How Battlestar Galactica Could Win a Televised Emmy
If one of the benefits of the Emmy Awards is the recognition of shows that deserve a larger audience, the ceremony has failed in recent years to live up to that purpose. While one could easily blame the nominations system for excluding some high-class programming in favour of highly successful tripe, let’s stick to the facts: a show like ‘Battlestar Galactica’ doesn’t win Emmys.
They have, however, been nominated for Emmys: unfortunately, all of them have been in categories such as sound and visual effects, and not a single one of the awards have been presented live on television. At no point in time has a big-name presenter had to say “Battlestar Galactica” on that shiny stage throughout its first two seasons, and that’s really a sin.
And, it’s about to change. And, who knows: maybe they might be able to win one of them too.
There’s a lot of momentum behind Ronald D. Moore this year, specifically, and his submission of Occupation/Precipice. The two episodes deal directly with the post-colonial New Caprica, a land in which Cylons subject our heroes to their rule for the betterment of their society. It is perhaps the most thinly veiled allegory in recent television history, but it’s an effective one: the insurgents here are our heroes, the crew members who join the Cylon police brigades seen as traitors. It raises a lot of fascinating questions, which is perhaps why Moore broke into a very tough writing category to score the nomination.
Its political message combined with the actual quality of the episodes should be a very potent combination for the series, and there is some history in shows breaking through in this category. House’s creator, David Shore, won an Emmy for writing “Three Stories” in the show’s first year (Defeating Lost’s pilot in the process), and the show has been nominated for Best Drama Series twice in two years now. Plus, Battlestar also has a direction nomination, although that is perhaps the less likely place for victory.
And yet, cynicism sets in yet again: Moore is by no means a shoe-in. Lost’s two-hour finale was an emotional rollercoaster, and its twist was expertly plotted; it’s an easy choice as well, considering the show’s snub in the biggest category of all. However, Moore also has to get through three Sopranos scripts from the show’s final season…including David Chase’s open-ended finale.
And that’s the sad reality here: even as we discuss the possibility of Battlestar Galactica finally getting its due, the chances of it actually winning are held back by other high quality shows that just happen to be more popular. I don’t think there’s any shame in losing in a race so tight, but I think that Moore is the only one who really needs it.
But the Emmys aren’t, it seems, quite as philanthropic as we might like them to be. Many shows have gone by, missed by much of the casual viewing audience, and yet the Emmys are rarely there to pick up the slack. At least this year, twice even, people might have to hear “Battlestar Galactica” come from the mouth of a star of an upcoming FOX Fall series. And then, just maybe, they might discover the series for the first time as it heads into its final season.
Outstanding Writing for a Drama Series
Battlestar Galactica – Occupation/Precipice (Written by Ronald D. Moore)
Lost – Through the Looking Glass (Written by Damon Lindelof and Carlton Cuse)
The Sopranos – Made in America (Written by David Chase)
The Sopranos – Kennedy and Heidi (Written by Matthew Weiner and David Chase)
The Sopranos – The Second Coming (Written by Terence Winter)