It’s a question echoing across living rooms and online forums alike: “Why are shows like ‘The Bear,’ ‘Barry,’ and ‘Atlanta’ competing as comedies at the Emmys?” It’s a valid point, especially when considering the often intense and dramatic narratives these series deliver. For those just discovering what I do, it’s often the first question posed, and honestly, a simple answer remains elusive.
The confusion isn’t new. When “The Bear” garnered Golden Globe nominations earlier this year, the same genre categorization sparked debate. Having watched both seasons of “The Bear” meticulously, one might search for the comedic elements that justify its label. Sure, there are fleeting moments of levity, perhaps Carmy’s (Jeremy Allen White) vague understanding of UPS until Sydney (Ayo Edebiri) clarifies. Yet, broadly speaking, labeling “The Bear” a comedy feels akin to calling a heart attack humorous.
Image: The GoldDerby website logo, a source for entertainment awards predictions and industry analysis, relevant to the discussion of Emmy categories.
Jeremy Allen White’s accolades at the Golden Globes, Critics Choice, and SAG Awards for lead actor in a comedy series weren’t celebrating comedic performance. They recognized his compelling dramatic portrayal. Similarly, Ayo Edebiri’s Independent Spirit Award win wasn’t for riotous laughter. While humor exists in nearly all nominated comedic performances, with White, Edebiri, and Ebon Moss-Bachrach (a fellow nominee), the recognition stems primarily from their dramatic depth.
This raises fundamental questions: Has the Emmy categorization, or awards categorization in general, lost its meaning? Has “comedy” detached from its association with amusement? Or is it simply about runtime, where anything under 30 minutes gets pigeonholed as comedy, regardless of its comedic content? The evolving landscape suggests “hybrid” might be the most fitting descriptor for this new era of television.
In late 2021, the Television Academy declared runtime would no longer dictate comedy or drama categorization. Historically, since 2015, shows under 30 minutes were comedy, and longer formats were drama. However, darker, more serious half-hour shows like “Barry,” “Atlanta,” and “The Bear” challenge these genre lines across the Emmys, Globes, SAGs, WGAs, DGAs, and Critics Choice Awards.
This perceived genre mislabeling hasn’t deterred Gold Derby voters from embracing “The Bear.” In combined odds, it’s a strong contender against “Ted Lasso” for comedy series. White is predicted to lead the comedy actor race, potentially surpassing Jason Sudeikis from “Ted Lasso.” Edebiri is also a frontrunner for supporting comedy actress, and Moss-Bachrach is a top contender for supporting actor alongside Tyler James Williams (“Abbott Elementary”). “The Bear” also leads in comedy writing and directing predictions.
Historically, comedy needed to evoke laughter to earn its label. Looking back at Emmy history from the 1950s to the 2000s, winners like “I Love Lucy,” “The Dick Van Dyke Show,” “Get Smart,” “All in the Family,” “The Mary Tyler Moore Show,” “Taxi,” “The Golden Girls,” “M*A*S*H,” “Murphy Brown,” “Frasier,” “30 Rock,” “Modern Family,” and “Veep” dominated the comedy series category. While many incorporated serious moments, their primary function was to generate laughter.
More recently, hybrid shows like “The Wonder Years” (1988), “The Marvelous Mrs. Maisel” (2018), and “Fleabag” (2019) have won in comedy categories. David E. Kelley’s “Ally McBeal,” an hour-long blend, won the top comedy prize in 1999. Hour-long hybrids like “Desperate Housewives” and “Shameless” have also navigated the blurred lines between comedy and drama in Emmy races, sometimes shifting categories.
“Moonlighting” initially submitted as a comedy before switching to drama, leading to Bruce Willis’s lead drama actor win in 1987 for a role arguably more comedic. “Boston Legal” also shifted from comedy to drama consideration at the SAG Awards.
“Nurse Jackie,” like “The Bear,” is a half-hour show with minimal laughs, categorized as a dark comedy. Edie Falco, portraying a drug-addicted ER nurse, received a Best Comedy Series nomination and six consecutive comedy lead actress nominations. Her bewildered reaction to winning an Emmy in 2010 – “Oh this is just the most ridiculous thing…” – underscores the genre confusion. Uzo Aduba won for the same role in “Orange is the New Black” as guest actress in a comedy in 2014 and supporting actress in a drama in 2015, further highlighting category fluidity.
However, “The Bear” elevates the comedy classification debate. Its focus on chaos, intensity, drama, and interpersonal conflict in a Chicago sandwich shop in Season 1 pushes the boundaries. Any humor is secondary to its dramatic core. Among this year’s nominated comedies, only “Barry” approaches “The Bear”‘s dramatic tone. Shows like “Ted Lasso,” “Wednesday,” “Jury Duty,” “Mrs. Maisel,” “Only Murders in the Building,” or “Abbott Elementary” operate in distinctly different comedic realms.
This isn’t to diminish “The Bear.” It’s a high-quality, artistically superb show, particularly in its second season and a personal favorite. Yet, in a traditional sense, it’s not a comedy.
So, what’s the solution? The TV Academy might need to consider a “dramedy” category, acknowledging shows like “The Bear,” “Barry,” and “Atlanta.” Competing against dramas like “Succession” and “The White Lotus” is a daunting prospect, making the comedy category more appealing strategically. However, based purely on content, drama seems a more fitting home.
Ultimately, “The Bear” and its nominated cast and creators are likely to succeed at the Emmys, partly due to merit, but also because dramatic presentations often resonate more powerfully than comedic ones in direct comparison. In an apples-to-oranges contest, drama often prevails. “Barry”’s 54 Emmy nominations and nine wins, including for Bill Hader and Henry Winkler, support this.
“The Bear”’s impressive 13 nominations in its first year signal strong winning potential, irrespective of its genre label.
It prompts reflection: Is the definition of comedy evolving, or are award categories struggling to keep pace with the nuanced storytelling of modern television? “The Bear” forces us to confront these questions, making the categorization debate as compelling as the show itself.
