The Emmy race has never been so crowded for those who work behind the camera on TV’s most acclaimed series.
While these directors below have never won Emmys, their work on this year’s behemoth dramas, side-splitting comedies and touching limited series could change in September.
As creator and showrunner of Netflix’s limited series “Beef,” Jin guides the series from its road rage incident to its dizzying conclusion. In addition to writing multiple episodes, the veteran comedy writer is finally stepping behind the camera to make his directorial debut in the finale.
After directing Max’s “It’s a Sin,” Hoar directed “Long, Long Time,” the third episode of HBO’s freshman hit “The Last of Us” — perhaps the most-rated TV episode this year. . The feature film tells the story of Bill (Nick Offerman) and Frank (Murray Bartlett), who find love in the aftermath of the mushroom apocalypse. In the thick of it, Hoar’s delicate yet assertive direction has earned him resounding praise that could earn him a nomination.
Peacock’s “Poker Face” isn’t Johnson’s first foray into television. The Oscar nominee helmed one of television’s most beloved episodes with the penultimate release of “Breaking Bad” “Ozymandias.” But he wasn’t nominated for an Emmy, making his work on the pilot episode of “Poker Face” the perfect opportunity for voters to recognize him.
As the second woman to direct an episode from the hallowed halls of the ‘Games of Thrones’ franchise, Kilner makes impressive debuts behind the camera for three of the most significant episodes in ‘House of the Dragon’s freshman run. – the battle in “Second of His Name” (episode 4), the characteristic chaotic marriage in “We Light the Way” (episode 5) and the political coup in “The Green Council” (episode 9).
Best known for movies like “The Spectacular Now” and “The End of the Tour,” Pondsoldt brought his brand of comedy-drama to Apple TV+’s new therapy series “Shrinking” for the pilot, fourth, and fifth episodes. It also never hurts to appear elsewhere on the ballot, which could happen to Pondsoldt. He directed the first half of Amazon’s rock and roll limited series “Daisy Jones & the Six.”
Speaking of “Daisy Jones & the Six,” it was no easy task to end the decades-long story on a satisfying note. But Stewart rose to the occasion with “Track 8: Looks Like We Made It.” His experience directing music videos for Jay-Z and Missy Elliott and his recent episodic work on Netflix’s “Maid” and “Inventing Anna” made him an excellent choice to bring back this musical saga – and possibly Emmy gold. – at home.
The tone and tension driving FX’s category-defying series “The Bear” begins with Storer’s direction in the pilot episode. As showrunner and creator, Storer led over half of the first season and figured out the kind of environment he needed to build inside the kitchen. And then he executed it with the precision of a master chef.
Watts took a break from delivering some of Marvel’s most successful theatrical hits — the last three “Spider-Man” movies — to direct the pilot for FX’s Jeff Bridges-directed drama “The Old Man.” While it’s been nearly a year since the series premiered, Watts’ tense direction, coupled with his name recognition in the industry, firmly positions him as an Emmy contender.