Hope you all had a restful Memorial Day weekend — and maybe caught up on some of the shows you’ve been meaning to finish! We’re heading into the homestretch for FYC season, so enjoy the remaining events while you can! This week we have a look at some of the final events as campaigning winds down. So let’s get going!

NBCU has access to nearly 1,000 pole banners across L.A., and this year the banners go up today, May 26. MPTF’s “Passing the Torch” mentorship program is USG’s partner.

According to an NBCU statement, “Universal Studio Group has long championed below-the-line crew through ‘USG University,’ a program designed to educate students, aspiring creatives and artisans about below-the-line crafts and the process of working within the Studio system. This Emmy season, we have evolved the program to honor the dedication of our artisans by making them the stars of our USGU creative campaign. Their artistry doesn’t just support the story, it makes it unforgettable. We are proud to be partnering with MPTF’s Passing the Torch this year, to ensure that the artistry that built our industry’s past becomes the foundation for the workforce of tomorrow.”

Among the 13 artisans featured on the pole banners:

Sergio Delgado, Director of Photography, “All Her Fault”
Leslie Bennett, Hair Department Head, “The ‘Burbs”
Leopold Ross and Nick Chuba, Composers, “Devil in Disguise: John Wayne Gacy”
DyShaun Burton, Costume Designer, “The Fall and Rise of Reggie Dinkins”
Sharon Bialy and Sherry Thomas, Casting Directors, “The Four Seasons”
Rob Tokarz, Production Designer, “Hacks”
Alexander Vietmeier, Director, “Late Night with Seth Meyers”
Addison Foreman, Makeup Department Head, “Murdaugh: Death in the Family”
Julie Cohen, Editor, “The Paper”
Sara K White, Production Designer, “Ponies”
Liz Patrick, Director, “Saturday Night Live”
Elliot LaPlante, Production Designer, “St. Denis Medical”
Blair Clark, Visual Effects Supervisor, “Ted”

For more coverage from the USG University Emmy event, scroll down to our “Around the Circuit” feature below! Meanwhile, here are more of the banners you’re about to see around LA:

“The Bear” brought international attention to “one of the great culinary creations of the American Midwest and a defining symbol of Illinois’ vibrant food culture,” according to the Resolution. The show, it added, “served as a powerful and authentic portrayal of Chicago’s food culture, its immigrant working-class roots, and the spirit of resilience, creativity, and excellence that defines the people of Illinois… [while also introducing] the Italian Beef sandwich to new generations of fans across the globe.”

A reminder that an Italian Beef is described as a “thinly sliced seasoned roast beef piled high on a sturdy Italian roll, dipped in rich beef au jus, and topped with sweet peppers or spicy giardiniera.” (Which seems to be missing in the photo above! I personally PILE the sweet peppers AND spicy giardiniera on my sandwiches. And now I’m hungry.)

Overall, Al Jazeera English won the most gold Telly Awards, with 12, followed by a tie between Asharq Network and Hearst Media Production Group (10) and then National Geographic (9). The Telly Awards recognize “video and television across all screens,” and this year received almost 14,000 entries from creators, brands and production companies out of 55 territories.

Among other winners, the fan-voted People’s Telly Awards went to Action Factory, which worked on the Taylor Swift music video “The Fate of Ophelia.” Also winning gold awards were 42West for “The Rabbit Hole with Jimmy Kimmel,” as well as Paramount for “South Park.”

Besides the gold for “Behind the Show,” other Variety winners included: “Variety‘s Actors on Actors” won silvers in People’s Telly Online Series: Shows & Segments, and in Online Series: Entertainment; “Variety on Location: The Studio” won silver in Social Video: BTS; “Variety‘s Knows Their Lines: Gary Oldman” won silver in Social Video: Media & Entertainment; “Variety‘s Golden Globes Official Live Red Carpet” won bronze in Online Live Events & Experiences; and Variety x mitu x Walmart won bronze in Branded Content Campaign: Culture & Lifestyle.Telly Awards are chosen by a judging council made up of more than 250 experts from video.

Go here to find this year’s key Telly Award winners:
Telly Awards: Variety, ‘South Park,’ Jimmy Kimmel and Al Jazeera English Among Gold Winners

Emmy nomination voting is still a ways away. But that doesn’t mean any show or performer is out of the race, nor does it mean an early frontrunner can’t start to lose momentum.

Among the biggest developments this week are the first official ranked-chart debuts for the four guest acting categories, along with a closer look at the five picture editing races. Variety is now predicting in 47 of the more than 100 Emmy categories.

“Pluribus,” from Vince Gilligan, climbs to the top spot for the first time this season, followed closely by HBO Max’s acclaimed medical drama “The Pitt.” In comedy, the race is still “Hacks’” to lose as it heads into what is expected to be its final season. The strongest challengers at the moment appear to be David E. Kelley’s freshman dramedy “Margo’s Got Money Troubles” and Bill Lawrence’s “Shrinking,” both from Apple TV.

The limited series and anthology field remains the most wide open. “Beef” continues to hold the top spot, while HBO Max’s “Half Man” slips a few slots following a more mixed reception. Still, don’t count out the Richard Gadd series just yet, especially as audiences react to the final three episodes, which may ultimately prove to be the strongest stretch of the season. At the same time, Steven Conrad’s “DTF St. Louis” could emerge as a viable contender for HBO if it builds enough momentum and expands its win potential across acting, directing and writing.

DRAMA SERIES
“The Diplomat” (Netflix)
“Paradise” (Hulu)
“The Pitt” (HBO Max)
“Pluribus” (Apple TV) ***
“Slow Horses” (Apple TV)
“Stranger Things” (Netflix)
“Task” (HBO Max)
“The Testaments” (Hulu)

COMEDY SERIES
“Abbott Elementary” (ABC)
“The Fall and Rise of Reggie Dinkins” (NBC)
“Hacks” (HBO Max) ***
“Jury Duty: Company Retreat” (Prime Video)
“Margo’s Got Money Troubles” (Apple TV)
“Nobody Wants This” (Netflix)
“Rooster” (HBO Max)
“Shrinking” (Apple TV)

LIMITED OR ANTHOLOGY SERIES
“Beef” (Netflix) ***
“Black Rabbit” (Netflix)
“DTF St. Louis” (HBO Max)
“Lord of the Flies” (Netflix)
“Love Story: John F. Kennedy Jr. and Carolyn Bissette” (FX)

MOVIE
“Deep Cover” (Prime Video)
“Mike and Nick & Nick and Alice” (Hulu)
“Miss You, Love You” (HBO Max)
“Remarkably Bright Creatures” (Netflix) ***
“People We Meet on Vacation” (Netflix)

LEAD ACTOR (DRAMA)
Sterling K. Brown, “Paradise” (Hulu)
Gary Oldman, “Slow Horses” (Apple TV)
Mark Ruffalo, “Task” (HBO Max)
Billy Bob Thornton, “Landman” (Paramount+)
Noah Wyle, “The Pitt” (HBO Max) ***

LEAD ACTRESS (DRAMA)
Kathy Bates, “Matlock” (CBS)
Michelle Pfeiffer, “The Madison” (Paramount+)
Keri Russell, “The Diplomat” (Netflix)
Rhea Seehorn, “Pluribus” (Apple TV) ***
Zendaya, “Euphoria” (HBO Max)

LEAD ACTOR (COMEDY)
Adam Brody, “Nobody Wants This” (Netflix)
Steve Carell, “Rooster” (HBO Max)
Steve Martin, “Only Murders in the Building” (Hulu)
Jason Segel, “Shrinking” (Apple TV)
Martin Short, “Only Murders in the Building” (Hulu) ***

LEAD ACTRESS (COMEDY)
Quinta Brunson, “Abbott Elementary” (ABC)
Elle Fanning, “Margo’s Got Money Troubles” (Apple TV)
Lisa Kudrow, “The Comeback” (HBO Max)
Keke Palmer, “The ‘Burbs” (Peacock)
Jean Smart, “Hacks” (HBO Max) ***

LEAD ACTOR (LIMITED/ANTHOLOGY/MOVIE)
Jason Bateman, “Black Rabbit” (Netflix)
Jamie Bell, “Half Man” (HBO Max)
Charlie Hunnam, “Monster: The Ed Gein Story” (Netflix)
Oscar Isaac, “Beef” (Netflix) ***
Matthew Rhys, “The Beast in Me” (Netflix)

LEAD ACTRESS (LIMITED/ANTHOLOGY/MOVIE)
Claire Danes, “The Beast in Me” (Netflix)
Carey Mulligan, “Beef” (Netflix) ***
Sarah Pidgeon, “Love Story: John F. Kennedy Jr. and Carolyn Bissette” (FX)
Sarah Snook, “All Her Fault” (Peacock)
Kerry Washington, “Imperfect Women” (Apple TV)

SUPPORTING ACTOR (DRAMA)
Patrick Ball, “The Pitt” (HBO Max)
Billy Crudup, “The Morning Show” (Apple TV)
Ato Essandoh, “The Diplomat” (Netflix)
Shawn Hatosy, “The Pitt” (HBO Max) ***
Tom Pelphrey, “Task” (HBO Max)
Kurt Russell, “The Madison” (Paramount+)
Carlos-Manuel Vesga, “Pluribus” (Apple TV)

SUPPORTING ACTRESS (DRAMA)
Marisa Abela, “Industry” (HBO Max)
Isa Briones, “The Pitt” (HBO Max)
Allison Janney, “The Diplomat” (Netflix)
Katherine LaNasa, “The Pitt” (HBO Max) ***
Sepideh Moafi, “The Pitt” (HBO Max)
Julianne Nicholson, “Paradise” (Hulu)
Karolina Wydra, “Pluribus” (Apple TV)

SUPPORTING ACTOR (COMEDY)
Colman Domingo, “The Four Seasons” (Netflix)
Paul W. Downs, “Hacks” (HBO Max)
Harrison Ford, “Shrinking” (Apple TV) ***
Ebon Moss-Bachrach, “The Bear” (FX)
Nick Offerman, “Margo’s Got Money Troubles” (Apple TV)
Michael Urie, “Shrinking” (Apple TV)
Bowen Yang, “Saturday Night Live” (NBC)

SUPPORTING ACTRESS (COMEDY)
Erika Alexander, “The Fall and Rise of Reggie Dinkins” (NBC)
Hannah Einbinder, “Hacks” (HBO Max)
Janelle James, “Abbott Elementary” (ABC)
Laurie Metcalf, “Big Mistakes” (Netflix)
Michelle Pfeiffer, “Margo’s Got Money Troubles” (Apple TV) ***
Sheryl Lee Ralph, “Abbott Elementary” (ABC)
Jessica Williams, “Shrinking” (Apple TV)

SUPPORTING ACTOR (LIMITED/ANTHOLOGY/MOVIE)
Jonathan Banks, “The Beast in Me” (Netflix)
Jason Bateman, “DTF St. Louis” (HBO Max)
Richard Gadd, “Half Man” (HBO Max)
David Harbour, “DTF St. Louis” (HBO Max) ***
Charles Melton, “Beef” (Netflix)
Alessandro Nivola, “Love Story: John F. Kennedy Jr. and Carolyn Bissette” (FX)SUPPORTING

ACTRESS (LIMITED/ANTHOLOGY/MOVIE)
Linda Cardellini, “DTF St. Louis” (HBO Max)
Grace Gummer, “Love Story: John F. Kennedy Jr. and Carolyn Bissette” (FX)
Laurie Metcalf, “Monster: The Ed Gein Story” (Netflix)
Cailee Spaeny, “Beef” (Netflix) ***
Naomi Watts, “Love Story: John F. Kennedy Jr. and Carolyn Bissette” (FX)
Yuh-Jung Youn, “Beef” (Netflix)See more categories here.

To be fair, back in the day the “Scrubs” writers had 22 episodes to fill each season, and toward the end of the series’ 2001-2010 run, things got a little nutty. So when the time finally came to revive “Scrubs,” Braff and everyone involved agreed to bring the show back to a bit more grounding.”

Launching the show and trying to thread the needle for what the show would be in 2026 was really complicated,” he tells Variety‘s Awards Circuit Podcast. “If you look at the eight and a half years of ‘Scrubs,’ it got quite broad, and every year it became more and more silly. We wanted to bring it back and reground it as it was in sort of the first third of its run, if you will. There were a lot of chefs in the kitchen, and we wanted to please Hulu, we wanted to please ABC/Disney, we wanted to please ourselves, we wanted to please the fans.”

In writing and directing that pilot, there was a lot of consternation in getting the tone right, because the tone of ‘Scrubs’ is so specific, and the fans love it so much,” he adds. “You cannot believe, if you’re not close to it like I am, how important this show is to people. So, there was a lot of pressure to get that tone right in a way that also felt 2026.”

On this episode of the Awards Circuit Podcast, “Scrubs” star Zach Braff discusses how the return of the beloved sitcom resonated with fans. Also, Braff recounts his first time in Variety and takes the 10 Questions quiz. But first on the Roundtable, we recount the “Survivor” 50 finale (including Jeff Probst’s big live TV flub) and we lament the end of ‘The Late Show With Stephen Colbert.’

Listen below!

Lady Gaga’s “The Dead Dance” from Netflix’s “Wednesday” will be submitted for Emmys consideration in the outstanding music and lyrics category.

The song is written and produced by Gaga and her frequent collaborators Andrew Watt and Cirkut (Henry Russell Walter). “The Dead Dance” can be heard in the second season of the Tim Burton-helmed series during Episode 7. It plays when Enid (Emma Myers) and Agnes (Evie Templeton) perform a dance routine during the Venetian Gala.

Gaga, already a fan of the series, told Tudum: “I got a phone call that the show was looking for music. I immediately had a song in mind called ‘The Dead Dance.’ Once I knew it would be for ‘Wednesday,’ I decided to work on it even more and made it extra special for the show.”

Gaga, who released the tune last September, incorporated it into her Mayhem Ball Tour setlist. The multi-hyphenate said the inspiration for “The Dead Dance” was about a breakup. “It’s about how we sometimes feel when it’s over — how a relationship ending can kill our ability to feel hopeful about love,” she told Tudum. “In the song, I say, ‘I’ll keep on dancing till I’m dead,’ meaning that I’m acknowledging that, and I’m going to keep going. I’m also saying, ‘I’m taking the power back.’”

Read more here.

The return of a combined outstanding variety series category was necessary, given the decline in submissions as networks and streamers scale back on their talk and sketch show ambitions. Last year, the talk category only fronted three nominees, while scripted variety had just two. That wasn’t sustainable.

The problem with the talk and scripted variety (and before that, sketch) categories is that these types of shows are often so different: What Jimmy Fallon does on “Tonight” is not comparable to John Oliver on “Last Week Tonight.” And “Saturday Night Live” is apples to their oranges. Hence the Academy’s decision to stick for years with the imperfect status quo until it finally made this change.

Still, the result is something just as clunky. The new combined category will consist of two separate talk and scripted variety “tracks,” with the number of nominations for each track determined by the number of respective submissions received. In announcing the rule, the Academy conceded that had the change been implemented last year, not much would have been different: The three talk shows and two scripted variety shows would still have been nominated, just in the same category. This year, if submissions continue to drop, the category may be down to just four nominees.

The other big change to the field: Starting this year, outstanding variety series is an “area” award. That means nominees will not be competing against each other. Instead, a show will need at least 90% of Emmy voters to say “Yes” when asked, “Does this nominee merit an Emmy?” Any show that reaches that threshold will win an Emmy.

I still don’t know how the Academy would handle multiple variety series winners on the live Emmys broadcast, should all of the nominees reach that 90% “yes” level. Yet they’re going to want to televise the category this year, as potential honorees like Stephen Colbert and Jimmy Kimmel could give the telecast some of the most powerful moments of the night.

Read the rest here.

Jonathan Glatzer, “The Audacity” (AMC)

1. Sum up your show’s pitch in one sentence. 
The tech CEO’s who are disrupting your life can’t fix their own.

2. What’s an alternate title for your show? 
“We’re So Fucked!”

3. What do we need to know before tuning in? 
The nerds have moved out of the garage and into their techno feudalist era.

4. Give us an equation for your show.
Broken people + your private data − your consent × their daddy issues = “The Audacity.”

5. What’s the best thing someone said about your show? 
“These are horrible, horrible people, but nowhere near as horrible as the real ones” – Kara Swisher

6. If you could work on any other series in TV, what would it be? 
“DTF St Louis.” Steve Conrad is my hero. 

7. Finish this sentence: “If you like _______, you’ll love our show.”
If you like seeing tech bros and bras forced to admit they’re flawed, afraid and mortal, you’ll love our show.

1. Sum up your show’s pitch in one sentence.
Riz: An out of work actor lands and auction to be the next James Bond, everyone has an opinion on it, and soon his life starts to unravel.
Ben: Riz Ahmed plays a less successful version of Riz Ahmed who auditions to be the next James Bond, then things get nutty.

2. What’s an alternate title for your show?
Riz: “Mission Impossible: Self Love”
Ben: “James Brown”

3. What do we need to know before tuning in?
Riz: It’s been a ten-year long journey, and many of the incidents and locations are taken directly from my life.
Ben: Episodes are short, fast and all over the place tonally — hopefully in a good way.

4. Give us an equation for your show.
Riz: Ambition = Family Chaos x Self Loathing x Social Media
Ben: Atlanta + The Larry Sanders Show ÷ Fleabag – Master of None X Britain’s Got Talent

5. What’s the best thing someone said about your show?
Riz: “My gran loved it and so did my nephew”
Ben: “I’ve never read anything quite like it.” – Sir Patrick Stewart

6. If you could work on any other series in TV, what would it be?
Riz: “The Chair Company” or “Inside No. 9”
Ben: “Andor.” (I know they’re not making any more, so a time machine is also involved in this answer.)

7. Finish this sentence: “If you like _______, you’ll love our show.”
Riz: If you like genre-bending -personal -comedy -drama -psychological – thrillers, or just the idea of Sir Patrick Stewart playing a decapitated pig’s head, you’ll love our show
Ben: If you like scrappy underdog stories with a touch of surrealism, you’ll love our show.

WEDNESDAY, MAY 27
4:15 p.m. “The Fall and Rise of Reggie Dinkins” (NY)
7 p.m. “The Comeback”

THURSDAY, MAY 28
5 p.m. “The Voice”
5:30 p.m. “Below Deck Down Under” 
7 p.m. “The Reunion: Laguna Beach”
7 p.m. “Predator: Killer of Killers”

FRIDAY, MAY 29
4 p.m. “Murdaugh: Death in the Family”
5 p.m. “Deli Boys”
7 p.m. Comedians in Conversation
7 p.m. “Pole to Pole With Will Smith”

SATURDAY, MAY 30
9 a.m. “Downey Wrote That” (NY)
11 a.m. “Eyes of Wakanda”
11 a.m. “Ted”
3 p.m. “The Madison” 
7 p.m. “The Lowdown”

SUNDAY, MAY 31
11 a.m. “Abbott Elementary”
3 p.m. “RuPaul’s Drag Race”
7 p.m. “Pluribus”