Wednesday, December 28, 2016

THE BEST OF 2016 - The Best TV Of The Year

THE BEST OF 2016 - The Best TV Shows of The Year

- It's old news at this point to talk about Peak TV, but things truly reached a critical mass in 2016. There was not just a lot of TV to watch, but a lot - too much! - *good* TV. It's funny, because in a year in which some very old favorites returned (hello, X-Files), I thought a lot about TV-watching habits now vs. then. There used to be a dozen or so really good shows, and a small handful of really great shows. Now, the number of great TV shows is completely overwhelming. Netflix Originals alone - who could keep up with all of them? 

On one hand, you almost wish that the rate of content production would slow down - at some point, it becomes a zero sum game where nobody watches anything. Already, it's hard to find a real-life fellow fan of most shows, given how fragmented audiences are. And even powerhouse pop-culture sites like The AV Club have been forced to slow TV coverage - overwhelmed by the sheer volume of series that demand weekly reviews. 

On the other hand, the breadth of content that we're getting continues to be pretty exciting. What I love is how outlets like Netflix - that have the freedom to experiment - are continually able to prove conventional programming wisdom wrong. STRANGER THINGS is case in point: so many stories about the series having been pitched to various networks, all of whom rejected it based on assumptions like: "a show for adults can't work if it has kid protagonists." And yet, Stranger Things went on to become *the* buzziest show of 2016. Especially in a Summer where many big-screen blockbusters disappointed, this retro sci-fi series was the pop-cultural event of the season. This wider breadth of content has meant TV that doesn't conform to rigid genre lines, but also more diverse representation. This is still a major issue for both TV and film, but things have been getting better. 2016 series like ATLANTA and BETTER THINGS showcased perspectives that we don't see enough of on TV. But of course, the secret is that (as any writer knows) specific stories are often, ironically, the most universal.

So let's dive in. Obviously there are going to be shows that I miss here (hello, all the Marvel Netflix shows). But by the same token, I'm guessing there is stuff below that you missed. The good news is that we truly live in a golden age where TV can be binge-watched at your leisure. So if you're behind, well, here's a to-watch list that should only last you about thirty years or so. 



- One of the most shocking TV moments of 2016 was the surprise end of Penny Dreadful. For the series faithful, it seemed unfathomable that this cult-fave could end after only three seasons. After-all, the nightmarish, gorgeously-gothic world that series creator John Logan had so carefully crafted seemed so rich, so endlessly filled with storytelling potential - how could it end before every nook and cranny of his universe had been fully explored? But end it did, with no forewarning, but with an undeniable air of finality that left me reeling. This was a show that had gotten better with each successive season, and Season 3 was a true epic - careening between Victorian London, the Old West, and other exotic locales. But what made the show so memorable were the characters - unique spins on literary classics, re-defining the likes of Dr. Frankenstein, Dorian Grey, and Dracula with instantly-iconic re-interpretations. In Season 3, Rory Kinnear's take on Frankenstein's lowly and broken Creature - now known as John Clare - was an absolute highlight. An awards-worthy turn that culminated in an all-timer episode in which we learned more about Clare's pre-resurrection backstory, and previous connection to Eva Green's Vanessa Ives. That standalone episode - set in a white-walled asylum - stands as one of the greatest episodes of a TV drama I've seen. Going into S3, Penny Dreadful had already established a tradition of one-off episodes that essentially served as a showcase for the always-amazing Eva Green and her now-immortalized character of Ms. Ives. But to now have her paired with Kinnear - it took the show to new heights, as the two delivered a master-class. Green was the engine that powered the show - a true force of nature, perfectly capturing the show's theatricality in her performance, and helping to make Ives a character for the ages. She was helped by a supporting cast that was absolutely stacked, with players like Kinnear and Billie Piper (delivering a powerfully gripping performance in S3 as the monstrous Lily) doing best-ever work this season. Many of you, I'm sure, are seeing Penny Dreadful as my #1 TV pick for 2016 and wondering how this show that you've barely heard of could be the best of the year. Just trust me - this show's cult will only grow with time. It wasn't always perfect, but when it was firing on all cylinders this show did big, epic, serialized, character-driven, mythology-filled TV better than any other show of the Peak TV age. Farewell, Penny Dreadful - until we meet again. 


- Black Mirror S3 felt like the most vital scripted series of this crazy year - a Twilight Zone for the social media age, this is a series that I sincerely hope continues for a long time to come. The story of how a third season of this show came to be - thanks to Netflix - is fascinating in and of itself - but the biggest revelation here is how great so many of S3's episodes were. Most notably, there were two installments that stand as two of the greatest pieces of television I've ever seen, and may actually surpass anything from the show's first two excellent seasons - the premiere, "Nosedive," and Episode 4, "San Junipero." Nosedive is an absolute must-watch - an alternatively hilarious and terrifying look at a near-future in which today's social media norms dominate our entire lives - real and otherwise. It's also got a career-best performance from Bryce Dallas Howard in the lead role (seriously - who knew she had *this* in her?!). Meanwhile, San Junipero is the rare Black Mirror episode that's actually life-affirming and uplifting - an incredibly-done piece about identity, love, and life-after-death in a digitally-created heaven. If the closing moments of this one don't give you chills, you may be a robot. But seriously, Black Mirror is the TV we need heading into the (cough, vomit) Trump age - a stark reminder of where we are and where we could end up if we're not careful.


- The Americans has been so consistently good for so long now that it feels easy to take it for granted. But this past season may have been the show's best yet - delivering Breaking Bad-esque intensity on a regular basis. What could have been a huge misstep - having teen daughter Paige become privy to her parents' true identities - was instead a stroke of dramatic genius, driving a good deal of the season's storytelling. And this was also the season that things with poor Martha finally came to a head. But what we have to talk about with this show is the acting triumvirate of Matthew Rhys, Kerry Russell, and Noah Emmerich - who just kill it year in, year out. They deserve all of the awards. I could go on about this show, but fear doing so for fear of spoilers. If you've not yet watched it though - get on board immediately. This really is the best TV drama going.


- Game of Thrones had one of its best seasons yet in 2016. With the light at the end of the tunnel starting to shine through, we're now starting to see some huge stuff - stuff that's been building for years - start to transpire. Pieces are being put into place. And what fun it is to see the board prepped for the inevitable end game. I mean, talk about epic - this season's finale was one of the most jaw-dropping episodes of TV I've ever seen - a true stunner that ranks among Game of Throne's finest moments. This season also saw the epic Battle of the Bastards. And the rise and fall of Jonathan Pryce's High Sparrow. And the union of Tyrion and Daenerys. And the return of the Hound (featuring Ian McShane!). This season quite simply delivered one epic moment after another, and - after having passed the books in its story - there was a tightness to the narrative that hadn't always been there before. Game of Thrones was flat-out awesome in 2016. 


- The Best New Series of 2016, no question. I have not obsessed over a show's mysteries like this since Lost was in its prime. Westworld was smart, thematically-rich, challenging, thought-provoking TV. The cast was completely stacked, with a new actor - Evan Rachel Wood, Ed Harris, Anthony Hopkins, Jeffrey Wright, Thandie Newton - seemingly stealing the show each week. The sprawling sci-fi narrative mixed was the perfect sci-fi narrative for 2016 - a prescient mediation on morality in a synthetic age. How do we act in virtual or artificial worlds? Does it matter? At what point does an artificial intelligence become something more? To what extent are we constrained by our own pre-written "narratives," and how can we break away from them. Are we human or are we dancer? Okay, kidding on that last one. But Westworld asked so many big questions in such intriguing ways - you've got to love it. This is a show that had me racing to read reviews and commentary and theories. And it was that rare TV text worthy of all the analysis and think-pieces. Westworld was, deservedly, the nerdy obsession of 2016. 


- The most must-watch comedy of 2016. No surprise, given that it came from the same comedic geniuses who brought us Eastbound & Down. And it was a pleasure to have a product of the Danny McBride / Jody Hill team on TV again - these guys were much-missed. Nobody else does dark, &%$*-up humor like they do. And few other comedies would dare go to the depraved places that Vice Principals went. What you've got to admire about McBride and Hill is their total willingness to give us protagonists who terrible and unlikable - and yet, have enough humanity and authenticity to tempt us to root for them regardless. Because, no question, Vice Principals' Neil Gamby and Lee Russell were fairly horrible people - and yet, McBride and the great Walton Goggins brought them to life so well that we can't help but feel like we know these guys, we've seen these guys, and if we're not careful ... we could become these guys. No show was more laugh-out-loud funny or downright shocking this year. Bring on Season 2. 


- Those who dismiss Gilmore Girls based on its title are missing one of the funniest, most moving, smartest, most brilliantly-written and performed series in TV history. That said, as much as I loved the show during its original run, I was definitely a bit skeptical about its Netflix-sponsored return after a ten year hiatus. Could the show really re-capture its old magic? Turns out, the answer is yes. And turns out, creator Amy Sherman Palladino was actually able to create a legit TV epic - something that in some ways surpasses the TV show, given the show's bigger budget and increased creative freedom. Palladino made the choice to center the show around the death of family patriarch Richard Gilmore - after the actor who portrayed him, Edward Hermann, passed away. Richard's death colors the entirety of A Year in the Life, in a way that provides for rich story and character growth. In particular, Kelly Bishop shines as the now-widowed Emily Gilmore, who must come to terms with life without her husband of fifty years, and must re-evaluate who she is and wants to be. But even amidst the drama (including numerous moments that will make you reach for the nearest box of tissues), there is so much humor - the show's trademark banter, nonstop pop-culture references, quirky supporting characters (including a show-stealing return for Liza Weil's one-of-a-kind Paris Geller). It's just a fantastic return to Stars Hollow and a great, satisfying bookend to the original series.


- This one is a surprise. I was not 100% feeling Bates Motel in Season 3 - the show felt rudderless, and had lost a lot of the momentum it had built up in its first two seasons. But then came Season 4, and Bates Motel decided to kick things up a notch. Or three. I don't want to spoil things, but suffice it to say that S4 finally took us much, much closer to the Norman Bates of Psycho - and series stars Freddie Highmore and Vera Farmiga stepped up to the challenge and did series-best work. Every scene shared by Highmore and Farmiga was a creepy, unsettling joy. If you haven't gotten into Bates Motel or dropped it, just trust me - this is one you want to binge on asap. In 2016, it was one of the absolute can't-miss series.


- I freely love Stranger Things. Sure, this show felt like it was engineered in a lab to appeal to all of my biggest geek sweet-spots: 80's nostalgia, weird sci-fi, underdog heroes ... but the fact is that Stranger Things could have easily been a failure if the execution was not there. You've got to give the show credit for it's fantastic characters, fun story, and for all of the little details it got just exactly right. From the already-iconic opening credits/theme to the spot-on homages to 80's pop-culture archetypes and storytelling tropes, Stranger Things was the sort of homage to 80's movies and TV I've always wanted. Why? Because it reminded us of something we've lost in the years since those simpler times. Meaning: in an age where everything must be darker, grittier, more sophisticated - Stranger Things was a callback to the long-lost but still-potent power of a story about kids on their bikes venturing out into the unknown. And trust me - this could have gone wrong (see: JJ Abram's well-intentioned but ultimately forgettable film Super 8). But Stranger Things melded something old with something new - by reaching into the past, the show felt like the freshest series of 2016. 


-  In the post-Louie era of semi-biographical, socially-conscious comedy - Atlanta feels poised to take the genre to a new level. Donald Glover's FX series almost immediately felt like something special - in large part because it was so hard to categorize. At times hilarious, at times depressingly bleak, and always unpredictable - Atlanta quickly became a must-watch because every episode felt like some sort of pop-culture truth-bomb - anchored by a fantastic performance from Glover as struggling, would-be music mogul Earn. The show was also not afraid to throw curveballs - from an episode that focused solely on an awkward dinner between Van (the mother of Earn's child) and an old acquaintance, to a full-episode B.E.T. parody where series breakout Paper Boi (played to hilarious effect by Brian Tyree Henry) is interviewed about transgender issues. I can't wait to see where this show goes - undeniably a breakout of 2016.

The Next Best:


- A supremely well-acted, constantly riveting account of the biggest celebrity scandal in American history - this one really surpassed expectations, taking full advantage of a loaded cast (including Sarah Paulson destroying as Marcia Clark) to deliver something special. 


- Comedy genius from Bill Hader and Fred Armison. Season 2 of the series delivered some new classics - including the hilarious "Juan Likes Rice and Chicken,"Globesman," and the sublime Talking Heads spoof "Final Transmission."


-  Better Call Saul turned in another great season in 2016, continuing to both differentiate itself from Breaking Bad while also slowly and satisfyingly leading Bob Odenkirk's Jimmy McGill down the path that leads to Saul. To me, the hero of this season was Michael McKean, who just killed as Jimmy's brother Chuck. McKean's efforts to overcome his tinfoil-wearing, shut-in ways were a season highlight. Get this man an Emmy, stat.


-  In a post-30 Rock world, Kimmy Schmidt continues to be TV's best source for hilarious, eminently-quotable dialogue that is destined for comedy immortality. Not only that, but Kimmy continues to be quietly inspirational - the story of a woman overcoming great trauma who starts fresh and always sees the sunny side of life. Ellie Kemper, Titus Burgess, Jane Krakowski, and the rest of the show's amazing cast continue to shine. There's so much I could say about this great series - but ultimately it boils down to it being one of the flat-out funniest things on TV, with brilliant writing and winning performances.

15. LOVE

- Judd Apatow's latest was an at-times frustrating, at times spot-on, at times hilarious look at a relationship between two insanely broken people. Personally, I was won over by its look at the less glamorous and more mundane side of LA living. I really dug the way it told a relationship story in a complicated way about not-always-likable characters. I sort of loved Love.


- Continuing this year's Showalter-ssance, this awesome little gem of a series came to us from executive producer Michael Showalter, who also hit a home-run this year with his movie Hello My Name Is Doris. In any case, Search Party is a surprisingly dark, often funny mystery series about an aimless woman who finds meaning by devoting herself to the search for a friend-gone-missing (a friend she barely knew, from college). It's got a great central performance from Alia Shawkat. It's a great look at Millennial ennui and I can't recommend it enough.


- Following a jaw-dropping first season, Mr. Robot had a tough act to follow with Season 2. And for a while there, things looked a little worrisome - with the show trying to repeat its nothing-is-as-it-seems trick that blew minds last year. Luckily, S2 rebounded as it headed towards the home stretch - delivering Lynchian weirdness, status-quo-shattering revelation, and letting Portia Doubleday steal the show as morally-conflicted Angela. Under the singular guidance of series creator Sam Esmail, Mr. Robot remains one of the most interesting things on TV.


- Crazy Ex is so smart, funny, and consistently inventive that it's hard to believe it exists and is on The CW (not a knock against CW, just that smart, hilarious musical-comedies are not something they've really been known for ... okay, I guess no one is known for them, but you get my drift). In any case, each episode of the show reaffirms that Rachel Bloom - the creator and star of the show - really can do it all. Bloom kills it on the show, but the secret is that her heightened comedy perfectly captures the everyday absurdities and struggles of modern life. Rare is the comedy that both swings for the fences with its humor *and* feels like a dead-on portrayal of the daily grind. This show does it all.


- Another spawn of Louie, Pamela Adlon's new series is nonetheless its own, pretty amazing thing. Adlon brings the often-heartbreaking comedy of Louie and meshes it with a unique perspective - that of a single mom trying to raise three kids while balance a career. And as with Louie and Atlanta, FX has given Better Things the latitude to do whatever. Episode structure and themes have been all over the map - and that's the beauty of the show - it's a sharp, unique, unpredictable look into the darkly comic mind of Adlon. 


- Broad City continues to be a breath of fresh air on TV - two hilarious women being brilliantly stupid. This season saw such highs as Abbi and Ilana meeting Hillary Clinton - the ultimate "yass, queen!" moment for the pair - and emblematic of the show's subtly progressive message that the women we should be admiring are the nasty women who get %&$# done (even if Abbi and Ilana's comedic personas don't exactly fit that mold). But really, what makes the show work so well are all the little moments between its stars - the random banter and anything goes humor that surfaces as they roam NYC in search of adventure.


- The Good Place was my most anticipated new Fall TV series going into this September - and why not? It was from Parks and Rec / Brooklyn Nine Nine creator Mike Schur, featured Kristen Bell and Ted Danson, and was a high-concept comedy about the afterlife. The show pretty much lived up to its pedigree and potential, giving us a bit of a slow build but really ramping up as it went (shades of Parks and Rec there). What's interesting to me is that Schur has compared the show's slowly-unraveling world-building to the likes of Lost - meaning, we have only just begun to go down the rabbit hole with this one.


- Man, am I going to miss this show. Peggy Carter feels like a character that Haley Atwell should play forever - a can-do, kick-ass woman whose pulp adventures mix old-school movie-serial stylings with Marvel U imagination and superheroics. Season 1 of this show was all potential, but Season 2 really upped the show's game - matching Atwell's awesomeness with a fun plot and a great villain. Atwell was so born to play this role - she feels sort of wasted in anything else - certainly, anything more mundane than the two-fisted adventures of Agent Carter. Netflix, can you hear me?!


- Sure, The Goldbergs is total comfort-food TV - a fairly traditional family sitcom that might as well have been created by me (A movie-loving geeky Jewish kid in the 80's? Dude.). But after some serious slump-age earlier this season, The Goldbergs has been on a real hot streak to close out 2016. How? By toning down mom Beverly's constant overbearingness just a tad, and instead focusing on coming-of-age stories centered around the cast's three teen characters - all played to great effect by the talented cast. And let's give credit where it's due - when was there last a live-action sitcom character with more reliably-funny schtick than Barry "Big Tasty" Goldberg? You might have to go back to Cosmo Kramer to find an answer.


- One of the most awesomely weird comedies on TV - I'm still sort of baffled how this continues to be a show on FOX. But what I love about Last Man is how it pretty much gives zero &%$#'s. It dares to be stupid, dares to make its lead character an insufferable moron, dares to spend whole episodes on complete randomness, and dares to go uber-dark and not shy away from the fact that it's a comedy about the end of the world as we know it. Will Forte is so good here - a comedic tour de force. Boom.


- I debated what show to give the last spot on my list. Orphan Black had an only-okay season, but damned if I don't still sort of love the show for it's great characters and what Tatiana Maslaney brings to them. Silicon Valley is still one of the best comedies on TV, but this past season was more pretty-solid than great. Maron had a great final season, but it never quite went over the top to become a classic. New Girl and Brooklyn Nine Nine were reliably funny, but both feel like shows that have, perhaps, already peaked. And The Flash stalled a bit in its second season, going out on sort of a whiff and then struggling to regain momentum in S3. But - Supergirl! This show is flawed. It's sometimes cheesy af. It occasionally suffers from serious CW-itis (even now that it's actually on CW!). And yet ... the show is so damn full of heart and good intentions that I can't help but include it. Melissa Benoist is already iconic as Kara Danvers - alternately adorkable and heroic (seriously, was there anything better than her exclamation of "ice cream!" in that first crossover episode with The Flash?). And the move to CW has allowed the show to get geekier - with more DC Comics mythology than before, more action and adventure, and more fun. Supergirl may not always nail the details, but it does 100% "get" what makes Supergirl super. And that alone earns it the last spot on this list.


- Silicon Valley
- The Flash
- Orphan Black
- Masters of Sex
- Maron
- New Girl
- Brooklyn Nine-Nine
- Portlandia
- Inside Amy Schumer


a.) THE X-FILES, "Mulder and Scully Meet the Were-Monster"

- I could easily write a whole blog post (or five) on the return of The X-Files and what went wrong. It sucks, because I was so, so excited for the return of my favorite TV series ever. More than that, it felt like the time was right - it felt like in 2016, we needed The X-Files again. We needed to hear Mulder's take on the alt-right and the dark net, on the way in which his brand of conspiracy-theory-thinking has been co-opted by sinister forces. We needed Scully to return and show us again what being an empowered, kick-ass woman was all about. The time felt right - and my excitement was at a fever pitch when, this past summer, I attended an X-Files fan event at the Cinefamily in LA. Hosted by uber-fan Kumail Nanjiani, the event was an X-Files-phile's dream - a screening of six of the best-ever episodes of the show, with appearances and commentary from all the big creators and writers, and then, the capper, a first-look at the new season. Based on that first look - I was pumped. "Mulder and Scully Meet the Were-Monster" was exactly what I'd dreamed new X-Files could be - a new masterpiece from visionary writer Darin Morgan, in the vein of his quirky classics like "Jose Chung's From Outer Space." If this was what we could expect from The X-Files' return, I was all in baby. But alas, it was not to be. The rest of the six episodes ranged from just-okay to embarrassingly bad (the finale was an all-time head-scratcher, courtesy of the seems-to-have-lost-his-mojo series creator, Chris Carter). I still hold out hope that the show will return with some fresh blood at the helm, and that it can, finally, go out on a high note. Us X-Files fans have had a rough go of it - enduring the underwhelming series finale, the even more underwhelming second movie, and now this. But! "Were-Monster" alone almost made it all worth it - a brilliantly satirical look at modern life's absurdities - with a great guest appearance from Flight of the Conchords' Rhys Darby - it was vintage Darin Morgan, and vintage X-Files. So yeah, even if I'd like to forget most of X-Files 2016 ... hey, we'll always have "Mulder and Scully Meet the Were-Monster."


- The most vital show of the nightmarish 2016 election season was undoubtedly John Oliver's. Oliver grabbed the mantle of "America's truth-teller" from John Stewart, and put things in vital perspective as rational-minded people everywhere tried to sort through the mountains of BS that spewed from the likes of Donald Trump and others over the course of the campaign. Sure, Oliver was likely, often, preaching to the choir. But if nothing else, Oliver reminded us - with humor and smarts - that all of this was not normal - but that, thankfully, there were still sane people out there even in these insane times.


- I almost always mention Conan in these wrap-ups, but with good reason: he remains ridiculously funny even as his TBS show gets overlooked by many. Just recently, he's been on fire with his show's hilarious Trump/Obama phone conversation bits - another example of how Conan and his genius writers continually come up with awesome new bits. Also, Conan's increasingly-frequent travelogues are always must-watch. His recent Berlin special was an instant-classic (find it online if you've not seen it!). Point being, I like Fallon, Colbert, etc. - but to me Conan will always be "the man" when it comes to late night comedy.


- Finally, I'd be remiss if I did not mention the craziest show in existence, El Rey network's Lucha Underground. A hybrid wrestling show / serialized grindhouse movie, LU is one of the most entertaining things on the air - an awesomely over-the-top melding of high-flying lucha libre - with a stacked roster of talented performers - and comic-book storylines that feel lifted from producer Robert Rodriguez's fever dreams. Seriously - the show gives us undead warriors, serpent-cults, undercover cops, and evil conspiracies. What more could one want? 


- I never know how to rank Childrens Hospital in my Best-Of lists. For several years, it's been one of the most consistently brilliant and hilarious comedies on the air. But with its 15-minute running time and over-the-top absurdism, it feels weird to even compare it to anything else on TV. It was its own little slice of weird-comedy nirvana. And so, man, I am going to miss this show. With the involvement of folks like David Wain and Ken Marino, it felt like a definite spiritual successor to The State. Certainly, Childrens had an absolutely all-star cast, including some of TV's funniest women - Malin Ackermann, Lake Bell, Erin Hayes Megan Mullally, and more. It had some of the cleverest jokes and sharpest writing of any comedy of the last five years. It had an all-star line-up of guest stars. It was unpredictable and unusual. A comedy masterclass. So long, Childrens Hospital - you will be missed.


The Best TV Heroes of 2016:

1.) Vanessa Ives and John Clare - Penny Dreadful
2.) Kara Danvers - Supergirl / Peggy Carter - Agent Carter
3.) Eleven and her friends - Stranger Things
4.) Delores - Westworld 
5.) Jon Snow - Game of Thrones

The Best TV Villains of 2016:

1.) Cersei Lannister - Game of Thrones
2.) Lily - Penny Dreadful
3.) The Demogorgon - Stranger Things
4.) Phillip Price, CEO of Evil Corp - Mr. Robot
5.) Madame Masque - Agent Carter

The Best TV Anti-Heroes of 2016:

1.) Philip and Elizabeth Jennings - The Americans
2.) Saul Goodman and Mike Ehrmantraut  - Better Call Saul
3.) Angela Moss - Mr. Robot
4.) Neil Gamby and Lee Russell - Vice Principals
5.) Maeve - Westworld

Best Actress in a Comedy:

1.)  - Rachel Bloom - Crazy Ex-Girlfriend

Runners Up: Alia Shawkat - Search Party, Ellie Kemper - Unbreakable Kimmy Schmidt, Gillian Jacobs - Love, Pamela Adlon - Better Things

Best Supporting Actress in a Comedy:

1.) Jane Krakowski - Unbreakable Kimmy Schmidt

Runners Up: Claudia O'Doherty - Love, Kristen Schaal - Last Man on Earth, Kimberly Hebert Gregory - Vice Principals

Best Actor in a Comedy:

1.) Donald Glover - Atlanta

Runners Up: Danny McBride - Vice Principals, Will Forte - The Last Man on Earth, Bill Hader/Fred Armisen - Documentary Now

Best Supporting Actor in a Comedy:

1.) Brian Tyree Henry - Atlanta

Runners Up: T.J. Miller - Silicon Valley, Andre Braugher - Brooklyn Nine Nine, Walton Goggins - Vice Principals, Titus Burgess - The Unbreakable Kimmy Schmidt

Best Actress in a Drama:

1.) Eva Green - Penny Dreadful

Runners Up: Keri Russell - The Americans, Evan Rachel Wood - Westworld, Sarah Paulson - American Crime Story: The People vs. OJ Simpson,  Tatiana Maslaney - Orphan Black, Lauren Graham - Gilmore Girls: A Year In the Life

Best Supporting Actress in a Drama:

1.)  Kelly Bishop - Gilmore Girls: A Year In the Life

Runners Up: Vera Farmiga - Bates Motel, Lena Heady - Game of Thrones, Portia Doubleday - Mr. Robot, Alison Wright - The Americans, Thandie Newton - Westworld, Billie Piper - Penny Dreadful, Liza Weil - Gilmore Girls: A Year in the Life

Best Actor in a Drama:

1.) Matthew Rhys - The Americans

Runners Up: Freddie Highmore - Bates Motel, Rami Malek - Mr. Robot, Bob Odenkirk - Better Call Saul, Cuba Gooding Jr - American Crime Story: The People vs. OJ Simpson

Best Supporting Actor in a Drama:

1.)  Rory Kinnear - Penny Dreadful

Runners Up: Anthony Hopkins - Westworld, Jeffrey Wright - Westworld, Jonathan Banks - Better Call Saul, Michael McKean - Better Call Saul, Noah Emmerich - The Americans

No comments:

Post a Comment