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Paste Magazine wrote:
Emmys 2018: Paste's (Unofficial) Nominations Ballot

June 14, 2018

As any TV critic who moonlights as an Emmy observer will tell you, the Television Academy’s choices can be… frustrating. The tendency to nominate the same series and performances year in, year out; the reluctance to acknowledge certain challenging titles; the labyrinthine rules: The Emmys are often easy to predict, yet difficult to understand.


With that in mind, my annual mock Emmy nominations ballot is a plea for voters’ consideration, a paean to the medium’s finest and an attempt to highlight those still flying under the radar as voting gets underway. It’s full of tough decisions and merciless cuts—including a few that may have you scratching your head. It’s not predictive, but aspirational. And it’s written in the hope that it might get even a single voter to give a deserving series or performer another look.

Voting closes June 25, with the nominations to be announced July 12. Let’s get started!

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Outstanding Limited Series




Alias Grace (Netflix) The Assassination of Gianni Versace: American Crime Story (FX) Howards End (Starz) The Looming Tower (Hulu) Twin Peaks: The Return (Showtime)

It’s been a strong year for limited series. As I’ve written for the site more than once, The Assassination of Gianni Versace is a remarkably radical treatment of queer themes, unspooling in reverse chronological order across multiple genres and painted in Miami pastels. Alias Grace is equally ambitious, in terms of both structure (toggling between two timelines) and perspective (that of an accused murderer); Twin Peaks, meanwhile, is so wildly imagistic, and yet so primal, that the eminences at Sight & Sound and Cahiers du Cinéma decided its excellence made it a film. (It’s a TV series. Always has been.) Even the category’s less groundbreaking entries, Howards End and The Looming Tower, are formidable iterations of familiar stories—an embarrassment of riches, indeed.

[. . . ]


Outstanding Lead Actor (Limited Series/TV Movie)

Darren Criss, The Assassination of Gianni Versace: American Crime Story (FX) Jared Harris, The Terror (AMC) Michael B. Jordan, Fahrenheit 451 (HBO) Matthew Macfadyen, Howards End (Starz) Kyle MacLachlan, Twin Peaks: The Return (Showtime) Jimmy Tatro, American Vandal (Netflix)

So, here is where I come across a familiar Emmy dilemma. Criss does career-making work in The Assassination of Gianni Versace, transforming spree killer Andrew Cunanan into a gruesomely magnetic villain/protagonist, and in any other year I’d say you were out of your gourd not to give him the trophy. But MacLachlan does career-defining work as Twin Peaks’ Dale Cooper, earning Emmy nominations for the series’ first two seasons in 1990-1991, to which he adds both Coop’s doppelganger and Dougie Jones in last year’s revival. Criss will have more bites at the apple. I say give MacLachlan the award he’s deserved for almost three decades.

Backstage wrote:
6 of the Year’s TV Drama Casts Worthy of Emmy Attention

June 14, 2018

“The Assassination of Gianni Versace: American Crime Story” (FX)

Both a character study of killer Andrew Cunanan and a time capsule of 1990s queer culture, the second season of Ryan Murphy’s “American Crime Story” also trumpets the true arrival of Darren Criss. While it’s never been a secret that the “Glee” and “Hedwig and the Angry Inch” star is a certified song-and-dance man, here he plumbed the depths of a sociopath’s psyche, turning his naturally cheery demeanor dark, desperate, and introspective. The power of Criss’ about-face is enough to put him on any awards shortlist, but it helps that he’s surrounded by an ensemble that meets him mark for mark: Ricky Martin, Judith Light, and Édgar Ramírez and Penélope Cruz as the Versaces. —Benjamin Lindsay

Shoot wrote:
Daniel Minahan Reflects On "The Assassination of Gianni Versace: American Crime Story"

June 14, 2018

As for the biggest takeaway or lesson learned from his experience on The Assassination of Gianni Versace, Minahan observed, “I’ve been working closely, shoulder to shoulder with the crew, executives, creatives and showrunners on the last five shows I’ve done. The major takeaway for me moving forward is I want to create a family like the family that Ryan has created at Ryan Murphy Productions. When you reach a certain level, there’s the expectation that everyone brings their most excellent work to the show. But beyond this, Ryan’s company has a respect and familial quality for its people. You feel safe, protected. There’s loyalty. You have the feeling you are doing something important. It’s still a series. It’s still entertainment but there’s a greater sense of purpose and significance to the stories you tell.”