The Documentary Double Standard

The documentary category at the Emmys has become a hall of fame for celebrity biographies. This year’s nominees feature two legendary Canadian comedians, a TV host’s profile, and centenarians Mel Brooks and David Attenborough. These documentaries may be entertaining, but they don’t represent the genre as a whole.

In recent years, winners in the documentary category have been biographies of famous people – George Carlin’s American Dream, Still: A Michael J. Fox Movie, Jim Henson: Idea Man, and Pee-wee as Himself are examples. The Emmy voters seem to prefer documentaries about celebrities rather than complex issues or ideas.

The TV Academy’s categories don’t help clarify things. With two competing categories – documentary or nonfiction special and exceptional merit in documentary filmmaking – filmmakers are confused about where to submit their work. The exceptional merit category is supposed to recognize documentaries with a profound social impact or innovative technique, but it often seems like a catch-all for biographies that don’t quite fit elsewhere.

The National Academy of TV Arts & Sciences has its own categories, including an “arts and culture documentary” field that could easily accommodate some of the Primetime Emmys’ celebrity-driven nominees. Despite coordination between the two academies to prevent double submissions, it’s still unclear where documentaries should be submitted.

Many documentaries are commissioned by TV networks and have both big and small screen runs, blurring the line between film and television. This makes it difficult to determine whether a documentary is eligible for Emmys or Oscars – or both. Filmmakers may try to game the system by submitting their work to multiple competitions, while others may be put off by the complexity of the rules.

The situation highlights the need for greater clarity in award categories and submission guidelines. Documentary filmmakers deserve better than a confusing web of rules that can make or break their chances at recognition. By simplifying the process and focusing on the quality of the work itself, rather than its entertainment value or celebrity appeal, the Emmys can reclaim their status as a respected platform for documentary storytelling.

As the awards season continues, it’s worth asking whether these categories are truly doing justice to the rich and diverse world of documentaries. Examining the Emmy voters’ preferences and exploring ways to improve the submission process may uncover a more nuanced understanding of what makes a great documentary – one that celebrates the art form itself, rather than just its most charismatic subjects.