And viewers never really learned whether the presenter Seth Rogen was joking when he complained that he’d been “lied to” about the ceremony being outdoors, and that, amid a pandemic, it was being held inside a “hermetically sealed tent” instead.Ĭoel, by contrast, invited the audience in. The show spoiled, during highlight clips, major plot reveals on Mare of Easttownand The Mandalorian-likely not an issue for the talent who worked on those series, but certainly a detriment to a casual TV watcher. CBS, the network on which the awards aired, bleeped out profanity, making some speeches unclear. Yet for all of the Emmys’ efforts to attract eyeballs, the show still kept the audience at a remove. Read: HBO’s I May Destroy You explodes the idea of consent It even had an opening number, and set up a separate party for the cast and crew of The Crown, in London, so they could tune in to the main event in downtown Los Angeles. The show featured a host, Cedric the Entertainer, who starred in a handful of pre-taped sketches. The 2021 format mimicked the Golden Globes, seating attendees at tables with food and drink. This year’s Emmys tried several glossy methods to improve ratings after the largely virtual 2020 Emmys failed to attract viewers. Frank’s irritation at basic awards-show decorum and disregard for anyone beyond his own show’s colleagues made him the subject of online mockery.Ĭoel’s was the rare speech that understood what ceremonies such as the Emmys continue to overlook: what the audience at home truly wants to see. The two speeches proved a stark contrast, and not just in length: Coel left an immediate impression, so much so that Olivia Colman, who won for lead actress in a drama a short while later, gave her a shout-out. In a long-winded attempt to thank what seemed to be everyone he’d ever worked with for the show, he ignored the exit music three times and scolded the Emmys’ producers for trying to play him off. See, for instance, last night’s speech from the writer-director Scott Frank, who won an Emmy for directing the limited series The Queen’s Gambit. This formula can work, but it can also highlight Hollywood’s solipsistic tendencies. They’re usually odes to the people who collaborated on the particular project being feted, with shout-outs to relatives and friends sprinkled in, and maybe a personal statement or two attached. Most awards-show speeches, at whatever length, don’t sound like this. And she didn’t just advise them in a night of pomp and circumstance, she reminded them of the value of quieter triumphs. Do not be afraid to disappear-from it, from us-for a while, and see what comes to you in the silence.” She spoke directly to the potential storytellers hoping to one day be onstage. “I dare you … Visibility these days seems to somehow equate to success. “Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable,” she said. In her remarks, Coel did something unusual: She thought about her audience, tried to reach beyond the other entertainers seated in the room with her. Coel gave one of the night’s shortest speeches, and perhaps its most revealing. But for a few seconds, Coel remained still, as if the weight of her first, historic Emmy win might keep her from going onstage. Next to her, Coel’s former co-star Cynthia Erivo whispered something into her ear-a pep talk, maybe. The creator, star, writer, and co-director of I May Destroy You kept her head down, her shoulders slouched. When the camera turned to Michaela Coel after she won an Emmy for limited-series writing, she looked overwhelmed.
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