The Emmy Awards closed the curtains in a season that stretched longer than last year’s strike delay marathon and revealed the television industry working on its evolving identity. The film’s Academy Awards are where it captured cultural moments through star power, and this year’s Emmy reflects the definitive pivot of television away from the A-list obsession with voices, communities and performances that are considered essential to media survival.
The most important story of the night emerged in the systematic rejection of a film star, once positioned as an Emmy Frontrunner. “Penguin,” Michelle Williams, “Sex for Sex,” Harrison Ford for “Shrink,” and “Matt Rock,” Kathy Bates all set out empty-handed. Instead, the trophies played for TV veterans and character actors. This has created the backbone of the medium over the years. Stephen Graham in “Adolescents,” Christine Milioti in “Penguin,” Jeff Hiller in “Someone Someone,” and Jeff Hiller in “Retirement.”
Was that intentional? No, but I think that refers to a generational readjustment of Emmy flavor. Emmy taste no longer produces prestige from the recognizable face that is paracute on television. Rather, from performers embedded deeply in the medium. In a content-saturated landscape, voters seem to value endurance, reliability and craft rather than the temptation of a red carpet cutet. The sentiment echoed across multiple categories as TV lifeists regained space from Hollywood royalty.
Hiller’s supportive comedy actor victory stands in the most shocking upsets of Emmy history, joining Merritt Weber’s silent “Nurse Jackie” victory and Katherine Heigl’s surprise “Grey’s Anatomy” victory ranks. His defeat of 82-year-old Harrison Ford crystallized the wholesale refusal of the academy celebrity currency in favor of an embedded, moving work.
Apple’s “The Studio” dominated the evening with 13 trophies, including the lead comedy actors of Seth Rogen, directors of Rogen and Evan Goldberg, and the comedy series Crown. The satirical workplace comedy entered the forefront and delivered spectacularly, with voters embracing its structural audacity. But even within such advantages, surprise appeared. Ike Barinholtz, the series’ anchor as fictional right-handed Sal Sapulstein, and Katherine O’Hara’s vulgar former studio chief, are on the left without a trophy.
Emmy’s cyclical nature was prominent in the collapse of FX’s “bears.” Last year’s record-breaking 11-win kitchen drama suffered a complete shutout and lost all 13 nominations. This academy fatigue reflects familiar patterns seen in previous Emmy darlings, such as “Modern Family,” “Hometown,” and “Handmade Tales.” With the fourth season under mixed reviews, the original powerhouse faces uncertain prospects heading for next year. HBO Max’s “The Last of Us” also missed the trophy even during Pedro Pascal’s departure season.
Meanwhile, Hannah Einbinder has been given a recognition that was ultimately postponed. Hannah Einbinder claimed her first Emmy to support the comedy actress after four “hacking” seasons. Her passionate acceptance speech highlighted the interests of the cultural moment, reminding viewers that the comedy is holding framing real-world issues.
The historic breakthrough interrupted the ceremony due to the importance of earthquakes. Tramell Tillman’s supportive drama actor Severance’s victory broke the ultimate racial barrier against blacks in the TV academy’s acting category, making the 40-year-old performer the first black man to claim honor in the organization’s 77-year history. His calm portrayal of Seth Milchick helped to promote Apple TV+ Psychological Striller to a total of eight wins, consistent with Netflix’s “Pubescent” and NBC’s “SNL50: The Anniversary Special.”
Now, the hope is to see similar breakthroughs in the Asian, Indigenous and Latino acting community, which are so underrated in Emmy history.
The victory of Britt Lower’s lead drama actress for “retirement” further solidified Apple’s cross-category dominance, with producer and writer Frida Perez achieving multiple firsts with the “The Studio” team. She became the first Latina recipient of comedy writing. He was the first Latina executive producer in the comedy series and became the first Latina recipient in the comedy category. Her victory makes her the second Latino to win the Best Series award in Emmy’s history after generating the victory for HBO’s “Angels in America” in 2004.
The academy’s appetite for unconventional choices has repeatedly emerged in the drama category. For the second year in a row, Apple TV+’s “throw horse” has shocked industry observers. This time, Adam Randall is through the manager’s victory over heavyweights Ben Stiller (“Retirement”), Mike White (“White Lotus”) and John Wells (“Pitt”). The spy drama appears to thrive on the unpredictability of Emmy, who was previously upset in writing. Put your pencil in for Jack Roden’s victory next year.
Speaking of “The White Lotus,” the HBO anthology escaped notoriety by eliminating a single creative arts victory due to its main title theme. Without that, the series would have united “The Handmaid’s Tale” as the biggest Emmy loser of all time.
Netflix’s “Adolescent” won eight awards in limited series competition, including the outstanding director of Philip Barantini and the lead limited actor of Steve Glaham. The streamer has become the first to win a Top Miniseries award for the third year in a row.
(LR) Only Cassian Andor (Diego Luna) and K-2SO (Alan Tudyk) and Disney+ from Lucasfilm’s Andor Season 2. Photo courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. Unauthorized reproduction is prohibited.
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Dan Gilroy’s writing victory over “Andor” was a surprising surprise as the “Star Wars” series rounded out the heavyweight competition and reminded viewers that genre programming could still gain recognition of fame.
Analyzing “Pitt”‘s victory over the drama series’ “retirement,” it is one of the great Emmy matchups in recent memory, one by one by the narrowest margin. Both shows won three acting awards. Ultimately, “Pit” advanced thanks to the much-anticipated victory of Emmy after Katherine Lanatha’s joyful actress victory and Noah Weil’s past five defeats.
Reality TV has also entered a new era as Peacock’s “The Traitors” wiped out five categories, including real-life competitive programs. The results show that the academy has moved from “Rupaul’s Drag Race” as the default winner, anointing new genre leaders.
And then there was “Late Show with Stephen Colbert,” which won the talk series in its penultimate season. With the show being cancelled, Colbert’s emotional victory was played like a farewell tour stop.
The TV Academy’s challenge now focuses on maintaining this momentum. For all the barriers that have broken, other barriers remain. The industry will closely monitor next year’s nominees and winners to see if they will expand their circle further.
