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Yahoo
17-07-2025
- Entertainment
- Yahoo
2025 Emmy Predictions: Outstanding Supporting Actress in a Comedy Series
We will update this article throughout the season, along with all our predictions, so make sure to keep checking IndieWire for the latest news from the 2025 Emmys race. The nomination round of voting takes place from June 12 to June 23, with the official Emmy nominations announced Tuesday, July 15. Afterwards, final voting commences on August 18 and ends the night of August 27. The 77th Annual Primetime Emmy Awards are set to take place on Sunday, September 14, and air live on CBS at 8:00 p.m. ET/ 5:00 p.m. PT. The State of the Race It really does not look like there will be much turnaround this year with the Emmy nominations for Outstanding Supporting Actress in a Comedy Series. The way 'The Bear' uses its new season to campaign for its old season is a bit too complicated to explain in one sentence, but the important thing to know is that although Liza Colón-Zayas' standout Season 3 episode 'Napkins' was already released by the time people were voting for the 2024 Primetime Emmys, her win was for Season 2. More from IndieWire How 'What We Do in the Shadows' Got the Bodies in the Coffin on Time 'Andor' Writer Beau Willimon Breaks Down Saw Gerrera's 'Absolutely Wackadoodle' Rhydo Speech 'The Bear' Season 4 will be out before final voting for the 2025 Emmys, so who knows if history will repeat itself, and the actress's Season 4 performance as Tina will help her earn a second Emmy in a row. But if they just look at Season 3 on its own merits, she still deserves more credit for being the highlight. Some more women returning to the category include 'Abbott Elementary' star Sheryl Lee Ralph, who won this category for her performance in Season 1 of the ABC sitcom. She will likely be joined by co-star Janelle James, who has also been nominated for every season of 'Abbott,' and had a brighter spotlight put on her character Principal Ava in Season 4 of the series. Both James and 'Hacks' star Hannah Einbinder have had Emmys seasons where they have been the projected frontrunner in the category, yet a win never materialized. With 'Hacks' being the most recent Outstanding Comedy Series winner, 2025 especially feels like it could finally be Einbinder's year this time. But these women are all up against 'The Studio' stars Catherine O'Hara and Kathryn Hahn, who are as formidable as contenders as they are funny on the show. O'Hara is also not too far away from her Lead Actress in a Comedy Series win for 'Schitt's Creek,' and showed real range this season, appearing on 'The Last of Us' as well, so she is the most likely nominee from the Apple TV+ series contending in this category. And Hahn may be lower on the prediction lists for both this and Lead Actress in a Comedy Series for 'Agatha All Along' this Emmys season, but voters have taken real notice of her. She has been on too good of a run to keep going without an Emmy win. The final nomination slot is more of a wild card. 'Shrinking' star Jessica Williams was nominated for Season 1 of the fellow Apple TV+ show, so she feels like a safe bet, but Meryl Streep was nominated more recently for the last season of 'Only Murders in the Building.' However, more people have another Hulu series star as their dark horse: the late Linda Lavin for 'Mid-Century Modern.' Predicted Nominees:Liza Colón-Zayas, 'The Bear' (FX)Hannah Einbinder, 'Hacks' (Max)Kathryn Hahn, 'The Studio' (Apple TV+)Janelle James, 'Abbott Elementary' (ABC)Catherine O'Hara, 'The Studio' (Apple TV+)Sheryl Lee Ralph, 'Abbott Elementary' (ABC)Jessica Williams, 'Shrinking' (Apple TV+) Contenders:Linda Lavin, 'Mid-Century Modern' (Hulu)Meg Stalter, 'Hacks' (Max)Meryl Streep, 'Only Murders in the Building' (Hulu)In a Perfect World:Lou de Laâge, 'Étoile' (Prime Video)Poorna Jagannathan, 'Deli Boys' (Disney+)Ego Nwodim, 'Saturday Night Live' (NBC) More Comedy Category Predictions:Outstanding Comedy SeriesOutstanding Lead Actor in a Comedy SeriesOutstanding Lead Actress in a Comedy SeriesOutstanding Supporting Actor in a Comedy Series View IndieWire's full set of predictions for the 77th Emmy Year's Winner: Liza Colón-Zayas, 'The Bear'Still Eligible: Streak: If it is true that her performance in Season 3 is what sway voters to award her for her performance in Season 3 of 'The Bear,' there is a strong chance that Colón-Zayas could start a two-year winning streak, and continue the show's already two-years-running winning streak in this category (Ayo Edebiri won for Season 1 before moving up to Lead.)Notable Ineligible Series: Susie Essman, 'Curb Your Enthusiasm' (ended); Michaela Jaé Rodriguez, 'Loot' (Season 3 is not eligible); Allison Janney, Leslie Bibb, Amber Chardae Robinson, Laura Dern, and Carol Burnett, 'Shrinking' (Season 2 is not eligible) Best of IndieWire 2023 Emmy Predictions: Who Will Win at the Primetime Emmy Awards? 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Special 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Series Solve the daily Crossword
Yahoo
15-07-2025
- Entertainment
- Yahoo
Emmy Snubs and Surprises: Diego Luna and ‘Squid Game' Shut Out, Nathan Fielder, ‘Black Mirror' In
Just when you thought awards season was over, it's time for the Emmys. Nominations for TV's highest honor were announced Tuesday morning, sparking a race that's been heating up for months. Only one of last year's nominees for Best Drama Series remains eligible in 2025, which makes securing a nod (and snagging the trophy) that much more valuable. (Breaking through at the Emmys is critical for shows eyeing to return, season after season.) The Best Comedy Series race is a toss-up, with last year's surprise victor 'Hacks' going toe-to-toe with the one-time favorite, 'The Bear,' and strong newcomers like 'The Studio.' As for Best Limited Series, 'Adolescence' seems primed to rack up trophies, but the race can change at any time and being recognized really is an honor unto itself. With 600 programs submitted in the Best Series categories — only 14 fewer than last year — there is still far too much TV for any voter to watch in the time allotted, which means… there will be snubs. Yes, it's time to talk about the snubs and surprises of 2025, but before we get into it, please remember: More from IndieWire How to Watch the 2025 Emmy Nominations Announced Live 2025 Emmy Predictions: Who Will Win at the Primetime Emmy Awards? 'Andor' Writer Beau Willimon Breaks Down Saw Gerrera's 'Absolutely Wackadoodle' Rhydo Speech Here at IndieWire, a 'snub' is just industry shorthand for a series or individual who was expected to be nominated, thought to be deserving of a nomination, or both, and yet — for whatever reason — they did not receive recognition for their work. (Not today, anyway — there's always the fall awards!) Labeling any such program or person a 'snub' does not convey intent; it does't mean their peers had it out for them, or voters purposefully shunned one potential nominee in favor of another. On the other end of the spectrum, anything dubbed a 'surprise' is a series or individual who was thought to be out of the running before nominations were announced; something or someone who was written off too early, whether it was because they didn't mount much of a campaign, didn't match up well in their category, or simply didn't get the typical plaudits heaped upon your standard Emmy nominee. By and large, it's best if you remember, dear readers, that the very nature of competition means not everyone can win (or, in this case, be nominated), and it's only human for those invested in television to react with shock and awe, admiration and anger, to the TV Academy's picks for the season's best shows. So, without further ado, let's dig in: (OK, there's just one more little bit of to-do: Voting for the 2025 Emmy winners will begin August 18 and end August 27 at 10 p.m. PT. The 77th annual Primetime Emmy Awards are set for Sunday, September 14 at 8 p.m. ET on CBS.) With additional reporting by Proma Khosla. Best of IndieWire 2023 Emmy Predictions: Who Will Win at the Primetime Emmy Awards? 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Special 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Series
Gizmodo
11-06-2025
- Entertainment
- Gizmodo
Queerness Wasn't a Consideration in ‘Andor' Season 2's Most Controversial Death
When the heist on Ghorman went wrong on Andor season two, it only took one bad call for tragedy to strike. In the case of rebel leader Cinta Kaz (Varadu Sethu), her life was snuffed out in an instant when a misfire took her down. In a story about the early days of Star Wars Rebels uniting against the Empire, anyone was fair game, and it's something that show creator Tony Gilroy and writer Beau Willimon affirmed in conversation with Vulture, when discussing Cinta's death as one of the franchise's prominent queer characters. Gilroy explained that Cinta's fate was decided on early in the process of scripting Andor season two. 'I pretty much came up with an actuarial table pretty early in the sketching process of season two. There were a couple of actors who did not want to come back and people who were complicated to get back and whatever,' he said. 'I remember calling Varada and saying, 'Hey, I think that we're going to do it this way.' And I think I would really like to have friendly fire. I would like to have the stupidity of accident in the show. I would like to have something really stupid happen. This whole Ghorman thing is such a stupid cock up anyway. And I'm sorry, but you're, you know, you're the roulette. I don't have another piece. I either kill you or Vel and [I] can't kill Faye [Marsay, who played Vel]. And so it's your turn. And I'm not sure if she had Doctor Who at that point or she was in the running, I'm not sure. [But] she wasn't so depressed about it.' When it came to some of the criticisms drawn from the choice to toe the line of falling into the 'bury your gays' trope, Gilroy gave an even-keeled response. 'This fascinates me because you get all this credit and the first season, 'oh my God, you have a natural relationship 'cause, and we were like, 'well, yeah, it's just a relationship.' We're not making a big deal out of it. So then if you don't make a big deal out of it and just treat it like it's a normal thing and kill whoever you wanna kill, then that's a problem all of a sudden.' The choice was aimed at making it feel as real as possible for members of the rebellion, who no matter where they come from all choose to put their lives in the line of fire. 'I would discount the first side if I could get a little bit more on the second. I mean, what more natural way to treat it than to treat it like a real thing? I'm not gonna like start to socially engineer my characters for some chat room.' Willimon interjected, 'Honestly, our mentality was that almost everyone's gonna die. And that's broadcast everywhere in the show, almost every episode, someone's saying like, well, we're never gonna make it, we're never gonna see it.' Every Andor character is aware that they're gambling their mortality for a bigger cause—especially in a series that culminates in the events of Rogue One, where most of the key characters die. 'There needed to be something, something had to go wrong on Ghorman with that heist. We're always thinking about cost.' The importance of Cinta and Vel's relationship was not lost on them. Willimon continued, 'I mean, there is the fact that people did connect emotionally to that relationship. And there's a part of you that goes [its] just pure storyteller catnip.' he reiterated the questions asked in the writing process about losses that would impact the audience the most, 'I mean, we hurt you later with Luthen and Clea, we hurt you with Bix and Cassian–every way that you can feel the pain and the cost of sacrifice, that's what this show is about. And, you know, there were multiple versions of what that heist would be, but the friendly fire thing was quite early on.' The grim reality of Andor is that these are the people in the first wave that pave the way for the rebels we know in the original Star Wars trilogy. Their lives are given more meaning and multitudes, which is what made the show so great through the relationships it built. Willimon understood the emotional one-two punch impact of Cinta's loss shortly after her tender reconciliation with Vel, stating , 'One: you're upset after that beautiful scene that this relationship is not gonna see its way through. Two, you go, 'Damn it, friendly fire? That's the way this badass goes?'' He added more context how even the best laid plans can go awry thanks to ineptitude. 'What does Vel say to the guy who pulled the trigger at the end? 'She was a miracle. You will spend the rest of your life trying to pay for this moment, to earn your keep.' And what you realize is that it is a supremely noble death. If you're not willing to die by friendly fire or get accidentally run over, or [die] in a hail of gunfire in a big battle—they're all equal because really the choice you made from the very beginning is that I'm willing to sacrifice myself, whatever form that takes. And that's the magic trick, which is this shit is gonna happen and you don't know which way you're gonna go. You just know you are gonna go. And that noble decision was made from day one.' Gilroy added, 'But the problem with it is that everybody's going to identify with different people in the show. Everybody in this audience is gonna have their person that they climb in with and maybe it's multiple people, but there's gonna be a lot of people who climb. So if you're queer, you're gonna climb in to this character.' Gilroy pointed out, 'The biggest thing that that does [it] for me is not just the friendly fire or the surprise of it or the tragedy of it, what I really need to do is I'm really driving very much to tell the story of Luthen as a very poor human resources manager. And his failure to recognize the importance of personal relationships and his need to try to break them up is a much larger thing, and a much larger and more important issue to me than whether you think … where is the place where Cinta should die or what, I don't know. So I can't—that's a level of responsibility that comes from abundance, I suppose.'
Telegraph
05-03-2025
- Entertainment
- Telegraph
I was assaulted in a London theatre – audiences are out of control
It was a play about artificial intelligence, which was ironic considering the lack of the human variety in the theatre that night. East is South, currently running at the Hampstead Theatre in north London, is an absorbing, thought-provoking production from Beau Willimon, the creator of House of Cards. The play stars New Zealand actor Cliff Curtis who performed a Haka in the final scene. His rage was palpable – though not quite as much as the wallop across my head a few minutes later when a member of the audience decided on a rather less artistic approach to channelling their emotions. Two people directly behind me had been disruptive throughout (it's a long play with no interval): whispering, fidgeting, mobiles chirruping, bags zipped and unzipped and stifled laughing so impossible to ignore I had to lean forward in my seat to concentrate. As a regular visitor to the West End, I'd sniffily assumed I'd remain immune to the aggression and violence invading our theatres by sticking to more cerebral productions in arthouse venues. There have been frequent reports of fights breaking out – at performances of Hamilton and The Bodyguard in Manchester, and in productions of Jersey Boys in both Edinburgh and Glasgow. A Dolly Parton musical in Manchester had to be suspended due to homophobic abuse from an audience member. But I thought I would be safe at this acclaimed artistic powerhouse. So when, behind me, a phone came out to take a photo of the cast as they took a solitary bow after the Haka in Hampstead, I turned around to observe this latest evidence of deteriorating standards now even in high art. What greeted me was less All Blacks, more Millwall. 'What? WHAT! What do you want, you f---ing ugly f---.' My adversary leapt over the spare seat next to me and was standing between me and the stage, still verbally raging. I bent down to grab my phone from my bag to record the confrontation but as I came back up – whack! – an open palm slammed across the side of my head. Not bad for a girl. Yes, the star of this sideshow was a woman in her early 20s with expensive layers and an ugly temper. As my protagonist made for the exit, a woman whom I presumed was her mother was still wedged into the row behind and repeatedly shouting: 'What did you say to her?' Dazed, I turned to say, 'Nothing, I said nothing,' expecting embarrassment, concern, an apology. Instead, the woman screamed in my face: 'SHE'S DISABLED!' In tears, and with the side of my head burning, I moved to the opposite exit to notify staff to stop the women leaving the building and call police. And so began a second act with a more depressing finale than the play I'd just watched; for it tells us more about who we are now as a society than any art to which we may look for understanding. Desperate to secure evidence I went back, shaking, to the front row where people were still queueing to leave and asked a woman from two seats along if she would be a witness. She refused. Astonished, I returned to the ushers expecting some assistance and spotted the two women now standing in the foyer as if nothing had happened. A duty manager then appeared and said she had been made aware there may have been a disability involved and would this affect how I wanted to proceed? Had the ringing in my ears developed into aural hallucinations? She couldn't possibly be prioritising the perpetrator over the victim… But the police hadn't even been called. A fashionably dressed woman in a puffer jacket then presented herself, expressing kindness and sympathy, to say she'd seen it all and agreed to be a witness. I asked the ushers to get a pen and paper so I could secure her details. That request was also refused. As I pleaded with them, I saw the duty manager and a security guy talking to the women in the foyer. They then left the building. The duty manager returned and said something about my attacker having ADHD and asked again how I wanted to proceed. Still, the police had not been contacted, but I was offered an ambulance which I declined. Shocked now as much at the lack of basic common sense and duty of care as at the assault itself, I wandered out to the busy foyer. The assault had taken place in front of the entire audience, many of whom had stayed to socialise; not one signalled even a nod of sympathy. I went to the bar for a stiff drink to calm my nerves where the only seat available was a tall stool at a high table which left me feeling rather wobbly. Finally, a security guy handed me a mobile with the police on the line but background noise made conversation difficult. As I gave the phone back I asked why no one had thought even just to take a clearly distressed woman away from the melee, maybe to an office where I could at least talk to the police in peace. 'You didn't ask,' he replied. He then admonished me with great judgment for having bought a drink, outrageously claiming I'd turned down an ice pack in my desperation to get to the bar (I have no recollection of being offered one). I asked for his name. He told me he didn't have to provide it. Aghast, I asked him to repeat himself. 'I don't HAVE to give you my name. But it's XX XX,' he said as if doing me a favour. I was left to make my own way home. The next morning I complained to the theatre and then requested my witness's details so that I may thank her for the kindness she'd communicated – the only humanity of the whole night – as well as ask her to record her recollection while still fresh. Yet again I was refused. 'I cannot pass on personal information from one member of the public to another without their express permission,' I was told by a director as seemingly devoid of compassion – or cognisance of customer service – as his staff. I pointed out these weren't mere 'members of the public' subject to data protection but parties to a criminal offence with express permission already given for personal information to be passed on: I wouldn't have to beg for it now if his staff hadn't obstructed the exchange. Now, more than a week later, the theatre has 'gone dark' on me. The result of investigations into the drama that unfolded off-stage that night have not as yet arrived, nor any information about the witness who watched it all play out. Such lack of empathy has been more distressing than the assault. While thuggery has now clearly invaded this last bastion of civilised society, humanity has already exited stage left. A spokesperson for the Hampstead Theatre responded to the Telegraph: 'We would like to express our sympathy to Ms Walsh for what happened during her recent visit. We take the safety of our patrons very seriously and incidents like this are thankfully very rare. On the evening our team acted in a professional and appropriate manner, giving support and establishing whether medical care was needed. They also contacted the police and we are happy to assist them with any further enquiries.'
Yahoo
05-03-2025
- Entertainment
- Yahoo
I was assaulted in a London theatre – audiences are out of control
It was a play about artificial intelligence, which was ironic considering the lack of the human variety in the theatre that night. East is South, currently running at the Hampstead Theatre in north London, is an absorbing, thought-provoking production from Beau Willimon, the creator of House of Cards. The play stars New Zealand actor Cliff Curtis who performed a Haka in the final scene. His rage was palpable – though not quite as much as the wallop across my head a few minutes later when a member of the audience decided on a rather less artistic approach to channelling their emotions. Two people directly behind me had been disruptive throughout (it's a long play with no interval): whispering, fidgeting, mobiles chirruping, bags zipped and unzipped and stifled laughing so impossible to ignore I had to lean forward in my seat to concentrate. As a regular visitor to the West End, I'd sniffily assumed I'd remain immune to the aggression and violence invading our theatres by sticking to more cerebral productions in arthouse venues. There have been frequent reports of fights breaking out – at performances of Hamilton and The Bodyguard in Manchester, and in productions of Jersey Boys in both Edinburgh and Glasgow. A Dolly Parton musical in Manchester had to be suspended due to homophobic abuse from an audience member. But I thought I would be safe at this acclaimed artistic powerhouse. So when, behind me, a phone came out to take a photo of the cast as they took a solitary bow after the Haka in Hampstead, I turned around to observe this latest evidence of deteriorating standards now even in high art. What greeted me was less All Blacks, more Millwall. 'What? WHAT! What do you want, you f---ing ugly f---.' My adversary leapt over the spare seat next to me and was standing between me and the stage, still verbally raging. I bent down to grab my phone from my bag to record the confrontation but as I came back up – whack! – an open palm slammed across the side of my head. Not bad for a girl. Yes, the star of this sideshow was a woman in her early 20s with expensive layers and an ugly temper. As my protagonist made for the exit, a woman whom I presumed was her mother was still wedged into the row behind and repeatedly shouting: 'What did you say to her?' Dazed, I turned to say, 'Nothing, I said nothing,' expecting embarrassment, concern, an apology. Instead, the woman screamed in my face: 'SHE'S DISABLED!' In tears, and with the side of my head burning, I moved to the opposite exit to notify staff to stop the women leaving the building and call police. And so began a second act with a more depressing finale than the play I'd just watched; for it tells us more about who we are now as a society than any art to which we may look for understanding. Desperate to secure evidence I went back, shaking, to the front row where people were still queueing to leave and asked a woman from two seats along if she would be a witness. She refused. Astonished, I returned to the ushers expecting some assistance and spotted the two women now standing in the foyer as if nothing had happened. A duty manager then appeared and said she had been made aware there may have been a disability involved and would this affect how I wanted to proceed? Had the ringing in my ears developed into aural hallucinations? She couldn't possibly be prioritising the perpetrator over the victim… But the police hadn't even been called. A fashionably dressed woman in a puffer jacket then presented herself, expressing kindness and sympathy, to say she'd seen it all and agreed to be a witness. I asked the ushers to get a pen and paper so I could secure her details. That request was also refused. As I pleaded with them, I saw the duty manager and a security guy talking to the women in the foyer. They then left the building. The duty manager returned and said something about my attacker having ADHD and asked again how I wanted to proceed. Still, the police had not been contacted, but I was offered an ambulance which I declined. Shocked now as much at the lack of basic common sense and duty of care as at the assault itself, I wandered out to the busy foyer. The assault had taken place in front of the entire audience, many of whom had stayed to socialise; not one signalled even a nod of sympathy. I went to the bar for a stiff drink to calm my nerves where the only seat available was a tall stool at a high table which left me feeling rather wobbly. Finally, a security guy handed me a mobile with the police on the line but background noise made conversation difficult. As I gave the phone back I asked why no one had thought even just to take a clearly distressed woman away from the melee, maybe to an office where I could at least talk to the police in peace. 'You didn't ask,' he replied. He then admonished me with great judgment for having bought a drink, outrageously claiming I'd turned down an ice pack in my desperation to get to the bar (I have no recollection of being offered one). I asked for his name. He told me he didn't have to provide it. Aghast, I asked him to repeat himself. 'I don't HAVE to give you my name. But it's XX XX,' he said as if doing me a favour. I was left to make my own way home. The next morning I complained to the theatre and then requested my witness's details so that I may thank her for the kindness she'd communicated – the only humanity of the whole night – as well as ask her to record her recollection while still fresh. Yet again I was refused. 'I cannot pass on personal information from one member of the public to another without their express permission,' I was told by a director as seemingly devoid of compassion – or cognisance of customer service – as his staff. I pointed out these weren't mere 'members of the public' subject to data protection but parties to a criminal offence with express permission already given for personal information to be passed on: I wouldn't have to beg for it now if his staff hadn't obstructed the exchange. Now, more than a week later, the theatre has 'gone dark' on me. The result of investigations into the drama that unfolded off-stage that night have not as yet arrived, nor any information about the witness who watched it all play out. Such lack of empathy has been more distressing than the assault. While thuggery has now clearly invaded this last bastion of civilised society, humanity has already exited stage left. A spokesperson for the Hampstead Theatre responded to the Telegraph: 'We would like to express our sympathy to Ms Walsh for what happened during her recent visit. We take the safety of our patrons very seriously and incidents like this are thankfully very rare. On the evening our team acted in a professional and appropriate manner, giving support and establishing whether medical care was needed. They also contacted the police and we are happy to assist them with any further enquiries.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
