Emmy Nominations: Owen Gleiberman Reviews ‘Nashville’ Daily

The excitement surrounding the morning of the Emmy nominations quickly gives way to a more pressing and challenging question that studios and networks grapple with: How can we effectively secure a win at the Emmy Awards? This inquiry becomes a focal point for industry insiders who understand that achieving recognition is just the beginning; the real challenge lies in transforming nominations into tangible accolades.

It’s all too easy to evaluate potential winners based solely on the number of nominations they receive. Following that logic, the drama series “Severance,” with an impressive 27 nominations, the satirical comedy “The Studio,” breaking records with 23 nominations, and the limited series “The Penguin,” which garnered 24 nods, appear to be the clear frontrunners. However, this is the Emmys — a landscape where surprises abound, and nothing is as straightforward as it seems.

Examining the nominees in the drama categories, the competition shapes up to be a thrilling showdown between Apple TV+’s “Severance” and HBO Max’s critically acclaimed new series “The Pitt,” which has received a solid 13 nominations. This head-to-head race is expected to capture the attention of audiences and critics alike, as both shows have generated considerable buzz leading up to the awards ceremony.

On the night of the Emmy Awards, winning is never determined by a single factor. It involves meticulously crafting the “winning package,” and both “Severance” and “The Pitt” have excelled in appealing to the four major branches of the Television Academy: Executives, Actors, Writers, and Editors. This multi-faceted approach to garnering support is essential for any show aiming for success at the Emmys.

In the highly competitive lead drama actor category, Adam Scott from “Severance” faces off against Noah Wyle of “The Pitt.” Wyle, who was nominated four times over 25 years ago for his role in “ER,” may finally be on the verge of securing his second Emmy win. Meanwhile, Ben Stiller’s compelling finale for “Severance,” titled “Chilly Harbor,” could provide him with an advantage in the directing category. However, the presence of co-director Jessica Lee Gagné, who is also nominated, raises the possibility of vote-splitting — a situation reminiscent of past awards, like last year’s “Shōgun.”

Britt DeLower from “Severance” also stands a chance in the lead drama actress category, especially with the legendary Kathy Bates being the sole nominee from “Matlock.” Historically, no actor has secured a win when they are the only nominee from their respective series — a trend that has persisted for two decades, and one that Bates hopes to defy this year.

Meanwhile, Tramell Tillman, portraying the enigmatic Milchik in “Severance,” could make history if he wins the supporting drama actor award. If he does, he would become the first Black performer to ever win in that category, making this a significant moment to watch during the Emmy ceremony.

In the comedy categories, the discussion shifts from whether “The Studio” can win to how many awards it will ultimately take home. The buzz surrounding this freshman satire has been palpable, especially as it has shattered the nomination record previously held by “Ted Lasso” and has tied “The Bear” for the title of the most-nominated comedy of all time.

While “The Bear” delivered impressive viewership numbers, its third season did not receive the same critical acclaim as its earlier seasons. In contrast, “Hacks” performed solidly but was notably absent from a key nomination for supporting actor Paul W. Downs, highlighting the competitive nature of this year’s comedy categories.

Seth Rogen — who is nominated for producing, directing, writing, and starring in “The Studio” — has the chance to join an elite group of individuals who have achieved the remarkable feat of winning four Emmys in a single night. This prestigious club includes notable winners such as Moira Demos (2016), Amy Sherman-Palladino (2018), and Dan Levy (2020), all of whom have set a high bar for achievement within the industry.

The competition for the supporting comedy actor award is wide open, with various contenders vying for the title. Harrison Ford from “Shrinking” emerges as a sentimental favorite, marking his first-ever Emmy nomination, while two-time winner Ebon Moss-Bachrach from “The Bear” and scene-stealer Ike Barinholtz from “The Studio” are also strong contenders in this competitive landscape.

On the female side of the supporting categories, Catherine O’Hara — nominated for her roles in both “The Studio” and a guest appearance on “The Last of Us” — could pose a challenge as a potential spoiler in the supporting comedy actress category. With “Abbott Elementary” receiving its lowest nomination count to date (only six), this may open the door for overdue contenders like Janelle James or standout Hannah Einbinder from “Hacks” to finally receive recognition for their exceptional work.

The competition in the limited or anthology categories is particularly intense this year, showcasing a range of powerful narratives and performances. “The Penguin” has certainly lived up to expectations, boasting an impressive 24 nominations, but it’s the British drama “Adolescence” that has emerged as a surprise standout with 13 nominations, positioning itself as a frontrunner in at least six categories. The talented cast members Owen Cooper and Erin Doherty are formidable contenders in the supporting acting categories, while the show poses a significant threat in directing, writing, and cinematography categories as well.

Colin Farrell’s portrayal of the sinister mob boss in “The Penguin” faces fierce competition from Stephen Graham’s captivating performance in “Adolescence.” This particular race is expected to be one of the highlights of the Emmy ceremony on September 14, drawing viewers in with its high stakes and compelling performances.

In the lead limited actress category, a tight race is anticipated between Cristin Milioti from “The Penguin” and Emmy-winning actress Michelle Williams for her role in “Dying for Sex.” Both performances have garnered significant acclaim, making this category particularly competitive.

If voters are solely basing their decisions on “The Bear” Season 3, Liza Colón-Zayas could be on track for another win after making history as the first Latina to win supporting actress in a comedy last year. Her continued recognition showcases the evolving landscape of representation within the industry.

However, “The Bear” finds itself in a precarious position. Several previous acting wins for the show, including those for Moss-Bachrach and Ayo Edebiri, appeared to come a season early. With mixed reviews surrounding Season 4, and the notable snubbing of creator Christopher Storer in both writing and directing categories, the momentum for the show’s success may be waning as the Emmys approach.

The final round of Emmy voting begins on August 18, setting the stage for a flurry of campaigning, strategic moves, and last-minute narrative shifts as contenders vie for their chance at victory. The initial predictions for potential winners are outlined below, and the official Emmy predictions pages will be updated over the coming week as the excitement builds.

Best Drama Series: “Severance” (Apple TV+)
Best Comedy Series: “The Studio” (Apple TV+)
Best Limited Series: “Adolescence” (Netflix)
Best TV Movie: “Insurgent Ridge” (Netflix)
Best Lead Drama Actor: Noah Wyle, “The Pitt” (HBO Max)
Best Lead Comedy Actor: Seth Rogen, “The Studio” (Apple TV+)
Best Lead Actor in a Limited Series: Colin Farrell, “The Penguin” (HBO Max)
Best Lead Drama Actress: Britt DeLower, “Severance” (Apple TV+)
Best Lead Comedy Actress: Jean Smart, “Hacks” (HBO Max)
Best Lead Actress in a Limited Series: Michelle Williams, “Dying for Sex” (FX)
Best Supporting Drama Actor: Tramell Tillman, “Severance” (Apple TV+)
Best Supporting Comedy Actor: Harrison Ford, “Shrinking” (Apple TV+)
Best Supporting Actor in a Limited Series: Owen Cooper, “Adolescence” (Netflix)
Best Supporting Drama Actress: Carrie Coon, “The White Lotus” (HBO Max)
Best Supporting Comedy Actress: Catherine O’Hara, “The Studio” (Apple TV+)
Best Supporting Actress in a Limited Series: Erin Doherty, “Adolescence” (Netflix)
Best Guest Actor in a Drama: Shawn Hotosy, “The Pitt” (HBO Max)
Best Guest Actress in a Drama: Kaitlyn Dever, “The Last of Us” (HBO Max)
Best Guest Actor in a Comedy: Bryan Cranston, “The Studio” (Apple TV+)
Best Guest Actress in a Comedy: Julianne Nicholson, “Hacks” (HBO Max)
Best Competition Program: “The Traitors” (Peacock)
Best Structured Reality Program: “Antiques Roadshow” (PBS)
Best Unstructured Reality Program: “Love on the Spectrum” (Netflix)
Best Talk Show: “The Daily Show” (Comedy Central)
Best Scripted Variety Show: “Last Week Tonight with John Oliver” (HBO Max)
Best Live Variety Special: “SNL50: The Anniversary Special” (NBC)
Best Pre-Recorded Variety Special: “Adam Sandler: Love You” (Netflix)
Best Documentary Series: “Social Studies” (FX)
Best Documentary Special: “Will & Harper” (Netflix)
Best Hosted Nonfiction Program: “Conan O’Brien Must Go” (HBO Max)
Best Special Presentation: “I Am Celine Dion” (Prime Video)
Best Directing in a Drama Series: Ben Stiller, “Severance” (Apple TV+)
Best Directing in a Comedy Series: Seth Rogen and Evan Goldberg, “The Studio” (Apple TV+)
Best Directing in a Limited Series: Philip Barantini, “Adolescence” (Netflix)
Best Directing in a Documentary: Matt Wold, “Pee-wee as Himself” (HBO Max)
Best Directing in a Variety Special: Liz Patrick, “SNL50: The Anniversary Special” (NBC)
Best Directing in a Variety Series: Paul Pennolino, “Last Week Tonight with John Oliver” (HBO Max)
Best Directing in Reality: Cian O’Clery, “Love on the Spectrum” (Netflix)
Best Writing in a Drama Series: “The White Lotus” (HBO Max) – “Full-Moon Celebration” by Mike White
Best Writing in a Comedy Series: “Hacks” (HBO Max) – “A Slippery Slope” by Lucia Aniello, Paul W. Downs, and Jen Statsky
Best Writing in a Limited Series: “Adolescence” (Netflix) – Series by Jack Thorne and Stephen Graham
Best Writing in a Variety Series: “The Daily Show” (Comedy Central)
Best Writing in a Variety Special: “Your Friend, Nate Bargatze” (Netflix)
Best Writing in Nonfiction: “Martha” (Netflix) by RJ Cutler
Best Game Show: “Jeopardy” (ABC)
Best Game Show Host: Jimmy Kimmel, “Who Wants to be a Millionaire” (ABC)
Best Reality Host: Alan Cumming, “The Traitors” (Peacock)
Best Casting in a Drama Series: “The Pitt” (HBO Max)
Best Casting in a Comedy Series: “The Studio” (Apple TV+)
Best Casting in a Limited Series: “Monsters: The Lyle and Erik Menendez Story” (Netflix)
Best Casting in Reality: “Love on the Spectrum” (Netflix)
Best Animated Program: “The Simpsons” (Fox)
Best Voiceover Performance: Alan Tudyk, “Andor” (Disney+)
Best Short Form Performer: Tom Segura, “Bad Ideas” (Netflix)
Best Production Design in Modern One Hour: “The Penguin” (HBO Max) – “Homecoming”
Best Production Design in Period Fantasy One Hour: “Andor” (Disney+) – “Who Are You?”
Best Production Design in Narrative Half Hour: “What We Do in the Shadows” (FX) – “Headhunting”
Best Production Design in Variety/Reality: “Saturday Night Live” (NBC) – “Host: Lady Gaga”
Best Production Design in a Variety Special: “The Oscars” (ABC)
Best Cinematography in a Half-Hour Series: “The Studio” (Apple TV+) – “The Oner”
Best Cinematography in a One-Hour Series: “Severance” (Apple TV+) – “Hey, Ms. Cobel”
Best Cinematography in a Limited Series: “Adolescence” (Netflix) – “Episode 2”
Best Cinematography in Nonfiction: “100 Foot Wave” (HBO Max) – “Chapter III – Cortes Bank”
Best Cinematography in Reality: “Life Below Zero” (National Geographic) – Series Body of Work
Best Period Costumes: “Bridgerton” (Netflix) – “Into the Light”
Best Fantasy/Sci-Fi Costumes: “Agatha All Along” (Disney+) – “Follow Me My Friend”
Best Contemporary Costumes: “The White Lotus” (HBO Max) – “Same Spirits, New Styles”
Best Modern Costumed Limited Series: “The Penguin” (HBO Max) – “A Great or Little Thing”
Best Editing in Drama: “Andor” (Disney+) – “Who Are You?”
Best Editing in Comedy: “The Bear” (FX) – “Tomorrow”
Best Editing in a Limited Series: “The Penguin” (HBO Max) – “A Great or Little Thing”
Best Editing in Multi-Cam: “Mid-Century Modern” (Hulu) – “Here’s to You, Mrs. Schneider”
Best Editing in Variety Programming: “Ali Wong: Don Wong” (Netflix)
Best Editing in Variety Segment: “SNL50: The Anniversary Special” (NBC) – Physical Comedy (segment)
Best Editing in Nonfiction: “Super/Man: The Christopher Reeve Story” (HBO Max)
Best Editing in Reality: “The Traitors” (Peacock) – “Let Battle Begin”
Best Editing in Unstructured Reality: “Welcome to Wrexham” (FX) – “Down to the Wire”
Best Makeup Contemporary Non-Prosthetic: “The Last of Us” (HBO Max) – “Day One”
Best Makeup Period Fantasy Non-Prosthetic: “House of the Dragon” (HBO Max) – “The Red Dragon and the Gold”
Best Makeup in Reality Nonfiction: “RuPaul’s Drag Race” (MTV) – “Bitch, I’m a Drag Queen”
Best Makeup Prosthetic: “The Penguin” (HBO Max) – “After Hours”
Best Hairstyling Contemporary: “Emily in Paris” (Netflix) – “Back at the Crazy Horse”
Best Hairstyling Period Fantasy: “Bridgerton” (Netflix) – “Old Friends”
Best Hairstyling in Reality Nonfiction: “The Boulet Brothers’ Dragula” (Shudder) – “Welcome to Hell”
Best Sound Mixing in Comedy Drama One Hour: “Severance” (Apple TV+) – “Chilly Harbor”
Best Sound Mixing in a Limited Series: “Adolescence” (Netflix) – “Episode 1”
Best Sound Mixing in Comedy Drama Half-Hour: “The Bear” (FX) – “Doors”
Best Sound Mixing in Variety: “SNL50: The Anniversary Special” (NBC)
Best Sound Mixing in Nonfiction: “Music by John Williams” (Disney+)
Best Sound Mixing in Reality: “Welcome to Wrexham” (FX) – “Down to the Wire”
Best Sound Editing in Comedy Drama One Hour: “The Last of Us” (HBO Max) – “Through the Valley”
Best Sound Editing in Comedy Drama Half-Hour: “The Righteous Gemstones” (HBO Max) – “Prelude”
Best Sound Editing in Animated: “Star Trek: Lower Decks” (Paramount+) – “The New Next Generation”
Best Sound Editing in Limited Series: “Black Mirror” (Netflix) – “USS Callister: Into Infinity”
Best Sound Editing in Nonfiction: “100 Foot Wave” (HBO Max) – “Chapter III – Cortes Bank”
Best Special Visual Effects in Season: “Andor” (Disney+)
Best Special Visual Effects in a Single Episode: “The Penguin” (HBO Max) – “Bliss”
Best Music Composition in a Series: “The Studio” (Apple TV+) — Antonio Sánchez
Best Music in a Limited Series: “The Penguin” (HBO Max) – Mick Giacchino
Best Music in a Documentary: “The Americas” (NBC) – Hans Zimmer, Anže Rozman, Kara Talve
Best Music Direction: “The Apple Music Super Bowl LIX Halftime Show Starring Kendrick Lamar” (Fox)
Best Music and Lyrics: “Agatha All Along” (Disney+) – “The Ballad of the Witches’ Highway” by Kristen Anderson-Lopez and Robert Lopez
Best Main Title Theme: “Dune: Prophecy” (HBO Max) – Volker Bertelmann
Best Short Form: “Late Night with Seth Meyers: Corrections” (NBC)
Best Short Form Nonfiction: “Adolescence: The Making Of Adolescence” (Netflix)
Best Stunt Comedy: “Cobra Kai” (Netflix)
Best Stunt Drama: “The Boys” (Prime Video)
Best Stunt Performance: “FBI: Most Wanted” (CBS) – “Moving On”
Best Choreography in Variety: “Beyoncé Bowl” (Netflix)
Best Choreography in Scripted: “Étoile” (Prime Video)
Best Title Design: “Severance” (Apple TV+)
Best Commercials: “Batman Vs. Bateman – State Farm”
Best Narrator: Barack Obama, “Our Oceans” (Netflix)
Best Emerging Media: “SNL fiftieth The Anniversary Special: Immersive Experience”
Best Technical Direction in a Series: “The Voice” (NBC)
Best Technical Direction in a Special: “The Lion King At The Hollywood Bowl” (Disney+)
Best Lighting in a Series: “Dancing with the Stars” (ABC)
Best Lighting in a Special: “SNL50: The Anniversary Special” (NBC)