[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205420883

This show is so far up it’s own ass that the only solution is a swift end or a complete creative revamp if this ends up not being the last season. Hell, the fact that they won’t even say if this is the last season despite using so much coded language to speak about this being “the end of the story we intended to tell” is proof enough that Sudeikis and company are lost in the sauce.

I really liked season one, and thought that overall season two was even better. The heights of season two were quite good, and toward the end of that season, I didn’t mind the extended episode lengths. But having every episode this season run at least 45 minutes long and has fed into this show’s worst instincts. The ensemble is great but trying to give character beats in every episode to 20 characters simply isn’t tenable. There is a reason some formulas in television writing, specifically sitcom writing, are what they are. The soccer of it all being an afterthought this season isn’t sacrilegious, but as this was originally a workplace comedy of sorts, it is pretty vital to adding some stability. It is obvious that, in addition to whatever effect you want to attribute to Bill Lawrence’s absence this season, this is the first season written after the show’s popularity really exploded (if I recall correctly, season 2 was written in the fall of 2020 as the show’s first season was picking up steam). They have leaned into all of the elements that fans online glommed onto and made them central tenants of the show, for better or worse.

The performances are still relatively good, when the material is there or the actors are up to the task of elevating what they are given. But there’s not much Nick Mohammed can do when prepared for a season of being the main villain and getting only about two episodes worth of action before being given a gentle character redemption that everyone knew was coming eventually, but not so soon (and that’s even if the writers put him in some episodes for more than two minutes). Keeley and Roy get an unexplained breakup in the last two minutes of the season premiere with no explanation given to what led to their breakup, and they spend no screentime together again until this week’s episode after being each other’s primary scene partners for a season and a half prior. Colin is getting a coming out story that has truly been parceled out in three minute check-ins over the course of six episodes. Beard is reading the Wikipedia page for a Beatles song to relate to his best friend’s son. Ted is going through a mental health crisis and nary mentioning his therapist he built a core relationship with last season. Rebecca exists. Jack, Shandy and Zava are three new characters that were either underused and unnecessary, or overused and unbearable. Jamie is the only character whose arc over the three seasons has felt intentional and well-paced. Dunster, Waddingham, and Goldstein are doing their best with what they are given. Pretty much everyone else either can’t elevate what is on the page or doesn’t get enough to do to register.

The show has really lost its way and it’s nice that there are some who don’t see it that way because I know this show genuinely comforts many people, but it must be acknowledged that the structure of this season, no matter how hard you try to convince me otherwise, is not written in a way that implies they had a three season arc perfectly planned out for each character and that everything has gone according to plan. If there truly are only four episodes ever left of this show, I will be watching for closure but not expecting much by way of quality and narrative satisfaction.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205409171

I’m too lazy to really investigate, but my general sense is that the only reason we are having this conversation is because Clayton Davis, who everyone on this site loves to rag on, said Coolidge, Snook and Seehorn’s teams were weighing a move to lead. Was this reported anywhere else or was Davis’ word taken at face value?

I say this just because I really can’t fathom that within the single network there is ANY discussion at all about having Snook and Coolidge in the same category when one can so easily be moved and they can both have a far greater chance at winning. It just kind of feels like I read Davis say that and it had everyone spiraling out when (at least logically in my view) it should be as simple as Coolidge and her team staying the course, and Snook following the narrative precedent set by Culkin and, you know, the show itself.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205379415

scarlett stan wrote:

Insightful because the MTV producers/executives who decided these could also be Emmy voters ^

This website is so unserious anymore lmao.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205329044

At this point, I am kind of hoping “The Other Two” is held for next season for the sake of gathering buzz and taking advantage of an emptier field. It, alongside the many other shows premiering in the next two months, are going to go head-to-head with the final season of “Maisel” and the possible final seasons of “Barry” and “Ted Lasso” as well. And that’s without considering the general TV buzz that all spring contenders are going to have to contend with airing opposite the final season of “Succession.”

It kind of amazes me how last year we saw so many contenders (especially smaller comedies and even big-name limited series) arrive with little fanfare because they were all stacked in the final two months of the season, and the networks still are deciding to go for it again, especially with the possibility of a writers strike still lingering. It works for the Oscars race because movies are a one-time, two hour commitment, but it is apparent in the current TV landscape that buzz is concentrated at the top and if you don’t have it out of the gate, it is hard to gain ground over time, especially in the summer as Emmys campaigning heats up but less people are watching television.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205317488

Chris Beachum wrote:

Our senior editor Ray Richmond reports on how his wife voted for the SAG Awards:

https://www.goldderby.com/article/2023/ray-richmond-sag-awards/

Is this supposed to be a parody or something? I found this really rude and distasteful. Why is this guy so morally outraged over his wife voting for nominees that are not the “GoldDerby predicted winners” and making her feel bad about it? If it’s a joke, it wasn’t obvious to me. And if it isn’t, it is further illustration that some people take awards season way too seriously. I’m all about having fun watching the season but always around this time of year I get exhausted by narratives and fighting among stan camps. Many other anonymous ballots are posted without context or commentary. This one came across as belittling because someone dare not vote for the frontrunner. If this is the attitude GoldDerby editors are bringing to punditry, miss me with that.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205316215

The announcement that they’re going to campaign this show as a comedy coming out the same week as this episode — easily the most dramatic and depressing and not funny of the whole show — was certainly a choice.

X

Reply

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205239405

Lmao the utter chaos of me saying yesterday that “Glass Onion” missing SAG while “Babylon” and “Women Talking” made it seemed to solidify the last two spots for me, only for neither of those films to make it at PGA but “Glass Onion,” “The Whale” and “Wakanda Forever” do. It makes sense, though. “Babylon” and “Women Talking” aren’t commercial successes, but the sequels obviously are and “The Whale” is really one of the big indie hits of the season. I had “Glass Onion” in as Netflix’s nominee all season, but the SAG blank was bigger than the PGA nomination, in my opinion. “Wakanda Forever” and “Babylon” are both in the same boat of being contenders with strong technical support that could be enough to get it into the Picture lineup. I think there is more focused passion behind “Babylon” though. “The Whale” and “Women Talking,” one could argue, are fighting for the same slot. It’s kind of a toss up. I would’ve argued that passion for “Women Talking” and the SAG nomination were enough, but “The Whale” also got that supporting nom and made it in today, so who knows! Anyway, it’s a deeply weird season.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205238607

I’ve got to say that my favorite performance among this ensemble is Tyler James Williams. His evolution this season has been so stellar to watch. He took a Jim Halpert-esque character and has really added the layers and the laughs that the “straight man” wouldn’t always necessarily get. It also helps that the writers are layering Gregory’s background better than even Janine. I think what Williams said in his Globes acceptance speech kind of highlighted what their goal is for this character and it is pretty interesting to see that explored, even if not overtly on a weekly basis, on a broadcast network sitcom. For me, he’s been the MVP of the season so far.

X

Reply

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205236018

“Babylon” and “Women Talking” making the Ensemble lineup but no individual categories indicates some level of passion that kind of solidifies their place in that #8-#10 range for Best Picture. “Glass Onion” needed this and had all the right advantages. I don’t see a path forward unless I get egg on my face and it makes the PGA ten later this week.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205235961

Today was the day that I was waiting for to determine if I would drop Hsu, and since I had good odds on her, I was hoping I wouldn’t have to, and I don’t think I will now. Before yesterday, I thought that Bassett and Curtis were both giving “nominated at all the precursors but missing Oscars,” but now Bassett seems safer for a nomination (and maybe even a win?!) and “EEAAO” had its best possible day today. I still think Dolly De Leon makes sense as an Oscar nomination because of the international influence. Hong Chau’s nomination can’t be ignored, especially if she also gets in at BAFTA where Hsu was snubbed. Mulligan, Monae and almost anyone else seems out of the race at this point. The final Oscars lineup seems likely to contain some combo of Condon, Bassett, Curtis, Hsu, De Leon, and Chau.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205235901

Paul Mescal taking that fifth slot makes more and more sense every day, especially since Bill Nighy seems more firmly in fourth and doesn’t have to rely on being the arthouse pick that fills the fifth slot that we have seen in years past. If Cruise had made it here, you could argue his film’s status would make him a good bet for the fifth slot, but Sandler is such an obvious SAG only nominee in my opinion (one I had been predicting earlier this season, darn it!) that the last slot will go to something more “artful” or in a big contender that overperforms, which would be Cruise in that case. But SAG was his likeliest nomination. I think some of his personal baggage is holding him back in this race, and people feel that rewarding the film but not specifically Cruise is the right way around that. Anyway, Mescal makes sense as the arthouse pick and as his film’s best shot at a nomination, it is a way of recognizing the film (which continues to gain steam) all at once.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205205766

I really hope the industry is paying attention to “Fleishman Is In Trouble,” because it is fantastic. It does feel like the kind of show that will accrue fans in the coming months and that creatives will devour, even if it isn’t the biggest mass audience hit. I thought the Golden Globes and Critics Choice nominations for Claire Danes (and only Claire Danes, might I add) were just namechecks, but after this week’s episode, it certainly seems possible people were watching and took notice of her performance organically. As to why it would be the only nomination for this show, my first instinct IS namechecking, but in this case it works. She had a good showcase in episode three, but this episode recontextualized most of her exposure thus far on the show. Taffy Brodesser-Akner is deserving of attention for her writing as well. I haven’t read the book, but after the first two episodes were released, I ordered it to read when the season is finished because you can clearly see her writing style as it is on the page, and seeing how she adapted it for the screen is honestly masterful. I do ultimately wonder if eight episodes was too long, but I’ve really enjoyed the tangents that the length has allowed. Jesse Eisenberg has been consistently great and reshaping our view of him as a now firmly adult actor, Lizzy Caplan finally is getting the role she has deserved post-“Masters of Sex,” Adam Brody has been a delightful and calming presence, and even Josh Radnor has been having some standout moments in his small doses. I think the end of the year release probably hurt some of its buzz, but I’m hoping the show can sustain some kind of buzz because it is a unique show that is deserving of this kind of attention. The surface level reading of the show betrays the actual themes that reflect more directly to some other buzzy TV titles in recent years, and I hope viewers stick around to pick up on that.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205181974

wolfali wrote:

You are correct. Sorry for the mistake! For some reason I was counting 10 weeks after the premiere instead of including the premiere as week 1.

All good! I would’ve been surprised if Showtime made such an error in not scheduling the premiere one week earlier if that were the case. I suspect we will see a lot of shows (or at least the traditional weekly releases) get slotted for that week as well since it is the last possible week to fit in a ten episode season under the new Emmy guidelines. HBO has availability on Sundays starting the week before on 3/19, so I have a feeling that’s when we will see “Succession” and “Barry” premiere since all signs have pointed to those shows making eligibility.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205181878

wolfali wrote:

We have the first instance of a show this season who will be directly affected by the new rules on hanging episodes! Unless it does a double premiere its season finale will be Emmy ineligible as it would air in June.

Unless they are doing more than 10 episodes this season, the finale should be airing during the last week of May.

[mf617 Joined: Oct 17th, 2011 Topics: 0 Posts: 486 View Predictions]

#1205175009

No. They will tweet the winners as they vote.

X

Reply