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Daytime Emmy Award
Previous: 51st Daytime Emmy Awards
June 7, 2024 (2024-06-07)
Next: 52nd Daytime Emmy Awards
October 17, 2025 (2025-10-17)
Awarded forExcellence in daytime television
CountryUnited States
Presented byNATAS/ATAS
First awardMay 21, 1974; 51 years ago (1974-05-21)
Websitetheemmys.tv/daytime/
Part of a series of articles about the
Emmy Awards
Primetime Emmy
Daytime Emmy
International Emmy
Sports Emmy
Engineering Emmy
News & Documentary Emmy
Children's and Family Emmy
Regional Emmy

The Daytime Emmy Awards, or Daytime Emmys, are part of the extensive range of Emmy Awards for artistic and technical merit for the American television industry. Bestowed by the New York-based National Academy of Television Arts and Sciences (NATAS), the Daytime Emmys are presented in recognition of excellence in American daytime television programming. The first ceremony was held in 1974, expanding what was originally a prime time-themed Emmy Award. Ceremonies generally are held in May or June, but starting in 2025, the ceremony will be held in October.

History

[edit]
See also: Emmy Awards § History

The first Emmy Award ceremony took place on January 25, 1949. The first daytime-themed Emmy Awards were given out at the Primetime Emmy Awards ceremony in 1972, when The Doctors and General Hospital were nominated for Outstanding Achievement in a Daytime Drama. That year, The Doctors won the first Best Show Daytime Emmy. In addition, the award for Outstanding Achievement by an Individual in a Daytime Drama was given to Mary Fickett from All My Children. A previous category "Outstanding Achievement in Daytime Programming" was added once in 1968 with individuals like Days of Our Lives star Macdonald Carey nominated. Due to voting rules of the time, judges could opt to either award one or no Emmy, and in the end they decided that no one nominated was deserving of the golden statuette. This snub outraged then-Another World writer Agnes Nixon, causing her to write in The New York Times, "...after viewing the recent fiasco of the Emmy awards, it may well be considered a mark of distinction to have been ignored by this group."[1]

Longtime General Hospital star John Beradino became a leading voice to have daytime talent honored with special recognition for their work. The first separate awards show made just for daytime programming was broadcast in 1974 from the Channel Gardens at Rockefeller Center in New York. The hosts that year were Barbara Walters and Peter Marshall. For years, the gala was held in New York, usually at nearby Radio City Music Hall, with occasional broadcasts from Madison Square Garden. In 2006, the Daytime Emmys was moved to the Kodak Theatre in Los Angeles, the first time they had ever been held outside of New York.[2] The Kodak Theatre also hosted the 2007 and 2008 ceremonies, before it was moved again in 2009 to the Orpheum Theatre across town. In 2010 and 2011, the Daytime Emmys were instead held in Las Vegas. From 2012 onward, the Daytime Emmys have been held at various venues in Los Angeles, never to return again to New York (most likely as a reflection of the current state of American daytime dramas, where all New York-produced network soap operas have since been cancelled, and the ones left on the air are being recorded in Los Angeles).

In 2007, child voice actress Danica Lee, the voice for Ming-Ming in Wonder Pets! became the first Asian nominee overall in Daytime Emmy history while Eric Bauza became the first adult Asian nominee in Daytime Emmy history.

Due to the relatively small talent pool in daytime television, it has become common for the same people to be nominated repeatedly. The most infamous of these is All My Children star Susan Lucci, whose name became synonymous with being nominated for an award and never winning, after having been nominated 18 times without receiving an award before finally winning a Daytime Emmy for Best Actress in 1999.[3]

In 2003, in response to heavy criticism of bloc voting in favor of shows with the largest casts, an additional voting round was added to all the drama acting categories.[4] Known as the "pre-nominations", one or two actors from each show is selected to then move on and be considered for the primary nominations for the awards.[5]

With the rise of cable television in the 1980s, cable programs first became eligible for the Daytime Emmys in 1989.[6] In 2013, in response to All My Children being moved from broadcast to streaming television, NATAS began accepting nominations to web-only series.[7] The Academy of Television Arts & Sciences (ATAS) also began accepting original online-only streaming television programs in 2013.[8]

In October 2019, as part of several initiatives regarding gender identity, the NATAS decided to replace both the younger actor and actress in a drama categories with a single gender-neutral one for 2020.[9]

The 47th Daytime Emmy Awards were postponed to June 26, 2020, due to the COVID-19 pandemic, with the traditional in-person ceremony being replaced by a television special featuring remote appearances, and the announcement of winners in leading categories.[10]

In December 2021, the ATAS and NATAS announced major realignments to the Emmy Awards, accounting for the growth of streaming services by aligning their categories and the ceremonies' scopes around factors such as the themes and frequency of such programming, rather than dayparts. This resulted in most dramas (besides soap operas) now falling exclusively under the scope of the Primetime Emmy Awards, and categories for children's television being spun out into the newly established Children's and Family Emmy Awards.[11][12]

NATAS has periodically awarded the Chairman's Crystal Pillar Award, for special achievement in daytime television, including a 2011 award for Oprah Winfrey and her eponymous syndicated talk show.[13][14][15] In 2021, the Crystal Pillar was awarded to 16 daytime television professionals who "envisioned and implemented procedures that made safe production of media possible during the COVID pandemic" as part of the 48th Daytime Creative Arts Emmy Awards.[16]

In January 2025, NATAS president Adam Sharp stated that beginning with the 52nd ceremony, the Daytime Emmy Awards would move from its previous May/June scheduling to October, switching places with the News and Documentary Emmy Awards to highlight the "timely nature" of news and documentary content.[17]

Rules

[edit]

Among the Daytime Emmy rules, a show must originally air on American television during the eligibility period between January 1 and December 31. Historically, in order to be considered a national daytime show, the program was required to air between 2 a.m. and 6 p.m., and to at least 50 percent of the country.[18] Shows in syndication, whose air times vary between media markets, could either be entered in the Daytime or Primetime Emmys (provided they still reach the 50 percent national reach), but not in both.[19] Game shows that reached the 50 percent threshold could be entered into the Daytime Emmys if they normally aired before 8 p.m.; otherwise, they were only eligible for the Primetime Emmys.[18]

Web television shows must be available for downloading or streaming to more than 50 percent of the country, and like shows in syndication they can only enter in one of the national Emmy competitions. A show that enters into the Daytime Emmys cannot also be entered into the Primetime Emmy Awards or any other national Emmy competition. Entries must be submitted by late December. Most award categories also require entries to include DVDs or tape masters of the show. For example, most series categories require the submitted DVD to include any one or two episodes that originally aired during the eligibility period.[18]

Voting is done by peer judging panels. Any active Academy member who has national credits for at least two years and within the last five years is eligible to be a judge. Depending on the category, voting is done using either a ratings score criteria or a preferential scoring system.[18]

As of the 49th edition, eligibility for the Daytime Emmy Awards is now based on factors such as thematics and broadcasting frequency, with certain categories having been moved to other Emmy presentations. In particular:[11][12]

  • Only daytime serial dramas—defined as an episodic, multi-camera drama that airs on a weekday basis, or a reboot or spin-off of such a series—are eligible for drama awards at the Daytime Emmy Awards. All other scripted comedies and dramas now fall under the ATAS and Primetime Emmy Awards, regardless of scheduling.
  • Programming targeting viewers aged 15 and younger were spun out into the new Children's and Family Emmy Awards, also organized by the NATAS.
  • Talk shows are divided between the Daytime and Primetime Emmy Awards based on "format and style characteristics reflective of current programming in the daytime or late night space".
  • Categories for morning shows were moved to the News & Documentary Emmy Awards.
  • Categories for game shows and instructional/do it yourself (DIY) programming remained split between the Daytime and Primetime Emmy Awards for 2022. Most game show categories were then moved to the Primetime Emmys in 2023, while those game shows featuring children as contestants were moved to the Children's and Family Emmys.[20]

Telecast

[edit]

The show originally aired during the daytime hours (except for the 1983 and 1984 awards, which weren't televised) but moved to primetime in 1991. For many years, the show was produced by one of its own Lifetime Achievement honorees, Dick Clark. Each show from 2006 to 2008 was produced by White Cherry Entertainment.

NBC often aired special primetime episodes of its soaps (such as Another World: Summer Desire) as a lead-in to the ceremony. In 2002, 2005, and 2007, CBS aired special primetime editions of The Price Is Right as a lead-in (the first of which tying into its then-host Bob Barker being host of the ceremony, and the last being a primetime encore of his final episode as host, which aired earlier in the day).

In August 2009, The CW broadcast the Daytime Emmys for the first time, due to the other networks declining to carry it (at the time the network did have one daytime program, Judge Jeanine Pirro). The airing delivered the ceremony's lowest ratings ever (0.6/2 in 18–49, 2.72m),[21] but it did outperform The CW's weak averages on the night that summer. The second time around, Associated Television International brought the 37th Daytime Emmy Awards to CBS, as well as the 38th, the following year. On May 3, 2012, it was announced and confirmed that HLN would air the 39th ceremony on June 23, 2012.[22] In that ceremony, an additional non-Emmy award was awarded by the program's social media partner, AOL, for Best Viral Video Series.[citation needed] With 912,000 viewers (not counting four repeat broadcasts which brought the total to 2 million), the broadcast was "the most watched regularly scheduled, non-news telecast" ever on HLN, but by far the least-watched Daytime Emmy ceremony ever.[23]

For the first time in the event's four-decade history, the 2014 Daytime Emmy ceremony was not broadcast on TV and instead aired only online,[24] but the Daytime Awards telecast eventually returned to television the following year thanks to a two-year deal with basic cable channel Pop.[25] However, for 2016, the academy announced that ceremony would not be televised for the second time, citing the "current climate for awards shows".[26]

In 2020, the remotely-produced "virtual" ceremony for the 47th Daytime Emmy Awards aired on CBS, marking its return to both broadcast TV and CBS for the first time since 2011.[10] On April 1, 2021, the NATAS subsequently announced a two-year deal with CBS, covering the 48th and 49th Daytime Emmy Awards.[27]

Award categories

[edit]

Daytime Emmys

[edit]

Daytime Emmys are awarded in the following categories:

Programming
Acting
Hosting
Writing/Directing

Daytime Creative Arts Emmys

[edit]

Creative Arts Emmy Awards are awarded in the following categories:

Art Direction
  • Art Direction/Set Decoration/Scenic Design
Casting
  • Casting
Costumes
  • Costume Design/Styling
Directing
Editing
Hairstyling
  • Hairstyling for a Drama Series
  • Hairstyling for a Series
Lighting Direction
  • Lighting Direction for a Drama Series
  • Lighting Direction for a Series
Main Title and Graphic Design
Makeup
  • Makeup
Music
  • Music Direction and Composition
Performance
Programming
Promotional Announcement
  • Promotional Announcement – Episodic
  • Promotional Announcement – Institutional
Sound Editing and Mixing
  • Live and Direct to Tape Sound Mixing
  • Sound Mixing and Sound Editing
Stunt Coordination
Technical Direction
Writing

Retired categories

[edit]
Programming
Acting
Art Direction
Hosting
Casting
  • Casting for an Animated Series or Special[c]
  • Casting for a Children's Program[c]
  • Casting for a Drama or Daytime Fiction program
Costumes
  • Costume Design for a Drama Series
Directing
  • Directing in an Animated Program[c]
  • Directing in a Preschool Animated Program[c]
  • Directing in a Children's Series[c]
  • Directing Team for a Daytime Fiction Program[d]
  • Voice Directing for a Daytime Animated Series[c]
  • Directing in a Game/Audience Participation Show (removed in 2006)
  • Directing in a Game Show (2015–2020)
Editing
  • Editing for an Animated Program[c]
  • Editing for a Preschool Animated Program[c]
Individual Achievement in Animation[c]
Art Direction
  • Art Direction/Set Direction/Scenic Design for a Drama or Daytime Fiction Program
Lighting Direction
  • Lighting Direction for a Drama Series
Music
  • Music Direction and Composition for a Preschool, Children's or Animated Program[c]
  • Original Song in a Children's, Young Adult or Animated Program[c]
  • Original Song for a Preschool, Children's or Animated Program[c]
  • Outstanding Original Song
  • Music Direction and Composition for a Drama Series
  • Original Song – Drama
  • Original Song for a Series
  • Original Song – Main Title and Promo
  • Music Direction and Composition for a Drama Series
New Approaches
  • New Approaches – Enhancement to a Daytime Program or Series[d]
  • New Approaches – Original Daytime Program or Series[d]
Performance
Sound Editing and Mixing
  • Film Sound Editing (1985–1995)
  • Film Sound Mixing (1985–1995)
  • Sound Editing (1996–2002)
  • Sound Mixing (1996–2002)
  • Sound Editing – Special Class (1996–2002)
  • Sound Mixing – Special Class (1996–2002)
  • Sound Editing – Live Action or Animation (2003–2011)
  • Sound Mixing – Live Action or Animation (2003–2011)
  • Sound Mixing and Sound Editing for an Animated Program[c]
  • Sound Mixing and Sound Editing for a Preschool Animated Program[c]
  • Sound Editing – Animation[c]
  • Sound Editing for a Preschool Animated Program[c]
  • Sound Mixing – Animation[c]
  • Sound Mixing for a Preschool Animated Program[c]
  • Sound Editing – Live Action
  • Sound Mixing – Live Action
  • Sound Mixing and Editing for a Drama or Daytime Fiction Program
  • Live and Direct to Tape Sound Mixing for a Drama Series
Technical Direction
  • Technical Team for a Drama Series


Writing
Spanish programming/talent
  • Outstanding Morning Program in Spanish[f][h]
  • Outstanding Entertainment Program in Spanish[h]
  • Outstanding Daytime Talent in Spanish[h]

Ratings

[edit]

[29]

No. Air date Network Household
rating		 Viewers
(millions)
18th June 27, 1991 CBS 13.5 18.9
19th June 23, 1992 NBC 15.3 20.2
20th May 26, 1993 ABC 16.4 22
21st May 25, 1994 14.1 18.9
22nd May 19, 1995 NBC 10.2 13.7
23rd May 22, 1996 CBS 11.4 15.1
24th May 21, 1997 ABC 11.8 15.9
25th May 15, 1998 NBC 10.2 13
26th May 21, 1999 CBS 10.4 14.2
27th May 19, 2000 ABC 9.1 13
28th May 18, 2001 NBC 7.9 10.3
29th May 17, 2002 CBS 6.9 10.1
30th May 16, 2003 ABC 6.3 8.6
31st May 21, 2004 NBC 6 8.4
32nd May 20, 2005 CBS 5.5 7.6
33rd April 28, 2006 ABC 4.5 6.1
34th June 15, 2007 CBS 5.9 8.3
35th June 20, 2008 ABC 4 5.4
36th August 30, 2009 The CW 2 2.7[30]
37th June 27, 2010 CBS 3.8 5.6
38th June 19, 2011 3.7 5.5[31]
39th June 23, 2012 HLN N/A 2 (cumulative of original show and 4 same-night reruns)[32]
40th June 16, 2013 N/A 1.8
41st June 22, 2014 (Internet Broadcast) N/A N/A
42nd April 26, 2015 Pop N/A 9 [1]
43rd May 1, 2016 YouTube, Facebook,
Periscope		 N/A 0.298
44th April 30, 2017 N/A 0.295
45th April 29, 2018 YouTube, Facebook,
Periscope, KNEKT-TV		 N/A 0.426
46th May 5, 2019 YouTube, Facebook,
KNEKT-TV		 N/A 0.143
47th June 26, 2020 CBS 0.3 3.1
48th June 25, 2021 0.2 2.4
49th June 24, 2022 0.2 2.9
50th December 15, 2023 1.43 2.12
51st June 7, 2024 1.87 2.917

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Daytime Emmy Awards

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The Daytime Emmy Awards are annual honors presented by the of Television Arts and Sciences (NATAS) to recognize outstanding achievement in American programming and crafts, encompassing genres such as soap operas, talk shows, game shows, lifestyle content, and children's series. Established in 1974 to distinguish daytime excellence from primetime programming, the awards initially focused on soap operas but expanded to include diverse daytime formats as television evolved. Over five decades, the Daytime Emmys have celebrated technical and artistic merits across numerous categories, including outstanding series, lead and supporting performances, writing, directing, and innovative , reflecting shifts toward streaming and online platforms. Notable recipients include long-running series like and hosts such as , underscoring the awards' role in highlighting enduring and influential daytime entertainment. However, the awards have faced challenges, including operational irregularities in competition management and debates over eligibility rules that once facilitated easier paths to EGOT status, prompting reforms to maintain integrity. In recent years, ceremonies have transitioned to streaming formats amid declining traditional broadcast viewership, with the 52nd edition held on October 17, 2025, exclusively online via NATAS platforms.

History

Founding and Early Years

The National Academy of Television Arts and Sciences (NATAS) introduced daytime Emmy categories in 1972 to honor programming broadcast between 10 a.m. and 4:30 p.m., distinct from primetime content, as grew with soap operas and children's series amid expanding network schedules. This separation addressed the unique production demands and audience focus of daytime formats, including serialized dramas originating in radio and emerging educational shows funded by public grants. The initial award, Outstanding Achievement in a Daytime Drama, was presented at the 24th and went to The Doctors. The first standalone Daytime Emmy ceremony occurred on May 28, 1974, at in , recognizing 1973 content with limited categories emphasizing soap operas, talk-variety shows, children's programming, and basic technical achievements like writing and directing. Early categories avoided overlap with primetime by prioritizing broadcast standards for lower-budget, high-volume production typical of daytime slots, driven by syndication growth and viewer habits tied to homemaking routines. Notable recipients included for children's series excellence, highlighting NATAS's intent to validate educational content amid commercial daytime dominance. Subsequent early ceremonies in the 1970s maintained focus on core genres, with winners like for her role in The Doctors underscoring the awards' role in elevating craftsmanship, though categories remained modest compared to primetime's breadth. This period established benchmarks for excellence in scripted continuity and innovative , reflecting causal links to technological advances in and the cultural shift toward family-oriented daytime viewing.

Expansion and Peak Era

The Daytime Emmy Awards underwent significant expansion in the 1980s, incorporating additional categories to recognize the diversifying landscape of , which increasingly featured syndicated talk shows, game shows, and children's programming alongside traditional soap operas. This growth reflected the rising production volume and cultural prominence of daytime content, with soap operas achieving particular dominance; for example, ABC's won the Outstanding Drama Series award at the 11th ceremony on June 27, 1984. Creative arts categories proliferated during this decade, extending honors to technical and production elements such as art direction, , and music composition, which had previously received limited attention. In , CBS daytime programs alone claimed 13 Emmys across these creative arts fields, underscoring the awards' broadening scope to validate behind-the-scenes contributions amid heightened industry participation from producers and networks. The awards reached their peak era in the early 1990s, coinciding with daytime TV's alignment to soap operas and emerging formats that captured large audiences before cable expansion fragmented viewership. telecasts on networks like elevated visibility, with the 1991 ceremony—the first in —ranking as the week's second most-watched program, while the 1992 broadcast topped weekly ratings. Innovations in programming received acclaim, as seen with , which secured wins for Outstanding Talk/Service Show and host in 1987, initiating a streak of successes for the format. This period's high engagement stemmed from daytime's network-era stronghold, where soaps and talk shows routinely drew millions daily, fostering greater producer investment and award submissions.

Decline and Adaptations

The Daytime Emmy Awards faced significant challenges in the as the traditional daytime genre, a cornerstone of the awards' early prestige, entered a period of steep decline driven by shifting viewer habits, competition from cable and reality programming, and demographic changes. By the early , the number of U.S. network soap operas had already begun contracting from a peak of around 12 shows in the and to fewer than 10 by decade's end, with further cancellations accelerating the trend; this mirrored a broader erosion in submissions for soap-related categories, as audiences fragmented toward non-scripted content and prime-time alternatives. This genre contraction reduced the awards' visibility and cultural footprint, with viewership for remaining soaps like and stabilizing at niche levels amid overall daytime TV ratings drops of 50-70% from 2000 peaks. Compounding these issues, the awards struggled with broadcast accessibility, losing major network partnerships by the mid-2010s due to low ratings and production costs; the 41st ceremony in 2014 marked the first fully online stream, followed by airings on Pop TV in 2015 and from 2016 to 2019, reflecting a pivot to digital platforms amid cable's rise and traditional TV's waning dominance. By the 2020s, streaming fragmentation further isolated the event, with the 52nd Daytime Emmy Awards on October 17, 2025, held at the Pasadena Civic Auditorium and streamed exclusively via the of Television Arts & Sciences (NATAS) app and website without a linear TV partner, underscoring ongoing adaptation to a post-broadcast era. In response, NATAS expanded eligibility criteria post-2010 to encompass digital and streaming content, initially incorporating into categories like Outstanding Digital Drama by 2012 and later refining them—such as renaming to Limited Drama Series in 2021—to capture short-form and online narratives amid the soap decline. Further adaptations included 2024-2025 rule tweaks maintaining a January 1 to December 31 eligibility window for the 52nd awards, allowing broader inclusion of calendar-year streaming releases while aligning judging periods for efficiency. These changes facilitated consolidation around enduring programs; at the 2025 ceremony, General Hospital secured seven wins, including Outstanding Drama Series, highlighting dominance by one of four surviving soaps in a of fragmented where digital shorts and lifestyle shows increasingly vied for honors.

Rules and Eligibility

Nomination Criteria

Programs eligible for nomination in the Daytime Emmy Awards must be originally produced and first distributed between January 1 and December 31 of the preceding calendar year, such as for the 2025 awards, across U.S. broadcast networks, cable, , or digital platforms including SVOD, AVOD, and FAST services. Content must target a national U.S. audience, with availability to at least 50% of U.S. households required, and at least two-thirds of the material must be original unless substantially reimagined from prior versions. Eligibility emphasizes suitability for —such as lifestyle, informational, talk, or serialized drama—rather than strict airing times, excluding primetime or late-night formats like scripted comedies, reality competitions, or TV-MA-rated content with excessive graphic elements. Daytime drama series, as serialized fiction, require a contiguous arc, release on at least four days per week, episodes averaging 18 minutes (minimum 15 minutes excluding commercials), and multi-camera production; submissions must include at least 52 episodes for traditional soaps or fewer for limited runs, with verifiable national distribution. formats like talk or informational series demand focus on interviews, topics, or educational content without prize-based competitions, while culinary or how-to programs prohibit competitive elements and require demonstration of techniques. Digital short-form content, expanded in recent years, qualifies in dedicated categories if under specified lengths (e.g., 5-15 minutes) and meeting platform reach thresholds, but entrants must provide proof of verifiable premiere dates and audience accessibility via Nielsen data or equivalent metrics to confirm impact. Individual nominations hinge on credited contributions to eligible programs, requiring personnel such as performers, writers, or directors to appear on at least 19% of or a minimum of 26 episodes for series, with full submissions or representative segments (up to one hour for ) for judging. International content needs U.S. co-production or exclusive premiere within one week of global release to qualify, prioritizing empirical verification of airings over self-reported . Recent adaptations, including broader digital inclusion since , impose stricter documentation of distribution to ensure entries reflect substantive daytime-oriented work amid streaming proliferation, reducing entries from non-qualifying online-only pilots.

Voting and Judging Procedures

The selection of Daytime Emmy recipients occurs through a judging process managed by the National Academy of Television Arts & Sciences (NATAS), distinct from the membership-wide voting used in Primetime Emmys. Qualified NATAS members, including those with relevant professional credits, volunteer as judges and are assigned to panels via the Orthicon platform, where they evaluate entries based on criteria such as content, execution, and creativity. Panels score submissions numerically, typically selecting the top five (or tied) entries as nominees and the highest-scoring entry as the winner in each category, barring ties resolved by the Awards Committee. This panel-based system aims to leverage specialized expertise but has faced criticism for potential inconsistencies due to varying panel compositions and subjective scoring scales. Certain categories, such as writing and directing, rely on expert sub-panels of peers with domain-specific experience to ensure evaluations prioritize technical merit over broad popularity. For categories, blind judging is employed, presenting anonymized clips to mitigate recognition , while actors are prohibited from judging their own entered category and are instead assigned to other or non-acting areas. Program categories often use open ballots without blinding, allowing judges to consider full context but exposing outcomes to influences like network affiliations or promotional visibility. In , NATAS introduced refined judge assignments based on expertise, with a transition toward exclusive members-only judging planned for 2026 to enhance peer accountability. Concerns over procedural fairness peaked in 2018 when producers of all four major network daytime dramas—General Hospital, Days of Our Lives, The Bold and the Beautiful, and The Young and the Restless—threatened a , citing opaque voting expansions that allegedly diluted traditional soap expertise by including non-member or less specialized voters, following the revocation of a guest performer award due to eligibility disputes. They demanded restrictions to NATAS and Television Academy members only, with full eligibility for key categories like Outstanding Drama Series to uphold meritocratic standards. NATAS responded with commitments to transparency reforms, averting the boycott and prompting subsequent audits of judging protocols. These events underscored empirical risks of broadening voter pools without safeguards, potentially favoring visibility over substantive quality in a format historically rooted in serialized narrative excellence.

Award Categories

Current Performance Categories

The current performance categories for the Daytime Emmy Awards recognize individual on-screen contributions by actors in drama series and hosts of talk and informational programs, evaluated through submitted episode reels that demonstrate acting depth, hosting engagement, and direct influence on program dynamics. These awards prioritize verifiable metrics such as episode participation—leads typically appearing in 40 or more episodes per season, supporting roles in 20-39, and guests in fewer than five—over off-screen factors, distinguishing them from technical categories by assessing causal viewer impact via performance alone. Active acting categories in daytime dramas include Outstanding Lead Performance in a Daytime Drama Series: and , for primary characters driving narrative arcs; Outstanding Supporting Performance in a Daytime Drama Series: and , for key secondary roles enhancing plot development; and Outstanding Guest Performance in a Daytime Drama Series: and , for limited but impactful appearances. In 2024, the of Arts & Sciences eliminated the Outstanding Younger Performer category to streamline and reduce age-based silos, folding eligible performers under 21 into these lead, supporting, or guest categories based on role centrality rather than youth. For non-scripted formats, the Outstanding Talk Series Host category honors solo or hosts whose submitted s showcase conversational skill, interaction, and content delivery, with no minimum episode threshold but emphasis on consistent quality across a season. At the 52nd Emmys in 2025, Drew Barrymore won for , prevailing over Kelly Clarkson of through reels highlighting innovative guest segments and emotional authenticity that boosted viewer retention metrics. This outcome underscored judging panels' focus on episode-specific causal effects, such as Barrymore's unscripted rapport fostering higher engagement rates compared to competitors' more formulaic approaches.

Current Program and Technical Categories

The current program and technical categories of the Daytime Emmy Awards recognize excellence in overall series production, scriptwriting, direction, and behind-the-scenes crafts such as , , , and music composition for content broadcast between 2:00 a.m. and 6:00 p.m., including syndicated and digital formats. These awards highlight innovations adapted to daytime television's constraints, including multi-camera soap opera production techniques that enable efficient daily filming schedules versus single-camera formats used in talk or shows, often prioritizing cost-effective and visual consistency. Key program categories include Outstanding Daytime Drama Series, which in 2025 was awarded to for its fifth consecutive win, underscoring the persistence of traditional soap operas amid declining network viewership. Supporting these are Outstanding Writing for a Daytime Drama Series and Outstanding Directing Team for a Daytime Drama Series, which evaluate narrative coherence and logistical execution under tight budgets and episode volumes, with receiving nominations in both alongside its leading 19 total nods for the year. Technical categories, such as Outstanding Technical Direction, Camerawork, and Video Control—won in 2025 by the Disney Parks Magical Christmas Day Parade—focus on seamless live and pre-recorded execution, including camera work for dynamic daytime specials. Additional craft awards encompass areas like Outstanding Music Direction and Composition, Outstanding Sound Mixing – Daytime, and Lighting Direction, which reward contributions to immersive audio-visual experiences in resource-limited environments, increasingly incorporating digital streaming extensions since the to reflect evolving distribution models. Legacy soaps dominate these fields, as evidenced by 's seven total 2025 wins spanning program and technical honors, demonstrating how established multi-camera workflows sustain genre relevance despite broader daytime programming shifts toward shorter-form .

Retired and Modified Categories

The Daytime Emmy Awards have retired categories when submission volumes proved insufficient or when programming shifts necessitated realignment across competitions. The Outstanding Younger Performer in a Drama Series category, introduced in 1991 to recognize actors under age 25 (with limits later adjusted downward), was eliminated prior to the 51st Annual Daytime Emmy Awards in 2024 due to a lack of entries sufficient to sustain separate judging. Qualifying younger actors must now submit directly into lead, supporting, or guest performer categories, reflecting a shrinking eligible talent pool amid declining traditional daytime drama production. In December 2021, the Outstanding Morning Program and Outstanding Spanish-Language Morning Show categories were retired as part of a broader genre-based realignment between the and News & Documentary Emmys, with affected programs becoming eligible under talk series or news formats instead. This change addressed overlaps in content style, prioritizing substantive genre fit over broadcast timing, though it consolidated recognition for morning formats into fewer slots dominated by established network shows. Modifications to existing categories have focused on streamlining nominations and merging overlapping craft areas. For the 48th Annual Daytime Emmy Awards in 2021, the pre-nomination round for and daytime fiction categories was eliminated, enabling all performer submissions to advance directly to blue-ribbon judging panels for final selection. This direct-entry process reduced preliminary filtering but increased the volume reviewed by panels, potentially heightening competition for limited spots and favoring performers with stronger archival material over preliminary buzz. In , further refinements included merging the Outstanding Writing for a Daytime Non-Fiction Series category with Outstanding Writing for Daytime Children’s/Youth/Teen Programs into a unified Outstanding Writing – Nonfiction and Children’s category, aiming to group similar nonfiction scripting efforts and address low distinct submissions. Such consolidations have empirically correlated with fewer specialized nods, as seen in post-2021 winner distributions where established drama series captured a higher proportion of acting honors without dedicated slots, though NATAS maintains these adjustments mirror verifiable entry rather than erode merit-based evaluation.

Ceremonies

Telecast Formats

The Daytime Emmy Awards ceremonies traditionally feature two distinct events: a main highlighting on-camera performance categories such as and hosting, and a separate Creative Arts recognizing technical and behind-the-scenes achievements like directing, , and production design. The main event focuses on high-profile categories to celebrate visible talent, while the Creative Arts portion covers over 30 specialized awards, often presented the day prior or on an adjacent weekend to streamline the overall process. This dual structure allows for comprehensive coverage without overwhelming a single broadcast, with the Creative Arts event serving as a preview or supplement to the main show. Historically, the main ceremonies aired as broadcasts on networks including and , typically spanning three hours to accommodate speeches, performances, and tributes, from the inaugural 1974 event onward. By 2014, facing difficulties in securing traditional TV slots, the ceremony transitioned to an online-only format for the first time, marking a pivot toward . Subsequent years saw a hybrid approach, with some main events returning to broadcast television—such as the 51st Annual Daytime Emmy Awards on in June 2024—while Creative Arts portions remained streamed exclusively via the of Television Arts & Sciences (NATAS) platforms. This evolution reflected adaptations to industry changes, including the rise of streaming services, which enabled direct-to-audience delivery without reliance on network agreements, prioritizing broader accessibility for global viewers over large-scale televised spectacle. In response to production constraints and scheduling shifts, the 52nd Annual Daytime Emmy Awards in October 2025 deviated from the dual format by consolidating all categories into a single live-streamed at the Pasadena Civic Auditorium, held under three hours to maintain efficiency. Streamed exclusively on NATAS's website and app, this unified event eliminated the separate Creative Arts preview, streamlining awards presentation amid ongoing transitions away from linear TV. Such adaptations, including virtual elements during the 2020 pandemic, underscore a focus on operational resilience and digital-first execution over extended live productions.

Venues and Production Changes

The Daytime Emmy Awards ceremonies originated in , frequently utilizing hotel ballrooms and theaters such as the New York Hilton in 1978, the in 1979, and the Waldorf Astoria in 1988. These early events reflected the East Coast concentration of daytime programming production at the time. In 2006, the awards relocated to the Kodak Theatre in , the first ceremony held outside New York, aligning with the industry's westward migration of television operations. Subsequent West Coast venues varied, including the Pasadena Civic Auditorium for multiple years—such as 2019 and 2022—and brief stints in in 2010 and 2011, as well as hotels like the Westin Bonaventure and . Production logistics evolved in response to external disruptions. The 47th Daytime Emmy Awards, planned for 2020, abandoned an in-person format entirely due to the , opting for a virtual presentation with recipients appearing remotely to mitigate health risks. Similarly, the 50th ceremony, set for June 16, 2023, at a venue, faced postponement amid the Writers Guild of America strike, which halted scripted content production and complicated event staffing. The event was rescheduled to December 15, 2023, on , underscoring labor disputes' impact on timely execution. By 2025, the 52nd Daytime Emmy Awards returned to the Pasadena Civic Auditorium on October 17 but adopted an exclusively streaming format via the National Academy of Television Arts & Sciences' platform and app, forgoing a linear television broadcast due to the absence of a network partner. This shift followed prior experiments with limited cable and streaming outlets, prioritizing direct digital access amid challenges in securing traditional airtime slots.

Recent Ceremonies and Winners

The 51st Annual Daytime Emmy Awards took place on June 7, 2024, at the in , with the ceremony broadcast on and streamed on Paramount+. Among rule changes effective for this cycle, the National Academy of Television Arts & Sciences eliminated the standalone Outstanding Younger Performer in a Drama Series category, requiring such actors to compete in lead, supporting, or guest performer categories instead, a shift aimed at broadening competition amid evolving casting practices. secured seven awards, including Outstanding Daytime Drama Series, while won in talk show categories, reflecting continued soap opera strength despite industry contractions to four major U.S. network soaps. The 52nd Annual Daytime Emmy Awards occurred on October 17, 2025, streamed exclusively live on the NATAS platform at watch.theemmys.tv, marking a departure from traditional broadcast to prioritize global accessibility for digital-era audiences. dominated with seven wins, including its fifth consecutive Outstanding Daytime Drama Series award, underscoring the genre's resilience as viewership shifts toward streaming and on-demand platforms eligible under expanded rules covering content distributed from January 1 to December 31 of the prior year. led nominations with 19 across categories, followed by with 16, highlighting concentrated recognition amid fewer overall soap productions. Notable upsets included Drew Barrymore's victory for Outstanding Daytime Talk Series Host for , and Sir surpassing Dick Van Dyke's record for most Daytime Emmy wins by an individual, attributed to his narration work in nature documentaries. Recent ceremonies illustrate a trend of eligibility expansions accommodating streaming and short-form , which has sustained nomination volume per show despite broader declines in traditional daytime programming entries—down to roughly 20% of peak output since the —while soaps retain dominance in categories due to their serialized format's adaptability to on-demand consumption. This causal link between rule inclusivity and digital boosts is evident in increased entries from platforms like Peacock and , though peer-judged outcomes favor established network soaps for their consistent episode volume and viewer loyalty metrics.

Reception

The Daytime Emmy Awards achieved peak viewership during the network television dominance of the and , when the ceremony regularly drew audiences in the tens of millions. The highest recorded rating occurred in with 21.96 million viewers on , reflecting the era's strong linear TV penetration and broad appeal of daytime programming like soaps and talk shows. Earlier broadcasts in the late and early also averaged 10-22 million viewers, bolstered by prime-time slots on major networks such as ABC, , and . Post-2000, viewership declined sharply, falling below 1 million in several telecasts by the mid-2010s amid fragmentation of audiences. For instance, the 2005 ceremony attracted 7.6 million viewers, but by 2006 it dropped to approximately 3.8 million, less than half the 2000 figure, according to Nielsen data. The 2009 airing on hit a then-record low of 2.2 million, while 2012's HLN broadcast drew only 900,000, an 83% decline from 2011's 5.5 million on . Recent years showed modest recovery in linear viewership, with the 2023 event at 2.03 million and 2024 rising 39% to 2.92 million live (3.22 million including delayed viewing) on , marking a four-year high but still far below historical peaks. The 2025 ceremony shifted to streaming-only on platforms like watch.theemmys.tv, forgoing traditional broadcast and thus lacking comparable Nielsen linear ratings, a move attributed to networks like dropping coverage amid broader TV trends. This downward trajectory correlates with and the rise of streaming, which eroded linear TV audiences; Nielsen reports broadcast TV's share fell to a record low of 18.5% in mid-2025 as streaming captured 46%. Increased competition from reality TV, on-demand content, and awards show fatigue contributed, with some Daytime Emmy telecasts experiencing year-over-year drops exceeding 25%, mirroring but amplifying industry-wide declines.
YearViewers (millions)NetworkNotes
199321.96All-time peak
20057.6Pre-decline benchmark
20092.2Record low at time
20120.9HLN83% drop from prior year
20242.92 (live); 3.22 (delayed)Four-year high
In comparison, the experienced similar but less severe declines, maintaining audiences around 7 million in 2025—up 8% from recent lows of 4.3 million—due to broader primetime appeal and less niche dependency on daytime formats. Daytime's steeper vulnerability stems from its reliance on eroding linear daytime slots amid streaming fragmentation.

Cultural and Industry Impact

The Daytime Emmy Awards have bolstered the prestige of soap operas by annually recognizing excellence in performance, writing, and production, thereby incentivizing higher creative and technical standards within the genre. Categories such as Outstanding Writing for a Drama Series and Outstanding Technical Direction have highlighted innovative techniques and advancements in daytime production, contributing to elevated industry benchmarks during the soaps' peak popularity in the and . Wins and nominations have provided tangible career advantages for actors and creators, often serving as a launchpad for broader opportunities in and . For instance, performers like transitioned from daytime roles to leading primetime positions following Emmy recognition, while syndicators occasionally leverage "Emmy-winning" status in , though it carries less branding weight than primetime equivalents. Despite these effects, the awards have exerted limited causal influence on the longevity or expansion of daytime soaps amid structural industry shifts. The genre contracted from 19 series in to around six by , further diminishing to four major network productions today, as cable proliferation, viewer fragmentation, and streaming platforms eroded traditional broadcast dominance—trends the Emmys failed to reverse through prestige alone. This persistence of legacy formats, even for Emmy-honored shows like , underscores a symbolic rather than transformative role in countering the soaps' marginalization post-2000s.

Controversies

Voting Disputes and Boycotts

In July 2018, producers from all four major network daytime soap operas—, , , and —issued a joint letter threatening to boycott the Daytime Emmy Awards unless the National Academy of Television Arts & Sciences (NATAS) addressed perceived flaws in voting procedures, including the addition of non-member voters that diluted the influence of industry experts and the inconsistent application of rules. The dispute escalated from NATAS's revocation of actress Patrika Darbo's 2018 win for Outstanding Guest Performer in a Drama Series, after discovering her submitted episode aired slightly outside the eligibility window, a decision critics argued was selectively enforced and created an appearance of favoritism toward certain entrants. The soaps' demands emphasized restoring merit-based judgment by requiring all NATAS members to vote on key categories like Outstanding Drama Series, hiring an independent accountancy firm to oversee ballots, prohibiting advance disclosure of winners to participants, and prioritizing competitive integrity over entertainment spectacle. NATAS commissioned an independent investigation, which revealed "sloppy" and inconsistently applied processes that risked perceptions of , though no deliberate was found; in response, the organization lifted the threat in November 2018 after implementing reforms such as enhanced oversight and standardized rule enforcement. Subsequent allegations of favoritism persisted in peer panel judging, with Darbo publicly citing and in NATAS's handling of her case, while transparency reports from 2019 onward documented judging disputes, such as challenges over submission eligibility and reel reviews, though empirical win patterns post-reform showed no clear shift toward dominance by any single program, suggesting partial restoration of perceived fairness. These conflicts highlighted tensions between expanding voter pools for inclusivity and preserving specialized industry input, with boycotts rooted in concerns over politicized or arbitrary dilutions of expert evaluation rather than overt .

Category and Rule Alterations

In February 2024, the National Academy of Television Arts & Sciences (NATAS) announced the elimination of the Outstanding Younger Performer in a Daytime Drama Series category for the 51st Daytime Emmy Awards, requiring performers aged 21 or younger to submit in the general lead actor/actress, supporting actor/actress, or guest performer categories instead. This change followed years of prior adjustments to the category, including a 2019 merger of separate young actor and actress awards into a gender-neutral format and a descending age eligibility scale introduced in 2021 to accommodate older entrants up to age 21. The decision drew criticism from some industry observers and fans, who argued it disadvantaged emerging talent by pitting novices against established veterans with greater screen time and recognition, potentially reducing opportunities for youth-focused accolades amid declining submissions in daytime dramas. Social media discussions highlighted backlash, with enthusiasts decrying the loss of a dedicated pathway for child and teen performers, though others viewed it as a step away from overemphasizing youth in a maturing genre. Earlier, in 2021 for the , NATAS implemented a rule shift eliminating pre-nominations for daytime drama categories, streamlining the process by advancing all eligible submissions directly to final judging to address inefficiencies and perceived inconsistencies in preliminary rounds. This alteration aimed to broaden access but correlated with varied nomination outcomes, as entrants faced heightened competition without the filtering stage, contributing to debates over fairness in recognizing breakthrough performances in soaps with shrinking ensembles. For the 52nd Daytime Emmy Awards in 2025, NATAS introduced the Outstanding Emerging Talent in a Drama Series category, expanding eligibility beyond age to include actors in their first major daytime roles, effectively responding to prior removals by creating a new entry point for novices while maintaining the standard January 1 to December 31 eligibility window. These evolutions reflect NATAS's efforts to adapt to fewer overall submissions and an aging daytime audience demographic, evidenced by post-2024 showing sustained low representation in general nods—such as zero dedicated youth wins in the 51st cycle—potentially underscoring a lag in addressing genre shifts toward serialized content with fewer child-centric storylines. The changes prioritize consolidation for administrative efficiency but risk sidelining underrepresented demographics, as stakeholder feedback indicates emerging performers may still struggle against incumbents without tailored recognition.

Broader Criticisms of Relevance

The Daytime Emmy Awards have encountered criticisms for failing to adapt adequately to the dominance of streaming services and fragmented viewing habits, rendering the event increasingly peripheral to industry discourse. The 52nd ceremony in 2025, lacking a traditional television broadcast partner and limited to streaming on the National Academy of Television Arts and Sciences (NATAS) YouTube channel, intensified debates over its obsolescence, with industry observers and fans citing the absence of wide accessibility as evidence of waning prestige. This decision followed failed negotiations for a broadcast deal, highlighting a causal disconnect between the awards' format—rooted in linear TV traditions—and modern consumption patterns where on-demand platforms eclipse scheduled programming. Empirical data underscores this shift: daytime soap operas, long central to the awards' identity, have experienced a precipitous decline, with the number of soaps dropping 75% from over a dozen in the to four by 2022, accompanied by a reported three-quarters evaporation of overall audience share over the subsequent two decades. In contrast, the 77th drew 7.42 million viewers on in September 2025, illustrating daytime's comparatively negligible engagement amid trends that prioritize algorithmic personalization over appointment viewing. Such metrics challenge narratives of the Daytime Emmys as a vibrant staple, as low competition—exemplified by only three eligible soaps for 2025 nominations—diminishes competitive rigor and cultural resonance. Producers and executives have voiced concerns that eligibility criteria and judging processes remain misaligned with digital-era production, such as multi-camera setups versus single-camera streaming formats or the integration of short-form content, prompting past threats of industry boycotts in over perceived rule inconsistencies. Although NATAS realigned categories in to emphasize genre over airtime—incorporating digital dramas—these adjustments have not quelled critiques of sluggish adaptation, with transparency reports revealing ongoing disputes in application that favor legacy broadcast norms. While the awards preserve a niche heritage by honoring enduring talents in lifestyle programming and children's content, their resistance to wholesale reform—such as hybrid judging panels blending traditional and streaming expertise—perpetuates a cycle of marginalization, as evidenced by the 2025 event's confinement to niche streaming without measurable uplift in broader visibility or sponsorship interest. This tension reflects causal realities of media evolution, where empirical viewer migration to platforms like and Peacock undermines daytime's foundational model without corresponding innovation in award structures.

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