This year’s Emmy nominations are almost upon us, and with the possibilities more scattered than usual, so are our opinions on who deserves to get a nod. So, with voting now underway, Variety’s TV critics got together to hash out their favorite contenders and — more importantly — point to some of the stellar performances that might not have enough support or clout to be recognized, but really ought to be.
OUTSTANDING LIMITED SERIES
D’Addario: We’ve gotten spoiled in recent years—the era of “Big Little Lies,” “The People v. O.J. Simpson,” and “Fargo”—such that this year seems pretty widely considered “weak.” There are plenty of credible nominees that exist in a slightly older mode: The tony TV literary adaptation. I was pleasantly surprised by both Netflix’s “Alias Grace” and Showtime’s “Patrick Melrose,” series that assay widely-respected recent novels with elegance, but verve, too. They may not be quite as edgy as the limited series that have bloomed in recent years, but they weren’t “Masterpiece Theatre,” either.
Framke: I’ll freely admit that this category doesn’t excite me much this year, with a couple exceptions. One is “Alias Grace,” which crawled under my skin for days after I finished it. The other is “American Crime Story: Assassination of Gianni Versace,” which didn’t get nearly as much attention or adulation as “People vs. OJ,” but was slick and confrontational in a way that kept my attention.
D’Addario: I’m glad we agree on “Alias Grace”—its direction, by Mary Harron, was eerily discomfiting, expanding the question of just what accused murderess Grace does and doesn’t know about her own capacity for evil. But I’m going to diverge from you on “American Crime Story,” which troubled me and has stayed with me in not-good ways. While many found this the pinnacle of TV impresario Ryan Murphy’s achievements, I was dubious of its psychologizing of Andrew Cunanan, and the degree to which it seemed to paint all gay men as either villains or victims.
LEAD ACTOR, LIMITED SERIES OR MOVIE
Framke: Given your ambivalence towards “The Assassination of Gianni Versace,” I’ll stump here for Darren Criss, whose performance just about chilled my blood with every blink. And on the complete opposite of the spectrum (and in what I’ll admit is a “no way in hell” nomination dream), I’ll say that Jimmy Tatro‘s surprisingly grounded “American Vandal” role deserves more attention than it got.
D’Addario: I’ll admit I didn’t vibrate on “Vandal’s” frequency. I admired Kyle MacLachlan’s sheer commitment to his “Twin Peaks” role(s) enough to hope he lands a nomination, but find myself rooting for “Patrick Melrose’s” Benedict Cumberbatch. The actor’s no stranger to the Emmys thanks to “Sherlock,” but his compelling, painful, redemptive journey through addiction and self-loathing on “Melrose” deserves notice.
SUPPORTING ACTOR, LIMITED SERIES OR MOVIE
Framke: If the FYC campaigns are any indication, this might be Jeff Daniels’ race to lose, but his consciously hammy performance in “Godless” left me pretty cold. Instead, I find myself in a somewhat hilarious position that my middle school self would find perfectly appropriate: rooting for Ricky Martin’s heartbreaking performance in “ACS: Versace.” I will also happily accept Cody Fern’s.
D’Addario: Cody Fern was a genuine discovery in “Versace.” My vote, though, would go to Jason Ritter, putting his considerable charm towards risky and, eventually, genuinely scary use as a predator in “The Tale.” It’s a performance that walks close to the edge without losing balance.
SUPPORTING ACTRESS, LIMITED SERIES OR MOVIE
D’Addario: If anyone onscreen in “Versace” earned a prize, it’s Penelope Cruz’s uncanny Donatella, balancing feral pain with the need to save face. In my dream world, Riley Keough’s sharp, dogged work in “Paterno” pays off, and Frances Conroy gets in for an eerie, brief appearance in “The Tale,” one that leaves a painful afterburn.
Framke: I see your Penelope Cruz and raise you a Judith Light — which might be one of my favorite sentences I’ve ever written. Bless TV forever and ever, amen.
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