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The Emmys’ New Documentary Eligibility Rule Finally Forces Filmmakers to Pick a Lane

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Michael Schneider Variety Editor at LargeI’ve long banged the drum that television is better than film, yet even now, the TV industry still carries a bit of an inferiority complex.It’s why those of us who cover TV cringe at filmmakers who finally enter the episodic world — only to proclaim their series is actually a “10-episode movie.”It comes from decades of the small screen being seen as the stepping stone to true stardom and success in the movies.

But of course, “prestige TV” has always been around, and it only intensified in the past two decades.The industry has itself to blame for playing second fiddle.For a long time, the Television Academy included a loophole in which Oscar doc contenders could turn around and try again for sloppy seconds at the Emmys — even though the Motion Picture Academy didn’t allow Emmy titles to do the same.

That’s how we got Oscar winners such as ESPN’s “O.J.: Made in America” and Nat Geo’s “Free Solo” also picking up Emmys.These were docs produced by TV networks yet showcased in Oscar qualifying theatrical runs, giving them dual citizenship.The Emmys closed part of that problem when it instilled a rule preventing Oscar- nominated docs from entering the race.

But in some ways, made it worse: Oscar docs that had been shortlisted, yet weren’t nominated, could compete for an Emmy — but the topshelf titles that had been nommed couldn’t.

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