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sabato 4 giugno 2016

GOSSIP -  Tendenza transgender. Anche Maisie Williams di "GOT" come Shay Mitchell di "PLL": "ho un fidanzato adesso, ma mi innamoro delle personalità più che del sesso delle persone"... 
Maisie Williams leaps up into the air in these fun inside images from her May 2016 cover on Nylon magazine. The 18-year-old Game of Thrones actress covers the Young Hollywood issue, and opens up about her fears about Hollywood, her boyfriend and more. Check it:
On her fears around Hollywood: “Honestly, this industry frightens me—it scares me seeing people who are evil…No, not evil. But seeing people change. Seeing what this industry has done to me, and then having to pull it? all back again. I am very happy with who I am, and people always say, ‘Don’t change,’ but no one ever intentionally changes. It is frightening.”
On not labeling her sexuality: “I’ve never sat up and thought about my sexuality for hours. It’s like what Shailene Woodley said: ‘I fall in love with personalities and not people or genders.’ I have no problem with anyone who would want to be labeled, but I also think that it is no one’s business.”
On her boyfriend: “I have a boyfriend. I met him at school. He’s really sweet…I feel like I’m in love right now, but I don’t know what I am going to feel like down the line. That’s why I am kind of closed-minded about marriage—I don’t even know if I want to get married”.
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giovedì 2 giugno 2016

GOSSIP - Lexa a puntino!  Alycia Debnam Carey su "Vogue" (Australia) fa il salto della cangura: "E pensare che per 'The 100' avevo firmato per solo 6 episodi...Non avevo aspettative su Lexa" 

On how she memorises a script…
“You don’t really learn them as a full script. Usually with something like The 100, because you’re working so much and everyday and they’ll change the drafts quite quickly, we’ll go through maybe like 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different. So your best bet is to learn it Wednesday night, however that’s when the process as an actor comes in to play, by doing the work beforehand, so if you’ve got the weekend off you go through the script and cut it out, dissect out, and figure out what you’re actually really doing, so that when it comes to learning it’s easier. My short-term memory has gotten so much better but it means I forget things a lot quicker!”
On how it compares to working on a film…
“Film is a lot different. You have the whole script in its entirety and you have a couple of weeks to learn different scenes, really go over them and rehearse them so when you get to them they’re more fleshed out. But TV shows are harder.”
On the long hours…
“They are very, very very long. It’s not always the working itself but the travel time and getting ready. Once you add all that on it’s a lot longer but then if you go over time by half an hour or an hour, you can find yourself having worked for 15 hours. A 12 hour day is standard, but once it adds up you’re exhausted.”
On differences between working on The 100 versus Fear the Walking Dead
The Hundred gave me this platform I never expected. I didn’t expect the character to become anything. I was originally only signed up to do six episodes and then it just sort of become this whole story and journey which was an amazing character, a great journey so that has been incredible and I didn’t expect anything out of it. Fear the Walking Dead has been amazing though because I’ve been there from the beginning and that’s a whole different sense of familiarity and family and connection with people.
On whether she watches any of her television shows…
“No, never! I’ve always been on a plane. There was actually one time where I was doing bits and pieces for both shows so I was flying back from LA to Vancouver every where. The 100 is in Vancouver.”
On whether or not she knows what’s happening to her characters…
“You just don’t sometimes!”
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martedì 31 maggio 2016

NEWS - Ecco perchè "Game of Thrones" è la serie tv di cui parlano tutti. Molto più del noioso, seppur popolare, "The Walking Dead", dove non succede mai niente...

Articolo di Josh Kurp su "Uproxx"
“So, what do you do for a living?”.
It’s a question you get on first dates, during lunch breaks, at the doctor’s office. I heard it earlier this week, while waiting in line for a drink. “I create #content” was too sarcastic of an answer, so I went with, “I write about television.” The response, especially lately, usually goes one of two ways: “Tell me a show I should be watching” (my current answer is You’re the Worst or BoJack Horseman, because I love making people laugh, then depressing the hell out of them), or, “I’ve been watching Game of Thrones, and…” It’s never “I’m watching The Big Bang Theory, and…” (I’d probably walk away), or “I’m watching House of Cards, and…” It’s almost always Game of Thrones, because Game of Thrones is the only show everyone watches.
Okay, that’s not literally true — “The Door” was “only” seen by 7.89 million people, although that’s the highest non-premiere or –finale episode in the show’s history — but it sure seems like it. Look at the way the Hodor reveal took over Twitter, and Facebook, and the whole internet. It even permeated into scary real life. I got the “What do you do for a living?” question from a bartender, who after I gave my answer, went down the “show I should be watching” route. I replied, and, completely unprompted, he asked me, “Do you watch Game of Thrones?” I do. “I don’t, not since season one. I don’t have the time. But I heard something big happened last night.” We then spent the next five minutes talking about a series he hadn’t seen in five years. (Don’t worry, there was no one waiting for a drink behind me.) There is no other show on right now that dominates small talk like Game of Thrones.
Back in the 1990s, this wasn’t the case. Friends, Seinfeld, E.R. — these were the water cooler shows, the ones that Gary from marketing and Linda from shipping and receiving, and a staggering 25 million other people, would come into the office the next day quoting. (It was even more dramatic in the 1970s. All in the Family averaged 34 million viewers in 1971-72 — there were only 207 million people living in the U.S.) Eventually, these conversations moved online, with some exceptions. Lost was a dream come true for your cubicle mate, and a nightmare for you, who had to listen to her insane theories. Breaking Bad was a critical darling that turned into a national sensation. Mad Men and The Sopranos inspired cocktail parties and raucous Italian dinners, thrown by people who misinterpreted Mad Men and The Sopranos. But all those shows are now gone, as is the idea of a “water cooler show.”
Here’s Boardwalk Empire‘s Terence Winter, speaking to the New York Times:
It always blows my mind when you think of the water cooler moments of our childhood, where everybody knows the same reference, say, in All In the Family or I Love Lucy and The Honeymooners. Literally, you can count on every adult of that era understanding what, “Pow, right in the kisser,” means. Now, because of the niche quality viewing, you’ve got, at least on cable shows, a much smaller amount of people who don’t have that. It’s going to be interesting to see 40 years from now if there’s going to be little groups of people who know references to certain shows; whereas before, everyone knew the same songs, the same jokes, the same routines.
The one exception: Game of Thrones. It commands next-day conversations, it gives people who otherwise have nothing in common something to dissect, and it’s just about the only show most people watch the night it airs (largely for fear of spoilers). That’s an impressive feat, considering DVRs, streaming services, and DVDs and Blu-rays have effectively destroyed the communal experience of watching “live” TV. I don’t worry about having 10 episodes of New Girl on my DVR, because I know people have 12 episodes on theirs. Time slots barely matter anymore. This is not a bad thing. Do you want to go back to a time when you had to leave a party early to catch an all-new Friends? But it’s still nice that one “must get home” show exists.

Why Game of Thrones, though, and not, say, The Walking Dead? AMC’s zombie series is the biggest thing on television. It surely has to count. Well, yes and no. It’s extremely popular, but, based on conversations I’ve had with friends and strangers alike, it seems like a lot of people, including Alan Sepinwall, have quit The Walking Dead. And that was before the Negan cliffhanger. It’s too slow, it’s too boring, nothing ever happens. These are all common complaints, most of which I disagree with. But the reason The Walking Dead doesn’t count as a small talk show is because there’s really nothing to talk about. The fun of watching Game of Thrones is guessing where the show is going, wondering who’s going to end up on the Iron Throne, or debating whether the writers “should have done that.” (Okay, the extracurricular controversies aren’t exactly “fun,” but they do provide fodder for think pieces and podcast arguments.) It’s tougher to come up with Walking Dead theories, outside of, “I think [blank] was killed by Negan. Here’s why.” The whole point of the series is that there is no point — the characters aren’t looking for a cure; they’re just going to keep killing walkers until AMC says no more.
As for other potential small talk shows:
House of Cards, Orange Is the New Black, and Daredevil, while occasionally thrilling, are all on Netflix, meaning you can watch them at your pace. It could take months. Which reminds me, I need to finish Daredevil season two…
Mr. Robot, The Americans, Rectify, and Fargo are four of the best shows on television. They’re also only watched by the small number of people who regularly tweet about how they’re four of the best shows on television.
Better Call Saul is set in the same universe as Breaking Bad, but it doesn’t have the same sense of urgency. Plus, the tone’s more comedic, and unlike Walter White, who fans were torn on whether he should live or die in the finale, we know Saul Goodman, er, Jimmy McGill makes it.
True Detective was a “small talk” show in season one. It was a disaster in season two. (Homeland also lost a lot of its cache since season one.)
Fear the Walking Dead? Yeah, no.
Game of Thrones is really the only show that fits every criteria — it’s like No One/Arya’s list, when (not if, but when) she kills Cersei, Gregor, and Walder Frey. Is it popular? Check. Do viewers watch it live? Check. Do people have loud opinions about it? Check. Does it beg for theories? Check. Is there outside text for fans to annoyingly say, “Well, in the books…”? Check. Is it immediately quotable, so that the guy who still occasionally breaks out a “my wife” can update his material with “I drink, and I know things”? Check.
We’re more engaged with television than ever, but that engagement takes place on social media, or in comment sections, not in real life. There’s simply too much TV (#TooMuchTV) for everyone to keep up with everything worth keeping up on. But for 10 weeks of the year, on Sunday nights at 9 p.m. EST, millions of TVs and laptops are tuned to HBO or HBO Go. Game of Thrones is a show obsessed with death, but it’s keeping TV small talk alive.

lunedì 30 maggio 2016

NEWS - Rivoluzione, compagni! Da luglio al via al rilevamento Auditel anche su tablet, smartphone, pc e visioni in differita. Il campione si allarga a oltre 15 mila famiglie dopo l'Auditel-gate di ottobre. Le categorie di pubblico indicizzate hanno però nomi da film porno: "donne doppio ruolo", "signore aperte", "uomini solidi", "resistenti", "sognanti", "donne insoddisfatte", "ragazzi evolutivi". E poi il non plus ultra: l'"anziano da osteria"!

Articolo tratto da "Il Messaggero"
Il superpanel è pronto a partire: da luglio Auditel comincerà a misurare gli ascolti con un campione allargato a 15 mila e 700 famiglie dotate del people meter, il congegno di nuova generazione che rileva gli ascolti globali, vale a dire tutte le modalità di fruizione del prodotto televisivo, tv tradizionale, satellitare, digitale, pc, smartphone, tablet più il time shifted viewing, cioè la visione dei programmi in differita (vale a dire registrati, per esempio con My Sky) che secondo indagini recenti è un sistema utilizzato da circa il 36 per cento degli italiani (in Europa siamo al 50 per cento). Come dire: la stagione che si sta concludendo sarà l' ultima misurata in modo classico. Una riposta necessaria all'evoluzione dell' intrattenimento casalingo con l' entrata in gioco di nuove piattaforme (basta pensare a Netflix e simili) e la crescente atomizzazione delle modalità di visione. Come cambieranno i numeri? Difficile stabilirlo: la Nielsen, che per conto di Auditel è la società che misura i comportamenti del nostro pubblico, si troverà a dover elaborare una quantità di dati assai complessa.
A cominciare da quello più mobile dei tablet e degli smartphone che, assieme al pc, secondo uno studio europeo rappresentano quasi il 3 per cento, cioè una fetta già corposa dell'utenza. Insomma, il rinnovamento è obbligato dal tumultuoso avvicendarsi di novità nel settore a cui si sono aggiunte le forti polemiche nate ad ottobre con la pubblicazione erronea dei componenti del panel (che portò anche a una sospensione della pubblicazione degli ascolti). Sono passati trent' anni da quando Auditel entrò in funzione, decretando in pratica l' esistenza del duopolio Rai-Mediaset. Era il dicembre dell 86 e il primo campione era composto da appena 600 famiglie. Due anni dopo erano 2420, nel 97 diventarono 5000. Ma, in questi ultimi dieci anni, l'evoluzione dell' offerta è stata tale che anche i meno propensi (leggi Mediaset) si sono convinti ad accettare la necessità di fotografare il radicale cambiamento che c'è stato e che, in qualche modo, è già contenuto anche nei rilevamenti dell' attuale sistema. Lo dicono i numeri complessivi che misurano l' ascolto quotidiano: evidenziano da una parte una frammentazione crescente dell'ascolto e dall'altra variazioni sensibili della platea televisiva complessiva: così, da gennaio di quest' anno ad aprile il primetime ha perso quasi 2 milioni di spettatori, scendendo da 27 milioni e 635 mila spettatori a 25 milioni e 989 mila, mentre il dato dell'intera giornata ha mostrato una flessione di 1,3 milioni. I nuovi rilevamenti cominceranno ad affluire in estate, ma prima di diventare pubblici saranno sottoposti a una serie di verifiche. Per la verità i test sono già in corso, con il campione sottoposto al viewing behaviour, al controllo del comportamento e diviso, a uso degli inserzionisti pubblicitari televisivi (che sono poi i destinatari fondamentali dell'indagine) in profili psicografici divisi secondo queste curiose categorie: sognanti, ragazzi evolutivi, pre-elite progettuale, donne doppio ruolo, elite femminile, elite maschile, protagonisti, lavoratore d'assalto, lavoro e svago, frizzanti, solide, resistenti, signore aperte, maschio preculturale, signore equilibrato, anziano da osteria, insoddisfatte, pacate, non classificabile.

Il nuovo Auditel, formato dai diecimila nuovi utenti che si sommeranno agli esistenti 5700 (che sono stati già completamente sostituiti, dopo l'incidente di ottobre), sarà monitorato da quasi 29 mila meter di ultima generazione, i GTAM lite, e sarà, dunque, funzionante dall' avvio della prossima stagione. Per la nuova organizzazione le emittenti pagheranno ad Auditel circa due milioni in più di euro (i 18 milioni del 2015 infatti diventeranno 19,8 nel 2016, con una ripartizione in base alle percentuali di audience di ciascun network associato). Per l'incidente dell'ottobre scorso la società Nielsen ha pagato un indennizzo di 957 mila euro e ha dovuto rifare l'intero campione a proprie spese. Per il futuro Auditel si è cautelata contrattualmente riservandosi di rescindere il contratto con Nielsen Italia, che vale appunto 20 milioni di euro all'anno.

"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. http://www.facebook.com/GiocoDeiTelefilm. https://twitter.com/GiocoTelefilm

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