But it’s not just the raw talent and genius behind “Baby Reindeer” that made it an awards darling. It’s that massive global success. It’s that viral-friendly content that made it spread across dozens of social media platforms. It’s the embedding of the term “Baby Reindeer” into popular culture. Not every well-written, successful television series reaches that level of cultural impact, and even if it does, that doesn’t always translate into a supporting actress sweeping every major awards body: the Emmys, Golden Globes, Critics’ Choice Awards, SAG Awards, and BAFTAs.

Now Gadd is back with another dark tale of trauma, masculinity, male loneliness, the manosphere, and male rage. “Half Man” is also a tale of voyeurism, fetishizing the male “other,” and the desire to eliminate the feminine from the bond between men, that unshakeable, unbreakable connection that sometimes suffocates rather than uplifts. It’s much darker and bleaker than “Baby Reindeer,” with no hope or resolution in sight. It’s every bit as powerful and gritty, with Gadd arguably outdoing himself as a performer. But it’s not the same awards-wise now, is it?

For starters, with “Baby Reindeer,” Gadd benefited from the appeal of the underdog story: the industry newcomer, the fresh-faced, bold storyteller and actor, and the way that narrative appealed to voters’ attraction to something new. Now Gadd has established himself. So, will his luck continue, or will he be overshadowed in favor of other, more polarizing or attention-grabbing series in contention this year? This year’s competition is cutthroat, with the Limited Series category featuring critic darlings like “Widow’s Bay” and “DTF St. Louis,” popular series centered around celebrity subjects like “Love Story: John F. Kennedy Jr. and Carolyn Bessette,” and returning favorites like “Beef.”

The comparison is inevitable. “Baby Reindeer” was not only an awards-sweeping show but a genuine cultural phenomenon. The idea of “Half Man” becoming the next thought-provoking, culturally groundbreaking television series feels far-fetched. It’s already generating attention, but it is more niche and less likely to spread worldwide in the same way. Of course, part of that comes down to the nature of the platforms themselves. Netflix provides transparent global metrics, while HBO leans more toward the prestige television model, with opaque and primarily U.S.-based viewership data. On the other hand, HBO has spent decades defining prestige television and accumulating awards recognition. “Succession,” “The Last of Us,” “The Sopranos,” and “Game of Thrones” are just a few examples of how carrying the HBO brand often comes with voter respect and industry credibility.

Keeping that in mind, Gadd is no longer the underdog story that audiences and awards voters were eager to champion. His challenge now is maintaining his industry credibility and proving that the qualities that elevated him to prestigious television status were not a one-time occurrence. One could also argue that the relentlessly grim tone of “Half Man” makes it a harder sell for voters, earning admiration and respect more than genuine passion. But does that affect the awards potential of “Half Man”?

With his ensemble, Gadd is certainly aiming high. He is submitting all four of his leads—including himself—for Emmy consideration. Jamie Bell and Mitchell Robertson are being submitted in Lead Actor categories, while Gadd and Stuart Campbell are competing in Supporting Actor. Multiple categories could see the tension-filled miniseries collecting trophies like Infinity Stones, particularly Outstanding Limited Series and Outstanding Writing. Yet based on the rave reviews Bell’s performance has received, Gadd may ultimately anchor the campaign around him. Supporting performances have historically been a major strength for Gadd’s work, as Jessica Gunning demonstrated with “Baby Reindeer.” Still, the Lead Actor race appears to be where “Half Man” may have its strongest individual contender, especially given Bell’s prominence within the show’s narrative.

There’s also the risk that Gadd is revisiting familiar territory. Themes of masculinity, trauma, and male loneliness are once again central to the story, which could clash with voters’ tendency to seek out fresh voices and perspectives. This year, however, the field is dominated by returning veterans. Unlike during his breakthrough with “Baby Reindeer,” Gadd is now competing alongside established prestige television creators returning with strong material, including Ryan Murphy and Lee Sung Jin. As a result, “Half Man” may end up being the kind of show that is deeply respected rather than passionately embraced. That possibility only increases because the series ventures into territory even darker than “Baby Reindeer” ever attempted. Its characters are less interested in earning audience sympathy or forging emotional connections, resulting in a more unsettling but arguably more realistic portrayal of humanity.

But that approach also carries risks. Gadd has always shown a preference for unresolved pain and unhappy endings, reflecting the messiness of real life. However, while Donny Dunn in “Baby Reindeer” eventually found some measure of peace with his trauma and career, even if Martha would forever haunt him and continue to provoke his voyeuristic impulses, the same cannot be said for Niall and Ruben. The brothers have not been so fortunate. They never find that peace or resolution. Safe to say, not even the audience’s imagination is likely to grant it to them.

So what does all of this say about Gadd? What does this awards season represent for him? More than anything, it is about establishing permanence. The question is no longer whether Richard Gadd can break through. The question is whether he can become one of prestige television’s recurring creative forces, an auteur of the modern television landscape. Even if “Half Man” fails to achieve the same level of cultural impact as “Baby Reindeer” or sweep awards across the industry’s major voting bodies, it still proves something important: Richard Gadd is here to stay, and “Baby Reindeer” was not a one-hit wonder.

What did you think of “Half Man“? Do you think it stands a chance at garnering Emmy recognition? Please let us know in the comments section below or over on our X account and check out our latest Emmy nomination predictions here.

The post Can “Half Man” Sustain Richard Gadd’s Award-Winning Momentum? appeared first on Next Best Picture.

The FYC mentions below are made by Matt Neglia, Lauren LaMagna, Giovanni Lago, Megan Lachinski, Nadia Dalimonte, Tom O’Brien, Alyssa Christian, Daniel Howat & Amy Kim

Outstanding Drama Series – “A Knight of the Seven Kingdoms”
In a television landscape filled with prestige dramas competing for voters’ attention, HBO’s “A Knight of the Seven Kingdoms” arrived as something unique and special: a show that wears its heart on its sleeve in the dark world of Westeros. The six-episode drama series (Based on one of several novellas by George R.R. Martin) stripped away many of the aspects that made “Game of Thrones” and “House Of The Dragon” so grim and replaced them with a simple story about friendship, honor, and what it means to face death with dignity. What showrunner Ira Parker and his team have accomplished is nothing short of remarkable, and fans of the other two HBO series have responded kindly to this kind-hearted show that isn’t afraid to throw in some comedy and not take itself too seriously at times. It was a refreshing change of pace for George R.R. Martin adaptations with one of the best on-screen pairings of the year in Peter Claffey and Dexter Sol Ansell, making Dunk and Egg two of the most genuinely lovable protagonists this medium has produced in years. And despite all light moments, the series knew when to crank up the tension and action with the incredibly intense fifth episode, “In the Name of the Mother,” that stands as one of the most exhilarating, heart-pounding, dramatic, and technically accomplished episodes of television in 2026. “A Knight of the Seven Kingdoms” doesn’t just deserve a nomination because it’s another successful adaptation of George R.R. Martin; it deserves it because it took risks and they paid off.

– Matt Neglia

Outstanding Comedy Series – “Jury Duty Presents: Company Retreat”
When “Jury Duty” burst onto the TV scene back in 2023, it exploded in popularity for several reasons, but the element of surprise was one of them. It came out of nowhere, with little fanfare, dropped in its entirety on a now-defunct Amazon spinoff streamer (remember Freevee?). But its freshness, somewhere between reality TV, a prank show, and a heartwarming sitcom, made it a huge success, with word of mouth propelling it to an Emmy nomination for Outstanding Comedy Series. Now, three years later, the show has returned in a new setting with “Jury Duty Presents: Company Retreat.” While the second season no longer comes with that jolt of surprise, it leans in on something equally rare on TV these days: sincerity. That sounds strange for a show about duping a man into unwittingly starring in a series, but it’s true. This second season focuses on a (fictional) family business wrestling with its future, dropping in Anthony, the non-actor, as a temp. It culminates in a genuinely heroic, stand-up-and-cheer sort of moment that hits so much harder knowing that Anthony didn’t script a single moment of it. “Jury Duty Presents: Company Retreat” surpasses the first season not in surprise, but in unabashed kindness. There’s just nothing else on television like it. The series is very silly, very over-the-top, but the humanity on display unequivocally deserves recognition among the best comedy series of the year.

– Daniel Howat

Outstanding Lead Actor in a Drama Series – Antony Starr for “The Boys”
For five blood-soaked seasons, “The Boys” has given us a lot to react to, and that’s mainly thanks to Antony Starr’s brilliant lead performance as Homelander. The New Zealand-born actor fully transformed into the villain who launched many memes and gifs, all the way to his appropriately humbling (and satisfying) ending. Starr made Homelander into so much more than a one-note, cartoonish character—he turned him into one of the most complex, memorable characters in TV history. His facial expressions alone, sometimes changing within seconds, were so unique. While his performance was showy when it needed to be, he also gave us some magnificent, more interior work that you don’t necessarily see with superhero villains. Even when Homelander made bad decisions, Starr had already done the work needed for you to buy into his actions. And while the final season of “The Boys” was arguably messy, Starr was a consistent bright spot. He could be menacing one moment, and utterly pathetic and vulnerable in the next. As Homelander became more power-hungry and as the world of “The Boys” mimicked our own even more, Starr made us terrified of him, hate him, and also feel (a bit) sorry for him—often all at once. This is the last chance to nominate him for this iconic performance, so he deserves it now as much as he ever did.

– Alyssa Christian

Outstanding Lead Actress for a Comedy Series – Malin Akerman in “The Hunting Wives”
“The Hunting Wives” was the surprise hit for Netflix. There is just something about watching women behave badly and have fun while doing it. And no one is behaving worse than Malin Akerman’s Margo Banks, the seductive, manipulative Queen of the South who does exactly what she wants when she wants to. Everybody falls under Margo’s spell, and that is all because of Akerman’s mesmerizing performance. Her confidence, swagger, & hypnotic gaze make it impossible to look away or root against her. It seems like this is the role that Akerman was born to play, where she can use her comedic expertise and fierce sexuality while creating a deep and flawed character who just wants to be free. We probably would do things differently than Margo, but we always understand her intentions, which is the result of a skilled actor understanding their character and the project’s tone. “The Hunting Wives” may call itself anti-prestige, & competing in the comedy category definitely makes its Emmy journey an uphill battle. But Akerman has been putting in constant work over the years, and this feels like the stars are aligning for her. It is the character of her career, and it is definitely a performance worthy of recognition.

– Lauren LaMagna

Outstanding Lead Actor in a Limited Series – Jamie Bell for “Half Man”

There is a particular cruelty in casting Jamie Bell as Niall, an actor whose career has long been defined by an open, vulnerable sensitivity, and then asking audiences to watch that very quality become the instrument of a man’s self-destruction. Bell understood this tough assignment completely, and what he delivers across six episodes of Richard Gadd’s unsparing “Half Man,” particularly in episodes 4 and 6, is stunning. Niall is not an easy character to play. He’s passive, where Ruben (Gadd) is explosive in a far showier role. He’s cowardly instead of where he might be brave, and so thoroughly trapped in a bed of his own making that the moments of genuine feeling from him still feel almost as though they’re conflicted. Bell navigates all of this without ever tipping into the kind of actorly self-consciousness that would break the level of immersion we have into Niall’s psyche. His performance is built on the subtlest possible deteriorations, before they’ve all but consumed him from the inside out. The final episode, which demands Bell reckon with the terrible grief and violence of everything Niall has refused to acknowledge about himself, is simply stunning work from an actor who has been delivering consistently great work for years. This is the role Jamie Bell was always capable of, and with Gadd’s introspective, thoughtful writing, he delivered the performance of his career.

– Matt Neglia

Outstanding Supporting Actress in a Drama Series – Karolina Wydra in “Pluribus”There really hasn’t been a role, or performance, like Karolina Wydra’s Zosia in “Pluribus.” Layered is an understatement – she’s portraying a single character who is technically “everyone,” while attempting to allure one specifically miserable target. Cold yet pleasant, manipulative yet caring; a lot of “Pluribus’s” success relies on Wydra toeing many lines – and she does so masterfully. A role that’s anything but an easy, straightforward performance, Zosia’s “Other” is deceptively hard to play. There have been interviews detailing the work Wydra put in behind Zosia – from researching spiritual leaders to meditation, the innate understanding she has for this character is clearly reflected in her dynamic depiction. Many lesser actresses would lean into the robotic-ness of this sentient being. Still, Wydra so carefully builds trust in her audience while standing toe-to-toe with the powerhouse Rhea Seehorn’s dismal Carol. Wydra matches Seehorn’s micro-expressions so delicately that there’s almost a “blink-and-you-miss-it” subtleness to her performance, all at once natural yet intense. Her chemistry with Seehorn is electric, and culminates in one of the most engaging, complex, and captivating on-screen performances – and relationships – of the decade. Three years ago, Wydra had stepped away from acting when a surprise audition request came in. We’re lucky she seized the opportunity, because “Pluribus” wouldn’t work as well without this nuanced performance from such a dynamic actress. Wydra deserves – at the very least – her first-ever Emmy nomination, and arguably a win, for her breakout role in “Pluribus.”

– Megan Lachinski

Outstanding Supporting Actress in a Comedy Series – Kate O’Flynn in “Widow’s Bay”Hilarious one moment and devastating the next, Kate O’Flynn’s masterful performance as Patricia on “Widow’s Bay” echoes why the show is taking audiences by storm. Creator and showrunner Katie Dippold strikes a seamless horror-comedy balance: the scares are genuinely spooky, and the humor is smartly character-driven. At the heart of “Widow’s Bay” is its community, filled with enjoyably flawed characters (such as town hall assistant Patricia), whose journeys hook you into a series of island haunts. Patricia lives on a haunted island of her own, the depths of which are brilliantly mapped out through O’Flynn’s work. The first three episodes spend little time with her, though O’Flynn’s delightfully wry comedy and off-kilter energy make for a dynamic first impression. The devil is in the details, each one adding to a compelling sense of discovery as we watch her character unfold. Diving into the backstory of Patricia’s loneliness, episode four gives us a “Carrie” coded cocktail party from hell. O’Flynn plays a brilliant arc of desperation, euphoria, and tragedy as she dances her way through a terrifying possession. She deftly channels Patricia’s heartbreak from a party gone wrong, and relief from the chosen family who help her pick up the emotional pieces. When thrown into horror slasher mode with episode eight, O’Flynn excels at a scream queen role that flips the “final girl” trope on its head. For all her traits and killer one-liners (“I forgot my purse” amongst several others), Patricia has quickly become one of the most engaging characters on television this year. Wherever the finale takes her, O’Flynn has ensured that we’re on board every step of the way. And with buzz for “Widow’s Bay” approaching phenomenon status, the Emmys would feel especially incomplete without her.

– Nadia Dalimonte

Outstanding Supporting Actor in a Drama Series – Ken Leung in “Industry”Leung’s ability to make the sexually promiscuous and volatile Eric Tao an endlessly captivating presence in an all-star ensemble is why he’s managed to steal our hearts for all these years. His effortless ability to bring Mickey Down and Konrad Kay’s beautifully demented dialogue to life has made Leung a bona fide meme generator. He showcases years of work as a formidable character actor, only to casually flex his skill set every moment he appears on screen. With his work here, Leung is always a magnetic presence, whether he is peacocking his aptitude for his trade, scheming a backhanded plan to keep himself above water, or sparring with his surrogate daughter, whom he loves more than his actual children. His ability to disarm audiences with an emotionality that breaks away from the grimmest aspects of Eric is a testament to how he challenges our feelings despite every transgression. Each expression is undoubtedly the most enthralling emotive work of Leung’s career, reeling us in to the unpredictability the baseball bat-wielding trader has maintained all these seasons. Leung’s unceremonious farewell marks some of the best acting of his career as he swings for the fences in his grand farewell. For years, he’s delivered exceptional work. Still, with the fourth season of “Industry,” Leung reaches new heights, not only making Eric Tao one of television’s most provocatively root-able characters but, point-blank, one of the greatest performances ever to grace television.

– Giovanni Lago

Outstanding Writing for a Drama Series – “Landman”

For years, the awards conversation around Taylor Sheridan has been defined by a curious paradox. He’s the man responsible for some of the most-watched television in America, yet someone whose relentless writing (He writes all of the episodes himself, sometimes doing that for multiple shows at the same time) has gone almost entirely unrecognized by the Television Academy. “Landman’s” second season makes that oversight even harder to justify considering it’s far more successful than the first season in terms of character and story as everyone is pushed to deeper, more consequential and dangerous directions in that rugged, everyman, tough-guy attitude Sheridan has exhibited across not just his television work (which also includes “The Madison” this year) but also his film work. The film Academy has recognized this with an Oscar nomination for Sheridan in 2015 for “Hell or High Water.” Still, season 2 of “Landman” finds him doing some of his most controlled and best work to date, especially if you bought stock in the series during season one. Billy Bob Thornton’s nomination at the Actor Awards should be a signal of how well Sheridan wrote Tommy Norris this season, but will the Television Academy care? Everything Sheridan touches turns to gold, especially for his diehard audience. Shouldn’t that level of admiration be reflected somewhere?

– Matt Neglia

Outstanding Writing for a Comedy Series – “The Chair Company”You will not watch a more singular series this year than “The Chair Company,“ a show with an initially amusing premise that quickly devolves into a complex conspiracy that only gets more enigmatic and entertaining as it continues. While the show of this caliber merits recognition across the board, it is particularly deserving of a nomination for its writing. The way that it ties these complicated machinations our protagonist must unravel together with the show’s core characters’ fundamental insecurities is nothing short of genius. But of course, a writing nomination is for a single episode, and this show has submitted its brilliant pilot for consideration. The entire series is worth watching, but the pilot’s achievement is particularly astonishing for how well it lays the groundwork for the show’s central mystery while being hysterical in its own right. Its initial, off-putting mundanity becomes almost charming before the series of increasingly strange events hooks you completely. Tim Robinson’s unhinged but fundamentally likable protagonist elevates this story further, as it quickly becomes clear that only this character could escalate these events to such a degree. Yet as much as I could gush about this show endlessly, it is quite difficult to explain the brilliance of this pilot further without getting into spoilers. So, to any Emmy voters on the fence about whether “The Chair Company“ is worth their time: let me assure you that this 32-minute heater of a first episode absolutely is.

– Amy Kim

Outstanding Guest Actor In A Comedy Series – Peter Dinklage for “The Lowdown”From the moment he emerges from a rundown bathroom, wiping his hands on his leather jacket, Peter Dinklage hijacks Episode 5 of “The Lowdown” and never lets it go. As Wendell, the one-time business partner and ex-best friend of Lee (Ethan Hawke), he’s shown up at Lee’s door for their annual ritual of celebrating the birthday of their friend Jesús, who died of an overdose years before. Dinklage is in total control throughout, bickering with Hawke’s Lee as if they’re an old married couple, yet dropping everything to help his friend on his current investigation. But from the very first scene, Dinklage expertly adds a dark layer of simmering resentment just beneath the surface of his interactions with Lee, which finally boils over into a dynamic confrontation in which Wendell reveals the ugly truth for all to hear. How Dinklage modulates the build-up to that moment is thrilling to behold, but not surprising from this four-time Emmy winner. As Wendell finally says goodbye, Lee suggests they could hang out again sometime “like normal people.” Here’s hoping that Dinklage says yes in Season 2.

– Tom O’Brien

Who/what are you hoping will be nominated at this year’s Emmy Awards? Please let us know in the comments section below or over on our X account and check out our latest Emmy nomination predictions here.

The post For Your Consideration: 2026 Emmy Contenders appeared first on Next Best Picture.

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THE CAST – Richard Gadd, Jamie Bell, Stuart Campbell, Mitchell Robertson & Neve McIntosh

THE TEAM – Richard Gadd (Creator/Showrunner/Writer)

There is a specific, agonizing weight to the relationships that define our youth; those bonds forged not by blood, but by the shared heat of survival. In HBO’s harrowing six-part limited series “Half Man,” creator Richard Gadd explores this weight with the same unflinching, surgical precision he brought to “Baby Reindeer“. It is a sprawling, thirty-year excavation of two broken men, Niall and Ruben, whose lives are so inextricably tangled that even when they are apart, they are merely ghosts haunting one another’s progress.

The series opens with a jarring juxtaposition of jubilation and dread. We begin at a wedding in Scotland, all swirling kilts and rhythmic dancing, before the edit cuts like a blade to a confrontation in a quiet barn. Here, we meet our adult protagonists: Niall (Jamie Bell), a man vibrating with a deep, systemic anxiety, and Ruben (Richard Gadd), a looming presence whose very breath sounds animalistic – a predator on the hunt. Ruben is shirtless, his hands wrapped like a prize fighter’s, demanding that Niall acknowledge their bond before he is lost to marriage. When the violence inevitably explodes, it serves as a catalyst, catapulting us back to the 1980s to witness the genesis of this volatile alchemy.

“Half Man” is a profound study of the illness of masculinity. We see it take root in their school days, where young Niall (Mitchell Robertson) is the target of homophobic vitriol. When Ruben (Stuart Campbell) enters the frame – two years older, fresh from a young offenders institute – he becomes Niall’s protector, his armor, and his jailer. The tragedy of this bond is perhaps best captured by a gift of boxing gloves that Ruben gives Niall. It’s a gesture that frames love as preparation for combat. For Ruben, family is the only thing that matters, but his version of protection is an invitation into the very violence that haunts him.

The nomenclature Gadd uses here is striking and intentional. Just as Gadd’s previous protagonist was “Baby Reindeer,” Ruben christens Niall “Bambi.” In both works, these diminutive, animalistic nicknames are used to distill a complex power dynamic. By branding Niall as “Bambi,” Ruben isn’t just giving him a nickname; he is marking his territory. It mirrors the “Baby Reindeer” moniker by turning a term of endearment into a leash.

Just as brilliantly as the series explores the relationship between these two men, it deconstructs how internalized homophobia acts as a slow-acting poison. Niall’s journey into adulthood is defined by a performer’s existence, hiding his sexuality from the shadow of Ruben. There is a tragic irony in their dynamic: Ruben, despite his own traumas inherited from an abusive father, creates a space in which Niall feels he must embody a specific brand of manliness to be worthy of respect. We eventually learn that Ruben’s obsession with this armor of muscle stems from his own feeling of being “half a man” – a result of trauma that has left him feeling less than.

The performances across both timelines are outstanding, creating a seamless emotional bridge across thirty years. Robertson and Campbell carry the first half of the series and create an understanding for the audience of exactly how these boys became these men. Robertson’s nervous vulnerability and Campbell’s simmering, protective rage set the stage for the devastation to come. When the torch passes to the adult leads, Bell captures the soul-crushing exhaustion of a man who has spent decades living a lie, while Gadd is transformative in the role of Ruben. Gadd’s voice is so deep that it makes his laughter feel like a threat, yet he manages to let the man beneath the muscle peek through, one who harbors a profound sense of inadequacy and a pride that breaks into violence the moment it is grazed.

“Half Man” doesn’t offer any kind of clean reconciliation. It seeps powerful tension in almost every frame, using slow-motion sequences and a haunting score to show how this relationship makes time stand still. The psychological weight of the series culminates at the altar, where Niall, even in a moment of supposed joy, can’t say “I do” without looking to Ruben for a silent nod of approval. It is a devastating image of a man who has achieved his freedom but remains trapped.

Niall comes to learn a painful lesson: that the most formidable homophobe in his life was himself, and that Ruben’s shadow was only as suffocating as Niall allowed it to be. “Half Man” is a journey of acceptance that arrives at a staggering cost. It suggests that while we can outrun our past, we can rarely outrun the version of ourselves we created to survive it.

Gadd and Bell have crafted a portrait of masculinity that is a must-watch, no matter how bruising it is. The series is a masterful portrait of male violence, wrapped in one of the most complex love stories put to screen. It proves once again that Gadd is one of the most vital, empathetic, and ferocious writers working today.

THE GOOD – A masterful, unflinching dissection of masculinity, elevated by transformative performances and a haunting, animalistic tension that makes the 30-year journey of Niall and Ruben one of the most complex dynamics on TV right now.

THE BAD – The first half of the series, which follows Niall and Ruben in their youth, is more interesting, as we see the characters grow into the men they become.

THE EMMY PROSPECTS – Outstanding Limited or Anthology Series, Outstanding Actor in a Limited or Anthology Series or Movie, Outstanding Supporting Actor In a Limited or Anthology Series or Movie, Outstanding Writing for a Limited or Anthology Series or Movie & Outstanding Directing for a Limited or Anthology Series

THE FINAL SCORE – 8/10

The post Richard Gadd’s “Half Man” Is A Ferocious Dissection Of Brotherly Trauma appeared first on Next Best Picture.

In Drama, there’s no surprise HBO has a hit on their hands with “The Pitt.” Last year, it cleaned up with wins in Outstanding Drama Series, Lead Actor (Noah Wyle), Supporting Actress (Katherine LaNasa), Guest Actor (Shawn Hatosy), and Casting. It’ll likely push for those nominations (and wins) again this year, and support additional Supporting Actor contenders in Patrick Ball and Gerran Howell, and Supporting Actresses in Isa Briones, Supriya Ganesh, Sepideh Moafi, and/or Taylor Dearden. There’s been talk of HBO submitting Katherine LaNasa in the Lead Actress category this year. Still, with such stiff competition from Rhea Seehorn from Apple’s priority of “Pluribus” and Keri Russell from Netflix’s “The Diplomat,“ plus a few singular nominations from other HBO shows, I suspect they’ll keep LaNasa in Supporting and go for the easy win. The network will likely support campaigns behind Outstanding Directing and Writing as well, pushing for the BTL wins from their new Emmy darling.

Other dramas they have to consider putting campaign support behind are the long-awaited new season of “Euphoria,“ the hit limited-turned-drama series “Task,“ sleeper hit “The Gilded Age,“ criminally overlooked “Industry,“ and newcomer “A Knight of the Seven Kingdoms.“ With “Euphoria“ reviews panned, I anticipate support for only Zendaya, a 2x winner for this role, in the Lead Actress category, competing with Rhea Seehorn and Keri Russell. Carrie Coon’s nomination for “The White Lotus“ last year may help propel her to a Lead Actress in a Drama nomination this year for “The Gilded Age.” Still, the show missed out on SAG Ensemble this year and failed to land any series nominations outside of Coon, so I predict the network support to remain singular with Coon. “Task“ has been critically acclaimed, widely seen, and features big names in front of the camera (Mark Ruffalo and Tom Pelphrey) and behind with creator Brad Inglesby of “Mare of Easttown“ fame, which makes it an early lead contender for an Outstanding Drama Series, Lead, and Supporting Actor nominations. I’m less confident in BTL support for this show, however, as it has made little mark on the winter awards circuit. I anticipate HBO to put their support behind these three campaigns, with Writing and Directing on shaky ground. And with so many priorities listed above in Drama, I see “Industry“ and “A Knight of the Seven Kingdoms“getting the short end of the stick. “A Knight of the Seven Kingdoms“ has the residual love from “Game of Thrones“ to lean on, so there’s a chance Peter Claffey, Outstanding Writing and Directing, will be shown some love, but I don’t anticipate it getting much more attention from HBO than that. Campaign dollars are not infinite, and with juggernauts in “The Pitt,“ Brad Inglesby’s new creation, and a name and previous winner like Zendaya all in play, that leaves little room for spreading the love in the Drama categories.

Comedy, on the other hand, is a little more black-and-white. We’re bidding farewell to critics’ and audience favorite “Hacks” after five seasons and 12 Primetime Emmy wins, and I expect it to go out with a bang at the Emmys. With 100% on Rotten Tomatoes and no competition from “The Studio” this year, but some solidly good TV encroaching on it’s campaigns with “Shrinking” and “Margo’s Got Money Troubles,” HBO will likely pull out all stops to get “Hacks” it’s deserved nominations (and some wins) across Outstanding Comedy Series, Lead Actress, Supporting Actress, Supporting Actor, Directing, Writing, and perhaps a Guest role or two. But what muddies the waters a bit on “Hacks‘” generational run is the triumphant return of Lisa Kudrow in “The Comeback.“ Nominated for the first two seasons in 2006 and 2015, she will most certainly be nominated and, depending on how either show’s season lands, could be a spoiler for Jean Smart’s run. I do see HBO providing support for the entire season, with potential Outstanding Comedy Series, Writing, and Directing nominations, as it’s been critically well-received and has returned with much fanfare. Falling into distant third and fourth place in the priority rankings are Bill Lawrence’s “Rooster“ and Tim Robinson’s “The Chair Company.“While Lawrence is a familiar face at the Emmys, his support will likely go to Apple’s phenomenal third season of “Shrinking.“ Steve Carell has the narrative of never winning an Emmy for his time as Michael Scott on “The Office” (seriously…how?), so HBO will likely campaign him in their otherwise empty slate of Lead Actor in a Comedy lineup. But that’s not to discount the absurdly hilarious Tim Robinson in the same category. Without as much buzz, “The Chair Company“ has had a bit of staying power since its October premiere, but will likely fall to the wayside in favor of Carell and “Rooster“ and a handful of name-worthy supporting cast members from Lawrence’s new dramedy.

And lastly, the limited HBO category is a bit sparse this year. Everyone is anxiously awaiting “Half Man,“ Richard Gadd’s sophomore follow-up to the much-lauded “Baby Reindeer“ over on Netflix. One would assume HBO is hoping for a similar haul to “Baby Reindeer,” which took in six nominations and three wins. The top billing this season for “Half Man“is Richard Gadd and Jamie Bell, and in addition to Writing, Directing, and Limited Series, we could assume HBO will throw their support behind these two Lead and Supporting Actors. The other offering in HBO’s Limited categories is “DTF St. Louis.“ With a trio of stars across David Harbour, Jason Bateman, and Linda Cardellini, there are plenty of eyes on this show and the performances. A bit of a slow burn, the writing and directing are strong and could warrant a few nominations for Steven Conrad. While Jason Bateman is competing against himself in this category for Netflix’s “Black Rabbit,“ David Harbour has been the series’s standout star and likely frontrunner in campaign support. In Outstanding Limited Series, we can assume “Beef“ and “Love Story“ will get in, and barring any panned reviews, “Half Man“ will as well. That leaves two slots left, and a fight between Peacock’s “All Her Fault,” Netflix’s “The Beast in Me,” “Death by Lightning,” “Lord of the Flies,“ and “Black Rabbit,“ and HBO’s “DTF St. Louis.“ Right now, it’s almost anyone’s game, and I wouldn’t be surprised to see any two make the cut.

HBO has always had the burden and the blessing of a deep bench of priorities for the Emmys. A few are easy sells as category leads (“The Pitt“ and “Hacks“ will likely win many), a few newcomers to throw their support behind (“Half Man“ and “Task“ will probably be in the mix with a handful of nods each), and an impressive lineup waiting in the wings to snatch any opening available. One thing is for certain, though: we’ll be seeing a lot of HBO again at the Emmys.

DRAMA PRIORITIES RANKED: “The Pitt,” “Task,” Zendaya for “Euphoria,” Carrie Coon for “The Gilded Age,” “A Knight of the Seven Kingdoms” & “Industry“

COMEDY PRIORITIES RANKED: “Hacks,” “The Comeback,” “Rooster” & “The Chair Company”

LIMITED PRIORITIES RANKED: “Half Man” & “DTF St. Louis”

What do you think HBO will prioritize this year? What are your early-season Emmy frontrunners? Please let us know in the comments section below and on Next Best Picture’s X account.

The post Inside HBO Max’s 2026 Emmy Strategy: Ranking The Network’s Top Priorities This Awards Season appeared first on Next Best Picture.

Traditionally, the Outstanding Limited Series category has been one of the premier Emmy races each year, often attracting top filmmakers and major movie stars to bring to life stories that are best told in a 4-10-episode format (with, if they’re lucky, the budget to match). And, like its sister awards, the Oscars, many of the main competitors usually wait to premiere until the end of the eligibility period so as to be fresher in voters’ minds.

Not so this year. There are a little over eight weeks to go before the May 31st entry deadline, and a few limited series may still be announced before the cutoff. But a consensus is growing among Emmy prognosticators that most of the category’s top contenders are already (or about to be) streaming and available to watch today.

So, if you want to get a jump on your Emmy homework this year, here are ten limited series to put on your radar, along with a few comments as to where their awards strength (or weakness) may lie. Happy streaming!

“ALL HER FAULT” (8 episodes) – Now streaming on PeacockIt’s every parent’s worst nightmare. Working mom Marissa Irvine (Sarah Snook) arrives to pick up her 5-year-old son, Milo, from school, but Milo and the mom who was supposed to be minding him are nowhere to be found. When it becomes clear that Milo won’t be found immediately and word spreads that the boy is missing, Marissa begins to be seen as someone to blame. Even if she was not responsible for his disappearance, she was considered by many, including a sympathetic detective (Michael Peña), to be, at best, a neglectful mother. The twisty eight-parter was created by Megan Gallagher (based on the novel by Andrea Mara) and received strong reviews and a large viewership, becoming the most-watched original series launch in Peacock’s history.

EMMY OUTLOOK: Thanks to its premiere date back in November, “All Her Fault” qualified for all of the winter television awards and certainly made the most of that opportunity. Snook won her third Critics Choice Award and earned nominations for the Actor and Golden Globe Awards for her performance here. The series itself received Best Limited Series nods from both CCA and the Globes, and both Peña & Sophia Lillis earned Globe nominations for their supporting work. With these early awards and nominations, the series has planted its flag as a major contender in this year’s Emmy race.

“THE BEAST IN ME” (8 episodes) – Now streaming on NetflixThis eight-episode series centers on Aggie Wiggs (Claire Danes), a writer whose grief over her son’s death has prompted writer’s block as she searches for a subject for her second book. Moving into her suburban neighborhood is Nile Jarvis (Matthew Rhys), a notorious real estate executive who has been suspected of (but never arrested for) the killing of his first wife and who has now moved on to his second (Brittany Snow). Though Aggie loathes him on sight, she sees in Nile an opportunity for her next book. It’s a win-win for both: she needs a hit, and Nile needs to clear his name. But as they collaborate, Aggie begins to wonder whether Nile, despite being an asshole, could be capable of murdering his first wife or even of killing his second.

EMMY OUTLOOK: Another November release, and like “All Her Fault,” the series scored highly with the winter television awards. “The Beast In Me” earned nominations from both the Globes and Producers Guild, plus director Antonio Campos earned a DGA nod. Danes and Rhys, previous Emmy winners both, received nominations for the Actor and Golden Globe Awards, and Rhys picked up another from the Critics’ Choice as well. It remains to be seen whether the Netflix team can keep the momentum going through September.

“BEEF” (8 episodes) – Premieres April 13th on NetflixNetflix’s Emmy-winning anthology series returns for a second season with new characters and a brand new “Beef.” A young couple (played by Charles Melton and Cailee Spaeny), who are employed at a fancy country club, come upon a dramatic argument between their boss and his wife (played by Oscar Isaac and Carey Mulligan). That argument leads to a shift in power among the elites at the posh club, which is owned by a billionaire Korean owner (played by Oscar-winning Youn Yuh-jung). Creator and three-time Emmy winner Lee Sung Jin returns, and last season’s stars, Steven Yeun and Ali Wong, both of whom won Emmys for their performances, are also back, this time as executive producers.

EMMY OUTLOOK: Sophomore slump is always worrisome for a highly-regarded first-season show when it returns, but this season the producers have stacked the deck with this cadre of esteemed actors. Series, writing, and directing nods are likely all back in play, but acting nominations may hinge on proper category placement still to come. A solid bet.

“BLACK RABBIT” (8 episodes) – Now streaming on NetflixInspired by the notorious real-life scandal that in 2020 closed the NYC celebrity hotspot The Spotted Pig, this eight-episode Netflix series centers on a similar restaurant, Black Rabbit, which is the baby of owner Jake Friedken (Jude Law), who is awaiting a NY Times review that could really put his eatery on the map. Enter his brother Vince (Jason Bateman), the original co-founder of Black Rabbit, but now a gambling addict on the run from a vindictive mob boss (Troy Kotsur). Jake brings him back into the restaurant fold, but, not surprisingly, chaos ensues. Reviews for the series itself were mixed to favorable, with most of the praise centering on the performances and the direction of, among others, Justin Kurzel, who directed Law to great acclaim in the 2024 film “The Order.”

EMMY OUTLOOK: On the bubble. Its September premiere qualified “Black Rabbit” for winter awards, but it missed out on series nominations from critics’ groups that rivals “All Her Fault” and “The Beast in Me” received. Chances are looking better for acting prospects. Law earned a lead actor nomination from the Globes, and Bateman was nominated in the same category for the Actor Award. (Of the two, Bateman has a better shot in the more colorful role, and he’s a proven Emmy favorite from his 14 nominations, while Law would be a Primetime Emmy newbie.) In addition, don’t sleep on Kotsur for a supporting nomination in a rare bad guy role for the Oscar-winning actor.

“DEATH BY LIGHTNING” (4 episodes) – Now streaming on NetflixIt seems that political opportunism mixed with threats of violence are not limited to our contemporary political scene. Based on the book by Candice Millard, “Death by Lightning” illustrates just how much both are woven throughout U.S. history by centering on the little-known story of U.S. Rep. James Garfield (Michael Shannon), who was unexpectedly elected the 20th President of the United States. Woven into his life are his oft-inebriated running mate Chester Arthur (Nick Offerman) and Charles Guiteau (Matthew Macfadyen), an ambitious office-seeker who assassinated Garfield less than four months after he took office. Series creator Mike McKowsky’s imaginative take on history received wide critical acclaim, as did the performances by his talented cast.

EMMY OUTLOOK: The critical notices for this four-part Netflix series were among the best of any show this season, with the series earning four Critics’ Choice nominations: Best Limited Series and nods for Shannon as Lead Actor, as well as for Offerman and Betty Gilpin in supporting. In addition, McKowsky’s screenplay won this year’s USC Scripter Award and has been nominated for a Writers Guild Award. As one can see from this list of top contenders, Netflix has an abundance of candidates under consideration, and the Emmy fate of many of them (including “Death By Lightning”) may depend on which ones their awards team chooses to push. Time will tell.

“DTF ST. LOUIS” (7 episodes) – Now streaming on HBO Max
Sex in the suburbs has been the subject of satire for what seems like ages now, but no one has quite captured what writer-director Steven Conrad has managed to achieve in this seven-episode HBO series. The setting is mundane as can be: a small town in Missouri, where Clark Forrest (Jason Bateman), the local TV weatherman, and Floyd Smernitch (David Harbour), the station’s ASL translator, quickly become fast friends, working out and playing cornhole together. When talking about their marriages and their frustrations, Clark suggests a new dating app named “DTL St. Louis” for married people looking to get “down to f…” others without strings. Floyd, who has become sexually distant from his wife Carol (Linda Cardellini), joins Clark in trying it, and within several months, one of the three members of that triangle winds up dead. A murder-mystery satire may be a challenging recipe to balance tonally, but from the series’ often-glowing reviews, it’s one that Conrad has pulled off handsomely.

EMMY OUTLOOK: Writing and directing such an original and challenging work should garner respect and attention among Emmy voters, who will likely be lured by the series’ cast. Bateman will be competing against himself in Lead Actor with Netflix’s “Black Rabbit,” so HBO’s awards focus may be steered toward Harbour, a two-time Emmy nominee who has never before had a role quite like this one and who certainly makes the most of it. Emmy winner and scene stealer Richard Jerkins may also be in the mix for his supporting role as a veteran detective investigating the death.

“HALF MAN” (6 episodes) – Premieres April 23rd on HBO MaxRichard Gadd, whose Netflix series “Baby Reindeer” swept the 2024 Emmy Awards (including three for Gadd himself), moves to HBO Max for his latest limited series, the six-episode “Half Man.” However, unlike “Baby Reindeer,” which was based on Gadd’s own experiences with an obsessive female stalker, “Half Man” is entirely fictional. In interviews, Gadd has indicated that the series will chronicle a decades-long, mutually destructive friendship between two men, the quiet Niall, played by Jamie Bell, and the brutish Ruben, played by Gadd (who worked out intensely to gain muscle for the role). Like “Baby Reindeer,” however, “Half Man” is said to be dark (perhaps even darker) as it explores trauma caused by sexual confusion, toxic masculinity, and emotional abuse. Yet Gadd still promises some laughs, and, based on how he used humor to lighten the mood in his previous series, it will blend seamlessly.

EMMY OUTLOOK: With its six Primetime Emmy wins, “Baby Reindeer” is a difficult act to follow. Gadd will no longer have the element of surprise on his side, and critics will be quick to judge whether the new series will measure up to its predecessor. If it does, expect a strong campaign in series, writing, directing, and both Bell and Gadd in Lead Actor. For Gadd, the afterglow from “Baby Reindeer’s” success is likely still there, so if “Half Man” can deliver the goods, we may see him once again on the Emmy stage.

“LORD OF THE FLIES” (4 episodes) – Premieres May 4th on Netflix
The first television adaptation of the classic novel by William Golding, this BBC/Sony Pictures Television co-production was written and executive produced by Jack Thorne, who won two Emmys last season for co-writing and producing the nine-time Emmy-winning “Adolescence.” As he did with that limited series, Thorne has divided Golding’s novel into four parts, with each episode offering a different perspective on the story; in this case, that of a group of young boys stranded on a tropical island after surviving a plane crash. Each episode follows a different boy, Piggy (David McKenna), Jack (Lox Pratt), Simon (Ike Talbut), and Ralph (Winston Sawyers), and the narrative proceeds from their distinctive points of view. Reviews from its BBC-airing are strong, and there’s no reason to believe that success won’t be repeated when the series premieres in the U.S.

EMMY OUTLOOK: Any questions as to whether Emmy voters would respond to a 4-episode series told from different perspectives were answered with “Adolescence‘s” Emmy sweep. If the stateside reviews match those from the UK, expect a series push in series, writing, and directing categories. Whether the show can nab any acting nominations may be more up in the air, since the boys will be competing with some established Emmy veterans, and they are currently little known stateside. But it can happen. Just ask Owen Cooper.

“LOVE STORY: JOHN F. KENNEDY JR. & CAROLYN BESSETTE” (9 episodes) – Now streaming on Hulu
Easily the most talked-about limited series of the season, “Love Story” is the fifth in producer Ryan Murphy’s “American Story” anthology series, which to date has won 34 Primetime Emmy Awards. The source of the controversy is its subject: the doomed romance between John F. Kennedy Jr. (Paul Anthony Kelly) and fashion publicist Carolyn Bessette (Sarah Pidgeon). Though Jack Schlossberg, nephew of John Jr., called the Ryan Murphy-produced miniseries a complete fiction that exploits his uncle, many critics noted that the series was less about trashing the Kennedys and more about the challenge the couple faced in separating their public and private lives. Also receiving critical praise is the palpable chemistry that Kelly and Pidgeon demonstrate in their scenes together.

EMMY OUTLOOK: Acting nominations may be a bit of an uphill climb, as neither Kelly, in his first acting role, nor Pidgeon, a Tony-nominated stage actress, are the kind of bankable stars that usually receive nominations for Murphy productions. However, everyone in America (it seems) has heard of or watched the show, which will likely include Emmy voters, who could definitely give the series an added advantage in making the final five series slots.

“MONSTER: THE ED GEIN STORY” (8 episodes) – Now streaming on Netflix“The Ed Gein Story” is the third in Ryan Murphy’s “Monster” anthology, following series that depict the crimes of Jeffrey Dahmer and the Menendez Brothers. Gein was a notorious serial killer in the 1950s, who also dug up bodies from local cemeteries and made keepsakes from the corpses’ bones and skin. Gein was also reportedly the inspiration for such famed fictional serial killers as Norman Bates in “Psycho,” Leatherface in “The Texas Chainsaw Massacre,” and Buffalo Bill in “The Silence of the Lambs.”

EMMY OUTLOOK: Though the series’ production values were well received, the series itself was not, receiving poor reviews from most critics, who largely felt it was a letdown compared to the previous “Monster” series. What the critics did like, however, was Charlie Hunnam’s performance in the title role, which earned Lead Actor nominations for the Actor, Critics’ Choice, and Golden Globe Awards. Hunnam and the show’s techs are likely its best shots for the Emmys.

What do you think are the big Emmy contenders this year for Outstanding Limited Series? What are some of your favorite shows you’ve watched this season so far? Please let us know in the comments section below or over on our X account, and be sure to check out our latest Emmy predictions, which will be arriving later this week. Please also be sure to subscribe to the Next Best Series Podcast, where we will feature a number of interviews with Emmy contenders throughout the awards season and discuss the race over the next couple of months.

The post Top 10 Limited Series To Keep An Eye On For The 2026 Emmy Awards Season appeared first on Next Best Picture.