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Avowed review: Elder Scrolls? I don't know her

Avowed review: Elder Scrolls? I don't know her

Yahoo13-02-2025

Sorry, beefcakes, but this review isn't for you. All the fighters and rangers out there will still get a sense of how phenomenal Avowed is, the lushness of its environments, the clarity of its combat systems and the depth of its conversation trees — but at its core, this is the review for Avowed players who want to spend their time in the Living Lands learning how to become a master of mushroom-powered magic. This is the Avowed review for wizards. And, sure, all of their friends.
To be clear, I would happily play Avowed as any mixture of classes, and I'm likely going to boot up a new campaign and do exactly this very soon. But in my first runthrough, I wanted to see if the game would let me live out my fantastical spell-slinging dreams, and it absolutely did.
Avowed is a first-person, open-world RPG from Obsidian and it's a spin-off of the studio's Pillars of Eternity series, but it introduces an entirely fresh storyline and map, and doesn't require any existing knowledge of that universe. You are the envoy to the powerful Aedyran empire and you've just landed on the shores of the Living Lands, a lawless region occupied by outcasts, criminals and refugees from the wider world. Aedyr and its goon squad, the Steele Garrote, are making inroads in this land and attempting to wrest control of its settlements in the name of law and order. You know, classic colonizer shit. However, that's not why you're here — you're on a mission to uncover the source of the Dreamscourge, a rapidly spreading illness that consumes the minds of people and animals, covering their bodies in bright fungal growths and turning them into rabid killing machines. It's kind of like cordyceps in The Last of Us, but with rainbow face mushrooms and rambling spiritual breakdowns preceding the full zombie phase.
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The Dreamscourge's growths look eerily similar to markings on your own face, but you've carried yours since birth and they signify you as a godlike, someone who's been touched by one of the many deities of this world. This is a rare and special status, and part of your journey involves uncovering the identity of your god, a mystery that's haunted your entire life. What's more, as you interact with aquamarine pillars of spiritual power called adra, a booming voice interrupts your thoughts and dreams, begging you to trust it and claiming it can help cleanse the world.
Avowed
This complex foundation forms a tapestry of twisting, interlocking narrative threads that span politics, military strategy, religion, occultism, science, trust, relationships, duty and identity over 45 hours of playtime. That's for a fairly focused run, too — I skipped plenty of sidequests in the interest of finishing the game before my deadline, and a full, leisurely playthrough could easily have tacked on 20 more hours and oodles of narrative intrigue. The lore runs deep in Avowed and each of its storylines is handled with supreme care, as are all of the notes, letters, poems and plaques scattered across the Living Lands. There are thousands of completely optional pieces of writing to find here, and each one is delivered in its own voice, serving its own purpose. Avowed is full of life and its history was written with a deft hand.
After creating my character with purple and pink hair, yellow freckles and big coral mushroom paddles across my eyes, I chose to be a Court Augur — the most mystical option — and started building out my interpersonal and mana-generating stats. Mana in this game is called essence, and you also have health and stamina gauges. Leveling up certain characteristics unlocks their associated dialogue options in conversations, and throughout my playthrough, I focused on Perception, Intellect and Resolve because I hate being made to look a fool. Also, as the game progressed, I realized I needed as much stamina and essence as I could get.
The Living Lands comprise four main regions: Dawnshore, Emerald Stair, Shatterscarp and Galawain's Tusks. Their landscapes range from lush, water-logged forests dotted with iridescent fog and glowing mushrooms, to blackened, craggy spires and bone-like structures in a hellish volcanic wasteland. Each area is gorgeous in its own way and packed with people to help, bounties to secure, secrets to unravel and so very many shiny items to pick up. As someone who absolutely can't resist a glowing outline or the tinkling of a nearby lockbox, Avowed is a buffet of delight. The game encourages you to pick up absolutely everything in sight, and though there is an encumbrance limit, it's generous and never caused me any real problems. There also seems to be no such thing as 'stealing' with your character, no matter how destitute or hostile the surrounding NPCs may be.
Avowed
The dialogue system offers ample opportunity to forge a distinct personality and apply it to every scenario, whether you want to be a hardline government simp, religious zealot, socialist vigilante or some combination of all three. The choices you make in conversations with townsfolk, your companions and the voice in your head ripple across the campaign, altering the outcomes of major narrative points in tangible ways. Treat each decision as if it really matters, because in this game, it probably does.
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Avowed let me live out my anti-colonization, pro-contraceptive, magical underground rebellion fantasy, but I found it just as enjoyable to talk to kith — the humanoid creatures of the Living Lands — just for the sake of talking. My favorite dialogue moments happened while standing around the fire of my party camp, learning more about the lives of my companions, shaping my own personality and swapping scary stories. Also, the way the firelight glints off of the slick turquoise scales of my companion Kai's chest is endlessly mesmerizing.
Ahem, speaking of — there is no romance in Avowed and I have to say, I didn't miss it. Horny characters abound in the Living Lands, so there's no shortage of flirty dialogue options if you care to partake, but there's enough happening at all times that a roll in the hay never feels like top priority. Your party maxes out with four companions: the aforementioned Rauataian nomad Kai, the mountain dwarf and tracker Marius, the defiant animancer human Giatta, and the talented wizard-in-training Yatzli, a hearth orlan with pink hair and big, fluffy ears. I know who I would start a romance with — Giatta and I had some lovely fireside chats — but more than anything, I'm happy to have these characters as my friends and reinforcements throughout the game.
Avowed
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Some of Avowed's best storylines are sidequests about your companions' lives, fleshing out their personal demons, helping them find closure, and providing context for their behaviors and beliefs. Kai's sidequest involving his old friend, Tama, stands out as a particularly moving vignette. Play it when you see it.
You can take two companions at a time on your adventures, and the campaign touches on their backstories in turn, making certain party members more useful in specific missions. Kai is a tank with a fire-starting gun; Marius has a bow and shadow-step assassin ability; Giatta heals, shields and buffs; and Yatzli uses magic to control crowds and deal devastating damage.
Once I realized that playing as a wizard meant I didn't have to use a grimoire to cast spells, I was completely committed to maxing out that class tree, ignoring the fighter and ranger skills entirely. There's also a godlike ability tree that fills up as you discover memories of your past lives in hidden locations around the Living Lands. Godlike moves include things like passive boosts, area-of-effect spells and attacks. Finding one of these is a treat, because it triggers a moment of introspection between your character and the voice in their head: A beautiful, hand-drawn image of an ancient event fills the screen and the voice asks how you acted in past moments of extreme tragedy and triumph. These conversations nurture your relationship with the voice and help establish your personal history, and they're quietly, deeply satisfying.
Avowed
In combat, I ended up with two main loadouts: A wand and one-handed staff as my main, and a flaming sword and pirate-y gun in the other. Every now and then I swapped my secondary loadout for a bow, which takes two hands to fire but never runs out of arrows, and I had a lot of fun landing headshots from afar. I upgraded my chosen weapons and armor at the party camp throughout my adventure, and added enhancements to the objects that could handle them. Upgrading and enhancing is its own little game, and this feature made me feel less insane as I ran in the opposite direction of my waypoint marker, compulsively picking up every single shiny thing on screen. This is for upgrades, I whispered to myself while gathering my 166th twig. Yes, yes, upgrades.
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The action wheel was also a critical tool. Opening it during combat pauses the scene, allowing you to browse consumables, godlike abilities and, most importantly for a young wizard, spells. I mapped health and three spells to the D-pad, but the rest of my magic abilities were added to the wheel as I unlocked them. It became second nature in the heat of battle to pull up the wheel, down some wild mushroom stew and then pick a spell to fling at incoming enemies, whether ice, fire, lightning or pure magic damage, laser-focused or area-of-effect. And then, I'd watch my foes fry. Truly, I loved being a wizard. Managing my stamina bar, essence meter and health gauge was the trickiest part of combat, but I quickly fell into a groove of stabbing, dodging and spell-slinging that worked against a range of enemy types. My overall combat tip is simple: Kill the healers first.
By the end of the campaign, I really did feel godlike.
Avowed
Enemies in Avowed don't level up relative to your own experience. This means those level one lizard bros in Dawnshore will always be level one, and the level five beetles in Galawain's Tusks will always be level five. I appreciate this approach because it's immediately clear when you need to spend some time grinding, and it's easy to plan future raids and sidequest runs. That said, I'm a fan of grinding (hey-o), so this choice plays into my open-world RPG preferences nicely.
My time in the Living Lands wasn't without bugs, of course, and I'm not talking about the giant spiders. I played on Xbox Series X and experienced four hard crashes in 45 hours, and three of these were in the same area, which happened to be a big boss fight, so that definitely wasn't ideal. I restarted the game each time and didn't lose any real progress. There were also consistent animation issues with close-up dialogue scenes, where it seemed like the game had trouble rendering characters based on how much hair they had — Yatzli was particularly stuttery from a visual standpoint. The flame animation on my Fan of Flames also cut out sometimes, but the damage kept spewing out, so this wasn't a huge deal. None of these issues ruined the game and none of them are above further optimization from Obsidian, hopefully in a day-one patch. But honestly, by the time the end credits rolled, I'd forgotten that any of these things had happened. I simply felt warm and fulfilled, like I'd just completed a fantastic game.
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The third line in my review notes says, 'I would like to be a mushroom witch pls,' and Avowed let me be exactly that. I played the game as a kind and self-righteous chaos demon, but if I'd wanted, I could've been a staid enforcer of colonial expansion, a hubristic wannabe king or something in between. The Living Lands easily support all of these realities, thanks to a universe filled with fabulous writing, exciting secrets, breathtaking views, intriguing characters and smooth mechanics. Though Avowed is set in the world of an existing franchise and it's yet another entry in the stacked genre of open-world fantasy RPGs, it feels like the start of something new.

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‘There Is No Feud': Walton Goggins and Aimee Lou Wood Tell All on Their ‘White Lotus' Connection, a Cut Love Scene and Yes, Why He Unfollowed Her on Instagram
‘There Is No Feud': Walton Goggins and Aimee Lou Wood Tell All on Their ‘White Lotus' Connection, a Cut Love Scene and Yes, Why He Unfollowed Her on Instagram

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‘There Is No Feud': Walton Goggins and Aimee Lou Wood Tell All on Their ‘White Lotus' Connection, a Cut Love Scene and Yes, Why He Unfollowed Her on Instagram

'Rick and Chelsea, may your souls be tied forever.' That's how Walton Goggins and Aimee Lou Wood were first introduced, via a text from producer David Bernad. There was no chemistry test, no read-through, so the soon-to-be co-stars hadn't met yet. More from Variety 'The Boys' Mocks 'The Last of Us,' 'House of The Dragon' and 'The Bear' in 'Superclass' FYC Clip (EXCLUSIVE) Could AI Help the Emmys? Why the TV Community Is 'Curious, but Not Yet Committed' Emmys Just Aren't Quite Sure What to Do With Eligibility for All of This Season's Guest Stars and Cameos 'He said, 'I'm Scorpio,' and I said, 'I'm Scorpio moon.' And then we both didn't know what to say after that. 'See you in Thailand!'' Wood is laughing and looking to Goggins to confirm, which he does with a nod. The pair has only seen each other once since the February premiere event. Now, it's the first weekend of May. And a lot has happened since then. Namely, the entirety of HBO's 'The White Lotus' Season 3 came and went. Audiences fell in love with the mysterious Rick Hackett and his free-spirit girlfriend, Chelsea. Their love story was an up-and-down, complicated journey that featured Chelsea consistently trying to pull her boyfriend from a dark spiral as he struggled with the fact that the man he believed had killed his father was close by. Ultimately, that spiral got the best of him, resulting in both his and Chelsea's deaths. 'I think we were there for a day or two without meeting because I was so fucking in my head alone,' Goggins says. Then he texted her to come over for lunch. She remembers, 'I didn't know what to order. I was like, 'Can you pick for me?' I was so nervous.' Goggins was nervous, too. But their journey started before she reached the table. 'The minute she walked around the corner, I felt, 'This is gonna work,'' he says. 'Two minutes into the conversation, it felt like I've known this person for 100 years.' So began their tradition of meals together. The cast stayed at the Four Seasons in Thailand and naturally, due to the filming schedule, spent most of their times in their own character bubbles: The women (Carrie Coon, Leslie Bibb and Michelle Monaghan); the Ratliffs (Jason Isaacs, Parker Posey, Patrick Schwarzenegger, Sam Nivola and Sarah Catherine Hook); and Chelsea and Rick. Schwarzenegger would hold group dinners or breakfasts to debrief, but it quickly became too much for the duo. 'I don't mean to sound like an asshole, it's not method or anything, I just felt like I needed to stay in the space,' says Goggins. Wood agreed, 'Both of us would get overwhelmed.' She refers to them as the 'foxes' who would run in, grab food and run out. 'But there were never any negative vibes,' Goggins says before I can even ask. Yes, he's aware of the rumors. Isaacs has referred to tension on set in a few interviews, once saying that during filming, there were 'fewer deaths but just as much drama' as on the show. 'We'd never lived on a set. This is the first time we were all experiencing basically a reality TV show,' Wood says. 'I think we both struggle with work-life balance anyway, so it's hard because there's not even separation in distance.' Since wrap, there's been distance between Goggins and most of the cast because he's been working 70-hour weeks on 'Fallout.' While most watched the finale together at an event, he was alone in New York for a late-night appearance. 'I probably wouldn't have gone anyways,' he says at first. But within 15 minutes of discussing the finale, both are tearing up and he admits to Wood, 'I wish I would have been able to watch this with you. It was so cathartic and so painful, and I regret that. I really do.' Mostly, they both realized something at the same moment while watching: A key Chelsea and Rick love scene had been cut. In the finale, the characters have an emotional reunion on the beach, then went to their bedroom and discuss their relationship. Wood says it had a 'similar feel' to the 'that's the plan' scene at breakfast, confirming their love for each other. It also involved an intimate sex scene. 'We designed the whole journey, even down to the fact that Chelsea gets on Rick in the first [love] scene. Then in the last episode, it was Rick picking Chelsea up. It was so, so delicate,' Wood recalls. Goggins echoes her. While the first love scene showed their connection, 'the last one was two people who were free. It was this very long, suspended moment of these two people looking at each other. It was so powerful.' With that, he picks up my recorder and yells a message for creator Mike White: 'Fuck you, Mike! We want a director's cut!' But back to other topics. Goggins is the 'most enthusiastic man ever,' Wood says — something I didn't need to hear. When he came in for the 10 a.m. photoshoot, his energy was contagious. 'Let's have some fuckin' fun,' he told our crew as he walked into the photo studio in West Hollywood, carrying his own speaker and asking to connect his own music. First, he played Soul Coughing's 'Screenwriter's Blues,' and followed up with Led Zeppelin. The pair didn't see each other until Wood finished taking her solo photos a bit later. While she didn't bring her own music, she suggested 'Miss You' by the Rolling Stones before he entered: 'Anything Stones I think, now that Walton's coming in.' Visibly emotional seeing each other, the two embraced for 30 seconds as the Variety team suddenly felt we were intruding on a private moment. The laughter then began almost immediately, and their photo shoot transitioned into a dance party. After, they asked to step outside for a quick break. 'We were saying outside, 'We can't start crying!' We're the two most emotional, sensitive people!' Wood says with a laugh. But there's a reason for the emotion. There's a reason that they've hugged multiple times, held each other's hands and continuously exchanged compliments during our conversation. Part of that is because of how much Wood helped Goggins through the darkness. 'I was alone purposely in this experience — not selfishly, not narcissistically,' he says. 'Everyone has their process. Mine is being alone. But Aimee as Chelsea wouldn't let me do that.' On set, she'd tell him, 'You're going into the sad, parallel world. Stay in the real one.' So, let's talk about the real one. First, I bring up 'Saturday Night Live,' since, at the time of our chat, Goggins is seven days out from hosting. A week before his gig was announced, Wood called out the show's 'mean and unfunny' parody of her. But that doesn't mean he shouldn't host, she says. 'I was so upset when people [said that],' she says. 'For fuck's sake, of course Walton should do 'SNL.' That's got nothing to do with me. He's fucking had a career for, like, how long?' Without missing a beat, Goggins responds, '70 years.' Wood continues, commenting on the sketch show: 'I said it, and then the next minute, [lowers her voice,] 'Aimee caught crying over 'SNL' skit.' I was not crying over the 'SNL' skit. I was over it the minute I said it.' As she continues, she sits up, chin up. 'This is an important moment for me, because what I would usually do is see it and turn the anger inward. I thought, I'm just gonna say it, so I don't spiral.' Goggins puts it perfectly: 'That's self-love.' It's hard not to share the transcript of the next part of the discussion: Wood: 'I know for a fact a man wrote that. It wasn't Sarah Sherman, don't hate on her. I didn't like the concept. Take the piss out of me. Do the teeth! I've got the teeth, but, like —' Goggins: 'You have the most beautiful smile in the world, you know that.' Wood: 'Thank you. The punch line should not be how I look. That's what bothered me. Do the caricature, because that's what 'SNL' is. It felt misogynistic. It felt like the punch line was a woman's appearance, which is just not funny. It's not cool.' Goggins, picking up my microphone: 'Here it is everybody. Dude in the U.K., we'll get to that too.' At the time, Goggins, half-asleep and heading into makeup to become the Ghoul, shared the parody clip and complimented Jon Hamm's impression of him. Hours later, he saw Wood's response, felt awful and deleted his post. 'Then the next day, I made a vicious swipe against my friend? I've been posting for 14 fucking years, and if I'm gonna say something, but I'm gonna say it to your face,' he says. 'I don't use social media in any way, and I'm not a mean guy.' He picks up my recorder again: 'That's the story.' But earlier, he mentioned the 'dude in the U.K.,' referencing the Times' story, which was published 48 hours before we sit down, with the headline, 'Walton Goggins: Aimee Lou Wood? I'm not gonna have that conversation.' First, he wants to make one thing clear about his relationship with Wood. 'There is no feud. I adore, I love this woman madly, and she is so important to me,' he says, getting choked up. Goggins turns to look at Wood. 'This is Goldie Hawn. This is Meg Ryan. She can do anything, and she will. You watch what the next 20 years of her experience will be. I'll be on an island, I think Greece. But she's special. There is no feud. She is love and I know that I am that to her. We care about each other very deeply.' The Times interview wasn't the time for the discussion, he says, first because Wood wasn't there. 'What am I gonna do, speak for both of us? Never.' Goggins says the reporter asked three different times about Wood and had a 'divisive nature.' The last question, he says, compared Goggins' teeth to Wood's, asking if they'd bonded over that. 'What he was insinuating, it was so disgusting. It was so appalling. I was flabbergasted. And I said, 'Fuck mate, wow. I think we're done here,'' Goggins says. When he mentions the story calling him 'sleazy,' Wood is shocked. 'What???' she gasps. 'How horrible!' I make sure that Wood has a chance to speak about the rumors and the fact that Goggins unfollowing her on social media has made headlines for months. 'I think it's such a comment on where we're at culturally. Why is everyone obsessing over Instagram? That is irrelevant. We don't give a shite about Instagram,' she says. 'Why not have conversations about the story and Rick and Chelsea and enjoy it?' At first, Wood wanted to correct people and bring it back to the show, but knew anything she said would get twisted: 'Eventually I just started to sit back and watch these people making something out of absolutely nothing.' She pauses and Goggins scooches to the edge of the couch, leaning into the recorder more. 'If I may add, just to put this to bed? The following or unfollowing. I'm a grown-ass man.' Long story short, Goggins isn't good with goodbyes. 'When I left 'Justified,' I went up to Tim [Olyphant], and I hugged him and I said, 'I love you, and I hope I see you in rooms for the rest of my life,'' he says. 'I didn't talk to him for almost two years. I've done that with every single thing that I've done.' 'The White Lotus' was no different; in fact, it was painful. In 2004, his wife died by suicide. He spent the next three years traveling and searching for peace. It led him to Thailand, then to Bangkok. When he arrived in Bangkok on set, he realized he was in the exact same place. 'My catharsis in this experience was different than other people's, because of my history in this place. I knew what we had gone through, and I knew how close that we had gotten, and I needed to begin to process saying goodbye to Rick and Chelsea,' Goggins says, beginning to cry. 'And I knew that that was going to take a while for me, so I let her know, this is what I've gotta do. And she was extremely supportive about that.' After filming ended, 'I needed to just back away from everyone,' he says. 'I haven't spoken to anyone. I couldn't handle it. Judge me or don't. I don't give a fuck what you think. This is my process. Rick means everything to me, and Chelsea means everything to me. And so that's what I needed to do for me to process all of this.' He jokes that if he had been following Olyphant or his 'The Shield' co-star Michael Chiklis, he would have unfollowed them after those shows wrapped, too. 'You know what?' Goggins laughs and gets up. 'I'll follow you right now!' He heads across the room to find his phone, coming back to sit with Wood. He opens Instagram and becomes one of her 3 million followers. 'It's all so ridiculous,' he says. 'It's just a part of me just saying goodbye to this character so that now Aimee and I will be friends for fucking ever.' They hug again, and Wood tells him, 'I completely understand.' He tells her, 'I love you.' 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Everything to Know About ‘The Last of Us' Season 3
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5 slots isn't enough: More limited series deserve a chance to compete with ‘Adolescence'
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5 slots isn't enough: More limited series deserve a chance to compete with ‘Adolescence'

Four episodes, four takes, one 13-year-old discovery. With the April premiere of Adolescence, Netflix is poised for a three-peat — for the third year in a row, the streamer has launched a limited series in the spring that has gone on to dominate the awards conversation. More from GoldDerby Laugh tracks: The state of the 2025 Emmy comedy race Close calls: The state of the 2025 Emmy drama race Everything to Know About 'The Last of Us' Season 3 Like Beef and Baby Reindeer before it, Adolescence has soared from debut to awards on unparalleled highs of widespread viewership (it's now the #3 most watched Netflix series of all time) and critical acclaim (a near-perfect Rotten Tomatoes score of 99 percent). The drama, which chronicles the investigation of a teenager who's accused of murdering a classmate, immediately grabbed the No. 1 slot in Gold Derby's predictions charts; as of this writing, stars Stephen Graham (who also cocreated and cowrote), Erin Doherty, and wunderkind teenager Owen Cooper (making his acting debut) are also at the top of their respective categories. The technical prowess of the series is also sure to gain voters' attention — each of the four episodes was filmed in a single, continuous take, ensuring it will earn nominations for writing and directing. The limited series race gets a lot tighter from there. Unlike comedy and drama series, which are guaranteed eight nominations per Emmy rules, the number of limited series nominations is, well, frustratingly limited. Per Television Academy rules, it's determined by the number of submissions – anything less than 80 will mean just five potential nominations, as it has for the last several years. It boggles the mind a bit, given industry trends. The limited series field is stacked with the usual A-list star power in front of and behind the camera drawn to the category for its shorter episode runs and greater creative freedom. Years past have seen the likes of Barry Jenkins, Ava DuVernay, Nicole Kidman, and Kate Winslet gracing the small(er) screen. And this year is no exception: witness a slate that includes Cate Blanchett, Robert De Niro, Colin Farrell, Alfonso Cuarón, Michelle Williams, Julianne Moore, Paul Giamatti, Jake Gyllenhaal, Javier Bardem. So why not expand the playing field? Sigh. For now, then the competition is tiiiiight for the remaining four slots. Emmys awards powerhouse Netflix has a pair of contenders in the race along with Adolescence: Black Mirror, Charlie Brooker's dystopian drama, which has racked up nine Emmys and 16 nominations over the course of its seven season run. The current iteration features a follow-up to fan favorite 'USS Callister' (which earned seven nominations and won four), along with Issa Rae, Rashida Jones, and Paul Giamatti in their own standout episodes. And then there's the monster hit Monsters: The Lyle and Erik Menendez Story, which launched back in September. While it didn't fare as well with critics (just 45 percent on Rotten Tomatoes), it did earn three Golden Globe nominations (for limited series and stars Cooper Koch and Javier Bardem) and is currently in the top five in Gold Derby's charts. FX, another Emmys mainstay, also has two strong contenders: Dying for Sex, starring Michelle Williams as a woman diagnosed with metastatic breast cancer, who embarks on a journey of sexual self-discovery; and Say Nothing, based on the best-selling book by Patrick Radden Keefe about the political and personal fallout from the Troubles in Ireland in the 1970s and 1980s. Both series are critically acclaimed — with Rotten Tomatoes scores of 98 percent and 94 percent respectively, and both feature strong central female performances — both Williams and Say Nothing's Lola Petticrew are in the top 10 on Gold Derby's predictions. Recency bias may well favor Dying for Sex, which debuted in April, while Say Nothing premiered last November. Timing is indeed everything when it comes to awards; premiere too early, and you risk being forgotten; premiere too late, and you'll get lost in the late May shuffle, too late to break through and get overburdened voters to tune in. Several of the titles vying in this year's race were already tested in the fall awards cycle, where eligibility was the calendar year 2024 — including the Golden Globes, the Critics Choice Awards, the Screen Actors Guild Awards, and the other guild awards — and most were bested by the continuing sweep Baby Reindeer, finishing out its awards run. The series with the most momentum from the fall cycle that is still eligible – Baby Reindeer's near-sweep aside — is HBO Max's The Penguin, with Colin Farrell's wins at the Golden Globes, Critics Choice and the SAG Awards, along with a win for Milioti at the Critics Choice and a WGA win. (Worth noting, too, that Milioti also appears in Black Mirror's 'USS Callister' episode.) Those key wins, strong critical support (95 percent on Rotten Tomatoes) and passionate fandom has been enough to maintain momentum for the title into the Emmys cycle. And finally, there's Apple TV+, which also has a pair of late fall limited series in contention: Presumed Innocent and Disclaimer. The Jake Gyllenhaal legal thriller based on the book by Scott Turow debuted last summer; Disclaimer, with Cate Blanchett, Kevin Kline, and Sacha Baron Cohen, as directed by Alfonso Cuaron, came out in October. Gyllenhaal was nominated for a Golden Globe and the series earned a WGA nod, while Disclaimer overcame mixed reviews to rack up four Critics Choice nominations (limited series, Blanchett, Kline and supporting actress Leila George), three Golden Globe nods (series, Blanchett, and Kline), two Screen Actors Guild nods (Blanchett and Kline), and a DGA nomination. That signals widespread industry support that should reap rewards come Emmy time. Best of GoldDerby Jay Duplass on exposing his 'dad bod' and playing a 'soft villain' in 'Dying for Sex': 'Easily one of my biggest acting challenges' Jon Hamm on 'Your Friends and Neighbors': 'None of us are perfect specimens' 'I'm very happy to be busy': O-T Fagbenle on his trio of Emmy-eligible performances Click here to read the full article.

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