1 00:00:08,280 --> 00:00:09,040 Speaker 1: From The Australian. 2 00:00:09,160 --> 00:00:15,480 Speaker 2: This is the weekend edition of The front I'm Claire Harvey, Severance, 3 00:00:15,680 --> 00:00:20,360 Speaker 2: the Bear, Adolescence, the studio TV has never been better 4 00:00:20,680 --> 00:00:22,959 Speaker 2: and those shows are just some of the front runners 5 00:00:23,000 --> 00:00:27,520 Speaker 2: at Sunday's seventy seventh Annual Emmy Awards. Today, I'm joined 6 00:00:27,560 --> 00:00:31,240 Speaker 2: by the Australians Bianco far Marcus to discuss what's nominated, 7 00:00:31,400 --> 00:00:39,839 Speaker 2: pull win, and why Hollywood is so obsessed with awards. Anyway, 8 00:00:44,159 --> 00:00:46,879 Speaker 2: you have to feel for the television academy that presents 9 00:00:46,920 --> 00:00:51,000 Speaker 2: the Primetime Emmys. When MIMI started in nineteen forty nine, 10 00:00:51,120 --> 00:00:55,400 Speaker 2: most American homes had one TV channel, NBC. In twenty 11 00:00:55,440 --> 00:00:58,960 Speaker 2: twenty five, there's a screen in every hand and now 12 00:00:59,000 --> 00:01:02,920 Speaker 2: a vast poor of Emmy's entries thirty eight submissions in 13 00:01:02,960 --> 00:01:13,760 Speaker 2: the animation category alone. Apple TV's dystopian workplace drama series 14 00:01:13,920 --> 00:01:17,800 Speaker 2: Severance has wracked up twenty seven Emmy nominations this year, 15 00:01:18,120 --> 00:01:25,920 Speaker 2: including Outstanding Drama Series. The anchor I often feel it 16 00:01:26,000 --> 00:01:28,760 Speaker 2: working in news, were exposed to so much sadness and 17 00:01:28,880 --> 00:01:31,880 Speaker 2: hardship in the world that the last thing I want 18 00:01:31,880 --> 00:01:34,720 Speaker 2: from my entertainment is dystopia. But what are the kind 19 00:01:34,760 --> 00:01:38,360 Speaker 2: of TV values of severance that has got at these nominations. 20 00:01:38,360 --> 00:01:41,399 Speaker 3: Do you think from all public anecdotes, I don't think 21 00:01:41,440 --> 00:01:44,280 Speaker 3: this is necessarily an industry thing. The fact that it's 22 00:01:44,280 --> 00:01:46,720 Speaker 3: come from Ben Stella has come is quite a shock 23 00:01:46,760 --> 00:01:48,400 Speaker 3: to a lot of viewers who are used to, you know, 24 00:01:48,480 --> 00:01:52,240 Speaker 3: the Zoolander antics and the comedy stylings of him for 25 00:01:52,360 --> 00:01:55,920 Speaker 3: years and years. But he has shaped up, particularly with 26 00:01:55,960 --> 00:01:58,200 Speaker 3: this television show, to be one of the most bona 27 00:01:58,200 --> 00:02:02,560 Speaker 3: fide and solid directors and producers that have come out 28 00:02:02,560 --> 00:02:05,760 Speaker 3: in the past few years. I also think, as much 29 00:02:05,760 --> 00:02:08,440 Speaker 3: as it repulses me to watch anything that reminds me 30 00:02:08,520 --> 00:02:13,000 Speaker 3: of work, with the exception of Succession, I do think 31 00:02:13,040 --> 00:02:16,239 Speaker 3: there is that kind of interesting allure people find from 32 00:02:16,240 --> 00:02:18,600 Speaker 3: these sorts of programs where it's like there is that 33 00:02:18,760 --> 00:02:22,600 Speaker 3: element of the familiarity with the extension of the absolutely insane, 34 00:02:22,639 --> 00:02:25,160 Speaker 3: so you can take it to your colleagues the next 35 00:02:25,240 --> 00:02:27,200 Speaker 3: day and be like, things are so bad here, but 36 00:02:27,280 --> 00:02:29,760 Speaker 3: can you imagine if they were like that? So it's 37 00:02:29,800 --> 00:02:33,160 Speaker 3: sexy in that way because it is immediately a talking point, 38 00:02:33,200 --> 00:02:36,400 Speaker 3: which is why TV as a whole is kind of 39 00:02:36,520 --> 00:02:39,200 Speaker 3: use so films. I mean, that's a whole other conversation, 40 00:02:39,800 --> 00:02:43,520 Speaker 3: but it gives that sort of gravitas to whatever you're 41 00:02:43,600 --> 00:02:46,560 Speaker 3: viewing at home that night, especially when you spend the 42 00:02:46,560 --> 00:02:48,280 Speaker 3: majority of your life at work. I mean, you've got 43 00:02:48,320 --> 00:02:49,240 Speaker 3: to talk about something. 44 00:02:56,720 --> 00:02:59,720 Speaker 2: Speaking of workplace dramas, the worst boss who's ever been 45 00:02:59,760 --> 00:03:03,200 Speaker 2: on TV is up for an Emmy, and that's Gary 46 00:03:03,240 --> 00:03:08,440 Speaker 2: Oldman playing this superspy Jackson Lamb in Slow Horses. He's, 47 00:03:08,560 --> 00:03:12,440 Speaker 2: of course, a disgraced six superspy who's running the six 48 00:03:12,560 --> 00:03:17,320 Speaker 2: Duds unit, exiled from their main office and amazingly solving 49 00:03:17,320 --> 00:03:23,760 Speaker 2: a whole lot of international espionage crimes along the way. 50 00:03:25,000 --> 00:03:35,800 Speaker 1: Sorry about that, fella, Oh my god? Was that far? Yeah? 51 00:03:35,880 --> 00:03:37,720 Speaker 1: Mostly I know what you're doing. 52 00:03:39,560 --> 00:03:42,360 Speaker 2: Gary Oldman farts a lot, he drinks way too much. 53 00:03:42,760 --> 00:03:46,000 Speaker 2: But he's kind of the film actors film actor, isn't he? 54 00:03:46,320 --> 00:03:51,200 Speaker 2: Now he's on TV. Is this a moment where TV 55 00:03:51,320 --> 00:03:54,040 Speaker 2: really has taken over from film as the destination for 56 00:03:54,080 --> 00:03:54,840 Speaker 2: the best actors? 57 00:03:55,240 --> 00:03:58,440 Speaker 3: Definitely. I mean that sort of started to take place 58 00:03:58,600 --> 00:04:02,840 Speaker 3: in the mid twenty ten. Is this really massive push 59 00:04:02,920 --> 00:04:07,120 Speaker 3: from these glorified film stars moving on to the small screen. 60 00:04:07,200 --> 00:04:08,839 Speaker 3: And it kind of came as a shock at the time, 61 00:04:08,880 --> 00:04:11,280 Speaker 3: but now it's starting to make sense given the money 62 00:04:11,280 --> 00:04:13,920 Speaker 3: and the production value that you can put into these programs. 63 00:04:14,440 --> 00:04:17,799 Speaker 3: I will firmly say, as a lifelong lover of Gary Oldman, 64 00:04:18,400 --> 00:04:21,359 Speaker 3: this is the role he was born to play. Quite 65 00:04:21,400 --> 00:04:25,440 Speaker 3: possibly also a summation of every character he's ever had 66 00:04:25,560 --> 00:04:29,520 Speaker 3: and what I assume is his personality in a complimentary way. 67 00:04:29,960 --> 00:04:31,680 Speaker 1: Yeah, I don't think he's wearing a fat suit. 68 00:04:31,560 --> 00:04:32,360 Speaker 3: No, not at all. 69 00:04:32,560 --> 00:04:35,240 Speaker 2: I think he really enjoyed smoking a lot of durries, 70 00:04:35,560 --> 00:04:37,960 Speaker 2: drinking a lot of whiskey, and eating a lot of 71 00:04:38,200 --> 00:04:40,919 Speaker 2: you know, greasy kebabs to get that shape. 72 00:04:40,960 --> 00:04:43,600 Speaker 3: Absolutely, and when what's not to love with that? I mean, 73 00:04:43,640 --> 00:04:46,520 Speaker 3: from the man who played Sid Vicious to Winston Churchill, 74 00:04:46,560 --> 00:04:48,960 Speaker 3: you now get him in Slow Horses and you think bang. 75 00:04:49,080 --> 00:04:51,640 Speaker 3: That is the ven diagram of who I assume Gary 76 00:04:51,680 --> 00:04:56,159 Speaker 3: Oldman is. But it's interesting the breeding ground television has 77 00:04:56,200 --> 00:04:59,479 Speaker 3: sprung up for these high profile actors because it did 78 00:04:59,480 --> 00:05:01,839 Speaker 3: have that red mutation right, and the Emmys carries their 79 00:05:01,920 --> 00:05:06,040 Speaker 3: reputation of It's just not as important as a film now, 80 00:05:06,080 --> 00:05:09,560 Speaker 3: I think, particularly in this digitalized economy and this sort 81 00:05:09,560 --> 00:05:13,480 Speaker 3: of attention deficit economy, production companies have caught on to 82 00:05:13,520 --> 00:05:16,880 Speaker 3: the fact that they need to actually look after their audience, 83 00:05:17,640 --> 00:05:21,520 Speaker 3: which means they need these programs that are as impressive 84 00:05:21,560 --> 00:05:24,039 Speaker 3: technically as a film and do have that beauty and 85 00:05:24,040 --> 00:05:26,280 Speaker 3: that allure to them or that kind of mystique in 86 00:05:26,320 --> 00:05:31,039 Speaker 3: the way that they're cultivated. But they're more gripping. So 87 00:05:31,480 --> 00:05:33,560 Speaker 3: you can walk into a cinema, you can watch something 88 00:05:33,600 --> 00:05:35,640 Speaker 3: for an hour and a half or more likely two 89 00:05:35,640 --> 00:05:37,719 Speaker 3: and a half hours with the runtime of some of 90 00:05:37,760 --> 00:05:40,320 Speaker 3: these programs at the moment, or you can spend a 91 00:05:40,320 --> 00:05:43,520 Speaker 3: weekend binging a program that is going to absolutely hook you, 92 00:05:43,560 --> 00:05:45,880 Speaker 3: give you forty seven talking points you can repeat to 93 00:05:45,960 --> 00:05:49,360 Speaker 3: five different friendship groups, which is what I do. They're 94 00:05:49,400 --> 00:05:53,080 Speaker 3: also a lot more clever at engaging those online communities, 95 00:05:53,160 --> 00:05:57,159 Speaker 3: so fans of films, obviously they have places like letterbox 96 00:05:57,160 --> 00:05:59,440 Speaker 3: where they can leave a comment or a sarcastic review 97 00:05:59,720 --> 00:06:02,480 Speaker 3: and rejoice at what their fellow film buffs thought of. 98 00:06:02,839 --> 00:06:07,799 Speaker 3: TV groups have Twitter threads, Reddit threads, and it does 99 00:06:07,960 --> 00:06:11,000 Speaker 3: give you that sort of breadth of I'm still watching 100 00:06:11,080 --> 00:06:13,839 Speaker 3: with people, and I do have people to argue with, 101 00:06:14,120 --> 00:06:17,559 Speaker 3: or gossip with, or hate watch with, as we've seen 102 00:06:17,560 --> 00:06:18,600 Speaker 3: with and just like that. 103 00:06:30,880 --> 00:06:33,559 Speaker 2: As audiences have kind of stepped away from linear TV. 104 00:06:33,839 --> 00:06:36,120 Speaker 2: You know, we're all watching at seven thirty pm on 105 00:06:36,160 --> 00:06:39,000 Speaker 2: a Sunday night to see whatever, or we're waiting for 106 00:06:39,040 --> 00:06:40,760 Speaker 2: the movie of the week to be shown on a 107 00:06:40,800 --> 00:06:44,919 Speaker 2: Saturday evening. I think there was an idea that that 108 00:06:44,960 --> 00:06:47,599 Speaker 2: would be the end of the water cooler conversation where 109 00:06:47,600 --> 00:06:50,360 Speaker 2: everybody's watching something all at the same time. It feels 110 00:06:50,400 --> 00:06:53,279 Speaker 2: to me like the streamers have reclaimed that moment, though, 111 00:06:53,279 --> 00:06:56,560 Speaker 2: haven't they in their strategy of releasing these big TV shows. 112 00:06:56,839 --> 00:07:01,599 Speaker 3: I definitely agree with that. I think where we would 113 00:07:02,040 --> 00:07:05,919 Speaker 3: have kind of scheduled conversational sesshas off the back of 114 00:07:06,120 --> 00:07:09,120 Speaker 3: whatever we read in those paper TV guides. Now we 115 00:07:09,240 --> 00:07:13,360 Speaker 3: have a form of community hysteria. So you see this 116 00:07:13,440 --> 00:07:15,680 Speaker 3: is in the top ten shows of the week, this 117 00:07:15,720 --> 00:07:18,320 Speaker 3: is released on Netflix. If you haven't seen it, you 118 00:07:18,400 --> 00:07:20,520 Speaker 3: definitely have a friend that has who will then force 119 00:07:20,560 --> 00:07:23,000 Speaker 3: you to see it. I think we saw that particularly 120 00:07:23,040 --> 00:07:25,680 Speaker 3: this year with Adolescence, which is up for less than 121 00:07:25,720 --> 00:07:30,760 Speaker 3: shows like Severance, but it is clearly a very strong 122 00:07:30,800 --> 00:07:32,800 Speaker 3: front runner. 123 00:07:34,760 --> 00:07:39,040 Speaker 4: You move, maybe I told me off the ball a 124 00:07:39,120 --> 00:07:39,680 Speaker 4: little bit. 125 00:07:43,440 --> 00:07:47,240 Speaker 1: On what he was in his room Wearnie, can he 126 00:07:47,320 --> 00:07:50,600 Speaker 1: do in there? Okay? I want you to solve a 127 00:07:50,640 --> 00:07:51,320 Speaker 1: mystery for me. 128 00:07:51,960 --> 00:07:55,240 Speaker 2: The Bear, which is about the zad sec antics of 129 00:07:55,400 --> 00:07:58,120 Speaker 2: Chef Come and Berzado trying to deal with the death 130 00:07:58,160 --> 00:08:01,000 Speaker 2: of his brother and take over the family restaurant. That's 131 00:08:01,040 --> 00:08:05,640 Speaker 2: a finalist in Outstanding Comedy Series. The White Lotus, which 132 00:08:05,720 --> 00:08:09,880 Speaker 2: in this season was about a disgusting Southern family showing 133 00:08:09,960 --> 00:08:13,280 Speaker 2: up in Thailand and just being entitled and horrible, which 134 00:08:13,320 --> 00:08:17,640 Speaker 2: was hilarious, is Outstanding Drama as a finalist. 135 00:08:17,880 --> 00:08:18,520 Speaker 1: What's going on? 136 00:08:19,120 --> 00:08:21,720 Speaker 3: This is one of the most long held conundrums since 137 00:08:21,760 --> 00:08:25,160 Speaker 3: the show started. I don't know what more on does 138 00:08:25,360 --> 00:08:30,680 Speaker 3: the genre categorizing Every year there is a rigorous debate 139 00:08:30,720 --> 00:08:33,240 Speaker 3: online as to why The Bear is a comedy and 140 00:08:33,360 --> 00:08:36,000 Speaker 3: The White Lotus is a drama when they're very clearly 141 00:08:36,320 --> 00:08:39,520 Speaker 3: the opposite. From what I know about the voting and 142 00:08:39,600 --> 00:08:43,920 Speaker 3: the selection process is it is very smart in the 143 00:08:43,960 --> 00:08:47,240 Speaker 3: sense that they will clearly win those categories every single time, 144 00:08:47,360 --> 00:08:50,319 Speaker 3: and it's subsequently been the case, like we've seen sweeps 145 00:08:50,320 --> 00:08:52,440 Speaker 3: for The Bears come left, right, and center since it 146 00:08:52,559 --> 00:08:56,560 Speaker 3: sprung onto platforms four years ago, and the same with 147 00:08:56,640 --> 00:08:59,640 Speaker 3: The White lotus, and I always come back to the 148 00:08:59,679 --> 00:09:03,440 Speaker 3: fact that Jennifer Coolidge finally got her jews with an 149 00:09:03,480 --> 00:09:07,600 Speaker 3: Acting Emmy and then gave a thank you speech with 150 00:09:07,920 --> 00:09:12,199 Speaker 3: comedic antics that have rivaled absolutely anything The Bear has 151 00:09:12,280 --> 00:09:14,640 Speaker 3: ever put into its scripts. Not to say it's not 152 00:09:14,679 --> 00:09:17,920 Speaker 3: funny at sometimes, but you think thirty seconds worth of 153 00:09:17,960 --> 00:09:20,959 Speaker 3: her mumbling versus four seasons of a show that's classified 154 00:09:20,960 --> 00:09:23,040 Speaker 3: as a comedy, you have to really start to wonder 155 00:09:23,080 --> 00:09:25,640 Speaker 3: about these things, you know. 156 00:09:25,840 --> 00:09:29,240 Speaker 4: I just want to say, you know, I took a 157 00:09:29,280 --> 00:09:33,400 Speaker 4: lavender bath tonight and right before the show, and it 158 00:09:33,480 --> 00:09:38,080 Speaker 4: made me swell up inside my dress and I'm having 159 00:09:38,120 --> 00:09:45,240 Speaker 4: a hard time speaking. But anyway, I. 160 00:09:42,720 --> 00:09:46,559 Speaker 2: Am someone who'll genuinely feel ripped off if you doesn't 161 00:09:46,559 --> 00:09:47,440 Speaker 2: win a bunch of Emmies. 162 00:09:47,520 --> 00:09:48,360 Speaker 1: Is Seth Rogan. 163 00:09:48,600 --> 00:09:52,320 Speaker 2: His show The Studio, I think presented itself as a 164 00:09:52,320 --> 00:09:56,240 Speaker 2: parody of Hollywood, but was really an homage to Hollywood 165 00:09:56,280 --> 00:10:01,520 Speaker 2: as he wants it to be. It's very self referential, 166 00:10:01,559 --> 00:10:04,680 Speaker 2: lots of inside jokes and gags about producers and directors 167 00:10:04,679 --> 00:10:07,200 Speaker 2: and people making fun of themselves. It's up for a 168 00:10:07,240 --> 00:10:10,679 Speaker 2: bunch of awards, including for the cameo stars who played themselves, 169 00:10:10,880 --> 00:10:15,560 Speaker 2: like Martin Scorsese, If the Studio does win a bunch 170 00:10:15,600 --> 00:10:17,800 Speaker 2: of Emmys, what do you think that'll say about where 171 00:10:17,800 --> 00:10:20,400 Speaker 2: Hollywood's at in terms of its reflection on itself at 172 00:10:20,440 --> 00:10:20,800 Speaker 2: the moment. 173 00:10:21,720 --> 00:10:24,920 Speaker 3: I say this as an enormous fan of that program, 174 00:10:25,040 --> 00:10:28,080 Speaker 3: but I think if the Studio sweeps the Emmys, it 175 00:10:28,160 --> 00:10:33,080 Speaker 3: exemplifies everything fundamentally wrong with this award show, everything fundamentally 176 00:10:33,200 --> 00:10:37,320 Speaker 3: wrong with Hollywood, and why, quite frankly, no one cares 177 00:10:37,360 --> 00:10:40,560 Speaker 3: about the Emmys. The fact that it has been nominated 178 00:10:41,280 --> 00:10:45,679 Speaker 3: for twenty three Emmys with multiple actors in the same category, 179 00:10:46,520 --> 00:10:48,640 Speaker 3: to me, quite frankly, is a disgrace and it just 180 00:10:48,679 --> 00:10:52,600 Speaker 3: shows the complete irrelevance of this program. So when I 181 00:10:52,679 --> 00:10:55,160 Speaker 3: was looking at the numbers of who's ranking with what, 182 00:10:55,520 --> 00:10:57,600 Speaker 3: the first thing that immediately sprung to mind is what 183 00:10:57,760 --> 00:11:01,320 Speaker 3: is this Hollywood's Participation Award? Everyone was in a program 184 00:11:01,400 --> 00:11:04,400 Speaker 3: that everyone liked, and it's a popularity contest of people 185 00:11:05,000 --> 00:11:08,560 Speaker 3: with immense talent but no real sense of competition or 186 00:11:08,600 --> 00:11:11,600 Speaker 3: what their viewers are watching. But my gripe with the 187 00:11:11,640 --> 00:11:14,320 Speaker 3: Studio being nominated for so many things is that that, 188 00:11:14,480 --> 00:11:17,040 Speaker 3: to me doesn't really reflect that these people were the 189 00:11:17,080 --> 00:11:20,440 Speaker 3: best performer in those categories. I mean the Martin Scorsese 190 00:11:20,559 --> 00:11:23,319 Speaker 3: coming back to do a cameo. He was fantastic in it, 191 00:11:23,559 --> 00:11:27,240 Speaker 3: but it does not quantify an award nomination. And quite frankly, 192 00:11:27,320 --> 00:11:29,000 Speaker 3: I think he would agree with me on this. He 193 00:11:29,040 --> 00:11:33,600 Speaker 3: doesn't need anymore. He really doesn't. The viewing numbers over 194 00:11:33,600 --> 00:11:37,400 Speaker 3: the past six years have had very minimal peaks. They've 195 00:11:37,480 --> 00:11:42,839 Speaker 3: basically slumped perpetually since twenty eighteen, and now we're seeing 196 00:11:42,920 --> 00:11:46,440 Speaker 3: things like the current nomination list come out where basically 197 00:11:46,480 --> 00:11:48,600 Speaker 3: you can kind of toss a coin and figure out 198 00:11:48,640 --> 00:11:52,559 Speaker 3: who's going to win what, And to me, it represents 199 00:11:52,800 --> 00:11:55,520 Speaker 3: a bit of a you scratch my bag, I'll scratch 200 00:11:55,600 --> 00:11:59,400 Speaker 3: yours in the industry with no kind of recognition of 201 00:11:59,440 --> 00:12:00,760 Speaker 3: who they make this show for. 202 00:12:03,800 --> 00:12:06,199 Speaker 1: Coming up, we're off to the red carpet. 203 00:12:17,800 --> 00:12:21,320 Speaker 2: Because white and cream is the color of the evening 204 00:12:21,559 --> 00:12:28,280 Speaker 2: here so custom by Siriana tailored. One fun thing about 205 00:12:28,280 --> 00:12:30,280 Speaker 2: these awards ceremonies is the red carpet. 206 00:12:30,600 --> 00:12:33,600 Speaker 1: Oh my goodness, so you were a vision and red 207 00:12:33,720 --> 00:12:36,960 Speaker 1: that is what you are? You? Yeah, I really loved 208 00:12:36,960 --> 00:12:39,600 Speaker 1: the stress well it fits you beautifully. 209 00:12:41,280 --> 00:12:42,960 Speaker 2: Last year I thought it was a little less fun 210 00:12:43,000 --> 00:12:46,680 Speaker 2: because o Zempic had arrived and suddenly everybody weighed forty kilos. 211 00:12:46,960 --> 00:12:48,480 Speaker 1: What do you think we're going to see this year? 212 00:12:48,520 --> 00:12:50,160 Speaker 2: Will you be watching and is it going to be 213 00:12:50,200 --> 00:12:52,000 Speaker 2: for the Red Carpet all the awards itself? 214 00:12:52,320 --> 00:12:54,959 Speaker 3: I will absolutely be watching the Emmys for the Red 215 00:12:55,000 --> 00:13:02,160 Speaker 3: Carpet itself. Ozempic maybe usurped by one of its new alternatives, 216 00:13:02,200 --> 00:13:04,000 Speaker 3: which I kind of remember the name of, but there's 217 00:13:04,000 --> 00:13:06,959 Speaker 3: about forty on the market now, so Thinn is still 218 00:13:06,960 --> 00:13:10,760 Speaker 3: in Unfortunately. I do think there will be an element 219 00:13:10,760 --> 00:13:14,439 Speaker 3: of tenderness on the Red Carpet because, as I mentioned previously, 220 00:13:15,360 --> 00:13:20,199 Speaker 3: there are some very unique stars that I actually think 221 00:13:20,280 --> 00:13:23,319 Speaker 3: do deserve their du so. Ioadeboiris is one of them. 222 00:13:23,400 --> 00:13:27,080 Speaker 3: She directed one of the episodes of The Bed and 223 00:13:27,520 --> 00:13:31,319 Speaker 3: it was a masterclass in kind of deconstructing how race 224 00:13:31,360 --> 00:13:34,559 Speaker 3: and poverty impacts your status in America. I think that's 225 00:13:34,600 --> 00:13:37,640 Speaker 3: a very very important conversation, particularly when you look at 226 00:13:37,640 --> 00:13:41,360 Speaker 3: the global state of affairs now, and it does show 227 00:13:41,400 --> 00:13:45,920 Speaker 3: this young black director who truly deserves the acknowledgment she's getting. 228 00:13:46,640 --> 00:13:50,600 Speaker 3: I can't wait to see Stephen Graham in any way, 229 00:13:50,679 --> 00:13:54,240 Speaker 3: shape or form. I hope he doesn't skip the red 230 00:13:54,240 --> 00:13:56,840 Speaker 3: carpet because I can imagine him just not really caring 231 00:13:56,880 --> 00:13:59,800 Speaker 3: about it. One thing I am curious to see with 232 00:13:59,840 --> 00:14:03,040 Speaker 3: the Emmys is there has been, you know, a bit 233 00:14:03,080 --> 00:14:05,240 Speaker 3: of a murder spree when it comes to comedy. We're 234 00:14:05,320 --> 00:14:07,319 Speaker 3: even seeing that with the choice of hosts this year. 235 00:14:07,400 --> 00:14:10,640 Speaker 3: Nate Bagatsi, who's you know, was considered a couple of 236 00:14:10,679 --> 00:14:12,400 Speaker 3: years ago a bit of a mid tier comedian, but 237 00:14:12,559 --> 00:14:16,320 Speaker 3: shot to prominence, and he is also widely regarded in 238 00:14:16,400 --> 00:14:18,360 Speaker 3: the industry as a safe pair of hands. So you're 239 00:14:18,400 --> 00:14:20,000 Speaker 3: not going to get you know, Ricky Gervais of the 240 00:14:20,040 --> 00:14:25,440 Speaker 3: Golden Globes offending everyone, but SNL is up for a 241 00:14:25,480 --> 00:14:29,160 Speaker 3: few awards, and it's almost touching in a sense that 242 00:14:29,200 --> 00:14:31,880 Speaker 3: they are in their you know, their fiftieth anniversary and 243 00:14:31,920 --> 00:14:34,920 Speaker 3: with all the hype around that, because we're seeing kind 244 00:14:34,920 --> 00:14:39,080 Speaker 3: of this excommunication of comedy in the world, possibly when 245 00:14:39,080 --> 00:14:41,840 Speaker 3: we need it the most. But also I wonder if 246 00:14:41,840 --> 00:14:43,920 Speaker 3: that will be kind of a statement for the Emmys 247 00:14:43,920 --> 00:14:45,280 Speaker 3: to turn around and be like, you know what, we 248 00:14:45,320 --> 00:14:48,240 Speaker 3: do support our late night comedians. We do support these 249 00:14:48,240 --> 00:14:52,240 Speaker 3: people who do take risks, and ultimately, whether they confront 250 00:14:52,280 --> 00:14:56,480 Speaker 3: subject matter and possibly polarize audiences. Their ultimate goal is 251 00:14:56,480 --> 00:14:59,640 Speaker 3: to make people laugh, and we're going about that with 252 00:14:59,680 --> 00:15:00,160 Speaker 3: this sea. 253 00:15:07,360 --> 00:15:10,480 Speaker 2: Bianca far Marcus is a journalist and videographer at The Australian. 254 00:15:10,600 --> 00:15:13,160 Speaker 2: You can check out her work anytime at The Australian 255 00:15:13,280 --> 00:15:16,480 Speaker 2: dot com dot au. And we'll be covering the Emmys live. 256 00:15:17,280 --> 00:15:19,600 Speaker 2: This episode at the Front was hosted by me Claire 257 00:15:19,600 --> 00:15:22,640 Speaker 2: Harvey and produced by Jasper Leek, who edited the episode 258 00:15:22,640 --> 00:15:25,360 Speaker 2: and also wrote our theme. Thanks for joining us on 259 00:15:25,400 --> 00:15:29,240 Speaker 2: the Front this week. Our team also includes Kristin Amiot, Leat, Sammaglue, 260 00:15:29,280 --> 00:15:32,160 Speaker 2: Tiffany Dimack, Josh Burton and Stephanie Coombs.