Monday, December 01, 2008

By Pat Clark
pclark@modbee.com

last updated: July 24, 2008 12:35:52 PM

I'm always ready and willing to flay something in the entertainment industry -- a trend, a show, a celebrity, a list of nominees.

It's tons of fun. Kind of therapeutic, even.

Imagine my disappointment, then, when the Emmy nominations came out last week. Sure, there was the odd category that could be taken to task. But, for the most part, the list of television shows and actors that make up this year's Emmy-best is solid stuff.

Right there at the top of the nominees are the two shows that this avid TV viewer fell completely in love with last summer: "Mad Men" and "Damages." Both gained Emmy nods for best dramatic series.

These are two of the most compelling, most visually appealing, most well-acted shows on television. Critics loved them from the beginning. Viewers didn't necessarily seek them out in droves on their basic cable stations, but those who did were treated to some amazingly good fare.

And it's all good because cable stations don't need the inflated numbers that the Big Four broadcasters do to turn a buck on a TV show.

It's nice that those shows are getting their due props from the Emmy folk. And yet it also brings up a bit of a conundrum that a Boston Globe columnist did a great job of putting into focus last week: When you find a precious gem like "Mad Men," you want to show it to everyone so they can love it, too. But, at the same time, you kind of want to keep it hidden so it isn't tainted by the kind of widespread, big-buzz adoration that often is the downfall of great programs.

It's so true, isn't it? We find something we enjoy on TV and shout to world, "Hey, look at this great show! You have to watch this!"

But when our favorite shows gain notoriety and big buzz, it can be the death knell to the quality of writing.

"Oh, no. What did you people do to my great show?"

It's happened with "Grey's Anatomy" and "Desperate Housewives." The writers seemed to let all the adulation go to their heads, which, in turn, made them try a little too hard to be oh-so clever.

Clever is one of those things that best happens organically. Try too hard and clever just becomes vapid.

At the same time, if you fall hard for a TV show, you know the ratings need to be there to keep it on the air. It was all too real an issue a few years ago with "Arrested Development," a show so good and so funny that it was shocking that so few viewers tuned in. Winning an Emmy didn't help. Fox ultimately pulled the plug.

The same thing is happening now on NBC with "30 Rock." It's unfathomable that this hysterical, wry and intelligent comedy isn't drawing a gazillion viewers. Critics love it. Emmy loves it. But because it's on a broadcast network with high overhead and high expectations, there's no guarantee that it will prevail without higher ratings.

The good news about "Mad Men" and "Damages," though, is their attachment to basic cable, not broadcast networks. That means a few million viewers each are all they need to thrive. A couple of million viewers on AMC is a smash hit. A couple of million on a broadcast station? A show wouldn't even get past two or three episodes before being yanked.

In the case of "Mad Men," the show was created by Matthew Weiner, who worked with David Chase on "The Sopranos." From what I've read, Weiner is from the same school as Chase in that neither particularly cares what anyone thinks or likes. They have stories to tell and are going to do so their way.

Chase never compromised his writing to appeal to the masses or buzz that "The Sopranos" garnered. Hopefully, neither will Weiner.

"Damages" has such a pinpoint story line and such a particularly high-minded and professional star in Glenn Close, it seems a good bet it can maintain its integrity, too.

So, hooray for the Emmys for recognizing "Mad Men" and "Damages" and the growing surge of quality cable TV.

Sadly, because of the writers strike, "Damages" won't be back until January. But, gleefully, "Mad Men" returns Sunday for its second season. You really should tune in.

Or don't. Either way, the show and its wee cadre of viewers will be just fine.

Scene editor Pat Clark can be reached at pclark@modbee.com.

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