NEWS - We can be all SuperHeroes, just for one cover! 

Articolo e cover tratti da "Entertainment Weekly"
On an early October afternoon, the casts of The CW’s “Arrowverse” serials gathered in an airport hangar on the outskirts of Vancouver B.C. for a historic event. From Arrow, there was Stephen Amell (Oliver Queen, aka the show’s emerald archer), David Ramsey (Diggle/Spartan), Willa Holland (Thea Queen/Speedy) and Emily Bett Rickards (Felicity Smoak). From The Flash, there was Grant Gustin (Barry Allen, aka the show’s scarlet speedster), Candice Patton (Iris West), Tom Cavanagh (H.R. Wells), Danielle Panabaker (Dr. Caitlin Snow) and Carlos Valdes (Cisco/Vibe). From Legends of Tomorrow, there was Brandon Routh (Ray Palmer/The Atom), Caity Lotz (Sara Lance/White Canary), Dominic Purcell (Mick Rory/Heat Wave), Franz Drameh (Jax, one half of Firestorm), Victor Garber (Dr. Martin Stein, the other half of Firestorm). And from Supergirl, there was the maiden of might herself, Melissa Benoist, the only actor dressed in their caped crusader colors. (Must be dry cleaning day at the Hall of Justice).

Calling this unprecedented all-star squadron of comic book stars to order, director Dermott Downs instructed them to perform a very important heroic duty: Surprising Benoist with a “Happy Birthday” serenade. “That was overwhelming,” says the actress, who turned 28 on the day in question. “I think that will be the first and only time I will be sung to by a group of superheroes.” Of course, Benoist and all of her Super-Friends had to actually work on her birthday; not even the girl of steel gets a day off for turning another year older. The occasion of this massive team-up: filming a four-show crossover event, which begins in the final scene of the Nov. 28 episode of Supergirl and unfolds over the next three nights in episodes of The Flash, Arrow and Legends. Entertainment Weekly visited the set of the massive undertaking and brings you a report in our new issue, on sale this week. We got to see Supergirl fly, The Flash and Cisco tear a hole in the fabric of space-time (or pretend to), and even saw someone get shot. No, we can’t tell you who, but we can tell you the threat that set the sprawling plot in motion: The Dominators, mind-controlling extraterrestrials threatened by Earth’s surging population of metahumans. If you’re wondering if “mind-control” = “we’re totally going to see these superheroes fight each other,” then you’re absolutely [REDACTED].

The “Arrowverse” has an alternate moniker, the “Berlantiverse,” named after the super-producer who presides over it, and he has some feelings about the term. “I object to it, to be honest. There are just so many people that are also part of this,” says Greg Berlanti, 44, whose prodigious, eclectic output began with Everwood in 2002 and currently includes Blindspot on NBC. “Plus, you never want anything named after you that people could be upset or angry about.” Produced in collaboration with Marc Guggenheim and Andrew Kreisberg, Berlanti’s small screen treatment of Warner Bros.’ DC Comics properties offers an alternative – some might argue correction – the studio’s big screen superhero pop, including the apocalyptic heavy metal of Zack Snyder’s Man of Steel flicks and the bubblegum nihilism of David Ayer’s Suicide Squad. The Arrowverse actually likes superheroes, believes in superheroes, and knows how to have fun with them – and critique them – without deconstructing them to smithereens. They possess the levity of Marvel’s cinematic universe (still the genre’s gold standard), and the progressiveness of Marvel’s best TV offerings (Jessica Jones, Luke Cage), but with a more carefree embrace of melodrama and whimsy.

“These shows have to work on multiple levels,” says Berlanti. “You want them to be fun and enjoyable. But if they’re not about something, why are you showing up to work every day and asking everybody to pour their heart and soul into a story if it’s only about the Flash fighting a villain of the week?”

To read more on Berlantiverse, pick up the new issue of Entertainment Weekly on stands Friday, or buy it here now – and subscribe for more exclusive interviews and photos, only in EW. 

NEWS - Creed(eteci)! Netflix stringe accordo con Ubisoft per far diventare serie tv i suoi videogames

News tratta da SlashFilm.com

Nobody outside of Netflix knows exactly how many people watch anything on everyone’s default streaming service, but the numbers are high enough for everyone involved to keep investing in original shows and movies. They’re also large enough to attract major talents. Netflix is responsible for an upcoming Will Smith movie. A Will Smith movie! Which brings us to today’s little morsel of news: Ubisoft, the video game publisher responsible for its fair share of popular titles, is looking to get into the Netflix business. With a Ubisoft Netflix tv series possibly in the works, which video game property might they be looking at for a small screen tv show? The news comes our way in a brief Reuters article that offers no details beyond Ubisoft being “in talks with Netflix over a series.” These discussions arrive a little over a month before Assassin’s Creed, the first film produced by the company’s film division, hits theaters. Ubisoft first started dipping its toe in the movie and television pool back in 2011 with the creation of Ubisoft Motion Pictures, a division of the company dedicated to bringing their various titles out of the video game world and into other mediums. Their first project, the animated series Rabbids Invasion (based on characters from the Raving Rabbids series), premiered in 2013 and is currently airing its third season. So let’s go ahead and assume that the Rabbids characters and Assassin’s Creed are both off the table for whatever Ubisoft is cooking up with Netflix. What series could justify an ongoing show on Netflix? We know that film adaptations ofSplinter Cell, The Division, Far Cry, Ghost Recon, and Watch Dogs are all being developed, but it’s easy to imagine one of those breaking away and getting the television treatment. After all, an action and espionage story like Splinter Cell would work quite well as a serialized story, and we haven’t heard much about the film adaptation starring Tom Hardy for quite some time. Right now, all eyes are surely on Assassin’s Creed, a movie that could (maybe, hopefully, possibly) shatter the video game movie curse. The combination of star Michael Fassbender and director Justin Kurzel is a step or three above the regular video game adaptation. It could buck the trend and be, you know, a good movie. If it’s a hit, I certainly wouldn’t put it past Ubisoft to create a companion series that further explores this world. Especially since they annualized the Assassin’s Creed games and made sure a new chapter was released every year like clockwork for a while.

 NEWS - The Winner is... Altro che Trump, il vero vincitore è Tony Soprano! La sua serie eletta la "migliore di tutti i tempi" in un numero antologico di "Rolling Stone"

Rolling Stone is out, with the magazine’s list of “The 100 Greatest TV Shows of All Time” on the cover. (No. 1? Hardly a spoiler alert needed – it’s HBO’s “The Sopranos”). 

It’s not an easy task, even though Rolling Stone helpfully supplied a long list of potential candidates, sorted by decade, to help jog the memory.The final results, which included input from the magazine’s staff, have been intelligently corralled and summarized by Rob Sheffield, Rolling Stone’s TV critic and in-house pop culture guru. The list contains a few surprises and, naturally, some choices that could be eternally quibbled over. The whole list is worth a read. After “The Sopranos,” the rest of their Top 10 goes like this: (2) “The Wire”; (3) “Breaking Bad”; (4) “Mad Men”; (5) “Seinfeld”; (6) “The Simpsons"; (7) “The Twilight Zone”; (8) “Saturday Night Live”; (9) “All in the Family”; and (10) “The Daily Show”.

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

CORRIERE DELLA SERA

"Happy Valley", una delle serie più interessanti della stagione (di cui si parla poco)

"Una delle serie più interessanti di questa stagione è disponibile da qualche tempo su Netflix: si intitola «Happy Valley» ed è una produzione inglese di Bbc, un poliziesco plumbeo e duro ambientato nell'Inghilterra profonda, rurale ed economicamente depressa, solcata da pesanti tensioni (molti dei protagonisti hanno alle spalle vicende di droga e alcolismo). Quella del titolo è solo una compassionevole antifrasi: la vallata che fa da sfondo al racconto non è per niente felice, ma livida di rabbia, brulicante di esistenze vissute ai margini della società che impiegano poco a prendere la strada della violenza e della delinquenza. «Happy Valley» è in fondo una versione televisiva moderna della teoria del «paesaggio stato d'animo», dove decadenza psicologica e ambientale procedono sempre di pari passo. In «Happy Valley» il realismo è tutto ma non è abbastanza per spiegare la riuscita della serie: molto del suo fascino è dovuto al personaggio principale, Catherine Cawood (interpretata magistralmente da Sarah Lancashire), sergente di polizia di mezza età, con una famiglia disastrata alle spalle e una tempra indomita. Quando Becky, sua figlia poco più che adolescente, si toglie la vita dopo aver dato alla luce un bambino, il dolore sembra insopportabile: ma se poi lo sbandato che ha indotto Becky al suicidio riappare all'improvviso, collegato a un caso di rapimento sul quale Catherine sta indagando, i livelli di sofferenza, rabbia e frustrazione si moltiplicano all'infinito. È l'avvio di un giallo stringente che si sviluppa lungo il corso di due stagioni, proseguendo in modo quasi sempre convincente. Nella «nuova ondata» di personaggi femminili protagonisti delle serie tv, Catherine è un caso diverso da tutti gli altri, fuori da ogni stereotipo estetico e caratteriale: inflessibile e risoluta (a volte anche oltre gli standard comuni), umana e calorosa, dà vita a un ritratto umano di rara intensità". (Aldo Grasso, 19.10.2016)

NEWS - Clamorosissimo al Cibalissimo! "Breaking Bad" sarebbe il prequel di "The Walking Dead"! 

News tratta da Mic.com
On the surface, there's nothing that connects Breaking Bad to The Walking Dead, aside from massive popularity and their shared network, AMC. But what if Breaking Bad and its "Mr. Chips to Scarface" story of Walter White was simultaneously a window into the zombie outbreak on The Walking Dead? Netflix, of all places, broke down the already established "Breaking Dead" theory. Netflix points to a few hints from The Walking Dead that ostensibly link the shows, starting with the blue meth that put Heisenberg on the map. In the zombie series' first season, Daryl's brother Merle has a hidden stash of drugs, which includes the signature blue tint of Heisenbergs' product. Then there's the red and black Dodge Challenger that Walter buys for his son, Walt Jr., in season four. It's badass, but Skyler asks Walter to return the sports car to the dealership and its manager, whose name is Glenn. Walt doesn't want to pay a $700 fee for returning the car, so instead he blows it up. But that same Challenger shows up in The Walking Dead when Glenn drives out of Atlanta. Could he be the car dealer from Breaking Bad? Further hints include the drug dealer Daryl refers to as a "janky little white guy" who says "bitch," which is Jesse Pinkman's favorite word in the English language, as well as Gus Frings' gruesome, zombie-like death in season four. Could Walter White's meth be the agent for the zombie outbreak, with Fring being one of the first zombies seen on-screen (the man does fix his tie after losing half his face). While the theory is cute, and interesting, we're going to have to call B.S. on this one. The Walking Dead's Glenn, for instance, wasn't a car dealer before the zombie outbreak: He delivered pizzas. He also delivered pizza in Atlanta, whereas Breaking Bad takes place in New Mexico. Plus, if Fring really was a zombie, the outbreak would've been nearly instantaneous — we have Fear The Walking Dead's first season in Los Angeles as the proof. Any seeming hints to Breaking Bad were most likely AMC's clever way of inserting Easter eggs into its other shows. The blue meth from The Walking Dead's first season and the car Glenn drives, are pretty good proof to this. To Netflix's credit, they gave the theory a 5 out of 10 for believability. We agree, much like their 9 out of 10 for its entertainment value.