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‘Schitt’s Creek’ Is the Best TV Comedy of All Time, Apparently. Now What? — TV Podcast

In so far as the Television Academy is concerned, at least.


Ah, the Emmy Awards. You’ve gotta love them. You work and you research and you analyze and you try to make sense of disparate data, all in an attempt to figure out how a 73-year-old who used to be an extra on “Maude” is going to vote.

And then “Schitt’s Creek” goes and sweeps all of the comedy awards at the Primetime Emmy Awards, and all your theorizing goes out the window.

The 2020 Emmys were chock full of surprises, but none so historic as the Television Academy’s full throated endorsement of the Pop TV darling that accomplished a feat never before accomplished by a comedy. Winning Best Series, Writing, Directing, Actor, Actress, Supporting actor, and Supporting Actress, “Schitt’s Creek” joined revered 2003 HBO limited series “Angels in America” as the only shows to have ever taken home trophies in the seven most prestigious categories.

There are likely a lot of factors that contributed to this particular bit of history being made on Sunday night, but here’s the truth: The most interesting development to consider in the wake of “Schitt’s” feat is what it means for next year. Specifically, what it means for next year’s Emmy Awards.

Given the state of the union and the pandemic that continues to plague it, there’s really nothing we can say about next year’s ceremony. At this point, we don’t even know if it will exist, in light of continued production delays and health concerns. However, what we do know, without a doubt, about the next time the Emmy Awards are presented, is that there won’t be a single comedy category in which a competitor is looking to defend their territory, having won the year prior.

It could serve as a clean slate for the TV Academy, who has been known (at least in previous years) to show fidelity to the same series year after year. Next year, the field is wide open. Maybe voters return to the welcoming bosom of Amazon Prime Video’s “The Marvelous Mrs. Maisel” or finally elevate HBO’s “Barry” to the utmost echelon. Or maybe FX’s “What We Do in the Shadows” follows in “Schitt’s” footsteps and uses this year’s eight nominations as a springboard to greater things down the line.

WHAT WE DO IN THE SHADOWS -- "The Trial" -- Season 1, Episode 7 (Airs May 8, 10:00 pm e/p) Pictured: Matt Berry as Laszlo, Natasia Demetriou as Nadja, Kayvan Novak as Nandor. CR: Russ Martin/FX

“What We Do in the Shadows”

Russ Martin/FX

One things relatively certain: We probably won’t have those pesky Canadians around to filch all our comedy gold.

For first thoughts on the 2021 Emmys and our final (God-willing) thoughts on the 2020 Emmys, check out this week’s episode of IndieWire’s TV podcast “Millions of Screens.” Hosts Deputy TV Editor Ben Travers, TV Awards Editor Libby Hill, and Creative Producer Leo Garcia also break down their most delightful surprises and bitter disappointments from this year’s Primetime Emmy broadcast, while Libby and Leo keep their eye-rolling over Ben’s Jennifer Aniston admiration to an absolute minimum.

Plus, stick around for the first ratings for the socially-distanced ceremony hosted by Jimmy Kimmel, which continued the downward trend for live award shows, but weren’t nearly as bad they could have been given the, you know, 2020 of it all. In keeping with ongoing social distancing mandates, this week’s episode was again recorded from the comfort of everyone’s respective Los Angeles-area apartments, and we’re again offering viewers a video version of the podcast, as embedded above.

Millions of Screens” is available on AnchorApple PodcastsBreakerGoogle PodcastsSpotify, and Stitcher. You can subscribe here or via RSS. Share your feedback with the crew on Twitter or sound off in the comments. Review the show on iTunes and be sure to let us know if you’d like to hear the gang address specific issues in upcoming editions of “Millions of Screens.” Check out the rest of IndieWire’s podcasts on iTunes right here.

This episode of “Millions of Screens” was produced by Leonardo Adrian Garcia.

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