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#RIP Shelley. 🙏🏻 #shelleymorrison #ripshelley #willandgrace @seanhayes #tvshow #tvseries #series #serietv #telefilm #telefilmaddicted #instapic #picoftheday

Un post condiviso da Telefilm Cult (@telefilmcult) in data: 1 Dic 2019 alle ore 8:03 PST

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

CORRIERE DELLA SERA
Luke Perry, addio al Kurt Cobain delle serie tv

La t-shirt bianca e i jeans stinti, la moto nera e lo sguardo triste, la solitudine del ragazzo ricco costretto a vivere lontano dai genitori che non lo amavano: con Luke Perry, protagonista di «Beverly Hills 90210», morto lunedì a Los Angeles per le conseguenze di un ictus a soli 52 anni (mercoledì scorso il malore che era parso subito gravissimo, il coma), non se ne va soltanto uno degli attori televisivi più importanti dell’ultimo trentennio, ma scompare anche un simbolo degli anni ’90. Simbolo della confusione adolescenziale, della solitudine. Il suo coetaneo Kurt Cobain in quegli anni fu il maledetto del grunge, il ribelle con la chitarra elettrica che vedeva il successo come la prova della sua ipocrisia. Luke Perry, idolo pop quanto Cobain era l’eroe del rock, incarnava l’inquietudine e la confusione giovanile, Dylan con problemi d’alcolismo innamorato della dolce Brenda arrivata dalla provincia, sorella del suo migliore amico, il sensibile Brandon. «Beverly Hills 90210» apparve nel 1990 con successo globale (20 milioni di spettatori ad ogni puntata soltanto negli Usa) e l’ultima puntata è stata trasmessa nel 2000: raccontava dei fratelli Brandon e Brenda arrivati nella terra dei ricchi californiani dal natio Minnesota, ma il protagonista era il Dylan McKay di Luke Perry. Ribelle nella fiction e fuori, fu il primo (1995) a lasciare il serial all’apice del successo per provarci col cinema: andò male (lo ricordiamo in Vacanze di Natale 95 con Cristiana Capotondi che gli dice «quanto sei bbbono» in discoteca) e così tornò a «Beverly Hills 90210» tre anni più tardi, ammettendo con franchezza che lo faceva per i soldi. Ma per soldi non accettò almeno la malconsigliata «reunion» del 2008 con gli ex colleghi un po’ spaesati, lasciando il ricordo del Dylan bello e dannato all’esercito di fan alle quali Capotondi aveva dato voce stentorea. Accolta la fama con lo schietto realismo da figlio d’un metalmeccanico dell’Ohio, era arrivato al successo dopo una serie impressionanti di «no» incassati ai casting (inizialmente doveva interpretare il personaggio secondario di Steve ma l’avevano scartato anche quella volta, vinse il ruolo di Dylan contro ogni aspettativa non soltanto sua, ma anche del suo agente). Il dopo-«90210» fu poco stimolante, in quest’ultimo ventennio della sua vita e della sua carriera: comparsate in serial di successo come «Criminal Minds», «Law & Order: Special Victims Unit» e «Will & Grace», doppiaggi a lodevole tasso di autoironia ne «I Simpson» e ne «I Griffin» nei panni di se stesso, icona anni Novanta fuori tempo massimo. Ci provò con il teatro di lusso, «Rocky Horror Show» a Broadway e «Harry ti presento Sally» a Londra, sempre a caccia di quel successo che era stato suo e che gli era sfuggito dalle mani in un istante, spente le luci sul set dell’ultima puntata di «Beverly Hills». Il mondo l’ha rivisto in «Riverdale» (su Sky), serial nel quale ormai faceva una parte da comprimario, il papà, con le rughe in vista lodevolmente sottratte al Botox e lo sguardo triste di una volta. E il pensiero a quegli anni lontani, quando era il più bello e il più famoso di tutti. (Matteo Persivale)

NEWS - Tutti i segreti del ritorno di "Will and Grace", compresa la richiesta di Debra Messing di rendere Grace una "femminista"

News tratta da "Vulture"

Ahead of the forthcoming Will & Grace revival, out this week, Debra Messing, Eric McCormack, Sean Hayes, and Megan Mullally joined co-creators Max Mutchnick and David Kohan in conversation at the inaugural Tribeca TV Festival on Saturday night to talk about what it was like to come back and how their characters have evolved. “The only thing that I asked for was that Grace be a feminist,” said Messing. But other characters — *cough* Karen *cough* — won’t be as woke. When Mullally was asked if she wanted to change anything about her character, she answered simply: “No.”

For many of the actors, getting back into character took some time. McCormack and Messing have kept in touch since the show ended in 2006, so that helped. “We’ve maintained a sort of ongoing conversation that I think if we hadn’t this would have been a harder sandbox to jump back into,” McCormack said. “It’s been 11 years, and I think that I was a little tentative,” said Messing. “Eventually by the third episode I just sort of relaxed, and I was like, Okay, she’s back.” Hayes felt the same about returning to Jack. “There was so much response to the election video, and there’s so much now more than ever,” said Hayes. “But, you know, you don’t think about it when you go into work … You can only do the job you know how to do, and then it’s not up to you.” Describing the vibe on set, McCormack said, “We’re 11 years older, but on set we’re 11 years old. We are four idiotic children.” “Really naughty,” Messing added. Ahead: eight other things we learned about the reboot at the Tribeca TV panel.

Karen is friends with Donald and Melania Trump. “She’s down at Mar-a-Lago at lot with Donnie and Melania,” said Mullally. “I do love that line in the first episode, that Melania called me after one of her night terrors.”

Grace and Messing both went through a divorce. “Certainly, I feel Grace in my body differently because I’m 11 years older,” said Messing. “Grace went through a divorce, I went through a divorce.”

The show can do more around the characters’ sexuality this time around. McCormack said he doesn’t think the show got enough credit for Will’s sexual escapades back then. “There’s lots of episodes where I dated, and not just dated, I made out with Taye Diggs,” said McCormack. “People are always like, Oh, Will never had any sex. Will had lots of sex off-camera. It’s a sitcom. I’m not going to take my dick out. But in episode two, I take my dick out. It’s a whole new world.”

Messing added that the show will continue to reflect society as it is. “Back then, LGB, we stopped at B. And now 11 years later, the conversation has expanded. There’s T, A, I, and gender fluidity and there are all these things that are now finally being celebrated in our culture,” said Messing. “The thing we all committed to one another was that we’re going to be the show that we always were. We’re going to talk about what’s happening now.” Mullally agreed that there’s more leeway in what the show can cover. “When Will & Grace was on the air, at least for the first several seasons, there were no other shows that had gay characters. We were standing alone in that regard,” said Mullally. “Now, if you don’t have at least four gay characters, people are like, What’s this piece of shit?”

Expect guest appearances from Harry Connick Jr. and Bobby Cannavale. “We’re all going to date cool guest stars,” said McCormack. “That was always the fun of the show is who can we get that will bring out new things in these characters.” Shelley Morrison, who played Rosario, will not be appearing. “She’s retired from the biz,” said Mullally. There will also be tributes to Debbie Reynolds and Sydney Pollack.

McCormack thinks he looks too tan onscreen. “I was in Vancouver all summer. I’m George Hamilton up there.”

Jack has trademarked a new acting technique called “Jack-ting.”Hayes will be sharing acting tips in a web-extra series named “Just the Tips.”

Will and Grace will go into business together in the new series.“Grace Adler Designs has become quite a thing. And Will’s job as a lawyer, he’s doing as well as he can possibly do,” said McCormack. “He wakes up one day and realizes that I spent my [time] around lawyers and clients, and I want to do something that I love with someone I love. So Will and Grace go into business together. I’m not cutting cloth or anything. I’m still a lawyer, but I’m Grace’s lawyer. I think that’s going to create a lot of hilarity.”

The show is filmed with a live audience, so there’s no laugh track.

NEWS - Clamoroso al Cibali! Megan Mullally è stata respinta al provino per il ruolo di Grace in "Will&Grace"

Eric McCormack, Debra Messing, Sean Hayes and Megan Mullally reunite on the cover of the latest issue of Parade, out on Sunday (September 24)! Here’s what the Will & Grace co-stars had to say:

Eric, on where the show picks up again:“Obviously, it’s 2017—lots of Instagram and Twitter jokes. It’s not the same as a bunch of 24-year-olds sitting around yakking.” 

Megan, on auditioning for the part of Grace: “They were like, ‘Next!’ I tried to make [Karen] just a little quirkier and added the ‘honeys,’ the tics and the laughing.”

Debra, on the late Debbie Reynolds, who played Grace’s mother: “She had a dirty mouth. You were convinced she was gonna moon people any second. She was outrageous!” 

For more from the Will & Grace cast, head to Parade.com.

NEWS - Welcome back! Il promo del ritorno di "Will&Grace"!

News tratta da "Uproxx"
There’s never been a more inviting time to take a show out of suspended animation and give it the “revival” treatment. Among the latest crop of television programs returning after a long-ass hiatus is the new go-around of the sitcom Will & Grace. Going off of the promo dropped on the 4th of July, it feels like we’re in for a total throwback.The promo, which we have nestled above because we believe in patriotic video releases, has the core four (Eric McCormack, Debra Messing, Sean Hayes and Megan Mullally) smiling and doing the ol’ slow motion hug treatment. Essentially, it looks like the sort of commercial you’d see during Will & Grace‘s Must See TV heyday. Look! There’s playful poses by names, Karen slapping Jack and some supportive grimacing (I think?) as Grace dances with glee. You could have sandwiched this slice of video between a 15 second spot for Inside Schwartz and a 30 second clip for Good Morning Miami and I would be none the wiser. If this bonus run is about a ritual slaughter cult it sure as sugar isn’t tipping its hand in advance. Will & Grace, which initially waved goodbye in 2006, will return for a 12-episode run for the 2017-18 season. The debut episode for this limited series engagement is set to premiere on September 28.

NEWS - Le sit-com sono morte? Viva le sit-com! Nell'era dello streaming e di Netflix c'è ancora voglia di ridere per mezz'ora? 

News tratta da "Uproxx"
Critics have been declaring the sitcom dead for decades. They died in 1983, the year before The Cosby Show resurrected them. They died after Everybody Loves Raymond and Friends went off the air; and they died again when NBC’s Must See TV comedy line-up went belly-up. Yet the half-hour comedy format remains resilient, capable of reformatting itself and rising again. While CBS has been able to cling to the past with its arsenal of laugh-track sitcoms, ABC has seen a minor resurgence in the form of diverse family sitcoms. NBC is even trying to resuscitate its Thursday night comedy block this fall with the return of Will & Grace, as well as Superstore, the network’s longest-running sitcom since Robert Greenblatt took over as chairman of NBC Entertainment in 2011. It will enter its third season in the fall. Sitcoms are doing well on networks and basic cable and they’re also thriving in a place that might not have been expected a few years ago: streaming services. Many of the best half-hour comedies have packed up their traditional television conventions and moved to streaming services like Netflix, Amazon Prime, and Hulu, where they they’ve become almost an antidote to other aspects of Peak TV. To wit: While the average television viewer cannot realistically keep up with the riches of television dramas — American Gods, Handmaid’s Tale, The Leftovers, Twin Peaks, Fargo, Better Call Saul, and The Americans among others currently occupy space on my weekly viewing schedule — the half-hour streaming comedy has provided a welcome respite from two-to-three month weekly investments for the average television drama, or the week of nightly viewings we devote to most streaming dramas. But a half-hour streaming comedy? We’re looking at a four-to-six hour investment, tops, which means we can binge an entire season of Master of None on a Saturday night, or Amazon’s Mozart in the Jungle on a single cross-country flight. In fact, I pulled an all-nighter over the weekend and finished Unbreakable Kimmy Schmidt and Amazon’s I Love Dick in a single sitting (though I do not recommend this). I don’t want to overstate it, but when our television schedules increasingly look like lengthy grocery lists, it’s immensely satisfying to be able to check off one or two items in a single weekend. While it may sometimes feel daunting to commit ten hours to watching Patriot no matter how good the reviews (and it’s a spectacular series), it’s well within our abilities to give up a half hour here and there to finish a season of Santa Clarita Diet despite mediocre reviews. Meanwhile, while everyone seemed to be excited about the return of Twin Peaks, Showtime debuted the series with two one-hour episodes, which meant for many viewers choosing between David Lynch’s comeback or The Leftovers and American Gods. Twin Peaks is also 18 hours long, which will make our Peak TV decisions even more difficult over the summer when it faces off against Game of Thrones and Fear the Walking Dead, among others. To put it another way: a person could watch three seasons of a half-hour comedy in the same time it takes to watch one season of Twin Peaks. It’s not just the time disparity, either. It’s the fact that streaming half-hour comedies have evolved so much in the last couple of years that they can provide as much substance as a so-called prestige drama, and that substance comes with a side of laughter. Dear White People is a perfect example: It’s funny, engaging, fast-moving and entertaining, but it may also be the most insightful series about racial politics that I have ever seen. The vibrant and beautifully written Transparent has also helped the transgender community make great strides — not to mention the fact that it’s one of television’s best series about Jewish identity issues — and it’s accomplished that in three seasons that can be viewed is less time than it takes to watch one season of The Walking Dead. Streaming half-hour comedies also lend themselves to quick binges. Network comedies like Black-ish and Speechless are great, but the fact that they air weekly — and are often broken up by long-stretches of reruns — means that they’re necessarily episodic in nature. Streaming comedies are designed for the modern television viewer: They’re self contained enough to be entertaining as stand-alone episodes, but serialized enough to encourage us to watch them in chunks. Typically, they’re also a much cheaper investment for studios and networks than a drama, which means there’s more freedom to take risks without badly affecting the bottom line. A season of Love for instance, can probably be produced for less than it takes to create one episode of Game of Thrones. In fact, some networks may be engineering their half-hour comedies for streaming consumption. “Looking at streaming as the new aftermarket is a big driver of a lot of programming decisions, not just in comedy,” says Alan Sepinwall. And “with Netflix, et. al., serialization is actually considered a plus.” Indeed, You’re the Worst probably plays as well on Hulu as it does on FXX; the same can be said of NBC’s The Good Place and Great News. The latter shares a spiritual kinship to Unbreakable Kimmy Schmidt, and it’s being dumped by NBC two episodes at a time at the tail end of the network season. That’s typically a ploy networks use to burn off series that they’ve already committed to airing but have no intentions of bringing back (see Best Friends Forever or Bent). Great News, however, has already been renewed for a second season. So why release 10 episodes so quickly? Because it makes them easier to binge on Hulu. Meanwhile, Unbreakable Kimmy Schmidt, which was originally created for NBC, probably would have been dumped and quickly cancelled two years ago by the network. On Netflix? The third season just premiered, and it’s one of the streaming service’s most popular comedies. Our political climate favors the half-hour streaming comedy, as well. While a show like The Handmaid’s Tale may be “necessary” television, how many people are eager for a powerful and timely nightmare that heightens our already existing fears? The Americans is a tremendous series — maybe the best on television — but the fact that it echoes our real-life political situation is beginning to feel like a liability rather than an asset. In short: This is the perfect era for the half-hour streaming comedy, a period in which we’re short on time but we still crave substance. The half-hour streaming comedy is like healthy fast food, perfect for the television viewer on the go who doesn’t want to get fat on episodes of Matt LeBlanc’s Man with the Plan or Kevin James’ Kevin Can Wait. We can still get all the nutrients we need without investing the time in a big meal like a season of House of Cards or Mr. Robot.

NEWS - Nel 2017 per le serie tv sarà boom di remake di titoli cult
Leggi quali QUI

News: 'Will & Grace' Revival in the Works at #NBC.https://t.co/nBbpfyDIAU via @thr

— AccademiaTelefilm (@AcademyTelefilm) 27 ottobre 2016

NEWS - Clamoroso al Cibali! "Will&Grace" are back! Il cast della sit-com cult si riunisce per un episodio speciale in vista delle Elezioni Usa
 

PICCOLO GRANDE SCHERMO - Che coppia del ca...mper! Megan Mullally di "Will&Grace" diventa moglie di Bryan Cranston di "Breaking Bad" (al cinema)

News tratta da "Variety"
Fox has cast Megan Mullally in the Bryan Cranston-James Franco comedy “Why Him?” to portray the wife of Cranston’s character. John Hamburg is directing from a script he co-wrote with Ian Helfer. Shawn Levy is producing through his 21 Laps banner along with Ben Stiller through his Red Hour company. The story centers on a down-to-earth Midwestern father who takes his family to visit his daughter — who is attending Stanford — at Christmas and subsequently gets into a competition with his daughter’s boyfriend, a young Internet billionaire played by Franco. Dan Levine, 21 Laps president, is overseeing the project along with Fox’s Jeremy Kramer. Production is set to begin February in Los Angeles. Cranston came on board a few months later. He starred in Franco’s drama “In Dubious Battle,” which is in post-production, and has received strong reviews for his performance in “Trumbo.”
Mullally, best known for “Will & Grace,” stars in the Adult Swim series “Childrens Hospital” and has a recurring voice role on “Bob’s Burgers.” She also stars in the upcoming NBC series “You, Me and the Apocalypse,” which premieres January 28
The actress is repped by UTA and Jackoway Tyerman. The news was first reported by Deadline Hollywood.

NEWS - Dirty Grace! Debra Messing nella mini-serie remake di "Dirty Dancing"

News tratta da Deadline.com
The Mysteries Of Laura and Will&Grace star Debra Messing is set to co-star as Marjorie opposite Abigail Breslin’s Baby in ABC’s three-hour remake of the hit Patrick Swayze-Jennifer Grey movie. The project’s green light had been contingent on casting both roles, so the contingency officially has been lifted.
Emmy winner Messing plays Marjorie Houseman, Dr. Houseman’s wife and mother of Baby (Breslin) and Lisa. She is a meticulous 1960s housewife who takes great pride in her family and is using this summer vacation to try to rekindle her romance with her workaholic husband. The role was played by Kelly Bishop in the original.
Like the 1987 movie, the new Dirty Dancing, from Lionsgate TV, centers on Baby, an innocent young woman in the early 1960s who vacations with her affluent parents and siblings in the Catskills and falls for the resort’s working-class dance instructor. Executive produced by Allison Shearmur and Eleanor Bergstein, who wrote the screenplay for the original movie, Dirty Dancing was adapted for television by Jessica Sharzer. Wayne Blair is set to direct and Tony winner Andy Blankenbuehler, who most recently choreographed the hit Broadway musical Hamilton, is on board as choreographer. The production will be filmed, not aired live. The rest of the production team includes Adam Anders and Judy Cairo (producers), Stephen Altman (production designer) and Adam Anders and Peer Astrom (music).

NEWS - Arriva la "Colombo" con i capelli rossi! Da domani "Mysteries of Laura" su Premium Stories (in arrivo anche la versione italiana!!!)

Il ritorno in grande stile di Debra Messing di “Will&Grace” avviene in “Mysteries of Laura”, in prima tv su Premium Stories dal 5 settembre (ogni sabato in prima serata). Firmata da Jeff Rake, è basata sulla serie spagnola “Los misterios de Laura” di Carlos Vila e Javier Holgado, prossimamente trasposta anche nella fiction italiana “I misteri di Laura” su Canale 5 con Carlotta Natoli nel trench della protagonista. I riflettori della serie si accendono sulla doppia vita di Laura Diamond (Messing), una detective che si occupa di omicidi per il dipartimento di polizia di New York ma che deve far fronte altresì al ruolo di madre di due figli gemelli, oltre che esser sposata con il suo capo – Jake Broderick (Josh Lucas) - al quale vuole chiedere il divorzio. La firma DOC di Greg Berlanti (“Arrow”, “The Flash”) compare tra i produttori esecutivi della serie già rinnovata per la 2° stagione, nonché candidata agli ultimi People’s Choice Awards nella categoria “Favorite New Tv Comedy”. Anche McG, già dietro i successi di “The OC” e “Chuck”, contribuisce alla produzione e alla regia. Imperdibile la 16° puntata, dove Messing si riunisce con il collega Eric McCormack di “Will&Grace” sullo stesso set! Prima della Messing, la produzione aveva pensato a Demi Moore e Felicity Huffman per il ruolo della protagonista. Kelly Rutherford, Steve Guttenberg, Melissa Joan Hart e Janel Parrish sfilano da guest-stars. Brian Lowry su “Variety” ha commentato l’avvento della serie con “è come se ‘Colombo’ si fosse messo una parrucca rossa!”. 

PICCOLO GRANDE SCHERMO - Leighton Meester+Debra Messing in"Like Sunday, Like Rain"!
Leighton Meester ("Gossip Girl") struggles with a break-up, a new job, and a sick father in the trailer of her upcoming movie Like Sunday, Like Rain. The 28-year-old actress plays Eleanor, a struggling musician who becomes the live-in nanny of a 12-year-old music prodigy one summer. 
Like Sunday, Like Rain also stars Green Day frontman Billie Joe Armstrong, Debra Messing ("Will&Grace", "The Mysteries of Laura", "Smash"), and Julian Shatkin.
See the full trailer below!

NEWS -  RIP, non ci sono più i gay effeminati di una volta...

Post di Nico Lang per PolicyMic

"A couple of years ago I sat in the audience for a panel discussion on queer representation in entertainment; the presentation included a breezy tour through the gay history of the media, complete with Powerpoint slides of Rosie, Ellen and old People magazines from when you needed to be on the cover of something to come out. The overview was greeted warmly, until we got to Will and Grace, where one of the show's characters, Jack McFarland, proved a sticking point. Jack, a sassy sidekick whose flamboyance towed the line between camp and parody, has long been a lightning rod of discussion in the community. You could feel that discomfort in the room.

Our tour guide diffused the tension by reminding the mostly-male audience that Jack might be a stereotype, but many of us know a Jack in real life. The audience laughed with delight and recognition. They nodded to friends as if to say, "Oh, yes. That's true." What he didn't say is that many of us are Jacks, but I wondered how many people would laugh at that statement.

I thought of this moment after NBC announced that the network would be pulling Sean Saves the World, the freshman sitcom starring Sean Hayes, who played Jack on Will and Grace. For those who haven't seen the show (read: all of you), Sean Saves the World was about a father forced to take sole guardianship of his estranged (yet adorable!) daughter after her mother abandoned her. The show was NBC's attempt to relive its glory days by borrowing from what worked in the '90s, with Hayes playing nearly the same character, a little older and wiser, but with all the trademark pitfalls. Even the stilted laugh track made it sound like the laughter was echoing in from 15 years ago.

 But in getting (rightly) cancelled by NBC, audiences weren't just leaving '90s sitcoms behind. They were leaving behind the Jack McFarlands, a relic of the Queer as Folk era of gay TV, when a show like Queer as Folk (for all its whitewashed issues) could give us three effeminate gays in its lead cast: Emmett, Ted and Justin. The recent television movement has been a push toward post-gay representation, creating male characters who just so happen to be gay. On the critically lauded Brooklyn Nine-Nine, that's the entire point of Andre Braugher's Captain Holt. His sexuality is as inscrutable as the rest of his persona, a hard-ass who has learned to blend in to survive in a homophobic workforce. The recent new HBO addition Looking was celebrated for the same thing. Although many critics chided it for being dull (which it is), defenders of the show found it liberating that gay characters got to be boring on television just like everyone else.

However, there's a certain type of character that gets the privilege to be post-gay, guys whose sexuality doesn't stand out in the same way that Jack's did. In order to get on television today, gay characters are butching it up, becoming like Captain Holt to prove they can hang with the boys, camouflaged with masculinity. Looking's characters are all fit hipster bros who call each other "dude" a lot. On the recently departed Happy Endings, the schlubby, hairy Max acted as a deconstruction of gay stereotypes. It was a running joke that Max was "less gay" than the show's straight dudes, much like gay characters on Nashville and GCB. This might be what it takes to fit in, but it looks awfully heteronormative.

Even recent shows that depict effeminate male characters use them primarily as the butt of the joke, a Lucy character who is always causing trouble. They act in counterpoint to a straighter man, who is seen as the voice of reason. The now-cancelled Ryan Murphy sitcom The New Normal provided Bryan — a shallow, judgmental television executive — primarily as a counterpoint to his angelically understanding partner David, a doctor who watches football and has no other character traits. David's role is "The Problem Solver." On Modern Family, Mitchell and Cameron have a similar dynamic, but Mitch seems to increasingly resent Cam for his effeminate tomfoolery. Their growing animosity has led many viewers to wonder if they secretly hate each other.

More than Mitchell, it's the community that has a complicated relationship with flamboyancy, much like the guys that I sat on the aforementioned panel with. It's a lot easier to pretend the queens don't exist than try to represent them, or we'd have to admit we have something in common. I remember that my mother once told me how much I reminded her of Jack and I remember how much it bothered me. I never stopped to ask myself why.

In being the newest gay show on TV, many will look to Looking to fix the problems surrounding gay representation and fill in the gaps in our media spectrum. Such is the inherent burden of representing a community, but we need to recognize why those cracks exist in the first place and why certain character types might push our buttons when it comes to masculinity and internalized homophobia. Fixing one TV show won't solve a problem that's bigger than HBO. With True Blood’s Lafayette and Glee's Kurt Hummel on shows that are on their last legs, our effeminate males are quickly becoming an endangered species.

On Girls, Lena Dunham's Hannah recently mourned the death of her complicated and quick-witted editor, David Pressler-Goings, played by the ever-androgynous John Cameron Mitchell. As David ascended to TV heaven to be with Sean Hayes, Hannah recalled that he had been her champion, the only one who believed in her work. TVs Davids, Jacks and Emmetts need champions too. They might not be represented on the air anymore, but it doesn't mean they aren't still here in real life and wondering what happened to their television counterparts".

NEWS - New York New York, arriva Liza Minnelli a "Smash" (e stasera la serie debutta su La5)!

Chi meglio di lei può cantare in una serie tv all'insegna del musical ambientata nella Grande Mela? Liza Minnelli, star di "New York New York" e "Cabaret", entrerà a far parte di "Smash", la serie prodotta da Steven Spielberg che debutta in chiaro su La5 stasera in prima serata. Nella seconda stagione l'attrice interpreterà una canzone inedita scritta apposta per lei dalla coppia di compositori formata da Marc Shaiman e Scott Wittman, pluripremiati a Broadway e su grande schermo. Il primo episodio che vede l'entrata in scena Liza Minnelli andrà in onda in America in primavera, mentre in Italia sarà trasmesso da Mya (Mediaset Premium) con la seconda stagione del serial prevista a ridosso della trasmissione a "stelle e strisce". "Liza è la quintessenza del talento a tutto tondo - ha commentato Robert Greenblatt, direttore intrattenimento di NBC, il network che trasmette la serie tv Oltreoceano - è la miglior occasione per poter celebrare la sua leggenda in un mondo, quello del musical, che l'ha vista protagonista assoluta".

Insieme a Minnelli, la seconda stagione di "Smash" si avvarrà di altri due volti noti dello star-system americano. Jennifer Hudson, la cantante soul dalle doti canore straordinarie già messe alla prova nel film "Dreamgirls" (per il quale ha vinto il premio Oscar nel 2007 quale "miglior attrice non protagonista"), nonchè Sean Hayes: quest'ultimo ricalcherà il set con l'ex collega Debra Messing - oggi protagonista di "Smash" - con la quale egli ha dato vita alla sit-com di culto "Will&Grace".

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

CORRIERE DELLA SERA

Due ragazze al verde in una sit-com classica

"E' iniziata su Mya una serie che vale la pena di seguire, «Two Broke Girls» (Mya, Mediaset Premium, lunedì, 22.15). Le due «ragazze al verde» del titolo lo sono per motivi molto diversi: Max si arrabatta tra due lavori, fa la baby sitter, la cameriera e di notte prepara cupcake da vendere nel diner di Brooklyn dove lavora: non ha peli sulla lingua e bada ben poco ad apparenze e formalità. Caroline Channing invece è la platinatissima figlia di un multimiliardario, finito in carcere per aver truffato mezza New York con uno schema simile a quello di Bernie Madoff. Dopo il collegio svizzero, il master prestigioso, le lezioni di equitazione e le frequentazioni altolocate, Caroline si ritrova per la prima volta a dover provvedere a sé stessa, perché la truffa finanziaria del padre ha portato al sequestro di tutti i loro beni. Finisce a fare la cameriera in una tavola calda nel distretto più hipster di New York, Williamsburgh, scelto nella sicurezza di non incontrarci mai i vecchi amici snob dell'Upper East Side. E lì conosce Max, che ben presto diventa un' amica e un' alleata per provare a svoltare le sorti dei rispettivi portafogli. Tutto il gioco comico di quella che si presenta in realtà come una sit-com piuttosto tradizionale è basato sullo scontro di personalità, e di fisicità, della strana coppia di protagoniste femminili: tanto Max è prosperosa, diretta, spontanea, quanto Caroline è sottile, impostata e auto-controllata, dotata di immancabile tacco 12 anche per servire ai tavoli. Così le differenze provano a diventare comicità (non sempre ci riescono), anche calcando la mano sul politicamente scorretto, tra stereotipi razziali e boutade sessuali costruite intorno a frequentatori e dipendenti della tavola calda (su tutti il cuoco Oleg), tutte giocate su funambolismi linguistici che purtroppo la traduzione italiana spesso appiattisce. Tra gli autori c'è Michael Patrick King, già «firma» di «Sex and the City» e «Will&Grace»".

(Aldo Grasso, 23.05.2012)

GOSSIP - Leslie, Debra, Morena: tris telefilmico per svestirsi con "Allure"

La rivista è di pregio, quel "Allure" dove una qualsiasi attrice farebbe carte false pur di comparirci. Solo che il numero di maggio della rivista fa rima con "nature", evidentemente, e l'imput è stato quello di presentare alcune celebri "volontarie" ritratte senza veli (la crisi dell'editoria fa compiere gesti estremi)...Nella mischia si notano tre volti (e non solo) telefilmici: Debra Messing ("Smash", "Will&Grace"), Morena Baccarin ("Homeland", "V") e Leslie Bibb ("GCB"). A voi la scelta di eleggere la migliore...

NEWS - Sanremo & Telefilm. Quando il Festival sfocia nelle serie tv...(anche se ne faremmo anche a meno)
Quella di ieri sera era la Bertè o Rosario di Will&Grace? Perchè la cantante dei Matia Bazar s'è travestita da Strega Cattiva di Once upon a time? Notizia rassicurante: per la sfigata valletta Mrazova (o come cacchio si chiama), affetta da torcicollo degno di una risonanza, è in arrivo il Dr. House. O meglio: il suo bastone.

Stracult e Stracotti - …ovvero la serie che questa settimana va su e quella che inevitabilmente va giù. Parola di Stargirl! 


Per i due nuovi show  di cui sto per parlarvi è bastato l'episodio pilota per scatenare gli appassionati “seriali” di tutto il mondo, qualcuno grida al capolavoro, qualcuno al flop.

Quale si rivelerà uno Stracult e quale uno Stracotto secondo voi?

“Somewhere over the rainbow, skies are blue and the dreams that you dare to dream, really do come true” cantava Judy Garland, sul finire degli anni Trenta, ne Il Mago di Oz, e proprio sulle note di questa canzone inizia Smash, la nuova serie della Nbc che ha debuttato il 6 febbraio. Sullo sfondo di un’incantevole New York, tra le case in mattoncini rossi del Meatpacking District di giorno e le “mille luci di Broadway” di notte, la strada di attori in erba o presunti tali, cameriere dall’ugola d’oro e ballerine in cerca di gloria, incrocia quella di produttori e attori teatrali, alla ricerca di un successo in grado di lasciare il segno nel panorama artistico della Grande Mela.
A dar voce a questo gruppo di artisti, un rinomato cast di attori: da Debra Messing, indimenticabile Grace in Will&Grace, nei panni dell’autrice di musical Julia Houston, a Christian Borle in quelle del suo partner professionale Tom Leavitt, dal premio Oscar Anjelica Houston nelle vesti di Eileen Rand, stoica e cinica produttrice di Broadway.
Al centro di tutto, lei, l’unica e sola, Marilyn Monroe e il ricordo indelebile che è riuscita a lasciare in eredità al mondo intero. Oggi più che mai, cinquant’anni dopo la sua scomparsa, la memoria della stella di A qualcuno piace caldo meravigliosa commedia di Billy Wilder del 1959, viene ricordata in una splendida serie che racconta la realizzazione di un musical su Norma Jane, alias Marilyn, l’attrice più famosa del cinema di tutti i tempi. Punti cardine di Smash, oltre a location e cast, una sceneggiatura ben strutturata e scandita da splendidi dialoghi e una regia (Michael Mayer) da far invidia al grande schermo, coadiuvata da una fotografia di tutto rispetto e da una scenografia degna delle migliori pellicole hollywoodiane.

Il giusto connubio di brani storici e coreografie impeccabili, ci guidano nel cuore di un vero e proprio musical, più autentico e verosimile rispetto a quelli cui siamo stati abituati sul piccolo schermo, su tutti il Glee di Ryan Murphy.

Comincia con la leggenda cinese del Filo Rosso del Destino Touch, la nuova serie di Tim Kring (Heroes, Crossing Jordan) con un insolito Kiefer Sutherland, che messi via i panni di “eroe americano” veste ora quelli di un uomo qualunque, Martin, padre di un bambino autistico, vedovo in seguito agli attentati dell’11 settembre.
In Touch il corso degli eventi e dell’intero universo è scandito con precisione e regolarità dagli schemi numerici che regolano i rapporti tra le persone, per far sì che tutto si sviluppi secondo i piani che il destino ha in serbo per noi. Decifrare questi rapporti matematici significa rintracciare sul cammino quel filo rosso, imbatterci negli individui che siamo destinati a incontrare e comprendere da quali scelte dipenda la sorte di ognuno di noi. A scovare queste misteriose connessioni tra le persone, in Touch, è il piccolo Jake (David Mazouz), figlio di Sutherland, un bambino affetto da un grave deficit mentale che gli impedisce di comunicare con l’esterno e di riuscire invece a esprimersi solo ed esclusivamente attraverso relazioni matematiche. Sarà proprio la possibilità di riuscire a entrare “in contatto” con il figlio attraverso la risoluzione dei suoi enigmi numerici, che permetterà a Martin di incrociare la strada di altre persone e di intervenire sugli eventi poco prima che essi si concretizzino. Il tempo, il destino, i sei gradi di separazione e i legami numerici: queste le affascinanti tematiche affrontate dalle serie che, dopo il preair del 25 gennaio, debutterà negli States il prossimo 19 marzo e che nel corso dell’anteprima ha registrato ben 12 milioni di spettatori. Touch è una vera e propria perla, toccante, avvincente e intrigante. Il rischio è che il plot finisca per mordersi la coda all'interno di un circolo vizioso di situazioni cicliche e ripetitive, in cui Jake prevede le catastrofi e Martin cerca di risolverle. I pregi però sono molti: la serie tocca le corde giuste, la regia è impeccabile, commuove senza necessariamente degenerare nel qualunquismo, e ultimo, ma non meno importante, ha fatto sì che per un intero episodio, nessuno di noi pensasse a Jack Bauer. E questo non è poco.