Content genre prioritized over program scheduling in recogniton of shifts in viewing habits
The National Academy of Television Arts & Sciences (NATAS) and Television Academy have jointly announced plans to realign the Daytime and Primetime Emmy® Awards. Moving forward, the competitions will be organized solely by content genre as opposed to the current method, which separates programs based on program airtime.
The announcement, which follows the Academies’ recent collaboration on expanding the Children’s & Family Emmy Awards into a standalone franchise, represents a transition that allows the competitions to reflect consumers’ evolving viewing habits, reduce category overlap, and provide clarity on eligibility requirements.
“NATAS and the Television Academy each pride ourselves on celebrating and honoring the best television has to offer, and with the evolution of our industry, it was critical to update our competitions to meet current trends in both content and viewing habits,” said Adam Sharp, president and CEO, NATAS. “These changes will allow each Academy to honor an undivided scope of achievement in our respective fields of television excellence.”
“The realignment of these Emmy competitions represents the most significant collaboration between the Television Academy and NATAS since the two became separate entities in 1977,” said Maury McIntyre, president and COO, Television Academy. “We’re proud to be responsive to the needs of the creative community and the evolution of our industry, ensuring the Emmy Award remains the preeminent mark of excellence across all genres of television.”
While further information by category will be forthcoming in the Daytime Emmys® Call for Entries, scheduled for release in January 2022, notable updates include:
- Scripted dramas and comedies will enter the Television Academy-administered national competition, irrespective of airtime, with two exceptions which will enter NATAS’ national competitions: (1) Programming intended for ages 15 and under will be represented in the Children’s & Family competition; and (2) the Daytime Drama categories will remain in the Daytime competition and be redefined to include “any multi-camera, weekday daily serial, spin-off or reboot.”
- Programming previously awarded in the Limited Drama categories of the Daytime competition will transition to the Primetime competition.
- Talk shows will be awarded in each competition, separated by format and style characteristics reflective of current programming in the daytime or late night space.
- The Morning Show and Spanish-Language Morning Show categories will be retired from the Daytime competition, with such programming eligible instead in the NATAS-administered News & Documentary Emmys or the Daytime competition’s Talk Show categories, depending on show format.
- Game Show and Instructional & DIY programming categories will remain divided by airtime for the 2022 competitions, while the Academies look to a genre-based alignment for the 2023 competition year.
- All other categories will be clarified such that content creators will submit to a single competition on the basis of submission genre, irrespective of airtime.
The Daytime, Primetime, and Children’s & Family judging periods will be spread out on non-conflicting timelines throughout the year to allow adequate time for submissions and judging.
The Television Academy and NATAS will also form a joint-Academy panel charged with making eligibility determinations between competitions and respective categories. Show producers who are unsure of the competition for which they are eligible or who are petitioning to switch contests will be encouraged to submit to the eligibility review panel prior to submission.
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowers’ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, “His artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.”
Johanna Cranitch, creative director, Barking Owl, added, “Kris first caught my attention when he released his record ‘Heroes + Misfits’ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More