Owen Cooper becomes the youngest ever to win in the supporting actor in a drama series

• Full list of Emmy winners

Ben Stiller confirmed Real Housewives fan!

The nominees for best drama actor and actress are here:

The year’s biggest night in television sees plenty of nominations for Severance, The Studio, The White Lotus and Adolescence – but who will win?

It’s that time of year again, where you consider all that you have and have not watched in the vast world of television. The Emmys are back, more or less kicking off the Hollywood award season with a healthy mix of Emmy stalwarts and beloved newbies. Will voters choose between the head (Severance, with a leading 27 noms) or the heart (The Pitt) for best drama? Will The Studio sweep the comedy awards? Here are our picks for the night:

Miranda Cosgrove plays a woman involved in some reality show drama in another of the streamer’s many low-grade background watches

One could argue that The Bachelor, the ABC reality juggernaut that has reified Christian-lite dating norms for 27 seasons, should be considered scripted content. The connections can be genuine, and the feelings often real, but the situations are contrived and manipulated, a pioneering brand of deliberately saccharine, hokey and ridiculous in the name of love and for the sake of entertainment. Watching The Bachelor and its spinoffs, as I occasionally have over its two-plus-decade run, is to be baffled, frustrated, annoyed and ultimately hooked. The show, with its in-group rituals and shocking sincerity, casts a strange spell over its contestants and its viewers; if you stick through one episode, you’re liable to start caring about what happens.

No such spell exists for The Wrong Paris, Netflix’s latest attempt to build an in-house Hallmark Channel, in which Miranda Cosgrove plays a single woman who goes on a reality dating show for what Bachelor Nation would call “the wrong reasons”. No offense to the Hallmark Channel, which at its best can be laughably unserious fun. But The Wrong Paris, written by Nicole Henrich and directed by Janeen Damian, somehow serves the synthetic sugar of both The Bachelor and the Hallmark movie without any sweetness. The formula is there, but not the flavor, nor the drop of derangement – like, say, a hot snowman brought to life – required to beat the Netflix allegations of low-quality, lowest-common-denominator stuff.