The 2016 Primetime Emmy Awards may have gotten so much right that it will be looked back on as a unicorn year, or maybe it’s just that the show is finally catching up to the realities of Peak TV. It’s easy to make digs at the broadcast networks and the quality of their programming, but the numbers do not lie: this year, more Emmys went to (and had nominations from) cable, streaming, and premium networks than the Big Four. The top two winners of the awards, HBO (22, including Creative Arts Emmys) and FX (18, who won the most of any basic cable network in history) pulled far and away from third place finisher Netflix (9). Of the Top 10 network winners, less than half were broadcast. Things aren’t just starting to change — they already have.
It was a good night for an number of reasons, including hostJimmy Kimmelkeeping things short and to the point (mostly … sandwiches and the apple setup withMatt Damonnotwithstanding). The show actually clocked in at 3 hours, which is all an awards viewer can ever ask for, and Kimmel kept jokes mild, mostly focusing on the facts (something the writers for the presenters should keep in mind. These people just need to stand there looking pretty, let’s be real — they don’t need to tell stilted jokes).
You can look at thefull list of winners here, which were mostly pretty great. But below you’ll find my picks for the very best and worst moments from the ceremony:
Best — Louie Anderson Winning for Baskets
If you read myEmmy Predictions, you’ll know that I really didn’t believe that Emmy voters would find the margins to give awards to two different actors playing women (given thatJeffery TamborforTransparentwas a shoo-in), yet there were few nominees across the board that I feltdeserved it as much asLouie Andersonin this role that elevated a moderate comedy into something that was so much more. It was not just stunt casting or a one-off joke,AndersonbecameChristine Basketsin a way I don’t know that truly anyone else could have. That he was nominated was shocking enough, but to win? One of night’s greatest moments.
Worst — The Americans Shut Out
Ok, this isn’texactlytrue.Margo Martindalewon for whatever the minimum time is required for a Guest Actor to be on screen and still be nominated for an Emmy, but come on. We finally getThe Americansnominated, and yet the Emmys don’t award it as the best show on television (which it is) nor does it reward the immense acting talents ofKeri RussellandMatthew Rhys. Martindale is great, butThe Americansdeserved more. And even though the actors were passed over, I still thought it had a chance for the best of year (like what happened withGame of Thrones). So while noteverythingabout the 2016 awards can be perfect, of course, this was by far the biggest snub of the night.
Best — Susanne Bier Wins for The Night Manager
This was a pretty stacked category, but Bier is one of the few directors who lensed an entire season this year (or in this case, an entire miniseries). Her direction ofThe Night Managerwas so sumptuous and engrossing, every moment felt like a Vogue spread, sweeping you away across this picture-perfect world of monied excess. (And yet, also shined brightly in its quietest moments). That aesthetic was so important to the story’s tale of seduction as well, and this win was hugely deserved. It’s also interesting howThe Night Manager, AMC’s lone contender, didn’t see any other wins. A few years ago, it would have easily mopped up in its categories.
(Bonus: the award was presented byTom Hiddleston, whose relationship buzz withTaylor Swiftdid not pay off with an Emmy, but it was still a great moment here).
Neutral — Awards Handed Out for Past Slights
Here’s the thing.Ben Mendelsohnwastrulyoutstanding and defined not only his role but the entire first season ofBloodline(and I raged that he didn’t win last year).Tatiana Maslany’s nomination last year helped break the “not taking sci-fi series seriously” run that the Emmys have had for so long, and she is incredible inOrphan Blackto the point where I see her on the red carpet and wonder where her sestras are. Both are fantastic. But this wasn’t the right year for either one. Mendelsohn didn’t have enough to work with in Season 2 ofBloodline, whereasJonathan Bankswas truly incredible inBetter Call Saulthis time around. Maslany has suffered the same fate and the hands of her writers, asOrphan Blackis past its peak, and this truly felt like Keri Russell’s year.
But I can’t be mad. These are two amazing actors who have finally gotten their due. It was at the wrong time, but certainly better late than never.
(Also, shame onKiefer Sutherlandfor being the Travolta of this year – remember “Adele Dazeem"? – and being unable to pronounce Maslany’s name).
Best — Rami Malek Winning Best Actor
This one wasn’t a surprise, but it was still a wonderful moment.Rami Malek’s Season 1 performance as Elliot instantly catapultedMr. Robotfrom what could have been a woefully forgotten cable series into something truly exceptional. And it’s not just that; as Malek addressed this in his acceptance speech when talking about how broken Elliot is and how we might not want to hang out with him, he noted that there’s a piece of Elliot in all of us. During TV’s more glamorous night it can be easy to forget about the weight and importance of some of these dark, damaged characters and stories (see: all of the O.J. Simpson jokes. A murderer, so hilarious!). Malek’s win was important, not just because of his performance, but because of the very character he plays.
Worst — Sherlock’s Abominable Bride Win
Don’t start with me, you’ll be hard-pressed to find a biggerSherlockfan out there. ButAbominable Bridewasnot the series at its best. Yes, it was a paltry category this year since Limited Series have been moved out, which also leftSherlockandLuthercaught between miniseries and movies. But HBO also needs to take a hard look at its movies, which used to be clear winners in its category, and re-tool as necessary if it’s losing to something likeAbominable Bride. And speaking of,Lutherwasn’t perfect and I never thought it would win, but it still deserved it overSherlockthis year, which had a fun start but didn’t come close to sticking its landing.
Best — The People v. O.J. Simpson: American Crime Story Wins Big
Intriguingly, this may be one of the most polarizing series of the year in terms of the amount of love it’s gotten and the number of nominations. Some people loved it, others hated it. I didn’t always like it, but I respected it, particularly the calibre of its acting. So to seeSarah Paulson,Sterling K. Brown, andCourtney B. Vanceall win though made for some of the night’s most triumphant moments. It’s a shame that FX had to compete against itself here, but whileFargohad an outstanding year,American Crime Storyreally never left the zeitgeist, and sometimes that makes all the difference. ButAmerican Crime Storyalso, in its limited format, resurrected the idea of the episode as being important, not just as part of a novelistic approach to storytelling, which was significant. Though in my heart I was hoping for someNight ManagerandFargowins, I’m still happy. Those three actors and their transformative performances deserve everything.
Worst — Game of Thrones Winning for Best Writing
Laughing so I don’t have to cry. For writing? Seriously? “Battle of the Bastards” was a fantastic episode, andMiguel Sapochnikcompletely deserved the win just for the Jon Snow scene alone, where he’s suffocating under the crush of his army. It was beautifully choreographed and stunning in so many ways. Butwriting?Dan WeissandDavid Benioffhave done a lot of good things withGame of Thrones, but writing is not one of them. Other nominees in this category includedSam EsmailforMr. Robot’s pilot, andJoel FieldsandJoe WeisbergforThe Americans’ “Persona Non Grata.” I mean, take your pick. Both are far more stunning examples of the craft of writing than anything produced by Weiss or Benioff. A shameful moment.
Best — Veep Sweep
As I said in my predictions piece, there was no clearer winner in the comedy categories this year thanVeep. It deserved everything, and it (nearly) got it. While I thought it was unfairly passed over for writing for “Mother,” one of the strongest episodes of the year, I really can’t complain since it won so many big awards. It’s so rare for a series, especially a comedy series, to continue to get better and better, especially in the wake of its creator (amicably) departing. But underDavid Mandel’s guidance,Veepdelivered one of its best seasons yet, and gives hope that theverybest is even yet to come.
Bottom line:a great year, a few quibbles, and big hopes for 2017.
Readers, what were some of your favorite or most loathed moments from this year’s awards? Are you still swooning over how great Keri Russell and Matthew Rhys were justsitting therein the front, or so angry they didn’t win that it consumes you? How great was it thatAziz Ansariwon an Emmy for writing an episode about his parents who were there in the audience? Did those peanut butter and jelly sandwiches make you hungry? Let us know in the comments!
