How Did the Emmys Get Writing for a Variety Special So Right?

As a long-time comedy enthusiast and podcaster myself, I must say that this year’s Emmy nominations for Outstanding Directing for a Variety Special are quite intriguing. Having had the pleasure of hosting all four nominated comedians on my podcast, Good One, I can attest to their unique styles and voices.


The Emmys have had difficulty acknowledging excellence in stand-up comedy, which can be quite awkward given that they have separate categories for best commercials, game shows, and “Outstanding Short Form Nonfiction or Reality Series” (this year featuring only aftershows for The Daily Show, The Crown, Hacks, Saturday Night Live, and Shōgun), while overlooking stand-up specials altogether. This omission is striking considering the impact this genre has had on television for many years; in fact, a significant portion of HBO’s brand is based on stand-up comedy specials, from Eddie Murphy’s Delirious to Comedy Half-Hour specials by artists like Chris Rock, Janeane Garofalo, and Margaret Cho. As Netflix seeks to surpass HBO, stand-up has become a crucial part of its programming. However, at present, stand-up is uncomfortably grouped within the Outstanding Variety Special Emmy category, where it competes against awards shows, concerts, and the Super Bowl halftime show.

As a longtime enthusiast of comedy and variety specials, I must say that this year’s nominees for Outstanding Writing in a Variety Special have truly caught my attention. With my years of experience in the entertainment industry, I can confidently attest to the fact that good taste is often hard to come by, but these nominees seem to embody it beautifully.

Historically, the Emmy Awards has been criticized for not recognizing the outstanding comedy specials that truly excel. This year’s directing nominations seem to carry a bit of that underwhelming legacy. For instance, while comedians like Dave Chappelle, Trevor Noah, and Tig Notaro are renowned, their specials are not particularly remarkable in terms of direction. However, Jacqueline Novak, John Early, Alex Edelman, and Mike Birbiglia received writing nominations this year! These choices are highly commendable, and it’s perplexing as to why the Emmys can appreciate excellent writing but struggle to apply that same discernment in categories like direction or overall best.

The nominees for best writing in comedy might appear more sophisticated due to the voting rules of the Emmys. For instance, awards that honor a show overall (except for animated and documentary/nonfiction shows) are decided by the entire Television Academy. This includes Variety Specials, which have two categories: Outstanding Variety Special (Live) and Outstanding Variety Special (Pre-Recorded). However, other Emmy awards are chosen by what we call peer groups. Simply put, actors vote for acting categories, directors vote for directing, production designers vote for production design, and writers (from drama, TV movie, late night, etc.) decide the writing categories.

Over the past few years, it’s been the stand-up comedians who have garnered success with the Writers Guild of the Television Academy in the Writing for a Variety Special category. For instance, the last six winners in this category have all been stand-up specials: John Mulaney’s “Baby J”, Jerrod Carmichael’s “Rothaniel”, Bo Burnham’s “Inside”, Dave Chappelle’s “Sticks & Stones”, Hannah Gadsby’s “Nanette”, and Mulaney’s “Kid Gorgeous”. Notably, each of these specials was the most recognized comedy show of its year. As Vulture’s Jesse David Fox points out in the discussion below, people usually only know a few comedians at any given time. It follows that these are the shows most likely to attract public attention. However, it is important to note that the Writers’ Branch of the TV Academy isn’t representative of the general public, and one could argue they should be more selective in their award choices.

As someone who has been following comedy for years and appreciating the hard work that goes into writing funny material, I must say that this year’s nominees for Outstanding Writing for a Variety Special truly did not disappoint. With my extensive background in comedy and a keen eye for good writing, I can confidently say that these nominees showcased some of the best work in the industry. From clever punchlines to thought-provoking commentary, each of these comedians pushed the boundaries of what is possible in comedy today. As someone who has tried my hand at stand-up myself, I know how difficult it can be to create original and hilarious material, so hats off to these talented writers for their impressive work. If you’re a fan of comedy or just looking for a good laugh, be sure to check out the nominees for Outstanding Writing for a Variety Special this year – I promise you won’t be disappointed!

As a comedy enthusiast with years of experience in watching stand-up specials, I have to say that the current lineup of comedy specials on various streaming platforms is quite impressive. Alex Edelman’s “Just for Us” on HBO showcases his unique perspective as an immigrant and a Jew, which provides a fresh take on relatable topics. Jacqueline Novak’s “Get on Your Knees” on Netflix tackles the taboo subject of gratitude in an insightful and humorous way, making it a must-watch for anyone seeking to delve deeper into the human condition. John Early’s “Now More Than Ever” is a delightfully absurd and irreverent special that showcases his eccentric personality and sharp wit, leaving me in stitches. Lastly, Mike Birbiglia’s “The Old Man and the Pool” on Netflix is a poignant and heartwarming tale of aging, family, and self-discovery that resonates with anyone who has ever grappled with the complexities of growing older. And let’s not forget about The Oscars on ABC, which always delivers a night filled with glamour, surprises, and unforgettable moments. Overall, these comedy specials offer something for everyone, reflecting the richness and diversity of the human experience.

In contrast to typical Emmy writing categories, this year’s Variety Specials deviated from the general Academy’s preferences by acknowledging a variety of stand-up specials (such as those by Dave Chappelle, Nikki Glaser, and Trevor Noah) instead of just ensemble works like the Oscars. The Directing for a Variety Special category followed suit, recognizing multiple specials including Billy Joel’s concert and Dick Van Dyke’s performance, while swapping out Glaser’s show for Tig Notaro’s special. The only overlap was with the writing category, specifically for the Oscars. However, in the Comedy and Drama Writing categories, there were fewer exceptions as many of the nominees were also recognized in their respective series categories. For example, ‘Girls5eva’ and ‘The Other Two’ were among the exceptions. This unique approach resulted in a strong and diverse category on the Emmy ballot. Jesse and Kathryn provide further insight below.

Jesse David Fox suggests that in comedy, many people are only familiar with five stand-up comedians at any given time, having heard of them through popular specials rather than attending live shows. He believes this is because the Outstanding Variety Special nominations and Best Comedy Album Grammy awards are often based on name recognition due to voting by the general public. However, the Outstanding Writing for a Variety Special category tends to recognize writing skills and an appreciation for both comedy and taste among industry professionals. Interestingly, he notes that this year’s nominees seem particularly noteworthy, suggesting a growing interest in formal ambition and creativity in the field of comedy writing.

As a movie enthusiast, it’s striking how distant the Emmy-nominated Variety Specials often feel from what I consider truly exceptional comedy performances. It took me nearly an hour to even glance at this year’s nominations because they seldom align with my idea of noteworthy comedy specials. Even when the Emmys acknowledge specials that I believe are worthy of Writing accolades, they usually belong to breakout sensations like Nanette or established comics like Mulaney, Chappelle, or Bo Burnham. Don’t get me wrong; I admire Mike Birbiglia greatly, and he’s far from an obscure figure. However, it’s hard to argue that he enjoys the same level of fame as Chappelle in the comedy scene.

Regardless of his past preference for well-known figures, the first Emmy nomination for John Mulaney was in Writing for ‘Comeback Kid’. This was before he became a favorite among many. So, it’s not unheard of, but it does feel somewhat unexpected. Are there any theories as to why this year saw an unusual recognition of comedians who are more industry-oriented? Was there perhaps a highly popular special that went unnoticed in favor of these nominees?

It’s interesting to consider why certain comedians didn’t receive nominations, given that there are limited high-profile stand-up specials each year from well-known comics. Two examples of this issue are Tig Notaro’s “Hello Again” and Jenny Slate’s “Seasoned Professional,” which were possibly hindered by being on Prime Video, a platform not typically associated with stand-up and difficult to navigate for its comedy content. The specials that seem most deserving of nominations in this category are usually the ones that have been nominated for Outstanding Special, correct? Dave Chappelle won this award in 2020, but his special “The Closer” was not nominated. This might lead some writers to grow tired of his style. Trevor Noah’s comedic talent lies more in his performance rather than writing. So, the main question becomes, why isn’t Nikki Glaser receiving nominations and, conversely, why is John Early?

To clarify, I’d choose both of these exceptional works, but Early’s “Now More Than Ever” contains around half unscripted content (cover songs and spontaneous backstage skits), whereas Glaser’s “Someday You’ll Die” is arguably the funniest joke-centric special in recent times. It might be a matter of humor preferences among voters, but I believe it’s more about the writing voters not valuing great joke-writing as significantly as the overall construction of a comedic performance. Even if you don’t appreciate or understand the comedy in any of the four stand-up nominees – and even if you haven’t watched them! – you can recognize what makes them special: All four, particularly the one-person shows, received considerable praise from highbrow media outlets. Writers, unlike most voters, are avid readers. Additionally, all four were guests on my podcast, “Good One,” this spring. Furthermore, Mike Birbiglia was the focus of a documentary adaptation of “Good One” on Peacock.

Indeed, it appears we’ve accurately addressed the query just now – quite an impressive achievement, I must say. It seems that Good One, whether broadcasted on the podcast or Peacock platform, has gained significant influence over Emmy nominations. As a follower of this fascinating development, I can confidently announce this news to others.

From my perspective, the debate between Glaser and Early is strikingly similar to the ongoing discussion about whether “The Bear” is a comedy or a drama. While Early’s work undeniably brings the laughs, it also tackles themes with a more serious, high-brow appeal. It’s quirky, slightly sarcastic, and pushes boundaries in its format. It’s not just about jokes related to sexual encounters or longing for wild parties. On the other hand, Glaser, at first glance, appears more traditional, like a multi-camera setup. I don’t think it’s solely about humor preferences; it’s more about what we perceive as significant and valuable in art.

In summary, Alex Edelman’s “Just for Us” and Jacqueline Novak’s “Get on Your Knees” are strong contenders for major awards. They have achieved a level of sophistication that appeals to Emmys snobs who prefer more solo performances. Both comedians have been gradually gaining dedicated fan bases before their specials were even released. What are your thoughts?

JDF: I believe Alex will win. It reads as the most “important” work because antisemitism is more “serious” than blowjobs, and being serious tends to be equated with “good” when awards come around. I also think there will be a portion of the general voting audience who won’t totally “get” the humor of Get on Your Knees. There is a small chance Early wins just because he is maybe the most famous, in that he has starred on a television show. I think Birbiglia should win. I don’t think his special is the best of the four, but it’s hard for me to imagine any of these four specials existing without Birbiglia’s influence. If Edelman wins, he should pull a Ving Rhames and give the statue to Birbiglia.

In general, I lean towards the belief that Edelman will emerge victorious in this Emmys season. However, there are other specials I prefer more. Still, I can accept that result without issue. As for the directors, it’s a bit more complicated. Compared to writing, the taste and perspective within the directing group seem less unified, which might explain why this category serves as something like an eclectic jumble drawer where miscellaneous items are placed. The Tony Awards, Oscars, Chappelle’s special, Tig Notaro’s special, Trevor Noah’s special, and a heartwarming tribute to Dick Van Dyke – it’s challenging to compare them all! How does one make apples-to-apples comparisons?

It’s quite intriguing that Natasha Lyonne wasn’t nominated for directing “Get on Your Knees,” given her fame and the unique visual style of the special. This seems to support the idea that the Emmy awards often favor stand-up comedians. Since voters have a limited number of events to choose from, they tend to select comedians they are familiar with. While the direction in “Get on Your Knees” wasn’t particularly remarkable, I must admit that none of the three nominees stood out either. It’s worth noting that this category usually avoids awarding a regular stand-up special, and Bo Burnham’s “Inside” is an exception because he is also a director himself. Therefore, I predict the Tony Awards will likely win this time. Good luck to the Tony Awards! We have a spot for you on our show, “Good One.”

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2024-08-10 16:54