L'EDICOLA DI LOU - W il 3x3! Tris di cover per la terza stagione di "Outlander"
Sam Heughan and Caitriona Balfe are on the covers of these Outlander covers for Entertainment Weekly in character as Jamie and Claire. The season three finale of the show will set up book four’s story line for the show.
“It’s definitely picked up steam,” Sam said of the popularity of the Starz series. “This is everyone’s favorite book [in the series.] I know it’s mine.”
“The hard work in any relationship is getting beyond the fantasy,” Caitriona said. “That’s when all the truth comes out and Claire learns everything. You want it all to go smooth sailing. But reality is never like that. It’s not the Disney dream.”
“They never plant their feet. Now they’re getting to that place that they can call home. But the meaning of home is different for people. That’s what we will dig into in season four,” executive producer Matthew B. Roberts said.
For more from the cast, visit EW.com.

 www.telefilmcult.tumblr.com

NEWS - Clamoroso al Cibali! Disney scippa tutte le serie Marvel a Netflix per il suo debutto in streaming (dal 2019)

News tratta da Slashfilm.com
If you enjoy watching Marvel shows on Netflix, you might want to sit down for this: in the future, new Marvel shows will air on Disney’s in-development streaming service, leaving Netflix in the dust. This is all part of a larger plan Disney has to compete with Netflix, which included their as-of-now dead deal to purchase a large chunk of 21st Century Fox. The bottom line: the era of Marvel Netflix shows is nearing an end. When Disney revealed they were planning on creating a new streaming service of their own, it seemed almost a given that they would start producing their own original content for it – which they later confirmed they would indeed be doing. But what about Disney produced content that already exists on other streaming services? Namely, the Marvel shows that are so popular on Netflix? It looks like Marvel’s Netflix days are numbered. A report in the Wall Street Journal confirms that future Marvel shows will play exclusively on Disney’s streaming service. There’s no word yet if the current Marvel Netflix shows – Daredevil, Luke Cage, Iron Fist, Jessica Jones, The Defenders and the upcoming The Punisher – would make the jump from Netflix to Disney’s service, but at this point I wouldn’t be surprised if that happened.

The WSJ story also confirms that Disney’s as-of-now stalled plan to buy a large chunk of 21st Century Fox was tied directly to their goals of trying to compete with Netflix. “[W]e’ve turned our attention to the one platform seeing growth challenges,” Disney Chief Strategy Officer Kevin Mayer says in the article. “That’s the television platform.” The Fox deal would’ve given Disney control of a large portion of Fox’s TV shows, which Disney would’ve then presumably moved over to their upcoming streaming service. Mayer also says to think of the Disney streaming service “not an anti-Netflix move, but a pro-Disney move.” Disney is clearly determined to come out ahead here, but the transition isn’t going to be cheap or easy. In addition to having future Marvel shows premiere on their streaming service, Disney is also planning to pull all of their movies currently on Netflix and bring them over to their own streaming platform. The WSJ states that this movie is going to end up costing Disney $300-million-plus a year, but Disney seems confident their gamble will pay off with fans making the jump over to their new service. Netflix, meanwhile, is continuing on their own quest for entertainment domination, with plans to spend at least $8 billion in creating original content for 2018. That’ll continue the head-start they already have on Disney, who plan to debut their streaming service in 2019.

News: Live Action #StarWars TV Show Confirmed By #Disney.https://t.co/kuLqQ240DC

— AccademiaTelefilm (@AcademyTelefilm) 10 novembre 2017

NEWS - Cogli la prima Mela! Apple inaugura la prima serie tv originale con la coppia Jennifer Aniston-Reese Witherspoon e il reboot di "Amazing Stories" firmato da Steven Spielberg e Bryan Fuller

News tratta da "Variety"

Apple has lifted the veil on its first scripted series efforts: a drama set in the world of a network morning show and a revival of anthology “Amazing Stories” shepherded by Steven Spielberg and Bryan Fuller. The straight-to-series orders for both projects are the first fruits of the effort to rev up Apple Video’s entry into the premium TV arena. The tech giant recruited former Sony Pictures TV presidents Jamie Erlicht and Zack Van Amburg in June to head the production push, which aims to target a global audience. One big question surrounding Apple’s video effort is the distribution plan. It’s unclear if Apple will make the shows available by iTunes or another platform, and whether access will be based on a subscription or advertising-based model.

The untitled Aniston-Witherspoon drama hails from Michael Ellenberg’s Media Res studio, Aniston’s Echo Films and Witherspoon’s Hello Sunshine banner. The starry project was highly sought after by a number of outlets and landed a two-season order (10 episodes per season) from Apple. Media Res, Aniston and Witherspoon are the principle owners of the show.

The series is based on an idea from Ellenberg and will draw background material from CNN senior media correspondent Brian Stelter’s 2013 book “Top of the Morning,” which recounted the recent rivalry between NBC’s “Today” and ABC’s “Good Morning America.” Jay Carson (“House of Cards”) is writing the pilot and will serve as showrunner. Stelter is serving as a consultant.

The project marks an impressive debut for Media Res, the venture launched in June by former HBO executive Ellenberg in partnership with Vancouver-based financier Bron Studios.

“Amazing Stories” hails from Universal Television and Amblin Television. Spielberg, Fuller, Amblin’s Darryl Frank and Justin Falvey and “Bones” creator Hart Hanson are exec producers. Spielberg spearheaded an earlier edition of “Amazing Stories” that ran from 1985 to 1987 on NBC.

The Apple iteration aims to enlist notable filmmakers and creative talent for each episode.

GOSSIP - Violenza seriale: Ed Westwick di "Gossip Girl" accusato da due colleghe di stupro. L'ultima rivela oggi: "all'epoca stavo con Mark Salling di 'Glee' (n.d.r.: condannato per pedo-pornografia) e quando glielo confessai mi lasciò!" 
Kristina Cohen has accused Ed Westwick of rape amid ongoing revelations of sexual assault in the entertainment industry. The 27-year-old Ladies Like Us actress posted a Facebook status on Monday (November 6) alleging that the 30-year-old Gossip Girl star forced her to engage in sex three years ago at his house.

“I was woken up abruptly by Ed on top of me, his fingers entering my body. I told him to stop, but he was strong…I was paralyzed, terrified. I couldn’t speak, I could no longer move. He held me down and raped me,” she wrote. “I hope my coming forward will help others to know that they are not alone, that they are not to blame, and it is not their fault.” A representative for Ed has not yet immediately responded for comment.

Just days after actress Kristina Cohen came forward to accuse Ed Westwick of rape, which he denied, a second woman is now coming forward with an allegation.
Aurélie Wynn, previously known as Aurelie Marie Cao before giving up acting, wrote on Facebook that the 30-year-old Gossip Girl star raped her in July of 2014. 
Aurélie explained that she was invited over to the Glendower Estates where he was renting, and that her alleged assault was similar to Kristina‘s: “I said no and he pushed me face down and was powerless under his weight. I was wearing a one piece bathing suit that he ripped, I was in complete shock, I am also very tiny. When it was over I got my cellphone and found that the girl that had invited me had left or got kicked out.” She also alleges that her then-boyfriend, Glee‘s Mark Salling, broke up with her after she told him.

“I told the guy I was seeing that I got raped, Mark Salling, and when he found out by who he pretended not to know him, then blamed me for it and broke it off with me. My other friends and people around me told me it was best not to say anything, to not be ‘that girl’ and that no one would believe me and think I was just out trying to get my 10 seconds of fame.”

Ed‘s rep reportedly hung up on the phone when contacted by Deadline for comment. 

The LAPD is currently investigating the initial rape claim made by Kristina.

NEWS - Clamoroso, ma non poi tanto, al Cibali! "Stranger Things" è la serie più "in vista" in America. Più di "Game of Thrones" e di "The Walking Dead"...

News tratta da "Variety"
The second season of Netflix hit “Stranger Things” gathered strong momentum in the first full week of its release — making it the No. 1 most in-demand show among U.S. viewers, according to third-party data. The ’80s-set supernatural thriller from Matt and Ross Duffer registered 69.9 million average “demand expressions” (indicating intent to view or actual viewing) for the week of Oct. 29-Nov. 4, according to media-analytics firm Parrot Analytics. Season 2 of the show bowed Oct. 27 on Netflix. The score for “Stranger Things” was up 60% from the week prior, and pushed the Netflix original series above every other TV show on Parrot Analytics’ rankings. In second place for the week was HBO’s “Game of Thrones” (54 million demand expressions), followed by AMC’s “The Walking Dead” (53.5 million), CBS’s “Star Trek: Discovery” (52.4 million), AMC’s “Preacher” (40.6 million), Netflix’s “Mindhunter” (26.1 million) and Adult Swim’s “Rick and Morty” (23.3 million). Netflix doesn’t release viewing data, and routinely dismisses third-party attempts to measure its service as inaccurate. According to Nielsen data released last week, “Stranger Things” season 2 episodes each drew more than 4 million viewers in first three days of the show’s premiere (Oct. 27-29) — with the first episode averaging an impressive 15.8 million viewers. Netflix has called Nielsen’s figures well off the mark, pointing out that its audio-based content recognition methodology for TV households doesn’t measure viewing on mobile devices. Meanwhile, Parrot Analytics’ data doesn’t represent a measure of actual viewing. The company bases its rankings on more than 1 billion daily data points to gauge overall demand for a title, from sources including YouTube, Facebook, Twitter, Instagram and piracy services. Parrot Analytics weights different data sources based on relevance.

Perché scarichi illegalmente #serietv?https://t.co/USvDMMaiS0

— AccademiaTelefilm (@AcademyTelefilm) 7 novembre 2017

GOSSIP - Easy Ryder! La protagonista di "Stranger Things" torna nel giro che conta partendo da "Marie Claire"

www.telefilmcult.tumblr.com

NEWS - Ehi tu, scarichi illegalmente serie tv? Oltre a essere perseguibile, fai perdere all'Italia 6500 posti di lavoro e oltre 1 miliardo di euro! (E se non paghi i 10 euro mensili di Netflix sei pure un poraccio...)
Tra il 2016 e il 2022, la pirateria Internet di film e serie avrà fatto perdere 51,6 miliardi di dollari al circuito legale della comunicazione di questi contenuti. A rivelarlo è Digital Tv Research nel suo rapporto "Online Tv Piracy Forecasts", relativo a 138 Paesi. E alla fine quello che emerge è un business sempre più florido. Secondo il rapporto infatti i ricavi che deriveranno dalla pirateria, stimati in 26,7 miliardi nel 2016, raddoppieranno nel 2022. A rendere poi particolarmente allarmanti questi dati è il fatto che queste cifre si riferiscono esclusivamente agli episodi e ai film televisivi e non includono lo sport, il genere piratato per eccellenza, soprattutto in Medio Oriente e Asia Pacifico. Un tema, quello della pirateria, che ormai rappresenta una vera e propria piaga per l'industria audiovisiva mondiale, aumentata dalla velocità e dall'espansione delle tecnologie digitali e del web. Il problema è evidente dappertutto e anche, ovviamente in Italia dove, secondo i dati dell'ultimo Rapporto Fapav, ogni anno è come se andassero persi più di 6.500 posti di lavoro. Come se chiudessero più di 1.500 aziende. Questo insomma un conto che la pirateria audiovisiva presenta all'economia e che è da far tremare i polsi, stando all'indagine Ipsos commissionata da Fapav, la Federazione per la tutela dei contenuti audiovisivi e multimediali. È la terza indagine in ordine di tempo, dopo quelle del 2009 e del 2011. E il conto individuato è salato: il danno finanziario per l'industria audiovisivaviene indicato in 686 milioni di euro all'anno. Ma considerando tutti i settori economici italiani, a causa della pirateria audiovisiva vanno persi 1,2 miliardi di euro. Tornando al rapporto "Online Tv Piracy Forecasts" di Digital Tv Research. I risultati evidenziano come alla fine siano gli Stati Uniti a essere il Paese più colpito dalla pirateria di film e serie su Internet, mentre il continente più colpito è l'Africa, soprattutto nei paesi del Maghreb. Ma nel 2018, a fare registrare un'impennata della pirateria online saranno i paesi asiatici che si affacciano sul Pacifico. Considerando la top five dei Paesi, le previsioni delle perdite Usa nel 2022 indicano n,6 miliardi, la Cina 9,8 miliardi, l'India 3,1 miliardi, il Brasile 1,1 miliardi, il Messico 1,58 miliardi. Saranno poi otto i Paesi a registrare perdite di entrate di oltre 1 miliardo di dollari nel 2022: un numero di Paesi doppio rispetto a quella del del 2016 «La pirateria non verrà mai sradicata del tutto, ma le notizie non sono del tutto negative», ha commentato Simon Murray, analista di Digital Tv Research. Le buone indicazioni per Murray arrivano dall'incremento delle azioni legali di contrasto che stanno diventando sempre più efficaci.

News: #HouseOfCards Producers Consider Killing Off #KevinSpacey’s Frank Underwood (EXCLUSIVE). https://t.co/7fzHO22wiR via @variety

— AccademiaTelefilm (@AcademyTelefilm) 4 novembre 2017