EMMY 2012: Writing for a Drama Series

I took issue with Modern Family totally dominating one category, so as much as I love Mad Men, I think it’s unfair that they continue to hog this category (even if it is the best written show on TV). Still, a script from the world of Sterling Cooper Draper Pryce stands the best chance of winning (but don’t discount the Homeland pilot; Emmy voters love pilots). That being said, which script nets Mad Men this win?


Julian Fellowes, Downton Abbey
Alex Gansa, Howard Gordon & Gideon Raff, Homeland
Semi Chellas & Matthew Weiner, Mad Men
Andre Jacquemetton & Maria Jacquemetton, Mad Men
Semi Chellas & Matthew Weiner, Mad Men

Chellas and Weiner played with time and place in Far Away Places and The Other Woman. The former is worthy for showing how one’s moment of truth is another’s afterthought (Peggy’s phone call to Don). But let’s give a shout out for possibly the most unique depiction of an acid trip ever (Roger’s bottles practically sung). The latter gave us Don seemingly triumphant after apparently rescuing Joan, but she had already made her choice and secured her place at the partners’ table. Plus, we saw Peggy leave Don’s controlling brand of mentorship, possibly for good. Both standouts, but…

The Jacquemettons’ Commissions and Fees was more than Lane’s last gasp. We saw Sally enter womanhood alongside the realization that Glen is not her Prince Charming, and Don go balls to the wall for Dow Chemical (yeah, it was an insane pitch). So while I applaud the experimentation of the other two Mad Men nominees, I’m banking on the straightforward drama of the season’s penultimate episode to go for the gold.


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