I really loved my experience writing about the Best Film Editing category at the 93rd Academy Awards. I had edited all of my short films when I was in film school, was an assistant editor for a feature-length film once, and continue to edit videos for my podcast. Rarely do I get the opportunity to talk about the craft itself. It is daunting to even try to verbalize it. As an editor, editing is about abiding by the rules and theories but also making choices that just feel right or, even more interestingly, that feel wrong and right at the same time. As a viewer, the impact of good editing is not just about the cuts but also the lack of them. This temporal aspect of storytelling is essential and what makes film and television distinct from other forms of art.
So let's talk about three Emmy categories for Outstanding Single-Camera Picture Editing. I will try to be as candid as I can with my observations and musings per episode submission. Some are even harder to discuss because of shows nabbing multiple spots (hello, The Mandalorian and Hacks), but let’s see how we do...
OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A COMEDY SERIES
The Flight Attendant (HBO Max) - “In Case of Emergency” (season 1 episode 1) - Heather Persons
Description (from ballot): “Flight attendant Cassie Bowden has an extravagant, romantic, and very drunk night in Bangkok. When she wakes up in a horrific mess, Cassie must keep her wits to make it back to the U.S. - where more trouble is waiting.”
This pilot blisteringly sets the cutthroat pacing of this show right out of the gate. The editing in this episode is technically showy, with multiple split screens, quick flashes, and dissolves sprinkled throughout. One might think it is just the flashiness of the editing that makes it difficult, but the editing goes beyond that. The relentlessness that it goes for is risky; you can easily exhaust the audience if flashy choices are unmotivated. Luckily, while it takes some time to get used to, these editorial decisions make sense with the episode’s necessity to establish the show’s darkly comic approach to the protagonist’s alcohol-ridden instability and unreliability.
Hacks (HBO Max) - “Primm” (season 1 episode 2) - Susan Vaill
Description (from ballot): “With her prime performance slots hanging in the balance, Deborah reluctantly begins working with Ava, testing their initial compatibility with a highly unconventional road trip. As they encounter unexpected bumps, Ava learns a messy lesson in resilience.”
This episode is all about Ava finding the rhythm of working with Deborah, a woman who is already dead set on her own course. That dynamic is reflected in the shot lengths of the scenes when they are together. In most of their scenes, the editing allows Deborah to set the tempo while Ava is seen mostly in short reaction shots, lending to the comic tension. In contrast to that, the calm in Deborah's scenes by herself suggest a more meditative mood. It is a gracefully edited episode that reveals the headspace of the two characters as they test the waters of their togetherness.
Hacks (HBO Max) - “There is No Line (Pilot)” (season 1 episode 1) - Jessica Brunetto
Description (from ballot): “Legendary Vegas comedian Deborah Vance is in danger of losing her residency. Meanwhile in LA, Ava, a young writer is desperate for a job. Their mutual manager Jimmy sets them up on a meeting, much to their chagrin.”
This episode is tasked with establishing what will be the pace of the series in regards to both of the protagonists. The initial sequence sees Deborah both in the quick-paced lifestyle as an aging star and the more serene mood of her lonely home life. The shift in gears in editing is stark, as if Deborah's own rhythm is dictated solely by the walls of her home. Meanwhile, Ava's journey is of discomfort and tentativeness. In shots both short and long, we get a sense of discomfort wherever she stands. The clash of the two becomes a ticking time bomb which leaves the episode on a comically high note.
Hacks (HBO Max) - “Tunnel of Love” (season 1 episode 7) - Ali Greer
Description (from ballot): “Deborah hosts DJ’s second 35th birthday at her mansion. Marcus brings a date, and DJ makes a big announcement. Deborah’s heartfelt toast turns hostile and DJ makes Ava take her on a drive downtown. Later, Marty and Deborah share a dance.”
An episode involving a party could be an editorial challenge. Not only does the episode have to establish multiple relationship dynamics, but also curate pockets of stories into a singular narrative. While tension could be built up by interweaving these threads, this episode sees these isolated character moments one-by-one in full. The dramatic escalation is not by the clash of images but by patiently setting up character conflicts in constant shot-reaction shot flow, only to explode in a brutal confrontation at a dinner table where all of these merge.
Ted Lasso (Apple TV+) - “The Hope That Kills You” (season 1 episode 10) - A.J. Catoline
Description (from ballot): “Season Finale. AFC Richmond plays a climactic match that will determine the fates of Coach Ted Lasso and his club.”
The juxtaposition of shots of the multiple spectators of a sports match and the actual game has been a longstanding staple of the sports genre of audiovisual storytelling, for obvious reasons. It puts emotional stakes in the game. It's an easy cinematic language that could easily come off as hokey or manipulative. In this season finale, the weaving of shots feel earned because they're both given weight. The length of the reaction shots of the people watching are given enough space, to add gravitas to the already exciting faceoff. This balancing act is impressively adroit.
Ted Lasso (Apple TV+) - “Make Rebecca Great Again” (season 1 episode 7) - Melissa McCoy
Description (from ballot): “Rebecca celebrates her first anniversary as a divorcée as the team plays a match in Liverpool.”
This installment of the show sees the show's two protagonists on their own paths and how the editing effectively traces their arc. While Rebecca and Keeley are together, the arrival of an old friend is cut together to upset the sexist expectation that women are expected to be catty with one another. Through the editing, the relationship is established and the payoff within the scene is gratifying. Elsewhere, we also see how, in the moment of Ted's panic attack, the strategic assemblage of shots recreate the menacing confusion that he feels in the moment. The episode feels fully realized on its own.
Ranking (predicted winner):
- Ted Lasso - "The Hope That Kills You"
- The Flight Attendant - "In Case of Emergency"
- Hacks - "There is No Line (Pilot)"
- Ted Lasso - "Make Rebecca Great Again"
- Hacks - "Tunnel of Love"
- Hacks - "Primm"
Ranking (personal preference):
- Ted Lasso - "The Hope That Kills You"
- The Flight Attendant - "In Case of Emergency"
- Ted Lasso - "Make Rebecca Great Again"
- Hacks - "There is No Line (Pilot)"
- Hacks - "Tunnel of Love"
- Hacks - "Primm"
OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES
The Crown (Netflix) - “Avalanche” (season 4 episode 9) - Paulo Pandolpho
Description (from ballot): “Charles is caught in a deadly avalanche, prompting both him and Diana to reevaluate their commitment to their troubled marriage.”
Aside from the archival footage of the actual avalanche, we are limited to seeing it in very brief shots in conjunction with a quietly disturbed Charles to reinforce his state of mind. Not only is the episode about an avalanche, the editing of it feels like one. Scenes are pieced together with unsettling fragmentation, not giving the complete picture of events right away. However, the imminent falling out of Charles and Diana's marriage is depicted like an unstoppable snowballing of events. Once we reached the end of the episode, we understand we've just witnessed two avalanches in one.
The Crown (Netflix) - “Fairytale” (season 4 episode 3) - Yan Miles
Description (from ballot): “After Charles proposes, Diana moves into Buckingham Palace and finds her life filled with princess training, loneliness and Camilla Parker Bowles.”
Simultaneously cryptic and matter-of-fact, the piecing together of this episode lends to a disturbing depiction of Diana's personal tragedy. Shots are woven together with enigmatic force, making us feel like we understand Diana emotionally while still letting us feel the space between the shots. The dinner with Camilla is like two battles happening at the same time. The back-and-forth of the shots of Diana and the plate/food is already unnerving since we understand her eating problem, but the interjection of shots of Camilla heightens the tension of the scene. The final montage sequence is heartbreaking.
The Handmaid’s Tale (Hulu) - “The Crossing” (season 4 episode 3) - Wendy Hallam Martin
Description (from ballot): “Aunt Lydia seeks vengeance. Nick and Lawrence collaborate to protect June. In Toronto, Luke struggles with how to help.”
For a brazenly crafted hour centering on the protagonist's torture, the editing is the double-edged sword this episode needed. It can make a scene merciless while still magnifying the important emotional beats. The cascade of physical and emotional violence is offset by moments of quietness where the storytelling is given room to breathe and find dimension to the story at hand. In several instances, complete conversations are shown without words, with each cut even pushing the dramatic intensity of the scene even further.
The Mandalorian (Disney+) - “Chapter 11: The Heiress” (season 2 episode 3) - Dylan Firshen and J. Erik Jessen
Description (from ballot): “The Mandalorian braves high seas and meets unexpected allies.”
Out of the four nominations from the show, this is the most conventional (and therefore, unexciting) in terms of editing. The non-action sequences are cut together with bland energy, one that only feels motivated by coverage and not always by crucial character beats. However, one mistake it manages to avoid is to clutter the action sequences with dizzying restlessness. The action is clearly depicted by stitching together tight and wide shots, especially when we are mostly deprived of shots of human faces to muster emotional connection. Also, scenes from both sides of the climactic faceoff are well-balanced.
The Mandalorian (Disney+) - “Chapter 13: The Jedi” (season 2 episode 5) - Andrew S. Eisen
Description (from ballot): “The Mandalorian journeys to a world ruled by a cruel magistrate who has made a powerful enemy.”
Here's an atypical episode in that it's considerably patient. The two intercut fight scenes are at the episode's climax, operating in different tempos and styles, and are cut together to create a jarring synergy that is sure to divide viewers. However, I do think the editing falters in a crucial moment: when Ahsoka Tano tells the Mandalorian the Child's history. It is a quiet but important moment that would probably work best with longer shots of Ahsoka and the Child to make the emotions resonate. Instead, the editing gives in to the incessant need to cut. A missed opportunity.
The Mandalorian (Disney+) - “Chapter 15: The Believer” (season 2 episode 7) - Jeff Seibenick
Description (from ballot): “To move against the Empire, the Mandalorian needs the help of an old enemy.”
What makes this episode stand out from the other Mandalorian episodes is the strength of its storyline. The editing lives up to the potential of its arc, and each scene is skillfully shaped. The action sequences are clutter-free, making them not only easy to follow, but to actually engage with. The scene where the editing works best is the drink with the Mandalorian, Mayfeld, and a former superior. It's a scene that maximizes the intensifying tension as reflected in the decision to stick with the Mayfeld-superior back-and-forth of shots. It's a case of how editing can flesh out the human stakes of the scene.
The Mandalorian (Disney+) - “Chapter 16: The Rescue” (season 2 episode 8) - Adam Gerstel
Description (from ballot): “The Mandalorian and his allies attempt a daring rescue.”
Like "The Heiress", this season finale feels more conventionally edited compared to the other nominees. What gives this one the edge is the task of making sure that there is a cohesive editorial core that binds several action sequences - dogfights, gunfights, even fistfights. It wisely inserts moments of levity or silence to give space to these moments of action to even push the narrative build-up. Another thing I commend is its refusal to hinge every action sequence in a restless succession of quick shots; you feel the temporal moderation that gives the scene life without feeling numbed by quick editing.
Ranking (predicted winner):
- The Crown - "Fairytale"
- The Handmaid's Tale - "The Crossing"
- The Crown - "Avalanche"\
- The Mandalorian - "Chapter 16: The Rescue"
- The Mandalorian - "Chapter 15: The Believer"
- The Mandalorian - "Chapter 13: The Jedi"
- The Mandalorian - "Chapter 11: The Heiress"
Ranking (personal preference):
- The Handmaid's Tale - "The Crossing"
- The Crown - "Avalanche"
- The Crown - "Fairytale"
- The Mandalorian - "Chapter 15: The Believer"
- The Mandalorian - "Chapter 16: The Rescue"
- The Mandalorian - "Chapter 13: The Jedi"
- The Mandalorian - "Chapter 11: The Heiress"
OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
Mare of Easttown (HBO) - “Fathers” (episode 2) - Amy E. Duddleston and Naomi Sunrise Filoramo
Description (from ballot): “As video from the night of a grisly murder surfaces, Mare questions suspects and gives icy welcome to Detective Colin Zabel, who’s been called to assist her. Later, Mare bumps heads with Easttown community members, and airs concerns about her grandson, in light of her late son’s mental health struggles.”
This episode shows how the editing aids in keeping the tonal shifts afoot whilst dramatizing the fallout of the pivotal murder. The majority of the episode is paced with unhurried caution, but once it gets to the big dramatic moments, it eschews editing choices that would create a simplistic tone. Erin's arrest is filled with curious choices throughout: the contrasting performances both elicit humor and tension, but the editing turns the confusion into a dance. Similarly, a borderline comedic montage sequence of potential witnesses jarringly ends on a tragic note. It's a high-wire choice that keeps the tension simmering.
Mare of Easttown (HBO) - “Miss Lady Hawk Herself” (episode 1) - Amy E. Duddleston
Description (from ballot): “After checking about a neighborhood prowler, Detective Mare Sheehan shoulders her chief’s directive to revive an unsolved missing girl's case. While her family celebrates her ex-husband’s engagement, Mare attends a celebration for her legendary high school basketball win. Afterwards, Mare unexpectedly connects with Richard, a professor who's new in town.”
This pilot episode is tasked with establishing multiple character threads while weaving them together into a single narrative through line. The disparate storylines are pieced together with crisp cutting that allows for melodrama, humor, and peril to clash, even within a single scene. This creates tension even before we get to the murder that will propel the narrative. The insistence on making us feel the natural beats of these storylines is crucial. It is in this patience in letting the story unfold with formalistic confidence and unpredictability that makes the final montage sequence even more powerful.
The Queen’s Gambit (Netflix) - “Exchanges” (episode 2) - Michelle Tesoro
Description (from ballot): “Suddenly plunged into a confusing new life in suburbia, teenage Beth studies her high school classmates and hatches a plan to enter a chess tournament.”
The editing style in this episode reveals two sides of the story. Beth's genesis as a tournament regular moves with a clockwork efficiency. The cuts in these scenes further imbue Beth's virtues as a player - methodical but playful and with genuine curiosity. When she is playing with Townes, the editing feels more relaxed. When she faces Beltik, it is a combination of languid and uncomfortable. Contrast it with her scenes with her adoptive mother, Alma. Slow pacing doesn't equal unexciting drama. Shots hold out beyond what wel expect, showing the potential instability of the relationship. In fact, the editing thrives in exploring moments of silence.
WandaVision (Disney+) - “On a Very Special Episode…” (episode 5) - Nona Khodai
Description (from ballot): “After progressing through sitcom history–‘50s, ‘60s, and ‘70s–Wanda and Vision find themselves in an ‘80s sitcom facing the challenges of parenthood and nosy neighbors, with Vision growing evermore wary of Wanda. Monica works with Darcy Lewis and Jimmy Woo to help decipher the workings of Wanda’s fabricated reality.”
This is the first episode where we see full-fledged integration of the two storylines, the inside and outside of Westview. Outside Westview is filmed (and edited) characteristic of the Marvel brand: aesthetically functional but rarely inspired or bold. Meanwhile the sitcom format (and Wanda's delusion) inside Westview starts to unravel and it slowly works its way into the stylistic choices, particularly the editing. Sudden breaks to the editing rules of the style of whatever show its emulating make for dynamic visual storytelling, exciting even….
WandaVision (Disney+) - “The Series Finale” (episode 9) - Zene Baker, Michael A. Webber, Nona Khodai and Tim Roche
Description (from ballot): “Monica races to stop the government from attacking Wanda. Vision faces off against an evil version of himself. At risk of losing her powers and family, Wanda battles Agatha in an epic showdown before finally accepting that she must give up her created reality and accept a future without Vision.”
…which leads us to the episode where the audiovisual storytelling just goes full-blown Marvel. Large action set pieces dominate this episode which makes this the baitiest of the nominees. And to be fair with it, I do think these scenes compensate for lack of risk-taking with visual clarity, the lack of which is unfortunately still committed by many entries in the superhero genre. The episode is never exhausting to watch. For the most part, the editing choices feel pragmatic which means they work. Yet inasmuch as the editing is meant to make the viewers feel excited, the choices are predictable and uninspired.
Ranking (predicted winner):
- WandaVision - "The Series Finale"
- The Queen's Gambit - "Exchanges"
- Mare of Easttown - "Miss Lady Hawk Herself"
- WandaVision - "On a Very Special Episode..."
- Mare of Easttown - "Fathers"
Ranking (personal preference):
- Mare of Easttown - "Fathers"
- The Queen's Gambit - "Exchanges"
- WandaVision - "On a Very Special Episode..."
- Mare of Easttown - "Miss Lady Hawk Herself"
- WandaVision - "The Series Finale"
Who do you think will win and who would you vote for?