As a lifelong television enthusiast who has spent countless hours engrossed in the small screen, I must say that this year’s Emmys left me feeling rather disheartened and perplexed. The lack of recognition for today’s groundbreaking shows and performances was palpable, making it feel as if we were revisiting the past instead of celebrating the present.
As the Emmy Awards of Sunday evening came to a close, FX’s literary masterpiece Shōgun claimed its 18th and concluding award in the category of Outstanding Drama Series. Prior to this, it had surpassed the record for the most Emmys won by a single series, which was previously held by HBO’s John Adams (2009), by accumulating 14 awards during the Creative Arts Emmys earlier in the week. The additional four awards, including the final award of the night, were just an extra bonus.
Five months ago, it seemed unlikely that a Shogun streak like this would be possible for the 2024 Emmys. The FX show had already wrapped up its run and was generally considered a limited series. This assumption aligned with the show’s source material, a completed novel by James Clavel from 1975, as well as the previous adaptation of Shogun, which aired as a five-part miniseries on ABC in 1980. Many believed that FX’s Shogun would dominate the limited series category this year (even over shows like Baby Reindeer, which ended up winning six awards across both ceremonies).
After FX revealed plans for a second season of “Shōgun”, it was moved to the drama category, putting it up against shows such as “The Morning Show”, “The Gilded Age”, and “Fallout”. It’s no wonder that “Shōgun” emerged victorious in this group, but the magnitude of its Emmy success is worth noting. It’s ironic that an Emmys ceremony focused on bringing together stars from TV’s past to embody the most successful archetypes (doctors, lawyers, mothers, fathers, cops, villains) overlooked the characters in grand epics, which have often captured the attention of Emmy voters and paved the way for shows like “Shōgun”.
Many people consider “Game of Thrones” a turning point for the Emmy Awards – the time when television shifted from character-driven dramas like “Mad Men,” “The West Wing,” and even “The Sopranos” (regardless of what you think about Tony Soprano, he had a job) to large-scale, genre-focused, spectacle TV. While not every show that gained Emmy recognition after “Game of Thrones” adopted all its elements, Emmy voters started to favor grandiose genre narratives like “Watchmen” or “The Last of Us”; British dramas needed to be as expansive as “The Crown”; “Succession,” though smaller in scope, might not have been as successful at the Emmys if it wasn’t dealing with massive amounts of wealth, influence, and power.
The series “Shogun” isn’t a fantasy epic, but rather a period piece set far from FX’s American audience. Featuring elaborate and detailed production design, creators Rachel Kondo and Justin Marks had their scripts translated into Japanese and back again to ensure the project’s authenticity. FX even brought in a team of Japanese artisans, referred to by star/producer Sanada as his “dream team,” to construct the sets and costumes. The entire series seemed to embody the pinnacle of what high-budget, well-crafted TV could offer. On a narrative level, “Shogun” offered the kind of family drama that has become popular in recent Emmy winners such as “Thrones,” “Succession,” and “The Crown.
Kathryn VanArendonk, Vulture’s TV critic, described Shōgun as a drama genre that people find easy to accept as high-quality. She explained that it has impressive visual production, a rhythm of court intrigue interspersed with violence, and ambition as its main driver. The stakes are clear, engaging, and exciting, offering an appealing blend of gravity and distance, preventing it from feeling too depressing.
As a cinephile, I found the casting of Hiroyuki Sanada to be the final piece in the intricate puzzle that is prestige cinema. This 63-year-old actor, with a career spanning over five decades in Japanese and Hong Kong cinemas, has been a constant presence since the 1960s. He ventured into American films from the 2000s onwards, gracing the silver screen alongside filmmakers like the Wachowskis, Danny Boyle, and in notable productions such as “The Last Samurai,” “The Wolverine,” and “John Wick: Chapter 4.” On television, he’s left an indelible mark on series like “Lost,” “Revenge,” and “Westworld.
In “Shōgun”, both Sanada and Anna Sawai (who played Mariko) received well-deserved recognition, with Sawai winning Outstanding Lead Actress in a Drama Series. Just like popular series such as “Game of Thrones”, “Succession”, “The Sopranos”, and “The West Wing”, numerous actors were recognized for their performances. Alongside Sanada and Sawai, Tadanobu Asano portrayed the zealous Yabushige, while Takehiro Hira took on the role of Sanada’s adversary. Nestor Carbonell, known for his roles in “Lost”, was nominated for and won Guest Actor in a Drama for his portrayal as a Spanish sailor. The extraordinary talent assembled in this cast was so abundant that even Cosmo Jarvis, who garnered significant attention for his humorous take on John Blackthorne, failed to make the nomination list.
Despite its numerous distinct characteristics, what truly catapulted “Shōgun” into an unstoppable phenomenon could be attributed to its straightforward nature: it epitomized the classic formula of a Hollywood miniseries, if we use somewhat dated TV terminology. In many aspects, it seemed rather traditional, yet boasted top-notch contemporary production quality and fostered a global perspective that nudged television towards envisioning what grand, impressive productions might look like in the future. From “I, Claudius” to the conflicts of Westeros, the TV industry appears to have a strong affinity for programming that makes television feel epic. Indeed, “Shōgun” managed to achieve this.
However, the major television event of the year was not limited to just those events. Here are some additional observations from an exhausted awards expert concluding a lengthy season:
The Emmys Spread the Wealth
As the Emmy Awards approached, predictors anticipated multiple wins not only for “Shogun,” but also for “The Bear” and “Baby Reindeer.” However, Emmy voters dispersed the awards more than anticipated. In the comedy categories, four out of seven major awards went to “The Bear,” with three going to “Hacks.” But in the drama categories, “Shogun” received four major wins, which were supplemented by awards for “The Morning Show” (Billy Crudup), “The Crown” (Elizabeth Debicki), and “Slow Horses” (Will Smith for writing the “Negotiating With Tigers” episode). On the night of the Emmys, “Baby Reindeer” won four awards, leaving room for wins for “Fargo” (Lamorne Morris), “True Detective: Night Country” (Jodie Foster), and Steve Zaillian for directing on “Ripley.
In recent times, there’s been a surge in shows sweeping all awards in their respective categories. For instance, “Schitt’s Creek” in 2020 and “The Crown” in 2021. Interestingly, last year, only seven shows received any major awards across the Drama/Comedy/Limited series categories. Increasing this number to ten might not be a significant shift like Regina George taking away all the titles, but it could signal a trend towards more even distribution of awards moving forward.
The Daily Show Continued Its Impenetrable Emmys Racket
Contrastingly, The Outstanding Talk Series and Scripted Variety Series awards were won by “The Daily Show” and “Last Week Tonight with John Oliver”. If you’re at all surprised by this outcome, it might be a good idea to consult a doctor. Since 2003, “The Daily Show” has taken home the award for either Outstanding Variety Series or its successor, Outstanding Talk Series, a staggering 13 times. In the past 21 years, it’s only lost these awards to “The Colbert Report” and “Last Week Tonight”, both shows that have ties to “The Daily Show” – the former being a spin-off and the latter an info-comedic program hosted by a former correspondent of “The Daily Show”. Essentially, since George W. Bush’s first term, “The Daily Show” has ruled the Emmys.
During that period, established late-night comedians like Letterman, Conan, and various Jimmys have failed to win in their respective categories a total of 49 times. Last Sunday’s victory extended the most impressive winning streak any franchise has ever had at the Emmys. If Mary Tyler Moore and Lou Grant were around today, they would be envious of such success. It’s a testament to how Jon Stewart’s Daily Show revolutionized television, as well as a criticism of the Emmy voters’ reluctance to recognize new talent in late-night comedy.
Pride Was Served Two Ways
Congratulations to “The Traitors” for shattering years of dominance held by “RuPaul’s Drag Race” and clinching the Best Reality Competition Emmy. Alan Cumming, the host, graciously accepted the award while expressing gratitude towards his Scottish roots, a sentiment mirrored in his striking tartan attire. Eagle-eyed viewers might have noticed Cumming’s pin adorned with the colors of the trans pride flag as well. This thoughtful gesture is noteworthy given that “The Traitors” won during a season where trans contestant Peppermint faced elimination in the second episode, orchestrated by eventual winner Trishelle Canatella.
As a movie enthusiast, I must say that watching “Pride” on a good night was truly a source of pride for me. This 2014 U.K. dramedy film tells an inspiring tale about a band of gay activists who lend their support to striking Welsh miners in the Britain of Thatcher’s rule.
The Emmys Still Refuse to Show Clips of Today’s Television
The general expectation for the Emmys broadcast on Sunday was that viewers preferred a trip down memory lane. In line with this, last year’s Emmys, held in January, showcased reunions of casts from shows like Cheers, Ally McBeal, Grey’s Anatomy, and Martin. This year, the producers aimed to celebrate classic TV characters that initially captivated audiences. As a result, Zach Braff from Scrubs, Mekhi Phifer from ER, and Mindy Kaling from The Mindy Project were among those who presented as a group of iconic TV doctors. Christine Baranski (from The Good Wife/Fight) and Viola Davis (from How to Get Away With Murder) represented TV lawyers, while separate groups showcased TV villains and cops. Notably absent were favorite coaches such as Kyle Chandler or Craig T. Nelson. In simpler terms, the Emmys planned to emphasize popular TV characters from the past.
The TV shows that honor moms (Meredith Baxter, Connie Britton, Susan Kelechi Watson) and dads (George Lopez, Damon Wayans, Jesse Tyler Ferguson) were each given their own tributes, highlighting the importance of families in television. However, it seems that single characters have been overlooked as the most iconic TV shows revolve around single individuals such as Seinfeld, Friends, The Mary Tyler Moore Show, Cheers, M*A*S*H, Melrose Place. I can’t help but wonder if a lineup of Ted Danson, Matt LeBlanc, and Courtney Thorne-Smith would have added more star power to the Emmy telecast. Perhaps someone from the J.D. Vance campaign influenced the Emmys producers to overlook these single characters?
If I might make a small suggestion to next year’s Emmys producers that instead of random trios representing old TV shows, they might, I don’t know, show clips from present nominees? Of the major awards shows, the Emmys do by far the worst job of showcasing the shows and performances that we’re ostensibly there to honor. Even the Oscars ceremony, which often seems so embarrassed of its own products, at least features clips and montages and nominated songs. The Emmys didn’t air a single clip from Shōgun, Hacks, or Baby Reindeer to show why these were the best programs of the year. How are the TV shows of today going to become the beloved shows of tomorrow if they’re not properly celebrated now?
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2024-09-21 15:54