Awards

Eminem and Iggy Azalea each scored seven nominations for MTV's biggest award show

MTV announced its nominees for the 2014 Things They Don’t Show Anymore Video Music Awards this morning, and because the network knows their demo, they did it via Snapchat (last year they used Instagram and Vine, which apparently are totally outmoded). The awards, which are on Sunday, Aug. 24 at 9 p.m. ET, will feature performances by Usher, Ariana Grande and 5 Seconds of Summer.

Here’s the list of this year’s nominees:

Video of the Year
Beyoncé ft. Jay Z, “Drunk In Love”
Iggy Azalea ft. Charli XCX, “Fancy”
Miley Cyrus, “Wrecking Ball”
Pharrell Williams, “Happy”
Sia, “Chandelier”

Best Hip-Hop Video
Childish Gambino, “3005″
Drake ft. Majid Jordan, “Hold On (We’re Going Home)”
Eminem, “Berzerk”
Kanye West, “Black Skinhead”
Wiz Khalifa, “We Dem Boyz”

Best Male Video
Ed Sheeran ft. Pharrell Williams, “Sing”
Eminem ft. Rihanna, “The Monster”
John Legend, “All of Me”
Pharrell Williams, “Happy”
Sam Smith, “Stay With Me”

Best Female Video
Ariana Grande ft. Iggy Azalea, “Problem”
Beyoncé, “Partition”
Iggy Azalea ft. Charli XCX, “Fancy”
Katy Perry ft. Juicy J, “Dark Horse”
Lorde, “Royals”

Best Pop Video
Ariana Grande ft. Iggy Azalea, “Problem”
Avicii ft. Aloe Blacc, “Wake Me Up”
Iggy Azalea ft. Charli XCX, “Fancy”
Jason Derulo ft. 2 Chainz, “Talk Dirty”
Pharrell Williams, “Happy”

Best Rock Video
Arctic Monkeys, “Do I Wanna Know?”
Black Keys, “Fever”
Imagine Dragons, “Demons”
Linkin Park, “Until It’s Gone”
Lorde, “Royals”

Artist to Watch, Presented by Taco Bell
5 Seconds of Summer, “She Looks So Perfect”
Charli XCX, “Boom Clap”
Fifth Harmony, “Miss Movin’ On”
Sam Smith, “Stay With Me”
Schoolboy Q, “Man of the Year”

Best Collaboration
Ariana Grande ft. Iggy Azalea, “Problem”
Beyoncé ft. Jay Z, “Drunk In Love”
Chris Brown ft. Lil Wayne and Tyga, “Loyal”
Eminem ft. Rihanna, “The Monster”
Katy Perry ft. Juicy J, “Dark Horse”
Pitbull ft. Kesha, “Timber”

MTV Clubland Award
Calvin Harris, “Summer”
Disclosure, “Grab Her!”
DJ Snake & Lil Jon, “Turn Down For What”
Martin Garrix, “Animals”
Zedd ft. Hayley Williams, “Stay the Night”

Best Video With A Social Message
Angel Haze ft. Sia, “Battle Cry”
Avicii ft. Dan Tyminski, “Hey Brother”
Beyoncé, “Pretty Hurts”
David Guetta, “One Voice”
J. Cole, “Crooked Smile”
Kelly Rowland, “Dirty Laundry”

Best Cinematography
30 Seconds to Mars, “City of Angels”
Arcade Fire, “Afterlife”
Beyoncé, “Pretty Hurts”
Gesaffelstein, “Hate Or Glory”
Lana Del Rey, “West Coast”

Best Editing
Beyoncé, “Pretty Hurts”
Eminem, “Rap God”
Fitz and the Tantrums, “The Walker”
MGMT, “Your Life is a Lie”
Zedd ft. Hayley Williams, “Stay the Night”

Best Choreography
Beyoncé, “Partition”
Jason Derulo ft. 2 Chainz, “Talk Dirty”
Kiesza, “Hideaway”
Michael Jackson ft. Justin Timberlake, “Love Never Felt So Good”
Sia, “Chandelier”
Usher, “Good Kisser”

Best Direction
Beyoncé, “Pretty Hurts”
DJ Snake & Lil Jon, “Turn Down For What”
Eminem ft. Rihanna, “The Monster”
Miley Cyrus, “Wrecking Ball”
OK Go, “The Writing’s On The Wall”

Best Art Direction
Arcade Fire, “Reflektor”
DJ Snake & Lil Jon, “Turn Down For What”
Eminem, “Rap God”
Iggy Azalea ft. Charli XCX, “Fancy”
Tyler, the Creator, “Tamale”

Best Visual Effects
Disclosure, “Grab Her!”
DJ Snake & Lil Jon, “Turn Down For What”
Eminem, “Rap God”
Jack White, “Lazaretto”
OK Go, “The Writing’s On The Wall”

[MTV]

Why several of the nominees in "guest" categories don't seem to fit the description

The nominations for this year’s Emmy awards — which were announced this morning — may surprise some viewers, and not just because Orphan Black got snubbed. In the guest actor/actress categories, there are a few people who seem pretty much the opposite of “guests” on their shows. For example: Orange Is the New Black‘s crucial Laverne Cox (as Sophia Burset), Natasha Lyonne (as Nicky Nichols) and Uzo Aduba (as Crazy Eyes), and Masters of Sex‘s Allison Janney and Beau Bridges (as Margaret and Barton Scully).

How are those actors in the same category as guests who show up in one or two episodes (like Paul Giamatti, who briefly appeared as Harold Levinson on Downton Abbey) or stop by to host for a night (like SNL‘s Jimmy Fallon, Louis C.K., Tina Fey and Melissa McCarthy)? After all, unlike those more obvious guests, the actors in question appear throughout the show’s run and interact regularly with the main characters, determining the way the plot will play out. Shouldn’t they be in the “supporting” category instead?

The reasons are invisible to many TV viewers.

First, there’s a contractual issue. According to the Emmy rules and procedures, the distinction between “supporting” and “lead” is one of character and the distinction between “guest” and “supporting” is one of contract. When signing on for a show, one of the questions an actor must consider is whether the role is officially regular or recurring, which can determine things like whether your name is mentioned in the credits. A guest or recurring role might be just as important as a regular role, but there are differences behind the scenes. In other words, the producers get to decide based on an actor’s role whether a regular character is supporting, but a guest is a guest is a guest. The rules specify that if the performer’s contract is a guest-star contract, he or she must enter the guest category “without regard to the number of episodes he/she appeared in.” No matter how much of a star someone may seem within the show’s context, “star” has a legal definition too and they don’t fit in.

And then there the Emmy eligibility dates. This year’s Emmys are looking at June 1, 2013 – May 21, 2014. In the case of Orange, that means we’re talking about the long-ago first season, during which a mere half dozen of the actors and actresses from the show were series regulars.

So there you go. Calling Crazy Eyes a guest on Orange Is the New Black isn’t an insult to her importance to the show, but rather a necessity that was set in motion as soon as Aduba signed her contract with Netflix. However, in the case of Orange, that also means next year’s nominations might look a bit different: Uzo Aduba and Natasha Lyonne were both already promoted to series regulars for season two, and this summer has seen several more actresses promoted in advance of season three.

There were some pleasant surprises in this year's nominations, but it looks like Emmy voters still have a big DVR backlog to get through.

Thursday morning’s live announcement of the Emmy nominations began with a statement about how dramatically the business of TV is changing. And it’s true–Emmy nominees can come from broadcast TV, premium cable, basic cable, streaming and public TV. I watched the announcements on Yahoo TV, which next year could be a (theoretical) contender with the sixth season of Community. In December, a live-action drama, Powers, will premiere on a video game platform, the Sony Playstation Network. It was almost quaint that the major awards nominations were announced by Mindy Kaling and Carson Daly, two broadcast TV personalities.

But have the Emmys kept up with it? The awards opened the books to some deserving new shows and performers this year–Fargo, Orange Is the New Black, Silicon Valley–but overall the inclusions and omissions in the major categories suggested that Emmy voters have a two- or three-year DVR backlog they’re still catching up on.

So the doors were open, happily, for some new faces (yay, Lizzy Caplan! alright alright alright, Matthew McConaughey!). But there are also a number of series and actors returning seemingly on the forces of momentum. House of Cards had an absolutely zooey second season, but Emmy still regards it as a top-quality drama because it has all the outward trimmings of one. Jeff Daniels in The Newsroom is up for best actor against McConaughey and the departing Bryan Cranston–and if history is a guide, he could actually win. It’s been a year of fresh comedies like Brooklyn Nine-Nine, Broad City and Review, yet Modern Family will have a permanent home in the comedy category long after it’s become Antique Family (speaking of which, Downton Abbey apparently has the same sinecure in Best Drama).

The best possible spin on the situation is that, in a strange way, it’s a side effect of how much TV has grown and how much quality TV there is to judge today. If Emmy voters were too overwhelmed to consider everything back when they gave David Hyde Pierce a permanent trophy in the 1990s, it’s that much harder now to expect them to keep completely current. So the Emmys will probably keep advancing in fits and starts, having the occasional breakthrough year for new talent, who then become the new guard of usual suspects for a few years. The more things change in TV, the more likely that one is to stay the same.

That’s the big picture. Here, in no particular order, are some of my biggest grievances, joys, and general observations:

* Orphan Black‘s Tatiana Maslany was robbed. Every one of her.

* The Americans had arguably–that is to say, I’m arguing it–the best season of TV so far this year, but except for Margo Martindale, the spies were left out in the cold. (Give Matthew Rhys Daniels’ slot and Keri Russell Michelle Dockery’s.)

* As for Masters of Sex, I’m half-happy because of Caplan’s well-deserved honor, but I had actually talked myself into believing its publicity blitz might have gotten it a best drama nod. (Sub out House of Cards or Downton, easy.) Maybe saddest, though, is Michael Sheen not being acknowledged for best actor as the achingly repressed William Masters, because apparently male performers have to bellow and blow a dramatic gasket to get Emmy’s attention.

* Of course, as usual, many of my grievances are not really surprises. One that genuinely was a surprise was The Good Wife, after its best season, since it had actually been nominated as Best Drama before.

* OK, let’s say something nice! I’m happy for Fargo, for Julianna Margulies (up for best actress despite The Good Wife‘s snub), and for even the flawed seasons of Game of Thrones and Louie. And here’s a usual suspect that actually deserved it: it would have been easy to ignore Mad Men this time out, since it aired a half-season and will get another shot next year for its finale. But it packed a lot of emotion and resonance into its seven episodes–especially the last two–and I have my fingers crossed for Christina Hendricks. (Jon Hamm? Nominated, but history shows that we could learn that he was also secretly playing Sally and Joan, and he still wouldn’t win the category.)

* I’m happy that Silicon Valley–by no means perfect but one of the season’s pleasant surprises–got a best comedy nomination. I’m perplexed, though, that Christopher Evan Welch didn’t get a posthumous nomination for the last performance of his life; if anything, I thought he’d get named and the show itself overlooked.

* In general, HBO shows again that it knows how to get Emmy nominations–not just for True Detective and Game of Thrones (which had the most of any series) but even for the final season of the underrated Treme, which snuck in with a nomination because HBO put up its shortened season in the miniseries category.

* Maybe the best-deserved Emmy nomination that Orange Is the New Black is up for is casting; the show put together a murderer’s row (so to speak) ensemble full of lesser-known actresses. It’s only too bad that TV’s best platform for actresses of color saw none of them nominated in the big categories, though Taylor Schilling and Kate Mulgrew were. (Uzo Aduba and Laverne Cox–as well as Natasha Lyonne–were nominated as “guest actresses,” because of the intricacies of the crediting and submissions process. Better than nothing.)

* But is OITNB really a comedy? I can’t say I really care. A lot of TV’s best shows are both dramatic and hilarious, and it’s just one of those things that doesn’t fit the dualistic comedy/drama model we’re stuck with. If I’d rather see Andy Daly as comedy actor than Ricky Gervais, for instance, it’s because he gave a better performance, not because Derek was maudlin.

* And I’ll stop here, though I’ve barely scratched the surface–the full Word document of Emmy nominations runs 43 pages, making it amazing that it’s even possible to snub anyone. But there is plenty more to parse–and a little over a month to do it before the unusually early Emmy ceremony in August. Maybe I’ll have finished reading the nominations list by then.

A strong showing by the premium cable channel and its hit show

Game of Thrones received 19 Emmy nominations Thursday, fueling HBO’s 99 total nominations, including two for best drama.

FX also fared well, drawing 18 nominations for Fargo and another 17 for American Horror Story: Coven.

Netflix, with Orange Is the New Black contending for best comedy, pulled in a total of 31 Emmy nominations, more than either Fox or Comedy Central.

Here are the highlights from this year’s Emmy nominations:

Outstanding Drama Series

Breaking Bad (AMC)

Downton Abbey (PBS)

Game of Thrones (HBO)

Mad Men (AMC)

True Detective (HBO)

House of Cards (Netflix)

Outstanding Lead Actor in a Drama Series

Bryan Cranston, Breaking Bad (AMC)

Jeff Daniels, The Newsroom (HBO)

Kevin Spacey, House of Cards (Netflix)

Jon Hamm, Mad Men (AMC)

Matthew McConaughey, True Detective (HBO)

Woody Harrelson, True Detective (HBO)

Outstanding Lead Actress in a Drama Series

Michelle Dockery, Downton Abbey (PBS)

Claire Danes, Homeland (Showtime)

Robin Wright, House of Cards (Netflix)

Kerry Washington, Scandal (ABC)

Julianna Margulies, The Good Wife (CBS)

Lizzy Caplan, Masters of Sex (Showtime)

Outstanding Supporting Actor in a Drama Series

Jon Voight, Ray Donovan (Showtime)

Peter Dinklage, Game of Thrones (HBO)

Mandy Patinkin, Homeland (Showtime)

Josh Charles, The Good Wife (CBS)

Aaron Paul, Breaking Bad (AMC)

Jim Carter, Downton Abbey (PBS)

Outstanding Supporting Actress in a Drama Series

Anna Gunn, Breaking Bad (AMC)

Maggie Smith, Downton Abbey (PBS)

Lena Headey, Game of Thrones (HBO)

Christine Baranski, The Good Wife (CBS)

Christina Hendricks, Mad Men (AMC)

Joanne Froggatt, Downton Abbey (PBS)

Outstanding Comedy Series

The Big Bang Theory (CBS)

Louie (FX)

Modern Family (ABC)

Veep (HBO)

Orange is the New Black (Netflix)

Silicon Valley (HBO)

Outstanding Lead Actor in a Comedy Series

Jim Parsons, The Big Bang Theory (CBS)

Matt LeBlanc, Episodes

Don Cheadle, House of Lies (Showtime)

Louis C.K., Louie (FX)

William H. Macy, Shameless (Showtime)

Ricky Gervais, Derek (Netflix)

Outstanding Lead Actress in a Comedy Series

Lena Dunham, Girls (HBO)

Edie Falco, Nurse Jackie (Showtime)

Amy Poehler, Parks and Recreation (NBC)

Julia Louis-Dreyfus, Veep (HBO)

Melissa McCarthy, Mike & Molly (CBS)

Taylor Schilling, Orange is the New Black (Netflix)

Outstanding Supporting Actor in a Comedy Series

Adam Driver, Girls (HBO)

Jessie Tyler Ferguson, Modern Family (ABC)

Fred Armisen, Portlandia (IFC)

Ty Burrell, Modern Family (ABC)

Tony Hale, Veep (HBO)

Andre Braugher, Brooklyn Nine-Nine (FOX)

Outstanding Supporting Actress in a Comedy Series

Mayim Bialik, The Big Bang Theory (CBS)

Julie Bowen, Modern Family (ABC)

Anna Chlumsky, Veep (HBO)

Allison Janney, Mom (CBS)

Kate McKinnon, Saturday Night Live (NBC)

Kate Mulgrew, Orange Is the New Black (Netflix)

Outstanding Miniseries

American Horror Story: Coven (FX)

Fargo (FX)

The White Queen (Starz)

Bonnie and Clyde (A&E, Lifetime, History)

Treme (HBO)

Luther (BBC America)

Outstanding Television Movie

The Normal Heart (HBO)

The Trip to Bountiful (Lifetime)

Killing Kennedy (National Geographic)

Sherlock: His Last Vow (PBS)

Muhammad Ali’s Greatest Fight (HBO)

Outstanding Lead Actor in a Miniseries or a Movie

Chiwetel Ejiofor, Dancing on the Edge (Starz)

Mark Ruffalo, The Normal Heart (HBO)

Billy Bob Thornton, Fargo (FX)

Benedict Cumberbatch, Sherlock: His Last Vow (PBS)

Idris Elba, Luther (BBC America)

Martin Freeman, Fargo (FX)

Outstanding Lead Actress in a Miniseries or a Movie

Cicely Tyson, The Trip to Bountiful (Lifetime)

Jessica Lange, American Horror Story: Coven (FX)

Sarah Paulson, American Horror Story: Coven (FX)

Kristen Wiig, Spoils of Babylon (IFC)

Helena Bonham Carter, Burton and Taylor (BBC America)

Minnie Driver, Return to Zero (Lifetime)

Outstanding Reality-Competition Program

The Amazing Race (CBS)

Dancing With the Stars (ABC)

Project Runway (Lifetime)

So You Think You Can Dance (Fox)

Top Chef (Brav0)

The Voice (NBC)

If at first you don't succeed, try again

Robin Thicke made yet another plea for his estranged wife Paula Patton during Sunday’s BET Awards, debuting a song from his upcoming album “Forever Love.”

Thicke’s plea could have been considered heartfelt, given the endless fog, breaks for tears, and the opening dedication “to my wife to say I miss you, and I’m sorry,” but the video for his single “Get Her Back” is still fresh.

Later in the evening, the “Blurred Lines” crooner turned king of sorry tweeted a picture of the couple back when they were still happy.

To my #ForeverLove http://t.co/yXXzrcwuS3—
Robin Thicke (@robinthicke) June 30, 2014

Keep trying, Robin. If all the singing doesn’t work, hopefully the sales from your strategically-named album, Paula, will be of comfort.

Screenwriter William Nicholson says that his film Mandela failed to win awards because Steve McQueen's 12 Years a Slave "sucked up all the guilt about black people"

Well, this is one way to spin defeat.

At a literary festival in England over the weekend, Mandela: Long Walk to Freedom scriptwriter William Nicholson told the audience that his film failed to make a splash and win awards because 12 Years a Slave “sucked up all the guilt about black people that was available.” Unlike 12 Years — which earned rave reviews and took home three Oscars, including Best Picture and Best Adapted Screenplay — Mandela received mixed reviews and only one Oscar nod for Best Original Song. (“Let It Go” from Frozen ultimately picked up the prize.)

Yet Nicholson — who previously co-wrote the scripts for Gladiator and Elizabeth: The Golden Age — doesn’t think Mandela‘s lukewarm reception was warranted. “I think it worked superbly,” he said of his film. But “[Americans] were so exhausted feeling guilty about slavery that I don’t think there was much left over to be nice about our film. So our film didn’t do as well as we’d hoped, which was a bit heartbreaking.”

[Guardian]

The prolific poet and author passed away on May 28, 2014 at the age of 86. A look back at her most prominent works

Maya Angelou, who died Wednesday at the age of 86, was known for many things throughout her life: her wisdom, her acting, her indefatigable civil rights activism. But more than anything else, Angelou was famous for her writing. Both a prolific poet and memorist, Angelou penned more than two dozens books and collections throughout her life (including two cookbooks).

Despite the scale of her oeuvre, much of her work deals with reoccuring themes: love, heartbreak, family, race and feminism. Her books were critically-acclaimed and adored by many readers; here are some of the most notable works.

I Know Why the Caged Bird Sings (1969)

The first of seven autobiographical works, I Know Why the Caged Bird Sings is Angelou’s most famous and critically acclaimed book. The story spans much of her childhood, following young Maya and her older brother as they bounce from their parents’ home to their grandmother’s and back again. Throughout the memoir, Angelou struggles not only with feelings of chronic displacement but also her experiences with racism, molestation and rape. Nominated for the National Book Award and named one of the All-TIME Best 100 Non-Fiction works (by this writer), Caged Bird was a revolutionary account of what it meant to be young, female and black in America.

Just Give Me a Cool Drink of Water ‘fore I Diiie (1971)

Angelou’s first collected work of poetry, Just Give was written largely before her first memoir was published, with many of the poems originating as song lyrics. (Angelou worked as a nightclub singer in her twenties.) The book is divided into two sections: Where Love Is a Scream of Anguish features poems about love, while Just Before the World Ends features poems about surviving as an African-American in a white society. The collection became a best-seller and was nominated for the Pulitzer Prize in 1972.

The Heart of a Woman (1981)

For her fourth memoir, Angelou recounts her life from the years 1957 to 1962, where she leaves California with her son, Guy, to move to New York. She finds herself amongst other black artists and writers, reading her work at the Harlem Writers Guild, and taking part in the civil rights movement. She also recounts falling in love with a South African freedom fighter, which led her to travel to London and Cairo, though ultimately the memoir isn’t about relationships — it’s about “a voyage into the self.” The book was praised by critics and — 16 years after it was first published — Oprah Winfrey selected Heart as an Oprah’s Book Club selection, which put it on the best-sellers list.

Wouldn’t Take Nothing for My Journey Now (1993)

The first of three essay collections, Wouldn’t Take Nothing is a collection of autobiographical pieces and homilies that Angelou was reportedly encouraged to write by her friend Oprah Winfrey. Together with her second collection of essays, Even the Stars Look Lonesome, which was published four years later, the essay collections were dubbed “Angelou’s wisdom books” in the New Yorker by Hilton Als.

Mom & Me & Mom (2013)

What would become Angelou’s final book was both her seventh memoir and the only work where she focuses on her relationship with her mother. Mom recounts much of the material found in Angelou’s earlier memoirs, but hones in on her mother’s role in the events of her life. Chronicling her mother’s abandonment of Angelou as a young child, the memoir also covers their reunion and reconciliation. The book ends with the death of her mother, along with Angelou’s final words to her: “You were a terrible mother of small children, but there has never been anyone greater than you as a mother of a young adult.”

The Americans, True Detective and The Good Wife have strong showings as the TCA sets its shortlist.

The Television Critics Association–of which your humble critic is a member–has released its list of nominees for the 2013–14 TCA Awards, the winners of which will be named at a ceremony in July.

A few words about the process: Each critic nominates up to two entries in each category. The top vote getters make up the nominees, among whom we each vote again to pick a winner. The eligibility period is May 15 to May 15. Personally, I voted for some of these nominees and not others (and to be totally honest, I do not recall my precise votes in a few categories). On the one hand, I was glad to see The Americans and Orange Is the New Black recognized (as well as The Returned, probably the one show I most regret not putting on my best-of list last year). On the other, I would have liked to see more variety in the reality/nonfiction categories (I was pushing for Time of Death and Friday Night Tykes). And I have to wonder whether the half-season of Mad Men might have had a better showing, had the excellent final two episodes aired before the voting cutoff.

Anyway, this is your chance to lobby the critics of the world before the last round of voting. Here are the nominees, and have at it!

Individual Achievement in Comedy

Louis C.K., “Louie” (FX) [2013 winner in category]

Mindy Kaling, “The Mindy Project” (Fox)

Julia Louis-Dreyfus, “Veep” (HBO)

Jim Parsons, “The Big Bang Theory” (CBS)

Amy Poehler, “Parks and Recreation” (NBC)

Individual Achievement in Drama

Bryan Cranston, “Breaking Bad” (AMC)

Julianna Margulies, “The Good Wife” (CBS)

Tatiana Maslany, “Orphan Black” (BBC America) [2013 winner in category]

Matthew McConaughey, “True Detective” (HBO)

Matthew Rhys, “The Americans” (FX)

Outstanding Achievement in News and Information

“CBS Sunday Morning” (CBS)

“Cosmos” (Fox)

“The Daily Show with Jon Stewart” (Comedy Central)

“Frontline” (PBS)

“60 Minutes” (CBS)

Outstanding Achievement in Reality Programming

“The Amazing Race” (CBS)

“RuPaul’s Drag Race” (Logo)
“Shark Tank” (ABC) [2013 winner in category]

“Survivor” (CBS)

“The Voice” (NBC)

Outstanding Achievement in Youth Programming

“Adventure Time” (Cartoon Network)

“Daniel Tiger’s Neighborhood” (PBS)

“The Fosters” (ABC Family)

“Sesame Street” (PBS)

“Switched at Birth” (ABC Family)

Outstanding New Program

“Brooklyn Nine-Nine” (Fox)

“Fargo” (FX)

“Orange Is the New Black” (Netflix)

“Sleepy Hollow” (Fox)

“True Detective” (HBO)

Outstanding Achievement in Movies, Miniseries and Specials

“American Horror Story: Coven” (FX)

“Broadchurch” (BBC America)

“Fargo” (FX)

“The Returned” (SundanceTV)

“True Detective” (HBO)

Outstanding Achievement in Drama

“The Americans” (FX)

“Breaking Bad” (AMC)

“Game of Thrones” (HBO) [2013 winner in category]

“House of Cards” (Netflix)

“The Good Wife” (CBS)

Outstanding Achievement in Comedy

“The Big Bang Theory” (CBS) [2013 winner in category – tied with “Parks and Recreation”]

“Brooklyn Nine-Nine” (Fox)

“Louie” (FX)

“The Mindy Project” (Fox)

“Veep” (HBO)

Career Achievement Award

Mark Burnett

James Burrows

Valerie Harper

Jay Leno

William Shatner

Heritage Award

“Lost” (ABC)

“Saturday Night Live” (NBC)
“South Park” (Comedy Central)

“Star Trek” (NBC)

“Twin Peaks” (ABC)

Program of the Year

“Breaking Bad” (AMC) [2013 winner in category]

“Game of Thrones” (HBO)

“The Good Wife” (CBS)

“Orange Is the New Black” (Netflix)

“True Detective” (HBO)

Who walked away with the golden popcorn?