An arbitrator ended a two-year legal battle between disgraced actor Kevin Spacey and the production company that oversaw Netflix series House of Cards, ruling in favor of MRC and awarding the company $31 million.

Spacey starred in the political-themed series that spearheaded Netflix's rise to original content prominence. However, a cascading chain of sexual misconduct allegations against the award-winning actor, starting in 2017 and culminating with a damning investigation of Spacey's behavior on the set of House of Cards, effectively ended his career as a movie and TV star. 

Spacey was fired by MRC with two season six episodes of House of Cards already shot, and the full season of scripts already written. 

House of Cards hoisted a truncated eight-episode sixth and final season in 2018 before leaving Netflix for good.

In its litigation, MRC effectively argued that Spacey breached his contract, forcing the production company to trash the two previously produced installments and rewrite season six with Spacey's Francis Underwood written out. 

Spacey, meanwhile, filed suit against MRC for wrongful termination.

The arbitrator heard the testimony of 20 people in the run-up to an eight-day hearing in February 2020. A confidential ruling was issued, in MRC's favor, back in July. 

And on Monday, MRC filed a petition with the Los Angeles Superior Court, seeking to have the arbitrator's ruling confirmed. 

“With one exception, the Arbitrator found the third party witnesses to be credible, and found the allegations against Spacey to be true,” the petition states. “The Arbitrator found that Spacey’s conduct constituted a material breach of his acting and executive producing agreements with MRC, and that his breaches excused MRC’s obligations to pay him any further compensation in connection with the show.” ■

Netflix has reached an agreement to make a sixth and final season of its hit House of Cards.

Production of the series was suspended after star Kevin Spacey was removed because of accusations of sexual harassment and other improper behavior.

Speaking at the UBS Media Conference in New York Monday, Netflix chief content officer Ted Sarandos said he could make an announcement about being able to bring the popular show to a conclusion.

Related: Who’s Next? Harassment Charges Roil TV

Sarandos said the season would consist of eight episodes and will premiere in 2018.

"We are excited about being able to bring some closure for the fans," Sarandos said.

He added that the agreement would benefit the 2,000 people in Baltimore who have worked on the show.

Following a report that comedian Louis C.K. had behaved improperly with a number of women, FX Networks, which has produced five shows with him, said it had received no allegations against him in the eight years they have worked together.

In a story posted online Thursday (Nov. 9) by The New York Times, five women accused Louis C.K. of sexual misconduct. Before the story was published, a premiere of his movie I Love You, Daddy was canceled and an appearance on CBS's The Late Show With Stephen Colbert on was postponed.

Afterward, HBO pulled Luckie Louie, a series Louis C.K. starred in, and his comedy specials from its video on demand service. He was also dropped from a live special, Night of Too Many Stars: America Unites for Autism, set to air Nov. 18

The accusations come at a time when charges of sexual harassment in the entertainment business are being levied at top executives, agents and actors. The wave began with accusations against producer Harvey Weinstein and has led to the departure of Amazon Studios chief Roy Price and the firing of Kevin Spacey from Netflix’s House of Cards.

Related: Weinstein TV Production Business Shaken Amid Harassment Scandal

FX, which airs Louis C.K.’s series Louie, issued a statement after the NYT story broke. It said: “We are obviously very troubled by the allegations about Louis C.K. published in The New York Times today. The network has received no allegations of misconduct by Louis C.K. related to any of our five shows produced together over the past eight years. FX Networks and FXP take all necessary actions to protect our employees and thoroughly investigate any allegations of misconduct within our workplace. That said, the matter is currently under review.”

There were no signs that FX had severed ties with Louis C.K., and the network would not comment beyond the statement.

Louis C.K. and his spokeman have declined to comment.

FX is part of 21st Century Fox, which also owns Fox News Channel.

Fox News chair Roger Ailes was removed from his post last year after allegations of sexual harassment. The company also took top-rated host Bill O’Reilly off the air after reports that he paid several women to settle harassment charges.

Related: James Murdoch Says Fox Sent Strong Signal With Ailes, O'Reilly Dismissals

21st Century Fox is reportedly under investigation for not properly reporting those payments to women.

Netflix Monday announced that its Emmy-nominated drama series House of Cards will end its run after its upcoming sixth season. 

A Netflix spokesperson confirmed to Multichannel News the decision to end the series in 2018, which comes a day after actor Anthony Rapp accused series star Kevin Spacey of making an inappropriate sexual advance against him when Rapp was a teenager.

Netflix and House of Cards production company Media Rights Capital said in a joint statement that it is “deeply troubled” by the allegations against Spacey, although sources close to the situation say that the decision to end House Of Cards came before the Spacey revelations.

“In response to last night’s revelations, executives from both of our companies arrived in Baltimore this afternoon to meet with our cast and crew to ensure that they continue to feel safe and supported. As previously scheduled, Kevin Spacey is not working on set at this time,” said Netflix and Media Rights Capital in the statement. 

House of Cards has been one of Netflix’s signature series, with over 53 Emmy nominations – including 10 for Spacey as a director as well as an actor for his role as President Francis Underwood -- and seven Emmy wins. 

As for Spacey, he said Sunday in a statement that while not remembering the encounter he apologized to Rapp for what would have been “deeply inappropriate"  behavior.

pic.twitter.com/X6ybi5atr5

— Kevin Spacey (@KevinSpacey) October 30, 2017

Cable and online subscription video on demand services dominated nominations for many of the major Emmy Award categories announced Thursday morning. 

Cable networks and streaming services such as Netflix and Amazon virtually swept the best drama and best comedy categories for the 68th annual Emmy Awards, according to the Television Academy. PBS’ Downton Abby in its final year of eligibility was the only broadcast network nominated in a list that included last year’s winner HBO’ Game Of Thrones, FX’s The Americans, AMC’s Better Call Saul, Showtime’s Homeland, Netflix’s House of Cards and USA’s Mr. Robot.

On the comedy side, ABC’s Black-ish and Modern Family will battle Netflix’s Master of None and Unbreakable Kimmy Schmidt, HBO’s Silicon Valley and Veep, and Amazon’s Transparent.

Cable also had a strong showing on the limited series front with FX’s Fargo, History’s Roots, AMC’s The Night Manager, and FX’s The People Vs. O.J. Simpson: American Crime Story all garnering nominations. ABC's American Crime rounded out the list. 

Overall, HBO generated 94 nominations to lead all distributors, followed by FX with 56 nominations and Netflix with 54 nods. NBC pulled in 41 nominations, while fellow broadcasters ABC and CBS earned 35 nominations each. Pay TV network Showtime garnered 22 nominations, according to the Academy.

HBO's Game of Thrones tallied the most show nominations with 23, while FX's The People v. O.J. Simpson: American Crime Story and Fargo received 22 nominations and 18 nominations respectively, according to the Academy.    

A list of nominations in major Emmy Categories is as follows:

Best Drama

The Americans (FX)

Better Call Saul (AMC)

Downton Abbey (PBS)

Game of Thrones (HBO)

Homeland (Showtime)

House of Cards (Netflix)

Mr. Robot (USA)

Best Comedy

black-ish (ABC)

Master of None (Netflix)

Modern Family (ABC)

Silicon Valley (HBO)

Transparent (Amazon)

Unbreakable Kimmy Schmidt (Netflix)

Veep (HBO)

Best Actor, Drama

Kyle Chandler, Bloodline (Netflix)

Rami Malek, Mr. Robot (USA Network)

Bob Odenkirk, Better Call Saul (FX)

Matthew Rhys, The Americans (FX)

Kevin Spacey, House of Cards (FX)

Liev Schreiber, Ray Donovan (Showtime)

Best Actress, Drama

Claire Danes, Homeland (Showtime)

Viola Davis, How to Get Away With Murder (ABC)

Taraji P. Henson, (Empire) Fox

Tatiana Maslany, Orphan Black (BBC America)

Keri Russell, The Americans (FX)

Robin Wright, House of Cards (Netflix)

Best Actor, Comedy

Anthony Anderson, black-ish (ABC)

Aziz Ansari, Master of None (Netflix)

Will Forte, The Last Man on Earth (Fox)

William H. Macy, Shameless (Showtime)

Thomas Middleditch, Silicon Valley (HBO)

Jeffrey Tambor, Transparent (Amazon)

Best Actress, Comedy

Julia Louis-Dreyfus, Veep (HBO)

Ellie Kemper, Unbreakable Kimmy Schmidt (Netflix)

Laurie Metcalf, Getting On (HBO)

Tracee Ellis Ross, black-ish (ABC)

Amy Schumer, Inside Amy Schumer (Netflix)

Lily Tomlin, Grace and Frankie (Netflix)

Best Limited Series

American Crime (ABC)

American Crime Story: The People v. O.J. Simpson (FX)

Fargo (FX)

The Night Manager (AMC)

Roots (History)

Best Actor, Limited Series or TV Movie

Bryan Cranston, All the Way (HBO)

Benedict Cumberbatch, Sherlock: The Abominable Bride (PBS)

Idris Elba, Luther (BBC America)

Cuba Gooding Jr., American Crime Story: The People v. O.J. Simpson (FX)

Tom Hiddleston, The Night Manager (AMC)

Courtney B. Vance, American Crime Story: The People v. O.J. Simpson (FX)

Best Actress, Limited Series or TV Movie

Kirsten Dunst, Fargo (FX)

Felicity Huffman, American Crime (ABC)

Audra McDonald, Lady Day at Emerson’s Bar and Grill (HBO)

Sarah Paulson, American Crime Story: The People v. O.J. Simpson: (FX)

Lili Taylor, American Crime (ABC)

Kerry Washington, Confirmation (HBO)

Outstanding Variety Talk Series

Comedians In Cars Getting Coffee (Crackle)

Jimmy Kimmel Live (ABC)

Last Week Tonight With John Oliver (HBO)

Real Time With Bill Maher (HBO)

The Late, Late Show With James Corden (CBS)

The Tonight Show Starring Jimmy Fallon (NBC)

Outstanding Sketch Series

Documentary Now! (IFC)

Drunk History (Comedy Central)

Inside Amy Shumer (Comedy Central)

Key & Peele (Comedy Central)

Portlandia (IFC)

Saturday Night Live (NBC)

When Vince Gilligan, the creator of AMC’s crime drama Breaking Bad, beat Netflix’s House of Cards for the Emmy Award, he made a surprising observation. Netflix, he told reporters, kept his show on the air.

Breaking Bad’s audience started small, but ultimately reached 10 million viewers for the series finale. Gilligan theorized that his show grew in popularity because as word of mouth spread, new audiences were able to find old episodes on Netflix, then join the growing realtime audience when it was back in season.

A few years later, the data has proven Gilligan correct. Viewers haven’t abandoned linear viewing in favor of non-linear, VOD and streaming options, as previously thought. Instead, the viewer path between the two distribution models points to a more complex ecosystem.

Some view cord-cutting as the trend that will kill television. The trouble with that assertion is that it runs contrary to the data. Millennials are the ones leading the cord-cutting charge, and yet millennials are watching more television than ever. So what’s really going on?

Put simply, we’re at the dawn of a new paradigm that reflects both a technological revolution in the way we distribute content as well as an equally powerful shift in consumer behavior. For now, it’s clear that cord-cutting is a nuanced and evolving phenomenon.

Consumers are already beginning to understand that networks typically reserve a show’s current season for linear broadcast, while at the same time making previous seasons available on streaming platforms like Netflix so that new audiences can catch up. Meanwhile, data shows that streaming originals have only added to a typical viewer’s queue, rather than replace network fare.

Historically, TV has been a zero-sum contest. Because programming was linear, a network won or lost the night; a show was a hit or it flopped. But that’s no longer true today because technology and consumer behavior are changing.

As we expand access to content through a variety of platforms, and consumers adapt to a new viewing paradigm, the nature of competition changes dramatically. Data shows that audiences find shows long after their initial release. Just as telling, shows like Netflix’s Jessica Jones and Marvel’s Agents of S.H.I.E.L.D on ABC both brought in big audiences (4.8 million viewers and 6.8 million viewers, respectively) though they were released at the same time. In a linear TV world, two superhero shows would most likely split the audience. The data shows that new distribution methods enable viewing patterns that allow both shows to succeed.

These changes are good for content companies because they mean quality shows are more likely to find an audience sooner or later. What remains to be seen are the strategies content companies will develop to gather those audiences. In the meantime, the television industry must use data to tune in to the viewer path.

Charlie Buchwalter is president and CEO of crossmedia measurement firm Symphony AM.

RELATED:Netflix Has Lowest Churn Rate Among OTT Services: Study

More and more consumers see Netflix as the place to go for original programming, even as they look for ways to pare down their premium channel subscriptions, according to a Morgan Stanley survey.

According to Morgan Stanley’s 6th Annual Streaming Media Survey, 29% of respondents picked Netflix as having the best original programming, up from 23% last year and besting Home Box Office with just 18%. It was the first year in the survey’s history that HBO lost the original content crown.

Netflix has spent billions of dollars on original content over the years and has had both critical and popular success with shows like Orange is the New Black, House of Cards and Jessica Jones that have resonated with audiences. The SVOD pioneer expects to outspend HBO on originals for the first time this ear -- $2.4 billion compared to $1.8 billion for HBO – as it nearly doubles the number of original shows to 31 from 16. The news also comes as Netflix readies to move grandfathered subscribers to its $9.99 monthly price point, a move that some believe will lead to a slowdown of subscriber gains.

In a research report, Morgan Stanley media analyst Ben Swinburne wrote that original content was increasingly cited by the survey respondents as a membership driver. But Swinburne also noted that the number of people that responded “Don’t Know” to the survey increased significantly – to 34% from about 27% last year – which could indicate that the rise in over-the-top offerings could be adding to brand confusion.      

More survey respondents also said they intended to cut at least one premium service this year, the second consecutive year of increases. About 19% of respondents said they would definitely disconnect a premium service in the next 12 months (up from 13% last year) and 27% said they would probably cut a premium channel, up from 22% last year.

An awful lot of  telecom, media, entertainment -- and especially video -- companies find themselves in a rather chaotic business these days. In Part One of a two part series, following are six video and TV trends affecting the content side of the business. (Next week’s Part Two will focus more broadly on trends such as data and its overall impact on the industry and its stakeholders.)

RELATED:Visit MCN's Next TV department for more stories about the impact of these trends.

(1) Bandwidth Consumption Increases

Just as choice means more content to more devices and places, so does the implementation of that process necessarily involve more bandwidth to get it there. That will be important for those in the Content Distribution Networks (CDNs) and various core distribution industries (e.g., DBS, cable, telco, fiber, cellular, and wireless delivery and distribution infrastructures). Read more here.

(2) More Video

Anecdotally, Netflix spending several billion dollars (in 2016 alone) on the creation of Netflix-only content tells a good part of the story that claims “Content Is (Still) King!” Fees paid to top actors and actresses -- no less athletes -- portend much in the way of celebrities on the video stage further hyping attractive pictures (and viewer interest). Sports TV rights fees are yet another indicator of a great demand for desirable drama. Business models appear to be uncertain, wide and open, when it comes to monetizing and thus proliferating new content.

(3) Video Transition to IP/OTT/Streaming/Broadband

Cord-cutting and cord-shaving are reflections of not just pay TV customer frustration with the high costs of programming bundles (including the subsidization of sports TV that the majority of viewers don’t watch). They are also coupled with the availability of an alternative quality distribution vehicle, i.e., Internet Protocol (IP)/broadband TV (Read more here.)

(4) Video to Mobile

As smartphones, tablets, and wearable technologies rise in popularity, the demand for mobile applications is growing and will continue to evolve. Smartphones are still in their earliest stage, and the demand for iPhones, iPads, smart watches, etc., will enhance the need for better distribution of bandwidth. The ability of most consumers today to select Video On Demand (VOD) instead of live or linear viewing, especially on mobile devices, further drives this trend. (Read more here.)

(5) Connectivity Grows

Choice has for a long time been an important part of U.S. (and global) culture. The emergence and growth of DirecTV is a prime example of our “choice culture.” Similarly, if device builders and content rights holders and distributors can bring their content fare to more people, in more places, more often, and using more devices, chances are that their content will get viewed, and viewed more often. (Read more here.)

(6) More Content Stakeholders

Recent newcomers to the ownership and control of video rights include Amazon and Facebook. Indeed, there is pressure today on nearly every large content producer to create more, and/or better, content. There is also pressure on video distributors to jump into the content production and ownership game themselves (if they have not yet already done so). There are strong arguments, including vertical integration, that support such moves. Moreover, with Netflix’s success with House of Cards, it is tough for many to not want to also gamble for that “Golden Ring of (Video) Success.”

Jimmy Schaeffler is chairman and CSO ofThe Carmel Group, a streaming/broadband, broadcast and pay TV/video consultancy based in Carmel by the Sea, Calif.; he writes about telecommunications, entertainment and media.

Few know and appreciate that one of the best examples of the power, indeed the magic, of modern data analytics is Netflix’s series House of Cards (HOC).

Indeed, HOC registers as one of the most successful TV and video programming introductions of all time. Yet, what is most remarkable is how HOC was developed and introduced. As HOC star Kevin Spacey explained in his iconic YouTube speech, “Netflix was the only network that said, ‘We believe in you…we’ve run our data, and it tells us the audience would watch this series’” (emphasis added).

Netflix replaced the traditional (and very expensive) “pilot” TV test process with intimate knowledge (via intensive data analytics) of the Netflix viewer. Netflix used its sophisticated data analytics as a basis to invest $100 million upfront in HOC; then, as a basis to green light HOC for at least four seasons (thru 2016), and for today’s 39 completed episodes. Today, Netflix producers envision a 12-season collection of HOC, through 2023.

Anther Example: AMC and 'Mad Men'

Other ways in which data about viewers is being collected are nearly as interesting. AMC, the network home of The Walking Dead and Mad Men, has also taken a fascinating lean toward data collection and analysis.

As noted in a recent, free IBM-New Bay Media whitepaper, Vitaly Tsivin, AMC’s SVP of business intelligence, used IBM’s advanced analytics to get a richer picture of who its viewers are, what they want, and how to keep their attention in an increasingly crowded entertainment marketplace.

“We need to know who’s watching and why, and we need to know it quickly, so that we can decide…whether to run an ad or a promo in a particular slot during tomorrow night’s episode of Mad Men,” Tsivin said.

Much of the challenge comes from having so much information available – hundreds of billions of rows of data from industry providers such as Nielsen and comScore; from channels such as AMC’s TV everywhere live Web streaming app and video-on-demand service; from retail partners such as iTunes and Amazon; and from third-party online video services such as Netflix and Hulu – and the need to analyze data minute-by-minute and viewer-by-viewer.

And CBS, Too

A recent article talked of CBS News Digital (CBSN), a free, ad-supported streaming news network, available on the Web, via mobile and on connected TVs. Providing 15 hours a day, typically, of news-related content, CBSN taps into its deep well of video viewer data and analytics, much of it via social media, to determine what  viewers want to see (or see more of).

The data analysis also helps CBS News strategize what content to promote on its social channels. Additionally, data influences CBSN content in the presentation itself, i.e., if the average age of the viewing audience is 40 years old, a subtle but important change involves dressing male news anchors without ties, and having all anchors stand instead of sit behind a desk occasionally.

CBSN is another prime example of how networks and others in the ecosystem are accessing data and analyzing it to drive better viewing and thus more profits in the making and distribution of content.

10 Lessons

The IBM white paper mentioned above spells out 10 key lessons that members of the telecom, media, and entertainment ecosystem need to consider and eventually understand and implement if they are to be successful in marketing and selling future content, including (1) Know Your Goals; (2) Know the Viewer; and (8)Realize the Vastness and Potential of Today’s Analytics.

A current telecom adage has it, “We will see more change in the next 10 years than we have in the past 100.” Data analytics in the media, entertainment and telecom worlds (especially the video part of those) is a perfect example of this very lesson.

Jimmy Schaeffler is chairman and CSO ofThe Carmel Group, a streaming/broadband, broadcast and pay TV/video consultancy based in Carmel by the Sea, Calif.; he writes about telecommunications, entertainment and media.

Lifetime took home the lion’s share of non-televised NAACP Image Awards in the television category, the civil rights organization announced Friday.

Lifetime won four Image Awards, three of which for its original movie The Trip To Bountiful, including Outstanding television movie, mini-series or dramatic special.

OWN and Netflix also garnered multiple Image Award wins, accroding to the NAACP.

ABC led all networks with five awards. The Image Awards honor the contributions of African-Americans in a number of categories including television, movies, and music.

The remaining awards in the television category, including outstanding comedy and drama series, will be revealed tonight during TV One’s live telecast of the 46th Annual Image Awards.

The winners in the non-televised television category are as follows:

TELEVISION:

Outstanding Writing in a Comedy Series

Sara Hess - “Orange is the New Black” – It Was the Change (Netflix)

Outstanding Writing in a Drama Series

Erika Green Swafford - “How to Get Away With Murder” – Let’s Get To Scooping (ABC)

Outstanding Writing in a Television Movie

Shernold Edwards - “A Day Late and a Dollar Short” (Lifetime Networks)

Outstanding Directing in a Comedy Series

Ken Whittingham - “Parks and Recreation” – Prom (NBC)

Outstanding Directing in a Drama Series  

Carl Franklin - “House of Cards” – Chapter 14 (Netflix)

Outstanding Directing in a Television Movie

Reggie Bythewood - “Gun Hill” (BET)

Outstanding Supporting Actor in a Comedy Series

Laurence Fishburne - “black-ish” (ABC)

Outstanding Supporting Actress in a Comedy Series

Yara Shahidi - “black-ish” (ABC)

Outstanding Supporting Actor in a Drama Series

Joe Morton - “Scandal” (ABC)

Outstanding Supporting Actress in a Drama Series

Khandi Alexander - “Scandal” (ABC)

Outstanding Television Movie, Mini- Series, or Dramatic Special

“The Trip to Bountiful” (Lifetime Networks)

Outstanding Actor in a Television Movie, Mini- Series, or Dramatic Special

Blair Underwood- “The Trip to Bountiful” (Lifetime Networks)

Outstanding Actress in a Television Movie, Mini- Series, or Dramatic Special

Cicely Tyson- “The Trip to Bountiful” (Lifetime Networks)

Outstanding News/Information (Series or Special)

“Unsung” (TV One)

Outstanding Talk Series

“Steve Harvey” (Syndicated)

Outstanding Reality Series

“Iyanla: Fix My Life” (OWN)

Outstanding Variety (Series or Special)

“Oprah’s Master Class” (OWN)

Outstanding Children’s Program

“Doc McStuffins” (Disney Junior)

Outstanding Performance by a Youth in a Youth/ Children’s Program (Series or Special)

Fatima Ptacek- “Dora and Friends: Into the City!” (Nickelodeon)

Outstanding Host in a Talk, Reality, News/Information, or Variety Series

Steve Harvey- “Steve Harvey” (Syndicated)

Showtime’s The Affair and FX’s Fargo were cable’s big standouts during Sunday night's 72nd annual Golden Globe Awards telecast highlighted by big wins for online streaming shows.

Showtime’s freshman series The Affair won the Globe award for best drama, besting such veteran shows as PBS’ Downton Abbey, HBO’s Game Of Thrones, CBS’ The Good Wife and Netflix’s House of Cards.

The Affair star Ruth Wilson won best actress in a drama series, beating out last year’s winner Robin Wright (House of Cards) as well as Julianna Marguiles (The Good Wife); Viola Davis (How To Get Away With Murder); and Claire Danes (Homeland).

FX’s Fargo took home two major awards during the telecast, including top miniseries and a best actor in a miniseries or TV movie for series star Billy Bob Thornton.

Over the top streaming service Amazon’s series Transparent was a big winner, garnering top honors in the best comedy category over HBO’s Girls, CW’s Jane The Virgin, HBO’s Silicon Valley and Netflix’s Orange Is The New Black. The series’ star Jeffrey Tambor took home a best actor in a comedy series for his role in the comedy series.

Transparent's wins marked the first Golden Globes Awards for the streaming service.

Netflix's House Of Cards star Kevin Spacey won the Golden Globe for best actor in a drama series. 

Matt Bomer won best supporting actor in a series, miniseries or TV movie for his role in HBO’s The Normal Heart, while Maggie Gyllenhaal ‘s leading role in SundanceTV’s The Honorable Woman won her best actress in a miniseries or TV movie honors.

A partial list of winners in the Television Category appears below:

Best Musical Or Comedy

Transparent – Amazon

Best Performance In A Musical or Comedy -- Actor

JeffreyTambor – Transparent (Amazon)

Best Performance In A Musical Or Comedy -- Actress

Gina Rodriguez, Jane The Virgin (CW)

Best Drama

The Affair – Showtime

Best Performance In A Television Series Drama -- Actor 

Kevin Spacey, House Of Cards (Netflix)

Best Performance In A Television Series Drama -- Actress

Ruth Wilson, The Affair (Showtime)

Best Miniseries or Television Film

Fargo – FX

Best Performance In A Miniseries Or TV Film -- Actor

BillyBob Thorton, Fargo (FX)

Best Performance In A Miniseries Or TV Film -- Actress

Maggie Gyllenhaal, The Honorable Woman (SundanceTV)

Best Supporting  Performance In A Series Or Television Film -- Actor 

Matt Bomer, The Normal Heart (HBO)

Best Supporting Performance In A Series Or Television Film -- Actress

Joanne Froggatt, Dowton Abbey (PBS)

Netflix’s political drama House Of Cards will return for its third season on Feb. 27, the OTT service announced Monday on its Twitter and Facebook page.

The third season of the Emmy Award-winning show starring Kevin Spacey and Robin Wright will feature the first new episodes since the show’s second season premiered with 13 episodes on Valentine’s Day (Feb. 14). Season three picks up after the swearing in of Spacey's character Frank Underwood as President of the United States.