As Emmy week approaches, we celebrate the exceptional televised entertainment of this season, dispelling the notion that Hollywood is devoid of fresh ideas.
A quick look at the comedy, drama, and limited/anthology series categories shows that most nominees are based on original concepts, not pre-existing intellectual property.
HBO Max’s “The Pitt” is a standout drama, drawing inspiration from top medical series yet remaining an original creation by R. Scott Gemmill. It offers unique storytelling and contemporary insights into the flawed U.S. healthcare system.
Other drama contenders include Hulu’s “Paradise,” a post-apocalyptic tale by Dan Fogelman; Apple TV’s “Your Friends and Neighbors,” conceptualized by Jonathan Tropper, who also created Apple’s “Lucky”; Netflix’s “The Diplomat” by Debora Cahn; Apple TV’s “Pluribus” by Vince Gilligan; and HBO Max’s “The Gilded Age” by Julian Fellowes, known for exploring historical periods in projects like “Downton Abbey.”
Only two drama series nominees are drawn from existing IP: Apple TV’s “Slow Horses,” based on Mick Herron’s “Slough House” novels and adapted by Will Smith (not the actor), and HBO Max’s “A Knight of the Seven Kingdoms,” sourced from George R.R. Martin’s “Tales of Dunk and Egg” within the “Game of Thrones” universe.
The comedy category also showcases many original works. “Widow’s Bay,” an Apple horror comedy by Katie Dippold, exemplifies how fresh ideas can achieve great success. Competing for the top spot is HBO Max’s “Hacks,” ending its five-season run as the successful creation of Jen Statsky, Paul W. Downs, and Lucia Aniello.
Other notable entries include Apple TV’s “Shrinking” by Bill Lawrence, Jason Segel, and Brett Goldstein; Netflix’s “Nobody Wants This” by Erin Foster, which draws from her life; Hulu’s “Only Murders in the Building” by Steve Martin and John Hoffman; ABC’s “Abbott Elementary” by Quinta Brunson, inspired by her teacher mother; and “The Bear” by Christopher Storer.
Among the comedies, only Apple TV’s “Margo’s Got Money Troubles” is based on IP, adapted by David E. Kelley from Rufi Thorpe’s 2024 novel.
In the limited/anthology category, typically a haven for adaptations, originals dominate this year. The frontrunners, Netflix’s “Beef” by Lee Sung Jin and HBO Max’s “DTF St. Louis” by Steven Conrad, are both original creations, as is Netflix’s “The Beast in Me” by Gabe Rotter.
Peacock’s “All Her Fault” is adapted from Andrea Mara’s 2021 novel, marking a win for IP. FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette” is inspired by real-life events and a biography, placing it in a unique category.
As we close the Emmy season, it’s important to focus on the positive. Despite the challenges of A.I., social media, and industry uncertainties, television continues to thrive with creativity.
While there is nothing inherently wrong with IP, this season has seen inventive reinterpretations of franchises such as “Stuart Fails to Save the Universe,” “Lanterns,” and the new “A Different World.”
For this Emmy season, regardless of who wins on September 14—whether “The Pitt” or “Pluribus,” “Hacks” or “Widow’s Bay,” or “Beef” or “DTF St. Louis”—originality is the true victor.
