The Anti-Defamation League hosted an interesting discussion about how Jews are portrayed on television as part of the org's annual meeting this week at the Bev Hilton.

It was interesting mostly for the caliber of the people who were doing the discussing: Former Los Angeles Times chief TV critic Howard Rosenberg pressed "Mad Men" creator/exec producer Matthew Weiner and Roz Weinman, the former head of standards and practices at NBC and a former producer for the "Law & Order" troika, to go beyond the obvious and really examine the question of how the portrayals of Jews have changed over the years, and why.

The hourlong sesh, held Friday ayem, seemed particularly relevant given the milestone the country has reached in its long and tortured history of race relations with the election of our first black president. It was not, however, the kind of discussion that lends itself to snappy soundbites or easily distillation of main points.

Weiner made the observation that as part of the cultural assimilation process, Jews and every other ethnic, racial or religious minority at some point seek to downplay most of their differences from mainstream WASP culture in the effort to blend in and be accepted. On television it is only in the recent past that shows built around distinct ethnic subcultures have been widely accepted, Weiner said, citing the "The Sopranos" as a prime example.

"When the specificity of who people are is part of the commercial appeal -- that just means we've changed" as a culture, Weiner said. "I was surprised to see ethnic identity come back into entertainment with 'The Sopranos.' I guess it meant the public was ready for it."

Emmy's picks for writing and directing nominees in the series categories are kinda like a state of the craft report card every year. They're often the category where new and innovative programs are recognized long before they crack the more prominent races.

But in a year when Emmy voters seemed to embrace new and different, the choices in the writing and directing heats seem more pedestrian, though some of this year's contenders were so obvious (Bryan Fuller and Barry Sonnenfeld for "Pushing Daisies" Pie-lette, Matthew Weiner and Alan Taylor for the "Mad Men" pilot) as to take some of the suspense out of the race this year. Sonnenfeld (pictured left) and Taylor (pictured right) have already bagged DGA Awards for their work on these pilots.

Sonnenfeld, IMHO, can safely begin rehearsing his acceptance speech for comedy helmer. (Coming from him, it oughta be a doozy.) The competish is strong -- a six-nominee category meaning that there was one tie in the nom ballotting -- but nothing was quite so inventive and visually distinct as that first slice of ABC's "Pushing Daisies."

From my viewfinder, the dark horse in the race could be James Bobin of HBO's "Flight of the Conchords." Bobin, co-creator of the series with Kiwi comedy-rockers Jemaine Clement and Bret McKenzie, is up for the "Sally Returns" episode of "Conchord's" 12-episode frosh season.

Dan Attias nabbed a nom for the "No Cannes Do" installment of "Entourage." Paul Lieberstein has shown that there's no end to his talents by performing, writing and directing segs of NBC's "The Office," and now he's up for helming the seg "Money" Parts 1 and 2 (sounds like a James Brown hit from the early '70s). Also nommed from "Office" is Paul Feig, for handling the season finale, "Goodbye, Toby," which happened to mark the farewell of Lieberstein's character. Michael Engler of NBC's "30 Rock" is up for the "Rosemary's Baby" installment.

Hot off the Academy of Television Arts and Sciences nomination vote-tallying machine, here are the top 10 finalists for Emmy noms in the comedy and drama series heats. The final noms will be announced on Thursday, July 17.

(My 2 cents on the list follows after the jump)

COMEDY

Curb Your Enthusiasm
Entourage
Family Guy
Flight of the Conchords
The Office
Pushing Daisies
30 Rock
Two and a Half Men
Ugly Betty
Weeds

DRAMA

Boston Legal
Damages
Dexter
Friday Night Lights
Grey’s Anatomy
House
Lost
Mad Men
The Tudors
The Wire

Ch-ching: "Law & Order" is back. The two segs on tap for Wednesday's two-hour premiere are as strong any the show has delivered in years. Linus Roache is a great addition to the cast as the driven chief assistant district attorney Michael Cutter. Jeremy Sisto is intense but low-key as Det. Cyrus Lupo, the new partner of Jesse Martin's Det. Ed Green.

After hitting a ratings slump during the past few years, "Law & Order" hasn't been treated too well by NBC. The show was exiled to the Friday 10 p.m. berth last season, and then it was in limbo about a pickup (for an astounding 18th season) until the last minute prior to this year's upfronts. And then it was left off the fall sked as a bench show for the post-football period.

But the tide may have turned for the Peacock's war horse. "Law & Order" boss Dick Wolf is glad to see the show landing back in its old familiar time slot of Wednesday 10 p.m., which it owned from 1992-2006. And he is optimistic that the infusion of new thesps the return of Rene Balcer as showrunner will put the show in good stead for many more seasons to come. Show hasn't seen so many on- and off-screen changes in one year since the 1993-94 period, when key cast members Michael Moriarty, Dann Florek, Richard Brooks departed and stalwarts like Sam Waterston and S. Epatha Merkerson arrived, Wolf notes.

"It's changing the whole zeitgeist of the show," Wolf sez of the new cast lineup. "It was getting to be an older show in terms of the age of the cast and in the literal number of years it had been on. Now, it's the same show, but it's a very different six-person ensemble."