Emmys 2018 Review: Host Category, Best Speech, Hannah Gadbsy, Winners

In the new season of "BoJack Horseman", a series the Emmys neglected for four years, the talking horse talks about his TV series and says, "No show should be so meaningful! Television is a visual medium! The joke is related to another episode where BoJack has a 26-minute monologue, but it's just as good if you only look at what's right in front of you: a lot colors, characters, gags, notes, word games, and much more, each episode of the Netflix comedy.

This is because television may be on a small screen, but it is no longer made for the small screen. The black and white time, 4: 3, and the tube TV is over. Live musicals help keep the broadcast afloat, to the Emmys and beyond. Bold directors like David Lynch, Cary Fukunaga and Lesli Linka Glatter bring life to boundless stories. Stories tell stories from all walks of life from a diverse group of incredible artists.

The long-term aspect is that visuals are also important – not that you know it since Emmys 2018 on NBC. Produced by Lorne Michaels and hosted by Weekend Update correspondents and editors, Colin Jost and Michael Che, Emmys' broadcast was also paralyzed nested handles. Only the winners, a few casual guests, and an unprecedented proposal animated things, but overall it was a long and languorous ceremony to look at – and the monologues were not much better.

The 70th annual Primetime Emmys

Paul Drinkwater / NBC

The problems started with the song and dance pre-monologue. Well-intentioned and with some choice lyrics (mostly given to Titus Burgess, like "We know exactly where we are – with Roseanne!"), Silent music and simple choreography may have worked if there were had no matter what pass visually. The One of Each Dancers added a brief bloom, but it was very brief. John Legend did the same thing. But those big gray screens behind the friendly actors were dormant or had a negligible impact. (Later, they were used to show the characters played by each winner, flying over the speeches as a giant reminder of the person on stage for whom he is best known.)

Then came the monologue. With jokes that started with cliches such as "Things were very different then …" and ended with information about the Nazis, most of Che and Jost's material was just sweet. What was not sweet was curiously pointed out: the duo mocked NBC for having the most nominations of all broadcast networks (calling it "the sexiest person on life"). Netflix, their seemingly endless look, has never really been tied, and what is this Obama joke? "My dream is that they produce only their own versions of" The Apprentice "… and that the notes are much higher." The way Jost stopped made the audience think that the series had already arrived, and his kicker turned out to be an embarrassing joke. about President Trump's pride in television?

Perhaps the most admirable thing in television broadcasting was perhaps how much Trump came. Aside from Samantha Bee's hint at POTUS, saying that the newscast needed a "new advance", the Cheeto in Chief was rather absent from the night's debates. It's rare for rewards and honestly it was very good. Later in the episode, Che's "Emmys Repairs" was a solid pre-recorded play that played an important role in recognizing forgotten black actors. The jokes were good, but they followed the best of what we could say about the hosts: they were negligible overall.

Glenn Weiss, post-proposal to the Emmys 2018

Paul Drinkwater / NBC

What worked was what always works at rewards shows: surprises. Henry Winkler immediately reminded viewers what the excitement looks like. (Che did not manage to do it while Jost offered at least some semblance of laughter to his co-host's jokes.) Then Alex Borstein threw his shawl on the floor as she headed for the stage, and Amy Sherman-Palladino has won awards for writing and directing. Sandra Oh somehow made a joke "La La Land" at an awards ceremony, and Jeff Daniels thanked his horse. Hannah Gadsby has become everyone's choice for "this presenter should be promoted to the front desk" and for good reason; Gadsby found a fun tone in seconds as Che and Jost continued to search all night.

Then he arrived: Glenn Weiss won an Emmy and cleverly moved his victory speech into a moving proposal. Honestly, if someone had said it was going to happen, I would bet it would bombard heavier than what I was doing on "Twin Peaks" to get white (unfortunately), but the director of the Oscars knew exactly what he was doing and stealing the show. While almost all the credit should go to Weiss, who managed to be just the right balance between nerve-nervous and perfectly balanced, everyone's reactions in the audience – and Sterling K. Brown on stage – sent the moment to iconic status. This is the best speech of the night, and some of the best moments have been silent, except for hiccups and applause. No matter who looks will never forget it, and that's exactly what it's all about (you know, at least for the viewers).

The rest of the series took advantage of memorable visuals paired with clever words – such as Matthew Rhys' solid speech for his "semi-surprise" victory for Americans (this accent always wins, for what it's worth) – but he followed the momentum of its winners. Pretty people who wear beautiful dresses and sharp tuxes go a long way, just like the big victories for the nominees who did not see it coming. But for a show of more than three hours to keep fans on their own, without having to check Twitter or play the Cubs during commercials, every corner of your TV must be full of delights. It must do what the best of the media always does: make the small screen bigger. The 2018 Emmys did not do much to improve its inherent charms. Maybe next year, they should hire the "BoJack" team to produce – or, you know, at least launch an application.

Grade: C +

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