Dopo la prima puntata della 7° stagione di "The Walking Dead", quanto deve durare ancora la serie?

giovedì 27 ottobre 2016

TELEFILM ART - The Walking Trump! Poster anti-Hillary con citazione del Negan di "TWD" hanno invaso Los Angeles come un'epidemia

News tratta da Hollywood Reporter
This is fantastic and it’s why I absolutely adore Sabo and Unsavory Agents! His posters have surfaced again in Los Angeles and Hollywood… this time his target again is Hillary Clinton and it’s a doozy. Fans of the ‘Walking Dead’ will flip over this one. It’s vintage Sabo – irreverent and as politically incorrect as they come.
His newest creation nails it: “Negan wants 50% of your shit. Hillary demands it all.” Exactly right… if she gets into office, she’ll take all our rights, all our income and all our freedoms. She’s a blood-sucking demon straight out of Hades. The posters are showing up everywhere with signature blood splatter for aesthetics. Negan would be a dream compared to the Hildabeast. Maybe he should run for the presidency. With Hillary’s voter fraud, a legion of zombies is probably shuffling to the voting booths… one body part at a time. She certainly has the un-dead vote.
From The Hollywood Reporter:
The artwork from conservative artist Sabo consists of blood-spattered text reading, “Negan wants 50% of your shit. Hillary demands it all.”
The Walking Dead has been hijacked by a prolific street artist to protest Hillary Clinton and the presidential nominee’s entire Democratic Party.
The artwork from conservative artist Sabo consists of blood-spattered text reading, “Negan wants 50% of your shit. Hillary demands it all.”
The sentiments are based on Negan, a new villain on AMC’s hit show who expressed his desire for stuff that doesn’t belong to him.
“In the spirit of The Walking Dead’s newest villain, Negan, I drew up these posters and placed them outside of the AMC Studio offices in Santa Monica, as well as near the CNN building on Sunset Boulevard, where there will be an anti-Hillary protest,” Sabo tells THR.
“The first time I heard Negan ask for ’50 percent of everything you had,’ my first thought was, ‘damn, only 50 percent?’ And he’s asking! If Democrats had their way, they’d take everything by decree.”
Sabo is an unabashed conservative Republican deep in the bowels of Hollywood. Not an easy go of it for sure. And he has done ‘Hillary’ art before. See it here – warning: may not be safe for work – you’ve been warned. Man, he should tell us how he really feels. Heh.
Clinton will wield power as only a despot can. If she succeeds in getting elected, we can only pray that somehow the Congress keeps her in check. Of course, they did a crappy job with Obama, so hope fades in that arena.
Sabo started displaying his political opinion in art form when he got sick and tired of having liberal memes shoved down his throat. He was brilliant with Ted Cruz – his posters in support of him were iconic to say the least. And his posters showing his disdain for Bernie Sanders are epic. Take a walk on the wild political side… you just might find that you really like it.

mercoledì 26 ottobre 2016

NEWS - Super-Supercar! La mitica serie degli anni '80 pronta al reboot digitale nel 2017

News tratta da
Knight Rider, the 1980s action series that made David Hasselhoff a star, is getting the Machinima treatment. The digital network said today it is partnering with producer-director Justin Lin, YOMYOMF and NBCUniversal Brand Development to produce a digital series reboot that will target a 2017 launch.
Lin, who knows something about the care and feeding of franchises after directing Fast & Furious 6 and most recently Star Trek Beyond, is set to produce the series which is now in development. He also is developing another car-centric property, Hot Wheels, as a feature film at Legendary Pictures.
Machinma is backed by Warner Bros but is teaming with NBCU here. NBC aired the original series about the smart-car named KITT and its mysterious do-gooder driver Michael Knight, played by Hasselhoff. Created by Glen A. Larson, it ran four seasons from 1982-1986. The network tried to reboot the series in 2008 with Justin Bruening in the lead role but it lasted only one season.
Machinima has specialized in live-action series based on TV and and video game franchises. This will join Battlestar Galactica: Blood & Chrome, Mortal Kombat: Legacy and and Halo 4: Forward Unto Dawn among others. Combined, those series have garnered more than 300 million views on Machinima.
Knight Rider is an iconic franchise whose concepts of AI and autonomous vehicles were science fiction in the 1980s and are now science fact,” CEO Chad Gutstein said. “Justin is one of the leading storytellers of his generation and we couldn’t be more excited to work with him on re-i

martedì 25 ottobre 2016

NEWS - Rivoluzione, ragazze! Tutte le puntate della seconda stagione di "Jessica Jones" saranno dirette da donne

News tratta da "Variety"
All 13 episodes of the second season of “Marvel’s Jessica Joneswill be directed by women, according to executive producer and showrunner Melissa Rosenberg.
Rosenberg discussed the all-female directing roster during her panel at Transforming Hollywood 7: Diversifying Entertainment, a conference held Friday at University of Southern California’s Annenberg School for Communication and Journalism.
Rosenberg said that in the second season of the superhero show, she had wanted to increase the number of female directors — a goal that Marvel was completely on board with, she noted. Given how in-demand many women directors are these days, she and her fellow producers had set their sights on booking women first, she said, and contracting male directors later in the pre-production process. But then someone else involved in the production — she didn’t specify who — floated the idea of booking only women as directors. Rosenberg was honest about the fact that she hadn’t contemplated that concept prior to that conversation, but she said she quickly jumped at the opportunity.
When it comes to behind-the-scenes personnel, hiring an inclusive array of people was “a conscious decision and it’s very important that showrunners do that,” she said.
That directing roster puts “Jessica Jones” in very rarified company, as one of the few one-hour dramas to have an all-female list of directors. Ava DuVernay’s “Queen Sugar,” which airs on OWN, also had only female directors during its debut season.
Rosenberg didn’t divulge any details about the second season of “Jessica Jones,” except to tell Variety before her panel that scripts were in the midst of completion and shooting was set for next year. With Henry Jenkins and Stacy L. Smith of USC, who moderated her panel, Rosenberg freely discussed drawing on a variety of perspectives when coming up with the story arcs of the New York-set Marvel drama. 
“When I interview a writer, I’m less interested in what you’ve been doing professionally than I am in where you’re from, what your parents do, what’s your life experience, what are you bringing to the table personally?” Rosenberg said. “I don’t want a bunch of people who look and sound [like me] and have the experiences I have.”
Rosenberg, who also penned the “Twilight” movies, in addition to her experience writing for other TV and film franchises, told her audience that persistence was one of the key attributes that aspiring creatives should bring to Hollywood, whatever their background, gender, or culture.
“I think the only reason I’m sitting here is because of tenacity. It’s a tough business. You really have to be able to take a hit,” noted Rosenberg. “I’ve gotten fired so many times, I can’t even count now.” 
“That’s the nature of the business, it’s really hard,” she added. Rosenberg said that “delusional optimism” had allowed her to survive. On the bad days, “you have to be able to pick yourself up and say that tomorrow is going to be better than today.”
The all-day conference featured an array of producers, writers, academics, and activists. Producer Effie T. Brown (“Dear White People,” “Project Greenlight”), Desmin Borges (“You’re the Worst”), Melissa Silverstein of Women in Hollywood, Javier Grillo-Marxuach (“The Middleman,” “Lost,” “Xena”), and Dodai Stewart, editor-in-chief of Fusion, were among the panelists discussing where Hollywood has made progress on screen and behind the scenes — and where that progress has stalled. 
But as Rosenberg and DuVernay proved — as has FX— changing directing stats is far from impossible.
In an earlier panel, Melissa Goodman, director of the LGBTQ, Gender and Reproductive Justice Project, ACLU of Southern California, noted that there were methods of increasing inclusion that have a strong track record of effectiveness in many industries — not just in Hollywood.
The strategies revolved around setting targets for hiring, and revisiting the progress toward those measurable goals at regular intervals. “Track the data and pay attention to it,” Goodman said. “It’s actually pretty simple.”
PICCOLO GRANDE SCHERMO - "Mr. Robot" fa proseliti. Al via progetto per far diventare serial il film del 1992 "Sneakers" su un gruppo di hacker

News tratta da "Vulture"
Get ready to have your heart, credit-card number, and deleted emails stolen by a gang of lovable hackers in NBC's upcoming Sneakers series. According to Deadline, the network is developing a show based on Phil Alden Robinson’s 1992 comedy-drama, which followed a gang of "sneakers," a.k.a. security hackers, tasked with testing the security measures of tech corporations. Things go awry in a very Mr. Robot way when the NSA hires the team to obtain a black box that can decode any encryption. Now, as for casting: Who are our modern-day Dan Aykroyd, River Phoenix, and Sydney Poitier?

lunedì 24 ottobre 2016

L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

"The Young Pope", girotondo grottesco nella Curia
"'The Young Pope' rappresenta un paradosso capace di scuotere Il mondo dellaantipapa, serie che parla di un antipapa, un Caligola con abito talare, una contraddizione che vuole affermare un'idea (Sky Atlantic, venerdi, 21.15, 10 episodi). E il paradosso si regge su un azzardo linguistico di non poco conto: azzerare, o quasi, la trama e affidare il procedere del racconto ai soli dialoghi. Inutile citare Fellini (troppo espliciti i riferimenti) o Antonioni (si allude a la Notte con la battuta sui capelli che fanno male?). Sorrentino si cita da solo. E lo fa troppo spesso. Il protagonista di «The Young Pope» è Lenny Belardo (Jude Law), viene da New York e ha 47 anni. È diventato Papa grazie agli intrighi del card. Voiello (Silvio Orlando), che desiderava un Pontefice mediatico e manipolabile. Ha preso il nome di Pio XIII e se ne infischia della Curia. Anzi, ha scelto di farsi aiutare da suor Mary (Diane Keaton), la suora americana che l'ha cresciuto quando era in orfanotrofio, dopo l'abbandono da parte di genitori hippies (evidenti i riferimenti a papa Pacelli e a suor Pascalina). Il tradimento è la sua ossessione. II Papa si rivela un personaggio stravagante (per colazione vuole una Cherry Coke e cita Banksy e Mina), inafferrabile (pensa che Il gioco sia l'unica possibilità di sentirsi in armonia con Dio), vendicativo e blasfemo (vuole che Il suo confessore gli riveli i peccati degli altri cardinali). Il bisogno di dominare dispensa dal bisogno di credere. «The Young Pope» procede per illuminazioni che a volte si risolvono in vividi squarci sugli intrighi di Curia e altre volte in cicalecci teologici. C'è un'ironia che muove i personaggi negli antri vaticani e nei labirinti delle dottrine, capace, nei momenti migliori, di trasformarsi in un girotondo grottesco da cui è fuggito lo Spirito. L'Intrigo è conseguenza diretta del Peccato, la materializzazione immediata della Caduta. Di qui parte la storia del giovane Papa". (Aldo Grasso, 22.10.2016)

domenica 23 ottobre 2016

GOSSIP - Shay Mitchell herSELF dixit: "ho amato 'PLL' ma mi sarebbe piaciuto essere nel cast di 'Gossip Girl'!"
Shay Mitchell shows off her killer figure on the November 2016 cover of Self magazine.
Here’s what the 29-year-old Pretty Little Liars actress had to share with the mag:
On starting off as a waitress: “I would walk around as though I were in a movie. I was already a successful actress in my mind…It was a corkboard in my kitchen, with pictures of the Hollywood sign and Gossip Girl because I wanted to be on a show like that. I really believe in the power of visualizing—having faith—and then working your ass off.”
On being bullied as a kid: “Instead of going to the cafeteria, I’d say, ‘Why deal with this?’ and I’d eat in a bathroom stall. At least when I left school for the day, it stopped. It doesn’t now. You have your phone on you, and the bullying continues. I can’t imagine having all these inescapable outlets when I was that age”.
On PLL ending: “It was an amazing experience. The crew, the cast—they’re my family”.

venerdì 21 ottobre 2016

NEWS - Cose da Baz(zi)! "The Get Down" di Netflix by Luhrmann ha fatto lievitare i costi a 16 milioni di dollari a episodio (!!!), quasi 200 a stagione! E ha (molta) meno audience della più economica "Stranger Things"...

News tratta da
The Get Down was expected to be an expensive proposition from the get-go and Netflix knew it. The series from Academy Award-winning husband-wife team of Baz Luhrmann and Catherine Martin, Pulitzer-winning playwright Stephen Adly Guirgis, hip-hop historian Nelson George and iconic rappers MC Nas and Grandmaster Flash was expected to cost around $11 million per episode for 12 episodes, which all-in would have totaled about $120M.
However, Deadline has learned that given the way the deal is constructed, Netflix is paying more like $16M per episode — inclusive in the total is worldwide rights to the IP, and factored into that are the premiums that Netflix paid to acquire those rights exclusively.
Other costs include start-up, visual effects, music rights and production design. Of the $16 million, around $11 million was the final production expenses per episode, $3 million-$4 million over the initial budget following a string of filming shutdowns, staffing changes and script rewrites. When a TV drama is produced for $6M or higher an episode, it is considered expensive.
So adding in all the costs on The Get Down, including the worldwide rights and premiums, that brings the total for the 12-episode season closer to the $190M-plus range. They are not completely wrapped yet either.
The Get Down is not a runaway hit the way Netflix’s pop culture phenom Stranger Things has been. Stranger Things ranks No. 3 on Symphony Advanced Media’s chart for viewings among 18- to 49-year-olds; The Get Down is No. 14.
However, Netflix’s strategy for many of its original series is to target specific, often under-served segments of the audience as a way of expanding its subscriber base. The Get Down is said to be the No. 1 show among African Americans and Hispanics and is building out among the young demographic as well — it has caught on with high schoolers. The Get Down is drawing in demos that other Netflix shows normally don’t, said one insider.
Internally, Netflix viewer satisfaction surveys for U.S. viewers that Deadline obtained reveal that The Get Down scored well among hip-hop fans and just slightly better with men than women. Overall, it got a 66% excellent or good rating, with concerns about the slow pacing at the onset but viewers saying that it picked up as the show progressed. The other satisfaction surveys on the show are said to be way above the norm in other countries, specifically France, Germany and Latin America.
In Netflix’s quarterly earnings call Monday, the company’s chief content officer Ted Sarandos said that their new season of content (which includes The Get Down) was traveling globally proportionally as they had hoped.
In responding to a question during the call about The Get Down and its expense versus viewership, Sarandos said, “Yes, it’s an expensive piece of television. Mostly because it’s very large scale, cinematic. The reason why Baz Luhrmann’s films work around the world is that kind of attractiveness. We’re still seeing how it’s going to unfold for the first season. All the shows land at a different level of noise in the press and probably depending on what circles you run in, whether or not your friends are talking about it. We’re very excited about how the show has been performing, particularly in a quarter where we had four shows that turned out to be kind of big event programs for us”. The first six episodes of The Get Down‘s first season were released in August, with the remaining six set to debut in 2017. Netflix had no comment for this report.

giovedì 20 ottobre 2016

NEWS - Clamoroso al Cibali! Allo studio un progetto per il crossover tra "Westworld" e "Game Of Thrones"!

News tratta da "Entertainment Weekly"
Could Westworld crossover with Game of Thrones?
It’s an idea that fans have been suggesting online ever since HBO’s new sci-fi thriller premiered. The 1973 Westworld movie featured not just an android-filled Old West theme park like in the series, but also a Roman World and – most pertinently – a Medieval World.
So here’s the pitch: What if instead of eventually introducing a Medieval World into the show, there was a Westeros World filled with android hosts modeled after Game of Thrones? It’s like how Universal has its Wizarding World of Harry Potter park and Disney is creating a section of its park based on Star Wars, except with all the interactive sex and violence that Westworld offers its hedonistic guests. Then HBO could even resurrect popular dead characters such as Khal Drogo and Ned Stark.
Well, fans aren’t the only ones who have had this idea. It actually occurred to Thrones author George R.R. Martin even before Westworld premiered. In fact, the author mentioned it to the Westworld showrunners Jonathan Nolan and Lisa Joy over dinner weeks a couple months ago, and we recently followed up to get their reaction.
“We love George and our daughter’s first trip anywhere in the world was out to Santa Fe for a screening of The Prestige at his theater, the Jean Cocteau,” Nolan says. “He’s a lovely guy and a stunning writer and it’s flattering he would encourage a crossover. We should be so lucky.”
Joy noted they have one issue with the premise, however. “I need to be believe that dragons are real,” she says. “I want them be a real thing. So as much as I love George, I can’t lose that for myself!”
Of course, there are all sorts of other, higher hurdles – creative, logistical and legal – that would make a crossover highly unlikely to ever happen. But at least the showrunners haven’t ruled out that other genetic archetypal lands such as Roman World will eventually be introduced in the series. “We’ve got an awful lot of material to cover just with Westworld, but you want to stay tuned…” Nolan says.
In the meantime, more good ratings news for Westworld: The series premiere has climbed to 12 million viewers including streaming, On Demand and DVR. That’s higher than the first season of Thrones or True Detective. The third episode premiered Sunday to 2.1 million viewers at 9 p.m., setting a new high for a debut airing of the series. This weekend, however, Westworld will go head-to-head against The Walking Dead premiere, so its Sunday night numbers are likely to take a hit.
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

Con "I Medici" sfida al mercato internazionale
"Firenze, 1429. Giovanni de' Medici, grazie all'accordo stipulato con il papato, ha trasformato la sua banca di famiglia in una potenza economica senza eguali, nonostante le ricorrenti accuse di usura. Quando Giovanni viene assassinato, i suoi figli, Cosimo e Lorenzo, sono costretti ad affrontare numerosi nemici che complottano contro il potere dei Medici. Non c'è dubbio circa l'ambizione di questo progetto. Gli attori (Dustin Hoffman e Richard Madden su tutti), il periodo storico (il Rinascimento a Firenze, il rifiorire delle lettere, delle arti e delle scienze), il respiro internazionale, il sapore della saga: quella dei Medici è intricata, appassionante, misteriosa. I Medici si alternano per molto tempo nelle stanze più influenti del potere ecclesiastico e secolare, partecipando alle vicende storiche e spesso cambiandone il corso. «I Medici», ideato da Nicholas Meyer e Frank Spotnitz, diretto da Sergio Mimica Gezzan, non si confronta con la fiction italiana ma con quella internazionale (Raiuno, martedì, 21.30). Basti pensare ai «Borgia» con Jeremy Irons. L'intento, spesso raggiunto, è quello di rendere avvincente una storia che può godere di uno degli scenari più belli del mondo. Ogni tanto, però, si cade nel didascalico e l'uso eccessivo del flashback a volte rompe la linearità della storia, a volte rompe, e basta. Ai tempi, non si andava tanto per il sottile per la conquista del potere e anche la Roma papalina non era da meno: per questo assistiamo in Vaticano a scene di sesso, sodomia e corruzione davvero inusuali per gli standard narrativi della Lux Vide, la casa di produzione fondata da Ettore Bernabei. Ovviamente i titoli di coda ci rassicurano che la storia è «frutto di fantasia» e nel corso delle prime puntate ci viene ripetuto quello che potrebbe essere il motto dei Medici: «Fare qualcosa di male per raggiungere il bene». Che è anche un po' lo scopo della fiction italiana". (Aldo Grasso, 20.10.2016)

mercoledì 19 ottobre 2016

NEWS - Hugh Laurie, dopo House torna a fare il medico sul serial! Da oggi protagonista di "Chance" su Hulu

News tratta da
This week, Hugh Laurie returns to television in an hour-long drama series that centers on a tormented doctor whose one-syllable last name also happens to be the title of the show.
And that’s pretty much where the House parallels begin and end.
In the noir-ish thriller Chance, which debuts Wednesday on Hulu, the actor best known as Dr. Gregory House plays Dr. Eldon Chance, a mild-mannered(!) and compassionate(!!) neuropsychiatrist who gets sucked into a violent and dangerous world of mistaken identity, police corruption and mental illness while grappling with his own existential crisis.
In the following Q&A, Laurie praisaes Chance‘s quiet, cerebral charms, explains why he believes Dr. House was more hero than heel, marvels at George Clooney’s total ER recall, and goes full-on fanboy over Veep co-star Julia Louis-Dreyfus.

TVLINE | Dr. Chance is, in many ways, the polar opposite of Dr. House. Was that diversion a conscious decision on your part?
No. It wasn’t. I wish I had the ability to plan as intelligently. I’m a goldfish, honestly. I stumble from one thing to another. I read [Kem Nunn’s book on which the series is based] and I thought, “I’m really intrigued by this. There’s something so mournful and melancholy about it. I find it sort of oddly moving.” I didn’t really have any clear idea about how, you know, it would fit into my career. I don’t really know what a career is. It’s just a bunch of [roles] strung together. There are, I’m sure, clever actors or agents or managers who think, “What we need to do is two months on Broadway, then we need to do something Scandinavian, and then we need to do a big action blockbuster.” I just don’t have that skill.

TVLINE | Let’s say Chance was about a doctor who was a dick. Would you have rejected it outright?
You see, I don’t think of House as a dick. I have to disagree with you there. I found him rather heroic. That may say something about my own dick-ishness. I realize that he appeared to have behaved in a dick-ish way, but he did so in the service of a noble [cause]. He may not have been an angel, but he was on the side of the angels.

TVLINE | Did the medical jargon take you back to your House days?
It was a bit of a struggle getting my tongue around that kind of stuff again. I’m reasonably quick at picking that stuff up, but I’m also very quick to forget it. I did [Tomorrowland] with George Clooney, and the ER experience meant a great deal to him; it stayed with him. He talked about it a lot. And he was also able to remember great reams of dialogue that he’d done, including incredibly technical medical terms.

TVLINE| He remembered actual dialogue from ER?
Yeah. This is how many years later?

TVLINE | Twenty?
I don’t know how he does it. I can’t remember a single word. The word aspirin is about as far as I can go.

TVLINE | Medical jargon aside, Chance and House — the shows — could not be more different.
I agree. House was almost like chamber music. It was very heightened and very beautifully constructed. Chance is much more intimate, more vulnerable. The characters are actually revealing parts of themselves in a much less self-conscious way. I think House was aware of itself as a show — deliberately so. [Series creator] David Shore, who’s a genius, deliberately constructed it that way.

TVLINE | As I was watching the first few episodes, I found myself waiting for some kind of twist…
I know exactly what you mean. It’s all the things that it doesn’t have that makes me love it. It doesn’t have people quipping at each other. It doesn’t have banter. It doesn’t have big dramatic action. There’s no ticking bomb. There’s not a virus that threatens to consume Manhattan. There are no super powers. There’s no, “Oh my god, it turns out they’re actually brother and sister!” I found that so wonderful. I don’t know how you feel about all of these other shows, with the time travel and all that stuff. I just think [it’s interesting for characters to] just be. To just be a person boiling an egg or taking your kid to school. It doesn’t have to be like, “Oh my God, they’re after us!” or “We’ve got company!” or “Call in a drone strike!” We can all just calm down a little bit, you know? Of course, it’s a very competitive world and [TV shows] are trying to draw attention. Maybe we’ll pay a price. Maybe the audience will go, “I couldn’t get into it. I wanted a ticking bomb!”

TVLINE | Hulu already ordered a second season, so…
I think we still have to earn it. I’m pretty sure that on page 784 of the contract there’s a small [cancellation provision].

TVLINE | Is it anxiety-provoking committing to a show where the source material runs out after Season 1?
I’m in a similar position with The Night Manager. In both cases, [Season 1 follows a novel] and then people go, “All right, now what do we do [in Season 2]?” I don’t know what the hell [a second season of Chance looks like]. And I can pretty confidently say [the producers] don’t either. Maybe they have a plan, and it’s all on a big board somewhere. We’ll just have to wait and see. Maybe we’ll have to put some time travel in it.

TVLINE | Will you be returning to Veep in Season 6?
If they’ll have me.

TVLINE | Is working on the show as much fun as it seems?
Completely. The only mistake I made is that I’m very bad at watching myself. And now that I’m in it, it makes it harder to watch. But in exchange for that, I get to see Julia Louis-Dreyfus [up close]. She is the best I’ve ever seen. Ever.

TVLINE| What is it like working with her?
It’s awe inspiring. She [plays Selina] with such brilliance, energy and invention. And she never settles. As soon as a take is done she’s going, “Let’s try this.” She’s always pushing, until people almost have to pull her away and go, “Julia, it’s all right. It’s all right. We’ve got it.” And [she doesn’t work] in an obsessive way; she does it with such good grace. She’s unbelievable.

martedì 18 ottobre 2016

TELEFILM ART - Un poster per ogni stagione. Netflix rilascia un poker di manifesti per "un anno di vita" con le Gilmore...

News tratta da
Seasons’ greetings, Gilmore Girls fans.
Netflix has unveiled the official key-art campaign for next month’s Gilmore Girls: A Year in the Life revival, and each of the four 90-minute seasonal installments — “Winter,” “Spring,” “Summer,” and “Fall” — is getting its very own poster (check ’em out below).
“It’s about three women at a crossroads in each of their lives,” series creator Amy Sherman-Palladino previously said of the continuation, which debuts Nov. 25. “I am very pleased with all four of [the episodes]. I feel like we accomplished what we set out to do, which is something I almost never say”. Leading lady Lauren Graham, meanwhile, recently called the continuation “my most favorite thing I’ve ever done”. To the question of whether there may be more GG on the horizon beyond A Year in the Life, Scott Patterson recently told TVLine that, for now, “The curtain is closed, but it’s a really thin curtain”. Have a look at the four posters below and then hit the comments with an answer to this question: Which poster/season is your fave and why?
NEWS - Tris d'assi! Gillian Anderson e Miyazaki (figlio) insieme in una serie (cartoon) scritta dalla Lindgren di "Pippi Calzelunghe"

News tratta da
While we’re still way in the Sad Camp about Hayao Miyazaki retiring from making featuring films, and Studio Ghibli not making its own features anymore (they animated and co-produced this year’s festival hit The Red Turtle along with French-Belgian studio Wild Bunch), they have committed to making new shorts and television projects—one of the latter coming to Amazon. Announced via a press release on Friday, Amazon has picked up Ghibli’s Emmy-winning Japanese series Ronja the Robber’s Daughter.
The 3D CG series is directed by Goro Miyazaki, the son of Hayao Miyazaki and the director of Ghibli films Tales from Earthsea and From Up On Poppy Hill, and based on the wildly popular children’s fantasy book series by Swedish author Astrid Lindgren, the writer of Pippi Longstocking. The elder Miyazaki famously attempted to adapt Pippi Longstocking to television many years ago.
The series is described as “an epic 26-part animated story of a strong, adventurous young girl who grows up exploring a beautiful and dangerous forest filled with mythical creatures.” That sounds pretty amazing to us already, and despite the 3D-animation, it still has the overall visual stamp of Studio Ghibli. For the series’ English language version, Amazon has tapped Gillian Anderson to be narrator of Ronja the Robber’s Daughter. Anderson had previously voiced Moro, the giant wolf goddess and the adopted mother of San in the English dub of Miyazaki’s 1997 film, Princess Mononoke.
Ronja the Robber’s Daughter will premiere on Amazon later this fall.

lunedì 17 ottobre 2016

venerdì 14 ottobre 2016

NEWS - Allarme Netflix! Disney, Apple e Amazon alla porta per acquisire la società (la politica di essere distributore-produttore di serie tv non regge...)

Articolo tratto da "Il Foglio"
In queste settimane nei consigli d’amministrazione della Silicon Valley uno dei temi più dibattuti è quello delle Merger & Acquisition. Non si è ancora spento il chiacchiericcio sul possibile acquirente dell’affannata Twitter – anche se i potenziali stanno tutti facendo un passo indietro – ed ecco che arriva sul tavolo un altro bocconcino prelibato, ovvero Netflix. Al contrario di Twitter, la società che opera nel campo del SVOD (Subscription Video On Demand) sta andando apparentemente bene: 80 milioni di utenti totali nel 2016 con una previsione di crescita a 100 milioni entro il 2018 nei 190 paesi in cui è presente. Inoltre la produzione di film e serie tv (da “House of Cards” fino alle ultime “Stranger Things” e “Narcos”) stanno riscuotendo successo di critica e pubblico. Il vero problema però è che il modello di business che Netflix ha deciso di intraprendere rischia di non essere sostenibile se supportato solo con le proprie risorse. Da qualche mese è piuttosto chiaro che la strada intrapresa dal fondatore e amministratore delegato Reed Hastings è quella di essere sia un distributore sia un produttore globale di contenuti online, tuttavia gli introiti che arrivano dalla crescita (rallentata) degli abbonamenti e dalle licenze d’uso degli altri network non sono sufficienti. C’è quindi bisogno di una società madre sufficientemente capitalizzata che possa sostenere economicamente lo sviluppo del business. Sul podio degli acquirenti ci sono Disney, Apple e Amazon e ognuna di queste società ha i mezzi, ma soprattutto degli ottimi motivi, per poter acquistare la public company di Los Gatos, California. Disney, innanzitutto. La multinazionale dell’intrattenimento è già in un certo senso partner di Netflix, avendole affidato la produzione e distribuzione di serie “Originals” di molti personaggi Marvel (marchio acquisito da Disney nel 2009) come “Daredevil” e l’ultimissimo “Luke Cage”. Inoltre nel cosiddetto Regno di Disney che contiene network (tra cui la sportiva ESPN) contenuti di ogni tipo (da Pixar al franchise Star Wars), parchi a tema e merchandising, un over-the-top come Netflix ci starebbe benissimo. Apple è alla disperata ricerca di un Ottche funzioni come “Netflix Killer” visto che la sua piattaforma iTunes per video è ormai poco efficiente. Cosa di meglio se non acquisire la stessa Netflix e replicare ciò che ha fatto sulla musica, ovvero acquistare Beats per 3 miliardi di dollari e rinominarla Apple Music? A differenza di Disney però, Netflix rappresenterebbe uno strumento di marketing per incrementare le vendite dei suoi device, quindi è evidente che il prezzo cui è disposta a pagare rischia di essere inferiore rispetto alle altre pretendenti. Infine c’è Amazon che a oggi risulta essere uno dei principali concorrenti di Netflix, anch’esso distributore e produttore di contenuti di intrattenimento tra cui “Transparent” “Mozart in the Jungle” e l’ultimo “Crisis in Six Scenes” di Woody Allen. E’ evidente che l’acquisto di Netflix renderebbe l’offerta di Jeff Bezos ancora più ricca e fortemente integrata (ma forse con qualche problemino con l’Antitrust). Insomma, gli interessi e le strategie sull’acquisto di Netflix sono molti: la società con la N rossa non potrà a lungo vivere solo con le proprie risorse, quindi prima o poi sarà costretta a vendersi al miglior offerente. Tutto sta capire a chi e soprattutto quando. Le recenti grosse acquisizioni societarie ci hanno spiegato che nelle fusioni & acquisizioni il time-to-market è fondamentale e le dichiarazioni d’intenti valgono ben poco – il caso Vivendi-Mediaset Premium è ancora davanti ai nostri occhi.
NEWS - La visione del Saba! Al via su Fox, subito dopo "TWD" dal 24 ottobre, "Hundred to go", prima serie sci-fi italiana branded content (by BMW)

(ANSA) - MILANO - Niente amore, niente amicizia, niente famiglia. Gli umani del futuro, nel 2116, vivono ognuno solo con il proprio doppio in un mondo senza emozioni. Sara' compito di X1, il protagonista di 'Hundred to go' - la nuova serie di Fox Italia in collaborazione con Bmw -, tornato misteriosamente nel passato, nel 2016, tentare di salvare l'umanita' da una rivoluzione che l'ha resa efficiente ma incapace di provare sentimenti. 'Hundred to go' e' la prima serie tv branded content a tema sci-fi, cioe' fantascientifico, in Italia e andra' in onda dal 24 ottobre il lunedi' alle 20.50 sul canale Fox. Gli episodi saranno cinque, ognuno da 7 minuti. La regia e' di Nicola Prosatore e del cast fanno parte Matteo Martari nel ruolo di protagonista, Marianna Di Martino e Cesare Bocci, noto al pubblico televisivo soprattutto per il ruolo di Mimi' Augello ne 'Il commissario Montalbano'. Tra le curiosita' di questa serie, girata interamente in inglese e doppiata in italiano, c'e' la partecipazione di 8 coppie di gemelli che hanno interpretato gli abitanti del 2116 con i loro 'cloni'. Inoltre una intera citta' e' stata costruita con la grafica e sono servite 500 ore di post produzione per far 'vivere' il futuro sullo schermo. Alessandro Saba, vicepresident responsabile dei canali intrattenimento di Fox Italia, durante la presentazione di 'Hundred to go' alla stampa a Milano ha spiegato che sara' messa in onda di sera, "attaccata" alla fortunata serie 'The Walking Dead' ed e' "la testimonianza di quanto questo sia un prodotto di altissima qualita'". "Ci siamo proiettati 100 anni in avanti provando a immaginare come sarebbe il mondo nel 2116 - ha spiegato Sergio Solero, presidente e amministratore delegato di Bmw Italia - e il risultato e' una storia particolare, modernissima e con spunti molto interessanti". Nel programma la macchina del 2116 e' la Bmw Vision Next 100, un prototipo di auto totalmente automatizzata presentata a Monaco durante le celebrazioni del centenario del gruppo.

giovedì 13 ottobre 2016

NEWS - Più Crime che crimini! Su Premium debutta ID (Investigation Discovery), che dovrà far a coltellate con Premium Crime, Fox Crime, Top Crime, Giallo...
Un nuovo brand targato Discovery debutta su Mediaset Premium: ID – Investigation Discovery arriva finalmente in Italia, il 24 ottobre, al canale 320 del digitale terrestre. Una novità che andrà ad arricchire il pacchetto “Serie & Doc” dei clienti di Mediaset Premium con uno dei brand più famosi e riconoscibili al mondo. Passioni, indagini e misteri: un palinsesto ricco di produzioni di qualità, dal ritmo incalzante e coinvolgente che attraverso ricostruzioni, approfondimenti, inchieste e indagini porta alla scoperta di ogni segreto del crime, uno dei generi più apprezzati dal pubblico. Presente in 163 Paesi nel mondo, ID – Investigation Discovery è un vero e proprio fenomeno negli Stati Uniti dove è il canale via cavo con la crescita d’ascolto più alta e con il maggior tasso di permanenza tra le donne 25-54 anni. Un vero e proprio pilastro del portfolio Discovery, grazie alla capacità di intrattenere, raccontare e stupire, con un linguaggio sempre moderno e accattivante. 
Alessandro Araimo, SVP & COO Discovery Networks Southern Europe ha affermato: “Siamo davvero lieti di portare anche in Italia ID – Investigation Discovery, in partnership esclusiva con Mediaset Premium. Il nostro obiettivo è quello di continuare a offrire programmi originali e innovativi anche sul pay. Una piattaforma su cui investiamo costantemente proponendo con continuità contenuti pregiati e mai visti prima”. 
Franco Ricci, AD Mediaset Premium dichiara: “L’arrivo di ID - Investigation Discovery sulla nostra piattaforma risponde alla strategia di rafforzamento dell’offerta Mediaset Premium nell’area cinema, serie TV e factual,  con un ricco bouquet di canali che si affiancano ai già ben noti ed esclusivi contenuti sportivi". 
ID – Investigation Discovery arriva in Italia con tante produzioni di successo tra cui spiccano True Crime storie di omicidi, con la nota scrittrice e giornalista Aphrodite Jones alle prese con alcuni dei casi di omicidio più atroci del nostro tempo e Vite segrete di mogli (im)perfette, la serie-docu che indaga sulle vicende di donne con intenzioni mortali, disposte a distruggere le loro vite apparentemente perfette pur di ostacolare la verità. Tanta anche l’attenzione a tematiche sociali: nel palinsesto di ID – Investigation Discovery non mancheranno programmi su violenza contro le donne, bullismo, discriminazioni e altri fatti di cronaca.

mercoledì 12 ottobre 2016

NEWS - Clamoroso al Cibali! Walter White è esistito nella mente di Bryan Cranston (e della sua stalker)!

News tratta dal "Daily Mail"
Quando Bryan Cranston lesse che il suo personaggio Walter White si sarebbe trasformato nel re della droga, rimase scioccato. Il copione era superbo e mai un protagonista era andato così a fondo. Tutto è raccontato nel memoir “A Life in Parts”, pubblicato da Simon and Schuster: «Ho iniziato a sognarlo, questo Walter White. Mi alzavo nel mezzo della notte con in testa lui». Voleva la parte, ma come poteva trovare quella zona di sé che nascondeva un assassino (199 vittime oltre quelle dipendenti da metanfetamina), il sangue freddo per lasciare morire di overdose la ragazza del suo socio Jesse Pinkman? «Il giorno che ho lasciato morire Jane, sono andato in posti dell’anima mai visti prima. Ero capace di uccidere e di amare». Walter White sprofondò negli abissi, divenne Heisenberg, l’alter ego più spietato. Cranston, per immedesimarsi, pescò nella memoria e si ispirò a una relazione sessuale che ebbe negli anni ’80 con una donna di nome Ava. Lei era pazza, e molto sexy. Si chiusero in stanza dal venerdì al lunedì, perdendo il senso del tempo. Brian capì subito che Ava era emotivamente instabile, infatti, quando la mollò, lei svenne, ebbe una crisi.
Avrebbe dovuto capire che assumeva droghe, viste le volte che si alzava dal tavolo per andare in bagno. La settimana dopo la dimisero dall’ospedale, lui di nuovo le disse che si sarebbero lasciati e lei rispose che non sarebbe successo. Lo seguì anche quando Cranston cambiò appartamento, città, e sui successivi set. Litigavano e finivano a fare sesso selvaggio.
Lui la lasciava e lei lo perseguitava con messaggi in segreteria, o presentandosi di persona. Diceva che erano destinati a stare insieme e che altrimenti lo avrebbe ucciso. Le minacce continuarono: «Sei un uomo morto. Ti ucciderò e non troveranno il corpo. Se lo troveranno, sarà irriconoscibile». Cranston le rispose che aveva registrato tutto e lei promise che avrebbe rubato i nastri: «Sto arrivando». Arrivò alla sua porta, sbattendo e urlando.
Paralizzato dalla paura, lui prese un coltello in cucina. Ma successe qualcosa che lo sorprese, la paura si trasformò in rabbia. Aprì la porta mentre lei urlava, la portò dentro l’appartamento, con calma.
Le strinse la spalla con la mano sinistra, le prese i capelli con la mano destra, e sbatté la sua testa al muro, a ritmo metronomico. Mesi di furia uscirono fuori con forza abnorme. Il sangue era dappertutto, il corpo di Ava giaceva, e lui non provava niente. Sentì le voci della polizia, ma il corpo non c’era, il sangue nemmeno. Aveva immaginato tutto e intanto la polizia, avvertita dai vicini, aveva portato via Ava, che davvero lo era andata a prendere. Cranston capì che sotto pressione, nelle circostanze adatte, lui stesso sarebbe stato capace di uccidere. Grazie alla sua interpretazione ha vinto quattro Emmy, a 50 anni è diventata una star, e la gente ha amato “Breaking Bad” oltre ogni immaginazione.

martedì 11 ottobre 2016

SGUARDO FETISH - Bon Appétit chez "Hannibal"! I piatti "al sangue" del serial diventano un libro di ricette...

News tratta da "Entertainment Weekly"
“Dinner is served” is always a good thing to hear. Unless Hannibal Lecter is uttering those words while presenting a beautiful dish of questionable meats.
Have no fear, though, when reading Feeding Hannibal: A Connoisseur’s Cookbook, a collection of recipes inspired by the show and created by the show’s food stylist, Janice Poon, who savored the challenge of trying to create new dishes to sate the carnivores shrink.
“You must admit, [Hannibal] is unique,” Poon laughs. “His dietary requirements are unique.”
Poon, showrunner Bryan Fuller, and award-winning chef José Andrés collaborated on the late NBC show’s dishes. The typical process involved Fuller emailing Andrés and Poon. “Bryan would say, ‘I’ve got an arm!’” Poon recalls. “José and I would jump in. I’d say, ‘How about osso bucco?’ or, ‘It has to be slow-cooked if it’s an arm.’
 “José has a very magical way of thinking and comes up with some really left field, brilliant ideas, whereas I’m a bit more of a logician,” she continued. “I always think, ‘Well how’s that going to work?’”
Now, EW is excited to exclusively share one of the recipes for hart tartare tarts that were featured in “Futamono,” season 2, episode 6. As shown in the book, Hannibal (Mads Mikkelsen) served the dish at a dinner party that featured FBI Agent Jack Crawford (Laurence Fishburne) as a guest. Don’t worry: the Feeding Hannibal recipe involves veal heart, not man’s.
On the plate, the tarts are menacing, a pastry spear jutting out of it. That is Poon’s design.
“I want to create as much fear as possible on the plate,” she says. “I keep reminding people these plates are made from bone china. It’s called bone china because it’s bone, ground up. Everything is life and death.”
Each recipe in Feeding Hannibal is accompanied by fascinating insider’s anecdotes, delightful artwork, and revealing behind-the-scenes photos of stars and crew on the set of Hannibal, similar to the Feeding Hannibal blog Poon ran.
Feeding Hannibal will be released Oct. 18.
NEWS - La metà delle visioni on demand in Italia riguarda le serie tv. Al primo posto Netflix, di poco dietro Infinity e poi Skyonline. Sette internauti su dieci guardano i telefilm sul mobile. La spesa degli italiani per i video on line aumentata del 27% nell'ultimo anno

News tratta da "Corriere Economia"
Schermi ultra-luminosi e sempre più grandi, da 5 o 5,5 pollici. Processori più rapidi. Maggiore autonomia e connessioni veloci con il 4G. Grazie a queste evoluzioni lo smartphone si sta trasformando nella nuova televisione. Fa concorrenza non solo allo schermo piatto da salotto, ma anche ai tablet. Per la prima volta quest anno oltre la metà dei video online nel mondo (il 51%) sono stati guardati sugli schermi mobili. Lo rivela il Global Video Index 2016 di Ooyala, indagine diffusa il 30 settembre che ha tracciato il consumo di 3,5 miliardi di video visti in streaming da 220 milioni di internauti. Non solo i video brevi condivisi gratis su YouTube e Facebook, ma anche quelli più lunghi, on demand: l'indagine indica che i «power user», i più assidui, sono gli abbonati ai servizi Svod (Subscribers video on demand, il video online in abbonamento) come Netflix o Amazon Prime Video. Nel 76% dei casi guardano contenuti televisivi, serie o show sul dispositivo mobile almeno due o tre volte alla settimana. Le nuove abitudini stanno contagiando anche gli italiani: sono 2 milioni e 250 mila gli utenti di SkyGo, il videostreaming su tablet e smartphone per i clienti abbonati da un anno a Sky che permette di vedere 40 canali e migliaia di titoli on demand di cinema o serie tv. «Sui canali prevale lo sport visto dal 70% degli spettatori, nell'on demand il 50% delle scelte è invece sulle serie tv», precisano in SkyItalia. A spingere la visione sul mobile non sono solo l'immediatezza e la comodità, ma anche la possibilità di commentare in tempo reale con gli amici sul telefonino ciò che si guarda. «La spesa dei consumatori italiani per i contenuti di video online in abbonamento, o Svod, è cresciuta del 27% nell'ultimo anno e vale la metà del mercato totale Internet, ossia circa 50 milioni di euro — spiega Andrea Lamperti, direttore dell'Osservatorio Internet Media del Politecnico di Milano —. Sono oltre 3 milioni gli italiani che hanno utilizzato almeno un servizio Svod, considerando gli utenti paganti e quelli che sono nel periodo di prova, secondo la nostra ricerca in collaborazione con Doxa». L'arrivo di Netflix ha dinamizzato il mercato con un duplice effetto: ha spinto i player già presenti a migliorare la loro offerta e ha aumentato l'interesse dei consumatori. Il modello Svod piace non solo per la facilità di connessione e l'offerta a basso costo (7,99 euro al mese quella di base su Netflix, 5,99 su Infinity, 9,99 il pacchetto Serie tv o il pacchetto Cinema sulla NowTv di Sky, lanciata a giugno), ma anche per la scelta personalizzata e la flessibilità. L'istituto di ricerche Nextplora ha condotto sullo Svod un sondaggio nazionale in giugno (600 intervistati dai 18 ai 55 anni). «II 15% degli intemauti adulti in Italia nell'ultimo anno ha consumato contenuti video sulle piattaforme di streaming a pagamento — dice il manager director Massimo Ni- colini —. È un mercato nuovo, ancora molto variegato e dinamico. Al primo posto tra le ragioni di scelta cë la convenienza. Segue la possibilità di accedere ovunque al servizio, anche in mobilità, quindi la mancanza di un vincolo contrattuale». Oltre la metà degli intervistati è ricorsa al videostreaming per vedere serie-tv o film e la scelta del servizio vede al primo posto Netflix (48%), seguito da Infinity (Mediaset) al 40% e Skyonline (ora NowTv) al 37 per cento. Francia, Italia e Spagna sono i mercati più promettenti per lo Svod in Europa, dopo quelli già consolidati di Gran Bretagna e Germania. «La spesa per gli abbonamenti Svod nell'Europa occidentale, che nel 2015 è stata di 2 miliardi di euro, arriverà a 3 miliardi di euro a fine 2016», prevede His Technology, che indica anche un possibile raddoppio del mercato spagnolo e di quello italiano. A un anno dall'arrivo di Netflix in Italia, si prepara lo sbarco del suo principale concorrente: Ama-zon Prime Video. Dovrebbe lanciare il servizio in contemporanea in Francia, Spagna e Italia prima di Natale, scrive Le Figaro, e crescenti rumor in Rete lo danno in arrivo per fine novembre. Sarà l'occasione anche per noi di vedere Crisis in six scenes? È la prima serie firmata e interpretata da Woody Allen, sei episodi da 30 minuti, prodotta e lanciata da Amazon il 30 settembre. Per ora, solo per gli anglosassoni.

lunedì 10 ottobre 2016

NEWS - Clamoroso al Cibali! Sarah Jessica Parker rivela che in "Sex and the City" Samantha, Charlotte e Miranda potessero essere amiche solo immaginarie di Carrie Bradshaw!

News tratta da
Apparently, Sarah Jessica Parker has a wild fan theory about Sex and the City that would change everything if it were true — except that it makes absolutely no sense. Parker was interviewed on the podcast Nerdist this week and she told host Chris Hardwick about her spin on the show: "I used to wonder if Samantha, Charlotte and Miranda were real," Parker said. "That that wasn't just her column". Wait, what? Is SJP revealing that, during the years she spent portraying Sex and the City's central heroine Carrie Bradshaw, she harbored a secret theory that Samantha, Charlotte and Miranda  (a.k.a. "The Girls") were all figments of Carrie's writerly imagination? This a little more grounded than the fan theory that Sandy was dead the whole time in Greasebut just barely. Parker revealed she thought Bradshaw could have created her three friends as a "literary conceit" — three archetypical women characters created so that Bradshaw could tell stories in her column.
If Charlotte and Samantha and Miranda were all made up, that would explain Carrie's ability to narrate scenes she's not in – but other than that, it doesn't really make sense. Does that mean the plot of every single episode is the text of Carrie's column that week? That would make her columns super long and dialogue-heavy and probably not all that fun to read. 
Maybe Parker is trying to pull a J.K. Rowling and blow our minds with "new information" revealed years after the show ended, but it also doesn't really matter whether she thinks Charlotte and Samantha and Miranda were "fictional" fictional characters or just normal fictional characters. To us, they'll always be real.

sabato 8 ottobre 2016

GOSSIP - Keke Palmer una di noi: "più che al liceo, ho imparato tutto dalle serie tv"!
Keke Palmer looks gorgeous as she flashes a smile on the cover of Galore‘s latest issues, on stands now. Here’s what the 23-year-old Scream Queens actress had to share with the mag:
On what advice she’d give younger girls: “I just feel like it’s so much easier to allow life to change you instead of you trying to fit yourself into your ideas of life. Life is a surprising thing to experience and it’s beautiful because it’s filled with mystery and magic…real magic that I’ve seen with my own eyes! I guess my biggest tip would be not to label yourself. When you label yourself unconsciously, because that’s what society does, you don’t realize how much you’re limiting yourself.”
On what she missed because she grew up in the entertainment industry: “I never had a real high school experience. My only idea of it is from watching TV shows, but I think I would’ve liked to have experienced that. I still had those types of dynamics, but maybe I wasn’t in the backdrop of a school, I was in the backdrop of a set.”
On whether she feels the responsibility to speak out on important issues: “I don’t feel pressure to speak up on issues of my culture but I do hate the emphasis my generation (me included) puts on social media in terms of creating changes within our world. To me, the importance has got to start being less about how many posts we’ve put up on the issues and more about what we are doing in the REAL world to create future change.”
On how she feels about Miley Cyrus twerking: “Miley Cyrus has always been that, I’ve known her since she was a kid. That’s always what she’s been into. If she loves hip hop music and she loves hip hop culture, that’s what she loves. My sister is a black girl and she loves alternative music and people think she’s weird [laughing].”
For more from Keke, visit
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venerdì 7 ottobre 2016

NEWS - Clamoroso al Cibali! Il personaggio di Lady Gaga in "American Horror Story: Roanoke" è ispirato ai Druidi
News tratta da
On Wednesday's episode of American Horror Story: Roanoke, we finally got a deeper look at Lady Gaga's mysterious character. At first glance, it would appear that she is just a creepy seductress and husband stealer, but her backstory reveals more nuance and her ties to the ancient Druids, members of an Celtic religion dating back centuries.
In previous episodes, Gaga's 'The Witch of the Woods' persona has been less than prominent, only appearing periodically in the background. Last night, however, we learned through Cricket that she is in fact "the bitch with the real power." 
You see, Lady Gaga's Witch was a real OG sorceress, way before any of the Salem stuff happened.
Born in England, she was a descendant of the Druids. They existed in ancient Britain and France as priests and priestesses who communicated ancient wisdoms about the natural world from the Gods to the humans, according to Live Science. They also believed that the human soul was immortal and would be reincarnated in new forms over time. 
In American Horror Story: Roanoke, Gaga's character was inhabiting a boat on its way to the New World, but it wasn't exactly a luxury cruise-line experience. The voyage was plagued with misfortunes as countless men on board inexplicably died. 
Upon arriving to America, the crew accused Gaga of witchcraft because she was the only woman on board (sexism sucked pretty badly then, too). She became the suspect of a brutal witch hunt and was sentenced to being burned alive. But after ferociously slaughtering her captors, the Witch liberated herself and became one with the forest.
According to the beloved Cricket (may he rest in peace), "the old magic and the New World created something new, something original." All of this meaning that through the carnage and violence, Gaga's character became even more powerful and omnipotent. Being an immortal forest goddess has its downsides, though. Apparently, The Witch is now lonely and is craving some male attention. She has her sights set on Shelby's husband, Matt, and it doesn't seem like she's gonna give him up without a fight. 
Viewers will have to see how this twisted mé·nage à trois pans out during the next episode, airing Thursday at 10 p.m. Eastern on FX.
E intanto, un "milione di ragioni" per seguire Lady Gaga...

giovedì 6 ottobre 2016

NEWS - Benvenuti a Disneyland! Al via progetto di una serie tv sulla nascita del parco divertimenti di Topolino&Co.

News tratta da
Agent Carter Showrunners Michele Fazekas and Tara Butters have sold an hour-long dramatic television series pitch to Disney-owned network ABC, that is “based on the Disney theme park mythology”. As a Disneyland fanatic, this excites me, even though I can’t quite comprehend what this even means.

So what do we know about this tv series pitch? Not much. Deadline (via) has reported that the television project is “based on the Disney theme park mythology.” We know that the show project is untitled, although it is going under the code name “Hyperion.” The duo is executive producing with former Disney executive-turned-producer Jason Reed (Teenage Mutant Ninja Turtles). Other than that, details are being kept tightly under wraps for now.
My first thought is this dramatic series could be about the creation of Disneyland, following the struggle of Walt Disney and the early Imagineers. I’m not sure Dinsey would want to put their legendary founder as a character in a tv series, although they did have Tom Hanks play Disney in Saving Mr. Banks and Walt was originally a much larger part of Brad Bird’s Tomorrowland.
My second thought is that maybe it’s somehow like the Magic Kingdom film project that Jon Favreau spent years trying to make, set inside the theme park where the lands and characters come to life after the park gates are closed. Favreau was hoping to get back to the Magic Kingdom after Jungle Book, but he instead, for whatever reason, decided to do a “live-action” remake of The Lion king instead.
Disney has a series of children’s books called The Kingdom Keepers, which follows the adventures of five teens who, by day, are holographic hosts in the Disney Theme Parks and by night, battle Disney Villains to keep them from taking control of the parks, the Disney entertainment empire, and the world. Fans have wanted a movie adaptation for some time, but author Ridley Pearson has said that “Disney currently has no plans to make any Kingdom Keepers movies,” that he “would love to have the Kingdom Keepers become a movie” but “unfortunately it is not up to me.” It’s possible this could be an adaptation of this successful book franchise.
It’s possible it could be an anthology series of some kind, but it doesn’t appear as if the project is based on a ride or attraction, but the mythology of the park itself.
During the Hyperion Studios short 14 years, Oswald the Lucky Rabbit, Mickey and Minnie Mouse, Donald Duck, Snow White, Pinocchio and many more beloved characters were given life. In many ways, the Hyperion Studios represents “the golden age” of Walt Disney’s imagination.
But by 1939 there was no more room to grow on the Hyperion Studio lot and the company was forced to move to Burbank. Of course, the Hyperion days were well before Walt Disney started construction on Disneyland. But he did come up with the earliest ideas for the park in the 1930’s when his office was still in the Hyperion studio. However, the earliest date of Walt’s plans to build a theme park was not until 1948, so we can’t find a connection between Hyperion and Disneyland itself. I’ve often thought that a theme park would make a great setting for a television series. MTV had a show called Happyland, but it was pretty horrible even by the lowest of standards. I’m very curious to learn how the mythology of Disneyland fits into this tv pitch.
Fazekas & Butters credits include Law & Order: Special Victims Unit, Reaper, Dollhouse, Hawaii Five-0, Resurrection and Agent Carter.

"Il trivial game + divertente dell'anno" (Lucca Comics)

"Il trivial game + divertente dell'anno" (Lucca Comics)
Il GIOCO DEI TELEFILM di Leopoldo Damerini e Fabrizio Margaria, nei migliori negozi di giocattoli: un viaggio lungo 750 domande divise per epoche e difficoltà. Sfida i tuoi amici/parenti/partner/amanti e diventa Telefilm Master. Disegni originali by Silver. Regolamento di Luca Borsa. E' un gioco Ghenos Games.

Lick it or Leave it!

Lick it or Leave it!