Who really should have won the 2019 Emmys
Not to sound bitter or anything, but award shows are stupid and dumb and flagrantly disrespectful to Saint Amy Adams.
The 2019 Emmy Awards were no different. There were dizzying highs and crushing lows, from the good folks at Fox honestly thinking we’re interested in seeing The Simpsons in the Year of our Lord 2019 to the wins for Jodie Comer, Billy Porter, and Jharrel Jerome as the first Afro-latino to ever win an acting award.
We’re still hurting a little from some of our faves being shut out of the hard work and recognition they put in for a year of amazing television, so we felt like listing alternatives that should have won instead. After all, it’s not an award ceremony unless you can bitterly complain about the winners and losers until the next award ceremony comes along.
Outstanding Comedy Series
Who won: Fleabag
Who should have won: The Good Place
Fleabag is similar to Friends in the way that it focuses on white people of privilege complaining about #firstworldproblems. While we can’t argue that it isn’t entertaining (if you like that thing) it isn’t balls to the wall funny. It really bothers us that The Good Place has gone this long without any Emmy recognition.
What other shows debate the moral and ethical obligations? What other shows namedrop philosophers? What other shows have characters from Florida you actually enjoy?
The Good Place flipped the traditional sitcom on its head, killed it, and sent it a vaguely defined heaven to debate philosophy and puns and we are better for it.
Unlike some shows (Game of Thrones. We’re obviously bitter about Game of Thrones), The Good Place has gone in a different direction with each season without losing any of its charm and they better get some recognition by the time its final season airs or we’re going to forking lose it.
Outstanding Lead Actor in a Comedy Series
Who won: Bill Hader – Barry
Who should have won: Eugene Levy- Schitt’s Creek
You probably know already that we’re huge fans of Barry, but that doesn’t mean that we think Bill Hader deserved Emmy gold. Listen, if we wanted to watch a sad white man make poor decisions that were directly responsible for the deaths of others, we’d watch more Henry Kissinger documentaries.
Instead of voting for a white man who kills people (that somehow we’re supposed to sympathize with), why not vote for a white, Jewish man with top-notch eyebrows? A vote for Eugene Levy is a vote for wholesome Canadian fun, and all of the Levy family and Schitt’s Creek deserved more recognition for creating a show that is a genuine delight to watch.
Do you know another show that is a complete delight to watch that was blatantly ignored at the Emmys? Don Cheadle is the MVP of whatever he ends up in, whether he’s fighting aliens or Fresh Prince’s, and he and Black Monday deserved a win. Only 12 people watched Black Monday, which is a true shame, since it answers the age-old question of “what if cocaine was a show?”
Outstanding Lead Actress in a Comedy Series
Who won: Phoebe Waller-Bridge – Fleabag
Who should have won: Natasha Lyonne – Russian Doll
It appears as though Phoebe Waller-Bridge was a bit of an upset in the Outstanding Lead Actress category, since so many believed Julia Louis-Dreyfus was a sure thing for Veep.
We guess nobody watched Veep’s final season, then. While Louis-Dreyfus is a goddess who can make anything good through her presence alone, her role in Veep was kind of like forcing a world-renowned artist to make art out of toxic waste. They’ll do a great job, but it’s painful to look at for too long.
We were gunning for Natasha Lyonne for Russian Doll, who was responsible for one of the weirdest, sweetest, most thoughtful shows to come out in the past several years. She was biting and bitter and vulnerable and died approximately 9.76 million times throughout the course of the program. It deserved more recognition.
Outstanding Supporting Actor in a Comedy Series
Who won: Tony Shalhoub – The Marvelous Mrs. Maisel
Who should have won: Andre Braugher – Brooklyn Nine-Nine
One day, Andre Braugher will get the nomination he deserves as Captain Raymond Holt for Brooklyn Nine-Nine and do you know what we will say on that day?
“Vindication.”
Outstanding Supporting Actress in a Comedy Series
Who won: Alex Borstein – The Marvelous Mrs. Maisel
Who should have won: D’arcy Caden – The Good Place
Alex Borstein and her plunger were our favorite parts of the second season of The Marvelous Mrs. Maisel, but come on! D’arcy Carden has existed as an indescribable source of knowledge on The Good Place for three seasons and in the past season, she played almost every character! What does a robot who isn’t a robot have to do to get some attention? Derek would never treat her like this.
Outstanding Guest Actor in a Comedy Series
Who won: Luke Kirby – The Marvelous Mrs. Maisel
Who should have won: Craig Robinson – Brooklyn Nine-Nine
This category is usually a joke anyway, because nine times out of ten, it’s an SNL host that wins this award. The Marvelous Mrs. Maisel is wonderful, but you know what would’ve been better?
Doug Judy.
Brooklyn Nine-Nine came back from the dead with a fierce sixth season, and deserves some credit. Especially when Craig Robertson’s Pontiac Bandit makes a return, except as a good guy working with Jake and Terry. If we’re not going to give credit to Andre Braugher or Andy Samberg, let’s at least give the wonderful recurring cast some credit. The true robbery is no nominations for Brooklyn Nine-Nine.
Outstanding Guest Actress in a Comedy Series
Who won: Jane Lynch – The Marvelous Mrs. Maisel
Who should have won: Maya Rudolph – The Good Place
Look, we all know Jane Lynch is funny. We don’t need an award to prove that, she won two Emmys for hosting Hollywood Game Night.
On the other hand, Maya Rudolph is the best depiction of God ever. The Good Place is already funny, but the minute Judge Gen shows up on screen, you know that episode is about to be your favorite. Watching Gen go down to Earth and quickly learning that humans are awful is a top five moment of season three. Clearly, she wasn’t wrong, otherwise The Good Place would’ve won at least one Emmy.
Outstanding Directing for a Comedy Series
Who won: Fleabag “Episode 1” – Directed by Harry Bradbeer
Who should have won: Russian Doll “Ariadne” – Directed by Natasha Lyonne
Natasha Lyonne wore many hats while working on Russian Doll, acting as producer, writer, lead actress, and of course, directing. Russian Doll was one of the most bizarre yet hilarious things on our screens this past year, and it’s a crime that Lyonne only got a nomination for lead actress.
The finale of this episode was moving, watching both Nadia and Alan have to solve the other’s problems to end the loop they’ve both been stuck in. Lyonne brought such a unique touch to that episode, and without her behind the scenes touch, that episode would be much weaker.
Outstanding Writing for a Comedy Series
Who won: Fleabag “Episode 1” – Written by Phoebe Waller-Bridge
Who should have won: Russian Doll “Ariadne” – Written by Natasha Lyonne
Everything we said about Lyonne as director applies to her as a writer too.
Outstanding Drama Series
Who won: Game of Thrones
Who should have won: Pose
The audacity. The conceit. The ugh.
We’re still so mad we’re having trouble forming direct sentences. Throughout the course of its run, Game of Thrones garnered enough Emmys for their dragons to melt into a hoard large enough to rival Smaug’s, but then the finale happened, and the internet exploded upon itself trying to either make excuses for, debate, or outright disavow the entire series.
We would have supported this win up until “The Long Night”, maybe, but to vote for Game of Thrones after viewing the entire series is to vote on good intentions alone. This is not a Jodie Comer/Billy Porter situation. We’re very salty about this win. Truly outstanding shows have pushed television into a new direction, either through plot or style.
While hundreds of exceptionally talented people (the costumers on GoT, for instance, deserve every award they get), served on GoT, by its bitter end, it was just poor Peter Dinklage functioning as a mouthpiece for why storytellers are the very best people in the entire world and handwaving away how the Westeros government was going to actually work after everything else was destroyed.
You know what has pushed boundaries on TV, through its storytelling and style and characters and costuming? Pose. Pose is doing what GoT can’t or wouldn’t.
Outstanding Lead Actor in a Drama Series
Billy Porter – Pose
Surprise! We’re happy about this! But really, after being screwed over by the Golden Globes and the Critics Choice Awards, Porter deserves this award. This award is given after his season one performance, and we’ve been saying since episode one Pray Tell deserves more credit than he gets.
Watching Porter in Pose has reminded us how to feel, especially after watching him deal with his HIV diagnosis towards the end of season one. We couldn’t be happier that the Television Academy made at least one right decision.
Outstanding Lead Actress in a Drama Series
Who won: Jodie Comer – Killing Eve
Who should have won: Sandra Oh – Killing Eve
We would no sooner pick a favorite nominee from the Outstanding Lead Actress in a Drama Series than we would pick our favorite child. Actually, since we don’t have any children, we would no sooner pick a favorite nominee from the Outstanding Lead Actress in a Drama Series than we would pick our favorite TV show.
Mandy Moore is a treasure, Emilia Clarke made Game of Thrones almost watchable, Laura Linney made us almost want to watch Ozark . . . it’s a difficult decision. Jodie Comer earned the award and our bitter, cynical hearts swelled like the Grinch after he was done sabotaging all of the Whoville villagers, but if we were given a Chekhov’s gun and had to choose, we would pick Sandra Oh.
Oh heightens whatever she is given and watching the cat-and-mouse between Oh and Comer for the past two seasons on Killing Eve has made it impossible for us to tell who we like more.
Outstanding Supporting Actor in a Drama Series
Who won: Peter Dinklage – Game of Thrones
Who should have won: Jonathan Banks – Better Call Saul
Peter Dinklage looked as bored as we were by the final episode of Game of Thrones. We can imagine him counting the $’s his making on his internal abacus as he acted in the final scenes.
Better Call Saul has scratched our Breaking Bad itch, and Giancarlo Esposito and Jonathan Banks have brought nuance and sympathy to villains we were never supposed to root for.
Of the two, we’re rooting for Banks, only because he’s been nominated for the past four years and come up short each time. But hopefully with Game of Thrones off the air, this category will be a shoe-in for both of them in the near future, and both of our boys can walk home with some Emmy gold.
Outstanding Supporting Actress in a Drama Series
Who would: Julia Garner – Ozark
Who should have won: Indya Moore – Pose
It’s great that someone who wasn’t from Game of Thrones won this category, but this category was missing a bit of Angel.
Indya Moore from Pose has been hypnotic to watch and observing their growth from the first season, to their confidence in the second. Their journey has almost been Shakespearian over the past two seasons.
If anyone deserves this award more than Garner, it’s Moore.
Outstanding Guest Actor in a Drama Series
Who won: Bradley Whitford – The Handmaid’s Tale
Who should have won: Kumail Nanjiani – The Twilight Zone
If we were voting for beard alone, Bradley Whitford would win, obviously, because his facial hair in The Handmaid’s Tale was wise-yet-potentially-evil perfection.
But Kumail Nanjiani gave us a comedian engaged in a Faustian deal with the devil for success on The Twilight Zone, justifying eliminating people from existence because they deserved it, and more importantly because it made him successful.
As an additional bonus, The Twilight Zone answered the question of what if Tracy Jordan (Tracy Morgan) on 30 Rock was chaotic evil…rather than just chaotic.
Outstanding Guest Actress in a Drama Series
Who won: Cherry Jones – The Handmaid’s Tale
Who should have won: Cicely Tyson – How to Get Away with Murder
Watching June’s mother in flashbacks on The Handmaid’s Tale has been a roller coaster and given us a lot of depth into who June is. But at the same time, Cicely Tyson has been doing that for five seasons now on How to Get Away with Murder with no recognition.
Annalise is a broken mess, and every time she starts having a drunken breakdown, Ophelia swoops in to save the day, like a true mother does. In the later seasons of How to Get Away with Murder, Ophelia performs a miracle and even makes Annalise tolerable, yet after four nominations, hasn’t won for being Viola Davis’ mother. For shame.
Outstanding Television Movie
Black Mirror: Bandersnatch
Is it a bit unfair to call this a movie? Sure. But Black Mirror: Bandersnatch gave us strong performances from the entire cast and an interesting story, even if you take out the choose-your-own-adventure elements.
Plus, it was innovative to give the audience control of the story. Obviously they don’t have full control, as there is a finite amount of endings, but to let the viewer end the story where they wanted to deserve recognition.
Outstanding Main Title Design
Who won: Game of Thrones
Who should have won: Star Trek: Discovery
Even with the interactive map of who controls what kingdom, it’s tough to keep track of the world of Game of Thrones – especially when entire armies seem to be able to teleport across continents without any troop aircraft other than some dragons with a maximum of two riders. On the other hand, we do understand the beautiful sketches and designs of the equipment of the Federation.
Star Trek: Discovery‘s main title design not only focuses on the innovation of the future, but also the importance of working with a team. It nails down the two core features of all Star Trek shows, just within a 90-second opening. Plus, it’s only 90 seconds instead of what feels like 2.5 minutes with Game of Thrones. If only ST:D moved that briskly.
Outstanding Limited Series
Who won: Chernobyl
Who should have won: When They See Us
Both of these miniseries are taking on an important controversy of our past, but one of them did a better job than the other. And it’s not the one that won.
With the legendary Ava DuVernay behind the scenes, strong performances from both the young and older actors portraying the Central Park Five, and of course the heartbreaking treatment of these teens, When They See Us was the stronger of the two.
Outstanding Lead Actor in a Limited Series or Movie
Jharrel Jerome – When They See Us
When They See Us may have lost the Limited Series award, but Jerome got his recognition for playing Kory Wise. Wise was the oldest of the Central Park Five who ended up being tried and convicted as an adult.
Watching Jerome face the pain of being separated from his friends and forced to deal with all this as an adult is hard to watch. But that’s what makes his performance so spectacular; you’re left feeling uncomfortable and outraged at what Wise went through.
Outstanding Documentary or Nonfiction Special
Leaving Neverland
Although Minding the Gap was a beautiful documentary showcasing the bond between these unlikely strangers thanks to skateboarding, the film got an Oscar nomination too so we’re shining a light on the documentary that 100% deserves its win.
Whether you believe the victims or not, listening to Wade Robson and James Safechuck recount their stories of dealing with Michael Jackson’s abuse are hard to watch yet necessary. Even among the backlash, HBO and the film’s production team have stood by the victims, showing they’re proud of their product.
Outstanding Directing for a Drama Series
Who won: Ozark “Reparations”, Directed by Jason Bateman
Who should have won: Pose “Love is the Message”, Directed by Janet Mock
We love when actors step behind the camera, see above when we gushed over Natasha Lyonne. However, in this case, Ozark can’t compare to the emotional turmoil watching the first AIDS cabaret in Pose.
Janet Mock’s directing brought the cabaret to life, while also showcasing the grief Pray Tell was going through once he lost Costas. This was the episode in season one that really showed up the reality of the AIDS crisis, which up until that point wasn’t addressed as openly.
Outstanding Host for a Reality or Competition Program
RuPaul – RuPaul’s Drag Race
Did you really think we were going to protest this? Mama Ru deserves this and so much more, and that’s all we have to say about that henny.
Outstanding Competition Program
RuPaul’s Drag Race
Again, no reads or shade here: we’re in love.
Outstanding Lead Actress in a Limited Series or Movie
Michelle Williams – Fosse/Verdon
Amy Adams – Sharp Objects
Look, we know we were hard on Sharp Objects when it first premiered. However, we still love Amy Adams, and we’re still pissed she has never won anything from any awards show. #GiveAmySomeGold
Now we know those are the only awards you all care about, but we still want to give some recognition to the other winners at the Creative Emmy Awards honoring the amazing behind-the-scenes talent who make these shows happen. The winners from there are below for you to celebrate.
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Outstanding Choreography for Scripted Programming
Crazy Ex-Girlfriend – “Routines: Don’t Be a Lawyer, Antidepressants Are So Not a Big Deal” Choreographed by Kathryn Burns
Outstanding Choreography for Variety or Reality Programming
World of Dance – Choreographed by Tessandra Chavez
Outstanding Directing for a Limited Series, Movie or Dramatic Special
Chernobyl – directed by Johan Renck
Outstanding Directing for a Reality Program
Queer Eye – “Black Girl Magic” directed by Hisham Abed
Outstanding Directing for a Variety Series
Saturday Night Live – “Host: Adam Sandler” directed by Don Roy King
Outstanding Directing for a Variety Special
Springsteen on Broadway – directed by Thom Zimny
Outstanding Directing for a Documentary/Nonfiction Program
Free Solo – directed by Elizabeth Chai Vasarhelyi & Jimmy Chin
Outstanding Documentary or Nonfiction Series
Our Planet
Outstanding Fantasy/Sci-Fi Costumes
Game of Thrones – “The Bells” Michele Clapton (Costume Designer), Emma O’Loughlin (Assistant Costume Designer) and Kate O’Farrell (Costume Supervisor)
Outstanding Hairstyling for a Limited Series or Movie
Fosse/Verdon – Christopher Fulton (Department Head Hairstylist), Christen Edwards (Key Hairstylist), Nicole Bridgeford (Personal Hairstylist), Christine Cantrell (Hairstylist), Stanley Tines (Hairstylist) and Charlene Belmond (Additional Hairstylist)
Outstanding Hairstyling for a Multi-Camera Series or Special
RuPaul’s Drag Race – “Trump: The Rusical” Hairstylist Hector Pocasangre
Outstanding Hairstyling for a Single-Camera Series
The Marvelous Mrs. Maisel – Jerry DeCarlo (Department Head Hairstylist), Jon Jordan (Key Hairstylist), Peg Schierholz (Personal Hairstylist), Christine Cantrell (Hairstylist) and Sabana Majeed (Hairstylist)
Outstanding Individual Achievement in Animation
Age of Sail
Outstanding Information Series or Special
Anthony Bourdain Parts Unknown
Outstanding Innovation in Interactive Media
Artificial
Outstanding Interactive Program
Nasa and SpaceX: The Interactive Demo-1 Launch
Outstanding Lighting Design/Lighting Direction for a Variety Series
Saturday Night Live – “Host: John Mulaney” Richard McGuinness (Lighting Director) Geoffrey Amoral (Lighting Director), William McGuinness (Lighting Director), Trevor Brown (Lighting Director) and Tim Stasse (Lighting Director)
Outstanding Lighting Design/Lighting Direction for a Variety Special
RENT – Al Gurdon (Lighting Designer), Madigan Stehly (Lighting Director), Ben Green (Lighting Director), Ryan Tanker (Lighting Director) and Patrick Brazil (Lighting Director)
Outstanding Single-Camera Picture Editing for a Comedy Series
Fleabag – “Episode 1”
Outstanding Single-Camera Picture Editing for a Drama Series
Game of Thrones – “The Long Night”
Outstanding Single-Camera Picture Editing for a Limited Series or Movie
Chernobyl – “Please Remain Calm”
Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour) and Animation
Barry – “ronny/lily”
Outstanding Sound Editing for a Limited Series, Movie or Special
Chernobyl – “1:23:45”
Outstanding Sound Editing for a Comedy or Drama Series (One Hour)
Game of Thrones – “The Long Night”
Outstanding Sound Editing for a Nonfiction Program (Single or Multi-Camera)
Free Solo
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation
Barry – “ronny/lily”
Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)
Game of Thrones – “The Long Night”
Outstanding Sound Mixing for a Limited Series or Movie
Chernobyl – “1:23:45”
Outstanding Sound Mixing for a Variety Series or Special
Aretha! A Grammy Celebration For The Queen Of Soul
Outstanding Sound Mixing for a Nonfiction Program (Single or Multi-Camera)
Free Solo
Outstanding Special Visual Effects
Game of Thrones – “The Bells”
Outstanding Special Visual Effects in a Supporting Role
Chernobyl – “1:23:45”
Outstanding Structured Reality Program
Queer Eye
Outstanding Stunt Coordination for a Comedy Series or Variety Program
GLOW
Outstanding Stunt Coordination for a Drama Series, Limited Series or Movie
Game of Thrones
Outstanding Supporting Actor in a Limited Series or Movie
Ben Whishaw – A Very English Scandal
Outstanding Supporting Actress in a Limited Series or Movie
Patricia Arquette – The Act
Outstanding Technical Direction, Camerawork, Video Control for a Special
The Late Late Show Carpool Karaoke Primetime Special 2019
Outstanding Technical Direction, Camerawork, Video Control for a Series
Last Week Tonight With John Oliver – “Psychics”
Outstanding Unstructured Reality Program
United Shades of America with W.Kamau Bell
Outstanding Variety Special (Live)
Live In Front Of A Studio Audience: Norman Lear’s ‘All In The Family’ And ‘The Jeffersons’
Outstanding Variety Talk Series
Last Week Tonight With John Oliver
Outstanding Variety Sketch Series
Saturday Night Live
Outstanding Variety Special (Pre-Recorded)
Carpool Karaoke: When Corden Met McCartney Live From Liverpool
Outstanding Character Voice-Over Performance
Seth MacFarlane – Family Guy
Outstanding Writing for a Drama Series
Succession – “Nobody Is Ever Missing”
Outstanding Writing for a Variety Series
Last Week Tonight With John Oliver
Outstanding Writing for a Variety Special
Hannah Gadsby: Nanette
Outstanding Writing for a Nonfiction Program
Anthony Bourdain Parts Unknown – “Kenya”
Outstanding Writing for a Limited Series, Movie or Dramatic Special
Chernobyl
Exceptional Merit in Documentary Filmmaking
RBG
Outstanding Actor in a Short Form Comedy or Drama Series
Chris O’Dowd – State of Union
Outstanding Actress in a Short Form Comedy or Drama Series
Rosamund Pike – State of Union
Outstanding Animated Program
The Simpsons – “Mad About The Toy”
Outstanding Production Design for a Narrative Contemporary Program (One Hour or More)
The Handmaid’s Tale – “Holly”
Outstanding Production Design for a Narrative Period or Fantasy Program (One Hour or More)
Chernobyl
Outstanding Casting for a Comedy Series
Fleabag
Outstanding Casting for a Drama Series
Game of Thrones
Outstanding Casting for a Limited Series, Movie or Special
When They See Us
Outstanding Casting for a Reality Program
Queer Eye
Outstanding Children’s Program
When You Wish Upon A Pickle: A Sesame Street Special
Outstanding Cinematography for a Limited Series or Movie
Chernobyl – “Please Remain Calm”
Outstanding Cinematography for a Multi-Camera Series
The Ranch – “Reckless”
Outstanding Cinematography for a Single-Camera Series (One Hour)
The Marvelous Mrs. Maisel – “Simone”
Outstanding Cinematography for a Single-Camera Series (Half-Hour)
Russian Doll – “Ariadne”
Outstanding Cinematography for a Nonfiction Program
Free Solo
Outstanding Cinematography for a Reality Program
Life Below Zero – “Series Body Of Work”
Outstanding Commercial
Dream Crazy – Nike
Outstanding Contemporary Costumes
Russian Doll – “Superiority Complex”
Outstanding Period Costumes
The Marvelous Mrs. Maisel – “We’re Going To The Catskills!”
Outstanding Costumes for Variety, Nonfiction or Reality Programming
RuPaul’s Drag Race – “Trump: The Rusical”
Outstanding Creative Achievement in Interactive Media within a Scripted Program
Bandersnatch (Black Mirror)
Outstanding Creative Achievement in Interactive Media within an Unscripted Program
Free Solo – “360”
Outstanding Motion Design
Patriot Act with Hasan Minhaj
Outstanding Multi-Camera Picture Editing for a Comedy Series
One Day at a Time – “The Funeral”
Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score)
Free Solo – Music by Marco Beltrami and Brandon Roberts
Outstanding Music Composition for a Limited Series, Movie or Special (Original Dramatic Score)
Chernobyl – “Please Remain Calm” Music by Hildur Guðnadóttir
Outstanding Music Composition for a Series (Original Dramatic Score)
Game of Thrones – “The Long Night” Music by Ramin Djawadi
Outstanding Music Direction
Fosse/Verdon – “Life Is A Cabaret” Music Direction by Alex Lacamoire
Outstanding Music Supervision
The Marvelous Mrs. Maisel – “We’re Going To The Catskills!”
Outstanding Narrator
Sir David Attenborough – Our Planet
Outstanding Original Interactive Program
Nasa’s InSight Mars Landing
Outstanding Original Main Title Theme Music
Succession – Theme by Nicholas Britell
Outstanding Original Music and Lyrics
Crazy Ex-Girlfriend – “I Have To Get Out/Song Title: Antidepressants Are So Not A Big Deal” Music & Lyrics by Adam Schlesinger and Rachel Bloom, Lyrics by Jack Dolgen
Outstanding Picture Editing for a Structured Reality or Competition Program
Queer Eye “Series Body Of Work” – (Editors) Joseph DeShano, Matthew Miller, Ryan Taylor, Carlos Gamarra, Iain Tibbles and Tony Zajkowski
Outstanding Picture Editing for a Nonfiction Program
Free Solo – Edited by Bob Eisenhardt, ACE
Outstanding Picture Editing for an Unstructured Reality Program
Born This Way – “Series Body of Work”
Outstanding Picture Editing for Variety Programming
Last Week Tonight With John Oliver – “The Wax & The Furious (segment)”
Outstanding Production Design for a Narrative Program (Half-Hour)
Russian Doll – “Nothing In This World Is Easy”
Outstanding Production Design for a Variety Special
RENT
Outstanding Production Design for a Variety, Reality or Competition Series
Saturday Night Live – “Host: John Mulaney, Host: Emma Stone”
Outstanding Prosthetic Makeup for a Series, Limited Series, Movie or Special
Star Trek: Discovery – “If Memory Serves”
Outstanding Short Form Comedy or Drama Series
State of the Union
Outstanding Short Form Nonfiction or Reality Series
Creating Saturday Night Live
Outstanding Short Form Variety Series
Carpool Karaoke: The Series
Outstanding Short Form Animated Program
Love, Death & Robots – “The Witness”
Outstanding Makeup for a Limited Series or Movie (Non-Prosthetic)
Fosse/Verdon – Debbie Zoller (Department Head Makeup Artist), Blair Aycock (Co-Department Head Makeup Artist), Dave Presto (Key Makeup Artist), Sherri Berman Laurence (Makeup Artist), Nicky Pattison Illum (Makeup Artist) and Jackie Risotto (Personal Makeup Artist)
Outstanding Makeup for a Multi-Camera Series or Special (Non-Prosthetic)
Saturday Night Live – “Host: Adam Sandler” Louie Zakarian (Department Head Makeup Artist), Amy Tagliamonti (Key Makeup Artist), Jason Milani (Key Makeup Artist), Rachel Pagani (Additional Makeup Artist), Sarah Egan (Makeup Artist) and Young Beck (Makeup Artist)
Outstanding Makeup for a Single-Camera Series (Non-Prosthetic)
Game of Thrones – “The Long Night” Jane Walker (Department Head Makeup Artist), Kay Bilk (Makeup Artist), Marianna Kyriacou (Makeup Artist), Nicola Matthews (Makeup Artist) and Pamela Smyth (Makeup Artist)