The Tale of Two Emmys
The first thing to understand is that there isn't just one Emmy Awards. The big one you see on TV every September is the Primetime Emmy Awards, which honors excellence in American primetime television. However, there is a completely separate competition
called the International Emmy Awards, which specifically honors programming produced and initially aired outside the United States. Run by a different organization, the International Academy of Television Arts & Sciences, these awards have their own ceremony and categories. A foreign production generally competes here. This fundamental separation means that, by default, a show made in another country for that country's audience isn't in the running for the same awards as shows like Succession or Abbott Elementary.
The Co-Production Loophole
So how did a South Korean production like Squid Game make history at the Primetime Emmys? The key is a crucial eligibility rule. A foreign production can compete at the Primetime Emmys if it's a co-production between U.S. and foreign partners, both financially and creatively, with the intent to be shown on U.S. television. Because Netflix, an American company, co-produced and financed Squid Game for its global platform (including the massive U.S. market), it qualified. This same logic applies to many British shows you see nominated; often, an American network like HBO or a streamer is a co-production partner. However, the producers have to choose; they can enter the Primetime Emmys or the International Emmys, but not both.
The Golden Globes' Language Barrier
The Golden Globes operate differently, but have their own hurdles. For years, the Globes had a controversial rule that relegated any show or film with over 50% non-English dialogue to the "Best Foreign Language" categories, barring them from competing for the top prizes of Best Drama or Best Comedy series. This rule famously affected the film Parasite and the TV series Minari. After significant industry criticism, the Hollywood Foreign Press Association updated its rules, and non-English language productions are now eligible to compete for the top awards. This change, alongside Squid Game's historic Emmy wins, signals a major shift, but breaking through decades of precedent is still a challenge.
It's All About the Campaign
Even with an open door, getting nominated—let alone winning—requires a massive, expensive, and sophisticated "For Your Consideration" (FYC) campaign. Studios spend millions on advertising, hosting lavish screenings and panels for voters, and sending out promotional materials. This is a uniquely American, inside-Hollywood game that foreign production companies without a powerful U.S. distributor or streaming partner find nearly impossible to play. To get the attention of the thousands of Television Academy voters, you need visibility, connections, and a lot of cash. A show might be a sensation with viewers, but if it doesn't have a well-funded campaign behind it, voters may never even watch it.
The Cultural 'Lost in Translation'
Finally, there are the less tangible cultural hurdles. While a show like the UK's Fleabag or Canada's Schitt's Creek can feel culturally close enough for U.S. voters to embrace fully, series with more specific cultural contexts or comedic sensibilities can struggle to connect. Voters, who are predominantly American industry professionals, may naturally gravitate toward stories that reflect their own experiences and cultural shorthand. Streaming has made audiences more global, but the voting bodies for these prestigious awards are still catching up. It often takes a phenomenon so massive it's impossible to ignore—like Squid Game—to overcome that subtle but persistent home-field advantage.
