Ten Most Memorable TV Episodes of 2008

As with the Golden (Couch) Potato Awards, this is not a “Best TV Episodes” list…rather what episodes have been the most memorable for me in the 2008 calendar year. In alphabetical order of episode title, kudos to the following shows:

“Allison from Palmdale” (Terminator: The Sarah Connor Chronicles) Season 2 Episode 4

Written by Toni Graphia

Directed by Charles Beeson

As Cameron, John Connor’s Terminator-protector, Summer Glau has that great robotic-style of acting that suggests that there’s an underlying humanity to Cameron, whilst never letting the audience forget what she (or more correctly, it) truly is. However, in this episode, she lets fly and shows her versatility acting-wise, as Cameron’s malfunction causes the Terminator to have flashes of what seems to be her human origins from the future, from where she was sent (the eponymous Allison). The twist at the end that reveals the true nature of the flash-forwards is both chilling and heart-breaking at the same time.

“Chair Model” (The Office) Season 4 Episode 10

Written by BJ Novak

Directed by Jeffrey Blitz

Michael has to order a new chair, so Pam can get his old one, and Creed can get Pam’s old chair. However, he has trouble deciding, and expectedly gets sidetracked when he falls for the model in the advert for the new chair. Typically innocuous-seeming scenario set in office minutiae has hilarious consequences, as Michael decides he’s too good a catch to be the one who got away, and commands the rest of the office to get him hitched, and Dwight proceeds to find the chair model for Michael. There’s a sweet Jim/Pam moment for the ‘shippers, while “American Pie” has never been sung with as much gusto (and so off-tune) as when Dwight and Michael belted it out in the tag. Comedy gold.

“Chuck vs. Santa Claus” (Chuck) Season 2, Episode 11

Written by Scott Rosenbaum

Directed by Robert Duncan McNeill

Christmas at the Buy More is interrupted by a gunman who crashes into the store after a high-speed car chase with the police. The hostage scenario that ensues seems to take the deliriously comedic lilt that the show is so good at, replete with the goofy hostage-taker who has no idea what he's doing and only wants to return home for the holidays, and a cameo by Die Hard’s Sergeant Al Powell! However, the plot twist mid-episode that it was all a nefarious Fulcrum ruse raises the personal stakes considerably for Chuck, leading to the fateful, dark turn of events at episode’s end. Set amidst the eerie ambiance of a deserted Christmas tree lot, Chuck looks on in horror as Sarah kills the unarmed, already-surrendered Fulcrum agent, seemingly in cold blood. "Chuck" is so amiable so much of the time that this really hits home, especially given the sharp tonal shift from the start of the episode. What will this mean for Chuck and Sarah’s relationship? “Silent Night” has never sounded as haunting as it is used here.

“The Constant” (Lost) Season 4 Episode 5

Written by Carlton Cuse and Damon Lindelof

Directed by Jack Bender

Time-traveling chaos as Desmond experiences blackouts during his chopper trip from the island to the freighter, and flashes back to his time in the Scottish Army. Things get worse as the past self seems to juxtapose himself in the present, and he can’t recall anything that happened in the interim. Daniel the physicist tries the salvage the situation by telling Desmond to look him up in Oxford the next time he jumps back in time, where Desmond learns from past-Daniel that this constant time-flipping is very bad for the brain, and he’d better have a “constant”, something or someone to anchor his mind in reality or he risks losing it totally. Desmond naturally chooses Penny as his constant, and with Sayid’s help, calls her right as time’s running out for him. Oh, and the phone call between Desmond and Penny…totally tear-inducing, as the long-separated love-birds finally re-unite (in a manner of speaking). Last scene with Daniel flipping through the pages of his journal, and finding a page saying “If anything goes wrong, Desmond Hume will be my constant” closes this tightly-coiled and eminently satisfying episode on a perfectly enigmatic note.

“Family Meeting” (The Shield) Season 7 Episode 13

Written by Shawn Ryan

Directed by Clark Johnson

Series finale to “The Shield” sees the members of the corrupt police squad led by Vic Mackey get their comeuppance. Almost Shakespearean in its tragedy, as Mackey dodges the bullet by making a deal, but finds he’s been chained to a desk job for the next three years, and long-time associate Ronnie discovers Vic’s deal consigns him to jail. The real stomach-churner, though, is the fate that Vic’s one-time sidekick Shane chose for himself and his family. Is what happened to Vic worse than death? You decide, but this bleak, uncompromising final episode definitely pulls no punches.

“House’s Head / Wilson’s Heart” (House, MD) Season 4 Episode 15 – 16

Episode 15 written by Russel Friend, Garrett Lerner, Doris Egan, David Foster, and Peter Blake

Directed by Greg Yaitanes

Episode 16 written by Peter Blake, David Foster, Garrett Lerner and Russel Friend

Directed by Katie Jacobs

Even without this crackling two-parter, “House, MD” has already done much in its fourth year to wipe out what had been a disappointing third season, but “House’s Head / Wilson’s Heart” just puts the icing on top of the cake. The first part is a searing mind-boggler (hence the title) of an episode as House tries to piece together what happened to him in the wake of his short-term memory loss from an accident…the second is an absolute heart-breaker (again, ergo the title), as the folks of Princeton Plainsborough Hospital try to come to grips with the aftermath of the events stemming from House’s revelations, as he finally remembered he was with Amber during the accident. If you’re not a fan of “House, MD” before this, you will be now.

“Oversight” (Jericho) Season 2 Episode 4

Written by Robert Levine

Directed by Steve Gomer

Tension between the townsfolk and the overbearing control of the Ravenwood mercenaries hired by Jennings and Rall reaches a head, as Mimi discovers incriminating evidence of embezzlement by Goetz, the leader of Ravenwood. As Goetz tries to recover the documents, tragedy ensues as the consequent shootout results in Bonnie’s death. No, that kick in the gut you’re feeling is not imagined…I’m feeling it too. Powerful end to the installment, set to Damien Rice’s “9 Crimes”, sets up the all-out confrontation in the next episode.

“Prey” (Smallville) Season 8 Episode 6

Written by Kelly Souders and Brian Peterson

Directed by Mike Rohl

Atmospheric episode with an almost overbearing sense of foreboding centers on paramedic Davis, who somehow turns up first at a number of crime scenes. Clark believes he’s responsible for the killings, which generates tension between him and long-time friend Chloe, who stands by Davis’ innocence. Clark’s “Spider-man 2” complex of needing to save everyone in the city is, for me, a tiresome rethread of what has been done better elsewhere, but the central plot is so good, it doesn’t matter. Sam Witwer’s conflicted and menacing performance as Davis drives the episode from the start all through to the twist at the end, when he’s revealed as Superman’s nemesis Doomsday. I can’t wait for this battle.

“Ten Sessions” (How I Met Your Mother) Season 3 Episode 13

Written by Chris Harris, Carter Bays and Craig Thomas

Directed by Pamela Fryman

Probably best-known for Britney Spears’ appearance, in which she’s surprisingly good as the receptionist at the clinic where Ted goes to get his tattoo removed. However, the true guest-starring turn of the episode is Sarah Chalke’s Stella, the doctor of the clinic with whom Ted has the titular ten sessions of tattoo removal (folks…think twice before getting a tattoo). The instant rapport and on-screen chemistry between Stella and Ted during these ten sessions are irresistible (a real surprise given how irritating I find Chalke’s character Elliot on “Scrubs”), and she presents a real case that Stella could be The One for Ted (though it turns out she isn’t). The two-minute date that Ted set up for Stella to accommodate her busy schedule, set to Big Star’s “Thirteen”, is probably the most romantic TV moment of the year.

“The Ties that Bind” (Battlestar Galactica) Season 4 Episode 3

Written by Michael Taylor

Directed by Michael Nankin

Brother Cavil, resurrected after being killed by fellow Cylon Natalie in the last episode, turns the conflict into a full-blown civil war by luring the rival faction’s Base-star to a resurrection ship-less part of the galaxy, before opening fire on them. That’s right, the Cylons are killing each other, and there’s no do-over for those killed in this battle. Mutinous feelings stir up in the Demetrius as Starbuck distances herself increasingly from her crew (and let’s face it, Starbuck doesn’t exactly make for an awe-inspiring captain), while back at the Colonial Fleet, Lee exposes President Roslyn’s shady Big Brother plans for the government. And saving the best for last, Callie unwittingly uncovers that Tori, Anders, Tigh and her hubby Tyrol are four of the final five Cylons. The very foundations of her existence rocked, she attempts suicide by trying to blast both her and her baby Nicky out of Galactica’s airlock, only for Tori to talk her down. End of story? Not quite, as Tori, after getting Nicky from Callie, shuts the airlock down on Callie and blows her out into space. Secret is safe. Shocking, disturbing, gutwrenching….I’m running out of adjectives here to describe this turn of events, which still gives me the shivers even as I'm writing them now. Poor, poor Callie. Even for "Battlestar Galactica", I never thought they could go to such a deep, dark place.

Honorable mentions: Double Booked (Burn Notice, Season 2 Episode 8); Heal Thyself (ER, Season 15, Episode 7); The Prodigal (Stargate Atlantis, Season 5 Episode 14)

Golden (Couch) Potato Awards 2008

It's time for year-end awards! I've been really remiss in updating the blog over the past year, but I would just like to acknowledge the shows that have made my TV viewing all that much enjoyable during 2008. It's not exactly a "Best..." awards list, more "Most memorable...", i.e. what has been the most memorable in each category, for me personally, over the past year (from December 2007 through December 2008). So here's throwing some golden potatoes in the direction of the following shows! (again, categories sorted roughly in increasing order of importance)

===================================================================

Commercial:

“But he has Bud Light” – Bud Light

Beer really is everything to a guy, isn’t it?

Special Effects:

Battlestar Galactica (SciFi)

Having a big budget to work with is one thing, but when you’re working for a basic cable channel like SciFi, the money’s a lot less. Yet the effects whizzes at BSG keep churning out the impossible with staggering, sweeping visual vistas week after week, their work sometimes even putting big summer action blockbusters to shame. The astounding, elegiac shot of the Cylon resurrection hub, right before its destruction by the Colonial Fleet, is just the crown jewel of an amazing season, FX-wise.

The following YouTube video isn't exactly related to the special effects on "Battlestar Galactica"; rather, it's on the cast's appearance on Letterman earlier this year to do his Top 10 List on "Reasons to Watch the New Season of Battlestar Galactica". It's pretty awesome :)

Tagline:

“A forensic fairytale” – Pushing Daisies (ABC)

Succinctly sums up the premise of what is probably the most innovative show of the past year, a cross between “Tru Calling”, “CSI” and “Wonderfalls”. Unfortunately, innovation counts for naught in a network TV landscape where ratings only matter, and ABC has since announced the cancellation of the show.

Opening Title Sequence:

Stargate: Atlantis (SciFi)

I just love the rousing Joel Goldsmith theme paired with the turquoise-tinted visuals. And that shot of the sunrise over Atlantis? Beautiful.

Song in a TV Series:

“Silent Night”– Chuck (NBC)

The traditional Christmas hymn has never sounded as haunting as it was used in the “Chuck” midseason Christmas finale, as Agent Walker and the Fulcrum agent Mauser hunted each other down in the final act of the episode. It made the sequence of events that transpired next even more chilling and tragic than they already were. Oh "Chuck", you sure know how to stick a knife in your audience's hearts.

Sidenote: Your Vegas’ “Christmas and Me Are Through” that played over the final scene of the episode (a crane shot of the Buy-More in the aftermath) is another perfect song selection in a season where the show’s music choices have been unfailingly excellent.

Comedic Performance:

Stephen Colbert – The Colbert Report (Comedy Central)

And the pupil becomes the master. For the past year at least, spin-off “The Colbert Report” has been consistently funnier than the mothership “The Daily Show with Jon Stewart”. Stephen Colbert’s no-holds barred, fully-committed embodiment of a conservative-leaning host drives this sharp parody of personality-driven news programs. In this case, fake news is definitely good news.

Sidekick:

Sam Axe – Burn Notice (USA Network)

“Burn Notice”, the old-school spy drama that’s so rollicking good fun to watch, has the one great element that makes it all the more enjoyable: the awesome side-kick. Sam Axe provides the background information that Michael needs to do his job, cracks all the jokes, is willing to put his own nose on the line for his buddy, and most importantly of all, looks like he’s having the time of his life all the time. Now that’s a wingman.

Team:

Green, Lupo, Van Buren, Cutter, Rubirosa and McCoy – Law & Order (NBC)

The addition of gritty cop Lupo to “Law” and resolute ADA Cutter to “Order” added much needed edge to the frontline and a new dynamic to the back of the court, and means that L&O has its best ensemble since Jerry Orbach left. The team is living up to the monologue that opens each episode: “…the police who investigate crime, and the district attorneys who prosecute the offenders…” like a well-oiled machine.

Couple:

Jim and Pam – The Office (NBC)

Surely no other couple currently on TV resonates so deeply and truly with audiences? Jim and Pam are the modern-day fairy tale told in eminently empathetic terms – everyone knows, or wants to be, a Jim or a Pam. They’re undeniable soulmates to each other, their banter is irresistible, they’re nice to others, and they’re attractive in an everyman kind of way…they’re the couple that everyone wants to root for, because in a way, it’s like we might someday find our happy ending too.

The Office U.S. - DVD Screensaver - Every10Mins.com

Villain:

Cromartie – Terminator: The Sarah Connor Chronicles (Fox)

Played by Garret Dillahunt in that stylish way that's both threatening and creepily funny, Cromartie carries the flag proudly for all unrelenting, unstoppable Terminators as exemplified in the movies, as he single-mindedly tracks down John Connor (or tries to, anyway), culminating in that awesome showdown in “Mr. Ferguson is Ill Today”, when he’s finally eliminated. And in true Terminator-style, just when you thought he’s gone, he’s back! (Must...resist...quoting....Arnie's "I'll be back"...line).

Actress:

Mary McDonnell “Laura Roslyn” – Battlestar Galactica (SciFi)

Woefully overlooked by the Emmys, Mary McDonnell’s imposing performance as the President of the Colonial Fleet lends ambiguity, cruelty, courage and, with Roslyn’s illness relapse over the past season, a touch of vulnerability, to the embattled leader.

Actor:

Michael Emerson “Benjamin Linus” – Lost (ABC)

Emerson has, almost unnoticeably, graduated from bit player to what is arguably the central character, even in an ensemble as big and as diverse as “Lost”. It’s unthinkable to fathom the show without its chief antagonist. His trademark piercing eyes only adds to the magnetic appeal of his character…he’s the bad guy you want to root for.

Ensemble Cast:

How I Met Your Mother (CBS)

Adorable couple Lily and Marshall; love-lorn Ted; cynical Robin; and swaggering Barney. They’re the cool new yuppies who’re so fun to hang out with. Its incomparable cast, including “Buffy” alum Alyson Hannigan, “Forgetting Sarah Marshall”’s Jason Segal, and former “Doogie Howser” star Neil Patrick Harris, have such perfect onscreen chemistry, and fit their roles so well, you forget they’re just acting.

Farewell:

“Patriots and Tyrants” – Jericho (CBS)

Joining “Cagney & Lacey” and “Roswell” as the only handful of shows that’s been brought back from cancellation by a fan-led campaign, “Jericho” raced out of the blocks with its season 2 narrative with a breakneck pace that puts even “24” to shame, and never paused to take a breath. While year 1 was more languid in its telling of how a small Midwest town dealt with the after effects of nuclear detonation on US soil, the sophomore year packed enough material for an entire season into its schedule of only 6 (!) episodes. Unfortunately, the ratings remained middling, and there would be no rescuing “Jericho” from cancellation this time. Though the season finale wasn’t the best episode by a stretch (that would be the gutwrencher where Bonnie was killed by the mercenaries who had taken over the town), “Patriots and Tyrants” tied up all the loose ends of the series as well as it could, most notably the uncovering of the nefarious Cheyenne government as the true masterminds behind the nuclear conspiracy. The producers of “Jericho” actually filmed two endings; a more “open-ended” one in case the show was renewed, and the one we saw on TV, if the show was cancelled (which it was). Leaving fans with an unresolved cliffhanger when you’ve been cancelled is inexcusable; “Jericho” admirably took all possible steps to avoid that pitfall.

New Show (tie):

Terminator: The Sarah Connor Chronicles (Fox)

Journeyman (NBC)

Just look at NBC’s “Bionic Woman” and the awful “Knight Rider” pilot to see how recent remakes can go wrong. But “Terminator” admirably manages the juggling act of paying homage to the series (most notably the T1 and T2 movies), expanding upon the Terminator premise and continuing the story of John and Sarah Connor on a consistent weekly narrative. The addition of “90210” alum Brian Austin Green as John’s lieutenant from the future solidified the cast and added a much-needed link to the post-Judgment Day apocalypse. Season 2 has built upon the foundations laid by Season 1, and has put several interesting plot points into play (notably the Weaver and Jesse arcs). One quibble though, is that the show has posed more questions that it has answered so far, and with cancellation always a threat given the low viewing numbers, hopefully at least some of these open threads will be resolved in the back end of this season.

Okay, so NBC hasn’t had the best of the freshman picks (see “Bionic Woman” and “Knight Rider” above), but it did have “Chuck”, “Life” and little-seen “Journeyman”. This touted “Quantum Leap” remake didn’t have the best of starts, but most assuredly found its footing as the series went on. With elements of mystery (how did Dan get his sudden ability to time travel?) and adventure (the person-of-the-week who Dan has to save) mixed in with the toll all this is taking on his personal life (Dan’s strained relationship with his family together with his encounters with former lover Libby as he finds she’s a fellow time-traveler too), “Journeyman” makes for compelling viewing week-in, week-out, for all of its 13 episodes (yup, it’s been cancelled).

Television Series:

Chuck (NBC)

“Chuck” hit the ground running with a good, if a little uneven, first season, where they explored so many plot points (within only 13 episodes) that were possible within the show’s universe that one couldn’t help but fear that the show has written itself out of storylines. However, all fears of a dreaded sophomore slump were quickly dispelled with a terrific opening episode (“Chuck vs. the First Date”), and the show hasn’t looked back since. Season 2 did a better job of integrating Chuck’s Buy-More world with his spy world, expanded upon each of the major characters’ backstories, upped the eye-popping stuntwork and fight scenes, and as an added bonus, fills each episode to the brim with delightfully geeky 80’s and 90’s pop-cultural references. “Chuck” has been consistently hilarious and exciting this season (see “Chuck vs. Tom Sawyer” as a great example), and its signature mix of comedy and action has been anchored most assuredly by the deepening relationship between Chuck and his handler Agent Walker (“Chuck vs. the Breakup”, the great three-episode Jill arc, and “Chuck vs. the Delorean”), a relationship which has been downright heart-rending this season (move aside, Jim and Pam). The excellent midseason Christmas finale raised the stakes between Chuck and Sarah considerably, and has real potential not just for the duo, but for taking the show in a new direction as well. “Chuck” is infectiously self-deprecating and thankfully never takes itself seriously, but its dramatic elements hit all the right notes, and it knows how to give its viewers a great time. About as perfect a half-season of any show I’ve ever seen (with perhaps "Chuck vs. the Sensei" being the only slightly subpar episode, but that's quibbling), season 2 of “Chuck” will break your heart, make you laugh, and you’ll always have fun watching it.

It's Oscar time

Yes, I know it’s the wrong Oscar, but I love Sesame Street, and it’s my blog, so end of argument (heh). The annual Oscar derby comes to an end this Sunday, February 24^th, when the winners for the 80^th Annual Academy Awards will be announced. In the preceding weeks, there was fear that nominees and presenters might not attend due to the ongoing writers’ strike, but all’s well in Hollywood-land now that a tentative deal has been brokered between the scribes and the studios. The spotlight now turns to the mother of all movie awards, the Oscars; there will be glitz, there will be glamour, and even though it’s an exercise in futility, I will, as usual, try my amateur hand at predicting the Oscars. Let’s see if I can continue my woeful track record of historically inaccurate picks this year. My predictions are in bold, and reiterated in the “Will win/Might win” line immediately following each category’s commentary; “Who I would like to win” is my personal choice, i.e. who I wish would win, and is NOT my prediction (clearing up any confusion from last time).

Precursor awards index:

NYC – New York Film Critics Circle

LAC – Los Angeles Film Critics

SOC – National Society of Film Critics

NBR – National Board of Review

GG – Golden Globes (given by the Hollywood Foreign Press Association)

PGA – Producers Guild of America

DGA – Directors Guild of America

SAG – Screen Actors Guild

WGA – Writers Guild of America (yes, the union that went on strike)

BAFTA – British Academy of Film and Television Arts

Scripter – Sponsored by Friends of the University of Southern California Libraries, and given annually to both the author and screenwriter adjudged to be behind the year’s best film adaptation of a book

Best Picture:

Atonement (7 nominations) – GG, BAFTA

Juno (4 nominations)

Michael Clayton (7 nominations)

No Country for Old Men (8 nominations) – NYC, NBR, PGA, DGA, SAG

There Will Be Blood (8 nominations) – LAC, SOC

NCFOM is the clear frontrunner in a category that some experts would have you think is less straightforward than it actually is; don’t listen to any of them. There will be no vote-split between NCFOM and TWBB (arguably the second favorite), leading to an unlikely victory for Juno, the charming comedy that has won the hearts of audiences and critics alike. The Academy will not go for the over-praised Atonement. Michael Clayton was released too long ago to be a veritable threat; its nomination is already a victory in itself. With the weight of prominent critics and all the major guilds behind it, NCFOM will be strolling to the biggest crown on Oscar night, and a deserving winner it would be too.

Will win: No Country for Old Men

Who I would like to win: Juno

Best Director:

Paul Thomas Anderson (There Will Be Blood) – LAC, SOC

Joel Coen & Ethan Coen (No Country for Old Men) – NYC, DGA, BAFTA

Tony Gilroy (Michael Clayton)

Jason Reitman (Juno)

Julian Schnabel (The Diving Bell and the Butterfly) – GG

The DGA really is the only precursor that one needs to look at in this category. It’s the single most accurate predictor for the Best Director Oscar (and by extension, the Best Picture Oscar too, since the two winners, more often than not, come from the same film). Until the Coens won the Screenplay Oscar 11 years ago for their brilliant Fargo, they had been considered Hollywood outsiders, and in a way, they still are. However, they find themselves in the Oscar spotlight again this year, and their stellar directing work in NCFOM, a film that’s at turns gripping, darkly comic and elegiac, will almost certainly be lauded on Oscar night. It would be a richly-deserved accolade in a distinguished, ongoing career that started with Blood Simple, and which includes Barton Fink (which won the Palme d’Or at Cannes), Raising Arizona (my personal favorite Coen brothers movie), O Brother, Where Art Thou?, and the aforementioned Fargo.

Will win: Joel Coen & Ethan Coen (No Country for Old Men)

Who I would like to win: Joel Coen & Ethan Coen (No Country for Old Men)

Best Actor:

George Clooney (Michael Clayton) – NBR

Daniel Day-Lewis (There Will Be Blood) – NYC, LAC, SOC, GG, SAG, BAFTA

Johnny Depp (Sweeney Todd) – GG

Tommy Lee Jones (In the Valley of Elah)

Viggo Mortensen (Eastern Promises)

The prohibitive favorite going into Oscar night will be Daniel Day-Lewis for his powerful portrayal of an unscrupulous oilman in TWBB. Although there have been years in which dark horses prevailed (most notably in 2002 when Adrian Brody won for The Pianist over the favorite, would you believe it, Daniel Day-Lewis for Gangs of New York), this won’t be one of those years. Day-Lewis, a past Oscar-winner for 1989’s My Left Foot, and who has also been nominated for 1993’s In the Name of the Father and the abovementioned GONY, will add the Oscar to the whole stream of accolades he has already received for his role of Daniel Plainview this awards season. However, being a long-time ER fan (14 years long, and counting), you know I always want Clooney to win, despite me not having seen Michael Clayton. Lord of the Rings fans might like to know that Viggo “Aragorn” Mortensen receives his first Oscar nomination this year.

Will definitely win: Daniel Day-Lewis (There Will Be Blood)

Who I want to win: George Clooney (Michael Clayton)

Best Actress:

Cate Blanchett (Elizabeth: The Golden Age)

Julie Christie (Away From Her) – NYC, SOC, NBR, GG, SAG

Marion Cotillard (La Vie En Rose) – LAC, GG, BAFTA

Laura Linney (The Savages)

Ellen Page (Juno)

Veteran Christie is the favorite for her subtle work as a woman suffering from Alzheimer’s, but I have a feeling French actress Cotillard might just possibly edge her out for the award come Oscar night. In Cotillard’s favor: (1) Christie has already won an Oscar, for 1965’s Darling; (2) Cotillard plays renowned French singer Edith Pfiaf, and she does her own singing (see Sissy Spacek for Coal Miner’s Daughter and Jamie Foxx for Ray); and (3) the last time a major upset occurred in the actress categories, it was French actress Juliette Binoche taking the Supporting Actress honors over the hot favorite, Hollywood legend Lauren Bacall (yup, never underestimate those Gallic charms). Working against Cotillard: only 3 foreign-language performances have ever won the Oscar, and they were all in Italian (Sophia Loren for Two Women, Robert DeNiro for The Godfather: Part II, and Roberto Benigni for Life is Beautiful). Of course, I would be personally thrilled if Ellen Page, so lovable and funny and heartbreaking as the title character in Juno, pulled off the biggest upset of them all and won. One can only hope.

Might win: Marion Cotillard (La Vie En Rose)

Who I would like to win: Ellen Page (Juno)

Best Supporting Actor:

Casey Affleck (The Assassination of Jesse James by the Coward Robert Ford) – SOC, NBR

Javier Bardem (No Country for Old Men) – NYC, GG, SAG, BAFTA

Phillip Seymour Hoffman (Charlie Wilson’s War)

Hal Holbrook (Into the Wild)

Tom Wilkinson (Michael Clayton)

Bardem’s chilling portrayal of evil personified is the favorite in this category, and it’s hard to see the Academy voting for anyone else against such a memorable role. British veteran Wilkinson has been nominated previously for 2001’s In The Bedroom, and is a versatile character actor who has appeared in tons of films in which one probably knows his face but doesn’t know his name. For instance, he was the vicious gangland boss who lost his mind in Batman Begins and the goofy moneylender Hugh Fennyman in Shakespeare in Love. Hopefully the Academy doesn’t send Michael Clayton home empty-handed at the end of the night, and this is as good a category to acknowledge the movie as any, on top of giving the veteran actor his due for his body of work.

Will win: Javier Bardem (No Country for Old Men)

Who I would like to win: Tom Wilkinson (Michael Clayton)

Best Supporting Actress:

Ruby Dee (American Gangster) – SAG

Cate Blanchett (I’m Not There) – SOC, GG

Saoirse Ronan (Atonement)

Amy Ryan (Gone Baby Gone) – NYC, LAC, NBR

Tilda Swinton (Michael Clayton) – BAFTA

Arguably the most open of all the major categories. Dee, Ryan and Swinton are probably the slight frontrunners, by consensus. However, Blanchett is a double-nominee this year (though past double-nominees Sigourney Weaver in 1988 and Julianne Moore in 2002 have gone home empty-handed before), she has a flashy role (she reaches across gender to play singer Bob Dylan), and she is well-respected in the industry (she won this category for 2004’s The Aviator). Going by momentum and buzz, Blanchett is probably a long shot, but I think any nominee here has about as much chance of having her name being called out on Oscar night, in a category where, traditionally, most of the surprises occur. Your guess is as good as mine.

Might win (but please don’t put any money on this): Cate Blanchett (I’m Not There)

Best Animated Feature:

Persepolis – NYC, LAC

Ratatouille – LAC, NBR, GG, PGA, BAFTA, Annie

Surf’s Up

This is Ratatouille’s to lose (though I’m personally not bowled over by the film), having scooped up the top prize at the Annie’s, the animation industry’s own version of the Oscars. Winning the Golden Globe and the BAFTA only adds icing to the cake, so to speak. The Annie’s record as the perfect predictor of this category was broken last year when Cars, which won the Annie for Best Animated Feature, lost this Oscar to Happy Feet. Don’t expect that losing streak to be repeated this time around, because, well, I don’t really see the Academy giving this award to penguins for the second straight year (if anything, the biggest threat comes from Persepolis). And it is, after all, the Year of the Rat (sorry! Couldn’t resist).

Will win: Ratatouille

Best Original Screenplay:

Brad Bird (Ratatouille)

Diablo Cody (Juno) – NBR, BAFTA, WGA

Tony Gilroy (Michael Clayton)

Tamara Jenkins (The Savages) – LAC, SOC

Nancy Oliver (Lars and the Real Girl) – NBR

First-time screenwriter Cody is the favorite in this category, Juno’s best chance of an Oscar come February 24^th. Her sharp, incisive, poignant script is brimming with equal measures of wit and heart, telling its story simply but eloquently, populated by likeable characters that refuse to succumb to movie clichés and stereotypes, and a quietly moving climax that would have some in the audience reaching for their Kleenex (I admit, I did cry). I love the movie, so I’m biased, but for me, Juno is the only choice in this category. If it inexplicably falls, that loud sound you hear in the background is me throwing my shoe at the TV screen.

Will win: Diablo Cody (Juno)

Who I would like to win: Diablo Cody (Juno)

Best Adapted Screenplay:

Paul Thomas Anderson (There Will Be Blood)

Joel Coen & Ethan Coen (No Country for Old Men) – NBR, NYC, GG, WGA, Scripter

Christopher Hampton (Atonement)

Ronald Harwood (The Diving Bell and the Butterfly) – BAFTA

Sarah Polley (Away from Her)

The Coens’ win for 1996’s Fargo was in the original screenplay category, so their widely-expected win here would complete the set. The only conceivable challenge comes from Ronald Harwood’s bittersweet, heartrending script for TDBATB, which some pointed out was arguably a harder task in adapting for the screen than what the Coens did with Cormac McCarthy’s novel. A major upset in this category occurred in 2002 when The Pianist won this award ahead of the overwhelming favorite, The Hours. The screenwriter for The Pianist? Ronald Harwood.

Will win: Joel Coen & Ethan Coen (No Country for Old Men)

Who I would like to win: Ronald Harwood (The Diving Bell and the Butterfly)

The 80^th Annual Academy Awards airs February 24^th at 8pm ET on ABC (February 25^th 9am Singapore time on Channel 5), and will be hosted by The Daily Show’s Jon Stewart.