Telefilm. Quelli che hanno fatto sognare, ridere, piangere, emozionare. Quelli che sono entrati di diritto nella nostra cultura pop. Quelli in attesa di giudizio e quelli rimandati al mittente. Cult e SuperCult, Cotti e Stracotti. News, anteprime, gossip e commenti dal co-autore del "Dizionario dei Telefilm" (Garzanti), di "La vita è un telefilm" (Garzanti), co-fondatore dell'Accademia dei Telefilm e Direttore Artistico del "Telefilm Festival", ideatore del "Gioco dei Telefilm": Leo Damerini.
sabato 11 novembre 2017
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.
venerdì 10 novembre 2017
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.
News: Live Action #StarWars TV Show Confirmed By #Disney.https://t.co/kuLqQ240DC
— AccademiaTelefilm (@AcademyTelefilm) 10 novembre 2017
giovedì 9 novembre 2017
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.
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.

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.
mercoledì 8 novembre 2017
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
martedì 7 novembre 2017
lunedì 6 novembre 2017
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.
domenica 5 novembre 2017
News: #HouseOfCards Producers Consider Killing Off #KevinSpacey’s Frank Underwood (EXCLUSIVE). https://t.co/7fzHO22wiR via @variety
— AccademiaTelefilm (@AcademyTelefilm) 4 novembre 2017