Netflix’s Apple cider vinegarwhich won the best miniserie or telemovie category. The shows it beats – Critical incident (Stan*), Fake (Paramount+) and How to make sauce (Binge), Plum (ABC) and Human error (Nine)-was all mainly on streamers (thus no rating data) or were less flashy free air dramas.
So, although it is not as simple as ABC Good/Netflix bath, it is as simple as the ABC won, because it produced high quality performances that were critical and popular hits, and the ABC’s audience was engaged enough to support the shows with votes.
Anna Torv as Emily Lawson and Philippa Northeast as her daughter, Susie, on territory.
The same can be said for McGranger who wins the Silver Logie for the best main actress in a drama. McGranger won because she survived 33 years as Irene Roberts in Summer Bay. She won because Home and away’s The audience loves her, looks at her and votes for her. In this case, the knowledgeable voice did not matter.
And this is where it gets troublesome. The issue is not McGranger himself, a fascinating and popular artist, and a delicious lunch date. On the contrary, things get complicated because the logical bastardizes the word “the best” in the pursuit of an ideal that was more like an algorithm. And a bad one with it. And it’s not McGranger’s fault, it’s the mistake of the new logical voting system.
The ratings and popular components of the mood also explain the other night’s real puzzles: the cozy crime drama of the ABC Return to paradise beat the award -winning ABC’s award -winning The news reader. One is clearly the best – as crowned in criticism – the other Return to paradisewho won about ratings and the popular voice.
The ‘best’ awards are Frankenstein’s monster-esque, a stitching that looks and sounds and sounds together, but has no heart. Previously, the awards were divided into ‘popular’ and ‘excellent’ categories, which essentially meant that the popular children and the nerds went home happily, satisfied that they were recognized in their corner of the school yard.
To use a technical term, it is a complete schemes.
It is easy to write the logical as Bogan or useless, a remnant of the days when television is free to have air, all we had. But they matter. These are the only dedicated awards we have for our television industry.
Load
It gives us talent a platform to be recognized, which is incredibly important as so much content – and God, the word my skin crawls – is fed to us via overseas streamers or overseas broadcasters. This is our history on screen. Our childhood. Our memories. But the logical, as they now stand, was also broken.
Does it matter? Only if you believe in a fair playing field. There is room enough to recognize both popular and excellent performances and performances. If the logical really wants to represent the Australian TV landscape of today, they must do work.
Stan is owned by Nine, the publisher of this Masthead.
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