Before we get started with the final week, it’s time we address the Federalist in the room.
Now I know there are millions of people who love Hamilton. And I know that many of them were delighted that, particularly during this past year when Broadway was dark and we needed joy, that Disney Plus gave us a production. However, I think even they would have to be honest that the Emmys went overboard – way overboard with their recognition of it. I’d say it was the most ridiculous excess the Emmys did this year, except I spent a week dealing with eight acting nominations for The Handmaid’s Tale (and that’s before you add on the guest actors and actresses).
I’ll proceed as neutrally as I can with the acting categories. But I have to admit it’s going to be real difficult for me to restrain my bile when it comes to them.
OUTSTANDING LIMITED OR ANTHOLOGY SERIES
As irked as I am that the Emmys couldn’t find room for Fargo or The Good Lord Bird in this category, it is hard to withhold my excitement. In the six years I’ve been covering this category seriously, I don’t recall the race ever being this wide open. There have frequently been years with several extraordinary series competing, but more often than not there has always been an overwhelming favorite that would end up more or less sweeping all the major awards. The one exception of a sort was in 2019 and even then Chernobyl did win the lion’s share of the awards.
This year’s there are at least four serious contenders for the grand prize, and there’s an excellent argument to be made for all of them. I’m honestly not sure what will win in two weeks time. So I’ll just do my best.
I May Destroy You (HBO) 4-1. Pro: This was by far the most radical series of all the nominees, certainly in the darkness of its content and in just how far the journey went. Led by arguably the greatest discovery of 2020, Michaela Coel, creator, director, producer and star, we went down one of the most terrifying rabbit holes all season as Arabella tried to find out just what happened to here one night, no much she tried to look away from it. Coel and the series have won their fair share of awards this season to – from BAFTA, the Peabodys and the Independent Film Spirits first ever television awards. If Coel doesn’t win at least one Emmy in two weeks, there’s something really wrong with the process. Con: This subject may be too dark even for the viewers of Peak TV. The series and Coel haven’t been able to do very well when it came to the major Hollywood awards. Coel’s prizes are more likely to be for directing and writing.
Mare of Easttown (HBO): 37-10. Pro: In a way, this is the most conventional of all the nominees in this category. It’s another grand HBO project, involving a troubled detective trying to solve a twisted murder plot – the network can almost do them in their sleep by now. But to make such a broad judgment would be unfair to the cast, particularly the always magnificent Kate Winslet, who demonstrated yet again why she is probably the greatest actress working today. Throw in another extraordinary work by Jean Smart and superb performances by two of the most undervalued actors today – Evan Peters and Julianne Nicholson – and you find yourself lost in the characters and how damaged they are and how they – and the community – heal themselves. The series won the prize for Best Network/Cable Limited Series, so there is clearly prestige behind it. Con: How many times do we have to honor HBO for what is a variation on the same series? We went through this with Sharp Objects and The Night Of. And this series doesn’t have anywhere near the scope of their previous winners Chernobyl or Watchmen. No matter how exceptional the performances, there is a sense of déjà vu here.
The Queen’s Gambit (Netflix): 71-20. Pro: This was the most binged series near the end of 2020 and dominated the major awards throughout the early stages of 2021. And anyone who’s seen the series can understand why. It takes one of the hardest games to try and make understandable, much less entertaining – chess – and not only makes it fascinating, but dare I say, sexy. Led by lead actress Anya-Taylor Joy, much of the greatness in this series came from what wasn’t said. As Elizabeth journeyed through a world that seemed to do anything to bring her down – and many of these blows were self-inflicted – you found yourself enraptured by every single element. The series has taken nearly every major award to this point. And hell, it’s made chess popular. Like Elizabeth, it’s victory can’t be denied. Con: It debuted way back in November 2020, and a lot of great series have aired since then. Its loss to Wandavision at the HCA may be a sign its time has passed.
The Underground Railroad (Amazon): 9-2. Pro: You can’t argue we aren’t due a series like this. In an alternate world where slavery never ended, where the path to freedom was harsher than it was then, and even liberation guaranteed nothing, this is exactly the kind of project we needed as our nation continues to reckon with slavery and race. It’s a frightening series no matter what your race is and it’s definitely one you experience rather than enjoy. But its definitely one we need. Con: Of the nominees in this category, this one received the least recognition anywhere else – nothing in acting or writing and only one directing nomination. This may be a sign the Emmys don’t intend to give it its due.
WandaVision (Disney +) 9-2. Pro: Well, you can’t say the Emmys have a barrier to comic book based series anymore. In many ways Wandavision was truly the most imaginative of all the nominees in this category, and by far the most entertaining. Led by the exceptional work of Paul Bettany and Elisabeth Olsen in the title roles, I certainly had more fun with this series than any of the others in this category – until of course, we learned the truth. This is also a series that celebrates the wonders of television itself and its ability to bring entertainment and comfort, so we know the Emmys had a reason to love it. And considering the vast variety of fields that have already honored – from the MTV Movie and TV awards to the HCA - there’s a lot of people who love Wandavision. Con: In order to recognize a comic book based series, you really have to deal with something much bigger than just comics. And as dazzling visually and acting as this series is, thematically it doesn’t have anywhere near the power of Watchmen.
PREDICTION: In a very close category, I think The Queen’s Gambit has enough momentum to win. Don’t rule out Mare of Easttown, though.
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