‘Ted Lasso,’ ‘The Crown,’ Win Top Emmy Awards on Streaming Heavy Night

Actor Jason Sudeikis poses with the award for outstanding lead actor in comedy series, for “Ted Lasso”, at the 73rd Primetime Emmy Awards in Los Angeles, US, September 19, 2021. (Reuters)
Actor Jason Sudeikis poses with the award for outstanding lead actor in comedy series, for “Ted Lasso”, at the 73rd Primetime Emmy Awards in Los Angeles, US, September 19, 2021. (Reuters)
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‘Ted Lasso,’ ‘The Crown,’ Win Top Emmy Awards on Streaming Heavy Night

Actor Jason Sudeikis poses with the award for outstanding lead actor in comedy series, for “Ted Lasso”, at the 73rd Primetime Emmy Awards in Los Angeles, US, September 19, 2021. (Reuters)
Actor Jason Sudeikis poses with the award for outstanding lead actor in comedy series, for “Ted Lasso”, at the 73rd Primetime Emmy Awards in Los Angeles, US, September 19, 2021. (Reuters)

Royal drama “The Crown” and feel-good comedy “Ted Lasso” nabbed the top prizes at television’s Emmy awards on Sunday on a night dominated by streaming shows, British talent and rare wins by women.

Chess drama “The Queen’s Gambit” was named best limited series and tied with “The Crown” for the most wins overall at 11 apiece.

The best drama series win for “The Crown” gave Netflix its biggest prize so far, while Apple TV+ entered streaming’s big league with the best comedy series win for “Ted Lasso.” Neither Netflix nor Apple TV+ had previously won a best comedy or best drama series Emmy.

Jason Sudeikis, the star and co-creator of “Ted Lasso,” was named best comedy actor. The show also brought statuettes for Britons Hannah Waddingham and Brett Goldstein for their supporting roles in the tale of a struggling English soccer team that won over TV fans with its folksy humor during the dark days of the coronavirus pandemic.

“This show is about family. This show’s about mentors and teachers and this show’s about teammates. And I wouldn’t be here without those three things in my life,” Sudeikis said on Sunday.

Despite a nominees list that boasted the strongest showing in years for people of color, only a handful emerged as winners.

They included Britain’s Michaela Coel, who won for writing the harrowing sexual assault drama “I May Destroy You” in which she also starred and directed; RuPaul, host of the competition show “RuPaul’s Drag Race;” and the cast of hip-hop Broadway musical “Hamilton,” which won the Emmy for variety special after it was filmed for television.

Dancer, singer and actor Debbie Allen was given an honorary award celebrating 50 years in show business. “It’s taken a lot of courage to be the only woman in the room most of the time,” Allen said.

It was a good night for women, and for Britons.

“Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable,” said Coel, who dedicated her Emmy to sexual assault survivors.

Lucia Aniello got a rare directing win for a woman for the comedy series “Hacks” about a fading female comedian. She also was one of the winning co-writers. Britain’s Jessica Hobbs took home a directing Emmy for “The Crown.”

“Not a lot of women have won this award so I feel like I am standing on the shoulders of some really extraordinary people,” Hobbs said.

Seven of the 12 acting awards went to Britons, including Olivia Colman and Josh O’Connor for playing Queen Elizabeth and heir to the throne Prince Charles in a fourth season of “The Crown” that focused on the unhappy marriage of Charles and Princess Diana.

“We’re all thrilled. I am very proud. I’m very grateful. We’re going to party,” said Peter Morgan, creator of “The Crown,” at a gathering in London for the cast and crew.

An exuberant Kate Winslet won for her role as a downtrodden detective in limited series “Mare of Easttown,” while Ewan McGregor was a surprise winner for playing fashion designer “Halston.”

Concerns over the Delta variant of the coronavirus forced Sunday’s ceremony to move to an outdoor tent in downtown Los Angeles, with a reduced guest list and mandatory vaccinations and testing but a red carpet that harked back to pre-pandemic times.



‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
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‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)

Neither Pixar nor zombies were enough to topple “How to Train Your Dragon" from the No. 1 slot at North American box offices over the weekend. The Universal Pictures live-action remake remained the top film, bringing in $37 million in ticket sales in its second weekend, despite the sizeable new releases of “Elio” and “28 Years Later” , according to studio estimates Sunday. “How To Train Your Dragon” has rapidly amassed $358.2 million worldwide, The Associated Press reported.

Six years after its last entry, the Dean DeBlois-directed “How To Train Your Dragon” has proven a potent revival of the DreamWorks Animation franchise. A sequel is already in the works for the $150 million production, which remakes the 2010 animated tale about a Viking boy and his dragon.

Pixar's “Elio” had a particularly tough weekend. The Walt Disney Co. animation studio has often launched some of its biggest titles in June, including “Cars,” “WALL-E” and “Toy Story 4.” But “Elio,” a science fiction adventure about a boy who dreams of meeting aliens, notched a modest $21 million, the lowest opening ever for Pixar.

“This is a weak opening for a new Pixar movie,” said David A. Gross, who runs the movie consulting firm FranchiseRe. “These would be solid numbers for another original animation film, but this is Pixar, and by Pixar’s remarkable standard, the opening is well below average.”

“Elio,” originally set for release in early 2024, had a bumpy road to the screen. Adrian Molina — co-director of “Coco” — was replaced mid-production by Domee Shi (“Turning Red”) and Madeline Sharafian. Back at Disney’s D23 conference in 2022, America Ferrera appeared to announce her role as Elio’s mother, but the character doesn’t even exist in the revamped film.

Disney and Pixar spent at least $150 million making “Elio,” which didn’t fare any better internationally than it did in North America, bringing in just $14 million from 43 territories. Pixar stumbled coming out of the pandemic before stabilizing performance with 2023’s “Elemental” ($496.4 million worldwide) and 2024’s “Inside Out 2” ($1.7 billion), which was the company's biggest box office hit.

“Elemental” was Pixar's previously lowest earning film, launching with $29.6 million. It rallied in later weeks to collect nearly half a billion dollars at the box office. The company's first movie, “Toy Story,” opened with $29.1 million in 1995, or $60 when adjusted for inflation. It remains to be seen whether “Elio's” decent reviews and “A” from CinemaScore audiences can lead it to repeat “Elemental's” trajectory.

With most schools on summer break, the competition for family audiences was stiff. Disney’s own “Lilo & Stitch,” another live-action remake, continued to pull in young moviegoers. It grossed $9.7 million in its fifth weekend, bringing its global tally to $910.3 million.

“28 Years Later” signaled the return of another, far gorier franchise. Director Danny Boyle reunited with screenwriter Alex Garland to resume their pandemic apocalypse thriller 25 years after “28 Days Later” and 18 years after its sequel, “28 Weeks Later.”

The Sony Pictures release opened with $30 million. That was good enough to give Boyle, the filmmaker of “Slumdog Millionaire” and “Trainspotting,” the biggest opening weekend of his career. The film, which cost $60 million to make, jumps ahead nearly three decades from the outbreak of the so-called rage virus for a coming-of-age story about a 12-year-old (Alfie Williams) venturing out of his family’s protected village. Aaron Taylor-Johnson, Jodie Comer and Ralph Fiennes co-star.

Reviews have been good (90% fresh on Rotten Tomatoes) for “28 Years Later,” though audience reaction (a “B” CinemaScore) is mixed. Boyle has more plans for the zombie franchise, which will next see the release of “28 Years Later: The Bone Temple” next year from director Nia DaCosta.

“28 Years Later” added another $30 million in 59 overseas markets.

After its strong start last weekend with $12 million, A24’s “Materialists” held well with $5.8 million in its second weekend. The romantic drama by writer-director Celine Song and starring Dakota Johnson, Pedro Pascal and Chris Evans has collected $24 million so far.

Next weekend should also be a competitive one in movie theaters, with both “F1,” from Apple and Warner Bros., and Universal’s “Megan 2.0” launching in cinemas.