You Should Know About Critic’s Notebook


With a Feasibility Cutoff on May 31 that towering, the advantages of television landed on the network, cabl and ribbons – more shows than anyone, especially TV Academy voters, can be watched properly, wrote the head of TV critic Daniel Fenberg.

The TV season is old conventional wisdom: Campaign attacks and three -month promotion between Emmy’s feasibility window closure on May 31 and the actual award in September can make it very difficult even for the best summer to find traction for almost a year. No one will feel sorry for white people and reservations!

The conventional New Wisdom TV season: a race to sneak the premiere of the last minute’s playline at the deadline for May 31, can make it very difficult for a show that aired two weeks ago to find traction. No one will pity … Ummm … Adaptation of Literature Streaming prestige or … Ummm … Efforts that seem to be discouraged by the movie star to check other egot boxes!

Because experts have called a new film TV for many years – the cinema hopes it is active and relevant popular, but that is a different column – this is inevitable. The excess of the release of the end of the Oscar last-December has become a tradition for decades, which caused countless suspicion competitors to sneak through gaps for various reasons, sometimes related to quality, sometimes with the influence of studio and sometimes with the wishes of Capritice.

Now, TV will enter the business as April and may have seen weekly programming landslides, most of them are clearly intended for Emmy’s consideration, with a few weekends to see 10 or 15 new events, only one third is based on podcasts or related documentary with a true fraud or crime. This is the hustle and cake that will lead to internal cannibalism and general chaos that really benefits anyone. This represents the suddenly market shown from June or July it is likely to be forgotten as a show that premiered last week.

You will never be wrong to blame the Hollywood foreign press association, at least in part. Through ethical sadness and lack of rooted institutional diversity, HFPA makes him and the golden ball irrelevant this year – whether they should be relevant, given their track record, is another different column – and, in the process, it is negotiated a Midseason Awards Signpost that does not exist for film. People can release the event in November and early December and use “Golden Globe Winner!” As a hook for months of additional attention. With Globes, the remnants of their withered self, the SAG award confusing to fully embrace television and awards for criticism choices … Criticism Awards, there is no reason for anyone to be in premiere to the fourth quarter of 2021.

The split-seasonal phenomenon is also the culprit that develops. The separation season is not new. Breaking Bad, Mad Men and The Sopranos got Emmy’s bonus running because of their separate closing season, but what showed like Call Better Call Saul and Stranger Things that were done were different. Yes, there are other reasonable reasons for the separation of their delays in production, complicated effects, etc.-but the two shows have half seasons that duck under the wire for the 74th EMMY Primetime award and then the second part will come out in a particular problem Sunday and will meet the requirements for next year.

There is a risk that some small and severe small shows will be forgotten, whether I return as far as FX reservation dogs or for early 2022 offers like Amazon as we see or someone in a place, critical favorite that requires aggressive and aggressive care and aggressive drums so still visible.

There is a risk that some series of medium -level variable services will be forgotten. Hulu’s Life & Beth has trainwreck and superbad stars, and this is a very touching and funny show – and no one talks about it. Also upstream, it seems that Jessica Biel and Melanie Lynskey are not enough to separate the candy from, “Man, can you believe how crazy the murder case is?” swamp. Apple TV+ already has an extraordinary spring, but even if you consider Pachinko and Severance may have enough passionate worshipers to stay in any conversation about the best things on TV, will star in Oscar and Emmy enough to make anyone Give a sound for a slow horse voting Gary Oldman and girls Elisabeth Moss shining?

Having a movie star front and center on your poster used to be exactly the sort of thing that impressed Emmy voters. I feel confident that Colin Firth and HBO Max’s The Staircase will be major players and that Julia Roberts and a latex-encased Sean Penn will have Starz’s Gaslit on some radars, but who’s going to remember that Nicole Kidman and Apple TV+’s Roar were things that existed?


Having a movie star at the front and at the center of your poster was exactly the kind of thing that impressed Emmy voters. I am convinced that Colin Firth and HBO Max’s The Staircase will be major actors and that Julia Roberts and a Sean Penn in latex will have the Gasage of Starz on certain radars, but who will remember that Nicole Kidman and Apple TV + were things that who existed?And these are not just new things. Some of the best television shows have returned in the past two months, some of multi -year absences, and there will simply be no room for them all to be in the mix of the Emmy. I am not worried about Atlanta or Barry or better call Saul, although it is the year when voters Emmy finally notice that Rhea Seehorn still worries me. But who will defend itself for better things, which has experienced a great final season and will represent a mark of the shame of the TV Academy Si Pamela Adlon is never nominated for the realization?

I have a sinking feeling that certain networks and streamers are about to pay a price to stack everything to launch it by May 31. I only hope that my favorites will not be part of the victims.


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