With the 66th Primetime Emmy's having come and gone, and critics being as predispositionally critical as always, I think I've found the right time to express my thoughts on the condition of modern television. Also, gerrymandering in award shows. Also, humanity.
This year's Primetime Emmy's and channels responsible for their shows were unapologetic in their entering of programs in categories that did not fit. American Horror Story: Coven was entered in mini-series, which was arguable, Modern Family was allowed to compete after too many wins, The Big Bang Theory was allowed to compete because somehow, people still like it, and Breaking Bad was still entered because of the thought-out splitting of the final season so that it could claim its rightful place as Best Drama - twice. But for me, the comedy entries were the most outraging. Orange is the New Black - Comedy? Sure, this season was more comedic than the last, but only because of the amount of comic relief necessary from such emotionally draining storylines.
But let's get to what I'm really here to talk about - Shameless. Shameless (US). The rawest, most unapologetic, most heartfelt, (dare I say) best show on Television. Everything about and that happens in the show embodies the title.
And it was entered as a COMEDY.
This is where the Emmy's run into problems. Shameless can be described as a thoroughbred dramedy, making categorizing it difficult. This past season was indisputably the most dramatic one so far. Our leading lady hit rock-bottom (and some of her best work was this season), and our leading man became a supporting character for most of the season (in my opinion, yet he was still the only one to grab a nom besides Joan Cusack as a guest-actress). Our ensemble cast was the most shameless they've ever been, especially our supporting actors. Jeremy Allen White, who deserved a nom more than I can say, more than anyone, changed the entire mood of the show. Cameron Monaghan's character now struggles with bipolar disorder, and his boyfriend, the roughest, toughest punk on the Southside (the show is set in Southside Chicago) finally came to terms with his own sexuality - his coming out scene being another highlight of this season and further solidified Noel Fisher's now irrefutable acting skills. This is the show to be watching if you want to see a fresh, new perspective in television on breaking old stereotypes and instead replacing them with the idea that sexuality is no longer a defining characteristic of a character - sexuality is simply a part of being human.
I think that's why dramedy is so important. Every year, since the birth of television, we have claimed to be in "The Golden Age" of it. The thing is, it's a growing process. The Twilight Zone set the precedent of fantastic television. NBC's Thursday night lineup in 2012 was a nugget of gold. Youtube is setting itself up as a Golden Age of Digital Entertainment as a whole. What dramedy is giving us on television is the most human, least cheesy or overdone presentation we've ever seen. We need these programs made because they teach us more than how to repeat a lazy laugh-track or how to watch a dramatic portrayal which without doubt is talented, but for me, it needs more. Dramedies give us humor along with the hard stuff, which is genuinely the way things roll in real life. I'm more than proud of my favorite show, because it is a real representation, trying to imitate life to the best of its abilities. I'm not saying it's perfect, far from it, but it's honest. And that's all I ask for, all I need.
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