‘The Crown’ And ‘Ted Lasso’ Triumph At The Emmy Awards
The gift for television creators and distributors is to catch audiences , increasingly flooded with options , increasingly devoted to the consumption of series that long ago entered a golden age that during the pandemic has redoubled its value. The awards are the tie to that gift and this Sunday, at the 73rd edition of the Emmy, the Academy of Television of the United States has put it, without too many surprises, to ‘ The Crown’ and ‘ Ted Lasso’.
The fourth season of the British series has swept through the dramatic performance categories , with full Olivia Colman, who has played Queen Elizabeth for the last time; Josh O’Connor as Prince Charles, Gillian Anderson as Margaret Thatcher, and Tobias Menzies as Philip of Edinburgh. He has also won in directing and writing and, above all, ‘The Crown’, which has received most of its awards at a remote party in the United Kingdom, has finally been the coronation that Netflix had been chasing for so many years in the category for best drama . The platform has ended up adding, counting technical and creative Emmys, 44 statuettes .
The Apple TV + comedy , for its part, has added in addition to the jackpot the lead actor for Jason Sudeikis and two supporting performances for Hannah Waddingham and Brett Goldstein. It has had to make room, yes, for ‘ Hacks ‘, the HBO Max series that has put the statuette as best comic actress in the hands of the veteran and applauded Jean Smart and that has also won awards for its script and direction.
They have also been the Emmy of ‘Gambit de dama’, the miniseries also from Netflix that triumphed by word of mouth and managed to overcome mere television content to unleash a global fever for chess. And his award (to which the director in miniseries has been added), doubled the triumph of the platform, which between 2013 and 2020 had garnered 30 nominations for best drama, comedy and miniseries but had never won until this Sunday.
The triumph of ‘Lady’s Gambit’ has left ‘ Mare of Easttown’ without a statuette , but the HBO production has achieved the recognition of academics for its protagonist, Kate Winslet , and for two of its supporting actors: Julianne Nicholson and Peter Evans. The best actor award went to Ewan McGregor for his work in ‘ Halston ‘.
Milestones and failures
They have not been racially diverse Emmy , despite some nominations that were and despite the fact that the message of the importance of representation has permeated the entire gala, which has had Cedric The Entertainer as master of ceremonies . and has given special recognition to Debbie Allen . And the ceremony had not even finished when the criticism of #Emmyssowhite (Emmys so white) was already running on the networks.
They have, in any case, marked a gender milestone by awarding two women for the first time in the same year in drama and comedy directing categories. And few moments have been more celebrated in the ceremony than when the envelope that had written the award for the best writing in a miniseries has been opened and the name read has been that of Michaela Coel .
The standing ovation of all those present has embodied respect for the creator, director, screenwriter and protagonist who has been able to bring hard experiences to the screen with the masterful ‘I could destroy you’ . And Coel, the first black woman awarded in the category , has not only dedicated the award to all survivors of sexual assault but has also challenged those who listened to her:
“Write the story that scares you, that makes you feel insecure, that you don’t it’s comfortable, ”he said. He has also left a recommendation: ” Visibility these days seems to somehow equate to success,” he said. ” Do not be afraid of disappearing, of that, of us, for a while, and see what comes to you in the silence.”
The fantasy keeps waiting
These were also the Emmy Awards that were entering fantastic territory with nominations but the genre will have to keep waiting. At Sunday’s gala, which has been held live after the remote parenthesis of the pandemic but they have adapted to the circumstances with a somewhat strange meeting under a tent, titles such as ‘The Mandalorian’, ‘Lovecraft Territory’ have gone empty. ‘,’ Scarlet Witch and Vision ‘or’ The Boys’ and although the Academy has definitely opened its Olympus to platforms, it is still conservative or traditionalist in other ways and keeping the fantasy genre on hold .