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Emmys 2021 Final Reactions (Part 1)

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    Labyrinth
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    Feb 21st, 2021
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    #1204481096

    On an unrelated note, Margo Martindale reminds me of Jean Smart in a way.Both veteran actresses, multiple emmys but always for supporting and guest performances only.Hopefully Martindale gets a vehicle like Hacks soon

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    salmonpie
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    #1204481193

    So scattered years when POC winners win make up for the years when they don’t? Got it. That’s not progress, and it’s not right either. Sweeps are lazy sheep mentality, and this year, there was POC talent that could have been acknowledged with wins. It didn’t have to happen. That’s the point that many have made here, which is why we’re celebrating Michaela Coel’s win and wished that it was given more of a proper showcase. Your incessant trolling won’t change my viewpoints regardless.

    Scattered years? Get over yourself. People like you are not elevating minority performances. All you do is make people doubt that the credibility of minority performances are legit whenever they win, and not some patronizing woke BS win.

    Go sell your racial grievances somewhere else. Direct them towards issues that have actual constructive impact on lives of discriminated communities, instead of whining about how racists Primetime Emmy Award voters are. Your outrage is predictable, boring and totally unhelpful. Your incessant trolling isn’t fooling anyone. Or changing my viewpoints either.

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    Atypical
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    #1204481283

    Scattered years? Get over yourself. People like you are not elevating minority performances. All you do is make people doubt that the credibility of minority performances are legit whenever they win, and not some patronizing woke BS win.

    Go sell your racial grievances somewhere else. Direct them towards issues that have actual constructive impact on lives of discriminated communities, instead of whining about how racists Primetime Emmy Award voters are. Your outrage is predictable, boring and totally unhelpful. Your incessant trolling isn’t fooling anyone. Or changing my viewpoints either.

    Save it troll. This is a Primetime Emmys reactions board, and the results of the Emmys are going to be the discussed. That includes an all-white acting winners slate where no POC nominees were acknowledged. If you don’t like it, you know where the door is.

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    Babygirl
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    #1204481962

    I can’t help but wonder now, was Heller and Camp missing a red flag all along?

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    jez89
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    #1204481969

    Scattered years? Get over yourself. People like you are not elevating minority performances. All you do is make people doubt that the credibility of minority performances are legit whenever they win, and not some patronizing woke BS win. Go sell your racial grievances somewhere else. Direct them towards issues that have actual constructive impact on lives of discriminated communities, instead of whining about how racists Primetime Emmy Award voters are. Your outrage is predictable, boring and totally unhelpful. Your incessant trolling isn’t fooling anyone. Or changing my viewpoints either.

    This is such a good comment. Take a bow.

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    Luca
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    #1204481971

    I can’t help but wonder now, was Heller and Camp missing a red flag all along?

    (It’s what I said multiple times, but some people dragged me for suggesting so. 🤷🏽)

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    jez89
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    #1204481973

    Save it troll. This is a Primetime Emmys reactions board, and the results of the Emmys are going to be the discussed. That includes an all-white acting winners slate where no POC nominees were acknowledged. If you don’t like it, you know where the door is.

    I notice you resort to labelling anybody who doesn’t agree with your opinion as a “troll”. Perhaps engaging in the argument constructively would be a better approach.

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    wolfali
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    #1204481993

    I can’t help but wonder now, was Heller and Camp missing a red flag all along?

    (It’s what I said multiple times, but some people dragged me for suggesting so. 🤷🏽)

    I don’t think Heller and Camp missing was a red flag tbh.

    The actors branch simply just liked Mare of Easttown too much for Winslet to lose even though I May Destroy YouThe Queen’s Gambit and WandaVision all performed fairly decently in nominations (the latter two both received the same amount of nominations as Fosse/Verdon, another show that ironically got in a different supporting player than the one that was predicted and still went on to win actress).

    It’s ironically just like how the tech branches and directors liked The Queen’s Gambit too much for the show to lose awards with them even though I May Destroy YouMare of Easttown and WandaVision all performed decently or how the writers branch liked I May Destroy You too much for Coel to lose even though Mare of Easttown, The Queen’s Gambit and WandaVision would all have been plausible winners in other years.

    It’s quite interesting how each branch seemed to disagree about which show deserved to win limited series the most and The Queen’s Gambit ended up winning almost by default due to having the most consensus. A bit like how in 2018 the writers branch went for The Americans, the actors and directors went for The Crown and the techs went for Game of Thrones and it was GoT that won series due to having the most consensus.

    I wonder both in 2018 in drama series and this year in limited series how far The Crown and The Americans were from the win in series and how far Mare of Easttown and I May Destroy You were from the series win this year.

    Oscars FYC:
    "THE POWER OF THE DOG" – IN ALL CATEGORIES
    "SPENCER" – In all categories especially Director (Pablo Larrain) and Actress (Kristen Stewart)
    "SHIVA BABY" – in all categories especially Picture, Adapted Screenplay, Score
    "TOGETHER" – Actress (Sharon Horgan), Actor (James McAvoy), Original Screenplay
    "LAST NIGHT IN SOHO" – Director (Edgar Wright), S. Actress (Anya Taylor-Joy/Diana Rigg), Cinematography, Costume Design and Production Design
    "CODA" – in all categories

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    Luca
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    #1204482022

    But a week ago people were saying the opposite. The narrative was that Mare was absolutely not winning three acting Emmys and that The Queen’s Gambit was being underestimated, hence the overestimation of Brodie-Sangster and Ingram (which I, to be honest, never understood, regardless of ATJ’s chances).

    I assumed back on July 13 that Camp and Heller missing was a red flag, but people came up with reasons as to how Brodie-Sangster and Ingram getting in instead was a sign of strength (again, never made sense to me). But it never was. If actors were so obsessed with TQG, Camp and Heller would have both knocked out Hamilton actors and snuck in. You can excuse Camp’s snub because of the size of his role, but Heller’s was inexcusable. She was in more of the show than Ingram, gave the more acclaimed/talked about performance and is much more known. It’s sort of crazy to me that she couldn’t overcome at least Phillipa Soo! Ditto with Camp, who was left out in favor of Anthony Ramos and Jonathan Groff.

    People have come up with arguments left and right as to why actors took to Mare, citing recency bias, HBO, etc. And while those might all be valid, I think it comes down to the types of performances given on the show.

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    wolfali
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    #1204482089

    If actors were so obsessed with TQG, Camp and Heller would have both knocked out Hamilton actors and snuck in. You can excuse Camp’s snub because of the size of his role, but Heller’s was inexcusable. She was in more of the show than Ingram, gave the more acclaimed/talked about performance and is much more known. It’s sort of crazy to me that she couldn’t overcome at least Phillipa Soo!

    You mentioned that Heller missing for Soo should have been a red flag but at the end of the day why should it have been when Hamilton wasn’t such a big contender anyway and went home empty handed in acting wins, failing to even win a category over a performer who was the sole nominee above the line for his show.

    Anyway I’ll return to my Fosse/Verdon argument. Fosse/Verdon was being widely predicted for three nominations at the time. One for Michelle Williams, one for Sam Rockwell and one for Norbert Leo Butz (a two time Tony winner who gave an acclaimed performance as Paddy Chayefsky that was present throughout the series). Fosse/Verdon still landed three acting nominations except it wasn’t for Butz but for Margaret Qualley who only appeared in the back half of the show and like Ingram had a smaller amount of name recognition than their snubbed co-star. Now did the fact that Butz missed in favour of Assante Blackk and Qualley made it in mean the show or Michelle Williams were weak? Far from it. Michelle Williams still went on to sweep, Sam Rockwell ended up winning at SAG over Jharrel Jerome and there’s even an argument to be made that Fosse/Verdon was ahead of When They See Us in series considering how in spite of a strong nominations haul (especially in acting), the show only went home with the lead actor and casting trophies whilst Fosse/Verdon performed much stronger at the creative arts and at the guilds.

    Now I know one will argue there’s a flaw in my argument here because Williams won and Taylor-Joy didn’t but my argument isn’t that The Queen’s Gambit was a strong acting player that the branch was obsessed with. My argument was that it wasn’t so much of a weak show when it came to strength in that department. Just because Brodie-Sangster and Ingram got in and Heller and Camp didn’t it doesn’t mean that the show was a weak player in acting. Considering the show is more or less a one woman show, three acting nominations is still quite an achievement. Just like how four acting nominations and three acting wins for an ensemble player like Mare is an achievement. I feel like every year we sometimes conflate “number of nominations” with “strength in actors branch support for wins”. Sure Ted Lasso and The Crown performed strongly in nominations and swept but both Hamilton and The Handmaid’s Tale got a number of acting nominations yet they didn’t win the limited supporting categories over Peters and Nicholson or win drama guest actress over Foy but got shut out when it came to acting wins.

    At the end of the day Taylor-Joy lost and Winslet won because the actors branch liked the acting on Mare of Easttown a lot more rather than because they thought the acting on I May Destroy YouThe Queen’s Gambit or even WandaVision was weak or because they weren’t keen on either show. Taylor-Joy after all won at SAG and I May Destroy You managed to get Essiedu in in spite of being seen as “the Michaela Coel show”.

    Anyway I don’t know why we’re even discussing this when the Emmys are over and Winslet won.

    Oscars FYC:
    "THE POWER OF THE DOG" – IN ALL CATEGORIES
    "SPENCER" – In all categories especially Director (Pablo Larrain) and Actress (Kristen Stewart)
    "SHIVA BABY" – in all categories especially Picture, Adapted Screenplay, Score
    "TOGETHER" – Actress (Sharon Horgan), Actor (James McAvoy), Original Screenplay
    "LAST NIGHT IN SOHO" – Director (Edgar Wright), S. Actress (Anya Taylor-Joy/Diana Rigg), Cinematography, Costume Design and Production Design
    "CODA" – in all categories

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    Manav
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    #1204482113

    I for my part, believe both : (1) The Queen’s Gambit was quite weak among the actors and (2) Mare was MASSIVELY strong.

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    wolfali
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    #1204482125

    I for my part, believe both : (1) The Queen’s Gambit was quite weak among the actors and (2) Mare was MASSIVELY strong.

    The thing is though was Escape at Dannemora weak with actors because Arquette lost to Williams when it still got nominated for three acting awards (and for its core trio) and Arquette won at SAG?

    Because that’s where I’m coming from. I have no doubt Mare of Easttown was undoubtedly too strong for it to lose when it came to the actors (I mean isn’t it the first show to win three above the line acting awards but lose the series prize?) with actors branch support but it’s not as if its competition was very weak when we take I May Destroy You and The Queen’s Gambit‘s hauls into context.

    Oscars FYC:
    "THE POWER OF THE DOG" – IN ALL CATEGORIES
    "SPENCER" – In all categories especially Director (Pablo Larrain) and Actress (Kristen Stewart)
    "SHIVA BABY" – in all categories especially Picture, Adapted Screenplay, Score
    "TOGETHER" – Actress (Sharon Horgan), Actor (James McAvoy), Original Screenplay
    "LAST NIGHT IN SOHO" – Director (Edgar Wright), S. Actress (Anya Taylor-Joy/Diana Rigg), Cinematography, Costume Design and Production Design
    "CODA" – in all categories

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    Babygirl
    Joined:
    Sep 12th, 2018
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    #1204482144

    But a week ago people were saying the opposite. The narrative was that Mare was absolutely not winning three acting Emmys and that The Queen’s Gambit was being underestimated, hence the overestimation of Brodie-Sangster and Ingram (which I, to be honest, never understood, regardless of ATJ’s chances). I assumed back on July 13 that Camp and Heller missing was a red flag, but people came up with reasons as to how Brodie-Sangster and Ingram getting in instead was a sign of strength (again, never made sense to me). But it never was. If actors were so obsessed with TQG, Camp and Heller would have both knocked out Hamilton actors and snuck in. You can excuse Camp’s snub because of the size of his role, but Heller’s was inexcusable. She was in more of the show than Ingram, gave the more acclaimed/talked about performance and is much more known. It’s sort of crazy to me that she couldn’t overcome at least Phillipa Soo! Ditto with Camp, who was left out in favor of Anthony Ramos and Jonathan Groff. People have come up with arguments left and right as to why actors took to Mare, citing recency bias, HBO, etc. And while those might all be valid, I think it comes down to the types of performances given on the show.

    I agree with your whole post, especially this part. I didn’t watch TQG fully when nominations were revealed, but I do remember how Ingram being nominated instead was used as an excuse for ATJ’s strength… only to be shocked about Heller’s snub once I actually finished. Personally, Ingram shouldn’t have been nominated (especially over people like Opia) but that’s a story for another day, however I don’t agree that her getting in was a good thing for ATJ and I’ve been more suspicious of TQG’s strength with actors after seeing how baity Heller was, only to be right. I do get TBS getting in over Camp though, I would’ve predicted him for a nomination if I finished the show earlier.

    Also I know the lead + supporting stat was strong, but I did find the TBS and Ingram coattail predictions to be a huge stretch (and I say this with TBS being my MVP lol) I think if ATJ won, she would’ve been the show’s only acting win… after all you guys did say this was HER show.

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    wolfali
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    #1204482159

    I think if ATJ won, she would’ve been the show’s only acting win.

    I agree with this. Not only was the passion for Brodie-Sangster and Ingram a lot weaker than it was for Taylor-Joy but I never bought the notion that any of these shows were going 6 for 6. The Queen’s Gambit won series as soon as it took casting and perhaps it was safe for the win in the end but the nominations performance for I May Destroy You, Mare of Easttown and WandaVision showed that the academy had watched all three shows and their supporting players had more passion than TBS and Ingram.

    Even had Mare lost actress and supporting actress I’m still pretty convinced Peters would have won.

    Oscars FYC:
    "THE POWER OF THE DOG" – IN ALL CATEGORIES
    "SPENCER" – In all categories especially Director (Pablo Larrain) and Actress (Kristen Stewart)
    "SHIVA BABY" – in all categories especially Picture, Adapted Screenplay, Score
    "TOGETHER" – Actress (Sharon Horgan), Actor (James McAvoy), Original Screenplay
    "LAST NIGHT IN SOHO" – Director (Edgar Wright), S. Actress (Anya Taylor-Joy/Diana Rigg), Cinematography, Costume Design and Production Design
    "CODA" – in all categories

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    methaddiction
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    Aug 1st, 2017
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    #1204482168

     (I mean isn’t it the first show to win three above the line acting awards but lose the series prize?)  

    It’s the first since Everybody Loves Raymond in 2002.

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