Emmy Predictions for dramatic categories

• The iron Throne (HBO)
• Stranger things (Netflix)
• Americans (FX)
• The crown (Netflix)
• The servant's tale (Hulu)
• This is us (NBC)
• Westworld (HBO)

Westworld improved in its first season, but it is still so conceptually complex that it is difficult to imagine that EMMY voters are giving it the first prize. Watching it probably looks like work for some voters. All other candidates in this category had better seasons (in some cases, much better), especially The iron Throne (a global phenomenon before its last season) and The crown (which has a comparable scan, but without all the fantastic violence).

That's us, Strange things, and winner of last year A servant's tale all struggled to match or exceed almost perfect first year seasons, and in the case of Servant"sit was complained that the show was rubbing the public's nose in misery rather than finding new notes to strike. But there is a good chance that one of the three (or one of the other series in progress) can win the first prize anyway, because the Emmys-winning shows are exponentially more likely to continue to win. win Emmys.

Americansmeanwhile, has had one of the most memorable seasons of its history and one of the best finals in its history, but the Academy of Television Arts and Sciences did not show much love in the past. a minor miracle he decided to give him a gift of this magnitude (the prices of interpretation or writing seem more likely, although they are still long shots).

L & # 39; Emmy should go to … Americans. For the final alone, but really for everything.

The Emmy is going to want … Probably A servant's tale – or maybe The crownbecause he's very English, and a lot of Emmy voters would prefer everything on Netflix because it's easier like that.

• Jason Bateman, Ozark (Netflix)
• Matthew Rhys, Americans (FX)
• Milo Ventimiglia, That's us (NBC)
• Sterling K. Brown, That's us (NBC)
• Jeffrey Wright, Westworld (HBO)
• Ed Harris, Westworld (HBO)

Jason Bateman is clever, friendly and annoying Ozark, alias. Discount breaking Bad, and had a real success as a big screen comedian this year. He was perhaps the favorite of this category, if it had not been his failure Arrested development) appropriately with Jessica Walter in an infamous New York Times an interview that shows how men tend to reflexively close ranks and protect other violent men without realizing they are doing so. The show is always appreciated (at least, it seems to me anecdotal, almost everyone who asks me questions about my work wants to discuss) to win anyway; it is not a safe thing.

Matthew Rhys and Jeffrey Wright are the most technically impressive performers nominated in this category. They play several versions of the same character in the same episodes and live in all versions so complete that they do not exist. You both have a powerful emotional component if you want to tune into the somewhat analytical wavelengths of the series and convince yourself that the characters are not really friendly in a conventional televisual sense; but Emmy voters have always been reluctant to do it, which is why it took The SopranosJames Gandolfini and Mad MenJon Hamm is so subconsciously long to win prizes in this category. (Rhys could sneak if Americans unexpectedly, he beats the odds and wins a bunch of major rewards for creating a mini-sweep, especially if his on-screen and on-screen companion, Keri Russell, wins the best actress; but it never happened in the past, so why would that happen now?

Milo Ventimiglia is gorgeous on That's usbut his appointment seems entirely dependent on That's us Finally give us all the details about his character after dancing around them for a season and a half. If he wins on this basis, it will seem a little complicated. Sterling K. Brown deserved it last year and the merit again this year, and he was so much in the media (in movies and on varieties and talk shows) that he might have the necessary presence to resume the price as if nothing. Ed Harris is as uncompromising and uncompromising as ever on any screen, big or small, but his incarnation of The Man in Black is so opaque and so cold (even after this harrowing episode with Peter Mullan as his father ) would be a shock if he was compensated for his Westworld job. His costar Wright has a slightly better shot, and although he is a long-shoter, because in one way or another, you never feel the necessary effort. reap rewards (unless it's just his time – and would not it be great if that was the case?).

L & # 39; Emmy should go to … Rhys. For the parking garage scene in the only final – what a demonstration of change of acrobatic tone!

L & # 39; Emmy will go to … Probably Brown, because he's great, he has royalty because he won last year, and the character is alluring.

• Sandra Oh, Kill the day before (BBC America)
• Tatiana Maslany, Black Orphan (BBC America)
• Claire Foy, The crown (Netflix)
• Keri Russell, Americans (FX)
• Elisabeth Moss, The servant's tale (Hulu)
• Evan Rachel Wood, Westworld (HBO)

Tatiana Maslany was no less impressive in her last year of Black Orphan that she was in one of her other years, but she finally won an Emmy in 2016 for her performance as several characters in the series, and that was so unusual in itself (being given the kind of series that it was) that it's hard to imagine it repeat two years later. Claire Foy is masterful as a young Queen Elizabeth II The crown, the kind of production that seems tailor-made for this kind of contest, and was even more impressive in its second outing than in its premiere. Last year's winner, Elisabeth Moss, could repeat because of the reflex of the Academy and the deserved admiration she commands (she was nominated for Lake Summit and many times for Mad Men), although the slight decline compared to season two of The servant's tale could hurt his chances. Wood was the raw material of season 2 Westworldbut the same change that made her character more dynamic (an avenging hero role with many scenes where she was able to threaten people) paradoxically gave her less subtle nuances to play.

Keri Russell would have been a deserved winner every year for her fiercely maternal, patriotic and brutally violent spy job.Americans, probably even more so for its final outing, a season in which the chickens return home to rest in the Jennings family. But here, as in other categories, it is difficult to imagine a voting membership that has never lived up to its character before suddenly doing so. Her main competition could be Sandra Oh, a much-loved industry veteran who played the role of main character in a big series (but unfortunately was not nominated in the top category) and who gets laughs. as well as sexy and dark. She is also a history maker as the first Asian woman named in the category.

The Emmy should … Russell, because she's been excellent but subtle throughout her passing Americans, and it's his last chance in the role.

L & # 39; Emmy will go to … Oh, although she has a lot more chances, because she's just as impressive and because of the historical nature of her appointment.

• Nikolaj Coster-Waldau, The iron Throne (HBO)
• Mandy Patinkin, Country (HBO)
• Matt Smith, The crown (Netflix)
• Peter Dinklage, The iron Throne (HBO)
• David Harbor, Strange things (Netflix)
• Joseph Fiennes, The servant's tale (Hulu)

Nikolaj Coster-Waldau and Peter Dinklage continue to be superb on The iron Throne, and twice winner in this category, it is always possible that Dinklage repeats. But the series struggled to be creative in its second season without George R.R. Martin's source material adapting, and the characters felt a bit thinner this time around. Patinkin, four-time Emmy nominee for Country and seven hours in all, could benefit the sentiment factor (plus the excellence of his episode submitted, "Species Jump," built around an investigation, a situation where his character tends to shine).

Dashing like he's like Prince Phillip on The crownMatt Smith may be too subtle to take this one (John Lithgow won last year for playing Winston Churchill, a very difficult game). Joseph Fiennes is uncompromising Commander Waterford in the second season of The servant's tale, a "good German" role that echoes current events, but that could just as well be a disadvantage as a benefit. Repeated candidate David Harbor is by far the most pleasant choice, even though Strange things was unstable in his second season, he got some of his best material, playing against Millie Bobbie Brown (also nominated for the series) as the guardian of his character.

L & # 39; Emmy should go to … Patinkin. After a beginning of affection, the Academy seems to have gone far beyond the scope of the show, although it continues to name it in certain categories; but Patinkin is a shrewd pro who was at the top of his game this season.

L & # 39; Emmy will go to … Harbor. Because who does not like this character and this performance? As the character's name suggests, Hopper, there is a touch of hard-alecky by Dennis Hopper in the 1980s, but also the broad-headed magnetism that Harrison Ford brought to American cinema in the same decade. In addition, he acts in front of Eleven, which makes him even better than he may have already.

• Lena Headey, The iron Throne (HBO)
• Vanessa Kirby, The crown (Netflix)
• Millie Bobbie Brown, Strange things (Netflix)
• Yvonne Strahovski, The servant's tale (Hulu)
• Ann Dowd, The servant's tale (Hulu)
• Alexis Bledel, The servant's tale (Hulu)
• Thandie Newton, Westworld (HBO)

With three of the seven slots claimed, this category is either The servant's taleLosing or the category that he can not win because of the sharing of votes. Ann Dowd has the best shot because she won last year, even though she and Yvonne Stahovski were as strong as me, and I think about Alexis Bledel, who gives something pretty close to a movie performance silent old-fashioned where everything is in the eyes.

Lena Headey is back for the fourth time in this category playing Cersei Lannister The iron Thronebut if the Academy did not give it to him for his "walk of shame", or the year his character set up the entire family business in a kinetic and ultimately explosive montage at the Michael Corleone, it's hard to see why I'm finally giving him the statuette for this last season, except to compensate for past opportunities to honor him.

Millie Bobbie Brown had a slightly more juicy material this year than the first season of Strange things, though the show was overall weaker and her character had even a standalone episode that seemed like a dry run for a spin-off centered on Eleven, but she is so young that voters might be wondering, "What's up? is the rush?

Thandie Newton might deserve it the most, because of the technical precision required of each recurring character playing a leading role as a synthetic person on Westworld. Like her colleague Jeffrey Wright, who is in the lead actor category of the same series, she plays essentially several roles in the same drama (if you consider the different iterations of self-awareness and the memories of the character in separate but linked flashbacks). ). performances and I do). But this never seems to be a purely theoretical exercise because of the emotional transparency that Newton has brought to almost every role she has played in the past, in film and television.

L & # 39; Emmy should go to … Newton. There is not a single image of his performance on Westworld it is not at once impeccable and touching. And the extra-dramatic factor of being one of the most famous voices in the #MeToo movement could give voters one more reason to put their name on the ballot.

L & # 39; Emmy will go to … Dowd again.

• The iron Throne, "Beyond the Wall," Alan Taylor (HBO)
• The iron Throne, "The Dragon and the Wolf," Jeremy Podeswa (HBO)
• Ozark, "The toll", Jason Bateman (Netflix)
• Ozark, "Tonight we improvise," Daniel Sackheim (Netflix)
• Stranger things, "Chapter Nine: The Door", The Duffer Brothers (Netflix)
• The crown, "Paterfamilas", Stephen Daldry (Netflix)
• The servant's tale, "After", Kari Skogland (Hulu)

This is the category "Go big or go home", and has since been The iron Throne organized his first episode of great battle; no one should be surprised if thrones wins here, because the only thing more impressive than seeing HBO burn incredible amounts, is when it does with a real staging, as was the case in "The Dragon and the Wolf" and "Beyond the Wall".

The latter is breathtaking in its daring enormity, which really says something considering the series we are talking about here. This is clearly the episode to beat, although "Chapter Nine" of Strange things – the one where hell breaks loose after eight hours of accumulation – could be a source of worry, especially if enough Emmy voters consider the series as a parent-related bonding experiment child (as is the case in Seitz).

It is unfortunate that the sweep and volume tend to cover pleasures comparatively more subtle than the representative episodes of this category. The crown (no lazy in the production value department, and with Oscar nominee Stephen Daldry behind the camera); Ozark (featuring star pointing, always a favorite Emmy activity), and most importantly The servant's tale. "After" is the only episode named in this category by a woman, Kari Skogland, and by pure lyrical horror, it is equal to or better than anything about dragons, zombies or extradimensional creatures.

L & # 39; Emmy will go to … Alan Taylor for "Beyond the Wall" because fucking.

L & # 39; Emmy should go to … Kari Skogland, for an episode with images that owe as much to real photojournalism as to dystopian science fiction.

• The iron Throne"The Dragon and the Wolf" David Benioff and D.B. Weiss (HBO)
• Deadly vigil, "Nice Face," Phoebe Waller-Bridge (BBC America)
• Stranger things, "Chapter Nine: The Door", The Duffer Brothers (Netflix)
• Americans, "Start", Joel Fields and Joe Weisberg (FX)
• The crown, "Mystery Man", Peter Morgan (Netflix)
• The servant's tale, "June", Bruce Miller (Hulu)

The only two contenders on this category are the final of the series of Americans ("Start") and the driver of Kill the day before ("Nice Face"). The first, written by series creators Joel Weisberg and Joel Fields, was one of the best runners in the series for years, an episode that should also be staged. Not only did he manage this trick impossible to surprise the uncontrollable fans with events that did not seem to come and that were as good or better than they had imagined, he worked as well in many different modes, including the limit the play (the parking garage scene) and the extended editing (the last section was almost wordless and sometimes had the sustained emotional intensity of a silent film of the end of the period).

Phoebe Waller-Bridge's "Nice Face", on the other hand, was pure pop delight compared to AmericansRussian tragedy. I have watched it four times now and I would look at it with pleasure, because it's perfect. The simple fact of reminding me that the opening scene to the razor blade makes me smile.

L & # 39; Emmy should go to … No more Americans or Kill the day before. The end or the beginning

L & # 39; Emmy will go to … Kill the day beforebecause Emmy's constituents are well aware of the events of the industry meeting how charismatic and hilarious Phoebe Waller-Bridge is (though they have never seen a picture of her excellent Amazon vehicle Fleabag) and will want to see her absolutely kill there on stage.