And the Emmy goes to…

Television’s biggest night has finally come…and on a Monday! It’s been a while since the celebration has taken place on this night, but host Seth Meyers, the new Late Night frontman, has most everyone excited. Well. Let’s go right into who will and should win, shall we?

Breaking Bad
Downton Abbey
Game of Thrones
House of Cards
Mad Men
True Detective
Will and Should Win: Hands down Breaking Bad. This is a show that will hands down become one of the greatest television series in history and it helps that with all of the influxes of poorly done finales, “Felina” was anything but. And did I mention “Ozymandias”. Yeah. Enough said. The reigning champ may have won last year when the actual final episodes were airing, but I think Season 5b will still take it over it’s main competitor this year: True Detective, a show that has earned equal praise.

Outstanding Comedy Series
The Big Bang Theory
Modern Family
Orange Is the New Black
Silicon Valley
Should Win: A lot of strong comedies came to play this year. The biggest surprise nomination, and definietly one that made me ecstatic: Silicon Valley. That show had me laughing more than I would have ever thought. As did Veep. But although it’s dark humor makes you a bit more depressed over a laugh at times, in terms of what’s in the category, Louie had it’s best season to date. With the “Elevator” and “Pamela” arcs, and of course the much talked about opener “So Did the Fat Lady,” Louie deserves this.
Will win: With four wins under it’s belt, saying Modern Family should be the thing to do. But Veep but fan favorite Orange has a lot going for it. I’d like to go out on a limb though and give this to Veep, a show that started small and grew to a fan favorite with the presidential campaign driven season. But OITNB has the momentum and will probably make history for Netflix.

Outstanding Miniseries
American Horror Story: Coven
Bonnie & Clyde
The White Queen
Will and Should Win: Let’s all save out breath. Fargo.

Outstanding TV Movie
Killing Kennedy
Muhammad Ali’s Greatest Fight
The Normal Heart
Sherlock: His Last Vow
The Trip to Bountiful
Will and Should Win: In a relatively weak category, Ryan Murphy’s The Normal Heart, and it’s line of great performances, will take the prize.

Lead Actor in a Drama
Bryan Cranston, Breaking Bad
Jeff Daniels, The Newsroom
Jon Hamm, Mad Men
Woody Harrelson, True Detective
Matthew McConaughey, True Detective
Kevin Spacey, House of Cards
Should Win: This is a tight race, especially when Jeff Daniels somehow walked away with the statue last year. So who really knows, but the talk is all over a Cranston-McConaughey brawl. Going with the “Ozymandias” submission, Cranston’s portrayal of Walt stands to win.
Will Win: Considering McConaughey has the momentum of his Oscar win earlier this year, it’s really hard to say. For a show that was loved, it would be odd to see it walk away empty handed in any major category. Even as I am write this literally write now, my mind was about to say McConaughey, but my gut is still telling me Cranston. Breaking Bad has become a cultural phenomenon. I really can’t say anything else.

The Good Wife
Lead Actress in a Drama
Lizzy Caplan, Masters of Sex
Claire Danes, Homeland
Michelle Dockery, Downton Abbey
Julianna Margulies, The Good Wife
Kerry Washington, Scandal
Robin Wright, House of Cards
Should Win: In a category that always seems to small to fit the whole deserving lot (TATIANA MASLANY THIS IS YOURS), this is what we were dealt. Caplan finally found the role she was born to play. Wright had that abortion interview. But I’ve got to give this to Julianna Margulies. The Good Wife has been in my top five favorite shows of all time since I started watching once the first season ended, even with it’s under-appreciated fourth season that some criticize. But Season 5. The season that had everyone talking. We got to see an empowered Alicia in the beginning and a mourning Alicia in it’s finality. Margulies does so much with so little and deserves this award every year. Especially to make up from last year’s snub.
Will Win: Claire Danes took it from Kerry Washington last year who had everything going for her. Washington good win but I think she spent to much time acting behind a lamp to win this. Wright just won the Golden Globe (for the first season may I add though), but I don’t know if I’m thinking too much with my heart, but I’ll give it to Margulies again. The Good Wife somehow got snubbed in the Drama Series category and with Baranski going to lose out to Gunn, Margulies could be the saving grace.

Lead Actor in a Miniseries or Movie
Benedict Cumberbatch, Sherlock
Chiwetel Ejiofor, Dancing on the Edge
Idris Elba, Luther
Martin Freeman, Fargo
Mark Ruffalo, The Normal Heart
Billy Bob Thornton, Fargo
Should Win: Billy Bob Thorton’s hilarious, satirical role in Fargo was great, but I honestly think Martin Freeman played the balance timidity and wickedness perfectly and should go home with the award.
Will Win: Mark Ruffalo could take it, but Thorton has too much word of mouth to not win.

Lead Actress in a Miniseries or Movie
Helena Bonham Carter, Burton and Taylor
Minnie Driver, Return to Zero
Jessica Lange, American Horror Story: Coven
Sarah Paulson, American Horror Story: Coven
Cicely Tyson, The Trip to Bountiful
Kristen Wiig, The Spoils of Babylon
Will and Should Win: This year I think it’s down between the two Coven leading ladies (although Tyson could take it). FINALLY we get to see Sarah Paulson in on a nomination for this show, especially after her breakthrough in Asylum. Lange is fantastic as always, but Paulson went through so much (snake sex scenes and ripping her eyes out to name a few) to truly deserve this Emmy. And as voters had the sense to get around to giving her the nom, I think they’ll have enough sense to give her the win.

Lead Actor in a Comedy
Louis C.K., Louie
Don Cheadle, House of Lies
Ricky Gervais, Derek
Matt LeBlanc, Episodes
William H. Macy, Shameless
Jim Parsons, The Big Bang Theory
Should Win: I just recently watched both seasons of Derek and was so surprised by it. I was laughing. I even cried (yes I am admitting that…but the dog!). Ricky Gervais gave us more heart than snark. A month ago I would have said C.K., but I have to give this to Gervais.
Will Win: Gervais honestly could win this (remember Extras?), and Macy finally got recognition for a beloved role. Voters may also recognize C.K. too. But I think they’ll play it safe here and go with the usual Parsons. Sadly.

Lead Actress in a Comedy
Lena Dunham, Girls
Edie Falco, Nurse Jackie
Julia Louis-Dreyfus, Veep
Melissa McCarthy, Mike & Molly
Amy Poehler, Parks & Recreation
Taylor Schilling, Orange is the New Black
Will and Should Win: A category that I can again save your efforts of reading: Julia. Louis. Dreyfus. (But we love you Leslie Knope!).

Supporting Actor in a Drama
Aaron Paul, Breaking Bad
Jim Carter, Downton Abbey
Peter Dinklage, Game of Thrones
Josh Charles, The Good Wife
Mandy Patinkin, Homeland
Jon Voight, Ray Donovan
Will and Should Win: Charles had a great run with his obvious role in “Hitting the Fan” and his final moments. Dinklage had the trial. But Paul, in a slightly “smaller” role in the final arc, still went through so much pain in the end. Yet he got his happy ending. And Paul should too.

Supporting Actress in a Drama
Anna Gunn, Breaking Bad
Maggie Smith, Downton Abbey
Joanne Froggatt, Downton Abbey
Lena Headey, Game of Thrones
Christine Baranski, The Good Wife
Christina Hendricks, Mad Men
Will and Should Win: Anna Gunn not only gave the best performance for her “Ozymandias” submission in this category. She gave the best performance of any actor in this year’s entire lineup. And of all in television. And of all in cinema. That is all.

Supporting Actor in a Comedy
Andre Braugher, Brooklyn Nine-Nine
Adam Driver, Girls
Jesse Tyler Ferguson, Modern Family
Ty Burrell, Modern Family
Fred Armisen, Portlandia
Tony Hale, Veep
Should Win: The underloved Brooklyn Nine-Nine found one of two nominations here (it won for its Stunt nomination). Braugher’s deadpan role always had the last laugh and for that should take the win.
Will Win: Braugher really could win this, but I’ll go with last year’s deserving winner, Hale.

Supporting Actress in a Comedy
Mayim Bialik, The Big Bang Theory
Julie Bowen, Modern Family
Allison Janney, Mom
Kate Mulgrew, Orange Is the New Black
Kate McKinnon, Saturday Night Live
Anna Chlumsky, Veep
Should and Will Win: Mulgrew turned a character you could have hated into someone you loved. Allison Janney is, well, Allison Janney, and a show that could have been campy turned out to have a lot of heart. Did I mention that Janney was beyond hilarious? I say Chlumsky though who had so many great moments, we all want to go to a dinner party with her.

Supporting Actor in a Miniseries or Movie
Colin Hanks, Fargo
Jim Parsons, The Normal Heart
Joe Mantello, The Normal Heart
Alfred Molina, The Normal Heart
Matt Bomer, The Normal Heart
Martin Freeman, Sherlock
Will and Should Win: Bomer is the favorite and will take it home.

Supporting Actress in a Miniseries or Movie
Frances Conroy, American Horror Story: Coven
Kathy Bates, American Horror Story: Coven
Angela Bassett, American Horror Story: Coven
Allison Tolman, Fargo
Ellen Burstyn, Flowers in the Attic
Julia Roberts, The Normal Heart
Will and Should Win: The Coven ladies are all great. But all eyes are on newcomer Allison Tolman who was the emotional core to Fargo and was the one that gave you reason to root against the anti-heroes. She has the rare acting ability to show so much with just her eyes and that sincerity gives her all the more reason for her first Emmy.

In many of the technical, writing and directing categories, expect a lot of Breaking Bad wins (again, Moira Walley-Beckett. Ozymandias.) like Vince Vince Giliigan for directing (we love you Rian Johnson!). Jodie Foster may even be a winner (directing nod for Orange). Fargo should sweep a lot of its categories. All in all, expect the headlines for tomorrow to read Breaking Bad leads wins in last night’s Emmys.

So. That’s it. Anything you agree with? Disagree with? Heck. Is there anybody you WISH was on these lists (cause I sure do still have quite a few bones to pick with this Academy!). Write off in the comments!

A Gleeful Horror Story

It’s been a few weeks since American Horror Story: Asylum has signed off of entertaining America every

Copyright ©

Copyright ©

Wednesday night, but news of the already upcoming third season hasn’t quieted yet. With a flush of actors from this past season already confirmed to return, including Jessica Lange, Evan Peters, Sarah Paulson, Lily Rabe, Frances Conroy, and even season one star, Taissa Farmiga, the star studded cast already is lined up to give us all quite a ride.

But the real question is, what is that ride going to be? What will be the new title to follow the AHS theme next year? After a few hints within the final few episodes, Ryan Murphy confirms, fans have already come up with a slew of theories to conjure up a possible location (three to be exact) to next season’s thrilling journey!

For me, and what seems like most others, season three will most likely revolve around a few broomsticks, maybe a cauldron, a brewing romance (Murphy promises a Romeo + Juliet arc), and the home of Saints. What does that all tie back to? Witches. And where better to do that? New Orleans, among the other two.

Murphy explained that unlike last year’s hint through Sarah Paulson’s character, Billie Dean, and then Dylan McDermott in the imaginary mental institution, this year’s hints came in a different form and in my opinion had to be in what truly jump started Mr. Murphy’s most recent gleeful turn in the industry: song. Playing the first song on the brand new jukebox in the episode, “The Name Game,” Sister Jude made sure to play none of other than “I Put A Spell On You,” and only to be followed by “Love Potion No. 9” in the next episode, which Murphy also said included another nod.

So although the general idea is said to be witches, along with other theories about it being during the Salem Witch Trials and also possibly include voodoo or even politics, Murphy claimed a few weeks back that some people were on the right track, but never truly hit it home.

Could it be that everyone is getting bits and pieces right, but like this past season, it’s just a huge combination of everyone’s theories? Hard to tell at this point, but do you have any ideas of what could be in store to make up another great season of scares?

In the meantime, relive this riveting season two promo to hold you over until more info is here to come.

American Horror Story: Asylum Analysis

Since week one of the new season of American Horror Story: Asylum, I’ve had this theory of Grace not being real. A figment of Kit’s imagination and now, of Lana’s imagination. From the first episode, the way she was presented almost made her seem out of place.

From the fact that she wasn’t “crazy,” then the strange way she had a “job” where she could quietly and discreetly give food to Kit in his cell was awfully convenient. She never once came in any major contact with people either. When trying to pull away the man that was trying to hold down Kit, she was shakily shown through the camera trying to pull him back, but failed. Then, back to her food drop-off, she immediately disappears once a guard comes in.

Coming into the second episode of this season, called “Tricks and Treats,” I was prepared to analyze every moment she was in, making sure to be attentive to her surroundings in order to support this, to my knowledge, not even spoken of theory.

As the minutes progressed, the evidence to her inexistence skyrocketed.

The first major moment followed Lana’s ECT (electroconvulsive therapy), with the camera often shaking to show her possible transition into insanity. So once in the waiting-like room, writing down notes to remember in case the ECT wiped her memory, Kit walks in and has a “conversation” with Grace. Throughout the talk, whenever the shot was shown through Lana’s point of view, eavesdropping on their conversation, Lana’s head always covered where Grace would have been shown, and in the distorted background, all that was seen was Kit at the edge of Lana’s ear. Since she was covering up Grace, literally, perhaps this could have been the moment that Grace was slowly starting to dig her way into Lana’s mind and insanity (farfetched, yes, but stay with me).

Then, when seen through Kit’s point of view, Grace was actually shown, but only then through his eyes. So the second that Lana quickly writes down a note, which we can’t exactly see, I suspected that she was noting that Kit was actually crazy. Why wouldn’t he be? He’s having an imaginary conversation with himself. Why shouldn’t she remember that?

Finally, we get Lana’s first glimpse and confrontation with Grace: taking a steam bath, similar to one of the promos shown before (more on that later). Could Lana finally crossed over into insanity too, just like Kit who is presumed innocent? Possibly. The entire confrontation between the two turns into a desperate attempt for escape so maybe that desperation is what drives this Grace into these patients’ imaginations.

But the best, most concrete evidence that can be found for Grace’s inexistence comes in her three final scenes.

When giving her last plea to escape, but not allowing Kit to come, Lana gets her notepad stolen by Kit during her talk with Grace on the couch. With no notice as to how Kit would even know that Lana had a notepad for herself, it’s possible that Lana was either talking to herself, like a schizophrenic, or maybe even to Kit during that conversation. Kit had to of known in some way about Lana and her notes…

So later, during the exorcism, we see the patients all rushed back into their corridors. This is the first of two scenes I suggest watching back because they’re so crucial.

Lana returns to her cell, but right before we see a quick reaction shot of Grace walking into the cell which, from the shot, is directly across Lana’s cell. However, a few seconds later, Lana attentively peeks out the fenced window on her cell door and during the camera switch to her point of view, she looks directly across into the room from hers. Instead of seeing Grace, Kit sits down in his bed and makes direct eye contact with Lana.

The cinematography is what really makes this scene in particular, among the rest, actual hints to this idea.

But, with every good theory comes the counterpoint. The moment when all of the epiphanies and revelations gain that moment of doubt. That moment came when Sister Jude orders in Grace and Kit for their punishments is what truly disproves all of this long, overdrawn analysis.

With every counterargument, though, comes even better confirmation.

For starters, the cinematography and camera work was top notch, once again. The moment we see Kit and Grace dragged in by the two workers, we should be getting a double shot of the two actors walking in. Instead, even when the man that’s holding Grace is shown, Kit is always in our line of sight for Grace, and we can never see her for those brief few seconds.

That’s not what affirms this theory though. The affirmation for Grace being some sort of figment comes in the two or three seconds we see Kit and Grace lying on the table. Briefly, Grace double takes and looks at the glass with the cigarette in it. But why? Every shot and decision made is always done with reason in filmmaking.

When playing back, and with extra attention to the position of the glass, its seen in two different places in all but those two or three seconds. Of course, this could have been what many may find under a goof under, but the fact that the actors were directed to take a glimpse of the glass almost simultaneously disproves that.

First. The glass is to Kit’s right in the double shot of the two.


Second. It’s seen at Grace’s right

Finally. It’s back to Kit’s right.

All of these shots are one after another and since both Grace and Kit look at it in each of their takes makes is no coincidence.

So. Is the idea that Grace is too good to be true prove she’s not real? But how isn’t she real, and how does Jessica know of her existence and come into contact with her? Is she aware of her if she’s dead and maybe a ghost (season one, anyone?)?

I leave you with one final picture, which I’m not going to lie, did not even come into mind until I was writing the paragraph about Lana and Grace in the baths.

Remember this promo picture of that creepy nun that cries blood peeking out of this bath? It greatly resembles the baths that the two use, so does it could have some significance with Grace and the fact that she was able to cut herself out with that blade?

Approve? Disprove? Have any other proof supporting this Grace theory, or even refuting it? Speak out in the comments!

I do not own the rights to any of the photos, FX or the American Horror Story Asylum productions