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sabato 19 agosto 2017

GOSSIP - Meglio la Rica (Costa) che Rick! Norman Reedus e Diane Kruger beccati in spiaggia assieme (lui ha i capelli che sembrano più puliti quando li ha fradici che asciutti...)
Diane Kruger and Norman Reedus are going strong as a couple and they were spotted spending time together on the beach in Costa RicaThe 41-year-old actress was seen wearing a bikini while joining Norman, 48, on Thursday (August 17). The hot couple was also seen on the beach last week and you can see those photos here as well. Diane and Norman have been enjoying their tropical vacation after being apart while filming their respective projects, the film JT Leroy in Canada and the TV series The Walking Dead in Atlanta.

venerdì 18 agosto 2017

NEWS - Cogli la prima Mela! Apple si lancia all'attacco di Netflix sulle serie tv con 1 miliardo di budget
News tratta dal "Corriere della Sera"
Apple sfida Netflix. Un miliardo per produrre serie tv lanciandosi nel sempre più affollato mondo dello streaming. E non vuole soltanto distribuire ma anche mettersi dietro la telecamera. Per sfidare Netflix (e Amazon), secondo il Wall Street Journal, Cupertino nel 2018 riserverà un budget di un miliardo di dollari per la produzione di film e serie tv. Poco in confronto ai suoi ricavi, pari a 260 miliardi nel 2016. Molto se si pensa che la Time Warner (che ha creato serie di successo come Game of Thrones o Westworld) l'anno scorso per il suo canale Hbo ha speso circa la metà. Non si sa ancora quale sarà il canale di trasmissione ma le intenzioni di Apple di scendere in campo sono chiare: lo ha annunciato più volte il vicepresidente Eddy Cue. E un'anticipazione l'abbiamo vista a giugno, con il lancio del reality show «Planet of the Apps» su Apple Music. La Mela, comunque, si muove in ritardo. Serviranno titoli di tutto rispetto per poter sfondare sul piccolo schermo digitale.

giovedì 17 agosto 2017

GOSSIP - La "strana coppia" di "Broad City": "ecco come Trump ha influenzato la comedy"
Abbi Jacobson and Ilana Glazer of "Broad City" are on the cover of Nylon magazine’s August Denim Issue, on newsstands! Here’s what the comedy duo had to share with the mag:
Ilana, on how Trump effected Broad City this season: “This season is infused with what they’re feeling—and what we’re feeling—which is something along the stages of grief: denial, anger, bargaining, depression, and acceptance.”
Abby, on Broad City’s success: “I love this product we’ve made and I’m so happy to put it out in the world.”
Ilana, on people who criticize others for being political on social media: “I don’t care. Yass. Unfollow. Kill it.”
For more from the comedians, visit
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martedì 15 agosto 2017

NEWS - Shonda Rhimes lascia ABC per Netflix? Ecco perché i grandi showrunner mollano i network generalisti

Articolo tratto da "Vulture"
For networks and their affiliated studios, finding a way to hold on to top-tier talent used to be a relatively simple proposition. Big producer threatening to jump to another company? Back up a Brinks truck. And if money alone wasn’t the only concern, offer the talent more “creative freedom,” usually by guaranteeing a certain number of “straight-to-series” projects so her ideas won’t have to go through the usual (and often demoralizing) pilot process. As important as both those factors remain in talent negotiations, Shonda Rhimes’s just-announced decision to sign with Netflix and leave ABC/Disney points to a bleak new reality for old-school broadcasters trying to hold on to big names. For some Hollywood creatives, particularly those at the peak of their careers, offers of big bucks and promises of creative autonomy aren’t enough to overcome the view that network television is now the least attractive medium in which to work. Rhimes didn’t leave just leave ABC. She left network TVAs financially lucrative as broadcast remains, the trade-offs seem increasingly not worth it for showrunners such as Rhimes, who chafe at its many downsides. Instead of making anywhere from 8 to 13 episodes per year, broadcast producers often have to churn out two dozen episodes each season. Content restrictions mandated by advertisers and the government give creators less storytelling freedom. Shorter and shorter episodic lengths, the result of networks trying to squeeze in even more commercials, mean stories often need to be rushed. Talking to The Wall Street Journal about her decision, Rhimes strongly hinted that these fundamental differences between making a show for a broadcaster and for a streamer such as Netflix drove her to depart. “I’m thrilled by the idea of a world where I’m not caught in the necessary grind of network television,” she told the newspaper. Keep in mind, Rhimes already had about as much creative freedom as any producer currently working in linear TV today enjoys. She had basically stopped taking most (if not all) notes from her bosses at the network and studio. Even after her drama The Catch had clearly failed to connect with audiences, ABC ordered a second season of the show and gave Rhimes time to overhaul the premise. (It still didn’t work.) Still, even if her superstar status understandably forced ABC to give Rhimes more room to make shows the way she wanted to, she was still mostly making shows by network TV rules.
By contrast, streaming networks in general offer producers a completely different creative playground. Netflix lets Masters of None’s Aziz Ansari and Alan Yang imagine a comedy in which every episode feels like a new, mini–independent film. Amazon gives Jill Soloway the freedom to tell a story like that at the heart of Transparentan idea that wouldn’t make it past the pitch stage at a broadcaster. And the all-episodes-at-once model pioneered by Netflix gives creators the opportunity to engage audiences in immersive viewing experiences designed to be digested over the course of a few days rather than via the relatively glacial pace of a weekly release. Linear networks such as HBO and FX obviously offer some of the same freedoms as a Netflix, and even broadcasters have pushed their own boundaries to allow for creative innovation (think ABC’s own American Crime). A streamer like Netflix, however, offers all of these innovations, in addition to a global reach unmatched by linear networks and a deep, deep pocketbook with which to fund creators’ visions. For a few years now, the stark differences between the network and Netflix models of television have made it more difficult for broadcasters to attract top names. Networks struggle like never before to find interesting and well-known actors in their shows each pilot season because so many stars now want to work on streaming shows. As one exec told Vulture last year, “The talent wants to go to the fancy-schmancy new kids on the block.” (And if a streaming series isn’t an option, a premium or basic cable show often comes before broadcast these days.) The Rhimes deal shows how streaming fever may now be spreading beyond younger, fresher talent to creators who are already successful veterans in the network world. While this is clearly a problem for broadcasters, particularly a struggling network such as ABC, it’s also important to not assume it spells doom for linear TV. There are still plenty of talented producers willing — even eager — to work in a medium where even the least successful series reaches far more viewers than most cable shows and the likely audience for streaming shows. Plus, networks have proven time and again they’re able to adapt to new threats. Basic cable was supposed to spell the end for broadcast; it didn’t. HBO’s late-1990s golden age (Sex and the City, The Sopranos) was seen by some as a sign great writers would never again work for one of the Big Four, but then some relative unknowns named J.J. Abrams, Damon Lindelof, Marc Cherry, and, yes, Shonda Rhimes created Lost, Desperate Housewives, and Grey’s Anatomyall of which premiered in the same 2004–05 season.
Things are far tougher for broadcasters than they were even ten years ago, of course. Younger viewers in particular have nearly given up watching scripted shows via linear television. Advertisers are moving their money elsewhere. But plenty of folks still do have a nightly TV habit, and like the Big Three automakers who’ve managed to (mostly) stay afloat despite decades of foreign threats, broadcasters have proven themselves exceedingly resourceful over the years. Pundits have predicted the death of network TV forever, but so far, network TV has always found a way to survive.

lunedì 14 agosto 2017

TELEFILM ART - Nostalgia canaglia! Per le repliche di "Stranger Things" Netflix omaggia i poster di due cult come "Stand by me" e "Nightmare"

News tratta da "Uproxx"
Stranger Things isn’t back until October, just in time to turn your Halloween into a big Netflix viewing party, but that doesn’t mean the streamer isn’t trying to do something special in the lead up to the premiere. The folks at the show’s official Twitter account are working on #StrangerThursdays, a re-watch of the first season that comes complete with some live tweeting and a new poster each week that acts as a take on one of the films that influenced the show. So far they have hit the frist two episodes from the show, giving us two fine posters to gawk at that are based on the classic posters from Stand By Me and A Nightmare On Elm Street.The plans seems to be that a new poster will be revealed for each episode, sending up one of the ’80s films that were noted to be major influences on the show back when it first premiered. The Stand By Me parallels were apparent from the start, with Stephen King even giving his stamp of approval to the show and saying he loves it. The Nightmare influences might be a little more a stretch, but the basic ideas are still there. Terror, evil, and the supernatural have invaded a small town, the adults seem worthless, and it is up to the children to put a stop to it before it’s all too late. That might be a stretch, but the show does a good job sending up the classic poster for the film and you can’t fault that.

"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!