Last week, the Television Academy announced its 78th Emmy nominations, and Taylor Sheridan's entire slate got the reception you'd give a telemarketer. “Landman,” Paramount 's flagship drama with Billy Bob Thornton and Sam Elliott, walked away with nothing. “The Madison,” led by Michelle Pfeiffer and Kurt Russell, got nothing either. Sheridan's grand total across two of the most watched shows on television: one nomination, for stunt coordination on “Tulsa King.” Meanwhile Ryan Murphy's “All's Fair,” a show even its own network calls critically panned, picked up two nods. I coached high school track and field for years. If a kid runs the fastest 400 meters in the state and the judges hand the ribbon to the boy who tripped over the last hurdle, you ask questions. Hollywood never does.

The same stretch gives us the money version of this story. Disney's “Snow White” remake finished its theatrical run having grossed $205.7 million worldwide against a production and marketing bill north of $340 million, a loss Forbes now pegs near $170 million once the studio's U.K. filings became public record. That is not a rounding error. That is a hedge fund manager getting a phone call from his limited partners. “Snow White” is not an outlier. Warner Bros.' “Supergirl” opened this month to a domestic take of $37.1 million against studio hopes of $50 to $55 million, a soft launch for........

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