The Emmy race has never been more crowded for those working behind the camera on TV’s most acclaimed series.
While these directors below have never won Emmys, their work on this year’s juggernaut dramas, side-splitting comedies and affecting limited series could change that come September.
Hikari
The titular “Beef” between Amy (Ali Wong) and Danny (Steven Yeun) in Netflix’s hit limited series wouldn’t be as raw if not for Hikari’s direction in the pilot episode. Relatively unknown to many audiences, Hikari’s shorts and feature have played film festivals like Berlin and Tribeca and she’s helmed episodes of Max’s “Tokyo Vice.” But “Beef” serves as an undeniable pronouncement of what’s to come.
Peter Hoar
Fresh off directing Max’s “It’s a Sin,” Hoar helmed “Long, Long Time,” the third episode of HBO’s freshman hit “The Last of Us” — possibly the most-loved episode of television this year. The feature-length outing tells the sweeping tale of Bill (Nick Offerman) and Frank (Murray Bartlett), who find love in the aftermath of the mushroom apocalypse. In the thick of it, Hoar’s delicate but assertive direction drew resounding praise that could earn him a nomination.
Peacock’s “Poker Face” isn’t Johnson’s first foray into television. The Oscar nominee helmed one of TV’s most-lauded episodes with “Breaking Bad’s” penultimate outing “Ozymandias.” But he wasn’t nominated for an Emmy, making his work on “Poker Face’s” pilot episode the perfect chance for voters to recognize him.
Clare Kilner
As only the second woman to direct an episode within the hallowed halls of the “Games of Thrones” franchise, Kilner makes a commanding debut behind the camera for three of the most consequential episodes in “House of the Dragon’s” freshman run –– the battle in “Second of His Name” (Episode 4), the signature chaotic wedding in “We Light the Way” (Episode 5) and the political coup in “The Green Council” (Episode 9).
James Ponsoldt
Best-known for films like “The Spectacular Now” and “The End of the Tour,” Pondsoldt brought his brand of dramedy to Apple TV+’s new therapy series “Shrinking” for the pilot, fourth and fifth episodes. It also never hurts to pop up elsewhere on the ballot, which could happen for Pondsoldt. He directed the first half of Amazon’s rock-and-roll limited series “Daisy Jones & the Six.”
Nzingha Stewart
Speaking of “Daisy Jones & the Six,” it was no easy task ending the decades-spanning story on a satisfying note. But Stewart rose to the occasion with “Track 8: Looks Like We Made It.” Her background of directing music videos for the likes of Jay-Z and Missy Elliott and recent episodic work on Netflix’s “Maid” and “Inventing Anna” made her an excellent choice for bringing this music saga — and possibly Emmy gold — home.
Christopher Storer
The tone and the tension at the root of FX’s category-defying series “The Bear” begins with Storer’s direction in the pilot episode. As showrunner and creator, Storer helmed more than half the first season and understood the kind of environment he needed to build inside the kitchen. And then he executed it with the precision of a master chef.
Jon Watts
Watts took a break from delivering some of Marvel’s most successful theatrical hits — the last three “Spider-Man” films — to direct the pilot of FX’s Jeff Bridges-led drama “The Old Man.” While it has been nearly a year since the series premiered, Watts’ taut direction, coupled with his name recognition in the industry, firmly places him as an Emmy contender.
