Justice for Amy Poehler!: The Biggest Emmys Snubs and Surprises

21 Sep 2015 | Author: | No comments yet »

Amy Poehler and Amy Schumer Joke About Getting Blackout Drunk at the Emmys.

It’s a champagne problem—although, for us true couch potatoes, probably more of a boxed wine problem—that there is simply too much good TV on to be properly rewarded by awards organizations like the Emmys. Comedy Central’s outrageous Inside Amy Schumer took home a big win for Outstanding Variety Sketch Series during Sunday’s Emmy Awards, and Amy Schumer continued the momentum from her speech when she and her co-producers headed backstage to the press room.The comedian is fresh off the Best Summer Ever—full of late-night talk show debauchery, a blockbuster movie and jet ski rides with Jennifer Lawrence.

This is what happens when you make a movie like “Trainwreck,” text lewd things to Katie Couric’s husband from her phone, video yourself eat Jake Gyllenhaal’s frozen birthday cake while you’re renting his apartment, and get crowned as comedy’s “It Girl” by Stephen Colbert: you get to announce that you’re blowing The Popsicle Joint Known As Comedy Central in two years. We all have our own personal tastes and passionate allegiance to certain programs and performers, sure—I’ll love you forever, Parks and Recreation—but when a top-to-bottom stellar comedy like Veep takes home Best Comedy it’s hard to complain. In your best Schumer impression, behold the 10 most genius highlights from Schumer’s visit backstage, with some light helpful context to set the mood. I’m not sure if that’s something that interests anyone,” she said in the press room, before noting how stoic a group of journalists looked while listening to her. “Has anyone in the front two rows ever had an orgasm?” she asked them. “It feels so good. Before giving Mom star Allison Janney the award for best supporting actress in a comedy series, Shumer got in one more good joke. “Let’s not forget what tonight what tonight is really about,” she says. “Celebrating hilarious women and letting the Internet weigh in on who looks worse.” Even Julia Louis-Dreyfus got a little taste of Shumer when she won outstanding lead actress in a comedy series.

It was Schumer’s first acceptance speech on the Emmys stage, and she seemed genuinely surprised as she struggled to string some words together but did manage to eek out that the show, which has run for three seasons, would be on for two more. It would put her in the company of her Comedy Central brethren Keegan Michael Key and Jordan Peele, who exited the network after five seasons of their popular sketch show, “Key and Peele.” “I almost made a stupid sex talk show that nobody wanted,” Schumer said. “And she got drunk and told me that I had to follow my dream show… Thanks everybody who has helped me and this girl who gave me sort of a smokey eye.”

I’m gonna black out.” On the women who have cheered her on: “It’s every woman that I’ve walked past on the Upper West Side, from 13 years old to 73, saying, ‘Keep going, Amy.’” On her favorite moment from the Emmys: “Presenting with Amy Poehler. Mini-sweeps adding up to a juggernaut night for HBO by Veep, Game of Thrones, and Olive Kitteredge mean there are a lot of actors and series that didn’t get the recognition they were arguably due. #JusticeForPoehler Now that we’ve dried our tears from Viola Davis’s Best Actress speech (it took a while), we can move on to our next Emmys emotions: shock and rage. The star was nominated for the perfectly nostalgic final season of Parks and Recreation in both Best Actress and Comedy Series (as an executive producer), and scored two more nods for writing and hosting the Golden Globe Awards.

And this moment, this is obviously very cool.” On falling in front of Kim Kardashian and Kanye West: “I usually disassociate, which is only available to you if you had a poor childhood, so I disassociate but what I attribute that moment to was seeing these people who are media moguls in their prime, in their moment, and wanting to do something to remind everyone that we’re all human and that no one is more special than anyone else.” On who she’ll make out with at the afterparty: “Honestly, anyone who’s willing. But if the Emmys could get it up to give a farewell Emmy to Jon Hamm couldn’t they have resisted giving Julia Louis-Dreyfus her fourth straight Emmy for Veep and handed it to Poehler instead? I’m such a Hillary fan, it was amazing to be that close to someone who I’m hoping is our future president…and also humiliating because I was wearing giant red roller skates fearing I was going to lose my life at Rockefeller Center.” On sketch comedy: “We were very grateful that they gave sketch its own category. We would be remiss if we didn’t mention the teeny tiny caveat that she did actually lose one teeny tiny award, but she lost to the Daily Show team so it doesn’t even count.

Granted, choosing a winner between Louis-Dreyfus, Poehler, and Kudrow is the cruelest TV version of Sophie’s Choice, and the buzz and erstwhile “hipness” of Veep is likely what carried its star to victory. Five years ago, Regina King wrote a piece for The Huffington Post titled “The Emmys: As White As Ever,” a powerful screed about the woeful state of diversity in television. Most people assumed that the AMC drama, which had won Best Drama Series four times in the past, would pick up one last trophy on its way off air, especially after Jon Hamm finally got his farewell trophy after 16 victory-less nominations in various categories. But Richard Jenkins’s quiet, lovely work in Olive Kitteredge rode the wave of the HBO miniseries’s Emmys sweep, the result of which was the best opening line of any of the night’s speeches: “That was Lady Gaga!” (The singer and future American Horror Story star, in full Marilyn Monroe old Hollywood glamour and Madonna fake-fancy accent, presented Jenkins his Best Actor in a Miniseries or TV Movie award.) Can anyone fault the Emmys for giving Jon Stewart one last Emmy for his work on The Daily Show?

But that means that Tituss Burgess, who gifted us with one of the loveliest, most interesting comedic creations in recent memory as Titus (one ‘s’) on Netflix’s Unbreakable Kimmy Schmidt, would get snubbed. “Peeno Noir” is already iconic (as a spoken word ode to the black penis should be). Uzo Aduba’s second victory for Orange Is the New Black—in an entirely different category, however—might be expected because of how beloved her character on the show is.

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