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Now this is a really strange one. I think it’s fair to say that apart from its resurgence for its acclaimed fifth season, The Good Wife lost steam at the Emmys after its second season.
There’s one thing in its awards run I find strange though and that is the fact that despite Baranski being the person in the show who has held onto an Emmy nom she got dropped by the Television Academy. Whilst people do get dropped by the Television Academy for their final seasons, I find this strange considering The Good Wife got a writing nom for its finale (something it found hard to get back after it was dropped by the writing branch of the academy after its first season).
In my personal opinion the finale was one of the worst endings of a television series ever and is only bested for the top dishonourable title by GoT. Had The Good Wife been nominated for writing for any of its second, third, fourth, fifth or sixth seasons the nomination for the finale would make sense. But it wasn’t nominated so why did The Good Wife get the nomination?
ReplyFYC Emmys: "The Crown" in all categories, "I May Destroy You" in all categories, "It's a Sin" in all categories, "Small Axe" in all categories, Billie Piper ("I Hate Suzie"), Yvonne Strahovski ("Stateless") and Ruth Wilson ("His Dark Materials")
The acting branch has indeed cared less about final seasons than they used to. That same year, they also dropped Alan Cumming, plus Jim Carter and Joanne Froggatt for Downton Abbey. Having said that, they gave Carrie Preston a goodbye hug after snubbing her the previous two years and brought back Maggie Smith after snubbing her the year before. All of this might have been the result of that being the first year that half of the acting branch got the ballot in reverse-alphabetical order.
The finale was poorly received, but I knew that it would get a writing nomination because the show had still been showing up for years at WGA since its other Emmy nomination, so it was clearly always in contention, even if it came up short each time. It was strange that WGA-winning “The Last Call” was not enough to push it over, but the finale was competing in a less-competitive year and they had expanded the number of nomination slots, plus it had the sentimentality card. Sentimentality proved to be so strong among the writers’ branch that they even brought back Downton Abbey for its final season too, having subbed it the previous two years.
ReplyCopy URL“End” is a very writer-y episode. Lots of really beautiful dialogue, character development, chess-piece plotting, high concept ideas, and symbolism. It’s not really a surprise to me that writers appreciated the episode more than the general public did.
I also feel, in my most cynical view, that nominating the finale was a way for making up for “The Last Call” and “Oppo Research” snubs, both of which should’ve won in those years. It’s comical to put “The Last Call” and “Oppo Research” next to the Breaking Bad and Game of Thrones episodes that eventually won the category and think the latter two are better written than the former two.
The bottom line: The Emmys relationship with The Good Wife makes no logical sense.
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