2013 Dream Emmy Ballot

Even with TV currently in a new Golden Age, the run-up to the Emmys never quite hits the level of mania that surrounds its big screen equivalent (the Oscars). Even with two months between the nominations (announced today), and the ceremony, there's no frantic rush of televised precursor awards. It's a shame, because as one would expect of a Golden Age of TV, there are quite a few great shows and performances out there. 

So, even though it (obviously) counts for nothing, below is what my Emmy ballot would look like for the 2012-2013 TV season. This was made before the nominations were announced this morning, so and none of my picks have been altered to compensate for what I feel were glaring omissions (*cough*Tatiana Maslany*cough*). It's called a dream ballot for a reason.

Best Drama Series

Breaking Bad

Game of Thrones

House of Cards

Mad Men

Orphan Black

The Americans

Best Comedy Series

30Rock

Archer

Bob's Burgers

Enlightened

Parks and Recreation

Veep

Best Miniseries/TV Movie

American Horror Story: Asylum

Behind the Candelabra

Black Mirror

Parade's End

Top of the Lake

Best Actor - Drama Series

Bryan Cranston - Breaking Bad

Hugh Dancy - Hannibal

Damian Lewis - Homeland

Jon Hamm - Mad Men

Timothy Olyphant - Justified

Kevin Spacey - House of Cards

Best Actor - Comedy Series

Alec Baldwin - 30Rock

Jason Bateman - Arrested Development

H. Jon Benjamin - Archer

Louis CK - Louie

Joel McHale - Community

Adam Scott - Parks and Recreation

Best Actor - Miniseries/TV Movie

Benedict Cumberbatch - Parade's End

Matt Damon - Behind the Candelabra

Michael Douglas - Behind the Candelabra

Al Pacino - Phil Spector

Daniel Rigby - Black Mirror

Best Actress - Drama Series

Claire Danes - Homeland

Kate Mara - House of Cards

Tatiana Maslany - Orphan Black

Elisabeth Moss - Mad Men

Keri Russell - The Americans

Robin Wright - House of Cards

Best Actress - Comedy Series

Laura Dern - Enlightened

Lena Dunham - Girls

Tina Fey - 30Rock

Julia Louis-Dreyfus - Veep

Amy Poehler - Parks and Recreation

Aisha Tyler - Archer

Best Actress - Miniseries/TV Movie

Hayley Atwell - Black Mirror

Rebecca Hall - Parade's End

Jessica Lange - American Horror Story: Asylum

Helen Mirren - Phil Spector

Elisabeth Moss - Top of the Lake

Sarah Paulson - American Horror Story: Asylum

Best Supporting Actor - Drama

Bobby Cannavale - Boardwalk Empire

Nikolaj Coster-Waldau - Game of Thrones

Charles Dance - Game of Thrones

Walton Goggins - Justified

Aaron Paul - Breaking Bad

Corey Stoll - House of Cards

Best Supporting Actor - Comedy

Donald Glover - Community

Alex Karpovsky - Girls

Nick Offerman - Parks and Recreation

Damon Wayons Jr. - Happy Endings

Mike White - Enlightened

Luke Wilson - Enlightened

Best Supporting Actor - Miniseries/TV Movie

James Cromwell - American Horror Story: Asylum

Peter Mullan - Top of the Lake

Zachary Quinto - American Horror Story: Asylum

Best Supporting Actress - Drama

Joelle Carter - Justified

Natalie Dormer - Game of Thrones

Michelle Fairley - Game of Thrones

Anna Gunn - Breaking Bad

Lena Heady - Game of Thrones

Christina Hendricks - Mad Men

Best Supporting Actress - Comedy

Alison Brie - Community

Anna Chlumsky - Veep

Eliza Coupe - Happy Endings

Jane Krakowski - 30Rock

Jessica Walter - Arrested Development

Casey Wilson - Happy Endings

Best Supporting Actress - Miniseries/TV Movie

Adelaide Clemmens - Parade's End

Holly Hunter - Top of the Lake

Lily Rabe - American Horror Story: Asylum

Best Directing - Drama Series

"Chapter 11" - House of Cards

"Dead Freight" - Breaking Bad

"Endless Forms Most Beautiful" - Orphan Black

"Ghost" - Justified

"In Care Of" - Mad Men

"In Control" - The Americans

Best Directing - Comedy Series

"Agent of Change" - Enlightened

"Follow Me" - Enlightened

"Hostages" - Veep

"It's a Shame About Ray" - Girls

"Last Lunch" - 30Rock

"The Key" - Enlightened

Best Directing - Miniseries/TV Movie

Behind the Candelabra

"Be Right Back" - Black Mirror

"Episode 3" - Parade's End

"Episode 3" - Top of the Lake

"Episode 4" - Top of the Lake

"White Bear" - Black Mirror

Best Writing - Drama Series

"Chapter 5" - House of Cards
"Dead Freight" - Breaking Bad

"In Care Of" - Mad Men

"In Control" - The Americans

"Kissed By Fire" - Game of Thrones

"The Better Half" - Mad Men

Best Writing - Comedy Series

"Agent of Change" - Enlightened

"All I Ever Wanted" - Enlightened

"Honeymooners" - Archer

"Last Lunch" - 30Rock

"Signals" - Veep

"Topsy" - Bob's Burgers

Best Writing - Miniseries/TV Movie

Behind the Candelabra

"Be Right Back" - Black Mirror

"Episode 3" - Parade's End

"Episode 3" - Top of the Lake

"Episode 4" - Top of the Lake

"White Bear" - Black Mirror

Review: "House of Cards: Season 1"

Whether or not Netflix's much-hyped House of Cards will have a significant impact remains to be seen. There is a certain pleasure to be derived from the fact that, starting yesterday, the entire first season was available. On the other hand, with the power to blast through an entire season in a day or two, the wait for the next season (which begins shooting this spring) will likely feel even longer than the usual wait between seasons for high-end series. There's also less chance to discuss the specifics of individual episodes, and speculate about what happens next. Contrast this with, say, Homeland, which always prompts discussions (good, bad, or neutral) after each new episode airs. There's room to let developments really breathe. However, on the flip side, there's also more room for certain plot elements to fall out of people's attention, as they go through the week between episodes going about their lives. 

With this new method of release, Netflix has done something that, on paper, seems borderline counter-intuitive. In an age where writers, directors, and actors are flocking to TV (which, despite the Kardashians and Honey Boo Boo, is still very much in a Golden Age), Netflix has condensed the TV viewing experience. Despite having different directors and writers across its 13 episode freshman season, House of Cards could honestly be described as one 13 hour movie, chopped up into broadcast-length episodes. Having recently finished the first season, I can confidently say that this isn't a bad thing.

Adapted from the British series (which was adapted from a novel) of the same name, House of Cards zeroes in on the back-room dealings of the power-elite in and around the government in Washington D.C. At the center of it all is Democratic House Majority Whip Francis Underwood (Kevin Spacey). Francis  has been cheated out of the Secretary of State position, a job he was promised upon the election of the incoming President (Michael Gill). Rather than sulk, Underwood decides to carefully manipulate and undermine those around him to work his way into the Secretary of State position, or perhaps further up the ladder.

Appropriately, House of Cards is filled with plenty of characters, all of whom are engaged in various forms of manipulation and deception. It's a plot set-up that could easily become a labryinthine nightmare. Yet under the careful guidance of creator/head writer Beau Willimon, and a talented stable of directors (led by David Fincher, who directs the first two episodes and exec. produces), every plot development is kept in check, without needlessly holding the audience's hand. As the series weaves its tale of backstabbing and manipulation, it still understands how to treat its characters as people, rather than pawns to be shuffled around the narrative chessboard. 

This is most evident in the arcs of three major characters: Underwood, his steely wife Claire (Robin Wright), and Pennsylvania Congressman Peter Russo (Corey Stoll). In Fincher's two-part kick-off for the show, the Underwoods are effectively shown as quite the ambitious and icy power couple. It's a dynamic that both actors handle effortlessly. We can see in their exchanges that while there may be love in their relationship, for the time being their main concern is how to get what they want at any cost. Affairs don't matter too much to them, which is for the best considering that Mr. and Mrs. Underwood both engage in them. What matters at the end of the day is that they can count on each other when it comes to the power struggles that so thoroughly pervade life in the nation's capitol.

Yet once Mr. Fincher leaves the director's chair, House of Cards elegantly deconstructs the Underwoods, allowing them to function as people with blood flowing through their veins. They remain ambitious and calculating, and often unlikeable (moreso with Francis), yet across the 13 episodes we at least gain an understanding of them, and see enough sides of their personalities to make them worth the investment. We may not approve of many things that they do, but they remain compelling figures. 

The same can also be said for the significantly more sympathetic Peter Russo. After a well-handled introduction in the pilot, Russo's character is somewhat sidelined. At times, the scenes with his secretary/girlfriend (Kristen Connolly) threaten to throw off the show's pacing. However, around episodes 4 and 5, the narrative finally calls on him, and Russo's subsequent arc is far and away the series' most emotionally involving. Stoll came to the public's attention for his richly entertaining portrait of Ernest Hemingway in Midnight in Paris, yet here the actor proves he's equally capable of digging deep into thornier, murkier emotional territory, and the results are heartbreaking.

The series' fourth major player comes in the form of ambitious journalist Zoe Barnes (Kate Mara, older sister of Rooney). Of the big four characters in the series, Zoe changes the least. As such, she's more interesting (and her material stronger) in the season's first half. While she obtains a newfound sense of purpose as the season closes, the role, though often well-written, is the only major part that doesn't quite have a big moment to shine. Thankfully, Mara injects enough verve into the role to make her more than a generic spunky journalist out to prove herself. In the early episodes, she often does the best job of handling the sharp dialogue, and never tries too hard in her delivery to make certain lines sting. Mara also has a good chemistry with Spacey, and the relationship between the two characters helps gives the series such a strong start in regards to both character and plot dynamics. 

Supporting roles are also handled effectively, though often they're used more as plot devices than real people. Gill's President Walker is, purposefully, not much of an entity. More intriguing are Connolly (whose character thankfully avoids being a mousy wallflower) and Ben Daniels (as Claire's old flame). The two have roles that could have easily been little more than distractions, but their characters are fleshed out enough so that they, like the central quartet, are worth following. 

Backing up the performers are the tart, tightly written scripts. Some have complained that Underwood's asides to the camera/audience are overdone, but I can only partially agree. They certainly take getting used to, yet for the first half of the season, they're often quite enjoyable. One in particular, which takes place during a eulogy, of all places, is absolutely hysterical. As the series progresses, the asides show up less frequently, which is appropriate given the more somber events in the plot. When they do show up in later episodes, they can sometimes feel unwelcome. However, the device is ultimately successful, though perhaps season 2 ought to focus on being more careful with how to use them. 

The rest of the writing is quite strong, however, filled with dialogue ranging from deeply human to richly stylized. It's a tricky balance to pull off, yet series creator Willimon and his writing staff have pulled it off quite smoothly. It doesn't hurt that the scripts are brought to life by such strong performers, and fleshed out by the outstanding production values. Netflix reportedly spent quite a lot on House of Cards' first season, and it shows. The entire project could be screened in theaters as a 13-hour mega-movie considering that it's so well-crafted. Fincher's directing in the first two episodes beautifully sets the tone, with elegant camera work and gorgeous lighting that brings out appropriately murky shades of yellow, green, and white. The editing is often quite crisp, and keeps scenes on edge when necessary, yet isn't afraid to calm down in the quieter moments. 

By the time House of Cards cuts to the closing credits for the last time, it's clear that Netflix clearly has high hopes for the series. Release format aside, this is a show that could easily stand as a "prestige drama" on HBO or Showtime (it certainly looks as good or better than the output of those two networks), and remain captivating even on a week-by-week basis. It might not be the game changer some have tried to hype it as, but it has certainly delivered when it comes to quality. It's a gorgeous production filled with excellence in every department, and it marks a bold step forward for Netflix as a provider of original content. Francis Underwood is a man who knows how to plan ahead, to ensure his longevity. Let's hope Netflix takes the same level of care with this series.

Season 1 Grade: A-

"The Wire" (2002 - 2008)

Much to my embarassment, I only got around to watching HBO's acclaimed series The Wire recently. And by "recently," I mean this morning. I don't usually write about TV aside from a post or two about the Emmys, but seeing as David Simon's series struck a chord with me, I felt that writing this came rather naturally. So, here it is. One thing that no one is really asking for: a review of a five-season show that ended in 2008.

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 I’m going to try and keep this short(ish), because I usually find writing about TV weird. Why? No idea. Anyway, I’d heard great things about HBO’s drama The Wire for quite some time. Somewhere during my senior year of high school, I decided to finally start renting the series. I made it through four episodes, and I was just starting to really adjust to the show’s style and pacing, when, for some reason, I kept putting off with the show. Flash forward roughly four years and, thanks to the magic of HBOGo (you’re welcome), I picked up right where I left off. Thankfully, it didn’t take long for me to get back into David Simon’s world.

What’s most immediately impressive to me after finishing the series finale (literally only hours ago) is the above-mentioned world. TV has the benefit of being able to explore both characters and setting at a more gradual pace than film, and no show has made the most of that the way The Wire has. By the time the series segues into its final minutes, you come to realize how much the city of Baltimore is as big a character as McNulty, Kima, or Stringer Bell. 

Even more striking, in retrospect, is how the show covers different facets of the city without feeling forced. The jumps from the streets, to the ports, through the legal system, and finally to the media are structured by season, but it never becomes overly conceptual. The progression, especially from seasons three through five, is executed so seamlessly that I’m tempted to label the show one of the most consistent dramas I’ve ever seen. Episode to episode and season to season, The Wire is that rare show that gives off the feeling that the entire thing was intricately, immaculately planned out before the first episode aired.

The only rough patch among the bunch, if any, is perhaps the transition between the first and second seasons. Characters and arcs reappear across multiple seasons in The Wire, but the way certain aspects come in and out of focus in season two feels a little extreme. After getting adjusted to the show and becoming involved with the plot and characters of the first season, seeing said plot and characters pushed to the background to make way for the port stories caused the pacing to drag. Obviously McNulty, Lester, Kima, Bunk, and their co-workers remained prominent, but the other side (Stringer, Avon, etc…) seemed to pop up all too infrequently. On its own merits, season two probably succeeds much more, but coming after the set-up of season one, the port-related plots sometimes drag.

Yet once season three starts and we jump back to the streets, everything comes together with stunning execution for the rest of the ride. By the end of season one, I was aware that I was invested in the characters. Yet Simon grounds their personalities so deeply in their work that you often don’t realize how much you care until some little moment comes along and makes you smile, or laugh, or get a lump in your throat. That the series does this without resorting to melodrama is even more of an accomplishment.

The performances, all around, are wonderful. The chemistry between and among the ensemble is what really sells it all, and allows various characters’ rises and falls register with sincerity. With an ensemble this wonderful, I hate to pick favorite, but let’s just say I was always paying attention the most whenever Lester, Kima, or Carcetti were on screen. That said, my favorite individual moment of the entire show has to come in season four, when Bunk notes that Beadie trusts McNulty, and McNulty smiles back and his friend and confirms the statement. Of course, there’s always Clay Davis’ pronunciation of the word “shit,” if only for the laugh factor. Yet the show still deserves credit for the portrayal of its characters placed firmly outside of the law, as it never resorts to making them into over the top villains. Like the police and government officials, they remain people first. It’s a vision of both sides of anti-drug enforcement that is rarely achieved on the big or small screen.

The show also knew how to incorporate violence, and never rushed through scenes in order for a gun to go off. Quite the opposite. This is a layered, steadily paced character-drama to the bone. HBO sometimes ventures into self-parody with the levels of sex and violence it shows, which only makes The Wire’s execution stand out more. When violence hits, it’s never overblown. Like the rest of the show, shootings and beatings feel completely natural, and they pack an appropriately grim mix of intensity and shock.

And, from a strictly storytelling perspective, I adore how Simon and his collaborators executed such a dense narrative without ever really holding the audience’s hand. This is a show where every scene really mattered, because some name or piece of information that popped up in episode two could wind up being part of a major development five episodes later. Even the gradually divergent subplot of Bubbles (Andre Royo) felt necessary, and its arc is among the series’ most satisfying.

Ultimately, this is a rare breed of TV show. It treats its audiences like adults, refrains from melodrama or sensationalizing, and yet still boasts memorable characters (I can’t believe I almost forgot to mention OMAR), and stirring drama. Simon’s show simply puts itself within the broader canvas of its setting. The developments for the characters and the story are important, and we understand how they are important to the people on screen. But, at the end of the day, The Wire has enough intelligence to give its subject matter a conclusion that befits its consistent treatment across five seasons and 60 episodes. In a simple montage that all-but concludes the series finale, we see how so much has changed, and yet so much still remains the same. I didn’t really follow through on my promise to keep this short, but at this point I don’t care. Masterworks like this deserve more than a few sentences.

Season One: B+/A-

Season Two: B+

Season Three: A

Season Four: A+

Season Five: A

Series Grade: A

Personal Ballot: The 2012 Emmy Awards

I don't spend nearly as much time writing about TV on this site, which is odd considering the ludicrous number of shows that I try and keep up with. So, instead of merely commenting on just the Emmy winners and the show itself, I figured that this year I could spend a little more time on TV's biggest awards show, namely by offering up my picks for some of the main categories, along with my winner(s). Also, my friend Patrick has done this exact same thing over on his wonderful blog (link), and I'm once again tempted to steal his format again, just like I did for my Best of the Year/Oscar ballot a few months ago.

A quick word on the awards though. I'm generally trying to follow where shows are placed, which means that something like Sherlock will be left out (it was submitted as a miniseries). However, Downton Abbey, previously submitted as a miniseries, was submitted under drama series for its second season. Now, despite the amount of TV that I watch, I'm a little surprised at the categories that I'm unable to fill (the Emmys have 6 nominees in major categories, as opposed to the award show standard of 5). So, for certain categories, there may be a slot (or two...though I hope not) with a series of dashes. Clearly I'm still not watching enough TV, at least now when it comes to certain categories. Finally, as with my Oscars post, my picks are listed alphabetically, with the winner in bold/italics.

Outstanding Drama Series

Boardwalk Empire

Breaking Bad

Game of Thrones

Homeland

Justified

Mad Men

This was painfully close, especially because Breaking Bad's fourth season had so many breathtaking moments (remember the end of "Crawl Space?"). However, I'm giving it to Showtime's Homeland for starting off with such a stellar first season. The mystery, intrigue, and tension were handled in a way that many shows can only dream of doing in their first runs.

Outstanding Comedy Series

Archer

Community

Girls

Happy Endings

Parks and Recreation

Veep

Though season 4 marked a slight step down (the Tom and Anne subplot), Parks and Recreation was once again my favorite comedy. The characters are so well drawn and so fun, and the show knows how to be hilarious and still break out moments that are genuinely touching. Bonus points for excellent guest stars Kathryn Hahn and Paul Rudd.

Outstanding Lead Actor in a Drama Series

Steve Buscemi - Boardwalk Empire

Bryan Cranston - Breaking Bad

Jon Hamm - Mad Men
Jason Isaacs - Awake

Damian Lewis - Homeland

Timothy Olyphant - Justified

Another insanely difficult showdown between Breaking Bad and Homeland, and once again I find myself picking the freshman show. There was so much strong work in this category (even from Buscemi, who's show I have here almost as filler), but it really boiled down to Cranston and Lewis. The tipping point? Lewis' scene in the bunker in Homeland's season finale, which is such a tightly-coiled, emotional tour-de-force that it might be some of the best acting I've ever seen on TV.

Outstanding Lead Actress in a Drama Series

Claire Danes - Homeland

Michelle Dockery - Downton Abbey
Kelly Macdonald - Boardwalk Empire

Elisabeth Moss - Mad Men

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As the other half of Homeland's dynamite leading duo, Danes was on fire from episode one. Carrie wasn't always likable or sympathetic, but Danes made sure we always knew where she was coming from. Even when scenes called for BIG emotions (the green pen, watching her work dismantled, etc...), Danes ensured that it never felt over the top or forced, and in turn gave us one of the most powerful performances of the past season.

Outstanding Lead Actor in a Comedy Series

Alec Baldwin - 30Rock

H. Jon Benjamin - Archer

Louis C.K. - Louie
Neil Flynn - The Middle

Joel McHale - Community

Adam Scott - Parks and Recreation

Since joining Parks and Recreation at the end of its second season, Adam Scott has become one of the ensemble's most valuable assets. And as he relationship with Leslie developed even further in the show's fourth season, the actor only got more and more room to shine. Scott is, to a point, the show's straight man, yet he's never dull or the weak point. His facial expressions remain a joy to watch, and I'm often reminded of a less goofy/personable Jim Halpert. Well, before The Office started to collapse like a dying star.

Outstanding Lead Actress in a Comedy Series

Laura Dern - Enlightened

Lena Dunham - Girls

Patricia Heaton - The Middle

Julia Louis-Dreyfus - Veep

Martha Plimpton - Raising Hope

Amy Poehler - Parks and Recreation

Poehler has been on fire ever since Parks and Recreation's second season (when they stopped trying to make her a female Michael Scott). While the show's third season remains my favorite (for now), the fourth season gave us Poehler's best work to date. Funny and goofy, yet still completely human, Leslie Knope comes out on top in a season filled with strong work, from established shows and promising new ones (had it not been for Poehler, this would have gone to Louis-Dreyfus' outstanding comedic exasperation on Veep).

Outstanding Supporting Actor in a Drama Series

Peter Dinklage - Game of Thrones

Giancarlo Esposito - Breaking Bad

Walton Goggins - Justified

Vincent Kartheiser - Mad Men

Aaron Paul - Breaking Bad

John Slattery - Mad Men

While I've had a little trouble filling out the leading categories, in supporting there's simply too much good work, this category included (Game of Thrones' Charles Dance is among the many not listed here). All of the work here is outstanding, and I gained a new found love for Slattery's work on Mad Men this year, but ultimately I have to go with Esposito, who created a cold, calculating figure of menace who was capable of making the room feel 10 degrees cooler. It's the sort of chilling work that calls to mind Javier Bardem's work in No Country for Old Men...if Anton Chigurh had been involved in meth dealing and fast food chain restaurants.

Outstanding Supporting Actress in a Drama Series

Anna Gunn - Breaking Bad

Lena Heady - Game of Thrones

Christina Hendricks - Mad Men

Jessica Pare - Mad Men

Fiona Shaw - True Blood

Maisie Williams - Game of Thrones

Another year, another wonderful season of Joan moments on Mad Men. Despite not having as much to do in Mad Men's fifth season, when the show brought out moments for her, Hendricks seized them and made her mark. In a season where so many new performances came forward and impressed me (especially Heady, who was so good in Game of Thrones' "Blackwater" episode), I've ended up going back to an old favorite. 

Outstanding Supporting Actor in a Comedy Series

Ty Burrell - Modern Family

Donald Glover - Community

Nick Offerman - Parks and Recreation

Adam Pally - Happy Endings

Chris Pratt - Parks and Recreation

Damon Wayans Jr. - Happy Endings

Though I remain a loyal devotee of Ron Swanson (Offerman should have won for one of his show's previous two seasons), it was Glover who really won me over this year. Though Community as a show can sometimes strive too hard simply to be different at the expense of humor, Glover remains one of the show's consistent bright spots. His mix of awkward non sequiturs and full-throttle hysterics remain one of the show's best sources of humor, even when the show is having an off day.

Outstanding Supporting Actress in a Comedy Series

Alison Brie - Community

Eliza Coupe - Happy Endings

Jane Krakowski - 30Rock

Aubrey Plaza - Parks and Recreation

Eden Sher - The Middle
Jessica Walter - Archer

Casey Wilson - Happy Endings

Possibly the most jam-packed category this year (I'm sorry, Aisha Tyler, Julie Bowen, Anna Chlumsky, Zosia Mamet, etc...), and yet Eliza Coupe's type-A neurotics on Happy Endings still stand tall. In a year that saw Jane Krakowski do some of her best work on 30Rock to date, along with so many new performances and returning players, Coupe remains one of the funniest women on TV right now. Look no further than "The Kerkovich Way" for a demonstration of the actress' completely spot-on comedic timing, which possesses a nearly laser-like precision.

Outstanding Directing in a Drama Series

"Box Cutter" - Breaking Bad
"Crawl Space" - Breaking Bad
"Blackwater" - Game of Thrones

"Marine One" - Homeland

"At the Codfish Ball" - Mad Men

"Commissions and Fees" - Mad Men

Outstanding Directing in a Comedy Series

"Documentary Filmmaking: Redux" - Community
"She Did" - Girls
"The Kerkovich Way" - Happy Endings

"Ron and Tammys" - Parks and Recreation

"Win, Lose, or Draw" - Parks and Recreation
"Catherine" - Veep

Outstanding Writing in a Drama Series

"Crawl Space" - Breaking Bad
"Salud" - Breaking Bad
"Valar Morghulis" - Game of Thrones
"Marine One" - Homeland
"At the Codfish Ball" - Mad Men

"Signal 30" - Mad Men

Outstanding Writing in a Comedy Series

"Heart of Archness: Part 3" - Archer
"She Did" - Girls
"Documentary Filmmaking: Redux" - Community
"Subway; Pamela" - Louie
"The Debate" - Parks and Recreation

"Ron and Tammys" - Parks and Recreation

"Catherine" - Veep