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The Emmys are confusing this year, so here's a guide to what is and isn't eligible
We pull back the curtain on Emmy eligibility and explain why the seasons you’d think are up for awards just … aren’t.
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We pull back the curtain on Emmy eligibility and explain why the seasons you’d think are up for awards just … aren’t.
Robyn Beck/AFP via Getty Images
Here we sit in January 2024 and the Emmys are nigh — the ceremony that should have taken place in September was postponed due to the Hollywood strikes. Now, some of the Emmy contenders you’ll see Monday night aired well over a year ago – as far back as June 2022. How, exactly, did that happen? Skip ahead to see what’s eligible in outstanding drama and comedy. Or, gather ’round for a little history:
Some of us are old enough to remember a time before streaming, before cable, when there were just the three television networks. Back then, during the Cretaceous, as ichthyosaurs swam the turbid seas, there was a system that every network followed: Television series premiered in the fall and had their season finales in the spring; the summer was given over to reruns.
From the mid-1970s on, the Emmys ceremony always took place in late August/early September, which made sense – they were, after all, largely a promotional tool to herald the new television season by honoring the one that came before. They were part of the hype surrounding the networks’ launches of their new fall line-ups, which used to be surprisingly glitzy affairs, replete with earwormingly cheesy theme songs.
But then came cable, and streaming, and the gradual phasing out of the hoary 22-episode season, even on broadcast networks. Today, television seasons start and end at will, yet the Television Academy has maintained a white-knuckle grip on the Old Ways: The Emmys ceremony takes place in September, and it honors shows that aired in the window between the start of summer of the previous year and the spring of the current one.
Other awards that honor television make it simpler. The Golden Globes ceremony, for example, takes place in January, and any television show that aired any time in the previous calendar year is eligible.
As prestige streaming services started lapping up greater and greater shares of Emmys, the Television Academy’s antiquated adherence to the notion of a September ceremony made it difficult to keep track of which seasons of a streaming series were eligible in any given year.
This year, that confusion is compounded by the fact that the Hollywood strikes caused the Academy to delay the Emmys ceremony. For the first time since the 1950s, Emmys will be handed out in January – this Monday night, in fact.
Yet the Emmys’ eligibility window hasn’t changed. This year’s ceremony will only honor shows that aired between June 1, 2022 and May 31, 2023. That’s a long time ago, and it means that several nominated shows have had time to produce and air full seasons beyond the ones that are currently nominated.
Given all that, it’ll be useful, come Monday night, to keep straight which specific seasons and which performances are actually in the running. So here’s a handy guide.
Outstanding drama series
Andor, Season 1, Disney+
This one’s easy – we’re talking the first and only season (so far) of Andor, the Star Wars series that eschewed lightsabers, lore and lyricism for a refreshingly grounded tale of rebellion, sabotage, incarceration and (most marvelously!) the petty office politics that drive the engine of the evil Galactic Empire.
Better Call Saul, Season 6, Part 2, AMC
For those of us, like me, who’d prematurely resigned ourselves to a world where Better Call Saul ended without the Emmys ever recognizing the outstanding work of Bob Odenkirk and Rhea Seehorn, good news. The series intentionally divided its sixth and final season so that its last six episodes would air during this ceremony’s eligibility window. So we’re talking about the episodes that take place in the immediate aftermath of a major character’s death, and that portray the resolution of the Nebraska flash-forward, involving a hilarious mall heist, and Saul Goodman’s final fate. That means those of us who’ve been pulling for this show and these actors for years are gonna get still another chance to get our hearts broken one last time.
The Crown, Season 5, Netflix
Take note: We’re not dealing with the most recent, bifurcated final season, but the one before it, which introduced a new raft of cast members, most notably Imelda Staunton’s Elizabeth, Elizabeth Debicki’s Diana and Dominic West’s Charles. The season mostly tracked the implosion of the Charles-Diana marriage; it ended with the handover of Hong Kong and the ascension of Tony Blair. (Last weekend, Debicki’s performance as Diana won her the Golden Globe for best actress in a television drama — but that award was for her work in the first half of the show’s final season. Got it? Still with me?)
House of the Dragon, Season 1, HBO/Max
Again, no confusion here: This is the only season of HBO’s Game of Thrones prequel that’s aired so far. All those characters with their irritatingly similar names (Rhaenys! Rhaenyra!), all those dragons, all those ghastly kids being even ghastlier jerks to each other. The series is a huge investment for HBO/Max, so the execs will be looking for some love Monday night. (It’s probably churlish to note the conspicuous absence, in these nominations, of another hugely expensive fantasy series from another major streaming service, so let’s just give Lord of the Rings: The Rings of Power some time alone to lick its wounds.)
The Last of Us, Season 1, HBO/Max
This twisty fungus-among-us post-apocalyptic series has only aired its first season, but that season was meaty as a portobello. Pedro Pascal and Bella Ramsey are in the running, and Nick Offerman took home the Emmy for guest actor in a drama category for his heartbreaking work in episode 3.
Succession, Season 4, HBO/Max
The series’ turbulent and triumphant final season ended juuuust under the wire. That surprising character death, and all the venal, grasping, desperate jockeying for position it kicked into motion, all took place during the Emmy eligibility window: The series finale aired on May 28 of last year, and the window closed just three days later; they knew what they were doing. Brian Cox gets his one last shot at an Emmy for the role of Logan Roy, but he’s up against fellow actors Kieran Culkin (who hasn’t won for his portrayal of Roman Roy) and Jeremy Strong (who took home an Emmy for his performance as Kendall Roy back in 2020).
The White Lotus, Season 2, HBO/Max
Yes, this is Season 2 – the Italy season. Sex workers, Vespas, villas, “These gays are trying to murder me,” the whole sun-baked Sicilian schmear. Pretty much the entire ensemble cast is up for acting Emmys; root against Jennifer Coolidge at your peril.
Yellowjackets, Season 2, Showtime
The furious (you’ll forgive me) buzz around this time-hopping series cooled a bit in its second season, which earned it fewer Emmy nominations. But Melanie Lynskey’s fearless and funny performance as a survivor of a group of athletes stranded in the Canadian wilderness years before earned her her second Emmy nom for the role.
Outstanding comedy series
Abbott Elementary, Season 2, ABC
This raft of nominations are for the show’s sophomore season. The show’s first season earned it a win for outstanding writing for a comedy series, outstanding casting for a comedy series, and a win for Sheryl Lee Ralph. It’s up for all three of those again, along with repeat acting noms for creator Quinta Brunson, Janelle James and Ralph. New this year: acting nominations for guest Taraji P. Henson and series regular Tyler James Williams.
Barry, Season 4, HBO/Max
Barry’s fourth and final season just beat the eligibility buzzer: Its harrowing/hilarious final episode aired three days before the window closed. This is the season where everything catches up to Barry at last, even as he escapes prison, and lives off the grid before returning to LA for a final reckoning.
The Bear, Season 1, FX
Cast your mind back, back to June of 2022, when all of a sudden your most TV-savvy friends started talking about this riveting, funny, stressful show about a sandwich place in Chicago. It’s hard to remember, now that The Bear is widely considered one of the best shows on television, what it was like to discover how raw and real and refreshing it was back then. But Monday night is the first chance the Emmys will have to recognize this show – all of the nominations are for Season 1, when it was still a scrappy underdog that could all too easily have disappeared into the glut of the cable grid. Rest assured: There will come a time for Season 2’s brilliant, cameo-studded Christmas dinner episode to receive its due – but that’s next year’s concern. This is the first chance The Bear‘s stars, writers, directors and producers will be able to step into the Emmy spotlight.
Jury Duty, Season 1, FreeVee
This one’ll be easy to keep straight. There’s only been one season of this fake reality series that cast a good-natured real guy as a jury member, surrounded him with actors, and had him sit through a fake trial. It’s hugely unlikely that a second season is even possible, now that the game’s been revealed.
The Marvelous Mrs. Maisel, Season 5, Prime Video
The fifth and final season of Amy Sherman-Palladino’s profile of a fictional female comic took real chances, offering teasing flash-forwards that threw the show’s (too-comfortable) status quo into disarray. In the main storyline, meanwhile, Midge got a writing gig on a talk show, and chafed against its demands. The Emmys showered the show with awards in its opening seasons; it remains to be seen if the series’ gratifying willingness to shake things up in the home stretch will turn their heads again.
Only Murders in the Building, Season 2, Hulu
Don’t get it twisted – these nominations aren’t for the most recent season of Hulu’s comedy mystery series, which widened out the world of the show into musical theater, and featured guest stars Paul Rudd and Meryl Streep. No, we’re talking about Season 2, which stuck to the murderous goings-on within the tony Upper West Side apartment building referenced in the title. RIP Bunny.
Ted Lasso, Season 3, AppleTV+
The third and final season may have its detractors, and the show never recaptured the cultural cachet it enjoyed when it debuted, but never mind. Season 3 has got plenty of chances to win something Monday night. It alone ate up half of the slots in the guest actress in a comedy series category, though that award ended up going to Judith Light for her work in Poker Face.
Wednesday, Season 1, Netflix
A huge hit that likely owed more to star Jenna Ortega’s pitch-perfect deadpan delivery and less to its setting (another school for outcasts) or its plotting (a clunky love triangle). But a hit it was, and it stands poised to soak up a lot of Emmy love on Monday night, albeit mostly for technical awards.
Just in time for a contentious 250th anniversary of the United States of America, historian David S. Reynolds’ latest book, Two Ships, helps us realize that any country that couldn’t agree on its own origin story is destined for divisive times.
Two Ships is about the complicated, conjoined legacy of the landings of the Mayflower, which carried the Pilgrims to Plymouth, Mass., in 1620, and the White Lion, which arrived in Jamestown a year earlier, bringing the first enslaved Africans to Virginia.
As Reynolds demonstrates, it’s not so much the facts of these two voyages, as it is the meanings ascribed to them, that made them such a powerful metaphor for two conflicting visions of American identity.
To simplify, the Mayflower’s passengers were separatist Puritans, dissenters to the reign of the English king, James I. As the United States developed, the Mayflower was credited with carrying the seeds of a radical democracy to the New World, one in which all men (in theory, at least) were equal before God.
In contrast, the European settlers of Jamestown were Royalists, also known as Cavaliers. Loyal to the monarchy, they believed in a strict hierarchy.
But the meaning of the images of the two ships shifted depended on who was invoking them and when. Not surprisingly, the metaphor was deployed most vigorously during the Civil War. In abolitionist speeches and writings, the White Lion or the “Slave-Ship,” as it was commonly called, was condemned for infecting America with the “plague-spot” of slavery.
Reynolds says that Frederick Douglass resorted to the “two ships” metaphor frequently, while Lincoln avoided it, hoping to preserve a unified ship of state. Meanwhile, Southern descendants of Cavaliers invoked the Mayflower to emphasize the intolerance and “cruel, persecuting” character of the Puritans. In a comment that resonates for our own times, Reynolds says:
It didn’t matter to the South that … by the mid-nineteenth century, the North had become a kaleidoscope of religious denominations, …, few of which resembled the faith of the Plymouth colonists. Distortion is intrinsic to cultural memory, especially when amplified by sectional or political bias. For Southerners, the Mayflower had brought Puritanism, which had yielded fanatical movements like abolitionism, now a dire threat to the Union.
In a brief-but-fascinating digression into the unpredictable power of literary fiction, Reynolds observes that the South’s fondness for Nathaniel Hawthorne’s anti-Puritan novel, The Scarlet Letter, and, even more, for the medieval historical romances of Sir Walter Scott, bolstered its nostalgia for a largely-imagined feudal society.
Reynolds quotes the always-quotable Mark Twain, no fan of Scott’s, as saying that Scott “did measureless harm; more real and lasting harm, perhaps, than any other individual that ever wrote …”
Two Ships is a dazzling survey of some three centuries of American history through a close reading of a metaphor. By the 1890s, Reynolds says, the interpretive tide had turned again: “Southern and Northern whites, feeling threatened by people of color and by an array of European immigrants, were retreating to a cocoon of racial solidarity that Mayflower celebrations helped reinforce.”
By the later-20th century, the image of the Mayflower was depoliticized and commercialized into Pilgrim hats and Black Friday sales. The powerful metaphor of the two ships receded into the mist.
Seven years ago, however, the 1619 Project piloted the White Lion — “The Slave-Ship” — back into view and anchored it at the center of debates about slavery’s place in the national story. The 1619 Project has been faulted for its historiography, and it does lie outside of the chronological boundaries of Reynolds’ book; still, it seems too momentous a reappearance of the White Lion not to at least acknowledge in this book.
That criticism noted, I think reading Two Ships would be an excellent way to observe this particular Fourth of July. It’s wise for all of us to have a more informed awareness of how Americans have understood, misunderstood and, often, flattened each other into stereotypes. Or, as Ernest Hemingway, one of the Mayflower Pilgrims’ more cynical descendants, might say in response to that sentiment: “Isn’t it pretty to think so?”
I took a kid’s camera to Paris Fashion Week, because was it ever really that serious? Yes and no. This men’s season happened during one of the hottest weeks in France’s recorded history, which inspired that specific brand of collective hysteria brought on by living through yet another unprecedented moment together — taking over our brains and ruining our plans to wear boots — and a grander reflection on what we were doing there and why. The throngs of teenagers doing back flips into the Canal Saint-Martin and playing soccer in the street set the mood for the week. If the world is ending, you might as well swim in dirty water and have fun doing it, no?
As far as the shows went, there was the coastal stoner energy of Tokyo-based Auralee — brightly colored leathers and furry flip-flops — that reminded me of the low-key elegance of hanging out in Southern California. At the Rick Owens show, Rick-heads made minimal weather-restrictive tweaks to their usual uniforms — platforms, leather, ground-grazing garments — making you appreciate the beauty in that level of ascetic dedication. Louis Vuitton built a literal beach as its runway, complete with sand and a giant wave that felt like a mirage: Is this a heat-induced hallucination or yet another buzzed-about set design under men’s creative director Pharrell Williams? At the Dries Van Noten show, there was an ice-cold beer fridge and popsicles, a chic and inspired detail only rivaled by a collection that was a breath of fresh air during a week where I Googled the symptoms of heat stroke more than once. The Willy Chavarria show was air-conditioned, pumped with Xinú perfume and felt expensive. Sven Marquardt, a Berlin photographer and Berghain’s most famous bouncer, was sitting in front of me, which I took as an incredibly good omen. The painted blue feet and Oakley collab sunglasses at the Kiko Kostadinov show felt auspicious as well.
A look from the Auralee show.
There were conversations floating around about how apocalyptic it felt sitting at a fashion show in over 100-degree Fahrenheit weather, our backs soaked, our minds dizzied, when the industry is responsible for something like 10% of global greenhouse gas emissions. The cognitive dissonance contributed to the thickness in the air that week.
At the Comme des Garçons show, called “If the War Were to End..,” models danced and ran and skipped out onto the runway for the finale, soundtracked by the joyous sound of children singing “You’re So Good to Me” by the Langley Schools Music Project. In that moment, we were happy, we were clapping, we might have even been hopeful. Humans have the capacity to hold a lot — a fan in one hand while attempting not to completely melt in the front row, and a fantasy that there might still be a future where we get to wear those leopard-print Dries shoes we fell in love with on the runway.
The moments before the Comme des Garçons show.
Comme des Garçons show attendees.
Comme des Garçons, head-to-toe.
The Comme des Garçons show.
The Dries Van Noten show.
A chic and inspired detail at the Dries Van Noten show: ice-cold beer.
Scenes from the ERL presentation.
The Kiko Kostadinov show.
Tapping in from Louis Vuitton beach.
Quavo at the Louis Vuitton show.
Scenes from after the Louis Vuitton show.
Scenes from the Louis Vuitton show.
Scenes from the Nahmias x Puma dinner at Gigi Paris.
Scenes from the On X Online Ceramics rave.
At Silencio to see Venezuelan DJ and producer Safety Trance.
The Willy Chavarria show.
Scenes from Willy Chavarria.
The throngs of teenagers doing back flips into the Canal Saint-Martin and playing soccer in the street set the mood for the week.
Taylor Swift and Travis Kelce of the Kansas City Chiefs, pictured at a basketball game in May, announced their engagement in August 2025.
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NEW YORK — Taylor Swift and Travis Kelce are officially married.
After three years of dating, The pop icon and Super Bowl-winning football player, both 36, tied the knot in New York, according to a statement from Swift’s publicist, Tree Paine.
There were neither bridesmaids nor groomsmen. “Instead, her brother Austin Swift served as Taylor’s Man of Honor and Jason Kelce was Travis’ Best Man. The ceremony joined both families together,” Swift’s publicist said in the statement released Friday evening.
The ceremony was officiated by comedian and a friend of the couple, Adam Sandler, the statement added.
The singer’s rep said that the couple was dressed in Christian Dior Haute Couture.
“The bride and groom’s wedding ceremony looks have been created by Christian Dior Haute Couture. They are designed by Jonathan Anderson, Creative Director of Dior Women’s, Men’s and Haute Couture Collections, in close collaboration with the Bride and Groom,” the statement said. “This is the designer’s first couture wedding dress for a world-renowned celebrity. Their shoes were custom made by Christian Louboutin and the bride wore Cartier jewelry.”
Security around the event was intense, so it remains unclear if the wedding was charming, if a little gauche. But the night before the ceremony the 20,000-person stadium was bathed in a lavender haze.
Details gleaned from a city permit obtained by The Associated Press, showed details of a “special event at MSG” scheduled to begin Friday evening and running overnight Saturday.
As speculation built, fans began gathering in front of the stadium ahead of the expected wedding, despite the couple’s efforts to keep details of the celebration under wraps.
Superfans and sleuths appeared to have their hunches confirmed on Friday, as dozens of black cars dropped off elegantly dressed guests outside of Madison Square Garden in New York City.
Lisa Benham and her daughter, Zara, posed for selfies outside the Garden. They’re visiting from England and both told NPR they’re huge Swifties.
“I just remember always listening to her,” said Zara Benham, age 17. The women said they’ve followed all the ins and outs of Swift’s romance with Travis Kelce, a tight end with the Kansas City chiefs.
“I’m thrilled for her. I love it. I love the whole story,” gushed Lisa Benham, 47, who says she became a fan after her daughter dragged her to a Swift concert. “I’m pleased for them, really pleased for them.”
A woman wearing a white veil stands outside Madison Square Garden in New York City on July 3, 2026. Taylor Swift and Travis Kelce’s official wedding plans are tightly under wraps, but New York is bracing to host the celebrity marriage of the year.
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Swift has a massive global platform, and a tendency to pull back the curtain on her personal life in song lyrics and the occasional documentary. But the shared little about her wedding plans since she and Kelce announced their engagement last August.
“You would think that I had been the type of person who would have obsessed over the idea of a wedding my whole life, but I actually never thought about what I would ever do or what I would want until I met the person,” Swift told the U.K.’s Heart Radio in October, while promoting her last album The Life of a Showgirl.
In the months since, speculation mounted over where and when the wedding would take place. In recent weeks, the theories all pointed in the same direction: New York City’s Madison Square Garden on July Fourth weekend.
Swift loves a good Easter egg, and her fans have been known to crack at least some of them successfully. That appears to have been the case with her wedding, even as some wondered for days whether it was merely a high-profile ruse.
Swift and Kelce celebrate the Kansas City Chiefs’ Super Bowl victory in Feb. 2024.
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John Locher/AP
A recap of their romance
Swift and Kelce began dating in the summer of 2023, during the first year of her record-breaking Eras Tour.
The Kansas City Chiefs tight end admitted on a July 2023 episode of New Heights — the podcast he co-hosts with his brother, retired NFL player Jason Kelce — that he had tried to meet Swift after one of her shows in the area.
“I was a little butt-hurt I didn’t get to hand her one of the [friendship] bracelets I made for her,” Kelce said. “I wanted to give Taylor Swift one with my number on it.”
Swift later told Time she thought that call-out was “metal as hell.”
Within months, she was attending his games — most famously, the 2024 Super Bowl his team went on to win. He was spotted in the crowd — and even onstage — at many of her shows the next year.
Fans got a peek into their chemistry when Swift appeared on New Heights last August to announce her 12th studio album, The Life of a Showgirl (which she said was heavily influenced by their relationship). She said she and Kelce bonded in part over similarities in their careers, in which they both “entertain people for three-plus hours in NFL stadiums.”
Less than two weeks later, Swift announced their engagement on Instagram, with photos of a flower-filled backyard proposal and a massive diamond ring. In an episode of The Graham Norton Show a few months later, Swift deflected questions about her wedding planning but joked about inviting “anyone I’ve ever talked to.”
Sleuths had been eyeing Madison Square Garden
Speculation about a July 3rd wedding at MSG reached new heights this month.
Part of that was through the process of elimination: Swifties descended on Watch Hill, R.I. — where Swift owns a seaside estate — on June 13, but tabloid reports of a ceremony there proved unfounded.
But there also seemed to be a paper trail leading to Manhattan.
New York City Mayor Zohran Mamdani seemed to drop a hint while talking to reporters in June.
“We are used to big events, and we are incredibly excited for this one,” Mamdani said, referring to the World Cup. “We know it coincides with the Knicks Finals run. We know it coincides with July Fourth, America 250, Taylor Swift’s wedding all happening at the same time.”
Forklifts and trucks were spotted outside Madison Square Garden in New York on Tuesday, as speculation about a weekend wedding grew.
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Then, The New York Times reported that an event company obtained permits for a gathering of up to 1,000 people at Madison Square Garden on July 3rd (and a smaller event the day before). It also cited unnamed sources with details about plans for street closures in the area, later confirmed by City Hall spokesperson Dora Pekec to Reuters.
CBS News shared video this week of trucks unloading “garden party” themed equipment outside the venue earlier this week. And the venue’s online event calendar is suspiciously empty until July 7.
Mamdani appeared to double down Tuesday, while speaking to reporters about the forthcoming heat wave.
“My recommendation to all New Yorkers is to stay inside and stay cool, and if you happen to be getting married at Madison Square Garden you will be staying inside and staying cool, and I think it’s a good example to set for the city at large,” he said with a smile.
This isn’t the first celebrity wedding celebration to take place at MSG. Sly Stone married actress Kathy Silva there in June 1974. As Stone wrote in his memoir, he was talking to his A&R liaison at Epic Records, Stephen Paley, about wanting to marry Silva, and one of them jokingly suggested he do so before an upcoming show.
“I could do a gig, get paid, and get married at the same time. ‘Go, go, go,’ I told him. He went and went fast,” Stone wrote, adding, “Steve wanted everyone to wear gold to keep the shine high.”
According to a New York Times report at the time, the two married in front of nearly 23,000 people, at a ceremony that turned into a full-fledged Sly and the Family Stone concert.
A closer look at Swift’s engagement ring from the 55th Annual Songwriters Hall of Fame Induction and Awards Gala in New York last month.
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Why New York, and why now?
Madison Square Garden, which can hold nearly 20,000 people, may seem like a surprising choice for a singer who prizes her privacy.
But Emma Fitzsimmons, one of the New York Times reporters covering the wedding, told NPR last week that it makes sense for privacy and security reasons.
“It’s sort of this locked box where paparazzi can’t get inside,” she said. “There’s not going to be helicopters overhead. She can release photos of the event and her dress, which we’re all very curious to see, on her own terms.”
Swift, who owns a sprawling Tribeca compound, is famously a fan of New York City. She even has a song about it: “Welcome To New York,” on the album 1989, inspired by her relocation to the city.
And she has a well-documented love of Fourth of July. Over the years, many photos have emerged — some on Swift’s own Instagram — of the star celebrating the holiday weekend in Rhode Island with friends and fireworks.
And it’s not lost on Swifties that she met Kelce shortly after the holiday in 2023, which she celebrated with girlfriends and shared photos of on Instagram.
“Happy belated Independence Day from your local neighborhood independent girlies,” she captioned the photo. “See you tonight Kansas Cityyy.”
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