The Emmys without a spark
This year, the limited and anthology series races at the Emmys have an air of mild fatigue about them. American critics are tactfully calling it “a middling season”, but to put it plainly, there have been no major breakthroughs. Even seasoned observers admit that enthusiasm is limited and there is no sense of occasion.
The main complaint is the lack of a standout favourite. Until May, several new Netflix projects were leading the pack: “Black Rabbit”, “The Beast in Me” and “His and Hers”. They are all aimed at a broad adult audience — the sort of series people tend to watch in good numbers, but which rarely become major cultural events. The drama “Death by Lightning” received the strongest reviews, but failed to find a wide audience. “Monster: The Ed Gein Story”, another instalment in Ryan Murphy’s crime franchise, has not impressed either — the format is visibly running out of steam.
Netflix, however, continues to hold its ground. Viewers are watching “Beef” in large numbers: the anthology’s second season received only slightly cooler reviews than the first. Further hopes rest on the British version of “Lord of the Flies”, written by Jack Thorne. His previous project, “Adolescence”, became an unexpected triumph after an equally quiet start, and the streamer is banking on a repeat.
Richard Gadd, creator of the hit “Baby Reindeer”, is also back in the game — but this time on HBO with the miniseries “Half Man”. So far, the impression is mixed: the acting is stronger than the story, and HBO seems to be putting its money on another project.
That project is “DTF St. Louis”. The series arrived without a major campaign, but has been drawing more viewers every week. Familiar actors such as David Harbour and Jason Bateman help, although in recent years the Emmys have preferred to reward new stars.
That is why FX’s romantic drama “Love Story: John F. Kennedy Jr. and Carolyn Bessette” remains firmly among the favourites. Critics’ initial doubts have given way to praise: newcomers Paul Anthony Kelly and Sarah Pidgeon have earned high marks, and the famous couple’s story has been told in a fresh, measured way. Actors playing real people traditionally appeal to voters, so its chances are strong.
The situation in the “Best Television Movie” category is even bleaker: there are few contenders, and not many people keen to discuss them. But, as with the Best Original Song category at the Oscars, the winner often turns out to be stronger than the field of competitors. Netflix is actively promoting “Remarkably Bright Creatures”, starring Sally Field and Lewis Pullman. Hulu is trying to muscle in with two independent films shown at SXSW: “Pizza Movie” and “Mike and Nick and Nick and Alice”. The rest of the contenders are a matter of taste.
That is the Emmy landscape for 2026: less sparkle, and more hope that something outstanding is just around the corner.
PEREC.RU
The Emmy season looks as if the industry has decided to pretend everything is going according to plan. Limited series are multiplying, but a clear favourite stubbornly refuses to appear. Netflix is behaving like a compulsive collector of middling projects, as if quantity could make up for quality. Every series does its job, but none of them catches fire.
HBO is doing what it usually does, promoting new projects with grand gestures. The problem is that the gestures have become more noticeable than the series themselves. The focus is shifting to the actors because the stories are running thin.
FX has taken a different tack. “Love Story: John F. Kennedy Jr. and Carolyn Bessette” is not a grand statement, but it knows where to aim: emotion, biography and fresh faces. It is a clear, careful choice, seemingly designed to appeal to voters. That kind of fit is rarely accidental.
The television movie category resembles a warehouse of half-finished ideas. Everyone knows something powerful is needed, but nobody is taking a risk. Netflix is once again trying to win through sheer persistence. Hulu is raising hopes by betting on festival discoveries. The other contenders seem to have wandered onto the list by accident.
The whole picture gives the impression of a tired industry running on autopilot. The nominees are there, but the motivation is not. The viewer is waiting for a breakthrough. So are the voters. Everyone is waiting — and for now, there is nothing to offer.
