2019 Emmy Voting

Wow, another year has passed, and voting for this year’s Emmy Awards has just ended. As a member of the Public Relations Peer Group of the Television Academy, once again it was an honor for me to be able to vote in certain categories for the 2019 Emmy Awards for outstanding television programming. The online viewing site for the nominated programs opened up at the beginning of August, and online voting opened up during the last weeks of August, closing down on the last Thursday of August. The rules for voting require Academy members to view all nominees in a category before voting, but for series or limited series nominees, members only needed to view one episode of the six provided of each nominee in order to vote. Despite some HOA issues and a special project which I will be announcing shortly, this year I was able to set aside one week to view and vote for nominees for six categories.

In the Structured Reality Program category, there were six nominees of programs which provide an informed host or production to guide common folks or known celebrities on a specific issue or journey. Among the six, Antiques Roadshow on PBS is a standard bearer that has been airing for decades, although the last time I had actually seen an episode before this year, I recalled that the antique experts were set up in a single plain studio room to provide background and value to the antiques brought into the show. I was impressed, although not surprised, to see current technology provided a broader range of outdoor and indoor onsite background locations for the experts to interact with the antique owners. The two Netflix nominees, Queer Eye and Tidying Up With Marie Kondo, were focused on a home and personal life expert or group of experts providing assistance to an individual needing it. Food Network’s Diners, Drive-Ins And Dives featured a foodie expert introducing the viewing audience to fantastic small restaurants across the United States. ABC’s Shark Tank was presenting another season of hopeful startup entrepreneurs pitching their ideas to a small group of competing investors. However, TLC’s Who Do You Think You Are? featured a celebrity taking a journey to discover ancestry and history of the family tree. Even though the focus was on a known celebrity, the understanding of the history that was uncovered brought about a broader perspective to the viewing audience, which is why I voted for this nominee.

For the Outstanding Reality Competition category, five of the six nominees were re-nominations from last year’s list, The Amazing Race, American Ninja Warrior, RuPaul’s Drag Race, Top Chef, and The Voice. John Legend was a new competing judge and coach on The Voice this year, but this was the only variation among the five series from last year. The new nominee for this year was Netflix’s Nailed It!, which was more of a satirical cooking competition as the competitors were more incompetent with their cooking skills. In the end, The Amazing Race is still an admitted favorite of mine, providing a global cultural lesson and perspective to the viewing audience, and therefore receiving my vote.

For Outstanding Television Movie, there were only five nominees again this year, including another NetFlix Black Mirror episode, Bandersnatch. At least this year, the Black Mirror episode was longer, coming closer to the hour and a half normal television movie length. The theme of Bandersnatch was more personally internal as an early 80s computer game programmer runs across several yes/no options in the course of a day and the viewer is shown in computer game style the consequences of both options in parallel time. Amazon Prime Video nominee, King Lear, was interesting in presenting Shakespeare’s tragedy in a modern setting; however, the dialogue is still from Shakespeare which doesn’t match with army tanks and urban alleys for the average viewer. HBO nabbed three nominees with Deadwood, My Dinner With Hervé, and Brexit. The one fictional nominee of the three, Deadwood, was a return to the HBO drama series with a dark Western genre flair in a late 1800s South Dakota town. The other two were non-fictional accounts, one about a reporter’s interview dinner and night with the Fantasy Island celeb days before he committed suicide, and the other a behind-the-scenes view of the opposing campaigns leading up to the British referendum on Great Britain exiting the EU. The personal celeb tragedy was dark and very introspective, but I was deeply intrigued by the historical lessons behind the rise of Brexit, which won my vote.

In the Outstanding Limited Series category, only one of the five nominees, HBO’s Sharp Objects, was adapted from fiction, as Amy Adams is a reporter who is sent back to her hometown to cover a murder case, while she has her own personal demons to deal with. The other four nominees are based on actual events. FX’s Fosse/Verdon delves into the historical life of classic power entertainment couple Bob Fosse and Gwen Verdon. HBO’s other nominee, Chernobyl, looks into what caused the nuclear disaster event and its consequences. Showtime’s Escape at Dannemora unveils the underpinnings that lead to a notorious prison escape. However, Netflix’s When They See Us, which was directed by Ava DuVernay, really affected me deeply with the actions of injustice and coercion towards a group of boys called The Central Park Five, which is why it got my vote.

For the Outstanding Comedy Series, only two of the seven nominees, HBO’s Barry and Amazon Prime Video’s The Marvelous Mrs. Maisel, are repeat nominees from last year, but this is only because the nominee with the most previous wins across all categories, Veep, took a year off last year. NBC’s The Good Place also has received a nomination in a previous year, but does not have a win. Pop TV’s Schitt’s Creek has been around for a few seasons and has received comments that it should have been nominated in earlier years, but this season is the first time it has been nominated. The two new series that received nominations were Amazon Prime Video’s Fleabag and Netflix’s Russian Doll. Most of the nominees appear to try and find its comic elements in darker areas and characters, from Barry’s murder for hire main character seeking to become an actor and Veep’s backroom tales of political manipulations, to Fleabag’s non empathetic family members and Russian Doll’s main character’s foul language response to her odd time loop situation. I prefer a more balanced positive view of comic perception, which I find a bit more in the wacky characters of Schitt’s Creek and the odd redemptive purgatory of The Good Place, but is still stronger in the journey of The Marvelous Mrs. Maisel, which received my vote again.

In the Outstanding Drama Series, only two of the eight nominees, HBO’s Game of Thrones and NBC’s This Is Us, are repeat nominees from last year, but AMC’s Better Call Saul has been nominated in a previous year. Even though two series, BBC America’s Killing Eve and Netflix’s Ozark has had nominations in specific categories in previous seasons, this is the first year they have received the main drama category. The last three nominees, Netflix’s Bodyguard, FX’s Pose, and HBO’s Succession, are in their first season, which makes their nominations impressive. However, many of these nominees work within a theme of competition between power characters. The acting in all of these series are powerful, but despite my past concern about the reality stretch of This Is Us, it was the one series this year that was more introspective with more empathetically normal characters, so it received my vote this year.

Last year, one of the nominees in the four categories for which I voted wound up winning the Emmy, so it will be interesting to see how well I match up with my fellow Television Academy members this year. The winners will be announced this year on Sunday, September 22 at the awards ceremony, airing 9pm ET on FOX.

 

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