Lovecraft Country, Hamilton, and—ugh—Emily In Paris: The biggest Emmy snubs and surprises
Now that the 2021 Emmy nominations have been announced, we discuss the biggest snubs and surprises
TV Features Hamilton
The nominations for the 73rd Emmy Awards were announced today at a much more reasonable hour than usual, a change that may or may not have been a result of our ever-shifting grasp of time in a pandemic. Even West Coasters could comfortably watch as This Is Us’ Ron Cephas Jones and Blindspotting’s Jasmine Cephas Jones shared the names and titles of some of this year’s nominees. The actors, who made history in 2020 with their “father-daughter” Emmy wins (for Quibi’s #FreeRayshawn and This Is Us), divvied up the announcements from opposite ends of the country, another reflection of “these times,” but come September 19, the Emmy Awards will once again be an in-person event.
The livestream was on the shorter side, a decision that may have been made to keep the event free of the glitches that made 2020’s reveals such an interesting affair. But there were still plenty of surprises to be had this year, including a strong showing for the recently canceled Lovecraft Country. Misha Green’s adaptation of Matt Ruff’s 2016 novel was one of the buzziest shows of last summer, but it can still be easy for shows to get lost in the din of ever-peaking TV. And yet, the horror-drama hybrid scored 18 nominations total, and will compete in the Outstanding Drama category.
As in most years, there were thrilling surprises and equally confounding snubs. For every delight—Jean Smart earned nominations for Hacks and Mare Of Easstown—there was some big letdown, like The Underground Railroad’s single nomination. Here, The A.V. Club’s TV editor Danette Chavez and staff writer Saloni Gajjar dig into some of the Emmy voters’ best calls and biggest oversights.
Snub: For All Mankind, Outstanding Drama Series
When WandaVision premiered in January, many viewers (and critics) hailed the return of the weekly TV experience. But Apple TV+’s For All Mankind reignited interest in purposeful, slow-building stories all the way back in 2019. The space-race drama, from co-creators Ronald D. Moore, Ben Nedivi, and Matt Wolpert, is inventively made, readily inspiring awe with each new shuttle launch. It also boasts some of the most expansive storylines, leaping through decades without ever losing sight of its characters. Season two offered one of the best episodes of the year in its finale, which had more heart and spectacle than just about anything else on TV. [Danette Chavez]
Surprise: The Boys, Outstanding Drama Series
Thanks to Disney+, the MCU gets to bring its superheroes to TV. But Amazon Prime Video’s The Boys sneaking in an Outstanding Drama nomination over a contender like The Falcon And The Winter Soldier is a pleasant surprise. Eric Kripke’s dark satire of the genre is both a riveting thriller and a black comedy. Its slew of evil superpowered beings are the opposite of The Avengers, a concept that allows The Boys to poke fun of and genuinely ponder society’s obsession with the hero complex, all while delivering exploding heads, talking gills, and a terrific villainous performance by Antony Starr. [Saloni Gajjar]
Snub: Small Axe, Outstanding Limited or Anthology Series
The debate over whether Steve McQueen’s Small Axe should be classified as film or TV is so last year—and, as we argued at the time, beside the point—so there’s no excuse for the anthology’s omission in this category. Mangrove, Red, White And Blue, Lovers Rock, Alex Wheatle, and Education were some of the most powerful stories to unfold on the small screen, marked by bravura performances from John Boyega, Letitia Wright, and Shaun Parkes. We can’t even really console ourselves with Boyega’s nomination for Outstanding Supporting Actor in a Limited Series/TV Movie, because his turn in Red, White And Blue was one of the best lead performances of the last year. [Danette Chavez]
Surprise: Pose’s MJ Rodriguez, Outstanding Lead Actress in a Drama
To be clear, we’re not surprised to see MJ Rodriguez in the running for Outstanding Lead Actress in a Drama. As Blanca, she’s been the heart and soul of FX’s Pose throughout its three-season run, maintaining a beautifully bruised optimism in the face of some of the darkest chapters in LGBTQ+ history. But we were still somewhat prepared to be disappointed by the TV Academy yet again this year—after all, the voting group looked past her shining portrayal of the House Of Evangelista for the last two years. Rodriguez has made history as the first trans woman to be nominated in a major acting category, and she’s deserved this recognition for quite some time. [Danette Chavez]
Snub: Girls5eva’s Renée Elise Goldsberry, Outstanding Lead Actress in a Comedy
Reneé Elise Goldsberry scored an Emmy nomination for Hamilton, but her Girls5eva performance is a dazzling display of physical comedy and biting dialogue delivery. Her heightened diva persona, Wickie Roy, fills the Peacock series with endless one-liners, memorable gags, and surprising emotional twists, all of which Goldsberry brings to life without missing a beat. The actress and singer is a comedic discovery as she balances Wickie’s fortitude and vulnerability with an air of superiority. It’s a shame the Television Academy overlooked her talent in this category (and the show itself). [Saloni Gajjar]
Surprise: Emily In Paris strikes again
No offense to the lighthearted, buzzy dramedy Emily In Paris, but what were Emmy voters thinking? The Netflix series was a viral phenomenon when it launched—not because of its marvelous storytelling or nuanced writing, but because it’s pure fluff. Emily In Paris’ Outstanding Comedy nomination robs far more deserving TV comedies of the last year (Superstore, Mythic Quest, Search Party, Girls5eva, and Dickinson). It wasn’t just escapist; it was devoid of substance. [Saloni Gajjar]
Snub: The Underground Railroad’s Thuso Mbedu, Outstanding Lead Actress in a Limited or Anthology Series or TV Movie
The limited series categories continue to be the tightest races at the Emmys, as A-list talent keep on flocking to these productions from top-tier producers. But that’s precisely why we’re flabbergasted by the TV Academy leaving The Underground Railroad’s Thuso Mbedu off of the list of nominees for Outstanding Lead Actress in a Limited/Anthology Series or TV Movie. You don’t get much more top-notch than an Oscar winner like Barry Jenkins; there was nothing “limited” about his TV epic other than its number of seasons. The Underground Railroad was rightly nominated for Outstanding Limited or Anthology series, but Mbedu’s simmering portrayal of Cora is one of its greatest strengths. She could have easily taken Cynthia Erivo’s spot, even if the latter did play the Queen of Soul, Aretha Franklin. [Danette Chavez]
Surprise: Black actors lead the Outstanding Lead Actor in a Drama race
At the Emmys last year, Black actors received a record number of nominations. This year’s Outstanding Lead Actor in a Drama contenders sets a new record, as Black performers lead the category. Sterling K. Brown and Billy Porter both snagged nominations once more for This Is Us and Pose, respectively. Jonathan Majors scored one of the 18 nominations for Lovecraft Country, while Regé-Jean Page is nominated for Bridgerton. The Crown’s Josh O’Connor and Perry Mason’s Matthew Rhys complete the list. [Saloni Gajjar]
Snub: Superstore, Outstanding Comedy Series
The Emmys are known to favor television shows in their final season, so they could’ve rectified Superstore’s egregious omission for its six-season run. The NBC series retained its fast-paced and timely humor, maneuvering it to provide insights into the struggles of essential employees and the working class during a pandemic. The loss of series star America Ferrera gave the ensemble space to shine, including Ben Feldman and Lauren Ash. Perhaps being a broadcast show hampered its chances, but Superstore’s final season was a creative and comedic success worthy of an Emmy nod. [Saloni Gajjar]
Surprise: Cobra Kai, Outstanding Comedy Series
Johnny Lawrence (William Zabka) finally gets a win. Well, almost. He’ll now have to defeat Ted Lasso for the actual trophy. But seriously, Cobra Kai’s recognition as Outstanding Comedy is an unexpected surprise. The YouTube-turned-Netflix series hasn’t just reignited The Karate Kid fandom, it’s slotted in new followers into the franchise with exponential ratings (if Netflix’s numbers are to be believed without question, that is). The comedy’s third season was well-written and performed, jam-packed with drama and intense fight scenes, but it probably made the cut because the storyline finally brings Johnny and his frenemy Daniel LaRusso (Ralph Macchio) on the same side. Cobra Kai never dies, indeed. [Saloni Gajjar]
WTF: Hamilton’s 12 nominations
We fully recognize that Hamilton is one of the biggest pop-culture phenomena of the last decade, permeating the mainstream with its irrepressible soundtrack and rising stars turned high-profile performers. Lin-Manuel Miranda’s Broadway musical was a vehicle for stars like Daveed Diggs, Anthony Ramos, Renée Elise Goldsberry, and Jasmine Cephas Jones. But to score 12 Emmy nominations five years after the taping of the two performances that made up the Disney+ Hamilton special is, well, ridiculous. The TV Academy’s often flummoxing guidelines can lead to situations like only two shows being nominated in the Variety Sketch Series category (but hooray for A Black Lady Sketch Show!). Their preoccupation with this taped performance have skewed the Limited Series/Anthology/TV Movie acting categories—how is John Boyega competing in Supporting Actor, while Miranda and Leslie Odom Jr. vie for Lead Actor? What makes this even more baffling is the fact that there’s already a place to recognize the Hamilton special: the Outstanding Variety Special (Pre-Recorded) category. This is easily the most bewildering, post-pandemic voting development. [Danette Chavez]
160 Comments
so happy for MJ Rodriguez, such a memorable performance.surprised Smollett got a nom, thought her angry stomping was a bit weak on Lovecraft compared to Wunmi and Majors.
If Emily in Paris was going to get a Comedy Series nomination, it’s baffling that Lily Collins didn’t get an acting nomination too. She’s a delight – genuinely the only reason to watch that dumb show.
Cobra Kai is great but how is it a comedy? A kid nearly died after being kicked off a balcony and landing on hard stairs! I feel like The Boys is more of a comedy (whale guts!) and Cobra Kai is more of a drama.
It’s a comedy because that same character’s paralysis got cured by Dee Snyder.
You could not have put that any more perfectly.
New Mobility Magazine did a great comic on that exact thing. The show’s attitude towards Spinal Cord Injury would be insulting if it wasn’t so funny. Check out that comic.
that same character’s paralysis got cured by Dee Snyder.Wait, what??? I never wanted to watch Cobra Kai before right now, but you may have sold me.
That pretty much encapsulates the series (at least seasons 2 & 3).
But it clearly is a comedy even if there are a few dramatic events and darker characters like Kreese. It’s basically showing how Johnny and Daniel (who were already kind of unrealistic stereotypes in the 1980s movies) are ill-suited to the modern age, and cleverly shows that it isn’t just Johnny’s machismo that’s the problem — Daniel’s “nice guy” act also is pretty toxic.
the kid who got kicked off the stairs in an “all out karate riot”
It’s (usually) 30 minutes an episode, isn’t it? Ie for Emmy voters, a comedy. Or something…
See the original offenders: “Nurse Jackie”, “The Big C”, etc. Because they were half-hours, they automatically became “comedies.”
Yeah it’s bizarre, but I think the networks themselves kinda encourage that reaction. (Too bad as I genuinely often welcome a full on 30 minute drama–you still see them from the UK…)
They absolutely encourage it. Because they’re half-hour, the networks deliberately game the system and submit them as comedies.But because they’re actually dramas, voters think that “serious” shows deserve awards more than silly shows, EVEN IN THE FUCKING COMEDY CATEGORY. So they get a huge unfair advantage even though they’re very often just crummy dramas and not-at-all comedies.I mean, you can sorta make the case that Cobra Kai is a comedy. It does straddle the line. But obviously it wouldn’t have a prayer of getting nominated in a drama category.
“Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.”
― Mel Brooks
To be fair, I had to put it aside for a while because I could *not* take seriously the idea of high schoolers forming karate-based cliques.
It’s a comedy if the kid yelled “Ow, my coccyx!”
“Oh, they have warring karate dojos.”
Lovecraft Country failed to use Jurnee Smollett to her full potential in the back half of the season, and had some missteps (ahem that one murder, for starts), but a lot of people kind of tossed it aside after it finished up, while I thought it was a bigger deal. I’m not certain it is an 18 nominations big deal, tho! Wow.And you’re right, Hamilton getting all these noms is pretty fucked up. Is there precedent for this? Did a concert version of Les Mis sweep the emmys one year? My main Q is: WHY? Why would you give a ton of emmys for something that was not made for television?
Same reason Don Cheadle and Claire Foy got nominations for one-scene performances (in The Falcon and the Winter Soldier and The Crown, respectively): people recognize the name.
Chedale was nominated from that? And not the guy who played Issah Bradley? A character so good I actually remembered his name without looking it up?
Yep! Hamilton is a NAME property so they felt they had to acknowledge how with it they are. I mean I really like Hamilton. And I really like that a filmed stage production has gotten so much attention, but…
Looking at the few filmed stage musicals to get Emmy attention I could think of—
When the tour of Sweeney Todd was filmed and aired on Showtime and then Great Performances, it was up for five Emmys in 1985 (for the GP airing, not the earlier Showtime one). It won outstanding directing, and outstanding performance (for George Hearn as Sweeney—Angela Lansbury was nominated but didn’t win). However, these were in the Variety or Music Program category.
Into the Woods’ filmed Broadway production was up for one nomination in 1991, in Outstanding Classical Program in the Performing Arts.
You mean to say the Emmys are shoddily selected and out of touch? Why, my monocle just popped clean out!
He did? Seriously, what the ever-loving fuck???
I like Carl Weathers but nothing about his Mandalorian performance was worth an award
And Carl Lumbly was overlooked for his role of Isaiah Bradley in Falcon.
There was plenty I liked about Lovecraft Country despite so many incredibly baffling decisions— but I’m a little surprised both that Jamie Chung didn’t get a nomination for guest performance and how utterly pointless that character ultimately ended up being, beyond the single episode focused on her.(But yeah, it was a little surprising how it felt like the show didn’t follow through on the amazing promise it had with Smollett, Chung, or Wunmi Mosaku. I forget how well it followed through with Aunjanue Ellis’s character but it was nice to see her get a nod.)
okay…deep breath…I had to look up what you said so I knew you weren’t joking…THEY NOMINATED DON CHEADLE FOR THAT CAMEO? WHAT. THE. FUCK?I don’t blame Don Cheadle for this but…I mean…he should have removed his name from consideration, that is completely and utterly bonkers to nominate him for that. RHODEY ISN’T EVEN AN INTERESTING CHARACTER (wheeze) (wheeze) (wheeze)ah well
Counterpoint: Rhodey is an interesting character, at least he could be given a bit more material.However what the actual f%@#, how on earth was his fly past cameo worthy of any sort of award recognition (no even Mr Cheadle). Especially when Carl Lumbly stole the whole series with his two episode appearance as Isaiah Bradley.
(eight more installments in, it turns out Rhodey has a brother he never mentioned, played by John Cena)
Anthony Mackie as Captain America: They finally got around to giving you a backstory too, eh?
Hey, Cena’s going to have his own superhero series starting soon too. Any guesses on the over/under for how many nominations that receives this time next year?
They’re fast tracking Lin-Manuel Miranda for EGOT immortality? /shrug If you ask me he deserves it.
He already got the E, though.
Really? Oh, well, screw him then.
I adore Lin-Manuel, but he already has the Emmy portion of his EGOT (he won one for a song he wrote for the Tony Awards). It’s just the O he’s waiting on.
Nah, he already has the E. It’s the O he’s missing– stolen, in my opinion, by the dumb song from La La Land when he should have won for Moana.
He already has an Emmy, got it in 2014, so he just needs an Oscar.
It could’ve and should’ve been nominated for the Outstanding Variety pre-taped category, where is almost certainly should have won. All he needs is one emmy. The other nominations are the problem.
“They’re fast tracking Lin-Manuel Miranda for EGOT immortality?”He’s already won an Emmy, this doesn’t advance him on the cursus honorum.
The funny thing is, the Hamilton love affair has dimmed in the years since its premiere. I remember so many think pieces when the taped version first appeared about how it’s dated in the Trump era or that it’s somewhat token in its representation. Its bizarre in more ways then I can describe that it got all these nominations.
I still do not get how Hamilton got harangued to the Emmies as opposed to the Oscars.
harangued? And the David Byrne show was put in Variety, not limited friggin series, if anything it should be there, certainly not up for an Oscar (wtf it didn’t have a theatrical run)
It should have been up for damn Oscars, not competing in television awards, period. It was not made for television. It was going to get a damn theatrical release, but COVID-19 changed those plans. Because it didn’t, we’re left with the Disney full court press for Emmies instead of them wasting their money for Oscars. They weren’t going to stick this in that category with American Utopia, just like Disney wasn’t going to stick two of their shows in limited series (even though that’s where both should be) if they could get a few of them in the drama series races and get themselves more nominations. They could care fucking less if any of them actually win. The nominations against HBO and Netflix are the prize here, and the House of Mouse is working hard to stack that deck, judging on the nominations they pulled out here.
Of course it wasn’t made for television…it was made for the theater. Has a filmed theatrical production ever been nominated for best picture or any other significant oscars? I think Spike Lee’s Passing Strange got a theatrical release and would have qualified technically. I think Vin Diesel would tell us that this is not the mooveeez. It is nuts that voters went for this in limited series category and don cheadle as supporting actor…they’re delegitimizing an award that’s prestige is already pretty seriously attenuated (although it stands to be more important without Golden Globes). The “limited vs. not limited” issues with Mare, Lovecraft, and White Lady Murder Show are all problematic, like putting The Martian in best comedy at the Globes, or Weinstein-like manipulation of who is leading and who is supporting bullshit, but this is just blatant abuse of the process. I think, as with Cheadle’s ridiculous nom, Disney is going to be mocked for this more than benefit from it even when they win their rigged Emmys, and HBO will poop in their lunch again.
Discussing with a couple of friends by text – we’re pretty much agreed that although The Boys is great, it might not in itself really warrant a Best Drama nomination. I think that acting nods for Karl Urban and Antony Starr would probably have been more warranted, but hey.
Antony Starr for sure, that casting and performance is PERFECT.
I remember a lot of picking apart of the show last season, especially toward the end.
I thought S2 was a step down from S1. My biggest problem with the show is the contrivances needed to keep the Boys alive. There really is no reason that Homelander hasn’t melted them all. But Starr has been consistently great.
It’s true. And they pushed those contrivances to the breaking point this past season where the Boys just barely, barely escaped multiple times when they should have just been pulverized by any one of the super powered beings.
Antony Starr definitely, but not for Karl Urban with that ridiculous attempt at a “Cockney” accent.
Agreed. It’s a fun show, but i can think of a dozen more deserving shows off the top of my head.
Bowen Yang got a deserved SNL Supporting Actor nom, which I believe makes him the first Featured Player to do so (Alec Baldwin did get in twice despite not being a cast member at all).Also, congrats to Emmy nominee Demi Adejuyigbe, for The Amber Ruffin Show.
No Adventure Time nomination? Bullshit.No Writing nomination for In Treatment? Bullshit.
Was In Treatment eligible? I think only eight of its episodes aired before the cutoff point.Adventure Time was in the Daytime Emmys, it got three nominations.
Uzo Aduba was nominated, at least, so it must’ve been eligible. The Colin episodes were so brilliantly written. At least Yao made the cut. She was invigorating, even just sitting in her chair in her wonderful outfits.Good about Adventure Time. Thanks for clearing that up for me. The Finn and Jake dying episode is some of the best TV I’ve seen.
I think the rules on this are confusing (and change every few years), but IIRC, she’ll have to pick one of those opening eight episodes as her submission, and will technically be eligible for the rest of the season next year. This is from 2017: https://www.vox.com/culture/2017/7/12/15949956/twin-peaks-emmys
Agree about Superstore, but I think no acting nomination for Ben Feldman is by far the bigger snub. Jonah went through a lot of dramatic change in the final season and it could have easily been really clunky. But Feldman was not only in perfect step with the writing, I think he added tremendous dimension to the character just through plain old great acting. It was a good show that finished on a great note, and he was a huge reason. Can’t understand the omission.Also, really glad to see Nailed It on the list. It’s one of the best things on TV.
Ben Feldman was good on Superstore. I like Nicole Sakura even more, who played the funniest character, and America Ferrera’s guest appearance in the final episodes definitely lived up to expectations.
I just knew her as Nicole Bloom
Oh man , the golden age of TV is well behind us now. What a line up of unwatchable shit.
Wait what? What shows do you deem “whatchable”? I don’t agree with all the nominations or anything, but there’s some great stuff in here.
I’m just gonna guess that by “unwatchable”, you mean “things I haven’t watched”. Yes?
I dunno off the top of my head Emily in Paris is terribad fluff ,
At least it didn’t include the phrase “terribad fluff”.
I don’t have Apple TV so Ted Lasso is, for the time being, utterly unwatchable.
Was there some sort of La La Land as Best Picture-type flub concerning a John Boyega nom, or are the frequent citations artifacts from a pre-announcement draft anticipating a nomination? The Emmys site only reports a single nomination for Small Axe (Limited or Anthology Series or Movie Cinematography).WTF: Don Cheadle and Claire Foy’s respective Drama Series Guest Actor/Actress nominations for single-scene cameos.
Everyone here is all over Cheadle (and I agree on the WTFness of it all), but thank you for also bringing up Foy. She did remarkable work on The Crown when she was a series regular. She showed up for like 2 minutes to give a fucking speech. It was really cool to see her in the flashback. But Emmy nom-worthy it was not. A cool cameo does not an outstanding performance make. Who the fuck nominates this shit?
Sigh …they really don’t GET comedy do they .As usual the best stuff gets ignored ( WWDITS*, Mythic Quest, Superstore) , and stuff that isn’t really comedy The Flight Attendant?? Emily etc breezes on . Plus the Kominsky method gets a free run as actors and producers like things about actors and producers. ( Ted Lasso I guess , tbh I just don’t like it , but everyone else does). The animation category by the way is bad as ever …no Lower decks , no HarleyQuinn but ha! the Simpsons gets a nom because the voters haven’t watched prime time animation since the 90s and just pick names they recognise (‘ was there a South Park?? I think I saw that once and my grandkids like it.?’)(*Maybe it wasn’t eligible due to when it aired, I dunno??)
WWDITS got nominations last year, it didn’t air anything during the eligibility period for this year.
I do not think WWDITS was eligible this year. Season 2 was nominated for several Emmys last year.
Dang it you’re right ,although it missed out on best comedy ,and the noms were for best supporting I think??
What We Do in the Shadows got a Best Series nomination last year along with a ton of writing noms. The actors should’ve been nominated as well. But it wasn’t eligible this year. I’m an Emmy voter (I won’t say in what branch) but the full TV Academy can nominate in every series category except animation. So, only animation nominates its own. You’d think they’d be better at it since they’re the supposed experts. Harley Quinn was ripped off.
No Invincible and no Adventure Time in the animation categories is insane.
But Primal was nominated and that was the best animation on TV hands down. So I hope it wins!
I’m glad someone is recognizing that season 2 of For All Mankind was legitimately great. I thought it was an outsider to get nominated, but in my opinion it was far more worthy than Bridgerton. I know we all watched Bridgerton and it was a phenomenon for like two weeks, but have we gotten enough distance from it yet to acknowledge that it was…not very good. Brightly colored? Yes. Deliciously soapy? Yes. Hot? Yes. But quality television with well-written dialogue and well-plotted storylines? Not so much. For all Mankind was way more interesting and well executed. It just suffered from the terminal affliction of being on Apple TV+, which is a shit platform.
i was so sure it would get a nomination this time. i could understand maybe being under the radar on season one, but season two was incredible. really, really disappointing that it’s not getting more recognition (and yeah, it’s probably due to being on Apple TV+).
I think season two was vastly better than season one of For All Mankind, as well. Season one set a lot of interesting things in motion, but was somewhat tethered to American history despite being an alternative history. Season 2 was a complete departure and—wow—did the writers ever run with that. They did such interesting things in their speculations about the technological, societal and political ripple effects of the US playing catch-up in the space race. Season 2 was way more sophisticated than it had any right to be, and I was pleasantly surprised by the production values. On any other platform, For All Mankind would be getting a massive awards show push from its producers. AppleTV+, in its infinite crapitude, apparently is OK with burying it.
i recently rewatched both with a friend, and agreed that season 2 is better; the suspense involved was also keyed up quite a bit. i hope the show/people involved get their due eventually.
I came into For All Mankind a bit late and watched them on my lunch breaks, which suuuuuuuuuucked because there was absolutely no way for me to stick around to immediately see what happened. Hell of a show, will actually purchase one month of Apple TV to watch the third season after it’s done airing.
Is Ted Lasso that good? I thought it had like okay reviews, is it worth checking out? Does it deserve all those nominations (over Girl5eva, for example)?
Ted Lasso got a pretty rapturous reception, and is really Apple TV’s only true cultural phenomenon thus far. It’s much bigger than Girls5Eva, a show I quite liked but which hasn’t made a big enough splash to be a real contender yet.
I think The Morning Show is right up there with Ted Lasso as being a great show. It did pretty great at the Emmys for its first season too.I think Ted Lasso might sweep, simply because 1. Not a lot of competition this year and 2. It deserves it.
I thought it was going to play out like a 4 minute SNL sketch dragged out for 10 episodes, but it was legitimately good. Possibly my favorite show of last year. I also loved Apple + Mythic Quest, but that got no Emmy recognition.
no Emmy recognition for Backstory, at the very least, is absolute bullshit
I would say yes. I really really enjoy it (and am very happy that season 2 premieres next week). Ted Lasso has it all:- the heart of Schitt’s Creek – fish out of water humo(u)r – problems being solved via sports- Two interesting relationships, neither of which derail the show (one of which is barely even acknowledged as a possibility)- genuine human emotion and growth- Coach Beard- fabulous kar-a-o-ke
Anytime I say “this has it all” I channel my best Stefan.
YMMV , I’ve tried it a bit and I just don’t get it , its fine, but not that funny but a lot of people seem to love it so I’m the outlier I guess …Mythic Quest is amazing though.
You have to be in the mood for an uplifting show that still is able to have good dramatic moments to really enjoy it. Basically if you have a pulse and the world hasn’t broken you into shards of glass, you should find this show enjoyable.
I follow a bunch of sport journalists for news/pontificating, and I’ve been turned against Lasso forever due to just how much they shout Lasso’s praises. It is basically 2020’s Bruce Springsteen to them.
It really isn’t, in my opinion. It hits the same notes over and over, is not very funny, and also gets a lot wrong about football/soccer.
I think Ted Lasso is marvelous, and everyone I know who has watched it has loved it. It operates along the same vein as Schitt’s Creek and Parks & Rec, in that it has a big heart and it isn’t interested in punching down, but it also isn’t interested in being an “easy” or thoughtless comedy. Ultimately, I think whether or not someone enjoys Ted Lasso depends a lot on where you fall on the comedy spectrum of sincerity to cynicism: I think that for the last 30 years or so, TV comedy has fallen into two pretty distinct camps: sincere vs. cynical. When you think of sincere shows, you think of stuff like New Girl, Parks and Rec, The Good Place, Kimmy Schmidt, and Schitt’s Creek. These shows, until recently, occupied a much smaller space within the TV landscape, with cynical comedies like Seinfeld, Everybody Loves Raymond, The Office, 30 Rock, It’s Always Sunny in Philadelphia, and Veep dominating. Personally, I’m over the cynicism. Cynical comedies always felt too mean to be enjoyably funny to me, and for a while they were really the majority of what was on offer on network TV. If you’re into edgier, cynical comedies, then Ted Lasso might not be for you. If you can appreciate a more sincere or optimistic comedy, then you might like it. Here’s what I liked about Ted Lasso: It doesn’t give in to tired tropes. You may think that the show is setting up a particular conflict in order to drag it out over three episodes (or *groan* a whole season), but then the unexpected happens—two characters will talk honestly with each other, confront their issue, and solve it. It doesn’t ask people to behave in contrived ways in order to serve a stereotype or a trope. The female characters are well rounded and dynamic, so the WAG-type character introduced in episode one has a fully fleshed out personality and character arc by episode 3. The dynamics between Jason Sudeikis and Brendan Hunt and Hannah Waddingham are incredible. The whole cast has good chemistry.
(We’re probably at a moment right now where the acceptable boundaries of what constitutes a TV comedy is changing and growing in ways that the genre hasn’t for a long time. Hybrid comedies like Barry and Fleabag and Rick and Morty don’t necessarily fit neatly into the sincere vs. cynical schema, and that’s a good thing. I am so here for that.)
This is really well put
That’s nice of you to say!
I don’t care if it’s cynical, sincere, hybrid, satirical, screwball or whatever. Comedy is my favorite genre. At times i even enjoy low-brow stuff if it’s silly enough. I’ll watch any comedy done well.
well said – there’s obviously room for both, but I am with you on the sincere. If you haven’t already, add Mythic Quest to your watch list.
I’ve added it to my list just based off of you and so many other folks on this page speaking so highly of it. I remember watching the trailer a while ago and not being hooked by it, but I revisited it just now and every comment underneath it on youtube is basically “this trailer doesn’t do the show justice.” So I’m going to give it a go. Thanks for the rec!
Don’t watch “Ted Lasso” if you are diabetic.
In the context of last year’s pandemic lockdown Ted Lasso was the perfect show. Positive, happy, uncomplicated, full of heart. It made you feel really good during a dark time. That’s why it is beloved more than anything else.
Absofuckinglutely. Sudeikis is great, but ultimately it’s really is an amazing ensemble comedy. Probably my favorite show of the last year.And let’s talk about the fact that not one, but two, one-note sports sketches have been transformed into transcendent television: Ted Lasso AND Brockmire (I gotta hype up my favorites). I find it mind boggling that both started off as pretty good sketches, which easily could have been run into the ground over the course of a single SNL season.Yet somehow they were both transformed into multi-season narratives filled with wit, pathos, great writing, great characters, etc. And at their heart they’re both very heartwarming and uplifting (yeah, Brockmire has some meth filled dips…but it recovers amazingly).
Not only is the Hamilton nomination confusing categorically, it’s actually a pretty bad example of a filmed stage performance (especially compared to the standard that the BBC has set for filming RSC productions, or for another US-centric example, Spike Lee’s filmed version of David Byrne’s American Utopia, which was brilliantly captured).Hamilton itself is great, but that is sorta beside the point. The camera blocking and (especially) the editing of this version was terrible. That’s probably why they sat on this for so many years until deciding that, fine, it was good enough to release. That it got awards recognition is merely a testament to the power of branding, and the fact that people really, really enjoy the musical Hamilton.
Supposedly the film is a result of weeks of careful editing / work in the year before the release. Which… yeah. I love Hamilton but was a bit meh on the film.I think the film is a result of Tommy Kail knowing the production so very well (and having directed multiple companies doing the show) that he wanted to make the film a bit different. Which is why you get all these very specific shots, lots of up close stuff (which for how well the musical is staged is… a choice) stuff like how they did Wait For It is clearly a considered and specific choice, I’m just not sure it works very well
Fuck all those Hamilton nominations. Sincerely, this was one of your more packed years for Emmy nods and you basically waste them on shit that was filmed a while ago. I’m way angrier about this than I thought I’d be.Very hot take that will make me unpopular here: while I adore Pose for what it is, its writing is just not there, and that’s influenced every performance on the show. MJ Rodriguez is a vibrant, talented woman and she deserves more than what Pose gave her, which was little more than staring concernedly at others and then making the same speech about how they’re family or something, every damn episode.
WandaVision won’t win anything but I’m super happy to see it nominated, ESPECIALLY Bettany, who had to take a VERY weird role and give it pathos and warmth./rant
A lot of us in the weekly Pose reviews were pretty hard on the writing, especially this season (though I know others did disagree). I’m fine with the acting awards, but for this season it does not deserve show or writing recognition.
I suppose Hamilton now has to be considered the favorite for “Outstanding Variety Special”, but I’d definitely prefer that it go to Bo Burnham’s “Inside”.
my take on MJ’s nomination is that it’s somewhat weird considering it felt like she was sidelined for a lot of this season. She did fine for what was there but the nomination would’ve made more sense for either of the two prior seasons.Agreed on the writing for the show though.
They’re really making up for the lack of diversity in previous years eh?
Their preoccupation with this taped performance have skewed the Limited Series/Anthology/TV Movie acting categories—how is John Boyega competing in Supporting Actor, while Miranda and Leslie Odom Jr. vie for Lead Actor?What do those two things have to do with each other?
Another WTF: the only acting nomination for the entire cast of Falcon & Winter Soldier is… Don Cheadle, who had maybe three or four extremely uneventful minutes of screen time. Did they mix him up with the terrific Carl Lumbly?
That is completely flummoxing. I think his total screen time is like 100 seconds. And Lumbly definitely deserved a nod if anyone in that show did.
Part of the problem might be the weird gray area between “supporting actor” and “guest star”; Lumbly had substantial screen time so I guess he’s not a “guest”, but then again, one of the other Guest Star nominees was Timothy Olyphant, who was on screen for most of an entire episode of Mandalorian.
Cheadle was nominated in the “guest actor” category. Lumbly would probably have qualified for the “supporting actor” category.“Guest actor” is totally appropriate for Cheadle, but yeah, it’s a damn weird category to have in the Emmy’s at all. It would be like the Oscars having a “Best Cameo” category.
If the guest actor rules can specify the maximum amount of episodes (supposedly 50%) for potential nominees to qualify, surely a minimum, more substantial time can be set, too.
As much as I loved the show and Rege-Jean Page (he’s my Netflix profile icon now!), that anyone from Bridgerton is getting an acting nomination seems a bit silly. Art design, yes. Costuming, absolutely. But I don’t think anyone watching it was like “ah yes, these people are at the apex of their skills.” (Although it’s still tops and tails above Emily in Paris.)I too was shocked by the Cobra Kai love (and I’m again not 100% sure it was deserving) – it’s really been a surprising delight, that show.
I’m gonna go ahead and say nope on the costuming. I’m cool with it not being authentic or anything, that’s not the point. Some was good, but some looked cheap and just bad. Not in an authentic to character way either.
I admit that I would need to look a bit closer to some of it to see how well constructed it is. I forgot hair, though – those designs they made for whats-her-face (the snooty one who looks like she smells a fart and is in competition with Daphne for the Prince) were insane.
Lot of costume designers have been very unimpressed with the outfits. I’m no expert but they all looked more like prom outfits. I’m not being a history snob by the way, they just really didn’t impress.
I think a lot of people got caught up in the “hotness” of Bridgerton and forgot to ask themselves fundamental questions like, “Is this any good?” Once you look past the steaminess, that answer should be a pretty clear no. Plot? No. Thematic development? No. Acting performances? No.I was keenly aware when I was watching it that it was both sexy and fundamentally vapid. I am honestly gobsmacked that it got any nominations.
It’s a perfect show for Netflix. You can binge it in a few days, go “ooh, look at how sexy that is” and then largely forget about it until you need a pick-me-up.
He really only got nominated because he’s hot has a British accent and a nice butt.
The butt IS deserving of awards though.
Golden globes, surely?
Good for Emily In Paris. It was pure nothingness, and it kept me amused for, like, a full day of binging. That deserves some recognition.
Ohhh you were drinking when you were watching it? That probably helps. … you probably meant tv binging, my bad..
You know who has two thumbs and spent years Binging…..
I also had a lot of other full days of bingeing of shows during this past year. Wouldn’t consider those Emmy worthy just for having occupied my time.
It inspired me to move to a foreign country, not learn the language, and act like an entitled shit.
If that’s the bar we’re setting, it should have been Outer Banks IMO.
The biggest snub for me is It’s a Sin. Not one nomination–particularly for writing or best show. Of course AVClub has completely ignored the show, so maybe I shouldn’t be surprised it’s not listed here… But whereas some past Russell T Davies shows (Years and Years) are not the kinds of work the Emmys pay attention to (only liking genre shows if they become phenomenons), not only was It’s a Sin some of the best TV in a long time, it ALSO is the kind of show I thought the Emmys would feel required to at least acknowledge somewhere…
I’m very happy to see I May Destroy you nominated. I’m also happy to see MJ Rodriguez nominated for Pose, but I do not think Pose deserves its Show or Writing awards for its worst season.
It should be pointed out Girls 5Eva wasn’t completely snubbed, a writing nomination in comedy (which I don’t personally think it deserved) is no small thing.
And yeah, Hamilton being in the category it is is ridiculous (I also find placing SNL actors in the main categories makes no sense, but oh well).
*climbs upon soapbox wearily lugging a giant cardboard sign*RHEA SEEHORN WAS SNUBBED!!! WHERE IS THE RESPECT!! DEATH TO THE EMMYS!What? Oh, never mind. Move along.
Im still deeply deeply angry she’s never been nominated.
Honest question, has a show ever won an Emmy the year it was canceled? Too lazy to look it up myself.
1988: Richard Kiley won Best Actor in a Drama Series for A Year In The Life and called out NBC for cancelling it in his acceptance speech.
I do not know if it is the pandemic, but this is one of the weakest slates I have ever seen. Some buzz and some good reviews should not be enough for “best shows”. The Boys is pretty filthy (btw I like it) and is a satire, but other than Homelander none of the performances are really “great”. The actual plot is pretty out there and I do not think it is really “saying” much. Lovecraft Country was cancelled, so that is awkward. And Cobra Kai is a nice little surprising nostalgia show..but it is really a great comedy? Johnny still living like it is the 1980’s has some humor, but that is really it and it is more of a melodrama.When I think “best” emmy material I think Mad Men or Better Call Saul, not an r-rated superhero satire
I mean, a bad season 5 of Game of Thrones won best drama over Mad Men’s final season and BCS’s first season, so I wouldn’t consider the Emmy’s a place where the best show is necessarily rewarded. Carrie Coon didn’t even get a nomination for any of her seasons of The Leftovers while you saw Kevin Spacey and Robin Wright get nominations for House of Cards every year.
True, but I would argue all of your examples were still “prestige” shows with famous actors where even if you prefer one over the other (I thought Mad Men should have won every year, it maybe the best show, on technical grounds, ever.) it still was not a surprise they were nominated. “The Boys”? I would never even think to categorize that as a “best show”..entertaining? certainly. But it is not really “good” in the traditional sense.
Is it elitist and snobby to feel this way? Probably. But I do too. I enjoy The Boys and Cobra Kai, but “Emmy material” is a higher standard (or at least it should be) that I don’t feel they meet. If the pandemic really did thin the field, then that could explain some of this, but frankly, they’ve been moving in this direction for the last few years. So I think it’s more likely that inviting the popular junk food to the party is their way of trying to get viewing numbers up. Ratings have been abysmal, and they’re desperate.
Is “Emmy material” a higher standard? Has it ever been? This is an awards show that handed precisely zero nominations to The Wire, but gave 161 nominations to Game of Thrones. Is The Boys really less highbrow than previous winners, like Lost, Homeland and 24? Recent nominees have included Killing Eve, Bodyguard, Pose, The Crown, House of Cards and Downton Abbey.An Emmy nomination is rightfully prestigious and says something good about a show. But I’m not sure it’s ever been a maker of high art – it’s not a critic’s award. It’s an award for things people are watching on TV and enjoying.And it’s not just the last few years – it’s always been mostly junk food. In 2010, the nominees were True Blood, Lost, Dexter, The Good Wife, Breaking Bad and Mad Men. Before that, in 2004, in the middle of the Golden Age of TV, the nominees were CSI, Joan of Arcadia, 24, The West Wing (season 5! good gods people! I love TWW, but season 5!?), and The Sopranos. If anything, it’s been getting less and less junk-foody as time has gone on.
[wait, Joan of Arcadia!?!? I really quite liked that show, and I’m glad people noticed it. But the idea that JoA, a small teen/family supernatural comedy/drama managed to beat The Wire, Deadwood, Six Feet Under, Carnivale, Battlestar Galactica, The Shield, House, or even just 24, Angel, Alias, Wonderfalls, Rescue Me and so on is kind of insane…]
Anyway, it’s got nothing to do with improving the ratings of the show, because the people in charge of the show are not in charge of selecting the nominees, which is done by voters.
Not that it takes away from your larger point but I heard Lovecraft Country has been picked up by Apple.
Don Cheadle getting an Emmy nomination for a cameo over Carl Lumbly is the latest indignity to befall Isaiah Bradley.
This is the second article I’ve seen today expressing surprise that Emily in Paris (pure fluff!) is getting a nom. Didn’t the Emmy’s give a shit ton of awards to stuff like Big Bang Theory and Friends? Is either of those more substantial than those? I’m puzzled by the surprise of this. I tend to only be surprised when they recognize something groundbreaking or edgy.
I agree on “Hamilton” the one-off “movie” that is actually just the play being recorded. I’ve seen it and I like it well enough.If you’re going to turn a play into a movie, spend some money. Start with a young Hamilton in the real-life Nevis, and end at the real-life New Jersey (maybe somewhere up the Hudson to simulate more wilderness) where the duel took place. Don’t just play-act it. What a missed opportunity.Get all Sound-Of-Music on this thing!!
I may have read it wrong, but I don’t think John Boyega was nominated.
People liked season 2 of The Boys?
The BIGGEST snub is Desus & Mero not being nominated!
We fully recognize that Hamilton is one of the biggest pop-culture phenomena of the last decade, permeating the mainstream with its irrepressible soundtrack and rising stars turned high-profile performers. You answered your own question.
The biggest snub is no love for “The Expanse”. I loved “For All Mankind”, but the Expanse is so much better on every level.
Ethan Hawke was robbed for Good Lord Bird, as well as his supporting cast.
The expanse. That is all. Fools.
What’s with the AVC stanning of Girls5Eva? It’s an incredibly bland show that wastes its premise.
They’re not the only ones who are, but I agree with you. Great cast and a delicious premise given the cast and yet… it was kinda ok?
Excellent cast. A fun premise. Incredibly bland and run of the mill humour and writing. Just a waste.
Surprise: Pen15 finally up for Best Comedy.
Snub: Amanda Collin’s performance as “Mother” in Raised By Wolves.
“ever-peaking”That phrase does not make sense. Wouldn’t it then be, at most, a plateau rather than a peak?
Small Axe should be nominated as the top 5 nominated films for the Academy Awards…
Was Succession just out of inclusion for this year’s drama races? That felt very odd not to see in any races this year. The COVID-19 season of television was really bizarre, as are all these nominations.
Succession was ineligible; season 2 aired in 2019 and was nominated last year, and season 3 hasn’t dropped yet.
A new episode of Succession did not air this year or last year.
Wandavision for best series? Come on.
It was great for what it was but that’s about it.