On point, as usual, though I would add four facts:
1) Not only did Shemar Moore’s commercial interludes feel desperate, they also felt increasingly misogynistic because every male actor’s intro listed his accomplishments and every female actor’s into classified her as sexy.
2) Tina Fey’s and Amy Poehler’s homage to JLaw as they gracefully stumbled up the stairs to present their award.
3) EVERYTHING Kevin Spacey did. His in-character turn to the camera was the only funny moment of the opening monologue, and swatting at the camera will go down as one of the greatest reaction takes ever.
4) Speaking of that opening monologue… Having seen Neil Patrick Harris host the TonyAwards live (like, I was actually at that dress rehearsal, remember?) I was super hyped to see him bring his wit, energy, talent, and precision to the Emmys. What we got instead was a video tower that had NO POINT, a sloppy opening featuring past hosts (again, NO POINT), a hot mess dance-off showdown, and a terrible Thailand ping-pong sex worker joke at Emily and Zooey Deschanel’s expense (It was like Seth MacFarlane came back for vengeance). NPH was off his game in the worst ways. Even his middle-of-the-show act felt strange– you know something’s wrong when Nathan Fillion and Sarah Silverman outperform NPH.
So what was it? In my attempts to make sense of all this, I figured that perhaps NPH’s Tony Award perfection was a result of more creative license. As producer of the Tonys, NPH could whatever he wanted, whenever he wanted, including have Lin-Manuel Miranda chained up to a post to write his musical numbers at break-neck speed. Maybe the producers of the Emmys were not as awesome——–oh wait, NPH also produced the Emmys. We’ve got no one to blame but him.
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