With the Primetime Emmys scheduled to be aired on September 14th (as well as the Guest Acting categories and Outstanding Television Movie announced during the Creative Arts Emmys on September 6th and 7th), the two month window has allowed me the time to buckle down and give each season/program my full attention to put together a fun article such as this and give my personal choices for what should win each award. These have been published in three parts (Drama, Comedy, and Limited Series/TV Movie), while categories in the realm of Reality TV, Variety, and Talk Show will be excluded only due to my lack of awareness/interest in investing such time to have a preference (Saturday Night Live the only variety program I watch on a weekly basis). Despite that, my best wishes are with Stephen Colbert, a potential win that due to unfortunate circumstances seems all but sewn up. My final winner predictions are set to be released in the coming weeks as well.

With all of that out of the way, let’s finish this thing! Finally, I present to you the Outstanding Limited Series category!

OUTSTANDING LIMITED SERIES

“Adolescence”	(Netflix)
“Black Mirror”	(Netflix)
“Dying For Sex”	(FX)
“Monsters: The Lyle and Erik Menendez Story”	(Netflix)
“The Penguin”	(HBO)

Ryan Murphy returns with Monsters, yet another based-on-a-tragic-true-crime miniseries about the Menendez Brothers which, to its credit, was memorable and engaging and brought new awareness to the 1989 murder case. Was it also exploitative with questionable portrayals of real events? Absolutely. Black Mirror returned with a decent fifth season with a couple of memorable new tech-based scenarios, but its inclusion here feels unearned compared to when the show was at its peak. Adolescence took the world by storm, being a startling cautionary tale to parents and children everywhere and each episode filmed entirely in jaw-dropping, unflinching one-takes. Dying For Sex is an uneasy, but emotionally-cleansing true story led by the luminous Michelle Williams. The Penguin, however, was a brilliantly-told crime saga, darkly hilarious and deeply upsetting, yet immensely entertaining, breaking past the limitations of being just a spin-off to a blockbuster film into being one of the best television series of 2024 and maybe the best comic book-based television series of all time.

My Pick: “Adolescence” (Netflix)

Should Be Nominated: “Say Nothing” (FX)

OUTSTANDING TELEVISION MOVIE

“Bridget Jones: Mad About the Boy”	(Peacock)
“The Gorge”	(Apple)
“Mountainhead”	(HBO)
“Nonnas”	(Netflix)
“Rebel Ridge”	(Netflix)

It says a lot that the TV Movie category is now typically filled with films that are made with the same budgets and star power as theatrical, but the Emmys TV Movie category is still typically a crapshoot, sometimes even nominating bad movies just because they qualify. Despite all of that, this is probably the “best” lineup they’ve had to date. Despite the fact that IT SHOULD HAVE BEEN IN THEATRES in the US, Bridget Jones returns with one of the best films of its series, a beautiful exploration of love, grief, and maturity through age and experience. The Gorge, an incredibly dumb action thriller, served a particular function, being silly and stupid, though to some, just stupid enough to work. Rebel Ridge, one of the buzziest streaming films of last year, introduced the world properly to the talent of Aaron Pierre and allowed him to show off just how much of a star he can be with riveting, intense material. Mountainhead captures some of that Jesse Armstrong Succession magic, savagely critiquing tech bro culture until it devolves into slapstick murder plot shenanigans. The film that could be a real threat in this category is Nonnas, which is “spicy meatball” levels of stereotypical Italian representation, but is shockingly warm and charming with a fantastic cast. A real crowd-pleaser that could steal a ton of votes from members who just want to feel good (though Bridget Jones is right there too).

My Pick: “Bridget Jones: Mad About the Boy” (Peacock)

Should Be Nominated: “Am I OK?” (HBO Max)

OUTSTANDING LEAD ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE

Colin Farrell	“The Penguin” (HBO)
Stephen Graham	“Adolescence” (Netflix)
Jake Gyllenhaal	“Presumed Innocent” (Apple)
Brian Tyree Henry	“Dope Thief” (Apple)
Cooper Koch	“Monsters: The Lyle and Erik Menendez Story” (Netflix)

Koch thankfully gets an entire unbroken-take episode to showcase some incredible work in Monsters, for without it, he could have missed in this category. Gyllenhaal is fascinatingly deceptive in Presumed Innocent, easy to believe either impending verdict based on a wild mix of behavior ticks and manners. Brian Tyree Henry keeps Dope Thief, a series that starts much stronger than it finishes, highly watchable and nails a surprising amount of natural humor in even the most dire situations. It’s hard not to be floored by Stephen Graham, though, who has to carry two full, distressing and gutting hours on his brutish but fragile back. His breakdown that closes the series leaves not a dry eye. His biggest competition is clearly Farrell, who is magnificent, aided by incredible prosthetics that mold him into Oz Cobb, though his performance is as transformative as his appearance, as funny as he is terrifying.

My Pick: Stephen Graham, “Adolescence” (Netflix)

Should Be Nominated: Aaron Pierre, “Rebel Ridge” (Netflix)

OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE

Cate Blanchett	“Disclaimer” (Apple)
Meghann Fahy	“Sirens” (Netflix)
Rashida Jones	“Black Mirror” (Netflix)
Cristin Millioti	“The Penguin” (HBO)
Michelle Williams	“Dying For Sex (FX)

If there’s two actress you can be sure will always give extraordinary work, it’s Cate Blanchett and Michelle Williams, both whose star presence and sheer talent greatly boost anything they’re in. Blanchett is harrowing in Disclaimer as a woman terrorized by her past. Williams is delicate, charming, and heartbreaking as a woman accepting her mortality through her final sexual desires. Rashida Jones gives tender work as a woman determined to keep her life intact, as only technology will allow, with an ad-tier supportive system. Fahy is a ton of fun playing a struggling addict getting her life back on track while saving her sister from a cult. Cristin Millioti, though, is a show-stopper. For as petite and endearing an actress as she is to be so scary in her first scene and maintain that power through the entire 8 episodes, Millioti is multi-faceted and commanding. A total tour de force of a comic book character brought to life.

My Pick: Cristin Millioti, “The Penguin” (HBO)

Should Be Nominated: Lola Pettigrew, “Say Nothing” (FX)

OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR TELEVISION MOVIE

Javier Bardem	“Monsters: The Lyle and Erik Menendez Story” (Netflix)
Bill Camp	“Presumed Innocent” (Apple)
Owen Cooper	“Adolescence” (Netflix)
Rob Delaney	“Dying For Sex (FX)
Peter Sarsgaard	“Presumed Innocent” (Apple)
Ashley Walters	“Adolescence” (Netflix)

Bill Camp in Presumed Innocent is the surprise here, good in everything, and in everything in general (he’s in at least three nominated limited series this year!). Sarsgaard, always the likelier nominee, is reliably good as Gyllenhaal’s adversary. Bardem is scary, playing a deeply upsetting, disturbing, intimidating character, something he is usually good at. Bardem in villain role is expected, but almost always effective. Delaney in Dying For Sex is a fascinatingly complex, funny, sexy role that allows him to play far outside of any actor’s comfort zone. Adolescence is built on incredible, natural performances and Walters makes a huge impression as a cop and a father grappling with the arrest of a child. That child, though, is likely winning this award. Cooper is unbelievable in his debut role. The series’ third episode left jaws on the floor with what Cooper was able to handle as he battles words for a straight hour with Erin Doherty’s psychologist. It’s one of the great youth performances period.

My Pick: Owen Cooper, “Adolescence” (Netflix)

Should Be Nominated: Anthony Boyle, “Say Nothing” (FX)

OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TELEVISION MOVIE

Erin Doherty	“Adolescence” (Netflix)
Ruth Negga	“Presumed Innocent” (Apple)
Dierdre O’Connell	“The Penguin” (HBO)
Chloe Sevigny	“Monsters: The Lyle and Erik Menendez Story” (Netflix)
Jenny Slate	“Dying For Sex (FX)
Christine Tremarco	“Adolescence” (Netflix)

Tremarco and Doherty are both heart-wrenching in Adolescence, Tremarco as convict Jamie’s mother and Doherty, crushing her interrogation episode, as the boy’s psychologist. Negga in Presumed Innocent is quietly good in a non-showy wife role before getting a eyebrow-raising final episode that lets her shine. Sevigny is fittingly hateful in her part at the Menendez mother, a woman who is tortured by the life she has, but willing to stick with her abusive husband over her victimized children. Dierdre O’Connell is a fierce, electrifying presence, able to force her murderous, criminal son to his emotionally-unstable knees as she succumbs to her own mental health. But there is something really magical about Jenny Slate in Dying For Sex. It’s almost a co-lead role, but regardless, she is as much the emotional journey as Williams, as she puts her entire life away to commit every second of herself to her best friend’s final stretch of life. It’s hilarious, sympathetic, layered work we’ve never gotten to see from Slate before.

My Pick: Jenny Slate, “Dying For Sex” (FX)

Should Be Nominated: Marin Ireland, “Dope Thief” (Apple)

OUTSTANDING DIRECTING FOR A LIMITED SERIES OR TELEVISION MOVIE

“Adolescence” (Netflix)	Phillip Barantini
“Dying For Sex” (FX), “It’s Not That Serious”	Shannon Murphy
“The Penguin” (HBO) “Cent’Anni”	Helen Shaver
“The Penguin” (HBO) “A Great Or Little Thing”	Jennifer Getzinger
“Sirens” (Netflix), “Exile”	Nicole Kassell
“Zero Day” (Netflix)	Lesli Linka Glatter

Nicole Kassell adds a dose of magical flair to the bizarre but serene and sunny Sirens. In The Penguin, Sofia Falcone’s tragic origin story is unflinchingly told by Helen Shaver, while Jennifer Getzinger delivers a brutal finale that pushes Oz Cobb to his most unforgivable villainy. Phillip Barantini takes his extreme talent with filming one-shot projects to its most impressive degree, with impeccable blocking choices that take you through whole cities, homes, prisons, and schools while achieving beyond pitch-perfect performances from the entire cast young and old. Lesli Linka Glatter directs Zero Day with the type of handheld, muted colored flair of early 2000s political thrillers. Her pacing is relatively effective, though the series as a whole is rife with stupidity. On the “lighter” end, before it reaches inevitable tragedy of course, Shannon Murphy’s quirky, empathetic look at the remaining moments of Molly Kochan’s life is beautiful, uplifting, heart-wrenching, and still unafraid to stay weird in Dying For Sex.

My Pick: “Adolescence” (Netflix), Phillip Barantini

Should Be Nominated: “Disclaimer” (Apple), Alfonso Cuaron

OUTSTANDING WRITING FOR A LIMITED SERIES OR TELEVISION MOVIE

“Adolescence” (Netflix)	Jack Thorne & Stephen Graham
“Black Mirror” (Netflix), “Common People”	Charlie Brooker & Bisha K. Ali
“Dying For Sex” (FX), “Good Value Diet Soda”	Kim Rosenstock & Elizabeth Meriwether
“The Penguin” (HBO) “A Great Or Little Thing”	Lauren LeFranc
“Say Nothing” (FX), “The People in the Dirt”	Joshua Zetumer

Black Mirror‘s Common People riffed on today’s heavy presence of subscription price increases and ad-culture through the story of a husband afraid of losing his wife with tender sorrow, though it wasn’t the standout episode of the season in my opinion (that would be the U.S.S. Callister sequel To Infinity). The Penguin‘s brilliant finale went in a direction that was perfectly upsetting, cementing Colin Farrell’s Oz Cobb as one of his most despicable antagonists. Dying For Sex‘s first episode is a great introduction to Molly Kochan and what led her to finally give up the life she was leading to explore the one she needed all along. Say Nothing was perhaps the best series to come out in 2024 and its denouement finale, the final confessions of Dolours Price, was an aching experience all around, one that still lingers on the mind long after its closing moments. This is a great category with so many worthy contenders but, and not to settle for the obvious, Adolescence is a writing masterpiece. It’s almost unfathomable how its pieces were staged together so perfectly, defining its criticism of modern toxic male behavior influenced upon the youth, and with dialogue that keeps you gripped every second of its four hours.

My Pick: “Adolescene” (Netflix) Jack Thorne & Stephen Graham

Should Be Nominated: “Say Nothing” (FX) “Do No Harm”, Clare Barron

Thoughts and opinions? Your own personal choices? Sound off in the comments below. Stay tuned for more personal picks in the coming days! The 77th Emmys air Sunday, September 14th on CBS.