Fresh of ”Pitten“S” surprise win for the best drama series at Sunday’s Emmys, HBO manager Casey Bloys said that the medical drama’s triumph’s TV can “go back to the formula” for longer sections and annual returns that are perfected by series of decades earlier.
Bloys noted that television as an industry came further away from that texture “When TV got bigger in scope, more cinematic … (with) more detailed visual effects and places”, admitted that HBO has embraced that shift to make some “quite incredible, huge shows.” But the love of “The Pitt” at the 77th Emmys, who also saw nods for Noah Wyle for best main actor and Katherine Lanasa for best supporting actress, proves that there is still value in that formula.
“‘The Pitt’ shows that you can also go back to the formula that was perfected for decades by doing more than ten episodes … and setting up a show that can return on an annual basis, which was a really important part of TV, to be there for viewers and fans tosses with the characters on a more regular basis,” Bloys to Thewrap. “What” Pitt “show is that you can do it at a high quality level and still keep these qualities. I think it is good for TV, and if we get any more of these shows to go with our big, very cinematic blockbuster, it is fantastic.”
In addition to “The Pitt”, HBO saw some love over his slate, including in comedy categories for “Hacks” and the surprise win for “someone somewhere” Jeff Hiller, giving HBO and HBO Max’s Emmy bill up to 30, binding with Netflix and comes in before Apple TV+, which collected 22 prizes between “studio.
An HBO series that didn’t get too much love this time was “The White Lotus”, as Bloys said was a “victim of his own success.” Bloys breaks down everything below.
Thewrap: FX dominated drama and comedy last year, and this year HBO shared the wealth with Netflix. How does it feel to be back on top and with so much love for “The Pitt?”
Bloys: It is obviously good to bind for most prices. It was especially sweet for “The Pitt” to win; (it) was very gratifying, because … they intended to make TV in a more traditional way, which means more sections and the ability to return on an annual basis, so the fact that they do, and it is a first year show … for a show like it to break through, not just nominated, without winning was quite extraordinary.
I say this every year, it is very nice to be nominated – it is especially nice to win. That is not why we do the programs we do, but it is a really nice validation of all the people who work with the show to get their work recognized so, so that’s really the point.
Jeff Hiller had a surprise win for best actors on “Someone somewhere.” The show finished its driving with Season 3 and is one of the few niche comedies left on HBO’s slate. Where does an author show like Stand in your programming today?
It is still very much the tradition of shows we work with. I think conditions have not changed. What was really appealing with it was Bridget (Everett) as a writer of the author in that voice and, continues that tradition, we have Rachel Sennotts (“I love LA”) which comes up in the fall. We have Tim Robinson to come up in the fall. I think HBO has traditionally done a really nice job with platforming interesting writers.
We did not see so many victories for “The White Lotus”, seems like it was lost in most categories because the nominees shared votes. Does it change how you can approach nominations in the future?
It was obviously a victim of his own success. Even seeing them again last night is the hard decision to make because there were so many amazing actors and actresses to choose from … I think it had something to do with it. That’s how it goes sometimes. Even more important is that Mike (White) is busy work on Season 4, which I am excited for.
Mike White is in southern France who scouts for “White Lotus” season 4. When do you expect us to see that return?
I can’t give you a date now, but I know he’s starting to write and think about his ideas.
Hannah Einbinder finally got her win to support the actress. What was it like to see that profit?
First of all, I was proud to see Jean (smart) recognize. It was really nice, because each year (i) was not sure whether Hannah would break through or not. So for her to actually win this year was really, really nice. It was a nice compliment to Jean who is also recognized again. I know it’s good for the show.
Hannah also released the cat out of the bag as “hacks” ends with season 5. Now that it has been confirmed, why did the creators feel it was time to end it and what can you tell about the last season?
I think this is where they are going. I think they have had a plan from the beginning for five seasons, but we usually leave that decision up to the Creator. They have to give you their thoughts about it when they confirm.
This was the first prize of prices in a while where HBO did not have a “Game of Thrones” exhibition in battle, and two are on its way for the next. When can we expect these programs to arrive?
“A knight of the seven kingdom” will be in January, and then “House of the Dragon” will probably be just outside this Emmy bike.
“Watchmen” was a huge Emmy winner for you, and Damons works with “Lantern.” Do you have similar awards hopes for that DC show?
You go into every show that wants to make the best show possible, so if prices follow everything better.
What shows from the slate are you doing well for next year’s Emmys?
What I feel really good about is that we have Drama Frontrunner coming back in January, so it is really nice that “Pitt” is coming back in January. I hope that “the gilded age” and that the Powerhouse role will get some Emmy love next year; “Task”, which is currently being broadcast with Tom Pelphrey and Mark Ruffalo; I hope (we) get some recognition for “a knight of the seven kingdoms.” We have Richard Gadd’s new show that we do with the BBC, “Half Man.” We have the “industry” coming back.
I hope we have a good year. Never count on anything – you never know how it breaks with Emmys, but I feel good with slate we have come.
This interview has been edited for length and clarity.
