Orange is the New Black competed as a Comedy at the 2014 Writer’s Guild Awards. It then competed as a Drama at the 2014 Screen Actors Guild and Golden Globe Awards. It then competed as a Comedy at the Critics’ Choice Television Awards and the 2014 Emmy Awards, before eventually winning its first major awards at the 2015 Screen Actors Guild awards competing as a Comedy.
This happened because the system allowed it to. Regardless of whether or not we believe Orange is the New Black is a drama or a comedy, the distinction was more or less up to Netflix, who consciously positioned it as a comedy in part to reduce competition with its other major awards contender, House of Cards. I would argue the show is unequivocally structured as a dramatic series, but that didn’t matter, because the system has no qualitative measure to change this. Over this same period, Showtime’s Shameless made a similar switch late in its run, petitioning to become a comedy (and earning William H. Macy an Emmy nomination and Screen Actors Guild win in the process); Gilmore Girls did the same late in its run, trying desperately but failing to earn Lauren Graham a nomination.
I feel pretty safe in saying that Orange is the New Black and its “category fraud” are the impetus behind an Academy rule change announced today that labels half-hour series as comedies and hour-long series as dramas. While Shameless’ category switch is likely a contributing factor, I feel comfortable calling this the Orange is the New Black rule, directly targeting a series that I would tend to agree is committing category fraud based on the objective facts of the show itself.
August 4th, 2010
New York Magazine’s Art Critic Jerry Saltz is aware that Work of Art is less than revered within the art community, a response which Carolina A. Miranda nicely captured at TIME this week. In his review of last night’s final episode before the finale, Saltz reflected on the experience as he saw it, partly out of an effort to convince his critics that he wasn’t sullying his name through his participation and partly to convince himself of the same:
I know that much of the art world is appalled that an art critic would even be on a reality show. I feel this way sometimes, too. Yet, leaving after this episode I felt more as I do when I’m teaching, and get totally involved with students whose names I will not remember in 24 months. Only, I was pouring everything I had into this TV show and these artists…I began to see that with only one week to go that this whole experience, weirdness, wildness and all, was forming into some sort of larger whole.
I’ve written a great deal about how the show has been a mess of contradictions, so tonight’s episode was a key test of whether or not it would reach some form of cohesive conclusion; as Saltz notes, “involvement” is a key factor in any reality show, wherein we get caught up in each character’s journey and it becomes less about the general premise (finding the next great artist, or the top chef, or the next great fashion designer) and more about choosing which of the final contestants deserves their shot at stardom. It’s a key difference, and I think that Saltz nicely captures what I’ve witnessed from the comfort of my couch: through all of its contradictions, Work of Art is a competition which intensely focuses on the creative process, which makes its conclusion seem like far more of a personal journey than other reality series.
Or, at least it does for the artists who embraced the idea as Saltz did.