GOSSIP - Avanti, Mars! Krysten Ritter, al cinema con "Veronica Mars", (ri)parla della chiusura di "Non fidarti..." e mostra una linea invidiabile su tacchi tartan
Krysten Ritter shows off her gorgeous figure as she arrives at the SiriusXM Studios for an interview on Monday (March 10) in New York City. The 32-year-old actress promoted her new Veronica Mars movie that day in the Big Apple. Krysten recently opened up to USA Today about her former ABC show Don’t Trust the B—- in Apartment 23. “You never know what’s going to hit, what’s going to work,” Krysten said, adding that the show “did great things and built a great family for me. I’m so grateful. I guess I make myself a little bit less crazy now. You gotta just show up, keep your head down, do great work, be a good person. You can’t control that other stuff.”
FYI: Krysten is wearing a Jonathan Simkhai top and skirt with Mango shoes.

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

www.telefilmcult.tumblr.com

NEWS/L'EDICOLA DI LOU - You GOT the power! "Vanity Fair" USA dedica la cover alla band di "Game of Thrones" (a quando una simile nell'edizione italiana che schiaffa in copertina gente come Arisa, Littizzetto o Vittoria Puccini?)
The cast of Game of Thrones – Emilia Clarke, Kit Harington, Nikolaj Coster-Waldau, Lena Headey, and Peter Dinklage – grace the cover of Vanity Fair‘s April 2014 issue, on newsstands March 13.
Here is what the show’s team had to share with the mag:
Peter on his character: “It just seemed like something I had never come across before, especially in the fantasy genre, which I still refuse to call this, even though we have dragons. It is just something that I was so eager to embrace, because it turned the dwarf stereotype in the fantasy genre on its head. And he’s a hero at the same time.”
Author George R.R. Martin on having child actors: “This is a serious concern. Maisie Williams was the same age as Arya when it started, but now Maisie is a young woman and Arya is still 11. Time is passing very slowly in the books and very fast in real life.”
Co-creator David Benioff on the excessive sex and female nudity: “I’m sitting here next to my wife [actress-playwright Amanda Peet] and I just asked her. She says: ‘What matters is whether there are great roles for women of all ages and types and whether the women in the story actually propel the plot. If they take their clothes off while they do that, so be it.’ I don’t know if she’s the right person to ask: she’s showing her tits tomorrow in her own HBO show.”
For more from the Game of Thrones team, visit VanityFair.com!

NEWS - Oh Cara! La top-model Delevingne, fidanzata con la "lost" Michelle Rodriguez, debutta in una serie UK

Cara Delevingne and her rumored girlfriend Michelle Rodriguez arrive home after a late night out on Thursday (March 6) in London, England. The pair was seen out and about the night before attending Beyonce‘s concert.
Cara's just booked a role in the new UK series Timeless and will be making her television acting debut! Tim Frith’s drama is part of Sky Arts’ comedy and drama series Playhouse Presents.
“It’s a really touching story and I’m really honoured to be working with Sylvia in a one-off production for Playhouse Presents,” Cara told Vogue UK. “This will be my first time working in television drama and I am excited by the opportunity.” The 21-year-old supermodel will star as Chloe, a young woman who is looking after her great-grandmother Alice, played by Syms, while her mother and grandmother are away on a cruise. The unlikely pair bond across the generation gap after Chloe is given devastating news about her iance, a soldier serving in Afghanistan. The story is described as an “engaging tale of love, loss and hope.” The role marks the fulfilment of a long held ambition for Delevingne, who has said that acting is her real passion: “Modelling is a great job, and I appreciate everything it has brought me, but it’s not my passion. As far back as I can remember I have wanted to act.”

NEWS - Prima del Creato, Dio creò la donna...anzi la prima delle "Girls"! Lena Dunham rilegge la Bibbia al "Saturday Night Live"

GOSSIP - Un, due, tre! Chi è la vera Anna Faris, matta-attrice di "Mom"?  
Chi è la vera Anna Faris? L’interprete esplosiva di “Mom”, una delle sit-com più detonanti dei luoghi comuni familiari in arrivo su Joi dal 28 marzo, è stata avvistata nelle scorse settimane in 3 fasi differenti, ciascuna rappresentativa della sua multiforme personalità alla quale dà vita anche sul set. 
1) look grunge da sopravvissuta alla crisi economica a West Hollywood, subito dopo esser andata a farsi le unghie (si suppone per pochi spiccioli), con jeans stracciati che manco Jena Plinsky di “1997 fuga da New York” approverebbe oggi come oggi.  
2) elegantissima sui Red Carpet dei Grammy Awards e della prima di “The Lego Movie”, al primo evento in abito stile Morticia degli Addams, nel secondo con tubino a scacchi anni ’80 degno delle coriste degli Human League 
3) sexy come nessuna secondo i lettori della rivista “Glam’Mag”, i quali a marzo 2014 l’hanno eletta “attrice più attraente dell’anno” (forse ricordando il celebre servizio fotografico di qualche tempo fa su “GQ”…).

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

COSMOPOLITAN 
Naya goes Cosmo!
Newly engaged with a career that is hotter than ever, Glee star Naya Rivera shows us how she gets what she wants. On a chilly Los Angeles morning, Naya Rivera arrives at the Coffee Bean and Tea Leaf looking every inch the star in a black wool DVF coat over a camouflage print dress, Saint Laurent boots, and oversize Chanel sunglasses that never come off. Her thick black hair, which has been blown straight, cascades over her shoulders. What really turns heads, though, is her ginormous engagement ring, a cushion-cut sparkler, which looks like a six-carat stunner, surrounded by a halo of smaller diamonds. In October, her boyfriend, rapper Sean Michael Anderson, a.k.a. “Big Sean,” proposed, and Rivera is still basking in the excitement of her news. “I think he’s going to be an amazing husband, and he’ll make a great father someday,” she gushes. “He’s so kind to people, but he also wears the pants in our relationship, which I love. We Latinas are very independent and strong, so it’s even sweeter that I’ve found somebody who can let me out of that role for a minute.”
The two met in the most modern of ways: on Twitter. Bored at work, Rivera decided to follow the rapper, whom she’d recently admired in a sexy GQ spread. Anderson, who was touring overseas at the time, was alerted to the nod by her million-plus followers, as well as his assistant, an avid Glee fan who also happens to be Puerto Rican. “She told him, ‘I’m Puerto Rican, she’s Puerto Rican; it sounds like you’d have so much fun with her,’” Rivera recalls. Anderson pulled up an episode of Glee to check Rivera out, liked what he saw, and sent her a private message. At first, Rivera was skeptical that he was the real thing: “Even though he had the verified check mark, I kept thinking, this could be a fan. I have to be careful what I say.”

On indulging her domestic side:
“Latinas are really great nurturers who are great to our men; we love hard and we love to cook. The other morning I woke up and was like, ‘I need china — this table needs to be set all the time!’ Focusing on those things is where I’m at right now.”

NEWS - "24: Live Another Day", le prime immagini: Chloe versione Lisbeth Salander non promette nulla di buono

www.telefilmcult.tumblr.com

NEWS - Da qui all'Infinity! Mediaset non è più sola nello streaming: arriva Sky on Demand (ex "The River")

Dallo sport ai film, dal tg alle serie tv. Sky si prepara a lanciare la sua offerta streaming aperta a tutti, con il nome di Sky Online. E così entro fine marzo si potrà accedere alla programmazione del network da computer, dai tablet più venduti (Apple e Samsung), da smart tv (i Samsung di ultima generazione), da PlayStation 3 e 4, e dall'estate anche da Xbox 360 e Xbox One. La mossa, attesa, era inevitabile. Segue quella di Mediaset che ha appena lanciato Infinity a 9,99 euro al mese e si aggiunge agli altri servizi che nel nostro Paese si stanno letteralmente moltiplicando. Chili Tv, Cubovision di Telecom, Apple Tv, Play di Google, Video Unlimited di Sony, Xbox Video di Microsoft, tanto per citare i principali. Ma soprattutto precede lo sbarco tanto temuto di Netflix, da ottobre visibile nei Paesi Scandinavi oltre che negli Usa e in Inghilterra, e di Amazon Video che in teoria avrebbe dovuto aprire i battenti anche da noi già nel corso del 2013.
Conosciuto precedentemente come "River", Sky Online si basa però su un modello diverso da quello di Netflix e simili. Salvo alcune serie tv originali come House of Cards, Netflix per 9,99 euro al mese offre un catalogo di titoli on demand spesso datati. Sky Online invece è una finestra ibrida che unisce una parte della programmazione Sky ad una libreria di film e telefilm relativamente ristretta. Differente da Sky Go, destinato a chi è già cliente e che ha molti più canali, Online è fatto di pacchetti singoli mensili venduti ad un costo ancora da confermare ma che presumibilmente sarà inferiore ai 20 euro al mese. Ovvero al prezzo dell'abbonamento base da parabola. Per non cannibalizzare quello che è il business principale del network, la somma dei tre pacchetti avrà un prezzo maggiore degli equivalenti sottoscritti in maniera tradizionale. In pratica Sky Online è un modo per raggiungere quel pubblico che ogni tanto ha voglia di guardare una certa serie tv, un film o una partita di calcio, ma non intende o non ha modo di istallare una parabola.

Serie Tv. Sarà il pacchetto più vantaggioso rispetto al prezzo e consentirà di accedere in diretta alle serie trasmesse da Fox (Fox, Fox Crime, Fox Life), mentre on demand saranno a disposizione intere stagioni di telefilm americani o prodotti dalla stessa Sky. Si va da The Following, Blacklist a Walking Dead, fino a American Horror Story, Grey's Anatomy, Game of Thrones, Boardwalk Empire e (ironia della sorte, verrebbe da dire) House of Cards di Netflix. Senza dimenticare Romanzo Criminale e Faccia d'Angelo.

 

GOSSIP - Confessioni sulla via...Emilia! La Clarke di "GOT" confida che c'è una cosa che la mette più in imbarazzo del restare nuda sul set...

Emilia Clarke is all about pink on the cover of Flare magazine’s April 2014 issue, on newsstands March 17.
Here’s what the 26-year-old Game of Thrones star had to share with the mag:
On red carpet photo misconceptions: “There are no captions onred-carpet photos that say, ‘This girl trained for two weeks, she went on a juice diet, she has a professional hair and makeup person, and this dress was made for her.’ I just wish they’d say, ‘It ain’t the truth.’”
On her role in the upcoming Terminator movie: “This is the most physical transformation I’ve ever done. But I haven’t done anything before this—I’ve done Game of Thrones and that’s about it. With Dany, it’s all CGI dragons, so not much training is needed.”
On the one thing that is scarier than nudity: “The aftermath was the thing that was harder to deal with. Going in to do my first press junket, that’s a hell of a lot scarier than being naked up on TV!”
For more from Emilia, visit Flare.com.

NEWS - Ecco perchè "Breaking Bad" e "House of Cards" hanno ucciso gli Oscar!

Excerpted from "The $11 Billion Year: From Sundance to the Oscars, an Inside Look at the Changing Hollywood System" 

 

The best movies get made because filmmakers, financiers, champions, and a great many gifted creative people stubbornly ignore the obstacles. The question going forward is how adaptive all these people are. How long will they struggle before they give up on the film business and take their talents elsewhere? And how flexible is the industry itself?

As AMC’s TV drama Breaking Bad took over the water-cooler conversation in 2013, and television critics dominated Twitter in a way that no movie debaters did, it served to reinforce the fact that film’s glory days are over. In today’s omnivorous world, it’s no longer about seeing the new movie opening on Friday or waiting eagerly for the next New Yorker review. Cinephiles go to film festivals for their fix, or to SnagFilms, Criterion, Indieflix, Fandor, Mubi, or Turner Classic Movies. Why schlep out to the new Dumb and Dumber sequel when the glories of Hollywood’s Golden Age are easily Netflixed? (As of this writing, Netflix boasts “38 million members in 40 countries enjoying more than one billion hours of TV shows and movies per month, including original series” even partnering with Marvel on four new live-action MTV series) Even the New York Times film critic A. O. Scott admitted that he was according many of his weekly viewing hours to television—just like everyone else.
There was a time during the golden age of the studio system when Hollywood churned out hundreds of quality films for grownups. In many ways 2012 boasted the best crop of films since the banner year of 1939 that yielded Gone with the Wind, Mr. Smith Goes to Washington, Wuthering Heights, Stagecoach, The Wizard of Oz, Ninotchka, and Dark Victory.
Six of the nine 2012 Best Picture Oscar nominees passed the $100 million mark—the biggest numbers, even with ticket-price adjustments, in recent box-office history. All six were released in the later part of the year. So why don’t the studios finance even more quality “prestige” films—by proven directors, at high budget levels—and aggressively back them, aiming for mass audiences all year long?

Admittedly, this is hard to do. It demands confidence and risk-taking. In late 2012, the studios released a group of films that were made by directors who had won Best Picture and/or Best Director (Steven Spielberg’s Lincoln, Sam Mendes’s Skyfall, Ang Lee’s Life of Pi, Robert Zemeckis’s Flight, Kathryn Bigelow’s Zero Dark Thirty, Peter Jackson’s The Hobbit, Tom Hooper’s Les Misérables), and all but one of those films were released initially in over 2,000 theaters, rather than platformed like the majority of top Oscar contenders in most other years—which is the usual sign of high awards expectations. And they all not only earned consensus rave reviews but made a healthy profit. (Specialty Oscar nominees Amour and Beasts of the Southern Wild took the usual slow-release route.)
But despite 2012’s bountiful harvest of strong, substantive films and action and animated blockbusters that scored record global box office, from Brave to The Hunger Games, there’s precious little optimism about the future of movies. The Best Picture Oscar nominees (whether in 2012 or 2013) are always exceptions that prove the rule, from outsiders jumping over the wall at Sundance (Beasts of the Southern Wild) to insiders willfully refusing to play by the rules (12 Years a Slave). Sure, the studios will permit a few top-of-the-line filmmakers to chase adults in the fourth quarter, but no wholesale changes are in store.
No wonder Spielberg was pissed off. He saw a crowd pleaser in Lincoln. And he was right. It was the top-grossing Oscar contender ($182 million), the eleventh most successful domestic performer of 2012. Why was it so difficult to get traditional studio financing? Like many independents these days, Reliance-backed DreamWorks cobbled together presales on territories overseas (via Twentieth Century Fox, which also took home-video rights) and brought in an outside investor (Participant Media) to fund the movie, which was released by DreamWorks distributor Disney.
The old days of studio largesse are over—even for Spielberg, arguably the most powerful and versatile filmmaker in Hollywood. And if he has to hustle, what about the hordes of less prepossessing talent who find themselves frozen out by the studios? They’re heading where the money is: foreign financing, television, cable, HBO, or Netflix.
While the studios could build on these year-end successes and try to make more of them, they won’t. While they could try to diversify and make movies for underserved constituencies like Hispanics, African Americans, adults, and women, they won’t. They’d rather stick to what they know: cookie-cutter movies for families and young men, and throwing millions of dollars at building a bigger mousetrap. Truth is, the more expensive a movie, the tougher it is for it to have any noticeable personality: all the edges get shaved off. By default the picture has to appeal to the widest number of people—all over the globe. That’s how genre formula, nonstop action, and eye-popping pixel effects keep trumping witty dialogue and old-fashioned storytelling.
To the winners go the spoils. But 2013 revealed the hazards of the tentpole, all-or-nothing approach. Just as Spielberg predicted in his June 12, 2013, panel at USC, six costly would-be summer blockbusters tanked domestically, although a few were barely bailed out by their international grosses. 2013 proved the cyclical theory held by the late A. D. Murphy, a Variety box-office analyst and professor at USC’s Peter Stark program. He declared that it’s perilous to follow the trends of what works at the box office, because when the studios throw imitations of recent hits at moviegoers, moviegoers inevitably get bored. Tom Rothman, an eighteen-year Fox veteran and Fox chairman and CEO until January 2013, who during his tenure backed such risky films as Peter Weir’s Master and Commander and Ang Lee’s Life of Pi, concurs: “Movies struggled this summer because they were, essentially, all the same and the audience was bored. No longer can an audience be pounded into attendance by dint of spending. Now, exactly because of how much great work there is on television, films have to raise the bar, to be more original, more complex, more imaginative, more daring. That is hard because of the huge cost/risk involved, and cost often has an inverse relationship with creativity. But I am fervently optimistic. We can make the films for less, sell them for less, and push creative boundaries more. And when we do, the audience will set the DVR, go out of the house, and come to the theaters. As long as we don’t underestimate them, they will reward us.”
In Hollywood you have to keep moving and stay ahead of the trends. And being able to adapt to digital is key, as is the recognition that consumers’ viewing habits have irrevocably changed.
From the point of view of the seven major studios, the migration of film talent to television isn’t an issue, because their corporations are not losing income; they own pieces of that business too. If HBO makes money, that’s good for Warner Bros. Viacom and Paramount want MTV, VH1, and CBS to succeed. Comcast owns Universal and NBC; Disney owns ABC and ESPN; Sony produces Breaking Bad, Jeopardy, and Wheel of Fortune; and Lionsgate roots for its own shows on AMC Networks.
Tellingly, three studios (Disney/ABC, Twenty First Century Fox, and NBC Universal) decided to hang on to their online streaming service, Hulu, instead of selling it. Finally, they recognized its value—and didn’t want anyone else to get it. Hulu has conducted valuable experiments in what audiences want, even if it’s mostly TV shows. But challenging the studios’ dominance in entertainment are digital powerhouses Google, Apple, Amazon, and Netflix. They are encroaching more and more on the studios’ territory—as Apple did in the music business. Mobiles are the new window into viewing content, and everyone knows it.
Netflix and Amazon are all about giving their customers what they want by constantly tweaking complex algorithms to determine how to anticipate consumer desires. That’s how Netflix knew their subscribers would love a remake of House of Cards, directed by David Fincher and starring Kevin Spacey, and banked $100 million launching their own content division. They probably won’t spend that much again, but they were right. Their high-stakes gamble paid off and made them a potentially strong competitor to HBO, Showtime, FX, and AMC.
While the studios are trying to hang on to their market-share dominance, they are keenly aware that smaller, more nimble companies with less to lose have more freedom to experiment. They saw the music industry’s rapid decline, reinvention, and ascension. The indies can take advantage of new funding sources like Kickstarter and IndieGoGo, produce microbudget films that can make back their money by reaching out to burgeoning online fanbases, and figure out the video-on-demand paradigm as the old windows model eventually falls away. The new indie entrepreneurs are getting their scripts rated on Spec Scout or The Black List. They are connecting with potential investors and sales agents through Slated. They’re going to Seed & Spark for marketing expertise, hiring the best marketing and distribution experts, and using on-demand theater-booking service Tugg to predetermine audience interest in seeing their film in specific markets before making a booking as they control their medium and message.
Digital is winning, even inside the studios. Kevin Tsujihara grabbed the reins at the Warner Bros. studio, knocking out his rivals from TV and motion pictures. Comcast’s Steve Burke let go the movie-bred chairman of Universal, Adam Fogelson—even after what looked like a successful year in 2012—in favor of cable guy Jeff Shell. After a rocky box office in 2013, Sony replaced their marketing chief with their digital marketing pro. And innovative digital-marketing guru Amy Powell—who pioneered Paramount’s on-demand booking of movies—continues to rise in the executive ranks at that studio.
The motion picture CEOs aren’t stupid. While they may be hanging on tight to the old ways so that they can grab as much short-term cash as possible via top-down models that manipulate consumers by telling them what to buy, they know the ground under their feet is unstable. In order to survive they will have to learn to listen to their customers, find out what they want and how to best serve them. The old strategies in the movie business are disintegrating, as the ownership model gives way to one that is all about access. Adapt or die.

From the book “The $11 Billion Year: From Sundance to the Oscars, an Inside Look at the Changing Hollywood System” by Anne Thompson. Copyright 2014 by Anne Thompson. Reprinted by permission of It Books, an imprint of HarperCollins Publishers.

PICCOLO GRANDE SCHERMO - Natural born killer! Bryan Cranston sarà ancora cattivo al cinema con Naomi Watts

Notizia tratta da SlashFilm.com

Briefly: in Holland, Michigan, the new non-doc from documentarian Errol Morris, Bryan Cranston will once again be very, very bad. We’ve seen the actor’s descent into pure human horror in Breaking Bad, and here he’ll play he’ll play another suburban dad who has big secrets. Andrew Sodroski wrote the thriller in which a woman (Naomi Watts) believes her husband is cheating, and starts her own affair with another man (Edgar Ramirez). And while it turns out that the husband does have something to hide, it isn’t infidelity, unless you’re talking infidelity to a general moral code. The info comes from Ask Me Anything session conducted with The Act of Killing team of Joshua Oppenheimer, Werner Herzog, and Morris on Reddit, via The Wrap.

NEWS - Abrams li fa e poi li accoppia. Da stasera in Italia "Almost Human" (Premium Action)

Il futuro immaginato da J.J. Abrams nel nuovo “Almost Human” (in partenza su Premium Action dal 1 marzo, ogni sabato in prima serata) è in qualche modo alle porte di una società che cambia. Nel 2048 la scienza ha permesso di affiancare ai poliziotti di Los Angeles una serie di androidi del tutto simili agli esseri umani. La decisione è stata presa dopo che la criminalità ha raggiunto una crescita esponenziale del 400%. John Kennex (Karl Urban), detective del dipartimento che si è appena risvegliato da 17 mesi di coma dopo un attentato, si ritrova a pattugliare la città con il collega androide Dorian (Michael Ealy), dalle inaspettate reazioni emotive in quanto appartenente alla penultima generazione di robot (per la cronaca, la DNR rispetto alla vigente MX). A Kennex stesso, dopo l’attentato, è stata impiantata una gamba cibernetica, mentre la memoria presenta gap che abbisognano “upload”…Quest’ultimo vanta oltretutto un’avversione viscerale per gli androidi: dopo l’attentato, uno di loro lo ha abbandonato sul campo in quanto le probabilità di sopravvivenza erano basse. Fanno altresì parte del dipartimento: il detective Richard Paul (Michael Irby), in attrito con Kennex; l’intelligente (e sexy) agente analista Valerie Stahl (Minka Kelly); Rudy Lom (Mackenzie Crook), il progettista degli androidi in uso alla polizia; Sandra Maldonado (Lili Taylor), a capo del dipartimento. 
Secondo più di un critico, il fatto che il protagonista-robot sia di colore – in piena presidenza Obama – rappresenta una sorta di tacito manifesto dell’integrazione contro il razzismo della diversità. Se Abrams firma la produzione, l’ideazione che strizza l’occhio a Isaac Asimov e Philip Dick, oltre che ai film RoboCop (1987) e Alien Nation (1989), appartiene a J.H. Wyman, già esperto di “scienza di confine” in "Fringe" (2008). Gli altri produttori esecutivi sono: Bryan Burk, Naren Shankar e lo stesso Wyman. La colonna sonora è affidata a The Crystal Method. Le riprese sono avvenute nella British Columbia canadese (Vancouver in testa). Kennex è stato “raccomandato” dallo stesso Abrams a Wyman dopo averlo avuto nel cast cinematografico di Star Trek - Il futuro ha inizio (2009). 
"Wyman ha chiosato così la serie: “penso che sia il momento giusto per una storia del genere, la gente userà la propria immaginazione e la sospensione dell’incredulità per vedere qualcosa forse non troppo lontana nel futuro. E’ un’incredibile opportunità per raccontare storie sulla condizione umana. Spiega perchè siamo così complicati, ma anche talmente eccezionali. E il rischio di perdere questa caratteristica”.

NEWS - Clamoroso al CibalHouse (White)! Michelle Obama nell'ultima di "Parks and Rec" 
La notizia, dell’ultima ora, è clamorosa: Michelle Obama interpreterà se stessa nell’ultima puntata della sesta stagione della sit-com “Parks and Recreation”, in onda attualmente su Joi (Mediaset Premium) ogni martedì alle ore 21.40. La serie, in onda dal 2009 e già vincitrice di un Golden Globe e 2 Television Critics Awards, ruota attorno al Parks and Recreation Department, il dipartimento che si occupa della manutenzione di parchi e aree pubbliche nella città fittizia di Pawnee, nell’Indiana. La sit-com non è nuova a cameo politici: in passato hanno fatto capolino, nei panni di se stessi: il Vice Presidente degli Stati Uniti Joe Biden, il senatore dell’Arizona John McCain, la senatrice della California Barbara Boxer e la senatrice del Maine Olympia Snowe. La partecipazione di Michelle Obama a “Parks&Recreation” è stata girata qualche giorno fa a Miami, dove la First Lady si trovava per promuovere l’iniziativa “Let’s Move” contro l’obesità.

L'EDICOLA DI LOU/NEWS - L'uomo del giorno! Su "Esquire" in copertina e al centro di una nuova serie sci-fi: Peter Dinklage über alles! 
Peter Dinklage wears his suit well on the cover of Esquire magazine’s March 2014 issue.
Here’s what the 44-year-old Game of Thrones actor had to share with the mag:
On discussing his height: “Um, how tall was Lincoln?…Well, he’s a much more important figure in history and humanity than I am. But we don’t know how tall he was exactly, do we?”
On a horrifying moment: “I was walking down Melrose Avenue in Los Angeles. There was this guy on a motorcycle right in front of me—about as far away as that plant, maybe six feet? And he looked at me. He didn’t wave, but he looked at me, and then he pulled out into traffic and this car, like, boom—killed him instantly. This was in L. A., where nobody walks. It was empty. So there was this quiet moment where it was like I was the only person in the world who knew this guy was dead. And I was there looking at him, you know, in those moments of calm after something horrible happens, the calm before the melee starts, before the ambulances and the cops arrive and it becomes a scene. There was that moment when I was with him.”
On an encounter with a fan: “She didn’t seem crazy or anything,” Dinklage said, “so I asked what was the matter. And she was like, ‘I just wanted to tell you, my boyfriend died today. And ‘The Station Agent’ was his favorite movie. This is like a sign that I saw you. I can’t believe this. May I please have a hug because I’m dying right now?’ And, of course, I gave her a hug,It’s like, there are the idiots with cellphones taking your picture all the time and then there’s something like that woman. And it really moved me, because it was honest and so pure and so sad.”

@HBO Is Eying Peter Dinklage For New Sci-Fi Series, ‘Beasts Of Valhalla’ http://t.co/c3b2eW5Z4x via @UPROXX #GOT
— AccademiaTelefilm (@AcademyTelefilm) 26 Febbraio 2014

GOSSIP/L'EDICOLA DI LOU - E' uno scandaLea! La Michele di "Glee" ci ricasca (con tutti i tacchi): dopo aver dato scandalo anni fa davanti all'obiettivo di Terry Richardson, si desnuda ancora davanti al fotografo dagli occhiali degni di Lapo Elkann per "V" (solo che allora c'era un Cory che batteva, qui sembra battere lei e basta!)

Article by Mary HK Choi for "V"

The first thing I notice about Lea Michele is that she has perfect eyebrows. They are strong, angular, and likely shaped for the day, since we’re meeting on the set of her music video shoot for the first single “Cannonball,” off her debut album, Louder. The tea-cup petite singer is taking a lunch break, a delectable-looking mélange of cubed tofu and tangled kale with a smattering of quinoa set before her. Glee’s leading glamour gal tells me she’s a vegetarian most of the time (“I eat fish occasionally”). Her bright eyes and springy skin attest to it—or maybe she just has dynamite genes.

The 27-year-old was born in the Bronx to a Turkish father, who was famous for bringing heros from his deli to the Spring Awakening set for cast mates when she was on Broadway, and an Italian-American mother. Complementing her Mediterranean good looks today are blunt, shiny bangs, and she is wearing a short, white cotton slip with Uggs, uncomely yet comfortable footwear, perfect for someone in need of an on-set shoe. Lea is kicking them off beneath the coffee table with nonchalance. Not that the star hasn’t earned the right to put her pedicured feet up for a minute.  

Michele has been going full throttle for the release of Louder, slated for March fourth (as in, “march forth,” she says). It’s an 11-song distillation of a woman who took the time to find her voice. “I started working with Anne Preven, Felicia Barton, and Bonnie McKee right out of the gate, and we came up with some great, awesome pop songs,” she says. “But closer to the beginning of this year—four or five months into making the album—the label was like, “This is great, but we need more of you in here. You sound like you’re singing awesome songs that are similar to Katy or Kelly. We need more Lea Michele.”

So back to the studio she went, this time with a lot more on her mind. “My album was completed in June. We had 12 songs. And then my boyfriend passed away, in July. [The singer’s Glee costar and long-term boyfriend, Cory Monteith, died from a drug overdose, a passing for which nobody was prepared, least of all Lea Michele.] So I met with Sia [Furler], because she’s a friend and because we were thinking, Do we want to add anything to the record now? And we wrote ‘If You Say So,’ on the same day she played me ‘Cannonball.’”

“If You Say So” is a cathartic tribute to her lost love. “It’s the only song that no one’s heard,” says Michele. “I can’t talk about it until people hear it. I just feel like people should hear it and I don’t know if I’m ever going to talk about it. It’s just one of those things where I understand what it means and you can take it or leave it. That song is for me.”

Alternatively, Furler’s song, “Cannonball,” is an earwormy number that Michele can’t get enough of, and neither can anyone else, apparently. “That’s what everyone tells me,” says Michele with a laugh. “Everybody’s like, Fuck you, I can’t stop singing it! My friends call me just singing ‘Cannonball! Cannonball!’ What’s crazy is that I can’t stop listening to it either. Since the minute Sia played me this song it’s been my personal anthem. It’s helped me so much. I still listen to it. If I’m having a down moment, I will play this song.”

While the lyrics are telling (“I let go of fear and the peace came quickly / Freedom / I was in the dark and then it hit me / I chose suffering and pain in the falling rain / I know, I gotta get out into the world again”), there’s a positive triumph-over-anguish message to be discerned amid the fist-pumping beats. And, with this tune in particular, Michele knows exactly to whom she is singing: girls and gays. “I’ve managed to have a wide range of fans,” she says, “but if ‘Cannonball’ isn’t playing at the Abbey in West Hollywood, I will go there and I will play it. Those are my people.”

Which just goes to show that while she may project a Goody Two-shoes persona, she’s also not afraid to dole out a bit of sass, as further evidenced by the photos seen here. “My friends call me Grandma, but, like, Grandma’s killing it right now,” she says. “I’m pretty sure Grandma nailed it in a half-naked Terry Richardson shoot, okay? So I’m fine with it. I just do my thing. I do what’s best for me. That’s it.”

PICCOLO GRANDE SCHERMO - Matt da legare! Bomer di "White Collar" è al cinema con "Storia d'inverno" 

Matt Bomer di “White Collar” (la 4° stagione in prima tv free su Top Crime dal 3 marzo in prima serata; la 5° inedita su Fox ogni mercoledì in prima serata) è stato paparazzato nei giorni scorsi all’uscita di un hotel di Soho con il compagno Simon Halls. La coppia era nella Grande Mela per la prima del film “Winter’s Tale” (in Italia uscito a San Valentino col titolo “Storia d’inverno”), che vede Bomer protagonista al fianco di Colin Farrell, Will Smith e Russell Crowe. La storia, ai confini della realtà sulla falsariga di “Ghost”, racconta la morte di una principessa che ha la possibilità di tornare in vita tramite reincarnazione. Nel cast anche William Hurt, Jennifer Connelly, Lucy Griffiths, Scott Grimes e Eva Marie Saint.

GOSSIP - Sarah Shahi, in ginocchiere verso il successo 

Sarah Shahi è il volto da tener d’occhio della 3° stagione inedita di “Person of Interest” (Premium Crime ogni domenica in prima serata), la serie di Abrams-Nolan che ha anticipato il caldo tema del Datagate. Secondo il “New York Post” la sua (ri)conferma nella nuova stagione dopo la rapida apparizione nella 2° nei panni della killer governativa Samantha Shaw si deve all’”impressione indelebile della sua interpretazione tesa a dar vita a una figura senza pietà, dal sangue freddo, capace di sbarazzarsi di una mezza dozzina di uomini come se niente fosse”. “Dominare gli uomini e sottometterli è divertente”, confessa l’attrice messasi in evidenza in “The L Word” (diventando idolo della comunità lesbica), “Life” (al fianco di Damian Lewis) e “Fairly Legal” (passata su Joi). Gli stessi uomini che Shahi ha intrigato dalle pagine di “Maxim”, rivista specializzata in fascino femminile che anche nel 2014 ha inserito l’attrice tra le “100 donne più sexy dell’anno”. 

In “Person of Interest” la nostra ha rinunciato alla controfigura – a dimostrazione di essere in perfetta forma fisica, come hanno potuto ammirare i lettori da lingua in fuori di “Maxim” – adottando ginocchiere ad hoc nelle scene di combattimento. “Adoro l’azione – confessa Shahi – mi piacciono le armi e sparare. Penso di essere un uomo in un corpo da donna. Al make-up preferisco il fango! La mia prima scena in ‘PoI’ è stata girata a gennaio, nel giorno più freddo dell’anno, sul tetto di un grattacielo!”. Come a dire: per salire ai vertici del successo c’è bisogno di sacrificio.

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

POLICY MIC
Ecco perchè "House of Cards" è la serie tv più "queer"!

Warning: Season 2 spoilers ahead. 

"House of Cards is one of the most beloved shows on the air right now. It's also one of the queerest, though you might have missed that: It features a polyamorous (or at least, open relationship-having) married couple, the male partner of whom is revealed to have had a meaningful relationship with another man in college, and who happily takes part in a threesome with his wife and male bodyguard. Oh, and he just so happens to be the vice president of the United States. Another character goes from sleeping primarily with men to falling deeply in love with the nice Christian woman she met on the bus (all while listening to sad music that I can only hope was Ani). And, perhaps most revolutionary, is the fact that no one on the show makes a big deal about any of it.
It has become trendy to include a token queer person on TV these days. Tossing a (typically white, upper-middle class male) gay character into a show is basically putting a bird on it. A glittery, sassy bird. But these characters are rarely defined beyond their queerness — just look at Kurt Hummel on Glee or Elijah on Girls. They come out (as if it's a one-time thing) or can't come out, are bullied, are lonely and so on. So often their stories are no more than a "struggle narrative" that resorts to stereotypes in lieu of actual character development.
Well, I'm sick of the struggle narrative. As a queer-identified trans guy, I struggle enough on a daily basis, between dealing with gendered bathrooms and confused security guards questioning my ID (and don't even get me started about flying) that I don't need to see more of it on television. And my "struggle," whether it's hormone injections or fighting with my health insurance provider about surgery options, does not define me. This isn't to say that narratives of oppression in TV and movies aren't important, because they certainly are; queer people, particularly queer people of color, face violence and institutionalized discrimination every day. But that violence can't be the only story told.
With so little else depicted on screen, this struggle can appear to be the defining element of an LGBTQ person's life. When I came out as trans, for example, part of what scared me was watching Brandon Teena, the only transgender man I'd ever seen in movies, get brutally raped and murdered in Boys Don't Cry. If we really care about representation and progress, queer characters should be given the same range of narratives as, well, straight ones.

Entertainment has obviously come a long way since the gay killers straight out of Hitchcock's Rope, but even the women of the wildly popular Orange Is the New Black constantly remind us of their lesbian status (plus, it's telling that the only setting a mainstream, queer-filled show occupies is a prison — although the show gets a little more leeway for giving us the amazing Laverne Cox).
The only queer characters allowed in complex story-lines beyond their queerness that I can think of are Omar Little and Kima Greggs from The Wire, but the critically-acclaimed HBO drama is more urban ethnography than prime-time television.
House of Cards, more than any other show currently on the air, is providing its audience with interesting, complicated queer people without making a fuss about it. Sure, Frank Underwood is a murderer with a pragmatism that verges on amorality, and I doubt we'll see him pinning a rainbow flag to his lapel anytime soon, but his bisexuality is treated with as much pomp and circumstance as are his brown eyes. Rachel Posner's lesbian relationship may be doomed from the start, but not because she needs to "go back to men" or any other post-sweeps week cliché. In short, House of Cards doesn't treat queerness like a spectacle.
The struggle narrative may be important, but queer characters and audiences deserve more. Those lonely Midwestern kids (who may be bullied, unable to come out, dealing with unsupportive friends and family — or worse) should get to watch versions of themselves on screen that are as complex and authentic as they are, not hollow stereotypes.
Or, as Frank might say to shows that insist on featuring the same tired tropes, "I just hate this small ball crap."

GOSSIP - Max Mara incorona Rose Byrne di "Damages"
(ANSA) - MILANO, 20 FEB - Sara' un freddo rigido quello che affrontera' la donna di Max Mara, British nella sostanza e metropolitana nello spirito. Cosi', la collezione per i prossimi freddi e' fatta di tessuti inglesi e scozzesi, come tweed, Principe di Galles, herringbones, checks, lane Donegal e Shetland, tutto declinato in un look per affrontare la grigia citta' d'inverno, con le imbottiture, le sovrapposizioni e gli accostamenti di materiali diversi. Il capo che spicca e che attraversa tutta la collezione e' il gilet, che si porta sempre, sopra (effetto giacca in giochi di layering) e sotto. Le lunghe maglie in cashmere iper-leggero, mohair e tinti in filo effetto tweed coprono per meta' le gonne a matita, che, nonostante il clima, prendono sempre il posto dei pantaloni. Le calze velate danno un tocco malizioso nella versione con la riga dietro, ma ci pensa il tacco basso a smorzare la vena sexy. Il resto e' un mix di materiali, con la vernice sulla schiena dei cappotti in shearling e alpaca imbottiti in doudoune, sul retro delle gonne e sui revers delle giacche. E poi arriva l'oro, unico tocco di luce, che dipinge scarpe, gonne e maglie, mentre il marchio Max Mara si stampa sul fondo di sottane e capispalla. British anche i colori, dal verde muschio ai beige, ai marroni, passando per il cammello fino al grigio fumo di Londra e al nero totale. In prima fila Rose Byrne, l'attrice australiana che ha recitato nelle cinque serie di 'Damages', che sara' la prossima vincitrice del Women In Film Max Mara Face of the Future Award, il premio al talento degli emergenti. La Byrne ricevera' il riconoscimento durante l'evento Women In Film Crystal + Lucy Awards 2014, mercoledi' 11 giugno a Los Angeles.

NEWS - "Diabolik" si fa in 3! Al via la co-produzione seriale europea del fumetto made in Italy

(ANSA) - ROMA, 20 FEB - Diabolik un mito inaffondabile, la serie televisiva tratta dal popolarissimo fumetto italiano sara' la prima co-produzione realizzata da tre pay tv: Sky Italia e BSkyB, in collaborazione con Sky Deutschland, stanno lavorando alla sua realizzazione. E' la prima volta infatti che le tre piattaforme pay europee sviluppano un progetto congiunto e per farlo hanno scelto un personaggio e delle storie tutte italiane. La serie Diabolik sara' ispirata al popolare fumetto, entrato nell'immaginario collettivo di milioni di persone in tutto il mondo, e nato dalla penna delle sorelle Angela e Luciana Giussani. Diabolik non e' un super eroe ordinario, e' un ladro pericoloso e spietato e un professionista del furto d'identita', espediente che utilizza per assumere le sembianze delle proprie vittime e degli avversari e raggiungere cosi' i suoi scopi. Tutte le storie sono ambientate nella citta' immaginaria di Clerville. Il fumetto fu creato nel 1962 e pubblicato all'epoca in
edizioni tascabili mensili in bianco e nero. Il successo fu immediato e travolgente: dopo 50 anni e ben 800 storie, ancora oggi Diabolik fa registrare numeri sbalorditivi, con le sue 400.000 copie vendute ogni mese.  La nuova serie, attualmente in fase di sviluppo, sara' formata da 10 episodi della durata di circa un'ora ciascuno e le tre aziende sono al momento impegnate nella nomina dello showrunner.  L'obiettivo e' di mantenere l'ambiguita' originale dell'eroe oscuro delle sorelle Giussani che, pur essendo un criminale, e' dotato di profondi e radicati principi etici e di una grande integrita' morale. Andrea Scrosati, Executive Vice President Programming di Sky Italia, ha fatto notare: "Negli ultimi sei anni Sky Italia ha puntato molto sulle produzioni originali, offrendo ai suoi abbonati prodotti innovativi in grado di stabilire nuovi standard creativi, visivi e produttivi nel mercato italiano. Sono particolarmente orgoglioso e felice del fatto che una delle nostre prossime serie televisive - e la prima co-produzione internazionale con partner europei - sia ispirata a una creazione e a un "brand" italiano molto popolare.". Anne Mensah, Head of Drama di BSkyB, da parte sua ha
rilevato: "Questo progetto ha il potenziale per attingere all'immaginario collettivo del pubblico in ciascuno dei nostri paesi. E' straordinario aver trovato una property nella quale investire tutti con la stessa passione ed entusiasmo. Siamo impazienti di iniziare a lavorare insieme per portarla sugli schermi". Con Diabolik, Sky Italia continua a investire va detto in produzioni originali con un grande potenziale per il mercato internazionale, sulla scia del successo di Romanzo Criminale, venduto in 60 Paesi, e di Gomorra, la serie ispirata all'omonimo best-seller di Roberto Saviano - prodotta per Sky da Cattleya e Fandango in collaborazione con La7 e distribuito a livello internazionale da Beta Films - attualmente in fase di post-produzione e gia' venduta in 28 Paesi.  Gary Davey, Executive Vice President Programming di Sky Deutschland, ha aggiunto: "E' entusiasmante lavorare con BSkyB e Sky Italia a questa serie. La storia di Diabolik ha un grandissimo potenziale e possiede tutti gli elementi all'altezza di una grandissima pay-tv. I primi concept che abbiamo visto sono a dir poco stupefacenti".

PICCOLO GRANDE SCHERMO - Le "Girls" stan per tornare! Nuovo film di "Sex and the City" strizzando l'occhio mascarato alla serie di Lena Dunham?

Articolo tratto da Uproxx.com
Sex and the City series executive producer Michael Patrick King spoke with Entertainment Weekly about the possibility of a third film installment — on the heels (pun firmly not intended) of Sarah Jessica Parker telling InStyle that she believed “there was another chapter to tell” last month. If you’ll recall, Sex and the City 2 was critically panned as a load of steaming horseflop, even from those who enjoyed the HBO series. (Note: I will use any excuse to link to Lindy West’s epic review of SATC2.)

Acknowledging Parker’s comments on a third film, King explains, “Sarah Jessica and I both know what that final chapter is. That doesn’t mean it will or should be told, but I do think there’s one story left. Whether it ever happens is a whole other situation. But there’s four girls, and those girls are still in my mind. There are other stories to tell and characters that haven’t even been written yet.”

Just because, theoretically, there may be stories left to tell, doesn’t mean you necessarily have to unburden your soul with the film version of Norovirus telling them. I mean, I like Girls as much as the next person, but so help me god if twenty years from now I have to watch a middle-aged Hannah still being an emotionally-retarded hunk of meatloaf parading around in ill-fitting outfits and Marnie’s metamorphosis into the homicidal trophy wife we all know she’s destined to become — I will jam a Q-tip through my ear clear into my temporal lobe.

PICCOLO GRANDE SCHERMO - Inchiodate tutti! Ritorna lo spettro, sotto forma di Kitt, del film di "Supercar"! Chris Pratt e Danny McBride papabili
Articolo tratto da Collider.com
Last year, we reported that The Weinstein Company had tapped screenwriter Brad Copeland (Wild Hogs) to pen the script for a big screen adaptation of the 1980s TV series Knight Rider. For those of you unfamiliar with the show, it starred David Hasselhoff as Michael Knight, a police detective reborn into a modern high-tech crime fighter by billionaire Wilton Knight. Michael becomes an agent of Foundation for Law and Government (FLAG), along with his vehicular partner, K.I.T.T. (Knight Industries Two Thousand), who was voiced by William Daniels (Boy Meets World). The show was remade back in 2008, but lasted for less than a season. Word on the project has been quiet since Copeland was hired, but now it looks like the movie might be going the action-comedy route. Hit the jump for more. According to Schmoes Know, “Chris Pratt and Danny McBride are in talks” for Knight Rider. That’s a pretty big statement since “in talks” usually means “in the final stages of negotiations.” This is the first time we’ve heard their names come up in connection to the project, and at this point it’s possible they’ve just taken a meeting or they’re on the studio’s wish list. Assuming this rumor is true, Schmoes speculates, “I think Pratt is being looked at for Michael Knight and McBride for the voice of KITT,” and I have to agree that would be a sound pairing. I also have to admit that the thought of Danny McBride as the voice of KITT brings a smile to my face.