Last year, the Television Academy added a music supervision category to its many Emmy craft fields. Then, the newly admitted music supervisors could vote only in that category; this year, they can vote in all seven music categories, including four composition fields, which has many composer members up in arms. Considerable resentment is simmering in the music “peer group” over how the music-supervision issue has been handled, and I tackle this sensitive subject in a new story for Variety.
Every year at this time, Variety asks me to view all of the Emmy nominees in the music categories, interview as many as possible, and write a bit about their accomplishment. It’s gotten more complicated as the years have gone by, as there are now seven categories (music composition for a series, for a miniseries or movie, and for a documentary; songwriting; music direction; main title theme; and music supervision). The chart now covers two pages of the August Music for Screens issue, and is rarely reproduced online. Click on the individual pages (and then zoom in for a closer look at each).
The casting of the new Doctor Who — Jodie Whitaker, who is wonderful as the first female doctor in the 55-year history of the BBC sci-fi serial — demanded a new musical approach, too. Producers recruited Segun Akinola, who holds a slightly different distinction: he’s the first person of color to score Doctor Who. I had a fascinating conversation with him about the joys and challenges of adding his unique voice to the long-running franchise; it appeared in Emmy magazine earlier this year and is now online here.