Emmys show that good TV isn’t escapism

Last Sunday’s Emmy Awards witnessed a multitude of progressive achievements. In a year where television leaned more toward sociopolitical commentary than escapism from sociopolitical issues, the Academy of Television Arts and Sciences recognized Lena Waithe, Riz Ahmed and Donald Glover as firsts in their respective categories. Waithe, recognized for Writing for a Comedy Series, was the first black woman to win the award; Ahmed was the first South Asian man to secure an Emmy for acting; Glover was the first black person to win the comedy directing statue for his work on Atlanta.

It is a profound and empowering point that these artists were recognized for complicated and compelling work that pulled from their own cultural themes and further pushed the boundaries of television.  

On the red carpet, the creator and star of HBO’s Insecure Issa Rae commented, “I’m rooting for everybody black,” in an interview with Variety. On Twitter, there were those who immediately leapt to criticize her, asserting that it is hypocritical to evaluate artists based on their race. On the other hand, there is the alluring and empowering move of supporting artists who have shared one’s struggle and whose victories clearly hold large implications — a choice perhaps justified by the current political climate.

It’s a thinking that works, and that emboldens minorities and minority artists, and that ultimately moves this industry forward. But at the end of the day, and at the beginning of tomorrow, what completes the desperate void Hollywood is finally filling is attention paid to everyone: to the black, Asian American, Hispanic, LGBTQ+ and disabled artists, and everyone who does not fit into what has always been.

No minority voice, even one that belongs to someone in a position of influence, should be interpreted as speaking for everyone in their “group.” It is utterly important to advocate for those who share one’s culture, heritage, upbringing and stories, especially ones that present complicated, flawed characters, who stand uniquely for themselves.

At the same time, it is imperative to advocate for the stories of minorities across the board and to recognize that the tapestry of television becomes only richer when more diversity is added.

It is imperative to recognize that the Emmy Awards last Sunday did not mark the peak of TV as an industry of progress but instead its beautiful beginning, to understand that the most brilliant and original art is created when diversity and intersectionality convene.

Last night, The Handmaid’s Tale took home the award for best drama series, and though it has received its fair share of criticism leveled toward its depiction of mostly white femininity, it is a startling reality that the show won when Stranger Things, The Crown or Westworld could just as easily have sprung to victory.

Instead of delving into the past or nodding its head toward a world of fantasy, the Academy chose to honor a work based on a novel that has always been about the tremendous worth of women, the inherent power in each of them and the horrifyingly real concept of a nation that disregards their rights to their own bodies.

Television remains one of the most fearless and experimental forms of entertainment, and it is no coincidence that this medium and its players are embracing their potential to push social change. For both the artists and the audiences they stand to inspire, it has never been a more exciting time.

Zoe Cheng is a junior majoring in writing for screen and television. Her column, “Cross Section,” runs every Tuesday.