In the history of the Emmys, only two espionage series have been awarded Outstanding Drama Series: “Mission: Impossible” in 1967 and 1968, during the ’60s, and “Homeland” in 2012. Despite a wealth of spy shows like “The Man from U.N.C.L.E.”, “Alias”, “The Hour”, and “The Americans”, Emmy voters before 2000 seemed to favor series about ordinary people performing routine jobs, such as cops, lawyers, or doctors. From 1981 to 1999, only two years saw an Outstanding Drama winner outside of these categories, with David E. Kelley’s “Picket Fences” being a notable exception, as it encompassed all three professions!
Since then, the range of genres has broadened to include crime shows (“The Sopranos”, “Breaking Bad”), political dramas (“The West Wing”, “The Crown”), and series exploring the moral decline in New York City office towers (“Mad Men”, “Succession”). While several spy series from this period earned acting and writing Emmys (Matthew Rhys for “The Americans” and Abi Morgan for “The Hour”), some argue these shows deserved even more recognition. For instance, Victor Garber was snubbed for his performance in “Alias” over three consecutive years, which can be quite disheartening.
Previously, the Emmys honored two spy-themed shows – “Mr. & Mrs. Smith” and “Slow Horses” – among its Outstanding Drama Series nominees, even though they didn’t win against “Shōgun”. Nevertheless, this indicates that Emmy voters are receptive to the growing interest in espionage on television, a trend we can expect to continue. This year, both “Slow Horses” and Peacock’s U.K. collaboration with Eddie Redmayne and Lashana Lynch, titled “The Day of the Jackal”, seem poised to capture Emmy voters’ attention as potential repeat nominees. Additionally, Netflix’s series “Black Doves”, starring Keira Knightley and Ben Whishaw, is a standout spy show that explores the idea of spying with your best friend by your side, adding an element of fun to the genre.
In addition, there are numerous other noteworthy shows! The streaming platform Paramount+ invested in “The Agency,” featuring Michael Fassbender, Jeffrey Wright, and Richard Gere. Apple TV+’s “Carême” is a spy series that follows a celebrity chef in Napoleonic France. Notably, one of the most outstanding shows currently airing revolves around a rebel spy within the “Star Wars” universe. While the Emmy potential for “Andor” may be the highest among this year’s crop of spy shows, it represents only the tip of an extensive iceberg in the realm of espionage-themed television. To discuss the current state of espionage TV, Vulture critic Nicholas Quah gathered fellow critics Roxana Hadadi, Jackson McHenry, and Kathryn VanArendonk for a briefing on why the genre often struggles at the Emmys. —Joe Reid
It seems the Emmys have consistently overlooked spy shows, which isn’t too shocking. Shows that appear overly focused on genres, light-hearted elements, or action sequences instead of heavy dialogue and dramatic expressions tend to struggle in gaining recognition from Emmy voters. The Emmys typically favor series that are clearly centered around a significant theme, such as commercialism, wealth, artistic genius, or the millennial experience. However, spy shows might not be associated with deep thematic content by viewers – unless the theme is something like institutions are corrupt.
Yet, I find this explanation somewhat insufficient. Spy series, after all, have always been a ground where Emmy Award voters have appreciated complex elements like brooding narratives, ominous aesthetics, and a certain degree of machismo. Perhaps the issue lies in their struggle to categorize masculine energy that can also be enjoyable?
As a devoted fan, I find it intriguing to compare the two Emmy-winning spy dramas – one being an espionage adventure reminiscent of “Mission: Impossible,” and the other, a deeply serious spy narrative like “Homeland.” Interestingly, these shows were produced nearly half a century apart. In the case of “Homeland,” we had reached the peak of TV’s anti-heroes, undeniably including Carrie Mathison. Additionally, there’s much to analyze about how the show catered to masculine fantasies during the War on Terror.
On a different note, it’s not surprising that genre blending has been a challenge for the Emmys, as spy stories often straddle the line between drama and other genres due to their incorporation of gadgets, sidekicks, and lighter elements. This may be why shows like “Alias” have struggled to secure an Outstanding Drama nomination, despite its captivating wigs.
And speaking of wigs, could this perhaps shed light on the Emmy response towards “The Americans”?
Roxana Hadadi: I can’t help but feel disappointed that Keri Russell didn’t receive an award for her performance in the spy show. From my perspective, a spy series only gains critical acclaim if it either subtly explores relationships or is so overtly political that viewers are left with little room to differ in opinion, like how Homeland was seen as Important Television by some. I believe the Emmy voters don’t take spy-related content seriously, much like how the Oscars overlooked stunts for a long time. It seems there is an aversion to fun among them, which is unfortunate since being entertaining (Black Doves) doesn’t make a show any less deserving than one that is dull, pretentious, and potentially offensive (I am referring to Homeland).
As a film enthusiast, I find myself inundated with an abundance of intriguing spy series on the small screen, some deserving Emmy recognition: Slow Horses, The Day of the Jackal, Black Doves, The Old Man, Andor, The Agency, Lioness, and even Carême(!). Can you guess why we’re being flooded with spies?
Well, it seems that espionage is a clever way to explore politics, international relations, and the grim reality of “things do seem pretty bad, don’t they?” without directly engaging in the political arena. Many of these shows revolve around the struggle of a few imperfect individuals against the unyielding, ominous backdrop of formidable institutions. The genre is inherently cynical yet manages to be entertaining and humorous at times.
As Jackson pointed out, this trend also represents an effortless transition from the era of anti-heroes. These protagonists may still bear their flaws, but they occasionally get a break to deliver a good old-fashioned smash to someone’s face into a toaster – a refreshing change of pace indeed!
As a fan, I find it reassuring that spy stories often feature characters who are extraordinarily skilled, a contrast to the real-world leaders who may not always measure up. “Slow Horses” delves into this theme within the genre, but even Slough House wouldn’t likely lose more than one fighter plane in the ocean. This versatility of the hypercompetent rogue character allows for their inclusion in a wide range of scenarios. For instance, they could be trying to win over every woman in France while also preparing a meal for the pope and sporting an earring; or perhaps they’re attempting to dismantle an empire. Often, we discuss “Andor” as a series about intergalactic rebellion, but its underlying framework relies on Cassian Andor moving from location to location, escaping various predicaments. It’s intriguing how the relationship between Cassian and Luthen, particularly in season one, sheds light on the nature of “Andor”: Cassian yearns for a spy adventure, while Luthen is trying to persuade him to become a soldier instead.
I strongly agree with Kathryn’s point about the appeal of non-political politics. After all, spy activities naturally have an element of thrill, don’t they? Dressing up, setting up decoy traps, shooting scenes, car chases – these are exactly the sort of brainless entertainment one expects from escapist shows. Over the past 15 years or so, I believe there has been a cultural yearning for this kind of excitement. I’m not sure if another show like Mad Men will ever be made, but I expect many future productions to mimic the style of The Americans. (Except for Citadel, which I don’t think anyone will remember. I believe this reveals more about Amazon Prime Video’s release and marketing strategies than anything else.) The formula remains popular because it can be easily adapted, and because its elements are familiar to viewers.
As a devoted cinephile, I’ve been pondering the future landscape of spy shows in 2025. Streaming platforms like Amazon, Netflix, and AppleTV+ seem to be leading the charge with their high-quality content, such as Amazon’s “Mr. & Mrs. Smith” and Netflix’s “Black Doves.” On the other hand, traditional studios are making a comeback through platforms like Peacock and Showtime/Paramount+, offering shows that combine star power and production value in a more compact form, often with a seasonal structure.
Network television, it seems, is reserved for more episodic series like “Tracker,” where each week brings a new case rather than the intricate, long-running mysteries of a spy show. In this attention-grabbing era, I believe the delivery method we’re discussing is ideal for this boomlet in content creation. However, I do find myself yearning for the expansive narratives of shows like “Alias” or “24,” where the plot twists and turns so much that you might just find yourself saving someone from a cougar out of necessity!
As a movie enthusiast, I’ve found myself drawn into the pulsating world of spy dramas, where each episode leaves me breathless and yearning for more. I can’t help but wish HBO was offering a grand Sunday-night spy series instead of prolonging the anticipation with a decade of Harry Potter films. Alas, since that isn’t the case, I find solace in The Agency on Showtime.
I share Jackson’s sentiments about Black Doves; its binge-worthy nature certainly added to its allure. Yet, I can’t help but wonder if it wouldn’t have left a more lasting cultural impact if it had been released weekly. After all, waiting an entire week to uncover the fate of Keira Knightley and Ben Whishaw, bathed in blood on a cliffhanger, might just have given the story a longer lifespan. I respectfully disagree with Jackson’s comparison of this release schedule with the likes of Tracker.
Perhaps it would be more productive to discuss the current state of Tracker, a show that some might find less than captivating. However, I have two compelling ideas for this series that could work effectively. One is a single season-long narrative, designed as a cohesive whole and ideally released all at once – this would certainly enhance the viewing experience for shows like Slow Horses. Alternatively, a six-episode mystery thriller that can be enjoyed over a weekend binge also presents an appealing option. A more flexible, multi-format network approach, combining episodic and long-running plots, could also work well, although this style has largely been phased out. Both approaches have their merits, and attempts to find a middle ground between them might result in an awkward viewing experience.
In addition to scenes involving wigs and gunfights, I appreciate other aspects of a spy show. For me, it’s the depiction of characters excelling at their professions that truly captivates me. However, another important element is the moment when a protagonist discovers something new about themselves or uncovers secrets in their world – like the gradual transformation Cassian Andor undergoes throughout his series, or the intriguing twist at the start of Alias where she suddenly realizes the truth about her life and experiences another major revelation. These moments are particularly enjoyable for me.
A.R.: When someone less conspicuous, often a skilled character actor, steps into the limelight as a hidden superior figure over the initially perceived leader.
If you can provide a scene skillfully crafted with a steady pace, showing a character discovering their long-held beliefs about their job and nation are false, that’s top-notch storytelling. I’m all for witnessing the character’s self-destructive moment, my friend!
I find it profoundly moving when Michael Fassbender’s character, whose facial expression collapses as he recognizes that love and his profession are irreconcilable, which is the essence of The Agency.
J.M.: In 2024-25, there’s only one show that combines unraveling political secrets with creating the most delectable French pastries – it’s none other than the extraordinary work of Monsieur Carême. Let’s give credit where it’s due!
For portraying “spies as exciting and trendy,” I’d recommend the series titled “Black Doves.” On the other hand, if you want to depict “spies as emotionally constrained and burdened by their governments,” then “The Agency” would be a fitting choice. Enjoy exploring these diverse representations!
As for myself, I found enjoyment in both “Black Doves” and “The Day of the Jackal”. Among them all, “Andor” stands out as my favorite. However, labeling it purely as a spy series might be oversimplifying its complexity, as there are numerous other elements at play within this show.
As a movie critic, let me share my thoughts: Honestly, I was quite taken aback not to see “Slow Horses” on your list. Don’t get me wrong, I appreciate the series, but this time around, I found myself growing weary of yet another portrayal of a Fringe-like sinister training ground for future spies. It became rather monotonous, and I couldn’t help but feel annoyed by it all this season.
How about rephrasing this: “Could you each give me one or two performances from 2024–25 spy shows that you’d argue should win the Emmy?”
J.M.: If we include Andor in the spy genre, Kathryn Hunter delivers two exceptional performances as a chilling character in an imperial city. Additionally, I’d suggest Black Doves. Emmys for Kathryn Hunter, please!
KVA: Concur despite my genre skepticism!
Michael Fassbender’s wolf-like grin is worthy of an accolade, Keira Knightley’s underbite deserves recognition too, I promise it’s not a Toothday revival attempt. However, what truly stands out is Stellan Skarsgård for portraying the emotional toll of living multiple lives so effectively.
Last question: What’s one thing you’d like to see from the spy genre go away?
R.H.: What if my answer was just “America”?
In a similar manner, fictional villain organizations are often created to keep the villains in television shows devoid of specific political affiliations or ideologies, which can be a source of irritation (as seen in the case of Mr. & Mrs. Smith)).
Both of those arguments are valid and crucial, but let me also propose an additional thought: spies ought to experience more everyday activities like eating and using the restroom. Could you perhaps provide a scenario where having a human body is burdensome? Or if not that, then the shows should delve so deeply into their gadgets that I am utterly thrilled, to the point where the fact that all bodies are bulletproof becomes almost irrelevant due to my fascination with the coolness of the gadgets.
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2025-05-17 15:55