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ReplyCopy URLFYC:
The HBO darlings everywhere (The Last of Us, Succession, The White Lotus, Perry Mason, Somebody Somewhere, White House Plumbers, Love & Death);
The Apple gang (Bad Sisters, Slow Horses, Shrinking, Ted Lasso, Black Bird);
Poker Face, The Great, The Bear, Evil (especially Katja Herbers) and The Good Fight.Please! These gays, they're trying to murder me!
Could any of Slow Horses, Industry, or The Sandman get in for Writing (I specifically ask about that category because that branch is the most idiosyncratic)?
I doubt it, this year is too stacked between Succession, TWL, TLOU (could be snubbed, although if they submit “Long Long Time” I doubt it), Yellowjackets, Better Call Saul and even Bad Sisters.
ReplyCopy URLFYC:
The HBO darlings everywhere (The Last of Us, Succession, The White Lotus, Perry Mason, Somebody Somewhere, White House Plumbers, Love & Death);
The Apple gang (Bad Sisters, Slow Horses, Shrinking, Ted Lasso, Black Bird);
Poker Face, The Great, The Bear, Evil (especially Katja Herbers) and The Good Fight.Please! These gays, they're trying to murder me!
Could any of Slow Horses, Industry, or The Sandman get in for Writing (I specifically ask about that category because that branch is the most idiosyncratic)?
Probably not. though if I had to pick one, Slow Horses. Industry is probably just too small. The Sandman might be more likely to throw a guest nom if anything.
ReplyCopy URLAll this talk of Coolidge and Snook Lead/Supporting placement when Rhea Seehorn gives the best performance in either category for like the 3rd straight time and is most likely going emptyhanded…
Better Call Saul began its Emmy life with Jonathan Banks losing to Peter Dinklage and has been dealt a similar hand by them ever since.
I know not everyone in the Academy (or in this forum, for that matter) watches/cares about the show, but it deserves better than a consolation prize (or worse, nothing at all).
ReplyCopy URL<p style=”text-align: center;”>That loss was really criminal…The Emmys are better than the Oscars in most ways except the annoying Repeat wins we get every year especially in the supporting categories… There are deserving ones but most of these wins are just laziness from voters… It’s one of the few reasons why the tape system even though far from perfect was in some ways better than the preferential voting, though they are caveats like Hamm losing all nominations under the tape system but winning the first year he competed after it was scrapped…</p>
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ReplyCopy URLFirst look at Meg Bellamy and Ed McVey as Kate Middleton and Prince William on the set of ‘THE CROWN’ season 6 https://t.co/Pg9wvm6b5r
— Film Updates (@FilmUpdates) March 17, 2023
Could any of Slow Horses, Industry, or The Sandman get in for Writing (I specifically ask about that category because that branch is the most idiosyncratic)?
The Sandman absolutely not. That show came and went and has gotten zero recognition for its writing (it was eligible at WGA). Industry would be more tempting if it surprised with a TCA nod but I feel like it’s still too small to break through with the writers.
Now Slow Horses is an interesting one. Not only did it pull off a surprise win at the Scripters (which could have easily gone to Fleishman is in Trouble) and with the exception of Show Me a Hero, which was still nominated at WGA, every winner of that award has been nominated in writing at the Emmys but also it has so far made every writing award it has been eligible for. Now granted one can’t compare the nominations of the Broadcasting Press Guild or the WGGB with that of the WGA (although I’d argue the fields with both those organisations are just as competitive as they are at WGA due to only 3 to 4 slots and this being a really big year in British drama) but with how well it has been doing with writing awards with other bodies so far it begs the question of whether it would have made it in at WGA if it was eligible and if it would have knocked something like Bad Sisters out of new series or even stuff like Andor or even The Crown out of drama series there. And if it was to make it in there, could we actually really be sleeping on it as a writing nominee, potentially even a series nominee for that last slot? Apple already seem to be campaigning quite a bit for it this time round (whilst it was more or less MIA compared to Severance, The Morning Show and Pachinko last year) and whilst we don’t usually get surprise breakouts on nominations morning like we do in comedy, just like What We Do in the Shadows it is a show with very strong Emmy recognised writing pedigree that the critics loved and has a sophomore season that both its fans and critics agree is an improvement on its first.
Either way I won’t predict it for a series nomination because it would be totally unprecedented but I think I might throw it into my writing predictions (which is a risk seeing as I already have both The Crown and Yellowjackets on the edge of them and the former could very well submit “Couple 31” and the latter could have a very acclaimed finale) if it manages to make the equivalent lineup at BAFTA. Whilst I would advise against looking at the BAFTA TV awards as some sort of awards harbinger seeing as their acting and series categories are juried, their writing categories do tend to have decent matchup with the Emmys in terms of British shows getting recognised there. Since 2016 only Downton Abbey, The Night Manager, Bodyguard and Normal People have failed to get in at BAFTA after/before getting in at the Emmys and the latter two were competing in ultra-competitive writing categories (the former of which being one with 3 other writing Emmy nominees and the latter being in a category with the 3 most acclaimed British dramas of the year) and both Downton and The Night Manager never really landed with BAFTA the way they did at the Emmys. So if Slow Horses makes the writing lineup at BAFTA it could be a huge sign of support.
ReplyCopy URLFYC: Better Call Saul, The English and The Good Fight in all categories including Emily Blunt, Bob Odenkirk, Christine Baranski and Rhea Seehorn.
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