Ray Richmond is contributing to Deadline’s 2010 Emmy coverage.
Word is that the Academy of TV Arts and Sciences could release as soon as today its list of both eligible and ineligible producers on programs nominated for Primetime Emmy Awards. It would dovetail with the common practice of burying controversial or unpopular information just when everyone’s heading out for the weekend. The buzz continues to be that the TV Academy is toning down its stand fueled by the Producers Guild in targeting allegedly undeserving producers and capping the number permitted on nominated comedy and drama series rosters in particular. That said, Ann Farriday, the WGA’s lead field rep in television, tells me that many of the same concerns that have bubbled up in recent years continue to be on the table in terms of the series role of writer-producers and the perception of their being minimized in the process. “We’re hopeful that we see some progress on that this year,” she notes, “but we’re obviously not going to really know until we see the list.” She said it’s her understanding the Academy has opted this year not to re-target producers who already have been once vetted. “This year, it’s more about looking at new producers and those on new shows rather than ones who have already been looked at in the past,” she says. “That’s what the questionnaire sent out to showrunners indicated this time, anyway. I think there’s the hope at the Academy that things will go smoothly this time, and that’s especially true with NBC telecasting it. NBC feels like it’s been through enough this year and doesn’t want any hassles.”


Why can’t writers be writers and allow producers to be producers? And get rid of the agents and execs that take producer credits too. It doesn’t take 15 people to produce any show. Enough already.
Without writers there are no producers in television. Writers are who do the producing. Period. If not for the showrunner (who is a writer/producer) and the other writer-producers on the show, what you’re left with are the line producer. And that’s not to denigrate their role (they are ALWAYS eligible for the Emmy) but it’s the showrunner and writer producers who make every single significant decision – whom to cast, whom to hire to direct, etc. etc. All the things producers do. Your comment shows a shocking ignorance of how tv is made.
You have never produced 13 or 22 hours of TV in a five or nine month period.
Oh yes I have. I have no beef with showrunners, who actually are producers. My issue is with the writers who think that giving some notes, being part of prep, sitting in casting, etc. on their episodes is the same thing as producing. They are just representing the showrunner/producer.
Writers should be elated that they are going at and are employed as writers. Stop thinking that when you’re not in the writers office you’re now a producer. They might be someday….
Maybe not. But one producer, one-writer producer, and two writers managed to produce twenty six episodes a season for four years and then for another three years with the help of two more writers. Not too bad compared to the huge staffs we see on half hour comedies today. And that show continues to be seen all over the world today. A little success called “I Love Lucy”.
Agents don’t get producer credit.
Oh yes I have. I have no beef with showrunners, who actually are producers. My issue is with the writers who think that giving some notes, being part of prep, sitting in casting, etc. on their episodes is the same thing as producing. They are just representing the showrunner/producer.
Writers should be elated that they are going at and are employed as writers. Stop thinking that when you’re not in the writers office you’re now a producer. They might be someday….