Are Genre Labels Meaningless? Arts, Comedy, and Emmys Explored

Every year, as the Emmy Awards approach, the debate about the nature of television genres ignites once again. The labels of “comedy” and “drama” seem, at first glance, straightforward—each prescribes a certain tone, style, and expectation for the audience. But in the ever-evolving landscape of television, as artistic boundaries blur, these definitions become tangled in chaos. This year, the hit series The Bear ties this reality together with a record-breaking number of 23 Emmy nominations. Yet, many argue whether its classification as a comedy truly reflects its essence. This article dives deep into the heart of this debate, exploring what it means to be a comedy in today’s complex world of television.

A Genre Adrift: Recognizing the Shifts

As we look at the nominees, it’s clear that the television landscape has transformed dramatically. Historically, the Emmy Awards favored laugh-out-loud sitcoms, with legends like Frasier securing 37 wins to dominate the award season. However, what separates a comedy from a drama today is as ambiguous as the plethora of streaming platforms available for viewing—whether it’s Netflix, Prime Video, Hotstar, or others.

It was a surprise to many when The Bear, a series that deals with the intense struggles of running a kitchen, lost the best comedy category to Hacks. Critics agreed that despite the humor embedded in its chaos, the somber themes of family and personal battle resonated more profoundly than the label it garnered. With 11 wins in diverse categories, the show challenges the viewer to reconsider the confines of “comedy.” In fact, this has led industry experts and writers to rethink the significance of genre classifications during the award season.

Insights from the Industry

When the Hollywood Reporter (THR) reached out to top writer-producers for their insights on what makes a comedy, responses varied significantly. The overwhelming consensus leaned towards the belief that the term ‘comedy’ shouldn’t merely be associated with humor.

Jonathan E. Steinberg, the showrunner of The Old Man, put it plainly: “It’s hard to make any sense of what’s a comedy and what’s a drama for awards purposes right now.” He highlights that the traditional differentiation, largely based on runtime—half-hour for comedies versus an hour for dramas—has become increasingly obsolete. The Primetime Emmys’ governing body made a significant change in 2021, ceasing to categorize series based solely on runtime.

In a thought-provoking statement, Julio Torres, creator-star of Fantasmas, suggested that perhaps the only classification we need is based on the length of the episodes. “I don’t know why we need to categorize things by anything other than length,” he expressed, stirring a dialogue about the practicality of genre labels.

What Makes a Comedy? A Roundup of Perspectives

As we sift through various viewpoints, an intriguing compilation emerges regarding what defines a comedy. Here’s how some leading writers answered the prompt, “To be a ‘comedy,’ a TV series must…”

• “Pass the Bechdel test.” — Lucia Aniello, Hacks
• “Contain at least one scene where a character overhears something through a door and gets the wrong idea.” — Jenna Lamia, The Perfect Couple
• “Combine acute moral pain with, if not laugh out loud moments, at least that amused snort we all crave so much.” — Issa Lopez, True Detective: Night Country
• “If Aristotle is to be trusted, the characters in a comedy behave worse than people do in real life, but ironically, per Shakespeare, their shenanigans ultimately don’t cause any permanent damage and lead to happy endings.” — J.D. Payne, The Rings of Power
• “It must risk offense.” — Matthew Read, The Gentlemen
• “Achieve exactly 9.4 laughs per minute — any less and it’s a drama, any more and it’s a clown show.” — John Hoffman, Only Murders in the Building
• “Make me happy not to be those characters.” — Soo Hugh, Pachinko
• “According to George Saunders, ‘Humor is what happens when we’re told the truth quicker and more directly than we’re used to.’ I think a good comedy does exactly that.” — Natasha Rothwell, How to Die Alone
• “Be relatable. Have recognizable human qualities in all the characters involved.” — Richard Gadd, Baby Reindeer
• “What do I know? The Sopranos made me laugh as much as any show I’ve ever seen.” — Eric Newman, Griselda
• “Not make me need to watch another comedy afterwards to soothe my anxiety.” — Jac Shaeffer, Agatha All Along
• “Stay in lock step with audience expectations about the genre. Comedy isn’t about being transgressive or unexpected, it’s about obeying a bunch of rules as outlined by older men with young guy haircuts.” — Graham Wagner, Fallout
• “Be a drama about angry chefs.” — Seth MacFarlane, Ted
• “This, please, stop.” — Joanna Calo, The Bear

Conclusion: A Genre’s Evolution

As we’ve explored throughout this discourse, the lines between comedy and drama are becoming increasingly blurred, raising questions regarding genre classification in this new era of television. The emergence of shows like The Bear illustrates that the boundaries may not only be arbitrary but transformative, pushing both creators and audiences to reassess their definitions of humor and narrative purpose.

Future award seasons will undoubtedly continue to grapple with these distinctions. As genres evolve and expand, perhaps it’s more valuable to focus on the impact of the storytelling rather than the labels assigned to it. The 2023 Emmy nominations are a testament to this shift—highlighting that in the realm of art, classifications may no longer serve the truth, but the narratives will always carry weight.

FAQs

1. Why do genre labels like comedy and drama matter during awards season?

Genre labels can significantly influence nominations and wins at awards shows, as they dictate expectations and categorization, affecting how shows are perceived by judges.

2. How has the definition of a comedy changed in recent years?

The definition of comedy has shifted to include content that may not fit traditional comedic formats, such as dramas with humorous elements, challenging long-held expectations.

3. What do industry experts believe should define a comedy?

Many experts argue that a successful comedy should elicit laughter, contain relatable characters, and sometimes risk offense, emphasizing emotional connection and humor’s role in reflection.

4. How do streaming platforms influence genre categorizations?

Streaming platforms often produce content that defies traditional genre boundaries, leading to more nuanced discussions about classifications and how they align with audience perceptions.

5. Are there current shows that exemplify genre-blending?

Yes, shows like The Bear and Fleabag blur the lines, merging elements of comedy and drama, hence challenging the strict delineations previously established.

6. What is the significance of runtime in genre classification?

Traditionally, runtime distinguished comedies (typically half-hour) from dramas (usually hour-long). Recent changes, like those from the Primetime Emmys, have undermined this basis.

7. How do audience expectations affect genre labels?

Audience expectations shape how shows are written and marketed. Comedies are traditionally expected to follow specific formulas, often restricting creativity and narrative exploration.

8. Can a show be both a comedy and a drama?

Absolutely. Many modern series effectively blend both genres, presenting humorous moments alongside dramatic themes, resonating with viewers on multiple levels.

9. What impact does winning an Emmy have on a show’s future?

Winning an Emmy can significantly boost a show’s visibility, increase viewership and credibility, attracting new audiences and sometimes revitalizing its place in pop culture.

10. Can changing genre labels affect viewership numbers?

Changing genre labels can directly impact viewership as it influences audience perception and expectations, leading to either increased intrigue or confusion among potential viewers.

Tags

Emmys, Comedy, Drama, Television, The Bear, Streaming, Genre Labels