Alexis Bledel withdraws from Emmy consideration for ‘The Handmaid's Tale' due to rule change
The new Emmy rule for guest eligibility has claimed its first victim.
Alexis Bledel, who returned to The Handmaid's Tale for last week's series finale, only had a few minutes of screen time, so she understandably submitted in the Best Drama Guest Actress category for the upcoming Emmys. However, a 2025 addendum to the Emmys rulebook stipulates that if a performer was previously nominated in supporting or lead, they cannot switch to guest for that same show at any future date, regardless of how much screen time they have — or, in Bledel's case, don't have.
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As originally reported by Variety and confirmed by Gold Derby, the Television Academy notified Bledel that she would be moved from Best Drama Guest Actress to Best Drama Supporting Actress, the same category where she was nominated in 2018 (losing to Thandiwe Newton for Westworld). As a result, Bledel opted to withdraw her name from consideration completely, which means she won't be on the ballot alongside her fellow The Handmaid's Tale supporting actresses, Yvonne Strahovski, Ann Dowd, Samira Wiley, Madeline Brewer, Amanda Brugel, and Ever Carradine, all of whom had considerably larger roles.
The fact that Bledel was previously nominated as a guest star for playing Emily in 2017, 2020, and 2021 (winning in 2017) had no bearing on this decision. It was that sole 2018 supporting nomination and loss that determined she could no longer compete as a guest star for The Handmaid's Tale.
Here is the specific Emmy rule that's causing so much confusion:
If a performer has been nominated or has won in a Lead or Supporting Performer category, the performer will not be eligible to submit in a Guest Performer category in a subsequent Emmy year for playing the same role in the same series. They may, however, continue to enter in a Lead or Supporting category.
Note that the "50 percent" rule is still in effect, so guest stars can only campaign in that category if they appear in fewer than half of the eligible episodes. Bledel appeared in just one of the 10 episodes from Season 6, so she could have entered the guest race had the rule not been changed in January.
SEEWhat 'The Handmaid's Tale' star Elisabeth Moss 'stressed about' for a year and a half while filming the final season SEEWhat 'The Handmaid's Tale' star Elisabeth Moss 'stressed about' for a year and a half while filming the final season
Prior to The Handmaid's Tale series finale, Bledel's last appearance as Emily was in the Season 4 finale, which aired in June 2021. Emily was seen racing after Fred Waterford (Joseph Fiennes) with the other escaped handmaids, which resulted in his brutal murder. When Season 5 started, Emily was reported as "missing," and not much was mentioned about her again, until the Season 6 finale, when she showed up alongside June (Elisabeth Moss) to reflect on their past decade together.
Another high-profile performer affected by the new guest star rule is Meryl Streep for Only Murders in the Building. She was nominated in Best Comedy Supporting Actress in 2024, and now must campaign in that category again at the 2025 Emmys, despite having a smaller presence in Season 4 and only appearing in four of the 10 episodes.
This isn't the first time the guest star rules have resulted in unexpected drama. In 2016, Peter MacNicol's Emmy nomination for Veep was rescinded when it was determined he had appeared in too many episodes to compete in guest. Peter Scolari for Girls replaced him on the list of nominees, and he ended up winning.
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Los Angeles Times
2 hours ago
- Los Angeles Times
‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more
The Emmys' limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year's crop of contenders is no exception. The seven actors who joined the 2025 Envelope Roundtable were Javier Bardem, who plays father, victim and alleged molester Jose Menendez in Netflix's 'Monsters: The Lyle and Erik Menendez Story'; Renée Zellweger, who reprises her role as the British romantic heroine in 'Bridget Jones: Mad About the Boy'; Stephen Graham, who co-created and stars in 'Adolescence' as the father of a teenage boy who commits a heinous murder; Jenny Slate, who plays the best friend of a terminally ill woman in FX's 'Dying for Sex'; Brian Tyree Henry, who portrays a man posing as a federal agent in order to rip off drug dealers in Apple TV+'s 'Dope Thief'; Elizabeth Banks, who takes on the role of an estranged sibling and recovering alcoholic in Prime Video's 'The Better Sister'; and Sacha Baron Cohen, who appears as the deceived husband of a successful filmmaker in Apple TV+'s 'Disclaimer.' The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. And I'm like, 'But they're trying to kill us.' You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you're just terrified for both. There's always humor somewhere in the drama. Banks: There's a reason why the theater [symbol] is a happy face/sad face. They're very intertwined. Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with 'Mad About the Boy'? Zellweger: Nobody's the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It's been a really interesting sort of experiment to revisit a character in the different phases of her life. What I'm really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don't have to pretend that I'm less than I am, because I don't want to be the character that I was, or played, when she was 29, 35. I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? Is he with his child psychologist?' No, Owen's upstairs playing swing ball with his tutor. It was like OK, that's the way to do this — not to take myself too seriously when we say, 'Cut,' but when I am there, immerse myself in it. Let's be honest, we can all be slightly self-obsessed. My missus, she's the best for me because I'd phone her and say, 'I had a really tough day. I had to cry all day. My wife's died of cancer, and it was a really tough one.' She goes, 'The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They've let the kids out of school early because there's been a flood. And you've had a hard day pretending to be sad?' Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.
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BEST MUSICAL Buena Vista Social Club Dead Outlaw Death Becomes Her Maybe Happy Ending Operation Mincemeat: A New Musical BEST MUSICAL REVIVAL Floyd Collins Gypsy Pirates! The Penzance Musical Sunset Boulevard BEST ACTRESS IN A MUSICAL Megan Hilty, Death Becomes Her Audra McDonald, Gypsy Jasmine Amy Rogers, Boop! The Musical Nicole Scherzinger, Sunset Boulevard Jennifer Simard, Death Becomes Her BEST ACTOR IN A MUSICAL Darren Criss, Maybe Happy Ending Andrew Durand, Dead Outlaw Tom Francis, Sunset Boulevard Jonathan Groff, Just in Time James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical Jeremy Jordan, Floyd Collins BEST FEATURED ACTRESS IN A MUSICAL Natalie Venetia Belcon, Buena Vista Social Club Julia Knitel, Dead Outlaw Gracie Lawrence, Just in Time Justina Machado, Real Women Have Curves: The Musical Joy Woods, Gypsy BEST FEATURED ACTOR IN A MUSICAL Brooks Ashmanskas, Smash Jeb Brown, Dead Outlaw Danny Burstein, Gypsy Jak Malone, Operation Mincemeat: A New Musical Taylor Trensch, Floyd Collins BEST DIRECTOR OF A MUSICAL Saheem Ali, Buena Vista Social Club Michael Arden, Maybe Happy Ending David Cromer, Dead Outlaw Christopher Gattelli, Death Becomes Her Jamie Lloyd, Sunset Boulevard BEST ORIGINAL SCORE Dead Outlaw, Music & Lyrics: David Yazbek and Erik Della Penna Death Becomes Her, Music & Lyrics: Julia Mattison and Noel Carey Maybe Happy Ending, Music: Will Aronson; Lyrics: Will Aronson and Hue Park Operation Mincemeat: A New Musical, Music & Lyrics: David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts Real Women Have Curves: The Musical, Music & Lyrics: Joy Huerta and Benjamin Velez BEST BOOK OF A MUSICAL Marco Ramirez, Buena Vista Social Club Itamar Moses, Dead Outlaw Marco Pennette, Death Becomes Her Will Aronson and Hue Park, Maybe Happy Ending David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts, Operation Mincemeat: A New Musical BEST CHOREOGRAPHY Joshua Bergasse, Smash Camille A. Brown, Gypsy Christopher Gattelli, Death Becomes Her Jerry Mitchell, Boop! The Musical Patricia Delgado and Justin Peck, Buena Vista Social Club BEST ORCHESTRATIONS Andrew Resnick and Michael Thurber, Just in Time Will Aronson, Maybe Happy Ending Bruce Coughlin, Floyd Collins Marco Paguia, Buena Vista Social Club David Cullen and Andrew Lloyd Webber, Sunset Boulevard BEST COSTUME DESIGN OF A MUSICAL Dede Ayite, Buena Vista Social Club Gregg Barnes, Boop! The Musical Clint Ramos, Maybe Happy Ending Paul Tazewell, Death Becomes Her Catherine Zuber, Just in Time BEST LIGHTING DESIGN OF A MUSICAL Jack Knowles, Sunset Boulevard Tyler Micoleau, Buena Vista Social Club Scott Zielinski and Ruey Horng Sun, Floyd Collins Ben Stanton, Maybe Happy Ending Justin Townsend, Death Becomes Her BEST SCENIC DESIGN OF A MUSICAL Rachel Hauck, Swept Away Dane Laffrey and George Reeve, Maybe Happy Ending Arnulfo Maldonado, Buena Vista Social Club Derek McLane, Death Becomes Her Derek McLane, Just in Time BEST SOUND DESIGN OF A MUSICAL Jonathan Deans, Buena Vista Social Club Adam Fisher, Sunset Boulevard Peter Hylenski, Just in Time Peter Hylenski, Maybe Happy Ending Dan Moses Schreier, Floyd Collins SEE 'Every beat is meticulously crafted': 6 'Purpose' Tony nominees offer an oral history of the Pulitzer Prize-winning drama BEST PLAY English The Hills of California John Proctor Is the Villain Oh, Mary! Purpose BEST PLAY REVIVAL Eureka Day Romeo + Juliet Thornton Wilder's Our Town Yellow Face BEST ACTRESS IN A PLAY Laura Donnelly, The Hills of California Mia Farrow, The Roommate LaTanya Richardson Jackson, Purpose Sadie Sink, John Proctor Is the Villain Sarah Snook, The Picture of Dorian Gray BEST ACTOR IN A PLAY George Clooney, Good Night, and Good Luck Cole Escola, Oh, Mary! Jon Michael Hill, Purpose Daniel Dae Kim, Yellow Face Harry Lennix, Purpose Louise McCartney, Stranger Things: The First Shadow BEST FEATURED ACTRESS IN A PLAY Tala Ashe, English Jessica Hecht, Eureka Day Marjan Neshat, English Fina Strazza, John Proctor Is the Villain Kara Young, Purpose BEST FEATURED ACTOR IN A PLAY Glenn Davis, Purpose Gabriel Ebert, John Proctor Is the Villain Francis Jue, Yellow Face Bob Odenkirk, Glengarry Glen Ross Conrad Ricamora, Oh, Mary! BEST DIRECTOR OF A PLAY Knud Adams, English Sam Mendes, The Hills of California Sam Pinkleton, Oh, Mary! 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Ryan Gosling's ‘Star Wars: Starfighter': Everything to know as Mia Goth takes on the Mikey Madison role
This is as close as we're going to get a Barbie-MaXXXine crossover. Mia Goth is joining the new Ryan Gosling-powered Star Wars installment, Starfighter, taking over the role originally offered Anora Oscar winner Mikey Madison. The casting coup is the latest scrap of news about the anticipated project, which will be helmed by Shawn Levy and which had its coming-out party at Star Wars Celebration in April 2025. Here's everything we know so far about Star Wars: Starfighter. More from GoldDerby Danya Taymor could make Tony Awards history with a win for 'John Proctor Is the Villain' How 'Severance' creates Lumon's 'manufactured perfection' through VFX 'Say Nothing' star Anthony Boyle on playing IRA activist Brendan Hughes: We 'get to the humanity as opposed to the mythology' The are scant details about the plot, other than it is a one-off installment that involves Ryan Gosling's character and his young companion being pursued by villainous forces. Levy says that Starfighter will cover new territory in franchise storytelling and won't feature any of the major characters from prior releases. 'This is a standalone. It's not a prequel, not sequel. It's a new adventure. It's set in a period of time that we haven't seen explored yet,' the filmmaker said. 'The reality is that this script is just so good. It has such a great story with great and original characters,' said Gosling. 'It's filled with so much heart and adventure, and there just really is not a more perfect filmmaker for this particular story than Shawn.' Starfighter the movie is not related to the 2001 video game of the same name from LucasArts that was set on the planet of Naboo during the time period of Star Wars: The Phantom Menace. Starfighter takes place about five years after the events of the last Star Wars feature, 2019's Rise of Skywalker. READ: Levy, a four-time Emmy nominee for Stranger Things and whose credits also include Deadpool & Wolverine, Free Guy and Night at the Museum, has been developing the project for the past three years with screenwriter Jonathan Tropper. The two previously collaborated on The Adam Project and This Is Where I Leave You. Gosling, a three-time Oscar nominee, was formally introduced as the lead at Star Wars Celebration after weeks of speculation. "That rumor is true," Levy said as he brought out his star to the stage to massive cheers. "The rumors are true." According to Variety, Mikey Madison was initially offered the female lead one of the baddies hunting down Gosling and his young sidekick. Madion reportedly turned down the role due to a pay dispute. It was confirmed that Mia Goth had accepted the role in June 2025. The news was initially reported by The InSneider. No other casting has been announced. Starfighter is slated to begin production in fall 2025 in England. Starfighter is scheduled to open May 28, 2027. Best of GoldDerby Stephen King movies: 14 greatest films ranked worst to best 'The Life of Chuck' cast reveal their favorite Stephen King works, including Mark Hamill's love of the 'terrifying' 'Pet Sematary' From 'Hot Rod' to 'Eastbound' to 'Gemstones,' Danny McBride breaks down his most righteous roles: 'It's been an absolute blast' Click here to read the full article.
