GOSSIP - Un brutto "Affair"! Ruth Wilson è fuggita dal set della serie tv che l'ha consacrata per mobbing lesbo: l'autrice Sarah Treem la voleva sempre nuda...

News tratta da LaStampa.it

L’attrice inglese Ruth Wilson ha lasciato improvvisamente nel 2018 il set della serie tv The Affair per le troppe scene gratuite di nudo che le venivano richieste. Lo ha rivelato l’Hollywood Reporter, dopo che per molto tempo si era pensato che Wilson se ne fosse andata per protesta contro la disparità del suo trattamento economico rispetto a quello del suo partner, Dominic West. I soldi non c’entravano nulla, ha finalmente spiegato Ruth Wilson, obbligata al lungo silenzio da una clausola del contratto. A farle decidere di abbandonare la serie, conclusa quest’anno anche in Italia con il titolo “Una relazione pericolosa” erano state le continue richieste della produttrice Sarah Treem, che la voleva nuda anche quando non era necessario. Tra le due donne si era creato un clima insopportabile, culminato con la richiesta di Wilson di non avere Teen sul set quando lei girava. La produttrice, secondo il racconto di Hollywood Reporter, si rivolgeva all’attrice “con il linguaggio di un uomo degli Anni 50”, dicendole che “tutti aspettavano solo lei” e che “era bellissima”. Wilson, che per la sua interpretazione di Alison Lockhart nella serie ha vinto un Golden Globe, ha abbandonato il set dopo l’ennesima scena di sesso, prevista contro un albero durante una sessione di yoga. L’attrice ha lamentato che mentre si giravano queste sequenze erano presenti molte persone che non c’entravano con la produzione e che anche al di fuori del set tutti potevano vedere tutto sui monitor. Inoltre, ha lamentato il fatto che la maggiore quantità di carne esposta fosse la sua e non quella di Dominic West, che interpretava il suo amante. Sarah Treem si è difesa dicendo di essere sempre stata una femminista, di non avere mai usato il linguaggio che le viene attribuito, né di avere mai costretto qualcuno a spogliarsi. Ma testimoni intervistati da The Hollywood Reporter hanno raccontato di averla vista più volte tentare di persuadere gli attori a denudarsi “anche quando non erano a loro agio e non erano obbligati dal contratto”, in un ambiente di lavoro definito “molto tossico”. A Hollywood il rapporto tra registi, produttori e attori che devono girare scene di nudo è regolato dalle norme del SAG-AFTRA, un sindacato che rappresenta 160.000 attori di cinema e tv e che vincola ogni scena di nudo al rispetto della dignità e della volontà dei professionisti coinvolti. Poiché il nudo è un ottimo ed economico sistema per risollevare gli ascolti di programmi altrimenti destinati al fallimento, se ne fa sempre più uso nelle serie tv. Spartacus è stato considerato un film porno con una bella trama, Game of Thrones in Italia è stato portato in seconda serata per risparmiare almeno i bambini, Vikings e Versailles sono pieni di sesso gratuito che non c’entra nulla con la storia. E’ probabile che la decisione di Ruth Wilson di confessare la vera ragione del suo abbandono del set di The Affair apra un nuovo fronte dopo quello del metoo. Le situazioni imbarazzanti e le pressioni da lei vissute devono essere molto comuni nel mondo delle nuove serie tv, così ossessionate dal sesso da averlo ormai fatto persino venire a noia.

SGUARDO FETISH - E' scoppiata la "Vikings"-mania! Dalla serie di culto alle reunion di barbari del nord, tra filosofia e merchandising, con l'ombra di un mondo di estrema destra

News tratta dal Corriere.it
«L’organizzazione internazionale Destinazione Vichinga rivolge questo proclama a tutti i vichinghi del mondo. Mille anni fa i nostri avi stabilirono che l’8 maggio era il giorno in cui pulire le spade e e preparare le navi per visitare amici e nemici, vicini e lontani. Il sole saliva alto nel cielo, le api cominciavano a produrre il loro miele, e i bambini a correre scalzi nell’erba…». È quasi primavera, e puntuale arriva il «proclama». È rivolto a una moltitudine senza frontiere. A gente che, se per esempio vuole inanellarsi con l’«olio vichingo» una lunga barba, o intrecciarla con «l’anello del cavaliere vendicatore» può trovare il tutto sul sito di vendite «Vikingmerch», sede nello Utah, Usa, e distribuzione in tutto il mondo. O ad altra gente che, se ama i sapori forti, può gustarli al ristorante «Il Vichingo felice» di Yuba City, California, con piatti come il «Barbaro brutale». E lo sanno bene, tutti loro: «Destinazione Vichinga», quello del «proclama», è un gruppo internazionale che porta i nostalgici dei guerrieri in Groenlandia come in Ucraina, o alle isole Faroer: dovunque abbiano alzato le loro vele i figli di Erik il Rosso, nella storia o nelle leggende. Grande successo, così come in tv (la serie Vikings di History Channel), nella musica heavy metal («Fiero è il vento dal Mare del Nord» cantano i Judas Priest), e in un certo mondo ideologico di estrema destra che si è appropriato di alcuni simboli come 80 anni fa avevano fatto i nazisti con Wagner o Tolkien. Perché loro, i Vichinghi, nel ventunesimo secolo sono un oggetto di culto, e di business. I loro miti sono contesi a suon di milioni e dispute filosofiche, come ha notato anche il New York Times: dalla runa al martello del dio Thor, ai pantagruelici boccali per la birra. E alle idee, più o meno presunte: l’amore per la terra, i cibi naturali, gli antenati-dei, che Himmler identificò un giorno con il suo «sangue e suolo», e con la ricerca dell’«ultima Thule», l’isola che avrebbe generato la razza ariana. Tutto questo, oggi, rivive e preoccupa al di là del folklore. Soprattutto in Norvegia, una delle «culle» dei Vichinghi. Il suo turismo, già florido, ha avuto impulso grazie a loro, alle loro navi ritrovate qua e là. Un’università locale ha lanciato un corso, finanziato dal governo, su «come vivere da vichingo». Ma c’è un lato più oscuro: sognava di Erik anche Anders Breivik, il terrorista neonazista che nel 2011 uccise 77 persone. E in molti chiedono oggi alla squadra nazionale di sci alpino, battezzata «Vichingo all’assalto», di cambiare il simbolo cucito sui suoi maglioni. Una «runa», uguale a quella che sfoggiano i militanti del «Movimento di resistenza nordica»: gente che è andata davanti alle sinagoghe, fiaccole accese, inneggiando a Breivik. E a Quisling, l’ufficiale norvegese che si mise al servizio di Hitler.

Good/Bad Girls. 👸🏼👸🏻 #vikings #valhalla #goodgirl #badgirl #goodgirls #badgirls #girls #memo #quotes @katherynwinnick #katherynwinnick #tvshow #tvseries #series #serietv #telefilm #telefilmaddicted #instapic #picoftheday #design #frasi #cover #typewriting #font

Un post condiviso da Telefilm Cult (@telefilmcult) in data: Mar 15, 2018 at 7:26 PDT

A true Queen does not need a King... pic.twitter.com/bXBCJWt1b1

— Katheryn Winnick (@KatherynWinnick) 2 dicembre 2017

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

Variety
Le lezioni sbagliate di "Game of Thrones"

Today’s Variety cover story and accompanying column go deep into the subject of TV’s rapid expansion — Cynthia Littleton and I delve into not just the amount of TV being made, but the increasing costs that are impacting the medium. 

Throughout both of those pieces, “Game of Thrones” is mentioned many times. “Everybody wants their ‘Game of Thrones,’” one executive sighed as we reported this story. 

It’s true: Those were the recent marching orders of Jeff Bezos, and chaos reigns at Amazon Studios as it tries to pivot to providing spectacle. We’ve already seen the arrival of a host of dramas employing dozens of burly, bearded guys who can wield heavy swords (and some of them, like “Vikings” and “Into the Badlands,” are actually good!). But many more that prioritize pyrotechnics and special effects are no doubt on their way, not just from Amazon, but all the other content providers now in the game. 

The problem is, those trying to imitate “Game of Thrones” are taking all the wrong lessons from its origin story.

First off, “Game of Thrones” was not picked up straight to series. Every executive I spoke to winced when I brought up this frustrating trend. As one experienced showrunner put it, “You can make a good show without going through the pilot process. But it’s usually harder to do it that way.” The pilot process is far from perfect, but it allows everyone involved to assess what’s working and what’s not, and what can be recalibrated to make a show more effective. When a scripted program doesn’t pause after the pilot to figure out the best path forward, that rush-to-screen often drives up expenses, and storytelling mistakes are compounded.

Even “Game of Thrones” went through a rocky pilot process — the producers made two. The first attempt at a debut episode was more or less tossed out because certain characters weren’t quite working and some plot points were unclear. When the drama finally premiered in April 2011, major characters had been recast— Emilia Clarke was plucked almost straight out of drama school to replace Tamzin Merchant, and Michelle Fairley was not the actor originally cast as Caitlin Stark. 

HBO officially put “Game of Thrones” into development in January 2007 — so the team went through four long years of development, notes, writing, more notes, re-writing, filming and extensive re-shoots. Benioff and Weiss, well-regarded screenwriters, had never made a TV show before, and have acknowledged they faced a tremendous learning curve. 

None of this is to say that “Game of Thrones” is perfect. Dozens of critics, including myself, have spent a lot of time writing about what we’ve loved about the show — as well as what we’ve disliked about it. The show has flaws and blind spots, some of which have improved or evolved over time, some of which haven’t. 

But now that giant dragons are aloft and a dead ice king is tossing around javelins, it’s easy to forget that the main reason for “GoT’s” success is the fact that it’s truly a character-based drama. Even minor players like Lady Mormont and Tormund caught on with fans because they are so specifically and memorably portrayed. Many of the greatest scenes in “Game of Thrones” history have consisted of quiet conversations between two fine actors — or one actor slaying a monologue, as Tyrion (Peter Dinklage) did during his Season 4 trial. People root for Dany and Tyrion and Brienne, and worry about Arya and Sam, because they care about them. That’s the show’s accomplishment, not the near-tripling of its initial episodic budget. 

As it transitions into its final season, there’s been much chatter about how “Game of Thrones” will consist of essentially six feature films. But keep in mind that “Game of Thrones” is ending its run that way. The network and producers did not start out operating from the assumption — often expressed by Cersei Lannister, a fan of the for-hire Golden Company — that throwing money at a problem is the best way to solve it. 

HBO didn’t just spend money to get it right. It spent a rarer commodity — time.

But cash is what’s flooding into the TV market now, not patience. Apple already has a TV budget of at least $1 billion. Disney, Time Warner, NBC Universal and CBS spent $36 billion on TV last year — a third more than just seven years ago. Hulu will part with $2.5 billion this year, which tops HBO’s annual $2 billion budget. Netflix is upping its ante to $7 billion in 2018. Amazon spent $4.5 billion this year. And now Facebook is jumping checkbook-first into the episodic fray, along with Google, Snapchat and YouTube. 

All together, it’s a dizzying amount of money. But I truly wonder which of these companies will take their time with their shiny TV acquisitions. 

Sure, some eye-popping plot points need to be drenched in dollars to stand out. But many of the most memorable TV scenes (including on “Game of Thrones”) are the product of great effort expended over days, weeks, months and years. Scenes that are written and re-written, rehearsed and worried over, passionately crafted and thoroughly thought through. 

As Don Draper might say, “That’s what the money’s for.”

TWITTER-JAM - I migliori tweet seriali del circondario

Time to.. pic.twitter.com/Qh90ovPBrt

— Katheryn Winnick (@KatherynWinnick) 4 marzo 2017

NEWS - TIM in tackle nell'on demand con serie tv in anteprima (una inedita al mese): "American Crime" e "Humans" tra i titoli in arrivo 
Milano, 15 mar. (AdnKronos) - Un nuovo decoder android, oltre mezzo milione di clienti attivi, 25 milioni di fruizioni in un anno con una crescita di +130% e una nuova serie inedita e in esclusiva al mese. Tim lancia la sfida ed irrompe in modo sempre più deciso nel mercato on demand. "In un settore in enorme espansione come quello dell'on demand -spiega Daniela Biscarini, responsabile multimedia entertainment Tim- in cui oltre 4 milioni di italiani nel 2015 hanno avuto accesso ad un contenuto di origine televisiva attraverso il web (+27% rispetto al 2014), TimVision ha conqistato un ruolo di primissimo piano". Nel 2015 le fruizioni di TimVision sul cinema sono aumentate del 153%, quelle sulle serie tv del 197%, quelle sui prodotti kid e junior del +188%. Un'offerta, quella di TimVision che comprende 8.000 titoli in un unico abbonamento, hd incluso, nessuna interruzione pubblicitaria, nessun consumo giga in mobilità su rete Tim. "Entro l'estate -annuncia Giovanni Brunelli, responsabile TimVision- arriverà una grande novità: il nostro nuovo decoder android, 4k, di ultimissima generazione, che permetterà di vedere sia i contenuti TimVision sia quelli delle piattaforme con cui Tim ha stretto accordi". Dal punto di vista dei contenuti, il menù è ricco di novità, annuncia Aldo Romersa, responsabile contenuti TimVision: "Avremo una serie inedita al mese in anteprima assoluta tra cui 'The Royals 2' con Elizabeth Hurley, 'Vikings 4', 'American Crime' con Timothy Hutton e Felicity Huffman, 'Humans' con William Hurt. Avremo film mai visti in tv come 'Cop Car' con Kevin Bacon e 'A qualsiasi prezzo' con Zac Efron e consolideremo l'offerta dedicata ai più giovani con l'entrata di brand che non sono mai stati sulla piattaforma come Gormiti, Digimon, Hamtaro e Sissi". A completare l'offerta multimedia di Tim, il college pack speciale insegnanti, rivolto ai docenti, che prevede un pacchetto completo dedicato all'aggiornamento digitale composto da un device, connettività mobile 4G e contenuti per la formazione scolastica, specificatamente dedicato agli insegnanti che possono usufruire del bonus di 500 euro previsto dalla Carta del Docente del Miur.

ESCLUSIVA - Donal Logue intervistato da "Telefilm Cult" per la ripresa di "Gotham" su Premium Action stasera: "Io, da 'Sons of Anarchy' a Batman, duro per forza..."
In occasione della trasmissione degli episodi inediti di "Gotham", dal 11 maggio su Premium Action (ogni lunedì in prima serata), Telefilm Cult ha intervistato in esclusiva Donal Logue, interprete del detective Harvey Bullock. 

How does it feel to be part of the DC Universe?

For me, it’s massive. To get a thumbprint on a world that’s very important to a lot of people is huge. Prior to Gotham, my only experience of Harvey Bullock was in Batman: The Animated Series. My kids would watch that show as we drove up to our house in Oregon, so I was familiar with that version of the character – but I wanted to make it my own. It’s exciting to take your place on the shelf among all the other people who have had a play in this world. It’s really exciting.

What’s the atmosphere like on the set of Gotham?

It’s fantastic. Right now, we’re in the middle of production, so we’re finding the rhythms and strides of the show. Every episode has been a blast. So far, I feel like it’s a really, really strong series.

Has the show been strong since the very first episode?

It’s interesting because if you watch the pilot for a series – for example, The Sopranos – it takes a while to find a rhythm for a show. I think we found a rhythm pretty quickly. To be honest, we always thought the pilot was strong.

Most people know about Batman and Gotham City, but how difficult is it to describe the show without giving away any spoilers?

I’ve never been on a show before where you didn’t have to pitch the idea to the audience. When you work on something like [Donal’s previous television show] Terriers, where the title isn’t really implicit of what the show is about, you have to generate all of that information and you pitch it in interviews. You don’t have to pitch Gotham. It’s in the nomenclature.

What attracted you to the show?

For me, I was always drawn by it – but not because I’m necessarily into fantasy and the super hero aspect of the show; I’ve always liked it because it has a Raymond Chandler and James Ellroy quality to it. I always like the noir-ish part of American society, the American urban underbelly. It feels like Gotham can be used as a descriptive term for the seedier side of any big metropolitan centre. That’s what drew me to the show, and that’s what we’re playing up with the show. It feels a bit like the movie Chinatown. It feels like my character is Jake Gittes in that movie. Jim Gordon comes along and he’s really idealistic, but he’s partnered with Harvey Bullock, a guy who’s been through it all. Maybe he’s got one bit of goodness left in him, though. It takes a guy like Jim Gordon to bring that back out in Harvey Bullock.

You’ve played a lot of tough characters on a variety of shows including Vikings and Sons Of Anarchy. Are you looking forward to being the tough guy again in Gotham?

Yes, I am. Lee Toric in Sons Of Anarchy was probably a little tougher than Harvey Bullock in Gotham – but it’s great. It’s interesting because a television critic explained that our new show is really violent and not for young fans. I replied, “Violent? Compared to what? Vikings and Sons Of Anarchy? Come on!” To be honest, my kids watched The Lord Of The Rings when they were two years old and they loved it.

How would you describe Harvey Bullock?

Harvey is an old school detective who’s been around the block a lot. He’s a legend. I think he’s well liked among the police department because he’ll defend the blue line. I wouldn’t say that he’s unethical; I just say that he’s the willow and not the oak. He’s pragmatic. Just like with police work in general, sometimes you have to cut a scumbag a break to be a confidential informant to get bigger bad people. He’s actually crossed that line a bit. He actually has relationships with people in the criminal underworld, but he’s trying to survive – and maybe he’s trying to get to his pension. When a guy like Jim Gordon shows up and starts saying, “No, there’s a right and there’s a wrong.” Harvey thinks, ‘Good luck!’ However, Jim Gordon wakes something up inside of Harvey Bullock. I think it maybe makes Harvey want to be the cop that he once was.

Will the show delve into the back-story of Harvey Bullock?

Absolutely. In fact, I just found out some little tidbits about his back-story. We’re getting to that pretty soon in the show, which is exciting.

How much did you know about the back-story of Harvey when you signed up for the role?

I had a good long talk with [Gotham creator] Bruno Heller about the character when we first met. Bruno is brilliant. I can’t articulate the show the way that he can, but he made it so plain and clear to me. Sometimes you don’t have to try that hard to work out a character. When you have to work really hard to try and figure out a character, it’s not always necessarily the best thing. Harvey Bullock was a much easier cloak to put on than Donovan in Copper or King Horik in Vikings. It felt pretty easy and it felt like it made sense.

Vikings, Copper and Gotham are three very specific and different time periods. Are you suffering from whiplash from all these different characters and ideas?

No. As an actor, you get used to change. When you’re doing summer repertoire theatre and you have a Joe Orton comedy in rep but you’re also rehearsing a Sam Sheppard play during the day, you have to get used to it. It was much more intense when I was doing Copper and Sons Of Anarchy at the same time, which is where I was literally travelling between two cities for work. I’d spend one day on Copper, and the next day on Sons Of Anarchy. That was tough. During the shooting of the Gotham pilot, I was doing two massive episodes of Law & Order. That was a challenge, too. However, I think that if you need something done, give it to a busy man. You’re more on point when it’s challenging. I seem to thrive in that environment more than one where there isn’t much pressure at all.

What’s the strength of doing a prequel series as opposed to diving right into the middle of the mythology of Batman?

I’ll mention the work of Don DeLillo to answer this question. Don DeLillo’s fiction was always strongest when he took an event where we know what happened, but he invents possible scenarios that lead up to the event. Take the Kennedy assassination as an example. We all know what happened there. We know the events of that day, but Don DeLillo’s novel brings up new ideas. You already have tent pole moments to hang from, which is what we have on the show. We know that at some point Batman is Batman. The Penguin doesn’t fight the moniker of The Penguin. He learns to embrace it and become it. We know we’re going to get to that point in the show, but how do you build any suspense when you know the outcomes? You create moments where the audience thinks, ‘If only for that, we wouldn’t have had all of this. What if?’ If Hitler had been accepted to art school in Vienna, what if? That’s part of the fun of it.

What do you think of Oswald Cobblepot [aka The Penguin] in Gotham?

We have to start strong, and the critical piece of the puzzle was who was going to play Oswald Cobblepot. That’s the actor Robin Lord Taylor, who I’ve known for a long time, since he was very young. He’s perfect. If he wasn’t fantastic, I think maybe the whole show wouldn’t work, but we got the right man for the job. He’s amazing. It seems like we’re very Oswald Cobblepot heavy right now, which is a good thing.

There’s been a recent explosion of DC adaptations on television in 2014. Do you think that’s helpful to Gotham?

Absolutely. I think high tide floats all boats. I think comics in general have always been the most natural fit for television because they are constantly evolving storylines. They are literally storyboarded the way a Director Of Photography would storyboard them; they are all drawn out with bits of dialogue attached to them. It’s harder to adapt novels because there’s so much internal dialogue, but comics are really cinematic. I think there’s room for everybody.

GOSSIP - Po(r)ker! E sono 4: dopo Laverne Cox ("OITNB"), Katheryn Winnick ("Vikings") e Nicole Beharie ("Sleepy Hollow") tocca a Jordan Brewster di "Dallas" su "Allure"
"There's a strength to the portrait that I'm really proud of," says the Furious 7 and "Dallas" star. No kidding. Brewster, 35, runs six days a week, meditates twice a day, and mixes in "some weird Cirque du Soleil–type acrobatic work," she says. "Having to wear those tight outfits in the [Fast and Furious] franchise has helped me keep fitness a part of my life."
Have those Fast and Furious workouts changed your body?
"My legs used to be my least-favorite body part, but now they're really strong and muscular."
Did you tell your husband that you'd be posing nude?
"I asked if he had any reservations. He said, 'Just don't do full frontal.' He'll be pleasantly surprised."
Why now?
"I'm having more fun posing nude or being in a bikini or doing love scenes than I ever did before because it hit me: This is fleeting, and in a couple of years I won't be able to do this, so just enjoy it."
Do you walk differently when naked?
"It depends whether someone is watching."
Were you raised in a household where nudity was no big deal?
"I was raised in Brazil for part of my life, where people are pretty open about their bodies, so yeah. The bikinis are kind of nonexistent, so you might as well be naked."

GOSSIP - Non c'è due senza tre! Anche Nicole Beharie di "Sleepy Hollow" nuda su "Allure" (dopo Laverne Cox di "OITNB" e Katheryn Winnick di "Vikings")
Nicole Beharie, 30, has experience being physical onscreen, whether in bed with Michael Fassbender in Shame or "fighting demons in the woods" in Sleepy Hollow. As for the latter: "It requires athleticism. As a woman, it's good to be able to handle your own shit."
How do you stay in shape for Sleepy Hollow?
"I run; I do a lot of dance classes; I swim; I really love lifting weights. I'll make myself do something every day, even when my heart's not in it."
What was the best part of the shoot?
"I just turned 30, and I was really nervous [about posing].... But I wanted to celebrate and accept my body in an artistic way."
Do you have a favorite body part?
"I love my bum. I have a good bum."

GOSSIP - "Senza vestiti mi sento più forte!". Oltre alla Cox di "OITNB", anche Katheryn Winnick di "Vikings" nuda su "Allure"
"I walked in nervous and vulnerable," says Katheryn Winnick, 37. And that's not a familiar feeling for the Vikings star, a third-degree black belt in Tae Kwon Do and licensed bodyguard. "There's a confidence that comes from knowing you can defend yourself," she says. In the end, "posing nude made me feel more free and empowered."
How did you prep for the shoot?
"I called my girlfriends and asked them to pose naked to show me what positions look good. I have a few crazy photos on my phone."
What's your nude comfort level at home?
"I'll do the dishes naked, learn my lines naked, walk around my house naked."
Have you ever been to a strip club?
"I used to go. There are incredible dancers there, and if it's in a classy way...I appreciated a woman's body when I was there."
Any parting words?
"Everybody should do this, in their home, hopefully with their significant other. If you can feel good in your own skin, why hide it?"