Genre Confusion: The Emmy Awards' Comedy vs. Drama Problem

The Emmys: Why Content Should Matter More Than Length

The time has come for the Emmys to reconsider what defines a comedy versus a drama, focusing on tone, content, and storytelling rather than a rigid runtime format. In this article, Hollywood Branded discusses why it's time for a change in the classifications at the Emmys.

The Evolution of Scripted Series

Television has undergone a radical transformation in the last two decades. Shows that once adhered strictly to a genre now explore complex, layered narratives that don't fit neatly into a "comedy" or "drama" box. Dark comedies, dramedies, and shows with multi-genre elements have become increasingly popular, forcing viewers and award bodies alike to question the value of rigid categorization. The current rule that assigns "comedy" or "drama" based on the length of the episode is outdated and inadequate to describe the tonal variety of modern television.

Historically, this rule made some sense. Sitcoms traditionally ran for 30 minutes, while hour-long formats were reserved for more serious storytelling. But in today’s era of peak TV, this clear distinction no longer applies. Looking again at The Bear, it’s a show that won numerous awards in the comedy category despite being largely an intense, anxiety-inducing exploration of grief, family dysfunction, and high-pressure workplace dynamics. While it has moments of humor, the emotional weight of the show makes it hard to classify purely as a comedy. This shift, and the blurring of lines, isn't exclusive to The Bear. Shows from the past two decades have challenged the boundaries, making it difficult to justify a binary classification.

Photo Credit: Amy Sussman/Getty Images

Dramedies and the challenge of Categorization

Dramedies—shows that straddle both the comedic and dramatic—pose the most significant challenge to this classification system. In recent years, many dramedies have found themselves competing in the comedy categories at the Emmys, perhaps due to their shorter episode lengths but not necessarily due to their content. Shows like Orange is the New Black, Shameless, and Transparent all competed in the comedy categories, despite being emotionally heavy, dark in tone, and more akin to traditional dramas in their storytelling.

Orange is the New Black is a great example of this confusion. The series, centered around the lives of women in prison, started with a tone that incorporated humor into its portrayal of prison life, but as the seasons progressed, it became much darker, tackling issues of systemic injustice, racism, and the devastating effects of incarceration. While the show maintained moments of levity, the shift in its tone toward the dramatic made its classification as a comedy feel out of place.

Similarly, Shameless, also starring The Bear's Jeremy Allen White, often found itself in the comedy category, despite being one of the more emotionally devastating shows on television. The series follows the Gallagher family, who live on the brink of poverty, constantly struggling with issues like addiction, mental illness, and abuse. While the show uses humor to lighten the mood, its overall tone and themes are far more aligned with drama. Yet, because the episodes were often under an hour, Shameless was frequently viewed as a comedy in awards shows like the Emmys.

Transparent, another dramedy, won multiple Emmys in the comedy category, including Best Comedy Series. The show tackled themes of gender identity, family dysfunction, and trauma. Its subject matter was often somber, touching on deeply personal and emotional topics. While it had moments of humor, calling Transparent a comedy felt like a stretch.

Photo Credit: Netflix

Dark Comedies: Where Does The Line Get Drawn?

One of the most fascinating developments in TV over the last two decades has been the rise of dark comedies—shows that rely on humor to explore heavy, sometimes tragic subject matter. These shows often leave viewers uncertain about whether to laugh or cry, and they often don't fit neatly into either genre. Recent examples, like HBO's Barry , serve as perfect examples of the Emmys' outdated classification system.

Barry, which starred Bill Hader as a hitman trying to escape his violent past by becoming an actor, is incredibly dark, both in its subject matter and in tone. The show frequently deals with murder, violence, and trauma, but it also uses absurdist humor to underscore the existential dread of its characters. Because it was classified as a comedy (due to its half-hour runtime), Barry found itself competing against lighthearted, traditional comedies like The Marvelous Mrs. Maisel or Ted Lasso. The tonal dissonance between Barry and these other comedies only highlights how poorly the length-based classification serves audiences and creators alike.

Similarly, Fleabag won multiple Emmys in the comedy category despite its sharp exploration of grief, loneliness, and sexual trauma. Phoebe Waller-Bridge’s brilliantly written and performed show certainly has comedic moments, but its overall tone is far more melancholic and emotionally complex than traditional comedies like The Office or Parks and Recreation. Nonetheless, Fleabag was nominated and won in the comedy category, further emphasizing the inadequacy of the Emmy’s current classification system.

Photo Credit: HBO

Why COntent Should Matter More than Length

In the past, it may have been easier to delineate between comedy and drama based on runtime, but in today’s complex television landscape, that distinction no longer holds up. As viewers become more accustomed to hybrid genres, and as creators continue to push the boundaries of storytelling, the Emmys should adapt to these changes. The length of an episode says little about the tone or content of a show. A half-hour show can be devastatingly dramatic, while a one-hour show can be light and humorous.

In this new age of scripted series, the awards shows should consider the thematic elements and tone of a series when determining whether it belongs in the comedy or drama category. It would allow for a more honest representation of the shows and give viewers a clearer understanding of what they’re watching. A show like The Bear is not defined by its 30-minute format—it’s defined by its intense emotional beats, its characters’ complex relationships, and its exploration of the human condition.

The need for change is clear. Shows that incorporate both drama and comedy should be given the opportunity to compete in a category that reflects their content, not their runtime. While there’s no perfect solution, one potential fix could be to create a new category specifically for dramedies or hybrid shows, recognizing that television storytelling is evolving and can’t be confined to a rigid binary.

Evolving with the Times

Television is a reflection of our times, and as the medium evolves, so too should the way we honor and categorize it. The outdated method of classifying comedies and dramas based on runtime is no longer adequate to describe the depth and complexity of modern television shows. By focusing more on tone and content, the Emmys could better celebrate the full spectrum of storytelling that television has to offer, giving shows like The Bear, Barry, and Fleabag the recognition they deserve in categories that better reflect their true nature and allow true comedies the chance to be recognized for their incredible work.

As we move forward, it’s time for the Emmy Awards to modernize their approach and embrace the multifaceted nature of contemporary television. After all, TV, like life, often doesn’t fit neatly into one genre or another—and that’s exactly what makes it so compelling.

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