From surprise appearances like that of “Dead to Me” star Christina Applegate to reunions between the casts of “Cheers,” “It’s Always Sunny in Philadelphia” and some of the “Grey’s Anatomy” stars, most of the awards presentations were teed up by star power making way for the winners.

Here are the best moments of the 75th Emmy Awards:

Christina Applegate’s standing ovation

The “Dead to Me Actress” presented the first award of the night for Best Supporting Actress in a comedy series. Her appearance on the stage at the Peacock Theater led to a standing ovation that brought Applegate to tears. She tried to deflect the emotions over her battle with multiple sclerosis (MS) with comedy. “Thank you so much,” Applegate said in response to the applause. “Oh my God, you’re totally shaming me with disability by standing up. It’s fine…Body not by Ozempic. Okay, let’s go.” As the applause continued, she further countered, “We don’t have to applaud every time I do something.” She then begged Ayo Edebiri to get her ass onstage to accept the Emmy award. 

Carol Burnett jokes about male-dominated comedy space

Carol Burnett followed Christina Applegate to appear for a tribute to her comedy show, which won 25 Primetime Emmys during its eleven-year run. “I was lucky enough to be the first female host of a comedy variety show from 1967 to 1978, and that was a long time ago. And I just want to say that a lot has changed in the last 46 years for the better,” she said. “Progress has been made and it truly warms my heart to see how well men are doing in comedy. Good.” This dig came fresh off of Jo Koy’s less-than-satisfying hosting of the Golden Globes — according to many. Burnett then presented the award for Best Lead Actress in a Comedy, which went to Quinta Brunson. 

Pedro Pascal answers Kieran Culkin’s Golden Globes poke

A new celebrity banter continued between “The Last of Us” star Pedro Pascal and “Succession” star Kieran Culkin. Culkin started it at the Golden Globes when he jokingly called out Pedro Pascal after he won the Globe for Best Actor in a Drama Series over Pascal. “Suck it, Pedro. I’m sorry,” he called out. “Mine!” Pascal took the opportunity to get back at Culkin tonight, before presenting the Emmy for Outstanding Supporting Actor in a Drama Series. “A lot of people have been asking about my arm. It’s actually my shoulder. And I think tonight is a perfect time to tell everyone that Kieran Culkin beat the s—t out of me,” Pascal joked before the camera quickly cut to a caught-off-guard Culkin. Both actors competed in the category for Outstanding Lead Actor in a Drama Series.

Niecy Nash thanks herself

Niecy Nash’s acceptance speech for winning Outstanding Supporting Actress in “Dahmer – Monster: The Jeffrey Dahmer Story” touched on her work with Ryan Murphy and Evan Peters, her wife, the #BlackLivesMatter movement and more. “Thank you to God for this divine moment. Thank you, Ryan Murphy for seeing me. Evan Peters, I love you. And Netflix. Every single person who voted for me, thank you and my better half who picked me up when I was gutted from this work, thank you,” Nash-Betts began, but she saved the best thanks for last. “And you know who I want to thank? I want to thank me for believing in me and doing what they said I could not do. And I want to say to myself in front of all these beautiful people, ‘Go on girl with your bad self. You did that.’ Finally, I accept this award on behalf of every Black and brown woman who has gone unheard, yet over-policed like Glenda Cleveland like Sandra Bland, like Breanna Taylor. As an artist my job is to speak truth to power and baby I’m going to do it until the day I die.”

RuPaul calls for People to listen to drag queens

RuPaul had a great way of accepting the Emmy for Outstanding Reality Competition Program. “Listen, you guys are just pure, lovely fun in our show and recognizing these queens. We have released into the wild hundreds of drag queens, and they’re beautiful,” he said. “On behalf of all of them, we thank you. And listen, if a drag queen wants to read you a story at a library, listen to her because knowledge is power, and if someone tries to restrict your access to power they are trying to scare you. So listen to a drag queen. We love you. Thank you.” The competition host’s message proves poignant at a time when gender and sexuality are being restricted, especially in the form of banned books.

The “Cheers” reunion

Ted Danson, Rhea Perlman, John Ratzenberger and Kelsey Grammer reunited in the iconic bar setting of “Cheers,” which won 28 Primetime Emmys in its run between 1982 and 1993. They looked back on this time with fond memories, from Danson’s nostalgia for playing bartender Sam to John Ratzenberger’s classification of the moment as more of a “long overdue high school reunion. Ratzenberger played Cliff Calvin, and Rhea Perlman, who played Carla Tortelli, asked for the envelope to present the award winner. At this point, George Wendt, who played Norm Peterson on “Cheers,” entered the bar to give out the results.

Tina Fey and Amy Poehler’s Weekend Update

The dynamic duo, who are currently on their “Restless Leg” comedy tour, returned to the Emmys stage to, in their words, “present awards sitting down.” The pair delivered a joke about Rihanna’s Super Bowl Half-Time Show, during which her second pregnancy was revealed. Amy Poehler also took a gentle dig at the cycle of books to movies to musicals and back to movies. Tina Fey butted in to whisper, “There’s nothing wrong with that.” 

GLAAD accepts Governor’s Award

The 2024 Emmys Governor Award went to GLAAD. CEO Sarah Kate Ellis accepted the award, highlighting how important the recognition remains in a time of tension for transgender people especially. “The world urgently needs culture-changing stories about transgender people,” Ellis said. “More people say they have seen a ghost than know a transgender person. When you don’t know someone, it’s easy to demonize them. Visibility opens doors. It is life-saving.”

Lee Sung Jin’s acceptance speech for “Beef” Win for Best Limited Series

Showrunner and creator of “Beef” Lee Sung Jin gave a thoughtful speech when he and his team accepted the Emmy for Best Limited or Anthology Series or Movie. “You know, a lot of the suicidal ideation in this show was based on stuff that I and some of the folks up here have struggled with over the years, and so I’m really grateful and humbled by everyone who watched the show and reached out about their own personal struggles. It’s very life-affirming. So thank you,” he said. “I feel like we live in a world designed to kind of keep us separate. You know, even here some of us go home with trophies, other people don’t. And I think for some of us, when we live in a world like this, you begin to think that there’s no way anyone can ever understand you, or like you and much less even, you know, no potential at being loved. And so the greatest joy of working on ‘Beef’ has truly been working with the folks up here who love so unconditionally. So you know, thank you to them and to anyone out there who you know directly or indirectly was involved with the show.” The series boss also shouted out his dogs. “Thank you so much. And lastly, everything I do is for my three dogs so the Federal Drug Administration if you could please fast-track that canine anti-aging pill, that will be so lovely. Thank you so much.”

Norman Lear’s spotlight and “Friends” theme for Matthew Perry during In Memoriam

Sally Struthers and Rob Reiner introduced the 75th Emmys In Memoriam segment by honoring iconic television writer and producer Norman Lear. Lear’s spotlight made way for several stars lost between the 2022 Emmys and now, from Stephen “Twitch” Boss to Leslie Jordan to Barbara Walters to Angus Cloud to Andre Braugher. Charlie Puth and The War and Treaty started by singing “See You Again” and switching to the “Friends” theme song to highlight the loss of Matthew Perry. The emotional sequence played in sepia shots of all the stars lost followed by a college of them together on the final note.

Kieran Culkin acceptance speech for “Succession”

While Kieran Culkin, who plays Roman Roy in “Succession,” didn’t advance his friendly jabs at Pedro Pascal, he did give an emotional and heartfelt speech about his win. Culkin thanked Jesse Armstrong and his castmates, and the camera panned to costar Sarah Snook crying. He thanked his mom for giving birth to him and for giving him a childhood that he loved. He also thanked his agents who “kept his name in the conversation,” and, ultimately, his wife Jazz Charton, whom he begged for more children. “I want more,” he unabashedly told her from the stage. “You said maybe if I win!”

That Kiss When “The Bear” Won Best Comedy

“The Bear” star Ebon Moss-Bachrach went in for a long, deep smooch on the lips with his costar Matty Matheson, who plays Neil Fak in the kitchen comedy series, when they won for Best Comedy. Matheson enthusiastically came up for air and gave a rousing speech thanking restaurant owners, industry employees and more. He acknowledged the hard work of food service industry workes and thanked his wife and kids as Moss-Bachrach joined in for the pair to alternate their acceptance speech shoutouts before the clock ran out.

MLK Day Tribute at the End

The 75th Emmy Awards acknowledged airing on Martin Luther King Jr. Day, after being postponed due to the to the WGA and SAG strikes, several times throughout the telecast. Host Anthony Anderson left viewers with a clip from MLK’s “I Have a Dream” speech, which the Television Academy deemed one of the most influential and monumental TV moments in the history of the Emmys. The host also nodded to the holiday when he mentioned “the chocolate Emmys”; “Abbott Elementary” star Sheryl Lee Ralph wished “Wednesday” star Jenna Ortega a Happy MLK Day, which Ortega returned; and Peter Dinklage, who addressed the room as “hotties,” also acknowledged the federal holiday.

The post The 13 Best Emmys Moments: From Kieran Culkin’s Plea for More Kids to ‘The Bear’ Kiss appeared first on TheWrap.

HBO’s “The Last of Us” came into the Primetime Emmy show with most Creative Arts Emmys won the nights of Jan. 6-7. However, the leaderboard changed with the additions of heavy hitters such as FX’s “The Bear,” Netflix’s “Beef” and the final season of HBO’s “Succession,” which all claimed the top series prizes on the Primetime Emmys telecast.

They represented swan song wins for “Succession,” which signed off the air last year, leaving a bevy of open slots in all categories next year for some lucky other TV dramas.

“black-ish” star Anthony Anderson presided over the ceremony, airing on Fox, and his mother Doris proved a major presence, providing the time-is-a-tickin’ comic relief for both Anderson and those following him on stage.

Past winners Quinta Brunson and Jennifer Coolidge repeated past Emmy success for “Abbott Elementary” and “The White Lotus,” respectively. The former won for leading actress in a comedy and Coolidge won her second consecutive statuette as supporting actress for playing Tanya in “Lotus.”

Kieran Culkin and Sarah Snook performed a January three-peat after their Golden Globe and Critics Choice wins this month, and Matthew Macfadyen also performed a redux as an Emmy winner, netting the supporting actor in a drama award for “Succession” two years running.

Jeremy Allen White’s unstoppable winning streak culminated (oddly enough) in his first Emmy win for “The Bear.” (Remember, because of the strike-delayed Emmy telecast, White won other industry awards for the series’ second season while Monday’s Emmys awarded the show’s first season.)

Ayo Edebiri and Ebon Moss-Bachrach repeated their Critics Choice Award victories from last night with wins for “The Bear.” (Edebiri, however, won in the supporting comedy category for the Emmys; she will be bumped into the leading category for Season 2’s deliberations.)

“The Bear” creator Christopher Storer won both the writing and directing prizes for the Season 1 episodes “System” and “Review,” but was absent from the ceremony after coming down with COVID.

“Beef” limited series creator Lee Sung Jin accomplished the very same feat of winning for both writing and directing the same night in the limited/anthology category.

“Beef” and stars Steven Yeun and Ali Wong continued their season-long hot streak, picking up limited series, leading actor and actress trophies at the Emmys after winning the Golden Globe and Critics Choice awards this month as well.

In an impassioned speech recalling Black women wronged by police action in the past, Niecy Nash-Betts triumphantly claimed the supporting actress in a limited/anthology/movie category for her acclaimed turn in “Dahmer – Monster: The Jeffrey Dahmer Story.”

Paul Walter Hauser’s chilling turn in “Black Bird” netted him yet another supporting actor in a limited series award, having previously won the Golden Globe and Critics Choice awards last year.

“Last Week Tonight with John Oliver” continued its many-years streak of winning the variety series writing award, and also picked up the variety sketch series Emmy. And because Oliver’s show has now defected to the sketch series category, it allowed a newbie to claim the best talk series award, which “The Daily Show” former host Trevor Noah acknowledged in his acceptance speech for his incarnation’s first-ever Emmy win, and also the first time a Black man has claimed the talk-series victory.

For those on EGOT watch, legendary entertainer Elton John finally scored an Emmy for his special “Elton John Live: Farewell from Dodger Stadium” won the live variety special award, and given he is a producer, he now has statuette company to go with his multiple Grammys, Oscars and Tony.

In a moving medley celebrating those in the television industry who have passed away in the past 16 months, pop star Charlie Puth weaved his and Wiz Khalifa’s “See You Again” seamlessly into the “Friends” theme “I’ll Be There For You,” ending a rather emotional scroll (including Emmy winners Andre Braugher, Barbara Walters and Bob Barker, among many) on that series’ Matthew Perry.

See the complete list of the long-delayed Primetime Emmy Award winners below.

Outstanding Comedy Series
“Abbott Elementary” (ABC)
“Barry” (HBO)
“The Bear” (FX)*WINNER
“Jury Duty” (Amazon Freevee)
“The Marvelous Mrs. Maisel” (Amazon Prime Video)
“Only Murders in the Building” (Hulu)
“Ted Lasso” (Apple TV+)
“Wednesday” (Netflix)

Outstanding Lead Actress in a Comedy Series
Christina Applegate — “Dead to Me” (Netflix)
Quinta Brunson — “Abbott Elementary” (ABC)*WINNER
Rachel Brosnahan — “The Marvelous Mrs. Maisel” (Amazon Prime Video)
Natasha Lyonne — “Poker Face” (Peacock)
Jenna Ortega — “Wednesday” (Netflix)

Outstanding Lead Actor in a Comedy Series
Bill Hader — “Barry” (HBO)
Martin Short — “Only Murders in the Building” (Hulu)
Jason Sudeikis — “Ted Lasso” (Apple TV+)
Jeremy Allen White — “The Bear” (FX)*WINNER
Jason Segel — “Shrinking” (Apple TV+)

Outstanding Supporting Actress in a Comedy Series
Alex Borstein — “The Marvelous Mrs. Maisel” (Amazon Prime Video)
Ayo Edebiri — “The Bear” (FX)*WINNER
Janelle James — “Abbott Elementary” (ABC)
Sheryl Lee Ralph — “Abbott Elementary” (ABC)
Juno Temple — “Ted Lasso” (Apple TV+)
Hannah Waddingham — “Ted Lasso” (Apple TV+)
Jessica Williams — “Shrinking” (Apple TV+)

Outstanding Supporting Actor in a Comedy Series
Anthony Carrigan — “Barry” (HBO)
Phil Dunster — “Ted Lasso” (Apple TV+)
Brett Goldstein — “Ted Lasso” (Apple TV+)
James Marsden — “Jury Duty” (Amazon Freevee)
Ebon Moss-Bachrach — “The Bear” (FX)*WINNER
Tyler James Williams — “Abbott Elementary” (ABC)
Henry Winkler — “Barry” (HBO)

Outstanding Directing for a Comedy Series
“Barry” (“wow,” directed by Bill Hader) (HBO)
“The Bear” (“Review,” directed by Christopher Storer) (FX)*WINNER
“The Marvelous Mrs. Maisel” (“Four Minutes,” directed by Amy Sherman-Palladino) (Amazon Prime Video)
“The Ms. Pat Show” (“Don’t Touch My Hair,” directed by Mary Lou Belli) (BET)
“Ted Lasso” (“So Long, Farewell,” directed by Declan Lowney) (AppleTV+)
“Wednesday” (“Wednesday’s Child Is Full Of Woe,” directed by Tim Burton) (Netflix)

Outstanding Writing for a Comedy Series
“Barry” (“wow,” written by Bill Hader) (HBO)
“The Bear” (“System,” written by Christopher Storer) (FX)*WINNER
“Jury Duty” (“Ineffective Assistance”, written by Mekki Leeper) (Amazon Freevee)
“Only Murders in the Building” (“I Know Who Did It,” written by John Hoffman, Matteo Borghese, Rob Turbovsky) (Hulu)
“The Other Two” (“Cary & Brooke Go to an AIDS Play,” written by Chris Kelly, Sarah Schneider) (Max)
“Ted Lasso” (“So Long, Farewell,” written by Brendan Hunt, Joe Kelly, Jason Sudeikis) (AppleTV+)

Outstanding Drama Series
“Andor” (Disney+)
“Better Call Saul” (AMC)
“The Crown” (Netflix)
“House of the Dragon” (HBO)
“The Last of Us” (HBO)
“Succession” (HBO)*WINNER
“The White Lotus” (HBO)
“Yellowjackets” (Showtime)

Outstanding Lead Actor in a Drama Series
Jeff Bridges — “The Old Man” (FX)
Brian Cox — “Succession” (HBO)
Kieran Culkin — “Succession” (HBO)*WINNER
Jeremy Strong — “Succession” (HBO)
Pedro Pascal — “The Last of Us” (HBO)
Bob Odenkirk — “Better Call Saul” (AMC)

Outstanding Lead Actress in a Drama Series
Sharon Horgan — “Bad Sisters” (Apple TV+)
Elisabeth Moss — “The Handmaid’s Tale” (Hulu)
Bella Ramsey — “The Last of Us” (HBO)
Keri Russell — “The Diplomat” (Netflix)
Sarah Snook — “Succession” (HBO)*WINNER
Melanie Lynskey — “Yellowjackets” (Showtime)

Outstanding Supporting Actor in a Drama Series
F. Murray Abraham — “The White Lotus” (HBO)
Nicholas Braun — “Succession” (HBO)
Michael Imperioli — “The White Lotus” (HBO)
Theo James — “The White Lotus” (HBO)
Matthew Macfadyen — “Succession” (HBO)*WINNER
Alan Ruck — “Succession” (HBO)
Will Sharpe — “The White Lotus” (HBO)
Alexander Skarsgård — “Succession” (HBO)

Outstanding Supporting Actress in a Drama Series
Jennifer Coolidge — “The White Lotus” (HBO)*WINNER
Elizabeth Debicki — “The Crown” (HBO)
Meghann Fahy — “The White Lotus” (HBO)
Sabrina Impacciatore — “The White Lotus” (HBO)
Aubrey Plaza — “The White Lotus” (HBO)
Rhea Seehorn — “Better Call Saul” (AMC)
J. Smith-Cameron — “Succession” (HBO)
Simona Tabasco — “The White Lotus” (HBO)

Outstanding Directing for a Drama Series
“Andor” (“Rix Road,” directed by Benjamin Caron) (Disney+)
“Bad Sisters” (“The Prick,” directed by Dearbhla Walsh) (AppleTV+)
“The Last of Us” (“Long, Long Time,” directed by Peter Hoar) (HBO)
“Succession” (“America Decides,” directed by Andrij Parekh) (HBO)
“Succession” (“Connor’s Wedding,” directed by Mark Mylod) (HBO)*WINNER
“Succession” (“Living+,” directed by Lorene Scafaria) (HBO)
“The White Lotus” (“Arrivederci,” directed by Mike White) (HBO)

Outstanding Writing for a Drama Series
“Andor” (“One Way Out,’ written by Beau Willimon) (Disney+)
“Bad Sisters” (“The Prick,” teleplay by Sharon Horgan, Dave Finkel, Brett Baer) (AppleTV+)
“Better Call Saul” (“Point and Shoot,” written by Gordon Smith) (AMC)
“Better Call Saul” (“Saul Gone,” written by Peter Gould) (AMC)
“The Last of Us” (“Long, Long Time,” written by Craig Mazin) (HBO)
“Succession” (“Connor’s Wedding,” written by Jesse Armstrong) (HBO)*WINNER
“The White Lotus” (“Arrivederci,” written by Mike White) (HBO)

Outstanding Limited or Anthology Series
“Beef” (Netflix)*WINNER
“Dahmer — Monster: The Jeffrey Dahmer Story” (Netflix)
“Daisy Jones and the Six” (Amazon Prime Video)
“Fleishman Is in Trouble” (FX)
“Obi-Wan Kenobi” (Disney+)

Outstanding Lead Actor in a Limited or Anthology Series or a Movie
Taron Egerton — “Blackbird” (Apple TV+)
Kumail Nanjiani — “Welcome to Chippendales” (Hulu)
Evan Peters — “Dahmer — Monster: The Jeffrey Dahmer Story” (Netflix)
Daniel Radcliffe — “The Weird Al Yankovic Story” (The Roku Channel)
Michael Shannon — “George & Tammy” (Showtime)
Steven Yeun — “Beef” (Netflix)*WINNER

Outstanding Lead Actress in a Limited or Anthology Series or Movie
Lizzy Caplan — “Fleishman is in Trouble” (FX)
Jessica Chastain — “George & Tammy” (Showtime)
Dominique Fishback — “Swarm” (Amazon Prime Video)
Kathryn Hahn — “Tiny Beautiful Things” (Hulu)
Riley Keough — “Daisy Jones and the Six” (Amazon Prime Video)
Ali Wong — “Beef” (Netflix)*WINNER

Outstanding Supporting Actor in A Limited or Anthology Series or Movie
Murray Bartlett — “Welcome To Chippendales” (Hulu)
Paul Walter Hauser — “Black Bird” (Apple TV+)*WINNER
Richard Jenkins — “Dahmer — Monster: The Jeffrey Dahmer Story” (Netflix)
Joseph Lee — “Beef” (Netflix)
Ray Liotta — “Black Bird” (Apple TV+)
Young Mazino — “Beef” (Netflix)
Jesse Plemons — “Love and Death (HBO)

Outstanding Supporting Actress in A Limited or Anthology Series or Movie
Annaleigh Ashford — “Welcome To Chippendales” (Hulu)
Maria Bello — “Beef” (Netflix)
Claire Danes — “Fleishman Is in Trouble” (FX)
Juliette Lewis — “Welcome To Chippendales” (Hulu)
Camila Morrone — “Daisy Jones and the Six” (Amazon Prime Video)
Niecy Nash-Betts — “Dahmer — Monster: The Jeffrey Dahmer Story” (Netflix)*WINNER
Merritt Wever — “Tiny Beautiful Things” (Hulu)

Outstanding Directing for a Limited/Anthology Series or Movie
“Beef” (“Figures of Light,” directed by Lee Sung Jin) (Netflix)*WINNER
“Beef” (“The Great Fabricator” directed by Jake Schreier) (Netflix)
“Dahmer – Monster: The Jeffrey Dahmer Story” (“Bad Meat,” directed by Carl Franklin) (Netflix)
“Dahmer – Monster: The Jeffrey Dahmer Story” (“Silenced,” directed by Paris Barclay) (Netflix)
“Fleishman is in Trouble” (“Me-Time,” directed by Valerie Faris, Jonathan Dayton) (FX)
“Prey” (directed by Dan Trachtenberg) (Hulu)

Outstanding Writing for a Limited/Anthology Series or Movie
“Beef” (“The Birds Don’t Sing, They Screech in Pain,” written by Lee Sung Jin) (Netflix)*WINNER
“Fire Island” (written by Joel Kim Booster) (Hulu)
“Fleishman is in Trouble” (“Me-Time,” written by Taffy Brodesser-Akner) (FX)
“Prey” (written by & story by Dan Trachtenberg) (Hulu)
“Swarm” (“Stung,” teleplay and story by Janine Nabers, story by Donald Glover) (Amazon Prime)
“Weird: The Al Yankovic Story” (written by Al Yankovic, Eric Appel) (The Roku Channel)

Outstanding Talk Series
“The Daily Show with Trevor Noah” (Comedy Central)*WINNER
“Jimmy Kimmel Live!” (ABC)
“Late Night with Seth Meyers” (NBC)
“The Late Show with Stephen Colbert” (CBS)
“The Problem with Jon Stewart” (Apple TV+)

Outstanding Reality Competition Program
“The Amazing Race” (CBS)
“RuPaul’s Drag Race” (MTV)*WINNER
“Survivor” (CBS)
“Top Chef” (Bravo)
“The Voice” (NBC)

Outstanding Variety Special (Live)
“The Apple Music Super Bowl LVII Halftime Show Starring Rihanna” (Fox)
“Chris Rock: Selective Outrage” (Netflix)
“Elton John Live: Farewell from Dodger Stadium” (Disney+)*WINNER
“The Oscars” (ABC)
“75th Annual Tony Awards” (CBS)

Outstanding Scripted Variety Series
“A Black Lady Sketch Show” (HBO)
“Last Week Tonight with John Oliver” (HBO)*WINNER
“Saturday Night Live” (NBC)

Outstanding Writing for a Variety Series
“The Daily Show with Trevor Noah” (Comedy Central)
“Last Week Tonight with John Oliver” (HBO)*WINNER
“Late Night with Seth Meyers” (NBC)
“The Late Show with Stephen Colbert” (CBS)
“Saturday Night Live” (NBC)

The post Emmy Awards Winners List: ‘Succession’ and ‘The Bear’ Dominate With 6 Each, ‘Beef’ Close Behind With 5 appeared first on TheWrap.

“Queer Eye” won the award for Outstanding Structured Reality Program, while “Jeopardy!” won the Outstanding Game Show Emmy in that category’s move from the Daytime Emmys to Primetime Emmys.

The Netflix show “I Think You Should Leave with Tim Robinson” took home short-form series honors in the first award of the night. Robinson won the leading actor short-form category on Saturday night night for his irreverent series. “Succession: Controlling the Narrative” won in the Outstanding Short Form Nonfiction or Reality Series category.

RuPaul earned a record-setting eighth consecutive win for outstanding reality host, adding to his kudos as the Black artist awarded the most Emmys in history.

Barack Obama (already being touted as an Oscar favorite for producing the documentary “American Symphony“) picked up his second consecutive Emmy for Outstanding Narrator, this time for Netflix’s “Working: What We Do All Day.”

John Mulaney picked up a third career Emmy for his soul-baring stand-up special “Baby J,” which chronicled his arduous attempts to get sober.

AppleTV+’s revealing documentary “Still: A Michael J. Fox Movie” picked up four Emmys, including Outstanding Documentary or Nonfiction Special and a directing prize for Oscar-winning filmmaker Davis Guggenheim, and is also among the titles on this year’s documentary Oscar shortlists.

“The Simpsons” once again picked up the Outstanding Animated Program award, bringing its decades-long haul to 37 total wins. Maya Rudolph won her third Emmy for her voicework on Netflix’s “Big Mouth,” bringing her career total to five trophies.

Derek Hough picked up his fourth Emmy as a choreographer for “Dancing with the Stars” while the show picked two additional statues for technical elements. ABC also had a good showing with “Beauty and the Beast: A 30th Celebration,”  which picked up two trophies, as well as “Jeopardy!”

Saturday night’s event saw HBO’s “The Last of Us” nabbing eight Emmys, more than any other show. When the two nights of Creative Arts are combined, “The Last of Us” remains the most-honored show with its eight wins, followed by “Welcome to Wrexham” with five and “The Bear,” “Still: A Michael J. Fox Movie,” “Wednesday” and “The White Lotus” with four.

Overall, HBO Max led all networks or platforms with 22 Creative Arts wins, followed by Netflix with 16, FX with 10, Apple TV+ with nine and Disney+ with eight.

An edited version of the two evenings will air on January 13 on FXX. The 75th annual Primetime Emmy Awards will air live on Fox on January 15 at 8 p.m. ET.

Check out the complete list of winners below.

OUTSTANDING ANIMATED PROGRAM: “The Simpsons”

OUTSTANDING CASTING FOR A REALITY PROGRAM: Erin Tomasello, Jazzy Collins, Moira Paris, and Holly Osifat, “The Traitors” 

OUTSTANDING CHARACTER VOICE-OVER PERFORMANCE: Maya Rudolph, “Big Mouth” 

OUTSTANDING CHOREOGRAPHY FOR A VARIETY OR REALITY PROGRAMMING: Derek Hough, “Dancing with the Stars” 

OUTSTANDING CINEMATOGRAPHY FOR A NONFICTION PROGRAM: “100 Foot Wave”

OUTSTANDING CINEMATOGRAPHY FOR A REALITY PROGRAM: Alistair McKevitt, Craig Hastings, Leighton Cox, Jason Bulley, “Welcome to Wrexham” 

OUTSTANDING COMMERCIAL: Somesuch Apple Inc., “Apple – The Greatest – Accessibility” 

OUTSTANDING COSTUMES FOR VARIETY, NONFICTION OR REALITY PROGRAMMING: “Beauty and the Beast: A 30th Celebration” / “We’re Here”

OUTSTANDING DIRECTING FOR A DOCUMENTARY/NONFICTION PROGRAM: Davis Guggenheim, “Still: A Michael J. Fox Movie” 

OUTSTANDING DIRECTING FOR A REALITY PROGRAM: Bryan Rowland, “Welcome to Wrexham” 

OUTSTANDING DIRECTING FOR A VARIETY SERIES: Liz Patrick, “Saturday Night Live”

OUTSTANDING DIRECTING FOR A VARIETY SPECIAL: Hamish Hamilton and Shawn Carter, “The Apple Music Super Bowl LVII Halftime Show Starring Rihanna”

OUTSTANDING DOCUMENTARY OR NONFICTION SERIES: “The 1619 Project” 

OUTSTANDING DOCUMENTARY OR NONFICTION SPECIAL: “Still: A Michael J. Fox Movie” 

OUTSTANDING EMERGING MEDIA PROGRAM: “For All Mankind Season 3 Experience” 

OUTSTANDING EXCEPTIONAL MERIT IN DOCUMENTARY FILMMAKING: “The Territory”

OUTSTANDING GAME SHOW: “Jeopardy!” 

OUTSTANDING HAIRSTYLING FOR A VARIETY, NONFICTION OR REALITY PROGRAM: Abdiel “Gloria” Urcullu and Tyler Funicelli, “We’re Here”

OUTSTANDING HOST FOR A GAME SHOW: Keke Palmer, “Password”

OUTSTANDING HOST FOR A REALITY OR REALITY COMPETITION PROGRAM: RuPaul, “RuPaul’s Drag Race” 

OUTSTANDING HOSTED NONFICTION SERIES OR SPECIAL: “Stanley Tucci: Searching for Italy” 

OUTSTANDING INDIVIDUAL ACHIEVEMENT IN ANIMATION: Nik Ranieri, “The Simpsons”/Meybis Ruiz Cruz, “Entergalactic”/Maya Edelman, “More Than I Want to Remember”/Almu Redondo, “Star Wars: Visions”

OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION FOR A VARIETY SERIES: “Dancing with the Stars”

OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION FOR A VARIETY SPECIAL: “2022 Rock and Roll Hall of Fame Induction Ceremony” 

OUTSTANDING MAKEUP FOR A VARIETY, NONFICTION OR REALITY PROGRAM: “Beauty and the Beast: A 30th Celebration” 

OUTSTANDING MUSIC COMPOSITION FOR A DOCUMENTARY SERIES OR SPECIAL (ORIGINAL DRAMATIC UNDERSCORE): John Powell, “Still: A Michael J. Fox Movie”

OUTSTANDING MUSIC DIRECTION: Greg Phillinganes, “Library of Congress Gershwin Prize for Popular Song: Joni Mitchell“

OUTSTANDING NARRATOR: Barack Obama, “Working: What We Do All Day” 

OUTSTANDING PICTURE EDITING FOR A NONFICTION PROGRAM: Michael Harte, “Still: A Michael J. Fox Movie”

OUTSTANDING PICTURE EDITING FOR A STRUCTURED REALITY OR COMPETITION PROGRAM: “RuPaul’s Drag Race” 

OUTSTANDING PICTURE EDITING FOR AN UNSTRUCTURED REALITY PROGRAM: “Welcome to Wrexham”

OUTSTANDING PICTURE EDITING FOR VARIETY PROGRAMMING: Stephanie Filo, Malinda Zehner Guerra, and Taylor Joy Mason, “A Black Lady Sketch Show”

OUTSTANDING PRODUCTION DESIGN FOR A VARIETY SPECIAL: Bruce Rodgers, Shelley Rodgers, Lindsey Breslauer, Maria Garcia, and Lily Rodgers, “The Apple Music Super Bowl LVII Halftime Show Starring Rihanna”

OUTSTANDING PRODUCTION DESIGN FOR A VARIETY OR REALITY SERIES: Akira Yoshimura, Keith Ian Raywood, Andrea Purcigliotti, Danielle Webb, “Saturday Night Live”

OUTSTANDING SHORT-FORM COMEDY, DRAMA OR VARIETY SERIES: “I Think You Should Leave with Tim Robinson”

OUTSTANDING SHORT-FORM NONFICTION OR REALITY SERIES: “Succession: Controlling the Narrative”

OUTSTANDING SOUND EDITING FOR A NONFICTION OR REALITY PROGRAM (SINGLE OR MULTI-CAMERA): “Moonage Daydream”

OUTSTANDING SOUND MIXING FOR A NONFICTION PROGRAM (SINGLE OR MULTI-CAMERA): Paul Massey and David Giammarco, “Moonage Daydream”

OUTSTANDING SOUND MIXING FOR A REALITY PROGRAM (SINGLE OR MULTI-CAMERA): Mark Jensen, “Welcome to Wrexham”

OUTSTANDING SOUND MIXING FOR A VARIETY SERIES OR SPECIAL: “Elton John Live: Farewell from Dodger Stadium”

OUTSTANDING STRUCTURED REALITY PROGRAM: “Queer Eye” 

OUTSTANDING TECHNICAL DIRECTION AND CAMERAWORK FOR A SERIES: “Dancing with the Stars” 

OUTSTANDING TECHNICAL DIRECTION AND CAMERAWORK FOR SPECIAL: “Elton John Live: Farewell from Dodger Stadium” 

OUTSTANDING UNSTRUCTURED REALITY PROGRAM: “Welcome to Wrexham” 

OUTSTANDING VARIETY SPECIAL (PRE-RECORDED): “Carol Burnett: 90 Years Of Laughter + Love” 

OUTSTANDING WRITING FOR A NONFICTION PROGRAM: Geoffrey C. Ward, “The U.S. and The Holocaust” 

OUTSTANDING WRITING FOR A VARIETY SPECIAL: John Mulaney, “John Mulaney: Baby J” 

The post Creative Arts Emmys: ‘Welcome to Wrexham’ Leads Night 2 Winners appeared first on TheWrap.

Those eight Emmys were twice as many as “The White Lotus,” “The Bear” and “Wednesday,” which were runners-up on the first of two nights during which the majority of Emmys will be handed out. The second Creative Arts show will take place on Sunday, Jan. 7, while the 75th Primetime Emmy Awards will air live on Monday, Jan. 15.

Other shows with multiple awards were “Beef” with three and “Daisy Jones & the Six,” “The Marvelous Mrs. Maisel,” “Ted Lasso” and “Weird: The Al Yankovic” story with two each.

That last program, a comedic would-be biopic of the pop parodist and humorist, premiered at the 2022 Toronto International Film Festival looking for theatrical distribution but wound up signing a deal with Roku. It won the award for Outstanding Television Movie and a second Emmy for music.

While “The Last of Us” took both of the guest acting awards for drama series, the comedy acting awards went to Sam Richardson for “Ted Lasso” and Judith Light for “Poker Face.” These were the first Primetime Emmy wins for all four actors. (Light, however, does possess two Daytime Emmys.)

Tim Robinson and Jasmine Guy won the leading acting in short form categories for “I Think You Should Leave with Tim Robinson” and “Chronicles of Jessica Wu.”

Pop icon Ed Sheeran added an Emmy to his bevy of Grammys for composing the song “A Beautiful Game” with fellow songwriters Foy Vance and mega-producer Max Martin, the latter of whom now has been nominated for every major industry award.

Other awards went to the casting for “The Bear,” “The White Lotus” and “Beef” and the costumes for “Daisy Jones & the Six,” “House of the Dragon,” “Wednesday,” “Beef” and “The Great.”

Cinematography honors went to “Black Bird” (limited series/movie), “The Marvelous Mrs. Maisel” (one hour), and”Atlanta” (half hour), the latter of which won lenser Christian Sprenger his second Emmy in a row for the late FX series.

“The Last of Us” reigned supreme in the tech and design categories, while “Only Murders in the Building” and “Guillermo del Toro’s Cabinet of Curiosities” won the production design Emmys for half-hour and hour-long TV, respectively.

HBO Max led all networks and platforms with 14 wins, followed by Netflix with 10 and Prime Video with six.

Although the three Emmy shows are taking place in 2024, they honor television achievements from June 2022 through May 2023. The ceremonies were originally scheduled for September 9 and 10, 2023, and voting took place in August of that year. But the shows were postponed due to the actors’ and writers’ strike.  

An edited version of the two evenings will air on January 13 on FXX. The 75th annual Primetime Emmy Awards will air live on Fox on January 15 at 8 p.m. ET.

The 49 categories presented on Saturday included the short-form and guest acting categories and Outstanding Television Movie, as well as additional categories covering casting, choreography, cinematography, costumes, makeup and hairstyling, main title and motion design, music, picture editing, production design, sound editing and mixing, visual effects and stunts.

An additional 48 categories will be presented at the second Creative Arts show, followed by 26 categories plus the Governors Award on the Primetime telecast.

Check out the complete list of winners below.

OUTSTANDING ACTOR IN A SHORT FORM COMEDY OR DRAMA SERIES: Tim Robinson, “I Think You Should Leave with Tim Robinson”

OUTSTANDING ACTRESS IN A SHORT FORM COMEDY OR DRAMA SERIES: Jasmine Guy, “Chronicles of Jessica Wu”

OUTSTANDING CASTING FOR A COMEDY SERIES: Jeanie Bacharach, Jennifer Rudnicke, Mickie Paskal and AJ Links, “The Bear”

OUTSTANDING CASTING FOR A DRAMA SERIES: Meredith Tucker, Francesco Vedovati, Barbara Giordani, “The White Lotus”

OUTSTANDING CASTING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Charlene Lee, Claire Koonce, “Beef”

OUTSTANDING CHOREOGRAPHY FOR SCRIPTED PROGRAMMING: Jon Boogz, “Blindspotting”

OUTSTANDING CINEMATOGRAPHY FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Natalie Kingston, “Black Bird”

OUTSTANDING CINEMATOGRAPHY FOR A SERIES (HALF-HOUR): Christian Sprenger, “Atlanta”

OUTSTANDING CINEMATOGRAPHY FOR A SERIES (ONE HOUR):
M. David Mullen, “The Marvelous Mrs. Maisel

OUTSTANDING CONTEMPORARY COSTUMES FOR A SERIES: “Wednesday”

OUTSTANDING CONTEMPORARY COSTUMES FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Helen Huang, Austin Wittick, YJ Hwang, Mark Anthony Summers, “Beef”

OUTSTANDING CONTEMPORARY HAIRSTYLING: Miia Kovero, Elena Gregorini, and Italo Di Pinto, “The White Lotus”

OUTSTANDING CONTEMPORARY MAKEUP (NON-PROSTHETIC): “Wednesday”

OUTSTANDING FANTASY/SCI-FI COSTUMES: “House of the Dragon”

OUTSTANDING GUEST ACTOR IN A COMEDY SERIES: Sam Richardson, “Ted Lasso”

OUTSTANDING GUEST ACTOR IN A DRAMA SERIES: Nick Offerman, “The Last of Us”

OUTSTANDING GUEST ACTRESS IN A COMEDY SERIES: Judith Light, “Poker Face”

OUTSTANDING GUEST ACTRESS IN A DRAMA SERIES: Storm Reid, “The Last of Us”

OUTSTANDING MAIN TITLE DESIGN: “The Last of Us”

OUTSTANDING MOTION DESIGN: “Ms. Marvel”

OUTSTANDING MUSIC COMPOSITION FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE): Leo Birenberg, Zach Robinson, “Weird: The Al Yankovic Story”

OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE): Cristobal Tapia de Veer, “The White Lotus”

OUTSTANDING MUSIC SUPERVISION: Gabe Hilfer, “The White Lotus”

OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC: Danny Elfman, “Wednesday”

OUTSTANDING ORIGINAL MUSIC AND LYRICS: Ed Sheeran, Foy Vance, Max Martin, “Ted Lasso” (“A Beautiful Game”)

OUTSTANDING PERIOD AND/OR CHARACTER HAIRSTYLING: Nic Collins and Giorgio Galliero, “Queen Charlotte: A Bridgerton Story”

OUTSTANDING PERIOD AND/OR CHARACTER MAKEUP (NON-PROSTHETIC): “The Marvelous Mrs. Maisel”

OUTSTANDING PERIOD COSTUMES FOR A SERIES: Sharon Long, Claire Tremlett, Basia Kuznar, Anna Lau, “The Great”

OUTSTANDING PERIOD COSTUMES FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Denise Wingate, Derek Sullivan, “Daisy Jones & the Six”

OUTSTANDING PICTURE EDITING FOR A DRAMA SERIES: Timothy A. Good, Emily Mendez, “The Last of Us”

OUTSTANDING PICTURE EDITING FOR A MULTI-CAMERA COMEDY SERIES: Kirk Benson and Chris Poulos, “Night Court”

OUTSTANDING PICTURE EDITING FOR A SINGLE-CAMERA COMEDY SERIES: Joanna Naugle, “The Bear”

OUTSTANDING PICTURE EDITING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Nat Fuller, Laura Zempel, “Beef”

OUTSTANDING PRODUCTION DESIGN FOR NARRATIVE CONTEMPORARY PROGRAM (ONE HOUR OR MORE): Mark Scruton, Adrian Curelea, Robert Hepburn, “Wednesday”

OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE PERIOD OR FANTASY PROGRAM (ONE HOUR OR MORE): Tamara Deverell, Brandt Gordon, Shane Vieau, “Gullermo del Toro’s Cabinet of Curiosities”

OUTSTANDING PRODUCTION DESIGN FOR NARRATIVE PROGRAM (HALF-HOUR): Patrick Howe, Jordan Jacobs, Rich Murray, “Only Murders in the Building”

OUTSTANDING PROSTHETIC MAKEUP: “The Last of Us”

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION: “The Bear”

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (ONE HOUR): “The Last of Us”

OUTSTANDING SOUND EDITING FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL: “Prey”

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION: Steve “Major” Giammaria, Scott D. Smith, “The Bear”

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR): Marc Fishman, Kevin Roache, Michael Playfair, “The Last of Us”

OUTSTANDING SOUND MIXING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Lindsey Alvarez, Matthew Waters, Chris Welcker, Mike Poole, “Daisy Jones & the Six”

OUTSTANDING SPECIAL VISUAL EFFECTS IN A SEASON OR A MOVIE: “The Last of Us”

OUTSTANDING SPECIAL VISUAL EFFECTS IN A SINGLE EPISODE: “Five Days at Memorial”

OUTSTANDING STUNT COORDINATION FOR A COMEDY SERIES OR VARIETY PROGRAM: Wade Allen, “Barry”

OUTSTANDING STUNT COORDINATION FOR DRAMA SERIES, LIMITED OR ANTHOLOGY SERIES OR MOVIE: John Koyama, “The Boys”

OUTSTANDING STUNT PERFORMANCE: Lateef Crowder, Paul Darnell, JJ Dashnaw, Ryan Ryusaki, “The Mandalorian”

OUTSTANDING TELEVISION MOVIE: “Weird: The Al Yankovic Story”

The post Creative Arts Emmys: Complete Winners List for Night 1 appeared first on TheWrap.

The series, which is meant to rattle and roil, follows a pair of married HGTV hosts (Emma Stone and Nathan Fielder) who create a nonfiction show within their own pre-existing nonfiction show. To do so, they infiltrate a blue-collar, strip-mall town in New Mexico, posing as do-gooder home designers—but as the series unfolds, they begin to seem more like do-badders.

Editor Adam Locke-Norton insisted that the creepiness did not extend to the making of “The Curse,” despite its origin from master provocateurs Benny Safdie (who plays the couple’s impish producer) and Fielder. “I’ve been hearing from people watching it about how uncomfortable it makes them feel,” Locke-Norton said. “And it’s funny to me because I never felt that discomfort (making it). People have used the word cringe, but that’s not really something that I experienced working on it. To me, it was treated like a drama and the horror is inherent in the material.”

Perhaps the disquieting vibe “The Curse” gives off is that Locke-Norton and his editing colleagues hold scenes for beats beyond what a normal television series would, creating a narrative that suggests there is more than what you’re seeing. “The pace was a little unusual for TV. It’s more like a European film,” Locke-Norton said. “And that was definitely a conscious choice. A major theme in the show is uncertainty, and you can’t rush uncertainty. You need the space and the time to question things. There’s a rule of narrative economy in television, where every- thing matters every moment, but we wanted to short-circuit that impulse.”

Short-circuiting audience impulses is now de rigueur for Locke-Norton, having worked with Fielder on both of his previous TV efforts, “Nathan for You” and “The Rehearsal,” neither of which is interested in soothing viewers. However, this time Fielder is called upon to step up to the plate as a dramatic actor opposite an Oscar winner (Stone) and an award-winning actor-writer-director (Safdie). He rises to the occasion, often with some of the show’s most devious, difficult material.

“It wasn’t too different from our usual collaborations,” Locke-Norton said. “He has no vanity as an actor, and he’s not looking for the take that is the flattering one. It’s much the same as what he’s doing in “The Rehearsal” or “Nathan for You.” One of the most amusing aspects of “The Curse” is how the rhythms change based on what Stone and Fielder’s characters are doing when they’re “on” (as in on camera) versus off (where one great sequence has them slavishly re-enacting a private, funny clothing-removal bit for a social media feed and failing spectacularly). The HGTV show scenes had to play differently but never give the impression of parody.

“One of the funnest things about this was getting to put myself in the shoes of an HGTV editor,” Locke-Norton said. “There are multiple reality shows within the series, right? And each one has its own language. So, we’re not making it a parody of reality TV and not trying to make it a bad show. It’s flawed in the way their characters have envisioned it, but it is definitely trying to be good.”

Despite how unapologetically comic the discomfort gets on “The Curse,” the creators did not want to cheat reality. The shrewd editing, coupled with the choice not to edit in crucial moments, plays a major role in creating this teasingly voyeuristic style. “I don’t think there’s a single jump cut in the whole show,” Locke-Norton said. “We stay in the physical spatial reality as much as possible, and that’s unusual. We don’t cheat someone opening a door and don’t cut out three seconds to get them to that door faster. And I think that all makes you feel like you’re maybe spying on the characters.”

This story first appeared in the Below-the-Line issue of TheWrap’s awards magazine. Read more from the issue here.

The post Finding the Cringey Core of ‘The Curse’: ‘It Was Treated Like Drama and the Horror Is Inherent in the Material’ appeared first on TheWrap.

According to the official rules: Juried category entrants are screened by a panel of professionals in the appropriate peer groups (Animation, Costume Design, Emerging Media Programming,Hairstyling, Makeup and Motion Design) with the possibility of one, more than one or no entry awarded an Emmy. As a result, there are no nominees but instead, a one-step evaluation and voting procedure. Deliberations include open discussions of each entrant’s work with a thorough review of the merits of awarding the Emmy.

There is an additional category for Outstanding Innovation in Emerging Media Programming that the juries decided to not award this year after a close review of entrants.

These below awards will be presented at the 75th Creative Arts Emmys, which will take place at the Peacock Theater in Los Angeles on Sat. Jan. 6, and Sun.
Jan. 7, 2024. An edited presentation will air Sat. Jan. 13, at 8pm EST on FXX.

The following juried award will be presented Saturday, Jan. 6:

Outstanding Motion Design
“Ms. Marvel” • Disney+ • Marvel Studios
Ian Spendloff, Director
David Lochhead, Designer
Daniella Marsh, Designer
David Stumpf, Designer
Philip Robinson, 3D Artist
Matthew Thomas, 3D Artist

To be presented Sunday, Jan. 7, are:

Outstanding Individual Achievement in Animation

Character Design
“Entergalactic” • Netflix • Netflix / Mad Solar / Khalabo Ink Society /
Edelgang
Meybis Ruiz Cruz, Lead Character Designer

Character Animation
“The Simpsons” • “Lisa the Boy Scout” • FOX • A Gracie Films Production
in association with 20th Television Animation
Nik Ranieri, Character Layout

Color
“More Than I Want to Remember” • Paramount+ • Mugeni Film LLC, MTV
Entertainment Studios
Maya Edelman, Animation Director

Production Design
“Star Wars: Visions” • “Screecher’s Reach” • Disney+ • PunkRobot
Studio, Lucasfilm Ltd.
Almu Redondo, Art Director

Outstanding Costumes for Variety, Nonfiction or Reality Programming
“Beauty and the Beast: A 30th Celebration” • ABC • Done+Dusted in
association with Walt Disney Television Alternative and Electric Somewhere
Marina Toybina, Costume Designer
Grainne O’Sullivan, Costume Supervisor
Gabrielle Letamendi, Costume Supervisor
Courtney Webster, Assistant Costume Designer
Arleen Flores, Assistant Costume Designer
Danae McQueen, Assistant Costume Designer

“We’re Here” • “St. George, Utah” • HBO Max • HBO in association with
House of Opus 20 and IPC
Diego Montoya, Costume Designer
Marco Morante, Costume Designer
Joshua “Domino” Schwartz, Costume Designer
Blake Danford, Assistant Costume Designer
Sharon Malka, Assistant Costume Designer
Ricky Reynoso, Assistant Costume Designer

Outstanding Hairstyling for a Variety, Nonfiction or Reality Program
“We’re Here” • “St. George, Utah” • HBO Max • HBO in association with
House of Opus 20 and IPC
Abdiel “Gloria” Urcullu, Department Head Hairstylist
Tyler Funicelli, Hairstylist

Outstanding Makeup for a Variety, Nonfiction or Reality Program
“Beauty and the Beast: A 30th Celebration” • ABC • Done+Dusted in
association with Walt Disney Television Alternative and Electric Somewhere
Bruce Grayson, Makeup Department Head
James MacKinnon, Key Makeup Artist
Sam Fine, Makeup Artist
Julie Socash, Makeup Artist
Melanie Hughes-Weaver, Makeup Artist
Neicy Small, Makeup Artist
Alexei Dmitriew, Makeup FX Artist
Tyson Fountaine, Makeup FX Artist

Outstanding Innovation in Emerging Media Programming
No Emmys awarded; per juried procedure, the assembled panel of professionals
screened the entrants. Deliberations were open and arguments pro and con the
giving of an Emmy to an entrant were discussed. At the conclusion of the
deliberation, the panel determined that no Emmys would be awarded.

The post ‘Beauty and the Beast’ and ‘We’re Here’ Lead Juried Emmy Winners for 75th Ceremony appeared first on TheWrap.

Lakshmi is nominated for Outstanding Host For A Reality Or Competition Program for “Top Chef” and Outstanding Hosted Nonfiction Series for “Taste the Nation.” Lakshmi believes her work on “Taste the Nation” helped her earn a nomination for “Top Chef,” which she has hosted for 17 seasons before announcing her exit in June.

“I think that the last two years, I’ve gotten the host nomination because of my work on ‘Taste the Nation,’ even though the category is for ‘Top Chef.’ I think it was because the Academy and its members saw me in another hosting role that it made them look at my work on ‘Top Chef’ again,” she explained.

The two shows are very different — as are Lakshmi’s roles on them. On “Top Chef,” she is a host and judge for some of the finest professionals in the industry; on “Taste the Nation,” she visits immigrant communities across America and explores the food stories of everyday cooks.

“So much of food television, including, my beloved show ‘Top Chef,’ is either analytical, like we do on judge’s table, or it’s demonstrational, like all the stand-and-stir food shows that you see on many networks. Many also have the competition element. But food is so interwoven into every aspect of our lives that it takes on a highly emotional value. Whether you’re a professional in the food world or an accountant or whatever, food is still very central in your life. And so it occupies this very deep emotional and cultural place,” she explained.

“There are a lot of travel food shows out there, mine is not the only one. Most of them are, again, analyzing the food, and are very lifestyle,” she continued. “And I really wanted to go deeper on a cultural human level, because I could sense how people continue to have such a fascination with ‘Top Chef.’ There’s so much to get through because of how many contestants we have and all the challenges and the getting to taste everything that there’s not much room to really explore that emotionality we do with the contestants. There’s so much joy and pathos that comes from that Olympic-level competition. It’s why we watch the Olympics every four years. But I wanted to take the time and slow down and really look at the cultural implications of food and why and how people are so connected to food as a source of their identity.”

As a South Asian immigrant herself, Lakshmi realized she wanted to use her platform to educate about immigrant communities in the United States, including Nigerians thriving in Houston, Texas or Cambodians in Lowell, Massachusettes.

“I think as an artist and as a storyteller, it is important to seek out new stories. That’s why I created ‘Taste the Nation.’ I’m very thankful for my whole time, which was significant, on ‘Top Chef,’ but I think I have done whatever I’ve set out to do there. I look forward to watching the show and its new evolution with Kristen [Kish]. But I did want to challenge myself, to push myself and my creativity into new places. And I think that’s important for my audience, as well. I also want to reflect the culture as it is today. And I think that immigration is an issue that’s really important, not only to our country, politically, and food-wise, but also for the environment, and agriculturally.”

Lakshmi is equally proud of her final season on “Top Chef,” a “World All-Stars” edition that was filmed entirely in London and Paris — a series first.

“I was very, very glad we went internationally on ‘Top Chef’ because I think it was important to challenge us as a show, a crew, but also to challenge the notion of what it means to be the best food competition show. Can we really say that it’s world-dominating? Well, it is, but let’s test that within the confines of the competition. It was a huge task for us to undertake. And I am really glad that we pushed ourselves.”

Lakshmi has pushed herself on “Taste the Nation,” which she calls “a much smaller show” compared to “Top Chef.” She’s not only the creator and host/executive producer, she also has her hand in every aspect of production.

“On ‘Taste the Nation,’ I sometimes have to get up at like 5:30 am. I will often get up before my alarm because I’ll be my mind is racing — I’ll want to add another question that I want to ask or see if we can do we can squeeze in another little recipe to demonstrate for the viewers because the culture is so interesting. And I’m always taking notes. I’m giving notes on five different edits of each episode, I attend every color-correcting session and post-production, I attend every sound mixing session. I write my own voiceover. I speak very closely with all of my field producers constantly. And so even when I’m not out in the field shooting, I’m back home in New York, prepping for the next episode, and also wrapping the previous one and giving notes of what happened in the field to my editors.”

Despite the emotional investment put into both shows, Lakshmi couldn’t be more grateful.

“One of my greatest blessings has been the ability to make a living with what I naturally love doing,” she reflected. “Whether that’s being a host on ‘Top Chef’ and getting to meet all these wonderful chefs as both competitors and judges and talk shop all day, to traveling the country and embedding myself for a week in each of these communities, I would never ever get to know the country the way I have if it wasn’t for my television career.”

“Top Chef” is streaming on Peacock and “Taste the Nation” is streaming on Hulu.

The post How Padma Lakshmi’s Dual Emmy Noms Represent a Career High – and a Turning Point appeared first on TheWrap.

When production resumed to capture the fallout from the scandal, Neurauter and her story teams sprung back into action. “Our producers were able to come back on and start searching through footage for more like clues,” Neurauter recalled. “We had all these puzzle pieces. And it felt like they were from different puzzles, and we didn’t know how to put them together. So it was helpful when you know the ending that you’re looking for.”

In an interview with TheWrap, Neurauter details when the “Vanderpump Rules” editors was first clued into the “Scandoval,” the challenges of pulling the additional episodes together, and what’s in store for Season 11.

Congratulations on the Outstanding Unstructured Reality Program and Outstanding Editing Emmy nominations. How does it feel?

Neurauter: This is the show’s first two nominations. And to be honest, docusoaps are recognized so infrequently that it feels like a tremendous honor.

Production had fully wrapped when the “Scandoval“ broke and cameras went back up. How did that impact your timeline?

We had locked through Episode 11 and thought we had three more episodes left for the season. Everything was put together. But there was a little bit of footage that didn’t make sense to us, footage that we were mulling over at the time.

And that footage clued you in that something was amiss?

After the beach day, we had Rachel come into SUR the next day for brunch. She had stayed the night at Tom Sandoval’s house and [Tom] Schwartz was there. And that was why she was late. The three of them had hung out a lot that year so it didn’t seem strange. But the way they all spoke about it is what made it stand out to us. The fact that the guys lied about it. That didn’t make a lot of sense to us until the affair was revealed.

[Editors note: Watch the “SUR” scene play out below]

You watched a significant amount of the footage that came in. Was there anything else from your initial viewings that felt off?

It feels obvious in retrospect, but one thing that I remember vividly not making sense to me is the fact that Tom didn’t want to move forward with fertilizing Ariana’s eggs. Because it was something that he had seemed really keen on in the past. And that the second she started talking about it with him again. He was shutting it down. And that felt strange to me. And it didn’t fit with everything we had known about his desire for children in the past.

And Lala Kent. She sometimes sees things that other people miss. And a lot of times she’ll throw out things that sounds so wild and off the wall, that we have to really wonder if she’s saying it for attention or saying it to be funny? We should never think of her that way because she sees things, especially when she’s just slightly removed from them.

What about Rachel? Were there any flags?

Nothing that jumps out at me.

I think what we recognized in Rachel last season is that, on the heels of her breakup with James Kennedy, she seemed a much more confident version of herself. And so, for most of the season, that is what we saw: a young woman trying new things and diving headfirst into her life and her friendships.

Not only did you have to finish the final episodes of the season that filmed real-time, you also had to prepare for the reunion that had already been on the books.

In a situation like that, where everything is happening at once, it feels like bells going off everywhere. For me, the only thing that’s ever worked [in those situations] is having a wonderful team and trusting them to do their jobs. Because you can’t do it all yourself. Everyone comes to it from a place of creativity and love for the cast, and also for figuring out the most interesting way to present their truth to the world. So I think that’s the only thing that that saved it.

Now that you’re several months removed from the “Scandoval” frenzy, how does it feel looking back?

It’s definitely a mix of emotions because I’m very proud of the work that everyone did to make things come together. But it’s hard not to think pretty constantly of how much the lives of the cast have been changed forever because of it. And that changes things. You know, it is not a show that you can sit down and like write an episode of and put on TV like “White Lotus” and have no layered feelings about what’s happened.

It’s funny, because it still feels like we’re in it having begun filming Season 11 so soon after. But in general, I just have always felt lucky to work on a show where the cast is so open and vulnerable. And you know, people behind the scenes put such care into how they work on it and tell the stories that I’m happy that all of that is being recognized for what it is.

Season 10 of “Vanderpump Rules” is currently streaming on Peacock.

The post ‘Vanderpump Rules’ EP Reveals When Story Editors Were First Clued Into ‘Scandoval’: Footage ‘Didn’t Make a Lot of Sense to Us’ appeared first on TheWrap.

After the first season of the show won five Emmys, including Outstanding Animated Program, it’s back in the mix this year, once again vying for the Outstanding Animated Program award.

The nominated episode, “Shadow of Fate,” is a breathtaking tale that splits up our heroes — human Spear and dinosaur Fang. Fang falls in love with another dinosaur (Red), but has to make the heartbreaking decision of whether to try and find a new life with this dinosaur or to stick with her human.

TheWrap spoke to Tartakovsky about what it was like shaping the second season of the series, how he came up with “Shadow of Fate” and what the future for both “Primal” and his other animated series from this year, “Unicorn: Warriors Eternal,” will hold.

When you started out doing “Primal,” did you think of it as two seasons, two chapters?
Honestly, it kind of started as a pilot just to see if it’s going to work. And then after the first couple of weeks of getting animation in, I was like, “Yeah, this is going to start working.” So then we went into more episodes, and after the first 10, I don’t think I thought of more, not in a serious way.

Originally I had a very big, sprawling story with an Egyptian overlord, that type of thing, but it just all felt very cliché. But there was always a bigger story that we’re going to in the initial idea.

Then once we started doing the first season, I changed all that and made it all very simple. Going into the second season, I changed it to be something very different, but still making the story bigger. I felt like I was always afraid that if we did 10 more like the first season, it would lose its luster. It would just feel like we’re done with it. It had to escalate.

Did you hit any roadblocks that you weren’t anticipating?
Well, the first roadblocks was just clichés. In this genre, a lot’s been done between “Stargate,” “10,000 BC,” all that stuff. There’s a lot of it out there. You want to do something that feels original or unique at least, or that we can put our spin on it. And so that was the first hurdle. And let’s change the storytelling. Let’s change our style. Let’s be more surprising, that there’s a mystery and nobody can really tell where one episode goes to the next. Then with the fifth episode curveball, throw that in. And so it makes people uncomfortable because you’re never sure what to expect.

“Shadow of Fate” is the episode that’s nominated for the Emmy. When did you hit on this idea of another dinosaur?
We knew we were going to separate them in Episode 11, and so in 12, which is “Shadow of Fate,” we started talking about, “Well, what happens if they’re separated?” And then now that they both suffered loss for such a long time, it felt right to have a love story for Fang.

Meanwhile, Spear meets a more civilized world he enters into. And so that’s it. Then it started to click. It’s like, “Oh, wait, so Fang falls in love and then they meet, but it’s another dinosaur that wants to kill humans.” And then it kind of hit us like, “Oh, right, it’s a love triangle.”

Once we hit that idea, this bizarre love triangle, that was the gold. We always look for something to do with character and emotion. There’s got to be some kind of a personal stake that’s involved. And once we hit that, it’s like, “This is going to be the most incredible one because without dialogue, without anybody verbalizing what’s happening, can we communicate that in feelings and the frustration that Fang has?” She loves this guy, and then she loves her buddy Spear, right? They’re family. And so now what happens and can we stage all that and can we make the audience feel? And then obviously the horrific loss at the end.

The first season was such a huge hit and Emmy winner. Were you surprised by the response?
For sure, because it’s a very specific, unique show. And in the middle of making it, I go, “I don’t even know who this is for.” I love it. And I know 12-year-old me, 16-year-old me, 25-year-old me, 35-year-old me would all watch this show. And so can we get enough audiences to get into it? Then once it came out, dinosaur people love it, fantasy people like it and the audience starts to build.

Something that was very different about this season was Episode 5, which is set in Victorian England. Where did that come from?
It came from two things. We’re breaking the story down and we’re like, “OK, this is starting to feel linear. We know where this is going. We knew what Episode 6 was. We knew that Episode 3 was him discovering the old civilization, having a lot of big thoughts about it that were clear, but there’s a lot of interpretation. So I wanted to do some kind of a grounding episode.

I was also inspired by an old Robert E. Howard short story where there’s these English scientists talking about caveman times, and then it flashes to caveman times and we see their story for real, how it happened. And I loved reading that short story and like, “Oh, cool, we start with these Victorian dudes, and then you go into this Frank Frazetta-styled caveman story.” I liked the feeling of it. I’ve talked about it before, but I do think “Primal” could be an anthology. And so this was kind of a mini-test to see if it can work as a standalone, but it thematically completely ties into what we were doing through the season.

“Primal” was announced as returning for Season 3. Will it still be in the primeval world or will it have a new setting?
I don’t want to say anything.

You also had “Unicorn: Warriors Eternal” debut this year. Is there any news on Season 2?
I think we’re waiting to hear, still no word yet. And we’ve started Season 3 of “Primal,” and so I don’t know.

The studio is still finding its feet, so I’m not pushing it. “Primal 3″ I was pushing because I was raring to go and I had an idea and the whole thing. “Unicorn,” I’m waiting for the dust to settle a little more, and it’d be nice for the studio to go like, “Oh, Genndy, we want more episodes. It was really successful.” I think ideally, to be honest, I’m waiting for that moment to happen.

But you want it to continue?
Yeah. “Unicorn” is designed as a big sprawling epic, four-tiered series, 40 episodes or whatever. It’s a gigantic story.

All episodes of “Primal” are streaming now on Max.

The post ‘Primal’ Creator Genndy Tartakovsky Says He Views Season 2 as ‘a Love Triangle’ Between 2 Dinosaurs and a Caveman appeared first on TheWrap.

The winner, native Hawaiian Sasha Colby, became the first Polynesian queen to be crowned America’s Next Drag Superstar over Anetra, a queen of mixed Filipino heritage. It marked the first time since Season 3 that the two finalists were of AAPI descent.

Colby was joined by Season 15 contestant Aura Mayari and executive producer Mandy Salangsang in a conversation with TheWrap about representation on the franchise — which is nominated for Outstanding Reality Competition and eight additional Emmy awards this year — and the unique challenges and rewards they faced as AAPI drag queens.

“I was a performer when I was a kid,” recalled Mayari, who immigrated to the United States from the Philippines. “As a viewer, I never saw anybody that looked like me. So that discouraged me. And even auditioning for musicals, even though you could have done better than the other person, [they got the part] because they’re Caucasian.”

But Mayari found drag to be an art that showcased her culture and her skills. “Drag really filled that emptiness that I had with my creative outlets.” Mayari’s drag name was even inspired by her heritage. “It’s gay lingo,” she explained. “I kept hearing this thing called ‘awra.’ It’s always a video of somebody strutting in the streets or being ridiculous. Over the top. I was like, ‘OK, that’s funny.'”

Colby grew up in a conservative Jehovah’s Witness family. “I was always discouraged from being creative and doing anything secular. You only did it for Jehovah.”

It wasn’t until she graduated and went to drag shows and met the queer “aunties and uncles” that she realized how prevalent the trans culture was, even before the term entered more Western/American lexicon.

“There’s so many trans people, trans men and trans women in Polynesian culture. In Hawaii, someone in your family’s trans; someone you know or that you are close with or even grew up with is trans. So that’s always kind of been there,” Colby recalled. “It’s very cool that I get to show the ease of that in drag.”

Colby paid homage to heritage throughout the season, beginning with her tattooed warrior goddess entrance look. “In Hawaiian culture, where you put your tattoos is very sacred… People get big tattoos to mark a big thing in their life: death, marriage, birth. So when we put them in certain places, it’s actually marking point of transition. What was perfect for me was a trans person who is in transition… having a tattoo I was saying yes, we are all in transition in life.”

She also stressed the importance of aloha or respect and love: “Anything I do — especially for work — I was always taught you remember where you came from, be nice to everyone and treat everyone with respect. You’ll get that back.”

Longtime executive producer Salangsang said the contestants’ background stories are the heart and soul of the show.

“There are 50 to 100 various Asian cultures,” she explained. “To promote an understanding and to combat myths, misperceptions and prejudice, [we] really tried to foster a real appreciation for these rich cultures that are full of pageantry and tradition and storytelling.”

Click the video above to watch the entire conversation, including how Colby and Mayari are giving back to their communities.

Season 15 of “Drag Race” is currently streaming on Paramount+.

The post ‘RuPaul’s Drag Race’ Queens Sasha Colby, Aura Mayari Talk Showcasing AAPI Excellence in Season 15 (Video) appeared first on TheWrap.