Last year’s nominees:
Boston Legal, “The Mighty Rogues”
Breaking Bad, “Pilot”
Damages, “Pilot”
House, “House’s Head” (winner)
Mad Men, “Pilot”
The contenders:
BATTLESTAR GALACTICA, “Daybreak, Part 2” (Michael Rymer)
BSG has been doing well with Emmy nominations over the past two years, expanding from the visual effects category to a directing nomination two years ago and a writing nomination each year for the past two years. This year, the show finished its run and submitted only two episodes. Even though star Edward James Olmos directed the other one, the episode leading up to the three-part finale, I think the final episode has the best shot. Its conclusion may be controversial, but it’s still possible the show will find able support among an Emmy voter base perhaps seeking to recognize a fantastic show with a subtle mention.
BOSTON LEGAL, “Made in China/Last Call” (Bill D’Elia)
David E. Kelley’s departed farce has been nominated in this category for the past two years. D’Elia directed 2007’s cited episode, “Son of the Defender,” and now he’s helmed the show’s series finale. It’s possible one of the other episodes, “Thanksgiving” or “True Love,” could be recognized, but if voters still like this show, they’ll probably choose to honor its swan song. I haven’t seen any of the episodes in question; I’ll watch them only if absolutely necessary (if they get a nomination). Let’s hope not.
BREAKING BAD, “ABQ” (Phil Abraham)
This show really stepped up its quality this year to an incredibly impressive level, and the directing category is one place where it may be able to really shine. The pilot was nominated last year, and this year there’s a wealth of episodes from which to select. The season premiere, directed by star Bryan Cranston, and “Peekaboo,” the episode with the infamous death-by-ATM scene, are strong contenders, but I think the powerful season finale will come closest to a nomination. I just don’t think there’s room for “Breaking Bad” in this lineup, but watch out for this show to end up with a whole bunch of Emmy nominations somewhere, if only Best Actor and Best Supporting Actor.
LOST, “The Incident” (Jack Bender)
ABC’s extraordinarily popular thriller returned to the Best Drama Series lineup last year, but for the first time in its run, missed out on a directing nomination. Bender helmed the season two and three installments which made the cut, as well as “The Constant,” the episode which everyone thought would be nominated last year but wasn’t. This year, “Lost” is back on the radar and it submitted only two episodes for consideration in this category. “316” isn’t as strong, even though it features the castaways’ return to the island, as the season finale, which packs a whole lot of punch and should please Emmy voters who like the show. The problem, as always, is that someone who doesn’t watch the series is bound to be hopelessly lost. Which group is bigger among Emmy voters? We’ll see.
MAD MEN, “Meditations in an Emergency” (Matthew Weiner)
Weiner won an Emmy for writing the pilot of “Mad Men” last year, and this year he’s the man behind the camera for the show’s second season finale. “Mad Men” will certainly get nominated in this category, and possibly for more than one episode. This installment is a great summary of the entire season, and last year Weiner picked up another nomination for writing the first season finale. Without the pilot in the running this year, this is the show’s strongest episode and best shot at a nomination in this category.
MAD MEN, “Six Month Leave” (Michael Uppendahl)
This season’s most powerful episode watches the quick decline of ad man Freddy Rumsen, and his subsequent dismissal by Sterling-Cooper. It’s an incredibly subtly-crafted episode which really tugs at the heartstrings, just like “The Wheel” from last year, which earned a writing nomination. Which category this episode belongs in is a mystery, but the important historical note is that “The Sopranos” usually got more writing nominations than directing nominations, and therefore “Mad Men” may have to settle for just one nod here.
THE NO. 1 LADIES DETECTIVE AGENCY, “Pilot” (Anthony Minghella)
HBO’s breakout new series about a female detective in Botswana may or may not find favor with Emmy voters. This category is very kind to pilots, especially HBO pilots, and “The No. 1 Ladies Detective Agency” has an additional advantage. The two-hour premiere was helmed by the late Anthony Minghella, Oscar-winning director of “The English Patient.” I don’t think the show will quite be Emmy voters’ cup of tea, but Minghella will certain find posthumous support on many voters’ ballots.
RESCUE ME, “Iceman” (Peter Tolan)
In its fifth season, FX’s firefighter drama has returned to its roots, probing thoughts of 9/11 and Tommy’s alcoholism. “Rescue Me” and director Tolan were nominated in this and the writing category for the show’s pilot, star Denis Leary earned nominations for seasons two and three, and guest star Charles Durning was nominated last year. The show wouldn’t normally be likely to make a return appearance, but its creative resurgence definitely qualifies it as a strong dark horse contender.
THE SHIELD, “Family Meeting” (Clark Johnson)
Johnson last found himself in this category seven years ago for directing the pilot of “The Shield.” Now he has an opportunity to come full circle and be recognized for the show’s series finale. “The Shield” has been very close to an awards comeback recently with strong buzz for stars Walton Goggins and CCH Pounder, and the show could very well find itself with a consolation nomination for its finale after a mere six mentions in any category over six years. The finale of “Six Feet Under” was nominated for directing even after the show was dropped from the Best Drama Series lineup; the unfortunate difference here is that the show was never that popular and was ousted from the whole awards a long time ago. This is the show’s last chance, and it may well be a good one.
TRUE BLOOD, “Pilot” (Alan Ball)
Alan Ball beat out Clark Johnson last time Johnson was nominated – for the pilot of his last series, “Six Feet Under,” and was also nominated for directing and writing the show’s finale. Now, he has a new show, which has a good shot due to positive reviews and its airing on HBO, but has a definitive handicap because of its genre. I think that the series, even if it tanks in the Best Drama Series category and can’t get star Anna Paquin a nomination, will fare best here with its inventive pilot.
Also be on the lookout for a number of pilots (The Beast, The Cleaner, Life on Mars, Sons of Anarchy, Southland), episodes of currently popular shows (Damages, Dexter, House, In Treatment) and two shows which could make a comeback this year (ER, 24).
The roundup:
I worry my predictions here are too hopeful, but the directing category has always honored interesting fare. While last year only had five nominees, the previous three years all contained seven. I think that will be the case here – and the other two will be “Six Month Leave” from “Mad Men” and a “Breaking Bad” episode. Otherwise, this could be a very fun lineup containing some truly terrific episodes, and I’m hopeful that it won’t just be a bunch of overdone “Boston Legal” and “24” episodes. Could it be two unorthodox pilots, two incredible series finales, and an episode of today’s best show? Maybe.
Current predictions:
BATTLESTAR GALACTICA, “Daybreak, Part 2”
MAD MEN, “Meditations in an Emergency”
THE NO. 1 LADIES DETECTIVE AGENCY, “Pilot”
THE SHIELD, “Family Meeting”
TRUE BLOOD, “Pilot”
Next Up: Best Writing in a Drama Series
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