Netflix landed 111 Emmy nominations today across 34 titles, with 21 series scoring multiple nominations, led by Beef with 16 and The Beast In Me with 9 — both limited/anthology series, a genre Netflix has had a stronghold on with four Outstanding Series wins in the past five years, including the last three. That included Beef’s first installment in 2023.

Jinny Howe, on her first Emmy nominations day as Head of UCAN Scripted Series — a role she was promoted to last August — spoke with Deadline after spending the morning talking to nominated talent, which includes four performers landing their first acting Emmy nominations: Charlie Hunnam for Monster: The Ed Gein Story and Beef‘s Charles Melton, Carey Mulligan and Youn Yuh-Jung.

“I feel tremendously proud of the showing that we had, I think it just demonstrates a really great representation across such a variety of different types of shows and creators,” Howe said. “We’re thrilled for these shows to all be recognized in this way.”

‘Beef’ & ‘The Diplomat’: Nomination Growth & Belief

Two Netflix series increased their Emmy nomination tally season-to-season. Beef went from 13 to 16, while The Diplomat jumped from two nominations for Season 2 to 7 for Season 3. Both are nominated in the top series categories.

The latter should be particularly gratifying for Netflix executives who gave the political thriller starring Emmy nominees Keri Russell and Rufus Sewell early Season 3 and Season 4 renewals ahead of the previous seasons’ premiere. While a critical darling with devoted following, The Diplomat has not been able to attract wide audiences, with its most recent third season opening to 4.8M viewers and only spending three weeks in the Top 10 for English series.

“It just is, testament to how strong the show is,” Howe said about The Diplomat more than tripling its Emmy nomination haul this year. “As you know, we’ve been betting forward on that show every season because we believe in it, and we know that it’s just a really special and stellar show that Debora Cahn created.”

Beef took three years between seasons as creator Lee Sung Jin (Sonny Lee) had to reinvent the concept after the original installment swept the 2023 Emmys with 8 wins.

“Sonny, when he pitched us Beef, had always conceived this as an anthology that was going to be a different story and feature different characters from season to season, so it’s incredible when you think about how amazing Season 1 was, that he was able to follow that up with even more nominations and such an original new story,” Howe said.

Is there a third installment coming up? Season 2 ratings have been off the meteoric highs of Season 1 but that is being offset by Emmy gains.

“No, no talks about the third installment yet; we’re celebrating today,” Howe said.

What’s Next For ‘The Beast In Me’ & ‘Monster’

The Beast In Me starring Claire Danes and Matthew Rhys — both nominated today — is a true limited series but, in light of its ratings success, showrunner Howard Gordon and the streamer had been discussing ways to extend the franchise.

“I don’t have anything to confirm on that front today,” Howe said. “I think right now we’re just focused on Season 1 and the nominations this morning, and for Matthew and Claire to be recognized in this way.”

Ryan Murphy has been looking ahead with his Monster true crime franchise, having the next installment ready to go as the previous one debuts. While Monster: The Ed Gein Story is celebrating its seven Emmy nominations, including acting noms for Hunnam and Laurie Metcalf, Murphy is working on Season 4, which tells the story of Lizzie Borden, the franchise’s first female subject.

“Ryan is such a master and a maestro of understanding where he wants to take the stories next, and I think we’re going to be really excited to see this next installment with Lizzie,” Howe said. “It’s really remarkable the way he can always make the franchise feel fresh and feature a new perspective, and it’s a really great showing for him. We’re so excited for Charlie and for Laurie to be recognized for their performances, too.”

As for the status of The Lizzie Borden Story, “we are in post on Lizzie, and yes, we’re feeling very excited about what’s to come.”

‘Stranger Things’ Emmy farewell

Juggernaut Stranger Things ended its Emmy journey with seven nominations for the fifth and final season, all in crafts/stunts fields. While a tick over Season 4’s six noms, the show did not return to the Outstanding Drama Series category or get any acting nominations, something it had done consistently in its first three seasons.

For Howe, that is still a happy ending.

“The show is a global phenomenon, and the fandom around the world is massive, and we feel like this final season was just such a loving sendoff for the series, so seven Emmy nominations for that show, we are feeling great about,” she said. “It does feel like it is recognizing all the achievements, creatively, artistically, that that show has given fans over many, many seasons.”

‘Wednesday’ & ‘Nobody Wants This’ Omissions

Netflix’s most popular English-language series, Wednesday, landed six nominations for its second season, but they did not include the titular star Jenna Ortega, who was nominated for Season 1. And comedy Nobody Wants This went from six to two nominations, Outstanding Comedy Series and Music Supervision, in Season 2, with its previously nominated leads Kristen Bell and Adam Brody left out this time.

Were those omissions a little bit of head scratchers?

“No, that I wouldn’t say they were head scratchers,” Howe said. “We are really, really excited for Nobody Wants This to be recognized in the Best Comedy category. It feels like a very, very competitive year and competitive category. So it was very exciting to see us represented in that way.”

‘Bridgerton’ Bridging Season Gap

Bridgerton, which got four Emmy nominations for Season 4, will release its fifth season in 2027, as revealed at the Netflix upfront in May, the first time installments of the hit Regency drama have run in two consecutive calendar years. Is this part of an effort to shorten gap between seasons and when can fans expect Season 5?

“Our focus is making sure that the fans of Bridgerton have an amazing next creative installment when they want it; we are trying very hard to just make sure we are offering that up in a really steady cadence,” Howe said. “We still don’t have any definitive information in terms of when we’ll be launching the next season.”

Prestige Push & Buying Spree

Two years ago, Howe brought in HBO executive Nora Skinner as VP, focused on elevated and prestige dramas, an area Howe has been focused on expanding into. Is Skinner’s inaugural slate coming to fruition, with her first shows possibly ready for 2027 Emmy consideration?

“Yes, her slate is underway, you know about these big titles we have with Rabbit, Rabbit, and we just made a big commitment on The Corrections; these things take some time to come together, but will be coming your way very soon,” Howe said. “Next up we have on the slate, East of Eden that you should be watching very closely, which is very much a show that is crafted for this audience, and we think they will love.

“So yes, we are feeling very bullish, very excited about what’s to come in that space,” she continued. “We’ve been very focused — it’s not something new — giving creators a global platform to tell their stories. If you look at Sonny Lee and Debora Cahn, creators that I’ve worked very closely with, to see the long-term relationship and the creative partnership that we’ve been able to provide result in a day like today, with as many nominations as these shows have been able to garner, it feels really gratifying for us.”

Netflix landed both Rabbit, Rabbit starring Adam Driver and The Corrections starring Meryl Streep with straight-to-series orders as the streamer has been the most active — and aggressive — buyer over the past year, winning a slew of high-profile bidding wars with big commitments. What is the rationale behind the buying spree to fill the streamer’s pipeline?

“All of this is always driven by what the audience wants, and we are very focused on partnering with special voices and creators who we think have original, bold ideas that we think will resonate for people watching around the world, so that really is what’s driving this always for us, making sure that we are speaking to this audience consistently,” Howe said. “It’s been something that we’ve done since the very early days, and we’re just not taking our eye off of that ball, it just remains, as ever, a really big priority for us.”

Howe has no intention of taking her foot off the gas.

“It feels like for us it’s been a very competitive marketplace, there have been really compelling projects that have felt like the right ones for us to go aggressively after, and you’ll continue to see us do that,” she said.

As production on HBO Max hit medical drama The Pitt‘s third season was in full force this morning, the TV Academy announced the Emmy Award nominations for 2026. Noah Wyle, star of the series who also writes, directs, and executive produces, learned the news of the show’s 25 nominations—the highest for any show this year— alongside his co-stars and crew from creator R. Scott Gemmill during a break.

Among the nods were two for Wyle, Outstanding Lead Actor in a Drama Series, his second for the series with one win, and for Outstanding Directing for a Drama Series for his skills behind the camera on Episode 6 titled “12:00 p.m.” Wyle has received a total of 10 Emmy nominations across his career with two wins.

“This just feels very much like a gift that keeps on giving. I feel very humbled by this and validated many times over. Today, I feel extremely gratified that the nominations were spread so far and wide across our casting. It really feels like it’s a testament to the collective achievement and contribution that everybody makes,” Wyle told me this morning.

And he is correct. The Pitt’s nominations packed a wallop in the acting categories, with recognition for multiple talents represented across Outstanding Actor/Actress, Supporting Actor/Actress, and Guest Actor/Actress.

Beyond that, there was also plenty of recognition for writers, editors, directors, casting, makeup, and beyond. Wyle celebrated every member of the cast, crew, and executives, nominations or not, for the success of the show.

“It is such a collective effort that it’s really hard to parse it out into individual contributions. It feels a little disingenuous to be one of the only people standing up there on a stage accepting a trophy on behalf of Stage 22 and Stage 21, and all the people that work there,” he said. “The fact that Jojo Coelho, our DP, was not nominated, I think, was significant because she’s such a huge part of our show and is part of every single one of those nominations because her work is so spectacular.”

More from our chat can be found below.

DEADLINE: Congratulations on your nominations. Throughout your career, you have played many different roles, but you are perhaps best known for your work on E.R. and The Pitt. What is it about playing a doctor that makes you shine?

NOAH WYLE: [Laughs] I don’t know. This profession is one that fits me like a surgical glove. Doctors, by nature, are healers and caretakers and fixers, and I think that there’s a lot of that in me as well. So I think I have an opportunity to extend my own personality through somebody who is a frontline worker who puts service above self.

DEADLINE: Do you think it has anything to do with the fact that your mom was a nurse?

WYLE: I sort of am slightly embarrassed that I’ve played a doctor for most of my adult life. My mother knows that that was never going to happen in real life. I got all my report cards and saw my grades in math and science, and pretty much ruled out that that was ever going to be a career for me. So it’s no small amount of irony that I am now one of the more famous doctors in the world. [Laughs]

DEADLINE: It’s been a tough go for Dr. Robby so far, and you previously teased that this season he would hit rock bottom. Is he doomed to be a tragedy, or is there a chance that he could find some sort of happily ever after?

WYLE: Well, I don’t want to say too much about Season 3, but I think we’re climbing out of the pit slowly but surely. I think Robbie and anybody who can identify with him will watch his journey and feel that we’re now finally in the kind of ascension. We’re moving up and out of where we’ve been.

DEADLINE: What can you tease regarding whether Robby will finally ask for the help he needs?

WYLE: Season 1 was about the doctor being the patient; Season 2 is about doctors not being very good patients; Season 3 is about doctors benefiting from being patients. We’re going to see that he’s begun the therapeutic road; it’s had a positive effect. It’s fragile, and it’s not without risk and vulnerability, but it’s at least there’s forward progress.

DEADLINE: There’s been a dangerous event in both seasons so far. Fans have discussed the possibility of a snowstorm affecting the city or a citywide power outage in Season 3. What are your plans?

WYLE: Those are really good ideas. I wish we had thought of them. You know, weather is a factor in Pennsylvania, certainly in Pittsburgh. You sort of turn the corner into fall, and those temperatures drop. All sorts of different kinds of cases come through the doors when you’ve got slick roads: people turning on their boilers and their heaters for the first time, house fires, the homeless situation where people are out on the street and cold. The weather is a character this season, for sure.

DEADLINE: How about a possible respiratory virus crisis that may or may not trigger Dr. Robby’s trauma from the COVID era?

WYLE: Any winter brings a respiratory infection outbreak and a higher incidence of coughs and colds. But whether we built that into Robbie’s trigger mechanism is yet to be seen.

DEADLINE: There have also been guesses about a potential strike, specifically a nurses’ strike. Has this been part of the conversation?

WYLE: We talked about what that would look like if we did it. In some ways, it’s a gift to have a show that really takes place over 15 hours, and it’s a bit of a limitation when you have that constraint. So an arc like a strike, can you tell that full story and all of its complexity in 15 consecutive hours? Or are you better served talking about the conditions that would lead a union member to want to strike? We ended up thinking that the latter was probably the better way to do it. Otherwise, it becomes the major storyline of the season. So unless we really wanted to commit to that only, it seemed like it would be more distracting than rewarding. It was discussed at length, and we opted for talking about how strikes are happening and why they’re happening rather than actually engaging in one ourselves.

DEADLINE: I just spoke to your co-star Patrick Ball about the Robby and Langdon relationship and how it has been limited simply because one cannot pour out of an empty glass. Could we see Langdon or other surprising characters support Robby as he hits rock bottom this season?

WYLE: We don’t really get love stories on the show too much, but the love story between Robby and Langdon is one that I’m very invested in. I think that relationship and the sense of betrayal and the desire to kind of find their way back to each other and find common ground again is going to be a really wonderful part of Season 3. It’s certainly one of the more gratifying things for Patrick and me, because we really love working together.

DEADLINE: Speaking of relationships, can you speak openly about the Langdon and Mel shipping? Somehow possible or not?

WYLE: I’m not seeing it. That’s not a sexualized relationship. It’s very fraternal; it’s brother and sister, and it’s really endearing because it doesn’t have that other energy behind it. It’s just empathy and compassion and mutual respect. But I get why people like shipping characters, and I’m certainly not throwing shade at anybody’s fantasy. But for my money, Langdon has a marriage that he’s struggling with, two kids, a dog, medical debt, and a recovery road. He’s got enough on his plate; he needs a friend.

DEADLINE: To close, is there anything else you can tease about Season 3 that I haven’t asked you yet?

WYLE: Up until now, we’ve plotted our show almost in real time when people are watching. We’ve written the shows eight months before we air, but we’ve written them to take place in the time and place in which they are being watched this season. We didn’t do that this season. What we’re depicting is Thursday, November 12, 2026 and it will be aired in January of 2027.

So we will be talking about where we’ve just been for the first time, and not where we’re going. That was a decision made because there’s going to be a lot of anticipation and fear and preparation going into January and the execution of the Big Beautiful Bill that will have a lot of ramifications in Americans’ lives. We wanted to focus on what those last couple of months of the year are going to be like and what most people are going to have to do to prepare themselves for a very harsh reality in the next seven to eight years, to underscore the point of how desperate this particular moment in time is.

After a whirlwind experience with Supergirl, the singer behind the movie’s much-debated cover version of Jimmy Eat World’s “The Middle” is confident that everything will be all right.

It wasn’t until two months before Supergirl’s June 26 release that Kelty Greye got an email from the DC Studios film’s team about including her version of the 2001 power-pop anthem. This was an improbable turn of events for Greye, an as-yet-unsigned artist who had recorded the cover in her bedroom three years prior while studying commercial songwriting at Middle Tennessee State University.

At the time, Greye had just landed with sync licensing agency Think Music after getting attention for posting an original song. The agency connected her with producer KidMotel and suggested a list of singles for a possible cover. “The Middle,” which remains Jimmy Eat World’s signature tune after becoming a top-five hit on the Billboard Hot 100 chart when it debuted 25 years ago, jumped out to Greye as one she had loved while growing up.

“I recorded that in my bedroom between classes in a little booth I built out of packing blankets and PVC pipe,” the performer tells The Hollywood Reporter of the recording that was not altered for the film. She had never previously performed the song and explains about the origins of her slowed-down rendition: “I was an emo. I loved that whole genre of music, but that’s not my style to sing like that. And I’m a violinist, so I talked to my producer and was like, ‘What if I put violin strings?’ He sent me the guitar track and was like, ‘What if we slow it down a bit, and your voice is really soft?’ It’s such a powerful song, and I love the message. It was really, really cool to sing it as a woman.”

With lyrics imploring, “It just takes some time, little girl, you’re in the middle of the ride,” the song is associated with the angst-laden emo rock scene that thrived in the 2000s, and Jimmy Eat World closed with “The Middle” when playing Coachella last year. However, Supergirl’s cover sparked widespread discussion on social media that had little to do with Greye’s performance or interpretation but focused on fans questioning the introspective version coming at an action-packed moment in the film for Milly Alcock‘s title character. Of course, the movie itself has been widely debated, with DC Studios co-CEO Peter Safran noting that its box office opening did not meet expectations.

When asked how it has felt for her song to get so much attention, Greye says, “As an artist, all you want to do is make people feel something. So, what an honor to have created something that gives people a wide spectrum of feelings. Whether you loved it or hated it, if you walked out feeling something, that’s just cool: ‘Wow — gave you an emotional response.’”

The fact that social media users were quite opinionated about the song’s inclusion took some time for Greye to process. “At first, it was a little surreal,” she admits of the response. “I just was seeing my name pop up on things and was like, ‘That’s wild.’ But after the first 24 hours, I was like, ‘You know what? That’s cool. I’m down. Any feelings you want, it’s cool.’”

Greye notes that she wasn’t allowed to tell anyone about her song’s inclusion in the film until the day of the Supergirl release, and she had no idea that it would become the final needle drop. “Things were always up for debate,” she says of possible last-minute changes to the song’s placement. Indeed, director Craig Gillespie has revealed that 45 songs were considered for that pivotal spot, with THR reporting that a cover of Cyndi Lauper’s “Girls Just Want to Have Fun” came close to getting the nod. Adds Greye, “When the movie came out, I was at work and couldn’t go see it yet. And I was seeing spoilers on the internet about where the song was, which is crazy.”

Life has yet to change dramatically for Greye, who continues to work her day job at a customer support call center in Nashville. She admits that she was on the brink of giving up her singer-songwriter aspirations when she found out about Supergirl, and now, having recently released Haunt Me, her debut four-song EP that includes original tunes alongside a Nina Simone cover, she looks forward to exploring where music could yet take her.

“My favorite thing in the world is music in film, so this has always been my dream,” says Greye, who hopes to someday connect with producer James Gunn to thank him for the opportunity and learn what made her performance stand out. As for her feelings about the sequence that features her singing, she adds, “I enjoyed the movie and just thought it was a really wonderful scene. Really cool to hear my song in it but thought it was powerful for the characters.”