,” which won in three of the four limited series acting categories before Netflix’s “The Queen’s Gambit” won the ultimate prize, and this year’s Emmys felt dominated by fewer shows than ever.
Seating nominees at different tables, ostensibly a social distancing measure, lent a slightly more spontaneous, Golden Globes-esque vibe to the proceedings. And as Seth Rogen pointed out early on, the “tent” in which they were all sitting looked enough like a closed room that it probably could’ve been without raising more eyebrows. Even “The Crown” team beaming in from a London bar in the dead of night felt about right, all things considered.
Among these gluts of wins for just a few shows were some very worthy choices. I’m, for instance, a huge admirer of all three “Mare of Easttown” winners — Kate Winslet, Evan Peters, and Julianne Nicholson. But, especially after last year’s “Schitt’s Creek” domination, the Emmys are going through an era where adventurousness only goes so far, picking a few accomplished shows and singling them out not just as the best of TV, but the only thing on TV.
“Ted Lasso” and “Mare of Easttown” splitting many of their respective genre’s honors is notable, though as you say, at least a couple spoilers snuck their way in regardless. It was wonderful to see “Hacks” creators Paul W. Downs, Jen Statsky and Lucia Aniello take to the stage with gobsmacked awe, and a downright relief when Michaela Coel managed to break up the “Mare” and “Queen’s Gambit” limited series runs by winning for writing. Drama, however, had no such reprieve.
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