L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri
"Russian Doll", "Il giorno della marmotta" in versione Netflix
"'Se dovessi progettare l'inferno, lo farei così'. Circa a metà di 'Russian Doll', Nadia dai capelli rossi cerca di dare un senso a quel che le sta capitando. L'avventura inizia in bagno, alla sua festa per i 36 anni. Si guarda allo specchio, fuori bussano, lei esce, scambia un paio di battute con l'amica che ha organizzato il buffet, chiacchiera con gli ospiti, se ne va con il giovanotto appena rimorchiato. Viene investita da una macchina - non ha guardato prima di attraversare. E si ritrova davanti allo specchio del bagno: stessa festa, stessa musica, stesso buffet. Una volta, due volte, tre volte, quattro volte. Cambiano le circostanze della morte - scale, montacarichi, altre automobili, ci sarà poi la fuga di gas. E immancabilmente si ritrova davanti allo specchio. "Il giorno della marmotta" in versione Netflix conta 8 episodi, 25 minuti ciascuno. Meglio classificabile come miniserie, se non sapesse di vecchia tv. 0 come lungo film ridotto a spezzoni: non sarà tanto tecnico, e neanche tanto chic, ma coincide con l'esperienza dello spettatore. Vederli tutti di seguito non si configura neanche come binge watching - è quel che abbiamo fatto, per esempio, con "The The End of the F***ing World" di Jonathan Entwhistle, stessa lunghezza e stessa struttura: vuol dire che l'arco drammatico funziona sulla storia intera, la scansione degli episodi è secondaria. Dietro 'Russian Doll' (sta per "matrioska") troviamo un gruppo agguerrito di sceneggiatrici: Leslye Hedland (aveva scritto e diretto "The Wedding Party"), Amy Poehler (aveva fatto coppia con Tina Fey al Saturday Night Live) e Natasha Lyonne, che ha tenuto per sé la parte di Nadia. Il format tiene la fine abbastanza vicina all'inizio (il lavoro di chi racconta storie, spiega Nick Hornby, sta nel "tenere la fine lontana dall'inizio", non vale solo per i romanzieri). Quindi abbiamo la curiosità di sapere come va a finire. Insomma, cosa ha provocato "le mille e una morte" di Nadia, per citare un racconto di Jack London intitolato appunto "Le mille e una morte". Un giovanotto sul punto di annegare- "poi fu il vuoto" - si sveglia a bordo di una nave. Lo hanno fatto tornare in vita allo scopo di ucciderlo tante altre volte. Il capitano nella nave (che poi scopriamo essere suo padre) ha inventato un marchingegno per risuscitare i morti, e non vede l'ora di sperimentarlo. Ma gli servono morti di giornata, al massimo tenuti in ghiacciaia per qualche ora: il poveretto viene costretto a fare avanti e indietro sul confine tra la morte e la vita. Avvelenato, strangolato, asfissiato, steso con troppa morfina o abbattuto con una scarica elettrica. La curiosità per quel che succede a Nadia - che tra una morte e l'altra sperimenta vite parallele, ricombinate partendo da elementi che conosciamo - aumenta quando accanto a lei compare Alan. Il riconoscimento avviene in ascensore, la cabina precipita, tutti urlano e si sdraiano per ammortizzare l'urto. Loro due restano in piedi. "Non hai paura di morire?" chiede Nadia. "Mi succede di continuo", risponde Alan. "Anche a me". Insieme, cercano di uscire dal loop temporale (forse un bug di progettazione, suggerisce lei che traffica con i videogiochi). Non vale svelare cosa succede, se e come riusciranno a cavarsela. Però qualcosa si può dire, anche per scongiurare una seconda stagione: a occhio, un tour de force per le sceneggiatrici, una punizione per lo spettatore. Il finale non è all'altezza dell'inizio, né per trama né per scrittura. Nadia sprizza scintille, Alan fatica a bucare lo schermo". (Mariarosa Mancuso)
Visualizzazione post con etichetta Amy Poehler. Mostra tutti i post
Visualizzazione post con etichetta Amy Poehler. Mostra tutti i post
venerdì 15 marzo 2019
sabato 26 settembre 2015
GOSSIP - Game of Fashion: la Top Ten dei peggiori look agli Emmy Awards!
10. Laura Prepon ("OITNB")
9. January Jones ("Mad Men")
8. Amy Poehler ("Parks and Rec")
7. Taraji P. Henson ("Empire")
6. Claire Danes ("Homeland")
5. Morena Baccarin ("Gotham")
4. Taylor Schilling ("OITNB")
3. Tatiana Maslany ("Orphan Black")
2. Christina Hendricks ("Mad Men")
1. Maisie Williams ("GOT")
10. Laura Prepon ("OITNB")
9. January Jones ("Mad Men")
8. Amy Poehler ("Parks and Rec")
7. Taraji P. Henson ("Empire")
6. Claire Danes ("Homeland")
5. Morena Baccarin ("Gotham")
4. Taylor Schilling ("OITNB")
3. Tatiana Maslany ("Orphan Black")
2. Christina Hendricks ("Mad Men")
1. Maisie Williams ("GOT")
Etichette:
Amy Poehler,
Christina Hendricks,
Claire Danes,
GOSSIP,
January Jones,
Laura Prepon,
look,
Maisie Williams,
Morena Baccarin,
sexy,
SGUARDO FETISH,
Tacchi,
Taraji P. Henson,
Tatiana Maslany,
Taylor Schilling
mercoledì 24 giugno 2015
PICCOLO GRANDE SCHERMO - E' la serie più attesa solo per il trailer anni '80: "Wet Hot American Summer: FDOC" di Netflix
The first trailer for Netflix's Wet Hot American Summer: First Day of Camp miniseries is here, and we're already experiencing high UV rays of nostalgia. Shot like a cheesy '80s promotional video for the camp, with the added effect of a warped VHS tape. The teaser features stars like Bradley Cooper and Amy Poehler at their weirdest and wildest.
The first trailer for Netflix's Wet Hot American Summer: First Day of Camp miniseries is here, and we're already experiencing high UV rays of nostalgia. Shot like a cheesy '80s promotional video for the camp, with the added effect of a warped VHS tape. The teaser features stars like Bradley Cooper and Amy Poehler at their weirdest and wildest.
The series is a prequel to the beloved 2001 cult classic film Wet Hot American Summer. Amazingly, Netflix was able to get almost the entire cast
back together for the eight-episode series, despite the hurdles of
wrangling major-wattage stars like Cooper, Molly Shannon and Paul Rudd.
Showrunners David Wain and Michael Showalter were able to get other big names on board; viewers can get excited about seeing Kristen Wiig, Josh Charles, Jon Hamm and more join Camp Firewood.
Fans eager to get Wet and experience a blast from the past best pack their bags soon: First Day of Camp hits Netflix in just over a month, on July 31.
Watch the full trailer below.
giovedì 26 febbraio 2015
mercoledì 7 gennaio 2015
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri
Etichette:
Amy Poehler,
Aubrey Plaza,
Aziz Ansari,
Chris Pratt,
Downton Abbey,
Justified,
Keri Russell,
L'EDICOLA DI LOU,
Michelle Dockery,
Nick Offerman,
Parks and Recreation,
The Americans,
Timothy Olyphant
martedì 9 dicembre 2014
NEWS - E' (ancora) la crisi delle sit-com, bellezza! A parte "The Big Bang Theory" e "Modern Family", nessuna sit-com nei 20 programmi Usa più visti dell'autunno. L'inchiesta è aperta!

Articolo di Josef Adalian per "Vulture"
November was another bad month in what’s been a pretty awful couple of years for the once-mighty network sitcom. NBC, which dominated the TV business for nearly two decades based on the strength of its comedy bench, announced it was ceding custody of an already-filmed Ellie Kemper half-hour from producer Tina Fey and selling the project to Netflix. The decision had nothing to do with the show’s quality — Netflix liked it so much, it has already ordered a second season — but instead was a depressing admission by the Peacock that it felt there was virtually no chance it could make the show a success given the network’s lack of even a single sitcom hit. This week’s announcement that NBC would also burn through the final season of the Amy Poehler–led Parks and Recreation in under two months added an exclamation point to the declaration of surrender: Rather than use the swan song of its longest-running and most critically admired half-hour to launch a successor sitcom, the network (probably correctly) decided it would be better off giving Parks a semi-dignified send-off and quickly moving on.

Articolo di Josef Adalian per "Vulture"
November was another bad month in what’s been a pretty awful couple of years for the once-mighty network sitcom. NBC, which dominated the TV business for nearly two decades based on the strength of its comedy bench, announced it was ceding custody of an already-filmed Ellie Kemper half-hour from producer Tina Fey and selling the project to Netflix. The decision had nothing to do with the show’s quality — Netflix liked it so much, it has already ordered a second season — but instead was a depressing admission by the Peacock that it felt there was virtually no chance it could make the show a success given the network’s lack of even a single sitcom hit. This week’s announcement that NBC would also burn through the final season of the Amy Poehler–led Parks and Recreation in under two months added an exclamation point to the declaration of surrender: Rather than use the swan song of its longest-running and most critically admired half-hour to launch a successor sitcom, the network (probably correctly) decided it would be better off giving Parks a semi-dignified send-off and quickly moving on.
A similar come-to-Jesus moment was likely behind CBS’s
unexpectedly early cancellation of the Will Arnett–Margo Martindale
sitcom The Millers, just weeks into its sophomore season. The
same network that had always managed to make America fall in like with
middle-of-the-road sitcoms such as Rules of Engagement, Still Standing, and Mike and Molly
seemed to be conceding even it no longer had the power to force us to
sit still for whatever mediocrity it slotted behind a monster hit (in
this case, The Big Bang Theory). By themselves, the NBC and CBS
decisions didn’t dramatically alter the small-screen landscape. Taken
together, they’re symptoms of something far more depressing: Network TV
is suffering through a Great Sitcom Recession, and there aren’t many
signs of recovery on the horizon.
At first blush, the downturn in the sitcom economy might appear
to just be part of the larger crisis facing the overall linear TV
business — the oft-documented challenges posed by audience
fragmentation, time-shifting, and the growth of streaming networks such
as Netflix. But while times are tough all over, it’s different with
comedy. Even as TV transforms itself in real time, broadcasters have
still managed to find a way to restock their shelves with new drama
hits: The Blacklist, Scandal, How to Get Away with Murder, Chicago Fire, and, possibly, this season’s Gotham and Scorpion. By contrast, the last time the networks launched an enduring, game-changing comedy smash was way back in 2009, when Modern Family exploded out of the gate for ABC. And it’s not just that there haven’t been a lot of new blockbusters. Scan Nielsen’s list of this season’s top 20 most-watched shows (above), and you’ll find just two comedies, period: Modern Family and The Big Bang Theory. This
paucity of half-hour hits has left networks insiders “confused” and
reeling, according to one top TV agent with deep ties to the comedy
community. “It’s not quite dread, but more a sense of ‘What the fuck?’”
he says. “There’s a question of ‘What do people want?’”
For those who subscribe to the “everything is cyclical” theory of
television, the answer to that last question is simple: Viewers just
want more good comedies. “Comedy will be dead until it isn’t,” says one
broadcast veteran, who believes the genre is simply stuck in one of its
periodic droughts. Industry insiders have called a code blue on comedy
many times before. Most recently, more than a few small-screen pundits
thought Friends would mark the end of the Universally Beloved Sitcom, until Chuck Lorre and Bill Prady made The Big Bang Theory
a weekly obsession for more than 20 million Americans. But just as the
economic crisis of 2008 was more than a standard-issue recession,
comedy’s current troubles register as deeper than past downturns. NBC,
which at one point in the 1990s had a weekly lineup packed with a
whopping 18 sitcoms, could very well enter the 2015–16 TV season without
a single returning half-hour. CBS cut back to a single hour of sitcoms
on Mondays this fall for the first time in decades (and might even drop
half-hours on the night altogether next season). Over at Fox, its
biggest live-action comedy, New Girl, struggles to get to 5 million viewers each week.
The array of issues plaguing sitcoms right now suggests the
traditional means of resurrection — making better shows — might not be
enough. So how should networks battle back? In its announcement
regarding its canceled Kemper comedy, NBC said it was focused on its
“drama-heavy” midseason schedule, indicating retreat would be its
short-term solution. But comedy is too essential a genre for networks to
abandon altogether. Broadcasters have to come up with new strategies to
deal with the comedy crisis. (SEGUE)
Etichette:
Amy Poehler,
Chicago Fire,
Gotham,
How To Get Away with Murder,
Mike and Molly,
New Girl,
NEWS,
Rules of Engagement,
Scandal,
Still Standing,
The Big Bang Theory,
The Millers,
Tina Fey
mercoledì 25 giugno 2014
NEWS - Delusi dalla Nazionale? Tifate allora per la formazione-tipo per vincere i Mondiali dei Telefilm questa estate: 11 titoli seriali da prendere a "morsi" puntata dopo puntata...
Articolo di Kathleen French per "Arts.Mic"
"There was a time when summer was dead for television — a creativity wasteland filled with reruns and daytime schlock. Indeed, quality TV during the summer months is a recent phenomenon and now that it's officially summer, it's a phenomenon we are ready to enjoy. Given this golden age, networks are upping the ante year-round. These are the programs your friends will be (or at least should be) talking about this summer. Queue up the DVR, get your streaming schedule ready or just settle in at the actual times when these shows are actually on TV. However you choose to watch, happy viewing.
1. "Almost Royal" (BBC America)
Saturdays at 10 p.m. (ET)
Fan of British humor? Then you should be watching BBC America's first original comedy-reality show, it's brilliance is in keeping with the mockumentary tradition of The Office. This time 'round, the subjects are two spoiled, aristocratic siblings who are touring the United States and attempting to understand American culture. The show's stars are Ed Gamble and Amy Hoggart, both young comedians to keep an eye on. The premiere was this past Saturday, so catch up before next week.
2. "Tyrant" (FX)
Articolo di Kathleen French per "Arts.Mic"
"There was a time when summer was dead for television — a creativity wasteland filled with reruns and daytime schlock. Indeed, quality TV during the summer months is a recent phenomenon and now that it's officially summer, it's a phenomenon we are ready to enjoy. Given this golden age, networks are upping the ante year-round. These are the programs your friends will be (or at least should be) talking about this summer. Queue up the DVR, get your streaming schedule ready or just settle in at the actual times when these shows are actually on TV. However you choose to watch, happy viewing.
1. "Almost Royal" (BBC America)
Saturdays at 10 p.m. (ET)
Fan of British humor? Then you should be watching BBC America's first original comedy-reality show, it's brilliance is in keeping with the mockumentary tradition of The Office. This time 'round, the subjects are two spoiled, aristocratic siblings who are touring the United States and attempting to understand American culture. The show's stars are Ed Gamble and Amy Hoggart, both young comedians to keep an eye on. The premiere was this past Saturday, so catch up before next week.
2. "Tyrant" (FX)
Premieres: Tuesday, June 24, at 10 p.m. (ET)
This 10-part drama series, brought to you by Homeland developers Howard Gordon and Gideon Raff, follows protagonist Bassam Al Fayeed, a renowned pediatrician based in L.A., as he returns with his wife and two teenage children to the fictional Arab country Baladi after a 20-year self-imposed exile. The twist? His father used to be the dictator. Baladi is still embroiled in political turmoil, and Al Fayeed and his family are drawn back into the conflict. Anything from the minds of the Homeland team is sure to make a few waves.
3. "Girl Meets World" (Disney)
This 10-part drama series, brought to you by Homeland developers Howard Gordon and Gideon Raff, follows protagonist Bassam Al Fayeed, a renowned pediatrician based in L.A., as he returns with his wife and two teenage children to the fictional Arab country Baladi after a 20-year self-imposed exile. The twist? His father used to be the dictator. Baladi is still embroiled in political turmoil, and Al Fayeed and his family are drawn back into the conflict. Anything from the minds of the Homeland team is sure to make a few waves.
3. "Girl Meets World" (Disney)
Premieres: Friday, June 27, at 9:45 p.m. (ET); moves to 8:30 p.m. (ET) on Friday, July 11
Feeling really nostalgic? Disney is rebooting Boy Meets World, to the tune of Girl Meets World. Cory and Topanga are now married with kids, and the show centers on their 12-year-old daughter Riley as she presumably tries to find her Cory/Topanga equivalent. Though Mr. Feeny will not be reprising his role as a series regular (Cory is Riley's history teacher, after all), a large number of Boy Meets World alums are confirmed to reappear, including William Daniels (Mr. Feeny), Lee Norris ("Minkus"), Betsy Randle (Amy Matthews), William Russ (Alan Matthews) and Rider Strong (Shawn). We don't care how corny it looks, we're watching.
4. "The Leftovers" (HBO)
Premieres: Sunday, June 29, at 10 p.m. (ET)
Feeling really nostalgic? Disney is rebooting Boy Meets World, to the tune of Girl Meets World. Cory and Topanga are now married with kids, and the show centers on their 12-year-old daughter Riley as she presumably tries to find her Cory/Topanga equivalent. Though Mr. Feeny will not be reprising his role as a series regular (Cory is Riley's history teacher, after all), a large number of Boy Meets World alums are confirmed to reappear, including William Daniels (Mr. Feeny), Lee Norris ("Minkus"), Betsy Randle (Amy Matthews), William Russ (Alan Matthews) and Rider Strong (Shawn). We don't care how corny it looks, we're watching.
4. "The Leftovers" (HBO)
Premieres: Sunday, June 29, at 10 p.m. (ET)
Two percent of the world's population suddenly vanishes without explanation. Fast-forward three years. So begins The Leftovers, created by Damon Lindelof (cocreator of Lost)
and Tom Perotta (who wrote the novel from which this was adapted). The
show explores the apocalyptic, not from by irreparable destruction or
zombies, but through the grief of inexplicable loss and collective
uncertainty in a small New York suburban town. It stars Justin Theroux
and Liv Tyler.
5. "Extant" (CBS)
5. "Extant" (CBS)
Premieres: Wednesday, July 9, at 9 p.m. (ET)
There has been a lot of buzz around this series, executive produced by none other than Steven Spielberg and starring Halle Berry as an astronaut who has returned home after a year in space. Here's where things get weird: in her health exam back on Earth, Berry's character learns that she's pregnant, though this is "impossible," given she was on a solo mission.
Wait, it gets weirder: the son she has with her husband is actually a machine … who appears to know a thing or two about the potential extinction of humanity. Extant has positioned itself as a show with a lot of questions. The question on our end is how well it will answer them.
6. "Welcome To Sweden" (NBC)
There has been a lot of buzz around this series, executive produced by none other than Steven Spielberg and starring Halle Berry as an astronaut who has returned home after a year in space. Here's where things get weird: in her health exam back on Earth, Berry's character learns that she's pregnant, though this is "impossible," given she was on a solo mission.
Wait, it gets weirder: the son she has with her husband is actually a machine … who appears to know a thing or two about the potential extinction of humanity. Extant has positioned itself as a show with a lot of questions. The question on our end is how well it will answer them.
6. "Welcome To Sweden" (NBC)
Premieres: Thursday, July 10, at 9 p.m. (ET)
Can you ever have too much Amy Poehler? Did you even know there was more Poehler to have? Poehler has a brother, and her brother has a new comedy coming to NBC (which NBC has already renewed for a second season). More Poehlers. Greg Poehler stars in the largely autobiographical show about how, after 12 years of practicing law in New York City, he moves to Sweden to follow his girlfriend. Greg knows nothing about Swedish culture or the language, and hijinks ensue.
Along with appearances by Amy, Will Ferrell, Aubrey Plaza and Gene Simmons are all slated to make cameos.
7. "The Strain" (FX)
Can you ever have too much Amy Poehler? Did you even know there was more Poehler to have? Poehler has a brother, and her brother has a new comedy coming to NBC (which NBC has already renewed for a second season). More Poehlers. Greg Poehler stars in the largely autobiographical show about how, after 12 years of practicing law in New York City, he moves to Sweden to follow his girlfriend. Greg knows nothing about Swedish culture or the language, and hijinks ensue.
Along with appearances by Amy, Will Ferrell, Aubrey Plaza and Gene Simmons are all slated to make cameos.
7. "The Strain" (FX)
Premieres: Sunday, July 13, at 10 p.m. (ET)
Looking for a new show to watch while cowering behind your couch? Then your hunt can stop with Guillermo del Toro (Pan's Labyrinth) and Carlton Cuse's (Lost) new vampire series. An outbreak of vampirism (à la zombie-ism in World War Z) has struck New York City, and one CDC doctor is at the helm of trying to find a cure. Don't roll your eyes: This is not a show about nice or sparkly vampires. These are not vampires that will carry you on their back and call you a "spider monkey." They are terrifying monsters who kill anyone in sight.
8. "Manhattan" (WGN)
Looking for a new show to watch while cowering behind your couch? Then your hunt can stop with Guillermo del Toro (Pan's Labyrinth) and Carlton Cuse's (Lost) new vampire series. An outbreak of vampirism (à la zombie-ism in World War Z) has struck New York City, and one CDC doctor is at the helm of trying to find a cure. Don't roll your eyes: This is not a show about nice or sparkly vampires. These are not vampires that will carry you on their back and call you a "spider monkey." They are terrifying monsters who kill anyone in sight.
8. "Manhattan" (WGN)
Premieres: Sunday, July 27, at 10 p.m. (ET)
There is a lot of potential for WGN’s Manhattan, executive produced by Sam Shaw, a former writer for Showtime's Masters of Sex. The series is set in 1943, in a secluded New Mexico town harboring the scientists working on the most top-secret project of all: the first atomic bomb. Charting the relationships between the scientists and their families as they wrestle with the implications of their work, Manhattan is definitely worth checking out.
9. "The Quest" (ABC)
There is a lot of potential for WGN’s Manhattan, executive produced by Sam Shaw, a former writer for Showtime's Masters of Sex. The series is set in 1943, in a secluded New Mexico town harboring the scientists working on the most top-secret project of all: the first atomic bomb. Charting the relationships between the scientists and their families as they wrestle with the implications of their work, Manhattan is definitely worth checking out.
9. "The Quest" (ABC)
Premieres: Thursday, July 31, at 8 p.m. (ET)
Someone at ABC let an executive producer from The Lord of the Rings create a reality television show, and it is absolutely everything that you would want from someone with those credentials. Premise? LARPing: coming to a TV near you. "Normal" adults dressed like they're at a Renaissance Faire battle an army of orcs (played by actors) to defend their ice kingdom and tiny castles on television. This could be one of the most entertaining reality shows in a long while. Who doesn't want to watch a bunch of actual adults fight elaborately styled orc-actors in the service of an imaginary monarchy?
10. "Knick" (Cinemax)
Someone at ABC let an executive producer from The Lord of the Rings create a reality television show, and it is absolutely everything that you would want from someone with those credentials. Premise? LARPing: coming to a TV near you. "Normal" adults dressed like they're at a Renaissance Faire battle an army of orcs (played by actors) to defend their ice kingdom and tiny castles on television. This could be one of the most entertaining reality shows in a long while. Who doesn't want to watch a bunch of actual adults fight elaborately styled orc-actors in the service of an imaginary monarchy?
10. "Knick" (Cinemax)
Premieres: Friday, Aug. 8, at 10 p.m. (ET)
The Knick is hands-down one of the most talked-about debuts of the summer, reason No. 1 being that it briefly brought Steven Soderbergh out of retirement to direct the 10-episode season. The show takes place in turn-of-the-century New York, and stars Clive Owen as a surgeon who is determined to push every boundary to save lives. In the recently released trailer, it appears that means the surgeon's methodology isn't always precisely legal or ethical. Earlier teasers flashed the tagline "Surgery wasn't always science." There's a distinctly creepy vibe to the show (a little American Horror Story), so it will be interesting to see where the series goes, particularly given that its creators, Jack Amiel and Michael Begler, have been behind far more family-friendly films like Big Miracle and Raising Helen.
11. "Legends" (TNT)
The Knick is hands-down one of the most talked-about debuts of the summer, reason No. 1 being that it briefly brought Steven Soderbergh out of retirement to direct the 10-episode season. The show takes place in turn-of-the-century New York, and stars Clive Owen as a surgeon who is determined to push every boundary to save lives. In the recently released trailer, it appears that means the surgeon's methodology isn't always precisely legal or ethical. Earlier teasers flashed the tagline "Surgery wasn't always science." There's a distinctly creepy vibe to the show (a little American Horror Story), so it will be interesting to see where the series goes, particularly given that its creators, Jack Amiel and Michael Begler, have been behind far more family-friendly films like Big Miracle and Raising Helen.
11. "Legends" (TNT)
Premieres: Wednesday, Aug. 20, 9 p.m. (ET)
Legends follows FBI agent Martin Odum (Sean Bean), who operates deep undercover but can and does consistently change identities. The problem becomes (in a Bourne-esque twist) that Odum begins to doubt who he actually is. The show is based off the novel by Robert Littell and has executive producers from Homeland and 24, with a premiere directed by David Semel (Homeland, Hannibal, American Horror Story). If Legends proves to be as good as the concept is intriguing, then TNT may find itself contending for awards with networks like HBO, Showtime, AMC and FX next year. Are there any new shows you're excited about that aren't included in this list? Make sure to post them in the comment section below.
Legends follows FBI agent Martin Odum (Sean Bean), who operates deep undercover but can and does consistently change identities. The problem becomes (in a Bourne-esque twist) that Odum begins to doubt who he actually is. The show is based off the novel by Robert Littell and has executive producers from Homeland and 24, with a premiere directed by David Semel (Homeland, Hannibal, American Horror Story). If Legends proves to be as good as the concept is intriguing, then TNT may find itself contending for awards with networks like HBO, Showtime, AMC and FX next year. Are there any new shows you're excited about that aren't included in this list? Make sure to post them in the comment section below.
Etichette:
Almost Royal,
Amy Poehler,
Carlton Cuse,
Clive Owen,
Damon Lindelof,
Extant,
Girl Meets World,
Halle Berry,
Knick,
Legends,
Manhattan,
Steven Spielberg,
The Leftovers,
The Quest,
The Strain,
Tyrant,
Welcome to Sweden
venerdì 6 giugno 2014
PICCOLO GRANDE SCHERMO - Mad Woman! Amy Poehler di "Parks and Rec" alla corte di Matt Weiner al cinema
Amy Poehler di “Parks and Recreation” (la 6° stagione inedita su Joi dal 5 agosto) – sitcom per la quale
si è già aggiudicata un Golden Globe e 2
Critics’ Choice Awards – sarà protagonista del nuovo ed atteso film di Matthew Weiner, ideatore di “Mad Men” e
sceneggiatore de “I Soprano”. La pellicola, intitolata “Are You There”, verterà sull’amicizia perduta (tema autobiografico
riferito a Weiner: i suoi amici, a suo dire, scomparvero tutti quando iniziò a
scrivere “I Soprano”). Co-protagonisti al fianco di Poehler saranno Zach
Galifianakis e Owen Wilson. Il film ha avuto vita complicata: 8 anni per finire
la sceneggiatura, due periodi di riprese diversi (durante le pause di “Mad
Men”), vari ripensamenti di montaggio e tagli dopo la presentazione al Toronto
Film Festival nel 2013. Si vocifera che l’uscita nelle sale americane possa essere
il 22 agosto, anche se la dicitura sulla locandina uscita questa settimana
“Coming Soon” non non assicura la garanzia assoluta.
mercoledì 26 marzo 2014
NEWS - Emmy per Emmy! Per premiare Rossum e compagnia "Shameless" con una statuetta (meritatissima!), gli Emmy Awards s'inventano di spostare la serie dalla categoria "drama" a quella "comedy" (ma se fa più piangere che ridere!)
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations.
Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
What does everybody else think? Is the move to comedy fair or foul?
Read more at http://www.hitfix.com/whats-alan-watching/shameless-to-hop-emmy-categories-from-drama-to-comedy#Ru6WvlY2ZhQq5Yym.99
Post di Alan Sepiwall per "Hitfix"
For the last four years, "Shameless"
star Emmy Rossum has been giving one of the best
performances in all of television, and yet despite the quality of that work —
and the name that would be a headline writer's best friend — neither she nor
the show she's on has gotten more than a whiff of Emmy recognition. Joan Cusack
has been nominated three years in a row for guest actress in a drama, and
that's it. Nothing for Rossum. Nothing for William H. Macy, who in his non-Frank Gallagher
life has won two Emmys and been nominated for seven more. None for Jeremy Allen
White or Emma Kenney or any of the other superb young actors the show has
discovered, none for the other guest stars or the writing or directing.
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations.
Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations.
Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations.
Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
What does everybody else think? Is the move to comedy fair or foul?
Read more at http://www.hitfix.com/whats-alan-watching/shameless-to-hop-emmy-categories-from-drama-to-comedy#Ru6WvlY2ZhQq5Yym.99
For the last four years, "Shameless" star Emmy Rossum
has been giving one of the best performances in all of television, and
yet despite the quality of that work — and the name that would be a
headline writer's best friend — neither she nor the show she's on has
gotten more than a whiff of Emmy recognition. Joan Cusack has been
nominated three years in a row for guest actress in a drama, and that's
it. Nothing for Rossum. Nothing for William H. Macy,
who in his non-Frank Gallagher life has won two Emmys and been
nominated for seven more. None for Jeremy Allen White or Emma Kenney or
any of the other superb young actors the show has discovered, none for
the other guest stars or the writing or directing.
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations.
Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
What does everybody else think? Is the move to comedy fair or foul?
Read more at http://www.hitfix.com/whats-alan-watching/shameless-to-hop-emmy-categories-from-drama-to-comedy#Ru6WvlY2ZhQq5Yym.99
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations.
Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
What does everybody else think? Is the move to comedy fair or foul?
Read more at http://www.hitfix.com/whats-alan-watching/shameless-to-hop-emmy-categories-from-drama-to-comedy#Ru6WvlY2ZhQq5Yym.99
For the last four years, "Shameless" star Emmy Rossum
has been giving one of the best performances in all of television, and
yet despite the quality of that work — and the name that would be a
headline writer's best friend — neither she nor the show she's on has
gotten more than a whiff of Emmy recognition. Joan Cusack has been
nominated three years in a row for guest actress in a drama, and that's
it. Nothing for Rossum. Nothing for William H. Macy,
who in his non-Frank Gallagher life has won two Emmys and been
nominated for seven more. None for Jeremy Allen White or Emma Kenney or
any of the other superb young actors the show has discovered, none for
the other guest stars or the writing or directing.
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations. Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
What does everybody else think? Is the move to comedy fair or foul?
Read more at http://www.hitfix.com/whats-alan-watching/shameless-to-hop-emmy-categories-from-drama-to-comedy#Ru6WvlY2ZhQq5Yym.99
The fact that Cusack keeps appearing in the guest category shows you how easy it can be to game the TV Academy's system — and now "Shameless" producer John Wells is trying to make like a Gallagher himself and try to game the system on a bigger scale. Having submitted the show in the Emmy drama categories the previous three years, Wells and Showtime today announced that "Shameless" will compete as a comedy at the 2014 Emmys.
Now, on the one hand I cannot blame Wells for trying this. I don't know that the genre has been the issue for "Shameless." Emmy voters have often seemed allergic to shows about extremely poor people, especially when they're not the type who suffer poverty with quiet dignity, but with the kind of brazen, hustling vulgarity with which the Gallaghers go through life. But odds are that Rossum was never going to break through in the drama actress category, not after a year when there were actually seven nominees and still no room at the inn for her, or for Tatiana Maslany, or several others. At a minimum, the comedy actress category will have a few openings, since Laura Dern and Tina Fey aren't eligible again, and Macy should have a much easier time than trying to crack a drama field that includes Cranston, Hamm, Spacey, and possibly McConaughey.
On the other hand, this move is, well, shameless. Absurd might be an even better word for it.
Yes, "Shameless" is a show that blends comedy and drama, and this year has had room for the usual black humor, like Carl Gallagher aggressively seeking detention to spend more time with a troublemaking girl he has a crush on, or Kev discovering what a money pit the bar he inherited really is. I even had arguments with Showtime executives in the first season that "Shameless" belonged more in the comedy categories, and not just because it was an easier path to nominations. Not this year, though. This has been the darkest, most serious season to date, and especially for Rossum's Fiona. Never the show's funniest character to begin with, Fiona's been in a deep, bad spiral all season that included cheating on her boyfriend, getting high and letting her toddler brother Liam ingest cocaine (nearly dying and possibly suffering brain damage as a result), becoming a convicted felon on probation, and in the most recent episode, hitting rock bottom when being abandoned by fellow junkies at a gas station in Sheboygan.
It's been an impressive arc, and Rossum has again been amazing. I would gladly see her nominated for any and all awards for what she's doing this year, and what she's done throughout the show. And it is insane that she would be competing against performances by Amy Poehler and Melissa McCarthy. It's weird enough when Edie Falco is up for these things (and won one for the first year of "Nurse Jackie"), but that's at least a more overtly comic show and performance, and there's always the half-hour defense.
The rules are the rules, and if Wells can work within them and convince the Academy to allow "Shameless" to hop categories, then I suppose more power to him. It's a great show that deserves more recognition than it's gotten. But I don't know if it'll get substantially more this way, and it'll feel very strange if it does, all things considered.
That said, new episode Sunday at 9! I expect Fiona to suffer some more!
What does everybody else think? Is the move to comedy fair or foul?
Read more at http://www.hitfix.com/whats-alan-watching/shameless-to-hop-emmy-categories-from-drama-to-comedy#Ru6WvlY2ZhQq5Yym.99
lunedì 13 gennaio 2014
NEWS - Golden Globes, trionfano "Breaking Bad" e la sorpresa "Brooklyn Nine-Nine"Best Actor in a TV series – Drama
Bryan Cranston, “Breaking Bad” *WINNER
Liev Schreiber, “Ray Donovan”
Michael Sheen, “Masters of Sex”
Kevin Spacey, “House of Cards”
James Spader, “The Blacklist”
Liev Schreiber, “Ray Donovan”
Michael Sheen, “Masters of Sex”
Kevin Spacey, “House of Cards”
James Spader, “The Blacklist”
Best TV Series – Drama
“Breaking Bad” *WINNER
“Downton Abbey”
“The Good Wife”
“House of Cards”
“Masters of Sex”
Best Supporting Actor in a Series – Mini-Series or TV Movie“Breaking Bad” *WINNER
“Downton Abbey”
“The Good Wife”
“House of Cards”
“Masters of Sex”
Josh Charles, “The Good Wife”
Rob Lowe, “Behind the Candelabra”
Aaron Paul, “Breaking Bad”
Corey Stoll, “House of Cards”
Jon Voight, “Ray Donovan” *WINNER
Best Actress in a TV Series – DramaRob Lowe, “Behind the Candelabra”
Aaron Paul, “Breaking Bad”
Corey Stoll, “House of Cards”
Jon Voight, “Ray Donovan” *WINNER
Julianna Margulies, “The Good Wife”
Tatiana Maslany, “Orphan Black”
Taylor Schilling, “Orange is the New Black”
Kerry Washington, “Scandal”
Robin Wright, “House of Cards” *WINNER
Tatiana Maslany, “Orphan Black”
Taylor Schilling, “Orange is the New Black”
Kerry Washington, “Scandal”
Robin Wright, “House of Cards” *WINNER
Best Actor – TV Series Comedy or Musical
Jason Bateman, “Arrested Development”
Don Cheadle, “House of Lies”
Michael J. Fox, “The Michael J. Fox Show”
Jim Parsons, “The Big Bang Theory”
Andy Samberg, “Brooklyn Nine-Nine” *WINNER
Best Actress in a TV Series – ComedyJason Bateman, “Arrested Development”
Don Cheadle, “House of Lies”
Michael J. Fox, “The Michael J. Fox Show”
Jim Parsons, “The Big Bang Theory”
Andy Samberg, “Brooklyn Nine-Nine” *WINNER
Zooey Deschanel, “New Girl”
Edie Falco, “Nurse Jackie”
Lena Dunham, “Girls”
Julia Louis Dreyfus, “Veep”
Amy Poehler, “Parks and Recreation” *WINNER
Best TV Series – ComedyEdie Falco, “Nurse Jackie”
Lena Dunham, “Girls”
Julia Louis Dreyfus, “Veep”
Amy Poehler, “Parks and Recreation” *WINNER
“The Big Bang Theory”
“Brooklyn Nine-Nine” *WINNER
“Girls”
“Modern Family”
“Parks and Recreation”
Best Supporting Actress in a Series, Mini-Series, or TV Movie“Brooklyn Nine-Nine” *WINNER
“Girls”
“Modern Family”
“Parks and Recreation”
Jacqueline Bisset, “Dancing on the Edge” *WINNER
Janet McTeer, “The White Queen”
Hayden Panettiere, “Nashville”
Monica Potter, “Parenthood”
Sofia Vergara, “Modern Family”
Janet McTeer, “The White Queen”
Hayden Panettiere, “Nashville”
Monica Potter, “Parenthood”
Sofia Vergara, “Modern Family”
Etichette:
Amy Poehler,
Breaking Bad,
Brooklyn Nine-Nine,
Bryan Cranston,
Golden Globes,
House of Cards,
Jon Voight,
Parks and Recreation,
Ray Donovan,
Robin Wright
mercoledì 8 gennaio 2014
martedì 2 aprile 2013

Non solo
Amy Poehler. “Parks and Recretation” (su Joi la 5a stagione inedita ogni giovedì)
ha più frecce al suo arco di Oliver Queen di “Arrow”. Tra i volti che ti si
stampano nella memoria della sit-com più sottovalutata dai media del nostro
Paese, sulla scia illuminata dalla Poehler, c’è sicuramente quello di Aubrey Plaza, colei che dà vita alla
cinica e apatica April Ludgate. Per interpretare la parte, l’attrice nata con
l’arte dell’improvvisazione sulle tavole polverose nei teatri sperimentali, si
è ispirata alle sorelle minori Renee e Natalie. Naturalmente vien da
immaginarsi come sia stata l’adolescenza della sempre più in vista Plaza,
confortata altresì dalla mamma procuratrice di origini anglo-irlandesi e dal
babbo consulente finanziario portoricano. Non per niente, a 20 anni, la nostra
ha subito un ictus dal quale si è ripresa egregiamente, visto che dopo pochi
mesi debuttava in un programma di Candid Camera entrando in un fast food armata
di pc con mega-schermo catodico, hard-disk vecchio stampo di 7 chili e tastiera
antidiluviana, usando l’armamentario suddetto a mò di notebook tra lo stupore
degli astanti. Mentre su Twitter ai quasi 300 mila followers, con l’account
@evilhag, proclama “I am a gay man”, Plaza sarà al cinema nel 2013 con le
commedie “The To Do List” (al fianco di Rachel Bilson di “The OC” e Connie
Britton di “American Horror Story” e “Nashville”) e “A Many Splintered Thing”
(con il bonazzo da blockbuster assicurato Chris Evans). Non si creda però che Aubrey abbia trovato il successo per caso: vanta un diploma in Cinema e Televisione alla Tish School of Arts di New York, nonchè quelle che la rivista specializzata “Complex” ha definito “le gambe più sexy della tv”. Il mensile le ha sì dedicato la copertina di Marzo, ma al motto “oltre le gambe c’è di più” ha privilegiato lungo il reportage fotografico le doti ironiche dell’attrice di cui sentiremo parlare anche dopo la…ricreazione.
Etichette:
Amy Poehler,
Arrow,
Aubrey Plaza,
Connie Britton,
L'EDICOLA DI LOU,
Nashville,
network,
Parks and Recreation,
PICCOLO GRANDE SCHERMO,
Rachel Bilson,
sexy
Iscriviti a:
Post (Atom)
"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!




























+-+ELLE+cover.jpg)




