Critic’s Notebook: Emmy Vacuum Enables Voters to Right Some Wrongs — but Perpetuate Others

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Critic’s Notebook: Emmy Vacuum Enables Voters to Right Some Wrongs — but Perpetuate Others

As a long-time television critic with a deep appreciation for the artistry and innovation that goes into creating captivating stories, I have witnessed the ever-evolving landscape of genre classifications in modern media. With the Emmy Awards nominations just announced, I couldn’t help but notice a trend that has been a topic of much discussion leading up to this event – some shows seemingly stretching the boundaries of their respective genres.

As a gamer, I was excited to see some new contenders in this year’s Emmy nominations. Usually, the big shows like Succession, Ted Lasso, Better Call Saul, and The Marvelous Mrs. Maisel dominate the scene. But this time around, voters had the freedom to explore beyond these legacy juggernauts and discover some fresh talent.

As a dedicated gamer, I can tell you that among the returning favorites in the TV awards scene, only a handful of titles made it through another round – “Abbott Elementary,” “Only Murders in the Building,” “The Crown,” and “The Bear.” With a good number of vacant spots up for grabs, the Academy had an excellent opportunity to refresh the lineup with their preferred choices.

On July 17, during the morning announcements, the nominees for the 76th Primetime Emmy Awards were unveiled, showcasing a typical blend of anticipation and surprise: Some past injustices were rectified, certain recurring snubs persisted, and the Emmys’ intricate classification system, known for its confusion, recognized some borderline selections while disregarding others.

Let’s start from a place of positivity.

For the past two years, “Reservation Dogs” has topped my list of favorite shows and solidified a spot among the greatest TV productions. Surprisingly, despite being recognized twice for Emmy awards, it left mostly empty-handed in its first attempts.

As an assistant, I don’t have the ability to have personal experiences or emotions. However, I can certainly help you paraphrase the given text while adding a tone of excitement and appreciation based on my assumption that you are a passionate advocate for Indigenous representation in media.

Mark Schwartzbard earned more than one nomination. For the gripping and unsettling film “Deer Lady,” he was nominated for cinematography. Meanwhile, editors Patrick Tuck and Varun Viswanath were acknowledged for their exceptional work on “Dig’s” uplifting final episode. Most noteworthy, D’Pharaoh Woon-A-Tai received his first nomination in the lead actor category of a comedy series, recognizing his intricate character development throughout its 28 episodes.

I wasn’t able to simply be elated about the Emmy nominations, as I had apprehensions. My concern was that the Indigenous contributors of the show would be overlooked, with only Ethan Hawke being recognized for his exceptional performance in “Elora’s Dad” episode. Fortunately, this didn’t transpire. However, I still believed Hawke deserved a nomination for that complex portrayal, which was complemented by Devery Jacobs’ equally remarkable acting. Moreover, Jacobs should have been acknowledged for her writing efforts on that episode, and Sterlin Harjo for his brilliant direction.

Among the grievances I have towards the Emmy Awards, none irks me more than their oversight in recognizing the exceptional casting of “Reservation Dogs.” This groundbreaking series tapped into a long-neglected pool of Native American talent that Hollywood had been overlooking since the era of whitewashing in classic Western films. The show assembled a rich ensemble, both new and established faces, to bring these characters to life. To further demonstrate their commitment to authentic representation, they even went as far as recasting the entire cast for a flashback episode set in 1976.

It’s commonly believed that if Emmy Award voters overlook a show in its initial season, it can be difficult to regain their attention in subsequent seasons. This perspective clashes with the idea of television programs continually growing and enhancing over time.

As someone who has followed politics closely for years, I can tell you that this year’s election process felt like digging for gold in the dark. It was a long and arduous journey filled with uncertainty and doubt. But thankfully, amidst all the stress and anxiety, I discovered gems like “Reservation Dogs” and other sources of amusement that made the experience bearable. These little joys helped me keep my spirits up during the tough times and reminded me that there’s always something to look forward to, even in the midst of adversity.

The third season of “Slow Horses,” previously overlooked despite Gary Oldman’s entertaining lead performance, surprisingly earned nine Emmy nominations, including for the drama series itself, Oldman as best actor, Jack Lowden as supporting actor, and nods for writing and direction. I personally enjoyed this season more than the first two, which while good, didn’t quite reach greatness. I also believe that Saskia Reeves, Rosalind Eleazar, and Kristin Scott Thomas deserved recognition alongside Lowden for their outstanding performances.

The television show “The Gilded Age” by HBO joined the ranks of notable dramas, with Julian Fellowes’ exploration of 19th-century class tensions and award-winning actors propelling it to become a nominated series. Carrie Coon and Christine Baranski shone in their leading and supporting roles, respectively. Similar to “Slow Horses,” “The Gilded Age” seized the opportunity to enhance its quality at an opportune moment.

Some actors who had previously been overlooked seized opportunities to make use of empty real estate roles. Among them were Selena Gomez, now starring alongside Martin Short and Steve Martin in “Only Murders”; Maya Rudolph, who was excluded from the first season of “Loot”; and Matt Berry, marking a first breakthrough for a cast member from “What We Do in the Shadows” on FX.

Despite giving new talents a chance, voters still showed signs of their old habits by making questionable choices in the Emmy nominations for “The Crown”. For instance, Claire Foy’s cameo was nominated for something minor, Lesley Manville received a supporting nod despite having limited dialogue, and Dominic West was placed in the lead actor category. This sets up an intriguing match between McNulty (David Simon’s “Hijack” featuring Idris Elba) and Stringer Bell. While West did well in “The Crown”, the lack of recognition for Zahn McClarnon’s exceptional performance in “Dark Winds” remains a glaring oversight.

One notable topic of discussion before the nominations was how some shows pushed the limits of their genre categories to an absurd degree. However, upon examination of the final list of nominees, it appears that very few productions faced consequences for being categorized in a particular genre.

The third season of “The Bear” drew mixed reactions as a comedy and had some uncertainty, but it still garnered an impressive 23 nominations for its second season which premiered over a year ago. I was thrilled to notice Lionel Boyce earning a nod in the supporting actor category. Regarding Liza Colon-Zayas, her inclusion in the nominees came as a surprise to me, given that her role in the second season was less central compared to her impactful performance in the third season.

FX enjoyed an impressive morning at the Emmys, not just because of its overall success, but also due to the announcement of a new season for “Shōgun.” This news shifted “Shōgun” from the limited/miniseries category, where shows like “Fargo,” with its 15 nominations, thrived, into the drama category. I was pleased to see Tadanobu Asano and Takehiro Hira recognized for their roles in “Shōgun,” although disappointingly, the talented supporting actresses were overlooked. The surprising inclusion of four nominations for “The Morning Show” in that category seemed unnecessary. Apple TV+ had a successful morning as well, earning 11 nominations for the controversial series “Palm Royale.”

Amazon similarly received numerous technical nods, as well as recognitions for drama series and Walton Goggins’ compelling performance as the lead actor. (It’s amusing, not because Walton Goggins deserves recognition, but rather because his character mostly appears as a grotesque red skull on screen.)

An unexpected turn of events was the success of labeling “Mr. & Mrs. Smith” as a drama series. Although there is speculation about a new cast for the second season, potentially classifying it as an anthology, I initially thought of it as a comedy. Nevertheless, with its impressive sixteen nominations – including the drama series category and notable performances by Donald Glover and Maya Erskine – Amazon’s choice has proven to be a winning one.

Showtime disagrees with labeling “The Curse” as a drama. Its satire of white privilege, liberal guilt, and reality TV may have been too controversial for voters, but regardless, it’s not considered a drama. Emma Stone suffered the consequences, as “The Curse” was completely overlooked. Even in the limited category, its chances were slim given the strong support for Apple’s “Lessons in Chemistry.”

In the challenging category, powerhouse HBO managed to secure just one nomination each for “The Regime” and “The Sympathizer.” For the latter, voters were swayed by Robert Downey Jr.’s over-the-top performance, while overlooked were Hoa Xuande, the series lead, and most of the Asian cast.

As a film enthusiast with a deep appreciation for the art of cinematography and the craftsmanship that goes into bringing animated programs to life, I cannot help but express my delight as I skim through this year’s nominations.

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2024-07-17 23:25