Deadline Hollywood - Contenders Television: The Nominees - 08/16/20

PRESENTS AU G U ST 16, 2020 CO NT E ND E RS T E L E VI SI O N/ E MMY NO MI NE ES

E M M Y

®

N O M I N A T I O N S INCLUDING

OUTSTANDING LIMITED SERIES LEAD ACTRESS SHIRA HAAS

“AN ACHIEVEMENT OF

SEARING POWER AND GRACE. This work lives and breathes as vividly as it does thanks to its star,

Shira Haas, and her possession of that most elusive acting gift: conveying these complex and conflicting experiences in silence.

Through a glance, or a gesture, or a swell of emotions seen in her eyes, we see that her Esty is proud and scared, self-assured and filled with doubt, but always defiantly and powerfully herself.”

“SHIRA HAAS IS

A PHENOMENON.”

FYC.NETFLIX.COM

Emmy® Award Nominated OUTSTANDING COMPETITION PROGRAM OUTSTANDING HOST FOR A REALITY OR COMPETITION PROGRAM

NICOLE BYER

“A RADICALLY KIND SHOW TO CURE WHAT AILS YOU. IT IS A WARM SUGARY BALM TO THE SOUL.” SLATE

“NICOLE BYER IS HILARIOUS.” FYC.NETFLIX.COM

DECIDER

D EAD L I NE .CO M

Breaking News

Follow Deadline.com 24/7 for the latest breaking news in entertainment.

Sign up for Alerts & Newsletters G E NERAL MANAGER & C HIEF REVENUE OFFICER

CO- EDITORS- I N - CHIEF

Sign up for breaking news alerts and other Deadline newsletters at: deadline.com/newsletters

Stacey Farish

Nellie Andreeva (Television) Mike Fleming Jr. (Film)

E DI TOR

AWARDS COLU M N IST/CHIEF FILM CRITIC

C REATIVE DIRECTOR

EDI TOR-AT- L ARGE

DE PUTY EDITOR

EXECU TI VE EDITOR

VI D EO SE R I ES

AS SISTANT EDITOR

SEN IOR EDI TOR, L EGAL/TV CRITIC

The Actor’s Side with Pete Hammond

Joe Utichi Craig Edwards Antonia Blyth Matt Grobar

Pete Hammond

Dominic Patten

S O CIAL MEDIA DIRECTOR

EDI TORIAL DI RECTOR

S E NIOR EVENTS MANAGER

EXECU TI VE M AN AGING EDITOR

V I DEO PRODUCERS

DEPU TY M AN AGIN G EDITOR

Scott Shilstone Sophie Hertz

David Janove Andrew Merrill Shane Whitaker

E DI TORIAL & MARKETING DESI GN ER

Michael Luong

S E NIOR VICE PRESIDEN T, AS SOCIATE PUB LISHER

Anthony D’Alessandro Patrick Hipes Tom Tapp

SEN IOR M AN AGIN G EDITOR

Denise Petski

SEN IOR F I L M EDITOR

Justin Kroll

TEL EVI SION EDITOR

Peter White

Kasey Champion

F I N AN CE EDITOR

S E NIOR VICE PRESIDEN T, G LOBAL B USINESS DEVELOPM EN T A ND STRATEGIC PARTNERSH I PS

BU SI N ESS EDI TOR

Céline Rotterman

DI R ECTORS, ENTERTAIN M EN T

Brianna Corrado London Sanders Tiffany Windju

DI G ITAL SALES PLANNERS

Jessica Cole Katya Libizova

Dade Hayes

Jill Goldsmith L ABOR EDI TOR

David Robb

I N TERN ATI ON AL EDITOR

Andreas Wiseman

I N TERN ATI ON AL TE LEVISION EDITOR

Jake Kanter

A D SALES COORDINATOR

I N TERN ATI ON AL BOX OFFICE EDITOR/ SEN IOR CON TRIBU TOR

ACCOUNT MANAGER

F I L M CRITIC & COLUMNIST

Malik Simmons Lauren Pollock

Nancy Tartaglione

Natalie Longman

DI STRIB UTION DIRECTOR

Michael Petre

P RODUCTION MANAGER

Andrea Wynnyk

ASSOCIATE EDI TORS

Alexandra Del Rosario Greg Evans Bruce Haring Dino-Ray Ramos F I L M REPORTER

Amanda N’Duka I N TERN ATI ON AL F I LM REPORTER

Thomas Grater

WASH IN GTON CORR ESPONDENT

Ted Johnson

PH OTO EDI TOR

Brandon Choe

FOLLOW DEADLINE Facebook.com/DeadlineHollywood Instagram.com/Deadline Twitter.com/Deadline YouTube.com/Deadline

EMAIL US NEWS: editors@deadline.com ADVERTISING: sfarish@pmc.com

CONTACT PMC LOS ANGELES 11175 Santa Monica Blvd.

Los Angeles, CA 90025 +1 323-617-9100 NEW YORK 475 Fifth Avenue New York, NY 10017 +1 212-213-1900

CHIE F O PE RATING O FFICE R

George Grobar VICE CHAIRM AN

Gerry Byrne

CHIE F D IGITAL O FFICE R

Craig Perreault

CHIE F ACCO UNTING O FFICE R

Sarlina See

CHIE F ADVE RTISING AND PARTNE RSHIPS O FFICE R

Mark Howard

EXECUTIVE VICE PRESID E NT, BUSINESS AFFAIRS & GE NE RAL CO UNSE L

Meet some of the biggest and hardest working actors of today, who discuss life, upcoming projects, and their passion for film and television. deadline.com/vcategory/ the-actors-side/

Behind the Lens with Pete Hammond

Explore the art and craft of directors from firsttimers to veterans, and take a unique look into the world of filmmakers, from their own perspectives. deadline.com/vcategory/ behind-the-lens/

Production Value

Go behind the scenes with the talented craftsmen and women behind some of this year’s acclaimed films and television series. deadline.com/vcategory/ production-value/

Todd Greene

EXECUTIVE VICE PRESID E NT, O PE RATIO NS & FINANCE

Tom Finn

M ANAGING D IRECTO R, INTE RNATIO NAL M ARKE TS

Debashish Ghosh

SE NIO R VICE PRESID E NT, PRO D UCT & TECHNO LO GY

Jenny Connelly

SE NIO R VICE PRESID E NT, FINANCE

Ken DelAlcazar

VICE PRESID E NT, CREATIVE

Nelson Anderson

VICE PRESID E NT, PRO D UCTIO N O PE RATIO NS

Joni Antonacci

VICE PRESID E NT, TALE NT RE LATIO NS

Rebecca Bienstock

VICE PRESID E NT, PM C D IGITAL ACQ UISITIO N

Gerard Brancato

VICE PRESID E NT, PO RTFO LIO SALES

Jacie Brandes

VICE PRESID E NT, HUM AN RESO URCES

Anne Doyle

VICE PRESID E NT, HUM AN RESO URCES

Mara Ginsberg

VICE PRESID E NT, FINANCE

Young Ko

VICE PRESID E NT, TECHNO LO GY

Gabriel Koen

VICE PRESID E NT, GLO BAL PARTNE RSHIPS AND LICE NSING

Kevin LaBonge

VICE PRESID E NT, CUSTO M E R EXPE RIE NCE AND M ARKE TING O PE RATIO NS

Noemi Lazo

VICE PRESID E NT, REVE NUE O PE RATIO NS

Brian Levine

VICE PRESID E NT, D E PUTY GE NE RAL CO UNSE L

Judith R. Margolin

VICE PRESID E NT, GLO BAL TAX

Frank McCallick

M AN AGIN G EDITOR P RODUCTION DIRECTOR

Jay Penske

Paul Rainey

Todd McCarthy Erik Pedersen

CHAIRM AN & CEO

EXECUTIVE VICE PRESID E NT, O PE RATIO NS & FINANCE

Peter Bart

Michael Cieply

Deadline Hollywood is owned and published by Penske Media Corporation

P O D CASTS

Crew Call

Deadline’s editorial director Anthony D’Alessandro focuses on below-the-line nominees. deadline.com/tag/crewcall-podcast/

New Hollywood

A platform for people of color, LGBTQ members, women, and other underrepresented voices in entertainment. deadline.com/tag/newhollywood-podcast/

VICE PRESID E NT, HUM AN RESO URCES & CO RPO RATE CO M M UNICATIO NS

Lauren Utecht

VICE PRESID E NT, STRATEGIC PLANNING & ACQ UISITIO NS

Mike Ye

VICE PRESID E NT, PRO D UCT D E LIVE RY

Nici Catton

VICE PRESID E NT, TECHNICAL O PE RATIO NS

Christina Yeoh

VICE PRESID E NT, SEO

Constance Ejuma

VICE PRESID E NT, AUD IE NCE M ARKE TING & SUBSCRIPTIO NS

Julie Zhu

ASSO CIATE VICE PRESID E NT, CO NTE NT

Karl Walter

SE NIO R D IRECTO R, INTE RNATIO NAL M ARKE TS

Gurjeet Chima

SE NIO R D IRECTO R, ADVE RTISING O PE RATIO NS

Eddie Ko

SE NIO R D IRECTO R, TALE NT ACQ UISTIO N

Andy Limpus

SE NIO R D IRECTO R, D EVE LO PM E NT

Amit Sannad

E D ITO RIAL & BRAND D IRECTO R, INTE RNATIO NAL

Laura Ongaro

D IRECTO R, BUSINESS D EVE LO PM E NT

Katie Passantino

SE NIO R PRO D UCT M ANAGE R

Derek Ramsay

T E L E VI S I O N ’S M O S T N O M I N AT E D C O M E DY !

I N C L U D I N G

OUTSTANDING COMEDY SERIES

14

ZENDAYA Euphoria’s lead actress shows a range far beyond her successful music career

24

ON MY SCREEN Wanda Sykes’ film and TV favorites, her dream role and irresistible karaoke picks

32

CAPTIVE AUDIENCE The documentary race amid a pandemic lockdown

36

THE SCHEDULE Deadline’s Contenders Television: Nominees event

40

THE SHOWS The full rundown on all our Contenders panels

54

FOR THE WIN Pete Hammond on this year’s likely winners

64

THE PARTNERSHIP Jennifer Aniston and Billy Crudup battle it out in The Morning Show

ON THIS PAGE Wanda Sykes photographed by Derek Wood

31

EMMY N O M I N AT I O N S ®

20 NOMINATIONS

INCLUDING

OUTSTANDING COMEDY SERIES OUTSTANDING DIRECTING FOR A COMEDY SERIES Amy Sherman-Palladino OUTSTANDING DIRECTING FOR A COMEDY SERIES Daniel Palladino

3 NOMINATIONS OUTSTANDING FANTASY/SCI-FI COSTUMES OUTSTANDING MAIN TITLE DESIGN

OUTSTANDING GUEST ACTOR IN A COMEDY SERIES

Dev Patel

OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC

ALSO NOMINATED

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)

EXCEPTIONAL MERIT IN DOCUMENTARY FILMMAKING

EMMY NOMINATED ®

OUTSTANDING UNSTRUCTURED REALITY PROGRAM

“PITCH - PERFECT” ENTERTAINMENT WEEKLY

2 EMMY

®

NOMINATIONS INCLUDING

OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR MOVIE

“ THE BEST WORK OF

HUGH JACKMAN’S CAREER” VARIETY

EMMY NOMINATED ®

OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR MOVIE

“MARK

RUFFALO GIVES TWO PERFORMANCES OF A LIFETIME” TIME

26 EMMY

®

NOMINATIONS INCLUDING

OUTS TANDIN G LIMITED SERIES

“A

STANDOUT CAST” THE HOLLYWOOD REPORTER

OUTSTANDING LE AD AC TOR IN A LIMITED SERIES OR MOVIE

JEREMY IRONS “JEREMY IRONS CRUSHES EVERY SECOND”

OUTSTANDING SUPP ORTING AC TOR

IN A LIMITED SERIES OR MOVIE

JOVAN ADEPO “JOVAN ADEPO DELIVERS A RIVETING PERFORMANCE”

PASTE MAGAZINE

TV INSIDER

OUTSTANDING LE AD AC TRESS IN A LIMITED SERIES OR MOVIE

OUTSTANDING SUPPORTING AC TOR IN A LIMITED SERIES OR MOVIE

REGINA KING “REGINA KING IS NOTHING SHORT OF AMAZING” INDIEWIRE

OUTSTANDING SUPPORTING AC TOR IN A LIMITED SERIES OR MOVIE

YAHYA ABDUL- MATEEN II “YAHYA ABDUL-MATEEN II IS AS QUIETLY CHARMING AS LARGER THAN LIFE” VULTURE

LOUIS GOSSETT JR. “LOUIS GOSSETT JR. IS AN ICON IN THE CRAFT” COLLIDER

OUTSTANDING SUPPORTING AC TRESS IN A LIMITED SERIES OR MOVIE

JEAN SMART “JEAN SMART IS AT THE TOP OF HER EXTRAORDINARY GAME” INDIEWIRE

EDITOR’S LETT ER

There Is A Light Amid isolation and uncertainty, the Emmys celebrates a source of solace and great storytelling

BY NELLIE ANDREEVA

SINCE THEIR INCEPTION IN 1949, THE PRIMETIME EMMY AWARDS have taken place without fail every single year. Yes, there has been the rare occasion of postponement, for example in 2001, following 9/11, but never, ever in the history of the show have they been canceled.

And now, as we face a mounting death toll in this global pandemic, and as we brave so many challenges and disappointments, the Academy soldiers on, finding a way to celebrate storytelling excellence at a time when television has meant more to us than ever. For the industry, the Emmys is a sliver of normality and hope in a year that has ground Hollywood production to a halt.

Adapting to this time of social distancing and safety protocols, the Primetime Emmys are unsurprisingly going virtual, and will be spread across an unprecedented six nights of ceremonies; five Creative Arts ones, followed by the 72nd Primetime Emmy Awards on September 20 on ABC, hosted and executive produced by mainstay Jimmy Kimmel.

These awards shows will mark the culmination of an Emmy campaign unlike any other in history, with participants beaming into video panel discussions from around the world, including for Deadline’s signature event Contenders Television.

12

D E A D L I N E .C O M / AWA R D S L I N E

The coronavirus pandemic has created a world in which the majority of us work from home, grocery shop online and educate children in virtual classrooms. And while COVID-19 has shut down moviegoing for months, staying at home has allowed people to watch a lot more television, largely on digital platforms. That likely included Emmy voters who went heavy on streaming programs in their choice of nominees this year.

Streaming and digital platforms account for a staggering 269 collective Emmy nominations this year, up a whopping 42% from 2019. Netflix, which has seen big subscriber and stock price gains during the pandemic, had a surge in Emmy nominations, setting a new record with 160 nominations, up from 118 last year.

Three of the four new streamers that launched since last year’s Emmys, Apple TV+, Quibi and Disney+, all landed multiple nominations in their first awards season.

Even one of the top basic cable Emmy contenders, FX, has gone streaming, with its most nominated program of 2020, the FX on Hulu limited series Mrs. America.

In addition to the battle against COVID-19, 2020 will be remembered as a potential turning point in the struggle for racial equality following the death of George Floyd. When he announced this year’s Emmy nominations, Television Academy chairman and CEO Frank Scherma spoke of the country being in the “greatest fight for social justice”, noting that that it is the responsibility of television to amplify “voices that must be heard”.

Amid a renewed effort for increased representation, there were 36 people of color nominated for acting, and six for hosting this year—an overall record.

So, while it’s likely to lack some of the typical awards show glitz and glamour, the virtual 2020 Emmys will aim to celebrate diversity, inclusivity and the medium which has helped people though the pandemic by lifting their spirits, entertaining them and hopefully showing them a path to a more just society. ★

O U T S TA N D I N G L E A D A C T O R I N A C O M E D Y S E R I E S

DON CHEADLE

DY N A M I C & C L E V E R -T H E N E W YO R K T I M E S -

Fresh Face: Shira Haas

p. 18

| On My Screen: Wanda Sykes

p. 24

| Documentary mash-up p. 32

COU RT ESY OF H BO

In A Daze

Euphoria has bestowed a first Emmy nomination upon its fast-rising star, Zendaya. But it’s the way people have connected to the show that has truly inspired her

BY DINO-RAY RAMOS

PHOTOGRAPH BY

Eddy Chen

D E A D L I N E .C O M / AWA R D S L I N E

14

O U T S TA N D I N G D I R E C T I N G F O R A D R A M A S E R I E S

L E S L I L I N K A G L AT T E R

A WORK OF GENIUS -T H E G U A R D I A N -

RETURN FROM REHAB Zendaya stars in Euphoria as Rue, a teenager grappling with drug addiction and mental health issues.

It was the show’s creator, Sam

we see on screen with the show’s central

Levinson, who called with the good

themes. For Zendaya, it is her job to bring

news on the day the nominations were

his vision and this world to life.

announced. Zendaya was woken up by

“My job is to tell stories,” she says,

his call, and knew the news must have

“and I definitely don’t think that Euphoria

been important to prompt such an early

is meant as a guide to tell people to follow

ring. Then came the flurry of texts, emails

a moral high ground of any sort, or what

and phone calls from well-wishers. “I

the right thing and the wrong thing is to

was like, ‘This is just too much for me to

do. That’s definitely not what our show is

mostly handle right now… I need to go

here for. It’s really just to tell stories, and

back to sleep.’ So, I did,” she laughs.

hopefully somebody out there can con-

Weeks later, the news still hasn’t

nect to it and see themselves within it.”

quite sunken in. “It’s like one of those

Rue’s journey on screen is crazy and

out-of-body things, where it’s like, is this

wild as it is intimate and emotional.

even really happening to me?” she mar-

Zendaya lived with Rue and the other

vels. “It still feels very, very surreal. I don’t

Euphoria characters for seven months

know if it will feel like it’s real life. ‘This

of her life and she admits that it was

Zapped and K.C. Undercover, before

isn’t happening to me. This is happening

“very strange” to step back into her own

as a kid,” Zendaya says, of the moment

graduating to an appearance on Dancing

to somebody else.’”

life after being immersed in this teen

she first felt seen through television.

with the Stars and reaching mainstream

She laughs. “I don’t know—maybe I was

audiences in Fox’s surprise megahit

critical acclaim across the board, and

destined to be on Disney Channel. But I

The Greatest Showman and Marvel’s

although it shines a light on the modern

Rue,” she says. “I feel very honored to be

did love me some Disney Channel!”

rebooted Spider-Man franchise.

teen, it leans on narratives about addic-

able to be her, because of how personal

tion and mental health. Although it is

the story is for Sam. Him trusting me

“I was a huge fan of That’s So Raven

Some seven years after That’s So

But her role as Rue in Euphoria, which

Levinson’s HBO series has garnered

hyper-reality.

“I’ve learned so much from playing

Raven premiered, Zendaya was starring

has earned Zendaya her first Emmy nomi-

a teen drama, it is on HBO, so Zendaya

with that really means a lot to me. I care

as Rocky Blue in Disney Channel’s teen

nation, marks a turning point. A recovering

points out that people should know

a lot about Rue. She’s important to me.”

hit Shake It Up. It was the spark that

drug addict reckless in her life choices, Rue

what they are getting into. There’s drugs,

lit the wildfire of her career as a triple

is a representation of a narrative we sel-

sex, and storylines that are not typical

one, as a teen actress, Zendaya didn’t

threat. She went on to appear in other

dom see, and a type of role that presented

from your regular teen series. Even so,

have a typical teenage experience, nor

Disney Channel shows like Frenemies,

a different challenge for Zendaya.

Levinson balances the grittiness of what

did she attend a regular high school.

16

D E A D L I N E .C O M / AWA R D S L I N E

She and Rue are not exactly alike. For

E D DY CH E N /H BO

REGARDLESS OF GENRE, FILM AND TELEVISION ARE MEDIUMS DESIGNED to entertain. But they are also vehicles to create emotional engagement with stories. And it’s one thing to feel connected; another entirely to see yourself reflected in a character that doesn’t just share your physical attributes, but also your experiences, your culture and your lifestyle. No matter where it comes from, representation matters. And for Zendaya, the first time she saw herself reflected on screen was on the very network that would later launch her own successful career.

HIGH LIFE Clockwise, from top: Rue in bed with Jules (Hunter Schafer), in Episode 8’s musical number, with little sister Gia (Storm Reid).

and understanding by playing her.”

She did however see the typical high

The drama has also sparked a need

school experience through the lens of some her friends. And although the

out there maybe have, but don’t know

“I THINK THAT THAT’S WHAT’S GOOD ABOUT EUPHORIA IS IT MAKES OTHER PEOPLE FEEL LESS ALONE IN THEIR EXPERIENCES. IT MAKES THEM KNOW THAT THEY’RE NOT THE ONLY PERSON DEALING WITH WHAT THEY’RE DEALING WITH.”

how to articulate.”

—ZENDAYA

show is a teen drama, the narrative is very much an exploration of the human condition. Playing Rue gave Zendaya an understanding of addiction and an empathy for those struggling.

“I think that Rue is able to make a lot of mistakes, but we still root for her,” she says. “We still want her to be okay and make the right decision because we understand her, and we hear her. We get to hear her thoughts and we get to hear about her manic-depressive episodes from a perspective that I don’t think has ever been told on television.

I feel like Sam was able to articulate a lot of feelings that I think a lot of people

Zendaya doesn’t share Rue’s emo-

E D DY CH E N /H BO

tional personality, and although it was

have a conversation together and her being able to meet Hunter, even over

in Zendaya to learn more about work

the phone, it was very special and that

behind the camera. During production,

meant a lot to me. I just got to be a

she became more and more interested

piece of it.”

in cinematography. “I was always just so

Euphoria adds fuel to the fire of the

blown away by it every day,” she says.

need for diverse stories from different

“I just love to sit there and watch them

races, gender identities and other

set up the shots and do these incred-

underrepresented voices. Zendaya sees

ible things with the camera. Figure out

that there are many inclusive stories to

how everything would look.”

be told and cites the old adage, “If you

Directing appeals to her. “I just love the process. I’m so fascinated by the whole thing. I’m just lucky to be

can see it, you can achieve it,” when it comes to authentic representation.

“I think that that’s what’s good

in a space where those questions are

about Euphoria is it makes other people

welcomed and invited. In this space, I

feel less alone in their experiences,” she

can learn. So, I do.”

says. “It makes them know that they’re

She’s also proud of how Euphoria

not the only person dealing with what

has advanced representation on

they’re dealing with. For example, Epi-

screen. She recalls a time when a

sode 7 is a manic-depressive episode.

trans girl approached her and praised

That’s what she’s dealing with. And

the show for its representation of

really understanding that from Sam’s

the trans community via her co-star

perspective was beautiful.”

difficult for her, she found it cathartic

rawer with your emotions. If you aren’t,

Hunter Schafer. She immediately called

to live out different emotional states.

it won’t work.”

Schafer to connect the two girls and

“When it comes to Euphoria, it’s just

was on the verge of tears to see that

people being able to have empathy

representation does in fact matter.

for others and to take a second to

“Playing her as a character has opened

That said, playing Rue has changed

She punctuates the sentiment:

me up in a lot of different ways and

part of Zendaya. “I guess I have

exposed a lot of things and emotions,”

softened a little bit,” she confesses.

she explains. “A role like that requires

“I’m more emotionally connected. I’ve

Zendaya says. “I felt so honored to be

with battles that we could not know

you to be a lot more open and a lot

learned more about people, empathy,

able to facilitate them being able to

anything about.” ★

“For her, that meant everything,”

understand that everybody’s dealing

D E A D L I N E .C O M / AWA R D S L I N E

17

Fresh Face

BY A N TO N IA B LYTH

WHO Shira Haas Age: 25 Hometown: Tel Aviv

WHY

WHEN & WHERE

When Shira Haas first read the script for Netflix’s

“I was really not a child actor at all,” Haas says. “I was

Haas is currently back at work

limited series Unorthodox, based on Deborah Feldman’s

very, very shy. I never thought I’d be in the center of

shooting the third season of

New York Times bestselling memoir of the same

attention.” But when Haas studied drama at school,

Shtisel, which will be available

name, she spoke no Yiddish at all. Yet, this story of

“It was definitely love at first sight.” She went on to

on Netflix. Also in the works

Esty Shapiro, a young woman trapped in an unhappy

land a role in Israeli hit television series Shtisel, and

is Tribeca Film Festival entry

arranged marriage within a Hasidic community in

was noticed by casting director Esther Kling, who

Asia, directed by Ruthy Pribar

Brooklyn, demanded that she not only speak the

would also eventually work on Unorthodox. Kling sent

and co-starring Alena Yiv.

language fluently, but that she sing in it too. Fortunately,

Haas a Facebook message asking her to audition for

Haas plays a teenager coming

Eli Rosen, who plays the Rabbi in the series, also acted

the film Princess, and Haas not only won the lead

of age with disabilities. “I really

as Yiddish consultant on the show. “We just spent

role, but was nominated for Best Actress at the Israeli

love this movie because it

days together. Hours and hours and hours. I remember

Academy Awards. Then came the part of Kira in Natalie

talks about tough subjects,

recording him and recording myself,” Haas says. “If

Portman’s directorial debut A Tale of Love and Darkness,

such as grief, death and

I went for a run or a walk, or if I washed my dishes, I

and Urszula in Jessica Chastain starrer The Zookeeper’s

sickness,” she says. “But it

listened to my Yiddish lines. It was really important for

Wife. Of this last project, Haas says, “Doing the accent

shows it from a such a poetic

me to know it so well, so on ‘action’ I’d be able to be like

there, and working with Jessica Chastain, it did help me

and beautiful point of view. It’s

Esty, so I wouldn’t even have to think about it, and I’d be

to have a lot of experience, a lot of confidence, when I

a story about life. I can’t wait

able to play with it and change the rhythm.”

approached Unorthodox.”

for people to see it.” ★

18

D E A D L I N E .C O M / AWA R D S L I N E

N E T FLI X /AP I M AG ES

WHAT

8 EMMY® AWARD NOMINATIONS

“BRILLIANT” “FUNNIEST SHOW ON T V TODAY”

“PHENOMENAL”

OUTSTANDING COMEDY SERIES 3 NOMINATIONS – OUTSTANDING

WRITING FOR A COMEDY SERIES

USE YOUR PERSONAL FX FYC CODE TO WATCH ALL EPISODES ON FXVIP.DIGITALSCREENERS.COM EXPIRES 8/31/20

OUTSTANDING

OUTSTANDING

PRODUCTION DESIGN

CASTING

OUTSTANDING

OUTSTANDING

PICTURE EDITING

SOUND EDITING

CHARTED TERRITORY

At press time, here is how Gold Derby’s experts ranked Emmy chances in the Comedy, Drama and Variety categories. Follow all the races at GoldDerby.com

Under the Sea

The Little Mermaid Live! production designer Misty Buckley takes viewers deep into the world of a Disney classic ON THE LITTLE MERMAID LIVE!, production designer Misty Buckley offered up a fresh visual take on a classic fairy tale, aiming to transport viewers into an underwater world, with sets designed for the stage. Celebrating the 30th anniversary of Disney’s animated film, the live musical special intercut footage from that beloved Oscar winner with fantastical live-action sequences, filmed within a theatre in the round. To immerse audience members in the world of mermaid Ariel, Buckley decided to turn the space into a sunken theater, with cracked proscenium walls, floating jellyfish, and lighting effects to flesh it out. “The idea is that you’d stumbled into a beautiful opera house that was sunken 100 years ago,” she says, “and once you’d established that narrative, everything else fell into place.” Using the 1989 film as a starting point for her designs, and elevating them with a sense of “otherworldy theatricality”, Buckley found the special to be challenging to execute, given the level of detail required, and all of the logistics involved in pulling it off. “There were all sorts of lifts, and hidden traps for people to pop up,” she explains. “There were special effects, puppets, lighting, all hidden in the staging itself.” Then, there was the process of navigating complicated scenic transitions. “It was so busy, and we had to have the most extraordinary stage management to get everything off. I mean, it was like a French farce backstage,” she says. “But I think all that energy came across on stage.” —Matt Grobar

DARK ARTS

was a blessing in disguise, because we were able to add on a lot.”

What We Do in the Shadows production designer Kate Bunch overhauls a vampire abode for a second season

In the Gothic dwelling’s interior, the designer added a music which allowed for new narrative

new exterior for the mansion

possibilities. “We always leave

the Shadows, production designer

established in Season 1. “The

open-ended doors or hallways,

Kate Bunch expanded the Staten

property is becoming a woman’s

[because] we want it to feel like a

Island residence of a trio of vampire

shelter, so we ended up deciding

huge mansion,” says the first-time

roommates, for both logistical

to build three sides of the house

Emmy nominee. “We want to be

and creative reasons, beginning

in a parking lot,” Bunch explains.

able to expand whenever we want.”

the process by creating an entirely

“There was a lot to figure out, but it

—Matt Grobar

D E A D L I N E .C O M / AWA R D S L I N E

ODDS

1

Schitt’s Creek

9/2

2

The Marvelous Mrs. Maisel

5/1

3

The Good Place

7/1

4

Insecure

15/2

5

What We Do in the Shadows

17/2

6

Dead to Me

17/2

7

Curb Your Enthusiasm

9/1

8

The Kominsky Method

10/1

DRAMA SERIES

ODDS

1

Succession

4/1

2

Ozark

11/2

3

The Crown

13/2

4

The Mandalorian

15/2

5

Better Call Saul

8/1

6

The Handmaid’s Tale

9/1

7

Killing Eve

9/1

8

Stranger Things

10/1

VARIETY TALK

ODDS

1

Last Week Tonight with John Oliver

17/5

2

The Daily Show with Trevor Noah

19/5

3

The Late Show with Stephen Colbert

4/1

4

Full Frontal with Samantha Bee

9/2

5

Jimmy Kimmel Live!

9/2

room and a second-floor hallway,

For Season 2 of FX’s What We Do in

20

COMEDY SERIES

VARIETY SKETCH

ODDS

1

Saturday Night Live

13/10

2

A Black Lady Sketch Show

11/5

3

Drunk History

3/1

6 EMMY® AWARD NOMINATIONS

“BREATHTAKING” OUTSTANDING

PERIOD COSTUMES OUTSTANDING

PROSTHETIC MAKEUP OUTSTANDING

OUTSTANDING

PERIOD HAIRSTYLING

PERIOD MAKEUP

OUTSTANDING

SHORT FORM NONFICTION SERIES POSE: IDENTITY, FAMILY, COMMUNITY

BILLY PORTER OUTSTANDING LEAD ACTOR IN A DRAMA SERIES

USE YOUR PERSONAL FX FYC CODE TO WATCH ALL EPISODES ON FXVIP.DIGITALSCREENERS.COM EXPIRES 8/31/20

6

D E A D L I N E .C O M / AWA R D S L I N E

Wanda Sykes

Having embodied a childhood hero in The Marvelous Mrs. Maisel, the comedy veteran discusses her dreams of Marvel movies, Kelly Clarkson karaoke and what makes her cry

BY STEV IE WONG PHOTOG RAPHS BY DE RE K WOOD

WITH OVER TWO DECADES OF WORK UNDER HER BELT,

Wanda Sykes has found that being a multi-hyphenate artist certainly allows for a diverse and successful career. Starting off as an award-winning writer for The Chris Rock Show, she quickly found popularity with her stand-up specials, leading to roles in Monster-In-Law and The New Adventures of Old Christine. 2020 has given Sykes four Emmy nominations this year—two under her production company Push It, one for the role of Gladys in Crank Yankers, and one for her performance as legendary vaudeville entertainer Moms Mabley in The Marvelous Mrs. Maisel. Sykes describes this surreal pandemic year thus: “2020, for me, the glass is half-full. But it’s a dirty glass. It’s like from a crime scene with lipstick and fingerprints and smudges all on it.”

MY FIRST FILM LESSON That whole ‘camera right, camera left’ thing. It was Nutty Professor II and Eddie [Murphy] plays all those different characters. A lot of my takes, I’m talking to a tennis ball and so, they would say, “When you look at the tennis ball, look camera right, or camera left,” and I just kept getting it wrong. I finally said, “Okay, wait a minute. Just say right or left because it’s the opposite from where I stand.” And I just thought that was ridiculous, learning camera angles, because I was working with a tennis ball.

THE BEST ADVICE I EVER RECEIVED It was from Chris Rock. I was shooting my first special [Wanda Sykes: Tongue Untied] and I said, “Chris, okay, so give me some advice.” And he said, “Make your special, special. Don’t go do a set. Do a special.”

And I was like, “Okay, that makes sense.” And I’ve always followed that, made my specials special. It has to be memorable. You want the audience to be able to at least quote something or yell a line back at you when you’re walking down the street. Just be a little risky and step outside of your comfort zone and make it sharp. Make sure everything flows and don’t waste any time. Just solid bam, bam, bam, jokes.

24

D E A D L I N E .C O M / AWA R D S L I N E

MY DREAM PROJECT I would love to get in one of those Marvel movies, but I want comfortable shoes. I don’t want to be one of those superheroes with the high-heeled boots and everything. I’d even wear the suit as long as I could get into those nice flat nurse shoes, maybe a kitten heel. It’s a practical thing. You’re saving the world, why do you need to wear heels?

MY MOST ICONIC ROLE I not only know Moms Mabley, but I know her routines and her mannerisms— so, I just went back and watched more clips of her on YouTube. I always go back and listen to her albums, so I went back and did that. And then the wardrobe, hair and makeup team that they have over there at Maisel, they did the rest. I also appreciated the storyline because at the Apollo, that was Moms’ home, she was the queen there. So, for her to be bumped in her own home by a white girl, I’m sure it happened, but it reflects what was going on during that time. And you could just feel that Moms was like, “Well, okay. This is life. It’s not the first time that’s happened to me.”

MY BIGGEST CHALLENGE Being on time. That’s probably the biggest challenge in life. In high school, I never made it on the bus on time. Luckily, my dad had to pass by my school on the way to work at the military base. So, I just stopped trying to make the bus. I don’t think I was ever in my homeroom class; I would just go to my first period. I don’t know what happens. I get up early and then somehow, I walk out the door, I get in my car and I go, “I forgot something.” I go back in and then... I don’t know what happens. It’s the worst.

THE FILMS AND TELEVISION THAT MAKE ME CRY I’m still in menopause, sometimes commercials will make me cry now, it’s ridiculous. And also, I watch a lot of stuff with my kids, and oh my God, those things, please, it’s so sad. What was the last one?

Onward. Oh my gosh. You start off with the dad is already dead and then only half the dad comes back.

He’s just a pair of pants. What the hell, man?

RE X /S H U T T ERSTOC K

On My Screen:

THE PART I ALWAYS WANTED I just love Mrs. Maisel. So, just to be asked to be on the show, I was like, “Of course.”

But then to play my comedy idol Moms Mabley, if it wasn’t for Moms, I probably wouldn’t even be doing stand-up. I think that’s why you don’t need a lot because it’s such a huge character I’m playing. For me, it was like, “Oh my God, not only do I get to play Moms, but I get to play her on the Apollo stage? Are you kidding me?” It was just the best. According to my mother, I’ve been preparing for that role since I was a kid because she said, “You used to walk around the house with a dust cap over your head, and you would do Moms all the time.”

MY KARAOKE PLAYLIST “Let’s Groove Tonight” by Earth, Wind & Fire. What else do I like? I mean, I destroy it, but “Since You’ve Been Gone” by Kelly Clarkson. I do a full, open throat, loud screaming, just awful. It’s so bad. So bad. And a new one I’ve been doing is Macy Gray, “I Try”.

Oh boy, I croon on that one.

THE MOST FUN I’VE HAD ON SET It was on the Breaking News in Yuba County set last summer. We were down in Natchez, Mississippi with [director] Tate Taylor. And man, did we have a good time.

It was like camp. Most of us stayed at Tate’s house. We would hang out, have dinner together and after work, we’d all sit on the porch, drinking martinis. And everybody brought their dogs. So it was a lot of fun.

THE CHARACTER THAT’S MOST LIKE ME I think maybe Ruby from Monsterin-Law. Because she was just pretty straightforward and when she got pissed, she’d let you know she was pissed. Actually, a lot of my characters are like that, huh? A lot of it is, “Hey, who’s the voice of reason? Who’s looking around, telling these people they’re nuts?” Or it’s, “Bring in the joke.

Joke, coming in hot.”

MY GUILTY PLEASURE 90 Day Fiancé. Oh, man, that’s just good trash TV. It’s so good because these are just people who are honest with themselves. They’re like, “What do I have to offer? Oh, I know, a green card.” They know that’s their selling point. So, they go to these other countries and they get these people who are way out of their league, but they know, “Hey, I got this green card for you. That makes me cute.”

It’s like, “In real life, I’m like a five, but I could get you a green card, that makes me like a sevenand-a-half or an eight.”

LINES PEOPLE QUOTE AT ME I get a lot of Esther [her stomach’s name] from my special. People love Esther. From Crank Yankers, they love Gladys Murphy’s turd in the back seat. And I get some stuff from Curb Your Enthusiasm. They go, “Hey, Wanda.” And I’m like, “Hello.” They go, “I’d know that tush anywhere.” Luckily, they don’t say that while standing behind me.

That’d be creepy. ★

D E A D L I N E .C O M / AWA R D S L I N E

25

THANK YOU, TELEVISION ACADEMY! 47 NOMINATIONS, 35 CATEGORIES Disney Television Studios Proudly Congratulates Our Emmy® Nominees On Their Outstanding Work.

POSE 5 NOMINATIONS

JIMMY KIMMEL LIVE! 3 NOMINATIONS

Outstanding Lead Actor In A Drama Series – Billy Porter Outstanding Period And/Or Character Hairstyling Outstanding Period And/Or Character Makeup (Non-Prosthetic) Outstanding Prosthetic Makeup For A Series, Limited Series, Movie Or Special Outstanding Period Costumes

Outstanding Variety Talk Series Outstanding Technical Direction, Camerawork, Video Control For A Series Outstanding Lighting Design/Lighting Direction For A Variety Series

POSE: IDENTITY, FAMILY, COMMUNITY 1 NOMINATION

JIMMY KIMMEL’S QUARANTINE MINILOGUES 1 NOMINATION

Outstanding Short Form Nonfiction Or Reality Series

Outstanding Short Form Variety Series

LITTLE FIRES EVERYWHERE 5 NOMINATIONS

MODERN FAMILY 3 NOMINATIONS

Outstanding Limited Series Outstanding Lead Actress In A Limited Series Or Movie – Kerry Washington Outstanding Directing For A Limited Series, Movie Or Dramatic Special – Lynn Shelton Outstanding Original Music And Lyrics Outstanding Music Composition For A Limited Series, Movie Or Special (Original Dramatic Score)

Outstanding Guest Actor In A Comedy Series – Fred Willard Outstanding Directing For A Comedy Series – Gail Mancuso Outstanding Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation

THE POLITICIAN 5 NOMINATIONS Outstanding Guest Actress In A Comedy Series – Bette Midler Outstanding Contemporary Hairstyling Outstanding Contemporary Makeup (Non-Prosthetic) Outstanding Contemporary Costumes Outstanding Main Title Design

THIS IS US 5 NOMINATIONS Outstanding Lead Actor In A Drama Series – Sterling K. Brown Outstanding Guest Actor In A Drama Series – Ron Cephas Jones Outstanding Guest Actress In A Drama Series – Phylicia Rashad Outstanding Original Music And Lyrics Outstanding Contemporary Hairstyling

THE SIMPSONS

3 NOMINATIONS

Outstanding Animated Program Outstanding Character Voice-Over Performance – Hank Azaria Outstanding Character Voice-Over Performance – Nancy Cartwright

TALES FROM THE LOOP

2 NOMINATIONS

Outstanding Cinematography For A Single-Camera Series (One Hour) Outstanding Special Visual Effects In A Supporting Role

BOB’S BURGERS 1 NOMINATION Outstanding Animated Program

CENTRAL PARK

1 NOMINATION

Outstanding Character Voice-Over Performance – Leslie Odom Jr.

AMERICAN HORROR STORY: 1984 4 NOMINATIONS

GODFATHER OF HARLEM 1 NOMINATION

Outstanding Sound Mixing For A Limited Series Or Movie Outstanding Sound Editing For A Limited Series, Movie Or Special Outstanding Period And/Or Character Makeup (Non-Prosthetic) Outstanding Prosthetic Makeup For A Series, Limited Series, Movie Or Special

Outstanding Main Title Design

BLACK-ISH 4 NOMINATIONS Outstanding Lead Actor In A Comedy Series – Anthony Anderson Outstanding Lead Actress In A Comedy Series – Tracee Ellis Ross Outstanding Contemporary Hairstyling Outstanding Contemporary Costumes

HOMELAND 1 NOMINATION Outstanding Directing For A Drama Series – Lesli Linka Glatter

HOW TO GET AWAY WITH MURDER 1 NOMINATION Outstanding Guest Actress In A Drama Series – Cicely Tyson

THE ROOKIE 1 NOMINATION Outstanding Stunt Coordination For A Drama Series, Limited Series Or Movie

CHARTED TERRITORY

At press time, here is how Gold Derby’s experts ranked Emmy chances in key categories. Follow all the races at GoldDerby.com

Baptism by Fire Little Fires Everywhere composers Mark Isham and Isabella Summers on the magical product of true collaboration

IT TOOK AMPLE TRIAL AND ERROR for composers Mark Isham and Isabella Summers to get to the heart of Little Fires Everywhere. Created by Liz Tigelaar, the Hulu miniseries centers on a Shaker Heights matriarch and her family whose lives are upended when a mysterious mother and daughter come into town.

The drama called for a score that would “capture the essence of these women” who had become completely entangled with one another, Summers says. “We had an intellectual description in mind.

We wanted to embrace big rock drums, chamber strings. Burning piano had become a sound,” Isham adds. “I literally have a sample of a piano that’s been set on fire, which seemed apocryphal and cool.” But to translate intellectual understanding into an emotional, sonic experience, the pair first had to learn how to work as collaborators. One of the driving forces behind English indie rock band Florence and the Machine, Summers came to the project with no experience in TV scoring; Isham, on the other hand, was a veteran of the craft. Given their differing backgrounds, the duo initially had differing creative impulses, on everything from mechanisms of recording to the proper use of drums.

Ultimately, though, they worked together closely, and in person, to create a product that was greater than the sum of its parts. By Episode 4, Isham said, “Shit, this is it. It’s visceral, and it’s pop. It’s accessible, but it [has] all this emotion.” —Matt Grobar

PAINTING THE TOWN

images poignant,” Knoll explains,

VFX producer Andrea Knoll channels a beloved artist’s singular aesthetic on Tales from the Loop

so that we were supporting the

“but maintain a sense of subtlety, story.” Challenged to deliver feature-quality effects on a

On Tales from the Loop, VFX

above “The Loop,” a machine built

compressed TV schedule, the VFX

producer Andrea Knoll built a

to tap into the mysteries of the

producer now considers Tales one

world around the work of Swedish

universe. In bringing this retro-

of the highlights of her career. “It’s a

artist Simon Stålenhag, working to

futuristic world to life, the Tales

daunting task to live up to Simon’s

preserve that painterly feeling in

team embraced a combination of

work,” says the first-time Emmy

every frame. Created by Nathaniel

practical and visual effects, always

nominee. “So, it was very rewarding

Halpern, the sci-fi drama explores

with an eye toward photorealistic

that we were successful.”

the lives of townspeople living

imagery. “We wanted to keep all

—Matt Grobar

28

D E A D L I N E .C O M / AWA R D S L I N E

LIMITED SERIES

ODDS

1

Watchmen

82/25

2

Mrs. America

4/1

3

Unbelievable

4/1

4

Unorthodox

9/2

5

Little Fires Everywhere

9/2

TV MOVIE

ODDS

1

Bad Education

10/3

2

El Camino

18/5

3

American Son

9/2

4

Unbreakable Kimmy Schmidt

9/2

5

Dolly Parton’s Heartstrings

9/2

MOVIE/LIMITED ACTOR

ODDS

1

Mark Ruffalo I Know This Much Is True

69/20

2

Hugh Jackman Bad Education

37/10

3

Paul Mescal Normal People

4/1

4

Jeremy Irons Watchmen

9/2

5

Jeremy Pope Hollywood

9/2

MOVIE/LIMITED ACTRESS

ODDS

1

Regina King Watchmen

82/25

2

Cate Blanchett Mrs. America

4/1

3

Shira Haas Unorthodox

4/1

4

Kerry Washington Little Fires Everywhere

9/2

5

Octavia Spencer Self Made

9/2

6

D E A D L I N E .C O M / AWA R D S L I N E

“WE LOVED IT!” ESSENCE

“A SPECIAL TREAT” PEOPLE.COM

“CLEVER” INDIEWIRE

“STANDOUT” ENTERTAINMENT TONIGHT

4 EMMY® NOMINATIONS

IN FRONT OF A STUDIO AUDIENCE

FOR YOUR CONSIDERATION

OUTSTANDING VARIETY SPECIAL (LIVE) OUTSTANDING DIRECTING FOR A VARIETY SPECIAL PAMELA FRYMAN, ANDY FISHER OUTSTANDING PRODUCTION DESIGN FOR A VARIETY SPECIAL OUTSTANDING TECHNICAL DIRECTION, CAMERAWORK, VIDEO CONTROL FOR A SPECIAL

© 2020 Sony Pictures Television Inc. All Rights Reserved.

TIGER KING

THE LAST DANCE

Tiger Beat This year’s doc race rides waves of change, and pandemic captivity’s surprise hit

BY MATTHEW CAREY

WHEN DIRECTORS ERIC GOODE AND REBECCA CHAIKLIN began collaborating on a documentary series about the strange world of exotic animal breeders, they thought it might generate modest attention.

“We were certainly fascinated by it,” Chaiklin recalls.

“But we sort of thought it was our own little story that maybe a few people would be interested in.”

Tiger King: Murder, Mayhem and Mad-

win in February for Best Documentary

THE CAVE

LEAH REMINI: SCIENTOLOGY AND THE AFTERMATH

the Emmys, especially from HBO, which

Director Jason Hehir says it was

has its own strong slate, including the

a small team that crafted the series,

documentary series McMillion$, recipi-

smaller even than the typical NBA

ent of five nominations.

squad of 15.

“It would be really gratifying for us to

OUTSTANDING DOCUMENTARY

be recognized and to be put in the same

OR NONFICTION SERIES

sentence as other great documenta-

This is easily the most competitive

ries,” Hehir allows. “But win or lose, it’s

nonfiction category, featuring a handful

not going to affect the pride that I have

of contenders that became notable

in them because it’s impossible for me

cultural phenomena.

to be prouder than I am.”

Tiger King premiered on Netflix just

McMillion$ hit HBO in early February,

as the coronavirus pandemic was con-

just before the pandemic lockdown,

fining people to their homes—caged like

but the series still became water cooler

the animals featured in the series. Cap-

talk (back when people worked out of

tive viewers turned it into a huge hit, and

offices). It’s the complex true crime tale

engrossing characters like Joe Exotic

of how a group of scammers pulled off

and Carole Baskin didn’t hurt either.

one of the great frauds in history, rigging

“The animal world is a very fertile

McDonald’s Monopoly game promotion

ness wound up attracting not just a “few

Feature. That film, about a Chinese

landscape of interesting people,” Goode

people”, but a stampede after it dropped

company’s fraught effort to run an auto

tells Deadline. “For whatever reason,

on Netflix in March. And when the Emmy

glass operation on the site of an old

the Tiger King series connected with the

series Hillary, about former Secretary

nominations were announced, Tiger

GM factory in Ohio, inaugurated the

right audience. It obviously went viral in

of State and Democratic presidential

King snared half a dozen of them, the

relationship between Netflix and Higher

many ways.”

candidate Hillary Clinton, and the PBS

most of any documentary.

Ground Productions, the production

Netflix earned a record 160 Emmy

Tiger King is up against a series not

over a period of years.

Rounding out the category are Hulu’s

series American Masters which has been

company founded by former President

about big cats but the GOAT—Michael

nominated for Outstanding Nonfiction

nominations in all, a tidy number com-

Barack Obama and Michelle Obama.

Jordan. The Last Dance, which chronicled

Series an astonishing 15 years in a row.

ing in documentary categories, where

Three more Emmy nominations

the final championship season of Jordan

it lapped the field: Traditional docu-

accrued to Netflix with another film

and his Chicago Bulls, debuted on ESPN

OUTSTANDING DOCUMENTARY

mentary powerhouse HBO scored eight

from Higher Ground—Becoming,

in April, benefiting from an audience

OR NONFICTION SPECIAL

nonfiction nominations, fewer than half

which tells the story of Mrs. Obama,

starved of sports. It averaged more than

HBO and Netflix also square off in this

of what Netflix collected.

built around promotional appear-

five million viewers per episode on ESPN,

high-profile category, which honors doc-

ances she made for her bestselling

then aired on ABC, and is now among

umentary films (as opposed to series).

memoir, Becoming.

the most-watched programs on Netflix,

Netflix Emmy contenders include American Factory, which earned three nominations coming off its Oscar

32

D E A D L I N E .C O M / AWA R D S L I N E

But Netflix faces stiff competition at

which co-produced the series.

HBO’s draw is The Apollo, from Oscar-winning director Roger Ross

just start documenting his effort to learn this piece,” Taylor tells Deadline.

“At the beginning he was doing it by himself because his teacher wouldn’t teach him. She said it was too hard.

But he just kept going.”

One Child Nation, from directors Nanfu Wang and Jialing Zhang, documents China’s one child policy, which was in effect from 1979 until 2015. The filmmakers expose the chilling reality of how Chinese

THE APOLLO

authorities enforced the policy.

“If a pregnant woman gave birth to their first child, within a month they would be forced to have a sterilization. And if women resisted—let’s say if they tried to hide in a different city, in a different village—once they were discovered they would be taken to a clinic to have a forced abortion,” Wang reports. “If anybody violated the one

ONE CHILD NATION

BECOMING

child policy they faced detainment, prison time and substantial fines.”

Williams. His documentary weaves

streaming service Apple TV+. The film

worthy of nominations this year,

OUTSTANDING HOSTED

together the past and present of the

about the legendary rap group was

among them Oscar nominee The

NONFICTION SPECIAL OR SERIES

historic Apollo Theater in Harlem, a

directed by Spike Jonze, whose asso-

Cave, directed by Feras Fayyad. It’s

In some ways this is the most

venue that has showcased and nur-

ciation with the group goes back more

the story of Dr. Amani Ballour and her

intriguing documentary category,

tured African-American talent since

than 25 years.

colleagues, who tended to civilians

because it’s such a hodgepodge.

the 1930s, ranging from Ella Fitzgerald to James Brown and Lauryn Hill.

“It’s not a film about a building.

wounded in Syria’s civil war, working

Among the contenders is Jerry

contends in this category—Laurel

Another music-related film

out of an underground hospital in

Seinfeld, host of Comedians in Cars

Canyon: A Place in Time, a two-part

Eastern Ghouta.

Getting Coffee, and Jeff Goldblum

This is a film about a community, the

documentary for Epix that celebrates

resilience,” Williams insists. “This film

the recording artists who turned L.A.’s

producers Kirstine Barfod and Sigrid

is, for me, really about the resilience of

Laurel Canyon neighborhood into

Dyekjær couldn’t foretell what direc-

Black people in America.”

a musical hotbed beginning in the

tion the film might ultimately take.

The Apollo goes up against not one but two Netflix documentaries—

mid-1960s.

Laurel Canyon scored three

The unpredictability of war meant

“We didn’t know if Dr. Amani was going to survive,” Dyekjær tells

for his globetrotting series The World According to Jeff Goldblum.

“I follow my own actual curiosity,” Goldblum says of the show’s wideranging explorations. “I know nothing— that’s the premise.”

the aforementioned Becoming,

nominations, including two for sound

Deadline. “And we didn’t know

directed by Nadia Hallgren, and The

editing and mixing.

what was going to happen with our

ing Leah Remini: Scientology and the

characters or our cinematographers,

Aftermath, a subject about which she

for that matter.”

knows quite a bit, having grown up in

Great Hack, directed by Karim Amer

“Awards are great and fun and excit-

Leah Remini is nominated for host-

and Jehane Noujaim. The Great

ing, but I don’t do things for awards,”

Hack investigates how Cambridge

comments Laurel Canyon director

Analytica, the now-defunct data

Allison Ellwood. “If it happens, that’ll be

ers include Chasing the Moon, directed

analysis firm, leveraged Facebook

great. And if it doesn’t, I still love the film

by Robert Stone, one of two films with

VICE, the Showtime series which

user information to influence the

and that’s the best thing.”

Emmy nominations that track NASA’s

has no credited host listed in the Emmy

historic mission to land humans on the

nominations, is represented in the

outcome of the 2016 presidential

Fellow Exceptional Merit contend-

the Church of Scientology before leaving it in 2013.

election. It offers a harsh indictment

EXCEPTIONAL MERIT IN

lunar surface (the other is Apollo 11,

category, as is Ugly Delicious, the Netflix

of Facebook, which the directors see

DOCUMENTARY FILMMAKING

which garnered five nominations).

foodie show which definitely does have

as undermining democracy.

This is a special juried award recogniz-

“Facebook’s business model is

Moonlight Sonata: Deafness in Three

a host—restaurateur David Chang.

ing documentaries that demonstrate

Movements, directed by Irene Taylor,

incentivizing divisiveness,” Amer

“profound social impact, significant

revolves around her son Jonas, whose

the documentary categories will be

asserts, calling the social media plat-

innovation of form, [and/or] remark-

limited hearing at birth progressed

presented, are set for five nights,

form a “crime scene that is polluting

able mastery of filmmaking technique.”

to total deafness when he was very

September 14 through 19. This

our information highway and stifling

Hopefuls are required to submit a

young. He studied piano and became

year, because of the coronavirus,

democratic civil discourse.”

written statement explaining why their

determined to master the Moonlight

the ceremony is foregoing its usual

film ought to be considered for this

Sonata, written by Beethoven as the

trappings and instead, according to

rare honor.

composer lost his hearing.

the Television Academy, will be an

Joining those films is Beastie Boys Story, which accounted for five of the 18 Emmy nominations nabbed by new

Only four films were deemed

“I basically asked [Jonas] if I could

The Creative Arts Emmys, where

“innovative virtual event”. ★

D E A D L I N E .C O M / AWA R D S L I N E

33

HBO 8:03AM - 8:35AM

NAT GEO 8:35AM - 9:06AM

SHOWTIME 9:06AM - 9:35AM

AMAZON PRIME 9:35AM - 10:05AM

NETFLIX 10:05AM - 10:34AM

Bad Education

Hugh Jackman (Actor)

We’re Here

Bob The Drag Queen (Performer) D.J. “Shangela” Pierce (Performer)

The Cave

Feras Fayyad (Director/Writer)

Life Below Zero

Michael Cheeseman (Cinematographer) Danny Day (Cinematographer) Jennifer Nelson (Editor)

Black Monday

Don Cheadle (EP/Actor)

Homeland

Lesli Linka Glatter (Director/EP)

The Marvelous Mrs. Maisel (Panel 1)

Alex Borstein (Actor) Rachel Brosnahan (Actor) Daniel Palladino (EP) Tony Shalhoub (Actor)

The Marvelous Mrs. Maisel (Panel 2)

Amy Sherman-Palladino (Creator/EP) Alex Borstein (Actor) Rachel Brosnahan (Actor) Marin Hinkle (Actor) Wanda Sykes (Guest Actor)

Unorthodox

Shira Haas (Actor) Anna Winger (Showrunner/Writer)

Nailed It!

Nicole Byer (Host)

Normal People

Lenny Abrahamson (Director/EP) Paul Mescal (Actor)

The Handmaid’s Tale

Alexis Bledel (Actor) Bradley Whitford (Actor) Samira Wiley (Actor)

Most Dangerous Game

Nick Santora (Creator/EP/Writer) Christoph Waltz (Actor)

#FreeRayshawn

Jasmine Cephas Jones (Actor) Laurence Fishburne (Actor) Stephan James (Actor)

RuPaul’s Drag Race

Michelle Visage (Judge/Producer) Mandy Salangsang (EP) Michele Mills (EP) Jamie Martin (Lead Editor) Kendra Pasker (Lead Editor) Ashlei Dabney (Field Producer)

B RE A K( 10 MIN) HULU 10:45AM - 11:18AM

QUIBI 11:18AM - 11:48AM

VH1 11:48AM - 12:16PM

SCHEDULE AND PRESENTERS SUBJECT TO CHANGE

36

D E A D L I N E .C O M / AWA R D S L I N E

THE FINAL SEASON

Schitt’s Creek

Daniel Levy (Co-Creator/EP/Actor) Eugene Levy (Co-Creator/EP/Actor) Annie Murphy (Actor) Catherine O’Hara (Actor)

Pose

Billy Porter (Actor)

What We Do in the Shadows

Matt Berry (Actor) Paul Simms (EP) Stefani Robinson (EP)

DISNEY TELEVISION STUDIOS 1:47PM - 2:17PM

This is Us

Sterling K. Brown (Actor) Ron Cephas Jones (Guest Actor) Phylicia Rashad (Guest Actor)

DISNEY+ 2:17PM - 2:48PM

The Mandalorian

Jon Favreau (Creator/EP) Dave Filoni (EP) Ludwig Göransson (Composer)

SONY PICTURES TV 2:48PM - 3:19PM

Better Call Saul

Peter Gould (Co-Creator/Showrunner/EP/Writer/Director)

Live in Front of a Studio Audience

Norman Lear (EP) Brent Miller (EP) Kerry Washington (EP)

CBS ALL ACCESS 3:29PM - 3:59PM COMEDY CENTRAL 3:59PM - 4:29PM

Star Trek: Short Treks

Alex Kurtzman (EP)

The Daily Show with Trevor Noah

Jen Flanz (EP/Showrunner) David Kibuuka (Supervising Producer/Writer) Zhubin Parang (Supervising Producer/Writer)

HBO 4:29PM - 5:00PM

I Know This Much Is True

Derek Cianfrance (EP/Director/Writer) Mark Ruffalo (EP/Actor)

Watchmen

Regina King (Actor)

Black-ish

Anthony Anderson (EP/Actor) Tracee Ellis Ross (Actor)

Shark Tank

Barbara Corcoran (Shark/EP) Daymond John (Shark/EP) Kevin O’Leary (Shark/EP)

The Morning Show

Jennifer Aniston (EP/Actor) Billy Crudup (Actor) Mark Duplass (Actor) Mimi Leder (EP/Director) Martin Short (Guest Actor)

POP TV 12:16PM - 12:46PM

LU NCH ( 3 0 MIN) FX 1:16PM - 1:47PM

B RE A K( 10 MIN)

ABC 5:00PM - 5:29PM

APPLE TV+ 5:29PM - 5:59PM

SCHEDULE AND PRESENTERS SUBJECT TO CHANGE

38

D E A D L I N E .C O M / AWA R D S L I N E

THE FINAL SEASON

THE

SHOWS ABC ENTERTAINMENT Black-ish A boon for ABC since its 2014 debut, Kenya Barris’ sitcom has earned 19 Emmy nominations to date, as well as a Golden Globe for star Tracee Ellis Ross. The comedy centers on Andre ‘Dre’ Johnson (executive producer Anthony Anderson) and his wife, Rainbow (Ross), an African-American couple struggling to imbue their kids with a sense of cultural identity, while raising them in a mostly-white neighborhood. Also starring Marcus Scribner, Miles Brown, Marsai Martin, Deon Cole, Jenifer Lewis, Jeff Meacham and Peter Mackenzie, the series wrapped its sixth season in May. Shark Tank Long a flagship show for ABC, this acclaimed program has won the Emmy for Outstanding Structured Reality Program four times over, earning 13 other nominations throughout its run. Created by Mark Burnett, the reality series spotlights entrepreneurs as they make business presentations to a panel of highprofile investors, or “sharks,” who then decide whether they’d like to personally invest in the entrepreneurs’ companies. Wrapping its 11th season in May, the series’ veteran sharks include Kevin O’Leary, Barbara Corcoran, Daymond John, Robert Herjavec, Lori Greiner and Mark Cuban.

AMAZON PRIME VIDEO The Marvelous Mrs. Maisel Created by Amy Sherman-Palladino, and executive produced by Daniel Palladino, this period comedy amassed 16 Emmys and three Golden Globes in its first two seasons.

Set in New York City during the late ’50s and early ’60s, it centers on Midge Maisel (Rachel 40

D E A D L I N E .C O M / AWA R D S L I N E

Brosnahan), a housewife who goes against the wishes of her family, and the expectations of society at large, in her pursuit of a career in stand-up. Boasting an all-star cast that includes Alex Borstein, Michael Zegen, Marin Hinkle and Tony Shalhoub, the series returned for its third season last December, and has been renewed for a fourth.

APPLE TV+ The Morning Show Jennifer Aniston makes a triumphant return to the small screen in this workplace drama, based on a book by Brian Stelter.

Aniston plays Alex, an anchor on a popular breakfast news program, whose life is turned upside down when her co-anchor (Steve Carell) is ousted, due to accusations of sexual misconduct. Finding friction in her relationship with her new on-air partner (Reese Witherspoon), Alex must navigate a chaotic situation at the network, while fighting to keep her job. Executive produced

by Kerry Ehrin, Mimi Leder and Michael Ellenberg, the series’ all-star cast includes Billy Crudup and Mark Duplass.

CBS ALL ACCESS Star Trek: Short Treks Created by Bryan Fuller and Alex Kurtzman, this short-form series is the latest extension of the Star Trek universe—an anthology, consisting of both animated and liveaction episodes. Comprised of standalone pieces, featuring characters and settings from the broader Star Trek universe, it’s offered the opportunity for a deeper dive into stories that hadn’t been previously explored. Nominated this year for the Emmy for Outstanding Short Form Comedy or

The full rundown of Deadline’s Contenders Emmys event, where showrunners, stars and other key creatives will gather to discuss the year’s standout television

Drama Series, the show features turns from Rebecca Romijn, Aldis Hodge, Doug Jones, Rainn Wilson and more.

COMEDY CENTRAL The Daily Show with Trevor Noah South African comedian Trevor Noah executive produces, writes and hosts the third iteration of this iconic late-night series—the longest-running program on Comedy Central. Nominated this year for five Emmys, the comedic news program sees Noah lampooning current events, both in and outside of politics, while engaging in interviews with an ever-growing list of A-list celebrities. Like all late-night shows, Noah’s was threatened when the COVID-19 pandemic shuttered production across the world. But the host quickly adapted.

Devising The Social Distancing Show—a remote version of the series—in March, Noah has continued airing shows almost every week since.

DISNEY+ The Mandalorian Created by Jon Favreau, the Star Wars franchise’s first live-action series made a splash at the Emmys in this, its first goround, breaking into the highly competitive Drama Series category. Set five years after the events of Return of the Jedi, and 25 years prior to The Force Awakens, the space Western centers on Din Djarin, a lone Mandalorian bounty hunter, who chases down criminals in the outer reaches of the galaxy. Directed by Deborah Chow and EP Dave Filoni, the series includes a score from Oscar winner Ludwig Göransson. Among the cast are Pedro Pascal, Carl Weathers and Werner Herzog.

Black-ish

The Morning Show

The Mandalorian

The Daily Show with Trevor Noah

Shark Tank

Star Trek: Short Treks

The Marvelous Mrs. Maisel

D E A D L I N E .C O M / AWA R D S L I N E

41

FO R YOU R EM MY ® CO N S ID E R AT I O N

ANTHONY ANDERSON OUTSTANDING LEAD ACTOR IN A COMEDY SERIES

TRACEE ELLIS ROSS OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES

MICHELLE R. COLE OUTSTANDING CONTEMPORARY COSTUMES

ARAXI LINDSEY ROBERT C. MATHEWS III ENOCH WILLIAMS OUTSTANDING CONTEMPORARY HAIRSTYLING

FOR YOUR EMMY ® CONSIDERATION

OUTSTANDING STRUCTURED REALITY PROGRAM OUTSTANDING HOST FOR A REALITY OR COMPETITION PROGRAM

DAYMOND JOHN, BARBARA CORCORAN, MARK CUBAN, LORI GREINER, KEVIN O’LEARY and ROBERT HERJAVEC

© 2020 Sony Pictures Television Inc. All Rights Reserved.

Pose

The Cave

Watchmen

The Handmaid’s Tale

DISNEY TELEVISION STUDIOS This Is Us Proudly representing network television in the Emmys race since 2016, with three wins and 32 nominations, Dan Fogelman’s singular family drama tells the heartfelt, emotional story of a unique set of triplets and their loving parents, examining the highs and lows of their current-day lives, as well as defining moments in their past. Returning for its fourth season this past fall, with at least two more seasons on the way, the critically acclaimed drama’s ensemble includes Milo Ventimiglia, Mandy Moore, Sterling K. Brown, Ron Cephas Jones, Phylicia Rashad and many more.

FX Pose Winning Billy Porter his first Emmy, this series set in the late ’80s and early ’90s takes a look at three of New York’s unique spheres: the downtown social scene, the world of African American and Latino ball culture, and that of the emerging elite. Created by Steven Canals, Brad Falchuk and Ryan Murphy, the LGBTQ+ drama boasts an all-star cast, featuring 44

D E A D L I N E .C O M / AWA R D S L I N E

Bad Education

more trans actors than any scripted series in history, and is scheduled to return for its third season next year.

What We Do in the Shadows Based on the 2014 film of the same name written by Taika Waititi and Flight of the Conchords’ Jemaine Clement, this comedy broke into the Emmys’ highly competitive race for Outstanding Comedy Series in its second go-round. Framed as a mockumentary, Clement’s series follows the day-to-day lives of three vampire roommates in Staten Island, exploring the ways in which these centuriesold, supernatural beings interact with the modern world. Starring Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén and Mark Proksch, the comedy was renewed for a third season in May. HBO Bad Education Emmy winners Hugh Jackman and Allison Janney star in this comedic crime drama, adapted from a New York magazine article

by Robert Kolker. Premiering at the Toronto International Film Festival last fall, and

competing this Emmy season for Outstanding Television Movie, this timely film is based on the true story of the largest public school embezzlement scandal in American history, following two officials within Long Island’s Roslyn Union Free School District, as they steal millions from the institution they have also tried to make the best in the United States. Cory Finley directs, from a script by Mike Makowsky.

We’re Here Debuting in April, this acclaimed series will contend at this year’s Emmys for Outstanding Unstructured Reality Program. Created

by Johnnie Ingram and Steve Warren, it follows Bob the Drag Queen, Eureka O’Hara and Shangela Laquifa Wadley—three former contestants on RuPaul’s Drag Race—as they travel across the United States to recruit residents of small towns for a series of one-night-only drag shows. Traveling in its first season from Gettysburg, Pennsylvania to Spartanburg, South Carolina, the show serves as a celebration of individuality, and of drag queens everywhere, and was renewed for a second season in June.

What We Do in the Shadows

I Know This Much Is True Mark Ruffalo earned his third Emmy nomination for his portrayal of twin brothers Dominick and Thomas Birdsey in this limited series, based on the 1998 novel of the same name by Wally Lamb. Written and directed by Derek Cianfrance (Blue Valentine, The Place Beyond the Pines), the drama examines Dominick’s troubled relationship with Thomas—who suffers from paranoid schizophrenia—and his fervent efforts to get his brother released from a psychiatric facility. Premiering in May, the series’ starry ensemble includes Rosie O’Donnell, Melissa Leo, Kathryn Hahn, Rob Huebel, Archie Panjabi, Michael Greyeyes and Imogen Poots.

Watchmen Based on a DC Comics series created by Dave Gibbons and Alan Moore, this timely drama earned 26 Emmy nominations, the most of any show this year. Set in an alternate version of the 20th Century, in which vigilantes—once celebrated as heroes—have been outlawed, it examines systemic racism in America, as violence erupts between the police and a white supremacist group known as the

This Is Us

I Know This Much Is True

Normal People

We’re Here

Seventh Kavalry. Created by Damon Lindelof, the ensemble includes Regina King, Yahya Abdul-Mateen II, Jovan Adepo, Louis Gossett Jr., Jeremy Irons and Jean Smart.

HULU Normal People Executive produced by Ed Guiney and Oscar-nominated director Lenny Abrahamson (Room), this Irish drama adapts Sally Rooney’s 2018 novel of the same name.

Starring Daisy Edgar-Jones and Paul Mescal, it charts the romance between Marianne and Connell, two young adults from the same small town, and very different backgrounds, as they come in and out of each other’s lives.

Streaming on Hulu and BBC Three, the pop culture phenomenon earned four Emmy nominations this year, for Directing, Writing, Casting and Lead Actor in a Limited Series.

Abrahamson and Hettie Macdonald direct, from scripts by Rooney and Alice Birch.

The Handmaid’s Tale This acclaimed, dystopian drama adapts Margaret Atwood’s portentous 1985 novel. Created by Bruce Miller, it centers

on Elisabeth Moss’s June, a woman living in a dark age who sees her family and her former life stripped away. Forced to live as a concubine under a fundamentalist theocreatric dictatorship, June quickly begins plotting to topple the totalitarian state, along with an escape to Canada with her child.

Earning 14 Emmys and 54 noms in its first three seasons, the series also stars Bradley Whitford, Samira Wiley and Alexis Bledel.

NAT GEO The Cave Directed by Feras Fayyad, this Oscar-nominated documentary sheds light on the daily trials faced by female doctors in Ghouta, who work in an underground hospital known as The Cave, confronting sexism on a regular basis as they perform heroic acts. Its focus is Dr. Amani Ballour, a physician who saved the lives of countless men, women and children in recent years, even as bombs dropped overhead, and The Cave was hit with terrifying chemical attacks. Immersing viewers in the horrors of the Syrian Civil War, the doc premiered at the Toronto International Film Festival last fall.

D E A D L I N E .C O M / AWA R D S L I N E

45

“A

TRIFECTA OF ELEGANT WRITING, DIRECTING AND ACTING.”

Life Below Zero Executive produced by Joseph Litzinger, this reality series chronicles the everyday challenges faced by subsistence hunters living in remote areas of Alaska—individuals who habitually endure below-zero conditions, have only themselves to rely on, and like it that way. Produced by BBC Worldwide, the series has made celebrities out of the likes of Sue Aikens—owner of the Kavik River Camp— and Ricko DeWilde, an Athabaskan teaching his children about subsistence living, winning four Primetime Emmys for Outstanding Cinematography and Picture Editing since its 2013 debut.

NETFLIX Unorthodox Based on a memoir by Deborah Feldman, and boasting a breakout performance by Shira Haas, this miniseries centers on Esty, a 19-year-old Jewish woman who has tired of her arranged marriage, and the ultra-Orthodox community in Williamsburg, Brooklyn, in which she was raised. After running away to Berlin, Esty discovers a whole new world she never knew existed, rejecting her family’s beliefs and attempting to start a new life.

Directed by Maria Schrader, from scripts by Anna Winger and Alexa Karolinski, the drama will contend in September for eight Emmys, including Outstanding Limited Series.

Nailed It! Hosted by comedian Nicole Byer, this reality series celebrates imperfection within the culinary world. Each episode follows amateur bakers with questionable track records, as they attempt to recreate daunting cakes and confections, to hilarious ends. The prize on the line is $10,000, along with the coveted “Nailed It” trophy. Spurring spinoffs in Mexico, Germany, France and Spain, the incredibly popular series broke into the competitive category of Outstanding Competition Program just last year. This time around, Byer has also earned a nomination as host, becoming the first Black woman to be recognized in her category.

POP TV Schitt’s Creek Created by the father-son duo of Eugene and Daniel Levy, this sitcom has only continued to grow in popularity since its 2015 debut, racking up 19 Emmy nominations in the last two years. The first Canadian series to be nominated for a Critics’ Choice Television Award for Best Comedy, it focuses on the incredibly rich Rose family, who are forced to move to the town they once bought as a 48

D E A D L I N E .C O M / AWA R D S L I N E

joke, when funds dry up. Coming to a close in April, the series’ cast features the two Levys, along with Annie Murphy and Chris Elliott.

QUIBI Most Dangerous Game Christoph Waltz earned his first Emmy nomination for his turn in this action thriller from Scott Elder, Josh Harmon and Nick Santora.

Based on a classic short story by Richard Connell, the short-form series centers on Dodge (Liam Hemsworth), a Detroit everyman consumed by debt, who is looking to secure the financial future of his wife and unborn child, before he succumbs to terminal brain cancer. After meeting a mysterious businessman named Miles (Waltz), Dodge finds the opportunity to do just that—by agreeing to participate in a 24-hour game, in which he’ll be hunted for sport. #FreeRayshawn In this short-form series, Stephan James stars as Rayshawn, a young, Black veteran of the Iraq War, who finds himself in a standoff with a SWAT team, after an incident with undercover cops results in unintended, fatal consequences. Trapped in his apartment with his wife and child, Rayshawn looks to social media and a sympathetic police lieutenant, in an effort to clear his name, before he becomes yet another victim of a corrupt justice system. Created by Marc Maurino, the drama’s ensemble also includes Laurence Fishburne and Jasmine Cephas Jones. All three actors earned Emmy nominations for their work.

SHOWTIME Black Monday Created by Jordan Cahan and David Caspe, this ’80s comedy has earned Don Cheadle two consecutive Emmy nominations for Outstanding Lead Actor in a Comedy Series.

Executive producing the project, alongside Seth Rogen and Evan Goldberg, the actor stars as Mo Monroe, a veteran stockbroker involved with the infamous stock market crash of 1987. Also starring Andrew Rannells, Regina Hall and Paul Scheer, the series tells the story of a band of outsiders who took on the old-boys club of Wall Street, to unexpected results.

Homeland Directed and executive produced by Lesli Linka Glatter, this international spy thriller has thus far earned eight Emmys and 40 nominations. Claire Danes stars as Carrie Mathison, a former CIA case officer in the Counterterrorism Center who suffers from

bipolar disorder. When the series returned for its eighth and final season in February, Mathison was struggling to recover from a brutal experience in a Russian gulag. Called upon by her mentor, Saul (Mandy Patinkin), Carrie must then head to Afghanistan to aid the U.S. government in peace negotiations with the Taliban.

SONY PICTURES TV Better Call Saul This spin-off to the iconic Breaking Bad has proudly carried forth the crime drama’s legacy, garnering 39 Emmy nominations since 2015. Bob Odenkirk stars as Jimmy McGill, a beaten down con man and small-time lawyer who has now adopted the persona of Saul Goodman, making his downward spiral toward crime and corruption nearly complete. Wrapping its fifth season in April, the series created by Vince Gilligan and Peter Gould will take its final bow when Season 6 airs next year. Jonathan Banks, Rhea Seehorn, Patrick Fabian, Michael Mando, Giancarlo Esposito, Tony Dalton and Mark Margolis also star.

Live in Front of a Studio Audience Hosted by Jimmy Kimmel and Norman Lear, this Emmy-winning series of television specials presents live recreations of some of Lear’s iconic sitcom episodes that originally aired in the 1970s, from shows including All in the Family, Good Times and The Jeffersons.

Executive produced by Brent Miller and Kerry Washington, the specials have brought together A-list stars, including Woody Harrelson, Marisa Tomei, Anthony Anderson, Viola Davis and Tiffany Haddish, to celebrate writing that resonates far beyond the moment in which it was conceived, tackling topics like poverty, social class, and racism within America, which remain as relevant as ever.

VH1 RuPaul’s Drag Race One of the greatest stars of the drag community, RuPaul has won four consecutive Emmys as host of this beloved reality competition series, which wrapped its 12th season in May. The show follows RuPaul as he guides his drag daughters through a number of challenges focused on performance and fashion design, in search of America’s next drag superstar, judging their work alongside Michelle Visage and an exceptional series of guests. Executive produced by Fenton Bailey and Randy Barbato, it’s won the Emmy for Outstanding Reality-Competition Program in each of the last two years, along with various other accolades. ★

#FreeRayshawn

Schitt’s Creek

Live in Front of a Studio Audience

Nailed It!

Life Below Zero

Homeland

Black Monday

Unorthodox

RuPaul’s Drag Race

Most Dangerous Game

Better Call Saul

D E A D L I N E .C O M / AWA R D S L I N E

49

F L AW L E S S THE GUARDIAN

OUTSTANDING LEAD ACTRESS

JENNIFER ANISTON OUTSTANDING LEAD ACTOR

OUTSTANDING SUPPORTING ACTOR

OUTSTANDING SUPPORTING ACTOR

STEVE CARELL

B I L LY C R U D U P

MARK DUPLASS

OUTSTANDING GUEST ACTOR

OUTSTANDING DIRECTING

MARTIN SHORT

M I M I L E DE R

O U T S TA N DI N G PR O DUCTI O N DE S I GN

O UTS TA N DI N G MA I N TI TLE D ESIGN

EMMY HANDICAPS 34 54

Another year, another Emmys.

PETE HAMMOND TAKES A LOOK AT THE RUNNERS AND RIDERS OF A UNIQUE YEAR IN EMMY HISTORY

Well, maybe it’s not that simple this time around, because this 72nd annual celebration of television’s best is destined to be anything but just another Emmys. The worldwide coronavirus pandemic has turned everything upside down.

We’ve seen civil unrest in major cities, plus a wild Presidential election season, economic turmoil and who knows what else is yet to come?

But throughout all this, television has been a great unifier, and this year the variety of options for Emmy voters is bigger, better and more diverse than ever before. In fact, for the first year the marquee categories of Outstanding Drama and Comedy Series have both gone to a set of eight nominees each—and, considering the breadth of possibilities, they could have even gone wider.

With last year’s winners in both categories—Game of Thrones and Fleabag respectively—having completed their runs, 2020 promises an open race, and one that will be difficult to call, since the recent nationwide lockdown makes it likely that Television Academy members will have seen more of the contenders than ever before—which means that the final winners are anybody’s guess and sure to be unpredictable. My annual attempt to gaze into my crystal ball, then, could wind up being an exercise in futility, but I’m game if you are, on the understanding that none of this year’s predictions are necessarily my personal choices, but rather the result of careful analysis.

Also, because of magazine deadlines, much of this work was done before voting actually started, and about six weeks ahead of the Emmy show itself—look out for updates in my online versions of these predictions closer to the show, which takes place on Sunday, September 20 on ABC.

D E A D L I N E .C O M / AWA R D S L I N E

EMM Y 2 02 0 H AN DICAPS / BY P ETE H A M M O N D

OUTSTANDING DRAMA SERIES Better Call Saul

The Crown

This spinoff of two-time winner Breaking Bad has been nominated in this category in every year of its eligibility since its 2015 debut. That’s the good news. The bad news is that, after 32 nominations, it still has yet to win. Now in its fifth, penultimate season, the show has seven shots this time, but with overlooked star Bob Odenkirk (WTF!), the glorious never-nominated Rhea Seehorn (double WTF!), and snake-bit Jonathan Banks (triple WTF!), I don’t hold much hope for any Emmy wins until it’s in its final year.

This is the kind of series Emmy voters traditionally used to honor, and in its first three years this upscale royal saga racked up 13 nominations each time out. With eight Emmy wins, it is certainly better off than poor Saul, but still has yet to bag the big one, something Netflix would like more than anything else for one of its shows. If 2020 doesn’t turn out to be its year, Netflix announced recently that the show would be going to a sixth season, so there’s still plenty of time for that.

AMC

Perhaps Emmy’s most prestigious category, this year’s lineup is the biggest in history and includes the return of a former winner after a year off, plus five previously nominated contenders looking to enter the winner’s circle for the first time. Additionally, two shows have broken through for the first time, including one from a brand-new streamer which managed to put its first drama series in the category in a very big way.

The Handmaid’s Tale Hulu

In its first year, it became the first Drama Series from a streamer to snag the big prize, with eight wins overall. It was short-lived, however— while the second season brought 20 nominations, it garnered only three wins and was overlooked in the major categories.

Last year it wasn’t eligible here, but quirky Academy rules allowed for 11 nominations and three wins, so there is clearly still love left.

But can it come all the way back in 2020, with no acting nod for star Elisabeth Moss?

Netflix

Killing Eve

The Mandalorian

Ozark

Stranger Things

Succession

Some pundits thought maybe this cultishly popular BBC America series wouldn’t make it into this category for a second consecutive year, but, after a surprise win that I predicted for co-star Jodie Comer last season, it and she are back and the show has eight nods overall. So, it’s still in the game, but a definite dark horse, considering the stiff competition.

Sci-fi isn’t a staple in this category—it usually gets all its Emmy love for Special Effects and not much else. But in its first year, with strong Star Wars roots, this upstart has The Force with it, much like the original Star Wars did at the 1978 Oscars.

Having debuted to near-universal critical acclaim, with 15 nominations, this is the category’s only first-season entry this year. It could follow in The Handmaid’s Tale’s footsteps by knocking it out of the park first time out, while making history as the first sci-fi series to do it.

A winner last year for stars Jason Bateman (Outstanding Directing) and Julia Garner (Supporting Actress, Drama), Ozark was perhaps the year’s biggest beneficiary from the pandemic lockdown— housebound viewers finally discovered the series and turned it into a word-of-mouth phenomenon. It didn’t hurt that Season 3 was also the best so far, but will the fact that Netflix has announced that Season 4 will be its last mean that voters might wait until then to give it the big prize?

For this fan favorite, it has been a lesson in diminishing returns.

With Season 1, it came roaring into the Emmys with 18 nominations and five wins. For Season 2, that dropped down to 12 nominations and one win. Last year it was not eligible, and now, after that hiatus, it’s back with just eight nominations. As was the case with its previous seasons, it’s a rare genre contender in this category, and momentum does not seem to be on the cards for this one.

Now in its second season, this show has been building a steady fanbase since it premiered two years ago. It pulled off a couple of wins in its first season, including Outstanding Writing, but this year it is probably perennial Emmy champ HBO’s best shot after the exit of three-time winner Game of Thrones. A quick snapshot says Ozark or Succession will prevail, and both come into the race with 18 nominations. It will be a photo finish.

BBC America

Disney+

Netflix

Netflix

HBO

PETE’S

WINNER PICK

D E A D L I N E .C O M / AWA R D S L I N E

35 55

EMMY 2 019 H AN DICAPS / BY P ETE H A M M O N D

OUTSTANDING LEAD ACTOR

IN A DRAMA SERIES A returning champ vs. another past winner sets up the possibility of a repeat victor here, but there are a couple of veterans in the mix who have 13 acting Emmy nods between them and no win, so sentiment could be a factor. There’s also a brilliant Scottish-born star whose time may have come after being Golden Globed—but he has a co-star first-timer to contend with. Who will it be?

Brian Cox

Billy Porter

Jeremy Strong

Coming off a Golden Globe win, having not seen Emmy glory since the miniseries Nuremberg nearly two decades ago, Cox is riding a late wave of newfound success as a Rupert Murdoch-type mogul in this critically acclaimed show. The only drawback is that he is pitted against an equally talented co-star (Jeremy Strong) playing one of his sons. The gravitas of the part, though, and Cox’s veteran status, could potentially help him overcome that.

No one scored a more popular, and, to some, surprising victory at the Emmys last year than this Tony-winning star who came in and immediately conquered TV with a groundbreaking role in Pose that clearly channeled the zeitgeist. He could repeat the win here if only because voters might want to see what he’s wearing, no matter how virtual the show may be.

Strong is riveting as the ambitious and duplicitous son of Brian Cox’s formidable patriarch in this water-cooler smash.

This is Strong’s first nomination, and he has always been memorable in a number of movie roles, but this means he has to compete directly with Cox. I suggest you look back to what Jodie Comer achieved last year in her shocker win for Killing Eve— there is a solid chance of that dynamic repeating here.

Succession

Pose

Succession

PETE’S

WINNER PICK

34 56

D E A D L I N E .C O M / AWA R D S L I N E

Jason Bateman

Sterling K. Brown

Steve Carell

Between this series and Arrested Development, Bateman has had five Lead Actor nominations, and last year won the Emmy for directing with his Ozark episode “The Toll”. This year he is not in the running in the directing category but has two acting nods, one for Ozark and another for Guest Actor in a Drama Series for newbie The Outsider. Because Ozark has been so widely sampled this year, and due to his exposure on the other series, Bateman is clearly respected by his peers, so don’t count him out.

Brown won for this series, in the same category in 2017, after taking a Supporting Actor Emmy the year before for The People v. O.J. Simpson.

This represents his fourth consecutive nomination in this category for This Is Us, and, like Jason Bateman, Brown is a double nominee this year—he is also being recognized for his Supporting role in a Comedy Series for The Marvelous Mrs. Maisel.

Another win here seems unlikely, though, as the Emmy heat for This Is Us appears to be dwindling.

The big shocker in this category was the omission of Better Call Saul’s Bob Odenkirk, and that snub may be down to Carell, who landed his first bid in the Drama Series race for his predatory anchor in The Morning Show. Let’s face it, after losing six times as Comedy Lead Actor in The Office, Emmy voters owe him one, but his character here was pretty despicable.

Actors, however, might recognize the mean feat of going so far against type for this likeable and talented funnyman.

Ozark

This Is Us

The Morning Show

OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES A crowded field—eight nominees—could cause a massive pileup on the Emmy highway, since three of them are from Succession and two are from The Morning Show. There’s a reasonable chance for each of that Succession trio (Nicholas Braun’s Cousin Greg, Matthew Macfadyen’s Tom Wambsgans, and perhaps most notably Kieran Culkin’s Roman Roy), but will they just cancel each other out? Three’s a crowd, buddy.

The pair from The Morning Show—Billy Crudup and Mark Duplass— also could crash and burn due to the competition from each other.

That leaves three contenders with a clearer path to victory, including Westworld vet Jeffrey Wright, Bradley Whitford for The Handmaid’s Tale, and Giancarlo Esposito—inexplicably repping the sole acting nod for Better Call Saul this year. Esposito, though, is also Guest Actor nommed for The Mandalorian, and might stand a better chance there. If Westworld was more buzzed this season, I might say it was Wright’s time for the win, but Whitford—a three-time winner for three different shows—seems to have Emmy’s number.

The Winner: Bradley Whitford, The Handmaid’s Tale

OUTSTANDING LEAD ACTRESS

IN A DRAMA SERIES

Jennifer Aniston

Olivia Colman

Jodie Comer

This may be the toughest overall competition of any Emmy category this year. In fact, in a year where Elisabeth Moss, Nicole Kidman, Reese Witherspoon, Mandy Moore, and many others weren’t nominated, you might be right to get the feeling that this one is going to be brutal. We have an Oscar queen trying to become an Emmy queen, an Emmy-winning sitcom queen going dramatic, a first-timer better known on the Disney Channel, last year’s surprise winner matched again against her 10-time Emmy-losing co-star, plus a veteran four-time winner looking to add a fifth.

Aniston seemed to shock even herself when she won this year’s SAG award for her role as news anchor Alex Levy in the just-debuted Apple+ series The Morning Show. She beat out some very stiff competition in the category, so it was absolutely no surprise that the beloved star would land an Emmy nomination for the same role. She seems to be riding a lot of momentum towards a win, which would only be her second since her Lead Comedy Actress statuette in 2002 for Friends.

Colman would probably rate a nomination here as Queen Elizabeth even if she was lousy.

She isn’t, of course, and she continues on a career roll since winning the Oscar as a very different queen in The Favourite a little over a year ago. Of course, she still has another season in the role before it changes hands once again, so voters may feel they can wait a year.

Coming off her surprise win last year against more favored co-star Sandra Oh, Comer can’t be counted out to repeat.

Her role as Villanelle is one for the ages, as loopy as it gets, and voters love to watch this kind of all-stopsout performance. The competition here is just lethal though, so a repeat might be asking for too much.

Laura Linney

Sandra Oh

Zendaya

I don’t have to explain to you that Emmy voters love Laura Linney—her four goldwinged ladies for four different shows proves it better than I could.

But she just may be topping herself in Ozark as Wendy Byrde, taking on devilish Shakespearean shades. As always, she is riveting to watch, and the writers of the series clearly know it as they keep giving her so many choice scenes to play.

Oh is now an 11-time Emmy nominee, and so far zero for 10.

That has to change, surely, but it probably won’t happen this year as she seems overshadowed by her co-star. That said, Emmy has been known to spread the wealth sometimes between series stars, and she’s awfully good as the title character— would it kill voters to give Eve a shot?

Virtually no one predicted that Zendaya would break into this race for a series that aired almost a year ago, and for which buzz had faded. To their credit, voters saw things differently and decided to crown this former Disney Channel star with a key nomination in a category that left many bigger names at the starting gate.

The nomination for this daring series is the only win here: the race is between Linney and Aniston, and it’s a close call.

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES Like its male counterpart, this category is jam-packed with contenders—another eight-pack, to be specific. Among the group are four past Emmy winners, including two who have Oscars on their mantel. The frontrunner is the feisty upstart who pulled off the win on her first nomination last year.

However, a British princess played by a former queen might just grab the crown from her and the queen of the Academy Awards as well. Of course, the latter would be Meryl Streep, as the conniving mother-in-law in Big Little Lies, but this year she has to compete directly with another Oscar and Emmy winner in Laura Dern, who is looking to make bookends for Renata in the same show.

Both may be eclipsed, however, by last year’s winner, Julia Garner in Ozark, or four-time Emmy nominee Helena Bonham Carter as Princess Margaret in The Crown. Otherwise, Fiona Shaw (Killing Eve), Samira Wiley (The Handmaid’s Tale), and past winner Thandie Newton (Westworld) are back, while first-timer Sarah Snook (Succession) might be a dark horse…

The Winner: Julia Garner, Ozark

The Morning Show

Ozark

The Crown

Killing Eve

Killing Eve

Euphoria

PETE’S

WINNER PICK

D E A D L I N E .C O M / AWA R D S L I N E

35 57

34

D E A D L I N E .C O M / AWA R D S L I N E

EMM Y 2 02 0 H AN DICAPS / BY P ETE H A M M O N D

OUTSTANDING COMEDY SERIES Curb Your Enthusiasm

Dead to Me Netflix

HBO

Previous winners of this category in just about the entirety of the past decade—Fleabag, Veep, Modern Family—aren’t a factor this year, so there’s a chance for new blood to take over. Only 2018 winner The Marvelous Mrs. Maisel is back in the race, and in a very big way, with 20 nominations indicating strong across-the-board industry support. But past nominees like Curb Your Enthusiasm, The Good Place, The Kominsky Method and Schitt’s Creek—the latter three nominated for the second year in a row—are looking for an opening, as are a trio of first-timers in the category.

The Good Place

Insecure

This four-season show has been steadily building its Emmy cred year by year, going from zero in its first season to an overall six this year. Still no wins, but the Ted Dansonstarring sitcom has a unique distinction among nominees in all the key Emmy program categories of Drama, Comedy, and Limited Series in that it is the only broadcast network show to receive a nomination.

That ought to be reward enough for this critical favorite.

Finally, this HBO gem has been noticed by the TV Academy voters, and it only took four years to do it. After being regularly passed over somehow, the Issa Rae-starring show has managed to snag eight nominations— including its first in this category, where it remains a long shot, but maybe the timing is perfect.

NBC

HBO

The Kominsky Method Netflix

A deeply personal project for TV comedy mogul Chuck Lorre, with a killer cast led by Michael Douglas and Alan Arkin, this Netflix series has announced that it will end after one more season—which means Emmy voters could wait to give it this prize. But competition is tight and the show hasn’t shown much improvement this time on the nomination front, receiving the same three nods it got last year when it came home empty.

The Marvelous Mrs. Maisel Amazon

Winner of a historic eight Emmys from 14 nominations—including this one in only its first season—Maisel was beaten last year by Amazon stablemate Fleabag, but its performance was still impressive, landing eight more wins in other categories from a whopping 20 nods. It maintains that number of nominations again this year, and the love seems to be coming from across the board, so, clearly, this one has momentum all over again, especially after a colorful season that took its players out on the road.

Now an eight-time nominee in this category with 47 lifetime nominations overall, Curb Your Enthusiasm is still looking for its first win here, and maybe this is the year—the show is coming off a well-received tenth season in which Larry opens a coffee shop and starts a rivalry with the business next door. It’s always been one of the funniest shows on TV since its 2001 debut, and truly, it’s about time some real voter enthusiasm came forth.

Schitt’s Creek Pop TV

If ever there was a conundrum it is this series, up for 15 Emmys in its sixth and final year—not many shows can say that after being completely ignored in their first four seasons. When the Pop TV series finally hit Netflix, though, Emmy voters discovered it, and it was nominated here for the first time in its fifth year. There is a lot of sentiment for it now and it seems very likely, just like Fleabag last year, that its time has really come.

Improving its nomination haul from one for star Christina Applegate in its first season to four in its second, this mystery comedy series has a growing legion of fans and a promise of a third and final season still to come.

However, it lacks the all-important writing and directing nods, which makes it a bit of a long shot to pull off an upset. It’s probably just happy to be included, now that there are eight slots in the category.

What We Do in the Shadows FX

Here’s another show really coming to life after getting barely noticed in its first season last year, jumping from just two nods in 2019 to eight in 2020, including a first bid as Comedy Series and a whopping three nominations in the writing category.

The horror spoof is really taking off, so its newfound Emmy cult of admirers could just push it over the top.

PETE’S

WINNER PICK

D E A D L I N E .C O M / AWA R D S L I N E

59 35

EMMY 2 019 H AN DICAPS / BY P ETE H A M M O N D

OUTSTANDING LEAD ACTOR IN A COMEDY SERIES

Michael Douglas

Eugene Levy

Ramy Youssef

Douglas won an Emmy for playing Liberace in the TV movie Behind the Candelabra in 2013, and this is his second nomination, as the acting teacher Sandy in the Chuck Lorre dramedy. Despite being a movie star, Douglas is certainly no stranger to Emmys— early in his career, he had three consecutive nominations for his role in The Streets of San Francisco. He won a Golden Globe for Kominsky in its first season but missed out on the Emmy. Maybe this time?

The beloved Levy has really hit his stride with this series. Previously a two-time Emmy winner for his writing work on SCTV, Levy’s nominations here last year and again this year are—believe it or not—his first ever for acting roles. He is definitely the favorite to take this, especially since voters won’t get another chance.

The star of the selftitled series won the Golden Globe earlier this year on his first time out, and now he is not only a first-time nominee in this category, he’s also a nominee in the comedy directing category as well.

Youssef is the only contender here who’s a true-blue first timer, and if this distinguished group of nominees should manage to cancel themselves out, Ramy can expect a big night.

Schitt’s Creek

PETE’S

WINNER PICK

34 60

DDEEAADDLLIINNEE. .CCOOM M//AAW WAARRDDSSLLIINNEE

Don Cheadle

Ted Danson

This is the sixth season for the hit ABC sitcom, and the sixth consecutive nomination for Anderson, a perpetual nominee but never a winner. If he wants to take heart, though, he should get advice from a fellow nominee, Ted Danson, who only won his first Emmy on his eighth nomination for Cheers. He proved you don’t have to be eternally overlooked, and, hopefully, that will be the case for Anderson, who’s so good it’s easy to pass him by.

Talking about being passed by—look no further than Don Cheadle, now on his 10th Emmy nomination but still looking for a first win. This is his second consecutive nomination for the Showtime series, but previously he had four more for another comedy series, House of Lies, so he is no stranger to this particular category.

A well-liked actor, Cheadle could win for that reason alone.

This is Danson’s 18th Emmy nomination since first being recognized in this category for Cheers in 1983. As mentioned earlier, it took him seven more times before finally winning the gold in 1990, and then another three nods before gaining a second Emmy in 1993, but it has been nearly 30 years since a victory and Danson could certaintly be sentimental favorite.

Black-ish

Aside from Ramy Youssef, this category is loaded with veteran names. Anderson, Cheadle, Danson, Douglas and Levy are a formidable quintet, who have all been in this category before, but only one of them has previously prevailed—and not for the show they currently star in. The winner here for the past two years was Bill Hader, but his show took this season off, leaving a ripe opportunity…

The Kominsky Method

Anthony Anderson

Ramy

Black Monday

The Good Place

OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES Oscar winners, acting veterans, multiple Emmy champs, past drama series nominees, an SNL cast member, and a chip off the old block make up the list of contenders here. Starting with the latter, Daniel Levy—son of Eugene, and co-creator of Schitt’s Creek—is the man of the hour at the Emmys, as this is just one of his four nominations this year for the show. Given that he has several chances to win, maybe he’ll give a break to someone else. Keep an eye on Oscar winner Mahershala Ali, so drolly fine in Ramy, although, personally, I would love to see Alan Arkin take it for his touching and funny turn on The Kominsky Method.

Previous multiple Emmy winners Andre Braugher (Brooklyn Nine-Nine) and Sterling K. Brown (The Marvelous Mrs. Maisel) obviously have their fans too, as does four-time winner and reigning champ Tony Shalhoub, also for Maisel. William Jackson Harper (The Good Place), and the ever-talented Kenan Thompson (Saturday Night Live) round out the category.

The Winner: Daniel Levy, Schitt’s Creek

OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES

After Phoebe Waller-Bridge crushed the Emmys last year, robbing Julia Louis-Dreyfus of a seventh statuette for Veep in her final year and also depriving Rachel Brosnahan of a second win in a row for The Marvelous Mrs. Maisel, the category seems to be a bit of a toss-up this year.

There are a lot of TV favorites in the mix, plus another shot for Brosnahan, and a sentimental pick that could easily upset the apple cart.

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES Annie Murphy of Schitt’s Creek, Yvonne Orji of Insecure, D’Arcy Carden of The Good Place, and the surprisingly never-nominated SNL staple Cecily Strong are first-time Emmy nominees this year. Now they have to contend with somehow besting threetime winner and clear favorite here Alex Borstein of The Marvelous Mrs. Maisel, not to mention two-time winner and eight-time nominee Kate McKinnon, another SNL face in the crowd. Maisel’s wonderful Marin Hinkle and GLOW’s terrific Betty Gilpin have joined this club for a few rounds as well. It’s a talented bunch, and Murphy could make it four-for-four for the key cast of Schitt’s Creek. But there can only be one winner, and the Academy does have a tendency to reward those who have already been rewarded.

The Winner: Alex Borstein, The Marvelous Mrs. Maisel

Christina Applegate

Rachel Brosnahan

Linda Cardellini

Brosnahan was terrific this season, in which Midge hit the road. Right from the first of the season’s episodes, when she played a USO show, the character was never more appealing or conflicted. It’s easy to see how she won in the show’s Emmy debut year in 2018, and it would be easy to predict a repeat two years later, but it’s not such an simple path.

What we said about Applegate applies to Cardellini too—both stars look like they’ve worked together for years, and that’s clearly why they are both in contention.

The likelihood is that they will cancel each other out here, but the Emmys don’t always do the obvious thing and there are many instances (see Jodie Comer) where one co-star does indeed prevail. If so, which one will it be?

Catherine O’Hara

Issa Rae

Tracee Ellis Ross

Here’s the reason Brosnahan may not have so easy a path to that second Emmy. Like Eugene Levy, O’Hara is beloved and way overdue for recognition of this kind from her peers. Like Levy, she has a writing Emmy all those years ago for SCTV, and in 2010, she was nominated for a dramatic role in the movie Temple Grandin.

But the character of Moira is a classic, no doubt about it, and this is the only chance voters will have to recognize that.

If there’s anyone in this category who could really pull off an upset, it’s this second-time nominee for HBO’s Insecure. Issa Rae’s time has come, and she had a great season on this show, which finally is getting the kind of acrossthe-board recognition that it has long deserved. But you can say that about Schitt’s Creek too…

After inexplicably passing her over last year, following three consecutive nominations in this category, Emmy voters have brought the versatile star and Golden Globe winner back for more with her fourth nomination in this category in six seasons. Like her co-star Anthony Anderson, she is becoming a perennial, but will she always be the bridesmaid?

Emmy can be mean that way. Ross is fabulous, no matter what happens.

Dead to Me

Last year this TV comedy veteran nabbed the newbie series’ sole Emmy nomination, but this year she is back with new competition—her co-star, Linda Cardellini. Both are so accomplished and, in the second season, so easily in sync that it seems hard to separate them (at the Deadline Contenders event I told them that they are the new Lucy and Ethel, albeit in a much darker show). Applegate is always welcome on television and at the Emmys, since she won on her first time out in 2003 for her guest role in Friends.

Schitt’s Creek

The Marvelous Mrs. Maisel

Insecure

Dead to Me

Black-ish

PETE’S

WINNER PICK

D D EE A AD D LL II N N EE .. CC O OM M // A AW WA A RR D D SS LL II N N EE

35 61

EMMY 2 019 H AN DICAPS / BY P ETE H A M M O N D

OUTSTANDING LIMITED SERIES Little Fires Everywhere Hulu

HBO has been familiar in this circle, last year winning overwhelmingly with Chernobyl, even though Netflix gave them a run for their money with When They See Us. This year the two will go head to head again, but HBO seems to have the magic touch here, and, if not them, it has been FX in past seasons, with Ryan Murphy fare, such as The People v. O.J. Simpson and The Assassination of Gianni Versace. This year FX is back with another formidable contender just to mix things up. Let’s look at the landscape.

The Winner: Hugh Jackman, Bad Education

OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE

Unbelievable

Unorthodox

Watchmen

This FX entry is a strong and timely one that looks at the feminist movement through the eyes of conservative activist Phyllis Schlafly, who did everything she could to stop it despite the intense efforts of women who made history in the battle for equality.

With Cate Blanchett as Schlafly and an all-star cast including Margo Martindale, Uzo Aduba, and Tracey Ullman (all four Emmy nominated), and Rose Byrne (as Gloria Steinem), Elizabeth Banks and Sarah Paulson, this show has a good shot.

One of two Netflix entries, this powerful drama about the rape of a young woman and its aftermath is so compelling that it would be a contender in any year. Despite some superb performances, the show racked up only four nominations and, oddly, just one acting nod for Toni Collette over co-stars Merritt Weaver and the excellent Kaitlyn Dever, who played the victim in this tragic true story.

Lack of any more love from the Academy, and the fact it came out almost a year ago, probably lessens its chances of winning.

Fronted by a stunning performance from Shira Haas as a young ultra-orthodox woman who flees her marriage to start a new life abroad, this show has been a bit of a sleeper in terms of the Emmy race. Still, it has been steadily gaining momentum for Netflix after gaining eight nominations, including the important writing and directing nods that could make this one to watch out for.

With 26 nominations, more than any other show this year, the favorite in the race has to be this highly-acclaimed entry adapted from Alan Moore’s infamous graphic novel, which charts a course of its own, defies genre, features some brilliant performances and offers a great deal of food for thought. The amount of nominations means it dwarfs the category, but I wouldn’t count out Mrs. America, despite the numbers.

34 62

Netflix

D E A D L I N E .C O M / AWA R D S L I N E

Netflix

In recent years it has been rare to see this category feature any serious contenders from the standalone TV Movie side of eligibility. However, this year Hugh Jackman has emerged as the favorite to win as scandal-ridden superintendent of schools Frank Tassone in Bad Education, a movie he thought was being made for the big screen, but which sold to HBO at the 2019 Toronto International Film Festival.

Competition might come from Mark Ruffalo’s dynamic dual turn in HBO’s I Know This Much Is True, since it always helps to play two roles for the price of one.

Otherwise, Oscar winner Jeremy Irons lends gravitas to Watchmen, and Paul Mescal and Jeremy Pope are worthy nominees for Normal People and Hollywood respectively.

Yet another streamer invades this space with the female-driven limited series based on Celeste Ng’s 2017 bestseller. With Reese Witherspoon and Kerry Washington battling it out on screen as well as producing, it certainly doesn’t lack for star power, landing five nominations, including a bittersweet one for its late director Lynn Shelton. As a book, it was a real page-turner, and the series ratchets that aspect up while also dealing with themes from race to motherhood. It could be a popular choice.

Mrs. America FX

OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE

HBO

PETE’S

WINNER PICK

First off, watch out any time Regina King is nominated for an award. Does she ever lose? She could rack up another win as a key part of the success of this year’s most nominated show, Watchmen. You simply can never count her out.

Both Octavia Spencer in Self Made: Inspired by the Life of Madam C.J. Walker and Kerry Washington in Little Fires Everywhere will have supporters, with the latter perhaps given a boost by her excellent work in TV Movie nominee American Son. Shira Haas could upset in Unorthodox against her better known competition, but this category probably belongs to Cate Blanchett for her richly layered performance as Phyllis Schlafly in Mrs. America, a well regarded entry into TV for the two-time Oscar winner.

The Winner: Cate Blanchett, Mrs. America

WHAT SHOULD WIN?

OUTSTANDING

TELEVISION MOVIE American Son Netflix

This once-proud category fell on hard times when the networks abandoned the format, and increasingly cable outlets did too. HBO and Netflix have kept it alive, the latter finding safe harbor here the past three years with an anthology series of ‘movies’ from its Black Mirror franchise, which was finally ruled ineligible here.

This year’s lineup is a bit of a comeback for the category, at least in the case of its top three contenders, and the Black Mirror snub doesn’t seem to have hurt Netflix too much since the streamer has four of the five nominees.

Bad Education HBO

Originally intended to be a big-screen theatrical release, HBO swooped in at TIFF and snapped it up for a reported $20 million.

With a big movie star like Hugh Jackman in an offbeat character turn, and a cast that includes Allison Janney and Ray Romano, this movie won huge acclaim when it premiered at TIFF. Upon its debut on HBO, viewers were stuck at home looking for something special to watch. They found it.

PETE’S

WINNER PICK

Dolly Parton’s Heartstrings: These Old Bones Netflix

The first in a new series of films for Netflix based on Parton’s vast song catalogue. Like all the others in this series of movies, it delivers exactly what you might expect from the title, and it would probably take a miracle for it to win against more important and pressing competition. But who doesn’t love Dolly?

El Camino: A Breaking Bad Movie Netflix

Creator and director Vince Gilligan knocked it out of the park with this exciting and worthy sequel to one of television’s greatest shows. Following Jesse Pinkman’s checkered journey post-BB, it sports some riveting scenes that offer great acting opportunities to a cast that includes triple Emmy winner Aaron Paul, as well as brilliant work from Bryan Cranston and the late Robert Forster, the latter providing a beautiful coda to a brilliant career. Emmy love for Breaking Bad could spread to this splendid follow-up.

A powerful adaptation of the Broadway play, in which an estranged couple deal with a family crisis when their son gets into trouble with the police. There follows 90 minutes of nail-biting, superbly acted drama with Kerry Washington reprising her stage role in a thrilling turn.

The fact that all the action is confined to a single set might hamper its chances, as some of the other contenders are on a much bigger scale, but in the wake of the George Floyd scandal, this film has taken on more resonance and relevance than ever.

Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend Netflix

An interactive ‘movie’ follow-up to the Netflix sitcom, this is a nice romp for creators Tina Fey and Robert Carlock, but it pales in comparison to the other films here, which at least have some semblance of cinematic intent. Still, the Academy has shown they loved the series, so maybe they want to make it up and finally give it an Emmy? Don’t bet on it.

It’s always hard to pick a winner, and I have some favorites in what has turned out to be an exceptional year for television. A number of people didn’t get nominations who should have, for example, Chris Evans and Michelle Dockery, so good in Defending Jacob; Joe Mantello, so heartbreakingly good in Hollywood; the great Patti LuPone in the same Limited Series; Reese Witherspoon in everything this year; Allison Janney opposite her nominated co-star Hugh Jackman in Bad Education; Daisy Edgar-Jones opposite her nominated co-star Paul Mescal in Normal People; and Nicole Kidman (I know—she won before) managing to be great again in the Big Little Lies sequel. And where is Rita Moreno in One Day at a Time? I could go on and on and on, but I won’t, except to say that I am sad there was no posthumous recognition for Robert Forster, who showed what the art of acting really is in El Camino: A Breaking Bad Movie.

You had your chance, Academy, and you blew it.

But here’s where they didn’t blow it. I would love to see Holland Taylor triumph in Hollywood, and, as good as the competition is, I wouldn’t mind it at all if Schitt’s Creek swept the board and won all 15 of its nominations—there’s no funnier show on TV, and now it’s over. If I didn’t know Curb Your Enthusiasm would be coming back for another season, I would add that too. How can the Emmys keep overlooking this show?

It is an impossible task, this awards thing. Let’s just call it all a tie.

D D EE A AD D LL II N N EE .. CC O OM M // A AW WA A RR D D SS LL II N N EE

63 35

The

Partnership No. 5

JENNIFER ANISTON & BILLY CRUDUP

p

In The Morning Show, Jennifer Aniston plays a kind of angel to Billy Crudup’s devil. Aniston’s Alex Levy, an utterly dedicated and focused television news anchor, holds tight to a good-person identity, so she’s floored when co-anchor Mitch Kessler (Steve Carell) is outed for sexual misconduct, and she’s forced to question her own failure to see what was hidden in plain sight. Meanwhile, Crudup’s news exec, Cory Ellison, embraces his inner Machiavelli as he attempts to edge Alex out of her job. Then the magic happens: Alex bares her teeth, appointing surprise new co-anchor Bradley Jackson (Reese Witherspoon) and telling a post-#MeToo, all-male boardroom, “You don’t have the power anymore.” An impressed Cory then turns his disruptive instincts into a force for good as he helps Alex tear the lid off the network’s culture of complicity. In conversation with Antonia Blyth, Crudup and Aniston, who also executive produces, discuss the terror of performing a Sondheim duet, the “witchy” powers of the show’s creator Kerry Ehrin, and how 2020’s “system update” is set to be explored in Season 2.

Jen, you wanted Billy to be on the show after

professional attention that Jen and Reese bring to it.

you saw him in the one-man play Harry Clarke?

So, you bet that I came up with a lot of ideas of how

Jennifer Aniston: Yes. 100%. It was 80 minutes

I should play Cory.

of something I’d never seen in my entire life, and it was just incredible. And I’ve known Billy a long time

Neither Cory nor Alex is an easily defined char-

and I’ve seen him be brilliant numerous times, so it

acter. What were your conversations about

wasn’t a shock to me, but whatever happened dur-

their dynamics as you went into shooting?

ing these 80 minutes was a shock to me. I definitely

Crudup: Some of the scenes that we shot, I feel

was impressed on a level that I didn’t know that

like—and I was thinking in particular, Jen, the scene

there was more room for.

where you take control of the network, essentially,

Billy Crudup: I’m so happy I got on this call, you

and the night when you announce that Bradley’s go-

have no idea.

ing to be a part of the team—what I found so excit-

Aniston: Just sit back and relax. So, I remember

ing about the experience of working on this, was our

turning to Kristin Hahn, my producing partner, and

real-time negotiation about how these characters

one of our producers on the show, and I just said,

were figuring it out. So, there is a kind of immediacy

“I don’t care what we do, or how, or who has to

to that scene that I think comes from the discovery

make it happen. He has got to be on The Morning

of what we both were bringing to it. You’re watching

Show. And that was that. The original version of

the conversation. These are people who are discov-

Cory in the show was a 30-year-old young punk/

ering themselves in real time.

turk kind of dude. And that just took a little bit of

Aniston: It’s literally like flying by the seat of their

re-imagining.

pants, in real time. And making really crazy, on-the-

Crudup: And a little bit of work on my part. I had to

spot decisions, not thinking everything through

work at it.

100%, but it’s a fun dance to watch them outsmart

Aniston: You did, but it was worth all of it. For

each other.

Kerry, she really saw it very specifically as this one thing, and Billy just came in and basically had such

Billy, your face in that scene where Alex publicly

a take on Cory and who he was. He had created an

announces Bradley as her new co-anchor.

entire biography of him, and he basically just nailed

There’s rage, but Cory also seems almost

it, sealed the deal. That’s a wrap, drop the mic.

thrilled to find a worthy adversary.

Crudup: There was no chance I was going to let

Crudup: Yeah, precisely.

this opportunity slip by without arguing a major,

Aniston: Cory is absolutely like, “Whoa.” And then

major case in front of the court of our producers,

also, “Well played.” He’s totally enamored with that

creators, and fellow co-stars that I should be a part

because it’s such a Cory move as well.

of it. But it was only because what was on the page

Crudup: It’s a great conceit for this story as well,

to me is exactly the kind of thing that I have strived

which is that people who have enormous gifts, not

to be a part of my entire career—an ambition

just their talent, their intellect, and their capability

about creating a piece of entertainment that had a

in the workplace, but who have enormous gifts for

cultural investment. And it intends to be a part of a

navigating the social structure of powerful hierar-

real-time conversation in a sophisticated and nu-

chy—so many people who are in that place imagine

anced way that reaches audiences with the level of

that the only people who can also operate the same D E A D L I N E .C O M / AWA R D S L I N E

65

way look exactly like them. So, Cory doesn’t take

just taken place, and we went to black, and we’re

complicity she may have had. They both want-

that for granted. Cory accepts that anybody who

out. Now what?

ed the same thing in the end. Did you see it that

is capable of playing a complex chess game in a

It’s really interesting to see the direction that this

way, that you were two sides of the same coin?

power struggle for something with billions of dollars

pandemic has taken her with Season 2, because

Aniston : Yes. Absolutely.

at stake, could be anybody at any time. And he is

I believe what we all have taken away from these

Crudup: Definitely. I think Cory has, oddly, a very

thrilled to find people who he didn’t expect to be on

months in quarantine, and the state of the world

clear sense of right is right. He doesn’t mind play-

the top of their game in charge of everything. That

as it exists right now, is a lot of contemplation, and

ing the game in a world of people who are playing

makes him reorganize his entire social calculus. So,

a lot of excavation, and a lot of inward work. And,

games. But when it comes down to whether or not

when she does that, it’s an exciting moment for him.

what’s excess? And the covers are being pulled on

we are denying people opportunities for no good

our government—that entire shitshow—and just

reason, simply because we want to stay in power

He is weirdly not at all sexist. You expect him to

everything that’s getting exposed. It feels like there’s

because we look the way that we do, he, I think,

be and then he just isn’t.

an upgrade that’s taking place. So, I believe that

recoils at that.

Aniston: Right.

that’s what we couldn’t put our finger on that we

You should see the way I’m gesturing right now.

Crudup: Early on, Kerry just said, “Hey, I just want

were missing in these first couple shows, was that

Aniston: I can, Billy. I feel it through the phone, babe.

you to think he had a great relationship with his

humanity, it was that level of what’s happening cur-

I’m not kidding. I’m right there, it’s not lost on me. I

mother who was a badass.” And so, to my mind,

rently in our society. If there’s a silver lining of COVID,

know it.

what that meant creatively is don’t take anything for

it is the level of awareness that I think has been tak-

Crudup: I should have worn a workout outfit, be-

granted and don’t worry about the people who do

ing place with people.

cause I’m sweating.

People like [network president] Fred, who have been

In a way, Season 1 was about the building of

Let’s talk about that musical theater duet

allowed to survive for so long based upon their own

what has become a tsunami of much-needed

scene. That was amazing.

superficial understanding of how it works.

change.

Aniston: Well, Billy and I, our next stop is the Tonys.

Aniston: God, I can’t wait to get back to work. Just

Aniston: Exactly. And now we’re in that change. So,

That was terrifying, let’s be clear. But then, how ex-

talking about it, it gets me. And Season 2, it’s getting

it’s sort of profound, and it felt like that’s what was

citing? Because I mean, one of my favorites as a kid

so good.

missing. That was the piece, that was it. Kerry, our

was Sweeney Todd. I mean, Sondheim, for Christ’s

witchy writer, we call her ‘witch’ because she pre-

sake. Give us a harder song. I thought she was trying

Mark Duplass told me Season 2 is in rewrites

dicts things. When we did the fire episode, that was

to test us to see if we could do it. It’s like, “Just you

right now, and he reminded me how this first

[about] the fire from the year prior. Fires happened

watch, Kerry.” I mean, Kerry’s like the master, right?

season was also rewritten to keep it super cur-

again, and then our show airs two weeks later, and

Like, that little dance, that sparring of the two of

rent. Can you say anything about Season 2?

it’s got fires. And then in the finale, I don’t know if

them in that moment, was I think his version of, “I

Aniston: Well, here’s what I think we can say: There

you remember Reese [as Bradley, reading the news]

appreciate you, and you and me, we’re very much

is something about how the show works and it’s

saying about a cruise ship?

the same. I like crazy. We sort of have the same

now been made very clear, at least for the first

Crudup: Yeah. I remember. There were 5,000 pas-

amount of that, and nothing’s going to harm you. I

two seasons. We had a good portion of Season 1

sengers contained.

got you.” And can she, or can she not trust him? It’s

outlined-ish. And you know, we were still dealing

Aniston: Yep. A virus had taken over.

so infuriating. I don’t know.

with the human ills, racism, inequality, ageism, and

Crudup: They were being quarantined; it was a

the feuds that go on behind the scenes of these

mysterious virus.

take it for granted because they’re not real players.

I don’t know either.

Aniston: We still don’t know, to be honest. And

mom and pops that we see every morning, but then

I like the idea that you said about an upgrade—

#MeToo happened. So, then that was another layer

and this is not just because of Apple—but it made

that’s the fun of it.

to the cake that had to be added into the whole sto-

me think of a system update, that there is this idea

Crudup: You have to watch your back when there’s

ry, and it just made it that much more exciting and

of a revolution that’s introduced throughout the

anybody in the room who thrives on conditions of

current. So, for Season 2, the same thing. We had a

entire season, that there are any number of socio-

chaos. There are any number of people in very pow-

good six or maybe seven outlines already done, and

political revolutions that need to take place, not just

erful positions in our country right now that thrive

we were in the middle of shooting [Episodes] 1 and

philosophically, but materially. We need them to

on chaos for no good reason other than they don’t

2. And then there was just this feeling, and I couldn’t

happen now.

mind navigating it. And whether they’re proving their

put my finger on it, and the producers couldn’t put

It’s one thing to have a majority of people in a

point for selfish reasons or they’re proving their point

their finger on it, but it was like something’s missing

democracy understand that. It’s another thing to

for some ethical center, one never really knows, I

and I don’t know what it is. And then the COVID

get that instituted. And then it’s a third thing to see

suppose, until you count all the chips at the end. But

crisis happened.

the institution of that reformation made manifest.

that’s one moment when you see a human connec-

And that’s the part that I feel like Season 2 can really

tion between the two of them, that all of a sudden

and we are incorporating COVID in a way that is

explore. There are so many system upgrades that

becomes disconcerting in an exciting way. Are they

so exciting. I mean, I’m not calling COVID exciting

are required in the country that we live in right now,

both going to the same thing, or is somebody really

by any stretch of the imagination, but in terms of

that the opportunity for exploring that in a narra-

exploiting the other for their own personal gain?

where Season 1 ended, because the covers were

tive format, they’re ripe, and they’re necessary, and

being pulled on the network. Alex has a breakdown/

it makes this show, to me, even more vital for its

I recoil from anything that I can’t do. And Sondheim

breakthrough on live television, and for whatever

audience.

in particular is way too exotic for me. In fact, I saw

reason, it’s like complete awareness, like she just

Aniston: 100%.

a production of Sweeney Todd that was so expertly

Now, again, Kerry is back to the drawing board,

popped into reality and was like, “What the fuck?”

I mean, I know very little about musicals because

executed that I thought, “I should never go see a

And this vomit of guilt and everything, this confes-

When Cory helps Alex stay on air in the finale,

musical again. This is horrifying, what these people

sion on live television happens. So, we’re entering

so she can speak the truth, he really seems

can do.”

Season 2 with, okay, this enormous seismic shift has

redeemable, just as Alex is redeemed for any

Aniston: Well, don’t go see Hamilton, by the way, if

66

D E A D L I N E .C O M / AWA R D S L I N E

life back from there, fair enough. But if you put in as much work as Mitch did at undermining people and oppressing people and traumatizing people because you just didn’t have the time to give a damn, you’ve got a shit ton of work to do.

Aniston: Yeah. I think there are different levels.

There are varying degrees, as we know, in all situations. But that was very conscious.

Crudup: Yeah, exactly. He was a manifest predator who has absolutely no real understanding of the depths of destruction in his wake.

Aniston: Just an ignorant narcissist. He’s completely oblivious.

Crudup: How long must it take for him to come to that realization first, and then how long must it take for him to do years of good work, exposing the depth of that understanding, to then be back in a conversation of whether or not people want to hear from you.

It’s so brilliantly written, that scene where he tries to set himself apart from his director friend Dick (Martin Short), who he decides truly is a pervert, while he himself cannot be.

Aniston: Two predators basically sharing stories, and then all of a sudden, one saying, “Well, I’m not you.” He’s comparing their predatory behavior. It’s so amazing, really.

Jen, you have the Friends reunion special coming up soon, although it’s been delayed again due to COVID. What are you looking forward to most about that show, and Billy, are you a Friends fan?

Aniston: I’m not going to put Billy on the spot.

Here’s what I’m going to say about that and I’m going to talk so long that it’s going to take up all the IN THE RING Aniston’s morning show anchor Alex is a perfectly matched adversary to Crudup’s network exec Cory.

time and Billy won’t have to answer that.

Crudup: Don’t you dare. If I don’t get my time…

Aniston: So yes. Unfortunately, it’s very sad that we had to move it again. But this is not a safe time,

you haven’t.

Bayou”, or whatever, that kind of a song, if that starts

period. And so that’s the bottom line. What we are

Crudup: Oh, trust me, I did, and I had the same

going then...

going to be excited about is doing it. I’m supposed

reaction. But then I had to take my son back to it,

to renew my driver’s license and I don’t want it to

because it was just too good.

In the end, Mitch is unmasked as what Kerry

say 2020 on it. I just don’t. I want 2020 to get out

Aniston: I’ve seen it four times.

has called “the monster”. He has to just sit with

and behind us.

Crudup: The actual manufacturing of it, making the

it. I know Steve Carell is not yet officially con-

Crudup: How could that also be the number for

sausage in that moment of it was just hard work. It

firmed for Season 2, but if we see Mitch again,

perfect vision? That seems impossible to me right

was just like going to every resource I could so that

what do we think about the notion of second

now. Somehow, shit has come into focus.

I could stand with Jen, who can sing, record it in

chances for people like that?

Aniston: Yes, that’s exactly right. That’s it Billy, it’s a

Capitol Records, I’m walking past pictures of Marvin

Aniston: I don’t know if that’s redeemable, that’s

good thing.

Gaye, and not completely crap my pants.

pretty dark. There are always the stories of the

Crudup: Let me tell you this. Friends is a cultural

I didn’t completely. Partially, but not completely.

breakdowns, and then the drugs and alcohol, and

institution, and if we can’t hold on to some of the

Aniston: And you killed it. Billy killed it. He loves to

the “Oh, God, it’s terrible” and then they clean up

things that we love, we’re fucked.

keep saying, “That’s the recording.” It’s like, “Shut up.

their act, and then they’re on the cover of People

Aniston: Yay. It’s going to be super. You know, this

Take it. Own it.”

magazine with their thumbs up, like, “We’re back!” I

has also given us more time to make it even more

Crudup: I’m one of those people that you go to

don’t know.

exciting and more fun than it would have been. So, I

karaoke and I’m like, “No, no, no.” And five minutes in,

Crudup: I feel like, if you put as many years of work

choose to see the glass half-full about this postpon-

any Neil Young song that comes on and I’m singing

into doing something acceptable that you’ve put

ing. I mean, look, we’re not going anywhere. You’re

louder than one should in an enclosed space.

into doing something that’s unacceptable, then I’ll

never going to get rid of Friends. Sorry. You’re stuck

Aniston: It’s like, what is it, Linda Ronstadt, “Blue

talk to you. And if you want to begin to build your

with us for life, guys. ★ D E A D L I N E .C O M / AWA R D S L I N E

67

OUTSTANDING ACTOR IN A SHORT FORM COMEDY OR DRAMA SERIES

OUTSTANDING ACTRESS IN A SHORT FORM COMEDY OR DRAMA SERIES

OUTSTANDING ACTOR IN A SHORT FORM COMEDY OR DRAMA SERIES

OUTSTANDING ACTRESS IN A SHORT FORM COMEDY OR DRAMA SERIES

OUTSTANDING ACTOR IN A SHORT FORM COMEDY OR DRAMA SERIES OUTSTANDING ACTRESS IN A SHORT FORM COMEDY OR DRAMA SERIES

OUTSTANDING ACTRESS IN A SHORT FORM COMEDY OR DRAMA SERIES

OUTSTANDING ACTOR IN A SHORT FORM COMEDY OR DRAMA SERIES

LEARN MORE AND WATCH FULL EPISODES AT QUIBIFYC.COM

THE ACTOR’S SIDE Intriguing one-on-one conversations between Deadline’s awards editor and leading actors of film & television NEW VIDEOS EVERY WEDNESDAY WATC H N OW AT D E A D L I N E .C O M