This Emmy season, the list of top contenders for the nonfiction special showcases an array of musical talent including icons like Bruce Springsteen, Celine Dion, John Williams, and The Beatles. However, documentary leaders argue that this trend signals a troubling shift in the world of nonfiction television, moving away from compelling storytelling and journalism towards mere brand management. As a result, the essence of robust documentaries appears to be fading.
Historically, the Emmys recognized a diverse range of social topics through nonfiction specials. Over the past 25 years, these documentaries addressed critical issues such as Vietnam POWs, prison cover-ups, child beauty pageants, and racial inequities. Unfortunately, the landscape has shifted dramatically. In 2024, four out of five nominees were authorized celebrity biographies, a trend mirrored in the previous year. This season, audiences can expect a deluge of artist-friendly music documentaries, emphasizing entertainment over substantive content.
Veteran documentary programmer Thom Powers attributes this shift to the rise of streaming platforms where companies prioritize recognizable names over quality content. "It becomes less about content or rigor and more about marketing," Powers notes. The current climate, rife with crises such as social injustice and climate change, makes the absence of meaningful documentaries even more disheartening. Nonfiction experts lament that these films are often unavailable when they are needed the most.
Three veteran filmmakers, who chose to remain anonymous, voiced their concerns over the transition of documentary power from traditional networks like PBS and HBO to platforms such as Netflix, Disney, and Apple. They argue that these companies prioritize a polished image and name recognition over rigorous storytelling. The introduction of commercials on streaming platforms, as seen with Netflix in late 2022, has further weakened their willingness to air content that might alienate advertisers.
Moreover, the dynamics have altered dramatically, as these streaming platforms occasionally pay their documentary subjects, granting them significant control over how their stories are told. This marks a departure from the previous era where artists, actors, and athletes had little control over their narratives. While the companies still exert influence—especially concerning music rights—the result is often a sanitized version of reality that prioritizes the subject's perspective over a comprehensive exploration of their lives.
The complexities surrounding documentary filmmaking were highlighted recently with the shelved documentary on Prince directed by Ezra Edelman. Concerns from the musician’s estate about potential damage to his catalog sales led to the film's permanent shelving, illustrating the challenges of navigating creative integrity and commercial interests. The replacement project, not directed by Edelman, will likely lack the depth of the original vision, further underscoring the trend towards artist-approved narratives.
The shift in documentary quality is striking when comparing past Emmy winners. Just six years ago, the Emmy for nonfiction special was awarded to Leaving Neverland, a hard-hitting examination of Michael Jackson's alleged abuses. In contrast, last year's winner celebrated the legacy of Jim Henson in a more family-friendly, authorized format, demonstrating the industry's move away from controversial content.
Filmmakers express concern that the current trend of "documercials" is overshadowing serious documentaries. While music documentaries can be entertaining and educational for fans, many worry that these softer narratives are crowding out more critical work. The irony is palpable as artists known for exploring complexity often receive treatments that gloss over the very contradictions that define their genius.
Industry insiders, including Tom Mackay from Sony Music Entertainment, argue that while these films may have a commercial edge, they still aim to shed light on the artists' journeys. “The artists have to be willing to tell their story, and that means the good and the bad, the wins and the struggles,” Mackay states, acknowledging the built-in audience that contributes to the appeal of these projects.
Despite the current challenges facing the industry, Sheila Nevins, a longstanding figure in the documentary community, believes that a resurgence is possible. “Just because these companies don’t want to go too deep into the water doesn’t mean docs are coming to an end,” she asserts. Nevins envisions a future where independent filmmakers can reclaim the narrative space and tackle the pressing issues of our time, suggesting that a new wave of documentary storytelling could soon emerge.
