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[The Good, the Bad, and the Weird of the 2024 Emmy Nominations](
ShÅgun 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, [ShÅgun](, 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 doesnât make it any less baffling. Here, Vultureâs 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, itâs time to settle the score once and for all.](
2.
[How Disneyland Became Americaâs Great National Park Itâs 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.](
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Photo-Illustration: Vulture; Photos: Everett Collection [Todayâs Cinematrix]( Can you name a Ron Howard movie with a âRottenâ 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? Weâve been close. Darren Aronofskyâs 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 weâve 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 Iâm gonna give the tiebreaker to the finale episode of our â100 Years, 100 Snubsâ 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 Wiestâs trauma stones in your pocket in Rabbit Hole: theyâre always in the ether until you reach in your pocket and âOh! That!â 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, itâs always felt like a holy grail we knew we would eventually do. But I donât 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 weâd 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 ânever say neverâ mindset in regards to what we might cover, but if itâs a title we havenât done yet, sometimes the reason is simply because it wouldnât make for the most interesting conversation. Or theyâre like Oliver Stoneâs W. and we ask ourselves âwould people really want to listen to that?â JOE: Sometimes itâs just that I donât 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 itâs that I donât want to pick on a movie with noble intentions that I didnât connect with (Never Rarely Sometimes Always comes to mind). Sometimes itâs just that the subject matter and ephemera around a movie are too much of a bummer, like Angelina Jolie and Brad Pittâs By the Sea. I canât 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 isnât, and then my mind hyperfixates on that omission until I canât 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: Weâve had a full dozen Nicole Kidman films. Even though Meryl Streep is right behind her, I donât see her overtaking Kidman at this point. Weâll 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 weâre 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. Weâve 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 showâs finest moments. Of the 300 movies youâve 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 âHOW?? HOW DID THIS NOT HAPPEN??â Meg Ryan for When a Man Loves a Woman â 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 movieâs Oscar chances died? CHRIS: That is something I think weâre 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, youâre 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, itâs not just that weâre stepping out of our own lived memory, but also the Oscar machine didnât 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 movieâs Oscar chances died? CHRIS: Weâre more likely to have qualitative disagreements than about a filmâs circumstances. Like Milos Forman telling Natalie Portman on the set of Goyaâs Ghosts âyouâre acting like youâre in a bad movie, but itâs not a bad movie, itâs a good movie!â Weâre more likely to be in disagreement of what does and doesnât succeed, and in the exact opposite direction. Joe says good movie bad performance, Iâll 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 movieâs 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 âJustice for Cameron Diaz, our cheetah-print queen,â while the other has to be all âWhy are you booing me? Iâm right!â CHRIS: So youâre saying Iâm 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](
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