The 2018 Emmy nominations were released today, and as ever, there are plenty of disappointing omissions to go alongside the applause. There are more nominations per category than ever before, and several major categories have eight (#TooMuchTV), yet somehow there are still way too many great choices missing. Here are some of the most upsetting snubs, along with a couple you can feel okay about.
It’s glorious to see Sandra Oh nominated for BBC America’s striking, blackly comedic gem, in which she’s given the kind of great leading role she’s deserved for years. But the fact that the show itself – written by Fleabag creator and all-around genius Phoebe Waller-Bridge – was overlooked is a travesty. Then again, it took several seasons for the Emmys to notice BBC America’s last contender Orphan Black, so maybe they just need time.
Jodie Comer, Killing Eve
This snub is so egregious that it needs its own paragraph! Playing the cheerfully deranged assassin Villainelle, Comer gave a performance so thrillingly unpredictable and mesmerising that watching her feels like watching something genuinely new; something you’ve never quite seen before. The show has been renewed, so here’s hoping Comer will be beside Oh in this category for season two.
Twin Peaks: The Return
This was always a long shot. David Lynch’s 18-hour return to the world of his iconic 1990s mystery drama was more like a fever dream imagining of a Twin Peaks remake than an actual new series of the show. Opinion remains deeply divided on whether its surreal storytelling style represents a work of groundbreaking genius, or a frustrating artistic exercise, and given the show’s gleeful refusal to follow any traditional rules of television structure, it’s not a huge surprise if many Emmy voters came down on the latter side. Still, given how many critics consider it one of the best shows of 2017, its snub is a major one.
The Good Place
Much like Killing Eve, this is a standout show that was completely snubbed except for one (well-deserved) acting nomination. Ted Danson is sensational in The Good Place, and only got better in season two as Michael gradually began to grapple with human emotions, but the show overall is one of the most innovative and consistently dynamic on television. With deadweight like Modern Family finally getting kicked out of the Best Comedy category, it’s disappointing there was no room for TGP.
Mandy Moore and Justin Hartley, This Is Us
For two years in a row, NBC’s breakout family drama has been one of the most nominated shows at the Emmys, and this year’s repeat acting nominees include Sterling K Brown and Milo Ventimiglia. The only two leading actors on the show who have never been nominated are Moore and Hartley, and this year it stings because they both did such strong work in season two. Moore is the emotional anchor of the entire Jack’s Death arc, while Hartley is flat-out devastating in the spotlight episode which focuses on Kevin’s worsening addiction. Nominate the entire cast of This Is Us, is what I’m saying.
A snub you can feel good about! Modern Family had a historic winning streak when it first began, winning five consecutive Best Comedy Emmys in a row, and it’s hung around in the Best Comedy Series category ever since even though few would seriously try to argue it’s one of the best shows on television any more. This is the first time in the show’s nine-year history that it’s not nominated in this category, and it’s time.
A snub you can feel great about! It’s easy to forget, given everything that has happened since, that ABC’s revival of this beloved sitcom was fairly well reviewed back when it premiered in March, and the goodwill around the show was strong despite some of its unexpected political elements. But in the wake of Roseanne Barr’s obscenely racist tweet, the show was abruptly cancelled, and any Emmy chances it might have had died along with it.
One Day At A Time
The Comedy category this year is both incredibly strong and incredibly full (again: eight nominees!) but it’s still hard not to wish there could have been room for one of Netflix’s best and under-sung shows. This reboot of Norman Lear’s classic 1975 sitcom centres on a Cuban-American family in LA, and it’s funnier, warmer and more insightful about working-class America than the new Roseanne ever dreamed of being.
Source: Read Full Article