How Many Emmys Should ‘Severance’ Actually Win This Year?

Should “Severance” Win… Outstanding Directing for a Drama Series?

Yup.

Nominees:
– “Andor” (Janus Metz)
– “The Pitt” (Amanda Marsalis)
– “The Pitt” (John Wells)
– “Severance” (Jessica Lee Gagné)
– “Severance” (Ben Stiller)
– “Slow Horses” (Adam Randall)
– “The White Lotus” (Mike White)

I am, admittedly, a pushover for Ben Stiller’s directorial projects. (I’ve seen “The Secret Life of Walter Mitty” multiple times and each viewing only makes me appreciate it more.) But I think his episode is one of two “correct” choices in a field filled with respectable offerings. Mike White’s nomination feels like it’s for the totality of his vision for “The White Lotus” Season 3, which I enjoyed more than most, yet still lacks the dynamic distinction seen in the other directing nominees. “The Pitt” is a masterclass in pacing and balance, but aside from the stomach-turning shots of in-progress operations, the real-time medical drama’s efficiency stands out more than any of its visual compositions. Adam Randall’s “Slow Horses” episode is a doozy — River’s fateful dinner discussion and the invasion of Slough House are two impressive set pieces — but it’s not a visual showcase like those from “Severance” and “Andor.” If Janus Metz wins here, I’ll be thrilled, but if I had to pick one winner, it would be Stiller — who, despite nominations for “Escape at Dannemora” and “Severance” Season 1, has yet to win an Emmy for directing.

Should “Severance” Win… Outstanding Writing for a Drama Series?

Not quite.

Nominees:
– “Andor” (Dan Gilroy)
– “The Pitt” (Joe Sachs)
– “The Pitt” (R. Scott Gemmill)
– “Severance” (Dan Erickson)
– “Slow Horses” (Will Smith)
– “The White Lotus” (Mike White)

Will Smith won last year, in a surprising (and welcome) upset of “Shōgun,” so let’s hope for the same in 2025 — not that “Severance” doesn’t deserve to win, just that “Andor” deserves it slightly more. While it may seem odd for Dan Gilroy to represent the series instead of his brother and showrunner, Tony Gilroy, “Andor” is nominated for Episode 9, “Welcome to the Rebellion,” which isn’t just a tense, tightly plotted hour where Cassian (Diego Luna) has to smuggle a Senator out of her own Galactic Senate building, it’s also the episode where Mon Mothma (Genevieve O’Reilly) gives her pivotal and exemplary speech decrying the Empire’s attack on Ghorman as “genocide.” A win here wouldn’t just acknowledge “Andor’s” impeccable scripts, but also give a nice nod to acting snubs Luna and O’Reilly, whose performances are essential to appreciateing Episode 9’s eloquent and timely message.

Should “Severance” Win… Outstanding Supporting Actress in a Drama Series?

No, sorry, not by a longshot.

Nominees:
– Patricia Arquette, “Severance”
– Carrie Coon, “The White Lotus”
– Katherine LaNasa, “The Pitt”
– Julianne Nicholson, “Paradise”
– Parker Posey, “The White Lotus”
– Natasha Rothwell, “The White Lotus”
– Aimee Lou Wood, “The White Lotus”

It’s Carrie Coon or, maybe — maybe — Katherine LaNasa. End of conversation. Don’t screw this up, TV Academy.

Should “Severance” Win… Outstanding Supporting Actor in a Drama Series?

Not this year.

Nominees:
– Zach Cherry, “Severance”
– Walton Goggins, “The White Lotus”
– Jason Isaacs, “The White Lotus”
– James Marsden, “Paradise”
– Sam Rockwell, “The White Lotus”
– Tramell Tillman, “Severance”
– John Turturro, “Severance”

Even those who embraced the “White Lotus” backlash have to give it up for the actors. Whether you’re in the tank for Walton Goggins (raises hand), Jason Issacs (arguably the best performance in Season 3), or Sam Rockwell (who would’ve won Guest Actor, had he been eligible), that’s where the votes belong, even though “Severance” stars Tramell Tillman, John Turturro, and Zach Cherry were all strong this season.

Should “Severance” Win… Outstanding Title Design?

You betcha.

Nominees:
– “Dark Matter” (Ronnie Koff)
– “The Decameron” (Mark Bashore, Katrina Crawford)
– “House of the Dragon” (Garson Yu)
– “The Penguin” (Aaron Becker)
– “Severance” (Oliver Latta)
– “The White Lotus” (Katrina Crawford)

Sometimes the obvious choice is also the right one. Had “Severance” simply trotted out its Season 1 titles, I wouldn’t vote for it. (I also don’t think it would’ve been eligible.) But creative director Oliver Latta returned to make an entirely new sequence themed around the events of Season 2, and it’s just as entrancing as the original version. With respect to Ronnie Koff’s mysterious Tetris-like sequence in “Dark Matter” and yet another alluring gem from “White Lotus” designer Katrina Crawford, “Severance” — which won for Season 1 — deserves to defend its title(s) here.

Should “Severance” Win… Outstanding Cinematography for a Series (One Hour)?

Oof, sorry, but no.

Nominees:
– “Andor” (Christophe Nuyens)
– “The Day of the Jackal” (Christopher Ross)
– “Étoile” (M. David Mullen)
– “Pachinko” (Ante Cheng)
– “Severance” (Jessica Lee Gagné)
– “The White Lotus” (Ben Kutchins)

It’s “Pachinko.” I love the look of “Andor” and “Severance” — two of the sleekest science-fiction series out there that still feel rich and alive with colors, textures, and movement — but Ante Cheng’s work on the criminally underseen Apple TV+ drama is flat-out gorgeous, bringing aching intimacy to the grandest moments and stunning grandeur to the most intimate interactions. Beautiful, thoughtful, the whole shebang. Vote “Pachinko.”

Should “Severance” Win… Outstanding Choreography for Scripted Programming?

Instinctively, I want to say yes, but really, it’s a no.

Nominees:
– “Bridgerton” (Sean “Jack” Murphy)
– “Doctor Who” (Jack Murphy)
– “Étoile” (Marguerite Derricks)
– “Severance” (Andrew Turteltaub)
– “Will Trent” (Danielle Stern, Lance Guillermo)

Apple TV+ has repeatedly trotted out Tramell Tillman and his “Music Dance Experience” during various FYC events, adding an exciting live element to panels that rarely dream bigger than a group discussion. But that doesn’t mean “Severance” has the best choreography on TV, a fact emphasized by the inclusion of “Bridgerton” and “Étoile” in this category. The former strives for period accurate dances, while the latter is a series literally built around ballet — for all its flaws (including how the choreography was shot), “Étoile” deserves this Emmy.

Should “Severance” Win… Outstanding Picture Editing for a Drama Series?

Yes, but others should, too.

Nominees:
– “Andor” (Yan Miles)
– “The Last of Us” (Timothy A. Good)
– “Severance” (Joseph Landauer)
– “Severance” (Keith Fraase)
– “Severance” (Geoffrey Richman)
– “The White Lotus” (John M. Valerio, Scott Turner)

OK, there’s only one wrong answer among this group, and it’s “The White Lotus.” While I’m a fan of how the finale comes together — a few oft-memed scenes stand as a testament to John M. Valerio and Scott Turner’s skills — the episode as a whole doesn’t have the taut urgency of “Andor,” the discerning brutality of “The Last of Us,” or the artful dexterity of “Severance.” Among the latter’s three nominees, I’d give the edge to Keith Frasse, who handled “Chikhai Bardo,” the time-hopping flashback episode which depends on smooth, transfixing editing to envelop the audience in its flood of memories. But you can’t sleep on Geoffrey Richman’s finale, either. The conversation between Mark’s Innie and Outie is electric, dense, and a challenge. Just getting the timing right had to take forever, and Richman is also balancing that pivotal scene against the episode’s plentiful other storylines. Either would make a fine choice, and I didn’t even get into the merits of “Andor” — an astonishingly tense episode with immense emotional payoffs that always feels completely steady. Man. I don’t envy the actual voters this time. But we should all take comfort knowing they can’t fuck this one up.

Should “Severance” Win… Outstanding Special Visual Effects in a Single Episode?

Yes?

Nominees:
– “Black Mirror”
– “The Penguin”
– “The Residence”
– “Severance”
– “The Umbrella Academy”

Cards on the table: I haven’t seen “Black Mirror” or “The Umbrella Academy,” so I don’t feel fully comfortable making a recommendation here. But I’m sure plenty of Emmy voters will find themselves in the same position, so in their (dis)honor, I’ll give my tentative vote to “Severance.” That team did the work.

Should “Severance” Win… Outstanding Casting for a Drama Series?

Nah.

Nominees:
– “The Last of Us” (Mary Vernieu)
– “The Pitt” (Cathy Sandrich Gelfond)
– “Severance” (Rachel Tenner)
– “Slow Horses” (Nina Gold)
– “The White Lotus” (Meredith Tucker)

Under different circumstances, adding Merritt Wever would be reason enough to warrant an Emmy win for Rachel Tenner. I’m of the mindset that it’s a greater feat to cast a large ensemble filled with relative unknowns than to add to an existing cast (“Severance,” “The Last of Us,” “Slow Horses”) or build a new one with proven talent (“The White Lotus”), so “The Pitt” has this one locked down.

Should “Severance” Win… Outstanding Production Design for a Narrative Contemporary Program (One Hour or More)?

Yes.

Nominees:
– “The Last of Us” (Don MacAulay)
– “The Penguin” (Kallina Ivanov)
– “The Residence” (Francois Audouy)
– “Severance” (Jeremy Hindle)
– “The White Lotus” (Cristina Onori)

Talk about a stacked category! “The Penguin” has the unenviable task of replicating the aesthetic highs of a beloved blockbuster film (“The Batman”) while still distinguishing itself enough to stand on its own webbed feet. “The Last of Us” delivered the most impressive scale of any nominee with Episode 2, “Through the Valley” (when the zombies emerged from the snow and swarmed the little fort town). “The Residence” has its setting built into its title and leaned heavily on its convincing replications of The White House. And “The White Lotus” used subtle décor decisions to expand our understanding of each character (and their experience in Thailand).

But I still have to vote for “Severance,” which simultaneously leaned into its haunting office environment and repeatedly escaped it in an eye-popping Season 2. Much was made about how much money Apple spent on its hit drama’s sophomore run, but perhaps not enough was said for how much of that money made its way onscreen. Kudos to Jeremy Hindle for putting in the work.

Should “Severance” Win… Outstanding Sound Editing for a Comedy or Drama Series (One Hour)?

Nope.

Nominees:
– “Andor”
– “The Last of Us”
– “The Pitt”
– “Severance”

With no animated titles nominated this year, my priority turns to soundscapes that have been built largely (not entirely) from scratch, and that favors “Andor.” Also favoring “Andor”: its nominated episode, “Who Are You?,” which pivots around the Ghorman Massacre — an event that’s scope is outlined clearly by the script, but can only be felt thanks to the production design, direction, performances, and soundscape. The audio engineered here has to be grounded enough to resonate with viewers (many of whom see historic parallels in the fascist takeover) yet futuristic enough to fit the “Star Wars” aesthetic. Doing both is tricky, and that doesn’t even begin to consider the actual action within. It’s quite a feat, among a number of impressive nominees (“The Last of Us” is up for its second episode, which features insane zombie antics), so yes, this should go to “Andor.”

Should “Severance” Win… Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)?

Yes!

Nominees:
– “Andor”
– “The Last of Us”
– “The Pitt”
– “Severance”
– “The White Lotus”

As a reminder: Sound Mixing recognizes work done almost completely in post-production, where created, added, and recorded sounds are balanced against each other. Honestly, as impressed as I am with the stripped-bare reality of “The Pitt” and the overwhelming warzones in “Andor” and “The Last of Us,” “Severance” is a distinct, intense, and diverse blend of audio cues. The Season 2 finale is especially potent, so yes, I think it deserves the honor here. Tech wizards may disagree, and I welcome their assessments, but for my money, “Cold Harbor” is a magnificent mix of the original score, additional songs, specific sound effects, and an appreciable tone that ties them all together.

Should “Severance” Win… Outstanding Music Composition for a Series (Original Dramatic Score)?

No!

Nominees:
– “Andor” (Brandon Roberts)
– “Based on a True Story” (Sherri Chung)
– “Cobra Kai” (Leo Birenberg, Zach Robinson)
– “Severance” (Theodore Shapiro)
– “The Studio” (Antonio Sánchez)
– “The White Lotus” (Cristobal Tapia de Veer)

As I said when assessing “The Studio’s” Emmy worthiness, it’s “Andor.” Obviously. Just listen to it. Moving on.

Should “Severance” Win… Outstanding Music Supervision?

Not really.

Nominees:
– “Hacks” (Matt Biffa)
– “The Last of Us” (Evyen Klean, Ian Broucek, Scott Hanau)
– “The Righteous Gemstones” (DeVoe Yates, Gabe Hilfer)
– “Severance” (George Drakoullas)
– “The Studio” (Gabe Hilfer)
– “The White Lotus” (Gabe Hilfer)

Sorry George Drakoullas, your work is impressive, and sorry to my loyal readers for repeating myself once more, but what a year for Gabe Hilfer! Before this year’s three nominations, he had two nods— for “Ozark” in 2022 and “The White Lotus” in 2023 — the latter of which he won for. Does he deserve another? Yes, I think so, though my vote is for “The Righteous Gemstones,” a comedy whose curated song selections span quite a range of eras and styles, while offering up plenty of toe-tapping favorites.

Should “Severance” Win… Outstanding Stunt Performance?

No?

Nominees:
– “The Boys”
– “FBI: Most Wanted”
– “The Penguin”
– “The Rookie”
– “Severance”

It’s only this category’s fifth year of existence (there used to just be Outstanding Stunt Coordination, before the TV Academy added a specific honor for stunt performers), and yes, “The Boys” won for Stunt Coordination two years ago, but doesn’t it seem wrong for Amazon’s gruesome superhero satire to be blanked in any stunt category? The “Severance” finale certainly required some physical challenges, but “The Boys” is basically inventing them every episode, and the execution never misses a beat.

Should “Severance” Win… Outstanding Guest Actress in a Drama Series?

Nope.

Nominees:
– Jane Alexander, “Severance”
– Gwendoline Christie, “Severance”
– Kaitlyn Dever, “The Last of Us”
– Cherry Jones, “The Handmaid’s Tale”
– Catherine O’Hara, “The Last of Us”
– Merritt Wever, “Severance”

Catherine O’Hara deservers to win one, if not both, of her categories, so with apologies to the always-excellent Merritt Wever (and a legitimately chilling Kaitlyn Dever), this belongs to our favorite Canadian improv artist.

Should “Severance” Win… Outstanding Lead Actress in a Drama Series?

Tight race, but yes.

Nominees:
– Kathy Bates, “Matlock”
– Sharon Horgan, “Bad Sisters”
– Britt Lower, “Severance”
– Bella Ramsey, “The Last of Us”
– Keri Russell, “The Diplomat”

Kathy Bates is a 15-time Emmy nominee with two wins already under her belt, and she’s about to land her third for “Matlock.” She’s a legend, she’s wonderful, and she’s really great in her latest role. That she’s also the only person in the category who already has an Emmy (two, even) probably shouldn’t factor in to whether she should get another, but in a field this stacked, you gotta look for tiebreakers somewhere. Bella Ramsey and Britt Lower’s careers would benefit the most, at this stage, from an Emmy win, and Lower’s multi-faced (and multifaceted) turn as Helena Eagan and Helly R required a level of external precision and internal understanding that elevates her work above the pack. So yes, I’d vote for Lower, so long as I didn’t lose control of my hand as it hovered over Keri Russell’s name. In six nominations — three each for “The Diplomat” and “The Americans” — how the hell has she never won?

Should “Severance” Win… Outstanding Lead Actor in a Drama Series?

Absolutely.

Nominees:
– Sterling K. Brown, “Paradise”
– Gary Oldman, “Slow Horses”
– Pedro Pascal, “The Last of Us”
– Adam Scott, “Severance”
– Noah Wyle, “The Pitt”

With apologies to the “Pitt”-heads out there, Adam Scott absolutely deserves to win. Yes, Noah Wyle’s work in the not-“E.R.” medical drama is especially endearing, as the former Dr. Carter imbues his new doc with nearly endless empathy, heroic leadership, and at least one unforgettable moment of raw vulnerability. He’s an easy actor to love, playing a character who’s also easy to love, in a role built to cradle the audience’s many big emotions from start to finish.

Neither of Scott’s dual roles are so inviting. Mark S. (the Innie) and Mark Scout (the Outie) are well-defined unto themselves, with Scott bringing effortless everyman charisma to lighter scenes just as convincingly as he channels bottomed-out despair in darker moments. His eyes can hold a charge or lose all signs of life in an instant, which is an attribute “Severance” takes full advantage of as the Marks ping-pong between helping each other and fighting for their own, singular life.

But by the end of the season, not everyone wants to reach out and hug the Marks — they’re just as likely to want to throttle him (one of them, at least) — which is why I expect Wyle to win the Emmy. (Voters tend to prefer performances that make them feel good.) But I would vote for Scott, whose deft juggling act is one of the trickier acting challenges I can remember, and one I’m so excited to see continue.

Should “Severance” Win… Outstanding Drama Series?

Maybe tomorrow, but today it’s a “no.”

Nominees:
– “Andor”
– “The Diplomat”
– “The Last of Us”
– “Paradise”
– “The Pitt”
– “Severance”
– “Slow Horses”
– “The White Lotus”

The Emmy prognosticators of the world may be torn between predicting “Severance” or “The Pitt” to win Best Drama Series, but the voters should be torn between voting for “Severance” and “Andor,” as I find myself today. While reserving the right to change my mind and celebrate at the big fancy post-Emmys Apple party in September, I gotta go with “Andor” — it’s the last season, and I actually think “Severance” can top itself in Season 3, so why not honor Tony Gilroy’s never-to-be-seen-again feat while we can?

Final Tally: “Severance” should win eight (8) Emmys at the 77th Annual Emmy Awards (out of 20 categories and 27 total nominations). That’s a very respectable haul, should it come to pass — more than “Succession” won in a single season, and as many as “The Last of Us” took home for its first season. Plus, if I were a betting man, I’d take the over.

Apple, enjoy the night.