)

Outstanding Performance by a Female Actor in a Drama Series
GLENN CLOSE / Patty Hewes – “Damages” (FX)
EDIE FALCO / Carmela Soprano – “The Sopranos” (HBO)
SALLY FIELD / Nora Walker – “Brothers & Sisters” (ABC)
HOLLY HUNTER / Grace Hanadarko – “Saving Grace” (TNT)
KYRA SEDGWICK / Deputy Police Chief Brenda Johnson – “The Closer” (TNT)

Outstanding Performance by a Male Actor in a Comedy Series
ALEC BALDWIN / Jack Donaghy – “30 Rock” (NBC)
STEVE CARELL / Michael Scott – “The Office” (NBC)
RICKY GERVAIS / Andy Millman – “Extras” (NBC)
JEREMY PIVEN / Ari Gold – “Entourage” (HBO)
TONY SHALHOUB / Adrian Monk – “Monk” (USA)

Outstanding Performance by a Female Actor in a Comedy Series
CHRISTINA APPLEGATE / Samantha Newly – “Samantha Who?” (ABC)
AMERICA FERRERA / Betty Suarez – “Ugly Betty” (ABC)
TINA FEY / Liz Lemon – “30 Rock” (NBC)
MARY-LOUISE PARKER / Nancy Botwin – “Weeds” (Showtime)
VANESSA WILLIAMS / Wilhelmina Slater – “Ugly Betty” (ABC)

Outstanding Performance by an Ensemble in a Drama Series
BOSTON LEGAL (ABC)
THE CLOSER (TNT)
GREY’S ANATOMY (ABC)
MAD MEN (AMC)
THE SOPRANOS (HBO)

Outstanding Performance by an Ensemble in a Comedy Series
30 ROCK (NBC)
DESPERATE HOUSEWIVES (ABC)
ENTOURAGE (HBO)
THE OFFICE (NBC)
UGLY BETTY (ABC)

Final SAG Predictions

The Screen Actors Guild announces their picks tomorrow morning. There is little to be excited about on the TV side at this point, and I can only hope there a few good suprises when the nominations are announced. I highly expect "The Sopranos" to prevail since they have never been snubbed throughout the show's history. My predictions have changed little, though I have removed some of my more hopeful picks, like Walton Goggins, John Krasinski, and Jenna Fischer. Kyle Chandler seems very much like the Treat Williams nominee of the year (the latter actor made it in twice for "Everwood"). There is a lot of potential to honor great casts in the ensemble categories, and I hope SAG takes a hint this year and chooses shows like "The Closer" and "Dexter" over "Boston Legal". I also swapped out "How I Met Your Mother" for the far more deserving "Californication". I would love to see that happen. I would of course be ecstatic to see either "Jericho" or "Battlestar Galactica" in the drama ensemble category but that is just hoping for too much. "Brotherhood" might have a better shot. I am hoping that "Damages" does not sweep here too. And if Eddie Izzard does not get a nomination here, all hope is lost. What does this man have to do to get nominated for an award, cross-dress? Be here tomorrow for reactions.

Best Actor in a Drama Series
MICHAEL C. HALL, DEXTER
KYLE CHANDLER, FRIDAY NIGHT LIGHTS
HUGH LAURIE, HOUSE
EDDIE IZZARD, THE RICHES
JAMES GANDOLFINI, THE SOPRANOS

Best Actress in a Drama Series
SALLY FIELD, BROTHERS & SISTERS
KYRA SEDGWICK, THE CLOSER
GLENN CLOSE, DAMAGES
MINNIE DRIVER, THE RICHES (6th nominee)
LORRAINE BRACCO, THE SOPRANOS
EDIE FALCO, THE SOPRANOS

Best Actor in a Comedy Series
DAVID DUCHOVNY, CALIFORNICATION
JEREMY PIVEN, ENTOURAGE
STEVE CARRELL, THE OFFICE
RAINN WILSON, THE OFFICE
ALEC BALDWIN, 30 ROCK

Best Actress in a Comedy Series
JAIME PRESSLY, MY NAME IS EARL
CHRISTINA APPLEGATE, SAMANTHA WHO?
TINA FEY, 30 ROCK
AMERICA FERRERA, UGLY BETTY
MARY-LOUISE PARKER, WEEDS

Best Actor in a TV Movie/Mini-Series
KEVIN KLINE, AS YOU LIKE IT
OLIVER PLATT, THE BRONX IS BURNING
ADAM BEACH, BURY MY HEART AT WOUNDED KNEE
AIDAN QUINN, BURY MY HEART AT WOUNDED KNEE
JIM BROADBENT, LONGFORD

Best Actress in a TV Movie/Mini-Series
BRYCE DALLAS HOWARD, AS YOU LIKE IT
RUTH WILSON, JANE EYRE
QUEEN LATIFAH, LIFE SUPPORT
SAMANTHA MORTON, LONGFORD
DEBRA MESSING, THE STARTER WIFE

Best Ensemble in a Comedy Series
CALIFORNICATION
ENTOURAGE
THE OFFICE
30 ROCK
WEEDS

Best Ensemble in a Drama Series
THE CLOSER
DEXTER
LOST
MAD MEN
THE SOPRANOS

What I'm Watching: Dexter (Season Finale)

Dexter: Season 2, Episode 12 “The British Invasion” (B)

I feel that Lila’s massive intervention is sort of cheating – after all Dexter has worked so hard to do, Lila destroys it all in a matter of seconds with a match and a flick of a switch. I suppose there was no other way out, but I would have liked to see Dexter and Doakes at least have one final confrontation. Maria is a bit out of control with the passing out of flyers for donations for a memorial service for the recently deceased serial killer, and hopefully she can go back to being a strong-willed, contemptuous leader who still steps on the toes of authority but whines about a little less when the show returns for its planned third season. I would hope the same for Deb, who let her vulnerability and abandonment issues get the best of her and turn her into a broken record, moving quickly from the Ice Truck Killer to Gabriel to Special Agent Fossil. Lundy, for his part, proved not to be as fascinating a pursuer as the season went on, and I was really hoping that he would discover Dexter’s true identity, after being so hot on trail, and a dramatic confrontation would lead to Lundy protecting Dexter in some way. Lila’s exit was predictable, but man, that girl was nuts. And how exactly did Dexter track her down?

I will briefly note that I did love the credit-like sequence in which Dexter essentially gave thanks for all the freedoms he does have. Very similar to the dismemberment of the credits on “Weeds” towards the end of that Showtime series’ season finale, this scene brilliantly incorporates easily recognizable shots from the show’s Emmy-winning titles to make for an enjoyable and dramatic few minutes. It is almost as good as last season’s closing scene, in which Dexter imagines himself praised for the way he took care of everything with the Ice Truck Killer. “Dexter” still does have a few tricks up its sleeve.

This season as a whole was impressive because it continued right off a truly astounding first season without missing a beat, throwing itself completely into an equally engaging plotline, introducing minor characters like Lundy and Lila, who supported the story well and interacted with the cast tremendously well. Not to imply that it threw it all away, but I think most of the elements were taken too far. Dexter sleeping with Lila was one thing, but after breaking up with Lila, I think she should have been let go and Dexter should have resumed things with Rita without having his crazy stalker ex running after him all the time breaking into his car. Once Deb and Lundy became an established couple, Deb became almost unbearable with her constant insecurity and need to be addressed as a woman rather than just one of the pack (which happened once in this episode). As I mentioned earlier, Lundy was fascinating at the beginning, but pretty lame and defunct by the end, as all his dinosaur allusions would suggest. For next year, I would suggest that someone else, definitely Deb, find out about Dexter’s true self, but I like where the last scene is heading, with Dexter’s declaration that does not really know if he can control himself anymore, or if he wants to.

Season grade: B+

What I'm Watching: 30 Rock

30 Rock: Season 2, Episode 9 - No Title - (B)

This episode is one of those funny-but-weird ones which makes you laugh but ultimately makes no sense. I would love for this show to be more consistently grounded. The Christmas party bombing turns into a staff attempt to show the world what Christmas is really about - that is just plain weird. Kenneth has become too much of a stickler for goodness and kindness and the like. I preferred him in his page-off that almost was, or in his awkward romantic moment with the slutty secretary in last year's "Hardball". Maybe later.

One left for "30 Rock", airing January 10th.

What I'm Watching: Smallville

Smallville: Season 7, Episode 9 "Gemini" (F)

I wish "Smallville" would take some bigger leaps and actually put its characters in serious jeopardy rather than obvious situations where Clark can easily save them. The bomb was not even on Chloe! It was in her purse! That bomber had better hope that Chloe brings her purse with her everywhere he goes, otherwise he is screwed. Daily Planet editor Michael Cassidy had better really be Julien Luthor, because that is a lame twist if it does pan out and turn out to be in fact true. This show is never good at actually making progress (Clark telling Lana in the 100th episode before her memory was erased, Chloe having a healing factor that saved both her and Lois) and it would be nice if for once a truthful and lasting development could occur. Where the hell is Supergirl? She just flew off the show. Even Lois was in this episode.

"Smallville" returns on January 31st, an hour before the much more highly anticipated premiere of "Lost". Those two should make for an interesting pairing, especially because the latter should actually make some progress and be slightly satisfying.

**In my initial post, I completely forgot to mention the whole Clark-as-Brainiac thing. I was reminded of it reading this week's issue of "TV Guide". That is an interesting twist, but that means we have to see Tom Welling try to act bad-ass again. Ick.

What I'm Watching: Pushing Daisies

Pushing Daisies: Season 1, Episode 9 "Corpsicle" (B+)

While I am not so sure how I feel about Pee-Wee Herman's character, I do love the fact that Ned and Chuck are such a reliable couple that even though she may have to be mad at him for a while, they will always bounce back. Emerson is really a hoot, and I am so happy that Chi McBride has this role where he can fully release himself and just have a ball. I would love to see a bit more of Olive and her own plotlines. While I love the aunts, Kristin Chenoweth is too good an actress to be relegated to an always-supporting role. This is it for the show right now due to the writers' strike, but I think the show will be just as bright and fun when it returns come _______.

Golden Globe Nominees: Overall Reactions

With the exception of "Californication" in the Comedy Series category and the overwhelming love for "Longford", there is little too exciting about all these nominations. The Globes seem to have embraced less untraditional fare this year, instead going for popular new cable dramas like "Damages", "Mad Men", and "The Tudors". I know that the Globes have a tendency to drop shows off their lists permanently, but it pains me to think about how many great programs and performances were left off this list. Edie Falco manages a last-ditch nomination for "The Sopranos" while Walton Goggins is left off in favor of Kevin Dillon and William Shatner? The main problem is there is nothing to be too upset about. Dillon, Shatner, and even "Extras" are not that bad - they are even somewhat good. What upsets me is that this is an awards group known for its unconvential and random choices, and I feel like this year's were just a bit too predictable. Overall, I got 29/60, or 48%, though without the five extra nominees I would have ended up at a slightly more respectable 52%.

About the nominations announcement: I got up this morning and watched the taped broadcast on E! and was completely turned off. They recapped a bunch of the previously announced nominees instead of showing the footage, and their supposed expert was completely wrong about everything she said. She thought it was a complete surprise that "Desperate Housewives", "Heroes", "Lost", and "24" were all shut out even though that was absolutely predictable (I predicted one nod apiece for "Housewives" and "Lost"). She thought that AMC's show "Modern Men" (the "modern" is often pronounced "mad") would do well. And worst of all, when asked whether Hayden Panettiere would receive a nomination because she was chosen to announce the nominees, she referenced Eric McCormack announcing the Globes a few years back and how he did not get nominated. Except that he was announcing the Emmys. Oops. Some expert. Next week, SAG nominees are announced on TNT, where hopefully our commentators know a tiny bit about their supposed expertise. And maybe there will even be normal presenters.

Golden Globe Nominees: Best TV Series - Drama

The nominees:
BIG LOVE
DAMAGES
GREY'S ANATOMY
HOUSE
MAD MEN
THE TUDORS

My predictions: Just 1/5, choosing only "Mad Men" and otherwise opting for "Dexter", "Dirty Sexy Money", "Lost", and "The Riches", each of which would have added up to a much better list.

Returning nominees "Big Love" and "Grey's Anatomy" just will not go away, though I suspect that the former has a much longer life left in this category. Globe voters must still love the show even though many viewers no longer like it. "House" did creep into this category, which I had hoped would not happen. I had it in my predictions for so long, but switched it out at the last minute for "Lost", which was entirely shut out. I saw "Mad Men" coming but failed to prepare myself for the onslaught of "Damages" and the recognition for "The Tudors". Oh, well.

Who will win? I think this is where Mad Men starts gobbling up awards, unless Patty Hewes from Damages can stop it.

Golden Globe Nominees: Best TV Series - Comedy/Musical

The nominees:
CALIFORNICATION
ENTOURAGE
EXTRAS
PUSHING DAISIES
30 ROCK

My predictions: 3/5, missing "Californication" and "Extras" in favor of "Flight of the Conchords", "The Office", and my sixth choice, "Weeds".

I am beyond ecstatic for "Californication". Much as I wish "Flight of the Conchords" was here, I can at the very least revel in the fact that the second-best new comedy of the year made it in. Too bad they had to drop "Weeds" from this category to make room. I am sick of "Extras" just because it is not that good, especially the second season of the show (though I find it impossible to discern what season is being nominated here, whether it is the show's second or the extra-special series finale I still have yet to see). "30 Rock" really inserted itself her after a nomination & win for Alec Baldwin last year. Even harder to believe, but utterly fantastic, is the fact that "Entourage" is now the longest-running nominee in this category, going on its fourth nomination.

Who will win? I hate to say it, but it is probably Extras, though newcomer Pushing Daisies may have enough steam to make it to the finish line.

Golden Globe Nominees: Best Supporting Actress in a Television Series

The nominees:
RACHEL GRIFFITHS, BROTHERS & SISTERS
ANNA PAQUIN, BURY MY HEART AT WOUNDED KNEE
ROSE BYRNE, DAMAGES
KATHERINE HEIGL, GREY'S ANATOMY
SAMANTHA MORTON, LONGFORD
JAIME PRESSLY, MY NAME IS EARL

My predictions: A grand 0/6, figuring Morton would be promoted to lead and choosing instead Elizabeth Mitchell, Jenna Fischer, Kristin Chenoweth, Judy Davis, and Elizabeth Perkins. But I still think my list is better.

I cannot comment on Anna Paquin, having not seen that movie, and I have said more than enough about Pressly in the past. Griffiths is stuck in a bad role, Heigl is bad on her show and should have gotten nominated for "Knocked Up" on the film side of things instead. So happy for Morton. Rent "Longford" on DVD. I promise it is worth it. As for Rose Byrne, if she is not a lead, I do not know who is on any show. And also, she is awful on her show. How people can like the show I can comprehend a bit, but Byrne is terrible.

Who will win? They like to give it to mini-series or TV movie actresses, so I will guess Morton. It could just as easily be Paquin or recent Emmy winners Pressly or Heigl.

Golden Globe Nominees: Best Supporting Actor in a Television Series

The nominees:
WILLIAM SHATNER, BOSTON LEGAL
TED DANSON, DAMAGES
DONALD SUTHERLAND, DIRTY SEXY MONEY
KEVIN DILLON, ENTOURAGE
JEREMY PIVEN, ENTOURAGE
ANDY SERKIS, LONGFORD

My predictions: 3/6, picking Danson, Sutherland, and Piven but missing out on the rest for "Office" boys John Krasinski and Rainn Wilson.

I am utterly shocked but thrilled that Andy Serkis made it in as the lone non-series nominee in this category for his terrific but extremely brief performance in "Longford". I can live with William Shatner as long as that is all the recognition "Boston Legal" gets. I love Jeremy Piven, but I still cannot understand the broad hype for Kevin Dillon. He is great on the show, but on a list of the top six supporting actors on television? Hardly. They really loved "Damages". Donald Sutherland is surprisingly the only nominee from "Dirty Sexy Money", but at least it is a start.

Who will win? "Damages" star Danson should be able to win this one, but watch out for Sutherland.

Golden Globe Nominees: Mini-Series/TV Movie Categories

Best Actor in a Mini-Series or Made-for-TV Movie
ADAM BEACH, BURY MY HEART AT WOUNDED KNEE
ERNEST BORGNINE, A GRANDPA FOR CHRISTMAS
JAMES NESBITT, JEKYLL
JIM BROADBENT, LONGFORD
JASON ISAACS, THE STATE WITHIN

Best Actress in a Mini-Series or Made-for-TV Movie
BRYCE DALLAS HOWARD, AS YOU LIKE IT
RUTH WILSON, JANE EYRE
QUEEN LATIFAH, LIFE SUPPORT
SISSY SPACEK, PICTURES OF HOLLIS WOODS
DEBRA MESSING, THE STARTER WIFE

Best Mini-Series or Made-for-TV Movie
BURY MY HEART AT WOUNDED KNEE
THE COMPANY
FIVE DAYS
LONGFORD
THE STATE WITHIN

My predictions: 1/5, 3/5, and 3/5.

I have very little to say about these categories. I am thrilled about the love for "Longford" (also in the supporting categories) and thrilled that "The Starter Wife" was left over the best mini-series list. I would like to note that Ernest Borgnine is 90 years old and has just received his first nomination since 1955. Otherwise, I am really excited to see "The State Within" but saddened to find out that it will not be released on DVD until late February, well after these awards air. At least I do not have to watch "For One More Day" now.

Who will win? Best Actor should hopefully go to deserving Jim Broadbent, though I would be equally happy to see Jason Isaacs take home a trophy. Best Actress should be Debra Messing now that she does not have to contend with Helen Mirren. Best TV Movie is most likely Bury My Heart at Wounded Knee.

Golden Globe Nominees: Best Actress in a TV Series - Comedy/Musical

The nominees:
ANNA FRIEL, PUSHING DAISIES
CHRISTINA APPLEGATE, SAMANTHA WHO?
TINA FEY, 30 ROCK
AMERICA FERRERA, UGLY BETTY
MARY-LOUISE PARKER, WEEDS

My predictions: 3/5, pleasantly surprised to see Friel and Fey over Felicity Huffman and Julia Louis-Dreyfus.

I am equally happy to see "Ugly Betty" relegated to this category as I am to see "Weeds" at least represented here after no-shows Justin Kirk, Elizabeth Perkins, and the series itself. As for the three new nominees, Friel is a bit of a surprise and I still am not sure if I like her (I would have much rather seen Kristin Chenoweth get a nomination). I am thrilled for Tina Fey, and also for Christina Applegate, since it is increasingly clear that her show's quality may not last the entire season and that this may be her one shot at a nomination.

Who will win? I would say Applegate has the best shot since none of these specific performers have any buzz right now, and her show is the hottest of them all at this moment.

Golden Globe Nominees: Best Actor in a TV Series - Comedy/Musical

The nominees:
DAVID DUCHOVNY, CALIFORNICATION
RICKY GERVAIS, EXTRAS
STEVE CARRELL, THE OFFICE
LEE PACE, PUSHING DAISIES
ALEC BALDWIN, 30 ROCK

My predictions: 4/5, predicting Tony Shalhoub over Gervais.

That darn Ricky Gervais just keeps popping up and snatching up trophies. "Extras" is a decent show but hardly worth bumping notable players like Shalhoub, who may never return to the list of nominees now. The rest is as expected pretty much, and makes for a very good list.

Who will win? I personally am rooting for Duchovny, but I know better than to bet against Gervais, especially because this is the last time he can get nominated for "Extras".

Golden Globe Nominees: Best Actress in a TV Series - Drama

The nominees:
SALLY FIELD, BROTHERS & SISTERS
KYRA SEDGWICK, THE CLOSER
GLENN CLOSE, DAMAGES
PATRICIA ARQUETTE, MEDIUM
MINNIE DRIVER, THE RICHES
HOLLY HUNTER, SAVING GRACE
EDIE FALCO, THE SOPRANOS

My predictions: 5/7, which is technically 100% since they nominated all five of my choices and just tacked on Arquette and Falco.

What you just read is it in a nutshell. For some reason, Edie Falco is the one performer who managed to get enough votes to place from "The Sopranos". I find that quite interesting, but I think it is highly unlikely that she can manage a win without any other support for the show, and especially considering her limited role. Driver and Hunter are the lone representatives of their new shows, and Arquette and Sedgwick are the only nominees from their shows as well. Sally Field has company from supporting co-star Rachel Griffiths, but Glenn Close is a clear favorite as her show received three other nods.

Who will win? I want to say Driver, but I have a terrible feeling this one goes to Close (or Field).

Golden Globe Nominees: Best Actor in a TV Series - Drama

The nominees:
BILL PAXTON, BIG LOVE
MICHAEL C. HALL, DEXTER
HUGH LAURIE, HOUSE
JON HAMM, MAD MEN
JONATHAN RHYS-MEYERS, THE TUDORS

My predictions: 3/5, missing Paxton and Rhys-Meyers for Peter Krause and Eddie Izzard

This is not a bad list, but where the hell is Eddie Izzard? What does this man have to do to get some awards attention? I made the wrong call on "Big Love" which came back doing just as well as it did last year. I completely forgot about "The Tudors", figuring everyone else had after its near shut-out at the Emmys earlier this year. I am proud of the "Mad Men" call, since the Globes especially like to nominate the lead performer (see: "Prison Break") even if they will never get any attention afterwards.

Who will win? I think Michael C. Hall has the upper hand here. His show has gotten all the more popular, plus it did not get a series nod, so this is the only chance voters will have to award it. Or they could just change the name of this category to the Hugh Laurie award if he picks up his third consecutive trophy.

Final Golden Globe Predictions

It is a sad day when there is absolutely no new interesting television on at night. This week features only three remaining new installments: "Pushing Daisies", "Smallville", and "30 Rock". But fortunately, Golden Globe nominations are announced Thursday morning.

My predictions are hardly changed from the musings I posted a few weeks ago. My mini-series and TV movie predictions are as always completely arbitrary and only really account for the most popular and broadly appealing fare (i.e. “Tin Man”). I am feeling pretty confident about most of these categories, with the definitive exception of the supporting categories. There may be also be actors from TV movies and mini-series which could fill those slots up fast. I think the film side of things will be far more interesting. I am omitting alternates here because I do not feel that the races will be terribly close; instead shocking, completely unexpected nominees like Wentworth Miller for “Prison Break” will show up unannounced. Nominees announced Thursday morning, reactions soon afterward.

No Guts, No Glory
BATTLESTAR GALACTICA for Best Actress or Best TV Series – Drama

Best Actor in a TV Series – Drama
MICHAEL C. HALL, DEXTER
PETER KRAUSE, DIRTY SEXY MONEY
HUGH LAURIE, HOUSE
JON HAMM, MAD MEN
EDDIE IZZARD, THE RICHES

Best Actress in a TV – Drama
SALLY FIELD, BROTHERS & SISTERS
KYRA SEDGWICK, THE CLOSER
GLENN CLOSE, DAMAGES
MINNIE DRIVER, THE RICHES
HOLLY HUNTER, SAVING GRACE

Best Actor in a TV Series – Comedy
DAVID DUCHOVNY, CALIFORNICATION
TONY SHALHOUB, MONK
STEVE CARRELL, THE OFFICE
LEE PACE, PUSHING DAISIES
ALEC BALDWIN, 30 ROCK

Best Actress in TV Series – Comedy
FELICITY HUFFMAN, DESPERATE HOUSEWIVES
JULIA LOUIS-DREYFUS, OLD CHRISTINE
CHRISTINA APPLEGATE, SAMANTHA WHO?
AMERICA FERRERA, UGLY BETTY
MARY-LOUISE PARKER, WEEDS

Best Actor in a TV Movie / Mini-Series
AIDAN QUINN, BURY MY HEART AT WOUNDED KNEE
CHRIS O’DONNELL, THE COMPANY
MICHAEL IMPERIOLI, FOR ONE MORE DAY
TOM SELLECK, JESSE STONE: SEA OF CHANGE
JIM BROADBENT, LONGFORD

Best Actress in a TV Movie / Mini-Series
ELLEN BURSTYN, FOR ONE MORE DAY
RUTH WILSON, JANE EYRE
QUEEN LATIFAH, LIFE SUPPORT
SAMANTHA MORTON, LONGFORD
DEBRA MESSING, THE STARTER WIFE

Best Supporting Actor in a Television Series
TED DANSON, DAMAGES
DONALD SUTHERLAND, DIRTY SEXY MONEY
JEREMY PIVEN, ENTOURAGE
JOHN KRASINSKI, THE OFFICE
RAINN WILSON, THE OFFICE

Best Supporting Actress in a Television Series
ELIZABETH MITCHELL, LOST
JENNA FISCHER, THE OFFICE
KRISTEN CHENOWETH, PUSING DAISIES
JUDY DAVIS, THE STARTER WIFE
ELIZABETH PERKINS, WEEDS

Best Mini-Series or TV Movie
BURY MY HEART AT WOUNDED KNEE
THE COMPANY
LONGFORD
THE STARTER WIFE
TIN MAN

Best TV Series – Comedy/Musical
ENTOURAGE
FLIGHT OF THE CONCHORDS
THE OFFICE
PUSHING DAISIES
30 ROCK
WEEDS (6th nominee)

Best TV Series – Drama
DEXTER
DIRTY SEXY MONEY
LOST
MAD MEN
THE RICHES

What I'm Watching: Samantha Who?

Samantha Who: Season 1, Episode 9 "The Break-Up" (C+)

Maybe this show was only good for a few episodes. Sam has quickly gone from perky and sympathetic to overly high-pitched and altogether too mobile, physically freaking out all the time about every little thing. The "love" scenario is okay but honestly, does Eddie Cibrian have anything to do besides sit there and look stupid asking lots of questions? The supporting players are benched for most of this episode, and I think Sam needs a bit less "me time" at this point. Let's see some more of the budding would-have-been romance between Todd and Dena. And much as I love Tuvok, a.k.a. Tim Russ the Doorman, he needs to go stat. His purpose is very thin and the deep-voiced deadpan style does not work in this setting.

**I had been planning to watch "For One More Day", the extremely sappy-looking adaptation of Mitch Albom's book starring Michael Imperioli, but never got around to it, mostly for lack of interest. I still have it on tape, and may wait until Thursday's nominations and let that decide if I watch it. Same goes for "Tin Man", though my interest there is much greater, but there is lot more to watch there (6 hours, if I am not mistaken). Reviews of those will be posted when I watch them.**

What I'm Watching: Dexter

Dexter: Season 2, Episode 11 "Left Turn Ahead" (B)

Lila's constant need for attention is not just occupying too much of Dexter's time; it is taking up too much of each episode's precious minutes. At least she is doing something productive by threatening to press charges against Batista if Dexter refuses to come back and be with her. She was such a strong character in the beginnign of the season, defying the stereotypical "hot sponsor who only wants to help" image and becoming an impressive character. Now she has gone off the deep end and the only thing that is impressive, and not in a good way, is her ability to remain desperate and manipulate everyone around her. Deb is still quite whiny about her relationship with Lundy, and that is also taking up too much of the show's attention. Dexter and Doakes are really the most interesting part of the series, and their conversation in this episode demonstrates that well. As for that ending - next week will be mighty interesting.

USA Celebrates the Holidays: Monk & Psych

Monk: Season 6, Episode 10 "Mr. Monk and the Man Who Shot Santa" (B+)
Psych: Season 2, Episode 10 "Gus' Dad May Have Killed An Old Guy!" (B+)

I very much enjoyed the one-shot returns of each of these likeable comedies. The episode of "Monk" was slightly flimsy on its setup, but the overarching Santa theme worked well and Tony Shalhoub gave a wonderful performance. I liked Gus' parents on "Psych", played by Phylicia Rashad of "The Cosby Show" and Ernie Hudson. Neither episode is particularly stellar or terribly memorable, but they both represent their shows and their often perfectly average quality. I enjoy them both on a week-to-week basis, and sometimes I am more impressed than others, but often than not, I am smiling at "Monk" and laughing at "Psych" but nothing much more. Nevertheless, I do like these shows and am excited for their respective returns in about a month.

What I'm Watching: Women's Murder Club

Women's Murder Club: Season 1, Episode 9 "To Drag and to Hold" (B-)

I will give the show some credit for dealing with the Tom-getting-married thing without making too much of a fuss. Lindsay's scene where she extends her "warmest congratulations" is an example of a good usage of that plotline, but her calling just as Tom was saying I do and Heather's less-than-inspired speech telling off each of the club members are a bit much. The supporitng characters have really come into their own, and I will admit that I am growing fonder of each of them. Cindy is particular would be a lot of fun if they gave her more screentime, like they did in that episode where the guy hopped in her car. The end of this episode is a nice fresh point to start from, i.e. we have now moved on from Tom (though that was not a bad arc). This seems to be very "Profiler"-esque, utilizing a villain who has a true affection/hate for his number one pursuer. Jack-of-all-Trades on "Profiler" killed Samantha's husband - hopefully one of the women's murder club members will not have to die. "Women's Murder Club" returns.....who knows?

Preliminary SAG Predictions: Best Ensemble in a Drama Series

The following represents some preliminary thoughts on Screen Actors’ Guild Awards contenders for the given category. Predictions will be revisited following the announcement of the Golden Globe Awards nominations, which often indicates how well new shows will fare. This category tends to recognize larger casts.

Last year’s nominees:
BOSTON LEGAL
DEADWOOD (show ended)
GREY’S ANATOMY (winner)
THE SOPRANOS
24

This year’s top contenders:
BIG LOVE
This one just screams “ensemble”, and judging from the pilot (the only episode I have ever seen), the cast works extremely well together. If the show is popular enough with voters, the cast might be recognized, though this is a crowded field.

BOSTON LEGAL
I’ll be brief so as not to get myself worked up. “Boston Legal” was nominated in this category last year after being nodded in the comedy ensemble category the year before. If that makes sense to you, go ahead and expect another nomination here this year.

BROTHERS & SISTERS
What happens when you put together a group of pretty good actors and give them bad roles on a bad show? Emmy Awards! And maybe SAG awards! I do not think this show has too much of a chance but it is a big cast with a lot of popular stars, some of whom are actually decent (Rachel Griffiths).

THE CLOSER
The TNT drama’s cast made it in for the freshman year of the show, though three of the recurring players were criminally snubbed (they have now been added to the cast and would be nominated were the show recognized). “Without a Trace” was nominated in 2003, never to return, and then “The Closer” was nominated two years later, and I feel like this is one procedural that, while still appealing to fans, had its shot at this kind of award in its first year and is unlikely to get it again.

DEXTER
I predicted this show last year for this category, hoping that the stellar but underpraised ensemble would get some recognition. This year, the cast has been just as good, but the problem lies with praise being directed at only select members of the cast (mostly Michael C. Hall and Julie Benz). The addition of Keith Carradine might help, even though he is not a frequently-rewarded actor.

DIRTY SEXY MONEY
The good is that this show has an amazing cast which is both funny and serious at the same time and probably one of the best ensembles on television right now. The bad is that in the entire history of the SAG awards, no new fall network show has ever been nominated in this category (even “The West Wing” had to wait until its second broadcast year). I think the ensemble might be able to overcome this obstacle, but those are not good odds.

GREY’S ANATOMY
Two nominations thus far, and coming off a win last year. But the show has apparently plummeted in quality this season, and last year’s winners have not been doing well recently (both “CSI” and “Lost” dropped off the list immediately after winning). The ensemble probably has not changed much, with the addition of Chyler Leigh as Meredith’s sister (I think she is still around) and the departure of Kate Walsh for “Private Practice”. I have heard that George and Izzie are quite icky together, and their Emmy nominations this past year may now be kaput due to their “relations” bringing down the show.

HOUSE
I am not quite sure what happened with the ensemble on this show this past year as I have heard that the entire supporting staff was fired and replaced with the likes of Kal Penn and some others. The ensemble has never been recognized before, and from my limited experience with them, I hardly think they deserve it, but this show has continually popped at a number of different awards shows and I see little reason why it could not seep in here.

LOST
The ABC drama has only been nominated once in this category, when it won in 2005 for the second half of its first season and the first half of its second. The show suffered some quality issues this year, but I think that the cast had little to do with that. They may not have been as strong as in the first season, but new members Henry Ian Cusick, Elizabeth Mitchell, and Michael Emerson should certainly help. Shows rarely take a year off then return in this category, but both “Law & Order” and “24” have done so in recent years, and I thin “Lost” has a far more stable (in terms of quality of performance, not staying on the show very long) and reliable cast.

THE SOPRANOS
The cast of HBO’s recently departed dramedy has been nominated in this category every year since the show’s inception. The finale was controversial in terms of resolving the series, but I would say that the cast did a great job this year. This is also a perfect category for this cast: so many actors, such as Vincent Curatola, Lorraine Bracco, and Aida Turturro, appeared in precious few episodes but gave tremendous performances. This ensemble award should give them their due. “The Sopranos” has only won once, for its first season, losing in past years to “The West Wing”, “Six Feet Under”, and “CSI”, all of which will certainly be absent from this list, and “Lost” and “Grey’s Anatomy”, which will have to struggle to get nominated let alone win. I would say that this is pretty much in the bag.

Current predictions:
THE CLOSER
DEXTER
DIRTY SEXY MONEY
LOST
THE SOPRANOS

What I'm Watching: Scrubs

Scrubs: Season 7, Episode 6 "My #1 Doctor" (C+)

Special all-Janitor post, because nothing else was interesting or memorable enough.

I read a while back that Neil Flynn had wanted the janitor to get both a name and a girlfriend before the show was over. While I certainly respect the considerable and hilarious talents of Mr. Flynn, I feel that such a request does possibly irreperable damage to the show. To this point, the Janitor has been basically friendless and certainly womanless character, who hung out with other despised hospital employees. He was originally written as a one-shot guest for the pilot, but his "did you put that penny in there?" bit earned him a permanent spot on the serries. His purpose was to torment J.D. and they even managed to insert him into continous and compelling plotlines with Elliot (a.k.a. Blonde Doctor), Carla, and Dr. Cox. But by turning another one-shot joke, his girlfriend's name being Lady, into a drawn-out story in itself which encompasses more than a third of the episode, he is losing his purpose. Dramatic storylines were not what the Janitor was meant for - he was supposed to be doing stuff like going to his son's elementary school class and introducing himself as Dr. Jan I. Tor. I want to see more of that, and if that requires less screentime for the Janitor, I think it is worth it, as long as all this girlfriend nonsense stops pronto. And we better not find out his time. Unless it is, in fact, Jan I. Tor.

What I'm Watching: 30 Rock

30 Rock: Season 2, Episode 8 "Secrets and Lies" (B)

The episode as a whole did nothing much for me, but the last scene alone is worth the price of admission. The confessions which include the likes of "I voted for Ronald Reagan" and "I'm gay!" lead to someone saying "I'm black!" and then a quick shot of the first guy saying "I killed my wife!" leading right into a commercial break. It is scenes like this which catapult "30 Rock" to the top of everyone's best shows lists. A few weeks ago, when Jack has his therapy session as every one of Tracy's family members, and last year when Jenna said she was voting for Osama and that U.S. troops should start hunting down Obama, those are two wondrous scenes which make the episode. Rarely does this show have an episode as collectively amazing as "Seinfeld Vision", but I live for these small wondrous moments.

What I'm Watching: Dirty Sexy Money

Dirty Sexy Money: Season 1, Episode 10 "The Nutcracker" (B+)

I really do wish that Lisa would have just let loose and kissed Jeremy. I am obviously not supporting infidelity, but it would be nice to see someone outside of this crazy, wacky family make an unwise decision for once. I am glad that Alex Nesic from "Sleeper Cell" is checking in as Juliet's new flame, especially because this means we will have more screentime for Samaire Armstrong. Best of all, though, what an excellent twist at the end of the episode! This show continually keeps its viewers on their toes - seemingly ignorant, self-obsessed Karen is actually manipulating Simon Elder on behalf of her father. I think there are a few of these left in the can, and hopefully ABC will air them soon.

Preliminary SAG Predictions: Best Ensemble in a Comedy Series

The following represents some preliminary thoughts on Screen Actors’ Guild Awards contenders for the given category. Predictions will be revisited following the announcement of the Golden Globe Awards nominations, which often indicates how well new shows will fare. This category recognizes ensembles of as little as four people and as many as well over twenty.

Last year’s nominees:
DESPERATE HOUSEWIVES
ENTOURAGE
THE OFFICE (winner)
UGLY BETTY
WEEDS

This year’s top contenders:
CURB YOUR ENTHUSIASM
This is the last show I would ever think of when the word “ensemble” comes to mind, but SAG voters nominated it two years ago when the show was last eligible. This feels like a one-time thing to me because there really are only about four of them and while they work hard they are hardly an ensemble.

DESPERATE HOUSEWIVES
The ABC show has been nominated three years running, picking up the award twice before finally losing to “The Office” last year. I think it may be time to say goodbye to Wisteria Lane, as the show has been packing on new characters who have really been doing nothing to enhance the quality of the show, with the exception of Dana Delany. Only Felicity Huffman is generating any buzz, and just because the ensemble now includes 25+ members does not mean it is a good one.

ENTOURAGE
The relatively small but excellent cast of the HBO comedy was nominated for the first time last year. They continue to work so well together and each member has only gotten better in the interim. An HBO comedy has been nominated in this category for the past seven consecutive years, and with “Sex & the City” off the air and “Curb Your Enthusiasm” not the typical ensemble show, “Entourage” seems a safe bet.

HOW I MET YOUR MOTHER
I was going to put “My Name is Earl” in the top ten because it is the only other currently running show to ever earn a nomination in this category (going alphabetically, of course). It then occurred to me that if they did not nominate it last year there is little reason to bring it back (only three shows have ever been nominated after a break). Instead, how about a highly buzzed-about show as an unexpected nominee? This kind of inclusion often happens in the drama ensemble category with freshmen series, but I just feel like HIMYM is on the cusp of receiving a nomination.

THE OFFICE
While the recent episodes have waned a bit in quality, the ensemble has remained strong. They are underused to a point, but each has had his or her moment to shine in the past year. I think “The Office” is absolutely safe and could easily pull off another win.

PUSHING DAISIES
This seems like the new comedy most likely to succeed. I do enjoy the ensemble of Lee Pace, Anna Friel, Chi McBride, and Kristen Chenoweth who all bring something markedly different to the table. Throw in Chuck’s two aunts and you have a pretty impressive cast. I still think that the genre may be too much for SAG members, but this is the freshmen series with the best shot.

SCRUBS
SAG voters have had six chances to nominate this terrific ensemble for this award and never once done so. I sadly fear that it is too late for this departing series. The cast is no longer as stunningly brilliant as they were in the first two seasons, and the show itself is becoming less inventive. I predicted “Scrubs” in this category the past two years, hoping they would finally take the hint, but I think it is time to let it go.

30 ROCK
Last year, this wondrous cast missed out on a nomination when viewers will still unsure of how they felt about the show and all the buzz was for Alec Baldwin. “The Office” scored a nomination (and win) in this category following its Emmy win for Best Comedy Series, and I think “30 Rock”, with its barrage of supporting players, including Jack McBrayer and Jane Krakowski, should definitely make it in.

UGLY BETTY
Last year’s buzzed-about ABC comedy failed to win this prize after snatching up the Golden Globe for Best Comedy Series. I would hope that voters lose interest, but I am not confident that all the hype was just there at the beginning and I feel like anyone who liked it back then still likes it.

WEEDS
The Showtime comedy made an entrance into this category last year for the show’s second season. The ensemble has been just as hard-working this past year with a few notable additions and I think it should have no trouble returning to the list.

Current predictions:
ENTOURAGE
HOW I MET YOUR MOTHER
THE OFFICE
30 ROCK
WEEDS

Preliminary SAG Predictions: Best Actress in a Comedy Series

The following represents some preliminary thoughts on Screen Actors’ Guild Awards contenders for the given category. Predictions will be revisited following the announcement of the Golden Globe Awards nominations, which often indicates how well new shows will fare. This category combines performance in the lead and supporting categories for an odd assortment of nominees which really varies from year to year.

Last year’s nominees:
FELICITY HUFFMAN, DESPERATE HOUSEWIVES
JAIME PRESSLY, MY NAME IS EARL
JULIA LOUIS-DREYFUS, OLD CHRISTINE
AMERICA FERRERA, UGLY BETTY (winner)
MARY-LOUISE PARKER, WEEDS
MEGAN MULLALLY, WILL & GRACE (show ended)

This year’s top contenders:
MARCIA CROSS, DESPERATE HOUSEWIVES
Cross has yet to be nominated for a SAG award for her performance as the immutable Bree. She was off the show for a good portion of this year due to her real-life pregnancy and I do not know about the reception to her performance since she has been back. I think her time has passed, at least in regards to SAG, and she may fare better with a strong episode submission at the Emmy awards.

FELICITY HUFFMAN, DESPERATE HOUSEWIVES
Huffman has been nominated now two years running, winning in 2005 for her role as Lynette on the ABC dramedy. I feel like she could easily stick around for a good long while despite my continuing contention that Eva Longoria is the strongest actress on the show at this point (though this season does not look good for anyone, except Cross, who has had one powerful episode).

JAIME PRESSLY, MY NAME IS EARL
Ick. She won the Emmy, why not the SAG? I only hope, as I do with every other awards guild, that the nonexistent buzz for the show will translate to people realizing that this is not a good show and none of its performers deserve any awards of any kind.

JENNA FISCHER, THE OFFICE
Did I mention in my Actor in a Comedy Series predictions that I will never give up on certain people? This is actually my first time predicting Fischer for the SAGs despite placing her on every list for every other award out there. To be both pessimistic and realistic, I am not convinced that Fischer will make it in simply because she often fades into the ensemble, despite some truly brilliant episodes this year. REVISE THAT STATEMENT – after looking at all the contenders, I am left with no choice but to put Fischer’s name on my list because voters should really spice it up somehow.

JULIA LOUIS-DREYFUS, OLD CHRISTINE
I actually typed “Seinfeld” by accident as the title of this show. I think SAG voters are making the same mistake. Louis-Dreyfus is nails-on-a-chalkboard awful on her new show, but voters may want to continue rewarding the actress they once showered with five consecutive nominations and two wins for an infinitely better role and show.

KRISTEN CHENOWETH, PUSHING DAISIES
Chenoweth has not had any experience with SAG to this point and I think “Pushing Daisies” may be a bit outside their comfort zone. Chenoweth is the brightest and most enthusiastic on the show, which could work well for her, but performers rarely get nominated in this category without a corresponding nomination for another performer on the show.

CHRISTINA APPLEGATE, SAMANTHA WHO?
Applegate is bright-eyed and fresh on the show, but it hardly seems like something worthy of an award from the Screen Actors’ Guild. Then I remember that Charlie Sheen somehow earned a nomination from SAG three years ago. Applegate certainly puts a great deal more effort into her portrayal of an amnesiac, but can she beat out a bunch of showier comedians?

TINA FEY, 30 ROCK
SAG seems least likely of any awards guilds to nominate performers who focus more on the creative development of their shows. Larry David did earn a nomination two years ago, but I think Fey still plays the “straight man” a bit too much to be noticed by voters. Her Emmy nod, even though I predicted it, came as a surprise, and I think this is a stretch.

AMERICA FERRERA, UGLY BETTY
Ferrera is without question the best thing about her dismal, overrated series. I do not mind Ferrera returning to the list as much as I do the obnoxious presence of her show’s ensemble cast. I see no reason why she should be booted from the list so early, especially when there is relatively little competition from new shows to take her spot.

MARY-LOUISE PARKER, WEEDS
Parker just finished, in my opinion, her best season yet as the pot-dealing single mother of two in the suburb of Agrestic. Parker has two nominations to go with two seasons of the show; a third seems entirely likely. Internal competition should not be too much of a problem – Elizabeth Perkins, while she was great in this season, had a fairly limited role, and has never managed to earn a SAG nomination for “Weeds”.

Current predictions:
FELICITY HUFFMAN, DESPERATE HOUSEWIVES
JENNA FISCHER, THE OFFICE
JULIA LOUIS-DREYFUS, OLD CHRISTINE
AMERICA FERRERA, UGLY BETTY
MARY-LOUISE PARKER, WEEDS

What I'm Watching: Reaper

Reaper: Season 1, Episode 10 “Cash Out” (C+)

I feel like the souls keep getting much easier to catch. The dragging through the wall gimmick is something we have not yet seen, but the vessels keep getting lamer and the villains themselves more innocent. Hell is supposed to be a place for the worst kind of sinners, yet these guys really are not as bad as they are made out to be. I do like the progress with the love lives of our two male protagonists. Sam dating is good for him, even if she might be the devil’s daughter, and I enjoyed seeing Andi ask about him and seeming cast off by the fact that he did not tell her he was involved with someone. Sock finally gets something serious to do, and Valerie Rae Miller has been criminally underused after brief appearances in the first few episodes. As I have said before, this show needs some work, but with a few small tweaks, it should do fine once it returns following the resolution of the writers’ strike.

What I'm Watching: Samantha Who?

Samantha Who: Season 1, Episode 8 “The Car” (C)

I had suggested moving away from Sam’s amnesia a bit, but I do not know what happened here. The staredown with close-ups on Andrea and Sam’s eyes was bizarre and totally uncalled for, and Sam’s vindictiveness towards her mother’s lying makes her seem far too much like the bitch she used to be. Perhaps the problem is that Sam spends too much time with the same people. She had amnesia – she needs to get out and explore the world! Her parents are vicious liars and her friends are either too clingy or totally self-obsessed. Sam really does need some “me time”, but needs to get out and travel the world rather than uncovering the deception that pervades her home and current social life. It can all be funny to a point, but if the show wants to succeed as a series, some serious therapy is needed.

What I'm Watching: Heroes (Fall Finale)

Heroes: Season 2, Episode 11 “Powerless” (F)

I am going to try to go point-by-point through this episode and its characters and attempt to avoid going on too long a rant, but I doubt I can stop myself. First off, Adam and Peter all really not a good pair for a number of reasons. Them walking down the Primatech Paper hallway looking like they are too cool for school is obnoxious. Adam wielding his sword to knock out security guards makes him look like an idiot. And Peter more often than not looks confused. Worse still, Peter’s extreme trust placed in other people seems so arbitrary. He so easily takes Adam and even knocks out Hiro (which was pretty lame) before instantly changing his mind to believe Nathan. He also makes a big show about getting to the virus in time (more on convenient timing later), but the writers continue to fail to capitalize on the fact that Peter is insanely powerful and can stop time at will and go back and stop the virus from being released. Making him seem too human and building Adam up is not a smart choice. As far as Hiro’s choice to inter Adam (in the 16th century, I thought) is clever but more than a bit morbid and atypical of Hiro’s kind nature. At least he did not kill him, I suppose.

I am tired of the Company. I never thought that a shady, all-manipulating organization called the Company could be any worse than the one from “Prison Break”, but now it comes close. Since Adam was the one who did want to release the virus, now suddenly the Company is no longer villainous? H.R.G.’s decision to come back and work for the Company makes little sense, as he is sure to prove untrustworthy for Bob’s purposes. Elle is also a loose cannon who needs to grow up a bit, heal that arm, and stop whining about impressing Daddy. She was a fascinating character back when she was just out of control, but this has gotten a bit much to handle. Her actions in this episode are so forced – she just happens to break into her dad’s office and pleasantly come upon the fact that Mohinder is under surveillance just as Sylar turns around tot look at the camera? So much for Elle and Sylar teaming up, as I had hoped. Oh right, I forgot, the Company are the good guys. Or are they?

It is always a token of good writing when a sneak attack such as Elle’s on Sylar is preceded by a loud shouting of the opponent’s name to alert him. How Sylar managed to grab the virus while lightning was being shot at him is a puzzle to me. I hate “Heroes” for its constant cheating – it purports that it will kill off characters but continually lies through its teeth and brings them all back. Sylar was the first, then H.R.G., and Maya only had to wait about a minute and a half before she was back on her feet and crying. If the show refuses to allow its characters to die and move on, each season will become cyclical and no developments will ever be made. Maya seems to have the same trust issues as Peter, i.e. baseless faith in people which changes right away for no reason. She went from cooking in someone’s apron (Matt’s, I am sure) to shouting at Sylar and getting herself shot then speedily revived. Sylar’s injection of himself to return his powers is another matter entirely, and I will discuss that at the end.

The infusion of far too many new characters was one of the biggest problems fans had with season two. What might have made it work, had it been done better, is that the characters finally came together. Adam, Maya, and Elle all had purposes which brought them to the other heroes. But I still fail to see the relevance for Monica as well as her cousin and aunt. Each time Micah popped up on screen talking about how he talked to the phone and told it to turn on (not cute! Just annoying!), I thought to myself how completely unrelated their story was. I never cared for Niki, as should be clear from my reviews, but she at least was slightly interesting when she was working for Linderman or when Micah was brought in to help create a landslide election for Nathan. Once again, the not-so-dynamic duo, a.k.a. Electric Boy and Woman-with-no-Powers, find Monica and that unsubtle red van just in the nick of time. Put some faith in our characters and their abilities and do not make their jobs so painfully easy! What really gets me is that we did not see Niki die. We saw Sylar, H.R.G, and Maya die and now they are all back. I really hope that writers take a cue and cut that entire storyline out. I cannot possibly imagine what use they would have for Niki come next season.

In terms of new directions, I got pretty excited towards the end of the episode. Claire going public would have been distracted because there probably would have been aggressive cheerleading and pathetic speech-giving involved, but Nathan doing so, in his political capacity, could have been excellent for the show. The show could have become more like “X-Men” or “Spider-Man” with the heroes coming together and really saving the world, rather than just shouting at each other’s minds (I am talking to you, Matt and Peter!). I do not see where the show can possibly go now. Worst of all, the last minute shows that the show is exactly back where it started.

Sylar was the villain of season one and they took him down; they stopped him. Now, after an entire season of people running around and saying stupid things, nothing has changed and Sylar is back in power. Much as Nathan annoyed me, he is the one who could most have inspired change for both the fictional world in the show and the show itself. After opinions were shifted just half an hour ago, the Company is suddenly evil again as Angela Petrelli orchestrates the murder of her own son (not the one she wanted to kill twenty minutes ago, of course). Volume three is titled “Villains” yet both of the supposed villains who would seem to be the Company and Sylar, who each had their seasons to shine. This season’s supposedly spooky Boogeyman proved to be nothing more than a grumpy old man. Mass murderer Adam was really just a pissed-off British guy who spoke Japanese. Elle, who might not even be a villain, could have been compelling had her maturity level not been lowered to an impossible point.

What could possibly be in store for the show next? I have no idea. My recommendation would be to scrap the whole Niki clan, get rid of Claire, introduce some kick-ass new villains, and emphasize the heroes teaming up more rather than getting into scrapes with each other. This show had some great episodes last year and even used new characters well (Claude and the exploding guy, for instance). I am hoping that creator Tim Kring’s realization that volume two sucked will lead him to reinvigorate the show’s third set of episodes, which should begin next fall or possibly earlier, depending on when the strike ends and how much faith NBC still has in the show.

Volume Two grade: F

Holiday Special: The Closer

The Closer: Season 3, Episodes 14 & 15 “Next of Kin, Part I & II” (B+)

This holiday special is a nice return to a show that never really fluctuates in quality. It started out with some terrific episodes at the beginning of this season, and is always a reliable and highly entertaining series. What it truly excels in is using its supporting characters to comic effect without compromising the seriousness of its central plotline. I am talking about the cross-country RV trip and Provenza’s reaction to seeing Brenda’s mom. The “villain” here is also not so villainous, though man is he determined to get out of those vehicles he is forced into for fugitive transport. This special is slightly frustrating in that no real plot-related developments occur than Brenda and Fritz’s finally selling the house and Brenda rectifying her relationship with her father. This is not a huge deal, as the case is good enough and can support this show. ‘Til next summer.

What I'm Watching: Chuck (Last Episode Produced)

Chuck: Season 1, Episode 11 “Chuck Versus the Crown Vic” (B+)

Sarah and Chuck really are very hot-and-cold. Use to be that Sarah would always run in after Chuck but now Chuck always feels the need to cling to Sarah and she is cold as anything to him. I do hope they can really work through this, but I must say that I am more excited to see what will happen with Casey and his recently received order to kill Chuck once the creation of the new intersect is finished. Casey has been a completely unreadable, stoic but entertaining character and I really do wonder what his loyalty to Chuck will be like. “Chuck” got a full season order but since the strike is still going on, it will be a while before any new episodes are produced. I am excited for the show’s return, and I think have a nice long life once it comes back.

Preliminary SAG Predictions: Best Actor in a Comedy Series

The following represents some preliminary thoughts on Screen Actors’ Guild Awards contenders for the given category. Predictions will be revisited following the announcement of the Golden Globe Awards nominations, which often indicates how well new shows will fare. This category combines performance in the lead and supporting categories for an odd assortment of nominees which really varies from year to year.

Last year’s nominees:
JEREMY PIVEN, ENTOURAGE
TONY SHALHOUB, MONK
JASON LEE, MY NAME IS EARL
STEVE CARRELL, THE OFFICE
ALEC BALDWIN, 30 ROCK (winner)

This year’s top contenders:
DAVID DUCHOVNY, CALIFORNICATION
Duchovny earned five consecutive nominations back in the day for his arguably less challenging work on “The X-Files”. Duchovny should be fine provided voters do not find his character too objectionable, but I doubt that will be a problem.

LARRY DAVID, CURB YOUR ENTHUSIASM
The extremely insensitive “Seinfeld” scribe popped up on this list two years ago when “Curb Your Enthusiasm” was last eligible. His performance is not one that necessarily qualifies as acting, and therefore his chances may suffer.

JEREMY PIVEN, ENTOURAGE
Piven got his first nomination last year for his stellar work on “Entourage”. I would say he is safe to stay for a while but supporting performers are especially vulnerable in the unpredictable race. Piven does have the added bonus of carrying his show on a good number of occasions.

TONY SHALHOUB, MONK
While he continues to be excellent, Shalhoub really has not added anything too revolutionary to his routine in the past few years. Voters likely still respect him, but may feel that he is not successfully reinventing himself enough. Shalhoub did miss out on a nomination two years ago. Working in Shalhoub’s favor is the SAG tendency to keep some actors way past their prime – Sean Hayes and Megan Mullally – and the quality of “Monk” has not even decreased (yet).

JASON LEE, MY NAME IS EARL
Lee is one of those actors who I like enough but I do not like their current role in the slightest. Lee has been nominated for the past two years and the only sign of letting up is the lack of chatter I have heard, negative or positive, about “My Name is Earl”. Newer, more exciting comedies may eclipse this tired, unfunny fare.

STEVE CARRELL, THE OFFICE
His performance has been spot-on this entire year, and it may well be his best yet. He somehow only earned his first nomination last year despite a brilliant first year in 2005 (season one and the first half of season two). I would say Carrell is part due.

JOHN KRASINSKI & RAINN WILSON, THE OFFICE
If you have read any of my other predictions, you will notice a trend. I refuse to believe that these two undeniably amazing comedians will go unrewarded by any organization for too long. I have predicted the two of them for each and every award for almost the entire run of their show (I have recently given up on predicting John C. McGinley for “Scrubs”, so I can now devote my full attention to these two). This past year, Wilson earned an Emmy nomination while Krasinski went once again unrecognized. My Golden Globe predictions include these two “Office” workers, so chances are they will show up either here or there, or better – both.

LEE PACE, PUSHING DAISIES
“Pushing Daisies” at this point is one of the most popular new shows of the season. Pace is extremely likeable, though I still say he was far more energetic on “Wonderfalls”. The fantasy/colorful nature of the show might be a bit outside the scope of SAG’s acceptable genres.

ALEC BALDWIN, 30 ROCK
The token craziness of Baldwin’s Jack Donaghy faded in the second half of the show’s season, but the popularity of “30 Rock” skyrocketed. While Baldwin’s character has yet to get all of his energy back, I cannot help but recall the recent scene where he portrayed every member of Tracy’s family in a mock therapy session. I think voters will be reminded of Baldwin’s talent even if he has not fully shown it this year.

Current predictions:
DAVID DUCHOVNY, CALIFORNICATION
STEVE CARRELL, THE OFFICE
JOHN KRASINSKI, THE OFFICE
RAINN WILSON, THE OFFICE
ALEC BALDWIN, 30 ROCK

Return Date for Jericho!

I am thrilled to announce that the season season of "Jericho" is slated for a premiere on Tuesday, February 12th in its new timeslot at 10pm. The show was renewed after being cancelled by CBS for a mere seven episodes, but strong ratings for this show that will air while all the others are out of episodes per the WGA strike should allow it to return. For anyone who has not yet seen "Jericho", the first season is out on DVD and I highly recommend checking it out. More importantly, tune in for those seven episodes to assure that CBS does not decide to axe "Jericho" again. February suddenly seems so far away, but it is a relief to know that the show is in fact coming back.

SAG Predictions: Best Actress in a Drama Series

The following represents some preliminary thoughts on Screen Actors’ Guild Awards contenders for the given category. Predictions will be revisited following the announcement of the Golden Globe Awards nominations, which often indicates how well new shows will fare. This category combines performance in the lead and supporting categories for an odd assortment of nominees which really varies from year to year.

Last year’s nominees:
KYRA SEDGWICK, THE CLOSER
CHANDRA WILSON, GREY’S ANATOMY (winner)
MARISKA HARGITAY, LAW & ORDER: SVU
PATRICIA ARQUETTE, MEDIUM
EDIE FALCO, THE SOPRANOS

This year’s top contenders:
SALLY FIELD, BROTHERS & SISTERS
While I had hoped that Field would not figure into awards race after her Emmy nomination, her Emmy win seems to solidify her chances. With the SAG Awards in particular, she has a previous nomination in this category for what was essentially a guest spot on “ER” as far as I know back in 2000. Count Field in.

KYRA SEDGWICK, THE CLOSER
Her performance just keeps getting better on the show. Actresses often make it in one year and not the next, only to return the following year, but I think Sedgwick’s performance is solid enough that she should continue to make it in without interruption.

GLENN CLOSE, DAMAGES
I do not think the role is worthy of any awards, but FX’s stunning renewal of the show for two more seasons means that someone really does like it. Close did not make it in at the SAG Awards for his stint on “The Shield” two years ago, which might indicate that her FX roles do not do it for SAG voters. That may not be true, especially since Close’s role on “Damages” is starkly different from her role on “The Shield”.

CHANDRA WILSON, GREY’S ANATOMY
With the way things are going, it would seem to be Katherine Heigl’s turn, after Wilson’s nomination last year, and Sandra Oh’s the year before. Emmy voters recognized all three women this year, but I think more than one at the SAGs is pushing it. Wilson is likely the most respected, but from the episodes I watched, Oh has the best role. In any case, I think “Grey’s Anatomy” will miss out a nomination in every category at the SAG Awards this year.

MARISKA HARGITAY, LAW & ORDER: SVU
It was Hargitay’s nomination in this category in 2003 that got her started with frequent awards nominations. She has been nominated three out of the past four years, and barring heavy competition, I believe she could make it in again.

PATRICIA ARQUETTE, MEDIUM
I had prayed this was a fluke because Arquette is so bad on the NBC drama. Arquette’s two previous nominations do not make it look good for me. Arquette does have the disadvantage of starring on a procedural drama which is not as popular as either “The Closer” or “Law & Order: SVU”. Hopefully the competition will crush her.

MINNIE DRIVER, THE RICHES
Driver is utterly fantastic in the show and has an Emmy nomination to show for it. Hopefully SAG voters will embrace FX and this wonderful show. Driver has a previous nomination in the Best Supporting Actress in a Motion Picture category for “Good Will Hunting”. This is one hell of a different performance, and in my mind, a far better one. It is ten years later, so any comparison is highly unlikely.

HOLLY HUNTER, SAVING GRACE
It sort of feels like Hunter is not really trying, but I would not want to underestimate her chances. The show got renewed early on and Hunter received fantastic reviews. Hunter is previous SAG nominee for 2003’s “Thirteen”.

LORRAINE BRACCO, THE SOPRANOS
Bracco has always been in costar Edie Falco’s shadow, and has three SAG nominations to her credit. This is the show’s last season, and while Bracco has little material, she is excellent in one or two episodes. Both Sally Field and Lily Tomlin have been nominated for recurring roles without previous nominations, so Bracco should have a leg up on the competition.

EDIE FALCO, THE SOPRANOS
Falco has been nominated six out of six times she has been eligible for “The Sopranos”, winning twice. Her role is more limited this year, but she does a fine job and should easily remain on the list if she is not forced off by women on newer shows.

Current predictions:
SALLY FIELD, BROTHERS & SISTERS
KYRA SEDGWICK, THE CLOSER
MINNIE DRIVER, THE RICHES
LORRAINE BRACCO, THE SOPRANOS
EDIE FALCO, THE SOPRANOS

What I'm Watching: Dexter

Dexter: Season 2, Episode 10 "There's Something About Harry" (B)

I really like the way the hunt for the Bay Harbor Butcher is going, but I am having definitive problems with all the sub-plots. Lila should no longer be on the show, as she is an out-of-control character and brings down Batista and turns him into a dumb, idiotic character. The issues with Lundy and Deb are a bit tiresome, though all is well in the end. The revelation about Harry's suicide is given much more weight than I think it should have, and giving Jennifer Carpenter and Michael C. Hall ridiculous hairstyles and having them play their much younger selves was quite weird. This show should focus more on what Dexter will do about Doakes and maybe on the manhunt. I am very impressed with Erik King these days as Doakes, since he has transformed him from a generally emotionless and aggressive throwaway character to a compelling and dare I say sympathetic character. I am surprised that the Satellite Awards chose to recognize David Zayas' work as Batista rather than to highlight the continually improving work by Erik King. Two episodes to go, a third season renewal hopefully on the horizon.

Preliminary SAG Predictions: Best Actor in a Drama Series

The following represents some preliminary thoughts on Screen Actors’ Guild Awards contenders for the given category. Predictions will be revisited following the announcement of the Golden Globe Awards nominations, which often indicates how well new shows will fare. This category combines performance in the lead and supporting categories for an odd assortment of nominees which really varies from year to year.

Last year’s nominees:
JAMES SPADER, BOSTON LEGAL
MICHAEL C. HALL, DEXTER
HUGH LAURIE, HOUSE (winner)
JAMES GANDOLFINI, THE SOPRANOS
KIEFER SUTHERLAND, 24

This year’s top contenders:
WILLIAM SHATNER, BOSTON LEGAL
Proof of why I hate “Boston Legal” can be found here. Shatner actually has no previous nominations in this category, but he was nominated two years ago for this performance in the Best Actor in a Comedy Series category. How a show can go from being comedy one year to drama the next is inexplicable, and I only place Shatner’s name here because I know from previous experience that he should not be discounted.

JAMES SPADER, BOSTON LEGAL
Spader has one nomination from last year in this category, and one two years ago in the corresponding comedy category. I thought people were over him, but his Emmy win indicates otherwise. Sadly, there is not much competition this year, and so Spader could easily slide back in for his smarmy portrayal of the “ethically challenged” Alan Shore.

MICHAEL C. HALL, DEXTER
I would call him a lock, but somehow Hall missed out on an almost assured Emmy nomination, so his place in any awards show is at risk. Hall in my mind has only gotten better, but I know “Dexter” has some critics this season who feel he is showing too much emotion as compared with last year. I think if he makes it in he could win this year.

PETER KRAUSE, DIRTY SEXY MONEY
I do not think it is a showy enough performance, but Krause has history in this category for “Six Feet Under”. While Donald Sutherland could pose a threat, I think Krause maintains a very stable presence on the show in the midst of such absurdity that his fellow actors may want to recognize him for it.

PATRICK DEMPSEY, GREY’S ANATOMY
I think Dempsey is old news, especially with what I have been hearing about “Grey’s Anatomy” this season. They liked him two years ago, but I think “Grey’s Anatomy” has passed its prime.

HUGH LAURIE, HOUSE
Why not, right? I do not feel I need to say any more. When people love the actor and the role, it is hard to stop nominating them for awards. I just wish I enjoyed Laurie’s performance more.

EDDIE IZZARD, THE RICHES
Izzard stunned me with his fierce, unrelenting portrayal of Wayne Malloy on the new FX drama. His charm failed to work with Emmy voters, but I think relatively little competition here should help Izzard. History is not in Izzard’s favor, however, as FX has managed only one nomination in the drama/comedy series category, back in 2002, for Michael Chiklis. Hopefully Izzard and co-star Minnie Driver can change that.

WALTON GOGGINS, THE SHIELD
Speaking of FX stars with absolutely no shot, here is one for the wish list. Goggins delivered a terrific performance on this season of “The Shield” and has failed thus far to receive much credit. Supporting actors in this category in particular are sparse, with only one supporting star from either “The West Wing” or “The Sopranos” ever making it in (Alan Alda two years ago for the former). Goggins has an uphill battle ahead of him, but I will be staunchly supporting him.

JAMES GANDOLFINI, THE SOPRANOS
Gandolfini dropped off Emmy and Golden Globe lists in the past few years, but the one place he has never faltered is here. With six nods and two wins to his name, I sincerely doubt that Gandolfini will be left off in the show’s final year. He has also never had so little internal competition, since the only other male star with a real shot (Michael Imperioli) had a very limited role this season.

KIEFER SUTHERLAND, 24
Sutherland has been going strong, with five consecutive nominations and two wins over that period. He even managed an Emmy nomination for a dreadful season of “24”. In any other year, I would say he had no shot, but there are relatively few competitors who might force him out. He is at worst a close runner-up for the shortlist.

Current predictions:
MICHAEL C. HALL, DEXTER
HUGH LAURIE, HOUSE
EDDIE IZZARD, THE RICHES
WALTON GOGGINS, THE SHIELD
JAMES GANDOLFINI, THE SOPRANOS

What I'm Watching: Desperate Housewives

Desperate Housewives: Season 4, Episode 9 “Something’s Coming” (C-)

When I first saw the preview for this episode, I thought to myself that this is a random twist which shows use when their writers are completely out of ideas and which usually kills off one character but leaves the rest generally unscarred. It seems like the former part of that statement may be true, as I cannot imagine how the show would have continued, especially with the Gabrielle plotline. Are both Carlos and Victor dead? That Victor came to the house with a gun and then ran out after Carlos is not so smart – you would think he would have been a bit brighter what with all his political maneuvering and slimeishness. The only plotline that really worked out somewhat decently here is the one revolving around Gabrielle and Edie, who hide together despite hating each other. It feels like Katherine and Adam are being forcibly inserted into the story, at the expense of character development for Orson and Bree. The stalker woman serves little purpose other than to get blown out of the door after exposing a torrid affair which is sure to keep Katherine pissed for a while. I hope that the weather stays bad next episode so that both Mike and Susan get swept up into the storm and die. That would be the best thing for their characters right now. I cannot for the life of me understand why Lynette’s family would have to be the one to go. Has the woman not suffered enough? And more so, Lynette is so grumpy and self-pitying all the time and now she is going to lose her whole family? I must say, the cat allergy was a pitiful excuse to force Lynette and McCluskey out into the storm and to ultimate safety. I believe there is one more episode left that has been filmed, but there is no next airdate for it, so who knows who this whole mess will end.

What I'm Watching: Scrubs

Scrubs: Season 7, Episode 5 “My Growing Pains” (C)

Every scene now just seems so desperately forced. People go out of their way to make problems for other people, most notably Elliot, who after repeated insistence from Dr. Kelso about not wanting a big hoopla for his birthday, forces a party on him only to reveal his age. This hospital does not have terrific record-keeping if Elliot could so easily access his records yet the search for a successor had not been begun by any of the board members. Seeing J.D. and Turk with babies on their chests is weird, especially because it only makes what they are saying all the more true – they are no longer the enthusiastic, loveable characters season one and two featured, but instead they are trying too hard to remain young. I think “Scrubs” could have sustained a long run, but it continues to feel like it should have ended a while ago.

What I'm Watching: 30 Rock

30 Rock: Season 2, Episode 7 “Cougars” (B+)

I will go on record from the beginning as saying that entire plotline revolving around Frank and his supposed one-time homosexuality is just plain weird. I understand the desire to defy traditional shows which might have characters “become gay” by making it into a running joke, but the execution comes off as creepy and completely unlike Frank, specifically in the way he goes after the guy. I think that interaction between the main stars of the show should be the focus of most episodes, rather than bringing in guests all the time, since Jenna has recently been sidelined with guest actors, and Jack, Kenneth, and Tracy are hilarious in their slightly joint efforts to create a winning baseball team.