First Listen: "Yours Truly" by Ariana Grande

Coming out of (almost) nowhere, Ariana Grande scored one of this summer's biggest hits with The Way. Now, next week, she'll release her debut album, "Yours Truly." An album long in the works, Grande is looking to bring back the sound of her childhood (and also mine) while incorporating new modern sounds. Is it a success? Read on to find out.

1. Honeymoon Avenue - This song is so smooth it should be called Butter *waits for laughter*. But in reality, this song is a great opening track that just seems like a love letter to those late 90s R&B slow jams. Add on the fact that Grande's vocals are amazing. All comparisons to Mariah Carey are well earned at this point, because she does sound like Carey, who was ruling this sound in the 90s. The song is a bittersweet reflection on a happier time on a relationship. I really like this song.

2. Baby I - This one is a little more upbeat, but definitely still carries the throwback sound. This was one of the promotional singles for the album, and I’m not really the biggest fan, although you have to admire the key change (I’m a sucker for those) and all of those Mariah inspired riffs at the end. It’s a good song, but I’m hoping there are better here.

3. Right There – This is another upbeat one, but I like this one a lot more. I think there is more vocal inflection on this one, which makes it more interesting and dynamic. This one features Big Sean, one of the few rappers I actually like, so it’s refreshing to hear him. This one’s got a nice boppy beat, and the hints of rapping from Grande are kind of cool to hear. This is another promo single, but maybe it’ll become a radio single in the future. I think it could succeed.

4. Tattooed Heart – Oh yeah, I dig this one. First off, the process of how the song builds from beginning to end is awesome. Starting with just Grande’s voice and the piano, then adding in the backup harmony, then the full instrumentation. Grande uses this song as the album’s first showcase for that incredible voice. She goes from her lower register to those powerful belted notes. Another key change because, of course, that’s standard. This is an excellent song.

5. Lovin’ It – Another fun one with a really cool piano driven sound. It sounds dark, but it really isn’t. It’s very bouncy. The “nothin’ but lovin’ ya, nothin’ but lovin’ ya, baby” chant over the chorus will be stuck in your head for a long time. This is a pretty fun song.

6. Piano – This one is fun and is sure to keep the feet moving. The only problem with the song is that it hits a speed and stays there for the entire song. So when the song reaches the end, it is kind of a relief. It’s still fun, I’m just wishing it could’ve been a little more dynamic. I’ve seen reviews say this is one of the best songs on the album, but I don’t think so, personally.

7. Daydreamin’ – This one is probably the first song on the album to really incorporate the modern, EDM elements into the 50s/60s style of the album. It comes off as absolutely cool. It’s like a slow jam, “grab your prom date” ballad that incorporates some slight EDM drops, and makes for an interesting sound. Grande is still cooing over the object of her affections (something she’s done on basically every song so far), but I’ll let it slide.

8. The Way – The lead single that everyone has heard, the song works incredibly well among the rest of the album. This one is basically infectious as hell, and it’s success shows that I’m not alone in that thought. I’m not sure if Grande will have another song that gets that hot, because this is certainly a career-defining song for her.

9. You’ll Never Know – Another album highlight. This one induces (at the very least) a foot tap right from the beginning. Grande’s vocal dynamics are all over the place, in a good way. This has a lot of the R&B elements that have made the album a success. I like that, after a lot of songs that have been mushy and over-the-top lovey-dovey, this one is a bit of a kiss-off.

10. Almost Is Never Enough – This song is just the voices and the piano. The voices, yes, this is a duet with Nathan from The Wanted. I don’t know anything about the individual members of The Wanted, let alone the band itself. The problem with this song is that it feels like it drags on forever and just become a competition to see who can riff the best. It’s not that exciting.

11. Popular Song – Technically, not an Ariana Grande song, but it’s here. This was a duet Grande did with MIKA for his album that came out last year, so you might have heard it before. It’s an updated pop version of the song Popular from the Broadway musical “Wicked.” This song is fun and has such a great message, but it sounds like nothing else on the album because it isn’t really Grande’s song.

12. Better Left Unsaid – Okay…I have a bit of a problem with this song. I like some of it. The buildup to the chorus when Grande is wailing “Some things are better left unsaid” as the drums bang to what is sure to be an awesome chorus…it gets me really pumped up…only for the chorus to let me down, big time! It’s some random guy yelling “Put your hands up” over a really weak beat. I was hoping Grande and her team would knock aside the throwback theme for this song and go with a full-out EDM closer that would’ve definitely rocked the album and the charts. Alas, the album closes on a bit of a bum note for me.

Overall, I liked the album. I think the sound is interesting and it flirts with a bunch of different styles. It will be interesting to see if Grande can grab another radio hit after The Way. I think some of the best songs on the album would never be radio hits, but that’s completely okay by me. It’s definitely worth giving a listen to.

Standout tracks: Honeymoon Avenue, Right There, Tattooed Heart, Daydreamin’, The Way, You’ll Never Know

Evan

Emmy Nomination Analysis: Best Guest Actress in a Comedy Series

Hello everyone! Back again with another Emmy category analysis, this time for Best Guest Actress in a Comedy Series. The nominees are...

Dot-Marie Jones for Glee
Melissa Leo for Louie
Melissa McCarthy for Saturday Night Live
Molly Shannon for Enlightened
Elaine Stritch for 30 Rock
Kristen Wiig for Saturday Night Live

Jones returns for a third time for her role on Glee, and this year, she isn't a strong contender, in my opinion. Her episode doesn't have a lot to do with her, as it focuses on a misunderstood crisis situation. She gets one pretty good scene early in the episode, and it's pretty sad, but the story is kind of dropped once the "crisis" takes over the middle of the episode. She is present during the middle part, but her acting isn't too showy and it doesn't make a case for her to win an Emmy. It's a powerful episode, but not because of Jones' performance. I am someone who championed a win for Jones in the past, but I would be disappointed if she won this year.

Leo's performance seems the most authentic in the category, and she does a really great job with it. She has a charm in her early scenes, but her final scene is quite...shocking. It really will take viewers by surprise and, as it did with me, not in a good way. Her character becomes aggressive, crazy, and disturbing, and I don't think I'm the only one that cringed at the events of the end of the episode. I think that could certainly turn some voters off, but could also get Leo an extra push to reward an edgy comedic performance.

Melissa McCarthy, who was robbed of a victory in this category last year, returns with another funny episode of Saturday Night Live. Unfortunately, it is not as good as her debut hosting gig. It is still a funny episode and there is no denying that McCarthy is one of the most talented comediennes of the moment, but it would stink to see McCarthy win this Emmy as opposed to one last year for a superior episode. Still, with that in mind, voters might check her name off because she didn't win last year, when she was the odds-on favorite. Don't count McCarthy out.

Shannon is an actress known for her outrageous and hysterical roles, which is why it is shocking to see her so reserved in this episode of Enlightened. She doesn't show off her trademark crazy eyes, and she helps move the story along, but there isn't anything downright hysterical about the performance. I just don't think she'll win here, and given that she was nominated for a show that only few people know (but love intensely), I don't think she's a threat for the win.

Elaine Stritch, with her fifth Emmy nomination for 30 Rock, becomes the most-nominated guest actor/actress in the show's history (Will Arnett follows closely behind with four nominations). It is easy to see why Stritch gets this Emmy love over and over again. She's just perfect for her character. She escapes right into the judgmental, sassy, and crude mother of Jack Donaghy. Stritch won this award during the first season of the show, but don't discredit her for a victory lap this time around. Her story is especially baity and she discusses death with her son, and even shows some compassion. It's a well-rounded tape with plenty of different emotions, and the heartiest out-loud laughs of all the nominees.

The final nominee, Wiig, has the overdue factor in her favor. Her sixth nomination, Wiig is now in the Guest Actress category after receiving four consecutive Supporting Actress nominations for SNL. As a host, Wiig looked like she was right back at home, and voters who followed the show all season know that her episode definitely stood out, and the actress didn't miss a beat. I wanted Wiig to win the Emmy so bad last season, and a win here would be very much deserved. This comedienne definitely deserves attention one day, and maybe this year's ceremony will provide that.

So, my rankings are:

1) Elaine Stritch for 30 Rock
2) Kristen Wiig for Saturday Night Live
3) Melissa Leo for Louie
4) Melissa McCarthy for Saturday Night Live
5) Dot-Marie Jones for Glee
6) Molly Shannon for Enlightened

I don't see Shannon or Jones winning. Their tapes aren't that funny, and don't stack up to some of the hysterical performances on display. McCarthy could take the award, but if voters compare Wiig's episode vs. her's, I think there will be more support for the overdue actress (McCarthy won an Emmy for Mike and Molly in 2011). Leo's episode could be seen as too strange to some voters, but it could also catapult her to a surprise win. But I think the two big contenders for the Emmy are Wiig and Stritch. Wiig is overdue and her episode shows that, even after a year gone, Wiig is still a star. But Stritch has a tape that is equally gut-bustingly funny and emotional, and I think that'll push her to the win.

Evan

Emmy Nomination Analysis: Best Guest Actor in a Comedy Series

One of the more uninteresting categories at this year's Emmys is Best Guest Actor in a Comedy Series. The category consists of a TV legend, two Saturday Night Live hosts and one alum, an Emmy favorite this year, and a Broadway vet. The TV legend should take this one easy, right? Not if these other nominees have anything to say about it. The nominees are...

Bobby Cannavale for Nurse Jackie
Louis CK for Saturday Night Live
Will Forte for 30 Rock
Nathan Lane for Modern Family
Bob Newhart for The Big Bang Theory
Justin Timberlake for Saturday Night Live

Cannavale was nominated for Nurse Jackie last year, and this year, he is a double nominee here and in the Best Supporting Actor in a Drama Series race for Boardwalk Empire. Whether or not he'll have a shot at the win in the other race has yet to be seen (by me), but here, Cannavale shouldn't pose a major threat. He appeared in two episodes of Jackie this season, and I was more interested in the one-minute recap of his first episode than I was in his performance here. He's good, yes, but it's definitely more of a dramatic episode for him, and he isn't a major part of the story. He just kind of broods and talks with Edie Falco, and there isn't any major story or character development, and I don't see him winning here.

CK, a multiple nominee as well, definitely rode the wave of Emmy love he annually receives to earn his spot in this lineup. That is not to say that he isn't deserving of the award. He's very funny during his first hosting gig on SNL, and it helps that a lot of the skits play to his strengths: his stand-up skills, his awkwardness, and his relatability. As with a lot of SNL episodes there are highs here (the standouts include the monologue and the Lincoln sketch) but they are matched by lows (watch the skit where CK spends five minutes blowing a giant horn...it's a huge mess). CK definitely has a chance, but I don't think he'll be rewarded here because this isn't his own material, which I think Emmy voters are more in favor of rewarding.

Forte's nomination is okay in theory. He appeared throughout the season, and was often pretty funny. But submitting one episode doesn't do Forte any wonders, and he picked a rather bad episode for himself while he was at it. Forte has maybe three minutes of screentime and is an ultimate non-factor. He has a few funny jokes, but his turn is not Emmy-worthy at all, at least not in this episode. It's a shame because watching the tape, it seems like such a waste that Forte is nominated when there are more deserving nominees including guest actors from 30 Rock, the show he was nominated for. Don't expect Forte to take the gold.

This is Nathan Lane's second nomination for the role of Pepper on Modern Family, and his fourth/fifth Emmy nomination (he has two nominations this year, the other being in the Drama equivalent of this category for The Good Wife). Lane's original turn as Pepper was definitely worthy of the Emmy nomination, and possibly even the win, but here, there is nothing exciting about Lane's performance once again. He has some funny lines, but overall, his story is pretty boring and he doesn't get to do a whole lot except encourage Mitchell to get angry. I suppose Lane has a chance because he is well-liked, but I don't see him winning for this performance.

Bob Newhart, a TV legend in every sense of the word, has been nominated for six Emmys, and he has lost six Emmys. It is hard to believe that one of television's major comedy stars of the 1980s has never won an Emmy award, but perhaps that can change this year with a guest performance on The Big Bang Theory. In the episode, Newhart plays a TV scientist that Leonard and Sheldon were obsessed with as teenagers, and his performance is quite funny. I think part of the charm of the performance comes from seeing Newhart just be natural and funny, and nothing feels forced. It's a really great performance and the episode itself is really funny. Add in the idea that this award would almost serve as a "tribute" award to Bob Newhart, and there is no doubt that he's a frontrunner for the award.

But perhaps his biggest competition is music superstar Justin Timberlake, who is looking to continue his perfect streak in this category. This year was Timberlake's fifth time hosting SNL, for which he earned his third Emmy nomination in the guest acting category. Timberlake won both times he was nominated here in the past (2009 and 2011), so he seems like a strong contender to make it a three-peat and leave his track record perfect. However, I don't think the episode was as funny as previous episodes from Timberlake, even though he is very funny. His performance is perhaps the most versatile because Justin is also the musical guest, so part of his performance comes from the musical performances, which could factor into the voting situation. He's definitely in the race and can't be discounted.

My predictions are:

1) Bob Newhart for The Big Bang Theory
2) Justin Timberlake for Saturday Night Live
3) Louis CK for Saturday Night Live
4) Nathan Lane for Modern Family
5) Bobby Cannavale for Nurse Jackie
6) Will Forte for 30 Rock

Forte's out of the race, and Cannavale isn't too far behind. Lane would win the award based purely on admiration from the voters of the actor as a person, and not a reflection of the performance. The same could be said for CK, who has a better shot winning for his own show than as a guest host on SNL. But really, this is a two-horse race: the young (Timberlake) vs. the old (Newhart). Timberlake is easily the most versatile performer here, and he has the Emmy history that points to a win. But I really think voters will know that Newhart deserves the recognition for the first time ever, so I'm picking him for the win!

Evan

2013 TV Evannies: Writing and Directing Categories

Hello everyone! Sorry it has been a while, I am getting ready to go back to school and there is much to squeeze in between now and then. Today, I am going to reveal the first set of winners for my own personal television awards, the Evannies. I'll be providing some analysis on why I picked these winners, and feel free to leave feedback below. Here we go!

Best Writing for a Drama Series
WINNER: Q&A for "Homeland"
RUNNER UP: Red Team/Blue Team for "The Good Wife"
3rd PLACE: The Rains of Castamere for "Game of Thrones"
New Car Smell for "Homeland"
What to My Wondering Eyes for "Parenthood"

Honorable Mentions: What's In The Box? for "The Good Wife," Chapter 11 for "House of Cards," Killer Within for "The Walking Dead"

I fully believe that we are the prime of drama television right now, with exciting leaps and bounds in cable programming, and reliable and risky broadcast programming. These nominees clearly show that television from basic cable channels to premium channels to online web initiatives are firing on all cylinders. The best written episode of television this year, in my opinion, is the episode Q&A from the outstanding second season of "Homeland." In this episode, we are not only seeing thrilling twists and turns that the show has now been expected to deliver weekly, but we see a rare glimpse into the personal, raw, and completely dysfunctional relationship of Carrie and Brody. The centerpiece of the episode is a masterful twenty minute scene in which Carrie lays it all on the line to get Brody to tell her the truth. It is deeply personal and real, and while Claire Danes and Damian Lewis are definitely a part of what makes it so successful, the words themselves obviously come into play. The runner-up, Red Team/Blue Team, was the highlight of a resurgence of "The Good Wife." Rather than having our protagonists go up against another lawyer/client team, this episode has them going against each other in a "mock trial" type situation. While at first playful, the claws dig deeper and the episode ends with a few shockers that change the course of the rest of the season. It is fast-moving, smart, and witty, all in "Good Wife" style, and if there is one episode to watch of season four, it is absolutely this one. The third place episode is the much talked about The Rains of Castamere from "Game of Thrones," affectionately referred to as The Red Wedding. Without giving much away, this episode is essentially a game changer in every sense of the word. I cannot think of the last time a television show has had such a massive twist ending that had not only fans, but non-watchers talking about it for days and weeks after it aired. And to those who say the episode only revolves around the last ten minutes, I definitely disagree. Other storylines, specifically Jon Snow's emotional scenes, showcase what "Game of Thrones" does best in packing emotional punch to crazy, fantastical situations.

The other nominees absolutely warrant recognition here. New Car Smell is another game changer that defined season two of "Homeland," and What to My Wondering Eyes is sure to warrant tears with stories such as Kristina's goodbye video and Ryan's post-war depression. The honorable mentions are also worthy of praise. What's In The Box? is another outstanding episode that juggles all of the best traits of "The Good Wife." Chapter 11 is shocking, yet based in human truth and is a realistic and scary depiction of real-life demons finally catching up. Killer Within is the centerpiece of this season of "The Walking Dead," and challenges all beliefs that this is "just a zombie show."

Best Directing for a Comedy Series
WINNER: One Man's Trash for "Girls"
RUNNER UP: Running for "Veep"
3rd PLACE: Together for "Girls"
The Closet Reconfiguration for "The Big Bang Theory"
Leslie and Ben for "Parks and Recreation"

Honorable Mentions: A New Start for "Arrested Development," It's a Shame About Ray for "Girls," Virgins for "New Girl"

As far as comedy series directing attempts go this year, the unparalleled winner, for me, is One Man's Trash from the wonderful second season of "Girls." The episode, which only contains three characters (and only one appears for five minutes in the beginning), feels like a thirty minute short film. It is beautifully shot by Richard Shepard, and is just a gorgeous episode to watch. Taking place in only two locations (barely), the direction here makes the most of what it is given. That does not even begin to mention the acting direction, as Shepard really challenged his two main actors, Lena Dunham and Patrick Wilson, to stretch for insecurity, and perhaps giving us the most real Hannah Horvath scene we've seen to date. The runner up is Running from "Veep," an episode that is paced like your average "Veep" episode, but is given a special, exhilarating touch during the last ten minutes as the Vice President's staff takes on a wild goose chase in the middle of a marathon. It is so perfectly choreographed that nothing gets missed (that is, unless, your howls of laughter cover up the dialogue). Even the character development here owes a lot to the direction as we begin to see wheels turning that set up for a big season of "Veep" in 2014. In third place is the "Girls" season finale, Together. Perhaps most well known for its rom-com-esque final sequence, this episode is the true definition of light at the end of the tunnel. After a mostly dark season two, this finale ties everything together in a neat bow, and leaves you cheering for every character. It is certainly inspired by Lena Dunham's vision for the season two tagline: "Almost getting it kind of together" (see, even the word together is there).

The Closet Reconfiguration features one of my favorite "Big Bang Theory" scenes to date, as the group presents Howard with multiple scenarios of what his father left behind in a card. It is both funny and emotional, and finally presents these characters in a light where it isn't hard to see that this cast will go down in history with the classic comedy ensembles of all time. Leslie and Ben of "Parks and Recreation" also features an emotional wedding between the two lead characters, all while perfectly juggling the chaos of pulling off a last minute wedding. No comedy packs an emotional punch like "Parks and Rec," and this episode is the perfect reminder of why that is. The honorable mentions merit recognition here. A New Start, one of the highlights of the new season of "Arrested Development," is the first piece of the complicated puzzle that begins to tie in jokes from previous episodes, and it is done with admirable skill and grace. It's a Shame About Ray, the most traditional episode of "Girls," finds great balance between the quirky humor the show is noted for and the deep, human emotion it can reveal. Virgins from "New Girl" calls back to the heyday of "Friends" episodes that centered one solely the main cast and provided some insight that let the audience know these people a little better. And in my eyes, a comparison to "Friends" is unequivocal praise.

Best Directing for a Drama Series
WINNER: Madness Ends for "American Horror Story: Asylum"
RUNNER UP: Death of a Client for "The Good Wife"
3rd PLACE: The Rains of Castamere for "Game of Thrones"
The Choice for "Homeland"
Chapter One for "House of Cards"

Honorable Mentions: First You Dream, Then You Die for "Bates Motel," Pilot for "The Following," Truth (Part 2) for "Revenge"

Dramatic television has greatly improved over the years, and often, many episodes feel like hour-long films. These nominees and winners certainly prove that the cinematic feel is not relegated to the big screen. The winner for Best Directing for a Drama Series goes against all odds to prove that, in the horror/thriller/sci-fi genre, there can real emotion, real romance, and real drama. The masterful season finale of "American Horror Story: Asylum," Madness Ends, is so beautiful that you seem to forget you are watching an episode of a genre television show. Spanning over a handful of decades and weaving seamlessly through multiple storylines, this episode is a cornerstone of the series and proves that scary shows don't have to just be scary. They can provide catharsis and empathy for characters we have come to root for or cheer against. Madness Ends is a sweeping achievement of television. At the opposite end of the spectrum, Death of a Client appears to be your typical episode of "The Good Wife," but soon it becomes a gritty, witty, and marvelous depiction of politics, relationships, and mystery. It is amazing how the episode carries so many stories, each given their own time, while also coming across the screen with blazing energy. This is "The Good Wife" at its best. The Rains of Castamere, as noted above, is a game changer for "Game of Thrones," but I believe the directing truly captures the catharsis the audience feels when the hour has ended. Jon Snow's scenes tug at the heartstrings, but they aren't even the biggest moments of the episode, if that is any indication. The final scene is pulled off so as not to seem cheap, tacky, or useless. Instead, audiences are left in total shock and left unable to process what they've just seen. That can't come alone from a good script, and that is why the direction of this episode is recognized here.

The Choice features a classic "Homeland" shocker, and it is a beautiful episode that could've drowned in tackiness, but artfully depicts a successive rise and fall of not just characters, but a country. Chapter One from "House of Cards" is the episode that set the new tone for online television. With these first fifty-six minutes, "House of Cards" established itself as a real force in television, much of it thanks to the beautiful direction from David Fincher. The "Bates Motel" premiere First You Dream, Then You Die has the difficult task of persuading "Psycho" fans to keep watching and attracting a new audience at the same time, and it does so in a way that is so mysterious, intriguing, and (at times) terrifying that it is hard for audiences to not want to come back for more. Second that for the Pilot of "The Following," an episode that features many jaw-dropping moments and perfectly sets up a roller coaster of a season. Finally, after what was considered an uneven season, Truth (Part 2) reminded "Revenge" fans such as myself of how good this show can be. Featuring twists and turns and character development that cannot be beaten, the episode sets up what should be a great season three.

Best Writing for a Comedy Series
WINNER: Virgins for "New Girl"
RUNNER UP: It's a Shame About Ray for "Girls"
3rd PLACE: A New Attitude for "Arrested Development"
Redefining Jenna for "Awkward."
The Closet Reconfiguration for "The Big Bang Theory"
First Response for "Veep"

Honorable Mentions: Last Lunch for "30 Rock," One Man's Trash for "Girls," Leslie and Ben for "Parks and Recreation"

Comedy series nowadays must face a challenge of balancing comedy with heartfelt stories. These nominees show that it is not only possible, but it is masterful. The winner here is the standout episode Virgins from the outstanding second season of "New Girl." This episode balances laughter, heartfelt stories, crazy story lines, and real drama in no less than twenty-two minutes. The episode calls back to the classic comedies of the 80's and 90's and by focusing on the core cast, it is a testament to the power of the writing for "New Girl." If you aren't laughing your butt off or having your heartstrings tugged at during this episode, maybe television isn't for you. The runner-up is another perfectly balanced episode, It's a Shame About Ray from "Girls." The episode features some of the strongest writing to date on the show, a perfect blend of Lena Dunham's brash, young criticisms of society, as well as real experiences that anyone can relate to. Jessa's arc, in particular, should dispel any beliefs that the show is not based in reality. If you don't like this episode, "Girls" just isn't for you, because you won't find another episode that is as funny and heartfelt as this study of relationships among lovers, exes, and best friends. A New Attitude from "Arrested Development" highlights the gross, sly humor the show does best, and with excellent writing, the show reaches new heights of crazy while maintaining a feel that you are watching something completely innovative. It warrants multiple repeat viewings to catch every small detail, and such is the wonder of the fourth season of "Arrested Development."

Redefining Jenna is the episode that may just redefine "Awkward." Although the show may be based around a misunderstood "suicide attempt," this is the first case of real talk that we've seen on the show. Written by creator Lauren Iungerich, the show craftfully tapes together the fast-paced language of high schoolers with the raw emotions of young adults. It seems like the kind of episode that should almost be taken too seriously, and for a high school comedy, some may think so, but I think this is the episode that could change the course of the show. The Closet Reconfiguration, as stated above, is such a sweet, funny episode that it deserves to be recognized here. After spending six seasons with most of these characters, this episode is the pinnacle of understanding their relationship. Everyone's quirks are front and center, but at the end of the day, we know that these are people that really care about each other. Finally, for the wittiest and driest episode of the bunch, First Response is a wonderfully crafted bottle episode that features almost entirely the main cast and highlights the show's best assets: the antics of Selina Meyer and her staff. Everything you love about "Veep" is here in one episode, and the build to the end warrants a delicious payoff. Last Lunch walks the line of crazy humor and powerful emotion as perfectly as an episode of "30 Rock" could, and it reminds viewers why this show changed television. One Man's Trash is an oddly unique character study that was almost unthinkable for a comedy series years ago, but now sets a standard for what to expect in comedic storytelling. Leslie and Ben features the entire cast bonding over one storyline, and it really shows off the magic of "Parks and Recreation."

So, mull over that! I'll be back soon with the next set of categories for the 2013 TV Evannies!

Evan

Songs of the Week: "Roar" by Katy Perry and "Applause" by Lady GaGa

Monday was one of those days that music aficionados like myself only dream of. With Katy Perry's new song leaking on Saturday, the singer ramped up the official release of the song for midnight on Monday. Later that morning, Lady GaGa, whose own new single was not supposed to be released until August 19th, suddenly released the new song to fight back against hackers who had leaked the song in bits and pieces on Sunday and Monday. And with that, two of pop's biggest divas had released their new "comeback" singles within twelve hours of one another, and we couldn't be more thrilled. This showdown of singles makes Roar and Applause the EMC Entertainment first-ever co-Songs of the Week.

There is going to be a lot of speculation about which one is better and which one will be more successful. The answer to that last point will be indicated over time through sales and radio airplay, and currently it appears that "Roar" will out-sell "Applause" during their first week. "Roar" will likely chart in the bottom region of the Billboard Hot 100 this week due to late weekend play as the song first leaked, so it's real impact won't be felt until next week, unlike "Applause," which will see its first week on the charts in the top region. "Roar" is currently #1 on iTunes, with "Applause" close behind, and the radio airplay patterns won't be distinguishable until (most likely) September.

But which song is better? Well, I personally think that it's all about the "eye of the beholder." Obviously, Katy Cats (that would be the name of her fans) will think "Roar" is better, and Little Monsters (GaGa's crew) will say "Applause" wins. And what about those without a preference? I would venture to say "Roar" is probably more accessible and likely to appeal to a wider audience. With it's self-empowerment theme and foot-stomping beat, it's the kind of song that needs to be screamed in sports arenas. Katy has always had an affinity for catchy hooks, and "Roar" isn't short of them. "Applause" on the other hand is definitely the dancier song. The beat moves faster and it's more house-music-esque than "Roar." The lyrics, at least the chorus (because I really am not sure what she's getting at with the verses), have to do with GaGa telling her audience that she craves their applause. The chorus is the best part of the song and the "Put your hands up, make them touch!" hook is undeniable. It is because these are two different songs that it makes them hard to be pitted against one another. I think for broad appeal, "Roar" will be the more popular song, and as for which song is best, that's a decision for you to make. So listen to both songs below and make your decision, and let us know in the comments if "Roar" or "Applause" is your early fall jam.

Evan

Emmy Nomination Analysis: Best Writing for a Drama Series

Hello everyone! Sorry it's been a few days, I've been working a lot and fitting in a lot of last-minute things before school starts again, and in my down time, I've been binge-watching Netflix's fantastic new show Orange is the New Black. But I'm back with another Emmy nomination analysis so let's get to it!

The nominees for Best Writing for a Drama Series are...

Dead Freight for Breaking Bad (written by George Mastras)
Say My Name for Breaking Bad (written by Thomas Schnauz)
Episode 3.04 for Downton Abbey (written by Julian Fellowes)
The Rains of Castamere for Game of Thrones (written by David Benioff and DB Weiss)
Q&A for Homeland (written by Henry Bromell)

Breaking Bad has been able to crack almost every major category except this one, and this year, in a turn of events that isn't too shocking, Breaking Bad picked up two writing nominations while perennial nominee of this category, Mad Men, didn't get anything. That's good news for people like me who think the age of Mad Men is long gone. So how do these Breaking Bad episodes stack up? Well, they're good, let's just get that out of the way. There's no doubt Breaking Bad is a good television show, but compared to these other nominees which could be classified as "event" episodes, the Breaking Bad episodes come up small, even though they each feature significant deaths. "Dead Freight" is a great episode, and it definitely has a chance at the award with that last train robbing sequence. The rest of the episode is pretty dull in comparison, and the final moments of the episode (which I won't spoil here) seem random and a bit frightening, so I'm not sure if that would garner votes. "Say My Name" has a handful of very good scenes, but nothing that is completely as awesome as the final sequence of "Dead Freight," and while a major character is killed at the end of "Say My Name," I would give the edge to "Dead Freight." The only possibility here is that Breaking Bad suffers from vote-splitting and neither episode wins, which is completely possible.

As I stated for the directing analysis, I actually liked this episode of Downton Abbey, and if it is going to win an Emmy, I'd rather it be for the writing, which at least is risky, compared to the directing, which is pretty standard. It juggles the cast of hundreds very well, and every scene feels connected to the major storyline, which kills off a main character in a very tragic way that will definitely pull at voter's heartstrings. I just think it has tougher competition to pull out a win here, and I don't see it winning an Emmy.

Even if you don't watch Game of Thrones, you heard about the episode "The Rains of Castamere," or as it is more commonly known, the episode of the Red Wedding. Without spoiling anything, the last scene of the episode turns the entire series on its head and leaves you with your jaw hitting the floor. When I first watched the episode, I was so sick to my stomach that I couldn't watch the next episode until the following day. A lot of people will question if the rest of the episode is as good, and while nothing will match the epic-ness of the final scene, the rest of the episode is good. Do I think it can win an Emmy? Surely. The buzz is with this one, above all others, and it would be a greatly-deserved win, but I think a lot of votes would come purely from the last scene. If you have no intention of watching Game of Thrones, I suggest you Google the Red Wedding scene and see for yourself (note: not for the queasy).

But the big contender here is Homeland, after having won this award last year, and coming in with another buzzed-about episode. This same episode is nominated in the directing category, and in that analysis, I said that I imagined it had a better shot here. That is definitely still the case. The episode has multiple storylines, but the heart of it comes in the middle during a twenty-minute scene that many have defined as "the scene of the series." It is a fantastic episode, and to add to the possibility of this episode winning, it's writer passed away earlier this year. If Emmy voters are looking to honor Henry Bromell, Homeland, and just plain great television, then there's no reason "Q&A" couldn't win this Emmy.

So, my predictions...
1) Q&A for Homeland
2) The Rains of Castamere for Game of Thrones
3) Dead Freight for Breaking Bad
4) Episode 3.04 for Downton Abbey
5) Say My Name for Breaking Bad

I hate to discredit anyone in an Emmy race, but the two Breaking Bad episodes and the Downton Abbey tape don't have a good shot of taking this one. I really don't think they are the strongest in the field, and there aren't too many other factors feeding into that. Downton Abbey has a better shot in other categories, and Breaking Bad may not win writing, but it has a great shot at directing. But I think this is a two-horse race between GoT and Homeland, arguably the two hottest dramas on television. It is very close to a toss-up, but I'm giving the edge to Homeland. As the reigning winner, this award would also serve as a tribute to a deceased, Emmy-award winning writer, and that can certainly go a long way. Game of Thrones can very likely take this award as a reward for writing the most challenging, shocking, and revolutionary scene of television in the past few years, but Bromell's final piece should take the Emmy.

Evan

First Listen: "The Civil Wars" by The Civil Wars

One of the all-time favorite musical acts is back with a new album. After a year of rumors and inner turmoil, John Paul White and Joy Williams have released their second album, named after the duo, "The Civil Wars." I have been anticipating this album for years now, and when the duo went on hiatus last year, I was afraid we may not hear music from them ever again. Luckily, we have a brand new album, and although it may be their last album ever, it's still new material to add to the collection. I have been waiting with baited breath for this album, so I'm so excited to finally listen and share my opinions with all of you!

1. The One That Got Away - Unlike the Katy Perry song, this one doesn't lament a lost lover, but rather laments that the lover is still around. This song is dark and, for a duo that has confessed they haven't spoken in almost a year, that makes sense. The song is a slow-build to the rollicking end with the album's first hint of electric guitar. Joy certainly overpowers John Paul here, but it's a memorable song (and it also happens to be the first single from the album). I'm a sucker for this duo's lyrics and the chorus is nothing short of memorable: "Oh, if I could go back in time/When you only held me in my mind/Oh, I wish I'd never ever seen your face/I wish you were the one that got away."

2. I Had Me a Girl - The electric guitar riffs in the beginning are unlike anything we heard from The Civil Wars' first album, "Barton Hollow." But the driving angry guitar segues into a Civil Wars specialty: beautiful harmonies over pounding instrumentation. Joy's vocals are out of this world on this song, and the song, while not lyrically as angry as the first song, has a hard-rock sound that delivers an exciting new direction for the duo, and just went the instrumentation disappears, that's when this duo surprises its audience the most.

3. Same Old Same Old - It's very hard to pick out my favorite song on this album, but this is absolutely a contender. It's a heartbreaker, that's for sure. Like a "do not listen to this song if you're in the middle of a bad break-up" kind of song. But that's probably the intention here, as Joy and John Paul sing of their wishes to leave a lover. They sing: "Do I love you?/Oh, I do/And I'm going to 'til I'm gone/But if you think that I can stay in this same old, same old/well, I don't/I don't." The song really focuses on the beautiful texture of the duo's voices, with minimal instrumentation, and with the last major swell during the final chorus, you'll be swallowing the lump in your throat. What a fantastic song.

4. Dust to Dust - The Civil Wars are best known for their ballad "Poison and Wine." The song on the newest album that comes closest to replicating that magic is this song. The pluck of the guitar adds a backbeat to a song dominated by the piano chords and the mixture of Joy and John Paul's voices. The lyrical content takes a different direction from the end of a relationship to the formation of a possible new one. The two singers comfort each other and assure that the other will no longer be lonely. The song contains perhaps the most telling lyrics on the album: "You're like a mirror reflecting me/Takes one to know one, so take it from me/You've been lonely/You've been lonely, too long." I love this song.

5. Eavesdrop - This one is a great little rock jam. I love the build-up to the second chorus and it reminds me of alternative rock songs like "Chasing Cars" by Snow Patrol. It lingers in a place from being a happy song to sounding like a lament, and it toys with the emotions pretty easily. The build-up toward the end of the song is interesting, as it appears to be gearing up for a gigantic final chorus, only to fade off and leave the listener wanting more. That's not necessarily bad, I should add. But it's another great song.

6. Devil's Backbone - Interestingly enough, it's not the rocking instrumentation that I'm digging here; rather, it's the vocal technique displayed by Joy and John Paul. The last minute of the song they go from wailing to coming to a quiet whisper, but still in total unison. It's amazing how badly it could've gone but it works deliciously well. The song content is pretty standard "I'm in love with a bad boy/girl," and there are some religious overtones here, but I like it.

7. From This Valley - After some darkness, this song adds some much-needed light to the album. The duo released this as a promo single a few weeks ago, and I've had it on repeat for a while. I just love it, because it's happy and sing-along friendly, and of course, the vocals are impeccable. The final verse before the last chorus is jaw-dropping. It's just Joy and John Paul's vocals, in perfect harmony, working every technique, as if to show off to the listener and say "Yeah, we sound THAT good." I love this song, and it's placement here adds energy to the album, which could've suffered from too many depressing songs in a row.

8. Tell Mama - This is a cover of an Etta James' song, which doesn't seem like a natural fit, but the arrangement here works beautifully. It's haunting, truly. Joy really owns the song, John Paul providing backup. It floats like a lullaby, but there is darkness here, which really layers the song beyond what Etta James' original incarnation was. It's not exactly a song meant for Joy's year-old son, since it deals with a mother talking about her son's heartbreak, but it's easy to see Joy could've easily sang this song as a tribute to her son, which makes it all the more powerful.

9. Oh Henry - The album gets back to rockin', and it carries the dark themes from the previous song. Joy once again dominates, as has been the case for the album has a whole, and the electric guitar is really prevalent here, although not as much as "I Had Me a Girl." The song doesn't go too over the top, which is great because it could easily have toppled over into the melodramatic, and while The Civil Wars are great at making heart-melting songs, they aren't extravagant and eye-roll inducing. Joy's voice during the last minute of the song is fantastic, especially that amazing last note.

10. Disarm - Another cover, this time from The Smashing Pumpkins. Another interesting pick. Oh, and look, it's John Paul! We thought we lost you buddy. This is basically just the voices and the plucks of a guitar. It's soothing, I'll say that. There's nothing greater than hearing two people who can just play off each other so well, and that's what we're getting here. It's not an album highlight, but I really like it.

11. Sacred Heart - So...I think this is French? Yep, the song is definitely in French. That doesn't detract from the beauty, it just means I have no clue what they're saying. But Joy and John Paul's French is pretty on point, and it doesn't sound like they're reaching to fake an accent (like when Selena Gomez reached for an island accent on her new album). I'll have to look up the lyrical translation because it's a great song, I hope the lyrics match it.

12. D'Arline - This one doesn't sound edited, like a little acoustic session on a roadside that was put on the album as is. Which is interesting. It helps that they production is minimal unlike other places on the album, and this song seems to be happy, which is a good note to end the album on, and has me hoping that there's light at the end of the tunnel for these two.

Overall, this is a fantastic album, and definitely one of the highlights of the year so far. The production was kicked up and added something special and seemed like a step forward for the duo, which is sad considering they may take no more steps together after this album's release. My sincere hope is that fan reaction and general love for this album will help Joy and John Paul realize they have something I would consider "once in a lifetime"-esque. This duo is an ultimate game changer for music, and this album is solid proof that, through the turmoil, they are the best the music industry has to offer. I'm looking forward to having this album on repeat for months ahead.

Standout tracks: The One That Got Away, Same Old Same Old, Dust to Dust, Eavesdrop, From This Valley

Evan

Song of the Week: "Acapella" by Karmin

I must admit, I have a soft spot for Karmin. After seeing a few of their covers on YouTube over a year ago, I was excited to listen to their first EP, a great little selection of quirky songs, including radio hit "Brokenhearted." I followed Amy and Nick as they progressed along with their first album. I was retweeted by them twice, and that kind of thing really sticks with me because I'm a dork. I even got the chance to see them in concert and meet them. I've been really excited for their upcoming album for quite some time now, and the first peek came in early June when their latest single "Acapella" premiered on the Elvis Duran show.

Karmin is made up of college sweethearts Amy and Nick, and their style has always leaned toward the wacky (in a good way). While the "Hello" EP didn't capture that entirely, it still was comprised of good radio-friendly songs. "Acapella" throws that all out the window. This isn't the kind of song that should be a radio hit, but my guess is that, very shortly, it will be. The song, the duo says, it made up of 90% noises from their mouths. Yeah, you read that right. Alot of the "instrumentation" of the song is actually coming directly from Amy and Nick. The beat itself is a midtempo R&B/dance jam, and throw in the catchy chorus and you've got a distinctive, undeniable song. After the first couple listens, you'll be singing along with Amy: "You and me are through, though/Watch me hit it solo/I'mma do it acapella."

The music video below really makes one nostalgic for the 90s, and that was Karmin's intention. Regardless, you should definitely keep an eye on this song as it is sure to become one of the hottest songs on the radio this fall. And if you like what you hear, make sure you check out Karmin's debut album, "Pulses," hitting stores sometime in September.

Evan

Emmy Nomination Analysis: Best Directing for a Comedy Series

Another day, another category. This time, we're talking Best Directing for a Comedy Series. The nominees are...

Hogcock!/Last Lunch for 30 Rock (directed by Beth McCarthy-Miller)
On All Fours for Girls (directed by Lena Dunham)
Diva for Glee (directed by Paris Barclay)
New's Year Eve for Louie (directed by Louis CK)
Arrested for Modern Family (directed by Gail Mancuso)

30 Rock's finale is the only episode to make it in both the writing and directing categories. That would make a lot of people think it's chances are much greater to win, but that's not exactly the case. While it is wonderfully directed, tying up all loose ends and making it a real treat to the audience, there's not much here that differentiates the series finale from any other 30 Rock episode, at least direction wise. 30 Rock has never won a directing Emmy before, and like I said earlier, it's more likely we'll see the show pick up a writing Emmy than a victory here.

The nominated episode for Girls contains two of the season's most talked-about moments. While I don't think this is the best directed episode of the season for Girls (I'd give that honor to the bottle film "One Man's Trash" directed by Richard Shepard), it doesn't mean it's not worthy. The episode is definitely dark, and that could easily turn some voters off, but it doesn't shake the fact that, along with Louie, it's the most brutally honest episode here, and that rawness is on full display, especially during awkward scenes like Marnie's ballad version of Kanye West's "Stronger" or the questionable sex scene between Adam and Natalia. If voters are looking to honor Lena Dunham, they might do it here, but there's a pretty good chance it might be too divisive to result in a win.

Glee's nomination here and in other categories this year might seem odd, considering the show came off what many consider to be it's weakest year. The show won Ryan Murphy an Emmy for directing the pilot, and also earned another nomination that year for Paris Barclay. Barclay returns with his second nomination for Glee this year, and my theory is that it might have something to do with the fact that he was just named the newest president of the Directors Guild of America. That theory makes more sense when you take into consideration that Glee doesn't have much of a chance at a win here. Sure, it's got flashy musical numbers that the other contenders don't, but there's nothing too out of the normal that warrants a reward. As someone who stuck it out with Glee this year, this episode doesn't even rank in the top five of the season, and some of the material is hard to watch (not because it's awkward, but because it's bad). That alone might make people hesitant to reward the show. If Glee wins this award, it is only because of Barclay's name.

As someone who has only seen Louie through Emmy tapes, I remember championing a win for Louis CK in this category last year. He instead won the writing award, which I deemed him less worthy of a win. I'm gonna go out on a limb and say that my wishes will actually come true this year and CK will win the directing award, which he is again worthy of. The episode is pretty interesting, as it really focuses on Louie and his deteriorating sadness, and there are long spans where the direction really shines through because it's just the setting and CK. It's wonderfully shot, and the technique brings out humor that would've otherwise been missed. The first scene of the episode alone should guarantee that Louie is in good position to take this award.

After losing this award to fellow competitor Glee during its freshman season, Modern Family has won the directing award two years in a row. Can it make it three? The good thing is that it is nominated for one of the strongest episodes of the season. The direction flows seamlessly from storyline to storyline, and the story never drags. There are some great moments, and it would make a worthy winner, certainly better than Modern Family's win in this category last year, which I didn't think was the best in the category.

My predictions are:
1) New Year's Eve for Louie
2) Arrested for Modern Family
3) On All Fours for Girls
4) Hogcock!/Last Lunch for 30 Rock
5) Diva for Glee

I really hope Louie gets recognized here, because while I think he would make a suitable winner in both the writing and directing categories, he is much more suited for a win here. I do think Modern Family would also make a very worthy winner, they are lucky their nominated episode is one of the standouts of the season. Girls' win would be very divisive, but there's no denying that Dunham knows what she's doing and deserves recognition for it. 30 Rock could win here, but I still think it has a better chance in the writing race. And Glee really shouldn't even be nominated, so it's a non-contender. I'm picking Louie for now.

Evan

Emmy Nomination Analysis: Best Directing for a Drama Series

Time for another Emmy analysis! This time, it's Best Directing for a Drama Series. The nominees are...

Margate Sands for Boardwalk Empire (directed by Tim Van Patten)
Gliding Over All for Breaking Bad (directed by Michelle McLaren)
Episode 3.04 for Downton Abbey (directed by Jeremy Webb)
Q&A for Homeland (directed Lesli Linka Glatter)
Chapter One for House of Cards (directed by David Fincher)

I had previously seen the Homeland and House of Cards episodes. Q&A was an obvious standout this season for the show. I'll try not to spoil anything for those who may not have seen it or plan on watching the show later this summer/year/lives, but it features some stellar work by the actors and the writing is great. That said, the directing is pretty good, but nothing totally extraordinary. I think the Emmys love Homeland, but do I think it'll be enough to get them this award? Probably not. On the other hand, House of Cards has a lot going for it in this category. It's the new kid on the block and it's a major achievement from Netflix, so that will have it under a certain eye in this category. It's a pilot episode so there isn't a lot of catching up to do, as opposed to watching an episode of Breaking Bad or Downton Abbey in this category. It's got the clearest cinematography of the shows, and that certainly helps visualize the director's intentions. And speaking of the director, it just happens to be Oscar-nominated director David Fincher (who has directed a few movies you've definitely heard of including The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo). Fincher has such an exact style and it comes across quite clearly here, so this episode is bound to be a major contender.

Boardwalk Empire is the episode to watch here. Not because it is a standout episode in any way, but because it is the two-time defending champion. The first time it won was for it's pilot episode, which was directed by Oscar winner and film legend Martin Scorsese. But last year, it was not considered a major frontrunner in this category, but pulled out a win, with director Tim Van Patten at the reins this time. The show returns for a third nomination, and while it is possible it could reclaim the throne again, I'm thinking it's less likely this time. Overall support for Boardwalk Empire has shriveled faster than fingers on a child who has stayed in the pool for a few hours, and the buzz behind the show is basically gone. That said, being the two-time defending winner says something, so I can't completely discredit it.

I don't watch Breaking Bad, which surprises some people considering the sheer amount of television I do watch. I started watching the first season a little after it premiered, but never really settled into it, and as the show has gone on, it's been harder for me to catch up. I think it'll be a show I watch once it ends (which is this fall). But in the meantime, I have seen episodes by watching these Emmy tapes. This one was the mid-season finale, and while the story was pretty accessible, I must say I really enjoyed the directing. It was cinematic in a way that still felt intimate, and there are some bright moments here. The direction of the final scene, in particular, was unsettling and have me craving what was coming next. Since I think Emmy support for Breaking Bad is hitting an all-time high, I could see it winning this category.

I have a confession to make. I watched all the tapes for Downton Abbey last year, and was not impressed. I didn't like the show and how it crammed about 60 storylines into one episode. Something about the fluidity of it all made me disappointed, because I figured a show that gets showered with this much Emmy love would be of much better quality. So I was kind of dreading watching this episode for this category, although I had heard it was a very good episode. And I must concur. I actually did like this episode. A major factor is that there seems to be one major story that some of the smaller ones revolve around. The episode is ambitious for the show, but not compared to some of it's other competitors. Whereas this episode has a major twist (which I won't spoil here), the other shows in this category are doing that every week. Like Boardwalk Empire, I think the love for Downton Abbey has decreased (although certainly not as much as the former), and I don't think the directing here was ambitious enough or outstanding to receive an Emmy.

My predictions:

1. Chapter One for House of Cards
2. Gliding Over All for Breaking Bad
3. Q&A for Homeland
4. Margate Sands for Boardwalk Empire
5. Episode 3.04 for Downton Abbey

In much the same sense that Martin Scorsese was awarded for directing the pilot of Boardwalk Empire, I think the Emmys won't be able to resist doing the same for David Fincher and House of Cards. That aside, it is the most cinematic of the nominees and it knows it's footing immediately. A win for Breaking Bad here would not be unworthy, and I would support it. If Homeland is to win here, it will be because of overall support for the show, because while this is a great episode, it is not because of the directing. Boardwalk Empire should really only be considered a contender because of it's past in this category, but I don't think it can make it three in a row here. And while I did like this episode of Downton Abbey, the directing was nothing to write home to your mother about. I'll pick House of Cards here.

Evan

Announcing the 2013 Evannies TV Nominations: COMEDY

Hello again! If you were here last night, you saw that I posted round one of the nominees for the Evannies, my own personal awards show for television excellence. Round two today is comedy categories! There are four categories that I save until the winners are revealed, so I won't be posting them until you get the winners. But for now, enjoy the comedy categories...

Best Directing for a Comedy Series
The Closet Reconfiguration for The Big Bang Theory, directed by Anthony Rich
One Man's Trash for Girls, directed by Richard Shepard
Together for Girls, directed by Lena Dunham
Leslie and Ben for Parks and Recreation, directed by Craig Zisk
Running for Veep, directed by Tim Kirkby

Best Writing for a Comedy Series
A New Attitude for Arrested Development, written by Mitchell Hurwitz and Jim Vallely
Redefining Jenna for Awkward, written by Lauren Iungerich
The Closet Reconfiguration for The Big Bang Theory, written by Steven Mollaro, Steve Holland, and Eric Kaplan
It's a Shame About Ray for Girls, written by Lena Dunham
Virgins for New Girl, written by Elizabeth Meriweather
First Response for Veep, written by Armando Iannucci and Roger Drew

Comedy Episode of the Year
Hogcock!/Last Lunch for 30 Rock
The Closet Reconfiguration for The Big Bang Theory
It's a Shame About Ray for Girls
Virgins for New Girl
Running for Veep

Best Guest Actress in a Comedy Series
Isla Fisher as "Rebel Alley" for Arrested Development
Liza Minelli as "Lucille Austero" for Arrested Development
Kate Hudson as "Cassandra July" for Glee
Elizabeth Banks as "Sal" for Modern Family
Melissa McCarthy as herself for Saturday Night Live

Best Guest Actor in a Comedy Series
Ben Stiller as "Tony Wonder" for Arrested Development
Andrew Rannells as "Elijah Krantz" for Girls
Patrick Wilson as "Joshua" for Girls
Matthew Broderick as "Dave" for Modern Family
Justin Timberlake as himself for Saturday Night Live

Best Supporting Actress in a Comedy Series
Jane Krakowski as "Jenna Maroney" for 30 Rock
Jessica Walter as "Lucille Bluth" for Arrested Development
Mayim Bialik as "Amy Farrah Fowler" for The Big Bang Theory
Allison Williams as "Marnie Michaels" for Girls
Eliza Coupe as "Jane Kerkovich" for Happy Endings
Julie Bowen as "Claire Dunphy" for Modern Family

Best Supporting Actor in a Comedy Series
Will Arnett as "GOB Bluth" for Arrested Development
David Cross as "Tobias Funke" for Arrested Development
Simon Helberg as "Howard Wolowitz" for The Big Bang Theory
Adam Driver as "Adam Sackler" for Girls
Ty Burrell as "Phil Dunphy" for Modern Family
Max Greenfield as "Schmidt" for New Girl

Best Actress in a Comedy Series
Tina Fey as "Liz Lemon" for 30 Rock
Kaley Cuoco as "Penny" for The Big Bang Theory
Lena Dunham as "Hannah Horvath" for Girls
Zooey Deschanel as "Jess Day" for New Girl
Amy Poehler as "Leslie Knope" for Parks and Recreation
Julia Louis-Dreyfus as "Selina Meyer" for Veep

Best Actor in a Comedy Series
Alec Baldwin as "Jack Donaghy" for 30 Rock
Jason Bateman as "Michael Bluth" for Arrested Development
Jim Parsons as "Sheldon Cooper" for The Big Bang Theory
Adam Scott as "Ben Wyatt" for Parks and Recreation
Jake Johnson as "Nick Miller" for New Girl

Best Comedy Series
30 Rock
Arrested Development
The Big Bang Theory
Girls
New Girl
Parks and Recreation
Veep

I'll be posting nomination tallies and stats later!! In the meantime, mull over these nominees and enjoy!!!

Evan

Announcing the 2013 Evannies TV Nominations: DRAMA

Alright, I'm super corny but I've done this for a few years with my family and I've done my own personal awards shows. Sometimes, my favorite shows and performances are snubbed by the Emmys, and I figured that my own personal recognition would bring myself some closure. I know, it's weird, but I figured I would share it with all of you! I'm doing this in two waves, so tonight, I'm starting with the drama nominees, so here they are... (FULL DISCLOSURE: I do not watch Breaking Bad, Downton Abbey, or Mad Men)

Best Directing for a Drama Series
Madness Ends for American Horror Story, directed by Alfonso Gomez-Rejon
The Rains of Castamere for Game of Thrones, directed by David Nutter
Death of a Client for The Good Wife, directed by Robert King
The Choice for Homeland, directed by Michael Cuesta
Chapter One for House of Cards, directed by David Fincher

Best Writing for a Drama Series
The Rains of Castamere for Game of Thrones, written by David Benioff and DB Weiss
Red Team/Blue Team for The Good Wife, written by Robert and Michelle King
New Car Smell for Homeland, written by Meredith Stiehm
Q&A for Homeland, written by Henry Bromell
What to My Wondering Eyes for Parenthood, written by Jason Katims

Drama Episode of the Year
Madness Ends for American Horror Story
The Rains of Castamere for Game of Thrones
Red Team/Blue Team for The Good Wife
New Car Smell for Homeland
What to My Wondering Eyes for Parenthood

Best Guest Actress in a Drama Series
Natalie Dormer as "Margaery Tyrell" for Game of Thrones
Stockard Channing as "Veronica Loy" for The Good Wife
Martha Plimpton as "Patti Nyholm" for The Good Wife
Carrie Preston as "Elsbeth Tascioni" for The Good Wife
Marin Ireland as "Aileen Morgan" for Homeland

Best Guest Actor in a Drama Series
Charles Dance as "Tywin Lannister" for Game of Thrones
Michael J. Fox as "Louis Canning" for The Good Wife
Nathan Lane as "Clarke Hayden" for The Good Wife
Matthew Perry as "Mike Kresteva" for The Good Wife
Matt Lauria as "Ryan York" for Parenthood
Ray Romano as "Hank Rizzoli" for Parenthood

Best Supporting Actress in a Drama Series
Sarah Paulson as "Lana Winters" for American Horror Story
Emilia Clarke as "Daenerys Targaryen" for Game of Thrones
Christine Baranski as "Diane Lockhart" for The Good Wife
Morena Baccarin as "Jessica Brody" for Homeland
Hayden Panettiere as "Juliette Barnes" for Nashville
Monica Potter as "Kristina Braverman" for Parenthood

Best Supporting Actor in a Drama Series
Peter Dinklage as "Tyrion Lannister" for Game of Thrones
Nickolaj Coster-Waldau as "Jamie Lannister" for Game of Thrones
Mandy Patinkin as "Saul Berenson" for Homeland
Corey Stoll as "Peter Russo" for House of Cards
Peter Krause as "Adam Braverman" for Parenthood

Best Actress in a Drama Series
Jessica Lange as "Sister Jude Martin" for American Horror Story
Keri Russell as "Elizabeth Jennings" for The Americans
Vera Farmiga as "Norma Bates" for Bates Motel
Julianna Margulies as "Alicia Florrick" for The Good Wife
Claire Danes as "Carrie Mathison" for Homeland
Robin Wright as "Claire Underwood" for House of Cards
Tatiana Maslany as "Sarah Manning" for Orphan Black

Best Actor in a Drama Series
Matthew Rhys as "Philip Jennings" for The Americans
Freddie Highmare as "Norman Bates" for Bates Motel
Kevin Bacon as "Ryan Hardy" for The Following
Damian Lewis as "Nicholas Brody" for Homeland
Kevin Spacey as "Frank Underwood" for House of Cards
Andrew Lincoln as "Rick Grimes" for The Walking Dead

Best Drama Series
American Horror Story
Game of Thrones
The Good Wife
Homeland
House of Cards
Parenthood

Thoughts?! Leave them in the comments section below or tweet me @evan_cuneo! The comedy categories are coming tomorrow!! Until then...

Evan