“Ponies,” a new series on Peacock starring Emilia Clarke and Haley Lu Richardson, is drawing attention ahead of the upcoming Emmy nominations for its unique blend of comedy and drama. Set in the 1970s Soviet Union, the show follows two widows of CIA operatives who become intelligence assets, combining elements of intrigue with a predominantly comedic tone. Despite its hourlong episodes—a format usually reserved for dramas—it has been submitted for Emmy consideration in the comedy category.

Created by showrunners Susanna Fogel and David Iserson, “Ponies” represents the first project they have developed together from the ground up. The pair characterize the show as neither purely comedic nor purely dramatic, blending humor with high stakes and genuine peril. “When our characters are in peril, we should feel like they could die,” Iserson explained in an interview. Both agree the series centers on “funny people in serious situations,” underscoring their intention to reflect the complexity of grief and danger through a comedic lens.

Clarke portrays Bea, an initially innocent character navigating a dangerous world that echoes some of her past roles, while Richardson’s Twila is more worldly and savvy, traits audiences may recognize from her performances in earlier projects. The showrunners aimed to challenge the actresses with new character arcs that still feel authentic to their styles.

Fogel’s background includes writing for the 2019 film “Booksmart” and the HBO series “The Flight Attendant,” while Iserson’s credits include “Mad Men” and “Mr. Robot.” Together, they also co-wrote the 2018 comedy spy film “The Spy Who Dumped Me,” which served as something of a precursor to “Ponies.” The series leans more toward a grounded dramedy compared with their previous, more comedic work, maintaining a focus on deep friendship stories amid espionage.

The hybrid tone of “Ponies” has sparked curiosity among viewers, with some even questioning whether the show is based on true events. Fogel described the challenges of blending genres as a “high-wire act,” emphasizing that striking a balance between comedy and drama can offer a distinctive voice.

Timing and format have played notable roles in how shows are categorized at the Emmys. Traditionally, half-hour series compete as comedies and hourlong series as dramas, a division that has affected how “Ponies” is positioned. This split has historically influenced recognition; for example, shows like “The Bear,” a half-hour comedy, have excelled in comedy categories despite dramatized content. Yet hourlong comedies have received acclaim before, notably “Ally McBeal” in the late 1990s and “The Marvelous Mrs. Maisel” in the 2010s.

Ira Parker, showrunner of HBO’s “A Knight of the Seven Kingdoms,” points out that length rather than genre may be a more useful differentiator, noting that some of the most celebrated dramas, such as “The Sopranos” and “The Wire,” incorporate significant humor.

“Ponies” has not yet been renewed for a second season, but Emmy recognition could help secure its future. As the series awaits the results of the nominations, its unconventional approach to storytelling continues to fuel discussion about the evolving definitions of comedy and drama in television.