Ray Richmond is an AwardsLine contributor. This story appeared in the June 12 issue of AwardsLine.
The question of how publicists generate sufficient buzz and attention to land their lesser-known TV series performer clients Emmy nominations is one that has no single answer. It’s something of a combination of the right advertising, effective marketing, timely late-night talk show appearances, savvy social media campaigning—and luck. And then, of course, the actor or actress requires the necessary goods in terms of talent or no amount of effort will matter.
Jillian Roscoe, vp of talent at ID-PR in Los Angeles, includes among her client list a handful of series regulars who landed their first Emmy noms (and, in a few cases, wins) under her guidance. They include Max Greenfield (a surprise comedy supporting actor nominee last year for Fox’s New Girl), Ty Burrell (nominated the past three years and a comedy supporting winner in 2011 for ABC’s Modern Family), Jim Parsons (a lead comedy nominee since 2009 and winner in 2010 and ’11 for CBS’ Big Bang Theory) and four-time nominee John Slattery of AMC’s Mad Men.
“There isn’t any secret,” Roscoe maintains, ”except to have very talented clients. My job is simply to make sure that the right people—i.e. TV Academy voters—have my people on their radar. I don’t need to spin anything. It’s about strategically targeting, and I’m just a bridge.”
One longtime personal publicist with several high-profile TV clients who prefers to remain anonymous emphasizes that the cooperation and participation of a client in any campaign often makes the difference between earning a nomination and being overlooked. “You hope they’re together with you on it,” she explains. “And if they’re not pushing, you have to try everything: Late-night shows, daytime show appearances, special-issues interviews. The ultimate question is, do you do a mailing or buy ads yourself?”
Richard Licata, executive vp of communications at NBC and who has helped spearhead Emmy campaigns at HBO, Fox, Showtime and other networks, makes the point that sometimes getting attention for younger talent requires patience, and that often you need to first plant a seed and look for it to sprout a year or two later. ”That’s how it worked when we tried to get a supporting nom for Merritt Wever on Nurse Jackie back in 2010,” Licata recalls. “And then finally, Merritt was nominated in 2012.”
Paul Brownfield is an AwardsLine contributor. This story appeared in the June 12 issue of AwardsLine.
In his job, Mark Sweet prefers to work hungry, skipping dinner. He doesn’t drink coffee. If he needs to use the bathroom, that’s around Page 20.
On workdays, Sweet leaves his Bel Air home by 2:30, hours before he really starts work. But he is a man who likes to know what the future holds, including traffic.
Tuesday night he’s at The Big Bang Theory, Wednesday at Mike & Molly, Friday night at Two and a Half Men. These are all Chuck Lorre sitcom tentpoles for CBS, and Sweet is the warmup comic at each. He has occupied this particular pocket of the comedy industry for almost 30 years. It takes a certain kind of person, a certain kind of comic, to do it. Most performers don’t like to be interrupted during their routines by a director.
“The art of this thing is being able to stop on a dime,” Sweet says. “So when they go, ‘Here we go,’ and then they’re ready to go, I need to stop.”
But it’s not always about keeping the house amped. Early on, Sweet noticed people were coming to tapings of The Big Bang Theory dressed in homemade T-shirts and lab coats. So he started bringing people up to talk about what the show means to them.
“It seems to give these people hope, and a second chance and optimism,” Sweet says of Big Bang Theory. “I’m telling you, it makes them happy.”
Sweet initially got pulled into doing audience warmup by friends in the entertainment business. His first two shows were Coach and It’s Garry Shandling’s Show—one a broad network sitcom, the other an idiosyncratic cable experiment. The Coach audience members were plucked from the Universal Studios tour. Barry Kemp, the show’s creator, whipped through two different tapings of the same episode, an early and late show.
Shandling taped at Sunset and Gower. The first four rows were industry. The rows behind them might have been filled by people from a nearby drug rehab. While Sweet burned through material, Shandling and his cocreator, Alan Zweibel, huddled. It taught Sweet how to ration his bits and keep an audience in the game.
Sweet boasts of having warmed up audiences for more than 4,000 episodes of situation comedies. He did the last episode of Cheers, the last Roseanne, and the first Everybody Loves Raymond taping after the Sept. 11 terrorist attacks.
They know him well in the Chuck Lorre family. This is why, when they’re ready to roll again, the director will give Sweet an extra 15 or 30 seconds to finish whatever gag he’s doing. “It just keeps that laugh rolling into their material,” Sweet says.
Michael Ausiello is founder and editor in chief of TVLine and an AwardsLine contributor. This story appeared in the June 12 issue of AwardsLine.
The gap between Modern Family and the rest of the Emmy comedy field has been so wide that even an imperfect third season landed the ABC family comedy a third consecutive best series win last year. But Modern Family is wrapping another uneven season, and with its ratings slipping and challengers gaining on it, a fourth statuette is far from guaranteed.
HBO’s Girls is coming off a Golden Globe win, there’s a growing sentiment that CBS’ Nielsen juggernaut The Big Bang Theory is past due to be recognized, and former best comedy series Emmy winner Arrested Development is back. Will Modern Family’s winning streak come to an end this year? Here’s our assessment of the show’s chances, as well as the rest of the contenders.
It’s tough for a series to earn an Emmy in its final season.
30 ROCK
An air of “been there, awarded that” might surround Tina Fey’s NBC comedy—it has won three times, after all. But in its seventh and final season, it went out on a high note creatively. And, considering this is Emmy’s last chance to give it a back slap, it can’t—or shouldn’t—be counted out. So its series nomination is a relatively safe bet (as are nominations for one-time lead actress victor Fey and two-time lead actor winner Alec Baldwin). ARRESTED DEVELOPMENT
In the same way that Netflix’s House of Cards is shaking up the drama race, the subscriber service’s resurrected Fox favorite was initially poised to set the comedy derby on its ear. (HBO’s Curb Your Enthusiasm is ineligible to be nominated this year, so there’s even an open slot.) But reviews have been lukewarm at best, suggesting a best comedy nom is no longer a foregone conclusion. The show’s cast might stand a better chance. At one time or another during the show’s three-season network run, Jason Bateman, Will Arnett, Jeffrey Tambor and the sublime Jessica Walter were all recognized with noms, but none of them ever took home the gold.
The Big Bang Theory is riding high creatively and in ratings.A best comedy nomination is long overdue for Louis C.K.’s FX series.
THE BIG BANG THEORY
If the CBS smash was only TV’s top-rated comedy or if it was only firing on all cylinders creatively, it would stand a good chance of taking the Emmy away from Modern Family. But its numbers are through the roof and it’s as funny (and touching) as ever, which means the two-time contender actually stands a great chance of coming out on top. Johnny Galecki might even manage to rejoin two-time lead actor winner Jim Parsons among the nominees. (If there’s any justice, so will the underrated Simon Helberg, if only for the sweet episode in which Wolowitz sorta learns the contents of a letter sent to him years earlier by his father.) ENLIGHTENED
You could argue that this show belongs on our list of longshots, rather than on this list. But the HBO underperformer had a huge fan base among Hollywood types—exactly the sort who are Emmy voters. So, although even cocreators Laura Dern and Mike White weren’t recognized last year, they actually do stand a chance this year. After all, is anything better than a nomination to say, “We’re sorry you got canceled!”? GIRLS
After its much-debated freshman season, Lena Dunham’s HBO series came close to claiming the comedy Emmy from Modern Family. Now, coming off a pair of Golden Globe wins and a second season that was just as controversial as the first, the show seems even better positioned to pull off an upset. Whether or not it does, another nom for both the series and its star-writer-director is assured. Of the supporting cast, Adam Driver, who plays sensitive Neanderthal Adam, seems likeliest to be nominated. GLEE
Emmy-wise, the Fox musical has sung its swan song: After being nominated in 2010 and 2011, the series didn’t make the cut last year (and didn’t earn a Golden Globe nom this year, either). Emmy voters seem to have moved on. HOUSE OF LIES
Nominated for lead actor in 2012—and having just won the Golden Globe—Don Cheadle is a shoo-in for a nom. As for the show itself, the racy Showtime comedy has yet to land a major best series nomination. HOW I MET YOUR MOTHER
Solid as the CBS sleeper might be, the field is too crowded for it to break back into the race. (It was only nominated once, in 2009.) Even Mr. Popularity, Neil Patrick Harris, hasn’t been given a nom since 2010. LOUIE
In the wake of Louis C.K.’s writing win last year—and his nominations for lead actor and director—his FX series stands a fair chance of getting a long overdue first best series nomination. If not, it will have to wait two years for another shot because C.K. is taking extra time between seasons. Nevertheless, the comedian himself is sure to be among the contenders (and probably in multiple categories). MIKE & MOLLY
At best, CBS’ full-figured romcom has a slim chance of eking out a nod. But its movie-star leading lady, Melissa McCarthy—2011’s surprise lead actress winner and a nominee again last year—is assured another nom. THE MINDY PROJECT
It’s probably too early for Fox’s freshman romcom to see any love from Emmy. Its creator, Mindy Kaling, however, is familiar enough—and sharp enough—that she could end up with a lead actress nod.
Modern Family is the reigning Emmy champ in comedy.
MODERN FAMILY
Though the ABC comedy’s numbers aren’t quite as strong as they once were—and buzz about the show has quieted to a faint murmur—it’s still a lock for a fourth consecutive nom. A fourth win, on the other hand, isn’t a sure thing—especially with The Big Bang Theory enjoying one of its most successful (in every way) seasons, Emmy darling 30 Rock taking a victory lap and Girls being on such a roll. Maybe two-time nominee Ed O’Neill will finally take home his well-deserved golden girl. NEW GIRL
Having lost none of their sparkle in this Fox romcom’s second season, “adorkable” Zooey Deschanel and Max Greenfield are safe bets to be nominated again for lead actress and supporting actor, respectively. And, in addition to Jake Johnson—trying his luck in the lead actor category—the show itself could grab that open Curb Your Enthusiasm slot and slip a New face into the comedy race. NURSE JACKIE
Pass the painkillers, because Edie Falco’s Showtime series has no shot at a nomination. (In fact, looking at its chart, it hasn’t been in the running since 2010.) If the show gets recognized at all, it’ll almost certainly be through a nom for its star. THE OFFICE
The longrunning workplace comedy hasn’t received a single nomination since Steve Carell’s 2011 exit, so it would be an understatement to call the show a dark horse for its final season. If Emmy is ever again going to recognize its 2006 comedy winner, it’s now or never. PARKS AND RECREATION
In spite of glowing reviews, Amy Poehler’s small-town political comedy will have to pull off an upset to get back into the comedy series race. (It’s only received a nom once, in 2011.) A more likely scenario is that this will finally be the year that the show’s thrice-nominated leading lady takes home a statuette. Maybe Nick Offerman will even sneak into the supporting contest by a (mustache) hair. VEEP
Given the mixed critical response to Julia Louis-Dreyfus’ HBO comedy, it was a surprise that the show landed a nomination in 2012. It is questionable whether Veep will be able to pull that off again, but Louis-Dreyfus, whose performance has been universally praised, is fully expected to repeat as a nominee after snagging the Emmy (her third, having also won for Seinfeld and The New Adventures of Old Christine) last year.
LONG SHOTS: Ben and Kate, Californication, Community, Cougar Town, Episodes, Happy Endings, The Middle, Raising Hope, Suburgatory, Two and a Half Men, Weeds.
Diane Haithman is an AwardsLine contributor. This story appeared in the June 5 issue of AwardsLine.
Undergrads from UCLA’s Honors Physics 1B (who take this class because ordinary physics just isn’t difficult enough) were in for a surprise when they took a field trip to Warner Bros. Studios to be part of the live studio audience for CBS’ The Big Bang Theory.
The set always features whiteboards marked up with dizzyingly complex equations. And it took a while for any student to notice that today’s equations were the solutions for the midterm exam they’d taken earlier that day.
As Big Bang physicist Sheldon Cooper (Jim Parsons) might say: Bazinga!
This visual gag was a lot like the continual pranks of Sheldon and his geeky pals on the show. But the man behind this in-joke was their professor, particle astrophysicist David Saltzberg, who also serves as science adviser on Big Bang. He’s the guy who happily fills in the blanks in the scripts marked: [SCIENCE TO COME].
He also comes up with the whiteboard material. When not pranking a group of students, Saltzberg’s whiteboards are usually related to the script. Most recently, per a discussion between Sheldon and Leonard (Johnny Galecki), the whiteboard dealt with unruh radiation.
Uh, you might want to Google that. In fact, Saltzberg is hoping you will. Drop a scientific term into a top-rated sitcom and a significant sample of the audience will grab their mobile devices to learn more about the Higgs Boson, Quantum Brain Dynamic Theory or the Large Hadron Collider. “We might just mention ‘dark matter’—there isn’t a Nova-style lecture, but the word gets out there,” he says.
Saltzberg hopes Big Bang can help a general audience fall in love with science. And, he adds: “People are really wearing the geek moniker now as a badge of honor. I was wearing a T-shirt yesterday at the gym that said ‘Geek Inside.’ And some guy came by who was very fit and said, ‘I want that T-shirt. That’s me.’”
Saltzberg says virtually every science professor in range of Hollywood gets tapped to check a script or two. Usually, this involves a few pages and a phone call. In contrast, Saltzberg reads every script and attends every taping—unless he’s, say, in Antarctica using scientific balloons to study neutrinos as they hit the ice sheet (he still manages to send whiteboard material to Burbank from the South Pole).
Saltzberg notes that much of the science comes from the writers, many of whom fit the geek mode themselves. Show cocreator Bill Prady, for example, is a computer programmer. “They think science is important, and it shows,” Saltzberg says.
Executive producer Steven Molaro says Saltzberg’s advice does more than prevent scientists from sending hate email. Choosing just the right bit of science can elevate the story. Molaro fondly recalls a scene in which Leonard’s nonscientist girlfriend, Penny (Kaley Cuoco), wants to work on their relationship by coming to the lab to observe Leonard at work. Saltzberg suggested that Leonard make science visual with a dancing hologram. “It was a moody and beautiful scene,” Molaro says. “It wasn’t just science, it was the poetry of science. I remember how Kaley started to tear up when she said, ‘Sometimes I forget how smart you are.’”
To each taping, Saltzberg brings a guest fondly known as “the Geek of the Week.” His plus-ones range from undergrads to Nobel Prize winners. “Most recently, we had the science consultant from Breaking Bad, Dr. Donna Nelson from the University of Oklahoma. I was really loving the way they were getting the science right in Breaking Bad, so I invited her out,” Saltzberg says.
Saltzberg’s favorite shows include Breaking Bad, MythBusters and Jersey Shore. Well, maybe “favorite” is too strong for Jersey, but as a Jersey boy himself, Saltzberg jokes that if the producers ever need a science adviser, he’s available. (Seriously, though, he says he plans to retire from advising after the high of being part of Big Bang.)
He’s also come to respect comedy writing, which is a lot like the physics lab. “Comedy is an experimental or empirical enterprise, just like science,” he says. “People laugh or they don’t. You have theories on why things should work in a certain way, but you ultimately can’t disagree with the measurements.”
Cast member Mayim Bialik, who plays Sheldon’s gal pal Amy Farrah Fowler and holds a neuroscience Ph.D. from UCLA, says, “It’s very difficult for someone to exist and coexist as well as he does with a bunch of industry people. We’ve had some really total nerdball conversations about the nature of existence, physics versus neuroscience, just like Sheldon and Amy.”
When asked if he places physics at the top of the intellectual heap among the sciences like Sheldon does, Saltzberg deadpans, “He only speaks the truth. When I teach introductory physics, that’s what I teach them. It’s my class. I get to say what I want.”
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