Latest news with #KathyBates
Newsweek
10 hours ago
- Entertainment
- Newsweek
The Emmy Race Is On—Here's Who's Leading
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Emmy nominations won't be announced until July 15, but the campaigns are in full swing. (June in Los Angeles is basically one big "For Your Consideration" event every single day.) The big question is, who will be nominated? From Kathy Bates in Matlock to Adam Brody in Nobody Wants This and literally the entire cast of The White Lotus, Newsweek has had so many potential nominees on the Parting Shot Podcast with H. Alan Scott. So make sure you're subscribed to never miss some of the best chats in entertainment news. Emmy nomination season is here, with Severance, The Bear, and The White Lotus leading the prediction pack. Expect a mix of returning favorites and buzzy newcomers—and a few inevitable snubs. Emmy nomination season is here, with Severance, The Bear, and The White Lotus leading the prediction pack. Expect a mix of returning favorites and buzzy newcomers—and a few inevitable snubs. Getty Images DRAMA CATEGORIES: CAN ANYONE STOP SEVERANCE? Severance is likely to be a big contender, but don't count out new entries like The Pitt and Paradise. In the acting categories, Noah Wyle (The Pitt) and Kathy Bates (Matlock) are likely winners. Everyone has been talking about them all season, and both of their shows are brand new and very buzz worthy. But don't count out Sterling K. Brown (Paradise) or even Gary Oldman (Slow Horses). Other names that would be nice to see in the mix are Jon Hamm for Your Friends & Neighbors and Melanie Lynskey for Yellowjackets. Also, Elisabeth Moss (The Handmaid's Tale) and Penn Badgley (You) should get some recognition for the finales of their respective shows. But the one series you can expect to be all over the drama categories: The White Lotus. Expect most of the cast, including Carrie Coon, Walton Goggins, Aimee Lou Wood and Parker Posey, to get nominated. Will they win? Unlikely, considering the less than thrilled reaction to the season, but they will certainly be recognized. COMEDY CATEGORIES: WILL GHOSTS FINALLY GET RECOGNIZED? Ghosts has consistently been a hit in the CBS' lineup, and yet it has never received much love from the Emmys. (Which is crazy considering that CBS announced earlier this year a two-season renewal for the hit comedy, a rarity these days for any show, let alone a network sitcom.) Asher Grodman, who plays Trevor on the series and is one of the potential nominees from the show, talked about this on a recent episode of the Parting Shot Podcast. It's seriously about time this incredible ensemble cast gets some Emmys love. Besides Ghosts, expect lots of mentions of new entries like The Studio and Nobody Wants This to be among the Emmy nominees. In addition to these new entries, past winners like Hacks, The Bear and Abbott Elementary will likely pick up multiple nominations. While it's no surprise that Jean Smart from Hacks will be nominated (and likely win), this could be Hannah Einbinder's year to finally win in the Supporting category. She had a stand-out season this year, and her name is the one that keeps coming up in many of these FYC conversations happening in Hollywood. Another show that deserves more attention is Mid-Century Modern. The entire cast is worthy of nominations, but Nathan Lane and Matt Bomer are the most likely to pick up nominations. Also, don't count out the love people have for Linda Lavin, who died while the show was still in production. Other worthy contenders in the comedy categories include Sharon Horgan's Bad Sisters and Wendi McLendon-Covey's incredible performance on St. Denis Medical. (It's one of the funniest shows from last year and she's yet to ever get any Emmys love. It's her time.) It would also be incredible to see Somebody Somewhere finally get some love. Bridget Everett's small town comedy ended this year, but it had so much heart and humor that hopefully its small but loud fanbase are screaming loud enough to help it finally pick up a nod. TV MOVIE AND LIMITED SERIES CATEGORIES: HAS ADOLESCENCE KILLED THE MONSTERS? Going into awards season, for a long time it seemed like Monsters: The Lyle and Erik Menendez Story was going to dominate all categories. Then Adolescence debuted and everyone couldn't stop talking about it. At this point, it doesn't look like anything is going to stop Adolescence's momentum. That said, you can expect Monsters to pick up nominations for literally everyone involved, including Nicholas Alexander Chavez, Cooper Koch, Javier Bardem, Chloë Sevigny and Ryan Murphy. But there's one person from Monsters who really deserves some recognition: Leslie Grossman. She's been consistent in so many of Murphy's projects and always delivers, but she especially delivered in Monsters. Another one to watch out for is Bridget Jones: Mad About the Boy. Renée Zellweger's return as Bridget Jones was a hit for Peacock and well, when it comes to awards, nobody ignores Zellweger. (We couldn't either, we made her our cover story when the film premiered.) Expect the two-time Oscar winner to be a first-time Emmy winner. Another is Jesse Armstrong's Mountainhead. This all-star cast will almost certainly pick up nominations, but there's one member of the cast who truly deserves a nomination: Cory Michael Smith. His performance is literally haunting and we chatted with him about it on the Parting Shot Podcast. The Emmy nominations will be announced on July 15, and the 77th annual Emmy Awards will air on CBS on September 14. Subscribe to the Parting Shot Podcast with H. Alan Scott and the For the Culture newsletter for all the latest in pop culture and entertainment news.
Yahoo
2 days ago
- Entertainment
- Yahoo
Kathy Bates Salutes Her ‘Matlock' Team — ‘First, Last, and Always, I Am a Soldier of the Cinema'
Kathy Bates is still relatively new to leading a major network juggernaut, but at IndieWire Honors, the 'Matlock' star declared herself part of Hollywood's 'old guard.' Surrounded by friends and collaborators from the CBS legal drama, IndieWire's Vanguard award winner began her acceptance speech on June 5 by reflecting on the definition of the accolade. 'I looked up the word 'vanguard' and it means 'a group of people leading the way in new developments or ideas,'' said Bates. 'If you use that in a sentence, it would be the experimental spirit of the modernist Vanguard. So you folks at IndieWire have provided me the perfect opportunity to thank the army of folks who continue to champion our incredible show.' More from IndieWire 2025 Emmy Predictions: Outstanding Lead Actor in a Drama Series 2025 Emmys Predictions: Outstanding Drama Series The acting legend began her litany of thanks for CBS with executives George Cheeks, Amy Reisenbach, and David Stapf. She also tipped her hat to Eric Kim, Yelena Chak, Phil Gonzales, Kristen Hall, Claudia Lyon, Brian Seabury, and Yani Chang at the network, quipping, 'Thank you all for being such delightful people to work with and not weird at all.' Honoring her personal team, Bates thanked her agent Brian Mann at CAA and press agent Rachel Karten. Explicitly and proudly showing off the show's ratings success ('16 million!'), Bates also credited her co-stars. She spoke directly to three of her fellow actors, who were seated with 'Matlock' creator Jennie Snyder Urman in front of the podium. 'Jason Ritter and David Del Rio, you bring joy to my heart every day,' said Bates. 'As Jung put it, you are 'the youthful regenerative males' and essential for older women to keep their glow.' She continued, 'Skye P. Marshall, your eyes assure me that we will catch each other in our highwire act without fail. I never expected to find you, girl. How lucky we are to play delicious roles that we can sink our teeth, claws and souls into.' Marshall wrote the heartfelt dedication for Bates' Vanguard award. 'Finally, Jennie Urman, your vision is why we are all here to celebrate Matlock tonight,' Bates said. 'I am so glad you took that long walk to find your way into the soul of an old woman who is fighting her last battle as a sniper — which is kind of sexy! I identify with her and you. I adore you.' Looking back on her career as a gladiator in the craft of acting, the 'Misery' and 'Matlock' star concluded, 'First, last, and always, I am a soldier of the cinema. I will gladly bring up the rear, as the ready reserves, the old guard.' The IndieWire Honors event took place at NeueHouse in Hollywood on Thursday, June 5. Other honorees for the evening included Ben Stiller, Colin Farrell, Owen Cooper, Julianne Nicholson, and more. Best of IndieWire 2023 Emmy Predictions: Who Will Win at the Primetime Emmy Awards? 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Special 2023 Emmy Predictions: Outstanding Documentary or Nonfiction Series
Yahoo
2 days ago
- Entertainment
- Yahoo
How Kathy Bates Cracked ‘Matlock' — with Wisdom from Anthony Hopkins and ‘Fried Green Tomatoes'
On June 5, the IndieWire Honors Spring 2025 ceremony will celebrate the creators and stars responsible for some of the most impressive and engaging work of this TV season. Curated and selected by IndieWire's editorial team, IndieWire Honors is a celebration of the creators, artisans, and performers behind television well worth toasting. We're showcasing their work with new interviews leading up to the Los Angeles event. A studied actor celebrating her biggest TV role ever at age 76, Kathy Bates recruited some legendary help to get ready for 'Matlock.' In 1992, the year after she won her Academy Award for 'Misery,' Bates presented Anthony Hopkins with his Oscar for 'Silence of the Lambs.' More from IndieWire On '1923,' Aminah Nieves Delivered One of TV's Great Breakout Performances - but She Almost Said No to It Amazon MGM Studios Unveils 'Vought on Ice' Fan Activation in Los Angeles to Celebrate 'The Boys' The pair caught up in 2021 when Hopkins won Best Actor again for 'The Father.' Both killers of the silver screen, Hannibal Lecter and Annie Wilkes were keen to talk shop — an honor Bates extended to IndieWire as our 2025 Vanguard award winner. 'When he was doing 'The Father,' I had seen a lot of the interviews [Hopkins] was giving to the press,' said Bates. 'He was talking about being an actor who did extensive work on his characters and took tremendous notes on his scripts. At his age now, though, he just learns his lines and learns his lines. Then, he goes out and has a ball.' Hopkins and Bates are world-famous for disappearing into their characters. What it takes to pull that off is still a mystery to many, but the challenges facing Bates on 'Matlock' are clear. CBS's so-called 'reboot' centers on a quietly extraordinary role and an undeniably genius actor. To hear Bates tell it, you need a robust toolkit to make the part work, and the script is where you start. 'It's interesting to me that [Hopkins] went from being fully prepared to letting it fly and staying in the moment. With this, I find I really have to do both,' said Bates. 'This is not your grandfather's 'Matlock.'' A contemporary Trojan horse, this unique spin on a classic crime title — starring Andy Griffith from 1986 to 1995 — sees Bates leading the charge as Madeline Kingston. Yes, Kingston. The new Matlock is an accomplished attorney too, but one who only assumes the iconic moniker as an alias. Last season, viewers watched Matty Matlock go undercover at Jacobson Moore, an elite law firm in New York City, to investigate its culpability in the opioid epidemic. 'For the pilot especially, to walk into that boardroom, I had to have a fully formed character without being able to relate to any of the other actors,' Bates said. 'I had to really dig deep and find out, 'Who is this woman? How much of myself can I use to create her?'' Confronted inside by megawatt talents Skye P. Marshall, Jason Ritter, and more from the show's stellar cast, Bates spins Matty into a walking-talking subversion of the 'invisibility' so many women say they feel as they age. Teaming up with Cloud Nine to secure the rights to 'Matlock,' showrunner Jennie Snyder Urman and her production company, Sutton Street, delivered a ratings juggernaut. 'Every bit of this show, I just can't believe it,' said Bates. 'I feel like this should have come earlier in my career. It's a total surprise to me that I would have this success right now, and we're all just going, 'Can you believe this?' The numbers are incredible.' The smash-hit legal drama has appeal across demographics and continents. Bates says it's also the most publicity she's ever done. Much like Demi Moore's 2024 Oscar campaign for 'The Substance,' the pensive reexamination of sexism at the core of 'Matlock' continues to connect with fans. Per Bates, Urman came up with the idea while taking a walk to reflect on her own evollution as a woman in Hollywood. What had aging into her forties really meant for Urman? And what else might change in the showrunner's fifties, sixties, and beyond? 'I was extremely lucky they wanted Matty to be in her seventies, because they could have easily gone with the great-great granddaughter of Andy Griffith's Matlock,' said Bates. 'But Jennie really puts her soul into things. I've always felt that who you are as an artist has to be informed by who you are as a human being, and she's this stellar human being who has really put her heart inside this character.' 'Matlock' lets Bates repurpose erasure as a kind of narrative cloaking device. While Matty hunts for clues and argues cases, Bates covertly thumbs through the psychological layers of a woman on a well-meaning revenge mission. On TV shows, it's common for directors to set 'tone meetings' to decide the look, feel, and flavor for each episode. With 'Matlock,' Urman gave Bates a specific mood to hit in every scene. That's 'deeper than stage directions,' said Bates, who added, 'You don't want to play the character. You want to be the character so that you can play with the other actor.' Bates combed through pages and pages of 'Matlock' to find what she calls 'essential storytelling architecture.' Trained in the Sanford Meisner method of acting — and not afraid to throw that terminology around! — Bates prepares solo by combining heavy line repetition with deep character work. (For annotations, shes uses the Scriptation app, but said her process used to involve stacks of paper, colored pens, and a three-hole-punch.) Devouring that same material in a group, Bates said, has produced a new technique. As suggested by actor David Del Rio (aka first-year associate Billy Martinez), the main collaborative engine for 'Matlock' grew out of the spare time that gets wasted on some sets. After checking their marks and moving to allow the cameras to get in position, actors often go back to their trailers. 'With the Del Rio method, we take that time to go and all sit down in another room and say, 'OK, I don't understand this case,'' said Bates. ''What's happening here?' 'Can you explain that case to me?' 'What's going on with you and I here?' 'Where are we?' 'What's the tone of this?' That gives us a way to really be firm and understand what's happening in each scene.' This isn't the first time Bates has leaned into the expertise and advice of other actors. One of the first big instances came with her bittersweet comedy performance in 'Fried Green Tomatoes' — a memory with lessons Bates says she recognizes now but that wishes she had learned then. 'I wish I had a chance to go back and redo Evelyn Couch,' she said. Post-Oscars for 'Misery,' Bates was in Japan when she got the script from director John Avnet. 'I thought, 'Oh, this is fabulous! I want to do it,'' said Bates. 'But when I got back home, my head was spinning. He was asking me about wigs and costumes and this and that, and I thought, 'Holy crap.' I was used to doing theater where you have weeks to prepare.' On set, 42-year-old Bates found herself overwhelmed by the frantic pace of shooting and said she was unsure how to bring the sympathetic role of Evelyn to life. That's when she went to talk to her senior co-star, the zesty Jessica Tandy, who at 74 was two years younger than Bates is now. 'I knocked on Jessica's trailer door and she said, 'Ah, you've come to see the Wise Woman,'' said Bates. Tandy pushed her junior castmate to refocus on her acting skills and told her to 'go do three plays on Broadway.' An accomplished stage performer, who had just left New York, Bates realized years later that Tandy was pushing her to embrace the same ethos titans like Hopkins are sharing with her now. 'The English actors and the British actors and the Australian actors make it look so easy. Even when they're young, they train in the theater,' said Bates. 'That rehearsal time has to be part of who you are as an actor, and I don't think I did it long enough in New York to have had that under my belt. At the time we did 'Fried Green Tomatoes,' I certainly was nowhere near the level of Jessica.' Bates still loves that movie and says she'll end up watching scene after scene if she catches 'Fried Green Tomatoes' on TV. She's especially fond of the menopause moment, when Evelyn says, 'I'm too old to be young and I'm too young to be old.' And yet, looking back, the 'Matlock' star says she can't help but see the film as an uncracked case. 'I was always running to catch up, and I think it shows on screen,' said Bates, adding that she also wished she had done more to support Mary-Louise Parker and Mary Stuart Masterson on the press tour. Bates said they were frequently sidelined in coverage by the attention on her and Tandy — despite the two Oscar winners repeatedly insisting, 'It's their story.' Once again, Bates used the word 'effortless.' These days, the ferociously kind talent is fast to compliment CBS, cast, and crew but continues to demand more from herself as an actor and public representative who is ready to fight for 'Matlock.' 'I kind of rake myself over the coals when I shouldn't, but I do feel a tremendous responsibility,' Bates said. 'Last season, I asked somebody, 'How long have you been doing this?' And one guy would say, 'Oh, I've been doing this for 35 years.' 'Oh, I've been doing this for 20 years.' You start adding that up, and there's hours and hours and hours of experience of all these people there.' She continued, 'So, you respect that. You respect each human being and what they bring to the table. That's what I walk onto set with — the respect for the experience that everybody has brought to create this show. It truly fills me with joy to be around such people.' Happy to discuss cliffhangers but overjoyed to pick apart character choices, Bates said 'Matlock' still feels 'like serendipity.' It's also become her second home in Hollywood — the first Bates says she's had since falling for Rob Reiner's team on 'Misery.' The actor lives near the CBS backlot in Los Angeles, where Matty Matlock will spend Season 2 living in a studio version of New York, while Bates continues to embrace real wisdom. 'You've got to know your stuff so you can make it look easy,' she said. 'Then, you can fly.' Best of IndieWire All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See
Yahoo
2 days ago
- Entertainment
- Yahoo
‘Matlock' Production Designer Adam Rowe on How Two Canceled Shows Gave the CBS Hit Its Scale
There are a lot of pleasures to be found on 'Matlock,' the sly CBS update of the old Andy Griffith legal drama that serves as both a reboot of and a commentary on the original series while also going off in completely new directions. As Madeline 'Matty' Matlock, Kathy Bates does the finest work of her career thanks to a premise — she's a wealthy woman working undercover as a struggling widow in a high-priced law firm where she hopes to find and expose the litigator she blames for her daughter's death — that calls upon her to play every emotional note on the scale and give a multi-layered performance in which she's constantly lying both to others and, at times, to herself. The writing on 'Matlock' is some of the cleverest and most entertaining on network television, and Bates is supported by an ace ensemble cast. But the show's secret weapon is its production design, which helps draw the audience into Mattie's psyche while also creating the sense of scale that the Manhattan set drama requires. For production designer Adam Rowe, that scale was the end result of several years of evolution that began two entire series ago. More from IndieWire Everything to Remember from 'Squid Game' Season 1 and 2 How 'Materialists' Finds True Love in New York City Back in 2020, Rowe was the production designer on a medical series called 'Good Sam' that only lasted for one season. 'We built a sprawling medical campus for a cardiology department,' Rowe told IndieWire. 'We had a lot of story to tell, and a lot of characters. I realized, doing that show, that a hospital is like a spaceship, where each room or level is customized to the equipment it's supporting. So through the course of doing that show, we had a lot of modularization with windows that flipped and walls that changed, and we refined the idea of how to use our one or two stages to be many things for seven or eight storylines. When 'Good Sam' was canceled, Rowe was determined to reuse it for both creative and environmental reasons. 'It's one thing to try and save plastic water bottles on shows, or to print less, but it's a whole different thing to recycle steel and glass,' he said. Because the set he had built was so production-friendly, with built-in LED lighting, double doors, and 'hidey-holes' for hair and makeup, Rowe was able to convince the producers of Netflix's 'Glamorous' to repurpose it, turning the hospital of 'Good Sam' into the offices of an upscale makeup company. After 'Glamorous' was canceled during the industry strikes, Rowe once again was left with an impressive set that he couldn't bear to just throw away. 'We had several hundreds of thousands of dollars' worth of glass and steel and flooring and copper,' Rowe said. He coordinated with the producers and the art department to have the set shipped to Los Angeles, where he added to it yet again to create the elaborate law offices at the center of 'Matlock.' Rowe says that without the starting point of 'Good Sam' and then 'Glamorous,' he never would have been able to build such an intricate and enormous set for 'Matlock,' but that 'Matlock' benefited from that previous work and built upon it. The scale is important because one of Rowe's main goals on the series is to convey Mattie's point of view through his production design. 'From Mattie's point of view, the city of Manhattan is always growing up and out as the story brings her to different places and different parts of the law,' Rowe said. 'All the building blocks we set up for the hospital are still paying off. It's not just environmentally friendly, but it allows our show to feel as big as it does. If we started from scratch, we wouldn't have had the budget to build as much.' One thing that helps Rowe tell the story from Mattie's perspective is the fact that, like her, he doesn't always know what's coming from week to week. 'I was just as surprised as the audience when I was reading the scripts,' he said. 'It wasn't like I had some kind of inside track. On most shows, you don't always know what's coming.' To that end, Rowe tried to design the sets on 'Matlock' to be flexible and adaptable no matter where the story went. 'When I was working on 'Mad Men' with Dan Bishop, he said that metaphorically you always need a back door,' Rowe said. 'That's why there are so many doors on 'Matlock,' because we never know where the story's going to go. I might need a closet, or I might need a bathroom. Sometimes on the show, we're only allowed to see something like horses with blinders on, then at the end of the episode the blinders move and we see a little more. The scenery has to be adaptable to those writing tricks, and we don't always know what they are.' The fluid nature of the sets on 'Matlock' is part of the fun, and die-hard fans of the show have taken to Reddit and other platforms to dissect the contradictions in continuity that often occur — and which Rowe says are entirely intentional. 'Some shows are really strict with continuity, but we really look at every episode individually,' Rowe said. 'As long as we're not disrupting the audience or dislodging their brains, we follow the story. We've taken labels off the set and removed names from the doors, and we don't tell the audience which floor we're on. The audience can't quite figure it out, and it amplifies the intrigue.' One of the most impressive aspects of Rowe's work — aside from the fact that over the course of the show's first season he has managed to design well over a dozen separate courtrooms, none of which are the same and all of which serve the drama in each particular episode — is that 'Matlock' feels quintessentially New York…yet shoots in Los Angeles. 'Shooting Los Angeles for New York is tough,' Rowe said. 'Our streets are wider, we have different trees, New York is older. Los Angeles does not have the scale. But our location department does a great job of finding little corners and pockets that work.' Rowe felt that the ultimate validation came when paparazzi photos of Kathy Bates on location started making their way around the internet. 'The photos said they were of Kathy Bates in downtown New York, and it made me laugh because those photographs were taken here in L.A.,' Rowe said. Ultimately, Rowe feels that doubling L.A. for New York is less of a problem than it might be because the series is so linked to Mattie's subjective experience. 'New York takes a back seat to what's happening in her life, and that's not a concession to shooting in L.A., I think it's the way the story operates,' Rowe said. 'New York is not as much of a presence as the law firm.' That said, Rowe said that he often tries to reinforce the idea that the law firm exists in Manhattan by expanding the scope whenever possible. Rowe also says that one of the benefits of working on 'Matlock' is that it's a character-driven show anchored by an actor who is genuinely a pleasure to work with. 'I know that a lot of people have passion for Kathy Bates and have loved her for a long time,' Rowe said. 'I just want people to know that she's as wonderful as you possibly could imagine, because you hear celebrity stories…then there's Kathy Bates. For all the people who wonder, 'Is she as awesome as she is on camera?' — the answer is yes.' Best of IndieWire The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear'
Los Angeles Times
4 days ago
- Entertainment
- Los Angeles Times
6 popular TV reboots that discovered the secret to Emmy success
Every year, Emmy prognosticators weigh the chances of TV's newcomers. But what about newcomers that are also old-timers? Whether you prefer to call them remakes, revivals or reboots, reimaginations of beloved movies and TV shows are all the rage: Think of CBS' 'Matlock,' which swapped in Academy Award winner Kathy Bates for Andy Griffith as a charming lawyer who gets things done in the legal system; Peacock's 'Bel-Air,' which turned a multicam sitcom into a drama; or HBO's 'Perry Mason,' which was less about the courtroom than Mason as private investigator. When it comes to awards season, though, reboots aren't such a hot commodity. Max's 'Gossip Girl,' Paramount+'s 'Frasier' and ABC's 'The Wonder Years' came and went with no wins, and continuations like NBC's 'Law & Order' and 'Will & Grace,' Fox's 'The X-Files' and CBS' 'Murphy Brown' have generally not received the same love from voters as their original runs. Not all reboots fizzle at the Emmys, though. Here are six examples of rethinks that not only brought back beloved series from the graveyard but made them award-worthy all over again. With 26 nominations and an astounding 18 wins, the premiere season of 'Shōgun' is the first Japanese-language series to take home an Emmy for drama series. In addition to the top prize, the adaptation of James Clavell's 1975 historical novel won awards for stars Hiroyuki Sanada (lead actor, drama) and Anna Sawai (lead actress, drama) plus a raft of below-the-line Emmys. The original miniseries' take on Clavell's story of colonialism and war in medieval Japan didn't do so badly, either — in 1980 it scored 14 nominations and won three Primetime Emmys, including one for limited series. The fixer-upper series featuring five gay men zhuzhing up the lives of more staid straights was a phenomenon when it originally aired between 2003 and 2007 but was comparatively overlooked by the Emmys, picking up a win for reality program in 2004 plus three other nominations. Meanwhile, Netflix's reboot — featuring makeovers of more than just straight guys, and a less snarky sensibility — has earned 11 Emmys to date, including six wins for structured reality program (2018, 2019-23). 'Westworld' stands out on this list because it reimagines a feature film, not an earlier TV series — in this case, the 1973 movie written and directed by Michael Crichton and starring Yul Brynner. The film scored no top-line awards or nominations, but the HBO reboot, which premiered in 2016, landed 54 Emmy nominations and nine wins across its four-season run, including a 2018 trophy for Thandiwe Newton (lead actress, drama) for her performance as the series' cunning madam, Maeve Millay. The story of a single mom raising her growing daughters earned three nominations during its original run from 1975 to 1984, including one in 1982 for star Bonnie Franklin (lead actress, comedy); director Alan Rafkin and supporting actor Pat Harrington won. The Netflix reboot, which recast the Romanos as the Cuban American Alvarez family and shifted the action from Indianapolis to L.A., was nominated for each of its four seasons and won two, as well as a special Television Academy Honor. In the decades between the original 1978-79 'Battlestar' and the full-throttle reboot, science-fiction storytelling on the small screen advanced at lightspeed, which may have helped the latter last far longer than the original. The story of human refugees fleeing space colonies destroyed by Cylon robots (who were now on their tail) earned the original series three nominations and two Emmy wins in below-the line categories. The reboot ended up with three Emmy wins of its own from 19 nominations, though all the wins were for special effects and sound editing. (A 2003 backdoor pilot became a three-hour miniseries and also earned three Emmy nominations.) Let's call this one an unplanned reboot. After ABC canceled its 2018 'Roseanne' revival due to star Roseanne Barr's public flameout, the quick-thinking network teed up 'The Conners,' which follows the titular family after its matriarch's untimely death. Falling somewhere between a traditional revival and a full-on reboot, 'The Conners' hasn't matched the original 'Roseanne's' Emmy haul, which included 25 nominations and four wins (three for Laurie Metcalf and one for Barr). But the series, which recently concluded its own seven-season run, has performed solidly with voters, earning six nominations and one win in 2021 for editing in a comedy series.
