venerdì 14 novembre 2014

NEWS/L'EDICOLA DI LOU - Tv americana al collasso? "Variety" lo aveva predettto un mesetto fa (con tanto di cover): troppi titoli (145 serie in prima serata, +14% rispetto all'anno scorso) e previsioni bulimiche (350 progetti seriali ordinati fino all'estate!). Domanda: quanti di questi spaccheranno e quanti scoppieranno?  

Articolo di Cynthia Littleton per "Variety"

Even the most devoted couch potatoes may be overwhelmed by the deluge of new and returning series premieres that will unspool over the next year. And they’re not the only ones.
Industry executives are quietly starting to use the B-word — “bubble” — in surveying the landscape of scripted skeins across the dozens of broadcast, cable and digital outlets that are serving up original programming. That growth has been fueled by the windfall of licensing revenue from expanding international sales and digital platforms that barely existed a decade ago.
But after a more than 1,000% spike since 1999 in the number of scripted series produced for just pay and basic cable, there are growing concerns, even among those in the production world, about the unwelcome consequences of so much capital chasing talent, viewers and, most important, off-network profits.
At a time when every aspect of the traditional television business is in the throes of transition, some see big losses and a decrease in volume as inevitable, and soon. According to Variety research, broadcast and cable networks this year have aired 145 scripted original primetime series and miniseries, a 14% increase over the same frame in 2013. At least 350 new and returning scripted series have been ordered for the 2014-15 television cycle (including summer 2015), and that’s not including digital outlets. The long-tail theory may not be long enough to support this exponential boom in high-end production.
“Everybody is enjoying Netflix’s emergence as a buyer of all this scripted content, but what we worry about here is supply and demand,” said Michael Nathanson, a veteran media biz analyst and partner in the research firm MoffettNathanson. “The supply of dramas is increasing to the point where in the coming years, there are just going to be too many shows.”
FX Networks chief John Landgraf sees the expansion as a symptom of the audience fragmentation that’s been a fact of life for programmers for decades. He noted the number of scripted series on broadcast TV is actually down about 15% from its peak in the early 2000s — with lower-cost, unscripted shows making up the difference — and he sees a similar scenario on the horizon for pay and basic cable.
“The question is when does the fragmentation become so great that the ability to sustain and nurture these programs from a financial perspective become compromised,” Landgraf said. “We’re probably getting real close to the end of the growth curve for premium and basic cable right now.”
Industry veterans said that the biggest issues resulting from the gusher of production include:
» A significant spike in the cost of securing top talent and sought-after source material, from hot scripts to life rights to existing books and movies.
» Rising prices for crews, equipment, stages and locations, among other necessary ingredients for production.
» Higher demand for promotional time coupled with declining ratings for linear channels, making marketing campaigns more costly and less effective.
» Top cable nets cutting back on off-network buys because of increased commitments to original programming.
» Netflix gaining outsized influence due to its growing clout as an off-net buyer.
The skyrocketing number of scripted series flooding the airwaves has, of course, coincided with an equally dramatic shift in the way people that watch TV. Time-shifted viewing patterns are becoming the norm, and that in turn is having a huge impact on how producers make money on content, from the first exhibition window to long-term library value.
The world’s biggest media congloms are more invested in television programming than ever before, because cable networks and content-licensing are the main profit drivers for Disney, 21st Century Fox, Comcast, Time Warner and CBS Corp. But even the biggest players are facing the how-much-is-too-much question, and adjusting to new financial realities.
“We’re in an evolving ecosystem,” said NBCUniversal Cable Entertainment Studio president and chief content officer Jeff Wachtel. “There will be some version of a winnowing where the business says, ‘Let the strong survive.’ But it’s also about recalibrating our expectations as viewing patterns shift.”

The focus on content production is reflected by recent exec moves at the majors, from Wachtel’s appointment last year to rev up NBCUniversal’s cable studio to feed its inhouse channels as well as non-NBCU outlets, to the restructuring in July that put Fox Broadcasting’s programming operations under the guidance of 20th Century Fox TV studio chiefs Dana Walden and Gary Newman.
Elsewhere on the Fox lot, FX Networks has stepped up activity at FX Prods. now that it has to feed two general-entertainment nets (FX and FXX). Having greater control over more of its programming gives it the ability to profit from content licensing well beyond FX Networks’ walls, and lets the cabler afford more shows.
“If your business strategy is predicated on having hits and hits alone, it’s going to be very fragile,” Landgraf said. “We started FX Prods. because we couldn’t figure out how to pay for as many shows as we wanted. We chose to build a (financial) plan based on what was achievable for us through content ownership.”
The glut of programming has helped drive consumers’ embrace of the time-shifting options that are challenging traditional ad-supported network business models. Sunday night, even in the summer months, is a war zone of competing prestige series that taxes the DVR storage ability in many homes.
With every new show, the dependence on time-shifted viewing for ratings points grows for all but the biggest hits. As more viewers embrace binge-viewing — waiting to watch multiple episodes in one sitting — measurement and monetization questions become even more muddied.
“It’s as if you had a retail store that used to be open in one location from 9 to 5, and now there’s one on every corner that is open 24 hours a day,” said CBS Corp. chief research officer David Poltrack. “With greater access to all programming, it’s no surprise that it’s the hit network shows that gain the most. With so much time-shifted viewing going to the (broadcast) networks, the question for cable becomes, at what point does the return on investment in developing and launching new programming become challenged?”
To some, the current moment in TV echoes the era of irrational exuberance on Wall Street. Venture capital and private equity have been flowing into TV in the form of independent production entities such as Media Rights Capital, which made its mark with Net­flix’s “House of Cards”; and Georgeville, with backing from India’s Reliance.
“It sometimes feels like the Internet bubble in the early 2000s. You had a jillion startups and lots of money pouring in,” said a veteran production exec. “The bubble burst because there was massive failure. Some version of that will occur here. Some of the smaller outlets taking big shots will not be able to keep investing at this level.”
Call it the AMC effect. The dawn of “Mad Men” in 2007 quickly transformed the cabler from a second-tier movie channel to an Emmy-winning contender that saw its market value more than triple because of its targeted investment in original scripted series.
The same strategy had worked for FX with “The Shield” a few years earlier, but AMC’s metamorphosis was more surprising because of its relative lack of resources compared with FX and what was then News Corp.
Today, channels across the listings grid — from CMT and E! to WGN America and We TV — are looking for that same bounce by fielding what they hope will become signature series.
Netflix’s bold entry into the same territory has been nothing short of a stimulus for the creative community. The netcaster’s big upfront commitments, starting with its two-season order for “House of Cards” in 2012, and HBO-sized budgets, have upped the ante for all top-tier networks. Hulu and Amazon Prime to date haven’t been as free-spending on originals, but they are still factors in the marketplace, as is Yahoo.
There’s so much competition now that the broadcast networks, which used to be the first stop for creative talent, struggle during pilot season to find seasoned writers, directors and producers who aren’t tied up on existing shows.
The hunt for talent has driven up prices, particularly for experienced showrunners and established actors. Showrunners who were making $30,000-$35,000 an episode after the cutbacks that followed the 2007 writers strike and 2009 economic crisis are in many cases now able to command $50,000-$60,000 per episode, along with rich overall deals. Below-the-line costs and equipment rentals have seen a similar spike, especially in states that have become production magnets because of tax incentives: New York, Louisiana, North Carolina, New Mexico and Georgia.
Execs note that in the past two years, the traditional discount in salaries for creative talent working on cable shows vs. broadcast has essentially disappeared. “If you want anything good, you have to pay for it,” said one seasoned exec. “The talent agency community has been very effective at equalizing rates among media.”
The rising costs of content production are all the more sensitive considering the surplus of shows has likely contributed to a thinning of margins from TV advertising revenue. The more the audience fragments, the more linear ratings erode. Stemming this shortfall has meant an increasing dependence on after-market licensing for profitability, which in turn has given considerable leverage to deep-pocketed Netflix as the rest of the syndication marketplace shrinks.
Studios traditionally made their money from syndication sales rather than the firstrun license fee, but SVOD and international sales have become the linchpin. With the right properties, execs boast that shows can now be in the black from day one, thanks to a patchwork quilt of premium network license fees, worldwide and SVOD sales.
Netflix demonstrated the industry’s new economics in a pact that jolted the programming marketplace earlier this month, locking up rights to Warner Bros. TV’s Fox drama “Gotham” for at least $1.75 million per episode. The deal was significant for two reasons: It came weeks before the show’s network premiere, and it included all of Netflix’s worldwide territories.
Such all-encompassing pacts for rights in all markets served by an SVOD platform are becoming the norm, industry vets say — and these deals chip away at the studio’s ability to sell a show to the highest bidder in every overseas market.
Netflix has used its market clout to deter content owners from making all current-season episodes of a show available via ad-supported streaming or VOD platforms by letting it be known that it will pay less for shows that have had such broad exposure. Fox will be able to offer only five episodes of “Gotham” at a time via on-demand platforms, which is a standard template for Warner Bros. and other studios to maximize a show’s after-market value. The restriction has led to tensions between studios and networks over so-called stacking rights as networks look to enhance their own VOD offerings.
“The ‘Gotham’ SVOD announcement made us once again stop and think about Netflix’s ever-increasing hegemony, and the proper balance between the now and the future for global media content and distribution companies,” Rich Greenfield, media analyst for BTIG Research, wrote in a Sept. 4 blog post. “We have continually questioned media companies’ strategy in ‘taking the check’ enabling a new video powerhouse that could ultimately undo the current video ecosystem vs. building their own direct-to-consumer business.”
What also worries observers like Nathanson is how much shows that don’t have the sizzle of a “Gotham” might lose amid the flood of product. In the fourth quarter of 2013, AMC Networks took a bigger-than-expected writedown of $52 million on two canceled shows: “Low Winter Sun” and “The Killing” (the latter was resurrected for a final-season run on Netflix this year). Between production costs and marketing expenditures, cable programming is becoming as pricey as broadcast fare to produce.
“People like to say ‘content is king,’ ” Nathanson said. “I say ‘great content is king.’ And there’s just not that much great content out there.”
Perhaps the biggest challenge facing TV’s creative community overall is the need to adapt to new ways of doing business and new definitions of success. In an on-demand environment, networks need to think as much about how they serve as curators of content as they do about investing in “watch tonight!” ballyhoo; and studios need to find better means of measuring the “stickiness” of shows beyond Nielsen ratings.
“Our business is evolving from a pure home run business to one that focuses on what succeeds on (different) platforms,” said NBCU’s Wachtel.
Landgraf echoed that sentiment, and noted that the staggering level of engagement viewers now have with favorite programs is a big reason why networks small and large want a bigger menu of original series.
“I see this cresting wave and all of these challenges, and yet people’s love of the content has never been greater,” he said. “I see various forces driving the total number of series probably beyond what could be sustained in the long run. But I don’t see a cliff.”

giovedì 13 novembre 2014

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

"The Knick", la sofferenza nei cuori di chi guarda
"Alla lunga teoria dei medical drama, uno dei generi più serializzati della tv americana, si aggiunge un nuovo, sconvolgente capitolo: «The Knick» (Sky Atlantic, martedì, ore 21.10). New York City, 1900, Knickerbocker Hospital, noto semplicemente come «The Knick». A seguito di un’operazione non riuscita, il primario J.M. Christiansen si uccide. Ad assumere la guida del reparto di chirurgia viene chiamato il dottor John Thackery (un bravissimo Clive Owen), geniale nella sua materia ma inesorabilmente afflitto da dipendenza da cocaina. I due scenari della serie sono così fatalmente delineati nella doppia personalità del protagonista. Da una parte, la sala operatoria dove gli interventi vengono compiuti tra rivoli di sangue, addomi lacerati, dissezioni, stomaci arati in un tripudio pulp di setticemie, infezioni, morti atroci. E ovviamente sono i più poveri e gli immigrati a far la parte delle cavie. Dall’altra la vita personale di Thackery (personaggio ispirato al chirurgo William Stewart Halsted), segnata da un’accorta commistione di satanico e di celeste. In mezzo, i pesanti segni del tempo: il razzismo che mette ancora ai margini i medici di colore, la pratica chirurgica nella fase aurorale (ci sono momenti in cui tornano alla mente le livide atmosfere del «Dottor Semmelweis», la tesi di laurea L.F. Céline dedicata al debellatore della febbre puerperale), gli ispettori sanitari che fanno affari illeciti e i portantini corrotti che si fanno pagare sotto banco per accaparrarsi i malati. A differenza di altre serie, qui l’apporto del regista è fondamentale. È di Steven Soderbergh, che dirige tutti gli episodi, il realismo horror che caratterizza ogni scena: luci fioche, ambientazione perfetta ma quasi cianotica, recitazione umorale e notturna a sottolineare i prodigi e gli inganni della medicina. Ma le rappresentazioni troppo energiche della sofferenza induriscono i cuori di chi guarda? Vale anche per la tv?". (Aldo Grasso, 13.11.2014)

mercoledì 12 novembre 2014

GOSSIP - Hunnam in sella su "Men's Health" rivela: "la mia vita dopo 'Sons of Anarchy'..."

Charlie Hunnam of "Sons of Anarchy" looks mighty fine as he takes the cover of the December 2014 issue of Men’s Health UK!
“My favorite days are at home,” the 34-year-old English actor told ET behind the scenes. “Spend some time in the garden, cook a couple of nice meals, watch a couple of movies. I’m pretty boring”. “There’s some small independent stuff, and then I have two films I’m developing as a producer,” Charlie continued on about life after Sons of Anarchy. “They’re kind of really exciting to be exploring a little bit behind the camera, to try to keep working and doing work that I’m proud of.”
For more from Charlie, visit!
Full interview appears in the December issue of Men’s Health, on sale now. Also available as a digital edition.

martedì 11 novembre 2014

NEWS - Clamoroso al Cibali! Aaron Sorkin shock: "'The Newsroom' potrebbe essere la mia ultima serie tv". Lutto al braccio e bandiere a mezz'asta!

News tratta da "Variety"
Aaron Sorkin fans should savor the third and final season of “The Newsroom,” which starts Sunday, as it may be his last television project.
“I know the whole ‘Never say never’ stuff,” Sorkin told the Los Angeles Times in an article published Saturday. “But I’m pretty certain I’m about to write my last three episodes of television.”
Sorkin made the declaration in May as he was writing the final season of the HBO drama, but hadn’t changed his mind when the Times checked back in with him in late October.
“All these months later, I still don’t see another series in my near future,” Sorkin said. “But, again, you never know. Maybe I’ll get another idea.”
While Sorkin is best known in television for “The West Wing,” he also created “Sports Night” and “Studio 60 on the Sunset Strip.” While Sorkin has had a bumpy ride in television, he made it clear that it had not soured his view on the business.
“And I want to be really clear about this. Really clear about this,” he said. “I’ve loved every minute I’ve spent in television. And I’ve had much more failure, as traditionally measured, than success in television. I’ve done four shows, and only one of them was ‘The West Wing.'”
The 53-year-old, who won an Oscar for the screenplay for “The Social Network” and penned the script for “Moneyball,” is currently working on an untitled Steve Jobs biopic that is eyeing Michael Fassbender to star, having recently lost Christian Bale.
Season three of “The Newsroom” premieres Sunday on HBO.
NEWS - Dica 1900! Il nonno di "Dr. House" è realmente esistito e ha i baffi di Clive Owen: da stasera "The Knick" by Soderbergh su Sky Atlantic 
Arriva in prima tv assoluta su Sky Atlantic HD la serie tv HBO The Knick di Steven Soderbergh interpretata da Clive Owen, in onda tutti i martedì dall’11 novembre alle 21.10 con due episodi a sera (disponibili su Sky Online, Sky Go e Sky On Demand). 
Stasera il primo episodio sarà visibile dalle 21.10 eccezionalmente anche in streaming  sul sito, e resterà disponibile online per una settimana.
The Knick” è il nuovo lavoro del grande cineasta statunitense premio Oscar per Traffic e Palma d’Oro a Cannes per Sesso, bugie e videotape, che ha diretto tutti e 10 gli episodi della serie scritti da Jack Amiel e Michael Begler, sceneggiatori di Quando meno te lo aspetti e Qualcosa di straordinario.
Attualmente in programmazione sull’emittente via cavo statunitense Cinemax, “The Knick” è un medical drama ambientato nella New York di inizio ‘900, all’interno dell’ospedale Knickerbocker, capitanato dal giovane e brillante chirurgo John Thackery (Clive Owen), pioniere di nuovi metodi nel campo della chirurgia in un’epoca caratterizzata da elevati tassi di mortalità e assenza di antibiotici.  Ossessionato dal suo lavoro e dalle ricerche sul corpo umano, John Thackery  - il cui personaggio è ispirato alla vera vita del celebre chirurgo americano William Halstead    nasconde però una pericolosa dipendenza dalla cocaina e dall’oppio.
Dopo che il Dr. J.M. Christiansen (Matt Frewer), primario dell’ospedale e mentore di John, si toglie la vita, il consiglio di amministrazione decide di affidare proprio al Dr. Thackery la guida dell’ospedale imponendogli come vice il promettente dottore afroamericano Algernon Edwards (André Holland) fortemente voluto da Cornelia Robertson (Juliet Rylance), figlia di uno dei benefattori del Knick e a capo dei servizi sociali della struttura. L’arrivo di un collega di colore in un team di medici bianchi costituisce una vera e propria rivoluzione per l’epoca, e  mette duramente alla prova il Dr Edwards, che sebbene sia laureato ad Harvard, fatica a farsi rispettare nell’ambiente.
Tra i personaggi più importanti, il team medico composto dal giovane Dr. Bertie Chickering Jr. (Michael Angarano) e dal prediletto del Dr. Thackery, il Dr. Everett Gallinger (Eric Johnson), la giovane infermiera Lucy Elkins (Eve Hewson), lo scontroso autista d’ambulanza Tom Cleary (Chris Sullivan), il corrotto amministratore Herman Barrow (Jeremy Bobb) e Suor Harriet (Cara Seymour) che gestisce l’orfanatrofio dell’ospedale.
A metà strada tra il medical e il period drama, in the “The Knick  Soderbergh traccia un affresco “moderno” della New York inizio secolo, creando un’opera coinvolgente che - secondo la critica americana - ridefinisce le potenzialità del dramma storico.
Un’epoca attraversata da formidabili spinte all’innovazione, al progresso scientifico e tecnologico, ma che porta con sé anche profondi conflitti sociali e razziali. Affianco alle prodigiose scoperte in campo medico, le vicende che ruotano interno all’ospedale Knickerbocker, frequentato prevalentemente da poveri e immigrati che diventano senza saperlo cavie degli esperimenti del Dr. Thackery, fanno emergere anche un ambiente profondamente corrotto, dove gli ispettori sanitari fanno affari illeciti e i portantini prendono denaro sotto banco per accaparrarsi i malati.
La scrupolosa ricostruzione degli ambienti e dei costumi dell’epoca (a cura rispettivamente di Howard Cummings e di Ellen Mirojnick, vincitori entrambi dell’ Emmy per Behind the Candelabra), lo stile asciutto e personale di Soderbergh, l’attenzione quasi maniacale ai dettagli (come sottolinea l’uso della telecamera a spalla per le minuziose riprese dei dettagli anatomici e delle operazioni chirurgiche) – accompagnati dal minimalismo della musica elettronica di Cliff Martinez (compositore in moltissime colonne sonore dei film di Soderbergh), restituiscono perfettamente le luci e le ombre di questo periodo storico di cui il personaggio interpreto da Clive Owen ne diventa il simbolo. Un medico rivoluzionario, un uomo ossessionato dal progresso ma anche fragile vittima del suo stesso genio.
Con “The Knick” Soderbergh torna a lavorare per il piccolo schermo dopo l’Emmy ottenuto nel 2013 per film tv targato HBO Behind the Candelabra – Dietro i candelabri e va ad infoltire la lunga lista di cineasti che stanno portando uno nuovo sguardo autoriale alla serialità televisiva. “La televisione – dichiara Soderbergh -   riesce a fare quello che il cinema faceva una volta. La tv sta crescendo e i criteri che decretano il successo di una serie sono più ampi. E’ per questo che molti registi cinematografici stanno gravitando verso questo mondo oltre che per la varietà delle storie e la libertà che il mezzo consente. Quando qualcuno mi sottopone un’idea – conclude Soderbergh – oggi sono molto più incline a pensarlo come prodotto televisivo piuttosto che cinematografico”.  
Ancor prima del suo debutto negli Stati Uniti, la serie è già stata rinnovata per una seconda stagione, composta come la prima da dieci episodi. In Italia

lunedì 10 novembre 2014

SGUARDO FETISH - Clamoroso al Cibali! "The Big Bang Theory" diventerà di Lego! Anche "Doctor Who" tra i progetti da rendere di "mattoncini"

News tratta da
Over the years, Lego has released sets built around all sorts of beloved geek properties, including Star Wars, Lord of the Rings, Harry Potter, and the Marvel and DC universes. But their latest may prove a bit more divisive.
Lego has just announced they’ll release a set based on The Big Bang Theory, a CBS sitcom centered around six nerdy scientists and their one non-nerdy, non-scientist friend. Well, at least Leonard and Sheldon are bound to be happy, or would be if they were real. Hit the jump for more on the Big Bang Theory Lego set.
The Big Bang Theory Lego set was originally submitted to the Lego Ideas program by Alatariel and GlenBricker. After the project got over 10,000 votes, Lego reviewed the concept and have now announced the Big Bang Theory set will become a reality. Alatariel and GlenBricker’s original concept featured minifig versions of all seven main characters, and a Lego recreation of the familiar living room set from the TV show, but final details for the official set are still being worked out.
he Big Bang Theory Lego set definitely makes sense on paper. The CBS sitcom remains incredibly popular in its eighth season, so much so it’s already been renewed through its tenth season. It’s the biggest comedy on network television in terms of viewership and ratings, as well as a perennial Emmy nominee. In other words, the show has a lot of fans, many of whom would probably be very happy to shell out for an officially licensed Lego set.

However, the series also has a lot of detractors. People throw around phrases like “nerd blackface” and “nerd minstrel show” when talking about The Big Bang Theory. While those specific phrases are intensely problematic, the general sentiment isn’t hard to understand. Especially in the beginning, the show revolved around tired stereotypes of awkward geek guys.
I’d argue that it’s grown into much more since then. The male characters have evolved past stereotypes, and the addition of two more female leads a few seasons back brought some welcome new perspectives. (Had Lego released a Big Bang Theory set a few years ago they might not have needed to go out of their way to create those female scientist minifigs.) But even now, the show sometimes seems unsure whether it’s laughing at geeks or with them.
Where was I going with this? Oh, right: The Big Bang Theory Lego set is bound to get some grumbling from people who hate that Lego is legitimizing The Big Bang Theory‘s unflattering portrayal of geek culture. But as with any annoying but not actively harmful / offensive product that hits the market, the only reasonable thing anyone can really do about it is simply not buy it. And keep your fingers crossed that one of the two Doctor Who sets currently in evaluation makes the cut.
Here’s the official Lego announcement. Find it funny that the envelopes are very dramatically opened to reveal crappy handwriting. Did no one think to print out the results? You’d think the Lego team would be a more detail-oriented bunch.

domenica 9 novembre 2014

GOSSIP - Buon Natalie a tutti! La Dormer di "GOT" conquista la cover di "Flare" di dicembre e svela: "ho successo perchè ho la bitchy resting face"!
Game of Thrones Natalie Dormer looks pretty damn sexy and in charge on the cover of the December issue of Flare. In the glam cover photo, Dormer is kneeling down in a blue pantsuit with a light blue blanket wrapped around her sides. Her short, blond hair looks edgy and black, with pointed shoes to complete the look. During her interview with the magazine, the Hunger Games: Mockinjay—Part 1 actress admits that she is in no hurry to get married. She says, "It's such a thing, right? So many little girls dream about their wedding day, but with actresses, sometimes it's the inverse, because we get to be the centre of attention, looked up and down, dressed up for premieres all the time. The pull isn't quite as great." On top of that, Dormer also explains why she thinks she's always cast as the femme fatale. She says that these strong female characters give her a chance to be three-dimensional. Not to mention that she claims she she has a "bitchy resting face" to go along with her characters.
From Cressida to Margaery Tyrell, this actress sure has perfected the role of strong female characters.
In other pics for the magazine, Dormer sports a low-cut gray vest with gelled hair and an opened, button down coat.
The actress says her love for acting stems from her daydreaming nature. We can't wait to see the new Hunger Games film with Dormer doing her bad thing!

"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!