The Case Against RDJ

As a seasoned observer of the glittering world of television, I must say that this year’s Emmy race is shaping up to be quite the spectacle! The stars align for some fascinating contenders, each with their unique journeys and performances that have left us spellbound.

As a long-time fan of both Jeremy Allen White and Robert Downey Jr., I must admit that this Emmys season has been particularly exciting for me. With Jeremy Allen White seemingly set to win again for his outstanding performance in The Bear, it appears that another sure bet is Robert Downey Jr.’s first Emmy win for his role in HBO’s limited series The Sympathizer. However, recent developments in Downey Jr.’s career have left me questioning whether this narrative remains as certain as it once was.

To begin with, let’s discuss the arguments supporting Robert Downey Jr.’s potential win. Firstly, he is undeniably the most prominent actor in this category, boasting a level of fame that is approximately astronomical. In Limited Series categories, celebrity status often holds significant weight. For evidence, look no further than recent victories by Michael Keaton (“Dopesick”), Kate Winslet (“Mare of Easttown”), and Ewan McGregor (“Halston”). The series “The Sympathizer” strategically established Downey as a central figure from the outset. Although the HBO adaptation has numerous merits – it’s based on Viet Thanh Nguyen’s Pulitzer Prize-winning novel, and was developed by acclaimed directors Park Chan-wook and Don McKellar – Downey essentially shares the limelight with Hoa Xuande, who portrays the main character, a North Vietnamese spy. Downey plays three roles in the series: Claude, a CIA agent managing the spy; Niko Damianos, an arrogant filmmaker seeking the spy’s input for his war movie; and a congressman resembling Reagan, as well as a racist university professor. In a bold move that could be described as a stunt, Downey became the face, or rather faces, of the series, serving as the attention-grabbing element intended to attract viewers.

As “The Sympathizer” took a backseat amidst the bustling spring TV schedule, Downey’s nomination for Outstanding Supporting Actor in a Limited Series remained undisputed. The narrative was captivating: with Downey, basking in the glow of a post-Marvel revival and an Oscar statuette clutched tightly, he was poised to snatch an Emmy, leaving viewers pondering if this new role would propel him towards a Tony award. Let’s refer to it as the Awards Cascade Effect: the notion that a performer’s success in one medium increases their chances of winning in another medium shortly after. Viola Davis garnered an Emmy for “How to Get Away With Murder” in 2015, followed by an Oscar for “Fences” eighteen months later. Olivia Colman won an Oscar for “The Favourite” in early 2019 and then an Emmy for “The Crown” in 2021. Regina King’s Oscar for “If Beale Street Could Talk” in early 2019 was flanked by Emmys for “Seven Seconds” in 2018 and “Watchmen” in 2020. Rami Malek: Emmy for “Mr. Robot” in 2016, Oscar for “Bohemian Rhapsody” just under three years later.

To further emphasize, Downey’s portrayal of various characters is a tactic often successful in award-winning roles, as seen with the case of Downey himself. The 2016 Emmy win by Tatiana Maslany for Orphan Black might have been unexpected, but looking back, was it really? She essentially outperformed her competitors by portraying numerous clones. Mark Ruffalo’s victory in 2020 for I Know This Much Is True demonstrated that delivering a multiple-character performance isn’t always necessary to captivate the voters’ attention.

The argument against Downey’s inevitable victory is complex and involves questioning several historical patterns. For instance, while the lead actor in a Limited Series category often wins, this isn’t always the case. This rule didn’t guarantee victories for Robert De Niro or Michelle Pfeiffer during their nominations for “The Wizard of Lies,” nor did it secure an Emmy win for Cate Blanchett in “Mrs. America.” Penelope Cruz’s fame didn’t earn her an Emmy for playing Donatella Versace in “American Crime Story,” and Hugh Jackman didn’t win despite widespread acclaim for “Bad Education.” Winning awards doesn’t always occur in clusters, as demonstrated by the McConaissance’s failure to secure an Emmy for Matthew McConaughey’s performance in “True Detective” soon after his Oscar win for “Dallas Buyers Club.” Sam Rockwell’s Oscar win for “Three Billboards Outside Ebbing, Missouri” didn’t translate into a win for him in “Fosse/Verdon.” Lastly, playing multiple characters on a single show is a bold strategy that often appeals to Emmy voters—unless you’re Ewan McGregor on “Fargo” in 2017 (he was nominated but didn’t win) or Rachel Weisz on “Dead Ringers” last year (she wasn’t even nominated).

Endgame and marked the end of his Marvel Cinematic Universe tenure. After a professional low point with Dolittle, he made a strong comeback with Oppenheimer. During the awards season for Oppenheimer this year, Downey often hinted at this new stage of his career. His speeches at the Golden Globes and Oscars mentioned restarting his career, while in an interview with The New York Times he expressed joy about regaining a more pure approach to filmmaking. Given his decade-and-a-half experience within a CGI suit and subsequent roles as politicians in biopics and adaptations of Pulitzer Prize-winning works, this transition was a strategic career move that yielded immediate success.

Later on, Downey made an appearance at Comic-Con, removing the Doctor Doom mask and signing up for more superhero films, thereby rescuing the MCU when his career was thriving. The reasons behind Downey’s return to Marvel remain a mystery, but it undeniably altered the narrative he had been shaping regarding traditional filmmaking methods.

I found myself questioning Downey’s Emmy nomination without the context provided by critical reviews, as it seemed like a case ripe for examination from the outset. HBO’s casting of Robert Downey Jr. as the central figure in a series about the harmful impacts of colonialism felt disconcerting to me right away. In her review for Vulture, Kathryn VanArendonk pointed out that the show itself fell into the same trap: “The humor in the series often revolves around the way American narratives center whiteness. The frequent appearance of Robert Downey Jr. in roles designed to be interchangeable goes against this intention.”

The situation grew more challenging for “The Sympathizer” when Downey was its sole Emmy nomination. Although it’s not unheard-of for a single acting performance to win an Emmy amidst a show’s solitary nominations, as seen with Tatiana Maslany (“Orphan Black”), Regina King (“Seven Seconds”), and Mark Ruffalo (“I Know This Much Is True”), it’s not exactly a promising indicator for “The Sympathizer.” It seems the series didn’t make much of an impact on Emmy voters, nor did it strike a chord with the general audience. Based on Nielsen ratings as reported by TV Series Finale, “The Sympathizer” ranked 24th out of HBO’s 29 shows over the past five years in terms of viewership for their most recent season. This places its viewership below shows like “White House Plumbers,” “The Time Traveler’s Wife,” and “The Idol,” but still above the second season of “Industry.”

If “The Sympathizer” didn’t resonate with Emmy voters and Robert Downey Jr. is stepping away from serious acting roles, it might be wise to explore other contenders in the category. In case not Downey, who else could be nominated? The other Supporting Actor in a Limited Series nominees are:

1. Jonathan Bailey stars in “Fellow Travelers”

I’ll step aside from highlighting Morris and Pullman, two talented actors who often play supporting roles that are outshone by the main characters in their respective shows. This narrows down the field to a quartet of relatively strong candidates vying for the top prize.

As a dedicated movie enthusiast, I must admit that Jonathan Bailey has been stealing the spotlight lately. His captivating charm and heartfelt performances, as showcased in Fellow Travelers, are not just limited to the screen but radiate everywhere – from Late Night With Seth Meyers to the Met Gala, and beyond. The Fellow Travelers press tour was a whirlwind of adorableness, with Bailey and Matt Bomer sharing the limelight, whether it was their endearing moments together, playing with a horde of BuzzFeed puppies, or engaging in a unique cross-promotional event with All of Us Strangers stars Paul Mescal and Andrew Scott. To top it off, his role in Bridgerton adds another layer to his appeal, potentially garnering support from the show’s fanbase within the Academy.

Tom Goodman-Hill may not be following a meteoric career path like Bailey, but his chances of pulling off an unexpected victory are more significant than they appear. This is due to the fact that he received his first Emmy nomination for portraying a complex character who was dark, manipulative, and abusive in a series that could potentially dominate the Limited Series awards. In recent years, the Emmys have shown a tendency towards block voting, where one show can win multiple major awards. Last year, “Beef” and “The White Lotus” each took home five of the seven major awards, while “Mare of Easttown” won three out of four acting awards in the Limited Series category in 2021. If “Baby Reindeer” wins Outstanding Limited Series, along with potential victories for Richard Gadd and/or Jessica Gunning, Goodman-Hill could ride that wave of momentum to a win as well.

In the television series “True Detective: Night Country,” John Hawkes is given an opportunity to showcase his versatile acting skills, potentially garnering accolades that might otherwise be directed towards Robert Downey Jr. Throughout his career, Hawkes has been a prolific actor, appearing in numerous TV shows including “Deadwood” and “Eastbound and Down.” Notably, he was nominated for an Oscar for his role in “Winter’s Bone,” a performance that required him to tap into some of the same depth he brings to his character in “True Detective.” This role also finds him singing a song he wrote, for which he is also nominated.

To conclude, we have Treat Williams, who was nominated posthumously for his exceptional portrayal of Bill Paley in the series Feud: Capote vs. the Swans, which marked his final performance before his passing in June 2023. This is only the second nomination of his career, following his nomination for playing Michael Ovitz in The Late Shift. The history of posthumous Emmy nominations is extensive, yet it’s challenging to identify consistent patterns. There have been numerous nominations and even wins over the years, such as Chadwick Boseman’s recent victory for Outstanding Character Voice-Over Performance in What If? on Disney+. However, there have also been instances where a seemingly inevitable posthumous win was prevented: Kathryn Joosten from Desperate Housewives, Carrie Fisher, John Ritter, Phil Hartman, and Nicholas Colosanto all lost their posthumous nominations. Even Nancy Marchand, who was widely expected to win for her role on The Sopranos, fell short when Allison Janney won for The West Wing. It’s uncertain whether voters will feel compelled to award Williams a final victory.

In summary, it seems unlikely that Robert Downey Jr. will win an Emmy this year due to strong competition. With several talented actors like Jonathan Bailey, Tom Goodman-Hill, John Hawkes, and Treat Williams all vying for the award, they may end up splitting each other’s votes. Moreover, in comparison to his Oscar acceptance speech, it could be more challenging for RDJ to emphasize the sincerity of his work during an Emmy acceptance speech.

2024-08-24 16:55

The Case Against RDJ

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