The Screen Actors Guild award ceremony screened on Sunday, resulting in multiple wins for “The Help” and “Boardwalk Empire”. The full list of winners is listed below.

Theatrical Motion Pictures

Outstanding Performance by a Cast in a Motion Picture

• “The Help”

Outstanding Performance by a Male Actor in a Leading Role

• Jean DuJardin, “The Artist”

Outstanding Performance by a Female Actor in a Leading Role

• Viola Davis, “The Help”

Outstanding Performance by a Male Actor in a Supporting Role

• Christopher Plummer, “Beginners”

Outstanding Performance by a Female Actor in a Supporting Role

• Octavia Spencer, “The Help”

Primetime Television

Outstanding Performance by an Ensemble in a Drama Series

• “Boardwalk Empire”

Outstanding Performance by an Ensemble in a Comedy Series

• “Modern Family”

Outstanding Performance by a Male Actor in a Drama Series

• Steve Buscemi, “Boardwalk Empire”

Outstanding Performance by a Female Actor in a Drama Series

• Jessica Lange, “American Horror Story”

Outstanding Performance by a Male Actor in a Comedy Series

• Alec Baldwin, “30 Rock”

Outstanding Performance by a Female Actor in a Comedy Series

• Betty White, “Hot in Cleveland”

Outstanding Performance by a Male Actor in a Television Movie or Miniseries

• Paul Giamatti, “Too Big to Fail”

Outstanding Performance by a Female Actor in a Television Movie or Miniseries

• Kate Winslet, “Mildred Pierce”

SAG Honors for Stunt Ensembles

Outstanding Performance by a Stunt Ensemble in a Motion Picture

• Harry Potter and the Deathly Hallows Part 2

Outstanding Performance by a Stunt Ensemble in a Television Series

• Game of Thrones

Nominees for the Golden Globes were announced on Thursday. The 69th award ceremony will take place on January 15.

Best Motion Picture – Drama

• The Descendants – Ad Hominem Enterprises; Fox Searchlight Pictures
• The Help – DreamWorks Pictures, Participant Media; Touchstone Pictures
• Hugo – Paramount Pictures presents a GK Films Production; Paramount Pictures
• The Ides of March – Columbia Pictures, Cross Creek Pictures, Exclusive Media Group, Crystal City Entertainment; Sony Pictures
• Moneyball – Columbia Pictures; Sony Pictures Releasing International
• War Horse – DreamWorks Pictures; Touchstone Pictures

Best Performance by an Actress in a Motion Picture – Drama

• Glenn Close – Albert Nobbs
• Viola Davis – The Help
• Rooney Mara – The Girl with the Dragon Tattoo
• Meryl Streep – Iron Lady
• Tilda Swinton – We Need to Talk About Kevin

Best Performance by an Actor in a Motion Picture – Drama

• George Clooney – The Descendants
• Leonardo DiCaprio – J. Edgar
• Michael Fassbender – Shame
• Ryan Gosling – The Ides of March
• Brad Pitt – Moneyball

Best Motion Picture – Comedy or Musical

• 50/50 – Summit Entertainment and Mandate Pictures; Summit Entertainment
• The Artist – a La Petite Reine-Studio 37-La Classe Americaine-JD Prod-France3 Cinema-Jouror Production-uFilms coproduction-The Weinstein Company
• Bridesmaids – Universal Pictures, Relativity Media, Apatow Productions; Universal Pictures
• Midnight in Paris – A Mediapro, Versatil Cinema & Gravier Production; Sony Pictures Classics
• My Week with Marilyn – The Weinstein Company; The Weinstein Company

Best Performance by an Actress in a Motion Picture – Comedy or Musical

• Jodie Foster – Carnage
• Charlize Theron – Young Adult
• Kristen Wiig – Bridesmaids
• Michelle Williams – My Week With Marilyn
• Kate Winslet – Carnage

Best Performance by an Actor in a Motion Picture – Comedy or Musical

• Jean Dujardin – The Artist
• Brendan Gleeson – The Guard
• Joseph Gordon-Levitt – 50/50
• Ryan Gosling – Crazy, Stupid, Love.
• Owen Wilson – Midnight in Paris

Best Animated Feature Film

• The Adventures of Tintin – Paramount Pictures/Columbia Pictures/ Hemisphere Capital/Amblin Entertainment/Wingnut Films Production/ Kennedy/Marshall Production A Steven Spielberg Film; Paramount Pictures and Columbia Pictures
• Arthur Christmas – Columbia Pictures & Sony Pictures Animation; Sony Pictures Releasing International
• Cars 2 – Walt Disney Pictures, Pixar Animation Studios; Walt Disney Pictures
• Puss In Boots – DreamWorks Animation; Paramount Pictures
• Rango – Paramount Pictures and Nickelodeon Movies present A Blind Wink / GK Films Production;  Paramount Pictures

Best Foreign Language Film

• The Flowers of War (China) – (Jing Ling Shi San Chai) New Pictures Film Company; Wrekin Hill Entertainment
• In the Land of Blood and Honey (United States) – GK Films; FilmDistrict
• The Kid with a Bike (Belgium) – (Le Gamin au Velo) Les Films du Fleuve; Sundance Selects
• A Separation (Iran) – (Jodaeiye Nader az Simin) Asghar Farhadi; Sony Pictures Classics
• The Skin I Live In (Spain) – (La piel que habito) El Deseo D.A., S.L.U.; Sony Pictures Classics

Best Performance by an Actress in a Supporting Role in a Motion Picture

• Berenice Bejo – The Artist
• Jessica Chastain – The Help
• Janet McTeer – Albert Nobbs
• Octavia Spencer – The Help
• Shailene Woodley – The Descendants

Best Performance by an Actor in a Supporting Role in a Motion Picture

• Kenneth Branagh – My Week With Marilyn
• Albert Brooks – Drive
• Jonah Hill – Moneyball
• Viggo Mortensen – A Dangerous Method
• Christopher Plummer – Beginners

Best Director – Motion Picture

• Woody Allen – Midnight in Paris
• George Clooney – The Ides of March
• Michel Hazanavicius – The Artist
• Alexander Payne – The Descendants
• Martin Scorsese – Hugo

Best Screenplay – Motion Picture

• Michel Hazanavicius – The Artist
• Nat Faxon, Alexander Payne, Jim Rash – The Descendants
• George Clooney, Grant Heslov, Beau Willimon – The Ides of March
• Woody Allen – Midnight in Paris
• Aaron Sorkin, Steven Zaillian – Moneyball

Best Original Score – Motion Picture

• Ludovic Bource – The Artist
• Abel Korzeniowski – W.E.
• Trent Reznor and Atticus Ross – The Girl with the Dragon Tattoo
• Howard Shore – Hugo
• John Williams – War Horse

Best Original Song – Motion Picture

• “Hello Hello” – Gnomeo & Juliet (Music by Elton John, Lyrics by Bernie Taupin)
• “Keeper, The” – Machine Gun Preacher (Music and Lyrics by Chris Cornell)
• “Lay Your Head Down” – Albert Nobbs (Music by Brian Byrne, Lyrics by Glenn Close)
• “Living Proof, The” – The Help (Music by Thomas Newman, Mary J. Blige and Harvey Mason, Jr., Lyrics by Mary J. Blige, Harvey Mason, Jr. and Damon Thomas)
• “Masterpiece” – W.E. (Music and Lyrics by Madonna, Julie Frost and Jimmy Harry)

Best Television Series – Drama

• American Horror Story (FX) – Twentieth Century Fox Television
• Boardwalk Empire (HBO) – Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions, HBO Entertainment
• Boss (STARZ) – Lionsgate Television in association with Grammnet NH Productions, Roya Productions and Old Friends Productions
• Game of Thrones (HBO) – Bighead, Littlehead, 360 Television, Grok and Generator Productions in association with HBO Entertainment
• Homeland (SHOWTIME) – SHOWTIME Presents, Teakwood Lane Productions, Cherry Pie Productions, Keshet, Fox 21

Best Performance by an Actress in a Television Series – Drama

• Claire Danes – Homeland (SHOWTIME)
• Mireille Enos – The Killing
• Julianna Margulies – The Good Wife (CBS)
• Madeleine Stowe – Revenge
• Callie Thorne – Necessary Roughness

Best Performance by an Actor in a Television Series – Drama

• Steve Buscemi – Boardwalk Empire (HBO)
• Bryan Cranston – Breaking Bad
• Kelsey Grammer – Boss (STARZ)
• Jeremy Irons – The Borgias
• Damian Lewis – Homeland (SHOWTIME)

Best Television Series – Comedy or Musical

• Enlightened (HBO) – Ripcord Productions in association with HBO Entertainment
• Episodes (SHOWTIME) – SHOWTIME Presents, Hat Trick Productions, Crane Karik Productions
• Glee (FOX) – Ryan Murphy Television, Twentieth Century Fox Television
• Modern Family (ABC) – Twentieth Century Fox Television
• New Girl (FOX) – Chernin Entertainment in association with Twentieth Century Fox Television

Best Performance by an Actress in a Television Series – Comedy or Musical

• Laura Dern – Enlightened (HBO)
• Zooey Deschanel – New Girl (FOX)
• Tina Fey – 30 Rock (NBC)
• Laura Linney – The Big C (SHOWTIME)
• Amy Poehler – Parks and Recreation

Best Performance by an Actor in a Television Series – Comedy or Musical

• Alec Baldwin – 30 Rock (NBC)
• David Duchovny – Californication (SHOWTIME)
• Johnny Galecki – The Big Bang Theory (CBS)
• Thomas Jane – Hung (HBO)
• Matt LeBlanc – Episodes (SHOWTIME) 

Best Mini-Series or Motion Picture Made for Television

• Cinema Verite (HBO) – A Pariah Production in association with HBO Films
• Downton Abbey (Masterpiece) – A Carnival/Masterpiece Co-production
• The Hour (BBC AMERIC) – Kudo Film and Television/BBC America co-production
• Mildred Pierce (HBO) – A Killer Films/John Wells Production in association with Metro-Goldwyn-Mayer and HBO Miniseries
• Too Big to Fail (HBO) – A Spring Creek and a Deuce Three Production in association with HBO Films

Best Performance by an Actress in a Mini-series or Motion Picture Made for Television

• Romola Garai – The Hour (BBC AMERIC)
• Diane Lane – Cinema Verite (HBO)
• Elizabeth McGovern – Downton Abbey (Masterpiece)
• Emily Watston – Appropriate Adult
• Kate Winslet – Mildred Pierce (HBO)

Best Performance by an Actor in a Mini-series or Motion Picture Made for Television

• Hugh Bonneville – Downton Abbey (Masterpiece)
• Idris Elba – Luther
• William Hurt – Too Big to Fail (HBO)
• Bill Nighy – Page Eight (Masterpiece)
• Dominic West – The Hour (BBC AMERIC)

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television

• Jessica Lange – American Horror Story (FX)
• Kelly MacDonald – Boardwalk Empire (HBO)
• Maggie Smith – Downton Abbey (Masterpiece)
• Sofia Vergara – Modern Family (ABC)
• Evan Rachel Wood – Mildred Pierce (HBO)

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television

• Peter Dinklage – Game of Thrones (HBO)
• Paul Giamatti – Too Big to Fail (HBO)
• Guy Pearce – Mildred Pierce (HBO)
• Tim Robbins – Cinema Verite (HBO)
• Eric Stonestreet – Modern Family (ABC)

The 63rd Annual Primetime Emmy Awards were announced early morning on July 14 and will air on Fox on Sunday, September 18 at 8:00 p.m.

Fox’s “Glee” received a nomination for best comedy series and supporting actors Jane Lynch and Chris Colfer have been nominated as well. Lynch will also host the Emmy Awards for the second consecutive year.

The cast of “Modern Family” received an impressive 17 nominations with each adult cast member nominated. The show falls just behind “Mad Men,” with 19 nominations, and “Boardwalk Empire,” with 18 nominations.

HBO was once again the network to receive the most nominations with 104 this year. But surprisingly, the hit series “True Blood” was not nominated in any major category.

 Nominees in top categories are listed below. For a complete list of Emmy nominations please visit emmys.com

Comedy Series
The Big Bang Theory
Glee
Modern Family
The Office
Parks and Recreation
30 Rock

Drama Series
Boardwalk Empire
Dexter
Friday Night Lights
Game of Thrones
The Good Wife
Mad Men

Lead Actress in a Comedy
Laura Linney, The Big C
Edie Falco, Nurse Jackie
Amy Poehler, Parks and Recreation
Melissa McCarthy, Mike & Molly
Martha Plimpton, Raising Hope
Tina Fey, 30 Rock

Lead Actor in a Comedy
Matt LeBlanc, Episodes
Jim Parsons, The Big Bang Theory
Steve Carell, The Office
Johnny Galecki, The Big Bang Theory
Louis C.K., Louie
Alec Baldwin, 30 Rock

Lead Actor in a Drama
Steve Buscemi, Boardwalk Empire
Michael C. Hall, Dexter
Kyle Chandler, Friday Night Lights
Jon Hamm, Mad Men
Hugh Laurie, House
Timothy Olyphant, Justified

Lead Actress in a Drama
Elisabeth Moss, Mad Men
Connie Britton, Friday Night Lights
Mariska Hargitay, Law & Order: SVU
Mireille Enos, The Killing
Julianna Margulies, The Good Wife
Kathy Bates, Harry’s Law

Supporting Actor in a Comedy
Jon Cryer, Two and a Half Men
Chris Colfer, Glee
Jesse Tyler Ferguson, Modern Family
Ed O’Neill, Modern Family
Eric Stonestreet, Modern Family
Ty Burrell, Modern Family

Supporting Actor in a Drama
John Slattery, Mad Men
Andre Braugher, Men of a Certain Age
Walton Goggins, Justified
Peter Dinklage, Game of Thrones
Josh Charles, The Good Wife
Alan Cumming, The Good Wife

Supporting Actress in a Comedy
Jane Lynch, Glee
Betty White, Hot in Cleveland
Julie Bowen, Modern Family
Kristen Wiig, Saturday Night Live
Jane Krakowski, 30 Rock
Sofia Vergara, Modern Family

Supporting Actress in a Drama
Kelly Macdonald, Boardwalk Empire
Christina Hendricks, Mad Men
Michelle Forbes, The Killing
Archie Panjabi, The Good Wife
Margo Martindale, Justified

Mini-series or Made-for-Television Movie
Cinema Verite
Downton Abbey
The Kennedys
Mildred Pierce
The Pillars Of The Earth
Too Big To Fail

Variety, Music or Comedy Series
The Colbert Report
Conan
The Daily Show With Jon Stewart
Late Night With Jimmy Fallon
Real Time With Bill Maher
Saturday Night Live

Lead Actor in a Mini-Series or movie
Edgar Ramirez, Carlos
Greg Kinnear, The Kennedys
Barry Pepper, The Kennedys
Idris Elba, Luther
Laurence Fishburne, Thurgood
William Hurt, Too Big To Fail

Lead Actress in a Mini-Series or movie
Diane Lane, Cinema Verite
Elizabeth McGovern, Downton Abbey
Kate Winslet, Mildred Pierce
Taraji P. Henson, Taken From Me: The Tiffany Rubin Story
Jean Marsh, Upstairs Downstairs

Reality Program
Antiques Roadshow
Deadliest Catch
Hoarders
Kathy Griffin: My Life On The D-List
MythBusters
Undercover Boss

Reality Competition
The Amazing Race
American Idol
Dancing With The Stars
Project Runway
So You Think You Can Dance
Top Chef

Host of a Reality Program or Competition
Phil Keoghan, The Amazing Race
Ryan Seacrest, American Idol
Tom Bergeron, Dancing With The Stars
Cat Deeley, So You Think You Can
Jeff Probst, Survivor

Sources: New York Times and MTV

1. Breaking Bad

Like “Weeds” before it, albeit in a drama, the third season of “Breaking Bad” highlighted Walt’s change from a man selling drugs for his family to a man that’s a drug dealer. Along the way, Cranston and Aaron Paul, along with the show’s ensemble cast, delivered some of the finest performances on television. An unrelentingly dark and depressing show, the continued evolution of the characters and this show further pushes “Breaking Bad” into a realm with “Mad Men:” one of the best shows of all time.

2. Lost

The final season of “Lost” is just another add on to a show that will be endlessly debated and analyzed. But regardless of the multitudes of fan reactions to the show’s polarizing sixth season, the show delivered an emotionally charged finale that resonates still months after it aired. Toward the end of the season, it began to dawn on me that we wouldn’t be getting the answers many so desperately deserved. But as I re-watched episodes leading up to the show’s final bow, I began to understand, or at least interpret for myself what I believe the writers were attempting to push. We don’t get all the answers in life, and not everything is wrapped in a neat bow at the finish. Instead it’s about the journey, and the changes in ourselves. After six years with some of the most dynamic characters on television and one of the most consistently well-written shows, I’m thankful to have been part of the journey.

3. Mad Men

After three years as the best show on television (sorry “Breaking Bad”), “Mad Men” finally started to show some wear. Just as Don Draper’s life fell into one of despair and uncertainty, mirrored by the unrest of the mid-60’s, the show echoed. But an uneven season still delivered some of the highlights of the show. Just as America began to recognize in the time period featured in the show, these characters began realizing the consequences of their actions, the comeuppance for their decadence and depravity. As America searched for its soul and identity, so did Don. And in the meantime, it delivered one of its finest hours to date: “The Suitcase.” Despite its unevenness, and a somewhat lacking finale, it remains one of the top shows on television. And with “Breaking Bad’s” ineligibility next year (it won’t return in time for the Emmy awards), it will likely collect its fourth consecutive best Emmy, tying it with “The West Wing” and “L.A. Law” for the most ever for a drama series. But even if it doesn’t accomplish that, Hamm’s performance in the aforementioned episode all but guarantees he finally takes home the Emmy that his network coworker Bryan Cranston has (rightfully) won for three years.

4. Vampire Diaries

I struggle with how to categorize this guilty-pleasure show. It doesn’t have the writing, production values or acting caliber as some of the other shows on this list, notably the list’s leaders. But that’s not to say that any of those traits are lacking in this show. It remains one of the most engrossing and tightly plotted shows on television, a horror thrill-ride and teen drama rolled into a strangely complex and remarkably addictive show. Two seasons in, the show has yet to waiver or let up. It’s hard to imagine it can maintain it’s ridiculous pace, but already, “Vampire Diaries” is starting to stack up to some of the all-time great Sci-Fi/fantasy shows: “Buffy the Vampire Slayer,” “X-Files,” and more. What’s more–it’s consistently just one of the best shows on TV.

5. Sons of Anarchy

In a nutshell, “The Sopranos” on motorcycles. But “Sons” is oh so much more than that, as it mixes a blend of familial loyalty with ruthlessness and insatiable violence. As the M.C. grows it’s kingdom and Jax continues in his rise to power, the third season of this show did little to expand it’s scope like it’s stellar second season, but “Sons” still remains one of the highest quality dramas on television.

6. Fringe

After experiencing moderate success during its first season, this sci-fi show from the mind of J.J Abrams (the creator of another show on this list), poor scheduling has led this show to fly under the radar for the past two seasons. That’s unfortunate, because a show that once started out hoping for comparisons to the “X-Files” has far exceeded all expectations. It’s well written, and its overarching mythology is treading new ground in terms of television science fiction. With strong leads that often go unnoticed by the awards shows and a concisely plotted story, all those BSG fans without a home should look no further than “Fringe.”

7. The Good Wife

Julianna Marguilles delivers the best performance of her career with her subtle and nuanced turn as Alicia Florick in this legal procedural. A show that could have treaded familiar territory and overplayed conventions consistently delivers strong, accessible stories filled with intrigue and first class drama. But more than just a case of the week, the show touches on redemption, faith and forgiveness, with a drawn out story arc as addictive as anything on television.

8. Dexter

Dexter changed head writers between its stellar fourth season and the last year’s fifth, creating even more drama—how could they move on from that finale??? (No spoilers). But the transition was mostly seamless; save some early missteps, the fifth season wove together in a very “Dexterous” fashion, continuing the dive into Dexter’s humanity and psyche, along the way delivering some excellent twists and taut drama.

9. Walking Dead

Look, we knew what we were getting into with this one right? It’s the zombie apocalypse. But unlike a fast-paced movie, the emotional resonance with these characters goes so much deeper in this six-hour first season, making it all the more gut wrenching as they started to die off before their eyes. From acclaimed director Frank Darabont, this show rolls great zombie violence into a fight for survival, tinged with insecurity, uncertainty, and the growing realization that no one is going to make it out alive.

10. Boardwalk Empire

It started off slow, and some of the characters and themes were a little flat. But just before we wrote it off as a 1920’s “Sopranos” wannabe, “Empire” developed a heart and soul. The characters came to life, and a highly compelling drama emerged from the most unlikely of stars, Steve Buscemi that is.

Honorable Mentions

Friday Night Lights

As television drama continues to innovate and change for the sake of upping shock value, this one stays relatively the same. And that’s not a bad thing—FNL remains the best character driven drama on television.

Luther

Despite an uneven first season, this BBC import, led by a brilliant Idris Elba, was one of the better new dramas this year.

A Mary Pickford, sans cherry

January 16 1920 was a dark day for America that had little to do with the winter blues. The teetotalers had their way and for nearly fourteen years the Volstead Act and the 18th Amendment ensured that the church had enough wine but that local bartenders were stripped of their licenses and livelihoods. It was still possible to possess alcohol for personal consumption but distribution meant jail time. Thus, the illegal speakeasies with their live music, smoky rooms and password intrigue were born.

HBO’s new blood-bath drama, “Boardwalk Empire,” and its portrayal of Prohibition-era Atlantic City overrun by the mob-run liquor racket has inspired a reawakening of the 1920s image. From fashion to alcohol (it must have something to do with all the rum-running), the television show has influenced the revolution of classics becoming new again.

What better to do with your cronies during the latest episode, while you all don your cloister hats and ragtime suits, than to mix up some Prohibition-style cocktails? Forget the single shots of cheap whiskey in dimly lit bars. These are the subtle drinks that defined a decade. Sip them slowly, that giggle water liable to burn your gullet on the way down.

French 75

This bathtub-gin cocktail did not go on to be the official drink of the generation like the Sidecar or the Gin Swizzle (where the term “swizzle sticks” comes from). It was named after the World War I monolith canon used to combat trench warfare. Be careful with that first bubbly sip, it could hit you in the face with all the grace of the American artillery.

Shake well with cracked ice:
1 1/2 oz London Dry Gin
1/2 oz Fresh-squeezed Lemon Juice
3/4 oz Simple Syrup
Strain into highball glass full of cracked ice and top off with chilled champagne.

Sidecar (Boston)

This Boston version of the original Sidecar, created by Sam “Suck it” Treadway, is a spinoff of the most popular drink of the Prohibition era. There are currently at least 14 different Sidecar recipes employing the use of various liquors but always with similar flavor profiles. Unlike the Treadway original, Boston’s drink deviates from the traditional Cognac and orange liqueur allowing for deeper flavors with a punchy burst of citrus.

Mix in a cocktail shaker with ice:
1 oz Light Rum
1/2 oz Brandy
1/2 oz Triple Sec
1/2 oz Lemon Juice
Strain into a chilled, sugar-rimmed cocktail glass

Mary Pickford

“America’s Sweetheart” and “the girl with the curls” were just two of the ways Mary Pickford was portrayed during the silent film era of the early 1900’s. Although this drink is sometimes misappropriated as a 1940’s creation, it’s actually from 1920 at the Hotel Nacional de Cuba in Havana. This homage is a fruity drink that mixes all the sweetness of pomegranate syrup and the subtlety of light rum.

Stir well with cracked ice:
1 1/2 oz White Rum
1 oz Unsweetened Pineapple Juice
1/2 teaspoon Grenadine
Strain into chilled cocktail glass and drop in a maraschino cherry.

Ward 8
This will put some hair on your chest. Although this cocktail originated in 1898, its popularity peaked during the Prohibition. Don’t be fooled by its milky exterior. Just because it looks like a fruit smoothie does not mean it is good for your digestion. If you’re blood isn’t built for whiskey you might want something a little more forgiving but, with all of the effort put into sweetening down the heavier oak and molasses notes this drink is usually friendly to beginners.

Mix:

2 oz Bourbon or Rye Whiskey
3/4 oz Lemon Juice
3/4 oz Simple Syrup
Dash of Grenadine
Orange Slice for garnish
Maraschino Cherry for garnish

Shake and strain into a chilled cocktail glass

Coffee Cocktail

Your mother probably told you not to eat raw eggs as a child—but she also said no dessert before dinner, pfft! Some of the more straightforward cocktails rely on pure alcohol content while this drink uses the flavors of each alcohol to play off of each other with the egg binder to produce a heady coffee-like drink. Although I wouldn’t usually recommend a spiked breakfast drink this one would go well with some waffles and whipped cream.

dash of Bitters (optional)
1 Whole Egg
1 tsp Simple Syrup
1 1/2 oz Brandy
1 1/2 oz Port

Whisk egg with other ingredients and shake until frothy. Strain and serve. (Bartenders make sure to wash your shaker thoroughly after this one. The vegans of the world will not be pleased with egg in their drinks!

Blast does not endorse eating raw or undercooked food.

Terence Winter, of “Sopranos” fame, has made it through an entire 12-episode season of “Boardwalk Empire.” Since its premier in September, critics of all walks have been jumping over themselves to praise this Prohibition-era period piece about corruption and mob-run liquor rackets in Atlantic City, New Jersey. It seems only fitting that the one hour finale took place on December 5th, Repeal Day, in celebration of the 1933 ratification of the 21st amendment and the end of Prohibition. Too bad Nucky Thompson and his swill-cronies have thirteen more years of government crackdowns and the psychotic stalking of Agent Van Alden to look forward to.

So what does that mean for all of us living in the land of couches and non-government regulated beer? Well, for this fanatic I found myself surprisingly underwhelmed. Maybe it was the complete lack of naked Steve Buscemi or that the only graphically violent scenes came as a montage to a slanted speech, but I found myself missing the usual firework antics. Winter, instead of leaving the audience with some kitschy, overdone cliffhanger, chose to focus on the intricacies of character relationships and gently build tension toward next season. Perhaps this is the poison of the times. So many shows require flashy stunts and over-the-top flare to keep the attention of the plugged in generation, which ultimately left this “finale” feeling oddly lackluster.

You see, I’d gotten used to the ridiculous peppering of explicit sex scenes, the brain-bursting headshots, and rampant flaunting of liquor in front of corrupt government officials. It was spunky, even endearing at times how raw this show purported itself to be. Instead, I found myself more interested in the two minute “and that’s what you missed” opening sans the Glee gasp. My disappointment aside, there were some powerful scenes that should be recognized and at least one twist that made me laugh with schadenfreude-style giggles. What were they you ask? Let’s go to the run down to find out.

The finale opens with a lot of tension dangling from the previous episode. Nucky and Margaret are falling apart now that she’s finally acknowledged his illegal activities. He also doesn’t believe it should be her choice not to have more children (my feminist brain is writhing, but I’ll hold comment on gender dynamics of the 20’s for another time). Van Alden has drown/baptized his corrupt partner and slept with former mistress Lucy giving into some sort of crazy-person “divine temptation”. Jimmy’s common-law wife, Angela, failed to leave him for her Parisian-bound lover and Rothstein is getting ready to be prosecuted for fixing the World Series. Did I mention that the Commodore is still dying because he’s too stubborn to see a doctor?

What it boils down to is that change is coming for Boardwalk. Jimmy Darmody says it best during his drunken stupor, “You’re like a machine, completely devoid of emotion…you’ll use anyone Nuck: man, woman, thirteen year old girl.” In the background of Nucky’s happy carnival the Commodore, Jimmy, and Eli are plotting what we can only assume is Nucky’s downfall and the potential for Jimmy to take his place. So often the Commodore has scowled from his bed claiming that “the wrong man” is running Atlantic City. We’ll just have a wait until season two to find out just how the right man is.

If the ritualistic scarring, hyper-religious ranting, and psychotic breaks haven’t turned you off Agent Van Alden yet, I’m not sure what will. He is the creepy glue that holds this show together and is slowly becoming just as warped as the city he’s entrenched with. It’s spoiler time: he got Lucy Danzinger, the pouty-lipped moaner pregnant. Congratulations Daddy Van Alden, your sign from God to keep you in Atlantic City is an illegitimate child.

Let’s not forget about the relationships powering this show. Angela and Jimmy are still struggling to find some kind of balance between her loathing of the man he’s become and his holding back on PTSD from the war. Angela’s lover has fled to Paris and she’s left behind with Jimmy. Her passive-aggressiveness knows no bounds. Trying to destroy her marriage from the inside, Angela coddles Jimmy during his painful recounts of the war and his dreams of her sleeping beside him, her hair across his chest. But the next time he sees her, her long locks have been cut short and he can only run a hand through them, confused and hurt. It is a sniping rejection.

The Darmody’s make a lovely foil for Thompson and Schroeder. Like Angela, Margaret is finally given the story of her man’s off-screen past and is given the choice to understand and forgive him, or continue to push him away. Though Margaret is reluctant to become the kept woman she despises, the fear of being destitute sends her running back to Nucky. It’s obvious in the final scene, the pair looking out at their future in the Atlantic City twilight, that their unsure faces mean trouble. Just how much longer can they pretend that Nucky’s choices won’t put the both of them in danger?

So Chalky and Nucky got there revenge on the D’Alesio brothers. Rothstein isn’t going to jail. The Commodore’s downtrodden maid was slowly poisoning him with arsenic and only succeeding in killing his dog. The women have the vote and are using it just as poorly as the men. There’s a new stooge mayor and the philandering Warren G. Harding is president.

Basically, nothing huge or particularly surprising happens. It was a solid episode of human interaction and subtlety but felt more like something that should occur halfway into the season, not the whiz bang at the end. I can only hope that next season’s opener is as riveting as the pilot to keep me trusting Terrence Winter and his latest bloodbath baby.

HBO announced today that it has renewed it’s new drama “Boardwalk Empire” after just one episode. From Terrence Winter, a writer and producer of “The Sopranos,” the show is set in 1920′s Atlantic City, during the era of prohibition. The quick renewal comes on the heels of strong premiere ratings; the network announced 4.8 million watched the premiere, while 2.3 million tuned in for the encore. The more than 7 million viewers is a huge boon to the cable network which has approximately 30 million subscribers.

Showtime announced yesterday that it had renewed it’s Monday night comedies “Weeds” and “The Big C” for a seventh and second season, respectively. Both shows posted network records in August with their premieres.

Gambling, booze, prostitution, gangsters and political machines; these are the elements that helped Atlantic City boom during the 1920s. In “Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City,” author Nelson Johnson gives us all the dirty secrets of this seaside New Jersey resort. The gritty true story has been adapted for HBO by Executive Producer Terrence Winter (“The Sopranos”) with the pilot episode directed by Martin Scorcese and starring Steve Buscemi.

Johnson’s historic novel takes us all the way back to the origins of Atlantic City. The story drags a bit in the beginning as it gets bogged down in the extensive history of the early days. It is clear how much research Johnson put into this historical work, but it makes for tedious reading to go through every person that was involved and all the railroad and other bureaucratic complications.

The story picks up steam when we reach the era of Louis “The Commodore” Kuehnle and thus begins the chain of Republican bosses. Kuehnle’s reign ends in the early 1910s with a conviction for political corruption, leaving the door wide open for a new leader. That leader was Enoch “Nucky” Johnson. Nucky (to be played by Buscemi) is described as a “ruggedly handsome man” and was the perfect charismatic boss to keep the Republican machine well oiled and running smoothly.

“In his prime, he strode the Boardwalk in evening clothes complete with spats, patent leather shoes, a walking stick, and a red carnation in his lapel” writes Johnson. Nucky was known for his lavish behavior and also his generosity; provided that said generosity could turn into votes for the machine-picked candidates come election time.

It will be interesting to see how Buscemi will portray Nucky and how the producers will handle the rich history laid out by Johnson. The dynamic between each political boss and the people of Atlantic City is another fascinating aspect that could bring some great drama to the HBO series. Eleven episodes have already been ordered and the show is due to premiere sometime next year. But if you want to get a head start on the story, you can pick up “Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City” now.