Last week, the television community was smacked in the face with a major surprise when it was announced Tatiana Maslany had finally received an Emmy nomination for her outstanding work as the various clones on BBC America’s Orphan Black. However, the famed genre series isn’t the only one long overdue for some kind of Emmy nomination. In fact, throughout the years, there have been several series without even a much-deserved technical award… and that’s what we’ve compiled for you here.
That said, before we begin, there are a few qualifications that must be met for a series to make it onto this list:
- The show must have never been nominated for an Emmy in any category, including technical awards (sorry, Parenthood).
- The show must still be eligible for Emmys in 2016 (sorry, Sirens).
- The show must have been eligible for Emmys no later that than this past year and not received a nomination (sorry, UnReal).
THE FOLLOWING IS PRESENTED IN ALPHABETICAL ORDER
Category: Outstanding Stunt Coordination
This won’t be the last time a show deserving of the Outstanding Stunt Coordination category comes up on this list because, while things like Outstanding Drama and Outstanding Comedy may take the spotlight, it’s hard to deny the amount of snubbing that takes place in this category. Just this past year, Daredevil was passed over for this award in favor of, of all things, Boardwalk Empire. However, the Marvel series did get some other nominations for its trouble, which brings us to Arrow.
The Greg Berlanti-produced CW series has been killing it on the fight choreography and pulse-pounding action front since day one. Even if the story sometimes dips to the point of controversy among fans, what hasn’t dipped is the show’s ability to excite once someone wields a bow and arrow or sharpened blade. Also, how does Oliver’s boxing glove arrow moment not land the show something? That’s just plain ignorance right there.
Categories: Outstanding Drama Series, Outstanding Lead Actor (Hugh Dancy, Mads Mikkelsen), Outstanding Supporting Actor (Laurence Fishburne), Outstanding Writing, Outstanding Directing, Outstanding Special Visual Effects
It simply wouldn’t be an Emmy snub list without the inclusion of one of the academy’s most egregious and constant omissions: Hannibal. To be fair, the show wasn’t eligible this year since season 3 missed the cut-off with its push to summer, and won’t have a (final?) shot at awards until 2016. That said, there’s plenty in seasons 1 and 2 that made the Bryan Fuller series worthy of acclaim.
Even just ignoring the amazing acting, writing, and directing for a second: how does the show not land an Outstanding Visual Effects nomination? Not only is its post-work hauntingly beautiful, it also does something so rarely seen in Hollywood: It has narrative importance. All that CG blood means something to the narrative of the show, particularly for Will, and it’s a shame that fact constantly goes unnoticed.
The Last Ship
Category: Outstanding Stunt Coordination
As this year was the first time it was eligible for awards, since season 2 only just started airing a few weeks ago, you’re probably wondering why The Last Ship made the cut. Well, the answer has to do with the scene that surely was submitted by the production team for the category it lost out on.
Those that saw the pilot of The Last Ship will remember an epic action sequence that took place in the snowy tundra of Antarctica. Well, believe it or not, that entire sequence was shot and directed by none other than the show’s executive producer, Michael Bay. So, are you really going to tell us that the best action sequence of 2014, helmed by one of Hollywood’s top action directors, wasn’t worthy of at least a nomination for Outstanding Stunt Coordination? Please.
Check out an EXCLUSIVE 5-minute sneak peek from the premiere of The Last Ship! Join the ranks this Sunday at 9/8c on TNT!Posted by The Last Ship on Thursday, June 19, 2014
Category: Outstanding Comedy Series
With its final season set to premiere later this year, it’s hard to believe that The League has never garnered an Emmy nomination for its efforts. Despite not having any actual scripts to go off of during production – instead relying on the improvisational skills of its actors – the show remains a bright spot in television’s comedy scene. Every episode contains more laughs than some of the best sitcoms that do make the cut (looking at you Louie), and given that the first rule of any comedy is to be funny, it’s clear there’s some serious oversight happening on the part of the Television Academy concerning The League.
Some may say the show’s crassness is to blame, but Louie is far crasser and more offensive at times, yet it still manages to land acclaim. Some may say it’s the show’s lack of a script and reliance on improv, but that doesn’t make much sense since the show is still written. The creators have said repeatedly that every episode has a detailed outline, which contains everything featured on screen, except for dialogue. That’s the only thing made up on the spot. So, if it’s not an Academy-wide aversion to crassness or improvisation, then what could possibly be the reason for not allowing one of television’s best comedies a chance to compete with the big boys? The answer: a simple unwillingness to think outside the box of “usual suspects.”
Categories: Outstanding Comedy Series, Outstanding Writing
Staying on the track of overlooked comedies for a moment, let’s discuss Maron. Again, using Louie as the benchmark for Academy golden children, there’s no reason Maron shouldn’t be considered one of television’s best comedies, given it taps into the exact same themes Louie does, in the exact same way, without forgetting the one thing Louie often leaves out of the story: humor.
Louie, at this point, is not a comedy; it’s a 30-minute drama. The same can also be said of Transparent. However, because the Academy rules state anything under 30 minutes is a comedy, regardless of content, Louie is put up in a category it may not actually belong in simply because of its runtime. However, Maron never forgets that it’s a comedy, and it makes sure you know it, too. The show contains some of the most brilliantly crafted laughs currently at work on the small screen (pink eye, anyone?), and it’s a shame that it continually goes unnoticed simply because so many can’t see past their own ideals of “it’s L.A. Louie.” Maron is better than that classification, and the Academy should be acknowledging that.
Morgan Spurlock Inside Man
Category: Outstanding Documentary or Nonfiction Series
Believe it or not, Emmy snubbing isn’t simply limited to scripted comedies and dramas. Morgan Spurlock Inside Man is a wonderful documentary series. In fact, it’s one of the best. Of course, some may say HBO’s Vice does what Spurlock’s show does better, but one could also argue that Spurlock’s show found a way to tap into its topics without being overly aggressive toward its audience.
Inside Man is a fascinating look at the world we live in, without also feeling like it is meant to push an agenda. The show feels honest and real, and it’s most certainly the best thing the filmmakers have put to screen since Supersize Me. Given that, why, after two chances, the Emmys have continued to ignore the CNN series remains a mystery.
Categories: Outstanding Prosthetic Makeup for a Series, Miniseries, Movie or a Special; Outstanding Special Visual Effects
Its story is bonkers and its tone is amazingly over-the-top; however, if there’s one things we can say with any certainty, it’s that if The Walking Dead can land non-stop nominations for its make-up work, then so can The Strain. While the above image is from the show’s current season that won’t be eligible until next year, it does get across the kind of work the FX series has been capable of so far.
The show’s vampire world feels real, and it’s due in no small part to the work being done by the make-up and visual effects teams operating behind the camera. To pull off what the horror/drama does takes mastery of a specific skill-set, and it’s a mastery completely deserving of, at the very least, a nomination at TV’s big day.
Categories: Outstanding Drama Series, Outstanding Lead Actor (Gabriel Macht; Patrick J. Adams), Outstanding Supporting Actor (Rick Hoffman), Outstanding Supporting Actress (Sarah Rafferty; Gina Torres)
As big a crime as it is for Hannibal to be overlooked by the Academy, it’s equally a crime for Suits to go unrewarded. The USA drama is a shining bright spot on cable television. And after last season’s big reveal that saw Louis – through a brilliant performance by Rick Hoffman – learn the truth about Mike Ross and the lies being told by Harvey, Donna, Rachel, and Jessica, it is stunning that the show didn’t find itself the holder of an Outstanding Supporting Actor nomination.
Most likely, the show’s snubbing has to do with its network. No one is looking to USA for hard-hitting stories. However, that may change in 2016, thanks to Mr. Robot. And if the Christian Slater-starring drama gets eyes on the rest of the network’s offerings for potential nominations, then the show will have done even more good than it already has.
Category: Outstanding Supporting Actor (Dylan O’Brien)
As a whole, Teen Wolf, while a truly enjoyable, entertaining, and at times, hilarious show, is not deserving of an Emmy nomination in any category… except one. Its fights are good, but the stunt work isn’t Emmy worthy. Its visual effects are passable, but nothing to write home about. However, the entire show is built on the back of a single, consistently great performance: that of Dylan O’Brien’s Stiles Stilinski.
How good is O’Brien’s work on the show? So good that it’s gone on to land him starring roles in his own tentpole movie franchise, while also making him a one-time fan favorite for the role of Marvel’s next Spider-Man (a role that ultimately was snatched away from him due to his age). Teen Wolf is home to one of the small screen’s greatest gems, and it’s Dylan O’Brien. Is his performance Emmy worthy, though? Well, just think back to the events of season 3B, when Stiles became a split personality known as Void Stiles and ask us that question again.
Whose Line is it Anyway?
Category: Outstanding Variety Sketch Series
Between 2001-2003, the original U.S. run of Whose Line is it Anyway?, hosted by Drew Carey, managed to land multiple Emmy nominations in the variety category, thanks to a sub-category once known as Outstanding Individual Performance in a Variety or Music Program. Unfortunately, the sub-category was disbanded in 2008, but it doesn’t change the fact that, considering the new Whose Line, now hosted by Aisha Tyler, features the same three core players of Wayne Brady, Ryan Stiles, and Colin Mochrie (none of whom have lost a step during their time away), the show is completely deserving of an Outstanding Variety Series nomination, especially now that the category is split up the way it is.
While most of the current nominations this year are worthy of their place, is Whose Line really less deserving than Drunk History? Both shows are improv based, and one could argue a lot more skill is required to pull off the humor of Whose Line than Drunk History. Ultimately, it goes back to the same problem Arrow currently has, in that the Academy has a real aversion to acknowledging anything of merit on The CW because of its reputation for being the “tween network.” Perhaps, one day, that will change, but that day is not today.
What shows do you think are deserving of Emmy love that still haven’t gotten any?