Emmys don't get modern TV: The best new shows are almost genreless

The Atlantic

In July, Emmys co-host Michael Che complained about the “anti-comedy comedy" of Hannah Gadsby's Nanette -- which he didn't watch -- calling it "standup tragedy." “I dont (sic) wanna have to ‘survive’ a comedy special,” Che wrote. “I wanna laugh. lets not make this what its (sic) not.” To which Sophie Gilbert responds that Che's definition of comedy wouldn't fit many shows that are considered comedies these days. "Has Che watched television recently?" she writes. "Putting aside live performance for a moment, does he consider Random Acts of Flyness to be comedy? Atlanta? Insecure? The End of the F***ing World? Succession? Or Barry, starring his former Saturday Night Live co-star, the comedian Bill Hader? Looking ahead to the 2018 Emmy Awards this Monday—which are presented by Che and his 'Update' co-host Colin Jost—the one quality that seems to define the best new shows on TV is an encroaching genrelessness. It’s an approach to television that prioritizes creative vision and voice over formulaic convention. If the 'sadcom' trend that flourished with Transparent and Louie and Girls saw half-hour shows fuse comedy and drama, hour-long shows are increasingly doing the same thing. The bleak satire of Succession and the tonal zaniness of Killing Eve, two recent longer shows that often feel impossible to categorize, prove how rich the results can be."

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