Peter Hoar last month earned his first career Emmy nomination, recognized in the Outstanding Director for a Drama Series for the “Long, Long Time” episode of The Last of Us (HBO). His was one of 24 nominations, including Outstanding Drama series, garnered by the series, which was the second highest tally this year, just behind the 27 nods for Succession. Clearly The Last of Us–adapted from a popular video game that bowed 10 years ago–has struck a responsive chord with TV Academy members, critics, audiences, gamers and non-gamers alike. Created by Craig Mazin, the architect of the Emmy-winning limited series Chernobyl, and Neil Druckmann who developed the video game, The Last of Us stars Pedro Pascal as Joel, a smuggler who’s assigned the task of escorting a teenager, Ellie played by Bella Ramsey, across a post-apocalyptic U.S. The teen is immune to a fungal infection that has taken over the planet.
“Long, Long Time” was the lone episode of The Last of Us directed by Hoar. This third episode of the series delves into survivalist Bill (portrayed by Nick Offerman) who turns his hometown into a compound shielded from infection. But life becomes more than just a matter of existing or surviving when Frank (Murray Bartlett) is caught in one of Bill’s traps. A love story between Bill and Frank ensues and Hoar saw it as a golden opportunity to bring to the series another deeply human dimension, reflecting the feelings and emotions that make the video game–of which he is such a fan–stand out.
To have game players wrapped up in these characters and their world is amazing, related Hoar. And then for a TV series based on the game to do the same but in different ways is also moving and impactful.
Hoar couldn’t believe he was in the running initially for the “Long, Long Time” episode upon reading what he described as such “a beautifully written script” (by Mazin and Druckmann). The director still isn’t sure exactly how he got the gig. He did note, though, that Rose Lam, an executive producer on the series, helped open the door initially for him. Some 10 years ago, Hoar directed episodes of the series Da Vinci’s Demons for which Lam served as an exec producer.
Hoar also conjectured that the opportunity to take on The Last of Us may have sprung from his work on the U.K.’s Channel 4 miniseries It’s A Sin, which he directed and exec produced. He won a BAFTA TV Award for his directing, and was nominated for another in the Best Miniseries category. It’s A Sin centered on four gay men and their lives as they unfolded through the 1980s, including the early years of HIV and AIDS. Hoar described the miniseries as “a human story” that was “painful and uplifting” at the same time.
The deft touch and sensitivity he exhibited in It’s A Sin may have factored into Hoar being in the running for “Long, Long Time.” Whatever the case, Hoar is grateful that he got the chance to be involved in The Last of Us, particularly in an episode in which Bill and Frank find love while in the midst of a brutal world. The episode, observed Hoar, gets to the heart of The Last of Us. It’s a story about “why we survive. It’s not just good enough to say we have to survive. Why do we do it. The answer in one word is ‘love,’ what makes us human.”
Hoar further shared, “That’s what is so great about sci-fi generally. It reflects back on us and tells us something. The more alien the story, the more human it tends to be.”
Adding to the humanity is that Bill and Frank are middle-aged. Hoar noted that you don’t often see stories about people finding love at a later age. Hoar credited the brilliance and sensitivity of the entire cast including, of course, Bartlett and Offerman for their tender, heartfelt performances.
Hoar is proud of how viewers have responded–having literally been able to watch people watching the series thanks to audience members filming themselves. “What you do every day as a director is you make choices, sometimes in collaboration with others–writers, actors. Sometimes it’s just you. It can be a little note about a character, a moment, trying to make it bigger, to elevate it from the script.”
To see people watching the show and commenting on different aspects has been an eye-opener for Hoar. “Little things get noticed. They do matter. They are important.” Seemingly small decisions a director makes can make a difference in how people experience and relate to a story. Hoar noted that there are times during a shoot when he thinks, “I’ve got to do this and I don’t know why.” To see that instinct result in something that strikes a responsive chord with viewers is gratifying.
James Adolphus
Like Hoar, director/cinematographer/producer James Adolphus just picked up his first career Emmy nomination–for Being Mary Tyler Moore (Max), which was recognized in the Outstanding Documentary or Nonfiction Special category.
Prior to embarking on this documentary, Adolphus wasn’t all that familiar with Moore, his knowledge of her being cursory at best. But a string of circumstances led to his eventually telling Moore’s story–the first being a feature story in Vanity Fair about producer-writer-actor Lena Waithe. The article included a photo of Waithe watching The Mary Tyler Moore Show on TV. It caught the eye of Moore’s widower, Dr. Robert Levine, who learned that Waithe was a fan and admirer of Moore. Levine connected with Waithe and gave her the keys to the Moore kingdom–namely access to archives and the creative freedom to fashion a documentary about the beloved performer’s life.
Waithe in turn approached Adolphus whom she had been working with on a Quibi series, You Ain’t Got These, about sneaker culture in America. Adolphus didn’t view himself as a likely candidate for directing a documentary about Moore. He didn’t grow up on reruns of The Mary Tyler Moore Show. He hadn’t even seen Ordinary People which earned Moore an Oscar nomination for Best Lead Actress. Adolphus didn’t relate to Moore in the past–but that changed as he started to delve into her life.
Adolphus read Moore’s autobiography, “After All,” and the first few chapters convinced him that hers was a story he had to tell. The book opens with Moore openly sharing her vulnerabilities and early childhood traumas–truths that celebrities of her generation would not normally share. Adolphus felt a bond with Moore based on her frankness. He too had come from a traumatic background.
This kinship with Moore also came from Adolphus’ experience sharing intimate vulnerable moments in a public forum. At one point, his mother was dealing with liver disease and kidney failure, waiting for an organ transplant. Adolphus had rejected a job to stay at her bedside at Cedars Sinai in Los Angeles. He took to writing about the experience on social media–even though he had never before written on social media about anything. His Instagram posts about his mom, about the relationship with his son and other personal matters caught the attention of Waithe who in turn came to him with the sneaker culture project.
Fittingly the experience of sharing vulnerabilities later connected Adolphus with Moore, leading him to embrace the opportunity Waite gave him on Being Mary Tyler Moore.
Adolphus also connected with Moore on another front, uncovering an interview David Susskind had done back in the day with a young Moore. Susskind berated Moore who remained steadfast, strong and owned the moment. That youthful strength and self-assuredness made an impression on Adolphus who at the outset didn’t think there was any parallel between him–as a Black and Puerto Rican man–and Moore. But he found one in part due to that Susskind interview. Like Moore, a woman trying to make her mark in the world, Adolphus had a heartfelt understanding of what it was like to be under the thumb of American patriarchy.
Being Mary Tyler Moore in fact opens with the Susskind interview from 1966.
Adolphus shared that he fell in love with who Moore was during the course of making the documentary. “I felt like she and I were having conversations” throughout the process of making the film over the years. Adolphus felt grateful for that and for other new friends he’s made–including Dr. Levine, “someone who gave over a tremendous amount of trust to a team of individuals he didn’t know, handing over the keys to his wife’s legacy yet never interfering with the process.”
His bravery and that of Moore have had a lasting impact on Adolphus who has a son. Moore lost her son tragically, pointed out Adolphus but persevered. He cited Moore’s resilience and his belief that if Moore is looking down on us, “she wants us to pick ourselves up and continue to live life to the fullest.”
This in turn has given Adolphus the courage to pursue the telling of his own highly personal story. Experienced in the documentary realm, he’s now looking to direct a scripted film, one that hearkens back to when he was teaching filmmaking in the Palestinian territory during the height of the second intifada. Adolphus gave out a class assignment that he said led to the death of one of his students. He feels the need to tell the full story of what happened, why it happened and how it changed him.
As a cinematographer, Adolphus has shot three projects that have won Peabody Awards: the series Brick City and Real Sports with Bryan Gumbel, and the miniseries TIME: The Kalief Browder Story.
Catherine Goldschmidt, BSC
It’s been an eventful awards season for Catherine Goldschmidt, BSC. For her work on “The Lord of the Tides” episode of House of the Dragon (Max), she earned her first career ASC Award and Emmy nominations. The Game of Thrones prequel picked up a total of eight Emmy nods, including for Outstanding Drama Series.
“The Lord of the Tides” brought Goldschmidt together with director Geeta Vasant Patel. The DP described the director as being “a generous collaborator” who has a genuine interest in hearing everybody’s ideas. “And she sort of synthesizes them into something of even more genius,” said Goldschmidt. Among the visual touchpoints they shared were some Game of Thrones episodes as well as the classic David Lean feature Lawrence of Arabia.
The latter looms significant in that Goldschmidt noted that the tone and feel they wanted for House of the Dragon was more akin to a Lean-esque historical epic as opposed to a Marvel superhero tentpole film. And while any content with dragons connotes fantasy, Goldschmidt said that House of the Dragon looked to steer away from that. Across all departments–cinematography, production design, costumes–the story is set in a medieval time period. “All the decisions were grounded in the reality of that time.” Camera moves were classical, often deploying dollies and cranes, with more Steadicam than Game of Thrones.
“The Lord of the Tides,” the eighth episode of House of the Dragon, was “quite unique,” continued Goldschmidt, noting that prior installments of the show carried various split storylines. In “The Lord of the Tides”–the lone House of the Dragon episode lensed by Goldschmidt–all the principal characters come together under one roof, fueling “enormous dramatic scenes.” “Capturing that drama to the fullest extent” was a priority. The story in “The Lord of the Tides” also necessitated a more austere, colder, darker tone than other episodes in the series.
The ARRI Alexa 65 and Alexa LF cameras were deployed on House of the Dragon, in tandem with ARRI DNA lenses tailored for each. Goldschmidt explained that the large format dovetailed well with House of the Dragon, offering “a bigger digital negative, if you will.” Lead cinematographer on the series, Fabian Wagner, ASC, chose the ARRI cameras which, said Goldschmidt, provided “the right sort of scale to photograph the epic set and set pieces.” Goldschmidt added that she loves photographing faces in large format, the results being “beautiful and emotive” portraiture.
Goldschmidt added that she had never shot something of this scale before, giving her a greater appreciation for what each department was bringing to the table. She was “constantly amazed” by the sets, costumes and other artistry created in support of the story and characters. The experience was special, she continued, in that it served to “sort of expand my own capacity for collaborating with that many more artists.”
Goldschmidt has a background in shooting independent features and documentaries. She then diversified into episodic TV with credits that include serving as lead DP on the 12th season of Doctor Who, the Emmy-nominated show Dummy, and the BBC/Amazon original miniseries Chloe. She also shot a block on the last season of A Discovery of Witches (Sky/AMC).
Along with fellow cinematographer Vanessa Whyte, Goldschmidt is a founding member of illuminatrix, a collective of female cinematographers in the U.K.
Carl Herse
For the second consecutive year, Carl Herse is an Emmy nominee in the Outstanding Cinematography for a Series (Half-Hour) category on the strength of his work on Barry (HBO). This time it’s for the “Tricky Legacies” episode. Last year the nom came for the “starting now” episode for which Herse just five months ago won an ASC Award.
While Herse garnered Emmy nominations for seasons three and four, there’s been a major difference in the show from one year to the next. For season three, series creators Bill Hader and Alec Berg took turns directing–with Herse lensing Hader-helmed episodes and Darran Tiernan shooting Berg’s installments. For the series’ fourth and final season, Hader directed all the episodes.
Herse, who came aboard Barry for season three, thus was presented a unique opportunity. Rather than the norm of taking on a series through individual episodes, Herse explained that he and Hader could deal with the show as “one big story” and “find the arc” best suited for the overall season. While the first half of season four was a continuation of season three–with visual continuity maintained–the second half took a major time jump and visually segued to a distinctly different touch and feel starting with episode five.
Herse described that episode, “Tricky Legacies” for which he earned his current Emmy nod, as its own singular installment, existing as “a supernatural thriller” of sorts with a sense of foreboding.
Herse embraced the challenge and opportunity of changing directions within season four, having been a fan of Barry from its inception. Herse lobbied to get the chance to join the series in season three. What attracted Herse to Barry from its very first episode has remained steadfast ever since through to his hands-on involvement in the finale. Herse from the outset was attracted to Hader’s voice as a director (Hader directed the pilot). “Bill and I have a similar sensibility from a comedic standpoint and how we view the human experience,” observed Herse. “He speaks to the absurdity of existence, that comedy and tragedy can co-exist as they do in the real world.”
As for the most compelling challenge posed to him by season four, Herse said simply it was “the success of season three. People found this show in the third season. Yet for some the show could have ended with that season. But Herse noted that for Hader, “a true crime aficionado,” the story doesn’t end when someone gets arrested. There was still much to explore as Hader and Herse collaborated with one another and others to keep the narrative engaging for its final season.
That final season captured a total of 11 Emmy nominations, including for Outstanding Comedy Series and direction (for Hader on the final episode, “wow”).
Herse said that Hader is “the kind of filmmaker I’ve been trying to find my entire career,” one who values “how the visual side of things can tell the story more clearly.” For a cinematographer that’s tricky in the normal scenario which entails working with different directors, alternating with another DP or DPs. Often you’re more beholden to the showrunner’s vision for the season. And while he’s worked with “incredible showrunners” over time, their focus is often more on the right dialogue and compelling sequences, not necessarily how to tell a story visually. Hader has this sensibility–and strives to tell a story visually in the simplest way possible–which endears him to the DP. This is especially evident during a season in which Hader served as the sole director. Herse observed that what makes Barry unique is its use of the medium to its greatest advantage.
Stephanie Filo, ACE
For each of the past two years, Stephanie Filo, ACE has been part of the ensemble on episodes of A Black Lady Sketch Show (HBO) that’s won the Outstanding Picture Editing For Variety Programming Emmy. This year she has added three more Emmy nods for the “My Love Language Is Words of Defamation” episode of A Black Lady Sketch Show (shared with Malinda Zehner Guerra and Taylor Mason, in the Variety Programming category), the “III” installment of History of the World: Part II (Hulu, shared with Angel Gamboa Bryant, Daniel Flesher and George Mandl, also in the Variety Programming category), and “The Good Boy Box” episode of Dahmer-Monster: The Jeffrey Dahmer Story (Netflix, in the Limited or Anthology Series or Movie category).
In the latter limited series, Evan Peters portrays real-life serial killer and cannibal Jeffrey Dahmer, shedding light on a case fraught with racism and homophobia–seemingly making it less of a priority for police to solve as law enforcement repeatedly ignored warnings from the public as to what was happening. This is embodied, for example, in the story of Glenda Cleveland (played by Niecy Nash-Betts) who called police multiple times about suspicious activity going on next door in the apartment of her neighbor, Dahmer. A Black woman, Cleveland was ignored by local authorities in a murder spree (which stretched from 1978-’91) claiming the lives of 17 people, 15 of whom were Black, Indigenous, Asian or Latino men and boys, mostly in the predominantly Black Northside neighborhood in Wisconsin. Dahmer met a number of his victims in gay bars and LGBTQ community locales.
At first, Filo was hesitant to take on Dahmer in that it was such a sensationalized case in the media. But she soon found out that the story being told by series creator Ryan Murphy carried weight and relevance to what still rings true today. “We see Black and brown people being ignored by a system that continually fails them,” said Filo. “We see historically what happens and what continues to happen.”
“The Good Boy Box” episode also gave Filo the opportunity to collaborate for the first time with director Jennifer Lynch. Filo said the footage and performances that Lynch got out of the cast were “incredible to work with.” Filo edited during the height of the pandemic, necessitating that the work be done remotely. When Lynch was on set, she would text or email Filo as the two maintained a back-and-forth dialogue. Then after shooting wrapped, Lynch would send notes to Filo who would address them in her cuts. The two built a rapport and an ongoing exchange of ideas.
Filo identified the biggest challenge as being to make sure that Dahmer himself did not come across in any way, shape or form as a sympathetic character. While conveying his dysfunctional family life and other adversity, Filo balanced that with big-picture considerations as well as Dahmer’s unsavory behavior throughout much of his life, including preceding the murders. Filo said she has a passion for history and the stories and lessons it imparts. In that respect, Dahmer holds a special place for her as she had the opportunity to take a sensationalized case and bring its social relevance and context to the fore.
Filo also praised the people-first and mental health-preserving orientation of the production. “Twelve hours a day we’re looking at gruesome content. We all realized how important it was to check in with each other, to make it a point to get away from the content for a little while,” said Filo.
On the comedy front, Filo’s nominations for History of the World: Part II and yet again for The Black Lady Sketch Show carry a particular significance. For the former, getting to work with Mel Brooks’ material marked a full-circle moment for Filo who recalled that her first TV credit as an editor was Excavating the 2000 Year Old Man, a documentary about Brooks and Carl Reiner. Filo added that she was a fan of Brooks’ original feature, The History of the World: Part I.
As for The Black Lady Sketch Show, Filo credited series creator and showrunner Robin Thede with bringing together an inclusive creative environment. The show has an all-female grip department for example. Filo added that it took 10 years of editing before I met another Black editor. That happened on The Black Lady Sketch Show as Thede, said Filo, wanted to show that “we were all capable of these things but didn’t have the opportunities” to realize them. Thede has also proven, assessed Filo, that a sketch show can look cinematic.
Additionally, Filo has been nominated the last two consecutive years for the ACE Eddie Award on the strength of her work on The Black Lady Sketch Show. She won the Eddie earlier this year for the “Save My Edges, I’m a Donor!” episode (for which she later won the Emmy in 2022).
Jamie Kennedy, ACE
Also scoring at the Eddie and Emmy competitions this year is Jamie Kennedy, ACE for her work on Weird: The Al Yankovic Story (Roku). Back in March, Kennedy won the Eddie in the Best Edited Feature Film–Non-Theatrical category. This marked her first career Eddie nomination and win. And just last month, Kennedy picked up her first Emmy nomination, which came in the Outstanding Picture Editing for a Limited or Anthology Series or Movie. This was one of eight Emmy nods earned by Weird, the others including Outstanding Television Movie, and Outstanding Lead Actor in a Limited or Anthology Series or Movie (Daniel Radcliffe as Weird Al).
Weird was directed by Eric Appel who also co-wrote the movie with Yankovic. Appel gravitated towards Kennedy for Weird given his prior positive experience working with her on Die Hart, a Quibi series starring Kevin Hart and John Travolta. Weird was the first feature Kennedy every cut. “Neither of us had made a feature before,” said Appel in an earlier installment of SHOOT’s The Road To Emmy Series. “Die Hart was the closest thing–bizarre chapters or chunks that added up to a movie. “Jamie was good at cutting TV comedy, is a huge movie fan and movie nerd, and a major ‘Weird Al’ fan. She wound up bringing a lot to the film.”
Appel also discussed the genesis of the movie, which goes back 10-plus years when he came up with the idea for a Funny or Die spoof trailer for a “Weird Al” Yankovic biopic. Appel thought he would play off the seemingly inherent biopic dynamic which played fast and loose with the facts–particularly when the subject of the biopic is long deceased. He thought it would be a hoot to do a trailer for such a biopic focused on a person still alive and kicking, namely Yankovic. Adding to the appeal was the irony of creating a parody trailer promoting a fake parody biopic of a guy who did parodies of hit songs.
However, Appel didn’t know Yankovic so he asked comedian Patton Oswalt to reach out to him. Appel had worked with Oswalt on a prior video and knew he was a friend of Yankovic.
The response from Yankovic was positive and immediate. Before he knew it, Appel was at a coffee shop with Yankovic, showing him biopic trailers on his laptop. They teamed on a bogus trailer which debuted online in 2013, carrying the hype promo line, “This film is sure to sweep next year’s Academy Awards.”
For years, Yankovic would screen that faux trailer during costume change intermissions at his concerts. Then in 2019, Yankovic emailed Appel about turning that trailer into a movie. As quick as Yankovic got back to him many moons ago, Appel immediately said “yes.”
Still, there were challenges. “The trap we didn’t want to fall into was that it would wind up feeling like a comedy sketch that was too long,” said Appel. “We were reverse engineering a movie from a fake trailer, trying to not make it feel like a joke and instead giving it a real story. We were telling a story that didn’t exist about a bizarro ‘Weird Al’ character that we created for this movie. But we wanted it to feel like a serious biopic.”
Kennedy played an integral role in attaining this delicate balance. It was an assignment she yearned for–but it wasn’t until she was halfway through Die Hart that she realized that Appel was behind the aforementioned spoof trailer. She then “outed” herself to Appel as an unabashed Weird Al fan. “It’s my favorite YouTube video,” she affirmed. Appel in turn told her he hoped to make a Weird Al feature. She responded, “Call me to cut that if it ever happens.” Happily, Appel did just that.
Weird was shot in just 18 days. “My editor’s cut was turned around in 10 days after that,” recalled Kennedy. It was a tight schedule that she had grown accustomed to in television. But for a feature-length film, the turnaround felt “a little more condensed,” she observed.
Kennedy said that the situation was made easier to deal with thanks to the creative rapport she had developed with Appel–as well as the director’s talent and adept handling of budgetary and time constraints. She described Appel as “one of the most talented directors I’ve worked with. He’s from the world of Funny or Die. He’s good a making things on budget and within a certain amount of time. He’s not an overindulgent director. He knows exactly what he needs to get. I always knew that he would get us everything we possibly needed for this film.”
As for their rapport, Kennedy feels simpatico with Appel. “We have the same sense of humor. We’re always operating from the same wavelength. I know what makes me laugh is going to make him laugh.” That, she said, proved invaluable during a shooting schedule that was moving fast, as she was cutting scenes everyday that were shot the day prior.
To receive recognition on the awards circuit, including a DGA Award nomination for Appel, has been gratifying, related Kennedy–particularly for “a project that meant so much to us. We’re fans of Al. We all loved each other and what we were doing. If it existed in a vacuum and no one had seen it, I would still be proud of it. But to get this awards recognition and to be flying on an airplane and seeing someone on board watching it has been really special.”
Amy Roberts
Costume designer Amy Roberts came on board The Crown (Netflix) for season three and has stayed ever since, her latest Emmy nomination coming last month for the season five episode, “Mou Mou.” This marks her third Emmy nod for The Crown; she won for the season three episode “Cri de Coeur.” Overall Roberts has four career Emmy nominations, the first being in 2011 for Upstairs Downstairs.
This year The Crown has garnered six Emmy noms, including for Outstanding Drama Series. Roberts said she’s been fortunate to not only work on the show but to do so for multiple seasons. She’s felt personal and professional growth along the way, perhaps most notably from season three to four. “So often you do a show, it’s a one-off. This has been a real progression.”
Roberts assessed that she found her footing on The Crown during season three. She recalled series creator Peter Morgan sending her an email when they started season four which read something along the lines of “you got it now. You understand what I’m all about, what I write, what I feel about The Crown.” Roberts observed that she came to see the big picture of what it meant to work on The Crown, “the moments of forensic detailing mixed with hopefully chicness, filmic-ness, glamour. We are allowed to do all of those things on The Crown. I don’t think I quite understood that in season three. You could be braver about the whole thing.”
Such bravery is facilitated and spurred on by the continuity Roberts enjoys on The Crown with ongoing collaborators such as cinematographer Adriano Goldman, ASC, BSC, ABC, production designer Martin Childs, hair and makeup designer Cate Hall and hair stylist/makeup artist Emilie Yong. Roberts related, “I know Adriano’s style, his lighting. We get on very well.” She recalled Goldman telling her on set one day that their next employer should “take us all on as a group, move us onto the next job all together.”
“Mou Mou,” the third episode of season five–which earned Roberts, associate costume designer Sidonie Roberts and costume supervisor Christof Roche-Gordon their current Emmy nomination–brings a fresh view to the show, staying true to its period drama excellence yet breaking away from the Royal family, shifting focus for instance to Mohamed Al-Fayed, taking us back to his modest beginnings in Alexandria, his ascent to great wealth and his aspirations related to royalty.
The “Mou Mou” episode also landed Goldman his fifth career Emmy nomination for The Crown (he won in 2018 and 2021), and Hall and Yong their third (the latest for period or character hairstyling).
Amy Roberts described the creative aspirations of The Crown as “challenging and thrilling.” She noted, for example, that “Mou Mou” dated back to 1946 and went through to the 1980s. The varied characters and story threads made for an exhilarating costume design ride for her, Sidonie Roberts and Roche-Gordon.
The latter two’s contributions have been integral, continued Amy Roberts who noted that Roche-Gordon fills an organizing and supervising role that is key to a show the size and scope of The Crown. Amy Roberts said that she and Sidonie Roberts “have a similar aesthetic,” describing the associate costume designer’s work as “massive,” including the major responsibility of doing justice to Princess Diana, which is hugely important to audiences, particularly “the young viewing public who enjoyed this particular era of her clothes.”
Beyond the Emmy recognition, Amy Roberts over the years has garnered assorted honors including a pair of BAFTA TV Craft nominations, six BAFTA TV Award nods (including wins for Oliver Twist and The Virgin Queen) and three Costume Designers Guild Award noms, winning earlier this year for the “Ipatiev House” season five episode of The Crown.
This is the 15th installment of SHOOT’s weekly 16-part The Road To Emmy Series. The Creative Arts Emmy Award ceremonies are slated for the weekend of January 6 and 7, 2024, and the primetime Emmy ceremony is scheduled for January 15.
