Severance and The Penguin lead this year’s Emmys nominations while the breakout drama Adolescence has also made an impressive showing.
Apple’s chilly workplace thriller has received 27 nominations for its second season, leading the drama categories while the tech giant’s new comedy The Studio has broken Ted Lasso’s record for most nominations received by a freshman comedy series. The Seth Rogen-led Hollywood satire picked up 23 nods.
Severance is up for best drama series and will face off against Andor, The Diplomat, The Last of Us, Slow Horses, The White Lotus and the first seasons of Paradise and the breakout hospital series The Pitt, which picked up 13 nominations.
The Severance star Adam Scott leads the drama actor nominees up against Paradise’s Sterling K Brown, Slow Horses’ Gary Oldman, The Last of Us’s Pedro Pascal and Noah Wyle from The Pitt. Scott’s co-star Britt Lower leads drama actress nominees with competition from The Diplomat’s Keri Russell, The Last of Us’s Bella Ramsey, Bad Sisters’ Sharon Horgan and Matlock’s Kathy Bates, who at the age of 77 has become the oldest ever actor in this category.
The third season of the HBO hit The White Lotus scored 23 nominations, including for actors Carrie Coon, Parker Posey, Walton Goggins and Jason Isaacs.
The Studio is up for best comedy series and will face Abbott Elementary, The Bear, Hacks, Only Murders in the Building, Shrinking, What We Do in the Shadows and the first season of the Netflix hit Nobody Wants This.
The Studio star Seth Rogen leads the comedy actor nominees alongside Adam Brody for Nobody Wants This, Jeremy Allen White for The Bear, Jason Segel for Shrinking and Martin Short for Only Murders in the Building. The comedy actress contenders are Jean Smart for Hacks, Ayo Edebiri for The Bear, Quinta Brunson for Abbott Elementary, Kristen Bell for Nobody Wants This and Uzo Aduba for The Residence, a show recently cancelled by Netflix.
HBO’s Batman spin-off The Penguin scored 24 nominations and leads the best limited series category, up against Black Mirror, Dying for Sex, Monsters: The Lyle and Erik Menendez Story and Netflix’s much-talked about phenomenon Adolescence, which scored 13 nominations.
Adolescence, which tells the story of the fallout after a schoolboy murders a classmate, recently became Netflix’s second most watched English language series of all time. There was recognition for its actors including nominations for Stephen Graham, Erin Doherty, Ashley Walters and newcomer Owen Cooper. The 15-year-old actor has made history as the youngest ever actor in the limited series supporting actor category.
Graham will face competition from The Penguin’s Colin Farrell, Presumed Innocent’s Jake Gyllenhaal, Dope Thief’s Brian Tyree Henry and Cooper Koch from Monsters: The Lyle and Erik Menendez Story.
Colin Farrell in The Penguin. Photograph: AP
The category of lead actress from a limited series or TV movie includes Cate Blanchett for Disclaimer, Meghann Fahy for Sirens, Rashida Jones for Black Mirror, Michelle Williams for Dying for Sex and Cristin Milioti for The Penguin.
Other notable nominees include Beyoncé for her Netflix NFL half-time show Beyoncé Bowl, directors Martin Scorsese and Ron Howard for their acting in The Studio and Shrinking’s Harrison Ford who received his first ever Emmy nomination.
Earlier in the day, the categories of talk series and reality competition were announced and there were snubs for Late Night With Seth Meyers and The Voice, respectively.
Other notable snubs include Renee Zellweger for her role in Bridget Jones: Mad About the Boy (which is classed as a TV movie as it went straight to streaming in the US), Keira Knightley for her role in the Netflix thriller Black Doves, The Four Seasons which scored only one nod for Colman Domingo and Your Friends and Neighbours which only found recognition in the main title theme music category.
In his introduction, Cris Abrego, the chair of the television academy, said that this year more members voted than ever before.
Last year saw big wins for Shōgun, Hacks, The Bear and Baby Reindeer.
This year’s Emmy awards will take place on 14 September with the comedian Nate Bargatze hosting.
EU foreign policy chief Kaja Kallas on Tuesday said the bloc was leaving the door open to action against Israel over the war in Gaza if the humanitarian situation does not improve.
Kallas has put forward 10 potential options after Israel was found to have breached a cooperation deal between the two sides on human rights grounds.
The measures range from suspending the entire accord or curbing trade ties to sanctioning Israeli ministers, imposing an arms embargo and halting visa-free travel.
Despite growing anger over the devastation in Gaza, EU states remain divided over how to tackle Israel and there was no critical mass for taking any of the moves at a meeting of EU foreign ministers in Brussels.
“We will keep these options on the table and stand ready to act if Israel does not live up to its pledges,” Kallas told journalists.
“The aim is not to punish Israel. The aim is to really improve the situation in Gaza.”
That comes after Kallas on Thursday announced a deal with Israel to open more entry points and allow in more food.
Gaza’s two million residents face dire humanitarian conditions as Israel has severely limited aid during its war with Palestinian militant group Hamas.
“We see some positive signs when it comes to opening border crossings, we see some positive signs of them reconstructing the electricity lines, providing water, also more trucks of humanitarian aid coming in,” Kallas said Monday.
But she said the situation in Gaza remained “catastrophic”.
“Of course, we need to see more in order to see real improvement for the people on the ground,” she said.
Read More: At least 11 Gazans killed in Israeli strikes
Irish minister Thomas Byrne, whose country has been one of the toughest in the EU on Israel, said Kallas had committed to updating member states every two weeks on the progress of humanitarian access to Gaza.
“So far, we haven’t really seen the implementation of it, maybe some very small actions, but there’s still slaughter going on,” he said.
“So we need to see action and we need to use our leverage.”
While the EU appears unable to take further moves against Israel, just getting to this stage has been a considerable step.
The bloc only agreed to review the cooperation deal after Israel relaunched military operations in Gaza following the collapse of a ceasefire in March.
Also Read: At least 28 killed in Gaza as Israel bombs over 100 sites today
Until then, deep divisions between countries backing Israel and those more favourable to the Palestinians had hamstrung any move.
But the splits within the bloc mean that it has struggled to have a major impact on the war in Gaza and Israel’s foreign minister Gideon Saar had predicted confidently that the bloc wouldn’t take any further action on Monday.
The war in Gaza was sparked by Hamas’s October 7, 2023 attack on Israel, which led to 1,219 deaths, most of them civilians, according to an AFP tally based on official figures.
Of 251 people taken hostage by Hamas, 49 are still held in Gaza, including 27 the Israeli military says are dead.
Hamas-run Gaza’s health ministry says that at least 58,386 Palestinians, most of them civilians, have been killed in Israel’s retaliatory campaign. The UN considers those figures reliable.
Israel and Hamas have been in indirect talks for two weeks over a new ceasefire deal, but talks appear to be deadlocked.
Nearly 30 summers later, Jennifer Love Hewitt and Freddie Prinze Jr. reunited for Monday’s world premiere of I Know What You Did Last Summer.
On the red carpet at the United Artists Theater in DTLA, Prinze told Deadline “it was very surreal” sharing the screen with Hewitt again as they reprised their roles as Ray Bronson and Julie James in writer/director Jennifer Kaytin Robinson‘s update of the 1997 slasher film.
“It was weird, man,” said Prinze. “I never went to a high school reunion, but it was close to that as I could imagine ’cause I hadn’t seen her in 20-plus years.”
Prinze walked the red carpet with his wife Sarah Michelle Gellar, whom he met on the set of the original, and who previously sparked rumors of her return when she got in trouble for leaking a photo from set while visiting her husband.
While there are quite a few satisfying cameos and canonical surprises, Robinson made one thing clear: Helen Shivers is dead. That didn’t stop her from pitching longtime friend Gellar to reprise her role.
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“I was like, ‘Maybe you aren’t dead. Maybe you faked your death. Maybe you have a twin,’” Robinson said. “I really pitched any version of Helen Shivers being alive to Sarah, and she was like, ‘I am dead.’”
Co-writer Sam Lansky, who made his feature debut alongside Robinson, called the opportunity “the most surreal dream come true” after growing up on the original.
“The care that these actors put into crafting these characters is extraordinary, and I was so heartened by that as a fan, to realize how deeply these actors care about these characters and care about the fans, and want to protect the characters and their legacies for the fans,” said Lansky. “Nothing about it was casual, there was a lot of really, really deep thought and critical consideration that went into it on Freddie and Love’s part that you just felt to your marrow.”
Jonah Hauer-King, who plays Milo Griffin, was excited to “recreate that brilliant universe that everyone fell in love with” while working with Prinze and Hewitt.
“They’re great. I don’t think the film could have really been made without them,” he raved. “They’re kind of synonymous with the original film, and I think having them back was such a stamp of approval for this new wave and for the new script. Them being back was sort of an endorsement for us and do our thing and bring our own fresh take too.”
And with a new era in the slasher franchise, which was based on Lois Duncan’s 1973 novel, comes a new slasher to unmask. The reveal is sure to give longtime fans a shock as the cast and creators wrestle with the killer secret.
“I know Jen’s original plan was that we were going to shoot multiple endings. I can neither confirm or deny that,” said Sarah Pidgeon, who plays Stevie Ward.
Prinze seems to have had a little more insight. “No, there was a singular focus, there was a singular story. It wasn’t Clue, there was no multiple endings,” he said with a laugh.
For Lansky, keeping a lid on the who’s behind the hook “has been really hard” leading up to the movie’s July 18 premiere in theaters.
“Keeping secrets is always really hard,” he added. “But I think we knew there were things that we wanted to do that would be fun and surprising for the audience, and that’s all I’m gonna say. I hope that everyone feels that element of surprise when they’re watching in the theater for the first time.”
See Deadline’s exclusive Polaroids from the I Know What You Did Last Summer red carpet below.
LONDON: On Beirut’s congested roads, where traffic crawls and crumbling infrastructure testifies to decades of neglect, a new rhythm is quietly taking shape.
Sleek, navy-blue buses — equipped with GPS, air conditioning and modern fare systems — now trundle through the city’s chaos, offering a welcome glimpse of efficiency. Whether they can truly deliver long-term impact, however, remains uncertain.
Cars crowd a road during a traffic jam in Beirut on October 14, 2024. (AFP)
For decades, Lebanon’s public transportation system has been an informal patchwork dominated by private minibuses and shared taxis. Now, the government is attempting to reassert control through a partnership with a private company aimed at modernizing the daily commute.
The new fleet operates on 11 routes, primarily across Greater Beirut, but also extending to parts of northern, southern and eastern Lebanon. A private logistics firm, Ahdab Commuting and Trading Co., manages day-to-day operations under a public-private partnership model.
FASTFACTS
• France donated 50 of the buses currently in use across Greater Beirut and beyond.
• A network of private vans and minibuses run fixed routes without schedules or stops.
• The 2024 Israel-Hezbollah conflict damaged Lebanon’s transport infrastructure.
While the initiative shows promise, commuters are aware of its limitations.
“Overall, you’ll mostly notice the impact of public transit inside the major cities, but even there, the system still heavily relies on taxis,” Mohammed Ali Diab, a Beirut-based journalist, told Arab News.
Beirut’s new buses aim to ease pressure on a public transit system long dominated by private minibuses and shared taxis, left. (Supplied & AFP file)
“Most taxis operate on a shared-ride basis unless a passenger specifically requests a private ride.”
Passengers typically say “service” to request a shared taxi, paying a flat fare — usually around 200,000 Lebanese pounds, or $2 — while the driver continues picking up others along the same route.
Passengers sit in a public transportation bus in Beirut on May 28, 2025. (AFP)
“In Beirut, there are also vans, but their routes are limited and fixed,” Diab added. “They don’t operate citywide.”
These vans and buses, he noted, are primarily used by working-class commuters and students, largely due to their affordability.
We took a risk during a difficult time and invested in a project that’s close to our hearts … We’re hopeful it will succeed, says Aoni Ahdab, CEO, Ahdab Commuting and Trading Co.
Beyond Beirut, shared taxis and buses connect major cities such as Tripoli, Tyre and Sidon. But in rural and mountainous regions, Diab said, residents still depend on private cars.
That dependence is becoming increasingly unviable. The World Bank’s Beirut office recently warned that Lebanon’s “reliance on private vehicles is increasingly unsustainable,” particularly amid rising poverty rates and vehicle-operation costs.
A public bus awaits passengers at a bus stop in Beirut on May 28, 2025. (AFP)
Lebanon is reeling from one of the world’s worst economic crises since 1850, according to the World Bank. Since 2019, currency collapse and high inflation have wiped out savings, shrunk incomes and pushed millions of people into poverty.
A 2024 World Bank report revealed that poverty has more than tripled over the past decade, now affecting 44 percent of the population. A separate study by Walid Marrouch, an economics professor at the Lebanese American University, found that at least 60 percent of citizens live below the poverty line.
A picture taken from Dbayeh north of Beirut on June 7, 2019, shows the skyline of the Lebanese capital covered in smog at sunset. (AFP)
Against this economic backdrop, the government’s partnership with ACTC represents a promising policy shift.
In 2023, the company won a competitive bid launched by the Ministry of Public Works to operate the bus system under specific contractual conditions. As part of the deal, ACTC contributes 10 percent of its revenues to the ministry.
Passengers sit in a public transportation bus in Beirut on May 28, 2025. (AFP)
Despite the financial risks, ACTC leaders believe in the project’s potential. “We took a risk during a difficult time and invested in a project that’s close to our hearts — one we believe adds real value to the country,” Aoni Ahdab, the ACTC CEO, told Lebanese media. “We’re hopeful it will succeed.”
The service officially launched in July 2024, despite regional instability and periodic hostilities between Israel and the militant group Hezbollah that temporarily disrupted routes. Israel’s escalation of attacks from September through late November did not halt the project.
The driver helps a passenger to validate her ticket at a public transportation bus in Beirut on May 28, 2025. (AFP)
The 2024 conflict caused heavy damage to Lebanon’s transport infrastructure. The World Bank estimates $1 billion is needed for infrastructure sectors, including transport, within an $11 billion national recovery plan.
Much of the new fleet’s foundation was laid earlier. In 2022, France donated 50 buses to Lebanon, with more expected. Meanwhile, the Railway and Public Transport Authority refurbished 45 vehicles locally, raising the operational fleet to 95 — a modest but tangible effort to ease the transportation burden.
A public bus drives at a street in Beirut on May 28, 2025. (AFP)
Although the ACTC contract did not mandate fleet upgrades, the company voluntarily refurbished and standardized the buses, repainting them in navy blue for easy identification and installing safety and tracking technologies.
To test viability, a pilot phase launched in April. Buses operated from 6 a.m. to 7 p.m. daily to assess travel times, stop durations and operational needs. The goal was to ensure departures every 25 minutes.
Passengers sit in a public transportation bus in Beirut on May 28, 2025. (AFP)
Pricing was designed to be accessible. Fares vary by distance: 70,000 Lebanese pounds within Beirut, 100,000 to Baabda, and 150,000 to Tripoli, according to local passengers.
Riders can purchase single-use tickets or opt for rechargeable cards. For now, those without cards can still pay drivers directly and receive a scannable paper ticket.
As Beirut confronts long-standing infrastructure challenges, this initiative is viewed as cautious progress. Yet its success will depend on earning public trust and expanding service sustainably.
Initial data is encouraging. Ziad Nasr, head of Lebanon’s public transport authority, told AFP last month that daily ridership has risen to around 4,500 passengers, up from just a few hundred at launch.
Authorities hope to expand service further, including routes to Beirut’s airport, but additional buses and international support will be needed.
However, the rollout has not been smooth. Resistance from private transport operators, who view the initiative as a threat to their livelihoods, has been fierce.
According to local media, several buses were vandalized and drivers, especially on the Adlieh–Hadath University Campus route, faced threats and harassment toward the end of 2024. The Ministry of Public Works and security forces intervened to keep services running.
These tensions are symptomatic of deeper, long-standing issues. Lebanon’s public transport sector has suffered for decades from weak oversight, overlapping private interests, chronic underfunding, and lack of strategic planning — all of which have repeatedly hindered reform efforts.
The roots of dysfunction stretch back to the civil war of 1975–1990, which devastated infrastructure and governance. In the years that followed, a car-dependent culture took hold. Even before the 2019 economic collapse, Lebanon was already struggling with failing power grids, unsafe roads and limited water access.
Beyond reducing congestion and improving mobility, public transportation could also play a key role in environmental reform — an often overlooked priority in Lebanon. A World Bank climate and development report noted that the transport sector is the country’s second-largest source of greenhouse gas emissions and air pollution, second only to the energy sector.
Indeed, in cities like Beirut, poor air quality is a growing concern. Frequent traffic jams and widespread use of diesel-powered generators — especially during routine blackouts — have worsened pollution and related health risks.
On the upside, there are signs of innovation. In Zahle, east of Beirut, four hybrid buses are already operating, Nabil Mneimne of the UN Development Program told AFP in June.
More progress is expected this year. Lebanon’s first fully electric buses, powered by a solar charging system, are set to launch between Beirut and the northern city of Jbeil.
A longer-term roadmap for reform has also been laid out. A 2022 World Bank report on improving public transport in Lebanon, Jordan, and Iraq outlined key recommendations. These included unifying bus operators, creating a fund to buy back public licenses, implementing intelligent transport systems, and developing a national road safety strategy.
The report also urged the government to adopt “quick-win” solutions to improve the user experience — such as reliable schedules, journey-planning apps, real-time tracking, and updated data to enable effective planning.
Together, these steps could help Lebanon transform its transportation landscape — if the political will and public support can be sustained.
In an analysis of the best available Earth systems models, Northeastern researchers found that by the turn of the next century, 850 million people will feel the effects of declining runoff from the world’s major rivers.
That is more than three times the number estimated by previous analysis of Earth system models, says Puja Das, a post-doctoral research fellow at AI for Climate and Sustainability within the Institute for Experiential AI at Northeastern University.
“What (Das) found is that some of the more skillful models seem to project the worst conditions in terms of the impact of water scarcity,” says Northeastern professor Auroop Ganguly, who served as co-author for the paper Das published recently in the journal npj Climate and Atmospheric Science.
Population estimates are important because they give policymakers an idea of what to expect in terms of the availability of food, water and energy, since river runoff recharges water supplies, enriches agricultural soil and generates hydropower, Das says.
Earth systems models are complex computer simulations of Earth’s processes, such as the atmosphere, oceans and human activity.
Her research shows that the five most skillful models project 40% of the world’s 30 major rivers will exhibit decreased runoff by 2100, affecting a population 100 times the size of New York City, as opposed to earlier estimates of 260 million.
“We chose the 30 biggest river basins around the world, including the Amazon, Congo, Ganges, Brahmaputra and Nile rivers,” she says. “We were trying to see how the runoff in those river basins, or water availability in those river basins, are presented in climate models.”
Professor Auroop Ganguly says the more skillful models of Earth systems show worse outcomes in terms of water scarcity from declining river runoff. Photo by Matthew Modoono/Northeastern University
“We know that climate models use different equations and parameterizations to estimate these variables. We are trying to see how good they are,” she says.
The researchers compared two generations of Coupled Modeling Intercomparison Projects, the CMIP5 and the more recent CMIP6, to see how they performed against historical projections of annual runoff from 1960 to 2005.
The latter modeling system, the CMIP6, was more skillful and accurate, Das says. Applying it to the future, “we found that the more skillful models are finding a worse future scenario in terms of water availability.”
For one thing, the latest generation of models has higher resolution — one data point for every 100 kilometers instead of every 500 kilometers, she says.
The CMIP6 also did a better job of incorporating comprehensive physics, such as physics of land, ocean and ice into climate model equations, Das says.
And it performed better when it came to making mathematical equations, known as parameterizations, out of events such as cloud formation and convection.
“There are some critical parameterizations that need to be correct. We saw that the models that use those parameterizations are performing well,” says Das, a recent Ph.D. graduate from the Sustainability and Data Sciences Laboratory within Northeastern’s department of civil and environmental engineering.
Higher resolutions, more intricate parameterizations and comprehensive physics are hypothesized to improve model projections, but this is not guaranteed until the models are thoroughly evaluated against observations (skills) and against each other (consensus), she says.
Furthermore, Das says model-based uncertainty bounds may actually increase in some cases, even as understanding and projection performance improve.
“We try to look at all these kinds of metrics based on skills and consensus and that’s what (Das) has done,” says Ganguly, Northeastern distinguished professor of civil and environmental engineering.
“She’s saying that higher resolution, better parameterization and more physics components do add value,” he says.
The researchers also ran the models against five different carbon emission scenarios.
“We saw that if there is a greener world, the water availability will be higher and fewer people will be impacted because of the decrease in water availability,” Das says.
With lower carbon emissions, she says, “We found that 500 million people (would be affected) instead of 900 million people, but water availability will still decrease in certain parts of the world.”
Das says the research is important for two communities: policymakers and water resources managers who use Earth systems model results for understanding impacts and informing adaptation, as well as natural scientists, data scientists and computational modelers who build the Earth systems models and analyze the results.
It was quite a fine morning for Casey Bloys, the HBO and Max content chairman/CEO who saw his combined platform pull off 142 Emmy nominations — a new best for the company. Bloys said he had been prepped by his head of awards, Austin O’Malia, for several different outcomes, “and he was feeling good. So if he feels good, I feel good.”
And that bore itself out with 24 nominations for “The Penguin” (the most of any limited/anthology series this year), 23 nods for “The White Lotus,” 16 for “The Last of Us,” 14 for “Hacks” and 13 for “The Pitt.”
“When I think about the team at HBO and all the creatives that choose to work with us, I’m thrilled with the recognition that they get,” Bloys said. “But I’m also really happy for the team internally. When you think about Nancy Abraham and Lisa Heller in documentaries, Nina Rosenstein in late night and talk, Amy Gravitt in comedy, Francesca Orsi in drama, Sarah Aubrey with Max originals like “The Pitt.” Across the board, they all put up multiple nominations. It really is a group effort, and it’s nice to see the team’s work recognized.”
Variety spoke with Bloys on Tuesday morning about the Emmy haul, and what comes next for some of those shows.
One of your biggest hits of the morning was ‘The Penguin,’ and we’re all still wondering what the future holds. We hear that a Season 2 could be in the works, what can you say today about that?
The number one thing right now that Matt [Reeves] is dealing with is getting the movie going. I believe they’re making progress there. I know that he and [showrunner] Lauren [LeFranc] have talked about various ideas. So, could another chapter be in the future? Definitely possible. Right now, I think the priority for Matt is the movie. But I know that Lauren is thinking of various ideas that might work alongside the movie. I think it’s possible. I just don’t know at this point.
It sounds like Colin Farrell is on board.
Yes, he’s the one that has to play that dark character and sit and sit in the makeup chair for several hours a day. So his buy-in is essential.
Is there an ETA on when you might be able to announce something?
No ETA is or anything like that.
We know right now planning on Season 3 of ‘The White Lotus’ has to be on hold because creator Mike White is off in Fiji competing on ‘Survivor.’
The great thing about Mike, one of the things I know about him, is whatever is going on in Fiji and ‘Survivor,’ I know that he’s thinking about ‘The White Lotus.’ Maybe he’s even observing his fellow contestants and taking notes and getting ideas. So I’m not worried about any sort of delay. Mike always has the show in his head worked out, so I’m excited to talk to him when he’s back about what he’s what he’s thinking.
Do you have a sense of what he’s thinking yet? How much have you talked to him about where to place the new season and the timing?
I have a sense of the ideas that he’s playing with, but the scouting process is really important for him. They’re going to be doing that soon. I don’t know where it’s going to end up. I know it has been reported, Europe in general. But so much could change. It really does depend on when he sees a location, what he thinks about it and how it works with the story he’s trying to tell. So I just don’t know until he actually goes and tours a lot of places, and what excites him and what speaks to him. He will go through that process and we’ll take his lead.
I think the only thing we know for sure is it’s not going to be a cold place, because he’s pretty adamant that he hates the cold.
Yes.
The big news for ‘The Last of Us’ was Neil Druckmann stepping away. Can you talk a little bit about that? From HBO’s perspective, what that meant for you, and talking to Craig Mazin about where things go now in Season 3.
Obviously it was great to have Neil involved in the beginning. The whole reason that I wanted to do ‘Last of Us’ is after ‘Chernobyl,’ I said to Craig, ‘what do you want to do next?’ And ‘Last of Us’ was what he wanted to do. That’s what was most important to me, Craig’s creative excitement about the show. It was fantastic to have Neil involved. A lot of people don’t realize that Neil has a full time job creating video games and running Naughty Dog. It’s a really big job that he’s got. So I understand why he needs to focus on that. But I believe he’s given us a good blueprint with the show. And obviously Craig is a pro, so I think we’ll be in excellent shape. I’m not worried at all.
Can Season 3 make the 2026-2027 TV season, what’s the timeline? And if it follows the game, will that be the final season?
The series is definitely planned for 2027. Craig is still working it out whether it will be two more seasons or one more long season. It hasn’t been decided yet, and I’m following Craig’s lead on that.
Obviously, since the show follows the game, the characters change. Already with Pedro out, and it’s sort of a question mark how much Bella will be seen in the new season. Is that a challenge?
Not from a marketing perspective, because I think the title is obviously helped by the video game, and now the first two seasons is pretty well established. I kind of appreciate shows that take things and do a show from a different point of view.
Speaking of shows with different points of view, Nathan Fielder and ‘The Rehearsal,’ that’s a show that I bet even surprised you with how much attention it got, especially toward the end.
To be honest, it was not a surprise to me. Obviously, it’s the second we’ve done with him. He is a really, really special talent. I can sometimes tell, and it’s completely anecdotal, but the unsolicited emails or texts I get about how much people love a show, and I was getting a lot of ‘Rehearsal’ love. That season was pretty incredible, and also was highlighting a real problem. I just thought it was brilliant, the way he approached it.
Would you fly in a plane that Nathan Fielder piloted?
To be honest, while I was watching it and seeing the actors sign on for it, I don’t know that I would do that. I’m more cautious.
Any word on a Season 3?
He and Amy are talking about various ideas. He’s someone where you kind of have to let him come to you with the idea that gets him excited. Obviously, I want to know what he’s thinking and would be excited, but I’m letting him go through his process. I know he’s got a couple of germs an idea.
Talk about ‘The Pitt’ roll out and how a lot of things really came together with that show, leading to all these nominations this morning.
I couldn’t be happier for John [Wells] and Scott [Gemmill] and Noah [Wyle], the entire cast, because from the beginning, it was a little bit going back to the basics of television.We had the best in the business in terms of writers and actors and directors. John and his team know how to do this and that expertise. It’s hard to break through the Emmys with any show, especially a first season show. But especially a show that is up against series that do seven or eight episodes every two years, it it makes it harder to compete when you are doing 15 episodes. That’s not even close to what network television used to do, but still impressive. And Season 2 for ‘The Pitt’ is already in production. Working in those sorts of circumstances, it can be harder when you’re competing with shows that have more time, more resources. So it’s all the more impressive that the show broke through. I think a lot of people appreciated that you can still make a high quality show that comes back annually and has a good number of episodes. So it’s a real success story on a number of levels.
Having 15 episodes helped, the week-to-week rollout seemed to make an impact as it slowly gained an awareness. The hallmarks of classic linear television, but on a streamer.
So television works!
There’s been so much speculation about the news that Tracy Ifeachor is departing. What can you tell me from the HBO Max perspective?
This is a big show with a lot of cast. I wouldn’t read too much into it, other than it’s a show about one shift to the hospital, hour by hour. So there are going to be lots of people coming and going. This new season has new doctors in for this shift. So it’s part of the part of what’s exciting about the format is things can change quickly.
Speaking of traditional TV models, this is the kind of show that, in success, begets spin offs. Have you been talking to John at all about doing one?
No, no, no, no. Have not gotten there yet. I think getting the show right and getting it out will be the priority for now. We have not had any conversations about any other spin offs.
I’m gonna give you a million dollar idea. “Fire Pitt.” Just down the street from the hospital is a Pittsburgh fire station.
I’ll take it under advisement.
What’s coming up that you’re excited about?
A lot to talk about. ‘The Chair Company’ with Tim Robinson is coming up. Rachel Sennott’s comedy is coming up. Bill Lawrence and Steve Carell have a new show for us. We’ve got ‘Task’ coming up in the fall, and the new ‘It’ prequel series is coming. We got a lot of stuff lined up. So I’m excited.
Anything more to add about what this record tally means to HBO?
It’s a nice validation. Getting the most nominations isn’t the reason we do this, but it does feel good when it happens.
On June 25, 2025, the European Commission adopted a new framework that simplifies EU State aid rules to make it easier for Member States to support the development of clean energy, industrial decarbonization and clean technology. This Clean Industrial Deal State Aid Framework (CISAF) will be in place until December 31, 2030 and replaces the Temporary Crisis and Transition Framework (TCTF), which was introduced in March 2023 to address the economic impact of the war in Ukraine and reduce the EU’s dependence on imported fossil fuels.
The CISAF is one of the building blocks of the Clean Industrial Deal (CID), an ambitious policy agenda presented by the Commission in February 2025 (see our previous alert for more details), which aims to strengthen the competitiveness of European industry while at the same time accelerating the decarbonization of the economy. The main objective of the CISAF is to support investment in green energy, clean technology and industrial decarbonization by enabling necessary and proportionate State aid to overcome investment gaps, while “crowding in” private investment.
The CISAF simplifies the State aid rules in five key areas:
the roll-out of renewable energy and low-carbon fuels;
temporary electricity price relief for energy-intensive users to ensure the transition to low-cost clean electricity;
decarbonization of existing production facilities;
the development of clean tech manufacturing capacity in the EU; and
de-risking of investments in clean energy, decarbonization, clean tech manufacturing, energy infrastructure projects and projects supporting the circular economy.
In particular, the CISAF simplifies the compatibility assessment under Article 107(3), point (c) of the Treaty on the Functioning of the European Union (TFEU). Under this provision, an aid measure must satisfy two conditions: the first being that it must be intended to facilitate the development of certain economic activities (positive condition) and the second being that it must not adversely affect trading conditions to an extent contrary to the common interest (negative condition):
The positive condition requires Member States to identify an economic activity that will be facilitated by the aid measure, as well as the societal benefits of developing that activity (including, where applicable, its relevance to specific EU policies). The Member State must also demonstrate the incentive effect of the aid. Aid is considered to have no incentive effect if it supports the costs of an activity that the beneficiary would anyhow have carried out in the absence of aid, or if it only compensates for the normal business risk of an activity.
The negative condition requires the Member State to demonstrate that the aid is necessary, appropriate, proportionate, and transparent and has no undue negative effects on competition and trade.
Having analyzed these conditions, the final step is to weigh the identified negative effects of the aid measure on competition and trading conditions against the positive effects of the planned aid on the supported economic activities, taking into account any contribution to environmental protection and the objectives of energy policy (balancing test).
The CISAF simplifies this compatibility assessment by making use of presumptions. Thus, aid measures falling within the scope of the CISAF and complying with all the conditions set out in the applicable sections are presumed to have incentive effect and to be necessary, appropriate and proportionate to support the development of the relevant activities; in addition, their positive effects are deemed to outweigh their negative effects on competition and trade. The compatibility conditions outlined in the CISAF are based on the Commission’s case practice and relevant experience gathered by the Commission from the application of the TCTF.
Section 3 of the CISAF outlines general compatibility conditions. For instance, it states that an incentive effect can normally only be presumed if the beneficiary submits a written aid application to the competent authorities before starting work on the project or activity. However, aid can also be considered to have an incentive effect even if the start of work occurred before the submission of the aid application, if two cumulative criteria are met: (i) the aid is granted automatically in accordance with objective, non-discriminatory and non-discretionary criteria, and (ii) the measure has been adopted and is in force before work on the project or activity begins. Aid granted for investments that merely ensure compliance with Union standards that are in force at the moment of granting the aid, does not have an incentive effect.
To avoid a subsidy race between Member States, aid granted under the CISAF cannot be conditional on the relocation of an activity of the beneficiary to the country granting the aid from another (EEA) country.
Sections 4 through 8 of the CISAF set out the compatibility conditions for aid in each of the five above-mentioned key areas:
Roll-out of clean energy: The CISAF aims to fast-track the roll-out of clean energy by allowing for easier and quicker approval of support for clean energy projects through simplified procedures. The new framework covers support for both renewable energy and low-carbon fuels, which the Commission considers important to reduce emissions in hard-to-decarbonize industries such as the transport sector. The aid may take the form of investment aid or direct price support schemes (such as contracts for difference or feed-in premiums). The aid may be granted through a competitive bidding process or, barring some exceptions, administratively. Where the aid is granted administratively, maximum aid intensities apply, i.e., the aid is capped at a certain percentage of total eligible costs, such as 45% for investments in renewable energy or 20% for investments in low-carbon fuels. Higher maximum aid intensities apply for aid granted to SMEs. In addition, Member States must ensure compliance with the “do no significant harm” principle, to ensure that the aided activities, despite making a substantial contribution to climate and environmental objectives, do not have a significant adverse impact on other environmental or social objectives.
The CISAF also defines a “target model” for capacity mechanisms whereby Member States pay electricity suppliers to maintain standby capacity. Such mechanisms are necessary to ensure reliable supply to end users when intermittent renewable electricity sources (such as wind and solar) account for an increasing share of production. Capacity mechanisms that comply with all the criteria of either of two target models – strategic reserve or market-wide central buyer mechanism – as set out in Annex I to the CISAF, will qualify for fast-track approval, provided the aid measure is approved for a period of no more than 10 years.
Electricity price support for energy-intensive users: The CISAF enables Member States to provide temporary electricity price support for energy-intensive industries, to make them more competitive on global markets. Only companies in sectors that are particularly exposed to international trade are eligible. The CISAF covers price support in the form of reductions from the wholesale price for a certain share of electricity consumption (other forms must be assessed under the 2022 Climate, Environmental protection and Energy Aid Guidelines (CEEAG)). The Commission will consider the aid proportionate if it covers at most a reduction of 50% of the yearly average wholesale market price in the bidding zone in which the beneficiary is connected, for not more than 50% of their annual electricity consumption. Moreover, such reductions must not result in a reduced price below 50 EUR/MWh for the eligible consumption. In return for receiving price support, companies must invest in decarbonization.
Support for investments in decarbonization or increased energy efficiency of existing production facilities: The new framework allows for support for a wide array of decarbonization technologies such as electrification, hydrogen, biomass, carbon capture and storage. Supported investments must result in tangible reductions of greenhouse gas emissions and may not result in the displacement of the emissions to the energy sector or from one industrial site to another. The CISAF defines minimum decarbonization targets and sets maximum aid limits. The aid limits are determined based on pre-defined maximum aid intensities (e.g., 45% for investments in the production of renewable energy or in carbon capture) or a funding gap The method based on maximum aid intensities can only be used for aid amounts up to EUR 200 million. Alternatively, Member States may also determine the maximum aid amount by a competitive bidding process, subject to some additional conditions.
Support for clean tech manufacturing: The CISAF allows Member States to support investments in new manufacturing capacity for all technologies covered by the Net-Zero Industry Act in the form of schemes, as well as other investment projects in clean technologies on an individual basis, where it is needed to prevent such investments being diverted away from Europe. Eligible projects may concern investments in manufacturing of final products or components but may also support the production and processing of critical raw materials necessary for clean technologies. Here too, the CISAF sets maximum aid intensities, with projects in less advantaged regions benefiting from higher aid ceilings. In addition, the framework allows Member States to stimulate demand for clean technology products by offering tax incentives, such as accelerated depreciation of investments.
De-risking private investments: Member States can take measures to stimulate private investments in projects supporting the Clean Industrial Deal, including not only clean energy, decarbonization and clean tech manufacturing, but also energy infrastructure and the circular economy. Such measures must ensure additionality, meaning that through reducing the risks associated with the investment they crowd in private investors that otherwise would not have invested in the same type of projects. Support may take the form of equity, loans and/or guarantees provided to a dedicated fund or special purpose vehicle that will hold the portfolio of eligible projects.
Finally, Section 9 of the CISAF sets out some transparency and reporting requirements that Member States must comply with.
Besides the CISAF, other State aid rules relevant to clean energy and decarbonization, notably the 2022 CEEAG, continue to apply in parallel and may be used by Member States for different or more complex support measures. Member States may also continue to rely on the General Block Exemption Regulation (GBER) to implement State aid measures in this field without the need to notify them to the Commission.
Although the CISAF does not cover aid for nuclear energy generation, the Commission states that it recognizes the role of nuclear in the energy mix and will conduct a timely assessment of State aid for nuclear supply chains and technologies, including for small and advanced modular reactors.
Besides implementing this new State aid framework, the Commission also plans to simplify other existing State aid rules:
The recently launched review of the GBER is intended to result in a significantly reduced administrative burden on both businesses and Member States;
The Commission is also evaluating the 2008 Guarantee Notice, to assess if it is still a sufficiently clear and predictable framework for granting state guarantees.
Finally, the Commission also intends to work with Member States to speed up the design of new important projects of common European interest (IPCEI), and assess targeted changes to the IPCEI definition to strengthen the efficiency of the tool to support industrial decarbonization and the scale-up of clean tech manufacturing in the EU.
The Walt Disney Company proudly announces 137 nominations for the 77th Emmy® Awards across its content brands and studios, including ABC, Disney Branded Television, Disney’s FX, Disney+, Disney Television Studios (20th Television Animation and 20th Television), FX Productions, Hulu, Hulu Originals, National Geographic, and Onyx Collective; and The Walt Disney Studios’ Lucasfilm, Marvel Animation, Marvel Television, Searchlight Pictures, and Walt Disney Pictures. Disney’s streaming platforms Disney+ and Hulu are home to a total of 128 nominations.
ABC received 38 nominations, the most of any broadcast network. 20th Television’s Abbott Elementary received its fourth consecutive nomination for Outstanding Comedy Series, while Jimmy Kimmel Live received its 14th nod for Outstanding Talk Series. ABC dominated the game show categories, receiving four of the five nominations for both Outstanding Game Show and Outstanding Host for Game Show, including Elizabeth Banks’ and Jimmy Kimmel’s first in this category for Press Your Luck and Who Wants to Be a Millionaire, respectively. 20th Television’s Will Trent also earned its first nomination for Outstanding Choreography for Scripted Programming.
Disney’s FX garnered 35 nominations, of which five are for Outstanding Program – Comedy Series (two), Limited Series, Documentary Series, and Unstructured Reality Series. Limited Series nominee Dying for Sex (20th Television) earned nine nominations, including Series, Lead Actress, Supporting Actor, Supporting Actress, Writing, and Directing. In its sixth and final season, beloved What We Do in the Shadows received six total nominations, including Outstanding Comedy Series.
The Walt Disney Studios is home to 25 nominations including Lucasfilm’s Andor, which earned a series-high of 14 nominations for its final season and the studio received additional recognition for Music by John Williams and The Acolyte. Marvel Television earned nominations for Agatha All Along, and Marvel Animation received recognition for What If…?. Additionally, Walt Disney Pictures received recognition for Beatles ’64.
Hulu Originals earned 22 total nominations. 20th Television’s freshman drama series Paradise from Dan Fogelman garnered four nominations, including Outstanding Drama Series and performance nominations for Sterling K. Brown, James Marsden, and Julianne Nicholson. Breakout social sensations The Secret Lives of Mormon Wives swung into the Emmys with its first nomination for Outstanding Unstructured Reality Program. Hulu also received its first stand-up comedy nominations for Bill Burr: Drop Dead Years, and 20th Television’s Only Murders in the Building received its fourth consecutive nomination for Outstanding Comedy Series. Additionally, Searchlight Pictures was nominated for The Supremes at Earl’s All-You-Can-Eat.
National Geographic garners five nominations including Outstanding Hosted Nonfiction Series or Special for Tucci in Italy, Outstanding Cinematography for a Reality Program for Life Below Zero, the 11th consecutive nomination for the Series in that Category, as well as Outstanding Narrator for Erased: WW2’s Heroes of Color with Idris Elba.
Disney Branded Television continued its recent Emmy success with four nominations; three for live concert special The Lion King at the Hollywood Bowl, including Outstanding Choreography for Variety or Reality Programming, and a nomination for the long-running action-adventure series Doctor Who.
Onyx Collective, whose debut title Summer of Soul (…or When the Revolution Could Not Be Televised) won the Oscar® for outstanding documentary in partnership with Searchlight Pictures, scores again with director Ahmir “Questlove” Thompson’s follow-up documentary Sly Lives! (aka The Burden of Black Genius).
Disney Television Studios’ 45 Emmy nominations include six Outstanding Program nominations including 20th Television Animation’s Bob’s Burgers and The Simpsons for Outstanding Animated Program. Additionally, 20th Television’s Outstanding Drama Series nomination for Paradise (Hulu Originals) and Outstanding Comedy Series nomination for Only Murders in the Building (Hulu Originals) makes creator and executive producer Dan Fogelman a double nominee across both Outstanding Series categories in the same year. 20th Television’s Abbott Elementary and Nobody Wants This were also recognized with Outstanding Comedy Series nominations.
A complete list of all The Walt Disney Company’s nominations is below*:
Andor (Disney+ / Lucasfilm Ltd.) 14 Nominations
Outstanding Drama Series
Outstanding Guest Actor in a Drama Series – Forest Whitaker
Outstanding Character Voice-Over Performance – Alan Tudyk
Outstanding Directing for a Drama Series
Outstanding Writing for a Drama Series
Outstanding Production Design for a Narrative Period or Fantasy Program (One Hour or More)
Outstanding Cinematography for a Series (One Hour)
Outstanding Fantasy/Sci-Fi Costumes
Outstanding Picture Editing for a Drama Series – Yan Miles
Outstanding Music Composition for a Series (Original Dramatic Score)
Outstanding Original Music and Lyrics
Outstanding Sound Editing for a Comedy or Drama Series (One Hour)
Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)
Outstanding Special Visual Effects in a Season or a Movie
The Bear (FX on Hulu) 13 Nominations
Outstanding Comedy Series
Outstanding Lead Actor in a Comedy Series – Jeremy Allen White
Outstanding Lead Actress in a Comedy Series – Ayo Edebiri
Outstanding Supporting Actor in a Comedy Series – Ebon Moss-Bachrach
Outstanding Supporting Actress in a Comedy Series – Liza Colón-Zayas
Outstanding Guest Actor in a Comedy Series – Jon Bernthal
Outstanding Guest Actress in a Comedy Series – Olivia Colman
Outstanding Guest Actress in a Comedy Series – Disney Legend Jamie Lee Curtis
Outstanding Directing for a Comedy Series – Ayo Edebiri
Outstanding Casting for a Comedy Series
Outstanding Picture Editing for a Single Camera Comedy Series
Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour)
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation
Dying for Sex (FX on Hulu) 9 Nominations
Outstanding Limited or Anthology Series
Outstanding Lead Actress in a Limited or Anthology Series or Movie – Michelle Williams
Outstanding Supporting Actor in a for a Limited or Anthology Series or Movie – Rob Delaney
Outstanding Supporting Actress in a for a Limited or Anthology Series or Movie – Jenny Slate
Outstanding Directing for a Limited or Anthology Series or Movie
Outstanding Writing for a Limited or Anthology Series or Movie
Outstanding Casting for a Limited or Anthology Series or Movie
Outstanding Contemporary Costumes for a Limited or Anthology Series or Movie
Outstanding Music Composition for a Limited or Anthology Series or Movie or Special (Original Dramatic Score)
Only Murders in the Building (Hulu / 20th Television) 7 Nominations
Outstanding Comedy Series
Outstanding Lead Actor in a Comedy Series – Martin Short
Outstanding Production Design for a Narrative Program (Half-Hour)
Outstanding Casting for a Comedy Series
Outstanding Contemporary Makeup (Non-Prosthetic)
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation
Outstanding Stunt Coordination for Comedy Programming
Outstanding Lead Actress in a Comedy Series – Quinta Brunson
Outstanding Supporting Actress in a Comedy Series – Janelle James
Outstanding Supporting Actress in a Comedy Series – Sheryl Lee Ralph
Outstanding Writing for a Comedy Series – Quinta Brunson
Outstanding Contemporary Hairstyling
The Oscars (ABC) 6 Nominations
Outstanding Variety Special (Live)
Outstanding Directing for a Variety Special
Outstanding Production Design for a Variety Special
Outstanding Choreography for Variety or Reality Programming
Outstanding Music Direction – Michael Bearden
Outstanding Sound Mixing for a Variety Series or Special
What We Do in the Shadows (FX on Hulu) 6 Nominations
Outstanding Comedy Series
Outstanding Writing for a Comedy Series
Outstanding Production Design for a Narrative Program (Half-Hour)
Outstanding Picture Editing for a Single Camera Comedy Series
Outstanding Period or Fantasy/Sci-Fi Hairstyling
Outstanding Period or Fantasy/Sci-Fi Makeup (Non-Prosthetic)
Mid-Century Modern (Hulu / 20th Television) 4 Nominations
Outstanding Directing for a Comedy Series
Outstanding Production Design for a Narrative Program (Half-Hour)
Outstanding Picture Editing for a Multi-Camera Comedy Series
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation
Paradise (Hulu / 20th Television) 4 Nominations
Outstanding Drama Series
Outstanding Lead Actor in a Drama Series – Sterling K. Brown
Outstanding Supporting Actor in a Drama Series – James Marsden
Outstanding Supporting Actress in a Drama Series – Julianne Nicholson
Agatha All Along (Disney+ / Marvel Television) 3 Nominations
Outstanding Fantasy/Sci-Fi Costumes
Outstanding Original Music and Lyrics
Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour)
American Idol (ABC) 3 Nominations
Outstanding Hairstyling for a Variety, Nonfiction or Reality Program
Outstanding Lighting Design/Lighting Direction for a Series
Outstanding Sound Mixing for a Reality Program
Dancing With the Stars (ABC / Disney+) 3 Nominations
Outstanding Hairstyling for a Variety, Nonfiction or Reality Program
Outstanding Lighting Design/Lighting Direction for a Series
Outstanding Makeup for a Variety, Nonfiction or Reality Program
Jimmy Kimmel Live (ABC) 3 Nominations
Outstanding Talk Series
Outstanding Directing for a Variety Series
Outstanding Production Design for a Variety or Reality Series
The Lion King at The Hollywood Bowl (Disney+ / Disney Branded Television) 3 Nominations
Outstanding Choreography for Variety or Reality Programming
Outstanding Makeup for a Variety, Nonfiction or Reality Program
Outstanding Technical Direction and Camerawork for a Special
Nobody Wants This (20th Television) 3 Nominations
Outstanding Comedy Series
Outstanding Lead Actor in a Comedy Series – Adam Brody
Outstanding Lead Actress in a Comedy Series – Disney Legend Kristen Bell
Welcome to Wrexham (FX on Hulu) 3 Nominations
Outstanding Unstructured Reality Program
Outstanding Picture Editing for an Unstructured Reality Program
Outstanding Sound Mixing for a Reality Program
2024 Rock & Roll Hall of Fame Induction Ceremony (ABC) 2 Nominations
Outstanding Technical Direction and Camerawork for a Special
Outstanding Lighting Design/Lighting Direction for a Special
Beatles ’64 (Disney+ / Walt Disney Studios) 2 Nominations
Outstanding Sound Editing for a Nonfiction or Reality Program
Outstanding Sound Mixing for a Nonfiction Program
Bill Burr: Drop Dead Years (Hulu) 2 Nominations
Outstanding Variety Special (Pre-Recorded)
Outstanding Picture Editing for Variety Programming
Celebrity Family Feud (ABC) 2 Nominations
Outstanding Game Show
Outstanding Host for a Game Show – Steve Harvey
Jeopardy! (ABC) 2 Nominations
Outstanding Game Show
Outstanding Host for a Game Show – Ken Jennings
Life Below Zero (National Geographic) 2 Nominations
Outstanding Cinematography for a Reality Program
Outstanding Picture Editing for an Unstructured Reality Program
Music by John Williams (Disney+ / Lucasfilm Ltd.) 2 Nominations
Outstanding Sound Editing for a Nonfiction or Reality Program
Outstanding Sound Mixing for a Nonfiction Program
The Rookie (ABC / 20th Television) 2 Nominations
Outstanding Stunt Coordination for Drama Programming
Outstanding Stunt Performance
Shark Tank (ABC) 2 Nominations
Outstanding Structured Reality Program
Outstanding Host for a Reality or Reality Competition Program – Mark Cuban, Lori Greiner, Kevin O’Leary, Barbara Corcoran, Robert Herjavec, Daymond John, and Daniel Lubetzky
The Simpsons (20th Television Animation) 2 Nominations
Outstanding Animated Program
Outstanding Character Voice-Over Performance – Hank Azaria
Tucci in Italy (National Geographic) 2 Nominations
Outstanding Hosted Nonfiction Series or Special
Outstanding Cinematography for a Nonfiction Program
What If…? (Disney+ / Marvel Animation) 2 Nominations
Outstanding Character Voice-Over Performance – Jeffrey Wright
Outstanding Sound Editing for an Animated Program
Who Wants to Be a Millionaire (ABC) 2 Nominations
Outstanding Game Show
Outstanding Host for a Game Show – Jimmy Kimmel
The Acolyte (Disney+ / Lucasfilm Ltd.) 1 Nomination
Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour)
American Horror Stories (FX on Hulu / 20th Television) 1 Nomination
Outstanding Contemporary Costumes for a Limited or Anthology Series or Movie
Bad Sisters (20th Television)
1 Nomination
Outstanding Lead Actress in a Drama Series – Sharon Horgan
Bob’s Burgers (20th Television Animation) 1 Nomination
Outstanding Animated Program
The Boy & The Octopus (The Walt Disney Company) 1 Nomination
The Conners (ABC) 1 Nomination
Outstanding Picture Editing for a Multi-Camera Comedy Series
Doctor Who (Disney+ / Disney Branded Television) 1 Nomination
Outstanding Choreography for Scripted Programming
Erased: WW2’s Heroes of Color (National Geographic) 1 Nomination
Outstanding Narrator – Idris Elba
Grotesquerie (FX on Hulu) 1 Nomination
Outstanding Contemporary Makeup (Non-Prosthetic)
The Handmaid’s Tale (Hulu) 1 Nomination
Outstanding Guest Actress in a Drama Series – Cherry Jones
Only Murders in the Building: Unlocking the Mystery (Hulu) 1 Nomination
Outstanding Short Form Nonfiction or Reality Series
Patrice: The Movie (Hulu / ABC News Studios) 1 Nomination
Exceptional Merit in Documentary Filmmaking
Press Your Luck (ABC) 1 Nomination
Outstanding Host for a Game Show – Elizabeth Banks
The Rabbit Hole with Jimmy Kimmel (ABC) 1 Nomination
Outstanding Short Form Comedy, Drama or Variety Series
Say Nothing (FX on Hulu) 1 Nomination
Outstanding Writing for a Limited or Anthology Series or Movie
The Secret Lives of Mormon Wives (Hulu) 1 Nomination
Outstanding Unstructured Reality Program
Sly Lives! (aka The Burden of Black Genius) (Onyx Collective) 1 Nomination
Outstanding Documentary or Nonfiction Special
SocialStudies (FX on Hulu) 1 Nomination
Outstanding Documentary or Nonfiction Series
The Supremes at Earl’s All-You-Can-Eat (Searchlight Pictures) 1 Nomination
Outstanding Music Composition for a Limited or Anthology Series, Movie or Special (Original Dramatic Score)
Will Trent (ABC / 20th Television) 1 Nomination
Outstanding Choreography for Scripted Programming
Wheel of Fortune (ABC) 1 Nomination
*As some of the nominations overlap, these are grand totals for each entity.
A qualitative descriptive study recently published in Alzheimer’s & Dementia identified distinct categories of unmet needs and barriers that could contribute to avoidable nursing home placements among Black, Hispanic/Latino, and White patients living with dementia. Study authors noted that the need for applying strategies that aim to address these unmet needs and improve community-based services to reduce nursing home placements in this diverse patient population.1
In the study, researchers recognized 7 distinct categories of unmet needs in patients living with dementia from 61 interviews conducted in New York. These included assistance with activities of daily living and basic home maintenance; access to resources and services; treatment-related services; opportunities for socialization; recognition of individual preferences; home function, such as unaddressed modification needs; and the availability, capability, and support of family caregivers. Notably, barriers to addressing these needs were reported as limited awareness, knowledge, availability, affordability, and acceptability of existing resources, services, and supports.
“Many people struggled to find the help they needed, such as connecting with home health aides or housekeeping services, did not receive enough hours of care, or could not afford the help they needed. Even when services were available, limitations from insurance, high costs, a lack of available workers, and scheduling at preferred times often left people without sufficient support to stay safely at home,” coauthors Jasmine L. Travers, PhD, RN, AGPCNP-BC, CCRN, assistant professor of nursing, and Aasha Raval, MPH, BDS, research associate, both at NYU Rory Meyers College of Nursing, told NeurologyLive® in a recent interview. “This gap in finding reliable help was a major reason for the nursing home placement. Clinical teams might recognize this gap and be ready to ask their patients these questions and serve as liaison to connect patients with the services that they need.”
The research involved interviews with patients living with dementia (n = 19), their family care partners (n = 17), and key informants which were nursing home staff from 2 New York facilities (n = 25) and aging policy experts (n = 10). Authors noted that 11% (n = 2), 12% (n = 2), and 8% (n = 2) of patients with dementia, family care partners, and key informants, respectively, identified as Black, whereas 32% (n = 6), 47% (n = 8), and 32% (n = 8) of patients with dementia, family care partners, and key informants, respectively, identified as Hispanic/Latino. All 1-on-1 interviews with each of the participants were conducted by researchers between March 2022 and November 2022.
READ MORE: Understanding the Root Causes of Cognitive Decline in Disadvantaged Neighborhoods
“Clinicians face significant challenges because the entire system still favors nursing home care over home- and community-based services, which often have long waitlists, excessive paperwork, and workforce shortages. Even programs designed to help people stay at home, such as Money Follows the Person or the Program of All-Inclusive Care for the Elderly (PACE), are not available everywhere or to everyone who needs them,” Travers and Raval said in the interview. “Additionally, the services covered often depend on complex Medicaid rules rather than what is best for the individual. For Black and Latino families, there is an added layer of disparities and fewer culturally tailored services, making it even more difficult for clinicians to connect them with necessary support. Furthermore, gaps in affordable housing and community resources limit clinicians’ options to keep people safe and supported at home.”
Aasha Raval, MPH, BDS
(Credit: Hartford Institute for Geriatric Nursing)
Based on the identified distinct categories of unmet needs and barriers from the interviews, the results emphasized that with appropriate support, many patients with dementia could remain at home rather than enter nursing homes. However, the participants in the study and previous studies have underscored that both paid and unpaid assistance options for patients with dementia can be limited, and navigating available community services could remain a significant challenge.2
Authors also noted that the study’s limitations included potential recall bias in interviews and limited generalizability despite a diverse sample from New York City. Although the sample size exceeded recommendations and included aging policy experts, researchers noted that only nursing home residents with dementia were interviewed. Furthermore, the small sample across racial and ethnic groups may prevent conclusions about differences in unmet needs, though future research could address this.
“We are currently researching the differences across racial and ethnic groups in more detail. We found that when we spoke with families of Black and Latino older adults, caregivers face bigger barriers such as fewer culturally tailored services, financial challenges, and deep-rooted distrust in healthcare stemming from historical disparities,” Travers and Raval added. “It is not just that care is hard to find, often the available care does not meet their language or cultural needs. Additionally, insurance rules and a shortage of bilingual aides make things even more difficult. This results in families taking on more care themselves on top of full-time jobs, which can be overwhelming and eventually lead to earlier nursing home placements.”
“To support these families, we need: Increased Medicaid-funded home care hours to ensure services to keep loved ones safely at home. Enhanced training in cultural competence for home health aides and clinical teams (i.e., bilingual communication skills and understanding cultural values). Expanded community-based programs tailored to Black and Latino caregivers, such as culturally specific dementia education workshops, caregiver support groups in preferred languages, and programs like PACE and Community Aging in Place – Advancing Better Living for Elders (CAPABLE), which can help families navigate care and avoid crises. Simplified process to sign up for programs such as PACE and CAPABLE by reducing paperwork, clarifying eligibility rules, and providing information in multiple languages and culturally appropriate formats, so families/older adults know what help exists and how to get it,” Travers and Raval told NeurologyLive.
REFERENCES 1. Travers Altizer J, Shenoy S, Balaji A, Bergh M, Raval A, Jimenez A. Unmet needs and nursing home placements in Black, Latino, and White people living with dementia. Alzheimers Dement. 2025;21(6):e70265. doi:10.1002/alz.70265 2. Jutkowitz E, Mitchell LL, Bardenheier BH, Gaugler JE. Profiles of Caregiving Arrangements of Community-dwelling People Living with Probable Dementia. J Aging Soc Policy. 2022;34(6):860-875. doi:10.1080/08959420.2021.1927613
