Why Reggie Dinkins Deserves an Emmy (and What It Says About Comedy Editing)
There’s something about The Fall and Rise of Reggie Dinkins that feels both familiar and refreshingly new. It’s the kind of show that makes you wonder why more mockumentaries aren’t getting the recognition they deserve—especially in the editing category. Personally, I think it’s high time we stop overlooking the artistry behind these shows, and Reggie Dinkins is the perfect case study.
The Mockumentary Conundrum
Let’s start with the elephant in the room: mockumentaries have been snubbed at the Emmys for far too long. Since The Office took home the award for editing in 2010, only a handful of mockumentaries have even been nominated. What’s fascinating here isn’t just the numbers—it’s the cultural shift. Mockumentaries exploded in popularity after The Office and Modern Family, yet the Emmys seem stuck on flashier, more ‘stylish’ editing from shows like Barry or The Bear. Don’t get me wrong, those shows are brilliant, but they’re playing a different game.
What many people don’t realize is that mockumentary editing is a masterclass in subtlety. It’s about timing, rhythm, and knowing when to let a moment breathe. It’s not about cutting every two seconds to create tension—it’s about creating a natural flow that feels real, even when it’s anything but. Reggie Dinkins nails this, and it’s why I’m rooting for it to break the Emmy drought.
The Art of the Subtle Twist
One thing that immediately stands out is how Reggie Dinkins tweaks the mockumentary playbook without abandoning it. The show doesn’t reinvent the wheel, but it adds a few new spokes. Take the way it handles cutaway gags, for example. Instead of just throwing in random flashbacks for laughs, it uses them to build character and narrative. Reggie’s desire to create his own Last Dance-style documentary provides the perfect excuse for these moments, and they’re seamlessly integrated into the story.
What this really suggests is that mockumentary editing isn’t just about comedy—it’s about storytelling. The best mockumentaries use editing to peel back layers of their characters, and Reggie Dinkins does this with impressive finesse. It’s not just about the laughs; it’s about the moments that make you pause and think, ‘Oh, that’s who this person really is.’
The 30 Rock Connection
Here’s where things get particularly interesting: Reggie Dinkins is essentially a marriage of mockumentary style and the rapid-fire humor of shows like 30 Rock. The creators, Robert Carlock and Sam Means, are no strangers to packing jokes into every second of screen time. But what makes this show stand out is how editor Kyle Gilman blends that pace with the faux-realism of a documentary.
In my opinion, this is where the magic happens. You’ve got characters firing off one-liners while the camera is still on the person who just finished speaking, creating this illusion of natural conversation. Then, the cut hits, and the punchline lands. It’s a technique that feels both chaotic and controlled, and it’s a testament to how well the editing team understands the genre.
Three Comebacks in 21 Minutes
A detail that I find especially interesting is how Reggie Dinkins juggles three parallel comeback stories in just 21 and a half minutes. Reggie’s bid for the Pro Football Hall of Fame, Arthur’s attempt to reclaim his documentary career, and Monica’s struggle to grow her client base—each story gets its moment without overwhelming the viewer.
If you take a step back and think about it, this is a massive achievement. It’s not just about keeping the plot moving; it’s about giving each character enough depth to make you care. Even minor characters, like Reggie’s fiancée Brina, get moments that feel earned. It’s a reminder that great editing isn’t just about what’s on the screen—it’s about what’s left out and how it’s structured.
Why This Matters Beyond the Emmys
This raises a deeper question: why do we undervalue mockumentary editing in the first place? Is it because it looks ‘too easy’? Or because it doesn’t rely on flashy techniques? From my perspective, it’s a misunderstanding of what makes this style so effective. Mockumentary editing is about creating a world that feels real, even when it’s absurd. It’s about finding the humanity in the humor.
Reggie Dinkins does this beautifully, and it’s why I think it deserves an Emmy. But more than that, it’s a reminder that comedy editing is an art form in its own right. It’s not just about making people laugh—it’s about making them feel something. And in a world where TV is more competitive than ever, that’s no small feat.
Final Thoughts
Personally, I think Reggie Dinkins is a game-changer. It’s not just a great mockumentary; it’s a masterclass in how to balance humor, character, and storytelling through editing. If the Emmys don’t recognize it, they’re missing the point. But even if they do, the real win is for anyone who watches it and realizes just how much thought goes into every cut, every pause, and every punchline.
So, here’s to Reggie Dinkins—and to the editors who make it all look effortless. Because trust me, it’s anything but.
