The last couple of years, the Emmys
keep getting closer and closer to satisfying me with almost all of their
choices. And this year, they nearly made it perfect – or at least as perfect as
anything can be considered when Game of
Thrones is at the center. (We’ll get to that in a minute.)
Because I figured most of the Emmy
love would be given to Game of Thrones, I
focused more on the comedies this year. I actually saw six of the seven
nominees in their entirety, which is a lot higher than I usually get, and
realized that a lot of imagination this year was in the Comedy category. I was
mostly impressed by The Marvelous Mrs.
Maisel, and was genuinely satisfied when it managed to take eight trophies,
including Supporting awards for Tony Shalhoub and Alex Borstein. I was a little
disappointed that the Palladinos didn’t win any of them, but considering how
thoroughly (and delightfully) they were thanked by Shalhoub in his speech, I’m
sure they’re satisfied.
I was even more delighted to see Fleabag, a series I basically binged in
its entirety in the month of August. By then, I realized why Phoebe Waller-Bridge
was beloved by a sizable contingent of Emmy voters, and that she deserved to
win at least one award. I never in my wildest dreams expected her to take Best
Actress from Julia Louis-Dreyfus, and judging from her reaction, neither did
she. By that time, it was now clear that, despite paying tribute to it at the
Emmys this year, there was no way in hell Veep
was going to triumph for its final season. Fleabag’s triumph was remarkable even by the standards of Peak TV,
and no doubt will have Amazon producer hammering down Waller-Bridge’s door demanding she do a third season despite
her insistence she won’t. (Hell, if it gives another chance for Andrew Scott
getting a nomination that would be enough of a reason to watch it.)
I’ll admit I was a bit disappointed
that Barry’s
‘ronny-lilly’ one of the highpoints of the TV season was basically ignored,
but the competition in the directing and writing this year was so intense that
there was no way someone wasn’t going to walk away disappointed. At least, Bill
Hader deservedly repeated; The Good Place
was shutout. But hell, there’ll be a lot more vacancies in every comedy
category next year. And given its track record, I’m betting they can produce
another ‘janets’.
As for Drama, well, despite
everybody loathing how Game of Thrones ended,
it did win Best Drama. But perhaps the backlash had consequences after all. Of
it’s eleven other wins, only Peter Dinklage won in a major category. Succession, a series I am coming to
admire more and more with each episode I see, took the Best Writing trophy, and
in one of the bigger upsets of the night, Jason Bateman finally got an Emmy for
directing an episode of Ozark. It’s
now becoming clear that series is a player; Julia Garner more than deserved her
Supporting Actress win.
As for the leads, much as I wanted
to see Bob Odenkirk triumph, I can’t argue with the joy that filled the complex
when Billy Porter managed to win for his work on Pose. Having seen his performance this season, he is one of the most incredible actors. I expect more
nominations for the series as a whole. And it was rather delightful that an
actress from Killing Eve ended up
winning… only not the one that we expected. I’ve always felt that Jodie Comer’s
work as Villanelle was one of the most frightening performances on TV I’ve ever
seen. But given all the (understandable) glory given to Sandra Oh leading up to
it, I naturally expected her to win. I’m glad to be proven wrong.
Limited Series actually offered
some pleasant surprises. Chernobyl ended up taking ten wins, including
Best Drama, Best Writing and Best Directing. Don’t get me wrong; it was an
extraordinary limited series. But all the cards seemed stacked in favor of When They See Us prevailing. In all
honesty, I think it was because the series – as extraordinary as it is – felt
at times more like an obligation then
actual entertainment. I thought that might work against it, and it mostly did.
I’m not as shocked as the rest of the world is that Jharrel Jerome ended up
taking Best Actor. Much I’d have liked to see Ali or Grant prevail; his work
was, even by the high standards, exceptional.
The Actress awards were sort of a
surprise. I wasn’t surprised Patricia Arquette won – just for which show. Her
work in The Act was exquisite, but I
was certain the other Patricia would prevail. But considering how good Michelle
Williams was as Gwen Verdon in Fosse/Verdon,
and how much the momentum was switching to her near the end, I guess they
figured, they couldn’t send her home empty handed. One can hardly argue that
neither balked at speaking their mind in their speeches.
If I was disappointed about
anything, it was that Deadwood: The Movie
ended up losing Best TV Movie to Black
Mirror: Bandersnatch. This was a
work that was never supposed to be made, and a triumph to recognize one of the
greatest men to ever work in television. But as the Emmys have proven over and
over again, they’re just not that sentimental. Maybe Milch can find it in him
to write that fourth season now?
I didn’t think the Emmys going
hostless worked nearly as well as the Oscars did. There were some humorous
bits, of course, but it was messy. (And what the hell was that commentary all
about?) What I did like was the way
it flowed. The Emmys did for (most) of the nominees what it did for the Oscars,
and gave us a chance to see some of their nominated performances. And Bryan
Cranston’s opening remarks demonstrated again just how good he is at anything
he does. Maybe he can host next year? And I was glad to see them pay attention
to some other shows that were leaving this year. (Subtlety be damned: They
acknowledged Jane the Virgin’s
existence, something they couldn’t do with trophies. They didn’t acknowledge Crazy Ex-Girlfriend, but then again,
they did give Rachel Bloom Emmys.
Progress.)
If I have any regrets, it’s that Better Call Saul underserved Emmy-less
streak continues. This time, with Game of
Thrones gone, next year looks promising. Then again, the broadcast season
hasn’t begun, and Succession, Pose,
Stranger Things and Big Little Lies have
already made big impression. But I speak with some optimism: TV’s future looks
bright, now that the Song of Ice and Fire is finally sung.
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