Aduba, Robert Morse and other people who are cast regulars in every way but their contract status shouldn’t be able to game the system because the guest actor loophole existed. Now, many of these changes are just basic common sense. * “Shameless” would have remained under consideration as a drama (it shifted categories last year), where it likely would have continued to go without nominations. * “Orange Is the New Black” would have competed as a drama, and comedy guest actress winner Uzo Aduba would have had to compete in the drama supporting actress category, since she was in the majority of that season’s episodes.
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* “True Detective” would have competed with “Fargo,” “American Horror Story,” et al in the limited series fields. So, among the oddities from the most recent Emmys that would have been different under these rules: * The Variety Series category will be split in two: Outstanding Variety Talk, which will be presented during the Primetime Emmy telecast, and Outstanding Variety Sketch, which will be part of the Creative Arts Emmy ceremony. * In an acknowledgment that many shows now treat contractual regulars and recurring guest stars more or less interchangeably, performers must appear in “less than 50% of a program’s episodes” to qualify for any of the guest actor categories. * The miniseries categories will now refer instead to “Limited Series,” and be defined as “programs of two or more episodes with a total running time of at least 150 program minutes that tell a complete, non-recurring story, and do not have an ongoing storyline and/or main characters in subsequent seasons.” Comedy and drama series still have to produce a minimum of six episodes in the eligibility period and “have an ongoing storyline, theme and main characters presented under the same title and with continuity of production supervision.” And, again, producers can petition to be shifted in or out of the limited series field. * Quoting verbatim for this one: “To clarify the difference between the ‘Comedy’ and ‘Drama’ series categories, series with episodes of 30 minutes or less are defined as a ‘Comedy’ those with episodes of more than 30 minutes are presumed to be a ‘Drama.'” However, producers can formally petition a nine-member panel – made up of “five industry leaders appointed by the Television Academy Chairman and four appointees from the Board of Governors” – to be placed in the other category. * To acknowledge just how much good stuff is out there now, the comedy and drama series categories will now have seven nominees rather than six. Now, the final round voting is open to the whole membership, provided voters agree to watch all the submitted episodes in that category and can attest to “no specific conflicts of interest with the nominees.” Previously, all Academy members could make choices in the nominating round, but only people who volunteered to be on a Blue Ribbon panel could vote for the winners of a category. * The first one’s not related to eligibility, but is potentially huge in its own way. Some of the changes seem very smart, some seem to be making the best of an impossible situation, and some are unclear because of the introduction of a new appeals process. Today, though, the Academy announced a round of changes to their rules which, according to the press release, “reflect the increasingly varied and expanding television landscape.” What’s a drama these days? What’s a comedy? What’s a miniseries? Who’s a guest star? How can we make room for all the great shows being made at the same time?įor a while, it seemed as if the Television Academy was content to keep the same eligibility rules in place, even if that led to confusing situations like “Fargo” and “American Horror Story” competing as miniseries while “True Detective” competed as a drama, or “Orange Is the New Black” competing in the comedy categories against the likes of “Modern Family” and “Big Bang Theory.”
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As scripted television programming has both exploded and evolved rapidly over the last few years, the Emmys have seemed at a loss for how to keep up.
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