Emmy-overlooked Jill Scott on HBO’s The No. 1 Ladies’ Detective Agency.

Suffragette City

Emmy Nominations / Emmy Abominations

[24 August 2009]

And the nominees for Best 'White' Actress on Television are… the exact same group of women who are nominated every single year by the unimaginative voting bloc.

By Matt Mazur

PopMatters Contributing Editor

The 2009 Emmy Awards air Sunday, 20 September.

Emmy voters historically favor heavy-hitting dramatics in the Lead Actress in a Drama Series category. Among the nominees this year are Glenn Close for Damages, Sally Field for Brothers and Sisters, Mariska Hargitay for Law and Order: Special Victims Unit, Holly Hunter for Saving Grace and Kyra Sedgwick for The Closer. The list reads like a virtual who’s who of former Oscar darlings and film industry stalwarts now operating exclusively, even respectably, in series television. Between these five women, there is already a whopping 32 Emmy nominations accrued in various categories. 

This year a major rule change in the Emmy nominations happened: they changed the number of nominees in each category from five to six and the pundits agreed that this could be the injection of adrenaline to the awards’ heart that could finally mix things up in the otherwise deadlocked competitions such as Lead Actress in a Drama Series. Still, the five past nominees that have the category in a virtual stranglehold all still made it (though Elizabeth Moss did receive an inaugural nod for Mad Men).

It could be said that these women made it in on name alone, after all this is the same organization that gave Ellen Burstyn an undeserved nomination a few years ago for a performance that lasted a whole 14 seconds. They like to have the big name Academy Award-winning/nominated movie stars showing up at the ceremony, apparently. It is probably good for ratings.

The problem with the category lays not so much in the performances of the nominated women, though it can easily be argued that a few of those performances aren’t even very good. The most troubling thing about Lead Actress in a Drama Series is the ongoing, complete lack of recognition for women of color, specifically for African American women. In fact, only one black woman has ever been nominated as Best Actress in a Drama series in the category’s history: Regina Taylor in ’92 and ’93 for I’ll Fly Away.

Taylor of course lost the award twice, to Patricia Wettig (thirtysomething and Dana Delaney (China Beach, despite giving an arguably stronger performance than both women. African American performers such as Alfre Woodard, Lynn Whitfield, Cicely Tyson, Halle Berry, and Whoopi Goldberg have taken home Emmy statuettes for performances in other categories, but it is positively shameful that there has never been an African American winner in the category of Lead Actress Drama Series and only a single black female amongst the nominees in some 40 years  (Taylor counts as the single nominee while Diahann Carroll was recognized, in 1969 for Julia, in the now-defunct “Continued Performance by an Actress” category and also lost her bid).

Of course, when it comes to Lead Actress in a Comedy Series, voters seem to be able to allow for a few more African American women to join the club: one black woman has won for Comedic actress in the entire history of the awards. Isabel Sanford, first nominated in 1979 for her brilliant work on The Jeffersons, took home a deserved statue in 1981, nearly 30 years after the awards’ inception. Again, that was almost 30 years ago, and no other African American woman has won in that category since.

Only Phylicia Rashad and Nell Carter have managed nominations in the Lead Actress in a Comedy Series, for The Cosby Show and Gimme a Break! respectively, in the early ‘80s. The lead actress categories for series television after these three mentions would be devoid of even a single African American nominee other than Taylor’s back to back nods in the dramatic category in the early ‘90s.

Why is nobody talking about this?! What does an African American woman need to do to be recognized in the Lead Actress in a Drama Series category at the Emmys?

For a while, there was buzz that Jill Scott (HBO’s The No. 1 Ladies’ Detective Agency), respected former Oscar nominee Angela Bassett (ER) and the underrated Regina King (Southland) were all at least on the radar for Emmy nominations this year. Instead, Emmy voters have chosen to “honor” the same white women again, as though the work being put out by women of color is not deserving of accolades or attention. 

In Scott’s case, the snub is particularly distressing as she carried her show impeccably, bringing Alexander McCall Smith’s beloved character (“Precious Ramotswe”) to vivid life for director Anthony Minghella, in the show’s pilot, his final feature-length work before his death. Scott, a three-time Grammy winner known predominantly for her acclaimed career as a singer-songwriter, has been dabbling in acting for years, notably in Tyler Perry’s box office success Why Did I Get Married?.

In working with Minghella, she elevated her artistry to an entirely different level, playing an African detective with a soft, yet tough veneer and a flawless Botswana accent, hitting each dramatic and comedic note effortlessly. A woman of color, from Africa, who isn’t afraid to show her heart or her hearty appetite, who is whip-smart and solving problems using her intellect is the kind of character that is lacking in television and film as it is, so to not acknowledge that Scott was responsible for a major television first is particularly galling when someone like Sedgwick is up for a veritable caricature. In my book, Scott’s work is better than most performances, by women of any color, that I have seen this year, in theaters or on television.

The nuanced, graceful notes that Scott hits in her series should have placed her in the final six with no problem, her performance was every bit as competent as the other six nominees (if not much better), but since she does not neatly fit into the category’s preferred type (re: white, thin, middle-aged, former film stars/Oscar winners/nominees or past Emmy winners/nominees) she’ll unfortunately have to sit this one out. If she or Bassett, who actually does fit into most of the category’s “types” except one, can’t land nominations against the locked-in juggernaut that continually dominates the proceedings, than I’m not sure anyone can. I read a cynical barb somewhere online that if Bassett had just been demoted to the Supporting Actress category, she might have actually stood a chance.

It might be a long time before we see women of color recognized as Lead Actress in a Series, comedic or dramatic, simply because there are so few truly great opportunities for women of color on the small screen in comparison to their white counterparts. Scott’s strong role was one of the finest for a woman of color in recent memory, and it still didn’t impress voters enough to recognize her work.

It’s time for more change, Emmy voters. It isn’t 1950 anymore. Black women do exist on television, and not just former the few Oscar winners who can’t get decent work in film anymore. It’s time to take a closer look. The lack of African American women nominated for Emmys signifies a greater problem – there needs to be more quality shows that center around the experiences of women of color.

And if anybody important is reading this: isn’t it high time Angela Bassett was given her own show?

 
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Since 2006, Matt Mazur has traveled the global pop sphere to bring readers reports from Copenhagen, Berlin, Montreal, Detroit, Atlanta, NYC, and Toronto. With a decided interest in the intersecting roles of class, gender, race and sexuality in film and pop culture, Mazur has interviewed Shohreh Aghdashloo, Pedro Almodovar, Tori Amos, Olivier Assayas, Mike Leigh, Cynthia Nixon, and Kristin Scott Thomas, as well as other acclaimed filmmakers and artists from around the world. Like Rodney Dangerfield, Mazur is very old and will soon be going back to school: for film, at Columbia University in New York City. Follow his every move on Twitter @lamattmazur - where he tackles the important issues such as academia, actresses, shoes and bacon on cupcakes.

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Comments

I wanted to cry when Jill Scott was not nominated.  I figure that “those” who pick the nominees could never have watched the series.  Jill Scott’s performance was “on spot”. I DVR’d the show and have rewatched it dozens of times.  Each time it gets better. I have been reading the books for almost 10 years and Ms. Scott is Mma Ramotswe and should have been nominated.  The televison academy should be ashamed of itself. I understand, no violence, no sex, etc., not every series has to have those items to make it a great series. Her work was beyond outstanding and definetely deserving not only of the nomination but the Emmy. I am afraid this will be the reason for HBO not to make a second season.

Comment by Barbara Albin from Roseville, California — August 24, 2009 @ 12:53 am

Trying again to make a comment.  Jill Scott should not only have been nominated for an Emmy for her outstanding performance as Mma Ramotswe, but should be the one to win the Emmy.  I am assuming that “those” who vote could not have watched the series or they would never have left Ms. Scott out of the nominations.  The #1 Ladies Detective Agency is a very different show from what is normally on television, except the fine productions from PBS or BBC.  I hope the lack of a nomination will not prevent HBO from making a second season.

Comment by Barbara Albin from Roseville, California — August 24, 2009 @ 1:07 am

Even though Glenn Close is scary good in ‘Damages,’ I was pretty bummed out that Regina King didn’t get a nomination for ‘Southland.’ She’s awesome in that show.

Comment by Bob — August 24, 2009 @ 6:52 am

anybody wanting to “cry” over the emmy nominations really needs a priority check.

Comment by Dave — August 24, 2009 @ 9:19 am

@Dave—Emmy nominations don’t make me “cry”, but racism sure does!

Comment by Matt Mazur — August 24, 2009 @ 11:15 am

They could have left Mariska Hargitay off the list this year. She put in a mediocre at best performance on SVU last season. That would have left a slot open for Jill Scott who deserved a nod. The Emmy’s, like many award shows, are nothing more than popularity contests. Real talent plays a very small role with the people who vote. They are voting on who they like, regardless of the performance. That’s why I don’t waste my electricity watching award shows.

Comment by Erin from Colorado — August 24, 2009 @ 11:36 am

uh matt? barbara wan’t claiming racism.
she stated she thought the reason for the snub was because voters hadn’t seen Scott’s performance.

Comment by Dave — August 24, 2009 @ 12:00 pm

Thank you for writing this! I was a tremendous fan of Angela’s performances in ER. I thought she was an incredibly nuanced character. I also think the first step to unraveling racism is increasing awareness of it - hopefully your article helps people to start thinking critically when they cast their vote!

Comment by Roxanne Young from Saint Paul, Minnesota — August 24, 2009 @ 12:41 pm

— PopMatters sponsor —

Dear Readers:

I received a pointed message today from a white, heterosexual man telling me that I was wrong in discussing the above issues of race and gender with such frankness—because my implication that the institutions of television and the Emmy awards are “racist” (his word, not mine) was more a product of the fact that my “favorite” wasn’t picked for a nomination.

Race is a touchy subject and I would like everyone to know that I would never post a piece of writing in my column space that was not completely earnest—this piece was not intended to be put out there for simple shock value and was the product of much thought, research and work.

Fear and threats are, historically, tools in the fight to oppress minorities of all kinds and they will not have any bearing on my column, FYI.

Comment by Matt Mazur — August 24, 2009 @ 2:08 pm

I think CCH Pounder has been criminally overlooked for years, but since The Shield did not get a *single* nomination, I’m convinced the nominees don’t have cable television. This past season she was off-the-charts great.

The Emmys are like the Oscars and the R&R Hall of Fame…a political popularity contest where cutting edge is far too sharp. Not to mention the idiocy of giving veterans an award later in life because they were overlooked previously. (Al Pacino for Scent Of A Woman? Really??)

Arguably the awards can translate into dollars for both the artists and their future projects, so it’s a shame that it’s not really a measure of accomplishment. But hopefully most artists do what they do for the *art*, not the statue.

Comment by Bill Holmes from Upstate NY, Ameriyeswecan — August 24, 2009 @ 3:52 pm

To those who thought I should not “cry” over the loss of a Emmy nomination for Jill Scott they should realize it was a figure of speech.  I am not sure if it was racism, but I can’t figure out any good reason why she was not elected. When those of you out there can come up was a good explanation as for why Ms. Scott was not nominated,then I will believe all things are equal.  As of today, I do not believe things are equal for everyone in this country. Right now with Health Care Reform (of which I am very involved) I can see a racially divided country!

Comment by Barbara Albin from Roseville, California — August 24, 2009 @ 5:06 pm

While I think one would have to be blind not to see that there is still racism in Hollywood, I think the Emmy snubs are more about industry politics than racism. The people who vote obviously vote for their friends, that’s why you see the same five women nominated year after year. There are plenty of talented actresses, black and white who can fill those nominated slots. And it can be done without the above nominees being voted in every year. But until you change the industry machine, you will see the same names on the list as long as their shows are on television.

Comment by Erin from Colorado — August 24, 2009 @ 9:27 pm

Editor’s Note:

An eagle-eyed reader pointed out to me that, in fact, a second black woman was nominated in the ‘90s as Best Actress in a Drama Series: Cicely Tyson for her short-lived Sweet Justice.

This information was not available on the Emmy Awards official website.

Also, it should be pointed out that America Ferrara, who has been nominated multiple times as Best Actress in a Comedy Series for her work on Ugly Betty, is the first Hispanic actress to be so honored.

Comment by Matt Mazur — August 26, 2009 @ 3:56 pm

Matt:

Very interesting article. And you make some valid points to say the very least. But I had to point out two inaccuracies that I ran across in your piece: first, Regina Taylor isn’t the onle black woman to land a lead actress in a drama series nomination. Alfre Woodard was nominated for “St. Elsewhere” in the mid-1980s and if I remember correctly lost to “Cagney & Lacey’s” Sharon Gless in the first of two consecutive wins in that category. And Cicely Tyson was nominated for a show she did in the early to mid-1990s opposite Melissa Gilbert called “Sweet Justice.” And Whoopi Goldberg has never won an Emmy for performance, or rather an Emmy in a performance category. She’s got a Daytime Emmy for Outstanding Special Class Special (or something to that effect) for an AMC docmentary she na     about the life and times of Hattie McDaniel, the first black woman to win the Oscar for performance or anything else for that matter.

Comment by Mack — August 26, 2009 @ 6:49 pm

It’s probably worth noting that this is less a problem with the Emmys and more a problem with television itself, which has all but swallowed up the quality, minority-driven show because the independent prodcos that frequently produced these kinds of shows have been swallowed up by big media conglomerates who can make more money with middlingly-rated shows about rich, white professionals. When a show like Everybody Hates Chris (which really deserved a number of nominations for its first couple of seasons) that might have been a huge mainstream success in the ‘80s is sent to UPN and The CW simply because there’s not room for it on a major network, there’s no way the Emmys are going to notice it because Emmy voters don’t watch the CW. This isn’t really racism; it’s network bias on the part of Emmy voters. (Whether or not the drying up of minority-driven shows rises to the level of racism on the part of networks is debatable. I’d say it reflects more accurately that networks are divvying up the audience more and more finely among their various platforms, and that doesn’t provide for big, cross-demo hits like The Cosby Show anymore. There’s certainly some racism at work, but more of the sense that there’s a level of institutional racism to all interactions in American society.)

Anyway, in the case of Regina King and Jill Scott, it seems far more likely that Emmy voters just didn’t watch the shows. Southland debuted pretty big, but got middling reviews and quickly sunk in the ratings, while No. 1 Ladies Detective Agency did well enough but didn’t do so well either critically or ratings-wise that it would demand Emmy voters view it. Scott probably had a shot, but she was a neophyte actor and low-priority for the network pushing her. The bigger problem with these categories at the Emmys is simply the fact that it’s literally impossible to push out actors who’ve already been nominated much of the time and that the Emmys have always been way too enamored of actors who have achieved success in other media “slumming it” on television, regardless of television’s rise to increased cultural prominence in the last 20 years. It’s a holdover from the days when everyone on TV really wanted to be working in movies.

All of that said, when Halle Berry inevitably ends up doing a show on TNT where she’s a Cop Who Doesn’t Play by the Rules (TM), she will surely be nominated and probably win.

Comment by Todd VanDerWerff from Long Beach, CA — August 26, 2009 @ 7:18 pm

If you’re at all curious about the shrinking of independent prodcos that used to drive shows like The Cosby Show to mainstream success and how that happened, Jeffrey Stepakoff’s “Billion Dollar Kiss” (where he writes about how an interracial kiss he wrote in an episode of Hyperion Bay was kiboshed by The WB in the late ‘90s) is a must-read.

Comment by Todd VanDerWerff from Long Beach, CA — August 26, 2009 @ 7:20 pm

— PopMatters sponsor —

@Todd VanDerWerff. I always thought that the actors submitted what they thought were their best episodes for awards consideration.

Comment by Bob — August 27, 2009 @ 10:13 am

Matt,

Great article.

This has been an issue that has bothered me for quite some time.  It’s funny how voters determine what is worthy of an award, and what is not. 

I will certainly give a show props for being clever and original.  But I never will understand why, for example, “Friends “or “Mad About You” got more praise and respect than “The Bernie Mac Show” or “Girlfriends.”  That’s not to say that there’s anything wrong with those “white” shows—people like what they like.  But I think some whites (or white voters, perhaps) are so insulated and solely interested in watching shows that feature themselves, that they miss out on a great show such as “Detective Agency.”

After all, that show can’t be much more black than it is—it takes place in Africa.

But I think an even bigger problem is the lack of opportunities in general.  I think we wouldn’t feel so bad about the Jill Scott snub if we had 10 more prominent shows that featured an African-American female at the helm.  Sure, there’s Jada’s “Hawthorne,” but why can’t a black woman have a similar role to that of Holly Hunter on “Saving Grace?”  Or be cracking old murder mysteries on “Cold Case?”

There are blacks sprinkled in here and there (“House,” “The Shield,” “Scrubs”), but I’d like to see blacks star in more shows without them being relegated to the CW on Friday nights or having to deal with poor quality scripts like “House of Payne.”

Not trying to plug my own work here, but I did write about this on my column (Boston TV Examiner at Examiner.com) where I discussed the Demise of the Black Dramatic Series.

Once again, great article.

-Michael

Comment by Michael Langston Moore from Boston — September 7, 2009 @ 2:05 pm

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