Jodie Foster

It was to be the year of Shōgun. In one of the cleanest sweeps since Succession ended, the show won virtually everything at this year’s Emmys, including Best Drama Series, Lead Actress in a Drama for Anna Sawai and, unsurprisingly, Lead Actor in a Drama for the phenomenal Hiroyuki Sanada, who triumphed in a category that had some equally strong choices (Gary Oldman for Slow Horses), as well as some more perplexing ones (Idris Elba for Hijack and, bizarrely, Dominic West for The Crown). Shōgun took a record-breaking eighteen Emmys in total, with showrunner Justin Marks remarking of its makers Hulu and FX, “You guys greenlit a very expensive subtitled Japanese period piece whose central climax revolves around a poetry competition.” It proved to be a good bet.

The Academy Awards are a strange affair. Last year, they ignored Tár, a brilliant film that will be remembered as long as cinema exists, in favor of Everything Everywhere All At Once, an over-excitable picture that barely deserves to linger in the memory as long as you can recite its unmemorable name. But the nature of awards is that its directors — the Daniels! — are now Oscar-winning filmmakers, and so score above Hitchcock, Kubrick, Fincher and the rest. Anyway, we are now in that brief period where Christopher Nolan, the most significant director of the past two decades, is not an Oscar winner, yet soon, that will no longer be the case.