An anonymous Emmy-winning producer has delivered a searingly candid assessment of this year’s top television contenders, offering an unfiltered "Brutally Honest Emmy Ballot" to The Hollywood Reporter. The veteran member of the Television Academy’s producers peer group minced no words, hailing Widow’s Bay as the unequivocally best comedy while deriding DTF St. Louis as "terrible" and deserving of a more critical title. This revealing ballot provides a rare glimpse into the discerning, often frustrated, mind of an industry insider navigating the vast and complex landscape of contemporary television.
The Tradition of Candid Emmy Ballots
For years, The Hollywood Reporter has upheld an annual tradition of publishing anonymous "Brutally Honest Emmy Ballots." This feature grants a selected member of the Television Academy, typically an Emmy winner from a specific peer group, the opportunity to openly articulate their voting rationale without fear of professional repercussions. The publication emphasizes that these individual views are not representative of all 27,000 Academy members but instead offer valuable insight into the diverse considerations and sentiments influencing Emmy voters. This year’s contributor, a male producer, offered a particularly sharp perspective ahead of the 78th Primetime Emmy Awards, scheduled for September 14, with the Creative Arts Emmy Awards preceding on September 5 and 6. The timing, released only after voting has concluded, ensures these candid opinions do not sway active voters.
Drama Series: Disinterest, Disappointment, and Unwavering Praise
The anonymous producer’s ballot for Best Drama Series revealed a clear disdain for certain popular genres and a frustration with perceived missteps in storytelling and category placement. He bluntly stated his decision to skip The Gilded Age, quipping he would "rather prep for a colonoscopy than watch another period drama." Similarly, he was "Throne’d out," opting not to watch A Knight of the Seven Kingdoms, reflecting a broader audience fatigue with fantasy epics. The producer expressed bewilderment at the nomination of Your Friends and Neighbors, calling it a "dumb show about entitled people," especially when he believed Industry was unjustly overlooked.
A significant critique was leveled at Apple TV shows like Pluribus, which he characterized as embodying an "arrogance" that assumes viewer loyalty without immediate engagement. He described his experience: "For a couple of episodes I was like, ‘Is this show ever going to fucking get going?’ And then I bailed." Slow Horses was acknowledged but noted to have had "better seasons," while Task was flagged for being in the "wrong category," a point he would revisit later. Amidst these critiques, certain dramas garnered high praise. Paradise captivated him, with Sterling K. Brown’s performance noted as captivating and Shailene Woodley lauded as a "great addition." He "loved" the season of The Diplomat, particularly appreciating the reunion of West Wing alums Allison Janney and Brad Whitford. However, his ultimate vote and highest commendation went to The Pitt (HBO Max). He described it as "the best show on television," created by individuals operating at such a high caliber that they "forgotten more about how to make great TV than most people will ever know." The producer lauded its flawless casting, acting, writing, and directing, also commending its swift production turnaround, which maintains momentum between seasons unlike other shows that suffer from long hiatuses. His ballot included a plea: "Just please don’t kill off Noah Wyle!"
Comedy Series: The Bear Controversy and a Standout Winner
The Best Comedy Series category sparked one of the producer’s most passionate critiques, centered on the ongoing debate surrounding The Bear. He firmly declared, "I’ve had it with The Bear. It’s not a comedy, it’s never been a comedy, it’s a terrific drama… and it should be in the drama category." This sentiment echoes a wider industry discussion about the fluidity of genre boundaries and the strategic placement of shows by networks for awards consideration. Other nominees received short shrift; Only Murders in the Building was a "big yawn," and Margo’s Got Money Troubles failed to connect after one and a half episodes. Nobody Wants This drew discomfort due to its perceived reliance on "caricature for both Jews and Gentiles," a sensitivity in the current cultural climate. While Abbott Elementary and Shrinking were acknowledged as previously beloved, the producer felt their nominated seasons were not their strongest, and he declared "enough" of Hacks.
The decision for his comedy vote was, for him, "easy": Widow’s Bay (Apple TV) was "far and away the best." He praised its unexpected emergence, noting it "had me from the first episode." The show was described as "funny and clever," and the producer appreciated its traditional weekly release schedule, fostering watercooler conversations and anticipation—a stark contrast to the modern binge-watching model. He concluded his praise for Widow’s Bay by declaring Hiro Murai "probably the best director in television right now," highlighting the show’s exceptional craftsmanship and innovative storytelling.
Limited or Anthology Series: Category Confusion and Ethical Concerns
The Best Limited or Anthology Series category drew the producer’s attention to perceived snubs and miscategorizations within the Academy’s nominations. He lamented the omission of Death by Lightning and reiterated his belief that Task, nominated in the drama category, rightfully belonged here. He argued that Task was "created as a limited series, it aired as a limited series," and the subsequent decision to potentially extend it, even if overlapping with Mare of Easttown, did not change its initial format. He pointed to Beef as a clear example of a limited series, despite his opinion of its "mediocre installment this season," reinforcing his argument for Task‘s reclassification.
Beyond structural critiques, the producer voiced strong ethical concerns regarding biographical dramas. He expressed a significant "problem with Love Story," paralleling his disdain for Winning Time. His stance was unequivocal: "if you take living people, turn them into characters, and then disparage them, you should be sent to an island and never allowed to make television again." He cited the controversial portrayals of Kareem Abdul-Jabbar and Jerry West in Winning Time and Daryl Hannah in Love Story as "inexcusable." The highly anticipated DTF St. Louis received one of the ballot’s most scathing reviews, with the producer suggesting it "should’ve been called WTF St. Louis." While acknowledging Jason Bateman as "lovely," he deemed the show "terrible," questioning, "Who are you supposed to be rooting for?" Sarah Snook’s performance in All Her Fault was praised, but the storytelling itself grew "bored." Ultimately, his vote went to The Beast in Me (Netflix), lauded for its "strong performances" and effective "scares and twists."
The Evolving "Movie" Category: A "Fucking Joke" with a Bright Spot
The Best Movie category prompted a particularly fiery response from the producer, who lambasted the Academy’s decision to drop "Television" from the category title. He called the shift a "fucking joke," viewing it as a reluctant acknowledgment that the category is largely populated by films "that weren’t good enough to get a theatrical release." He confessed to not watching Miss You, Love You or People We Meet on Vacation, admitting he "never heard anything about" them. His refusal to watch Tom Clancy’s Jack Ryan stemmed from both franchise fatigue ("enough of Jack Ryan") and a strong anti-Amazon sentiment: "I hate Amazon, I don’t buy Amazon products and Jeff Bezos should stay the fuck out of our business." He only managed "half of Heads of State."
In stark contrast to his widespread dissatisfaction, the producer found an unexpected gem in Remarkably Bright Creatures (Netflix). He described it as "the kind of television movie—not movie—that used to win: a small, quiet story, told beautifully, with wonderful actors." He singled out Sally Field as "amazing" and Lewis Pullman as "a star," reserving particular praise for the "pretty amazing" melding of puppetry, live action, and visual effects used to bring the octopus character to life. This choice highlighted a yearning for the quality and narrative focus of traditional made-for-TV films, which he felt the category had largely abandoned.
Variety Series: Defending Free Speech and Disliking Stale Comedy
The Best Variety Series category revealed the producer’s strong political convictions and a critical eye for comedic longevity. He openly criticized a new rule change for the category, which requires voters to select "yes" or "no" for each nominee’s worthiness, with statuettes awarded to any/all nominees garnering 90 percent "yes" votes, or the highest single tally if none meet the threshold. Despite this procedural qualm, his "yes" votes were clear and principled. Stephen Colbert and Jimmy Kimmel received his support as an "easy ‘yes,’" framed as a defense of First Amendment rights in the wake of perceived attacks on their shows. John Oliver’s Last Week Tonight was also an immediate "yes" for being a "great show." The Daily Show earned his vote specifically for Jon Stewart’s return to hosting Monday nights, which he deemed "appointment television."
Conversely, Saturday Night Live received a firm "no." The producer articulated his belief that it "wasn’t a good season," citing that "the new people weren’t great, and the old people are getting a bit stale." This critique of the long-running sketch comedy staple reflects a common sentiment among viewers and critics who track its periodic fluctuations in quality and relevance. His ballot ultimately endorsed four shows: The Daily Show, The Late Show With Stephen Colbert, Jimmy Kimmel Live!, and Last Week Tonight With John Oliver.
Broader Implications for the Television Industry
This "Brutally Honest Emmy Ballot" offers more than just individual preferences; it provides a potent commentary on the state of the television industry and the challenges faced by the Television Academy. The recurring theme of genre miscategorization, particularly with The Bear and Task, underscores a systemic issue within awards structures struggling to keep pace with evolving storytelling formats. As series blur the lines between drama, comedy, and limited runs, the Academy’s definitions are increasingly scrutinized, leading to voter frustration and calls for reform.
The producer’s strong opinions on ethical portrayals in biographical dramas, the perceived "arrogance" of certain streaming platforms, and even his personal boycott of Amazon reflect a deeper engagement with the cultural and corporate aspects of television production. His praise for Widow’s Bay‘s weekly release model also highlights a nostalgia for a communal viewing experience, a counter-narrative to the prevailing binge-watching culture. Such unfiltered insights are crucial for understanding the nuanced perspectives within the industry, where veteran producers, despite their anonymity, voice concerns that resonate with broader audiences and creators alike.
The Unfiltered Voice of a Veteran Producer
While the views of a single Emmy voter may not dictate the outcome of the awards, this "Brutally Honest Emmy Ballot" serves as a valuable barometer of industry sentiment. It reveals a landscape grappling with genre definitions, the quality control of streaming content, the ethical responsibilities of creators, and the fundamental question of what constitutes compelling television. The producer’s candid assessments, from excoriating DTF St. Louis to championing The Pitt and Widow’s Bay, provide a rare, unvarnished look at the discerning process behind awards voting. His articulate, sometimes acerbic, opinions underscore the critical dialogue occurring within the Television Academy, shaping not just who wins, but how television itself is perceived and valued. As the 78th Primetime Emmy Awards approach, these insights remind us that beneath the glitz and glamour, passionate industry professionals are engaged in a rigorous, often contentious, debate about artistic merit and the future of the medium.
