Viewers last month

venerdì 24 giugno 2016

NEWS - Netflix, la morte tua è uno spot! Il 74% disdirrebbe l'abbonamento se ci fosse la pubblicità, il 90% preferirebbe un aumento agli spot

News tratta da Mic.com
In 2015, Netflix CEO Reed Hastings said no ads were coming to Netflix. And let's hope he stays true to his promise, because the numbers are in, and people really don't want ads on the streaming service. In a survey of more than 1,200 people on Reddit, AllFlicks asked respondents if they would rather pay more for Netflix or see ads while they were streaming, and found that 90% would prefer a price hike instead of ads. Netflix did recently raise its monthly prices from $8.99 to $9.99 for new members, putting the increase into effect for existing members beginning July 20, according to an email from Netflix. According to the survey, the $1 increase is on target with what respondents would tolerate: 57% said if they did pay more, they would be willing to pay $1 to $2 more, with 22% going up to $2 to $3 and less than a quarter willing to shell out $4 or more. But what if Netflix decides someday to put ads on its site? Based on the survey, Netflix can anticipate a mass departure — 74% of the respondents said they would cancel their Netflix accounts if ads were introduced

giovedì 23 giugno 2016

NEWS - Orange Is The New B...inge! "OITNB" è la serie più ri-vista di Netflix: una stagione divorata in 4 giorni (2 ore e mezza al giorno)

News tratta da "Variety"
Netflix and chill — and repeat? “Orange Is the New Black” is one of the streamer’s most rewatched original series, with 53% of the prison dramedy’s fans having gone back to at least one of the first three seasons, according to a Netflix-commissioned survey. Season 4 of “Orange Is the New Blackdebuted Friday in Netflix’s 190-plus markets worldwide. The show, produced by Lionsgate TV, has been renewed for three additional seasons with showrunner Jenji Kohan committed for seasons 5, 6 and 7. The survey, conducted by Google from June 2-10, polled 1,613 responses among Netflix subscribers in the U.S., Mexico, Canada and the U.K. Respondents were required to confirm their intent to watch season 4 of “OITNB” to participate.
Netflix didn’t reveal how “OITNB” compares with other original or licensed TV series on the service vis-a-vis rewatch rates. But it says the prison dramedy is among its most “devoured” shows by binge-watchers, with viewers typically consuming an entire 13-episode season in four days in 2.5 hours per session.
According to Netflix, viewers prefer to rewatch the final three episodes of a season of “OITNB” but the No. 1 most revisited one is season 1, episode 1 (“I wasn’t ready”), when Piper Chapman finds herself on the way to Litchfield prison for an old drug-running offense.
In the last three years, “Orange Is the New Black” rewatching has reached its peak in June, ahead of the next season’s release. Of viewers polled, 21% said they plan to rewatch the previous season while 41% plan to rewatch all 36 prior episodes. The survey found “OITNB” viewers are willing to give up making their bed (30%), cleaning the house (36%) and cooking (10%) to have more time to binge.
Top reasons cited by “OITNB” fans for rewatching past seasons include sleuthing for possible foreshadowing in previous storylines (25%) and reliving moments with favorite characters (29%). Another 25% simply said that it’s their favorite show.
NEWS - Spazio, ultima frontiera visiva! Esce il gioco VR (Virtual Reality) di "Star Trek" che ti catapulta sulla plancia di comando dell'Enterprise

News tratta da Slashfilm.com
It’s easy to cynical about virtual reality until you actually give it a try. Sure, you look like an idiot when you have one of those headsets on, but when you’re engaging with the right material, the experience can be breathtaking. It’s not going to replace traditional gaming and it certainly won’t change the way we watch movies, but it’s a fascinating new medium and a thrilling way to experience stories. As expected, this year’s E3 conference hasn’t been shy about teasing upcoming VR experiences and the next step for game developers and publishers is pretty clear. The faithful and the adventurous gamers are in the bag for this technology, so how do you go about convincing normal people to give this stuff a chance? The answer may lie in making games based on already beloved universes and characters, as new VR games based on Star Trek, Star Wars, Batman are on the way.

Let’s take a look at these in order of how much the trailers actually reveal, shall we? First up is Star Trek: Bridge Crew, a game that uses VR headsets to create a game that actually looks and feels like a proper Star Trek experience. There have been plenty of Trek game before, but they have been predominately shooters and straightforward action games, traditional experiences that just-so-happen to feature characters from whatever movie or television show was recently released.
But as the title of Star Trek: Bridge Crew implies, the game plants you on the bridge of a Federation starship, gives you a specific job (captain, engineer, helmsman, etc) and forces you to work in tandem with other players to control the ship, navigate sticky situations, and battle enemies. There is no straightforward shooting, just teamwork and coordination and overextending yourself to keep your ship intact and the crew alive. The game still looks like it needs a little work (some of the animations are a little rough and the character models a little dull), but the whole thing appears conceptually sound.

mercoledì 22 giugno 2016

GOSSIP - Morti di fame! Norman Reedus e Greg Nicotero di "The Walking Dead" aprono un ristorante in Georgia (se trovate un capello unto di un metro nel piatto è di Nicotero)

News tratta da "Uproxx"
Norman Reedus is not a meal. This is something the lurching hordes of zombies on The Walking Dead disagree with and the same can be said for select crazed fans of the AMC program. That said, he can help those with hunger pangs. Said help doesn’t involve riding a motorcycle across America flinging pizzas through people’s windows, but fans will likely dig what he has in store anyway.
The Atlanta Journal Constitution reports that Reedus and Walking Dead director/producer/effects marvel Greg Nicotero will be opening a restaurant in Senoia, Georgia. The location is a natural fit because the show films in the area and why shouldn’t Senoia, Georgia have celebrity restauranteurs serving meals in their town? (Aside from Zac Brown having to close up shop there.) There’s no law against it, plus merchandise for the joint is already done up.
Full points awarded for the sensible restaurant name. It hasn’t been revealed what type of cuisine will be served at the eatery, but that puzzle will likely be sorted out when they open sometime this summer. Any menu suggestions? Share your thoughts in the comments.

martedì 21 giugno 2016

NEWS - Clamoroso al Cibali! Accordo epocale tra Netflix e CW per trasmettere i titoli del secondo meno di due settimane dopo la fine sul network!

News tratta da "Variety"
Netflix and the CW are close to finalizing a megabucks new deal covering scripted series that significantly speeds up the availability of the shows to less than two weeks after each season ends on the network.
The expanded pact with Netflix comes as CW and Hulu are parting ways on the deal that made selected current episodes of CW series available for streaming on a rolling-five basis. CW first set its streaming deals with Netflix and Hulu in 2011. Those deals were crucial to shoring up the future of CW five years ago, and now the expanded Netflix pact is a testament to the network’s improved performance.
With the Hulu deal ending, in-season streaming access to CW series will flow through the advertising-supported CWTV.com website and app as well as its affiliate stations’ VOD deals with various MVPD providers. In-season access will remain limited to a rolling-five most recent episodes, in most cases.
Reps for CW, Hulu and Netflix declined comment. The CW-Netflix deal is expected to be unveiled later this week.
The limited access to episodes was the big sticking point for Hulu, which is said to have pushed CW to offer full stacking rights on its Hulu service as a condition of renewing the deal. Hulu and CW parent companies CBS and Warner Bros. negotiated on and off for months but late last week the sides formally ended the discussions. The existing deal is believed to expire in early October.
Netflix, meanwhile, has stepped up the financial terms of its output deal in order to speed up the arrival of the shows on the SVOD giant. Previously, CW series came to Netflix after a months-long wait, usually timed to land a week or two before the start of a new season for continuing series.
The total pricetag of the deal is tricky to estimate for Netflix because it involves so many shows and variables such as escalators that kick in depending on how long a series has been on the air and how it performs. But it is sure to rank as one of the largest output deals in the SVOD arena to date with value that could exceed $1 billion. The deal is believed to run five years, with a tail that gives Netflix access to the CW library for several years after each series ends its run on the network. The deal covers domestic rights to the shows, not the vast expanse of Netflix’s worldwide footprint.
The deal also marks the closest window Netflix has ever secured to the in-season period for primetime entertainment series, and less than a year after CEOs of several media conglomerates publicly indicated they were going to toughen their licensing strategies with subscription VOD services that were arguably cannibalizing linear ratings. “We are evaluating whether to retain our rights for a longer period of time and forego or delay certain content licensing,” Time Warner CEO Jeff Bewkes told investors on an earnings call last November.
That said, the CW-Netflix pact may end up an outlier to an otherwise increasingly conservative next wave of licensing deals between streaming services and conglomerates, many of whom are focusing more on their own streaming extensions.
CBS Corp. and Warner Bros., which produce the vast majority of CW’s primetime series, led the negotiations. The CW’s studio partners came back to the table this time around with a stronger hand compared to five years ago, thanks to CW’s growth under president Mark Pedowitz. Netflix’s willingness to step up for earlier post-season access to the shows reflects the sizzle CW has generated with its fleet of DC Comics-branded superhero shows, notably “The Flash” and “Arrow,” and buzzy critical darlings “Jane the Virgin” and “Crazy Ex-Girlfriend.”
From Hulu’s perspective, however, the CW in-season rights were not worth the pricetag to renew unless it came with stacking rights to all episodes — something that surely would have been a non-starter for CW and Netflix. From Hulu’s perspective, sources said, the vast majority of viewing was delivered only by CW’s two highest-rated shows: “The Flash” and “Arrow.” Moreover, fans of those two shows frequently lodge complaints with Hulu about the limited five-episode selection.
With Hulu bowing out, CW now has a stronger pitch to make to its broadcast affiliates about maintaining exclusivity of access to in-season streaming rights. The hope is that the tightened availability will boost streaming viewership via the CW’s website, which in turn could bring in more advertising revenue.
CW’s move to finalize the course for its streaming distribution for the next few years comes weeks after the network finalized a new five-year affiliation pact with its core Tribune Broadcasting station group.
Hulu’s strategic focus remains on being the hub for next-day access to current series from its partner networks Fox, NBC and ABC, in addition to its output pacts with FX and AMC Networks, Epix movie deal and off-network acquisitions including the “Seinfeld” library.
Hulu is also in the midst of a push to become a virtual MVPD by offering a skinny bundle of channels via OTT distribution.
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

CORRIERE DELLA SERA
"Rosewood", tendenza afroamericana anche nei crime
"'Rosewood' è la nuova serie poliziesca partita su Fox Crime (il venerdi alle 21.00). Il dottor Beaumont Rosewood (l'attore Morris Chestnut) è uno dei più brillanti patologi di Miami. Quando la polizia si trova di fronte a casi apparentemente irrisolvibili richiede la sua consulenza: grazie alle più sofisticate attrezzature tecnologiche presenti nel suo studio e soprattutto grazie al suo intuito infallibile, i corpi delle vittime di presunti omicidi diventano fondamentali indizi da decifrare. Ogni minimo segno che la vita ha lasciato sul corpo umano diventa per Rosewood una chiave per spiegarne la morte. Il fascino della serie si gioca su sue piani: da un lato, la ricostruzione dei casi di omicidio attraverso il lavoro del patologo. I riferimenti non troppo nascosti sono quelli delle scene del crimine analizzate dagli esperti di «CSI», dello studio delle tracce di sangue fatto da Dexter, persino della logica deduttiva usata dal Dottor House per guarire i pazienti affetti dalle malattie più rare. Dall'altro il personaggio di Rosewood, un uomo dal carattere brillante, ottimista e amante della vita, parecchio egocentrico (è uno che si definisce "il Beethoven dei patologi") ed eccellente nel suo lavoro: il suo stretto rapporto con la morte, che analizza tutti i giorni, è forse dovuto a un complesso problema cardiaco che presenta dall'infanzia e che minaccia di ucciderlo da un momento all'altro. Quando la detective Annalise Villa si trasferisce a Miami e inizia a collaborare con Rosewood, è presto chiaro che il rapporto non sarà solo di tipo professionale. Sia l'interprete principale, sia molti comprimari di «Rosewood» sono afroamericani: è una tendenza vista negli USA anche con altre serie di successo, da «Empire» a quelle firmate da Shonda RhimesScandal», «Le regole del delitto perfetto»), capaci di rappresentare professionisti affermati e di successo non solo provenienti dal mondo WASP". (Aldo Grasso, 20.06.2016)

lunedì 20 giugno 2016

NEWS - Benvenuti a "Westworld" (again)!
NEWS - Netflix fa meno paura: previsioni crescita mercato Svod, +100% quest'anno ma poi rallenty fino al 10% nel 2020

Articolo tratto da "Affari&Finanza"
Il ciclone Netflix spazzerà via la vecchia tv: sì, forse un domani. O forse dopodomani. Ma per ora pare che Rai, Mediaset, Sky, Cairo e tutti quelli che stanno investendo in nuovi canali, pay o in chiaro, da Discovery a Viacom (e nuovi arrivi sono attesi a breve) possano dormire sonni, magari non proprio tranquilli ma non certo tormentati dall'incubo di milioni e milioni di spettatori in fuga verso la streaming tv di Reed Hastings. Il tranquillante si trova nei numeri del rapporto di Pricewaterhouse Cooper "Global Entertainment e Media Outlook 2016-20" pubblicato la scorsa settimana. Nel capitolo sull'Italia snocciola le previsioni sulla crescita del mercato Svod, ossia la streaming tv con abbonamento fisso mensile. Dove operano Netflix e anche Infinity di Mediaset, Tim Vision e Sky Online. Secondo PwC il comparto quest'anno crescerà del 100%. Ma rallenterà subito. La crescita sarà del 24% nel 2018, del 18% nel 2019 e sotto il 10% nel 2020, quando il valore di mercato si attesterà sui 126 milioni di dollari.   
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

"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

Lick it or Leave it!

Lick it or Leave it!