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Alec Baldwin expressed interest in running for mayor of New York City once he learns more about the duties.

Baldwin told the New York Times that he is talking to two universities about enrolling in a master’s program in politics and government in order to learn more about being the mayor of a city.

The 30 Rock star said 2013 is out of the question due to contractual obligations with the show, but he is strongly considering a shift to politics after his contract is up.

Baldwin will become a permanent NYC resident before running for political office.

A recent study by California-based media research company Experian Simmons seems to prove what many already believe: Democrats and Republicans have different tastes. Their research reveals that Republicans are more likely to be enthusiastic about shows with big ratings while Democrats seem to gravitate towards shows that are less popular but more critically acclaimed.

“The big shows with mass appeal tend to have above-average scores from Democrats and Republicans but with higher concentrations of Republicans,” according to Experian Simmons senior marketing manager John Fetto, “Looking at the Democrats side, I don’t mean to make light of it, but they seem to like shows about damaged people. Those are the kind of shows Republicans just stay away from.”

The degree to which Republicans gravitate to more popular shows is striking: nine out of ten top shows on the Neilson list appear on the Republican list as well. None appear in the Democrats’ top 10. Democrats tend to adore “Mad Men” while “American Chopper” and “Pawn Stars” are more popular with Republicans.

While at first glance it might seem that there’s a “high brow versus low brow” conflict at the heart of these differences, the reality is more complicated. Republicans favor reality shows based around competition but certain particularly unabashedly trashy reality shows — “Jersey Shore,” “Kourtney & Khloe” — are more favored by Republicans. Animated comedies such as “Family Guy” score higher with Democrats, as do most shows on the CW.

Democrats also tend to love NBC’s Thursday night comedy block. “30 Rock”, “Community”, and “Parks and Recreation” appear in the Democrats’ top 15. Republicans tend to rate those shows lowly while, maybe surprisingly, giving “The Office” even slightly higher marks than their Democrat counterparts.

“Modern Family,” a show featuring a gay couple with adopted kids, seems like an unlikely choice for the Republicans’ number three spot, yet there it is. This and similar details of the study make it difficult to wax analytical about how viewing habits relate the supposed “culture war” between the Left and the Right in the United States. But for anyone hoping for less partisanship in American politics anytime soon, the bad news seems more concrete: Glenn Beck’s show tops the Republican list while Keith Olbermann’s program is tops with Democrats.

Here are each group’s favorites:

Private Practice soared week to week, up 40% in the ratings, largely due to it’s rape/recovery storyline that began this week. Grey’s Anatomy was also up this week.

Fringe and Bones returned after several weeks from Baseball hiatus, and both returned sharply down. Fringe should be on cancellation watch.

NBC and CBS were typical of Thursday nights; The Big Bang Theory was the night’s most watched show.

8 pm

Big Bang Theory: 4.6 demo, 13.9 million viewers

Bones: 2.5 demo, 9.1 million viewers

Community: 1.9 demo, 4.6 million viewers

Grey’s Anatomy (Repeat): 1.2 demo, 4.4 million viewers

8:30 pm

$#*! My Dad Says: 3.4 demo, 11 million viewers

30 Rock: 2.4 demo, 5.3 million viewers

9 pm

Grey’s Anatomy: 4.3 demo, 11.7 million viewers

The Office: 3.7 demo, 7.6 million viewers

CSI: 3.3 demo, 13.9 million viewers

Fringe: 1.8 demo, 5 million viewers

9:30

Outsourced: 2.7 demo, 5.8 million viewers

10 pm

Private Practice: 3.9 demo, 10.2 million viewers

The Mentalist: 2.9 demo, 14.3 million viewers

The Apprentice: 1.4 demo, 4 million viewers

Thursday is shaping up to be the only night of television where few shows are facing the threat of cancellation this season, and most shows rose from last week.

“30 Rock” posted a noticeable uptick due to it’s live episode last night, bouncing up to a 3.0 rating and 6.6 million viewers. At 8 p.m., “Community” drew a higher rating than regular, a 2.2 rating and 4.8 million viewers. “The Office” was the third highest rated program for the night with a 3.7 rating and 7.3 million viewers, but “Outsourced” didn’t retain much, posting a 2.5 rating and 5.4 million viewers. At 10 p.m, “The Apprentice” was abysmal, with a 1.3 rating and 3.7 million viewers.

“Grey’s Anatomy” was the highest rated program of the night, with a 4.5 rating and 12 million viewers. A repeat of the show at 8 was low, with a 1.0 rating and 3

.9 million viewers. “Private Practice” was up at 10, with a 3.1 rating and 8.5 million viewers.

CBS won the night due to consistency; at 8 “The Big Bang Theory” posted a 4.1 rating and 12.4 million viewers. “$#*! My Dad Says” rebounded, drawing a 3.1 rating and 10.1 million viewers. At 9, “CSI” was also on the rise, with a 3.1 rating and 14 million viewers, while “The Mentalist” led at 10 with a 3.2 rating and 15 million viewers.

Fox was at the back; “Bones” was steady with a 2.6 rating and 9.5 million viewers, “Fringe” remained low with a 2.0 rating and 5.3 million viewers.

Actor Elmore "Rip" Torn was arrested in Connecticut for allegedly breaking into a bank on Friday night, state police said.

The actor, known for his roles in "Men in Black" and guest appearances on "30 Rock" was found at the Litchfield Bancorp in Salisbury, Conn., at 9:42 p.m..

When Connecticut State Troopers responding to a burglary alarm found him, they said he was carrying a loaded revolver.

Police said he was drunk at the time.

Torn, a resident of Salisbury, Conn., will be in court on Monday to answer for changes of burglary, criminal mischief, carrying a firearm while intoxicated, trespassing, and possessing a firearm without a permit.

Torn is 78 years old.

Allow me to use this week’s edition of TV Week in Review to show my appreciation for a less-heralded brand of television entertainment. What stuck out on the tube this week was entertainment based in reality. No, not that kind of reality. Real reality. Heck, I’ll just say it.

I love documentaries. Always have, always will. Documentaries are a visual guide for the lazy lovers of non-fiction. Since I’m a lazy lover of non-fiction, and I don’t read it nearly as much as I should, I’ve always been drawn to documentaries. Whether it’s an episode of “True Lif” on MTV or Morgan Spurlock’s “Super Size Me,” I believe a good documentary is as entertaining as a good scripted drama. In fact, they’re often better because the drama is real.

So naturally, when I heard ESPN was bringing 30 original documentaries from 30 talented filmmakers in honor of their 30th anniversary, I was pretty excited. Love sports. Love docs. Love good filmmaking. It seemed like a natural love affair. Add in the ingenious ESPN “Sports Guy” Bill Simmons as the mastermind behind the project and I bought into it from the beginning.

After having watched the first three documentaries, my optimism and high expectations were realized and rewarded. Unlike ESPN’s last celebration of its anniversary, there has been nothing hokey about “30 for 30.” It’s just been enjoyable documentaries from talented filmmakers about stories which haven’t been broached one hundred times.

My favorite was “Small Potatoes: Who Killed the USFL?” It retells the story of an upstart spring football league established in the early 1980s that takes on the mighty NFL. “Small Potatoes” relieves the league’s rise, its prominence, its ultimate demise and lasting legacy. It also perfectly portrays the league’s villain (Mr. “You’re Fired” himself, Donald Trump).

Directed and narrated by Mike Tollin, who had first-hand experience in the USFL as its film guy, “Small Potatoes” has a striking amount of depth. One reason I liked it better than the first two “30 for 30″ documentaries, (“The Band That Wouldn’t Die” and “King’s Ransom” “" both pretty good in their own right), was its breadth of interviews. Tollin talked to an impressive cast of characters ranging from Keith Jackson to Burt Reynolds. It really gave a first-hand impression of what it was like to be there at the time.

All in all, the documentary did a great job of depicting the USFL’s relevance to pro football. This was a league that had Jim Kelly, Steve Young, Hershel Walker, Doug Flutie, Reggie White, Anthony Carter and many other future NFL stars. It was a league that introduced 2-point conversions, instant replay and post-TD celebration pizzazz. Furthermore, in terms of storyline development, Tollin pointedly gets to the reasons behind the league’s quick rise and fall.

It shouldn’t be a surprise that Tollin, who directed the remarkable “Hank Aaron: Chasing the Dream” documentary back in the mid-1990s, could put together such an impressive piece. Yet, to do it in a mere 52 minutes is nothing short of extraordinary. If the “30 for 30″ series continues with this kind of work, I’ll be hoping for more ESPN-based celebrations in the future.

TV Quick Hits of the Week
South Park: “W.T.F.”
“South Park” is one of those shows that can baffle you, make you cry tears of laughter and then do both at the same time. This is episode does the latter. The boys find themselves wanting to be wrestlers after attending a WWE event. When they go and try out for the school’s wrestling team, they find out that “real” wrestling is homoerotic and weird. Instead, they make up their own faux-WWE (aptly titled Wrestling Takedown Federation”¦or W.T.F.) with ridiculous storylines involving aborted babies. Of course, their soap opera storylines attract a wide audience of dumb rednecks who think it’s all real. The episode takes a bizarre twist as the boys put on a Broadway-like production, with very little wrestling mixed in, for a bunch of dumb hillbillies. Elsewhere, the rejected amateur wrestling coach goes on a crusade to prove his “wrasslin’” is the real one. If it sounds silly, it is. But these are the kinds of “South Park” episodes I love the most.

The Big Bang Theory: “The Creepy Candy Corollary”
First off, am I the only person in the world that didn’t know Wil Wheaton from “Star Trek: The Next Generation” was Gordie Lachance from “Stand By M”? As a fan of both the show and that movie, I’m really disappointed in myself. Anyway, this episode saw Sheldon trying to exact revenge on a fictionalized, evil version of Wil Wheaton. Jim Parsons’ angry, angsty and comic-book-like actions as Sheldon leading up to the confrontation with Wheaton carried this episode. Also, I’m still stuck on his hilarious “four napkin rul” at the table with Leonard. Priceless. The side plot had Penny setting up Wolowitz with one of her friends in a run-of-the-mill storyline.

30 Rock: “Into the Crevass”
I’m not sure how I feel about “30 Rock.” I watch it and often find myself laughing and enjoying its snarky, clever humor. However, I read its constantly glowing reviews, watch it collect a bunch of Emmy awards and start to think it gets way too much credit. It’s funny, it’s cleverly written “" it’s just not that good. This week was a great example. The storylines weren’t compelling, nor were the characters. That’s a huge part of scripted TV. “Into the Crevass” relied on a bunch of funny one-liners (ala Family Guy). Sometimes I feel like this show would be better off running 23 minutes of straight one-liners and quick wit rather than come up some with a forced, lame storyline.

Blast recently chatted with Michael Wallen, the vice president and creative director of Fox Mobile Studios, about one of their newest mobile series, “Brainstorm.”

The portable Internet series has already logged about 1.7 million viewers for the eight episodes available (with six pieces of viral content used to promote the series with marketing partner Altoids).

Comedy Central’s “Secret Girlfriend,” which began as a mobile series, shares actor Michael Blaiklock wth “Brainstorm,” where he plays Marty Waxer, a copywriter who is defined as “always stuck in a haze between last night’s party and his morning coffee.”

Between Marty’s procrastination and lack of seriousness, and the new marketing genius in the office, named Rock, an advertising conundrum ensues.

BLAST: First, we’d like to get a feel for how you decided to go with a mobile series, and how that benefits the audience. How are mobile series becoming more popular for audiences?

MICHAEL WALLEN: We really wanted to create a series-not just a mobile series-but a great short form series. We really thought of all cross platform ideas, and we did take into consideration stream size, viewing habits, and technical considerations, so that when somebody did view it (as a mobile series), it would be as a pleasant experience. We wanted to up the value of mobile content by delivering an entertaining series on that platform.

BLAST: How was the idea for Brainstorm started?

MW: It started with the idea of how do we get our skin in the game on the brand integration side of the business and create an organic concept that enables this brand integration without being intrusive to the viewer … organic and upfront. Transparent with the integration. So a show about advertising seemed to make a lot of sense and also poke fun of the brand, and tell a story at the same time. How do we fit a brand into a piece of entertainment? (The idea) was certainly influenced by what was happening in the economy, we thought we could make it relevant because (of smaller agencies struggling) it would resonate with viewers and also be a platform for comedy. Maybe some relief if you will.

BLAST: Was it fun to incorporate Altoids as a brand partner?

MW: Yeah, it was great. They were a fantastic partner. They got the jokes, they got the concepts, they recognized that in order to ..they had to play ball and let their brand be the center of some of the jokes. I commend them for doing that. A lot of brands will (say that they will) do that but will start to pull back. Altoids pushed us further, it was a wonderful partnership

BLAST: Were characters such as Marty and Rock inspired by real life office extremes, or solely developed for the purpose of the plot?

MW: Without blowing anyone’s cover, I’ve worked with every single one of those guys at some point in my career. I think the guru, Rock type is prevalent in the advertising field. These ‘everything turns to gold’ ad whizzes are either lucky or leaned on talented people to get where they are. There are millions of examples in every work environment, not just advertising. Advertising is such an interesting environment and breeds so many types of egos. The lead character was kind of your advertising every man. That’s definitely there in the agencies and the Marty character, but i think we try to capture characteristics of employees all over the world, someone everyone can relate to.

BLAST: Was the series influenced by any workplace sitcoms?

MW: Not directly, just that it’s there. There have been a lot of these office sitcoms, so there is a lot to draw on or draw away from. What’s different (is that) we tried to solve a business problem with a brand while also telling a story. Other shows are doing that — 30 Rock with Snapple. It’s just ‘how can you make advertising entertaining and enjoyable at the same time’?

“Brainstorm” is available on various online and mobile destinations, including MySpace, Yahoo! Video, YouTube, Veoh, blip.tv, Break, eBaum’s World, Howcast, Imeem, Metacafe, Sevenload, StupidVideos.com, Viddler, Vimeo, and most mobile phone networks.

We thought we’d only be talking about “30 Rock,” and how it cleaned house (we’ll talk about “House” later) at the 61st Annual Primetime Emmy Awards.

“30 Rock” did clean up Sunday night. Alec Baldwin won for Actor in a Comedy Series. Matt Hubbard won for writing the episode “Reunion.” And “30 Rock” won the Emmy as the best Comedy Series of the year.

Ominously missing from the list was Tina Fey, who was largely expected to cruise into the Emmy for Actress in a Comedy Series, but when the envelope was read, it was Toni Collette, who plays multiple personalities on Showtime’s “United States of Tara,” who won.

By the way, we’re happy for Kristin Chenoweth, who played Olive in “Pushing Daisies,” which ABC canceled after two seasons. She won for Supporting Actress in a Comedy Series.

Here’s a list of most of the winners at Sunday’s 61st Annual Primetime Emmy Awards:

• Actor, Comedy Series: Alec Baldwin, “30 Rock,” NBC.
• Actress, Comedy Series: Toni Collette, “United States of Tara,” Showtime.
• Supporting Actor, Comedy Series: Jon Cryer, “Two and a Half Men,” CBS.
• Supporting Actress, Comedy Series: Kristin Chenoweth, “Pushing Daisies,” ABC.
• Made-for-TV Movie: “Grey Gardens,” HBO.
• Actor, Miniseries or Movie: Brendan Gleeson, “Into the Storm,” HBO.
• Actress, Miniseries or Movie: Jessica Lange, “Grey Gardens,” HBO.
• Supporting Actor, Miniseries or Movie: Ken Howard, “Grey Gardens,” HBO.
• Supporting Actress, Miniseries or Movie: Shohreh Aghdashloo, “House of Saddam,” HBO.
• Directing for a Comedy Series: “The Office: Stress Relief,” Jeff Blitz, NBC.
• Directing for a Miniseries, Movie, or Dramatic Special: “Little Dorrit: Part 1,” Dearbhla Walsh, PBS.
• Reality-Competition Program: “The Amazing Race,” CBS.
• Writing for a Comedy Series: “30 Rock: Reunion,” Matt Hubbard, NBC.
• Writing for a Miniseries, Movie, or Dramatic Special: “Little Dorrit,” Andrew Davies, PBS.
• Host, Reality or Reality-Competition Program: Jeff Probst, “Survivor,” CBS.
• Comedy or variety show: “The Daily Show.”
• Reality-Competition Program: “The Amazing Race,” CBS.
• Writing for a Comedy Series: “30 Rock: Reunion,” Matt Hubbard, NBC.
• Writing for a Drama Series: “Mad Men: Meditations in an Emergency,” Kater Gordon and Matthew Weiner, AMC.
• Writing for a comedy or variety show: “The Daily Show.”
• Original Music and Lyrics: “81st Annual Academy Awards: Song Title: Hugh Jackman Opening Number,” ABC.
• Writing for a Miniseries, Movie, or Dramatic Special: “Little Dorrit,” Andrew Davies, PBS.
• Supporting Actor, Drama Series: Michael Emerson, “Lost,” ABC.
• Supporting Actress, Drama Series: Cherry Jones, “24,” FOX.
• Actress, Drama Series: Glenn Close, “Damages,” FX.
• Actor, Drama Series: Bryan Cranston, “Breaking Bad,” AMC
• Comedy Series: “30 Rock,” NBC.
• Drama Series: “Mad Men,” AMC.

Analysis coming later.

For some reason, I get into the Emmys. I think it’s because I equate watching my favorite TV shows to watching my favorite sport teams. Let me explain.

For an entire TV season, you get into your TV show, get to know every character, watch every episode all while immersing yourself into the plot. Just like how every (football, baseball, basketball, pick one) pro sport season, you become immersed with your team and its players.

Then if someone dares to challenge the entertainment value of your show, or even has the nerve to say another show is better, you turn into a raving lunatic in its defense. With sports, it’s the same thing. I’m not sure who I’ve defended more this past decade: Tom Brady or Dr. Frasier Crane.

The Emmys are the Superbowl of your TV season (if your show is lucky to make it). A year’s worth of hard work comes down to a three hour show surrounded by much fanfare. In a way, it’s actually kind of exciting. Then once your show loses/wins, you complain/celebrate, and just like with sports, you move on.

So without further ado — here are Blast’s 2009 major category Emmy Predictions:

Outstanding Drama Series

Should Win: Mad Men or Breaking Bad, either would suffice

Could Win: Breaking Bad

Will Win: Mad Men

How in the hell does Big Love get nominated? If I wanted to watch a bunch of Mormons marry each other and flirt with incest, I would’ve moved to Utah ages ago. The only show I see with a slight chance of upsetting Mad Men is Breaking Bad. Also, I know you people love Lost (it’s very popular from what I’ve heard), but I don’t see that happening.

Outstanding Comedy Series

Should Win: The Office

Could Win: Nothing “" it’ll be 30 Rock

Will Win: 30 Rock

Family Guy’s inclusion was relatively puzzling. If you’re going to give an animated sitcom an honorary nomination (which is what it is), why not pick The Simpsons or South Park? Or did Stewie get to them too? Anyway, the only thing surer than a 30 Rock victory is it getting beat in the ratings by Dancing with America’s Next Top Chef, or whatever Fox is putting on these days Thursday nights at 9:30.

Outstanding Actor in a Drama Series

Should Win: Hugh Laurie, House M.D.

Could Win: Bryan Cranston, Breaking Bad

Will Win: Hugh Laurie, House M.D.

Hugh is getting a lot of buzz and rightfully so. Four straight years of nominations and nothing? PEOPLE. HE’S FROM ENGLAND AND GREGORY HOUSE IS FROM AMERICA. Alright, sorry but I think that’s kind of impressive. But then again the dad from Malcolm in the Middle playing a meth dealing, crime addict is pretty impressive too. I think Hugh gets his due, but with this category there’s always a surprise. I mean Simon Baker could win this thing on his smile alone.

Outstanding Actor in a Comedy Series

Should Win: Jim Parsons, The Big Bang Theory

Could Win: Alec Baldwin, 30 Rock

Will Win: Jim Parsons, The Big Bang Theory

I have to admit, I’m extremely bias when it comes to this category. The Big Bang Theory is my favorite thing on TV right now (other than repeats of The Three Stooges). That being said, bias aside I still think he’s the best in this category. If you haven’t seen the show, I recommend it for Parsons alone. However, do not be shocked to see the Emmy voters go for the familiar in Baldwin. Steve Carrell has an outside shot. The other three guys have as much of a shot as the original three stooges themselves.

Outstanding Actress in a Drama Series

Should Win: Elisabeth Moss, Mad Men

Could Win: Kyra Sedgwick, The Closer

Will Win: Glenn Close, Damages

Again I’ll admit, my should win is purely out of bias (but then again isn’t that what we always do with predictions?). I love Elisabeth Moss’ role of Peggy Olsen, it’s a complex, subtle character with underlying emotions. Glenn Close is a heavy favorite to repeat here. She would be a deserving winner, even though I’d like to see some fresh blood in there. Even though the Closer yearn for the days of My Own Worst Enemy, Kyra Sedgwick has an outside possibility.

Outstanding Actress in a Comedy Series

Should Win: Tina Fey, 30 Rock

Could Win: Toni Collette, United States of Tara

Will Win: Tina Fey, 30 Rock

I’m sensing a strong likelihood of another Tina Fey triple (Comedy Series, Comedy Actress and Comedy Writing). While I do think Ms. Fey is really funny, I hope she doesn’t turn into a Jeremy Piven or something and win every year. Toni Collette and Christina Applegate are really good in much more challenging roles. I mean, Tina Fey is essentially playing an exaggerated version of herself. That being said, I think she deserves the nod.

The remains

For the smaller categories, I’m predicting Neil Patrick Harris, Kristin Wiig, Michael Emerson, Chandra Wilson, The Amazing Race and who the hell cares about Reality Host? Oh and I predict Harris will be 800 times funnier and more clever than last year’s host quintet of Reality Show Hosts.

Enjoy the Emmys! Leave your own predictions in the comments section below!

“Slumdog Millionaire,” actress Kate Winslet and mini-series “John Adams” raked in the accolades at the 66th Annual Golden Globe Awards on Sunday.

“Slumdog” won best picture in the drama category at this year’s Globes, held at The Beverly Hilton in Los Angeles, and telecast live on NBC. The film won every category it was nominated in, which included Best Director (Danny Boyle), Best Screenplay (by Simon Beaufoy) and Best Original Score (by A.R. Rahman).

It was also a good evening for Kate Winslet, who snagged a Best Performance by an Actress award for her portrayal of a desperate housewife in “Revolutionary Road” and Best Performance by a Supporting Actress for her role in “The Reader.” When she won for “Revolutionary Road,” Winslet thanked both co-star Leonardo DiCaprio and her husband Sam Mendes, who directed the film, in her acceptance speech, calling them “two incredible men who are such special people in my world.”

One of the big surprises included Mickey Rourke’s triumph in the Best Performance by an Actor category for drama, for his role as a down-and-out fighter in “The Wrestler.” Rourke’s career had been considered dead before this performance, now one of the most critically acclaimed of the year.

“It’s strange,” Rourke said in a press conference after winning the award. “I was out of the game for so many years. I really appreciated the second chance to work again.”

It surprised no one, however, to see Heath Ledger’s postmortem win for his role as The Joker in “The Dark Knight.”

“After Heath passed on, you saw a hole ripped in the future of cinema,” said Christopher Nolan, the film’s director, who accepted the award on behalf of Ledger. “But with the extraordinary response to his work that we’ve seen all over the world, I for one start to look a little bit less in that gap in the future and a little bit more at the incredible place in the history of cinema that he built for himself with his talent and his dedication to his artistry.”

In the television categories, the HBO mini-series “John Adams” emerged as the biggest victor of the night, winning Best Mini-Series or Motion Picture Made for Television. Paul Giamatti, Laura Linney, and Tom Wilkinson also won for their performances in the biopic.

The NBC comedy “30 Rock” was the other big television winner with three awards, including Best Television Series in a Musical or Comedy, a best actress accolade for Tina Fey, and best actor win for Alec Baldwin. Actor Tracy Morgan spoke for the show as they accepted their award.

“Tiny Fey and I had an agreement that if Barack Obama won, I would speak for the show from now on,” Morgan said. “Welcome to post-racial America. I am the face of post-racial America- deal with it, Cate Blanchett!”

“30 Rock” was the only network winner this year, with all of the other television awards going to cable programs on either HBO or AMC.

In television drama the awards were more mixed. AMC’s “Mad Men” won Best Television Series, but failed to garner wins for either lead actor Jon Hamm or actress January Jones. Anna Paquin won Best Performance by an Actress for her role in the new HBO vampire soap opera “True Blood,” and Gabriel Byrne won for his performance on HBO’s “In Treatment.”

What a night for AMC.

Bryan Cranston from AMC’s “Breaking Bad” got an Emmy and Mad Men was all over the place.

Paul Giamatti won a deserving Emmy for “John Adams,” which also won as a miniseries. Tom Wilkinson also won an Emmy as a supporting actor in the HBO production.

Comedy writing’s honor went to my dream girlfriend and yours, Tina Fey.

But the biggest surprises of the night were still AMC and cable’s dominance of many major awards. Surprisingly, a ton of Emmys went to low-rated shows that “no one watches.”

House and Hugh Laurie were also shown no respect Sunday. Everyone expected that Laurie was due for an Emmy, but it was Cranston’s night.

By the way, on the creative side, Stargate Atlantis did not win its Emmy. It was nominated for visual effects but lost to Battlestar Galactica.

Here’s the list of primetime winners. Let us know what you think:

Supporting actor, comedy series: Jeremy Piven, “Entourage,” HBO.

Supporting actress, comedy series: Jean Smart, “Samantha Who?,” ABC.

Supporting actor, drama series: Zeljko Ivanek, “Damages,” FX.

Direction, music comedy or variety program: Louis Horvitz, “60th Academy Awards,” ABC.

Supporting actress, drama series: Dianne Wiest, “In Treatment,” HBO.

Writing variety, music or comedy program: “The Colbert Report,” Comedy Central.

Commemorative Emmy for comedy writing: Tommy Smothers.

Lead actress, miniseries or movie: Laura Linney, “John Adams,” HBO.

Outstanding, variety, music or comedy series: “The Daily Show with Jon Stewart, Comedy Central.

Guest actor, comedy series: Tim Conway, “30 Rock,” NBC.

Guest actress, comedy series: Katherine Joosten, “Desperate Housewives,” ABC.

Directing, comedy series: Barry Sonnenfeld, “Pushing Daisies,” ABC.

Writing, comedy series: Tina Fey, “30 Rock,” NBC.

Made-for-TV movie: “Recount,” HBO.

Supporting actor, miniseries: Tom Wilkinson, “John Adams,” HBO.

Directing, miniseries, movie or dramatic special: Jay Roach, “Recount,” HBO.

Writing, miniseries, movie, dramatic special: Kirk Ellis, “John Adams,” HBO.

Supporting actress, miniseries, movie: Dame Eileen Atkins, “Cranford,” “Masterpiece Theatre,” PBS/BBC.

Reality competition program: “The Amazing Race,” CBS.

Miniseries: “John Adams,” HBO.

Individual in a variety or music program: Don Rickles, “Mr. Warmth,” HBO.

Guest actor, drama series: Glynn Turman, “In Treatment, “HBO.

Guest actress, drama series: Cynthia Nixon, “Law & Order Special Victims Unit,” NBC

Directing, drama series: Greg Yaitanes, “House.” Fox.

Writing, drama series: Matthew Weiner, “Mad Men,” AMC.

Lead actor, miniseries, movie: Paul Giamatti, “John Adams, ” HBO.

Lead actor, comedy series: Alec Baldwin, “30 Rock,” NBC.

Lead actress, drama series: Glenn Close, “Damages,” FX.

Lead actor, drama series: Bryan Cranston, “Breaking Bad,” AMC.

Lead actress, comedy series: Tina Fey, “30 Rock,” NBC.

Reality host: Jeff Probst, “Survivor,” CBS.

Comedy series: “30 Rock,” NBC.

Drama series: “Mad Men,” AMC.