Hugh Jackman, Whoopi Goldberg, Sarah Jessica Parker and Kelly Osbourne were among the stars who mourned the death of legendary comedienne Joan Rivers at her funeral in New York on Sunday (07Sep14). Record mogul Clive Davis, actors Matthew Broderick, Rosie O'Donnell, Alan Cumming, Kristin Chenoweth and Bernadette Peters, funnywoman Kathy Griffin, fashion designers Oscar de la Renta, Carolina Herrera and Michael Kors, property mogul Donald Trump and newswomen Barbara Walters and Diane Sawyer also turned out to pay their final respects to Rivers, who was remembered in a private ceremony at the Temple Emanu-El synagogue, where she was a member.
Hundreds of fans lined the streets outside the temple as inside, U.S. shockjock Howard Stern delivered a touching eulogy to the comedic icon, crediting her with fighting "the stereotype that women couldn't be funny".
He even managed to raise a few laughs from guests by quipping, "(Rivers was) the best friend in the world... a big sister... a crazy aunt at a bar mitzvah."
Broadway star Audra McDonald performed Nat King Cole classic Smile, before additional tributes from news anchor Deborah Norville, New York Post columnist Cindy Adams and Rivers' only child, daughter Melissa, who thanked everyone for their condolences, saying, "We are humbled."
X-Men star Hugh Jackman helped to bring the ceremony to a close, honouring Rivers' memory with a rendition of Peter Allen song, Quiet Please, There's a Lady on Stage, which features the repeated lyrics, "Put your hands together", while a band of bagpipe players performed as mourners filed out of the temple.
Rivers died on Thursday (04Sep14), a week after suffering a cardiac and respiratory arrest during a routine throat operation.
The exact cause of death is still under investigation after an initial autopsy proved inconclusive.
The 81 year old's body had been cremated on Saturday (06Sep14), ahead of Sunday's funeral service.
Reports suggest she will be laid to rest at Forest Lawn Cemetery in Glendale, California, where fellow late icons Michael Jackson, Clark Gable and Walt Disney are also interred.
Rivers' publicist has asked for donations to be made to her favourite charities, meal delivery service God's Love, We Deliver, Guide Dogs for the Blind and California grief support centre Our House, in lieu of flowers.
Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Movies that take place in the White House are usually focused on the President of the United States, but Lee Daniels' drama The Butler serves up a new perspective on the old location. Starring Forest Whitaker, Jane Fonda, and Oprah Winfrey (among a long list of Hollywood power players that make up the rest of the cast), the movie tells the story of Eugene Allen, the longtime White House employee who served under eight American presidents.
Allen was the White House's head butler from 1952 to 1986, and had a unique front-row seat as political and racial history was made. The Butler also stars Alex Pettyfer, John Cusack as Richard Nixon, Robin Williams as Dwight Eisenhower, James Marsden as John F. Kennedy, Melissa Leo, Alan Rickman as Ronald Reagan, Liev Schreiber as Lyndon B. Johnson, Terrance Howard, Minka Kelly as Jackie Kennedy, Cuba Gooding Jr., and Vanessa Redgrave.
Watch the just-released trailer below:
The Butler hits theaters October 18, 2013.
Follow Sydney on Twitter: @SydneyBucksbaum
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Fans know him as the late (or based on his involvement in the S.H.I.E.L.D. TV show, resurrected?) Agent Coulson in The Avengers, but before and after his comic book career, Clark Gregg is a triple force actor/writer/director. Gregg added screenwriter to his resume after penning the 2000 thriller What Lies Beneath, then took the director's chair for the 2008 Chuck Palahniuk adaptation Choke. Now, after a few years rubbing shoulders with Marvel's superteam, he's back at Tribeca Film Festival with his latest and most vivacious work yet, a biting satire of the world Gregg has been immersed in for the last five years.
Trust Me follows child actor agent Howard (Gregg) as he traverses the seas of talent wrangling. At first, he seems like the typical down-on-his-luck shmuck, unable to secure prospective newcomers or hold on to the clients he has. Early on, we see Howard stuck in the middle between Hollywood dealmakers and a terrifying stage mom (Molly Shannon). Life clearly isn't cutting him a break, as he loses his negotiations and caps it off with a vehicular punch to the gut. Sam Rockwell plays rival agent Aldo, who appears whenever life needs to rub Howard's failures in his face.
Things pick up when Howard meets Lydia (Saxon Sharbino), a tween actress ready to bust out of her parents sloppy management strategy. She sees potential in the lackluster representative, and when she presents him with the opportunity to shepherd her in to the next big Young Adult franchise (a la Hunger Games), he seizes the opportunity. Contending with her alcoholic father, Aldo's studio ties, and Murphy's Law slapping him this way and that, Howard goes all in on Lydia — and it's only when he's up to his neck in Hollywood bulls**t does he realize he might be caught up in something dangerous.
Tonally, Trust Me glides back and forth between comedy and thrills like few others. Gregg's history working with the Atlantic Theater Company and dramatic titan David Mamet is apparent on every level here — what starts as a biting satire of Hollywood nonsense twists and turns into a full-blown thriller. It's not an elegant evolution, but it's dynamic, shocking, and absorbing. Trust Me kicks off with snappy dialogue that's overflowing with business jargon and weaponized for laughs. Gregg plays fast and loose behind the camera, convincing us that Trust Me is a Curb Your Enthusiasm riff on State & Main.
But as Howard's life takes an upward turn, Gregg's script steers to darker places and more dramatic turns. On the evening of Lydia's big audition, Howard rehearses lines and pushes the young actress to take the fluffy fantastical YA material seriously (a truly difficult task). Sharbino holds her on against Gregg in the comedic back-and-forths, but in an instance of acting-on-top-of-acting, she asserts as a real discovery. She blows Howard and the audience away.
From the very beginning, Clark chooses to soundtrack his jaunty look at the entertainment industry with a score straight out of neo-noirs. It's sparse and in opposition to what we see. But it's the perfect build-up to the third act, that goes off the rails in a welcome way. The movie daringly subverts expectations like no Marvel movie ever could. Gregg keeps peppering Trust Me with comedy (courtesy of the devilish studio executive played by Felicity Huffman) and heart (his relationship with Amanda Peet's next door neighbor/object of affection is quite sweet), but in the end, the lesson is clear: Hollywood is a frightening, bloodthirsty world and no one is safe to its traps. That's why the twists of Trust Me feel natural — for anyone with inside knowledge of the industry, success one day and complete failure the next is just another week on the job.
Follow Matt Patches on Twitter @misterpatches
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Each week, Hollywood gives us something to whine about, and the week of March 4 was no different. We could make a drinking game out of this week, but that would be too dangerous. Instead, we'll stick to the usual formula: varying levels of alcoholic respite depending on how bothersome the week's issues are. Is your biggest complaint this week a flimsy one? How about a light cocktail to take the edge off? Got a real bone to pick with a celeb or entertainment entity this week? Go ahead, grab a drink that'll put hair on your chest. Here are the week's entertainment stories that are forcing us to seek a bubbly or boozy refuge. And maybe an idea or two about how you should wash them down.
Chill Out With a Glass of Wine
Justin Bieber's Meltdown Has Officially Begun: Hey, we all knew it was coming. After collapsing onstage during a concert and being rushed to the hospital, Bieber then leapt from his car to "beat the f***" out of papparazzi. This was all following his worst birthday ever, too. Are we really supposed to feel bad for the uber-famous, uber-successful pop superstar?
Topanga Strips Down: The Boy Meets World star set out to prove that the '90s are still hot. Danielle Fishel, mission accomplished.
Shia LaBeouf Is Shockingly Buff: ... but still not hot. We can't figure out why, but serious kudos to those abs and pecs, LaBeouf. You've been holding out on us!
Will Smith Made Up a New Accent: ...and we have no idea what it's supposed to be. The rest of the new trailer for After Earth looks pretty cool, though.
Take It Up a Notch: Pop The Champagne
The Glass Ceiling Still Exists In Hollywood: Only three women are directing big, blockbuster movies this year. So much for today being International Women's Day, huh?
George Lucas is Opening an Art Museum: He's trying to prove that Star Wars is highbrow, more highbrow than a museum about actual history.
Vivienne Westwood Hates Michelle Obama's Style: Famed fashion designer Vivienne Westwood thinks the FLOTUS has "dreadful" style. We're pretty sure she is completely alone in that argument.
Louis C.K. Hates His Own Promo: The trailer for his upcoming HBO comedy special, Oh My God, is all about how much he hates his own trailer. But isn't that why we love him?
Classiness Is Overrated, Where's the Tequila?
Joy Behar Is Leaving The View: After 16 and a half years, the daytime talk show is losing one of its core members. Who should replace her? But before you start to panic: Elisabeth Hasselbeck is still sticking around. Consolation prize?
Sesame Street Lied to Us! Turns out, The Count can't actually count. What else has PBS been hiding from us?
Holly Madison Gives Birth to My Little Pony: Trying to outdo other star's weird baby names, the Playboy Bunny named her newborn daughter Rainbow Aurora. Don't these celebs know how much their kids will be teased on the playground?
Terrence Howard Has No Filter: The Dead Man Down star loves to say the most ridiculous things. His most recent TMI moment: professing his love for Oprah's "tig ol' bitties." Thanks for sharing?
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Splash News]
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Noted oversharer Terrence Howard was at it again this week during his press tour for the now-in-theaters drama Dead Man Down. In addition to his confession to Hollywood.com that he thinks Iron Man killed his career, the actor also revealed how much he, uh, appreciates new costar Oprah' form: he very much enjoyed being able to "make out with Oprah, to have love scenes with her and those tig ol' bitties." Um, thanks for sharing?
But those two TMI statements are hardly the craziest things the actor has gone on record saying. Don't believe us? Here are seven of the most outlandish, bizarre things Howard has said in recent years:
Biting the hand that fed him"The worst thing I've witnessed is Iron Man killing my career."
Defending Chris Brown's abuse of Rihanna"It's just life, man. Chris is a great guy. He'll be alright. And Rihanna knows he loves her, you know? They'll be alright."
Learning music from his grandmother"She would sit down at the piano and teach me the relationship between A and C and G – why they were best friends, why they would… talk to each other."
RELATED: Terrence Howard is a Fan of Oprah's 'Tig Ol' Bitties'
Loving himself"I like women who look like me. Generally, you're attracted to women who look like you, because the most beautiful thing in nature is your own reflection."
Why he is against premarital sex"If a relationship is built on sexuality, it won't last long. Now I'm completely chaste through a relationship unless I get married. I don't believe in premarital sex. It enabled me to date three or four women at the same time, because as long as I wasn't having sex with them, I could always just walk away. There were some [past girlfriends] who pushed for sex, and sometimes they won. Afterward, I would feel unclean, like I'd compromised my own values. So I would have to let them go because they didn't help me to be a stronger person."
On his divorce"I was in love with her, but she was not in love with me. I can't be upset because she doesn't find me the most beautiful thing on the planet."
Female hygiene"Toilet paper — and no baby wipes — in the bathroom. If they're using dry paper, they aren't washing all of themselves. It's just unclean. So if I go in a woman's house and see the toilet paper there, I'll explain this. And if she doesn't make the adjustment to baby wipes, I'll know she's not completely clean."
You can catch the eloquent man himself in Dead Man Down, now playing in theaters.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Ilya S. Savenok/Getty Images]
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Presidents were this year's hot item on the big and small screens, but pop culture has always been obsessed with dressing up actors to look like the men who fill our text books. Inspired by 2012's trend, Hollywood.com has combed through cinematic history to whip up this handy infographic, chronicling decades of Presidential appearances in pop culture. In the end, one thing is clear: Futurama did a lot in the name of presidential representation.
Check below the image for the key, revealing the actor assigned to each president.
Click to Enlarge
David Morse as George Washington in John Adams
William Daniels as John Adams in 1776
Nick Nolte as Thomas Jefferson in Jefferson in Paris
Burgess Meredith as James Madison in Magnificent Doll
Morgan Wallace as James Monroe in Alexander Hamilton
Anthony Hopkins as John Quincy Adams in Amistad
Charlton Heston as Andrew Jackson in The President's Lady
Nigel Hawthorne as Martin Van Buren in Amistad
David Clennon as William Henry Harrison in Tecumseh (1994)
John Tyler in Futurama
James K. Polk in Futurama
James Gammon as Zachary Taylor in One Man's Hero
Millard Fillmore has never been portrayed
Franklin Pierce in Futurama
James Buchanan has never been portrayed
Daniel Day-Lewis as Abraham Lincoln in Lincoln
Dennis Clark as Andrew Johnson in The Conspirator
Kevin Kline as Ulysses S. Grant in Wild Wild West
John DiMaggio as Rutherford B. Hayes in Futurama
Francis Sayles as James A. Garfield in The Night Riders
Maurice LaMarche as Chester A. Arthur in Futurama
Pat McCormick as Grover Cleveland in Futurama
Roy Gordon as Benjamin Harrison in Futurama
Pat McCormick as Grover Cleveland in Futurama
Brian Keith as William McKinley in Rough Riders
Robin Williams as Theodore Roosevelt in Night at the Museum: Battle of the Smithsonian
Walter Massey as William Howard Taft in The Greatest Game Ever Played
Bob Gunton as Woodrow Wilson in Iron Jawed Angels
Warren G. Harding in Futurama
Calvin Coolidge in Futurama
Herbert Hoover in Futurama
Bill Murray as Franklin D. Roosevelt in Hyde Park on the Hudson
Gary Sinise as Harry S. Truman in Truman
Tom Selleck as Dwight D. Eisenhower in Ike: Countdown to D-Day
Bruce Greenwood as John F. Kennedy Thirteen Days
Randy Quaid as Lyndon B. Johnson in LBJ: The Early Years
Dan Hedaya as Richard Nixon in Dick
Dick Crockett as Gerald Ford in Pink Panther Strikes Again
Dan Aykroyd as Jimmy Carter in Saturday Night Live
James Brolin as Ronald Reagan in The Reagans
James Cromwell as George H. W. Bush in W.
Dennis Quaid as Bill Clinton in The Special Relationship
Timothy Bottoms as George W. Bush in That's My Bush!
Jordan Peele as Barack Obama in Key and Peele
[Photo Credit: Hollywood.com]
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As if we needed any more proof that America was mad for the CIA in 2012, Saturday night's Producers Guid Awards gave further credibility to the mania by handing out some of its highest honors to Ben Affleck's fake-CIA-movie film, Argo and Showtime's jazzy runaway hit, Homeland.
The guild's 24th annual awards for excellence in film, television, and digital media were announced during a ceremony at the Beverly Hilton. Argo's snapping up of top film honors (the Darryl F. Zanuck Award) puts it at the forefront of the Oscar race for Best Picture. The PGAs have a fairly decent track record when it comes to selecting the film that takes home Academy Award gold — 73% accuracy, to be exact, which includes the 5-year streak the Guild has been on since 2008.
Homeland secured itself yet another gold for Best Drama Series during the night as well, reminding us all (yet again) that we love a jazzy biopolar super-CIA-genius more than anything else. (Especially if it involves Mandy Patinkin!) For an agency so shrouded in secrecy and mystery, it sure is popping up in our entertainment a heck of a lot.
But there was more than just covert operations and genius secret agents winning awards: both Brothers Weinstein (Bob and Harvey) accepted the Milestone Award in a teary-eyed speech from presenters Quentin Tarantino, Robert De Niro, and Robert Rodriguez. Future Star Wars helmer J.J. Abrams also accepted an award of his own: the Norman Lear Achievement Award. Not too shabby for a man with undoubtedly much of his already-impressive career still ahead of him
Check out the full list of winners, below!
Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures
Argo (Warner Bros.)
Producers: Ben Affleck, George Clooney, Grant Heslov
Outstanding Producer of Animated Theatrical Motion Pictures
Wreck-It Ralph (Walt Disney Studios Motion Pictures)
Producer: Clark Spencer
Outstanding Producer of Documentary Theatrical Motion Pictures
Searching For Sugar Man (Sony Pictures Classics)
Producers: Malik Bendjelloul, Simon Chinn
Norman Felton Award for Outstanding Producer of Episodic Television, Drama
Producers: Henry Bromell, Alexander Cary, Michael Cuesta, Alex Gansa, Howard Gordon, Chip Johannessen, Michael Klick, Meredith Stiehm
David L. Wolper Award for Outstanding Producer of Long-Form Television
Game Change (HBO)
Producers: Gary Goetzman, Tom Hanks, Jay Roach, Amy Sayres, Steven Shareshian, Danny Strong
Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy
Modern Family (ABC)
Producers: Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Steven Levitan, Christopher Lloyd, Jeff Morton, Dan O’Shannon, Jeffrey Richman, Chris Smirnoff, Brad Walsh, Bill Wrubel, Danny Zuker
Outstanding Producer of Non-Fiction Television
American Masters (PBS)
Producers: Prudence Glass, Susan Lacy, Julie Sacks
Outstanding Producer of Competition Television
The Amazing Race (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
Outstanding Producer of Live Entertainment & Talk Television
The Colbert Report (Comedy Central)
Producers: Meredith Bennett, Stephen Colbert, Richard Dahm, Paul Dinello, Barry Julien, Matt Lappin, Emily Lazar, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart
Outstanding Sports Program
Real Sports with Bryant Gumbel (HBO)
Outstanding Children’s Program
Sesame Street (PBS)
Outstanding Digital Series
30 Rock: The Webisodes
[Photo Credit: Gregg DeGuire/WireImage]
Follow Alicia on Twitter @alicialutes
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The big win at the 24th annual ceremony at the Beverly Hilton Hotel in Los Angeles is the latest victory for Argo this month (Jan13) - Affleck, Clooney and fellow producer Grant Heslov also picked up major awards at the Critics' Choice Awards and Golden Globes.
The trio beat out the producers of Beasts of the Southern Wild, Django Unchained, Les Miserables, Life of Pi, Lincoln, Moonrise Kingdom, Silver Linings Playbook, Skyfall and Zero Dark Thirty to land the coveted trophy.
Meanwhile, the award for Outstanding Producer of Animated Theatrical Motion Pictures went to Clark Spencer for Wreck-It Ralph; the prize for Outstanding Producer of Documentary Theatrical Motion Pictures was claimed by Malik Bendielloul and Simon Chinn for Searching for Sugar Man, and Tom Hanks and his production partners Gary Goetzman, Jay Roach, Amy Sayres, Steven Shareshian and Danny Strong scored the David L. Wolper Award for Long-Form Television.
Other winners included Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Steven Levitan, Christopher Lloyd, Jeff Morton, Dan O’Shannon, Jeffrey Richman, Chris Smirnoff, Brad Walsh, Bill Wrubel and Danny Zuker (Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy - Modern Family), and Henry Bromell, Alexander Cary, Michael Cuesta, Alex Gansa, Howard Gordon, Chip Johannessen, Michael Klick and Meredith Stiehm (Norman Felton Award for Outstanding Producer of Episodic Television, Drama - Homeland).
And Bob and Harvey Weinstein, Tim Bevan and Eric Fellner, J.J. Abrams and Russell Simmons all picked up honorary awards.