The Good, the Bad, and the Weird of the 2024 Emmy Nominations

The latest in pop-culture news, recaps, and reviews, plus close reads, profiles, interviews, and more from Vulture.com. [Brand Logo]( gold rush [The Good, the Bad, and the Weird of the 2024 Emmy Nominations]( Shōgun leads the pack: good! Devery Jacobs snubbed: bad! And wait, the Pop-Tart movie got a nom? Photo-Illustration: Adam Rose/Netflix, Shane Brown/FX, Katie Yu/FX Photo-Illustration: Adam Rose/Netflix, Shane Brown/FX, Katie Yu/FX If you zoom out to the perspective of, say, a bird with bad eyesight flying a mile up in the sky, the most surprising thing about the Emmy Awards, back for a second time in 2024 thanks to the quirks of post-strike scheduling, might be that, in aggregate, they kind of got it right. The best show on television of the last season, [Shōgun](, got the most nomination (25), and the TV Academy also found the space to recognize a wide range of quality work: [Ripley](, [Reservation Dogs](, even [Girls5Eva](. But zoom in any closer and the outline devolves into chaos: The Emmys went hard on prestige-ish streaming shows, skipped over movie stars and broadcast hits, and seemed generally indifferent to a lot of work that had us most excited about the current state of television. (Plus, they liked Unfrosted? Which is a TVmovie?) Given how many categories the Emmys try to cover and the generally fractured industry, all this is to be expected, but it doesn’t make it any less baffling. Here, Vulture’s TV critics did our best to make sense of the scatterplot, identifying where the Academy went right, where they whiffed it, and where their taste just got weird. [read more]( [The Disney Dilemma]( The latest season of Land of the Giants from Vulture and the Vox Media Podcast Network. Listen and subscribe wherever you get your podcasts. 1. [Disney vs. Universal: The Ultimate Theme-Park Showdown From hotels and booze to lines and Wi-Fi, it’s time to settle the score once and for all.]( 2. [How Disneyland Became America’s Great National Park It’s a small world … -dominating empire after all.]( 3. [Muppet*Vision 3D Should Be a National Heritage Site The only way to ensure that this gem of a Disney World theatrical experience is protected is straight-up government intervention.]( [Learn more about RevenueStripe...]( Devour pop culture with us. [Subscribe now]( to save over 40% on unlimited access to Vulture and everything New York. The Latest TV Recaps • The Real Housewives of Dubai: [Beggars Can’t Be Choosers]( [Learn more about RevenueStripe...]( Stories We Think You’ll Like [A Plan to Fix the Emmys It’ll be weird at first, but then it will be better!]( By Jen Chaney [Who’s Presumed Guilty on Presumed Innocent? Have you considered the possibly vindictive nature of Tommy’s cat?]( By Roxana Hadadi [The Bear Is a Different Animal Good-bye to the restaurant known as the Beef. Hello to a looser, lighter season two.]( By Kathryn VanArendonk [I Think About Bill Paxton’s Fiancée in Twister a Lot You may think Twister is a fun natural-disaster popcorn flick, but it is in fact a horror movie about a nightmare third-wheel scenario.]( By Katla McGlynn [The YSL Trial’s New Judge Just Recused Herself, Too The case will have its third judge in three days.]( By Justin Curto [The Bikeriders Is a Tragedy, Actually The ending of Jeff Nichols’s latest isn’t the happy portrait those final smiles suggest.]( By Roxana Hadadi [Well, We Know Why Charli XCX and Lorde Have the Same Hair Girl, so hairstyled.]( By Jason P. Frank [Learn more about RevenueStripe...]( Vulture Games [Today’s Crossword]( 7-Down, Six Letters: Horned animals you can see at Disney’s Animal Kingdom Photo-Illustration: Vulture; Photos: Everett Collection [Today’s Cinematrix]( Can you name a Ron Howard movie with a “Rotten” RT score? Photo-Illustration: Vulture; Photos: Jeff Kravitz/FilmMagic, Jamie McCarthy/Getty Images, Dominik Bindl/WireImage milestones This Had Oscar Buzz Turns 300 (Episodes!) To commemorate this grand occasion, we here at Vulture decided to run hosts [Joe Reid and Chris Feil]( through the Superlatives gamut. Enjoy! Which episode was the longest? CHRIS: Have we cracked three hours? We’ve been close. Darren Aronofsky’s mother! was one that cracked the seal on longer episodes because there was a lot to get into, especially our own against-the-tide feelings about it. JOE: Okay, I just checked and we have yet to crack three hours, but we’ve been knocking on the door a few times. The Eyes Wide Shut episode hit 2:55, though I think that was assisted by a Movie Fantasy League check-in, so I’m gonna give the tiebreaker to the finale episode of our “100 Years, 100 Snubs” miniseries, which also went 2:55. Which movies were each of you most eager to do when you started out? How did those discussions end up going? CHRIS: Episodes we know we will eventually do are like Dianne Wiest’s trauma stones in your pocket in Rabbit Hole: they’re always in the ether until you reach in your pocket and “Oh! That!” This is why doing Collateral Beauty for our 300th feels like a new chapter for the show. I think the way we discussed that movie as friends when it was released set some of the tone of what we do on the show, so in a way, it’s always felt like a holy grail we knew we would eventually do. But I don’t think we could have properly unpacked everything going on in that deeply unwell movie without delivering an episode longer than the actual running time of Satantango. JOE: Our red meat episodes! The classics. I could list a dozen but I will stick to the prompt and say that as a massive fan of The Hours, I knew we’d do an incredible episode on Evening, and we did, with our great friend Richard Lawson. Are there any movies that otherwise meet the criteria that you know you will never do on the show? Why? CHRIS: We tend to adopt a “never say never” mindset in regards to what we might cover, but if it’s a title we haven’t done yet, sometimes the reason is simply because it wouldn’t make for the most interesting conversation. Or they’re like Oliver Stone’s W. and we ask ourselves “would people really want to listen to that?” JOE: Sometimes it’s just that I don’t want to have to sit through a particular movie again. Like, am I going to force myself to watch Out of the Furnace again when instead we could do The Producers? Sometimes it’s that I don’t want to pick on a movie with noble intentions that I didn’t connect with (Never Rarely Sometimes Always comes to mind). Sometimes it’s just that the subject matter and ephemera around a movie are too much of a bummer, like Angelina Jolie and Brad Pitt’s By the Sea. I can’t imagine ever doing that movie on the podcast now. Which episode contained the most difficult IMDb game? CHRIS: I get really tripped up when something should be there but isn’t, and then my mind hyperfixates on that omission until I can’t remember the name of any other movie ever made. This recently happened when Joe gave me Judy Davis, which was missing Life with Judy Garland: Me and My Shadows, probably her most celebrated performance. Open the schools! Or make it available on streaming! Fix it, Steve! JOE: IMDb Known Four hates television, which makes certain actors who are better known for TV than movies very tricky. Like, YOU try to name four Kim Dickens projects when at most one is TV. (I love Kim Dickens, btw.) What actor has been discussed on the most episodes? CHRIS: We’ve had a full dozen Nicole Kidman films. Even though Meryl Streep is right behind her, I don’t see her overtaking Kidman at this point. We’ll have to do something unhinged for when we complete 20 Kidmans. JOE: As we were reminded in her AFI speech, Nicole takes a lot of chances with buzzy directors, and that results in a lot of buzzy misses. And we’re not close to being tapped on her filmography either. Fur: An Imaginary Portrait of Diane Arbus will happen. CHRIS: Consider it a threat. Which episode involved the most memorable guest host? CHRIS: Whitney and Mariah on our Exodus: Gods and Kings episode, kinda. JOE: Yeah, until the fair-use police came a-calling. We’ve had incredible guests! An Emmy nominee, an Oscar nominee, and a Drama Desk nominee, among others. My great friend Pamela Ribon recorded with us in the interim between when she was shortlisted for an Oscar nomination and when she actually got it, which is the most In The Mix our podcast has ever been, I think. CHRIS: Preserving that moment in time with Pam is, I think, one of the show’s finest moments. Of the 300 movies you’ve now discussed, which ones do each of you think is the biggest buzzy-movie Oscar snub? CHRIS: Honestly, Widows. With most of the movies we talk about, their chances on the actual nomination morning were typically dead, or their best chances were narrowed down to a single performance or category. But Widows was on the bubble for multiple nominations right up until nomination morning, I would argue. JOE: Those are my favorite episodes, because I do end up going absolutely nuts. Like “HOW?? HOW DID THIS NOT HAPPEN??” Meg Ryan for When a Man Loves a Woman — a great performance from a beloved actress doing buzzy subject matter in a famously weak Best Actress year. What the HELL?! What episode was hardest to produce, in terms of diagnosing why exactly the movie’s Oscar chances died? CHRIS: That is something I think we’re pretty adept at, though our miniseries about films of the 1970s we did this May asked a little more of us in this regard. Because in that era, you’re talking about an entirely different awards ecosystem than we have today, with a different set of expectation-versus-results criteria that are the foundation of what our show is. JOE: Yeah, the farther back we go in time, it’s not just that we’re stepping out of our own lived memory, but also the Oscar machine didn’t always exist in the way it does now. Those are definitely the most challenging. Which episode involved the biggest disagreement(s) between you guys, in terms of the reasons the movie’s Oscar chances died? CHRIS: We’re more likely to have qualitative disagreements than about a film’s circumstances. Like Milos Forman telling Natalie Portman on the set of Goya’s Ghosts “you’re acting like you’re in a bad movie, but it’s not a bad movie, it’s a good movie!” We’re more likely to be in disagreement of what does and doesn’t succeed, and in the exact opposite direction. Joe says good movie bad performance, I’ll be bad movie good performance. JOE: I remember when we did The Counselor, we very much fundamentally disagreed on whether Cameron Diaz was giving a great performance that was unfairly maligned by squaresville critics or a catastrophic performance that may not have single-handedly tanked the movie’s awards chances but certainly went a long way towards doing so. One of those takes is more fun than the other because you get to be like “Justice for Cameron Diaz, our cheetah-print queen,” while the other has to be all “Why are you booing me? I’m right!” CHRIS: So you’re saying I’m more fun… A newsletter about the perpetual Hollywood awards race, for subscribers only. [Sign up]( to get it every week. [Get the Newsletter]( [logo]( [facebook logo]( [instagram logo]( [twitter logo]( [unsubscribe]( | [privacy notice]( | [update preferences]( This email was sent to {EMAIL}. Was this email forwarded to you? [Sign up now]( to get this newsletter in your inbox. [View this email in your browser.]( You received this email because you have a subscription to New York. Reach the right online audience with us For advertising information on email newsletters, please contact AdOps@nymag.com Vox Media, LLC 1701 Rhode Island Ave NW, Washington, DC 20036 Copyright © 2024, All rights reserved