Mike White and season three of The White Lotus might be to blame for some of that, as it once again dominated the supporting-actor and supporting-actress categories. Carrie Coon, Parker Posey, Natasha Rothwell, Aimee Lou Wood, Walton Goggins, Jason Isaacs, and Sam Rockwell were all nominated, posing the eternal question: Who will be the Jennifer Coolidge of 2025? The jury’s still out, though the cast members with the best monologues—Coon and Rockwell—might have a running start.
The 2024 Emmys were rocked when Hacks surged ahead of The Bear, finally beating it for best comedy series. This time around, Hacks also got more total nominations than The Bear—14 to The Bear’s 13—and seems to have more steam, coming off its mostly acclaimed fourth season. But this time around, in the end, both might be steamrolled by The Studio, Seth Rogen’s very insidery and very industry-beloved Hollywood satire. A Rogen acceptance speech, or three—he’s up for directing and writing the show, as well as starring on it—would tie an appropriately meta bow on top of The Studio’s first season.
For now, there’s still time to analyze the Emmy Nominations 2025 list before the 77th annual Emmy Awards kicks off at 8 p.m. September 14 at the Peacock Theater in Los Angeles. Those watching from home can watch the ceremony, hosted by first-timer Nate Bargatze, via broadcast on CBS, and can stream it on Paramount+ Premium.
OUTSTANDING DRAMA SERIES
Andor The Diplomat The Last of Us Paradise The Pitt Severance Slow Horses The White Lotus
OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES
Kathy Bates, Matlock Sharon Horgan, Bad Sisters Britt Lower, Severance Bella Ramsey, The Last of Us Keri Russell, The Diplomat
OUTSTANDING LEAD ACTOR IN A DRAMA SERIES
Sterling K. Brown, Paradise Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Adam Scott, Severance Noah Wyle, The Pitt
OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
Zach Cherry, Severance Walton Goggins, The White Lotus Jason Isaacs, The White Lotus James Marsden, Paradise Sam Rockwell, The White Lotus Tramell Tillman, Severance John Turturro, Severance
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
Patricia Arquette, Severance Carrie Coon, The White Lotus Katherine LaNasa, The Pitt Julianne Nicholson, Paradise Parker Posey, The White Lotus Natasha Rothwell, The White Lotus Aimee Lou Wood, The White Lotus
OUTSTANDING WRITING FOR A DRAMA SERIES
Andor, “Welcome to the Rebellion” The Pitt, “2:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Full-Moon Party”
OUTSTANDING DIRECTING FOR A DRAMA SERIES
Andor, “Who Are You?” The Pitt, “6:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Chikhai Bardo” Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Amor Fati”
OUTSTANDING COMEDY SERIES
Abbott Elementary The Bear Hacks Nobody Wants This Only Murders in the Building Shrinking The Studio What We Do in the Shadows
OUTSTANDING LEAD ACTOR IN A COMEDY SERIES
Adam Brody, Nobody Wants This Seth Rogen, The Studio Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear
OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES
Uzo Aduba, The Residence Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Jean Smart, Hacks
OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES
Ike Barinholtz, The Studio Colman Domingo, The Four Seasons Harrison Ford, Shrinking Jeff Hiller, Somebody Somewhere Ebon Moss-Bachrach, The Bear Michael Urie, Shrinking Bowen Yang, Saturday Night Live
OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES
Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Kathryn Hahn, The Studio Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary Jessica Williams, Shrinking
OUTSTANDING WRITING FOR A COMEDY SERIES
Abbott Elementary, “Back to School” Hacks, “A Slippery Slope” The Rehearsal, “Pilot’s Code” Somebody Somewhere, “AGG” The Studio, “The Promotion” What We Do in the Shadows, “The Finale”
OUTSTANDING DIRECTING FOR A COMEDY SERIES
The Bear, “Napkins” Hacks, “A Slippery Slope” Mid-Century Modern, “Here’s to You, Mrs. Schneiderman” The Rehearsal, ”Pilot’s Code” The Studio, “The Oner”
OUTSTANDING LIMITED SERIES
Adolescence Black Mirror Dying for Sex Monsters: The Lyle and Erik Menendez Story The Penguin
OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR TV MOVIE
Cate Blanchett, Disclaimer Meghann Fahy, Sirens Rashida Jones, Black Mirror Cristin Milioti, The Penguin Michelle Williams, Dying for Sex
OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR TV MOVIE
Colin Farrell, The Penguin Stephen Graham, Adolescence Jake Gyllenhaal, Presumed Innocent Brian Tyree Henry, Dope Thief Cooper Koch, Monsters: The Lyle and Erik Menendez Story
OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR TV MOVIE
Javier Bardem, Monsters: The Lyle and Erik Menendez Story Bill Camp, Presumed Innocent Owen Cooper, Adolescence Rob Delaney, Dying for Sex Peter Sarsgaard, Presumed Innocent Ashley Walters, Adolescence
OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TV MOVIE
Erin Doherty, Adolescence Ruth Negga, Presumed Innocent Deirdre O’Connell, The Penguin Chloë Sevigny, Monsters: The Lyle and Erik Menendez Story Jenny Slate, Dying for Sex Christine Tremarco, Adolescence
OUTSTANDING WRITING FOR A LIMITED SERIES OR TV MOVIE
Adolescence Black Mirror, “Common People” Dying for Sex, “Good Value Diet Soda” The Penguin, “A Great or Little Thing” Say Nothing, “The People in the Dirt”
OUTSTANDING DIRECTING FOR A LIMITED SERIES OR TV MOVIE
Adolescence Dying for Sex, “It’s Not That Serious” The Penguin, “Cent’anni” The Penguin, “A Great or Little Thing” Sirens, “Exile” Zero Day
OUTSTANDING REALITY COMPETITION PROGRAM
The Amazing Race RuPaul’s Drag Race Survivor Top Chef The Traitors
OUTSTANDING REALITY HOST
RuPaul Charles, RuPaul’s Drag Race Mark Cuban, Lori Greiner, Kevin O’Leary, Barbara Corcoran, Robert Herjavec, Daymond John, Daniel Lubetzky, Shark Tank Alan Cumming, The Traitors Kristen Kish, Top Chef Jeff Probst, Survivor
OUTSTANDING TALK SERIES
The Daily Show Jimmy Kimmel Live! The Late Show with Stephen Colbert
OUTSTANDING SCRIPTED VARIETY SERIES
Last Week Tonight With John Oliver Saturday Night Live
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Nate Bargatze plans to donate $100,000 to the Boys and Girls Club of America — but there’s a catch
Have you watched all the shows? I’ve seen *** lot of commercials of the show. If you’re like Emmy host Nate Bargetzy and haven’t seen all the nominated shows, well, you might still watch the Emmy Awards for this. You’re making *** $100,000 donation to the Boys and Girls Club of America, which is amazing that you’re doing that, but there’s *** catch. Bargetzi says for every Emmy winner’s acceptance speech that exceeds the allotted 45 seconds. And Perfect choice of music. The donation shrinks by $1000 per second. Ouch, deposit too. If they go under, we will put money on top of it. So I would prefer them not all go that under because that can get pretty expensive and the amount of money I give the Boys and Girls Club is totally up to all of Hollywood. Either way, Bargetsi can afford it. He’s currently Billboard’s number one selling stand-up comic in America. His tour grossed more than $80 million last year alone. For his first Hollywood hosting gig. He’s getting advice from veterans like Nicki Glazer, Jimmy Kimmel, Jimmy Fallon, and Conan O’Brien. They’re all just kind of like, you just got to be you and trust that you know what you’re doing. Fortunate to learn that in other settings and so I don’t have to hopefully not learn it, you know, in front of Harrison Ford, right? Bargetsi says, sure, he’ll joke. About Hollywood, but in his trademark polite style like the cancellation of nominee Stephen Colbert’s late night show. Is that off limits, or are you going to address it? I think we’ll say something, but it’ll be done in *** fun, playful way. That family friendly comedic style has helped the Tennessee native gain wide appeal in an era where comedy often divides audiences. Barhetsi met his wife while working at Applebee’s. Welcome. And his daughter introduces him in many of his shows. His father was *** magician and *** clown. I have to ask, did you have *** fear of clowns growing up, because *** lot of kids do. I had *** joke about like I would say, have you ever been yelled at by *** clown because I have. And it’s pretty confusing to get yelled at by *** guy that’s got *** smile painted on his face. Bargetsi doesn’t fear the Emmy stage. In fact, this star can’t wait to be starstruck. Who are you excited to see? Ben Stiller? I’m excited to see. Well, Severance has the most nominations, so you will definitely meet Ben Stiller. We should cross paths, yes.
Emmys host shares his plan to keep speeches short
Nate Bargatze plans to donate $100,000 to the Boys and Girls Club of America — but there’s a catch
Comedian Nate Bargatze is hosting the Emmys this weekend — and he thinks he finally figured out how to keep acceptance speeches brief. He plans to donate $100,000 to the Boys and Girls Club of America.But he’ll dock $1,000 for every second a winner’s speech runs over the 45-second limit. CNN’S Elizabeth Wagmeister sat down with Bargatze to see what else the first-time host has in store for the awards show. The Emmys start at 8 p.m. ET Sunday, Sept. 14.
Comedian Nate Bargatze is hosting the Emmys this weekend — and he thinks he finally figured out how to keep acceptance speeches brief.
He plans to donate $100,000 to the Boys and Girls Club of America.
But he’ll dock $1,000 for every second a winner’s speech runs over the 45-second limit.
CNN’S Elizabeth Wagmeister sat down with Bargatze to see what else the first-time host has in store for the awards show.
The fifth season of Only Murders in the Building premiered on Tuesday, September 9th, with three new episodes chronicling the latest mysterious death to occur at the fictional Arconia. (Further new episodes will be released weekly on Tuesdays until the season finale on October 28.) In the latest installment, crime solving trio and podcast co-hosts Charles-Haden Savage, Oliver Putnam, and Mabel Mora, played by Steve Martin, Martin Short, and Selena Gomez respectively, will have to join forces one again to figure out who murdered their beloved doorman, Lester (Teddy Coluca).
Outside of the show, the trio has a wedding to prepare for. Gomez is planning to wed music producer Benny Blanco, and though a wedding date hasn’t been set yet, both Gomez and Blanco have gone on bachelorette and bachelor parties—Gomez to Mexico and Blanco to Vegas—according to People. While appearing on The Tonight Show to promote the new season of Only Murders, Gomez, flanked by Short and Martin, fielded questions about her upcoming nuptials from host Jimmy Fallon. “It’s wonderful, I’m very lucky, everything is going well,” she said. “I’m sure our invitations will be arriving any day now…”, quipped Martin, leading Fallon to ask if she invited her elder co-stars.
“Of course they’re invited. Marty will be the ring bearer”, said Gomez. In true Short fashion, the SAG Award winner broke out a Gollum impression. “Here’s your ring Selena! Take it,” joked Short.
With the 2025 Emmy Awards airing on Sunday, many television shows are being talked about and rewatched as people prepare for the big night.“The Bear” has been widely discussed recently because, while it has little to no comedic elements, it is in the comedy category at the Emmys. Why?Simply put, “The Bear” is labeled as a comedy at the Emmys simply because it can be. The Emmys and Television Academy have no rules about how shows are chosen and placed into each category. In fact, the Television Academy does not even pick which categories they believe each television show should compete in. Instead, the network picks the category for each show. In the case of “The Bear,” FX decided they wanted to submit it to the comedy category, and since there are no rules against it, it will be considered a comedy. FX could have decided to put “The Bear” in a comedy category for a few reasons. The first reason is that comedy categories are often less competitive than the drama categories when it comes to Emmy Awards. When FX first nominated “The Bear,” if it were in the drama category, it would have been up against “Succession” in its final season. Knowing that “Succession” would potentially sweep, the network gave “The Bear” a better chance in the comedy category.The second reason pertains to the 2024 Emmy Awards. This year, FX also nominated its show, “Shōgun,” for the Emmys’ drama category. If “The Bear” was also in the drama category, it would be competing with another FX show. To maximize the network’s hopeful wins, FX can put both shows in separate categories.
With the 2025 Emmy Awards airing on Sunday, many television shows are being talked about and rewatched as people prepare for the big night.
“The Bear” has been widely discussed recently because, while it has little to no comedic elements, it is in the comedy category at the Emmys.
Why?
Simply put, “The Bear” is labeled as a comedy at the Emmys simply because it can be. The Emmys and Television Academy have no rules about how shows are chosen and placed into each category.
In fact, the Television Academy does not even pick which categories they believe each television show should compete in. Instead, the network picks the category for each show.
In the case of “The Bear,” FX decided they wanted to submit it to the comedy category, and since there are no rules against it, it will be considered a comedy.
FX could have decided to put “The Bear” in a comedy category for a few reasons.
The first reason is that comedy categories are often less competitive than the drama categories when it comes to Emmy Awards. When FX first nominated “The Bear,” if it were in the drama category, it would have been up against “Succession” in its final season. Knowing that “Succession” would potentially sweep, the network gave “The Bear” a better chance in the comedy category.
The second reason pertains to the 2024 Emmy Awards. In 2024, FX also nominated its show, “Shōgun,” for the Emmys’ drama category. If “The Bear” was also in the drama category, it would be competing with another FX show. To maximize the network’s hopeful wins, FX can put both shows in separate categories.
“The Conjuring: Last Rites” busted past all expectations in its debut weekend to make it lucky No. 7 of a streak of successful openings at the box office for distributor Warner Bros. Pictures.
On today’s episode of “Daily Variety” podcast, Rebecca Rubin, Variety’s box office chief, breaks down the strong showing for film No. 9 in the “Conjuring” horror franchises. With a total haul of more than $83 million, the film delivered about $20 million more at the domestic box office than was forecast. It also performed surprisingly well for a horror title on Imax screens.
“This is the seventh consecutive movie for Warner Bros. to open above $40 million,” Rubin says. “They are the first studio in history to ever achieve that consistent streak. And it’s also notable because they had a pretty rocky start to the year as well as end to 2024.” After misses with “Mickey 17” and “Alto Knights,” the studio has rebounded with “A Minecraft Movie,” “Sinners,” “Final Destination Bloodlines,” “Superman” and “Weapons.”
Warner Bros. Pictures chiefs Pamela Abdy and Michael De Luca deserve credit for putting “an emphasis on filmmaker driven, original fare — what’s been considered the riskiest kind of movie to put out,” Rubin says. “And with a movie like ‘Sinners’ or ‘Weapons,’ those were both original horror films that turned into huge sleeper hits. What they’ve done successfully is lean into directors who have really strong visions, and hoping that that’s going to be the driving factor in the marketing and getting people to come to see these movies.”
Also in the episode, Variety‘s Michael Schneider and Jazz Tangcay weigh in from backstage at the Creative Arts Emmy Awards. The two discuss the trends and read the tea leaves from the early wave of winners leading in to the Sept. 14 main event, which airs this year on CBS. Schneider, who is television editor, noted that the first wave of winners indicates a narrowing race among “Severance” and “The Pitt” on the drama side and “Hacks” and “The Studio.”
“This year, it really is all about ‘The Studio’ versus ‘Hacks.’ And then, of course, ‘Severance’ versus ‘The Pitt.’ And in the guest actor categories in both drama and comedy, it was split 50-50. ‘Severance’ one one. Then ‘The Pitt’ won one. ‘Studio’ won one. And then ‘Hacks won one. So going into the big ceremony next week, it is a race between those shows,” he said.
Tangcay, who is senior artisans editor, pointed to a poignant moment when Jessica Lee Gagné became the first woman to win an Emmy for cinematography in a one-hour program, for her work on “Severance.” Gagné also directed
“It’s crazy to think that no woman has ever won in that category until last night,” Tangcay says. “That was a beautiful moment. We spoke with her backstage and she was like, ‘This was a dream that I’ve wanted for a long time.’ “
Backstage at the Creative Arts, Shawn Hatosy, who won guest actor in a drama series for “The Pitt,” and presenter Giancarlo Esposito both spoke from the heart when asked about issues that the industry faces, from the loss of production in Los Angeles to the decline in moviegoing since the pandemic.
“I know what a set feels like in Los Angeles. I know what experienced crews, how they work, how they operate, and in many cases, the people that I’m meeting, the carpenters, I’m meeting the transportation captains, I’m meeting the makeup people, the hair people, everything,” Hatosy said. “So even more so this recognition and the fact that this show, is not a very expensive show. It it shoots right here in Los Angeles. And so I think that there’s a chance that maybe some other people that make these decisions will, see the success and find a model like it so that we can employ a lot of people in Los Angeles.”
Esposito suggested that exhibitors and studios join forces to take radical steps to reinvigorate the public’s passion for going to the multiplexes.
“Part of the solution is to look at the model in a new way, is to look at how we make film and what we charge for ticket prices in the movie theaters in a new way. We are crying about how streaming has sucked away people going to films and having a social experience together, but we’re not doing anything about it,” Esposito said. “I love that we could stream and sit home and do that. I’m taking nothing away from that. But what about offering just offering a weekend in a movie theater for the big companies who have more than one for free? Or one weekend, all movies are free to reignite people’s passion for film. Get them in the theater. Charge for the popcorn, charge for the soda. But the ticket price is free.”
(Pictured: “Severance” cinematography winner Jessica Lee Gagné at the Creative Arts Emmy Awards)
The sixth time will be the charm for Noah Wyle. The ER vet earned five consecutive Emmy nominations for playing Dr. John Carter on the medical drama over two decades ago, and should finally take home his first statue for his starring role as Dr. Michael “Robby” Robinavitch on yet another addictive medical drama. Wyle’s biggest competition is Adam Scott, who leads Severance, the most nominated show this season at the Emmys and the probable outstanding-drama-series winner. (Pascal, Brown, and Oldman, it’s an honor to be nominated!) But the combination of leading this season’s buzziest new prestige drama and the feeling that Wyle is long overdue for recognition means that Dr. Robby’s got this all sewn up. —Chris Murphy
OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES
Zach Cherry, Severance PREDICTED WINNER: Walton Goggins, The White Lotus Jason Isaacs, The White Lotus James Marsden, Paradise Sam Rockwell, The White Lotus Tramell Tillman, Severance John Turturro, Severance
This one’s a bit of a nail-biter that may come down to which drama has a better overall night at the Emmys: Severance or The White Lotus. (James Marsden, thank you for playing.) Conventional wisdom states that Goggins has the best chance of the White Lotus pack, while Tillman is the standout from season two of Severance. But which actor will go all the way? Given the reach of his role and the je ne sais quoi of the performer himself, it seems like it’ll be Goggins by a nose—but if Severance sweeps the drama categories, Tillman could well get the boost he needs to win. —Hillary Busis
OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES
Patricia Arquette, Severance PREDICTED WINNER: Carrie Coon, The White Lotus Katherine LaNasa, The Pitt Julianne Nicholson, Paradise Parker Posey, The White Lotus Natasha Rothwell, The White Lotus Aimee Lou Wood, The White Lotus
An actual race! Nearly all—at least a lot—of the White Lotus ladies are pitted against one another in this category, but it’s likely that Carrie Coon will edge out her costar Parker Posey for the win. Posey’s role generated the most memes for the series, but Coon’s monologue in the final episode gave this season its most emotional moment. Coon is also coming off a great season of another HBO show, The Gilded Age, which could be top of mind for Emmy voters. And if there is a groundswell of support for The Pitt, Katherine LaNasa could even pull off a surprise upset in the category. Tsunami! Lorazepam! —John Ross
OUTSTANDING WRITING FOR A DRAMA SERIES
Andor, “Welcome to the Rebellion” The Pitt, “2:00 P.M.” The Pitt, “7:00 A.M.” PREDICTED WINNER: Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Full-Moon Party”
Slow Horses won this category last year in what was considered the biggest surprise of the night. And The White Lotus won the writing award back when it was competing as an anthology series. The Pitt earning two nominations signals that the writing branch really likes that show. But the better strategy here is to just have one episode nominated—it’s very rare for a show with multiple nominations to win. (Just look at Mad Men, which went home empty-handed in the writing category when it had three nominations in 2012.) So Severance’s “Cold Harbor,” the incredible finale of the second season and one of the most talked-about episodes of TV this year, should walk away easily with this. —R.F.
OUTSTANDING DIRECTING FOR A DRAMA SERIES
Andor, “Who Are You?” The Pitt, “6:00 P.M.” The Pitt, “7:00 A.M.” Severance, “Chikhai Bardo” PREDICTED WINNER: Severance, “Cold Harbor” Slow Horses, “Hello Goodbye” The White Lotus, “Amor Fati”
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Hillary Busis, Rebecca Ford, John Ross, Chris Murphy, Savannah Walsh
Photo: Vulture; Photos: Lucasfilm Ltd., FX, Apple TV+, ABC
At their best and most pure, the Emmys ought to be a recommendation engine, where the TV industry presents its picks for the best of the best and encourages the home audience to go back and watch anything good they might’ve missed while they were busy with Love Island earlier this year. The TV Academy nominated 21 total shows across Outstanding Comedy Series, Outstanding Drama Series, and Outstanding Limited Series or Anthology. I don’t think they nominated any outright bad shows, but some are certainly more worthy of their nominations than others. And since the way I show love and appreciation is by making lists, I’ve decided to rank all 21, from worst to best. These rankings are based on the season they were nominated for only. And I have done my best to bridge the apples-to-oranges nature of comparing dramas, comedies, and limited series. Be thankful I didn’t decide to include the talk and reality shows or you’d be in for some real chaos.
Photo: Nick Wall/Netflix
Platform: Netflix 2025 Emmy nominations: 10
Returning for the first time since 2023, Black Mirror delivered what you’d expect: a series of parables and dark prophecies about our technological future. I can’t say for sure how much of my low ranking here is attributable to the fact that the terrifying technological present has made the showless novel or, whether after seven seasons, these stories have simply become less impactful and more predictable.
Photo: Patrick Harbron/Disney
Platform: Hulu 2025 Emmy nominations: 7
I was riding so high on Only Murders in the Building after its musical-themed third season; it was the perfect example of a show taking a big swing to ward off stagnation. I respected the swing the show took in season four, decamping to Los Angeles to deal with a film adaptation of the titular podcast. Unfortunately, rather than stay in L.A., the show became bicoastal, keeping one foot in the Arconia with a new cadre of eccentrics (and yes, Richard Kind in an eye patch was a highlight). But the resulting season had to juggle far too many elements, and only a few of them worked: Molly Shannon as a harried Hollywood producer — yes. Eugene Levy, Zach Galifianakis, and Eva Longoria as the actors playing Charles, Oliver, and Mabel — no. The longer the season went on, the more tiresome it became, culminating in a massive “who cares” of a killer reveal. If history is any indicator, the odd-numbered seasons of Only Murders are the good ones, so there’s reason to be optimistic for the fifth. But this one was a real dud.
Photo: Liane Hentscher/HBO
Platform: HBO 2025 Emmy nominations: 16
It’s not that I think The Last of Us took some great dip in quality in its second season. The actors were across-the-board great, including some excellent new additions in Kaitlyn Dever, Catherine O’Hara, and Jeffrey Wright. But once the Big Thing happens in the second episode, the season becomes narratively unbalanced and too unsatisfying. That the show brings Joel back for a flashback episode feels like an admission that Ellie on her own doesn’t have enough story to fill up a full season while we wait for the confrontation with Abby that comes much further down the line. Once the entire series is complete, there’s every chance season two will age better in closer proximity to what comes next. We’re not there yet.
Photo: Miles Crist/Netlfix
Platform: Netflix 2025 Emmy nominations: 11
This got tagged as trash by many, and unsurprisingly so, as the Monster(s) series sits at the nexus point of two trends that are morally unfashionable at the moment: true crime and Ryan Murphy. There is certainly a layer of ick that pervades this often gleeful depiction of the 1989 murder of Jose and Kitty Menendez by their sons, Lyle and Erik, and the media circus that followed. But while Murphy and co-creator Ian Brennan take liberties with the Menendez case, their decision to tell the story from multiple and often contradictory angles is a satisfying one. Cooper Koch was rightly praised (and Emmy nominated) for his frighteningly malleable turn as Erik Menendez, but I thought it was too bad that Nicholas Alexander Chavez (as coked-up alpha brother Lyle) and Ari Graynor (as attorney Leslie Abramson) were passed over.
Photo: Saeed Adyani/Netflix
Platform: Netflix 2025 Emmy nominations: 3
The title of this rom-com turned out to be a dare that a bunch of viewers — and certainly a critical mass of Emmy voters — took Netflix up on. Nobody Wants This nails the fundamentals: two strong leads in Adam Brody and Kristen Bell and at least a few supporting characters who pop. The premise — handsome young rabbi meets shiksa with a sex podcast — got the show in hot water over whether its POV denigrated Jewish women (creator Erin Foster converted to Judaism to marry her husband, leading to a lot of raised eyebrows about the show’s autobiographical nature), but what the show needs more than refuge from the takes is simply to be funnier. It’s not unfunny. It just should be more funny. Brody and Bell have the “rom” part nailed; they could use some help on the script level when it comes to the “com.”
Photo: Brian Roedel/Disney
Platform: Hulu 2025 Emmy nominations: 4
Full disclosure: At the outset, I thought Paradise looked so dumb. There have been so many postapocalyptic shows (Silo, Fallout, Snowpiercer) in which humanity has to exist in some kind of metaphorical bubble (or a literal bubble, if you’re Under the Dome). The concept of an artificial Perfect American Town built deep inside a mountain to protect selected citizens from a vaguely articulated disaster event was one thing, but to add a murder-mystery element to that, and the murder victim is the president? A hat on a hat on a hat on a hat! Somehow, though, Paradise turns out to be compelling popcorn TV, punctuated by its two Emmy-nominated performances: Sterling K. Brown is all leading-man intensity as the Secret Service agent determined to get to the truth, while Julianne Nicholson’s Machiavellian deep-state operator manages to be delicious in her villainy as she also maintains a shred of her former “good” self.
Photo: Kenny Laubbacher/Max
Platform: HBO Max 2025 Emmy nominations: 14
Oh, Hacks. I want to defend you against your harshest critics, even if I often agree with them. It doesn’t bother me that what we see of Deborah Vance’s comedy doesn’t scan as comedy-legend caliber, or that her conflicts with Ava are predicated on tired generation-gap premises. At its best, Hacks is a workplace comedy in which the workplace is the entire comedy-industrial complex, and I like watching Jean Smart and Hannah Einbinder maneuver within those environs. My frustration comes from how shockingly repetitive the show is formally. Just an endless loop of Deborah and Ava working well together, breaking up because of a betrayal, warily reuniting because of necessity, discovering that they work best together, then breaking up because of another betrayal and starting the cycle all over again. After four seasons of this, it’s hard to just enjoy Deborah and Ava for who they are, and I’m forced to dwell on things like how Megan Stalter’s unbearable Kayla is somehow the fourth lead on this show.
Photo: Gilles Mingasson/Disney
Platform: ABC 2025 Emmy nominations: 6
Four seasons in, Abbott Elementaryis doing exactly what a good network sitcom should: settling into place as a reliable but decreasingly remarkable part of a regular TV diet. And yet: To be able to pull out an episode as creative as that It’s Always Sunny in Philadelphia crossover is proof that Abbott is still more than worthy of its continued place of Emmy prominence.
Photo: FX Network
Platform: FX 2025 Emmy nominations: 13
It’s thematically appropriate that The Bear has become the hot stove of the TV-awards conversation: Touch it and you’ll get burned. Season three— the one that aired last summer — was where the deeply predictable backlash kicked in. It was a comedy that not only wasn’t funny but wasn’t even attempting to be a comedy. There were some realhighlights, and I want to give creator Christopher Storer and his team extra credit for their ambition. But lots of characters spent the season spinning their wheels, and even good individual episodes like the Tina flashback (featuring Ayo Edebiri’s Emmy-nominated direction) seemed too obviously a tactic to pad out the season.
Photo: Copyright 2024, FX. All Rights Reserved.
Platform: FX 2025 Emmy nominations: 6
In its final run, What We Do in the Shadows proved it could still deliver some of TV’s biggest laughs. Placing Guillermo and Nadja in a corporate setting yielded multiple strong episodes (a tip of the cap to Tim Heidecker as their jackass boss), as did Laszlo’s attempt to play Dr. Frankenstein. The series finale — nominated for a writing Emmy — was a creative way to play the “we all know there’s no ending that will satisfy everyone” card by “hypnotizing” the audience into accepting one of a myriad of final acts. It will remain an enduring shame that this show garnered only one acting nomination (for Matt Berry last year).
Photo: Alex Bailey/Netflix
Platform: Netflix 2025 Emmy nominations: 2
The Diplomat is not a sophisticated political thriller, though it does its best to fake it. Keri Russell’s performance as the new U.S. ambassador to the U.K. — or is she on the fast track to vice-president? — sits right in her sweet spot of capable-yet-irritable operator, and her scenes opposite David Gyasi (as her U.K. counterpart and possible love interest), Celia Imrie (as a master manipulator), and especially Allison Janney (as a hurricane in female form) crackle with an urgent chemistry.
Photo: Fabio Lovino/HBO
Platform: HBO 2025 Emmy nominations: 23
After pulling off the high-wire acts of class-conscious character satire and murder mystery in seasons one and two, it was inevitable that Mike White’s show would sooner or later lose its footing, so credit to season three for terminating the suspense. The White Lotus had its moments, of course — Parker Posey’s maintained mood of distress and dismay, all packaged in that ridiculous Durham accent; that Carrie Coon monologue that exists better in isolation than in context — but the seams struggled to hold it all together as satisfyingly as the previous seasons had. The finale-episode shoot-out felt like an act of throwing up one’s hands and admitting defeat at the hands of a runaway plot.
Photo: Apple TV+
Platform: Apple TV+ 2025 Emmy nominations: 7
Shrinking has maintained the psychology practice of Harrison Ford’s Dr. Paul Rhoades as its nominal central base, but increasingly (and to the show’s benefit) it has become TV’s best hangout comedy. This alignment has allowed the supporting cast to shine, with Michael Urie and Jessica Williams joining Jason Segel and Ford as acting nominees, and key players like Christa Miller, Ted McGinley, and Wendie Malick orbiting freely. It hasn’t all worked (adding co-creator Brett Goldstein to the ensemble as the sad-sack drunk driver responsible for Jimmy’s wife’s death was a mistake I hope the show is able to back out of in season three), but as Cougar Town was at its best, Shrinking is a multigenerational story about gathering your network of emotional support and then hanging out with them every minute of the day.
Photo: Macall Polay / HBO
Platform: HBO Max 2025 Emmy nominations: 24
My extreme disinterest in a spinoff series about a character from The Batman that I found to be a superfluous waste of Colin Farrell’s valuable time was only matched by my surprise at how much The Penguin gripped me. Kudos to showrunner Lauren LeFranc for navigating the waters of franchise IP, taking the handoff from Matt Reeves’s film and telling a completely independent story. A story, it should be noted, that for significant stretches isn’t even the titular Penguin’s story. As good as Farrell is at operating under all those prosthetics, Cristin Milioti walks away with the season as a spurned mobster’s daughter, and LeFranc doesn’t wrest the narrative away from her unless she absolutely has to. Mob stories are a dime a dozen these days, and superhero yarns are probably worth even less, but The Penguin told a dark, twisty, operatic tale of at least two sociopaths, and it was riveting.
Photo: Apple
Platform: Apple TV+ 2025 Emmy nominations: 5
Slow Horses is the most digestible show on television, and I could not mean that more complimentarily. In its fourth season, the format remains in lockstep with the three that preceded it: The discarded MI5 agents at Slough House, led by the somehow-ever-more-slovenly Jackson Lamb (Gary Oldman) are embroiled in a new unfurling terrorist threat, and one of their own (Jack Lowden’s River Cartwright) is on the run. While the individuals within Slough House — and the handful of higher-ups at the Park, like Kristin Scott Thomas’s coolly capable Diana Taverner — develop their characters over the course of the series, the discrete plots told over a tight six episodes are TV’s best approximation of reading a really satisfying spy novel. This season had several gnarly shoot-outs, the addition of new characters played by Hugo Weaving (as an American!) and Battlestar Galactica’s James Callis (as a sniveling little weasel, if you can believe it), plus, yes, new scenes of Lamb farting to punctuate a scene. Bring on season five!
Photo: Ben Blackall/Netflix
Platform: Netflix 2025 Emmy nominations: 13
Over the course of four episodes, creators Stephen Graham and Jack Thornedeliver a gripping, challenging miniseries. A 13-year-old boy is accused of stabbing a female classmate to death, and over the course of four episodes, the tale becomes thornier and more troublesome, as the culprit is revealed not only to be the child but the pervasive toxic misogyny that seduces boys before their parents even know it’s a threat. The bravado of Adolescence’s visual gimmick, where each episode is presented as a single take, is often more showy than it is effective, but when it does click into place, as it does in the show’s counseling session, it’s really thrilling.
Photo: Apple TV+
Platform: Apple TV+ 2025 Emmy nominations: 27
Taking a 33-month break between the finale of season one and the premiere of season two might have proved fatal for another series, but Severance was able to establish new stakes for its central quartet and then plunge them into far more complicated waters. The love pentagon that developed between Innie Mark S., Helly, Helena Egan, Outie Mark S., and Gemma was so twisty and complex it seemed to discourage social media’s favorite pastime, unhinged shipping. Meanwhile, Tramell Tillman’s Mr. Milchick went on his own journey of self-discovery. As any good second season does, Severance plumbed deeper, explored further, traveled to chilly seaside towns and back in time to reveal the fate of its presumed-dead wife. Not all of it satisfied, but the central conundrum of Innies versus Outies trapped inside a corporate cult remained as compelling as ever.
Photo: Apple TV+
Platform: Apple TV+ 2025 Emmy nominations: 23
The movie business is facing a treacherous and possibly bleak future, and while The Studio is acutely aware of that, its response is to pull back the curtain and reveal utter lunacy. One thing I loved about its first season was that it never leaned on one aspect of Hollywood for too long. Yes, there’s debauchery, sure the studio-tentpole-development process is stupider than you ever imagined, and it turns out Ron Howard is a mean little bastard. But the show lightly bounces between these observations, with only Seth Rogen’s inept but earnest studio head as the constant. Does The Studio eviscerate Hollywood enough for everyone’s tastes? No. Is it a surprise Hollywood is embracing it? Of course not. But it’s the flat-out funniest of the nominated comedies this year, and I support it breaking through the Emmy walls like the Kool-Aid Man (in theaters next summer).
Photo: Sarah Shatz/FX
Platform: FX 2025 Emmy nominations: 9
There’s no way a show about a woman (Michelle Williams) dealing with her terminal-cancer diagnosis could be anything but maudlin. Even knowing that Williams’s character responds to her diagnosis by embarking on a sexual awakening, it still seems like the show is destined for maudlin. And yet Dying for Sex never is, even till the very end, even as the tears are running down your face. Williams and the Emmy-nominated-yet-still-underrated Jenny Slate are the main attraction here, but key supporting turns by Esco Jouléy, Sissy Spacek, Rob Delaney, Jay Duplass, and the deeply slept-on David Rasche, along with some late-inning relief pitching by Paula Pell, are all so incredibly good. If you avoided this show because you were worried it would make you feel like crap, I encourage you to reconsider.
Photo: John Johnson/Max
Platform: HBO Max 2025 Emmy nominations: 13
The longform, procedural, network-style medical drama is back, baby — and this time it’s got that HBO sparkle. The Pitt is so many great things at once: a return vehicle for Noah Wyle (Emmy nominated for the first time since 1999), a showcase for a crackerjack ensemble cast (Katherine LaNasa’s much deserved nomination stands in for a good half-dozen castmates who should have joined her), and a satisfying 15 episodes that never felt like one story stretched out over many hours. Cases flowed through the Pittsburgh Trauma Medical Center’s emergency room at a steady pace, some dispatched within a single episode, others playing out over three or four, and the stories unfold at their own pace, keeping the audience at a very effective imbalance throughout. And even with the green farm kid getting fluids splashed on him all season or the seemingly stalwart senior resident showing himself to be a heel, you felt like you were watching a group of professionals doing their best in trying circumstances. An inspirational show for our time.
Photo: Lucasfilm Ltd.
Platform: Disney+ 2025 Emmy nominations: 14
Andor is also an inspirational show for our time, albeit in a very different way. Over the course of two seasons, we saw the radicalization of Cassian Andor (Diego Luna) from disaffected thief to committed leader of a rebellion. Creator Tony Gilroy was unafraid to expand the field in season two, with Andor himself often taking a back seat to the expansion of characters like Luthen Rael (Stellan Skarsgård) and Mon Mothma (Genevieve O’Reilly), not to mention those within the Empire. Gilroy’s talent as a writer helped make Andor TV’s most satisfying multicharacter drama, but his verve as a showrunner is what took Andor to its greatest heights: a show that called out genocide by name and reclaimed the Star Wars legacy as a battle cry against fascists above all.
Tramell Tillman’s performance embodies the Apple TV+ show’s guiding metaphor. Photo: Apple TV+
Tucked in the midpoint of its season-two finale, “Cold Harbor,” is a moment that bottles the disorientation that makes Severance such irresistible television. Seth Milchick, played by Tramell Tillman, meets one of his employees, Dylan (Zach Cherry), in a sterile conference room to resolve the lingering issue of the latter’s resignation request. Despite enduring repeated humiliations from his employer, Lumon Industries, and though he’s oversubscribed, Milchick nevertheless handles the exchange with faultless professionalism. “As it may yield an embarrassing, emotional response in you, and as I am duly swamped, I shall leave you to read it in solitude,” Milchick says, his diction measured and verbose as he slides forward a folder with three exacting fingers. When Dylan takes it, the camera cuts back just as Milchick pivots and darts out the door like a bat out of hell, his ramrod posture still discernible even as the odd framing crops him off. It’s a fleeting and strange beat, cartoonish if it weren’t so unsettling, but one that effectively crystallizes Severance’s surreal tone — and at its center, the Magnetic Mr. Milchick.
As Lumon’s middle-manager par excellence, Tillman was the breakout performer of Severance’s first season. Season two gives the character more power and complications that challenge his sense of self, and Tillman capitalizes on the material, repeatedly seizing the spotlight every second he’s on the screen. Tillman earned himself an Emmy nomination for Supporting Actor in a Drama Series, and though pundits are placing their bets on The White Lotus’s Walton Goggins, Tillman deserves to take up more space in the conversation. Beyond the historic possibility of becoming the first Black actor to win the category, he doesn’t get enough credit for embodying the strange essence of Severance, a show that broke out in no small part due to the boldness of its peculiarities. In a series defined by unusual, carefully calibrated choices, from its mysterious goats to the elliptical nature of its central corporation to the constant presence of archaic language (“Has it verve?” “The most of its flock”), Tillman delivers the performance that feels the most singular.
The exchange with Dylan doesn’t come close to Milchick’s most dazzling showcase. That comes later, in the finale’s unhinged marching-band sequence, in which his electrifying physicality shifts to genuine menace as he tries to break down the vending-machine barricade Helly (Britt Lower) built to prevent Milchick from stopping her and Mark (Adam Scott) from freeing his wife. It’s a distilled version of the force first glimpsed in season one’s “Defiant Jazz” scene, in which Milchick grooves out with Mark, Helly, and the rest of the MDR crew in a corporate-mandated effort at boosting worker morale (or “merriment”). That moment worked in the opposite direction, injecting brief humanity into a character who had until then been cast as a Sphinx-like authority figure.
What makes both scenes pop is their contrast. As Milchick, Tillman holds his body with a statuelike composure, which makes his bursts of movement land with amplified intensity. He is the vessel through which Severance constantly communicates Lumon’s dominance over its workers, his very stillness humming with the implied threat of corporate violence. That threat is made literal in “Cold Harbor” through another character, Mr. Drummond, a hulking Lumon higher-up played by Ólafur Darri Ólafsson who savagely attempts to kill a spying Mark in the series’s most visceral confrontation to date. But Severance keeps Milchick more enigmatic. The danger he represents never fully erupts but instead simmers perpetually beneath the skin. We continue to learn surprisingly little about him, even compared to Harmony Cobel (Patricia Arquette), who gets her own standalone episode this season, but the glimpses of Milchick we do see are tantalizing: the sharp leather jacket and motorcycle, the flickers of unease on his face hinting that he recognizes the system’s wrongness, and his fierce defense of traits central to his identity, especially his ornate, loquacious speech. That verbosity can be read as a battleground of race, class, and corporate respectability, and it speaks to Tillman’s performance that it all comes through without the character having to spell it out. His obliqueness is the quality that makes him so consistently compelling, accentuated by how the show never really lets you settle on how you’re supposed to feel about him: Is he an antagonist, a victim, or something in between?
In this, Milchick embodies a crucial facet of Severance’s workplace metaphor. While the show’s sympathies rest squarely with the macrodata refiners as put-upon workers (including even Helly, though the philosophical ambiguity as to whether she can be considered her own person is part of the show’s conceptual fun), Milchick is the consummate middle manager, suspended between the ruthless authority of capital and the moral clarity of labor. His position grows even more complicated in the second season when he’s nominally promoted after Lumon benches Cobel as manager of the severed floor. The “elevation” means little, as he’s immediately wedged between another subordinate, Miss Huang (Sarah Bock), and Mr. Drummond, who looms over him as a corporate enforcer. The effect is a tightening vise. Drummond belittles him after a poor performance review, specifically targeting his speech; Milchick displaces that humiliation onto Miss Huang, and then, in a remarkable scene, onto himself. Alone before a mirror, laboring to internalize Drummond’s order to he simplify his language, the camera zooms in as he repeats a line he once delivered to Ms. Huang, whittling it down with each iteration from “You must eradicate from your essence childish folly” to “You must abandon childish things” to the blunt, simple “Grow up.” A sequence that could very well dance on the edge of hokeyness becomes, in Tillman’s hands, a scene of a man struggling between dueling impulses. His voice gradually descends into a growl as he vibrates with a mixture of pain, anger, and yearning.
Severance may ground its narrative and moral thrust in the plight of its macrodata refiners, but Milchick is in many ways the essence of the show’s thesis, embodying the ways corporate culture twists, consumes, and corrupts all it touches. Nothing about Milchick works without Tillman’s exacting performance, and I’m rooting for him to have a long, unpredictable career. We’ve already seen flashes of what that might look like. In Mission: Impossible — Final Reckoning, where he plays the captain of a nuclear submarine Ethan Hunt (Tom Cruise) is trying to commandeer, he delivered the film’s single best acting performance, radiating more chemistry with Cruise in a single scene than all of Hunt’s love interests combined — “Mister, if you’ve come to poke the bear, you’ve come to the right man” — and so much militant erotic charge it could power the nuclear sub they’re inside. That moment, too, capitalizes on Tillman’s ability to radiate intimidation by way of an otherworldly strangeness, a quality that feels exciting in its sheer potential and, in this moment, award-worthy in its own right.
Update: 9/25/24, 12:12 p.m. ET — Kyle Richards provided Bravo fans with answers, confirming she’s the Real Housewives star teaming up with Reese Witherspoon.
During an Amazon Live on Tuesday, September 24, Richards replied to a fan who wondered, “Kyle, did you happen to be sitting next to Reese Witherspoon on a flight by chance?” the Real Housewives of Beverly Hills star responded, “Yes, I was. And yes, that was me that she was referring to.”
She continued: “In case you guys didn’t see, Reese Witherspoon said something at the Emmys about being on a flight with a Real Housewife and working with her in some vein. So yes, that was me.”
Richards did not go on to share any details about her and Witherspoon’s upcoming collaboration.
Original story:
Reese Witherspoon revealed she’s working on a new project with a Real Housewives star — and fans are buzzing about who it could be.
The actress, 48, made the revelation on the 2024 Emmy Awards red carpet at the Peacock Theater in Los Angeles on Sunday, September 15. After telling Live From E! cohost Heather McMahan that she’s “never watched” the Bravo reality franchise, Witherspoon stated, “But I did sit next to a Real Housewife on a flight recently.”
She remained mum when asked to name names. “Well, we might have a Hello Sunshine project cooking now, but I can’t say anything. But it was cool, it was really cool.” (Witherspoon cofounded her production company Hello Sunshine with Seth Rodsky in 2016.)
Bravo fans were quick to share their theories on which Housewives personality is collaborating with Witherspoon, with many immediately thinking of stars who have acting experience.
What, like it’s hard? Reese Witherspoon has had quite the evolution throughout her career — as an actress, producer and businesswoman. The southern belle made a splash with her debut film, 1991’s The Man in the Moon, at the ripe age of 14. While she briefly put her acting aspirations on hold following her high […]
“I’d put good money on it being Kyle Richards,” one X user posted on Sunday, while another added, “It’s prob Kyle Richards! She’s a producer already.” Richards, 55, famously got her start as a child actress in projects such as The Car, Halloween and Down to Earth. In recent years, she reprised her role as Lindsey Wallace in 2021’s Halloween Kills and 2022’s Halloween Ends, and starred in movies and TV shows such as The Housewives of the North Pole and Beautiful Wedding.
Other fans suspected Richards’ Real Housewives of Beverly Hills costars Garcelle Beauvais and Lisa Rinna could also be Witherspoon’s mystery colleague. “I bet she is working with Garcelle,” wrote one X user. Another tweeted, “Watch it be Rinna.”
Emily Shur/Bravo
Both RHOBH ladies have built extensive acting careers outside of the reality TV world. Beauvais, 57, has appeared in projects such as Spider-Man: Homecoming, The Magicians, Tell Me a Story, The Real Murders of Los Angeles and Tempted by Love in recent years, while Rinna, 61, has followed up her 2023 RHOBH exit with roles in American Horror Stories, So Help Me Todd, Lopez vs. Lopez and Mommy Meanest.
The Real Housewives of Atlanta alum Kandi Burruss also has a handful of acting credits, making her another likely candidate to work with Witherspoon. “Kandi … it’s kandi,” another X user tweeted on Monday, September 16.
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One fan also suggested Witherspoon could be working with The Real Housewives of New York City alum Bethenny Frankel, given her reality TV and business experience. Other Housewives viewers, meanwhile, pitched potential projects they’d love to see Witherspoon create.
Nicki Minaj and Rihanna are self-proclaimed Real Housewives superfans — and they’re not alone. In July 2021, Minaj revealed via social media that she would love to host the Real Housewives of Potomac reunion, which host Andy Cohen supported. “I want to see this!” he wrote in the comments section of Minaj’s post. Several cast […]
“A docu-series following approachable lifestyle guru Sonja Morgan as she relaunches her line of toaster ovens,” one X user wrote. Another shared, “Ooooh! Maybe she’ll do a real life crime drama with Erika [Jayne] 😉.” (Jayne’s estranged husband, Tom Girardi, was found guilty on four counts of fraud last month after being accused of embezzling over $15 million from various clients.)
Witherspoon walked the Emmys red carpet in a black, strapless tulle dress with white floral embellishments. She and her The Morning Show costar Jennifer Aniston were both nominated for Outstanding Lead Actress in a Drama Series, which was ultimately won by Shōgun’s Anna Sawai.
So with 14 wins already in the bag going into the Primetime Emmys on Sunday, September 15, the question wasn’t whether Shōgun would break any more records. It was by how wide of a margin Shōgun would smash the previous record—13 Emmys, set by HBO’s John Adams in 2008—to bits.
Shōgun won four more Emmys during the Primetime event: Best Lead Actress in a Drama Series for Anna Sawai, Bead Lead Actor in a Drama Series for Hiroyuki Sanada, Best Drama, and Best Directing. That means the first season of Shōgun cumulatively won a whopping 18 Emmys.
Shōgun‘s wins were historic in more than one way. Anna Sawai became the first actor of Asian descent to win Best Lead Actress in a Drama Series. Hiroyuki Sanada was only the second person of Asian descent to win the Lead Actor category after Squid Game‘s Lee Jung-jae won a few years ago. And most of the Japanese cast and crew members nominated for Shōgun were largely the first Japanese nominees in all their Emmy categories. After so many years of “Oscars so white” trending over and over again, you simply love to see it.
So congratulations to Shōgun! According to the showrunners, two more seasons are in the works, so hopefully there will be many more Emmys to come for that team.
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Just because the 76th Primetime Emmy Awards celebrate achievements on the small screen, the Emmys 2024 red carpet proves that TV stars are capable of big fashion moments. When honorees, presenters, and more walked the red carpet Sunday evening at Los Angeles’ Peacock Theater, they showed off some truly awards-worthy style.
And what style it was! We had the flyaway collar of host Dan Levy, who was joined by his equally dapper father and co-hostEugene Levy for some hysterical bits onstage. Kathy Bates sparkled in blue, while Selena Gomez chose lush velvet for her ensemble. Ayo Edibiri channeled Nollywood in lively custom Bottega Veneta, and Meryl Streep couldn’t be called anything but pretty in pink in her rosy suit. Jonathan Bailey gave sternum, while Tyler James Williams showed off some well-toned upper arm.
The night’s big winners onstage included Hacks, which pulled an upset to win best comedy series over predicted victor The Bear, Shogun, which set a new record for Emmys in a single season with a whopping 18 statues including best drama, and four wins apiece for Baby Reindeer and The Bear. Of course, you can catch up with Vanity Fair‘s complete winners list right here.
But when it comes to scoping out truly outstanding fashion, it’s those enthusiasts at home who are really winning, getting to take it all in. You won’t have to go far to see the style the night had to offer: Check out all the Emmy Awards fashion, outfits, and looks from the red carpet in one place below.
Never count out Deborah Vance. In a stunning upset, the Max original comedy Hacks beat out heavy favorite and reigning champion The Bear to win the outstanding-comedy trophy at the Emmys 2024.
“I have no thoughts in my brain,” said Hacks cocreator Paul W. Downs when accepting the award. The visibly shocked Downs went on to thank his cast and crew before shouting out the importance of having elder representation onscreen. “About 20% of our population is over 60…and they’re only 3% of our characters on television,” he said. “I’m a great young supporting actor, [but] I really want to be a good old lead.”
With The Bear coming off six Primetime Emmy wins for its first season, including outstanding comedy series; lead actor for Jeremy Allen White; supporting actor for Ebon Moss-Bachrach; and supporting actress for Ayo Edebiri, season two of the show seemed almost insurmountable heading into Sunday’s Emmys. However, soft reviews for The Bear’s third season—which came out less than two months before the Television Academy began final voting for The Bear’s second installment—coupled with raves for Hacks’ third season—which found Jean Smart’s aging comedian, Deborah Vance, recommitting to her dream of hosting a late-night television program—proved to be too much for The Bear to handle.
This was the first time Hacks and The Bear faced off at the Emmys, and the showdown initially seemed to be a blowout, with White and Moss-Bachrach repeating wins in the lead-actor and supporting-actor comedy categories. The Bear seemed even more unstoppable when LizaColón-Zayas took home her first Emmy for outstanding supporting actress in a comedy series, beating out stiff competition from acting legends like Meryl Streep,Carol Burnett, and Hacks’ own HannahEinbinder.
But when Smart won her third Emmy for lead actress, besting The Bear’s Edebiri—who made the move from supporting actress to lead actress between seasons one and two—it was clear that the race was still on. An outstanding-writing-for-a comedy-series win for Hacks star and cocreator Downs and his wife, cocreator Lucia Aniello, plus an outstanding-directing win for Bear creator Christopher Storer—honored for his work on the seminal Christmas episode “Fishes”—made clear that it was a coin toss as to who would prevail in the biggest comedy race of the night.
In the end, the dishes Carmy and Sydney served up were no match for the comedic stylings of Vance and Ava. While accepting the best-comedy trophy, Aniello highlighted the importance of comedy and teased that a fourth season of Hacks was imminent. “It can bridge divides. When you laugh with someone, you have something in common with them…. It speaks truth to power. It really does. So support your local comedian,” said Aniello. “We have to go, because we start shooting the next season in five days.”
Liza Colón-Zayas came out on top of an impressive list of ladies who make TV fans laugh, winning Outstanding Supporting Actress in a Comedy Series at the 2024 Emmy Awards.
Colón-Zayas received the honor for The Bear at the 76th annual awards show, which was held at the Peacock Theater in Los Angeles on Sunday, September 15. During her speech, she shouted out her husband, David Zayas, as well as the other nominated actresses.
“He told me to write a speech and I didn’t because I didn’t think it would be possible,” Colón-Zayas said. “How could I thought it would be possible to be in the presence of Meryl Streep and Carol Burnett and Janelle and Sheryl Lee Ralph and Hannah. Anyway, I love you all. I revere you to the bottom of the heart.”
Five other actresses rounded out the category, with nominations forCarol Burnett for Palm Royale, Hannah Einbinder for Hacks, Sheryl Lee Ralph and Janelle James for Abbott Elementary and Meryl Streep for Only Murders in the Building.
TV’s Biggest Night never fails to deliver fierce fashion. Stars including Selena Gomez, Jennifer Aniston, Da’Vine Joy Randolph and more are nominated at the 2024 Emmys, taking place at the Peacock Theater in Los Angeles on Sunday, September 15, and hosted by Eugene Levy and son Dan Levy. Gomez, 32, is nominated for Outstanding Lead […]
Colón-Zayas also gave a sweet a shout out to her mother and grandchildren plus The Bear cast and crew. The actress ended her speech by encouraging everyone to go out and vote in the upcoming election. (Costars Jeremy Allen White and Ebon Moss-Bachrach also took home awards for their respective roles earlier in the evening.)
At the 2023 ceremony, which aired in January due to a delay caused by the writers and actors unions’ strikes, The Bear’s Ayo Edebiritook home her first Emmy for Outstanding Supporting Actress in a Comedy Series. She beat out Ralph, 67, and James, 44, as well as The Marvelous Mrs. Maisel’s Alex Borstein, Ted Lasso’s Juno Temple and Hannah Waddingham and Shrinking’s Jessica Williams.
“I’m so incredibly grateful for this for so many reasons. But the main one, this is a show about family and found family and real family,” Edebiri, 28, said in her acceptance speech at the time. “My parents are here tonight. I’m making them sit kind of far away from me because I’m a bad kid. But I love you guys so much.”
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She continued: “Thank you so much for loving me and letting me feel beautiful and Black and proud of all of that. I just love you so much. It’s a dream to emigrate to this country and have your child be like, ‘I want to do improv.’ Thank you so much. This means the world.”
Frazer Harrison/Getty Images That’s a wrap on the 76th annual Primetime Emmy Awards. Schitt’s Creek creator Dan Levy and his father, Eugene Levy, hosted the 2024 ceremony on Sunday, September 15, at the Peacock Theater in Los Angeles. Nominations were announced two months before the awards show, celebrating content that aired between June 2023 and May […]
For the 2024 Emmys, Edebiri moved to the Outstanding Lead Actress in a Comedy Series category, competing against Abbott Elementary’s Quinta Brunson, Only Murders in the Building’s Selena Gomez, Loot’s Maya Rudolph, Hacks’ Jean Smart and Palm Royale’s Kristen Wiig. Edebiri switched up her strategy ahead of the 2024 awards season and went on to win a Golden Globe for Best Actress in a Television Series – Musical or Comedy and a Critics’ Choice Award for Best Actress in a Comedy Series in January.
As for the 2024 nominees for supporting actress in a comedy, several were already Emmy winners before the Sunday ceremony, with seven trophies for Burnett, 91, three for Streep, 75, and one for Ralph throughout their careers.
The Emmys 2024 may wind up looking an awful lot like the delayed 2023 Emmys that took place in January, in that three front-runner shows seem all but certain to sweep the awards in the drama, comedy, and limited-series categories. The last time Emmys were handed out, those separate factions were ruled by Succession,The Bear, and Beef, respectively. This time around, The Bear should still come out on top in comedy (even if its recent third season, ineligible for the 2024 Emmys, has dampened enthusiasm for the series somewhat)—but drama will be dominated by the FX epic Shōgun, which enters the night having received a cool 25 total Emmy nominations. In fact, Shōgun already won 14 of those awards at the Creative Arts Emmys, making its further command feel like a forgone conclusion.
We’re predicting wins for Shōgun in best drama as well as both best actor in a drama (Hiroyuki Sanada for playing the imposing feudal leader Lord Yoshii Toranaga) and best actress in a drama (Anna Sawai for her role as the deceptively placid Lady Mariko). It’s an Emmy hat trick that could well be matched by the night’s likely big winner in the limited-series categories: Baby Reindeer, a surprise Netflix hit written by and starring Scottish comedian Richard Gadd. Gadd himself is nominated in both corresponding categories; he’s almost certain to win one of them, if not both. And the dark comedy’s leading lady, Jessica Gunning—competing here in the supporting-actress category, even though her character, the stalker Martha, is the engine of Baby Reindeer—should expect to beat out big names like Dakota Fanning, Diane Lane, and Lily Gladstone for an Emmy of her own.
As for The Bear? Well, Emmy voters unreservedly loved its second season, which they’ll be awarding tonight; the FX comedy earned 23 Emmy nods this year, second only to its network mate Shōgun. We should see star Jeremy Allen White take home a second consecutive best-actor-in-a-comedy prize; the bigger question is whether his costar Ayo Edebiri, who’s moved this year from supporting to lead actress, can come out on top in a tough field that also includes returning winners Quinta Brunson (of Abbott Elementary) and Jean Smart, the arguable front-runner in the category for her career-defining work in Hacks.
So who will come out on top? Watch along as the Primetime Emmy Awards unfold, and keep refreshing this page for a list of winners we’ll be updating in real time.
DIRECTING FOR A LIMITED SERIES
WINNER: Ripley — Steven Zaillian Baby Reindeer — Weronika Tofilska for “Episode 4” Fargo — Noah Hawley for “The Tragedy of the Commons” Feud: Capote vs. the Swans — Gus Van Sant for “Pilot” Lessons in Chemistry — Millicent Shelton for “Poirot” True Detective: Night Country — Issa López
SCRIPTED VARIETY SERIES
WINNER: Last Week Tonight With John Oliver Saturday Night Live
SUPPORTING ACTRESS IN A LIMITED SERIES OR TV MOVIE
WINNER: Jessica Gunning, Baby Reindeer Dakota Fanning, Ripley Lily Gladstone, Under the Bridge Aja Naomi King, Lessons in Chemistry Diane Lane, Feud: Capote vs. the Swans Nava Mau, Baby Reindeer Kali Reis, True Detective: Night Country
REALITY COMPETITION PROGRAM
WINNER: The Traitors The Amazing Race RuPaul’s Drag Race Top Chef The Voice
ACTRESS IN A COMEDY SERIES
WINNER: Jean Smart, Hacks Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Maya Rudolph, Loot Kristen Wiig, Palm Royale
SUPPORTING ACTRESS IN A DRAMA SERIES
WINNER: Elizabeth Debicki, The Crown Christine Baranski, The Gilded Age Nicole Beharie, The Morning Show Greta Lee, The Morning Show Lesley Manville, The Crown Karen Pittman, The Morning Show Holland Taylor, The Morning Show
SUPPORTING ACTRESS IN A COMEDY SERIES
WINNER: Liza Colón-Zayas, The Bear Carol Burnett, Palm Royale Hannah Einbinder, Hacks Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary Meryl Streep, Only Murders in the Building
ACTOR IN A COMEDY SERIES
WINNER: Jeremy Allen White, The Bear Matt Berry, What We Do in the Shadows Larry David, Curb Your Enthusiasm Steve Martin, Only Murders in the Building Martin Short, Only Murders in the Building D’Pharaoh Woon-A-Tai, Reservation Dogs
SUPPORTING ACTOR IN A DRAMA SERIES
WINNER: Billy Crudup, The Morning Show Tadanobu Asano, Shōgun Mark Duplass, The Morning Show Jon Hamm, The Morning Show Takehiro Hira, Shōgun Jack Lowden, Slow Horses Jonathan Pryce, The Crown
SUPPORTING ACTOR IN A COMEDY SERIES
WINNER: Ebon Moss-Bachrach, The Bear Lionel Boyce, The Bear Paul W. Downs, Hacks Paul Rudd, Only Murders in the Building Tyler James Williams, Abbott Elementary Bowen Yang, Saturday Night Live
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Selena Gomez is the definition of an it girl, and her fashion choices are proof. From her very first Met Gala in 2014 to her look tonight at the 2024 Emmys, we are always keeping tabs on her looks. And even though we’re constantly in awe of everything she wears, fans were wondering why her dress at this year’s Emmys looks so familiar. If you have that same sense of déjà vu, we’re here to break it down for you.
Tonight, Selena Gomez stunned in a custom Ralph Lauren gown. The gown included a stellar halter neckline with silver detailing and a stunning train. Paired with matching silver jewelry, there’s no doubt this is a top notch Selena ‘fit. But, Instagram users were quick to comment that this seems like something she’s already worn before—and they were right.
Photo by Amy Sussman/Getty Images.
If you’ve fully convinced yourself you’re losing it, let us reassure you that’s probably not the case. The reason why Selena’s Emmys dress looks so familiar, is because it is. Let’s be clear, she hasn’t worn this exact dress before. But, she has worn a dress like this one before. To be specific, the Valentino gown she wore to the 2023 Academy Museum Gala is shockingly similar.
Unlike the Ralph Lauren gown, Selena’s Valentino gown featured silver roses at the neckline and matching black gloves. But all the details aside, they still look very alike. Not only are both of the gowns black with silver detailing and of a similar silhouette—they were both worn with silver earrings, rings, and bracelets. We’re trying not to compare them, but it’s pretty hard not to.
Photo by MICHAEL TRAN/AFP via Getty Images.
While internet trolls complained that her 2024 Emmys look was a missed opportunity, we have to acknowledge how equally chic both of the gowns are. And even though we might’ve preferred a different look entirely for this year’s Emmys, it seems like Selena has landed on her signature look—whether it was intentional or not.
Eugene Levy and his son Dan are co-hosting the Emmys this year, following on from the tremendous success of their show Schitt’s Creek. The comedy was a family project, created by the father-son duo who starred in it, with Dan’s sister Sarah Levy also appearing as recurring character Twyla throughout.
The American Pie actor is a legend of film and television, who clearly loves working with his kids Sarah and Dan on screen. But one member of the family who tends to shy away from the camera is Eugene’s wife, the mother of Dan and Sarah, Deborah Divine.
Schitt’s Creek sweeps comedy categories at 2020 Emmys
While you may not see the couple professing their love as publicly as others, they have one of the longest lasting relationships in Hollywood, having been together for over 50 years.
Here’s everything we know about Eugene and Deborah’s remarkable relationship.
Actor Eugene Levy and wife Deborah Divine attend the premiere of A Fine Mess on April 19, 1986 at the Comedy Store in Hollywood, California.
Eugene and Deborah have been married for 47 years, since 1977. However, they were together long before that, meeting at some point in the 1970s, meaning they have been together for five decades.
The actor thanked his wife at the Emmy Awards in 2020, thanking his “Darling wife of 43 years, Deb Divine, for all the love, support and sage counsel over the years. I wouldn’t be up here without you, Deb. I love you.”
Eugene Levy, Deborah Divine Levy and Daniel Levy attend the Canadian Screen Awards at Westin Harbour Castle Hotel on March 9, 2016 in Toronto, Canada
Deborah isn’t as happy on a stage as her husband or children, preferring to stick to the writer’s room. She has worked on production for a number of shows, such as the ’90s TV shows Another World, and is credited a writer on the sitcom Maniac Mansion, which her husband had a cameo in.
She may prefer life behind the camera, but Deborah can still put on a show, as it turned out she and Eugene performed a duet at their daughter Sarah’s wedding. The couple performed “Love and Happiness” by Emmylou Harris, which according to Dan certainly upstaged his own speech.
“My parents came on after me and sang a duet — a surprise duet for my sister — and suddenly my speech was just absolute [expletive],” he explained on Jimmy Kimmel, adding: “It just brought the house down. My mom, who doesn’t like the spotlight, absolutely nailed it. It was so nice.”
Eugene Levy, Sarah Levy, Daniel Levy and Deborah Divine attend the Los Angeles Premiere of Netflix’s “Good Grief” at The Egyptian Theatre Hollywood on December 19, 2023
When the couple welcomed Dan in 1983, and Sarah in 1986, they were certain to make sure their children knew their actions had consequences.
Eugene told People: “Yes, I would ground him,” in reference to his son. “The thing was for us, if you crossed the line, there was going to be some sort of punishment. It’s the way I was brought up, and it’s the way I brought up my kids.”
Dan has insisted that he was grounded for things as minor as not completing his homework, but his dad pointed out that “it worked” as “honestly we’ve never had a problem with our kids.”
Eugene Levy has long been friends with Martin Short and Tom Hanks
Eugene Levy is a well-connected man, and the couple count the likes of Tom Hanks and Rita Wilson as friends. The two couples were spotted out for dinner with Martin Short earlier in 2024. The trio have long been friends, and it seems that Deborah has got close to the actors and their families too, as they spend time together for dinners.
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Each year, the best and brightest in television are honored at the annual Emmy Awards, bringing out the biggest stars in the world of TV, and, increasingly, film. And while the Academy Awards remain the, well, Academy Awards of fashion, when it comes to the red carpet, the Emmys also have their own history of glamorous, show-stopping dresses. Think Sarah Jessica Parker in a pink confection of a Chanel haute couture gown at the 2003 ceremony, or Olivia Wilde in that wedding-worthy Reem Acra in 2008. There was also Jennifer Aniston doing boho chic in beaded Chanel in 2004, a polka-dotted Chloë Sevigny in 2009, and Tracee Ellis Ross immediately going down in history in a fuchsia ball-skirt gown by Valentino Couture. This weekend, we have our second Emmys of the year (since last year’s writer’s strike pushed the 2023 awards into January 2024). The actual 2024 awards promise to be a good one with nominations for Ayo Edebiri, Selena Gomez, and Anna Sawai—a list that all but guarantees more fashion moments rolling around very soon. Until then, a look back at the best Emmy Awards red carpet dresses of years past.
Ayo Edibiri in Louis Vuitton
Gilbert Flores/Variety/Getty Images
Edebiri took home her first-ever Emmy Award in a scultped, leather Louis Vuitton ankle-length dress.
The White Lotus star made quite a welcomed statement in this unique, floral Marni number at the delayed 2023 ceremony.
Colman Domingo in Louis Vuitton
Michael Buckner/Variety/Getty Images
Domingo looked incredibly dapper in his long Louis Vuitton evening coat
Zendaya in Valentino
Trae Patton/NBC/NBCUniversal/Getty Images
Zendaya was dressed to win at the 2022 Emmy awards, and the trophy she took home for her role in Euphoria matched perfectly with her custom Valentino ballgown.
It’s no wonder the Squid Game actress stays loyal to Louis Vuitton when they create pieces for her like this sequin-covered dress she wore to the 2022 Emmys where she was nominated for her first award.
Anya Taylor-Joy in Dior
Rich Fury/Getty Images Entertainment/Getty Images
Taylor-Joy looked like a glamorous buttercup in a custom Dior dress at the 2021 awards.
Michaela Coel in Christopher John Rogers
Rich Fury/Getty Images Entertainment/Getty Images
Coel was all about color at the Emmys in 2021, where she took home the award for Outstanding Writing for a Limited or Anthology Series or Movie for her show I May Destroy You.
Emma Corrin in Miu Miu
David M. Benett/Getty Images Entertainment/Getty Images
Corrin’s Miu Miu look was a controversial one, but what’s not to love about this quirky, chic masterpiece?
Yara Shahidi in Dior
Rich Fury/Getty Images Entertainment/Getty Images
Shahidi looked like an old Hollywood starlet in an emerald green Dior dress at the 2021 ceremony.
Regina King in Schiaparelli Couture
Image courtesy of James Anthony
While the 2020 Emmys were fully remote due to COVID, King still showed out in an embellished Schiaparelli couture dress.
Tracee Ellis Ross in Alexandre Vauthier
Ross, too, did not come to play, and she even rolled out the red carpet for herself.
Viola Davis in Alberta Ferretti
Jeff Kravitz/FilmMagic, Inc/Getty Images
Though Davis didn’t take home the award for Lead Actress in a Drama series in 2019, she did make it onto our best dressed list thanks to the custom, black and white Alberta Ferretti.
Kendall Jenner in Richard Quinn
Alberto E. Rodriguez/Getty Images Entertainment/Getty Images
Jenner was one of the first to wear Richard Quinn on the red carpet, and in our opinion, she made a pretty good billboard for the British designer.
Thandie Newton in Brandon Maxwell
The bright bubblegum pink hue of this Brandon Maxwell gown pairs perfectly with its sleek design.
Tracee Ellis Ross in Valentino Couture
It seems pink was a big trend on the 2018 Emmys red carpet, and Ross also got the memo.
Sarah Paulson in Carolina Herrera
Paulson looked like an Emmy trophy herself in this paillette-covered Carolina Herrera dress.
Nicole Kidman in Calvin Klein By Appointment
The unexpected, tea-length hem of this Calvin Klein dress is likely what helped it land a spot on our best Emmys dresses list.
Priyanka Chopra in Jason Wu
Chopra looked like a bonafide movie star (or, in this case, television star) in this red hot Jason Wu dress at the awards in 2016.
Sarah Paulson in Prada
ROBYN BECK/AFP/Getty Images
Paulson loves to bring some sparkle to the Emmys red carpet, and she did just that in 2016 with the help of a completely embellished, emerald Prada gown.
Lady Gaga in Brandon Maxwell
This Brandon Maxwell dress may look simple, but the unexpected silhouette made it a perfect choice for Lady Gaga.
Kerry Washington in Marc Jacobs
Who says an Emmy dress has to be full-length? Washington proved it very much does not when she wore this silver Marc Jacobs number to the ceremony in 2015.
Kiernan Shipka in Dior Couture
The then-fifteen-year-old Shipka found the perfect way to look age-appropriate while still cutting edge in a gorgeous, embroidered Dior couture top and black cigarette pants.
Lizzy Caplan in Donna Karan
Caplan looked simple and elegant at the 66th annual Emmy Awards in 2014.
Allison Williams in Giambattista Valli
Williams smartly kept the styling of this Giambattista Valli simple so as not to over power it.
Gwen Stefani in Atelier Versace
Jason LaVeris/FilmMagic/Getty Images
The singer went for a cool and casual Versace look at the awards in 2014.
Rose Byrne in Calvin Klein Collection
Byrne looked gorgeous in this peachy two-piece set at the 65th annual Emmy Awards in 2013.
Michelle Dockery in Prada
Dan MacMedan/WireImage/Getty Images
It’s too bad Dockery didn’t win the Emmy for Lead Actress in 2013, because we would have loved to see this two-toned gown take the stage.
January Jones in Jason Wu
Jones has always been known for her slighlty avant garde style, and the Jason Wu dress she wore to the Emmys in 2012 remains a perfect example of her red carpet aesthetic.
Lucy Liu in Versace
Jeffrey Mayer/WireImage/Getty Images
In 2012, Liu proved that when in doubt, a slinky, metallic Versace dress is always a great choice.
Evan Rachel Wood in Elie Saab
Fairchild Archive/Penske Media/Getty Images
Wood’s red lip was the perfect accent to this beautiful, sparkly Elie Saab gown.
Nina Dobrev in Donna Karan
We can’t decide what we like more about Dobrev’s 2011 dress, the neckline or dramatic skirt.
Christina Hendricks in Zac Posen
The Mad Men actress’ signature red hair played off the pale periwinkle of her Zac Posen dress perfectly.
Claire Danes in Armani Privé
Patrick McMullan/Patrick McMullan/Getty Images
Good thing Danes took home the award for Lead Actress in a miniseries for her performance in Temple Grandin in 2010, because this Armani gown was made for a winner.
Connie Britton in Burberry
Clearly, 2010 was the year of sequins and sparkle at the Emmys.
Barrymore looked like a modern princess in her tulle-covered Monique Lhuillier confection.
Sandra Oh in Marchesa
Frank Trapper/Corbis Entertainment/Getty Images
The rope belt on Oh’s Marchesa gown is giving a welcomed touch of Scarlett O’Hara to this otherwise very modern dress.
Chloë Sevigny in Isaac Mizrahi
Patrick McMullan/Patrick McMullan/Getty Images
It’s not often we see prints on the Emmy red carpet, but then again, Sevigny always marches to the beat of her own style drum.
Mila Kunis in Monique Lhuillier
Jeff Vespa/WireImage/Getty Images
Kunis’ deep red Monique Lhuillier dress walked the perfect balance between edgy and demure.
Evangeline Lilly in Elie Saab
Jason Merritt/FilmMagic/Getty Images
Lilly looked gorgeous in her art deco-inspired Elie Saab gown at the awards in 2008.
Olivia Wilde in Reem Acra
Wilde’s Reem Acra dress had a chokehold on all the fashion girls in 2008.
Halle Berry in Emanuel Ungaro
Jon Kopaloff/FilmMagic/Getty Images
It’s always exciting when stars have a bit of fun with hemlines and step away from the standard full-length look.
Mischa Barton in Oscar de la Renta
Jon Kopaloff/FilmMagic/Getty Images
Almost twenty years later and we’re still thinking about Barton’s ODLR dress from 2005.
Jennifer Aniston in Chanel
Aniston was nominated for her role in Friends in 2004 when she wore this gorgeous white and gold dress to the ceremony.
Sarah Jessica Parker in Chanel Haute Couture
Chris Weeks/FilmMagic/Getty Images
Leave it to Carrie Bradshaw to attend the Emmys in an extremely glamorous, Chanel haute couture gown.
Keri Russell in Armani
Steve Granitz/WireImage/Getty Images
This Armani gown fit Russell so perfectly, it almost looks like it was painted on her body.
Angelina Jolie in Randolph Drake
Ron Galella, Ltd./Ron Galella Collection/Getty Images
Jolie attended the 50th annual Emmys in 1998 wearing a nude Randolph Drake dress with an asymmetrical, off-the-shoulder detail.
Helen Hunt in Laurel
Steve Granitz/WireImage/Getty Images
Hunt was wearing this slinky silver dress when she took home the award for Best Lead Actress in a comedy series thanks to her work in Mad About You.
Fran Drescher
Jeff Kravitz/FilmMagic, Inc/Getty Images
When you play a fashion icon on TV like Drescher, you better dress the part, and she very much did in this lace corset and black mini skirt at the ceremony in 1997.
Joan Collins
Ron Galella/Ron Galella Collection/Getty Images
The Dynasty star epitomized ‘80s glamour in a gold lamé gown at the awards in 1986.
Diahann Carroll
Vinnie Zuffante/Archive Photos/Getty Images
Carroll looked as glamorous as ever in an embellished black and white gown with a plunging neckline and high slit at the Emmys in 1985.
Mary Tyler Moore
NBC/NBCUniversal/Getty Images
Moore picked up the award for The Dick Van Dyke show in a dress with a criss-crossing bodice and white opera gloves.
Lucille Ball
Michael Ochs Archives/Michael Ochs Archives/Getty Images
The comedy icon looked gorgeous in a white fur coat and embellished dress at the 9th annual Emmys in 1957.
The lovebirds married in a large ceremony in September 2023
Robin gave a sneak peek at their quiet dinner at home which featured a table set for two nestled on a patio adorned with flickering candles and floral arrangements.
The TV host could be heard saying: “Since we never actually got to eat at our wedding, a lovely gift from a longtime friend, Pam [Guglielmino], and the chef from our wedding night. Wow!”
Robin and Amber went on their first date 19 years ago
The camera panned to reveal a personalized menu inscribed with the words “Yes to dinner, always” and their names, Robin and Amber.
Robin said it was “a special time at home,” marking their milestone together.
Fans were also treated to unseen moments from their wedding day. Robin took to her Instagram Stories to share highlights, including an adorable clip of her nephew Jeremiah engaging in an “epic” dance-off with GMA weekend co-anchor Whit Johnson and a video of their cake cutting ceremony.
The pair were set up on a blind date, which Robin later admitted nearly didn’t ever happen, as she tried to cancel several times.
Fortunately, she didn’t and the pair have been each other’s rocks ever since.
Robin was first diagnosed with breast cancer in 2007 and five years later she was diagnosed with a rare blood disorder, myelodysplastic syndrome (MDS), and underwent a bone marrow transplant.
Thankfully, in 2022 Amber was able to ring the bell to celebrate the end of her radiation treatment.
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Maya Rudolph is done rehashing the past. In an interview for her Variety cover story, the six-time Emmy winner and Saturday Night Live all-timer shared that she is no longer interested in discussing the death of her mother, singer-songwriter Minnie Riperton, during interviews: “Why the fuck are we still doing this?”
Born in 1972, Rudolph is the daughter of composer Richard Rudolph and the iconic “Lovin’ You” singer. Riperton was just 31 years old when she died of breast cancer in 1979. During the interview, Rudolph revealed that she recently came to the realization that she no longer wants to unpack her mother’s death when talking about her career with the press.
“My whole career, people have always brought up my mom, which is wonderful,” she told Variety. “But then they also bring up the tragedy of losing my mother when I was little. And they ask me how old I was when she died.”
The Loot star pointed out that the details regarding her mother’s death are readily available to anyone familiar with her or her work. “First of all, if you know me and you know who I am, you already have that information,” she said. “And the second thing is, who wants to be asked about their childhood trauma every time they talk about their career? I’m 52 years old, and I have survived my childhood trauma.”
Rudolph recently won her sixth Emmy for voicing hormone monstress Connie on the animated Netflix comedy Big Mouth. She’s also nominated for best actress in a comedy series for her performance as Molly Novak, the billionaire ex-wife of a tech mogul, on Apple TV+’s Loot. Production on the third season of Loot has been pushed back so that Rudolph can return to SNL in some capacity this fall to portray Democratic presidential nominee Kamala Harris during the election cycle. She’s also a mother to four children—Pearl,Lucille, Jack, and Minnie, named after her own mother—whom she shares with her longtime partner, director Paul Thomas Anderson.
Clearly, Rudolph has plenty going on beyond her childhood trauma. Yet she still finds herself talking about the loss of her mother in interviews. “I answer the question and then afterwards, I’m like, Why the fuck did I do that again?” she said. “Maybe this is the day where we just go, like, ‘You can stop asking.’ It just makes a sad story. But we’re talking about great things, yeah, and humans are capable of so much more than one thing. But for whatever reason, people want to really focus on the sadness, and I’m like, I good.”
