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

POLICY MIC
Ecco perchè "House of Cards" è la serie tv più "queer"!

Warning: Season 2 spoilers ahead. 

"House of Cards is one of the most beloved shows on the air right now. It's also one of the queerest, though you might have missed that: It features a polyamorous (or at least, open relationship-having) married couple, the male partner of whom is revealed to have had a meaningful relationship with another man in college, and who happily takes part in a threesome with his wife and male bodyguard. Oh, and he just so happens to be the vice president of the United States. Another character goes from sleeping primarily with men to falling deeply in love with the nice Christian woman she met on the bus (all while listening to sad music that I can only hope was Ani). And, perhaps most revolutionary, is the fact that no one on the show makes a big deal about any of it.
It has become trendy to include a token queer person on TV these days. Tossing a (typically white, upper-middle class male) gay character into a show is basically putting a bird on it. A glittery, sassy bird. But these characters are rarely defined beyond their queerness — just look at Kurt Hummel on Glee or Elijah on Girls. They come out (as if it's a one-time thing) or can't come out, are bullied, are lonely and so on. So often their stories are no more than a "struggle narrative" that resorts to stereotypes in lieu of actual character development.
Well, I'm sick of the struggle narrative. As a queer-identified trans guy, I struggle enough on a daily basis, between dealing with gendered bathrooms and confused security guards questioning my ID (and don't even get me started about flying) that I don't need to see more of it on television. And my "struggle," whether it's hormone injections or fighting with my health insurance provider about surgery options, does not define me. This isn't to say that narratives of oppression in TV and movies aren't important, because they certainly are; queer people, particularly queer people of color, face violence and institutionalized discrimination every day. But that violence can't be the only story told.
With so little else depicted on screen, this struggle can appear to be the defining element of an LGBTQ person's life. When I came out as trans, for example, part of what scared me was watching Brandon Teena, the only transgender man I'd ever seen in movies, get brutally raped and murdered in Boys Don't Cry. If we really care about representation and progress, queer characters should be given the same range of narratives as, well, straight ones.

Entertainment has obviously come a long way since the gay killers straight out of Hitchcock's Rope, but even the women of the wildly popular Orange Is the New Black constantly remind us of their lesbian status (plus, it's telling that the only setting a mainstream, queer-filled show occupies is a prison — although the show gets a little more leeway for giving us the amazing Laverne Cox).
The only queer characters allowed in complex story-lines beyond their queerness that I can think of are Omar Little and Kima Greggs from The Wire, but the critically-acclaimed HBO drama is more urban ethnography than prime-time television.
House of Cards, more than any other show currently on the air, is providing its audience with interesting, complicated queer people without making a fuss about it. Sure, Frank Underwood is a murderer with a pragmatism that verges on amorality, and I doubt we'll see him pinning a rainbow flag to his lapel anytime soon, but his bisexuality is treated with as much pomp and circumstance as are his brown eyes. Rachel Posner's lesbian relationship may be doomed from the start, but not because she needs to "go back to men" or any other post-sweeps week cliché. In short, House of Cards doesn't treat queerness like a spectacle.
The struggle narrative may be important, but queer characters and audiences deserve more. Those lonely Midwestern kids (who may be bullied, unable to come out, dealing with unsupportive friends and family — or worse) should get to watch versions of themselves on screen that are as complex and authentic as they are, not hollow stereotypes.
Or, as Frank might say to shows that insist on featuring the same tired tropes, "I just hate this small ball crap."

GOSSIP - Max Mara incorona Rose Byrne di "Damages"
(ANSA) - MILANO, 20 FEB - Sara' un freddo rigido quello che affrontera' la donna di Max Mara, British nella sostanza e metropolitana nello spirito. Cosi', la collezione per i prossimi freddi e' fatta di tessuti inglesi e scozzesi, come tweed, Principe di Galles, herringbones, checks, lane Donegal e Shetland, tutto declinato in un look per affrontare la grigia citta' d'inverno, con le imbottiture, le sovrapposizioni e gli accostamenti di materiali diversi. Il capo che spicca e che attraversa tutta la collezione e' il gilet, che si porta sempre, sopra (effetto giacca in giochi di layering) e sotto. Le lunghe maglie in cashmere iper-leggero, mohair e tinti in filo effetto tweed coprono per meta' le gonne a matita, che, nonostante il clima, prendono sempre il posto dei pantaloni. Le calze velate danno un tocco malizioso nella versione con la riga dietro, ma ci pensa il tacco basso a smorzare la vena sexy. Il resto e' un mix di materiali, con la vernice sulla schiena dei cappotti in shearling e alpaca imbottiti in doudoune, sul retro delle gonne e sui revers delle giacche. E poi arriva l'oro, unico tocco di luce, che dipinge scarpe, gonne e maglie, mentre il marchio Max Mara si stampa sul fondo di sottane e capispalla. British anche i colori, dal verde muschio ai beige, ai marroni, passando per il cammello fino al grigio fumo di Londra e al nero totale. In prima fila Rose Byrne, l'attrice australiana che ha recitato nelle cinque serie di 'Damages', che sara' la prossima vincitrice del Women In Film Max Mara Face of the Future Award, il premio al talento degli emergenti. La Byrne ricevera' il riconoscimento durante l'evento Women In Film Crystal + Lucy Awards 2014, mercoledi' 11 giugno a Los Angeles.

NEWS - "Diabolik" si fa in 3! Al via la co-produzione seriale europea del fumetto made in Italy

(ANSA) - ROMA, 20 FEB - Diabolik un mito inaffondabile, la serie televisiva tratta dal popolarissimo fumetto italiano sara' la prima co-produzione realizzata da tre pay tv: Sky Italia e BSkyB, in collaborazione con Sky Deutschland, stanno lavorando alla sua realizzazione. E' la prima volta infatti che le tre piattaforme pay europee sviluppano un progetto congiunto e per farlo hanno scelto un personaggio e delle storie tutte italiane. La serie Diabolik sara' ispirata al popolare fumetto, entrato nell'immaginario collettivo di milioni di persone in tutto il mondo, e nato dalla penna delle sorelle Angela e Luciana Giussani. Diabolik non e' un super eroe ordinario, e' un ladro pericoloso e spietato e un professionista del furto d'identita', espediente che utilizza per assumere le sembianze delle proprie vittime e degli avversari e raggiungere cosi' i suoi scopi. Tutte le storie sono ambientate nella citta' immaginaria di Clerville. Il fumetto fu creato nel 1962 e pubblicato all'epoca in
edizioni tascabili mensili in bianco e nero. Il successo fu immediato e travolgente: dopo 50 anni e ben 800 storie, ancora oggi Diabolik fa registrare numeri sbalorditivi, con le sue 400.000 copie vendute ogni mese.  La nuova serie, attualmente in fase di sviluppo, sara' formata da 10 episodi della durata di circa un'ora ciascuno e le tre aziende sono al momento impegnate nella nomina dello showrunner.  L'obiettivo e' di mantenere l'ambiguita' originale dell'eroe oscuro delle sorelle Giussani che, pur essendo un criminale, e' dotato di profondi e radicati principi etici e di una grande integrita' morale. Andrea Scrosati, Executive Vice President Programming di Sky Italia, ha fatto notare: "Negli ultimi sei anni Sky Italia ha puntato molto sulle produzioni originali, offrendo ai suoi abbonati prodotti innovativi in grado di stabilire nuovi standard creativi, visivi e produttivi nel mercato italiano. Sono particolarmente orgoglioso e felice del fatto che una delle nostre prossime serie televisive - e la prima co-produzione internazionale con partner europei - sia ispirata a una creazione e a un "brand" italiano molto popolare.". Anne Mensah, Head of Drama di BSkyB, da parte sua ha
rilevato: "Questo progetto ha il potenziale per attingere all'immaginario collettivo del pubblico in ciascuno dei nostri paesi. E' straordinario aver trovato una property nella quale investire tutti con la stessa passione ed entusiasmo. Siamo impazienti di iniziare a lavorare insieme per portarla sugli schermi". Con Diabolik, Sky Italia continua a investire va detto in produzioni originali con un grande potenziale per il mercato internazionale, sulla scia del successo di Romanzo Criminale, venduto in 60 Paesi, e di Gomorra, la serie ispirata all'omonimo best-seller di Roberto Saviano - prodotta per Sky da Cattleya e Fandango in collaborazione con La7 e distribuito a livello internazionale da Beta Films - attualmente in fase di post-produzione e gia' venduta in 28 Paesi.  Gary Davey, Executive Vice President Programming di Sky Deutschland, ha aggiunto: "E' entusiasmante lavorare con BSkyB e Sky Italia a questa serie. La storia di Diabolik ha un grandissimo potenziale e possiede tutti gli elementi all'altezza di una grandissima pay-tv. I primi concept che abbiamo visto sono a dir poco stupefacenti".

PICCOLO GRANDE SCHERMO - Le "Girls" stan per tornare! Nuovo film di "Sex and the City" strizzando l'occhio mascarato alla serie di Lena Dunham?

Articolo tratto da Uproxx.com
Sex and the City series executive producer Michael Patrick King spoke with Entertainment Weekly about the possibility of a third film installment — on the heels (pun firmly not intended) of Sarah Jessica Parker telling InStyle that she believed “there was another chapter to tell” last month. If you’ll recall, Sex and the City 2 was critically panned as a load of steaming horseflop, even from those who enjoyed the HBO series. (Note: I will use any excuse to link to Lindy West’s epic review of SATC2.)

Acknowledging Parker’s comments on a third film, King explains, “Sarah Jessica and I both know what that final chapter is. That doesn’t mean it will or should be told, but I do think there’s one story left. Whether it ever happens is a whole other situation. But there’s four girls, and those girls are still in my mind. There are other stories to tell and characters that haven’t even been written yet.”

Just because, theoretically, there may be stories left to tell, doesn’t mean you necessarily have to unburden your soul with the film version of Norovirus telling them. I mean, I like Girls as much as the next person, but so help me god if twenty years from now I have to watch a middle-aged Hannah still being an emotionally-retarded hunk of meatloaf parading around in ill-fitting outfits and Marnie’s metamorphosis into the homicidal trophy wife we all know she’s destined to become — I will jam a Q-tip through my ear clear into my temporal lobe.

PICCOLO GRANDE SCHERMO - Inchiodate tutti! Ritorna lo spettro, sotto forma di Kitt, del film di "Supercar"! Chris Pratt e Danny McBride papabili
Articolo tratto da Collider.com
Last year, we reported that The Weinstein Company had tapped screenwriter Brad Copeland (Wild Hogs) to pen the script for a big screen adaptation of the 1980s TV series Knight Rider. For those of you unfamiliar with the show, it starred David Hasselhoff as Michael Knight, a police detective reborn into a modern high-tech crime fighter by billionaire Wilton Knight. Michael becomes an agent of Foundation for Law and Government (FLAG), along with his vehicular partner, K.I.T.T. (Knight Industries Two Thousand), who was voiced by William Daniels (Boy Meets World). The show was remade back in 2008, but lasted for less than a season. Word on the project has been quiet since Copeland was hired, but now it looks like the movie might be going the action-comedy route. Hit the jump for more. According to Schmoes Know, “Chris Pratt and Danny McBride are in talks” for Knight Rider. That’s a pretty big statement since “in talks” usually means “in the final stages of negotiations.” This is the first time we’ve heard their names come up in connection to the project, and at this point it’s possible they’ve just taken a meeting or they’re on the studio’s wish list. Assuming this rumor is true, Schmoes speculates, “I think Pratt is being looked at for Michael Knight and McBride for the voice of KITT,” and I have to agree that would be a sound pairing. I also have to admit that the thought of Danny McBride as the voice of KITT brings a smile to my face.