Entertainment
Has Apple TV Pushed Ahead in the 2026 Emmys Race?
The following article is an excerpt from the new edition of “IndieWire’s The Lead Up,” a weekly newsletter in which our Awards Editor Marcus Jones takes readers on the awards trail, interviewing key figures responsible for some of the most compelling stories of the season, and offering predictions on who will win. Subscribe here to receive the newsletter in your inbox each week.
With more distance from the 2026 Primetime Emmy nominations announcement, the biggest miscalculation I made was overestimating the popularity of HBO shows, and therefore underestimating just how popular some of the new Apple TV shows were with voters in the Television Academy.
It is still hard to discount the HBO Max series “Hacks” as a frontrunner in Comedy. It literally broke the record for most nominations for a single season of a comedy series, with 24. But Apple TV series “Widow’s Bay” getting 19 nominations after having only premiered about a month and a half before voting, with the last three episodes of its inaugural season not even being eligible, is nothing to shake at.
Unlike with the Drama categories, Apple TV has a real stronghold with voters deciding which comedies to award. It famously took “Hacks” until its third season to finally win the Outstanding Comedy Series Emmy because Apple TV’s blockbuster series “Ted Lasso” kept getting in the way. It also took until Season 4 for “Hacks” star Hannah Einbinder to win Outstanding Supporting Actress in a Comedy Series.
“Hacks” is primarily a star vehicle for Jean Smart in the eyes of Emmy voters, and there are no female leads on “Widow’s Bay,” so the seven-time Emmy winner will more than likely become the first woman to win Outstanding Lead Actress in a Comedy Series for the entire run of her show, but TV Academy members tend to favor a breakout over an established name, so “Widow’s Bay” discovery Kate O’Flynn is positioned really well to win over Einbinder in an upset.
Her co-star Matthew Rhys will also more than likely win his first Emmy for Outstanding Lead Actor in a Comedy Series for his work in “Widow’s Bay,” as Martin Short and Jason Segel, his two fellow nominees who also star in shows that got nominated for Outstanding Comedy Series this year, do not have as much momentum behind them as final voting approaches.
That leaves Outstanding Supporting Actor in a Comedy Series as the only major comedy acting category up in the air. There isn’t the aforementioned breakout factor this time around. Every nominee has been nominated before. Therefore, it really may finally be time for screen icon Harrison Ford to win his first Emmy, three seasons deep into his Apple TV series “Shrinking.”

With the Drama categories, again recent Outstanding Drama Series winner “The Pitt” on HBO Max is the nominations leader, but freshman Apple TV series “Pluribus” is not that far behind. What makes the Drama races different is that Apple TV series have struggled much more to find its bearings here. Neither “The Morning Show” nor “Slow Horses” earned Outstanding Drama Series nominations for their first two seasons. And only “Severance” has ever been a frontrunner in the category, despite the streaming service having premiered dozens of drama series at this point.
The second season of “The Pitt” was not as well-received as the first, but that does not necessarily mean the HBO Max series suffered a sophomore slump. The bar was just set impossibly high, to the point where I’d say its Emmy-winning stars Noah Wyle and Katherine LaNasa are unimpeachable in the Outstanding Lead Actor in a Drama Series and Outstanding Supporting Actress in a Drama Series categories, respectively. Outstanding Supporting Actor in a Drama Series is a bit shakier, as nominee Shawn Hatosy also won an Emmy last year for the same role as a guest star, while breakout Patrick Ball, who appears more often throughout the medical drama, did not receive an Emmy nomination at all for Season 1.
Vote-splitting happens less often than we anticipate, but there is a lot of room for “Task” star Tom Pelphrey to win instead, or even for “The Morning Show” star Billy Crudup to pull off another upset. The latter actor did best the stars of Emmy juggernauts like “Succession” and “Shōgun” after all, the two times he won the category.
The best hope “Pluribus” has of winning an acting category is star Rhea Seehorn earning her first ever Emmy for Outstanding Lead Actress in a Drama Series. It will not be easy, as she is nominated against Zendaya, who has won the category for every season of “Euphoria” so far, and “The Diplomat” star Keri Russell, who also (outrageously!) has never won an Emmy, and bested Seehorn at the Actor Awards recently. But a win for Seehorn would not just be the TV Academy members righting the wrong of her never winning for “Better Call Saul,” it would right the wrong of that AMC series going zero for 53 at the Emmys across its highly celebrated six season run.
On a smaller level, another one of my mistakes predicting the Emmy nominations this year was thinking that the FX show “Love Story: John F. Kennedy Jr. and Carolyn Bessette” was more popular with voters than it actually ended up being. I would still put money on the breakout star Sarah Pidgeon winning the Emmy for Outstanding Lead Actress in a Limited or Anthology Series or Movie for her portrayal of the late Carolyn Bessette, but with the other categories, it’s all “Beef” Season 2 versus “DTF St. Louis.”

Not only did the first season of “Beef” dominate the limited series categories at the Emmys three years ago, it kicked off Netflix having a major winning streak in the majority of the limited series categories to date. All this to say, “Beef” having a nominee in each acting category bodes well for it to win even more Emmys. However, star Cailee Spaeny being snubbed in Outstanding Supporting Actress in a Limited or Anthology Series or Movie still points to the show underperforming on nominations day, as well as it did. Meanwhile “DTF St. Louis” got not one, but two unexpected nominations for its detectives played by Richard Jenkins and Joy Sunday.
Ultimately, chips falling where they did, Oscar Isaac has the best hope of any “Beef” actor to win an Emmy, as all the main “DTF St. Louis” men submitted in the Outstanding Supporting Actor in a Limited or Anthology Series or Movie category. His co-star Charles Melton has a lot of goodwill in his corner, with “Beef” being his first major role since “May December,” but it is hard not to label “DTF St. Louis” star David Harbour as the category frontrunner, stemming off of his Gotham TV Award win, among other factors.
His co-star Linda Cardellini is also another actress who has been a television staple, appearing in everything from “Freaks and Geeks” to “Mad Men” to “Dead to Me,” yet never having won an Emmy, so consider her the frontrunner for the aforementioned Outstanding Supporting Actress in a Limited or Anthology Series or Movie category.
As far as the rest of the categories we cover, the Netflix film “Remarkably Bright Creatures” does not really have any competition in Outstanding Movie besides the fellow Netflix book adaptation “People We Meet on Vacation.”
For as much as the Outstanding Animated Program nominations were a surprise, the return season of “South Park” is still the frontrunner. Outstanding Reality Competition Program is a close race between “The Traitors” and “Survivor.”
Many are betting that all five Outstanding Variety Series nominees will win, since that is possible, but we still have them listed in what we assume would be the preferential order in our predictions.
And finally, the Documentary Emmys are more than likely going to the DGA Award-winning series “Mr. Scorsese” on Apple TV, and the heartstrings-tugging “Marty, Life is Short” documentary special on Netflix.
See IndieWire’s full list of 2026 Emmy predictions, complete with frontrunners, contenders, and long shots on our website. As a reminder, my email is majones@indiewire.com if you’d like to share any feedback.
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movies
Ella Anderson Joins Hulu Legal Drama ‘Conviction’ (Exclusive)
EXCLUSIVE: Ella Anderson (Song Sung Blue) is the latest addition to the main cast of Conviction, Hulu‘s upcoming series starring Elisabeth Moss, from 20th Television.
Anderson is set as a series regular in the legal drama, joining Moss, who also executive produces, and previously cast Jimmi Simpson, Kevin McKidd, Sebastian De Souza, Adam Godley and Linda Emond.
Written by House and The Good Doctor creator David Shore, Conviction follows criminal defense attorney Neve Harper (Moss), a confident lawyer who finally has her shot at a career-making case: a high-profile murder where the husband is accused of killing his wife by setting their home on fire. But when a mysterious stranger begins blackmailing Neve, she is forced to compromise every legal, moral, and ethical obligation to gain an acquittal — or else risk her dark secrets being exposed.
Details about the rest of the characters are not being disclosed.
Conviction is based on the 2023 book of the same name by Jack Jordan who is executive producing alongside David Shore and Erin Gunn via Shore Z Productions; Moss and Lindsey McManus via Love & Squalor Pictures; Warren Littlefield, Ann Johnson and Lisa Harrison via The Littlefield Co.; and Bert Salke via Co-Lab21.
Anderson, known for her role as Piper Hart on Nickelodeon’s hit series Henry Danger and the feature Henry Danger: The Movie, most recently appeared in Focus Features’ Song Sung Blue opposite Hugh Jackman and Kate Hudson. She completed filming Jesus Land, directed by Saila Kariat, in which she stars opposite Juliette Lewis. Anderson, whose film credits also include Suncoast, The Boss and Mother’s Day, is repped by WME, Gilbertson Entertainment and Yorn, Levine, Barnes.
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Entertainment
How the Paramount-Warner Bros. Merger Benefits Hollywood
The proposed $110 billion merger between Paramount and Warner Bros. could be one of the largest financial transactions in American history. And now 12 state attorneys general, led by California AG Rob Bonta, filed an antitrust lawsuit to block it, in part voicing concerns about a “free and independent press.” The Writers Guild of America followed suit Tuesday, claiming it “would eliminate competition.”
But the central question under U.S. antitrust law is not whether a merger creates a larger company, but whether the government can show that it is likely to substantially lessen competition and harm consumers, workers or the broader economy – not merely competitors.
On the available evidence and our own analysis, the Paramount–Warner Bros. Discovery transaction does not meet that standard.
Instead, it would likely create a stronger competitor in entertainment and media, bringing new investment and dynamism to sectors under pressure while expanding choices and opportunities for consumers, workers, filmmakers, writers, directors, actors and theater operators who depend on a healthy production pipeline.
Any serious analysis must begin with the vast entertainment marketplace as it exists today. Consumers have access to an unprecedented array of content providers, streaming services, social media platforms, gaming companies and digital creators. Competition for audiences, subscriptions, advertising and creative talent is broad and intensifying.
A combined Paramount-Warner Bros. Discovery would face strong rivals not only in streaming but across film production and theatrical distribution. Sony, Universal, Lionsgate, A24 and independent producers compete alongside Netflix, Disney, Amazon, Apple and Comcast/NBCUniversal, while YouTube, TikTok and other digital-first platforms compete intensely for consumer attention and advertising dollars.
Nielsen reported that streaming represented 47.5% of total television viewing in December 2025. In Nielsen’s March 2026 Media Distributor Gauge, YouTube accounted for 13% of U.S. television watch time, while Paramount and Warner Bros. Discovery accounted for 8% and 6%, respectively. That’s hardly a Standard Oil monopoly.
Those are viewing shares, not formal antitrust market shares, and March Madness boosted both companies that month. Even so, they show that the combined company would operate amid substantial competition from Disney, Netflix, NBCUniversal, Fox, Amazon, Roku and others.
The challenge facing legacy media companies is not excessive market power but insufficient scale. Paramount and Warner Bros. Discovery own valuable studios, brands and libraries, but they compete against global platforms with larger technology budgets, deeper pools of capital and direct relationships with hundreds of millions of users.
If a merger enables two weaker firms to compete more effectively against larger rivals, that is procompetitive rather than anticompetitive. Blocking this transaction simply because the result would be a larger company confuses size with market power.
Former California Attorney General Bill Lockyer has argued that it should be reviewed carefully rather than automatically resisted, while former Connecticut Attorney General George Jepsen has warned that blocking the merger would not necessarily strengthen competition if it leaves legacy studios less able to compete against technology-backed rivals.
That evidentiary standard matters because the Justice Department conducted an eight-month investigation, reviewing more than two million documents from more than 80 custodians. It concluded that the transaction was not likely to harm competition, American consumers or workers in streaming video on demand, linear television or theatrical film development, production and distribution.
The department further concluded that its effect would be to “increase competition across the media and entertainment ecosystem, with benefits for American consumers and workers.”
The consumer benefits are concrete. A combined platform could bring complementary libraries into a more complete offering, improve search and discovery and reduce the need for some households to maintain two separate subscriptions. The transaction does not guarantee a lower sticker price, but a broader offering can increase value and place downward pressure on a household’s total streaming costs.
The labor question is whether a financially stronger company will finance more films and television programs and sustain more long-term demand for writers, actors, editors, camera crews, set builders, drivers, technicians, caterers and small businesses.
The Bureau of Labor Statistics reported that motion picture and video production shed 49,000 jobs over the decade ending in February 2026, a 21% decline. A merger alone cannot reverse that trend, but increased investment and production could support a more durable pipeline of work.
Paramount has committed to a minimum of 30 theatrical films annually across Paramount Pictures and Warner Bros., with the two remaining distinct studios and each film receiving a full theatrical release and at least a 45-day window before paid video on demand.
Their films together accounted for roughly one quarter of domestic box office revenue in 2025, leaving the majority to Disney, Universal, Sony, Amazon MGM, Lionsgate, A24 and other distributors. Theater owners would continue to have multiple suppliers and programming options.
The entertainment industry is fragmenting across viewing platforms, not consolidating into a single monopoly. This merger would strengthen the combined company’s ability to compete against numerous firms, several with larger global footprints.
These benefits are not guaranteed. The combined company should be held to its public commitments on 30 theatrical films annually, meaningful theatrical windows, continued investment in two distinct studios, streaming improvements and editorial independence. If it follows through, the result will be a stronger competitor and a healthier creative ecosystem.
The proper standard is careful, evidence-based review – not automatic resistance to scale. On that standard, the merger deserves approval. The federal government has ruled that way, and to benefit consumers, shareholders, and consumers, the states should follow suit.
Stephen Moore is a former senior economic advisor to President Donald Trump and now serves as the Chairman of Unleash Prosperity.
Robert Wolf served as CEO and chairman of UBS Americas and is the founder of 32 Advisors who served as an economic advisor to President Barack Obama on the Economic Recovery Advisory Board and Job’s Council.
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Entertainment
KTLA Reporter Keeps Her Cool When a Cockroach Crawls on Her
KTLA reporter Rachel Menitoff kept it professional despite having her night time news segment get crashed by a massive cockroach.
A video that is now making the viral rounds shows a large bug land on Menitoff while she was reporting on the current Los Angeles heatwave from Sherman Oaks, Calif. Despite the size of the bug and the fact that it was crawling all over her, the reporter kept it together until her job was done. The KTLA Morning News anchors marveled at their co-worker’s composure.
“That’s our Rachel Menitoff, who is so professional,” Megan Henderson said during the morning show Wednesday. “She kept her cool. There’s no way I would have been able to keep my cool during this. She probably wasn’t sure what it was, you just know there’s something.”
She added: “And that’s one of those things that several hours later you’re still feeling it. You still feel like its on your body, maybe even several days later.”
While she kept it together during the report, the second her job was done Menitoff was jumping and shaking to get the bug off her. The video after showed her brushing her hands through her hair and on her shirt to make sure the bug was off her completely.
Social media users also marveled at Menitoff’s composure. Most seemed to agree that the bug was a cockroach but remained impressed in the comments that she did not react until after her segment was over.
“She doesn’t even react until the end … I would have completely freaked out,” one user wrote under the video. “Next time … just forget the live television audience watching … they’ll all understand.”
“She was either so locked in it didn’t matter or she chose to ignore it,” another said. “Absolute professional either way.”
You can watch the moment yourself in the video above.
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