The Highs, Lows, and Whoas of the 2025 Emmys

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Did you enjoy the television season? Do you think awards shows are still worth watching? The 2025 Emmys, and especially its host Nate Bargatze, seemed to be wrestling with these questions. It felt like CBS hired Bargatze, someone who doesn’t seem overly enthusiastic about TV, to address the complaint that awards shows drag on too long. Instead of a traditional opening monologue, Bargatze focused on a running joke: a timer for acceptance speeches that reduced the amount of money donated to charity. As winners hurried through their speeches and the total donation amount dwindled, it created an uncomfortable and tense atmosphere. This was perfectly highlighted when John Oliver, while accepting his award, bluntly told the host to stop rushing him – a moment that was famously censored.

Despite a bumpy awards show, the winners were genuinely deserving and delivered moving speeches. While the ceremony itself felt disjointed – with awkward moments and a general attempt to downplay the excitement – standouts included Jeff Hiller’s win for *Somebody Somewhere* and Stephen Colbert receiving a standing ovation. Let’s break down the best, worst, and most surprising moments of a night that often seemed to contradict itself.

The Golden Globes opening was… unusual. It briefly seemed like host Nate Bargatze wouldn’t deliver a traditional opening monologue, instead starting with a sketch he’d previously done on *Saturday Night Live*. While different, and not necessarily bad, the bit was quickly followed by Seth Rogen presenting the first award. Then, unexpectedly, Bargatze returned for a delayed monologue to explain a running gag about a speech timer. Unfortunately, the timer bit went on for too long, slowing down the show’s pace before it could really begin.

Tramell Tillman made Emmy history, becoming the first Black man to win Outstanding Supporting Actor in a Drama after 77 years. This was the final acting category to reach this milestone. Tillman truly earned the award, consistently delivering standout performances in the second season of *Severance*, which, while occasionally uneven, was always captivating whenever he appeared on screen. His scenes – particularly the mirror sequence and the drum-major moment – were incredibly memorable. Visibly moved while accepting the award, Tillman expressed his gratitude, thanking his mother, who he credited as his first acting coach and biggest supporter. A well-deserved win!

Hannah Einbinder surprised everyone at the awards show when she ended her acceptance speech for Outstanding Supporting Actress in a Comedy with a bold statement: “Go birds, fuck ICE, and free Palestine!” After three years of simply acknowledging her nominations, Einbinder finally won, playfully admitting she’d convinced herself that losing was preferable. But as a winner, she used her platform to express her views, directly addressing current events while other speakers remained largely neutral. She also playfully disrupted a running joke about speech length by offering to cover any fines incurred by going over time. Following a commercial break, the host awkwardly addressed her offer, suggesting he’d follow up and perhaps even institute a swear jar – a response that felt a bit off-key.

The money counter idea, while intended as a lighthearted way to keep speeches short, was ultimately a bad look. Displaying a ticking countdown over a winner’s speech felt disrespectful and ruined what should have been a celebratory moment. It created a negative atmosphere and made the awards show feel more focused on the charity’s finances than on honoring the winners. Ironically, it didn’t even matter in the end – Brian Bargatze announced a $250,000 donation, with CBS adding $100,000, covering the amount the charity would have supposedly ‘owed.’ Knowing the charity wouldn’t actually be penalized doesn’t excuse the unnecessary stress and anxiety it caused winners, who felt pressured to rush their speeches and avoid appearing selfish. It was a poorly executed and frankly, awful idea.

The biggest problem with the Emmys was host Nate Bargatze. His performance felt scattered, lacked energy, and wasn’t very funny. He seemed unprepared and struggled with the teleprompter, which didn’t suit the occasion, even if it fits his usual low-key comedic style. Despite this, the awards themselves were solid – even the show *Andor* received some surprising and deserved wins. The Emmy voters did a good job, but Bargatze didn’t deliver as a host. It’s strange to say, but it almost makes you miss Jo Koy hosting.

Wow, can you believe Jeff Hiller won an Emmy? It was a huge surprise when he was nominated for his incredibly funny and heartfelt performance as Bridget Everett’s friend in *Somebody Somewhere*. Many assumed that would be the end of the recognition for the show, but amazingly, Emmy voters actually watched his work and rewarded it! He gave a beautiful acceptance speech, and Michael Urie was visibly moved. He even gave a shout-out to Joe’s Pub in New York during the credits – hopefully, he celebrated with a martini or two!

There was a moment of disappointment at the Emmys when all five women nominated for Outstanding Directing for a Limited or Anthology Series or Movie lost to the single male nominee. Elizabeth Banks had highlighted the historic number of female directors in the category – Shannon Murphy, Helen Shaver & Jennifer Getzinger, Nicole Kassell, and Lesli Linka Glatter – making the outcome feel particularly anticlimactic. The winner, Philip Barantini, was recognized for his impressive work on *Adolescence*, which was filmed entirely in single, uninterrupted takes – a technique that clearly resonated with voters. Single-take filming, or “oners,” were a big winner overall, with *The Studio* also receiving a directing award for its use of the technique.

Okay, seriously, did anyone else get chills when Dan Gilroy won for the *Andor* episode, “Welcome to the Rebellion”? That episode, with Genevieve O’Reilly giving such an amazing performance (she really deserved more recognition!), was just incredible. It felt so powerful because it drew on real historical patterns of conflict, and honestly, it hit really hard given everything happening in the world right now. It perfectly captured what made *Andor* so special – it was bold, different, and just brilliantly made. I was bummed *Andor* didn’t win for directing or Outstanding Drama, but it was so sweet seeing Tony Gilroy kiss Dan on the cheek when Dan accepted the award! It really felt like a family moment, and it proved what they said – they *do* have friends everywhere.

Okay, honestly, Cristin Milioti absolutely *saved* the night! The whole awards show felt a little… subdued, maybe because they were rushing things, but when she won for her role as Sofia Falcone, everything changed. She was beaming! She read a speech she’d actually scribbled down during therapy – how relatable is that? – and thanked her parents for introducing her to dark films at a young age. Then she just yelled, ‘I love you and I love acting so much!’ and let out this amazing cheer. As a film lover, that’s *exactly* what you want to see – genuine passion. I couldn’t help but cheer along with her, it was infectious!

A major issue with the Emmys, as with many awards shows, is the lack of clips showcasing the nominated actors and projects. This year was no exception. Viewers saw very few, if any, scenes from the nominated shows, leading to an experience filled with presenters and comedians talking about the awards themselves rather than highlighting the work being recognized. It was often difficult to understand what the nominated shows were even about!

The Corporation for Public Broadcasting (CPB) was recently honored at the Creative Arts Emmys, receiving the Governor’s Award. This recognition comes as the CPB faces closure next year due to funding cuts by Republicans in Congress. During the ceremony, Cris Abrego, chair of the Television Academy, highlighted the importance of public media and delivered a message emphasizing connection, inclusion, and empathy, stating that culture originates from the community, not from those in power. This statement, particularly the mention of “inclusion,” appears to be a pointed response to current political debates.

It was surprising that no one mentioned Sal Saperstein during the acceptance speeches. Considering how much Hollywood loved *The Studio* – which won a record four awards as a comedy series – you’d expect at least one person, maybe even Seth Rogen, to acknowledge the show’s funny bits. But no one did, which was a real missed opportunity.

Stephen Colbert’s *The Late Show* recently achieved a significant win. With CBS ending the show next year-officially due to internal restructuring, but likely also influenced by Paramount’s efforts to gain favor with the Trump administration for a business deal-a victory for *The Late Show* was widely expected. Colbert ended his acceptance speech with an energetic call to action: “Stay strong, be brave, and if the elevator tries to bring you down, go crazy and punch a higher floor!” While the show is ending next summer, Colbert still has another opportunity to win an Emmy before it concludes, so this isn’t necessarily a final goodbye.

The White Lotus didn’t fare well at this year’s Emmy Awards. After winning numerous Emmys for its first two seasons, the HBO series only took home one award – for composer Cristobal Tapia de Veer – which was a bit of an awkward moment. However, this might actually be good for the show creatively. It seems Mike White, the creator, thrives when he’s not the frontrunner.

I was so thrilled to see *The Pitt* win both Outstanding Actor and Outstanding Drama! It feels like people are craving TV that’s comforting and familiar, and *The Pitt* delivered. Honestly, it was a fantastic first season, and Noah Wyle was incredible – he really anchored the whole show. I especially appreciated how boldly it tackled the growing problem of medical disinformation and the disrespect towards healthcare workers, which feels so important right now. The creator’s acceptance speech, urging us to trust and protect those workers, really hit home. Seeing Wyle win Best Actor was wonderful too – it’s a classic Hollywood comeback story, and he absolutely deserved it. He wasn’t just acting; he was writing, leading the cast, and truly collaborating with the team. But I have to admit, it did sting a little knowing *Andor* didn’t get the recognition it deserved. It was a show that constantly pushed boundaries, looked amazing, and had such a powerful message about standing up for your beliefs, even when it’s difficult. It really felt like something special, and I was hoping it would take home the win.

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2025-09-15 08:56