If I Was the Only One Who Voted for the Emmys, Vol. 5

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Saoirse Ronan Deserves an Oscar

49 min readAug 10, 2023

“It’s enough to make you lose your faith in capitalism.”

There are many ways to qualify the year in television. We could consider all the legendary shows that aired their final seasons during the past year’s television calendar (Ted Lasso, Better Call Saul, Succession, Atlanta). We could think about the absolute explosion of storytelling that led to me having over twenty shows to consider in the Drama categories and over twenty-five in the Comedy categories. We could write about how so many shows committed category fraud at the real Emmys and now I have to put The Bear in Drama to right those ships. Ultimately, the major takeaway from all of this is that, even though the real Emmy nominations have already been announced, it is no contest that my article (an annual favorite I love writing more than anything!) will be published before the real Emmys ceremony is held. This is because of the studios holding out on doable allocations to the WGA and SAG-AFTRA, which has led to righteous strikes. If only the studios weren’t greedy, we would’ve been thriving in September with a new Coen Brothers movie, a Zendaya rom-com, the Emmys, and the third season of Abbott Elementary. Instead, while we support the strikes, we have to suffer from the studios making shitty demands. And maybe this article can be a reminder of how powerful storytelling can be when it is achieved by talented, fairly-compensated actors and writers who are human beings.

As we move onto the categories now, the only note to make is that the Best Series categories have expanded to seven nominees, up from last year’s six. There were just so many strong contenders that I figured there was no point to forcing myself to make a hard cut every time. The more the merrier, they say! Why not embrace it?

Outstanding Writing for a Variety Series

“Adam Sandler, James Patterson, and Post Malone” by Alex Baze and Seth Meyers — Late Night with Seth Meyers
“Cut To: We’re Chatting About This at Your Bachelor Party” by Tim Robinson, Zach Kanin, John Solomon, and Gary Richardson — I Think You Should Leave
“The Fielder Method” by Nathan Fielder, Carrie Kemper, and Eric Notarnicola — The Rehearsal
“My Monkey Grifter” by Seth Meyers — Documentary Now!
“Steve Martin & Martin Short/Brandi Carlile” by Alison Gates, Streeter Seidell, and Kent Sublette — Saturday Night Live

For two years in a row, I Think You Should Leave is the winner in this category! I just think there’s something distinctly special about the writing for that Tim Robinson sketch series. Every piece of writing feels just adjacent to center of how people normally act and speak in daily life. There’s something slightly recognizable about their behavior, but it’s all askew, too. This episode is the one with the “Pay it forward” attempt at the drive-thru, which was my favorite sketch of the season (though, the zip line is a close second). Elsewhere in the nominees, Seth Meyers is nominated twice (his Late Night episode featured Post Malone day drinking) and this year’s SNL representative probably owes a lot of its quality writing to the hosts themselves.

Previous Winners: “Searching for Mr. Larson: A Love Letter from the Far Side” by Duffy Boudreau and Bill Hader (Documentary Now!), “Eddie Murphy/Lizzo” by Michael Che, Colin Jost, and Kent Sublette (Saturday Night Live), “Night-Time!” by Tom Armstrong, Mark Samual Bonanno, Broden Kelly, Sam Lingham, Max Miller, and Zachary Ruane (Aunty Donna’s Big Ol’ House of Fun), “They Said That to Me at Dinner” by Patti Harrison, Zach Kanin, Tim Robinson, John Solomon, and Brooks Wheelan (I Think You Should Leave)

Outstanding Writing for a Limited Series, Movie, or Special

“Beyond Repair” by Lana Cho — American Born Chinese
“Bull Elephants” by Mike White — The White Lotus
The Guardians of the Galaxy Holiday Special by James Gunn
John Mulaney: Baby J by John Mulaney
“Track 3: Someone Saved My Life Tonight” by Nora Kirkpatrick and Will Graham — Daisy Jones and the Six

For the first time in this category, the award does not go to an episode of a limited series. Rather, I am recognizing the writing of a stand-up comedy special. It can sometimes be easy to forget that stand-up does start as a painstaking writing process (read Is This Anything? by Jerry Seinfeld for more) and it’s incredible the narrative woven by Mulaney throughout Baby J. He makes it so effortless, but the way he crafted the story and the punch-ups that came from touring the set are incredible. What he’s doing has such a high degree of difficulty that I just had to recognize the achievement. Of course, last year’s winner, Mike White, had to show up here. Really, any of his White Lotus episodes could have earned a nomination here. I also want to give a brief shoutout to Lana Cho. There weren’t too many places I felt comfortable nominating American Born Chinese, but the writing in this episode (namely Ke Huy Quan’s sensational monologue) deserved to be remembered. Still, John Mulaney absolutely delivered on his first stand-up special in five years.

Previous Winners: “The Bent-Neck Lady” by Meredith Averill (The Haunting of Hill House), “When the Doorman Is Your Main Man” by John Carney (Modern Love), “East/West” by Noah Hawley and Lee Edward Colston II (Fargo), “New Day” by Mike White (The White Lotus)

Outstanding Writing for a Drama Series

“Church and State” by Jesse Armstrong — Succession
“Escape from Shit Mountain” by Nora and Lilla Zuckerman — Poker Face
“Long, Long Time” by Craig Mazin — The Last of Us
“One Way Out” by Beau Willimon — Andor
“Saul Gone” by Peter Gould — Better Call Saul

Wow, stacked category here. The series finale of Better Call Saul, the crux of Andor, the special episode of The Last of Us, the shimmering spire of Poker Face. All worthy nominees who would make for worthy winners! Ultimately, I give the slight edge to the penultimate episode of Succession, “Church and State.” Spoilers for Succession ahead. This is the episode that deals with Logan’s funeral, which allows for plenty of faux-polite conversations that contain the classic Jesse Armstrong bite. However, it also provides a spotlight for Armstrong to levy some monologues he’s been seemingly holding in for all four seasons of the show. Here, he let his writing be unleashed. Yes, we have the melodious dialogue that Succession is known for, but the episode also provides mellifluous monologues that shoot for quality over realism. Kendall’s speech, Roman’s failed speech, Ewan’s (James Cromwell’s) towering thesis. All of it was impeccably written and I’m happy to give Armstrong his second win in this category.

Previous Winners: “A Knight of the Seven Kingdoms” by Bryan Cogman (Game of Thrones), “This Is Not for Tears” by Jesse Armstrong (Succession), “Gold Stick” by Peter Morgan (The Crown), “Good News About Hell” by Dan Erickson (Severance)

Outstanding Writing for a Comedy Series

“It Was All a Dream” by Donald Glover — Atlanta
“Kyle Bradway Is Nitromancer” by John Enbom — Party Down
“…lived the dream” by Lang Fisher — Never Have I Ever
“Mom City” by Joe Kelly — Ted Lasso
“Roofing” by Sterlin Harjo and Chad Charlie — Reservation Dogs

I always enjoy the comedy writing category because it allows me to honor installments that are as straight up funny as possible. Like, yes I’ve given the honor to some more serious, emotional episodes in the past. But when the opportunity arises, I can simply award the episode that made me laugh the most, even if it didn’t make me ponder. (That’s what happened with Brooklyn Nine-Nine and Girls5eva.) That is what is happening this year, too. While each episode here has plenty of laughs and some occasional tears, it’s the season three premiere of Party Down that takes the trophy. This was the first Party Down episode in over a decade and the revival did not disappoint from the tone set by the first episode. It was just as funny as it always was and it reset the dynamics and stakes as soundly as anyone could have imagined. It was no easy task for Enbom, but he made it seem like Party Down never left.

Previous Winners: “Honeymoon” by Neil Campbell (Brooklyn Nine-Nine), “Whenever You’re Ready” by Michael Schur (The Good Place), “Alf Musik” by Lauren Gurganous and Michael Koman (Girls5eva), “Man City” by Jamie Lee (Ted Lasso)

Outstanding Directing for a Variety Series

“Austin Butler/Lizzo” by Liz Patrick — Saturday Night Live
“Lin-Manuel Miranda, Bobby Cannavale, JVKE” by Rik Reinholdtsen — The Tonight Show Starring Jimmy Fallon
“Orange Juice, No Pulp” by Nathan Fielder — The Rehearsal
“Tom Cruise, Adele” by Tim Mancinelli — The Late Late Show with James Corden
“Two Hairdressers in Bagglyport” by Alex Buono and Rhys Thomas — Documentary Now!

I had to get some recognition in for The Rehearsal somewhere! Nathan Fielder’s deconstruction of both reality and reality television blurred the lines between screenwriting and improv and while it progressed in directions I admired more than I enjoyed, I have to acknowledge the deftness Fielder expressed behind the camera. Clearly, he is a great comedian and a daring artist, but he also has a knack for compelling visuals. The first episode of The Rehearsal subverts its own premise by the end, making it clear that the show will not be what anyone thought — including Fielder. It’s impressive direction that is why he is able to make that transition towards the end of the installment, using the visual language of the show and preconceived expectations from Nathan for You to morph the identity of The Rehearsal before it even began. All with “Pure Imagination” tinkling overhead. Quickly on the other nominees: Documentary Now! remains a pinnacle of parody that can operate independently, The Tonight Show’s episode featured an impressive Encanto medley, and the SNL episode was shot beautifully as Austin Butler led the cast in saying goodbye to Cecily Strong. And while I was never a Corden fan, I do like seeing how late night shows deliver series finales and this last Carpool Karaoke was well done.

Previous Winners: “Lin-Manuel Miranda and the Hamilton Cast, José Andrés, and Bad Bunny” by Dave Diomedi (The Tonight Show Starring Jimmy Fallon), “Brad Pitt/Miley Cyrus” by Don Roy King (Saturday Night Live), “How to Put Up Scaffolding” by John Wilson (How To with John Wilson), “Jonathan Majors/Taylor Swift” by Don Roy King (Saturday Night Live)

Outstanding Directing for a Limited Series, Movie, or Special

“2046: Whale Fall” by Scott Z. Burns — Extrapolations
“Arrivederci” by Mike White — The White Lotus
“The Final Chapter” by Mike Flanagan — The Midnight Club
“Track 3: Someone Saved My Life Tonight” by James Ponsoldt — Daisy Jones and the Six
Werewolf by Night by Michael Giacchino

Interesting group here! I have gone back and forth on whether Giacchino or White should be my winner. I might take Mike White’s direction for granted on The White Lotus, but I ultimately sided with Michael Giacchino’s directorial debut on Werewolf by Night. Not because it was flashier, but because it was able to encapsulate both the tone of the Marvel Cinematic Universe and the tone of classic Hammer horror films and Roger Corman movies. He never let one subsume the other, so it was never a pastiche; it was always a compelling story in its own right. With a number of flourishes behind the camera, too, it is clear that Giacchino will be an exciting talent to watch beyond his scoring capabilities. Lots of Mikes here, too. Flanagan always delivers with his horror tales on Netflix, even if The Midnight Club was not my favorite. And that moment at the end of this Daisy Jones episode when Daisy and Billy meet? Baby, that was beautiful.

Previous Winners: “Two Storms” by Mike Flanagan (The Haunting of Hill House), Paul Dugdale (Taylor Swift: City of Lover Concert), “Filmed Before a Live Studio Audience” by Matt Shakman (WandaVision), “Book V: Gospel” by Mike Flanagan (Midnight Mass)

Outstanding Directing for a Drama Series

“Escape from Shit Mountain” by Rian Johnson — Poker Face
“The Green Council” by Clare Kilner — House of the Dragon
“Point and Shoot” by Vince Gilligan — Better Call Saul
“Review” by Christopher Storer — The Bear
“Time and Again” by Sharmeen Obaid-Chinoy — Ms. Marvel

Just as a friendly reminder, I think The Bear labeled as a comedy at the real Emmys is fraudulent and I am still recognizing the first season of The Bear here, due to the eligibility window. That being said, the penultimate episode of The Bear’s first season is sensational. Mostly shot in one take, it both ratchets up and buries the shout-laden tension of the series in one twenty-one minute episode. Elsewhere, I adored the verve of Rian Johnson’s most recent Poker Face episode, the nostalgic audacity of Clare Kilner’s work on Dragon, and the out-of-time warmth in Obaid-Chinoy’s Ms. Marvel turn. Yet, we must recognize the return of the king. Better Call Saul was never Vince Gilligan’s show (that was Peter Gould) and “Point and Shoot” was not my favorite episode of the final season. But in terms of a directorial achievement? No contest. It’s “Point and Shoot” and then it’s everyone else. Gilligan proves to us that he still has the juice by wrapping up an entire half of the Saul story with more tension in a prequel with foregone conclusions than I’ve seen in most shows with unpredictable futures. Not to mention, Gilligan directs the hell out of each setpiece in the episode, providing thrills, anxieties, and patented cleverness at every turn. Saul has long been the most beautifully shot show on television; this episode made it the most thrillingly shot, too.

Previous Winners: “The Bells” by Miguel Sapochnik (Game of Thrones), “Chapter 8: Redemption” by Taika Waititi (The Mandalorian), “The Grey” by Sergio Mimica-Gezzan (For All Mankind), “Chapter One” by Kogonada (Pachinko)

Outstanding Directing for a Comedy Series

“Go Flip Yourself” by Yana Gorskaya — What We Do in the Shadows
“The Goof Who Sat by the Door” by Donald Glover — Atlanta
“I Still Believe” by Sterlin Harjo — Reservation Dogs
“It Takes a Psycho” by Bill Hader — Barry
“So Long, Farewell” by Declan Lowney — Ted Lasso

Lots of finales here. Atlanta, Barry, and Ted Lasso all called it a show this year and Reservation Dogs announced their next season will also be the last. This win for Reservation Dogs, though, comes for its second season finale, in which a large emotional arc within the show reaches a sense of closure. Emotionally wrought, tearjerking closure, but closure all the same. Some of the most gorgeous scenes I’ve ever seen on the small screen come from this episode and Sterlin Harjo should take a bow. The other nominees are solid here, too. Glover’s work on Atlanta lovingly recreates a cultural documentary that never existed, Gorskaya’s work on Shadows lovingly recreates HGTV “reality” shows. Hader uses this episode (he directed the entire season) to rocket into uneasy territory and Lowney uses the Lasso episode to land the plane of the show in a touching way. But Reservation Dogs was next level when it concluded season two.

Previous Winners: “ronny/lily” by Bill Hader (Barry), “The Auditions” by Tamra Davis (High School Musical: The Musical: The Series), “Split the Lark” by Silas Howard (Dickinson), “starting now” by Bill Hader (Barry)

Outstanding Episode of Television

“Connor’s Wedding” — Succession
“Curry Quest” — Bluey
“Escape from Shit Mountain” — Poker Face
“Field Trip” — Jury Duty
“The Goof Who Sat by the Door” — Atlanta
“Long, Long Time” — The Last of Us
“Nippy” — Better Call Saul
“The Plight Before Christmas” — Bob’s Burgers
“Saul Gone” — Better Call Saul
“Sunflowers” — Ted Lasso

I always love this category. Every year, I feel like I say the same thing about the ten nominations being as good a group of episodes as you’ll be able to see anywhere. A seminal, series redefining episode of Succession. Two animated shows with so much emotion packed into family dynamics of seven minutes (Bluey) and twenty-one and a half (Bob’s Burgers). A fake documentary about a Disney CEO who championed Goofy, a standalone episode of a show that stars Pedro Pascal and Bella Ramsey and focuses instead on Nick Offerman and Murray Bartlett. A documentary experiment that takes a group of strangers to Margaritaville. A journey into Amsterdam with the most lovable soccer team of all-time, realizing their fates as they barrel toward the ends of them. A riveting, twisting mystery set in the snow with an evil Joseph Gordon-Levitt and a weary Natasha Lyonne. And two episodes from Better Call Saul, which went out on top last summer. I did go with one of the Saul episodes, but while I love an amazing ending, there was just something about “Nippy.” For years, I’ve yearned for Saul to pull the trigger and jump from their prequel timeline into their black-and-white Cinnabon timeline. I always thought the Jimmy-as-Gene narrative was fascinating when it opened each season of the show and I wanted to explore what happened after the story I already knew. “Nippy” was when they finally went all in on this, embracing a thoughtful supporting cast and allowing for one last scheme from Slippin’ Jimmy. It was like watching a world-class chef put a delicious recipe together or Bob Ross add streaks to the painting and not ruin it. Just a satisfying construction of an immaculate series, flexing everything they learned how to do down in Albuquerque one last time. It’s what I always wanted from Saul and it was so euphoric and pleasing to watch, without even sacrificing its late-stage weightiness. It belongs in the pantheon.

This is Better Call Saul’s first win and fifth nomination in this category.

Previous Winners: “A Knight of the Seven Kingdoms” (Game of Thrones), “Whenever You’re Ready” (The Good Place), “The Grey” (For All Mankind), “Carol of the Bells” (Ted Lasso)

The Julia Louis-Dreyfus Lifetime Achievement Award

Ron Howard, Penny Marshall, Cindy Williams, and Henry Winkler

Sadly, Cindy Williams passed away back in January 2023, roughly four years after Penny Marshall died. The two starred as Shirley Feeney and Laverne DeFazio, respectively, on Laverne & Shirley, a classic Garry Marshall sitcom from the 1970s. In addition to this series, Williams enjoyed a fruitful character acting career and Marshall thrived as a director of movies like Big and A League of Their Own. They’ve been staples of the comedy landscape for longer than people think and with more of a prolific bend than many would guess. Especially in the world of television. Those Garry Marshall sitcoms were synonymous with the 1970s, even though they took place in the 1950s. It’s sad to think that both Laverne and Shirley have passed on, but that is why we should celebrate their legacy here and make it so it’s not doubly sad that they’re forgotten. Of course they won’t be forgotten! They helped push television comedy one degree in the right direction and, as independent women leading their own comedy, were certainly helpful in the feminist movements of their eras. We always need more of that and we are all so grateful they picked up the baton of women in comedy on television. In terms of my all-time Emmys archive, both Marshall and Williams were nominated for Best Lead Actress for the 1970s decade, losing to Mary Tyler Moore in The Mary Tyler Moore Show. But I am happy to recognize and honor their warmth and humor here.

While it is sad that I recognized Marshall and Williams after they died, I am excited to be able to celebrate Ron Howard and Henry Winkler while they are still alive! I’m pairing them together and with the late stars of Laverne & Shirley because they were the defining figures of the Garry Marshall era on ABC. While the women enjoyed their spin-off from Happy Days, the flagship show was defined by the presence of Howard (Richie Cunningham) and Winkler (Arthur “The Fonz” Fonzarelli). It’s rare for people to be icons of both the 1950s and the 1970s, especially since they weren’t of age enough in the former decade. But that’s what Howard and Winkler were (perhaps thanks to American Graffiti a bit, too). They defined Happy Days and became Smithsonian-level touchstones to entire generations of television viewers and comedy lovers. It was never the headiest laughs on these Garry Marshall shows, but they were wholesome and inventive for what they were, before they eventually succumbed to being formulaic. But these four stars made them forever special and became forever treasures of their own. Ron Howard is an expert collaborator and a genial, gentle man who extends kindness and support to so many in the industry, as that’s what he once received on The Andy Griffith Show. He has become an acclaimed director himself (Frost/Nixon, Apollo 13) and was an inextricable force behind Arrested Development, too. As Richie, he blended being slightly dorky with being responsibly goofy. And Henry Winkler is also a pinnacle of kindness, extending grace to his wayward costars of yore and sharing sweetness and generosity with so many. As cool as he was as Fonzie, that is how nice he is in real life, celebrating the best of everyone and remaining in touch with the culture that has obviously shifted far away from Happy Days. His turn as Gene on Barry, which ended this year, brought a new role to his career that has reintroduced him to the populace and shaped his acting prowess in an entirely new way. There was perhaps no real-world Emmy that was more awesome to see than the one he won for Barry. In my archive, Ron Howard received a Best Lead Actor nomination in the 1970s, losing to Alan Alda for M*A*S*H. Henry Winkler was also nominated here, as well as nominated for Barry in 2018, 2018–19, and 2021–22.

All four of them are television Hall of Famers forever and I think they make for exceptional representatives of the Garry Marshall era of television comedy.

Previous Winners: Julia Louis-Dreyfus, Michael Schur, Dick Van Dyke, Betty White & Michael K. Williams

Outstanding Host for a Reality, Competition, or Talk Series

David Attenborough — Prehistoric Planet
Nathan Fielder — The Rehearsal
Jon Gabrus — 101 Places to Party Before You Die
Seth Meyers — Late Night with Seth Meyers
Adam Pally — 101 Places to Party Before You Die

What an interesting collection of people! I actually did nominate David Attenborough for Prehistoric Planet last year, too, but I placed him in the Voice-Over category because of his narration. This year, though, I think of him as more of a host. I think that’s how everyone thinks of him and the Voice-Over placement was a mistake. C’est la vie. Throughout his career as an advocate for education, animals, and the environment, David Attenborough has brought the wonder of nature to millions and has always stayed true to the work that defines his life. The former BBC director worked on many nature documentaries for television before Prehistoric Planet, too. This includes Planet Earth, The Blue Planet, Life, Our Planet, Planet Earth II, and countless others. At ninety-seven years old, Attenborough continues to devote his life and career to giving a voice to the voiceless. That is so admirable.

Previous Winners: Seth Meyers (Late Night with Seth Meyers), Alex Trebek (Jeopardy!), Amber Ruffin (The Amber Ruffin Show), Jimmy Fallon (The Tonight Show Starring Jimmy Fallon)

Outstanding Voice-Over Performance

Bill Barretta as Dr. Teeth — The Muppets Mayhem
Mindy Kaling as Velma Dinkley — Velma
David McCormack as Bandit Heeler — Bluey
Kevin Michael Richardson as Toad — Frog and Toad
Andy Samberg as Rip Digman — Digman!

Another interesting collection of people! When is Andy Samberg going to get his fake Emmy, am I right? Anyway, I tried to really zero in on the great performances of the voice and not just going for name recognition (sorry, Tina Fey in Mulligan). Granted, some stars still made their way in, but I think Mindy Kaling and Andy Samberg both do a superb job of bringing in their comedic personas to the characters they voice while also letting them exist independently. Still, the edge ultimately belongs to David McCormack. In actuality, I think the children performers on Bluey are doing the best work on the show, considering what they’re tasked with performing. But we do not know (nor should we know) the names of these children. Therefore, much of the Bluey voicework comes credited to the parents. This year, with so many of the emotional cruxes of Bluey circling Bandit, I thought it was worthwhile to honor McCormack, who was best known in Australia for his musical career. Before Bluey came along anyway.

Previous Winners: Will Arnett as BoJack Horseman (BoJack Horseman), Will Arnett as BoJack Horseman (BoJack Horseman), Beck Bennett as Launchpad McQuack (DuckTales), H. Jon Benjamin as Bob Belcher (Bob’s Burgers)

Outstanding Guest Actor in a Drama Series

Murray Bartlett as Frank — The Last of Us
Joseph Gordon-Levitt as Trey Nelson — Poker Face
Arian Moayed as Stewy Hosseini — Succession
Nick Offerman as Bill — The Last of Us
Aaron Paul as Jesse Pinkman — Better Call Saul

What a stacked category! I even had to regrettably ax James Cromwell from the lineup, despite his powerhouse Succession guest turn. (How could I not make room to honor Stewy and Arian Moayed at least once, you know?) Elsewhere, Aaron Paul was not the only Breaking Bad alum to return to Better Call Saul’s final season (some Saul veterans also popped up), but I thought his scenes were the ones with the most weight for both the narratives and the thematic ache of the show. Similarly, there were tons of guest performers on The Last of Us and Poker Face who merited consideration here, but I went with the actors who populated the episodes from the shows that I’ve already gushed about here. Namely, on The Last of Us, the Bill and Frank episode blew me away and choosing between the two of them might as well have been a coinflip. Ultimately, I settled on Nick Offerman, simply because his performance as Bill showed how he is still growing and deepening as an actor. Taking some Ron Swanson character traits and transforming them into sentiment was remarkable and I can never pass up a chance to celebrate Offerman.

Previous Winners: Michael McKean as Chuck McGill (Better Call Saul), Damon Herriman as Charles Manson (Mindhunter), Timothy Olyphant as Cobb Vanth (The Mandalorian), Richard E. Grant as Classic Loki (Loki)

Outstanding Guest Actress in a Drama Series

Ellen Barkin as Kathleen Townsend — Poker Face
Carol Burnett as Marion — Better Call Saul
Stephanie Hsu as Morty Bernstein — Poker Face
Melanie Lynskey as Kathleen Coghlan — The Last of Us
Sonya Walger as Molly Cobb — For All Mankind

This category was a bit easier to parse. Don’t get me wrong, everyone here is dynamite. It’s just that Carol Burnett was in a whole other tier and league from everyone else. As the character of Marion, Burnett was integral to the final denouement of Saul. Her character was not just a cameo or a victory lap for the ninety year old sketch comedian. It was a role that required thoughtful balance between hapless and keen in the Marion character. What could have been a simple archetype was imbued with such life and flair and wit by Burnett and I thought she was one of the very best aspects of the show. I’m glad to see she still has her skills in her older years and watching her scenes opposite Bob Odenkirk were just so gratifying.

Previous Winners: Carice van Houten as Melisandre (Game of Thrones), Holly Hunter as Rhea Jarrell (Succession), Claire Foy as Queen Elizabeth II (The Crown), Mari Yamamoto as Hana (Pachinko)

Outstanding Guest Actor in a Comedy Series

Fred Armisen as Nestor — Barry
Bobby Cannavale as Uncle Tommy — Bupkis
David Krumholtz as Bernard the Elf — The Santa Clauses
Nathan Lane as Teddy Dimas — Only Murders in the Building
John Mulaney as Himself — Bupkis

Talk about making the most of limited screen time. This is truly a guest performance by Fred Armisen. It’s barely even a cameo, to be honest. Armisen is probably on screen for fewer than thirty seconds in Barry? Whereas Cannavale and Lane have entire character arcs, Krumholtz reprises a character from three decades ago, and Mulaney embodies one of the thesis scenes from Bupkis. Armisen, though, is purely in Barry to be as funny as possible. As a hitman hired to kill Barry, Armisen’s Nestor is immediately anxious and debilitated. It was such perfect casting for the moment and made for one of the all-time great Barry scenes. The fact that Hader and Armisen probably used to make each other laughs with those facial tics on SNL makes it all the better.

Previous Winners: Adam Sandler as Host (Saturday Night Live), Jon Hamm as Himself (Curb Your Enthusiasm), Steve Burns as Steve (Blue’s Clues & You!), Sam Richardson as Edwin Akufo (Ted Lasso)

Outstanding Guest Actress in a Comedy Series

Becky Ann Baker as Dottie Lasso — Ted Lasso
Cate Blanchett as Alice — Documentary Now!
Lizzy Caplan as Casey Klein — Party Down
Shirley MacLaine as Rose Cooper — Only Murders in the Building
Wendie Malick as Julie Baram — Shrinking

When I watched Only Murders in the Building’s second season last year, I just knew Shirley MacLaine would be the winner here unless something really became a knockout. Instead, she steamrolled her way here and dispatched the competition with relative ease. As Rose Cooper, MacLaine portrayed a character with an emotionally heavy past in connection to the trio of main characters who can toe the line between silly and serious, depending on the episode. As a remorseful character with trace amounts of warmth in her heart, Rose was a powerful addition to the repertoire on the show. Bringing in MacLaine to deliver even more pathos to the show was just a masterstroke by the show’s production and creative team. And a shoutout to the older on-screen presences in the lists this year. We’ve talked about David Attenborough, Carol Burnett, and Shirley MacLaine in the past several categories and all are over eighty-nine years old. Good on them!

Previous Winners: Toks Olagundoye as Kemi Talbot (Veep), Zosia Mamet as Louisa May Alcott (Dickinson), Cordelia Blair as Nurse Cordelia (Master of None), Tracey Ullman as Irma Kostroski (Curb Your Enthusiasm)

Outstanding Supporting Actor in a Limited Series or Movie

Skyler Gisondo as Sam Lawford — The Resort
Michael Imperioli as Dominic Di Grasso — The White Lotus
Theo James as Cameron Sullivan — The White Lotus
Timothy Olyphant as Rod Reyes — Daisy Jones and the Six
Will Sharpe as Ethan Spiller — The White Lotus

For this category, I’m still not sure if I picked the right people. I know there was much hand-wringing about how the Supporting Actor in a Drama category at the real Emmys was just Succession and The White Lotus, but we don’t have that problem because The White Lotus is still an anthology series like Fargo, to me. Still, three people here are from The White Lotus, so whatever. I do what I can. But yes, I’m still going back and forth between Michael Imperioli and Theo James here. Will Sharpe is great, but just not quite at their level. Olyphant and Gisondo always deliver, too. But it’s a two-horse race, in my view. Ultimately, I sided with Imperioli. There is maybe just slightly more nuance to his performance. James is stellar, but he is always what you expected, I feel. Imperioli’s arc finds many different directions to explore and he has more interesting people to play off of. But again, it was close. Imperioli will always be a performer I gravitate towards, anyway.

This is Michael Imperioli’s third win and sixth nomination.

Previous Winners: George Clooney as Lieutenant Scheisskopf (Catch-22), John Slattery as Fred Schlafly (Mrs. America), Ben Whishaw as Rabbi Milligan (Fargo), Ben Schwartz as Yasper (The Afterparty)

Outstanding Supporting Actress in a Limited Series or Movie

Ruth Codd as Anya — The Midnight Club
Meghann Fahy as Daphne Sullivan — The White Lotus
Beatrice Grannò as Mia — The White Lotus
Aubrey Plaza as Harper Spiller — The White Lotus
Haley Lu Richardson as Portia — The White Lotus

Yeah, lots of White Lotus here. Ruth Codd was awesome, though! Don’t sleep on her. Meghann Fahy is probably running in second place here, as her siren-esque character was so magnetic to watch and much of that should be credited to what she does with Daphne. Aubrey Plaza is predictably wonderful doing a slightly elevated Aubrey Plaza schtick. And despite the criticisms over her outfit choices, I thought Haley Lu Richardson was superb as Portia. It’s not a breakout role for her, but it is probably a performance on a show that allows more people to know who she is, rather than the people who have long been in the Haley Lu hive since Columbus. While I have more familiarity with the acting of these three women, it was Beatrice Grannò who was the show’s standout. It feels a little weird to break her up from Simona Tabasco, her scene partner in Italy, but Grannò was just the one. Most of her performance is spoken in Italian, but the longing within her and the ruthless ambition coursing throughout the physicality in her acting will be clear to anyone who watches the show. Her musicality in Lotus provided some of the most beautiful moments of the series and she was equally compelling as a pickpocket as she was as a seductress. I was just in awe of her every week.

This is Beatrice Grannò’s first win and first nomination.

Previous Winners: Aya Cash as Joan Simon (Fosse/Verdon), Rose Byrne as Gloria Steinem (Mrs. America), T’Nia Miller as Hannah Grose (The Haunting of Bly Manor), Alexandra Daddario as Rachel Patton (The White Lotus)

Outstanding Supporting Actor in a Drama Series

Brian Cox as Logan Roy — Succession
Giancarlo Esposito as Gus Fring — Better Call Saul
Ebon Moss-Bachrach as Richie Jerimovich — The Bear
Alan Ruck as Connor Roy — Succession
Matt Smith as Daemon Targaryen — House of the Dragon

I wasn’t sure where to go here, but I’m happy with where it ended up. More spoilers for Succession here, I guess. In an ideal world, I could’ve nominated more actors from both Succession and Saul (Matthew Macfadyen was close here, but the way he said “barnacle meat” creeped me out). But as you know, the rules here are very rigid and definitely not arbitrarily imagined. Let’s just run through them. Cox: some really brilliant contemplative work in limited screen-time. Esposito: the leader of a knockout scene that defines Gus completely in the final time we see him. Moss-Bachrach: stellar and even more stellar in season two. Smith: the clear breakout from House of the Dragon. And yet, I side with Alan Ruck, who is probably not even the seventh most important performer on Succession. Yet, in season four, I thought he was everything for the show. In a sea of furor and chaos, Connor was perhaps the most enviable character, even as Ruck imbued plenty of nervy anxiety and strands of tragedy into the small-billed figure. Ruck might have been the show’s under-the-radar MVP this year.

This is Alan Ruck’s first win and first nomination.

Previous Winners: Joe Keery as Steve Harrington (Stranger Things), Tony Dalton as Lalo Salamanca (Better Call Saul), Michael Dorman as Gordo Stevens (For All Mankind), Kieran Culkin as Roman Roy (Succession)

Outstanding Supporting Actress in a Drama Series

Milly Alcock as Rhaenyra Targaryen — House of the Dragon
Elizabeth Debicki as Princess Diana — The Crown
Abby Elliott as Sugar Berzatto — The Bear
J. Smith-Cameron as Gerri Kellman — Succession
Cynthy Wu as Kelly Baldwin — For All Mankind

Some interesting things going on here. Cynthy Wu joins an ever-growing list of actors who have been nominated for their work on For All Mankind here, J. Smith-Cameron appears again, Abby Elliott appears for the first time, and Elizabeth Debicki is nominated for a character who once won here (Emma Corrin as Princess Diana two years ago). And yet, the winner here is one we’ll probably never see play the role again, unless flashbacks roll along. Milly Alcock was cast as the young version of Rhaenyra before Emma D’Arcy stepped in midway through the show’s freshman season. While I’m still adjusting to the rhythms of D’Arcy in the role, I was synchronized with Alcock from the first episode. She plays Rhaenyra with such pizzazz and such uncertainty that the character felt so lived-in, while also sharing enough with Emilia Clarke’s iconic Daenerys character to still feel like a rightful Targaryen. I’ll miss Milly!

This is Milly Alcock’s first win and first nomination.

Previous Winners: Maisie Williams as Arya Stark (Game of Thrones), Ruth Wilson as Marisa Coulter (His Dark Materials), Emma Corrin as Princess Diana (The Crown), Sarah Snook as Shiv Roy (Succession)

Outstanding Supporting Actor in a Comedy Series

Anthony Carrigan as NoHo Hank — Barry
Phil Dunster as Jamie Tartt — Ted Lasso
James Marsden as Himself — Jury Duty
Lakeith Stanfield as Darius — Atlanta
Jeremy Swift as Leslie Higgins — Ted Lasso

I tried very sincerely to find room for Mark Proksch as Colin Robinson in What We Do in the Shadows here. I’ve nominated two other members of that cast before and never expected to find Proksch’s compelling beyond the occasional laugh and the frequent fury that his sentences took forever to finish (a sign that the writers and Proksch are doing write by the Colin Robinson character). Him as a baby achieved that, though. Ultimately, I couldn’t sacrifice any of the actors here, after already having to cut Brett Goldstein from the lineup. (That was hard to do; I love the Roy Kent archetype!) I had to give Anthony Carrigan as NoHo Hank some love sometime and this was my last chance to do so. Fortunately, he was as funny as ever and as emotional as we’ve never seen him. Phil Dunster continued to do immaculate work as Jamie Tartt, who had the best character arc in season three of Ted Lasso. Speaking of the Apple comedy, Jeremy Swift became more and more the heart of the show and his sneaky good performance was vital to much of the series’ success. And, of course, James Marsden, man. How good is he on Jury Duty? It’s hard to even articulate how tricky his role on the show was and without his playing it to perfection, the whole conceit might have collapsed. In the final season of Atlanta, though, I thought Lakeith Stanfield really rose up. Brian Tyree Henry was usually my favorite supporting performer on the FX comedy, but Stanfield made season four his own. Usually good for funny, throwaway moments, Darius took on more weight in the show this year and the series finale revolved around his character. Stanfield has always been a great actor and he more than proved it with his work in season four, which was a definite return-to-form for Atlanta.

This is Lakeith Stanfield’s first win and second nomination.

Previous Winners: Timothy Simons as Jonah Ryan (Veep), William Jackson Harper as Chidi Anagonye (The Good Place), Brett Goldstein as Roy Kent (Ted Lasso), Phil Dunster as Jamie Tartt (Ted Lasso)

Outstanding Supporting Actress in a Comedy Series

Zazie Beetz as Van Kiefer — Atlanta
Sarah Goldberg as Sally Reed — Barry
Poorna Jagannathan as Nalini Vishwakumar — Never Have I Ever
Reneé Rapp as Leighton Murray — The Sex Lives of College Girls
Hannah Waddingham as Rebecca Welton — Ted Lasso

So many people I’m happy to see here. Rapp with a great role on season two of Sex Lives (before the news she’s departing season three). Goldberg nominated again. Jagannathan should have gotten some real Emmys love for her role as Nalini, Devi’s mother, on Never Have I Ever. Depending on the scene, her character has to flip between emotionally fraught, timidly romantic, and sternly adoring. Poorna never missed a beat. In the final season of Ted Lasso, though, how could anyone deny the expert craftsmanship Hannah Waddingham consistently brought to every episode? She has been remarkable since the first season of the show, no doubt, but in season three, she became more open-hearted and more bad-ass than ever. I felt so inspired by her journey throughout the season as she learned where it mattered most to let go of love and where it mattered most to seize it and speak it. With the beloved comedy now over, this is hopefully not the last we’ll see of Waddingham on our screens of any size.

This is Hannah Waddingham’s first win and third nomination.

Previous Winners: D’Arcy Carden as Janet (The Good Place), Natasia Demetriou as Nadja (What We Do in the Shadows), Renée Elise Goldsberry as Wickie Roy (Girls5eva), Sarah Goldberg as Sally Reed (Barry)

Outstanding Lead Actor in a Limited Series or Movie

Steve Carell as Alan Strauss — The Patient
Sam Claflin as Billy Dunne — Daisy Jones and the Six
Gael García Bernal as Jack Russell — Werewolf by Night
Domhnall Gleeson as Sam Fortner — The Patient
Steven Yeun as Danny Cho — Beef

Now, we arrive to the lead performances. Despite some truly exceptional two-hander work on The Patient, I had to give the honor to Steven Yeun’s lead role on Beef here. Typically, Steven Yeun is gushing with charisma, wholesomeness, and good looks. In Beef, he eschews all of that and strips down into a character who can be so cloying and genuinely annoying and pitiable at times. For every emotional breakthrough he experiences, he takes three steps backwards into immaturity hell. But with Yeun playing the role, none of it ever rings hollow. It always feels like Danny is a real person you’d feel bad for and kind of try to cut out of your life when you could. That’s impressive work for someone who was a drool-worthy heartthrob in Minari.

This is Steven Yeun’s first win and first nomination.

Previous Winners: Michiel Huisman as Steven Crain (The Haunting of Hill House), Domhnall Gleeson as Billy Johnson (Run), Colman Domingo as Ali (Euphoria: Trouble Don’t Last Always), Murray Bartlett as Armond (The White Lotus)

Outstanding Lead Actress in a Limited Series or Movie

Jennifer Garner as Hannah Hall — The Last Thing He Told Me
Betty Gilpin as Sister Simone — Mrs. Davis
Riley Keough as Daisy Jones — Daisy Jones and the Six
Cristin Milioti as Emma Reed — The Resort
Ali Wong as Amy Lau — Beef

This is a quality lineup here. Ali Wong makes a perfect scene partner for Steven Yeun in their race to see who can be the most detestable. (Though, I do side with Amy most of the time.) Cristin Milioti and Betty Gilpin are nominated once again (and for completely new characters), but still without wins. I’m sorry, but this is Riley Keough’s award. My girlfriend read Daisy Jones and the Six ahead of the miniseries release and her being lukewarm on the story muted my intrigue into checking out the show. But any apprehension I had dissolved every time Keough was on screen. Her character is so dangerously close to a manic-pixie, Stevie Nicks-wannabe, “free spirit” type that it really could have backfired on the show badly if Keough was not note-perfect. Fortunately, she always was. Bringing a core humanity to the character, it allowed for both her poetic sincerity and subsequent fall from grace to feel so much more earned and empathetic. And it all tracks, too, with Keough portraying an older version of Daisy as a “documentary” looks back on the band’s heyday. I was very impressed by the entire show and Keough in particular.

This is Riley Keough’s first win and first nomination.

Previous Winners: Michelle Williams as Gwen Verdon (Fosse/Verdon), Merritt Wever as Ruby Richardson (Run), Kate Winslet as Mare Sheehan (Mare of Easttown), Kate Siegel as Erin Greene (Midnight Mass)

Outstanding Lead Actor in a Drama Series

Paddy Considine as Viserys Targaryen — House of the Dragon
Kieran Culkin as Roman Roy — Succession
Bob Odenkirk as Jimmy McGill — Better Call Saul
Jeremy Strong as Kendall Roy — Succession
Jeremy Allen White as Carmy Berzatto — The Bear

It’s not often that performers win multiple awards for the same character. Only twenty-one people have ever done it for me and the only ones to do it in the past ten years are Sarah Snook, Matthew Rhys, Carrie Coon, Allison Williams, and Emilia Clarke. Well, add Jeremy Strong to the list! Odenkirk could have been here just as easily and, frankly, I’d be happy to give the award to both of them. (Paddy, you were great and I’m sorry. Jeremy A.W., your time will come, I bet.) But really, it is so seemingly impossible to craft an HBO Hall of Fame performance and even more challenging to craft an HBO Mount Rushmore performance. The network’s storied history includes so many iconic acting turns that it’s just hard to wedge your way in there. I believe Jeremy Strong did that with Kendall Roy. He waffles so easily between douchebag, trust-fund fuckboy who is as much a clown as his brother, Roman and put-together, cutthroat businessman who is the obvious heir apparent to his father, Logan. Yet, it’s this exact dichotomy that prevents him from either life. Whether we’re laughing at or crying with Kendall, Strong was never false. As long as he’s not harming anyone, I don’t care what he did to get in the Kendall Roy headspace because his acting was sensational.

This is Jeremy Strong’s second win and fourth nomination.

Previous Winners: Kit Harington as Jon Snow (Game of Thrones), Jeremy Strong as Kendall Roy (Succession), Jonathan Majors as Atticus Freeman (Lovecraft Country), Bob Odenkirk as Jimmy McGill (Better Call Saul)

Outstanding Lead Actress in a Drama Series

Natasha Lyonne as Charlie Cale — Poker Face
Bella Ramsey as Ellie Williams — The Last of Us
Rhea Seehorn as Kim Wexler — Better Call Saul
Sarah Snook as Shiv Roy — Succession
Iman Vellani as Kamala Khan — Ms. Marvel

When two of the all-time dramas have their final seasons in the same year, I think it’s okay to say to the newer entrants into the acting categories, “It’s fine. Just wait your turn. The legends are on their victory lap.” That’s how I felt with Strong as Kendall and it’s how I feel with Rhea Seehorn as Kim Wexler, another iconic performance in what might be the best one of the entire Breaking Bad world. Yes, she has the unfair advantage of getting to hone and dig into and refine the character and the performance over six seasons, but my oh my, the benefits of that are unparalleled. Let your shows last longer than three seasons, folks! There is still gold to be discovered in them. That is what Rhea Seehorn uncovered in her second win for the same character (joining that list I mentioned in the previous blurb). Her crying scene on the bus in the time-forward episodes would have been enough to get her here without considering that each time she was on screen, she expressed the coolness of Barbara Stanwyck and the emotional tumult of, well, Rhea Seehorn. After all, Kim Wexler was a one-of-one character. We’ll never see her likes again.

This is Rhea Seehorn’s second win and seventh nomination.

Previous Winners: Emilia Clarke as Daenerys Targaryen (Game of Thrones), Rhea Seehorn as Kim Wexler (Better Call Saul), Jurnee Smollett as Leti Lewis (Lovecraft Country), Kim Min-ha as Kim Sunja (Pachinko)

Outstanding Lead Actor in a Comedy Series

Misha Brooks as Creamcheese — Players
Tim Robinson as Various Characters — I Think You Should Leave
Adam Scott as Henry Pollard — Party Down
Jason Segel as Jimmy Laird — Shrinking
Jason Sudeikis as Ted Lasso — Ted Lasso

It can be easy to take Jason Sudeikis for granted. I thought this to myself as I debated awarding the screaming delights of Tim Robinson or the Gen Z niche of Misha Brooks (seriously, Players was great, but Brooks was revelatory). I debated recognizing past winners Adam Scott and Jason Segel for their 2023 roles that entrenched them even further into the television pantheon. But man. It’s easy to take Jason Sudeikis for granted. As the emotional fulcrum of Ted Lasso, he is the sun by which all other characters determine their lives. In the final season of the show and as its titular character, Sudeikis embarked on a self-rediscovery journey, allowing Ted to take the steps needed to become a more holistic, forgiving human than he already was. By removing him from many of the ensemble moments of the series, there was something lost for the show, but there was everything gained for the character and Sudeikis never misstepped once. I’m going to miss this performance, an instantly iconic one in the annals of television and one that is deserving of joining Strong and Seehorn on that “exclusive” list I keep mentioning.

This is Jason Sudeikis’ second win and third nomination.

Previous Winners: Rob McElhenney as Mac (It’s Always Sunny in Philadelphia), Ted Danson as Michael (The Good Place), Jason Sudeikis as Ted Lasso (Ted Lasso), Bill Hader as Barry Berkman (Barry)

Outstanding Lead Actress in a Comedy Series

Quinta Brunson as Janine Teagues — Abbott Elementary
Selena Gomez as Mabel Mora — Only Murders in the Building
Devery Jacobs as Elora Danan Postoak — Reservation Dogs
Tatiana Maslany as Jennifer Walters — She-Hulk: Attorney at Law
Maitreyi Ramakrishnan as Devi Vishwakumar — Never Have I Ever

Clearly, something Marvel Studios does not need to worry about at the moment is their casting. I am delighted with all the first-time Marvel nominees I was able to list over the course of this article and Maslany is obviously no exception. I love how forward-thinking this category continues to be. Every year, among the stalwarts and the comedic legends, I find a crop of actors from relatively new shows and I say to myself, “Man, it’s cool to see that the future of women-led comedies is in good hands.” And then somehow, these “new” performers don’t always get repeat nominations because there are even more new performers along the way. This year, we get Quinta Brunson and Devery Jacobs, on top of Maslany! All three are actors with distinct perspectives and outsized influence on the characters and their arcs in their respective shows. Jacobs, in particular, pops so much as Elora on Reservation Dogs. Yet, if not now, when? When am I going to get a better chance to finally award Maitreyi Ramakrishnan (three-for-three on nominations, I might add!) for her outstanding work as Devi on Never Have I Ever? For three seasons (remember the eligibility window) on Netflix, Ramakrishnan has gone from promising breakout star to seasoned sitcom lead. She has deftly grown into the role and allowed it to feel much more natural as she has gotten more comfortable with it. And she was already stunning to begin with! Yes, Devi still makes decisions that make us groan before John McEnroe has a chance to, but it’s that aching wish to be better that Ramakrishnan embodies so well to keep us coming back to this character and rooting for her every year.

This is Maitreyi Ramakrishnan’s first win and third nomination.

Previous Winners: Julia Louis-Dreyfus as Selina Meyer (Veep), Kristen Bell as Eleanor Shellstrop (The Good Place), Naomi Ackie as Alicia (Master of None), Hailee Steinfeld as Emily Dickinson (Dickinson)

Outstanding Live Television Event

2022 NBA Finals Game One: Boston Celtics v. Golden State Warriors — ABC
95th Academy Awards — ABC
The 96th Annual Macy’s Thanksgiving Day Parade — NBC
Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest 2023 — ABC
Elton John Live: Farewell from Dodger Stadium — Disney+
NFL Week 5, London Games: Green Bay Packers v. New York Giants — NFL Network
Super Bowl LVII — Fox

I do love my holiday traditions. New Year’s Eve, Thanksgiving: both represented here! Even a couple Christmas events cracked the shortlist. This always seems to be the category that houses events I’m nostalgic for. Sometimes, you do get a Boston sports team making their way into a championship or a legendary musician going out in a once-in-a-lifetime musical excursion. But for the most part, I just find comfort in Ryan Seacrest and Al Roker being on in the background while I bake and cook for the festive seasons. Or flipping on an NFL game in a hotel room while I wait for a wedding to kick off. Or grinning while Ke Huy Quan gives an exuberant Oscar acceptance speech. Yet, we always come back to Rihanna, don’t we? Rihanna always transcends. This year’s Super Bowl was fine on its own (even though I was rooting for the Eagles to defeat the Chiefs), but the Halftime Show was transcendent and that is why Super Bowl LVII wins here. Watching Rihanna perform cool choreography as she belted out a medley of her best hits was just so much fun. I’ve rewatched it a ton since then! Rihanna forever.

Previous Winner: NFC Wild Card Round: Chicago Bears v. New Orleans Saints (Nickelodeon), MLB Baseball, June 25: Boston Red Sox v. New York Yankees (NESN)

Outstanding Reality, Competition, or Documentary Program

101 Places to Party Before You Die — truTV
Down to Earth with Zac Efron — Netflix
The Last Movie Stars — HBO Max
Prehistoric Planet — Apple
Shaq — HBO
Shark Week — Discovery Channel
Survivor — CBS

What a combination of shows. We love an umbrella category that collects a bunch of stray series. Documentaries about NBA legends, dinosaurs, and classic Hollywood performers. Travel shows about partying in American cities and sustainable living. A week-long extravaganza into marine animals. Two seasons of people from all walks of life competing against each other to join the ranks of Boston Rob, Parvati, Tyson, and Natalie Anderson. How can any of these even be compared to one another? While I managed to find merit in each of them, I ultimately sided with The Last Movie Stars, the Ethan Hawke-directed and Emily Wachtel-created HBO Max docuseries about Paul Newman and Joanne Woodward. Fascinating enough as silver screen icons, they also boasted a defining romance of the golden age of Hollywood and the Newman/Woodward marriage made for an enlightening look into the industry of the era and two of the finest to dot it. The story is told with talking head raves from more iconic stars, archival footage of the couple, and real spoken words delivered by actors like George Clooney, Laura Linney, Rose Byrne, Mark Ruffalo, and myriad others. If you care about the Hollywood of yore, I recommend it.

Previous Winners: Crikey! It’s the Irwins (Animal Planet), The Imagineering Story (Disney+), Down to Earth with Zac Efron (Netflix), The Beatles: Get Back (Disney+)

Outstanding Variety Special or Television Movie

Encanto at the Hollywood Bowl — Disney+
The Guardians of the Galaxy Holiday Special — Disney+
I Drove to Every Rainforest Cafe in North America — YouTube
John Mulaney: Baby J — Netflix
Nate Bargatze: Hello World — Amazon
Schoolhouse Rock! 50th Anniversary Singalong — ABC
Werewolf by Night — Disney+

This one was another two-horse race. This time, it was between Baby J and Werewolf by Night. I leaned towards Werewolf for a while, just because there was nothing like it on television this year and nothing like it in the past years’ nominations either. However, I ultimately sided with Baby J because, while Werewolf was great, I thought Mulaney’s new stand-up special was perfect. Stand-up comedy is already challenging enough without crafting a narrative around it that both acknowledges the real-world context surrounding the star and rebukes the expectations attached to it. I’ve already said it, but Mulaney’s degree of difficulty with the special was so high and I was just in awe of it all. It’s one of my favorite stand-up specials ever created. The category has other quality contenders, too. Marvel’s special presentations continued to be festive holiday fun when the Guardians kidnapped Kevin Bacon. Nate Bargatze is always fun. Schoolhouse Rock! and Encanto have catchy music. And I’ll always enjoy going on road trips to novelty restaurants. But Mulaney is undeniable here.

Previous Winners: Adam Sandler: 100% Fresh (Netflix), John Mulaney & The Sack Lunch Bunch (Netflix), Euphoria: Trouble Don’t Last Always (HBO), Muppets Haunted Mansion (Disney+)

Outstanding Variety Series

Billy on the Street — YouTube
Documentary Now! — IFC
I Think You Should Leave — Netflix
Jury Duty — Amazon
Late Night with Seth Meyers — NBC
The Rehearsal — HBO
The Tonight Show Starring Jimmy Fallon — NBC

For a while, it felt like this was a runaway victory in the making for The Rehearsal. Billy on the Street’s return was limited to Bros promotion, Documentary Now! was still great, but not as great as it was, and we weren’t sure if I Think You Should Leave would return in time. That is, until Jury Duty arrived on Amazon in April. I’m going to be a hipster about it, too. So many of the reviewers I trust (including Alan Sepinwall) dismissed Jury Duty as unfunny, but I liked James Marsden enough to give it a try. The fake reality show where everyone is an actor except one man on a pretend jury was a fascinating conceit, too. I was one of the first people to follow Ronald Gladden on Instagram. I found myself enjoying it more and more as the show went on and I savored all of it before it blew up into a real, Emmy-nominated, Margot Robbie-hyped phenomenon. I just love how it morphed from an extended prank into a wholesome meditation on extending grace to our fellow humans. And I love when I give a show a chance and it pays off. It was like BoJack all over again. I loved being in on the ground floor. In terms of the NBC legacy stalwart nominees here (Fallon and Meyers), I’ll rattle off a couple of the memorable episodes from the year. On The Tonight Show, I enjoyed the presence of Bryce Dallas Howard, Taylor Swift, Lin-Manuel Miranda, Bruce Springsteen, Aubrey Plaza, and the cast of Bluey. On Late Night, I relished Adam Sandler, Post Malone, Tom Hanks, Lizzo, Jeff Goldblum, Adam Scott, Andy Samberg, and the Meyers family. Still, despite the perennially great work from both, I have to celebrate a show that might be a one-and-done here. Jury Duty was just too sweet.

Previous Winners: Documentary Now! (IFC), Middleditch and Schwartz (Netflix), How To with John Wilson (HBO), I Think You Should Leave (Netflix)

Outstanding Animated Series

Bluey — Disney+
Bob’s Burgers — Fox
Digman! — Comedy Central
Frog and Toad — Apple
Mulligan — Netflix
Velma — HBO Max
The Wonderful World of Mickey Mouse — Disney+

Before we get into the winner, I’m going to address a curious pattern in the slate of nominees. Three of the shows were created by comedic writing and production teams that have previously specialized in live-action series. Neil Campbell and Andy Samberg worked on Brooklyn Nine-Nine together before Digman! Tina Fey and Robert Carlock developed 30 Rock, among other shows, before Mulligan. Mindy Kaling bounced around to many live action shows (namely The Mindy Project) before adapting Velma. I don’t know why all these comedians have gravitated to animation, but I thought it was worth noting. Something going on there. Anyway. With seven nominees here, it is cool to note that three of them have won a Best Series category before. Bob’s Burgers won just last year (and their “The Plight Before Christmas” episode from December 2022 nearly got them there again). Mickey Mouse won back in 2012 (and is slated to wrap up its run next year). Now, Bluey wins! Bluey is quite overdue. On the air in Australia since 2018, it took about two years for me to come around to checking it out and I’ve adored it ever since. It is such a magnificent construction in the lineage of educational, worthwhile children’s television programs (especially those featuring blue dogs). What sets Bluey apart, though, is that it’s just as much a guide for the emotional intelligence of the parents, as it is for the children. Each episode is such a breathless knockout of sweetness and warmth. (Frog and Toad was also wholesome; the books by Arnold Lobel always were.) They’re bite-sized in length, but they always have something to say about the human experience from age one to age one hundred and one. It was one of my favorite shows of 2022, animated or otherwise, and it is just so special.

This is Bluey’s first win and second nomination.

Previous Winners: BoJack Horseman (Netflix), BoJack Horseman (Netflix), DuckTales (Disney Channel), Bob’s Burgers (Fox)

Outstanding Limited Series

American Born Chinese — Disney+
Beef — Netflix
Daisy Jones and the Six — Amazon
The Midnight Club — Netflix
Mrs. Davis — Peacock
The Patient — FX
The White Lotus — HBO

A comic book comes to life. A road rage incident turns into a deadly shootout. A singer-songwriter band falls in and out of love. A group of terminally-ill children encounter ghosts. A nun tries to defeat artificial intelligence. A therapist is held hostage by a serial killer. All of these are such winning concepts, even if some are more easily marketable than others. And while I appreciated the artistic merit behind all of them, including those that came from the talented creators behind past award-winning shows like The Haunting of Hill House, Lost, and The Americans, it’s still a collection of quality series competing for second place against a towering achievement and a new pantheon show, in my estimation. The White Lotus cannot be topped this year (and I really enjoyed Beef, Daisy, and Patient). Mike White’s second season of the resort-based anthology series waded into slightly different territory than its first, including themes of sex, lust, control, manipulation, and extortion. The performances remained top-notch, the shooting style encapsulated the escapist beauty, and the writing remained as realistic and ethereal as ever — complete with that pulsing, chilling score. I am forever invested in The White Lotus whenever it kicks back up.

This is The White Lotus’ second win and second nomination.

Previous Winners: The Haunting of Hill House (Netflix), Run (HBO), WandaVision (Disney+), The White Lotus (HBO)

Outstanding Drama Series

The Bear — Hulu
Better Call Saul — AMC
For All Mankind — Apple
House of the Dragon — HBO
The Last of Us — HBO
Poker Face — Peacock
Succession — HBO

Had to be. This is as good a Best Drama lineup as I can remember in my years of doing this, perhaps partially because I did not abide by the Emmys’ category fraud of The Bear and Poker Face in the Comedy categories. I’m sorry, folks, those shows are dramas. In addition to those, we had two great debut seasons from surefire HBO staples going forward and another accomplished season of Apple’s flagship drama, For All Mankind. Still, this category came down to two of the all-time best dramas that celebrated their final seasons this year. The sixth season of Better Call Saul and the fourth season of Succession. While Succession was pretty well done on its way out, I think Saul was just on a completely superior level. I already felt that Better Call Saul had topped its predecessor, but this final season confirmed that it topped many of its dramatic predecessors, removed from Breaking Bad, too. It concluded its prequel storyline in thrilling, fitting fashion, waded the timeline of “during” Breaking Bad with careful consideration, and launched into the post-Walter White era with some of the most stunning and thoughtful television storytelling I have ever seen. Everything was immaculately constructed to do right by the characters and the world they inhabited, paying earned tribute to the world built by Vince Gilligan and Peter Gould. Earned emotional payoffs fifteen years in the making! Odenkirk and Seehorn were next level, the cinematography remained the best in the history of the medium, and there was no drama that I thought about more while it was on and still in all the months since. I should have appreciated Better Call Saul more while it was on, but I’m glad to be able to do so now.

This is Better Call Saul’s first win and eighth nomination.

Previous Winners: Game of Thrones (HBO), Succession (HBO), For All Mankind (Apple), Pachinko (Apple)

Outstanding Comedy Series

Atlanta — FX
Never Have I Ever — Netflix
Only Murders in the Building — Hulu
Party Down — Starz
Reservation Dogs — FX
Ted Lasso — Apple
What We Do in the Shadows — FX

Usually, in the past couple years, most of the nominees (if not the winners) in the Best Comedy lineup are shows in their first season. Not the case this year! I find that interesting, even though it might be the most meaningless thing I’ve ever typed. While some shows here are nominated for the first time, none are in their first seasons for these nods. Atlanta ended with its fourth season, Never enjoyed its penultimate third, Only Murders continued greatness into its second, Party Down re-emerged after over a decade for its third, Reservation made the leap to greatness in its second arc, Ted Lasso concluded with its third season, and Shadows had a return-to-form in its fourth season. Some of these shows are consistently hilarious, some are more interested in being thought-provoking, and some are content to balance between hysterical and heartfelt. Ted Lasso definitely fits into the third category. I came pretty close to awarding many shows here; I think this category was a lot closer than it’s been recently. Atlanta had a good case, Only Murders was strong, Reservation Dogs might be the show I wish I gave it to in a couple years. But ultimately, while many were down on the final season of Ted Lasso, I just never was. The Apple show about a soccer coach who transforms an entire culture around a team and a community was already “one of the greats” after its first season. In its second season, it entered into my pantheon and a go-to answer for “Best Show of the 2020s.” In its third, it became clear that if I ever do a follow-up to The Television Project, Ted Lasso will be a major contender for the top of the list. It’s just so squarely in my direct zone of what I love to watch on television. Cleverly funny, thrillingly paced, and emotionally thoughtful with performances behind characters I care about and invest in so deeply. I loved having Ted Lasso to look forward to and I felt my heart ache when we had to say goodbye to it this year. I think it’s worthy of joining The Office, Community, Mad Men, and Game of Thrones as the only shows to win a Best Series award more than two times and the first since Community to win three in a row. Ted Lasso just enjoys the distinction of winning it for every season it was on television. And it certainly deserves it. We’re Richmond ’til we die.

This is Ted Lasso’s third win and third nomination.

Previous Winners: Veep (HBO), The Good Place (NBC), Ted Lasso (Apple), Ted Lasso (Apple)

Shows We Bid Farewell to This Year:

For the first time, I’m carving out a special section for shows that ended in the 2022–23 year. I always love a good ending and a series finale for a beloved show is one of the most bittersweet parts of life. I will also include a little bit of data about how many times each show was nominated for a category and won a category during its time on the air. (Limited series, unless they are anthology series, do not count here. Neither do shows canceled after one season.)

Atlanta: 3 wins, 17 nominations
Barry: 3 wins, 17 nominations
Better Call Saul: 9 wins, 39 nominations
Rutherford Falls: 1 nomination
Schmigadoon!: 2 nominations
Succession: 8 wins, 31 nominations
Ted Lasso: 9 wins, 21 nominations
The Late Late Show with James Corden: 1 nomination

Godspeed to you all and thanks for all the love.

Most Nominations

10 — Better Call Saul, Succession, The White Lotus

9 — Ted Lasso

8 — Poker Face

7 — The Last of Us

6 — Atlanta, Daisy Jones and the Six

5 — The Bear, House of the Dragon

4 — Barry, Documentary Now!, Never Have I Ever, Only Murders in the Building, Party Down, The Rehearsal, Reservation Dogs

3 —101 Places to Party Before You Die, Beef, Bluey, For All Mankind, I Think You Should Leave, Jury Duty, Late Night with Seth Meyers, The Midnight Club, The Patient, Werewolf by Night

2 — American Born Chinese, Bob’s Burgers, Bupkis, Digman!, Frog and Toad, The Guardians of the Galaxy Holiday Special, John Mulaney: Baby J, Ms. Marvel, Mrs. Davis, Prehistoric Planet, The Resort, Saturday Night Live, Shrinking, The Tonight Show Starring Jimmy Fallon, Velma, What We Do in the Shadows

1— 2022 NBA Finals, Abbott Elementary, Academy Awards, Andor, Billy on the Street, The Crown, Dick Clark’s New Year’s Rockin’ Eve, Down to Earth with Zac Efron, Elton John Live: Farewell from Dodger Stadium, Encanto at the Hollywood Bowl, Extrapolations, I Drove to Every Rainforest Cafe in North America, The Last Movie Stars, The Last Thing He Told Me, The Late Late Show with James Corden, Macy’s Thanksgiving Day Parade, Mulligan, The Muppets Mayhem, Nate Bargatze: Hello World, NFL Week 5, London Games, Players, The Santa Clauses, Schoolhouse Rock! 50th Anniversary Singalong, The Sex Lives of College Girls, Shaq, Shark Week, She-Hulk: Attorney at Law, Super Bowl LVII, Survivor, The Wonderful World of Mickey Mouse

Most Wins

5 — Better Call Saul

3 — Succession, Ted Lasso, The White Lotus

2 — Bluey, John Mulaney: Baby J

1 — Atlanta, Barry, Beef, Daisy Jones and the Six, House of the Dragon, I Think You Should Leave, Jury Duty, The Last Movie Stars, The Last of Us, Never Have I Ever, Only Murders in the Building, Party Down, Prehistoric Planet, The Rehearsal, Reservation Dogs, Super Bowl LVII, Werewolf by Night

Nominations by Network

41 — HBO

20 — Apple

19 — Disney+

18 — Netflix

15— FX

14 — Peacock

10 — Amazon, AMC

9 — Hulu

8 — NBC

5 — ABC

4 — HBO Max, IFC, Starz

3 — Fox, truTV

2 — CBS, Comedy Central, YouTube

1 — Discovery Channel, NFL Network, Paramount+

Wins by Network

10 — HBO

5 — AMC, Netflix

4 — Apple

3 — Disney+

2 — Amazon, FX

1 — Fox, HBO Max, Hulu, Starz

If I Was the Only One Who Voted for the Emmys, Vol. 5

Written by Dave Wheelroute