Wallis Annenberg, Debbie Allen, Kevin Spacey, and Charlize Theron
The Walking Dead
The Big Bang Theory
The Crazy Ones
Sunday Night Football
Spotlight Awards: Michael B. Jordan, Sophie Nelisse, David Oyelowo
Animation and Visual Effects Awards: 'Pacific Rim' and 'Monsters University'
Hollywood Director Award: Lee Daniels
Hollywood Actor Award: Matthew McConaughey
Hollywood Actress Award: Sandra Bullock
Hollywood Screenwriters Award: Ethan Hawke, Julie Delpy, Richard Linklater
Hollywood Career Achievement Award: Harrison Ford
Inaugural Hollywood Legend Award: Jerry Weintraub
Hollywood Supporting Actor Award: Jake Gyllenhaal
Hollywood Supporting Actress Award: Julia Roberts
Lupita Nyong'o: New Hollywood Award
Hollywood Producer Award: Michael de Luca
Hollywood Breakout Performance Award: Jared Leo
Hollywood Breakout Director Award: Steve McQueen
Hollywood Ensemble Award: "August: Osage County"
Wallis Annenberg, Debbie Allen, Kevin Spacey and Charlize Theron
Advertisers are willing to pay more for a package of ads in this AMC program than for a 30-second spot in any scripted show on broadcast TV
This CBS show is the costliest scripted program for advertisers on broadcast: Average price for a 30-second commercial? $317,160
Advertisers appear to be paying less for this top ABC comedy, where the average price for a 30-second ad is $249,025, down from $330,908 last season
This price to advertise in this Fox powerhouse has slipped in the past two seasons as its ratings decline.
Among freshman shows this TV season, only "The Blacklist" on NBC and "The Millers" on CBS cost advertisers more.
Demand for live TV where viewers don't skip ads has propelled this sports broadcast to become the most expensive show for advertisers. Average cost of a 30-second spot? $628,000
NBC's popular competition show is edging out the Thursday-night broadcast of Fox's "American Idol" in terms of ad price
This charming Fox comedy costs advertisers an average of $224,366 for a 30-second ad.
This freshman NBC drama is one of the most expensive new programs on TV to advertise in, owing to its lead-in: "The Voice."
Even though this ABC drama sparks tons of social chatter, advertisers pay only an average of $186,202 for a 30-second spot in the show - far cheaper than "American Idol": or even "Grey's Anatomy."
While the Hollywood Film Awards gives plenty of recognition to actors who are already well known in the industry, there's a place for the newcomers too. That's the Hollywood Spotlight Awards, acknowledging talent that is new to the scene, but making a mark. This year's list is shorter than past years, but no less impressive. The honorees are Michael B. Jordan of “Fruitvale Station,” David Oyelowo of “Lee Daniels' The Butler” and Sophie Nelisse of the upcoming “The Book Thief.” Though Jordan had already received attention for his roles in HBO's critically acclaimed “The Wire,” NBC's “Friday Night Lights” and “Parenthood” and 2012's “Chronicle,” his leading role in “Fruitvale Station” as shooting victim Oscar Grant made him the talk of Sundance. The film won the Grand Jury Prize and the Audience Award for U.S. dramatic film, and has earned Jordan Oscar buzz. His performance was a highlight, and the 26-year-old has even been compared to a young Denzel Washington by critics. Oyelowo had a role as Forest Whitaker's son in one of the biggest surprise hits of the summer, “Lee Daniels' The Butler,” which grossed more than $100 million worldwide and has also heard talk of Oscar noms. He's got plenty of projects lined up as well, working on Christopher Nolan's 2014 sci-fi pic “Interstellar” and apparently in talks to provide voice talents for “Star Wars: Rebels,” a CGI-series to air on Disney XD made by Lucas Animation. Though the youngest of the bunch, Canuck 13-year-old Nelisse is generating buzz with her starring role in WWII film “The Book Thief,” based on the novel of the same name, to release in November. Before that, she hit the scene with another serious role in Oscar-nominated Canadian French-language drama “Monsieur Lazhar,” which won her a Genie, Jutra and a Young Actress Award nomination. — Alex Stedman
The Bay Area was once where production “ran away” to if it wanted to escape Hollywood. Nowadays we're all one big California family in the face of foreign pressures, and the Bay Area is front and center in the Animation and Visual Effects Awards. George Lucas led Industrial Light & Magic north to escape the Hollywood scene, and it's now based in San Francisco's Presidio, where it has a gorgeous view of the Golden Gate Bridge — the site of the first Kaiju attack in “Pacific Rim,” honored for its visual effects. Giant creatures vs. giant robots might have been enough to earn honors, but helmer Guillermo del Toro insisted on a layer of theatricality that made the picture's f/x unusually beautiful. No one ever went wrong giving an award to Emeryville-based Pixar. “Monsters University,” the Animation Award honoree, may not be a classic in the vein of “Toy Story” or “The Incredibles,” but it charmed auds worldwide to the tune of nearly $750 million and introduced a new generation of tots to the comic interplay of the monstrous Sulley and Mike. And as always with Pixar, it was gorgeous. Variety's Justin Chang praised its “exquisite interplay of vibrant pastel hues and almost photorealist textures” that made the picture “a continual pleasure to behold.” --David S. Cohen
After some drawn-out legal drama with Warner Bros., Lee Daniels' fictional drama was allowed use of “The Butler” film title with the inclusion of the director's name. Even without the branding, the fictional biopic, about an African American White House butler who served under eight presidents, is a Lee Daniels pic through and through. The modest $25 million production, starring Forest Whitaker and Oprah Winfrey, has grossed $111 million nationally since mid-August. Daniels joins a select group of black directors to have reached that mark domestically. His biggest commercial success to date follows 2009's critically acclaimed “Precious,” which was nominated for six Oscars, including best picture and director and won supporting actress for Mo'Nique and screenplay for Geoffrey Fletcher. — Maane Khatchatourian
Matthew McConaughey's physical transformations seem to get more extreme with each new role. The character actor stretched himself further than ever before in Jean-Marc Vallee's “The Dallas Buyers Club.” McConaughey shed 38 pounds to play a homophobic vigilante circumventing the law to sell unapproved medication to HIV-positive patients. He more than pulls his weight in this role of a lifetime. Critics also recently heaped praise for his performances as a self-aggrandizing DA in “Bernie,” a troubled fugitive in “Mud” and a cocky stripper in “Magic Mike.” He has Martin Scorsese's “The Wolf of Wall Street,” Christopher Nolan's “Interstellar” and Cary Fukunaga's HBO anthology drama “True Detective” on the horizon. — Maane Khatchatourian
When audiences weren't holding their breath with Sandra Bullock as her “Gravity” character Dr. Ryan Stone hurled through space, 372 miles above earth, they were breathless about her performance. Critics are already buzzing that the recent Oscar winner is a lock for another lead actress nod. Bullock trained for four months before shooting the physically, emotionally and mentally draining near one-woman show, which required her to be strapped to a rig to simulate weightlessness inside a custom-made device that projected motion-controlled light. When she wasn't shooting in the isolated environment, which director Alfonso Cuarón dubbed the torture chamber, Bullock stayed in the cube for hours on end in between takes to avoid the time-consuming task of entering and exiting the apparatus. Now that's commitment. — Maane Khatchatourian
The Hollywood Film Awards will fete Julie Delpy, Ethan Hawke and Richard Linklater for their screenplay “Before Midnight,” the third installment in a trilogy that Variety's Justin Chang calls “one of the great movie romances of the modern era.” Picking up nine years after audiences revisited these star-crossed lovers (Delpy and Hawke) in Paris with “Before Sunset” (and 18 years after viewers first fell under their spell in Vienna with “Before Sunrise”), the trio has perfected their craft of real-time romance. Chang says the script is “a marvel of narrative compression … equal parts naturalism and exposition, strategically updating the audience on the characters' busy lives while keeping immediacy and spontaneity at the fore.” Best of all, “Midnight” leaves room for another installment. — Allegra Tepper
Harrison Ford has played some of the most iconic characters in American cinema, including Han Solo in the original “Star Wars” trilogy and the title character of the “Indiana Jones” series — roles he will reprise in coming years in “Star Wars: Episode VII” and “Indiana Jones 5.” Despite striking out this year with Robert Luketic's thriller “Paranoia” — the lowest grossing film of his almost five decade-long career — the actor hit a home run, both commercially and critically, with Brian Helgeland's Jackie Robinson biopic “42.” With classics like George Lucas' “American Graffiti,” Ridley Scott's “Blade Runner,” Peter Weir's “Witness” and Andrew Davis' “The Fugitive,” Ford has the fifth-highest grossing film repertoire of all time. Most recently, the franchise king stepped into the role of Col. Hyrum Graff in Gavin Hood's hotly anticipated adaptation of “Enders Game.” By the looks of his upcoming parts in “The Expendables 3” and “Anchorman 2: The Legend Continues,” he shows no signs of slowing down. — Maane Khatchatourian