Happy Emmys Day! This week's Newsletter includes a review of True Detective: Night Country, a preview of the Drama categories at the Emmys, thoughts on the season finales of For All Mankind and The Curse, the latest episode of Fargo and more!
I actually haven't watched any of the True Detective seasons. It's always been on my list but as the reaction to the second and third season was more muted, I just never got around to it. So I can't comment at all on how the fourth installment, Night Country, compares to previous seasons. But I thought the first episode of Night Country was strong and I look forward to watching the rest of the season. The first episode does a great job with mood setting. It starts on the last day of daylight in Northern Alaska and then continues when Alaska is dark 24 hours a day (hence the "Night Country"). The feel of constant night seems to be a major part of this season given the name but it also helps tremendously with mood-setting.
Jodie Foster was a huge get for this season. In her first regular TV role since the 1970s, Foster is magnificent and instantly elevates the show. She's playing the gruff, veteran female cop role that has been perfected in recent years by the likes of Kate Winslet in Mare of Easttown among others. But she already brings a great amount of humanity to the role. Without her, I'm not sure the first episode would hold together as well as it does. There is a bit of tradeoff of plot for introduction of characters and mood setting. And despite a lot of time spent with other characters, none of them come off as well as Foster. This was one of those shows where I sat up and paid attention when Foster was onscreen but found my mind wandering when she wasn't.
The murder mystery doesn't really get going enough for my taste in the first episode. Without about 15 minutes left in the first episode, there starts to be some movement. But there are only six episodes of this season so you can't really devote nearly an entire episode to exposition. I'm also not even sure the exposition was all that effective because the supporting characters weren't nearly as memorable as Foster despite some good things from Kali Reis and Finn Bennett. The series also hinted at some supernatural elements, which to my understanding was also true for the acclaimed first season. I'm not sure that really works here. It feels in contrast to Foster's very grounded performance.
The Emmys are tonight! Over the last two weeks, I looked at the Limited Series and Comedy fields. Now, here's a look at my predictions and wishes for the Drama field!
Outstanding Drama Series
Will/Should Win: Succession
Should Have Been Nominated: For All Mankind
Outstanding Lead Actor in a Drama Series
Will/Should Win: Kieran Culkin, Succession
Should Have Been Nominated: Dominic West, The Crown
Outstanding Lead Actress in a Drama Series
Will/Should Win: Sarah Snook, Succession
Should Have Been Nominated: Imelda Staunton, The Crown
Outstanding Supporting Actor in a Drama Series
Will/Should Win: Matthew Mcfadyen, Succession
Should Have Been Nominated: Zach Gilford, Criminal Minds: Evolution
Outstanding Supporting Actress in a Drama Series
Will Win: Jennifer Coolidge, The White Lotus
Should Win: Meghann Fahy, The White Lotus
Should Have Been Nominated: Yvonne Strahovski, The Handmaid's Tale
A disappointing season of For All Mankind ended with a finale that couldn't come close to matching the intensity of the Season 2 finale (the greatest episode of the entire series) or the Season 3 finale (a less great, yet super tense episode). The second and third season earned their intense finales. That wasn't true for this season. We should have seen this uninspired finale coming after how underwhelming the season felt. We know how For All Mankind likes to have big splashy moments in its finale so the fact that one of the main characters saw their life in serious jeopardy was not surprising in the least. I think a bit of it is fatigue as a viewer with how For All Mankind does finales. But the much bigger reason is the asteroid story and, to a lesser extent, the Margo story were just far less meaty than previous season arcs. Say what you want about how terrible a character Danny Stevens was, but his story propelled the action forward and kept the level of intensity for other characters cranked up in the third season. Uninspired cast additions and wonky stories that focused a little too much on the science doomed this season and, therefore, this finale. Even the traditional time jump didn't excite me (I remember how amazing it was to see the boots stepping onto Mars in the flash forward at the end of Season Two). The final monologue from Margo felt a bit like it could work as a series finale. Considering the show hasn't been renewed yet for a fifth season, I think that's possible but I also think Apple TV+ will give one of its original shows a chance to wrap things up one way or another.
Speaking of finales (and space, I guess), people would definitely be talking about the finale of The Curse if anyone was actually watching that show. It started as a simple time jump: the HGTV show was on the air (or at least on streaming), Emma Stone's Whitney was pregnant and the couple seemed in a better place as they guested on Rachael Ray. There was the requisite cringey moments (Asher's gift to Whitney was another self-serving moment for the couple and their choice to hide the AC panel in the baby's room was typical of the characters we've gotten to know). But then it took a truly surreal turn. Asher woke up unable to get off the ceiling and the rest of the episode dealt with Asher continuing to float ever upward while Whitney went into labor.
Now, I try to write these little recaps and thoughts before I listen or read much else on an episode so maybe I'll get a better sense of what they were trying to say or do here when I read more. But I just didn't get it. The final lines from the spectators made me wonder if the point was that people don't know what's real and what's not (they thought Asher's issue was a stunt for the show). But that was a whole lot of weird surreal plot to make a point they've sort of been making all season. Maybe the point was just to do something outlandish. I'm all for creative risks and The Curse has taken plenty of them. I just don't think this last risk worked.
Overall though, I still really enjoyed The Curse and I think Emma Stone's performance is one of the best of the entire TV season to date.
After a little bit of a lull midway through the season, Fargo is amping it up as it heads towards the finale. I thought the penultimate episode, which takes place almost entirely at the Tillman Ranch, was excellent. It was very well-paced and a real showcase for Jon Hamm whose character gets more and more evil with each passing week. I'd also like to sing the praises of Rebecca Liddiard as Roy's third and current wife, Karen. She is never given too much screentime but boy does she make an impact with her scenes including this episode. And of course Juno Temple continues to be the MVP of this season with another harrowing performance.
Early on in the episode, I thought the show was putting a little too fine a point on the Trump allegory. I mean, there was basically a standoff with federal agents that seemed to be a nod to January 6 and then they went and played "YMCA," a Trump rally favorite, as Tillman's henchman all arrived at the ranch. That was a rare misstep where I felt like the show was trying to bang us over the head with the point they were trying to make and usually Fargo is more clever than that. My only other criticism of a really excellent episode was that the humor didn't always land with the FBI agents in a very tense episode. There were great lines (Roy Tillman saying of Danish Graves "is that a man or a serious breakfast?" worked beautifully) but the goofy little back and forth between agents was a little bit too jarring of a tonal shift with the intensity of the episode. Overall, a great episode though. Bring on the finale!
SCRIPTED PREMIERES THIS WEEK
This is the week where we finally start to see broadcast shows returning post-strike with many more coming in the following weeks. Tuesday has the premiere of Hulu's whodunit mystery Death and Other Details. The reviews have been mixed but I'm still curious to check it out. Wednesday has the return of "One Chicago" on NBC with Chicago Med, Chicago Fire and Chicago PD beginning their strike shortened seasons. Wednesday also has the premiere of CW's new dramedy Wild Cards. The NBC-Dick Wolf broadcast shows continue on Thursday with the return of Law & Order, Law & Order: SVU and Law & Order: Organized Crime. Friday has the long delayed second season premiere of Chad. The season had not one, but two premiere dates on TBS over a year ago but will finally drop all ten episodes on Roku. Friday also has the premiere of the animated Hazbin Hotel on Prime Video. Sunday has the return of The Way Home on Hallmark.
THOUGHT TO END TODAY
Nothing really to end today except some final thoughts on the Emmys. I think the best bet is Beef to win Limited Series. I'd be shocked if that doesn't win. I think Succession will win Drama but the Creative Arts wins for The White Lotus and The Last of Us give me a little pause. I think Comedy is the toughest to call of the big three. I predicted The Bear but a win by Ted Lasso (or maybe Abbott Elementary) wouldn't shock me. As far as rooting interest, the one thing I want to happen more than anything else is a win for Kieran Culkin for Succession. I would also be absolutely delighted by a win for Rachel Brosnahan for the final season of The Marvelous Mrs. Maisel, but I think that's a real long shot.
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