NEWS - Achtung, arriva LA serie del 2013! Da domani anche in Italia "The Following" col fattore K (Kevin Williamson+Kevin Bacon)... 

In America si contano attualmente 300 serial-killer. E se fossero tutti linkati, se esistesse una rete di collegamento tra di loro, se il loro istinto omicida fosse condiviso? E se usassero internet e i social network per mandarsi messaggi, codici cifrati, dettagli, per alimentare "followers" e "mi piace"...?
"The Following" è la serie-evento del 2013 firmata da Kevin Williamson che debutta domani, sabato 2 febbraio in anteprima su Premium Play e poi dal 4 febbraio su Premium Crime (in prima serata) e SkyUno (seconda serata in HD). Poi dalla settimana successiva, prima il lunedì su Premium Crime e successivamente il martedì su SkyUno.

L'ex agente del F.B.I. Ryan Hardy (interpetrato da Kevin Bacon, al suo debutto seriale) viene richiamato all'indagine dopo l'evasione di Joe Carroll (James Purefoy), il diabolico serial-killer che aveva arrestato 9 anni prima dopo l'uccisione di 14 studentesse in un'università della Virginia dove insegnava letteratura con la passione per Edgar Allan Poe. Esperto nell'analisi dei profili psicologici, Hardy si getta sulle tracce dell'assassino che nel frattempo ha iniziato ad utilizzare i social network per alimentare una sorta di macabro culto degli omicidi seriali, una rete di killer che rischia di spandersi per tutto il Paese...Hardy conosce Carroll come nessuno. Lo ha seguito, studiato, gli è entrato dentro. Forse lo ha svuotato. Il duello più intellettuale che fisico con Carroll si è fatto sentire. L'Hardy di 9 anni prima non è più lo stesso. La nuova caccia diventa una sorta di redenzione. 

Per fermare Carroll e arginare la sua furia omicida che rischia di diventare social, il detective protagonista si fa affiancare dagli agenti Debra Parker (Annie Parisse) e il giovane Mike Weston (Shawn Ashmore). Natalie Zea interpreta Claire Matthews, la donna contesa da Hardy e Carroll in una...sfida nella sfida. Come se non bastasse il carisma del serial-killer fa proseliti e la prevenzione alla sua lucida follia deve essere a tutto campo in una lotta contro il tempo in cui è difficile capire di chi fidarsi... 

Definito in partenza uno "psychological drama", il serial vanta la firma da ideatore e produttore di Kevin Williamson, già dietro i successi di serie tv come The Vampire Diaries e Dawson's Creek nonchè di film thriller di culto come la saga di Scream. Uno degli autori più appassionati di metalinguaggio del piccolo schermo americano - solo nella puntata pilota di Dawson's Creek si sono contate 46 citazioni cinematografiche tra Psycho, Il mostro della Laguna Nera e l'auto-riferimento a Scream - Williamson ha promesso di mettere in scena "una storia che vi terrà inchiodata alla poltrona nonostante i sobbalzi". 

Bacon, al suo esordio assoluto in un telefilm, ha rinunciato per l'occasione allo storico rifiuto per il piccolo schermo: "aspettavo da tempo un progetto interessante e questo rientra nella mia passione per le storie in bilico tra la vita e la morte...". Si dice che Bacon abbia comunque imposto un limite di 15 puntate per la prima stagione, per poter proseguire nelle pause la propria carriera cinematografica. Tanto per dire, nel 2013 l'attore sarà nelle sale con due film già annunciati: Skum Rocks!, sorta di Rock of Ages indipendente con la voce narrante di Alice Cooper e RIPD, pellicola "ai confini della realtà" in cui il nostro affianca Jeff Bridges e Ryan Reynolds nei panni di un poliziotto che torna in vita per scoprire chi l'ha ucciso. 

Ancor prima di partire, la serie è stata eletta "la più attesa del 2013", oltre che dalla stampa americana all'unisono, da un sondaggio tra gli oltre 1000 iscritti dell'Accademia dei Telefilm su Facebook (tanto per rimanere in tema social...). Oltre a Williamson, la serie è prodotta da Marcos Siega. Tra le guest-stars si fa notare Maggie Grace di Lost. John Frizzell compone la colonna sonora. Le riprese sono avvenute ad Atlanta.

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

ENTERTAINMENT WEEKLY
Another cover for Lena 

NEWS - Per "Entertainment Weekly" la serie dell'anno è...
Numero annuale da collezione di "Entertainment Weekly" sui Best&Worst 2012. Per il piccolo schermo, la Top20 firmata dal critico Ken Tucker è stata così stilata.

1. Homeland
2. Breaking Bad
3. Louie
4. Girls
5. Mad Men
6. The Colbert Report
7. Parks and Recreation
8. Justified
9. The Good Wife
10. Nashville
11. Parenthood
12. Luck
13. Fringe
14. Sons of Anarchy
15. Archer
16. The Walking Dead
17. Southland
18. Hunted
19. NY Med
20. Bent

NEWS - Cartoline dai SAG Awards...
(courtesy by http://telefilmcult.tumblr.com/)

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

VULTURE
Ecco un altro motivo per cui "The Following" è rivoluzionario...
"After years of cursing the commercial-skipping devil machine known as the DVR, at least one broadcast network has finally decided that resistance is futile. Without any fanfare, Fox has been hyping tonight’s series premiere of Kevin Bacon’s serial-killer series The Following by having the commercial announcer bellow, "Set your DVR now!" in addition to mentioning the live air date of Monday at nine. The same suggestion can be found in the network's print ads, billboards, and bus ads for the show. This might not seem all that radical, but it sort of is: Networks really want you to watch their shows in real time, and until recently, they've been reluctant to do anything that might encourage delayed viewing. It took a really bad fall season for Fox and most of the broadcast networks to get them to start acknowledging the DVR as a viewing option. Because, hey, better to encourage that than have people torrent it. According to Fox chief operating officer Joe Earley, as the network pored over the ratings for its new shows this fall, one trend stuck out in a big way: While new Tuesday comedies Ben and Kate and The Mindy Project were holding onto most of their respective Raising Hope and New Girl lead-ins when it came to live viewing, the newbies suffered big drop-offs when same-night DVR playback was factored in. In other words, people who watched Fox's Tuesday the old-fashioned way — commercials and all — were sticking around throughout the evening, showing they liked (or were at least sampling) the new shows. "We knew that there was flow," Earley says. The problem is that almost one third of all viewers who watch Hope and New Girl on Tuesday nights do so via DVR. Because they're not just sitting back and watching whatever show is up next, Ben and Kate andMindy basically don't even exist to them. "We came away thinking people weren't rejecting these shows. They just weren't watching them," Earley told Vulture. "We began talking about how we might be in a new world where we had to tell people to set their DVRs. "The decision to start pimping DVR recording didn't come easily. As noted, Fox still prefers that you watch their shows live, or as close to live as possible. Live viewing is best because it increases the odds you'll stay tuned for whatever's up next on the network, be it another sitcom or drama or the late local news. Another concern about hyping DVRs centered on Fox not wanting to annoy its affiliate stations: There's a lot of data to suggest that DVR playback spikes in the 10 p.m. hour, when most Fox affiliates air local newscasts. By potentially increasing DVR recordings, Fox theoretically could be siphoning away viewers from those newscasts. However, advertisers still pay networks for viewership that happens within 72 hours of a broadcast, which is why networks are okay with time-shifting as a second-best alternative. Rather than begin blanketing its airwaves and ads with Love Your DVR public service announcements, Fox suits decided to experiment, using The Following as guinea pig. In addition to being Fox's next new series launch, it's also a highly serialized program that won't be easy for viewers to simply jump into midway through its run. "We want people to be there from the beginning of the series," Earley explains. "We don't necessarily want to encourage people to delay viewing. But we also don't want them to miss it." Fox began the DVR messaging about two weeks ago, just as The Following started showing up in electronic program guides. (The network didn't want to tell people to set their recorders if channel guides weren't displaying a listing for the series). However, Fox took out most of the DVR touts starting this past weekend: As tonight's premiere drew closer, Fox wanted its messaging to encourage folks to check out the show live, Earley says. Fox appears to be the first broadcast network to incorporate DVR messaging into a promotional campaign for a new series, but it could become more common as time-shifting continues to impact how we watch TV. Indeed, just last month, another Rupert Murdoch holding — Fox News Channel — quietly began running on-air promos suggesting viewers use their recorders to ensure they never miss the wacky hijinks of Sean Hannity or the comedy stylings of those cards on The Five. (Despite the corporate connection, Earley says he wasn't aware of Fox's ads when he began planning his network's campaign for The Following.) Fox has also attached "DVR it" tags to a limited amount of its on-air promos for The Mindy Project and Ben and Kate. To gauge the success of the campaign, Earley says he'll be looking to see if more people DVR episodes of The Following than the typical first-year drama. But even if evidence suggests the scheme is working, don't expect to see DVR reminders for older, already established series like American Idol or The Simpsons. "We're not trying to drive viewership to DVRs," Earley explains. "We still want the viewing to happen live. Our new slogan is not going to be 'We're Fox, Set Your DVR.'"
(Josef Adalian, 21.01.2013)

GOSSIP - The surprising sexy side of Claire Danes!

NEWS - Besson a tout! Da lunedì "Transporter", la serie tratta dalla cine-saga omonima 

Arriva su Italia 1 in esclusiva prima visione tv "TRANSPORTER - THE SERIES" di Luc Besson, la serie firmata con Robert Mark Kamen che segue il successo cinematografico di ben tre pellicole di successo prodotte dal cineasta francese: The Transporter (2002), Transporter: Extreme (2005) e Transporter 3 (2008). L'appuntamento è dal 28 gennaio, ogni lunedì in prima serata. Di produzione franco-canadese, il serial segue gli avvenimenti della trilogia cinematografica che rimette in pista - è il caso di dirlo - l'asso del volante Frank Martin (Chris Vance), ingaggiato per le missioni più pericolose ed acrobatiche a patto che il prezzo sia all'altezza del rischio. Il suo compito è quello di "trasportare" di tutto, dappertutto e per chiunque. Il nostro segue tre regole "guida" sulle quali non transige (o meglio, tenta di non trasgredire): nessuna trattativa, niente nomi e mai aprire la consegna. Oltre che alla guida, il nostro, che vanta un addestramento nelle Forze speciali della SAS, è oltremodo specializzato in tecniche di combattimento e sopravvivenza. Al suo fianco non solo professionale si pone l'ex agente della CIA Carla Valeri (Andrea Osvárt), organizzatrice delle "missioni impossibili" di Martin nonchè esperta di computer. François Berléand, unico membro del cast su grande schermo a sopravvivere sul piccolo, è ancora l'ispettore di polizia Tarconi di Nizza, complice del protagonista quando egli opera nei parametri della legge. Juliette Dubois (Delphine Chanéac) è un'agente della Direzione degli Interni francese che indaga sull'attività del protagonista, il quale non resta immune al di lei fascino. Dieter Hausmann (Charly Hübner), confidente di Martin, è il meccanico iper-tecnologico che modifica e ripara l'Audi A8 con la quale il nostro, vestito come un dandy anche nelle situazioni più estreme, sfreccia in lungo e in largo.

Vance ricopre il ruolo che al cinema è stato interpretato da Jason Statham. Nel corso delle riprese ad alto tasso di azione l'attore si è ferito, seppur lievemente, obbligando la produzione ad uno stop di due settimane. Accanto a Besson, i produttori esecutivi sono Timothy J. Lea, Fred Fuchs, Brad Turner, Jan Banneman, Takis Candilis. Si dice che il budget delle prime 12 puntate del telefilm abbia superato quota 40 milioni di dollari, mentre le riprese si sono spostate tra Parigi, Berlino, Nizza e Toronto (sede quest'ultima della maggior parte delle riprese). La puntata pilota è stata diretta da Stephen Williams, pluri-regista di Lost. Nathaniel Méchaly compone l'adrenalinica colonna sonora.

GOSSIP - Look at still gorgeous Tiffani Thiessen of "Beverly Hills"...
Gallery: http://telefilmcult.tumblr.com/

TWITTER-JAM - Speciale "The Following"

Più che un debutto, quello di #TheFollowing in Usa è un deBOTTO (10.4 milioni di spettatori...).
— Leo Damerini (@LeoDamerini) Gennaio 23, 2013

Dal sondaggio sulla pagina facebook dell'Accademia dei Telefilm, il pilot di #TheFollowing è da 10...facebook.com/groups/1808642… @premiumplay
— AccademiaTelefilm (@AcademyTelefilm) Gennaio 23, 2013

#TelefilmAddicted all'anteprima di #TheFollowing fb.me/1Uby5rIay
— Telefilm Addicted (@tfaddicted) Gennaio 23, 2013

La prima di #TheFollowing è pressochè perfetta. Una serie tv pensata e costruita al dettaglio che potrebbe davvero diventare "un classico"
— Paolo Sutera (@PaoloSutera) Gennaio 22, 2013

#TheFollowing: questo sì che è un pilot con i controcazzi. E scusate il francesismo, ma quando ci vuole, ci vuole! :D
— Alessia Barbiero (@aleamu) Gennaio 22, 2013

#TheFollowing è un pilot con i controcosiddetti come non se vedevano da anni. Na rete virtuale di seguaci serial killer...
— Riccardo (@rikcristil) Gennaio 22, 2013

Non mi è mai capitato di piantare degli urli agghiaccianti guardando un telefilm. Del resto, c'è una prima volta per tutto #TheFollowing
— Han (@albertZabby) Gennaio 22, 2013

una serie finisce ( #fringe) e una nuova ha inizio ( #thefollowing ) .....
— Sara(@SarettaPetrova) Gennaio 22, 2013

La critica internazionale comincia a tessere le lodi di #TheFollowing: ecco il pensiero dei giornalisti americani! bit.ly/TheFollowingCr…
— Sky Uno (@SkyUno) Gennaio 22, 2013

#TheFollowing è una bomba. Poi non dite che non vi avevo avvisato. #serietv #telefilmm
— Stargirl (@StarGrrrl) Gennaio 22, 2013

Senza parole il pilot di #TheFollowing è eccezionale #telefilmaddicted
— Chiara Mini (@chiara_mini) Gennaio 22, 2013

The following è un bel meta-telefilm in stile Williamson (Scream, Dawson's Creek).Tra Poe e web, e serial killer scrittore del reale orrore.
— Stefania Carini (@StefaniaCarini) Gennaio 22, 2013

ANTEPRIMA "THE FOLLOWING" - Arriva la serie più attesa del 2013, su Premium Play dal 2 febbraio, dal 4 su Premium Crime e Sky Uno. Kevin Bacon al debutto da protagonista tv tra un film e l'altro 

Kevin Bacon, al suo esordio assoluto in un telefilm con "The Following" di Kevin Williamson (su Premium Crime in anteprima il 4 febbraio in prima serata, poi ogni lunedì; su SkyUno sempre il 4 ma in seconda serata, anche in HD, poi ogni martedì; ma già disponibile su Premium Play di Mediaset Premium dal 2 dello stesso mese), ha rinunciato per l'occasione allo storico rifiuto per il piccolo schermo: "aspettavo da tempo un progetto interessante e questo rientra nella mia passione per le storie in bilico tra la vita e la morte...". Si dice che Bacon abbia comunque imposto un limite di 15 puntate per la prima stagione, per poter proseguire nelle pause la propria carriera cinematografica. Tanto per dire, nel 2013 l'attore sarà nelle sale con due film già annunciati: Skum Rocks!, sorta di Rock of Ages indipendente con la voce narrante di Alice Cooper e RIPD, pellicola "ai confini della realtà" in cui il nostro affianca Jeff Bridges e Ryan Reynolds nei panni di un poliziotto che torna in vita per scoprire chi l'ha ucciso.

IL GIOCO DEI TELEFILM - Tutti a giocare con le serie tv di ieri, oggi e domani. "Il Gioco dei Telefilm" va a ruba in tutta Italia! Ordinalo subito on line
Si moltiplicano per l'Italia le richieste per avere il "Gioco dei Telefilm", il primo gioco in scatola sulle serie tv di tutti i tempi lungo 750 domande di varia difficoltà e diverso genere. Un gioco entusiasmante arricchito anche da una strategia per andare a "murare" gli avversari, bluffare e scommettere, lasciando anche una buona dose di fortuna nel pescaggio delle carte domande e quelle Speciali che ti possono permettere di avere più punti...
Un gioco prodotto dalla Ghenos Games ideato e curato da Leo Damerini e Fabrizio Margaria, autori del Dizionario dei Telefilm (Garzanti), fondatori dell'Accademia dei Telefilm e direttori del Telefilm Festival.
Il regolamento è stato definito da Luca Borsa, il quale ha curato la meccanica di un gioco il cui meccanismo particolare di scommesse e bluff permette di vincere anche i meno esperti di serie tv. Già autore di Verbindung Gesucht, Ravensburger, Borsa è, tra le altre cose, Membro del Consiglio Direttivo del BA Film Festival.
Il modo più veloce e sicuro per avere il "Gioco dei Telefilm" è ordinarlo on line (nel giro di pochi giorni dall'ordine lo ricevi direttamente a casa). Qui il link.
Il "Gioco dei Telefilm" è anche su Facebook e Twitter. Followa e Play on!

NEWS - They're back!

TWITTER-JAM - Mettete la freccia! "Arrow" a marzo su Italia 1

ANTEPRIMA ESCLUSIVA - #Arrow da marzo su #Italia1 il lunedì in prima serata.
— AccademiaTelefilm (@AcademyTelefilm) Gennaio 17, 2013

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

Fermi tutti! Nessunperda Claire Danes che intervista Lena Dunham su "Interview" (che dedica la bellissima cover di febbraio alla regina di "Girls"...)

"I think that I may be the voice of my generation—or, at least,a voice of a generation," declares Hannah, the aspiring writer protagonist of Lena Dunham's new series, Girls, which premieres this month on HBO and revolves around a group of four young women living in New York as they fumble their way through twenty-something life in the greater post-recessionary Manhattan area. Hannah, played by Dunham (who also writes, executive produces, and directs Girls), is the talky, self-obsessed one, and makes her announcement in her parents' hotel suite after a whirlwind 24-hour period during which she has been summarily cut off by them financially, fired from her unpaid internship, engaged in awkward sex with a guy who might not be into her, and downed a cup of opium tea. To longtime cable subscribers, the show's other archetypes will seem vaguely familiar: there's Marnie (Allison Williams), the uptight, ambitious one; Jessa (Jemima Kirke), the flighty, adventurous one; and Shoshanna (Zosia Mamet), the naive, optimistic one; there's even a Sex and the City poster in one of the Girls girls' apartments. But while Sex and the City was a celebration of all of the cosmos, Manolos, and punny innuendos of a certain kind of single-girl life in Manhattan, Girls reflects the resignation-and, in some cases, the entitlement-of another demographic, forced by sky-high rents and a bad economy to watch it all from the existential cheap seats as they come to grips with the fact that the malaise they've been experiencing as a deferment of life might very well be life itself.

Dunham, the daughter of artists Laurie Simmons and Carroll Dunham, grew up in SoHo and began making films while she was still a creative writing major at Oberlin College. After graduating and moving back to New York, she developed her own web series, the art-world send-up Delusional Downtown Divas. But it was 2010's Tiny Furniture, the semiautobiographical tale of a Spanx-wearing film major (Dunham) who, after finishing college and getting dumped by her boyfriend before he goes to the Burning Man festival, moves back in with her artist mother (played by Simmons) and overachieving younger sister (played by Dunham's real-life sister, Grace), that put Dunham on the map. Shot in 18 days in her family's apartment for just $45,000, the film went on to win the best narrative feature award at the South by Southwest Film Festival. It also caught the attention of Judd Apatow, who serves as an executive producer on Girls.
Claire Danes recently spoke with the 25-year-old Dunham in New York.
CLAIRE DANES: I watched the first season of Girls, twice: once by myself, because I couldn't stop, and once with Hugh [Dancy, Danes's husband]. Your depiction of women is unnervingly relatable. It's so funny how you've worked in things like the way that we're always asking everyone if they're mad at us, and the fact that women cuddle with each other and we pee with each other. I also like the way you address the possible, if not inevitable, comparisons to Sex and the City.

LENA DUNHAM: Did you watch Sex and the City when it was on?

DANES: I did. I really liked Sex and the City. I love all those actresses, and I think the writing was really clever. But it was aspirational, and it was escapist.

DUNHAM: Totally. And not just in terms of lifestyle—I kind of also felt like it was aspirational about friendship. Like, I love the friendships that you see in Nancy Meyers' movies, but for me, that kind of friendship is elusive. I feel like a lot of the female relationships I see on TV or in movies are in some way free of the kind of jealousy and anxiety and posturing that has been such a huge part of my female friendships, which I hope lessens a little bit with age.

DANES: Well, those dynamics are so sophisticated. I do think that women need each other in a way that men might not need each other. I don't want to make any gross claims, but we do have a kind of intimacy. There is almost a kind of romance in female friendship, and I don't know if it's the same for men.DUNHAM: For sure. I think about my best friendship—which the Marnie-Hannah friendship in Girls is based on—as like a great romance of my young life.

DANES: That relationship on the show was very moving for me, because I've experienced that—and almost every woman I know has. We have that one friend, and we practice with each other in pre-adolescence, and then we kind of move on to having a more mature version of that with a man. And then those relationships have to implode before you can kind of meet each other again and renegotiate your friendship as adults.

DUNHAM: Completely. It's almost like when you're young, your friends take on the romance role, and then guys take on the role of your friends later. I remember huge fights in college that were like, "You don't want me to have a boyfriend because you don't want me to be happy and not be around all the time!" Those are the kinds of things that are really hard to imagine an older woman saying . . . But I'm so glad that those female friendships on the show worked for you, because that was the biggest thing for me-having all those interactions feel genuine. I wanted this show to fill in a gap in TV for women this age. I feel like there've been high-school shows—and My So-Called Life is one of them—that have been honest about what teenage girl friendship can be, that sort of Angela-Rayanne romance. That is all stuff that's been captured really well in the high-school age range. But 24 to 25-that seems like an age that is so specific and that hasn't been done.

DANES: Your character, Hannah, is fumbling and struggling and terrified to really commit to her work, even though she is obviously very gifted. It's like she has a confidence that she's not even aware of.

DUNHAM: It's sort of like the naivety of youth. It's interesting how we often can't see the ways in which we are being strong—like, you can't be aware of what you're doing that's tough and brave at the time that you're doing it because if you knew that it was brave, then you'd be scared.

DANES: It is interesting that the male characters on Girls are as defined as the women. There is not as much emphasis placed on them, but they're all really interesting, rich, specific characters. What's it like for you writing from a male perspective?

DUNHAM: That was always a concern for me. I didn't want to write in guys who felt like girl fantasies of a good boyfriend or like a voodoo doll of ex-boyfriends whose lives I was trying to ruin. I wanted it to feel like guys that you would know who are a little weird. I do think girls in their twenties accept certain kinds of lesser treatment than they would at other times in their lives. They're willing to experiment with what it means to be treated well. You know, what's it like to have a guy who totally demeans one aspect of your life? For Hannah, at least, it's an intellectual exercise.

DANES: Do you identify yourself first as a writer-director or as an actor? Or are they interchangeable?

DUNHAM: I think I've sort of made it all into one giant job where all of the parts feed one another. I remember going to see Les Misérables on Broadway as a kid. I was so jealous of the girl that got to play young Cosette, but I never had a moment where I was like, Oh, that's something I could do. I just felt like, Oh, that's what certain people can do. I also never got good parts in school plays, and it would incense me to no end, but I was like, "I'm not cut out for this." I started writing plays, and I would be all of the characters in my head, but I never auditioned or anything. It was only when I started making short films in college and I was looking for girls to play the me-ish parts that I thought, Well, maybe I'm just going to try doing this myself before somebody else comes in and handles it. For a long time my acting was just a marriage of convenience between me and these characters that I was writing.

DANES: So you've never taken an acting class or been in a play?

DUNHAM: Well, I went to schools that were small enough that basically everyone was in a play. I played a bouncing ball in a production of Alice in Wonderland and a fat man in an Italian commedia dell'arte play. I was given some small chances. But we had this amazing playwriting festival at Saint Ann's [school, in Brooklyn] where there was a teacher who helped us write, direct, and do stage readings of what, looking back, were these incredibly graphic, morbid high-school plays. There's nothing funnier to me than 14-year-olds writing plays about abortion and incest. I remember a kid writing a big play about purgatory. There was an apocalypse and all that was left was one McDonald's where everyone had to stay together. There were these ambitious ideas that people were pushing. It wasn't about becoming great dramatists. It was just about getting your important ideas out into Brooklyn Heights.

DANES: So you were writing in high school?

DUNHAM: Yes, and then I went to college with this idea that I wanted to be a poet. I had a really romantic idea about what that would mean. My parents knew some poets, and I liked how they dressed and acted, but I didn't really acknowledge that I only liked reading some bits of poetry while I was peeing or something. I was a creative writing major, and I would organize a lot of really intense poetry readings and slams. There was a lot of embarrassing audio footage of me, like, reading my poems in a slam voice. Then I started writing plays, but the fact that plays don't last forever was too much for me to bear. At Oberlin, you'd put on a play, and it would have a three-day run, and I was like, "This is bullshit!" I'd always loved movies, but it wasn't some sort of desperate love of celluloid. It was literally like, "I want to write things, and I want people to see them more."

DANES: So you're playing someone in Girls who's reminiscent of who you are, but she's still fictionalized. What's that like?

DUNHAM: I play these girls who are close to me, but they're the parts of me that I find the most shameful, or the parts of me that I kind of want to excise. So I sort of distance myself from it. I have the comfort to feel free and un-self-conscious. I sort of go, "These are all the awful parts of me that I don't get to talk about all day. Here she is."

DANES: Do you ever worry that in lifting from personal experiences, you might betray people who've been close to you or out them in some way?

DUNHAM: I do worry about it, because it's really important to me to make work that feels socially responsible. I always think, I'm going to take a little from here and a little from here so that this character really becomes their own person and there's nobody who could look at this and be hurt, or proud and like, "She fucking wrote about what a hottie I am." I don't want that. The only time I felt like a weird exploiter—even though I knew I wasn't one—was when I was writing a sex scene between me and my adorable co-star [Adam Driver] in which he had to tell me how much he loved my potbelly. It seemed like a weird wish-fulfillment thing, where I'm directing my own fantasy.

DANES: There's a lot of nudity in Girls, and you reveal a lot of yourself. I'm not a physically modest person in life, but I am in my work, because I am anxious that my body is going to be taken out of context in some way. But how do you feel about that?

DUNHAM: Well, that's the scariest thing. Something you do to keep a scene feeling real and honest could be taken out of context—I mean, not just by the editors or the people that have final cut, but also viewers who are looking for a flash of skin at 12:45 a.m. I've been a little haphazard about how nude I get, and the only thing that keeps me from getting anxious about it is that I've had complete control over it.

DANES: You're talking a lot about women's relationships to their bodies, which are so complex and so difficult. Sex is just a fraction of it.

DUNHAM: You might think with the show that I was really casual about the nudity thing, but it's actually something that I'm really not casual about and I started out doing it in my own work. I feel like I've been given this really safe way to do it. For some reason in my first movie I was like, "I'm just gonna show my boobs." I don't know why. Have you had "get naked" pressure, where you really had to think about it?
DANES: I try to avoid it whenever I can, but at the same time, I don't want to be coy. It's so important for me to be as genuine as possible, so I don't want to stop when it comes to rendering sex the way that most people have it, which is unclothed.

DUNHAM: Yeah, it's true. We have a little sex-in-a-bra on the show, but we try to keep it to a character who is a sex-in-a-bra-type character. I do have one real-life friend who's an I-don't-show-my-boobs girl. That's the most fascinating kind of person.

DANES: Girls is kind of a pejorative word now, and I think even with the fact that it's called Girls and the title is in all caps and gobbles up the entire screen, you kind of reclaim it. I feel like the topic of feminism has gone out of vogue because there's this idea that any inequality that has ever existed is now finally resolved and we should all just be cool. But it's so important that we become engaged in that conversation again.

DUNHAM: I feel exactly like that—where people are kind of like, "Our moms handled this, and we really have nothing to complain about anymore." It's amazing how not true that is, and yet I feel like every time I make a claim of misogyny, I always sort of apologize for it first, which is itself not very feminist. I'm always like, "I'm sorry to be the girl who wants to talk about feminism, but that person is sexist." So the idea that the feminism conversation could be cool again and not just feel like some granola BS is so exciting to me. It is really funny how even cool chicks are sort of like, "Our moms covered the feminism thing and now we're living in a post-that world," when that just isn't true.

GOSSIP - Il peccato di Eva: ma cosa ti sei messa in testa (e addosso)?
Pazza Eva! Nun ti si pò guardà. Quella cofana a metà strada tra Amy Winehouse e Little Tony ai tempi di "Cuore matto", quel vestito funereo con scollatura killer degna di Dexter e quello spacco che non slancia la gambetta...Ai Golden Globes 2013 Eva Longoria sale senz'altro sul podio delle peggio vestite (e pettinate).

GOSSIP - Per la Washington il bianco è d'obbligo (peggio di Laura Storm)!
Ok, scatta la colletta! Regaliamo a Kerry Washington un vestito che non sia bianco...dopo l'inseparabile trench bianco alla Laura Storm di "Scandal", anche ai Golden Globes la nostra non ha potuto fare a meno di scegliere il colore prediletto (ok, era crema, ma siam lì...). Riusciranno i nostri eroi a vederla in una mise extra-white...? Poi nessuno potrà regalarle il buon gusto (quell'abito vedo-non-vedo con ricami natalizi farebbe fuggire anche le renne di Babbo natale), ma tant'è.