Televised award shows can often be painful to sit through, but thankfully, there were enough surprises in the 2016 Emmy Awards to balance out the inevitable second consecutive wins for Veep and Game of Thrones. The potent combination of deserving first-time winners, moving speeches, and diverse voices at the podium made the night feel spontaneous and exciting. At its best, these Emmys, indeed, felt like a true celebration of what television has to offer, and many of the outcomes delighted me.
Master of None’s “Parents” was awarded the Emmy for Writing for a Comedy, an episode that focuses on two first-generation Americans asking their parents to tell the stories about their lives before coming to America. As a child of immigrant parents myself, this story hit straight to the heart. The episode brought me to tears and immediately after, I called my mother. *cue awwww* Awards aren’t the be-all and end-all, but it does feels good to know that this award reinforces the notion that these are stories worth telling. Even better was writer Alan Yang’s acceptance speech, which emphasized the need for more Asian-American stories:
There’s 17 million Asian-Americans in this country, and there’s 17 million Italian Americans. They have The Godfather, Goodfellas, Rocky, The Sopranos. We got Long Duk Dong, so we’ve got a long way to go. But I know we can get there. I believe in us. It’s just going to take a lot of hard work. Asian parents out there, if you could just do me a favor, just a couple of you get your kids cameras instead of violins, we’ll be all good.
Kate McKinnon’s win for Supporting Actress in a Comedy for her work on Saturday Night Live was also a delight. She had a banner year, thanks to Hillary Clinton, and sketches like The One Where She Was Abducted By Aliens And Ryan Gosling Couldn’t Keep It Together. McKinnon’s humble shout-outs from Hillary Clinton and Ellen Degeneres, to her writing partners, the now co-head writers Sarah Schneider and Chris Kelly (watch his new film Other People!), to her late father who pushed her to watch SNL as a child, were particularly moving.
Director Jill Soloway, who won for Transparent, gave a particularly rousing acceptance speech, with a passionate plea to “topple the patriarchy.” Soloway centered the storytelling of queer and trans women in her acceptance speech:
When you take women, people of color, trans people, queer people, and you put them at the center of the story, the subjects instead of the objects, you change the world, we found out. This TV show allows me to take my dreams about unlikeable Jewish people, queer folk, trans folk, and make them the heroes.
Transparent’s Jeffrey Tambor’s won Actor in a Comedy for his thoughtful portrayal of Maura Pfefferman, and his speech concluded with a heartfelt plea of his own: a call for greater hiring of transgender talent. Witnessing diversity in storytelling from a pioneering show like Transparent be richly rewarded was a step in the right direction.
American Crime was one of my favorite television shows of the year. The anthology drama couples superb acting with powerful and provocative discussions about race, class, and sexuality. It was gratifying to see Regina King be recognized two years in a row for her magnetic work as a mother of a high school basketball player team accused of assault.
Although I was rooting for the cool threat that was Bookeem Woodbine’s Mike Milligan from Fargo, I was happy that the award went to Sterling K. Brown’s understated performance as Christopher Darden in The People vs. O.J. Simpson: American Crime Story. The thrilling wins for Courtney B. Vance and Sarah Paulson, who played Johnny Cochran and Marcia Clark, respectively, proved the stellar casting for Ryan Murphy’s series. These three captivating actors took on historical figures familiar to the American public, and breathed new life into their narratives, making their portrayals deeply sympathetic and human. Paulson was one of the locks of the evening, and her win was long overdue.
On the flip side, yes, The People vs O.J. Simpson was excellent television, but I’m disappointed that Fargo’s remarkable second season was shut out in the process, coming up empty-handed in every category it was nominated in. Was this season too left-field for voters? Too bleak or violent? Too wrapped up in Midwestern quirk, and mysticism? Sigh.
Grease Live was a fine technical feat, with swift and precise direction by Alex Rudzinski and Hamilton‘s Thomas Kail. The live broadcast navigated multiple indoor and outdoor sets, live crowds, inclement weather, and more, but the conceit has been done before, even if it was the best of this new generation of live musicals. Beyoncé’s Lemonade was an artistic achievement like no other. Queen B should have won Directing for a Variety Special and taken one more step closer to EGOT status.
Rami Malek’s performance as Elliot Anderson was a singular triumph on Mr. Robot. Malek tackled such an intense character plagued with drug addiction, social anxiety, and mental illness, but always found ways to humanize him. We don’t often see characters on television like Elliot, much less see their performances rewarded, so this win for Lead Actor in a Drama felt important. Plus, bae looked good in a white Dior suit.
Host Jimmy Kimmel joked in his opening monologue that “the only thing we value more than diversity is congratulating ourselves on how much we value diversity.” As the night went on, the more this notion seemed true. However cynical Kimmel’s quip was, it was refreshing to see the stage visited by African-Americans, Asian-Americans, queer women, an Egyptian-American, and sure, a couple of white men here and there too.
At last weekend’s Creative Arts Emmys, Crazy Ex-Girlfriend‘s took home two trophies for Single-Camera Picture Editing for a Comedy and Choreography. How it lost Main Title Theme Music to Jessica Jones (?!?!?!) is beyond me. One is a sunny, catchy earworm that jabs at sexism, while the other is a bland jazz number. The winner is completely obvious to me, but I guess the situation’s a lot more nuanced than that. Regardless, just let the words “Emmy Award-Winning Crazy Ex-Girlfriend” sink in. We’re so #blessed!
The best show on television, The Americans, was woefully ignored, after being finally being invited to the party in its fourth season. When Character Actress Margo Martindale’s won for Guest Actress at the Creative Arts Emmys, for a role with seemingly less than ten minutes of screen time, I was hoping that the award boded well for the show’s Emmy chances come Sunday night. Alas, the night was not for The Americans. Keri Russell and Matthew Rhys, your time has yet to come. Next year, Game of Thrones will air outside of eligibility for the 2017 Emmys, leaving a dragon-sized void in the race. With the HBO juggernaut out of the mix next year, could The Americans finally emerge victorious?
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