It’s no secret that awards ceremonies are keen on rewarding series and actors that have bowed out, whether by finale or death. It isn’t always fair, but then years of blatant snubbing aren’t so justifiable either. This week saw the surprisingly subdued swan song for Sons of Anarchy’s seventh and final season, and while I wouldn’t have bet my mortgage on the biker drama sweeping the nominations, I expected the Golden Globes to grant an iota of recognition to a departing series that has largely been ignored during awards seasons past.

I’d love to think that I live in a world where other people hold Sons of Anarchy on the same plateau as Game of Thrones and House of Cards in the Best Drama category, but I willingly concede that even Breaking Bad’s absence didn’t necessarily shoehorn Kurt Sutter’s violent saga into a slot. But the cast was just as good as it’s ever been, if not more so, given all the harshness this season incorporated into the narrative. So without further ado, here are the three Golden Globe nominations that Sons of Anarchy should have received.

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Best Actress in a Drama – Katey Sagal
Katey Sagal, who played the mother with a heart of lovingly murderous stone Gemma Teller Morrow, is the only Sons of Anarchy alum to ever walk away with a big award, having won the dramatic actress Golden Globe in 2011. (The series’ only Globe nomination in all seven years.) And though Gemma’s character took a big shift this year from badass matriarch to someone in constant fear that her son will murder her, it sometimes worked out in Sagal’s favor, particularly towards the end of the season when her candle was flaming up at both ends. There are ways that Kurt Sutter could have possibly beefed Gemma’s role in this season up, but Sagal couldn’t have played it any more excellently. If anyone can make “talking to thin air as mental penance” seem reasonable, it’s her.

Best Performance: “Suits of Woe,” which is easily the best episode of the season. Gemma’s emotions take a detour through the Kübler-Ross model, trotting past denial, anger and bargaining altogether for a healthy dose of worried depression and acceptance. The scene where Nero finds out she killed Tara was priceless, and Sagal barely had to say a word for it. It’s all in the face.

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