It was a sad day in Sketchyland when Sit Down, Shut Up went off the air. Why? Because it meant Kristin Chenoweth didn't have a steady paycheck. I've grown rather fond of the pint sized comedienne/diva in the wake of my hatred for the musical Wicked slowly waning over the years and to think that her two big television breakouts, Pushing Daisies and the aforementioned animated series, didn't really get a chance broke my heart. Even more so because they went off the air very quickly into their 2009 runs. She even joked about being unemployed in a few interviews, but it obviously couldn't last long.
Then she won the Emmy for Supporting Actress, giving her 2/3 of the Acting Triple Crown: Tony Award (You're A Good Man, Charlie Brown) and Emmy (Pushing Daisies). Combined with her great speech, she'll have jobs for years. Just give her a meaty role in a movie musical and she'll have an Oscar, too.
Now can we stop bitching about Pushing Daisies going off the air and get on with our lives? No? Fine. Be that way.
Anytime a Charles Dickens adaptation gets recognized, I feel my heart grow three sizes. He is the sole reason I consider myself a fan of literary Realism. His work serves as a constant sign of hope for the world. Whenever I run into a glut of horrible modern novels, I can pull off any of his tomes from my shelf and have renewed hope for books. Little Dorrit was sensational.
So is the lovely Shoreh Agdashloo. I've yet to see this talented woman take a wrong step in her career and I hope that the Emmy increases her profile even more. Then again, she's being recognized for a filmed program that most of America didn't see (cough, House of Sand and Fog, cough). I give this woman a nomination in my personal Oscars for five minutes of screen time in the Exorcism of Emily Rose. She doesn't play around with even the most trivial roles. It doesn't hurt that her voice is glorious. Let her do some voice over work Hollywood; I don't think Morgan Freeman will mind not doing every single voice over job each year that requires serious narration.
The big "What's going on?" moment for me was Glenn Close's acceptance speech. I don't mind her winning (Moss should have Moss should have Moss shou...sorry) as she does a fine job on Damages, but that speech was wacky. It started off strong and heartfelt, then it just dragged on and on and on. Tell me, how is Elisabeth Moss your category sister when she was never nominated alongside you before? And how do you explain giving three different speeches with no transitions. The syntax errors were pretty heinous, too. I accept people overcompensating for insecurities by using larger words they don't know what to do with. I do not accept errors that make no sense whatsoever on national television. She started so composed and intelligent, then slowly descended into "What I need High School for?" territory. See for yourself:
I figured by virtue of not being in a procedural, Elisabeth Moss had a good chance of winning. Sally Field won for Brothers and Sisters already and the Emmy clip felt like Sybil 2. Kudos to the Emmy team for picking that brilliant moment to showcase what Moss does best: effortless emotion.
In conclusion, Toni Collette stole Sarah Silverman's Emmy.
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