On Sept. 14, the Emmys took over Los Angeles. Fans crowded outside the Peacock Theater downtown and social media was abuzz with runway looks, interview clips and emotional speeches. But, are awards shows really worth this level of hype?

Despite their glitz, awards shows have steadily lost their relevance and credibility. Once seen as an ultimate measure of artistic achievement, these ceremonies are increasingly out of touch with their audiences: Viewers today tune in for viral clips on social media rather than hours-long broadcasts.

Although rising viewership numbers — as seen in the Emmys’ highest viewership recorded since 2021 — imply that the watchability and credibility of award shows are just as resonant with audiences as they have been historically, Trojans hoping to enter creative industries should not consider getting one of these coveted awards as the epitome of success.

For decades, ceremonies like the Emmys, GRAMMYs, Oscars and Tonys have operated on an illusion of unshakable prestige — often symbolized by the pursuit of a combination of those awards, an EGOT — that masks their fluctuating relevance and contested cultural value. 

In recent years, the viewership of awards ceremonies have cratered. According to a 2024 article by the National Research Group, viewers perceive these shows as soulless, lengthy and out of touch. Though some awarding bodies established minor changes, such as when the Oscars introduced new diversity and inclusion standards for Best Picture eligibility in 2020 — they still lack necessary diversity. 

Additionally, the voting bodies carry substantial subconscious bias and remain swayed by industry pressures: The Academy’s membership was 81% white and 67% male, despite these recent reform efforts, according to a 2022 analysis by the Hollywood Reporter.

Voting and membership trends in groups like the Academy show that there are still glaring diversity gaps in Hollywood, despite recent releases portraying underrepresented groups finally gaining critical and audience recognition. For example, “Everything Everywhere All at Once” (2022) broke several Oscars records, but there is still a long way to go in increasing visibility for underrepresented groups in mainstream cinema. 

In 2023, the hashtag #OscarsSoWhite went viral again, years after its 2015 origin, reminding audiences that Hollywood’s institutions have yet to make substantial progress in addressing representation. 

There is a fundamental disconnect between audiences and voting bodies — many of the series and artists honored no longer have sweeping cultural reach. Viewers see these snubs as their stories and their representation being overlooked and undervalued. 

Although award show “snubs” are subjective, in recent years, a significant number of perceived snubs have undermined the credibility of voting bodies, harming audience trust. Greta Gerwig’s lack of nomination for Best Director for “Barbie” (2023) and Beyoncé’s “Renaissance” (2022) losing Album of the Year are just two high-profile examples that angered many viewers.

Although broadcast awards have had recent improvements in ratings and audience approval, they are still unpredictable and should not be used as a measurement of success. They fail to represent the true perspectives of audiences and the cultural impact that less-awarded films, shows and music might have. 

Until Michelle Yeoh and her performance in “Everything Everywhere All At Once” (2022) made headlines for winning Best Actress, the last person of color to win an Academy Award was Halle Berry for her performance in “Monster’s Ball” (2002). But the awards are increasingly irrelevant when it comes to signaling the impact of art.

The entertainment industry has long relied on these ceremonies to signal quality, drive careers and shape film and music taste across demographics. But now, consumers get recommendations from social media and spread the word about shows, films and music on content-focused platforms. Online, they can connect with other fans and receive algorithm-based recommendations that align with their preferences that they may not have seen otherwise.

For Trojans hoping to achieve success in the film and music industries, the message from these criticisms and trends is clear: The path to success is no longer as simple as gaining the approval of a small group of insiders. Instead, it’s about being in tune with one’s creativity and focusing on direct impact toward audiences, whether through streaming, festivals or online communities. 

Plenty of Trojans have not won Academy Awards but still were able to find mainstream success. For example, Ryan Coogler has yet to win an Oscar, despite his incredibly successful films, including “Black Panther” (2018), “Judas and the Black Messiah” (2021) and “Sinners” (2025). He found success through storytelling and connecting with underrepresented audiences rather than just focusing on winning major awards.

USC students should look critically at how artistic success is measured. Artists can now build careers through festival buzz, social media fame and direct engagement with fans. These channels can better reflect audience appreciation, offer visibility and open doors to future opportunities. 

For example, Chappell Roan originally skyrocketed in fame after gaining virality on TikTok from her “HOT TO GO!” dance in August 2023, and the momentum didn’t slow, especially after her Coachella performance in 2024.

Ultimately, the waning credibility and viewership of award shows signals the shift in how consumers define taste and success for themselves rather than letting elitist critics do it for them. For the multitude of young creatives at USC, now is the time to seek artistic growth and validation beyond the red carpet, because success can come from finding your own authentic path and truly connecting with the people who consume your art.

By creating new standards of excellence and finding validation within ourselves — rather than outdated awards and elites’ approval — Trojans can help lead a cultural shift toward more inclusive and authentic measures of artistic success.