(“You’ve seen them on ‘Black Bird,’ but they’ve never been mentioned on Black Twitter.”) For whatever reason, not all the presenters could be trusted to read off the nominees, which were sometimes announced before the presenters walked onstage, and the “In Memoriam” sequence was shot from angles that made it difficult to see the names of some of the departed. Thompson’s comedy interludes had a wocka-wocka desperation about them, and the formerly low-key job of announcer went to the comedian Sam Jay, who stole focus with contrived introductions of the presenters. So that’s where awards shows go when they decide that there’s nothing in the world worth worrying about: up their own boob tube.ĭespite celebrating the craft of television, the ceremony was ineptly written and paced. Before Winfrey came on, the host, Kenan Thompson, wearing a top hat and tails and flanked by interpretive dancers, performed a dismal number to the themes of “Friends,” “Game of Thrones,” and “The Brady Bunch” (whose surviving cast members were seen for an unceremonious second). But the 2022 Emmys seemed to retreat to the cozy echo chamber of show biz. Just a year ago, Seth Rogen was on the Emmy stage, freaking out that the place had a roof and might not be COVID-proof. If you happened to be watching at home, clinging to some shred of hope that you, somehow, might end up one of the winners, you have Oprah to thank for crushing your dream.Īwards shows have had a lot to grapple with during the past few years: Trumpism, racial imbalance, sexual assault, the pandemic. “There are eight billion people on this planet,” Oprah Winfrey said on Monday night, near the start of the Seventy-fourth Primetime Emmy Awards, “but only twenty-five Emmys to be given out tonight.” That, the Queen of All Media calculated, gave each person in the world a three-hundred-million-to-one chance.
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