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There’s a New Frontrunner in the Prestige TV Arms Race

Apple TV+ is far from the biggest streamer, but as this year’s Emmy nominations showed, it’s striking a critical chord.

By Precious Fondren
Photo courtesy of Apple TV+

Apple TV+ may not be a streaming juggernaut quite yet, but this year's Emmy nominations made one thing abundantly clear: It’s no longer the underdog. With Severance nabbing 27 nominations and The Studio cleaning up with 23 in the comedy categories, Apple has planted itself firmly in the upper echelon of prestige television. 

Yes, HBO (which includes HBO Max) is still the critical top dog overall, racking up 142 nominations. Netflix follows with 121. Apple trails with 79, but similar to when an undeniably impact album doesn’t hit on the albums charts, the numbers aren’t what matters the most here. What Apple TV+ lacks in quantity, it more than made up for in punch. Both Severance and The Studio dominated not just critical conversation but fan culture. They’re Reddit rabbit holes about what the fuck Severance is actually about. They’re X-ready memes birthed straight from The Studio still populating your timeline. These shows were truly inescapable. 

Apple TV+ is curating a cohesive roster of programming that feels like it was built to consume you brain for weeks on end, something HBO, at its peak, was the master of. While it never had the quantity, it dominated Sunday nights by way of series like The Sopranos and The Wire—shows that changed serialized storytelling and influenced almost every piece of so-called “prestige TV” in their wake. Memes drawn from both still dot the timeline—Wee-Bey’s reaction to Stringer telling him he shot a cop will live forever—but they’ve ceded space to newer moments from Apple TV+ and other platforms. 

Severance, with its Kafkaesque commentary on corporate life, has become the kind of show viewers obsessively rewatch for clues. The Studio, meanwhile, walks toes the line between smart and silly, which shouldn’t be a shock, considering it was birthed by the minds of Seth Rogan and Evan Goldberg. Add some other hits, including Slow Horses and Shrinking, and you’ve got a roster that can’t be denied. 

To be clear, HBO is not slouching—The Pitt is a bona fide cultural event, and Apple TV+ doesn’t have the decades-long catalog or audience scale of its competitors. But Apple’s current rise signals that “prestige TV” arms race has a new frontrunner. 

We read them along with the one guy who dropped a like, so that’s all that matters :D
byu/nin100gamer inLetterboxd

The Emmys need to rethink what “prestige” TV looks like.

I speak for the “Loustat” hive everywhere when I say I’m just sick to learn AMC’s Interview With the Vampire was shut out of the Emmy nominations for everything but hairstyling and makeup, even as it seemed the show would clean up at this year’s awards. The series’ second season—which was ineligible for consideration last time around—was a continued perfect storm of brilliant writing, incredible performances (most notably Jacob Anderson as our favorite Creole-banjee-baddie-from-Louisiana, Louis Du Pointe Du Lac), and the most compelling romance on television today, keeping us riveted with every episode. IWTV is delivering some of the most exciting storytelling and world-building on TV, and it would have been nice to see the unapologetically queer and sexy show receive proper praise.

And where were the nominations for Industry? HBO Max’s finance-fueled show just wrapped a killer third season, anchored by Marisa Abela’s career-best turn as Yasmin and one of the most gutting bottle episodes of the year, centered on Rishi (Sagar Radia). Despite critical praise and growing fan buzz, it’s been snubbed yet again. One of the creators tweeted simply, "Who cares, we’re busy working on a better season." 

Fair.

Every comedy nomination The Bear got could’ve gone to Overcompensating….or literally any other comedy.

Let’s be real: The Bear is not a comedy. How are they still getting this scam off? Every season gets more intense, more dramatic, and more emotionally crushing than the last. What about that is funny? Meanwhile, Overcompensating made the cut in terms of genre, and it’s not just funny but sharp, self-aware, and one of the most beloved shows of the year. If the Emmys wants to reward comedies, it should stop lumping dramas with jokes into the same category and start showing some love to shows filled with nothing but nonstop laughter, aka an actual comedy.