sabato 18 gennaio 2014

venerdì 17 gennaio 2014

NEWS - Ultima ora! La prima foto di Prince guest-star di "New Girl"!
NEWS - Stasera si alza il Glau-coma! Summer in "Arrow", Robbie Amell su "Vanity Fair" 
Rimettete la freccia, ritorna "Arrow": su Italia 1 venerdì 17 gennaio in prima serata. La serie tv più vista del piccolo schermo italiano ha segnato venerdì scorso su Italia 1, all’esordio della seconda stagione inedita, oltre 3 milioni di spettatori (3.133.000, pari al 13.96% nel target 15-64 anni). Un boom di ascolti trainato dagli spettatori maschi tra i 15-19 anni (26.9% del pubblico sintonizzato) e 20-24 anni (16.2%) – anche se tutte le fasce maschili fino ai 54 anni sono risultate al di sopra del 15% - nonché dalla fascia femminile 20-24 anni che ha raggiunto il 18.5% del pubblico rosa.

Benissimo anche, a seguire, l’esordio di “The Tomorrow People” con Robbie Amell (cugino di Stephen): quasi 2 milioni e mezzo di spettatori (2.446.000, con l’11.61% di share tra i 15-64 anni), in quello che su Twitter è già stato soprannominato l’#AmellFridays per via dei cugini Amell. Un botto anche da #TrendTopic che è arrivato agli account ufficiali di Stephen Amell (@amellywood) e Robbie Amell (@robbieamell), che hanno twittato i ringraziamenti ai fans italiani per il boom di ascolti.

Nel secondo appuntamento con “Arrow”, entra in scena un volto amatissimo dal pubblico seriale e dai telefilmaddicted. Summer Glau, già vista in “Firefly” e “Dollhouse” di Joss Whedon, vestirà i panni di Isabel Rochev, vicepresidente di un’importante azienda che punta ad ottenere il controllo della compagnia della famiglia Queen.

A seguire, su Italia 1 alle ore 22.10, nuovo appuntamento con l’anteprima assoluta di “The Tomorrow People” con protagonista il cugino di Stephen Amell, Robbie Amell. Quest’ultimo sta diventando popolare anche in Italia e “Vanity Fair” in edicola lo ha intervistato in anteprima. “Ho sempre amato la fantascienza - dichiara l’attore nell’intervista – ho visto praticamente tutto del genere, sia al cinema che in tv. Con mio cugino Stephen sogno di interpretare sullo stesso set io un super-eroe. E so che lui vorrebbe fare il supercattivo…”.
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

giovedì 16 gennaio 2014

TWITTER-JAM - Le migliori twittate seriali degli ultimi tempi

mercoledì 15 gennaio 2014

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

Lena Dunham (e Adam Driver) di "Girls" fotografati da Annie Leibovitz
 L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

Aaron Paul, "dopo Breaking Bad voglio essere anche nello spin-off!"

Aaron Paul looks cool on the cover of Details magazine’s February 2014 issue.
Here’s what the 34-year-old actor had to share with the mag:
On meeting his wife Lauren Parsekian at Coachella: “Not on drugs…normally, I drink a lot at those festivals. But we were just so distracted with the high that was happening between us. It’s unexplainable. I told her that night I was going to marry her. I did. I told her that. I knew what she was all about. I mean, come on, she runs an anti-bullying nonprofit called Kind Campaign.”
On Better Call Saul, the Breaking Bad spinoff: “Both Bryan [Cranston] and I want to be a part of that. If they’ll have us.”
On pleading for his character Jesse on Breaking Bad: “I wrote an e-mail to Vince before we started shooting the final eight episodes—a plea for Jesse, a love letter. I never give my two cents when it comes to Breaking Bad, because why would I? I’m just the actor, and what they’re doing is perfect, you know? But I just felt like I would always regret it if I didn’t at least throw them a pitch on how I wanted Jesse to go out. So I gave a few different ideas of how I thought he would kill himself. I didn’t want anybody else taking his life. The letter was awful. It was very morbid, and I’m so happy they didn’t listen. I’d rather Jesse just kind of ride off into the sunset like he did.”
For more from Aaron, visit

martedì 14 gennaio 2014

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

Non solo addominali: Manganiello for fashion!
Joe Manganiello is seriously handsome on the cover of Bello magazine’s January 2014 issue, which is available now!
Here’s what the 37-year-old actor had to share with the mag:
On going to the gym: “There are so many things that are out of your control in this business, and I think in life in general. And one of the things that I really do have in my control is how hard, how much effort I put into the gym. There’s really nothing else on the planet – nothing that I’ve come across – that gives you as much back as you put in as the gym does.”
On being committed to his work: “Talent is such an objective thing; it’s up for opinion, and it’s up for interpretation. And the one thing that’s not is work ethic. I think that’s probably just from growing up in Pittsburg, coming from where I did, and in that part of the world, you work hard. I come from very hard working people, and I know the value of a dollar. So if someone’s going to pay me a certain amount of money to do something, then I’m going to work my ass off. Especially playing a supernatural creature – I think [Alcide] should look that way. As a kid watching all those movies and reading comic books, the chance for me to play a supernatural character…I want him to look right.”
On the final season of his hit show True Blood: “This is the first season that I actually don’t know what’s in store for me or anyone else on the show. I didn’t ask. I usually have lunch with whoever the show runner is before the season starts. I would always call them up, wanting to know. But this year I think I want to be surprised. I have theories, you know, but I don’t know anything for sure.”
For more on Joe, visit!

lunedì 13 gennaio 2014

NEWS - Golden Globes, trionfano "Breaking Bad" e la sorpresa "Brooklyn Nine-Nine"

Best Actor in a TV series – Drama
Bryan Cranston, “Breaking Bad” *WINNER
Liev Schreiber, “Ray Donovan”
Michael Sheen, “Masters of Sex”
Kevin Spacey, “House of Cards”
James Spader, “The Blacklist”
Best TV Series – Drama
“Breaking Bad” *WINNER
“Downton Abbey”
“The Good Wife”
“House of Cards”
“Masters of Sex”
Best Supporting Actor in a Series – Mini-Series or TV Movie
Josh Charles, “The Good Wife”
Rob Lowe, “Behind the Candelabra”
Aaron Paul, “Breaking Bad”
Corey Stoll, “House of Cards”
Jon Voight, “Ray Donovan” *WINNER
Best Actress in a TV Series – Drama
Julianna Margulies, “The Good Wife”
Tatiana Maslany, “Orphan Black”
Taylor Schilling, “Orange is the New Black”
Kerry Washington, “Scandal”
Robin Wright, “House of Cards” *WINNER
Best Actor – TV Series Comedy or Musical
Jason Bateman, “Arrested Development”
Don Cheadle, “House of Lies”
Michael J. Fox, “The Michael J. Fox Show”
Jim Parsons, “The Big Bang Theory”
Andy Samberg, “Brooklyn Nine-Nine” *WINNER
Best Actress in a TV Series – Comedy
Zooey Deschanel, “New Girl”
Edie Falco, “Nurse Jackie”
Lena Dunham, “Girls”
Julia Louis Dreyfus, “Veep”
Amy Poehler, “Parks and Recreation” *WINNER
Best TV Series – Comedy
“The Big Bang Theory”
“Brooklyn Nine-Nine” *WINNER
“Modern Family”
“Parks and Recreation”
Best Supporting Actress in a Series, Mini-Series, or TV Movie
Jacqueline Bisset, “Dancing on the Edge” *WINNER
Janet McTeer, “The White Queen”
Hayden Panettiere, “Nashville”
Monica Potter, “Parenthood”
Sofia Vergara, “Modern Family”

domenica 12 gennaio 2014

NEWS/L'EDICOLA DI LOU - Netflix fa terra bruciata attorno a HBO (e la supera con 2 milioni di abbonati in più): analisi coi controcazzi del brand tv più in auge degli ultimi anni (anche se a Hollywood si mormora: "to read the press and hear the comments, you would think Netflix had found the cure for cancer...")
Netflix: The Red Menace 
Just when Hollywood thought it had Netflix figured out, that "red envelope" company flipped the script, creating a playbook for any business that aspires to upend an industry. It's about to do it again.
On the August evening that opens the Edinburgh International Television Festival, Kevin Spacey is giving the keynote speech, a jeremiad against his hosts delivered with all the fervor of a Tea Party populist railing against Washington.
The Oscar-winning thespian looks like a politician, his hair perfectly in place and his suit a somber charcoal. He emotes like a politician, too, as he launches into a withering takedown of the traditional way that Hollywood makes television, lambasting everything from the pilot process to TV executives ("those network people") who are always "sticking their fingers in creative decisions and having opinions about everything." And like the scheming pol he plays on House of Cards, the Netflix drama whose first season debuted in February 2013 and for which Spacey earned an Emmy nomination, Spacey offers his speech in silky soundbites uttered in his perfect, Juilliard-trained diction. It's the sweet sound of impending doom.
This firebrand futurist of television doles out praise to just a single company: Netflix. He credits the streaming-video service for daring to let creative talent run the show without interference, and for empowering viewers as well. "Clearly, the success of the Netflix model . . . proved one thing: The audience wants the control," he says of the streaming service's willingness to do such once-­heretical things as release all episodes of a season simultaneously. Viewers want "freedom," Spacey loftily proclaims. "If they want to binge . . . then we should let them binge."
Spacey hasn't always been so passionate about the future of TV--or even about Netflix. Indeed, back in early 2011, when House of Cards director David Fincher called him at his Malibu home with the news that Netflix was offering to guarantee to make and air a mind-boggling two seasons of the show without a pilot (at a widely reported $100 million), Spacey turned to his producing partner, Dana Brunetti, and whispered, "Does that mean we're going straight to DVD?" Back then, Netflix was still that company that mailed DVDs of mostly indie flicks to its customers in those convenient red envelopes. Now Netflix is the hottest player in Hollywood. In the creative community that drives that town, Netflix has stolen a step on HBO, cable's most pedigreed channel.
To hear Hollywood types rave about Netflix these days, you'd half expect to hear that the new phrase is "It's not TV. It's Netflix." Everything that makes Netflix's programming distinctive--surrendering control to creators, releasing all episodes of a season at once, keeping its viewership data private rather than participate in the ratings game--is a modern twist on the original, universally admired HBO game plan. Netflix even has more U.S. subscribers than HBO, surpassing the venerable network last fall when it reached 31 million, versus HBO's 29 million.

But Netflix is doing more than threatening HBO--what really has Hollywood worried is that the company seems in a hurry to redefine the very rules of the entertainment industry. Its willingness to sign up shows for entire seasons without first ordering a pilot (the one-shot episodes that TV honchos have for decades demanded before backing a show) has forced network executives to rethink a system that has defined television since its inception. And as the company has rolled out House of Cards, season four of Arrested Development, and Orange Is the New Black, Netflix's stock has soared--it almost quadrupled between January and Thanksgiving 2013. "There have only been a half-dozen shows," gripes one media executive, "and yet to read the press and hear the comments, you would think Netflix had found the cure for cancer."
In case you're wondering, Netflix has not done that. In fact, it hasn't really even revamped Hollywood. Take that idea of dealing a death blow to HBO, or, as chief content officer Ted Sarandos told GQ, "to become HBO faster than HBO can become us." Netflix may have edged ahead of HBO in U.S. subscribers, but HBO makes some $1.7 billion in annual profits for parent company Time Warner, according to the media analyst SNL Kagan, versus the comparatively paltry $100 million Netflix is on track to report for 2013. The largely acclaimed shows that Netflix has licensed may have helped it add almost 4 million subs through the first nine months of 2013, but HBO owns the majority of its shows, giving it a long stream of ancillary revenue (selling rights to other networks, merchandise, and so forth) that Netflix can only dream of.
Netflix has certainly benefited from Hollywood's paranoid vision of it as the red menace from that barbaric region to the north known as Silicon Valley. As one industry observer recently said, "Nobody knows what the hell is going on inside Netflix. And that's the way Netflix likes it." Being seen as an outside force armed with superior technology gives it a cachet that can't be matched by mere content providers. It also gives investors, who are partial to tech companies, a tale that might justify the potential they've now priced into the stock. But the real story of Netflix's Hollywood success is simultaneously less understood, simpler, and more instructive than the data-driven disrupter's tale that the company likes to peddle. (Netflix execs declined to be interviewed for this article, and encouraged talent, producers, and partners to stay mum.) Like all great Hollywood stories, it's got a final twist that brings it all together: If you want to disrupt an industry, you've ultimately got to beat it at its own game.

Continua a leggere e scopri i 4 punti vincenti di Netflix QUI

"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!