The Television Academy is adjusting the eligibility and voting deadlines for this year’s Primetime Emmy calendar in response to concerns made by TV communication executives and awards strategists in the current coronavirus climate.
The dates for the Creative Emmy Awards and Primetime Emmy shows remain unchanged respectively on Sept. 12-13 and Sept. 20, and will only be moved should state and national safety directives deem them to be, should the coronavirus worsen.
This morning’s big changes involve the entry deadline moving close to four weeks from May 11 to June 5, and the Phase one voting period jumping from June 15-29 to July 2-13 with the new nominations announcement date being July 28 instead of July 14. The Phase one period thus shrinks from 15 days to 12 days.
Phase 2 voting, which was originally set for Aug 17-31, will start slightly later, and shave off four days, now occurring between Aug. 21-31.
Also being extended is the eligibility date for hanging episodes for regular series and limited series, as the TV Academy takes into account production and programming delays. Now, all hanging episodes must broadcast or post on an accessible platform by June 30, instead of May 31. Both regular and limited series must still premiere by the end of this year’s eligibility date which remains May 31. A minimum of six episodes continues to be required for a show to be qualified in the series category. A limited series in its entirety must air or post on a platform before June 30, and if it doesn’t, then the limited series will qualify in the 2020-2021 Emmy year.
Meanwhile, all TV Academy FYC events “whether with a live audience, streaming or recorded for posting on a viewing platform” per the org remain suspended for the current Emmy season.
In recent weeks, the TV Academy appeared to be standing firm on their original voting and eligibility dates. However, TV publicists and Emmy campaign strategists reportedly voiced their reservations about promoting too heavily and too soon, thus wanting to exercise a greater degree of sensitivity in a spring that’s been rocked by COVID-19: Many productions have shut down, leaving many out of work, and the whole atmosphere across the nation is rather dour as we all self quarantine. Emmy season has traditionally been decked with glam marketing, billboards, food trucks, stunt events, big DVD boxes and soirees. Earlier this year, to tame some of that, the TV Academy banned DVD mailers to voters, and in doing so, favored online screeners. The hope here with the TV Academy’s tweaking of the FYC calendar is that we’ll be on the other side of the curve in regards to coronavirus, and in a lighter-spirited environment. Between the entertainment capitals, New York City currently counts 23K COVID-19 cases and 365 deaths as of yesterday while Los Angeles counts 1,2K cases...
On Friday, April 3, Apple TV+ releases all 10 episodes of the first season of its mystery-thriller “Home Before Dark.” Inspired by the life of Hilde Lysiak, a young journalist who gained national notoriety at age nine when she scooped a local homicide case in her Pennsylvania hometown, the Jon M. Chu-directed and executive produced series has already been renewed for a second season.
Created and executive produced by Dana Fox and Dara Resnick, “Home Before Dark” follows Brooklynn Prince as Hilde Lysko, a nine-year-old journalist whose family's cross-country move from New York to her father's Jim Sturgess small Washington hometown leads her to investigate a dark, deeply buried mystery from decades ago.
IndieWire spoke with “Home Before Dark” co-showrunner and co-creator Dana Fox about the series, from the process of making a bingeable mystery-thriller she hadn’t seen before to her transition from comedy to drama to the unexpected “Justified” reunion.
This interview has been edited and condensed for length and clarity.
Getty Images/David Livingston/Stringer
IndieWire: How exactly did you come to co-create “Home Before Dark”? How did you come to Hilde Lysiak’s story?
Fox: Basically, my dear friend Joy Gorman Wettels, who’s an amazing producer — she was my manager for a long time and then she started producing, as well — she was at the Tribeca Awards, and there were a bunch of adults winning awards for cool things. And then, this little nine-year-old girl stood up and gave this incredible speech and was incredibly poised. She started talking about the need for journalists and how important it was to try to find the truth, and it really resonated with Joy. We weren’t even deeply in the times that we are in now, but it’s something that was feeling important already.
And so Joy was talking to the people next to her about how extraordinary this little girl was, and it turned out to be Hilde’s parents. So she joked, “I have a five-year-old, can you come move in with me, and help me raise my daughter, because this girl is amazing.” And so they struck up a conversation, they got along, and eventually, Hilde was featured in the New York Times for essentially scooping her local paper on a murder.
Joy was in a very competitive situation with a lot of other producers and they were all talking to Hilde and her parents on the phone and they had all these conversations. Joy ended up winning the rights and when she did, afterwards she said, “Why did you pick me?” And Hilde’s...