The question pops up in conversations constantly when people learn about my profession: “Why are shows like ‘The Bear,’ ‘Barry,’ and ‘Atlanta’ categorized as comedies at the Emmys?” It’s a valid question, and frankly, there isn’t a straightforward answer. This isn’t a new dilemma; it was the same puzzle surrounding “The Bear’s” Golden Globe nominations earlier in the year. After watching both seasons of “The Bear” intently, the comedic elements remain elusive. Sure, there are fleeting moments of levity, like Carmy’s delayed understanding of UPS, prompted by Sydney. However, to label the show a comedy feels akin to calling a heart attack humorous.
When Jeremy Allen White received accolades at the Golden Globes, Critics Choice, and SAG Awards for best actor in a comedy series, it wasn’t a recognition of his comedic timing. It was an acknowledgment of his compelling dramatic portrayal, underscored by his expressive, soulful eyes. Similarly, Ayo Edebiri, despite her comedic background, wasn’t celebrated at the Independent Spirit Awards for a side-splitting performance. While most comedic performances nominated this year contain dramatic nuances, in the cases of White, Edebiri, and Ebon Moss-Bachrach, their nominations largely celebrate dramatic depth.
This raises questions about the relevance of Emmy categories or award categorization in general. Has the comedy label lost its association with humor? Or has it become solely about the runtime format? It seems that anything around a half-hour mark gets grouped into comedy, regardless of its comedic content. The prevailing trend appears to be genre hybridization.
It’s worth noting that in late 2021, the TV Academy shifted its categorization criteria, moving away from runtime as the primary factor for comedy or drama classification. Historically, shows under 30 minutes were comedy, and longer formats were drama, a rule established around 2015. Yet, darker, more serious half-hour shows like “Barry,” “Atlanta,” and now “The Bear,” continue to challenge genre conventions at the Emmys, Globes, SAGs, WGAs, DGAs, and Critics Choices.
This perceived genre mislabeling hasn’t deterred Gold Derby voters from embracing “The Bear” in its debut year. The show is a strong contender for best comedy series, second only to “Ted Lasso” in predictions. White is favored for lead comedy actor, Edebiri for supporting comedy actress, and Moss-Bachrach is a top contender for supporting actor. “The Bear” also leads in predictions for comedy writing and directing.
Historically, comedy was defined by its ability to evoke laughter. This seems like an outdated concept now, but Emmy history supports this earlier definition. Looking back at winners from the 1950s to the 1970s, shows like “I Love Lucy,” “The Dick Van Dyke Show,” “Get Smart,” “All in the Family,” “The Mary Tyler Moore Show,” and “Taxi” dominated. Later, “The Golden Girls,” “M*A*S*H,” “Murphy Brown,” “Frasier,” “30 Rock,” “Modern Family,” and “Veep” continued this legacy. These shows, while often incorporating serious moments, were primarily built on humor.
More recently, Emmy-winning comedy series have leaned towards hybridity, such as “The Wonder Years,” “The Marvelous Mrs. Maisel,” and “Fleabag.” David E. Kelley’s “Ally McBeal,” an hour-long blend of comedy and drama, won best comedy in 1999. Other hour-long series blurring genre lines in Emmy contention include “Desperate Housewives” and “Shameless.” “Moonlighting” initially submitted as a comedy before switching to drama, leading to Bruce Willis’s drama actor win for a largely comedic role. Similarly, “Boston Legal” shifted from comedy to drama at the SAG Awards.
“Nurse Jackie,” much like “The Bear,” was a half-hour show with minimal laughs, categorized as dark comedy, featuring Edie Falco as a drug-addicted ER nurse. It received a Best Comedy Series nomination and six lead comedy actress nominations for Falco. Her bewildered reaction to her 2010 Emmy win for the role (“Oh this is just the most ridiculous thing that has ever ever happened… I’m not funny!”) underscores the genre ambiguity.
Uzo Aduba’s wins for “Orange is the New Black” in both comedy (guest actress) and drama (supporting actress) categories for the same role further exemplify genre fluidity.
However, “The Bear” pushes the boundaries of comedy categorization even further. Its focus on chaos, intensity, drama, and interpersonal conflicts within a Chicago Italian beef shop minimizes any overt comedy. Whatever humor exists is secondary to its intense dramatic narrative. Among this year’s comedy series nominees, only “Barry” approaches “The Bear’s” dramatic intensity. Shows like “Ted Lasso,” “Wednesday,” “Jury Duty,” “Mrs. Maisel,” “Only Murders in the Building,” and “Abbott Elementary” lean more traditionally comedic.
This isn’t a critique of “The Bear.” It’s an exceptional series, arguably the best on television currently, with undeniable artistry that escalated in its second season. However, in the traditional sense, it’s not a comedy.
So, what’s the solution? The TV Academy might need to consider a “dramedy” category, a concept contemplated for decades but never implemented. This category could encompass shows like “The Bear,” “Barry,” “Atlanta,” and others that defy clear genre boundaries. Competing as a drama against powerhouses like “Succession” and “The White Lotus” would be daunting for “The Bear.” Yet, within the current category structure, drama seems a more fitting classification.
Despite the genre debate, “The Bear” and its cast are predicted to excel at the Emmys. Dramatic performances often resonate more strongly in awards contexts compared to comedic ones. This has been evident with “Barry,” which has garnered 54 Emmy nominations and nine wins. “The Bear’s” impressive 13 nominations in its first year suggest strong winning potential, regardless of its comedic label.
