I would be outraged that Paul won over him (the least deserved win, IMO), but I'm still most outraged at this year's ceremony by the omission of Rory McCann in that category. I felt he was the runaway winner with Woody his only legitimate challenge.
Mandy Patinkin gave his best performance so far in Homeland, but unfortunately he gave it in a season where the show's great early promise died a gasping, gurgling death. Jon Voight has been spectacular, but I'm not sure how much of that is the Cartman effect. Poor Jim Carter doesn't stand a chance with all the emphasis on range and method acting. A performance with a stiff upper lip like his won't get any credit for nuance. Josh Charles and Peter Dinklage outright didn't deserve their nominations. There were much better options.
No, one of these two should have won, and that seemed pretty obvious to pretty much everyone. If you're going to go hipster, then Hamm's last season here for Mad Men was the one overlooked.
"Range" in acting isn't a linear slider between smiles and tears. It's not even necessarily an emotional gamut. MM ran across both globes, roundly, and most brilliantly, I think, by pointing us to Rust's introspection, and allowing his cynicism to demonstrate the things he's really thinking and feeling rather than exhibiting them outwardly & directly. Often this would manifest with Rust's mania, and how things he once felt and believed were affecting him that much more deeply in the now. For example, in the final scene, the way he articulated his spiritual torment shows how much of the man he was that he lost, and how that person was gone, just gone-- yet not unrecoverable. It's almost impossible to describe how much he added to that scene. If any other actor played that scene, then I suspect we would have just felt the typical humdrum of, "Man got a raw deal. Now he's broken."
But Rusty wasn't broken. He wasn't done. He hadn't quit. He isn't willing to give up on God. He wasn't meant to disbelieve in God. It isn't in the fabric of his being. Yet his connection to God was ripped away from him. The reason that his performance is so brilliant is that MM is simultaneously playing two characters through the whole season: the man who he was, and the man who he almost is. This dialectic only exists because MM has the range to be both at the same time, both in the same line: not by changing from a goofy face to a mean face to let us know he's a nice guy with a dark side.
Light and dark in every word, every gesture. Simply remarkable.