Could this be the year “Black Mirror” finally reflects gold?
After more than a decade of mind-bending morality tales and dystopian nightmares, Netflix’s “Black Mirror” might finally be on the verge of achieving a long-elusive milestone: an Emmy nomination for outstanding limited or anthology series.
While the anthology has long been critically lauded — and an Emmy magnet when it was eligible in the television movie category — the Television Academy’s 2021 rule change, which moved anthologies alongside miniseries, has made it harder for shows like “Black Mirror” to compete on equal footing. However, the seventh season, which dropped April 10, is drawing some of its most substantial critical acclaim. And with a submission landscape thinner than usual, this might be creator Charlie Brooker’s best shot yet at one of the top prizes.
First launched in 2011 by Brooker, “Black Mirror” has taken its cues from classics like “The Twilight Zone,” with each standalone episode telling a different story—usually cautionary, chilling, and always thematic in this digital age (and terrifying future). Early on, the TV Academy struggled with where to place it, but that’s been the case for many shows that don’t necessarily “fit in a box” originally created for broadcast networks.
Anthologies had all but vanished from regular TV programming, and the idea of a series without recurring characters or story arcs didn’t neatly fit into the standard categories.
An early workaround was allowing specific episodes to enter as TV movies. Under that framework, Netflix and “Black Mirror” dominated, winning outstanding television movie three years in a row for episodes “San Junipero” (2017), “USS Callister” (2018), and “Bandersnatch” (2019), along with multiple mentions in writing, editing, sound, and acting categories. In fact, “USS Callister” alone brought in four wins, including writing (Brooker and William Bridges) and television movie, a rare feat for genre television.
Following behind-the-scenes complaints and petitioning from rival studios, the TV Academy drew new boundaries: anthology series were no longer eligible as TV movies and instead had to compete as outstanding limited or anthology series. The change came just as the limited series category entered a golden age, fueled by prestige hits like HBO’s “Mare of Easttown” and Netflix’s “The Queen’s Gambit.” Since then, no anthology series have cracked the nomination lineup.
That could change this year, as “Black Mirror” may have found the perfect storm to mount a comeback.
Emma Corrin in “Black Mirror”
Netflix
Season 7’s sleek, six-episode lineup is drawing some of its best reviews to date, with critics praising the emotional complexity, tonal range, and sharp storytelling. Strong buzz surrounds episodes like “Common People,” featuring standout performances by Chris O’Dowd, Rashida Jones, and Tracee Ellis Ross in a world where healthcare depends on your cellphone signal; and the dark, psychological “Bête Noire,” led by a chilling breakout performance from Siena Kelly, that powerfully tackles microaggressions in the workplace.
A show like “Black Mirror” inevitably sparks debate over which episode stands out as a viewer’s favorite. For many, including this writer, that distinction may belong to “Eulogy,” the fifth episode of Season 7 starring Academy Award nominee Paul Giamatti. A poignant parable about memory and lost love, it evokes the same emotional resonance as “Eternal Sunshine of the Spotless Mind” (2004) and is likely to draw comparisons to the beloved “Black Mirror” episode, “San Junipero.” It may ultimately be remembered not just as a highlight of the season, but as one of the strongest episodes in the series’ history, in addition to being one of Giamatti’s very best acting performances ever (a mighty feat).
Giamatti plays Phillip, living alone in a Cape Cod estate inherited from his parents when he’s interrupted by a phone call informing him of the death of an old girlfriend Carol. Though unable to travel to London for the funeral, Phillip is able to participate in her memorial thanks to the services of a tech company and an AI guide (Patsy Ferran) who use their technology to have users contribute to one’s “celebration of life.” The tears flow fairly consistently for its the 46 minute episode.
Other notable names bolstering the season’s star power include Emma Corrin in “Hotel Reverie,” Peter Capaldi in “Plaything,” and Cristin Milioti — already a frontrunner in the lead actress (limited) race for her other miniseries, “The Penguin” — who returns in the meta-sequel “USS Callister: Into Infinity.” With this kind of ensemble strength, Season 7 may be “Black Mirror’s” most awards-ready installment yet.
Notably, the official category placements of the cast have not yet been finalized, but we’ll be tracking and updating accordingly.
Another crucial factor: the field is shrinking. According to Variety’s current tracking, the 2024–25 Emmy cycle is expected to see only 33 submissions in the limited series category. That’s a steady, and still declining, drop compared to previous years (49 in 2023, 51 in 2022, and 61 in 2021). In fact, the last time numbers dipped this low was during the pandemic in 2020, when there were just 37.
Fewer entries mean a greater chance for high-quality outliers to break through. And “Black Mirror” is no ordinary outlier: it’s a globally recognized brand (Hello, IP!) with strong social media resonance, a solid Emmys track record, elite production pedigree, and a season that feels simultaneously timely and timeless.
However, fewer entries also mean fewer nomination slots. Unlike the drama and comedy series races, which are guaranteed eight nominees regardless of submission count, the limited series category uses a proportional system. According to Emmy rules, for eight limited series to be recognized, more than 240 shows would need to submit. As stated earlier, we’re at 33. The next submission threshold to allow six nominees is 80.
Adding to the complexity: Netflix is already juggling two other major contenders. The British mystery thriller “Adolescence,” starring Stephen Graham, and Ryan Murphy’s biographical crime drama “Monsters: The Lyle and Erik Menendez Story” are both expected to be strong players. If “Black Mirror” makes the cut, it would mark the first time since 2022 that a single network lands three nominations in the category, a feat achieved by Hulu with “Dopesick,” “The Dropout,” and “Pam & Tommy.” Ironically, all three were ultimately bested by HBO’s “The White Lotus,” which later moved to the drama series category for its second season.
Still, the idea of “Black Mirror” finally breaking through isn’t too far-fetched. Many forget the series landed a major nomination last year for writing (“Joan Is Awful”) and earned picture editing and sound mixing nods for “Beyond the Sea.” Its enduring relevance, uncanny foresight into technology and humanity, and now a season filled with resonant, top-tier performances make Season 7 its best Emmy contender in years.
Anthology series are inherently difficult to place. But “Black Mirror” has always been about bending genres, shattering norms, and challenging expectations. Now, in a shifting Emmy landscape, it may finally find the recognition it deserves, not just for individual episodes, but as a truly an outstanding anthology series.
Imagine a category actually reflecting its type of shows? Your move, scripted variety.
Read the full article here
