(Still, a variety-themed number with Adam De- Vine reminded that the most thoroughly planned moments are not always the best.) There was the interest of seeing what “Game of Thrones” actors look like in modern clothes and hairstyles (well, apart from Gwendoline Christie, who could have walked right into her next medieval drama). But it was noisy enough often enough to rouse the sleepy viewer. The back half of the show became more trying, in part because: three hours. (Len- non took an occasional swipe at his own situation, noting that “Succession” was based on “the same Murdoch family that has ordered me to sit at this microphone and tell jokes.”) In one of the few negative shots, he gave “a shoutout to any of our previous actress winners who are watching tonight from prison those two weeks are going to fly right by.” Felicity Huffman, if you have not been paying attention. Patricia Arquette goes to the Emmy stage more than she goes to Trader Joe’s.”) It was funny at first. Perhaps as a hedge against the lack of a single comic voice to knit it together, Thomas Lennon (lately Felix on “The Odd Couple”) was enlisted to provide absurd commentary as winners headed to the stage. There was the cast of “Veep,” with Julia Louis-Dreyfus channeling Selina Meyer: “I’m sorry I was told I would be up here alone, you know, to celebrate the show ‘Veep,’ because that is me. There were presenters Maya Rudolph and Ike Barinholtz, whose shtick was that their eyes were dilated from surgery and they couldn’t read the teleprompter: “Here are the nimrods for dead ascot in a chocolate staircase.” There was Bob Newhart, irascibly insisting to Ben Stiller he was not a waxworks. The first 45 minutes were solid and speedy, dominated by comics who, it seemed, had written or at least vetted their material. It was fortunate that the Emmys led with the comedy categories. It can avoid controversy, unless of course the choice of avoiding controversy itself becomes controversial. It also sidesteps the possibility of your chosen host becoming newsworthy, in a negative way, cough, Kevin Hart. It avoids the possibility of your host going rogue. From the producers’ standpoint, one can see the appeal. This is not the first time the Emmys have gone hostless in 1975 (CBS), 1998 (NBC) and 2003 (Fox), the awards were delivered without a celebrity driver. Anthony Anderson then took it upon himself - I mean, it was planned - to take things in hand, rushing backstage, where he considered stealing an Emmy before sending Bryan Cranston out to get things going. Every award was delivered, three to Phoebe Waller-Bridge (“Fleabag”).Īs with this year’s hostless Oscars, the idea of hostlessness was injected into the space where a host would normally be - with Homer Simpson introduced as the host, before being sidelined by a piano dropped on his head. (The show rotates among the four major broadcast networks - sorry, CW.) Everything was fine, more or less. Nevertheless, for the broadcast of the 71st Emmy Awards - oh, my God, TV is so old - Fox decided to go hostless. In the annals of Hollywood events, the words “no host” have forever occasioned despair in the hearts of participants: “You mean we have to pay for our drinks? What kind of cheap operation is this?”
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