June 19, 2013 at 10:13 pm #281880
Emmy ballots are due June 28, 2013. Since my most recent thread was closed, and understandably so, I figured why not give everyone else the opportunity to post their own final FYC picks before voting ends.
You can either just list your FYC’s or you can post a write up – short or long – on why you want a particular person or persons to be considered.
I look forward to seeing who everyone is rooting for during the final days and hours!June 19, 2013 at 10:15 pm #281882
Mine is Jessica Lange for American Horror Story: Asylum.
June 19, 2013 | MARK-ALEXIS
Jessica Lange’s performance in American Horror Story: Asylum is the bravest performance of the past year, rivaled only by Michael Douglas’ masterful turn in Behind the Candelabra.
Picture this: a 64 year-old two-time Oscar-winning legend is lured back to headline a horror show by being given the chance to play a stern, sexually frustrated, recovering alcoholic nun who is haunted by guilt, a dark secret and a sordid past; and who will later relapse, encounter an alien, be tormented by the devil, beaten-up by a Santa Claus-costumed serial killer, framed for murder, institutionalized and given shock treatment to the point of paralysis, only to end up singing Shirley Ellis’ “The Name Game” while dressed up as Dusty Springfield and dancing the “Shake a Tail Feather” in front of a bunch of mocking inmates, before surrendering to the Angel of Death, who sends her off with a kiss on the chin. Still with me? Good. Now picture this legend serving up such a dangerously outrageous character without succumbing to any of the obvious traps and pitfalls – becoming a joke or a parody – but instead acting her ass off with so much delicious verve and gusto, her performance ends up being hailed as one of the best of the year in either film or television.
It’s undeniable that Lange’s bold and brazen appearance on our big and small screens has been a gift for both the actress and her eager audience. Whether you compare her to Bette Davis or Joan Crawford, Geraldine Page or Kim Stanley – or all four, as I do, for both obvious and not-so-obvious reasons – here is a star that has now not only made deep, lasting impacts in the world of film and in the world of television, but also in the world of horror. (It’s good to note that Davis, Crawford, Page and Stanley all contributed significantly to the horror and suspense genres, too.) No easy feat. And she’s done it all with such grace and strength, solidifying herself as not only a star, but a legend, a “grand dame guignol” and, most importantly, an iconic actress. (It’s also good to note that since Lange’s smashing success as a psychotic neighbor in the first installment of American Horror Story, a surprising number of respected actresses have ventured into the dreaded horror pool. Barbara Hershey joined ABC’s Once Upon a Time, Vera Farmiga signed on to A&E’s Bates’ Motel – and is experiencing great critical acclaim for her work on that show – and recent Emmy-winner Julianne Moore committed to playing the mother in Kimberly Pierce’s remake of Stephen King’s Carrie. Even more telling, Kathy Bates, Angela Bassett and Patti Lupone have all jumped at the chance to work with Lange in the upcoming American Horror Story: Coven, which marks the third installment of the anthology series and Lange’s final appearance on the show).
I don’t think I can describe Lange’s role in American Horror Story: Asylum in a more straight-forward fashion than I did earlier this year when, towards the final episodes of the series, I wrote of her ‘hanging around this dank asylum of horrors like a decaying triptych – equal parts dreary Ingmar Bergman fugue, fading Douglas Sirk starlet and crazed John Cassavetes’ heroine.’
What Lange accomplishes in her portrayal of Sister Jude Martin is not just to completely erase any trace of Constance Langdon (her Emmy, Golden Globe and SAG award-winning role in American Horror Story: Murder House) – a daunting task in and of itself – but also to give us such a real and vacillating person, one who is both pathetic and ridiculous, infuriating and heartbreaking, rigid and sordid, modest and grand – a handful of contradictions, really – without ever pushing the audience to hate, dismiss or misunderstand her. In fact, by the show’s end, the audience is rooting for Sister Jude Martin in all of her red-lingerie-wearing, Monsignor-obsessing strangeness.
If Constance Langdon was a demented, Virginia-born black widow twisted further by betrayal and tragedy, and by the callousness of Hollywood at its worst, weaving her own taught, private web in retribution – the ultimate southern badass – then Jude Martin is the ultimate white-knuckled, New England underdog turned dogmatic self-flagellator; valiant and admirable, even in her rigidity and especially during her own downfall. A fly on the web, now, but no less colorful and poignant an anti-hero.
In 2011, I happened across a documentary by the name of Sister Helen (2002) which follows a nun – also a recovering addict – as she lives in and runs a sober home in the South Bronx for other recovering addicts. I highly recommend it to anyone reading this; though I mention it here only to highlight the fact that people like Sister Jude really do exist. Lange’s character recalls Sister Helen and she plays her with a mix of that real woman’s spunk and a bit of Cherry Jones in Doubt, Tallulah Bankhead in Die! Die! Darling, Louise Fletcher in Flowers in the Attic and Ruth Gordon in Harold and Maude. After all, that’s what this poignant campfest requires: a dash of gritty realism, a sprinkle of Old Hollywood and a soupcon of Lange whipped together for a delectable bite.
Lange practically made American Horror Story, a show that ran out of ideas quicker than it did steam during its freshman year, and which seemed hell bent on taking her down its second season. Still, she kept the show real, grounded, obtrusive and, most importantly, talked about. She made it something dramatic, immediate and unavoidable – necessary, almost. In typical grand dame fashion, she transformed herself into something everyone wanted to see and comment on, even when the production around her threatened to fall apart, becoming a critical and pop-culture sensation in the process.
As the creators got hip and the show changed and improved, becoming brilliant in it’s own right, so did Lange, always setting the bar and remaining the production’s stoic center of grace and power – mythical, almost – while still allowing others to shine alongside her (lest we forget that it was after Lange was promoted heavily as the star of the show – “the Jessica Lange show,” Ryan Murphy dubbed his creation in an Entertainment Weekly cover story on Lange – that the series experienced its highest numbers to date, with the premiere of the second installment scoring a jump in ratings of nearly twenty-five percent!).
Maureen Ryan, staff writer for The Huffington Post, wrote after the season finale:
There aren’t enough words to convey what Jessica Lange brought to this season of “Asylum”; she didn’t just bring Sister Jude to life, she gave the entire season a center of gravity and undeniable life force. Lange could go big in her [first] scenes…and subtle and wounded in the last few episodes; there wasn’t a note she couldn’t play and she made it all look easy. It was like watching a virtuoso at work.
By the time we reach the series’ twelfth episode, Continuum, and we see Lange bedecked in a straight-jacket, hair like a broom, her lines and furrows visible and deep, recalling one of the most iconic turns in cinema history – Lange as Frances Farmer in Frances – while the equally brilliant Robin Bartlett sashays around her, doing her best Meryl Streep imitation, we wonder if Lange is in on the joke or if she really is this brave.
An Emmy is just desserts for someone who not only gave one of the best performances of the past year in film and on television, but who could also be considered Hollywood’s ultimate comeback queen; having survived more knockouts than most would be able to endure – from sexism, to ageism, to type-casting, to box-office failure after failure, to botox, to the horror genre – only to come back in bigger and better ways.
Though her highly-anticipated role in the upcoming Thérèse, an adaptation of Emile Zola’s classic novel Thérèse Raquin, has already thrown her name into this year’s Oscar race, Lange’s performance in American Horror Story: Asylum should also stand as a clear and definitive testament, not just to her talent and star-power, but to her ability to persevere through even the most horrific of circumstances, only to come out on top and shining like pure gold.June 19, 2013 at 10:36 pm #281884
^ What are your final FYC picks?June 19, 2013 at 11:44 pm #281885
I want Sufe Bradshaw from Veep nominated for Supporting Actress in a Comedy Series for the episode “Hostages” — robust!June 20, 2013 at 7:47 am #281886
Martha Plimpton in “Raising Hope”……not that I would select her as the winner but I do think she deserves a nomination.
Archie Panjabi in “The Good Wife”……consistently doing great work….I find her character very interesting – one of the most on televisionJune 20, 2013 at 8:14 am #281887
-“Off the Hook”
-H. Jon Benjamin
-“Fugue and Riffs”
-“Say My Name”
-“Gliding All Over”
-“New Year’s Eve”
GAME OF THRONES
-“The Rains of Castamere”
-“The Rains of Castamere”
-“And Now His Watch Has Ended”June 20, 2013 at 9:21 am #281888
Final FYC: Jane Krakowski, Supporting Actress in a Comedy Series, 30 RockJune 20, 2013 at 10:39 am #281889
TATIANA MASLANY – Lead Actress in a Drama (Orphan Black)June 20, 2013 at 11:25 am #281890
Jennifer CarpenterJune 20, 2013 at 11:27 am #281891
January Jones – Mad Men, Supporting Actress – DramaJune 20, 2013 at 12:12 pm #281892
DRAMA LEAD ACTOR
DRAMA LEAD ACTRESS
DRAMA SUPPORTING ACTRESS
DRAMA SUPPORTING ACTOR
COMEDY LEAD ACTOR
COMEDY LEAD ACTRESS
COMEDY SUPPORTING ACTRESS
COMEDY SUPPORTING ACTOR
DRAMA GUEST ACTOR
DRAMA GUEST ACTRESS
ALSO: THE GOOD WIFE (SEASON 4), NEW GIRL (SEASON 2), THE OFFICE (SEASON 9)June 20, 2013 at 12:18 pm #281893
Jane Krakowski – Supporting Actress in Comedy
Veep – Comedy Series
Will Arnett – Supporting Actor in Comedy
Carrie Preston – Guest Actress in Drama
June 21, 2013 at 11:24 am #281894
I know I’ve gone on and on about it, but I will say it again:
FOR YOUR CONSIDERATION
Archer in Outstanding Comedy Series
It’s regularly been well reviewed by critics and has only grown in popularity since first airing. Consistant quality programming should be given it’s due in this category and Archer is certainly worthy of it. If you think it’s funny, THEN VOTE FOR IT! For Academy voters who have their season four screeners, make sure to watch the episodes “Live and Let Dine”, “The Honeymooners” and “The Papal Chase” to see some of the best that the show offered this past season.
I also must say:
FOR YOUR CONSIDERATION
Happy Endings in:
Outstanding Comedy Series
Outstanding Supporting Actress in a Comedy Series (Casey Wilson)
Outstanding Supporting Actor in a Comedy Series (Adam Palley)
While some hardcore fans of the show say this (sadly) final season did not live up to the standards set by season one, the show was still insanely funny. Reward this show where it’s due in the comedy category and don’t forget the best parts of the show being Casey Wilson as Penny (who had a great storyline with her engagement this year) and Adam Palley as Max (who has a great episode where he tries to find his identity within the gay community).June 22, 2013 at 2:38 am #281895
Apart from my signature ones:
FOR YOUR CONSIDERATION
Outstanding Comedy Series:
Parks and Recreation
Outstanding Supporting Actress in a Drama Series
Michelle Fairley in Game of Thrones
Also “The Rains of Castamere” for both writing/directing