5 Urgent Questions for the Emmys’ Limited Series Race

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Due to the intense competition during the Emmy Awards season, it sometimes feels like we’re spending a lot of time on the Drama and Comedy categories. However, this is simply because these genres house the majority of scripted television content. This year alone, 126 dramas were submitted for Emmy consideration, compared to 69 comedies and just 33 limited series. Despite this, limited series have always been considered TV’s high-end programming, from classics like Roots, Band of Brothers, and Angels in America. In recent years, due to the streaming boom, the boundaries between ongoing dramas and limited series have become less distinct. Shows initially categorized as limited series can sometimes evolve into ongoing series, with The White Lotus being a notable example of this shift.

Previously aired Limited Series competition last year demonstrated the current state of the genre quite clearly. Initially, the highly anticipated adaptation of a literary work titled “Shōgun” was the early favorite, boasting impressive production value. However, it was eventually renewed for another season, transforming into a Drama Series and coming close to winning most prestigious awards. This paved the way for “Baby Reindeer”, an intriguing blend of trauma and comedy produced by Netflix, to gain prominence.

This year, Netflix, HBO, and FX are again fiercely competing for dominance in the Limited Series category. For the past 13 years, these three platforms have won this category every time. The only exception dates back to the first season of Downton Abbey, when the category was called Outstanding Miniseries or Movie. It seems unlikely that a newcomer like Apple TV+ will disrupt this pattern this year. However, each of these leading platforms has a significant stake in the Limited Series race, and some are more favorably placed than others. As the nomination day approaches, here are five critical questions that will shape the competition.

Is the Limited Series category the last bastion of Netflix TV domination?

At the 2021 Emmys, Netflix had a triumphant night, bagging its first Outstanding Drama Series trophy for ‘The Crown’ and causing an upset by winning the Limited Series category with ‘The Queen’s Gambit’, despite HBO’s ‘Mare of Easttown’. Additionally, it garnered five acting awards, more than any other network or platform. In 2020, Netflix set a record with 160 Emmy nominations, surpassing rival HBO (which had 107). Although HBO reclaimed the top spot in 2021, the difference was minimal, with only 130 nominations compared to Netflix’s 129. Essentially, Netflix and HBO were almost level at the pinnacle of premium television.

Despite consistently leading in overall Emmy nominations, Netflix has been unable to secure significant victories in the Drama and Comedy categories since then. Last year’s 107 nominations were impressive, but they proved deceptive as shows like The Crown and 3 Body Problem (do you remember them?) failed to win major awards in their respective categories, with only one supporting actress win for Elizabeth Debicki from The Crown. In 2020 and 2021, Netflix had five shows contending in the top two categories. However, this year, while Netflix may have strong contenders such as new series The Four Seasons and Nobody Wants This, and the second seasons of Squid Game and The Diplomat, they are not expected to win any major category awards.

Netflix consistently excels in the category of Limited Series, with notable wins such as “Queen’s Gambit” in 2021, followed by three more Outstanding Limited Series Emmy awards in the subsequent years (for “Beef” in 2023 and “Baby Reindeer” last year). Over this period, Netflix limited series have garnered a total of six acting accolades, three directing prizes, and two writing honors. Only HBO has managed to come close with six acting trophies, one directing award, and two writing awards. This year, Netflix is expected to maintain its dominance with “Adolescence”, a four-part British series from writers and producers Stephen Graham and Jack Thorne that explores the aftermath of a 13-year-old boy murdering his classmate. The series, which premiered on Netflix in March, has been praised for its poignant social commentary on topics like toxicity within young males and innovative storytelling techniques, such as each episode being a single continuous take, similar to the fourth-wall-breaking depiction of queer identity and sexual assault seen in “Baby Reindeer” last year.

In addition to appearing in the series, Graham takes on the role of the young boy’s father. Over the years, he has made a name for himself with gritty performances in shows like Boardwalk Empire and films such as The Irishman and Blitz. However, this unexpectedly heartfelt character has him garnering significant attention as a Best Actor contender. Alongside him, Owen Cooper (portraying his son Jamie), Ashley Walters (playing the investigating detective), and Erin Doherty (as a court-appointed psychologist) are all being touted as strong nominee possibilities as well.

Ryan Murphy’s “Monsters: The Lyle and Erik Menendez Story” is likely to earn more Emmy nominations for Netflix, with strong contenders being Cooper Koch, portraying Erik, and Javier Bardem as Jose Menendez. Considering that the initial “Monster” series, detailing the crimes of Jeffrey Dahmer, amassed a total of 13 nominations, including a win for supporting actress Niecy Nash-Betts, it would be shortsighted to disregard Murphy, given his shows’ impressive Emmy track record: 270 nominations and 54 wins in total.

As a movie enthusiast, I’m really looking forward to checking out “Apple Cider Vinegar,” a series that delves into the intriguing life of Belle Gibson, an Australian wellness guru who was, let’s say, ahead of her time in a unique way. The year 2022 saw a surge in shows about charlatans on TV with “The Dropout” and “Inventing Anna,” but Kaitlyn Dever’s powerful performance and the momentum she gained from her compelling arc in “The Last of Us” might just earn her an Emmy nomination. Plus, it seems like we’re having a “Black Mirror” kind of year. This anthology series often finds itself among the Emmy favorites, and this season boasts some heavy hitters like Paul Giamatti, Rashida Jones, Chris O’Dowd, and Cristin Milioti, all of whom could potentially secure a nomination.

How well can The Penguin defy superhero-TV fatigue?

Currently, it’s a challenging period for showcasing the greatness of superhero TV series. Marvel is attempting to counteract a decline, which some, including Kevin Feige, attribute to an excessive focus on storytelling within their TV productions. Warner Bros. Discovery can’t pin their DC superhero saga troubles solely on TV shows, but the spinoff of Peacemaker from James Gunn’s Suicide Squad movie didn’t generate much excitement. In contrast, HBO Max has delivered exceptional quality with The Penguin, a crime drama derived from Matt Reeves’s The Batman film. The performances by stars Colin Farrell, Cristin Milioti, and Deirdre O’Connell were nearly operatic, but the gritty style created by showrunner Lauren LeFranc made them fitting contributions to the series.

It appears that TV awards like the Emmys have grown weary of superhero series over the past five years. Shows like “Watchmen” from 2020, which offered something distinctly different from the corporate connections of the MCU and DCEU, were successful but didn’t win major awards. In 2021, “WandaVision” received 23 nominations but failed to take home any significant prizes it was contending for that night. Since then, other Marvel Cinematic Universe (MCU) shows have been overlooked in the major categories, even critically acclaimed ones like “Loki’s” first season. The upcoming show “Agatha All Along” aims to buck this trend, but I wouldn’t put money on it. “The Penguin,” on the other hand, seems more likely to succeed, given the Emmys’ historical fondness for crime dramas. By downplaying its superhero aspects and focusing instead on the show as a polished crime drama, “The Penguin” stands a better chance of winning over Emmy voters.

Did Disclaimer actually happen?

Instead of creating another movie likely to receive praise and an award campaign, Alfonso Cuarón, a two-time Academy Award winner, opted to adapt Renée Knight’s 2015 novel into a limited series about a documentary filmmaker facing the exposure of a decades-old secret. Cuarón selected Cate Blanchett, another double Oscar recipient, for the lead role, and Apple TV+ demonstrated their faith in the production by showcasing it at prestigious film festivals in Venice and Toronto before its release.

Initially, it aired in October but failed to create any buzz. In casual terms, I can’t recall anyone discussing it, whether on social media or face-to-face conversations. Among the few acquaintances who watched it were TV critics and entertainment journalists, who seemed to find watching it as enjoyable as eating vegetables.

Over the past six months, Disclaimer has amassed a substantial number of preliminary nominations. These include Golden Globe nods for the show, Blanchett, Kline, and a supporting actress nomination for Leila George at the Critics Choice Awards. Blanchett, Kline, and another SAG Award nomination were bestowed upon them. Cuarón received a Director’s Guild nomination as well. These nominations are typically given to high-profile talent and shows with substantial marketing budgets in order to populate a category. It seems that a series which initially sparked no interest could potentially garner multiple Emmy nominations based solely on reputation, as suggested by the experts at Gold Derby – they predict nominations for Blanchett, Kline, Leslie Manville, and the series itself.

Did FX drop the ball?

For the past 13 years, FX has put forward a total of 14 nominees and won three awards in the Outstanding Limited Series category. These wins include the first season of “Fargo” and the seasons of “American Crime Story” focusing on O.J. Simpson and Gianni Versace. As we move into this current year, FX had two exceptionally powerful contenders. One of these is “Dying for Sex”, a comedy-drama starring Michelle Williams, created by Kim Rosenstock and Liz Meriwether, which is adapted from a podcast about a woman who, upon receiving a terminal diagnosis, experiences a sexual awakening. Another strong contender is “Say Nothing”, an Irish drama set during the Troubles that tells the story of individuals within the IRA ranks. This complete nine-episode series was released on FX via Hulu in November and received exceptional reviews.

Although not as prominent as the spectacle of “Shōgun” last year, shows like “Dying for Sex” and “Say Nothing” have substantial Emmy potential: they deal with significant themes, have received positive criticism, and boast stars such as Michelle Williams, Sissy Spacek, and Jenny Slate. However, these series have not been at the forefront during campaign season to some extent.

Michelle Williams, a previous Emmy winner for “Fosse/Verdon” and a valuable promotional asset, has been notably absent from traditional roundtable and actor-on-actor discussions. While it’s possible that FX is holding her back to maximize her campaign post-nominations, it’s worth noting that prominent media outlets like “THR” or “Variety” do not usually reorganize these roundtables for phase two.

Jenny Slate has been actively promoting her performance, aiming for a Supporting Actress nomination. Yet, despite the show being among the year’s best, the level of promotion feels surprisingly low.

In a different phrasing: Silence might not be as effective as quietness, and that’s true for the series Say Nothing. I sought the opinion of Vulture critic Nicholas Quah, who praised the series in his review from November. When asked if he thought FX made a mistake by releasing all episodes at once, he responded affirmatively. “Absolutely,” he said. Quality aside, Say Nothing was a challenging proposition for viewers already familiar with Patrick Radden Keefe’s book or the Troubles’ story. It’s an intricate nine-episode political drama that switches between time periods and features largely unfamiliar actors – Anthony Boyle, the most recognized actor on the cast list, is still on the brink of fame. The show’s success relied heavily on FX’s marketing efforts. If there’s one lesson we’ve learned from the binge-drop model, it’s that for a series to thrive other than being featured prominently on Netflix – a luxury FX doesn’t have – it needs to be positioned as an event. Otherwise, the show tends to fade away.

Quah shared with me that, from his personal experience, the show had not been familiar to many viewers. He mentioned that he’s often recommended the show to people who (a) were already aware of the book, (b) weren’t conscious that there was an adaptation, and (c) developed a fondness for the series once they decided to watch it.

Introducing a weekly release for “Say Nothing” might have fostered buzz and anticipation, much like it did for the Emmy-winning series “Shōgun“. As Quah remarks, “Say Nothing” seems to be the kind of show that would have profited from a gradual reveal. This is particularly true given the compelling nature of its performances, which are a significant draw for viewers. At present, the most promising chances for a “Say Nothing” nomination lie in the Lead Actress category with Lola Petticrew portraying the real-life Dolours Price. However, it’s worth noting that Andrew Scott (playing the character of Boyle) would also be a deserving contender for a Supporting Actor nod.

Did Presumed Innocent’s release strategy ruin its Emmy chances?

Apple TV+’s series “Presumed Innocent” garnered a lot of positive word-of-mouth through its weekly releases, but releasing it early in the Emmys window might have limited its chances in the competition. It’s unfortunate because, while not groundbreaking, “Presumed Innocent” was a gripping legal drama with standout performances from actors like Jake Gyllenhaal, Ruth Negga, Peter Sarsgaard, Bill Camp, and O-T Fagbenle (previously nominated for “The Handmaid’s Tale”). Fagbenle’s delivery in this series was remarkable, pushing the boundaries that even Stanislavsky might have found impressive.

Debuting in June 2024, “Presumed Innocent” has been absent from the scene for a longer period than any of this year’s major competitors. Despite my dislike for the increasing number of TV shows released between March and May to boost Emmy nominations, it seems unwise to release such a promising show when voters are still catching up on last year’s contenders. Shows like “The Bear” do this every year, but since “The Bear” is an ongoing series, new seasons help promote older ones. Unfortunately, we won’t be getting a new season of the anthologized “Presumed Innocent” until presumably 2026, which means it will be overlooked for this year’s Emmy Awards.

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2025-07-04 15:55