Given that the last two Emmy Awards for Best Music Supervision were won by continuing drama programs, it makes sense that “Fallout” is the category’s clear frontrunner this year. The individual craftsman nominated for the freshman series, “Westworld” alum Trygge Toven, is one of four first-time Emmy contenders currently vying for this prize, the others of whom represent “Fargo” and “Only Murders in the Building.”
The 2024 music supervision contest also features a rematch between Catherine Grieves (“Baby Reindeer”) and Jen Malone (“Mr. & Mrs. Smith”), who faced off four years ago as nominees for “Killing Eve” and “Euphoria.” Rounding out the new lineup is Susan Jacobs (“True Detective: Night Country”), who won this award for “Big Little Lies” when it was first bestowed in 2017.
In order to make sense of this complex race, let’s take a closer look at each nominee. Be sure to make your predictions in this and 30 other Creative Arts Emmy categories by September 7.
“Baby Reindeer” – Catherine Grieves
Episode: “Episode 4”
Grieves’s second (and first solo) Emmy nomination comes for this Netflix limited series in which creator, writer, and star Richard Gadd recounts his life-changing experience with a stalker. As his alter ego, Donny, spends the fourth of seven episodes reflecting on the past abuse he suffered at the hands of his mentor, his narration is enhanced by songs like Jethro Tull’s “Teacher” and Harry Nilsson’s original recording of “One.”
“Fallout” – Trygge Toven
Episode: “The End”
Toven is recognized for punctuating the 67-minute “Fallout” pilot with 11 different songs, all of which were recorded between 1950 and 1963. In addition to placing Sheldon Allman’s “Crawl Out Through the Fallout” (which was used in the 2015 video game “Fallout 4”) over the end credits, he created memorable moments with the “South Pacific” showtune “Some Enchanted Evening,” Nat King Cole’s “Orange Colored Sky,” and two songs each by Connie Conway and Johnny Cash.
“Fargo” – Maggie Phillips
Episode: “The Tragedy of the Commons”
Four seasons into her “Fargo” tenure, Phillips has caught the TV academy’s attention thanks to her work in the latest iteration’s premiere episode. Before allowing Jeff Russo’s score to guide viewers through the last three quarters of the chapter, she reestablishes the show’s darkly humorous, Coen-esque tone by utilizing Yes’ “I’ve Seen All Good People,” Ralph Stanley’s “Friends in Gloryland,” and Charlotte Gainsbourg’s “Hey Joe.”
“Mr. & Mrs. Smith” – Jen Malone
Episode: “A Breakup”
Malone, who previously competed here for “Atlanta” in addition to “Euphoria,” is the only member of this lineup recognized for a season finale. As the titular spy characters attempt to follow orders to terminate each other, their complex feelings are reflected in the slow jams “Short and Sweet” (Brittany Howard) and “I Just Can’t Lose Your Love” (The Whatnauts) as well as the more uptempo tracks “Happy Meal II” (The Cardigans) and “Tukuntazo” (Tokischa, Haraca Kiko, and El Cherry Scom).
“Only Murders in the Building” – Bruce Gilbert and Lauren Marie Mikus
Episode: “Grab Your Hankies”
The only duo in this group have collaborated on nearly three dozen film and TV projects since 2019, including all three seasons of this show and Best Picture Oscar winner “Everything Everywhere All at Once.” In the submitted episode of this lineup’s only comedy series, Oliver Putnam (Martin Short) turns his new play, “Death Rattle,” into a musical featuring original songs like “Creatures of the Night” and “Look for the Light.”
“True Detective: Night Country” – Susan Jacobs
Episode: “Part 4”
Jacobs is hoping to go two-for-two in this category by winning for the fourth season of this American crime anthology series. Before closing out the fourth of six episodes with a dark acapella cover of The Isley Brothers’ “Twist and Shout,” she heightens the show’s dreary Alaskan atmosphere with ruminative songs like “Into Dust” by Mazzy Star and “Everybody Dies” by Billie Eilish (whose “Bury a Friend” is used as the main title theme).
So, what will win the 2024 Emmy for Best Music Supervision? Simply watching each of the six submitted episodes makes it clear why “Fallout” is leading the race, as voters will surely appreciate the work Toven put into adapting the source material’s distinctive tone. His skillful incorporation of a large number of songs from a specific bygone era of popular music undeniably increases the pilot’s entertainment value and effectively teases a fun season.
In truth, none of the other five submissions stand out enough to seriously threaten “Fallout,” which can easily emulate “Stranger Things” by taking this prize as well as those for sound editing and sound mixing. Assuming “Shōgun” is bound to emerge as this year’s winningest drama series, “Fallout” has the strongest chance of landing in second place.
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