-
-
Given it’s just been mentioned in the comedy forum, I figured that this could be an interesting topic. Logically, Brie and Maron should’ve been shoe ins, as they got nominated everywhere that year. The fact that Glow was nominated for Series, Directing, and Supporting Actress makes it even weirder.
In my opinion, this is one of the Emmy’s biggest mysteries. I have no idea how these snubs happened, and I wanted to hear if anyone had any theories as to why it occurred.
ReplyI think it’s helpful checking the nominations before we make theories. I’m posting them if anyone needs this information. Here they are:
LEAD ACTRESS
Pamela Adlon, “Better Things
Rachel Brosnahan, “The Marvelous Mrs. Maisel” *WINNER*
Allison Janney, “Mom”
Issa Rae, “Insecure”
Tracee Ellis Ross, “black-ish”
Lily Tomlin, “Grace and Frankie”SUPPORTING ACTOR
ReplyCopy URL
Louie Anderson, “Baskets”
Alec Baldwin, “Saturday Night Live”
Tituss Burgess, “Unbreakable Kimmy Schmidt”
Brian Tyree Henry, “Atlanta”
Tony Shalhoub, “The Marvelous Mrs. Maisel”
Kenan Thompson, “Saturday Night Live”
Henry Winkler, “Barry” *WINNER*The Emmys just do not really care for GLOW. It is another matter why that is, but in terms of how Brie and Maron could miss opposite the other nominations, I do not think that it is a coincidence that GLOW was nominated above the line only in categories with extra slots:
– Comedy Series, where there were eight nominees
(dropped the next year when there seven)
– Supporting Actress, where there were eight nominees
(repeated the next year when there were eight again)
– Directing, where there were seven nominees
(dropped the next year when there were six)The pilot missed in key categories (that love pilots):
– Writing, where there were six nominees
– Editing, where there were five nominees
– Sound, where there were five nomineesLead Actress had six nominees and Supporting Actor had seven. Another one worth mentioning is Production Design, where it was one of six nominees for the first season and not of the four for its second. I think that what we have here is a show that was merely on the cusp with the academy for whatever reason. Its inconsistent nominations seem to me to be borne out of the Emmys not standardizing their categories. If they had a fixed eight slots per category, I think that it could have gotten into all eight of the aforementioned races. If the Emmys had a fixed five slots in every category, it might have not have gotten into any of the above.
It is the television equivalent of those films like Deadpool, Gone Girl, Nightcrawler and A Quiet Place that we see get nominations across the board at the guilds where some contenders are ineligible, plus there are additional categories and slots, then get almost nothing at the Oscars, where there is just one Costumes category with five slots for example, instead of sixteen nominees across three categories at the guild.
ReplyCopy URL
This post was found to be inappropriate by the moderators and has been removed.I think different things would’ve happened for Glow (and maybe Orange) if it had better release dates. June/July is something I’ll never understand for shows that look or feel like award contenders or by some miracle got nominations/wins for their first seasons. These shows should be moved to April/May.
And then spread all the shitty shows that will never get recognition in the summer schedule. Not everything can be a phenomenon like Stranger Things and hold on for a whole year.
Orange of course benefited from having those earlier seasons happen before TV and streaming really got as crowded as it is today. And their problem was mostly the change to drama, but in that case, it should’ve been an even easier decision to move it.
ReplyCopy URL
You must be logged in to reply to this topic.
