Host Ricky Gervais shrugs after slamming many of his acting peers at the 2012 Golden Globes.

The Golden Globes are often diminished by critics for not having its finger on the pulse. Many films and TV shows that have no business winning awards are honored for being popular and legitimized as part of the zeitgeist. In retrospect, I suppose this assessment is fair. Though often times, they get it right, and the Oscars do not. Why just last year “The Social Network” beat “The King’s Speech” for Best Drama and then the latter usurped the former for the Best Picture Oscar. We could certainly pigeon hole both award shows and dub The Globes a popularity contest and the Oscars the politics of the industry, but that would be unfair to the dedicated performers and artists to devalue these tributes to their talent. Sure, I can lay back on my bed and scorn the voters for their lack of vision, and claim it a blight on the history of storytelling and performance. Host Rickey Gervais did as much with this controversial analogy: “The Golden Globes are to the Oscars what Kim Kardashian is to Kate Middleton…one’s a little trashier…a little drunker…and a little more easily bought, allegedly.” But in the end, despite the biting wit of the always quotable comedian, these folks will still have more hardware atop their mantles.

If you are unfamiliar, the Globes are unique in that they honor the past year’s exceptional artistic achievements in TV and movies. In the TV categories, “Homeland,” the breakout hit that pits a bipolar renegade CIA operative against a former POW turned terrorist sympathizer (and my favorite new show) nabbed the big award for Best TV Series – Drama. Also capitalizing on the success of Showtime’s critical darling was the magnificent (and totally deserving) Claire Danes who plays that loose cannon federal agent who will push any boundary, whether ethical, social, or legal, to catch the bad guy and prevent another mass tragedy. She graciously accepted the third Golden Globe of her career for Best Actress in a TV drama. In the Best Actor in a TV Drama category, a seasoned TV vet won for a new role and likely shocked the  viewing public and certainly most critics. Kelsey Grammar took home the gold for his role in Starz rookie drama series, “Boss,” as Tom Kane, the mayor of Chicago, who is concealing his recently diagnosed neurological disorder that could ruin his political career. After a masterpiece fourth season, Bryan Cranston would have been a superlative choice for his role as a family wrapped up in the evils of the meth trade in “Breaking Bad.” And after him both Steve Buscemi of “Boardwalk Empire,” and Damian Lewis (my personal choice) of “Homeland” both garnered countless praise in the past year for their captivating roles. I have not caught any of “Boss” yet, so Grammar may have been just as noteworthy. Nonetheless, in a year filled with mesmerizing performances, most prognosticators felt the other three mentioned were superior.

Rounding out the acting awards, Peter Dinklage added another Supporting Actor in a TV Series, Mini-series or TV Movie trophy to his collection (he won the Emmy in the same category last fall) for his captivating portrayal in the high-fantasy, HBO epic “Game of Thrones.” Another new cable favorite, FX’s American Horror Story saw one of its stars, Globe Hall-of-Famer (five-time winner), Jessica Lange win Supporting Actress in a TV Series, Mini-series or TV Movie. For yet another starling turn, Kate Winslet of earned herself the Best Actress in a Mini-series or TV Movie award for her part in HBO mini-series, Mildred Pierce  and former “The Wire” great, Idris Elba was justly recognized for his arresting presence on “Luther” with Best Actor in a Mini-series or TV Movie. 

The Hollywood Foreign Press also deemed Matt LeBlanc of “Episodes”  and Laura Dern of “Enlightened.” two of the funniest performers of the past year by bestowing unto them the awards for Best Actor in a TV Series – Musical or Comedy and Best Actress in TV Series-Comedy respectively. Also, in a mildly turn of events, “Modern Family,” was finally honored with the Best TV Series – Musical or Comedy after being stiffed the past two years while winning the Emmy for Outstanding Comedy Series, both years, just seven months later. “Glee” had been the recipient those two previous years, but after what some would consider a creative slump for the series, it really shouldn’t be shocking that the clearly beloved ABC sitcom finally got its due from the Hollywood Foreign Press. PBS’ in-depth examination of class relations at the turn of the century had no trouble snagging the Best TV Mini-series or Motion Picture made for Television statuette.

For the cinephiles, it was a night of high regard for many prestige pictures, but the silent, black-and-white throwback “The Artist,” that shone the brightest among the flashing bulbs, winning 3 awards including Best Motion Picture – Comedy. The film’s score, arranged by Ludovic Bource, nabbed Best Original Score, and the charismatic Frenchman Jean Dujardin accepted the Best Actor in a Motion Picture – Comedy or Musical. Biting at their heels, however, was the Alexander Payne-directed family drama, “The Descendants,” which received 2 awards including Best Motion Picture – Drama. Its star, or rather superstar George Clooney continued to be adored by fans and critics by accepting Best Actor in a Motion Picture – Drama. Familiar female faces earned the remaining major acting awards, perpetual nominee Meryl Streep and starlet Michelle Williams were both lauded for their iconic roles. Streep secured her Best Actress in a Motion Picture – Drama award for her dead-on transformation into former British Prime Minister, Margaret Thatcher, in “The Iron Lady,” and Williams’ immersion in the role of sex symbol Marilyn Monroe had voters swooning and proclaiming her Best Actress in a Motion Picture – Musical or Comedy.

In the supporting categories, The Help’s Octavia Spencer struck gold for her portrayal as a strong-willed maid in what seemed like a given victory in the Best Supporting Actress in a Motion Picture. For the men, oldie but a goodie, Christopher Plummer humbly accepted his Best Supporting Actor in a Motion Picture trophy. Industry favorite Martin Scorsese topped the Best Director in a Motion Picture category, beating out many worthy opponents for his expertly crafted family adventure, Hugo. Another universally beloved director and admired screenwriter, Woody Allen penned the Best Screenplay in a Motion Picture, as well.

And I would be remiss to mention that the astounding, and always commanding Morgan Freeman was the recipient of the Cecil B. DeMille, Lifetime Achievement Award. Handed to him by former recipient, Sidney Poitier, Freeman was beaming as he basked in the glory of his many classic roles, while crediting every single one of his former castmates for blessing him with all the fun he has had of the course of his legendary career.

For a complete list of the award winners, click here.

And Blast readers, don’t forget to voice your opinions in the comments section! Share with us your insights on who was robbed, who deserved their accolades, and what performances/shows/films were overlooked and absent on the ballot.

Jon Hamm on the Red Carpet from wireimage.com

The 63rd Primetime Emmy Awards will decide the who’s who of television tonight at 8 p.m.  The Academy of Television Arts and Sciences will honor outstanding actors and actresses, as well as television engineers.

As of right now, the celebrities are making their way down the red carpet and getting ready to take their seats.  Mad Men star Jon Hamm had one of the most anticipated red carpet interviews, but revealed little.  The show is nominated for 19 awards tonight, and is expected to be a big winner.

Stay tuned for the latest from the 2011 Emmys.

Julie Bowen from wireimage.com

8:00 p.m.: Let the show begin! Jane Lynch has started her opening sketch as this year’s Emmy host.

8:15 p.m.: Late night hosts Jimmy Kimmel and Fallon wrestle on stage. Yes, they wrestled. Like, on the floor.

8:16: p.m. The first award goes to Julie Bowen from Modern Family for Best Supporting Actress in a Comedy Series.

8:28 p.m.: Ricky Gervais presents Outstanding Directing on a Comedy Series from overseas in an interesting sketch involving Twinkies and editing.  Michael Allen Spiller from Modern Family won the award.

8:40 p.m. Charlie Sheen takes the stage to present Outstanding Lead Actor in a Comedy Series.  He called it his “old category.” Awkward!  Sheen wished cast of Two and A Half Men cast luck in a surprisingly serious introduction.

8:42 p.m. Jim Parsons from the Big Bang Theory won Outstanding Lead Actor in a Comedy Series.

Miss Comedy, Melissa McCarthy from wireimage.com

8:45 p.m.: Outstanding Lead Actress in a Comedy Series nominees rush the stage in an odd display of excitement…or something like it.

8:47 p.m.: Melissa McCarthy crowned Outstanding Lead Actress. No, seriously, there was a crowning ceremony like a beauty pageant.  Other nominees showed some serious girl love when McCarthy won.  The ladies certainly outdid the boys on this one.

9:00 p.m.: The Reality/Variety show category kicked off just now.

9:02 p.m.: The winner of Outstanding Reality Competition Program is The Amazing Race

9:07 p.m.: Coming up- an “epic” musical performance.

9:13 p.m.: Comedy group The Lonely Island just took the stage with none other than Michael Bolton, who is wearing a pirate costume.

Margot Martindale from wireimage.com

9:14 p.m.: Akon and John Stamos have now joined the party.

9:26 p.m.: The Drama category starts now.

9:31 p.m.: Emmy for Outstanding Supporting Actress in a Drama Series goes to Margot Martindale from Justified. In an emotional acceptance speech she said this win was worth the wait.

9:41 p.m.: Martin Scorsese won his first Emmy for directing Boardwalk Empire.

9:57 p.m.: Outstanding Lead Actor in a Drama Series goes to Kyle Chandler from Friday Night Lights.

Kate Winslet from wireimage.com

10:08 p.m.: Outstanding Writing for a Movie, Mini-series, or Drama goes to Julian Fellowes for Downton Abbey.

10:23 p.m.: The Academy is honoring those who have passed away .

10:38 p.m.: Kate Winslet won Lead Actress in a Mini-Series or Movie for Mildred Pierce and delivered a genuine speech, thanking her “mum.”

10:47 p.m.: Outstanding Drama Series goes to Mad Men for the fourth season in a row.

10:59 p.m.: Host Jane Lynch signs off with “That’s our telecast, goodnight!”

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

Yesterday’s 61st Annual Primetime Emmy Awards ceremony really got us excited about the fall TV season, and tonight is going to triple that feeling.

“House” premieres at 8 p.m. on FOX, alongside “Heroes” on NBC, “Dancing with the Stars” on ABC and “How I Met Your Mother” on CBS. Your DVR can usually only record two shows, so good luck.

At 8:30, check out “Accidentally on Purpose” on CBS. The jury’s still out on it, so let us know what you think in the comments section.

Then at 9 we have “Two and a Half Men.” Comedy Central is also starting to show “Scrubs” season 8.

“The Big Bang Theory,” has its season premiere at 9:30 on CBS.

Things get going again at 10 with “Castle” on ABC and “CSI: Miami” on CBS. Travel Channel’s “Madventures” also starts up at 10.

Also, tonight at 10, we have the premiere of a 5-part miniseries on The Sundance Channel. “Brick City,” is executive produced by Forest Whitaker.

Finally, don’t miss The Late Show with David Letterman tonight with special guest (actually) President Barack Obama.

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.

When singer Seal and wife/supermodel Heidi Klum arrived at the 61st Primetime Emmy Awards at the Nokia Theatre on Sunday, Klum’s stunning dress was matched only by her perfectly round eight month pregnant belly.

According to The Associated Press, firefighters who were working the red carpet joked that they might have to go to work if the TV star decided to pop out her own little award statue.

“Hey, did you see Heidi Klum? She’s like 8 months pregnant. So you be ready, you might have to deliver,” fire Inspector Jim Fisher said to his colleague Craig Hancock, the AP reported.

Keep up the good work, gentlemen. And Heidi, we can’t wait for the baby!

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!

It looks like ABC will be featuring the deaths of not one but two young, blonde doctors during next week’s season finales. Izzie Stevens, played by “27 Dresses” star Katherine Heigl, veritably signed her death warrant by marrying fellow doctor Alex Karev (Justin Chambers) in a surprising wedding twist during last night’s penultimate episode. After all, we can’t have two happily – or unhappily – married couples on the show at any given time.

Last night’s episode (the show’s 100th) was hinted in previews to be the long awaited marriage between lead characters Meredith Grey (Ellen Pompeo) and Derek Shepherd (Patrick Dempsey). From the start – showing a cancer-ravaged Izzie complete with pasty skin and a bandana covering her head – we realize that is not the case.

Izzie’s opening monologue discussed how it was the ordinary days that become the extraordinary ones that stay with you forever. “Grey’s” hundredth episode was like that: it started out ordinary (or at least not excitement-worthy) and ended in one of the most pleasant moments in “Grey’s” history – Izzie and Alex’s wedding.

Those who find the upcoming and inevitable death of Izzie Stevens a surprise should have been paying closer attention to the strife occurring off-camera between Heigl and “Grey’s” creator Shonda Rhimes. Heigl and best friend T.R. Knight who plays George on the show have been reported to have asked off the show on numerous occasions before their contracts expired. Rhimes has denied allegations and said that Heigl would not be leaving the show, but at this point those claims seem unlikely.

Before last year’s Emmy nominations, Heigl (who had won the Emmy in 2007 for Outstanding Supporting Actress in a Drama Series) preemptively refused an Emmy nomination for her role on “Grey’s” because she felt she was not “given the material this season to warrant an Emmy nomination.”

Undoubtedly, Izzie’s melanoma diagnosis and the hallucination insanity that occurred before it (can anyone say Denny Duquette?) is a great role for Heigl to be playing. But it became poignantly clear last night how disillusioned with her talent Heigl was when she smited a possible Emmy nom — before she was even nominated. What Heigl seemed to have failed to realize is that it is not the content that earns the Emmy, but the actors and actresses performing the content. What has earned Chandra Wilson‚  (Bailey) and Sandra Oh (Christina) repeated Emmy nominations while star Ellen Pompeo has not received one is how they create their characters from the content they are given, not by just reading the lines.

Yes, this season Heigl has been given a great character to play, but her vanity as an actress has diluted the character of Izzie. Telling the show’s creator that she needs to step up her game while Heigl does not step up her own is the biggest disgrace to a show that can be done. Heigl’s hissy fit might have earned her a lead role on “Grey’s” fifth season, but honestly, I am glad to see her go.

That said, last night’s episode of “Grey’s,” entitled “What A Difference A Day Makes,” thankfully avoided all the typical jump-the-shark moments the show employs in its pivotal episodes. There were no ferry crashes, train collisions or bombs in patients and, while Jeffrey Dean Morgan did make his return as ghost Denny, the medical aspect of the show was balanced evenly with the relationship aspect. What the episode did center around was death, and lots of it.

Turns out Izzie’s opening monologue was directed to Denny Duquette, a hallucination she had been having that resulted in her discovering she had a tumor in earlier episodes. Denny’s reappearance meant a new tumor and, after much searching, it was located by Derek and Bailey on Izzie’s temporal lobe. Bailey comments on how small the tumor is, and Derek responds only with a very sad “I wish there was something I could do for her.” To you optimists out there, I’m sticking to my theory. There will be no “Grey’s” miracle for this one. Izzie Stevens is dunzo.

Meanwhile in the pit, Callie (Sara Ramirez) is trying to balance the eight dying college students who were in a car accident on their way to graduation with her relationship with pediatric surgeon Arizona (Jessica Capshaw). The odds don’t weigh in her favor as seven of the eight students die in one of the most moving and well-edited “Grey’s” moments in a while. Alex has the one surviving student tell him her graduation speech – today is the day we begin the rest of our lives – while shots of the other students being zipped up in body bags are interwoven with Derek and Bailey discovering Izzie’s new tumor. I’m telling you, metaphors define “Grey’s,” and this metaphor says Izzie does not stand a chance.

Which brings us to the wedding. Sure, let’s ignore the fact Alex never officially asks Izzie if she would like to marry him – the wedding was great. Izzie had been planning the MerDer wedding replete with a poofy white princess wedding dress and a giant church which, as we all know from Dark-And-Twisty-Meredith days, is much more Izzie’s dream than Meredith and Derek’s, so it was surprisingly fitting when Izzie walked down the aisle with George steadying her weak walk as she went.

Alex and Izzie getting married was perfect, but much like Alex’s plan to artificially inseminate Izzie’s embryos when she first went in to cancer treatment, it was a futile attempt to preserve what is left of Izzie’s life instead of a thought through plan for the future. Alex’s and Izzie’s wedding was the long-awaited “Grey’s” wedding (I still wish Christina and Burke had gotten together in season three), but their marriage is something that would never last a year.

Plus, there is one marriage that desperately needs to last – that of Meredith and Derek. The couple that defined the show with “pick me, choose me, love me” has steadily been losing the interesting value of the show, being replaced with the ill-fated Christina/Hunt (Kevin McKidd) romance and the absolutely adorable Lexie (Chyler Leigh)/Sloan (Eric Dane) relationship. As Izzie said in last night’s episode before the wedding swap, Meredith and Derek are the two people least interested in getting married of all time. And as a result, I find myself wondering, do I really care?

So what do we have to look forward to in next week’s two hour season finale? The MerDer wedding, to be sure, but in what form I can’t guess. I’m hoping a private ceremony with only their close friends – and no Thatcher Grey – to honor Meredith and Derek’s wishes, especially since Izzie has gotten an epic albeit quick wedding out of her system.

The last appearance of Denny Duquette as he guides Izzie through death and off to heaven. Izzie is going to die, and it is going to be shot and presented in a way that tells you to feel sad. Whether you actually feel sad is up to your personal relationship with the character of Izzie Stevens. I know my apartment is making a skull and cross bones cake to celebrate the event.

I don’t think there will be an epic accident in this season’s finale – I hope Shonda Rhimes learned her lesson with those sweeps-catering obnoxious drama-fests when they didn’t draw in the ratings or dedication she wanted. This episode should, and hopefully will, focus around Meredith and Derek getting married and Izzie dying.

George leaving Seattle’s Grace. T.R. Knight has been almost nonexistent this season on “Grey’s,” with his last true storyline on the show being the ill-fated Gizzie match-up in season four. He has come back somewhat to the forefront as a great trauma surgeon, but is lacking any substantial reason for remaining on the show. If Heigl is leaving, then Knight is sure to follow, because the two-peas-in-a-pod friendship that held such a great dynamic both on and off screen is sure to follow the other out the door. I’m guessing Izzie’s death and the seven deaths George was unable to prevent will prompt George to transfer to a different hospital.

If both Heigl and Knight do leave the show, then two fifths of the original “Grey’s” interns will be gone from the show, completely shifting its dynamic to newcomers Lexie, Callie, Sloan and Hunt. If the dynamic does shift in such a way, don’t be surprised if in the next couple seasons Meredith and Derek decide to retire and Lexie becomes the title Grey in “Grey’s Anatomy.” She always felt like the back-up plan on the show anyways. But the question is, will “Grey’s” still be “Grey’s”?

Oh, and if you’re wondering who the other doctor most likely to be offed is, check out “Lost”s two hour season finale. She’s another one I can’t wait to leave.

Hey Blast readers, how do you feel about the Izzie/Alex wedding? Will you still watch the show if Heigl and Knight leave? Are you at all excited about the MerDer wedding? Leave us your thoughts!

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.

Blast got to have an in depth talk with “Pushing Daisies” creator Bryan Fuller. We talked about what we can expect from its second season, the 12 Emmy nominations it got for its nine aired episodes, and just how much we both love McDonald’s deep-fried pies:

BLAST: How goes the filming of “Pushing Daisies”?

BF: It’s going really well; we’re filming episode seven right now. We start episode eight Friday [August 29], and we’re moving along. We just turned in our outline for episode 10 and are story doc-ing it for episode 11 and about to turn in our story for 12 and we have 13 episodes ordered and so we have one more to go in the order before they have to tell us if we’re doing more or not. So it’s very exciting.

BLAST: You guys got cut really short last year. How did that change the story progression?

BF: You know, there’s a lot of stuff that we’re doing this year that we were going to do in the first season, but I think what really helped us is the fact that this is the second season and there were some stories the network was really nervous about like “I don’t know if that’s a first season story or if you should save that for second season.” It really actually helped us to come back with the second season so we could do some of the stories they were nervous about letting us do in the first season, since we had such a short first season, we got to do right away in the second season. It also really helped us kind of get perspective on the show. When the shut down happened, when it was like “Pencils down” from the Writer’s Guild, we were almost at the end of our scripts anyways, so we were scrambling to get another script ready, and then the shut down happened, so we didn’t have to worry about that. So a lot of those ideas we kind of got back-burnered but the specific episodes; we redid like one or two of them and there are still quite a few that we want to do from last year that were going to be part of the first season. The good thing is that we were just able to get perspective. So we took a step back from the show and being on break and working the terrors of production gave us a chance to just stop and say “Okay, what’s the story that we want to tell?”, “Where are these characters going?” It just gave us the necessary breathing room to chart out a second season which I am really proud of and very excited by. I think the writer’s strike allowed us to not get trapped in the sophomore slump of shows and you feel kind of a lag in the creativity because you see it literally go right from one to the other, and in this case it really allowed us to recharge our batteries, consider what was working on the show and maybe what was not working as well and just have a much more invigorated approach to the second season.

BLAST: Can you give us a preview of what we might be seeing in the second season?

BF: Well all the cliff-hangers that we had; we had the cliff-hanger with Swoosie Kurtz’s character Lily, that plays a big factor in the first three episodes. Really, beyond that, it really is just a big game changer that affects all of the characters; we understand why that secret was kept and why Lily made the choices that she did to not be honest with Chuck about their relationship and we see what happens when Olive, who has been keeping all these secrets from everybody, how her breakdown sends her off to a nunnery to keep those secrets and what happens when she comes back and lets Chuck know and where does that take Chuck, what’s Chuck’s reaction. She’s in a difficult situation because she can’t just go to Lily. Here are these two people like mother and daughter who both think the other one is dead, and it puts them in a really odd situation that we’re going to have a lot of fun with that drama of that particular situation. We also are introducing a character in episode five named Dwight Dixon played by Stephen Root, and he will have a shared history with Chuck’s father and Ned’s father and will stir up a lot of hullaballoo for Ned and he becomes a catalyst to really bring the aunts into the story of the Pie Hole in a way that we really hadn’t seen last year because it was one of those things we were forced to do because of Chuck’s situation and people not knowing she was alive again was to keep the aunts separate. In our first episode, we have the aunts marching through the front door of the Pie Hole and what happens to our characters when that world starts to encroach on theirs and how do they react. It really is about trying to put the characters in really fun situations where they’re forced to keep the secrets that they’ve been trying to keep keeping but may not be able to for long because the walls between worlds are crumbling down.

BLAST: So is it safe to safe to say that Chuck’s secret becomes more tenuous? That it might be harder to keep, which we were kind of seeing at the end of last season?

BF: Yes, definitely. We’re definitely steering towards as much drama as we can mine from that idea as possible. Last year we had an episode “The Fun in Funeral” where Chuck discovers that a watch that was buried with her was stolen by the funeral director, and she gets it back. That watch basically plays a pivotal role around the middle of the season, and we understand that there is significant weight on that watch and that people want it for various reasons.

BLAST: Last season, surprisingly for it being cut short, felt very un-rushed; the progression still felt really natural. Where will the second season pick up?

The second season picks up ten months after the first season. They’re kind of in the same place where Chuck and Ned ‚ we saw last season were in an emotionally difficult place and those wounds have healed and they’re moving forward, but who hasn’t ‚ healed is Olive who’s been forced to be the keeper of a great many secrets. We pick up in a way that that picks up kind of where we left of, except a lot of time has passed which kind of allows Olive to buckle under the weight of all the secrets she has been keeping, that spurs a very dramatic decisions on her part to quit the Pie Hole and leave and set out on a life of her own where she doesn’t have to be keeping his secrets from so many people.

BLAST: So does she end up actually leaving, or is that part of the drama that unfolds?

BF: That’s part of the drama that unfolds; she quits the Pie Hole the first episode and joins a nunnery.

BLAST: What was the decision behind throwing [Kristin Chenoweth] on the show? I hear she’s going to have more musical numbers too.

BF: She is. Barry Sonnenfeld, who directed the pilot, is one of our executive producers that just worked with her on a movie called “RV” with Robin Williams, and we talking about who Olive was and how she has a relatively small role in the pilot and that role would get bigger as the series develops. And because of how much story telling we had to get done in the pilot because being a primus story there wasn’t a lot of room to do a ton with Olive. As we got into the season, we really fleshed out her role, and basically had this conversation; Barry and I got on the phone with Kristin and made her promise that if you do this show we will not let your talents go to waste. That’s why we created the musical numbers for her and one of the things about doing an ensemble show is that there’s an ebb and flow with the characters so we will have some characters be featured more in some episodes and others less so and so we have a great arch for all of the team this season and then she is… not relegated to the background, but she becomes so much a part of the crime solving team that we’re able to see much more of her this season than we were last season. Kristin is Carol Burnett. She has such fantastic comedic timing. She’s also a wonderful dramatic actress. She really is the Carol Burnett for our generation.

BLAST: At Comic-con, you were saying that the idea for “Pushing Daisies” came from a future idea you had for “Dead Like Me.” Is there ever going to be a similar foil that can kill people like your character in “Dead Like Me” who is introduced in “Pushing Daisies”?

BF: There’s no plan for that right now. There are going to be some small crossovers between “Dead Like Me” and “Wonderfalls” and “Pushing Daisies” planned throughout the season, but just letting an audience know that those three series exist in the same universe. Right now we have so many stories to tell with Ned and Chuck and Emerson and the aunts that right now I can’t imagine being able to squeeze in that. But maybe that’s a fun thing to do in the third season, knocking on wood that we get one.

BLAST: You guys have been nominated for 12 Emmys. Give me your response to that great critical feedback.

BF: It’s a pretty fantastic ratio for having only done nine episodes to get 12 Emmy nominations. It’s always the “I’m so happy for everyone who got nominated” and I’m thrilled that I got nominated for writing the pilot and I also wanted Ellen and Swoosie and Chi and Anna to be nominated but I was thrilled that Kristin and Lee were nominated and Barry was nominated and that a production designer. It’s a wonderful acknowledgement that everybody’s back-breaking work from last season, and everybody was functioning on all cylinders and so committed to this show and the creative vision that it just makes me proud.

BLAST: It’s definitely something to be proud of.

BF: Well thank you.

BLAST: Can you tell me a little bit more of where the creative vision came from? It definitely has a very unique feel to it.

BF: It’s very much like decorating a Christmas tree. The idea started back on “Dead Like Me” when I thought “Okay, Georgia is a character who touches people and takes their souls and wouldn’t it be interesting if she had a romantic foil for somebody who touches people and gives their life back.” Then I put that idea in my back pocket and it just kept on percolating. I had a deal with Warner Bros. to do a pilot for them. I pitched several ideas for TV series and by that time I was like “You know, I’m just going to write ["Pushing Daisies"] as a feature. I tried for several years to get it done and they seemed very interested in doing it as a TV series. So I thought, “Okay, I’ll just do it as a feature.” As a last minute thing I pitched it in that pitch session and Susan at Warner Bros. Television was like “That’s the one. That’s the idea that we’re doing.” What I pitched was that a guy can touch dead people and bring them back to life, but if he touches them twice they go back to being dead and he falls in love with a dead girl and he can never touch her again. That was kind of the pitch of the show. So the pie-maker came after that. I was like “What’s that one-liner that’s kind of odd.” I just kept on thinking “Well what does this guy do? Well, I like pie, so maybe he’s a pie-maker. I love reading, I like to read just voraciously, so she’s a shut in who reads every book that ever comes across her path,” and literally just started putting one ornament on the tree after another, and then some ornaments would come off and others would go on and I would add tinsel and light and finally the star on top. It’s strange how these ideas are developed because they are living breathing things in and of their own light and a lot of times the show will tell you what it wants to be. It really is a fascinating process because as much as I would like to say “This was the plan, and I carried it out with precision” it’s just so random and you have to see what fits and what looks good and if it’s something that’s too much then you take it off and the whole process of creating a TV show is really an interesting arch.

BLAST: It’s very much developed.

BF: Developed is such a great word because it’s something that, like you’re preparing a dish, so you add ingredients and you take ingredients away and you bake it for a certain amount of time and then you have to pull it out of the oven and butter the crust and there’s so many steps that can either ruin the dish or make it better than you imagined all along the way that it’s alchemy.

BLAST: What about the look for the show?

BF: There’s big inspiration in “Amelie” for all sorts of reasons; tradition reasons and the story telling and also the look, the saturated colors and the hyper-reality and then there’s also the working with Barry Sonnenfeld who is such a fantastic visualist. What I love about Barry and his approach to making anything is that he wants it to be pretty. He’s like “Okay, this has to be pretty. This could be prettier.” He’s got an aesthetic where he appreciates beauty and sometimes we see movies and television and they revel in kind of like ugly images and Barry is not that guy. He appreciates beauty and wants to create it. It couldn’t have been a better pairing.

BLAST: Some of the content on the show; you guys touch on bulimia and the doll and [a character] thinks she’s a human, but you guys take it with such a grain of salt and such comedy, was that ever an issue trying to get some of the problems that they had to use detective work on into the show?

BF: Not a big problem. There were some stories that we weren’t able to do because sometimes we tipped the scales a bit on certain issues. Usually for the bulimia and the episode dummy it was just a small flavor of who this character was and there wasn’t too much… The network tends to get nervous when we go big and gross, so we try not to go to big and gross places. But if it’s a matter of, once again, alchemy’s a great word; it’s a matter of finding that delicate balance of things in the right ratios that make them much more digestible than if we had significantly spent time in the bathroom stall with that character and her vomiting than it might now be as… fun. So like suggestions of things I find go much further than the visceral brutality of other things.

BLAST: How did you develop that sort kind of relationship, especially between Ned and Chuck where they’re these adults but they still have this childness to them?

BF: I think that’s really my outlook on life, that there is a sense and an appreciation to life. I think that’s what is so great about Ned and Chuck and their relationship, is that they have awe for each other and I think that the world could do with more awe. ‚ Being able to step back and say “Wow that’s neat,” and for me consciousness is enough to make me go “Gah” about being alive, because this base between the backs of your eyes and the back of your head is thick that it can’t be measured and for me that’s enough for me to believe in a power that’s much greater then I will ever be, and appreciate my role in the universe, however small it is. It’s pretty awe-inspiring.

BLAST: Never has a show made me more hungry than this show, I swear. With all the pie, I’ve been craving a nice apple pie for like the past month or so. Can you talk a little bit more about the whole choice for the pie?

BF: You know, really for me it was just sitting down to do this show, I just wanted to fill it with so many things I love. I couldn’t do Criminal Minds or CSI, because you have to live in a very dark head space and a very dark outlook on the human condition. Working on a TV show really is in a lot of ways a prison sentence; you live it, you breathe it, you sacrifice your personal life because it just demands so much of you. I wanted to fill it with so many things I love, that when I have to be here all hours of the night that I was here with things that make me happy. And I love pie. I love a good cherry pie.

BLAST: Every episode just doesn’t leave you alone, it’s like “Oh my god I want pie so much right now!”

BF: I miss those old McDonald deep fried pies.

BLAST: Oh my god, yes!

BF: Remember those?

BLAST: Oh absolutely. I think they still do the apple pies there don’t they?

BF: Well they used to have them in these little hot pockets, and slide them. I think they had a lot of law suits, because people would bite into them and take off all the skin from the inside of their mouths. But I miss those. That was one of my happiest moments; going through the McDonald’s drive-thru and getting a cherry pie.

BLAST: They had cherry pie and I think they had peach at one point, and I would get the apple and they had them two for a dollar and I would just be like “Ah, this is heaven.”

BF: [laughter] The cherry was always my favorite. And you know, a great apple pie is so hard to come by.

BLAST: Yes, yes. Diners are the classic place to go and get pie, and they look so great on shows like “Gilmore Girls,” and then I go to a diner and they aren’t quite up to snuff.

BF: No, no. I mean like, “Twin Peaks,” their pies, yum yum yum.

BLAST: We’ll be on the search for the perfect pie. But back to the show!

BF: That’s a good aspiration.

BLAST: Are we ever going to see Alfredo again? He had this brief two episode stint where Kristin Chenoweth realized she had this potential for another relationship and then he didn’t come back.

BF: Well, we were going to have him come back this season, but he booked a play. As soon as he’s available and we can squeeze him in, we absolutely want to get him back. We have a new romance that’s going to be a brewing for Kristin this season, and what we want to do is get knee deep into that hot and heavy, and then bring Alfredo back. So that there is a big conflict on whom does she choose?

BLAST: Well at least she’s finding some happiness instead of being upset the whole time about Ned and Chuck.

BF: Yeah, we got to give her some happy.

BLAST: Okay, and for my final questions, is there any hope for Ned and Chuck?

BF: In terms of…?

BLAST: Their relationship continuing versus just being on the brink every second hoping that there is no accidental touch that’s going to send Chuck back?

BF: I think there is a tremendous amount of hope for Ned and Chuck. We’re going to see all sorts of devices. I’m excited about an episode were doing now, episode eight, where something really big happens in the story and it’s something where you just want to see Ned and Chuck hold each other and you cut to, Ned and Chuck spooning, where Ned has his arms around her holding her tight and then you reveal that there’s a plastic divider that’s he’s pulling a plastic bubble holding her. So we’re coming up with all sorts of ways we can get them to touch without touching. What’s really fun about this season is that we’ve sexualized Chuck and Ned’s relationship. It’s a family show so we don’t go too far, but we definitely treating them as two sexual adults. There is some nudity, but it’s eight o’clock, so not that kind of nudity, but there’s bare backs and stuff like that. It’s nice to see them grow in that direction.

BLAST: They aren’t going to be kissing each other through Emerson or anything like that though, right?

BF: Like Ned kisses Emerson and Emerson kisses Chuck? [laughter] No, we won”Ëœt be doing that. We do have by proxy high fives and stuff like that that Emerson helps out in. No, he will be out of their bedroom business. He wants to stay away from that.

Although confusing and downright strange at some points, this year’s Emmy Awards were not entirely disappointing. Thanks to the fact that Ryan Seacrest was not on screen as often as he may have liked to be, there was no cheesy commentary overload. However, what was up with that censoring black ball? From the red carpet fashions to the award winners, these are some of the highlights of the 59th Emmy Awards.

At this year’s event, colorful jewel tones and red gowns were popular. Bold earrings and natural-looking make up and hairstyles were also a staple, and probable "trend" to look out for. America Ferreira, of Ugly Betty, dazzled in a royal blue Monique Lhuillier dress and could have looked better if she had been photographed from a different angle. Still, her belted gown made her look fabulous. Heidi Klum’s legs graciously flashed viewers too. Taking care of three children clearly keeps the supermodel active and toned.

As always, though, there were stars who overdid it. Hayden Panettiere looked overwhelmed in an empire waist dress that evoked a giant candy wraper. The men did not stay behind, either. Terry O’Quinn’s pink-a-licious shirt was beaming more than he was after winning the Best Supporting Actor award. In comparison to previous years, however, a feeling of glamour and old-fashioned Hollywood style was most prominent.

Once the awards began, the camera work was a little rocky. The clips with audio played in each category for the nominees were difficult tohear, since the audience’s reactions drowned their sound. Also, having the theme music of the shows play along with the clips created a pointless mix of sound and visual information. Some of the worst camera work, though, was during Christina Aguilera’s and Tony Bennett’s surprise duo; it was hardly seen because of the back and forth shots of them and the unnecessary dancers ballerinas around them.

One of the good moments came from–of all things–a commercial during the first break of the show. Macy’s new ads, featuring designers and celebrities working at Macy’s stores, were fresh. It was amazing to see famous faces willingly making fun of themselves for the sake of selling their products. Another worthwhile moment was when Lewis Black shared his hate for banner ads that run while shows are on. He argued that they took away from the audience’s interest in the story line. He could not be more right.

There were the expected winners–like the cast of The Sopranos winning Best Drama–and unexpected recognitions. NBC’s 30 rock beat out last year’s Best Comedy winner, The Office. James Spader, of Boston Legal, was also a surprise winner after beating James Gandolfini–the unmistakable Tony Soprano–for Best Actor. Grey’s Anatomy Katherine Heigl won for Best Supporting Actress, but her speech and correction of how to properly pronounce her last name made her appear snobbish. Sally Field, of Brothers and Sisters, delivered by far the best acceptance speech. She won for Best Actress and was bleeped by the odd black ball as she spoke out against the war in Iraq. She could have just been muted but audiences had to endure extended shots of the disco ball-esque object.

Overall, for an over 2 hour award show, the Emmy’s were amusing. People, if so inclined, even had the chance to get up and make a sandwich while nothing exciting was happening. With a usual award show format and now some new tested concepts, it was a way to pass that Sunday night.

Here’s the list of winners:
Supporting Actor – Comedy: Jeremy Piven (Entourage)
Supporting Actor – Drama: Terry O’Quinn (Lost)
Supporting Actress – Comedy: Jamie Pressly (My Name is Earl)
Supporting Actress – Drama: Katherine Heigl (Grey’s Anatomy)
Reality Competition Program: The Amazing Race
Lead Actor – Movie or Miniseries: Robert Duvall (Broken Trail)
Lead Actress – Movie or Minseries: Helen Mirren (Prime Suspect)
TV Movie: Bury My Heart At Wounded Knee
Miniseries: Broken Trail
Lead Actress – Comedy: America Ferrara (Ugly Betty)
Lead Actor – Comedy: Ricky Gervais (Extras)
Lead Actress – Drama: Sally Field (Brothers & Sisters)
Lead Actor – Drama: James Spader (Boston Legal)
Comedy Series: 30 Rock
Drama Series: The Sopranos