The Primetime Emmy Award for Outstanding Lead Actor in a Comedy Series is an Emmy presented to the best performance by a lead actor in a television comedy series.
From the 18th Primetime Emmy Awards up until and including the 25th Primetime Emmy Awards, the category was called "Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series." Prior to then, there was no category that recognized lead acting performances specifically in the comedy genre, and an award was given for "Outstanding Continued Performance by an Actor in a Series (Lead)," combining roles in dramatic and comedic series.
Read more about Primetime Emmy Award For Outstanding Lead Actor In A Comedy Series: Superlatives, Winners and Nominees, Total Awards, Multiple Awards, Multiple Nominations
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“Nobody expects the Spanish Inquisition.”
—Monty Python’s Flying Circus. first broadcast Sept. 22, 1970. Michael Palin, in Monty Python’s Flying Circus (BBC TV comedy series)
“The award of a pure gold medal for poetry would flatter the recipient unduly: no poem ever attains such carat purity.”
—Robert Graves (1895–1985)
“I recently learned something quite interesting about video games. Many young people have developed incredible hand, eye, and brain coordination in playing these games. The air force believes these kids will be our outstanding pilots should they fly our jets.”
—Ronald Reagan (b. 1911)
“The paths of glory lead but to the grave.”
—Thomas Gray (1716–1771)
“An actor who knows his business ought to be able to make the London telephone directory sound enthralling.”
—Donald Sinden (b. 1923)
“The difference between tragedy and comedy is the difference between experience and intuition. In the experience we strive against every condition of our animal life: against death, against the frustration of ambition, against the instability of human love. In the intuition we trust the arduous eccentricities we’re born to, and see the oddness of a creature who has never got acclimatized to being created.”
—Christopher Fry (b. 1907)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)