Emmy Nominations thread

[Mr. Strawberry]

Strawberry, great post. You're absolutely right. But sometimes it's just nice to see something get recognition. (I do like GLOW, by the way...a lot...but Game of Thrones was lackluster, Westworld is a big nothing, and The Handmaid's Tale is quite heavy handed.)

Thanks LateReg! I agree that it's nice to get some props, however in light of what did receive awards, it's as though being snubbed is a testament to real depth and originality; Don't you want to get away from the Blank Herd to kick it with the Black Sheep?

[IcedOver]

The show didn't win anything at the creative arts Emmys, not even hairstyling for Mr. C's glorious locks. I doubt they'll win the writing award, but I feel Lynch has a strong possibility to get the directing award, less because the voters watched or liked the show than as a career award. Ryan Murphy will probably win, though.

[LateReg]

The show didn't win anything at the creative arts Emmys, not even hairstyling for Mr. C's glorious locks. I doubt they'll win the writing award, but I feel Lynch has a strong possibility to get the directing award, less because the voters watched or liked the show than as a career award. Ryan Murphy will probably win, though.

Yes, I was deeply saddened by the fact that it - Part 8, specifically, no less - lost sound editing and mixing, picture editing and cinematography to that episode of Black Mirror (a great episode, but still) and Genius: Einstein, a show which almost no one feels should have been nominated. I couldn't believe it lost any of the editing or sound categories when it was specifically Part 8 that was nominated. Really puts things into perspective regarding what voters are looking for and shows you what it's up against when it comes to even a sure thing like directing (an unprecedented 18 hours).

[Mr. Reindeer]

I love Black Mirror, but the “U.S.S. Callister” episode doesn’t exist in the same universe as TP P8. From a technical standpoint, the former is a lovingly executed tribute to a 50-year-old series; the latter is the only thing of its kind in the cultural landscape. This is a pretty clear demonstration that the Emmys are more interested in looking backward than forward. (Honestly, I thought even multiple other episodes of Black Mirror this season were more technically worthy than “Callister,” particularly “Metalhead.”)

[LateReg]

I love Black Mirror, but the “U.S.S. Callister” episode doesn’t exist in the same universe as TP P8. From a technical standpoint, the former is a lovingly executed tribute to a 50-year-old series; the latter is the only thing of its kind in the cultural landscape. This is a pretty clear demonstration that the Emmys are more interested in looking backward than forward. (Honestly, I thought even multiple other episodes of Black Mirror this season were more technically worthy than “Callister,” particularly “Metalhead.”)

Metalhead seems to be the most polarizing episode of Black Mirror, possibly because there's less story than usual, but as a horror and aesthetics fan, I loved it and thought it was flawlessly done. It's also especially interesting/relevant to a discussion of Part 8 because of its near wordlessness, black and white cinematography and use of the music of Penderecki. Its one of those things that make you go hmmmmm. Did Part 8 directly influence it, or is it an example of the unified field at play, ideas snatched from the air?

[Mr. Reindeer]

Metalhead seems to be the most polarizing episode of Black Mirror, possibly because there's less story than usual, but as a horror and aesthetics fan, I loved it and thought it was flawlessly done. It's also especially interesting/relevant to a discussion of Part 8 because of its near wordlessness, black and white cinematography and use of the music of Penderecki. Its one of those things that make you go hmmmmm. Did Part 8 directly influence it, or is it an example of the unified field at play, ideas snatched from the air?

I thought of Eraserhead, between the title, the post-industrial setting and the use of B&W. The possible TP P8 influence actually hadn’t occurred to me.

I’ve only heard positive reactions to “Metalhead,” but that polarization makes sense because it seems in general the controversial Black Mirror episodes tend to be the most bleak ones (“Shut Up and Dance,” “Crocodile”), and the more popular ones tend to be the more upbeat crowd-pleasers (the admittedly awesome “San Junipero,” “Callister”). Which is a little funny, given how deeply cynical and dark the show was pre-Netflix. For me, almost every episode fires on all (or most) cylinders regardless of tone, with the only slight misfires being “Waldo” and “Black Museum” (the former Brooker has admitted he believes is the only misfire, although it arguably has become retroactively prescient; the latter is fun but a bit masturbatory and repetitive of earlier episodes).

[Soolsma]

I'm also very, very fond of Black Mirror at it's bleakest. Aforementioned are all great examples but let me add White Bear to that list, even though it starts on a slightly silly, humorous tone.

Metalhead is indeed way stronger in terms of cinematography than USS Callister. Actually it's way better on almost every end. It kept me immensely engaged all the way through.

Which is a little funny, given how deeply cynical and dark the show was pre-Netflix.

There is surely a shift in tone. But I do not think this can be attributed to the change of network. I think Brooker still gets to do whatever he feels like.

[Mr. Reindeer]

There is surely a shift in tone. But I do not think this can be attributed to the change of network. I think Brooker still gets to do whatever he feels like.

I think Netflix is very creator-friendly (the new season of BoJack Horseman goes to a place most networks would veto on any show let alone an animated one), and I don’t think they’re exacting any control over Black Mirror’s content, but I do think Brooker has been conscious of the wider audience and has tailored his writing to be a little more mainstream (and also more American) some of the time. I don’t think it’s hurt the quality at all, though. If anything, it’s led to a broader tone pallet.

[Soolsma]

I guess that could be true. The increase in budget also doesn't hurt.

However, from Black Mirror's wikipedia page:

"In developing the third series' stories, Brooker had looked back to the first two series and the Christmas special, and recognized that all the stories were about characters becoming trapped in a situation that they could not escape from. Coupled with the anthology format that asked for viewers to get immersed within the stories to understand the nature of each, this created a sense of darkness and horror, which could make it difficult to watch successive episodes without becoming uncomfortable. With the third series, Brooker wanted to explore different formats, still having a few "trap" episodes but adding more conventional stories like a romance and police procedural, making the new series more digestible for the viewer."

So on topic: Is there still a chance for TP to win some and when will they be announced?

[LateReg]

The Emmys are tonight, and I believe that Director and Writer awards will be handed out live. I'm curious if both Lynch and Frost will be there. I would love to see them win just to see a speech. I'd also love to see Lynch win because he deserves it. I'm just hoping for a miracle because I don't believe enough voters watched the show, and if it's already losing sound design related awards, I can't imagine it will fare much better in director, regardless of the respect Lynch supposedly commands.

Also wanted to say I agree with Reindeer's Waldo example of something that seemed lackluster but now seems prescient. A strange one to know what to do with at this point. Black Museum I'd also probably rank in the bottom five or so, though I was immensely satisfied and disturbed with the first part of the story, which was downright demented...and gross. But overall I didn't feel that one did much for me as someone familiar with classic horror anthologies, from Dr. Terror to Tales From da Hood.

[mtwentz]

Sadly, there is almost no chance of Lynch or Frost winning. And if one or both of them does, I will eat my hat on this forum.

[Mr. Strawberry]

Sadly, there is almost no chance of Lynch or Frost winning. And if one or both of them does, I will eat my hat on this forum.

Underestimating their ability to subvert all expectations is a dangerous game...!

[Mr. Reindeer]

Sadly, there is almost no chance of Lynch or Frost winning. And if one or both of them does, I will eat my hat on this forum.

Underestimating their ability to subvert all expectations is a dangerous game...!

That doesn’t mean they have the superpower to change the hearts and minds of Emmy voters whose mission statement has traditionally seemed to be honoring the most pedestrian, populist choices. I haven’t seen the Versace series, so I can’t pass judgment, but it sounds like pure melodrama, and it seems insane to me that schlock king and Glee/AHS creator Ryan Murphy beat DKL out for a directing award.

[LateReg]

That doesn’t mean they have the superpower to change the hearts and minds of Emmy voters whose mission statement has traditionally seemed to be honoring the most pedestrian, populist choices. I haven’t seen the Versace series, so I can’t pass judgment, but it sounds like pure melodrama, and it seems insane to me that schlock king and Glee/AHS creator Ryan Murphy beat DKL out for a directing award.

Well, for what it's worth, Versace is actually quite bold and uniquely compelling. It's as much a thriller with disturbingly real horror elements as a melodrama as a psychological profile as an historical and political document, and the sprawling time hopping narrative is challengingly fragmented, and the lead performance is outstanding and downright fascinating. I liked it way more than I expected, and Matt Zoller Seitz has recently referred to it as being unlike anything he's seen before on TV. Murphy used his clout to make something a bit different, but as far as whether Murphy deserved to win for a single hour of TV, well, the answer is obviously and resoundingly no, for every practical reason you can think of, ranging from Lynch having directed the finest single hour of TV in 2017 to his having directed all 18 hours. But Emmy voters vote for what they're comfortable with or the biggest name they recognize, and they're obviously comfortable with Murphy, regardless of how ambitious and relatively daring Versace is. (Hence why Game of Thrones somehow still won drama this year despite the weaker season.) Such a shame. Expected, of course, but a shame nonetheless.

The two clips they showed for Twin Peaks stood out from the pack, and I wonder who the hell chose them. Were they meant as a joke, or just to further alienate the crowd with their strangeness? For writing, they literally showed the final scene, starting with Kyle asking "what year is this?" followed by Laura's scream and the lights going out, which I found disturbing that they'd spoil the final scene, but also hilarious they'd spring something so abrasive on viewers, and further humorous that they showed that clip for the category of writing, since it includes only four words followed by a loud and intense scream! No other clip was remotely like it, of course. For directing they showed Laura removing her face, which is also unlike any other clips they showed in that it consists of no dialogue and is purely weird.

[Saturn's child]

That doesn’t mean they have the superpower to change the hearts and minds of Emmy voters whose mission statement has traditionally seemed to be honoring the most pedestrian, populist choices.

Fix your hearts or die!