L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri
CORRIERE DELLA SERA
"The Goldbergs", piacevole sit-com allisciata dalla nostalgia per gli anni '80
“Una sit-com sugli anni «Eighties», favolosi
come tutti gli altri decenni (gli scherzi della memoria), una sit-com girata
nello stile di quegli anni, piena zeppa di riferimenti pop, di icone, di oggetti
culto, una sit-com che rappresenta il punto di vista di una telecamera tenuta
in mano da un undicenne. «The Goldbergs»,
la serie di Joi, è ambientata a
Jenkintown, in Pennsylvania. I Goldbergs, la famiglia, è una comunità un po’
stravagante: papà Murray Goldberg (Jeff Garlin), sua moglie Beverly (Wendi
McLendon-Covey) e i tre figli, Erica (Hayley Orrantia), la più sveglia e di successo, Barry (Troy Gentile), l’incompreso, e Adam (Sean Giambrone). Il
piccolo Adam filma i momenti fondamentali della biografia famigliare (mai
buttare via niente!). Il piccolo Adam altri non è che il vero Adam F. Goldberg,
oggi regista e produttore televisivo, creatore della comedy. Partecipa
attivamente alla famiglia anche il nonno Albert Pops Salomon (padre di Beverly)
che vizia i nipoti alle spalle dei loro genitori. Fanno la loro fugace apparizione anche alcune guest star, tra cui Chuck Norris, Charlie Sheen e David
Spade. Se da una parte la serie racconta la complessità dei rapporti famigliari
(madre overapprehensive, una premurosità sempre sopra le righe, padre un po’
incitrullito dal lavoro e dai sensi di colpa indotti dalla moglie, figli
adolescenti rompi), dall’altra mette in scena frammenti di quegli anni (i miti
musicali, quelli sportivi, quelli cinematografici, i primi computer, la nascita
della Cnn, il videogioco Pac-Man, E.T. L’extraterrestre e Star Wars, Thriller di
Michael Jackson, Born in The Usa di Bruce Springsteen…), quando gli Stati Uniti
erano al massimo dell’esplosione della cultura pop (l’edonismo reaganiano, secondo
la fortunata espressione di Roberto D’Agostino). La sit-com ha una sua piacevolezza,
dialoghi brillanti anche nella loro fatuità, alleggerita e allisciata dalla nostalgia”. (Aldo Grasso, 09.07.2016)
martedì 12 luglio 2016
lunedì 11 luglio 2016
NEWS - FSociety colpisce ancora! L'anteprima della 2° stagione di "Mr. Robot" a sorpresa sui social (per poco)
News tratta da "Entertainment Weekly"
FSociety has struck again. This time, the fictional hacker organization from Mr. Robot gave the show’s fans exactly what they wanted: a look at the full season 2 premiere episode three days before it airs on Wednesday on USA.
The network held a Facebook Live Q&A session Sunday night featuring the show’s cast and hosted by Keegan-Michael Key. All seemed to be going smoothly until about 20 minutes into the livestream, when FSociety interrupted and launched into a rant about the interview itself. And then, the first 60 minutes of the premiere episode aired right then and there.
That was just the beginning. After the episode completed, it disappeared from Facebook. Shortly thereafter, the preview appeared on Twitter, Snapchat, YouTube, and USA Network’s homepage.
News tratta da "Entertainment Weekly"
FSociety has struck again. This time, the fictional hacker organization from Mr. Robot gave the show’s fans exactly what they wanted: a look at the full season 2 premiere episode three days before it airs on Wednesday on USA.
The network held a Facebook Live Q&A session Sunday night featuring the show’s cast and hosted by Keegan-Michael Key. All seemed to be going smoothly until about 20 minutes into the livestream, when FSociety interrupted and launched into a rant about the interview itself. And then, the first 60 minutes of the premiere episode aired right then and there.
That was just the beginning. After the episode completed, it disappeared from Facebook. Shortly thereafter, the preview appeared on Twitter, Snapchat, YouTube, and USA Network’s homepage.
GOSSIP - L'Elba di un nuovo Bond? L'ex "Luther", candidato a succedere a Craig nello smoking di 007, a tutta cover su "Interview"
Idris Elba poses shirtless in this brand new cover feature for Interview magazine’s new issue.
Here’s what the 43-year-old actor had to share with the mag:
On constantly working: “…It’s unhealthy to have that much going on. [laughs] I don’t want to sound ungrateful or anything, but I sleep less, I’m constantly thinking, I’m constantly multitasking, and I really don’t know what the effects are going to be when I’m older. I don’t ever stop. Not because I’m greedy or anything, but I’m always creating, debating with the part of my brain that is dormant. Wondering how I can move in and create a bit more space and take a bit more time. But it’s almost like the more I achieve, the more capacity I have to achieve. I do worry sometimes about whether I’m going to burn out. Not burn myself out, but burn my art out, with audiences going, ‘Ah, yeah, I’ve seen enough now, thanks very much.’”
On DJ’ing: “Anyway, what happened was, once I got The Wire, my life changed. I couldn’t DJ as much and I couldn’t take it seriously because my career as an actor was just getting to a place where I was finally making it in America. I wanted to be on American TV so much. I didn’t park DJ’ing; I just sort of ended up becoming more of a studio guy. I had a bit more money and I could buy every little piece of equipment and drum machine that had just come out—I’ve got quite a collection now— and I continued to collect music. Then about five years ago, my career blossomed, but I really missed being out on the road, DJ’ing. So I started picking up gigs here and there, and what occurred to me really quickly was that I was going to water down my passion for DJ’ing, because the type of gigs I was getting were celebrity DJ work, and that just didn’t sit right. So I made a decision about five years ago to really do it properly, to do it at that level I had never done it, but take it seriously and not ride the coattails of being an actor. It took a while because I had to take my time to introduce myself into that world: doing remixes, being taken seriously.”
Idris Elba poses shirtless in this brand new cover feature for Interview magazine’s new issue.
Here’s what the 43-year-old actor had to share with the mag:
On constantly working: “…It’s unhealthy to have that much going on. [laughs] I don’t want to sound ungrateful or anything, but I sleep less, I’m constantly thinking, I’m constantly multitasking, and I really don’t know what the effects are going to be when I’m older. I don’t ever stop. Not because I’m greedy or anything, but I’m always creating, debating with the part of my brain that is dormant. Wondering how I can move in and create a bit more space and take a bit more time. But it’s almost like the more I achieve, the more capacity I have to achieve. I do worry sometimes about whether I’m going to burn out. Not burn myself out, but burn my art out, with audiences going, ‘Ah, yeah, I’ve seen enough now, thanks very much.’”
On DJ’ing: “Anyway, what happened was, once I got The Wire, my life changed. I couldn’t DJ as much and I couldn’t take it seriously because my career as an actor was just getting to a place where I was finally making it in America. I wanted to be on American TV so much. I didn’t park DJ’ing; I just sort of ended up becoming more of a studio guy. I had a bit more money and I could buy every little piece of equipment and drum machine that had just come out—I’ve got quite a collection now— and I continued to collect music. Then about five years ago, my career blossomed, but I really missed being out on the road, DJ’ing. So I started picking up gigs here and there, and what occurred to me really quickly was that I was going to water down my passion for DJ’ing, because the type of gigs I was getting were celebrity DJ work, and that just didn’t sit right. So I made a decision about five years ago to really do it properly, to do it at that level I had never done it, but take it seriously and not ride the coattails of being an actor. It took a while because I had to take my time to introduce myself into that world: doing remixes, being taken seriously.”
venerdì 8 luglio 2016
News tratta da Mic.com
That a record number of fans tuned in to Game of Thrones' explosive season six finale probably doesn't come as a surprise. But this might: According PornHub, as the political games unfolded in Westeros this season, the number of people watching porn plummeted.
PornHub's historical data
shows that the website saw a 4% drop in traffic during the season six
premiere April 24, which may not sound like a lot, but given the
site's 60 million daily users, that equates to roughly 2.4 million
people prioritizing George R. R. Martin's prodigious imagination over
"me" time. Similar drops occurred during the next three episodes of the
season, per PornHub.
During that time, Game of Thrones-related searches on the site increased significantly.
What's more, according to data from season five of the series,
PornHub searches for terms like "princess" and "medieval" also saw an
increase prior to the Sunday night premieres of new episodes, which
could be loosely related to the series. Specific keywords about the show
also cropped up — and some of them are downright weird.
Emilia Clarke, who plays Daenerys Targaryen, for one, is the
most searched character or actor from the show (that's not a surprise).
But PornHub also notes that "Walk of Shame" is another GoT-specific term that's been sought out by users, referring to Cersei Lannister's Walk of Atonement from season five.
Sure, Cersei is naked during that scene, but she's also
being paraded through the streets of King's Landing with the smallfolk
flinging fruit and feces at her while shouting expletives, as a nun
rings a bell and repeatedly chants, "Shame!" It's safe to presume HBO
wasn't angling this as one of Game of Thrones' most erotic sequences.
Game of Thrones, it turns out, is more than just a cultural
phenomenon. The show set in a fantastical world produces even more
fantasies — even if Septa Unella would disapprove of some of those choices.
giovedì 7 luglio 2016
GOSSIP - Nonna Nicole! La Kidman con parruccona grigia nella seconda stagione di "Top of the Lake"
Nicole Kidman sports a gray wig while on the set of Top of the Lake season two in Sydney, Australia. Production is currently underway for the second season of the hit Sundance TV drama, which is now titled Top Of The Lake: China Girl. Elisabeth Moss will return for the second season, and Game of Thrones‘ Gwendoline Christie is set to have a major role this season.
Season two picks up four years after season one ended. No premiere date has been officially announced.
Nicole Kidman sports a gray wig while on the set of Top of the Lake season two in Sydney, Australia. Production is currently underway for the second season of the hit Sundance TV drama, which is now titled Top Of The Lake: China Girl. Elisabeth Moss will return for the second season, and Game of Thrones‘ Gwendoline Christie is set to have a major role this season.
Season two picks up four years after season one ended. No premiere date has been officially announced.
mercoledì 6 luglio 2016
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri
CORRIERE DELLA SERA
"Billions", perla sulla finanza americana
"Chi ha amato film sulla finanza americana come La grande scommessa, Wall Street. Money Never Sleeps, Too Big to Fail; chi li ha amati come film e non solo per l'argomento trattato; chi ha letto il libro o visto a teatro Lehman Trilogy di Stefano Massini; chi... Ebbene all'ideale spettatore non può mancare questa perla, da aggiungere alla collezione. Si tratta di «Billions» ideata da Brian Koppelman (è anche il produttore di «Vinyl»), David Levien (co-sceneggiatore di Ocean's Thirteen) e Andrew Ross Sorkin, editorialista economico del New York Times e autore del libro Too Big to Fail (Sky Atlantic, martedì, ore 21.1o). «Billions» si ispira non poco al lavoro del procuratore Preet Bharara e in particolare alla sua crociata contro i reati finanziari nel Southern District di New York. La storia, infatti, ruota attorno allo scontro tra due forti personalità:il procuratore Chuck Rhodes (Paul Giamatti) e Bobby «Axe» Axelrod (Damian Lewis, l'inquietante «uscio» di «Homeland»), un miliardario geniale che ha fatto fortuna speculando in borsa. E uno scontro giudiziario duro, la versione moderna del duello western. Per Rhodes, c'è in gioco la carriera, l'onorabilità, l'incarnazione del bene pubblico (lo sceriffo); per Axe la riconferma di essere il numero uno del mondo del trading, della giungla dei fondi speculativi (il bandito rispettabile). In mezzo ai due c'è la moglie di Chuck, Wendy (Maggie Siff). Lavora come psicologa presso la società di Axe, esponendosi a un imbarazzante conflitto di interessi, e con il marito accondiscende a pratiche notturne non proprio ortodosse. La serie prodotta da Showtime vive su vicende che sono di per sé avvincenti (inchieste, giochi di borsa, scalate societarie, truffe...) ma che non sarebbero tali se non fossero sorrette da una recitazione e da dialoghi eccellenti. Il cast è pressoché perfetto, non un ruolo sbagliato. Notevole il cameo del concerto dei Metallica". (Aldo Grasso, 06.07.2016)
CORRIERE DELLA SERA
"Billions", perla sulla finanza americana
"Chi ha amato film sulla finanza americana come La grande scommessa, Wall Street. Money Never Sleeps, Too Big to Fail; chi li ha amati come film e non solo per l'argomento trattato; chi ha letto il libro o visto a teatro Lehman Trilogy di Stefano Massini; chi... Ebbene all'ideale spettatore non può mancare questa perla, da aggiungere alla collezione. Si tratta di «Billions» ideata da Brian Koppelman (è anche il produttore di «Vinyl»), David Levien (co-sceneggiatore di Ocean's Thirteen) e Andrew Ross Sorkin, editorialista economico del New York Times e autore del libro Too Big to Fail (Sky Atlantic, martedì, ore 21.1o). «Billions» si ispira non poco al lavoro del procuratore Preet Bharara e in particolare alla sua crociata contro i reati finanziari nel Southern District di New York. La storia, infatti, ruota attorno allo scontro tra due forti personalità:il procuratore Chuck Rhodes (Paul Giamatti) e Bobby «Axe» Axelrod (Damian Lewis, l'inquietante «uscio» di «Homeland»), un miliardario geniale che ha fatto fortuna speculando in borsa. E uno scontro giudiziario duro, la versione moderna del duello western. Per Rhodes, c'è in gioco la carriera, l'onorabilità, l'incarnazione del bene pubblico (lo sceriffo); per Axe la riconferma di essere il numero uno del mondo del trading, della giungla dei fondi speculativi (il bandito rispettabile). In mezzo ai due c'è la moglie di Chuck, Wendy (Maggie Siff). Lavora come psicologa presso la società di Axe, esponendosi a un imbarazzante conflitto di interessi, e con il marito accondiscende a pratiche notturne non proprio ortodosse. La serie prodotta da Showtime vive su vicende che sono di per sé avvincenti (inchieste, giochi di borsa, scalate societarie, truffe...) ma che non sarebbero tali se non fossero sorrette da una recitazione e da dialoghi eccellenti. Il cast è pressoché perfetto, non un ruolo sbagliato. Notevole il cameo del concerto dei Metallica". (Aldo Grasso, 06.07.2016)
Etichette:
Aldo Grasso,
Andrew Ross Sorkin,
Billions,
Brian Koppelman,
Damian Lewis,
David Levien,
Homeland,
L'EDICOLA DI LOU,
Maggie Siff,
network,
Paul Giamatti,
Vinyl
martedì 5 luglio 2016
GOSSIP - Qualcuno la fermi! Priyanka Chopra(zzemolina) anche sulla cover di "In Style" dove rivela: "non sono uno stereotipo di Bollywood"
Priyanka Chopra looks so chic on the
cover of In Style magazine’s
August 2016 issue.
Here’s what the 33-year-old Quantico star had to share with the mag:
On dating and relationships: “I’ve never dated. I’ve always been in relationships. Dating as a concept doesn’t really exist in India…the nonanswerability of dating, my god, I don’t know if I would ever be able to… When I know I’ve met the right person to share the rest of my life with, I’ll shout it from the rooftops. I’ll stay i I want to be with somebody who has drive but doesn’t take himself too seriously… Life is transient, and it’s a journey, and I want to be with somebody who can see that.”
On diversity: “I think diversity is the need of the hour. Look at the world around us. You can’t say the girl next door is a certain type anymore. And entertainment should be a reflection of society.”
On Bollywood: “We are not a miniature Hollywood. We are the Indian film industry, one of the most prolific producers in the world…We are artists, we are people, we know our jobs. You can put me in front of a camera anywhere in the world and I’ll hit my mark and say my lines and give the director what he wants. I can break out into song and dance as well. I’m kick-ass at that too. That makes me a triple threat, not a stereotype.”
Priyanka Chopra looks so chic on the
cover of In Style magazine’s
August 2016 issue.Here’s what the 33-year-old Quantico star had to share with the mag:
On dating and relationships: “I’ve never dated. I’ve always been in relationships. Dating as a concept doesn’t really exist in India…the nonanswerability of dating, my god, I don’t know if I would ever be able to… When I know I’ve met the right person to share the rest of my life with, I’ll shout it from the rooftops. I’ll stay i I want to be with somebody who has drive but doesn’t take himself too seriously… Life is transient, and it’s a journey, and I want to be with somebody who can see that.”
On diversity: “I think diversity is the need of the hour. Look at the world around us. You can’t say the girl next door is a certain type anymore. And entertainment should be a reflection of society.”
On Bollywood: “We are not a miniature Hollywood. We are the Indian film industry, one of the most prolific producers in the world…We are artists, we are people, we know our jobs. You can put me in front of a camera anywhere in the world and I’ll hit my mark and say my lines and give the director what he wants. I can break out into song and dance as well. I’m kick-ass at that too. That makes me a triple threat, not a stereotype.”
GOSSIP - Urla dal passato! "A 16 anni sono uscita dalla depressione con un disco": Keke Palmer di "Scream Queens" rivanga l'adolescenza in preda all'ansia di prestazione...
Keke Palmer
just made a major revelation – she recorded an entire album while starring on True
Jackson, VP that she never released! The 22-year-old Scream Queens actress explained to fans that when
she was sixteen she struggled with depression and anxiety, feeling as though
she was suppressing who she really was to please her record labels.“These are the words I was afraid to stand behind because I had too much
anxiety and could not process my experiences and how they were separate from
the spirit of who I was… I let the labels confusion of me not being able to fit
in a box become MY confusion of me. It was almost as if I was “divergent”
(which we all are) and I was being ridiculed and not supported because the
industry couldn’t understand it. I swallowed my voice for so long and felt that
I would not release this music because I was sick of the music business turning
its back on me!!” she explained on her website.
Keke Palmer
just made a major revelation – she recorded an entire album while starring on True
Jackson, VP that she never released! The 22-year-old Scream Queens actress explained to fans that when
she was sixteen she struggled with depression and anxiety, feeling as though
she was suppressing who she really was to please her record labels.“These are the words I was afraid to stand behind because I had too much
anxiety and could not process my experiences and how they were separate from
the spirit of who I was… I let the labels confusion of me not being able to fit
in a box become MY confusion of me. It was almost as if I was “divergent”
(which we all are) and I was being ridiculed and not supported because the
industry couldn’t understand it. I swallowed my voice for so long and felt that
I would not release this music because I was sick of the music business turning
its back on me!!” she explained on her website. 
Keke added, “It wasn’t until many years later (now) that I
have listened back on these records and realized I have always known the truth
of who I was I just allowed others perception of me to become my perception of
myself. I did not spread my wings because I was told I couldn’t fly a certain
way and I believed it!…My anxiety, caused by the habit of unconsciously holding
my breath, coupled with the stress of my personal life at that time created a
lot of hard years of depression for me. However, I am exalted now because God
brings it to you when you are ready, not when you think you are. I am now right
where I should be and I can see with my heart that I have always known who I am
and who I want to be.”
Keke is now ready to share the album, which she titled
“Waited to Exhale,” with her fans. The entire album is available to be streamed
on SoundCloud.
domenica 3 luglio 2016
GOSSIP - "W" for "Wow" (2)!
La celebre rivista americana mette a nudo (o in lingerie) le star seriali...
La celebre rivista americana mette a nudo (o in lingerie) le star seriali...
Etichette:
Al The Way,
Anthony Mackie,
GOSSIP,
Hugh Dancy,
Juno Temple,
Jurnee Smollett-Bell,
L'EDICOLA DI LOU,
Liev Schreiber,
Ray Donovan,
sexy,
The Night Manager,
The Path,
Tom Hiddleston,
Travis Fimmel,
Underground,
Vinyl
sabato 2 luglio 2016
venerdì 1 luglio 2016
GOSSIP - "W" for "Wow"! La celebre rivista americana mette a nudo (o in lingerie) le star seriali...
(to be continued soon...)
O se non puoi aspettare:
Etichette:
Anthony Mackie,
Billions,
Damian Lewis,
GOSSIP,
Jessica Jones,
Juno Temple,
Krysten Ritter,
L'EDICOLA DI LOU,
Sarah Paulson,
sexy,
The Night Manager,
Tom Hiddleston,
toplessate,
Travis Fimmel,
Vinyl
giovedì 30 giugno 2016
GOSSIP - Emma Roberts, dopo il fidanzato Evan-escente Peters spunta un nuovo ganzo!
Emma Roberts fuels up on iced coffee as she steps out on Tuesday (June 28) in West Hollywood, Calif. The previous day, the 25-year-old Scream Queens actress was spotted getting cozy with rumored new boyfriend Christopher Hines as they strolled around Hollywood. This isn’t the first time the two have been seen together. Back in May, Emma and Christopher were spotted hugging outside of her hotel in London. Just a few weeks ago, Emma and her actor boyfriend Evan Peters called it quits after four years of dating. FYI: Emma is wearing a Madewell monogrammed denim jacket and Michael Lauren tank top.
Emma Roberts fuels up on iced coffee as she steps out on Tuesday (June 28) in West Hollywood, Calif. The previous day, the 25-year-old Scream Queens actress was spotted getting cozy with rumored new boyfriend Christopher Hines as they strolled around Hollywood. This isn’t the first time the two have been seen together. Back in May, Emma and Christopher were spotted hugging outside of her hotel in London. Just a few weeks ago, Emma and her actor boyfriend Evan Peters called it quits after four years of dating. FYI: Emma is wearing a Madewell monogrammed denim jacket and Michael Lauren tank top.
mercoledì 29 giugno 2016
GOSSIP - Guarda come balla Jaden! Il figlio di Will Smith nel già cult "The Get Down" di Baz Luhrmann
Netflix recently released the latest trailer for Jaden Smith‘s upcoming show The Get Down by Baz Luhrmann.
The 17-year-old actor and model is joined in the hip-hop drama by Tremaine Brown Jr., Justice Smith, Shameik Moore, and Skylan Brooks. The cast of The Get Down recently posed in character for Vogue. The Get Down follows a young group of friends in the Bronx during the 1970′s.
The series is set to be released on Netflix on August 12.
Netflix recently released the latest trailer for Jaden Smith‘s upcoming show The Get Down by Baz Luhrmann.
The 17-year-old actor and model is joined in the hip-hop drama by Tremaine Brown Jr., Justice Smith, Shameik Moore, and Skylan Brooks. The cast of The Get Down recently posed in character for Vogue. The Get Down follows a young group of friends in the Bronx during the 1970′s.
The series is set to be released on Netflix on August 12.
martedì 28 giugno 2016
NEWS - Netflix, e voi che abbonati siete? Ingordi o sommelier? Analizzate le abitudini degli utenti streaming: i generi horror, action, thriller e scifi consumati prima di drama e sit-com
Articolo tratto da "Corriere Economia"
Si sa, lo streaming ha cambiato il modo in cui guardiamo le serie tv, svelando un pianeta di ghiottoni. II binge watching—la grande abbuffata— è stile di vita e malattia del nostro tempo. Liberi da spot pubblicitari e orari prefissati, ingurgitiamo un episodio dopo l'altro dei nostri programmi preferiti. Ma sarà proprio così? Secondo un nuovo studio di Netflix, che per sette mesi ha analizzato le abitudini degli utenti di oltre 190 Paesi su più di 100 serie, in corso o già concluse, se in generale gli spettatori finiscono una stagione entro una settimana, non tutte le serie sono consumate allo stesso modo. Alcune vengono divorate, altre «assaporate», cioè fruite un po' più lentamente. È la differenza tra chi fa streaming per più di due ore a volta e chi per meno: la cosiddetta «binge scale» di Netflix. «In passato ci limitavamo a sottolineare il fenomeno binge watching — spiega Cindy Holland, vice president contenuti originali dell'azienda guidata da Reed Hastings, che ad aprile contava nel mondo oltre 81 milioni di utenti —. Oggi lo svisceriamo». Scoprendo che gli spettatori consumano più velocemente serie d'azione, fantascienza, horror e thriller, mentre impiegano più tempo per drammi politici e commedie più sofisticate. Smodati, sì, insomma, ma non indistintamente. È questione di genere. C'è l'ingordo velocissimo, insaziabile. Che finisce una stagione in quattro giorni, guardandone due ore e mezza a volta. È l'utente di Breaking Bad, The Walking Dead, American Horror Story e Sons of Anarchy. Serie, cioè, che vanno dritte alla pancia, che non devi rifletterci troppo. C'é poi il famelico abbastanza smanioso, che di giorni ce ne mette cinque, per circa due ore al di. E quello che ama le commedie drammatiche, i polizieschi psicologici e serie di supereroi. Fargo, The Blacklist, Orange Is the New Black, ma anche Bloodline, Grace e Frankie e Jessica Jones. E cë infine il vorace riflessivo, che impiega sei giorni a completare una stagione e fa streaming per un'ora e 45 minuti a volta. Preferisce le serie politiche, le commedie più irriverenti, il dramma storico. E quindi Mad Men, Arrested Development, House of Cards, così come The Americans, Homeland e The Good Wife. Netflix tiene a sottolineare come «assaporare» una serie non vuol dire che questa abbia meno successo. Piuttosto, che l'utente abbia bisogno di più tempo per digerire ogni episodio. È il caso di commedie alternative con battute a ripetizione come Unbreakable Kimmy Schmidt, di serie di commento sociale, narrative complesse come House of Cards e Narcos. Emozioni profonde, personaggi sfaccettati. E certo, non tutti credono alla validità del modello binge. I network tradizionali tirano acqua a casa propria sostenendo che sia la messa in onda di settimana in settimana a tener più viva la conversazione culturale, e quindi l'interesse, su una serie. Netflix rilancia, osservando che un utente consuma le successive stagioni di una serie ancora più velocemente della prima. Se invece volete sapere quale sia quella meno divorata in assoluto, è presto detto. L'animata BoJack Horseman, black comedy con le voci di Will Arnett, Alison Brie e Amy Sedaris. Perché se il binge watching è il «new normal», entrare nella testa di un cavallo depresso e alcolizzato, pur se a cartoni, è ancora impresa cui accostarsi poco a poco.
Articolo tratto da "Corriere Economia"
Si sa, lo streaming ha cambiato il modo in cui guardiamo le serie tv, svelando un pianeta di ghiottoni. II binge watching—la grande abbuffata— è stile di vita e malattia del nostro tempo. Liberi da spot pubblicitari e orari prefissati, ingurgitiamo un episodio dopo l'altro dei nostri programmi preferiti. Ma sarà proprio così? Secondo un nuovo studio di Netflix, che per sette mesi ha analizzato le abitudini degli utenti di oltre 190 Paesi su più di 100 serie, in corso o già concluse, se in generale gli spettatori finiscono una stagione entro una settimana, non tutte le serie sono consumate allo stesso modo. Alcune vengono divorate, altre «assaporate», cioè fruite un po' più lentamente. È la differenza tra chi fa streaming per più di due ore a volta e chi per meno: la cosiddetta «binge scale» di Netflix. «In passato ci limitavamo a sottolineare il fenomeno binge watching — spiega Cindy Holland, vice president contenuti originali dell'azienda guidata da Reed Hastings, che ad aprile contava nel mondo oltre 81 milioni di utenti —. Oggi lo svisceriamo». Scoprendo che gli spettatori consumano più velocemente serie d'azione, fantascienza, horror e thriller, mentre impiegano più tempo per drammi politici e commedie più sofisticate. Smodati, sì, insomma, ma non indistintamente. È questione di genere. C'è l'ingordo velocissimo, insaziabile. Che finisce una stagione in quattro giorni, guardandone due ore e mezza a volta. È l'utente di Breaking Bad, The Walking Dead, American Horror Story e Sons of Anarchy. Serie, cioè, che vanno dritte alla pancia, che non devi rifletterci troppo. C'é poi il famelico abbastanza smanioso, che di giorni ce ne mette cinque, per circa due ore al di. E quello che ama le commedie drammatiche, i polizieschi psicologici e serie di supereroi. Fargo, The Blacklist, Orange Is the New Black, ma anche Bloodline, Grace e Frankie e Jessica Jones. E cë infine il vorace riflessivo, che impiega sei giorni a completare una stagione e fa streaming per un'ora e 45 minuti a volta. Preferisce le serie politiche, le commedie più irriverenti, il dramma storico. E quindi Mad Men, Arrested Development, House of Cards, così come The Americans, Homeland e The Good Wife. Netflix tiene a sottolineare come «assaporare» una serie non vuol dire che questa abbia meno successo. Piuttosto, che l'utente abbia bisogno di più tempo per digerire ogni episodio. È il caso di commedie alternative con battute a ripetizione come Unbreakable Kimmy Schmidt, di serie di commento sociale, narrative complesse come House of Cards e Narcos. Emozioni profonde, personaggi sfaccettati. E certo, non tutti credono alla validità del modello binge. I network tradizionali tirano acqua a casa propria sostenendo che sia la messa in onda di settimana in settimana a tener più viva la conversazione culturale, e quindi l'interesse, su una serie. Netflix rilancia, osservando che un utente consuma le successive stagioni di una serie ancora più velocemente della prima. Se invece volete sapere quale sia quella meno divorata in assoluto, è presto detto. L'animata BoJack Horseman, black comedy con le voci di Will Arnett, Alison Brie e Amy Sedaris. Perché se il binge watching è il «new normal», entrare nella testa di un cavallo depresso e alcolizzato, pur se a cartoni, è ancora impresa cui accostarsi poco a poco.
Etichette:
Bloodline,
Breaking Bad,
Fargo,
Grace and Frankie,
Homeland,
Jessica Jones,
Mad Men,
Netflix,
NEWS,
Sons of Anarchy,
The Americans,
The Blacklist,
The Good Wife,
The Walking Dead
lunedì 27 giugno 2016
NEWS - "Il nuovo 'Star Trek' televisivo sarà qualcosa di mai visto!": Bryan Fuller dixit
News tratta da "Entertainment Weekly"
News tratta da "Entertainment Weekly"
The upcoming Star Trek TV series will be unlike any
previous small-screen incarnation of the franchise in at least one key
respect, showrunner Bryan Fuller points out: It won’t be bound by
broadcast content standards.
In a red carpet interview with Collider, Fuller said that the eagerly awaited new show, which will debut on CBS in January but then switch to the streaming service CBS All Access, will have a rather different prime directive than the previous 762 hours of TV-sized Trek, which either ran entirely on broadcast networks or in syndication.
“Because we’re CBS All Access, we’re not subject to network broadcast standards and practices,” says Fuller, who famously pushed the boundaries of broadcast TV content on his last series, NBC’s Hannibal. “It will likely affect us more in terms of what we can do graphically. But Star Trek’s not necessarily a universe where I want to hear a lot of profanity, either.”
Maybe not a lot, but even a little profanity would be quite different than the generally chaste small-screen Trek universe that’s familiar to fans of The Next Generation, Voyager or Deep Space Nine.
Fuller also confirmed that the first season, which debuts next January, will consist of 13 episodes. Casting is underway, and Fuller says he’s considering actors for his roles in “a colorblind prism and a gender-blind prism.”
The writer-producer was also asked if the franchise might include gay characters for the first time. “I think the progressive audience that loves Star Trek will be happy that we’re continuing that tradition,” he says.
The original Star Trek was, of course, an envelope-pushing show for its time, featuring progressive ideals and an inclusive, racially diverse cast. Trek even aired TV’s first interracial kiss (between William Shatner and Nichelle Nichols) in a 1968 episode that certain stations refused to air.
In a red carpet interview with Collider, Fuller said that the eagerly awaited new show, which will debut on CBS in January but then switch to the streaming service CBS All Access, will have a rather different prime directive than the previous 762 hours of TV-sized Trek, which either ran entirely on broadcast networks or in syndication.
“Because we’re CBS All Access, we’re not subject to network broadcast standards and practices,” says Fuller, who famously pushed the boundaries of broadcast TV content on his last series, NBC’s Hannibal. “It will likely affect us more in terms of what we can do graphically. But Star Trek’s not necessarily a universe where I want to hear a lot of profanity, either.”
Maybe not a lot, but even a little profanity would be quite different than the generally chaste small-screen Trek universe that’s familiar to fans of The Next Generation, Voyager or Deep Space Nine.
Fuller also confirmed that the first season, which debuts next January, will consist of 13 episodes. Casting is underway, and Fuller says he’s considering actors for his roles in “a colorblind prism and a gender-blind prism.”
The writer-producer was also asked if the franchise might include gay characters for the first time. “I think the progressive audience that loves Star Trek will be happy that we’re continuing that tradition,” he says.
The original Star Trek was, of course, an envelope-pushing show for its time, featuring progressive ideals and an inclusive, racially diverse cast. Trek even aired TV’s first interracial kiss (between William Shatner and Nichelle Nichols) in a 1968 episode that certain stations refused to air.
Etichette:
Bryan Fuller,
Hannibal,
NEWS,
Nichelle Nichols,
Star Trek,
Star Trek: Deep Space Nine,
Star Trek: The Next Generation,
Star Trek: Voyager,
William Shatner
venerdì 24 giugno 2016
NEWS - Netflix, la morte tua è uno spot! Il 74% disdirrebbe l'abbonamento se ci fosse la pubblicità, il 90% preferirebbe un aumento agli spot
News tratta da Mic.com
News tratta da Mic.com
In 2015, Netflix CEO Reed Hastings said no ads were coming to Netflix. And let's hope he stays true to his promise, because the
numbers are in, and people really don't want ads on the streaming
service. In a survey of more than 1,200 people on Reddit, AllFlicks
asked respondents if they would rather pay more for Netflix or see ads
while they were streaming, and found that 90% would prefer a price hike
instead of ads. Netflix did recently raise its monthly prices
from $8.99 to $9.99 for new members, putting the increase into effect
for existing members beginning July 20, according to an email from
Netflix. According to the survey, the $1 increase is on target with
what respondents would tolerate: 57% said if they did pay more, they
would be willing to pay $1 to $2 more, with 22% going up to $2 to $3 and
less than a quarter willing to shell out $4 or more. But what if Netflix decides someday to put ads on its site? Based
on the survey, Netflix can anticipate a mass departure — 74% of the
respondents said they would cancel their Netflix accounts if ads were
introduced.
giovedì 23 giugno 2016
NEWS - Orange Is The New B...inge! "OITNB" è la serie più ri-vista di Netflix: una stagione divorata in 4 giorni (2 ore e mezza al giorno)
News tratta da "Variety"
Netflix and chill — and repeat? “Orange Is the New Black” is one of the streamer’s most rewatched original series, with 53% of the prison dramedy’s fans having gone back to at least one of the first three seasons, according to a Netflix-commissioned survey. Season 4 of “Orange Is the New Black” debuted Friday in Netflix’s 190-plus markets worldwide. The show, produced by Lionsgate TV, has been renewed for three additional seasons with showrunner Jenji Kohan committed for seasons 5, 6 and 7. The survey, conducted by Google from June 2-10, polled 1,613 responses among Netflix subscribers in the U.S., Mexico, Canada and the U.K. Respondents were required to confirm their intent to watch season 4 of “OITNB” to participate.
Netflix didn’t reveal how “OITNB” compares with other original or
licensed TV series on the service vis-a-vis rewatch rates. But it
says the prison dramedy is among its most “devoured” shows by binge-watchers, with viewers typically consuming an entire 13-episode season in four days in 2.5 hours per session.
According to Netflix, viewers prefer to rewatch the final three episodes of a season of “OITNB” but the No. 1 most revisited one is season 1, episode 1 (“I wasn’t ready”), when Piper Chapman finds herself on the way to Litchfield prison for an old drug-running offense.
In the last three years, “Orange Is the New Black” rewatching has reached its peak in June, ahead of the next season’s release. Of viewers polled, 21% said they plan to rewatch the previous season while 41% plan to rewatch all 36 prior episodes. The survey found “OITNB” viewers are willing to give up making their bed (30%), cleaning the house (36%) and cooking (10%) to have more time to binge.
Top reasons cited by “OITNB” fans for rewatching past seasons include sleuthing for possible foreshadowing in previous storylines (25%) and reliving moments with favorite characters (29%). Another 25% simply said that it’s their favorite show.
News tratta da "Variety"
Netflix and chill — and repeat? “Orange Is the New Black” is one of the streamer’s most rewatched original series, with 53% of the prison dramedy’s fans having gone back to at least one of the first three seasons, according to a Netflix-commissioned survey. Season 4 of “Orange Is the New Black” debuted Friday in Netflix’s 190-plus markets worldwide. The show, produced by Lionsgate TV, has been renewed for three additional seasons with showrunner Jenji Kohan committed for seasons 5, 6 and 7. The survey, conducted by Google from June 2-10, polled 1,613 responses among Netflix subscribers in the U.S., Mexico, Canada and the U.K. Respondents were required to confirm their intent to watch season 4 of “OITNB” to participate.
According to Netflix, viewers prefer to rewatch the final three episodes of a season of “OITNB” but the No. 1 most revisited one is season 1, episode 1 (“I wasn’t ready”), when Piper Chapman finds herself on the way to Litchfield prison for an old drug-running offense.
In the last three years, “Orange Is the New Black” rewatching has reached its peak in June, ahead of the next season’s release. Of viewers polled, 21% said they plan to rewatch the previous season while 41% plan to rewatch all 36 prior episodes. The survey found “OITNB” viewers are willing to give up making their bed (30%), cleaning the house (36%) and cooking (10%) to have more time to binge.
Top reasons cited by “OITNB” fans for rewatching past seasons include sleuthing for possible foreshadowing in previous storylines (25%) and reliving moments with favorite characters (29%). Another 25% simply said that it’s their favorite show.
NEWS - Spazio, ultima frontiera visiva! Esce il gioco VR (Virtual Reality) di "Star Trek" che ti catapulta sulla plancia di comando dell'Enterprise
News tratta da Slashfilm.com
It’s easy to cynical about virtual reality until you actually give it a try. Sure, you look like an idiot when you have one of those headsets on, but when you’re engaging with the right material, the experience can be breathtaking. It’s not going to replace traditional gaming and it certainly won’t change the way we watch movies, but it’s a fascinating new medium and a thrilling way to experience stories. As expected, this year’s E3 conference hasn’t been shy about teasing upcoming VR experiences and the next step for game developers and publishers is pretty clear. The faithful and the adventurous gamers are in the bag for this technology, so how do you go about convincing normal people to give this stuff a chance? The answer may lie in making games based on already beloved universes and characters, as new VR games based on Star Trek, Star Wars, Batman are on the way.
Let’s take a look at these in order of how much the trailers actually reveal, shall we? First up is Star Trek: Bridge Crew, a game that uses VR headsets to create a game that actually looks and feels like a proper Star Trek experience. There have been plenty of Trek game before, but they have been predominately shooters and straightforward action games, traditional experiences that just-so-happen to feature characters from whatever movie or television show was recently released.
But as the title of Star Trek: Bridge Crew implies, the game plants you on the bridge of a Federation starship, gives you a specific job (captain, engineer, helmsman, etc) and forces you to work in tandem with other players to control the ship, navigate sticky situations, and battle enemies. There is no straightforward shooting, just teamwork and coordination and overextending yourself to keep your ship intact and the crew alive. The game still looks like it needs a little work (some of the animations are a little rough and the character models a little dull), but the whole thing appears conceptually sound.
News tratta da Slashfilm.com
It’s easy to cynical about virtual reality until you actually give it a try. Sure, you look like an idiot when you have one of those headsets on, but when you’re engaging with the right material, the experience can be breathtaking. It’s not going to replace traditional gaming and it certainly won’t change the way we watch movies, but it’s a fascinating new medium and a thrilling way to experience stories. As expected, this year’s E3 conference hasn’t been shy about teasing upcoming VR experiences and the next step for game developers and publishers is pretty clear. The faithful and the adventurous gamers are in the bag for this technology, so how do you go about convincing normal people to give this stuff a chance? The answer may lie in making games based on already beloved universes and characters, as new VR games based on Star Trek, Star Wars, Batman are on the way.
Let’s take a look at these in order of how much the trailers actually reveal, shall we? First up is Star Trek: Bridge Crew, a game that uses VR headsets to create a game that actually looks and feels like a proper Star Trek experience. There have been plenty of Trek game before, but they have been predominately shooters and straightforward action games, traditional experiences that just-so-happen to feature characters from whatever movie or television show was recently released.
But as the title of Star Trek: Bridge Crew implies, the game plants you on the bridge of a Federation starship, gives you a specific job (captain, engineer, helmsman, etc) and forces you to work in tandem with other players to control the ship, navigate sticky situations, and battle enemies. There is no straightforward shooting, just teamwork and coordination and overextending yourself to keep your ship intact and the crew alive. The game still looks like it needs a little work (some of the animations are a little rough and the character models a little dull), but the whole thing appears conceptually sound.
mercoledì 22 giugno 2016
GOSSIP - Morti di fame! Norman Reedus e Greg Nicotero di "The Walking Dead" aprono un ristorante in Georgia (se trovate un capello unto di un metro nel piatto è di Nicotero)
News tratta da "Uproxx"
Norman Reedus is not a meal. This is something the lurching hordes of zombies on The Walking Dead disagree with and the same can be said for select crazed fans of the AMC program. That
said, he can help those with hunger pangs. Said help doesn’t involve
riding a motorcycle across America flinging pizzas through people’s
windows, but fans will likely dig what he has in store anyway.
The Atlanta Journal Constitution reports that Reedus and Walking Dead director/producer/effects marvel Greg Nicotero will be opening a restaurant in Senoia, Georgia. The location is a natural fit because the show films in the area and why shouldn’t Senoia, Georgia have celebrity restauranteurs serving meals in their town? (Aside from Zac Brown having to close up shop there.) There’s no law against it, plus merchandise for the joint is already done up.
Full points awarded for the sensible restaurant name. It hasn’t been revealed what type of cuisine will be served at the eatery, but that puzzle will likely be sorted out when they open sometime this summer. Any menu suggestions? Share your thoughts in the comments.
News tratta da "Uproxx"
Norman Reedus is not a meal. This is something the lurching hordes of zombies on The Walking Dead disagree with and the same can be said for select crazed fans of the AMC program. That
said, he can help those with hunger pangs. Said help doesn’t involve
riding a motorcycle across America flinging pizzas through people’s
windows, but fans will likely dig what he has in store anyway.The Atlanta Journal Constitution reports that Reedus and Walking Dead director/producer/effects marvel Greg Nicotero will be opening a restaurant in Senoia, Georgia. The location is a natural fit because the show films in the area and why shouldn’t Senoia, Georgia have celebrity restauranteurs serving meals in their town? (Aside from Zac Brown having to close up shop there.) There’s no law against it, plus merchandise for the joint is already done up.
Full points awarded for the sensible restaurant name. It hasn’t been revealed what type of cuisine will be served at the eatery, but that puzzle will likely be sorted out when they open sometime this summer. Any menu suggestions? Share your thoughts in the comments.
martedì 21 giugno 2016
NEWS - Clamoroso al Cibali! Accordo epocale tra Netflix e CW per trasmettere i titoli del secondo meno di due settimane dopo la fine sul network!
News tratta da "Variety"
Netflix and the CW
are close to finalizing a megabucks new deal covering scripted series
that significantly speeds up the availability of the shows to less than
two weeks after each season ends on the network.
The expanded pact with Netflix comes as CW and Hulu are parting ways on the deal that made selected current episodes of CW series available for streaming on a rolling-five basis. CW first set its streaming deals with Netflix and Hulu in 2011. Those deals were crucial to shoring up the future of CW five years ago, and now the expanded Netflix pact is a testament to the network’s improved performance.
With the Hulu deal ending, in-season streaming access to CW series will flow through the advertising-supported CWTV.com website and app as well as its affiliate stations’ VOD deals with various MVPD providers. In-season access will remain limited to a rolling-five most recent episodes, in most cases.
Reps for CW, Hulu and Netflix declined comment. The CW-Netflix deal is expected to be unveiled later this week.
The limited access to episodes was the big sticking point for Hulu, which is said to have pushed CW to offer full stacking rights on its Hulu service as a condition of renewing the deal. Hulu and CW parent companies CBS and Warner Bros. negotiated on and off for months but late last week the sides formally ended the discussions. The existing deal is believed to expire in early October.
Netflix, meanwhile, has stepped up the financial terms of its output deal in order to speed up the arrival of the shows on the SVOD giant. Previously, CW series came to Netflix after a months-long wait, usually timed to land a week or two before the start of a new season for continuing series.
The total pricetag of the deal is tricky to estimate for Netflix because it involves so many shows and variables such as escalators that kick in depending on how long a series has been on the air and how it performs. But it is sure to rank as one of the largest output deals in the SVOD arena to date with value that could exceed $1 billion. The deal is believed to run five years, with a tail that gives Netflix access to the CW library for several years after each series ends its run on the network. The deal covers domestic rights to the shows, not the vast expanse of Netflix’s worldwide footprint.
The deal also marks the closest window Netflix has ever secured to the in-season period for primetime entertainment series, and less than a year after CEOs of several media conglomerates publicly indicated they were going to toughen their licensing strategies with subscription VOD services that were arguably cannibalizing linear ratings. “We are evaluating whether to retain our rights for a longer period of time and forego or delay certain content licensing,” Time Warner CEO Jeff Bewkes told investors on an earnings call last November.
That said, the CW-Netflix pact may end up an outlier to an otherwise increasingly conservative next wave of licensing deals between streaming services and conglomerates, many of whom are focusing more on their own streaming extensions.
CBS Corp. and Warner Bros., which produce the vast majority of CW’s primetime series, led the negotiations. The CW’s studio partners came back to the table this time around with a stronger hand compared to five years ago, thanks to CW’s growth under president Mark Pedowitz. Netflix’s willingness to step up for earlier post-season access to the shows reflects the sizzle CW has generated with its fleet of DC Comics-branded superhero shows, notably “The Flash” and “Arrow,” and buzzy critical darlings “Jane the Virgin” and “Crazy Ex-Girlfriend.”
From Hulu’s perspective, however, the CW in-season rights were not worth the pricetag to renew unless it came with stacking rights to all episodes — something that surely would have been a non-starter for CW and Netflix. From Hulu’s perspective, sources said, the vast majority of viewing was delivered only by CW’s two highest-rated shows: “The Flash” and “Arrow.” Moreover, fans of those two shows frequently lodge complaints with Hulu about the limited five-episode selection.
With Hulu bowing out, CW now has a stronger pitch to make to its broadcast affiliates about maintaining exclusivity of access to in-season streaming rights. The hope is that the tightened availability will boost streaming viewership via the CW’s website, which in turn could bring in more advertising revenue.
CW’s move to finalize the course for its streaming distribution for the next few years comes weeks after the network finalized a new five-year affiliation pact with its core Tribune Broadcasting station group.
Hulu’s strategic focus remains on being the hub for next-day access to current series from its partner networks Fox, NBC and ABC, in addition to its output pacts with FX and AMC Networks, Epix movie deal and off-network acquisitions including the “Seinfeld” library.
Hulu is also in the midst of a push to become a virtual MVPD by offering a skinny bundle of channels via OTT distribution.
News tratta da "Variety"
Netflix and the CW
are close to finalizing a megabucks new deal covering scripted series
that significantly speeds up the availability of the shows to less than
two weeks after each season ends on the network.The expanded pact with Netflix comes as CW and Hulu are parting ways on the deal that made selected current episodes of CW series available for streaming on a rolling-five basis. CW first set its streaming deals with Netflix and Hulu in 2011. Those deals were crucial to shoring up the future of CW five years ago, and now the expanded Netflix pact is a testament to the network’s improved performance.
With the Hulu deal ending, in-season streaming access to CW series will flow through the advertising-supported CWTV.com website and app as well as its affiliate stations’ VOD deals with various MVPD providers. In-season access will remain limited to a rolling-five most recent episodes, in most cases.
Reps for CW, Hulu and Netflix declined comment. The CW-Netflix deal is expected to be unveiled later this week.
The limited access to episodes was the big sticking point for Hulu, which is said to have pushed CW to offer full stacking rights on its Hulu service as a condition of renewing the deal. Hulu and CW parent companies CBS and Warner Bros. negotiated on and off for months but late last week the sides formally ended the discussions. The existing deal is believed to expire in early October.
Netflix, meanwhile, has stepped up the financial terms of its output deal in order to speed up the arrival of the shows on the SVOD giant. Previously, CW series came to Netflix after a months-long wait, usually timed to land a week or two before the start of a new season for continuing series.
The total pricetag of the deal is tricky to estimate for Netflix because it involves so many shows and variables such as escalators that kick in depending on how long a series has been on the air and how it performs. But it is sure to rank as one of the largest output deals in the SVOD arena to date with value that could exceed $1 billion. The deal is believed to run five years, with a tail that gives Netflix access to the CW library for several years after each series ends its run on the network. The deal covers domestic rights to the shows, not the vast expanse of Netflix’s worldwide footprint.
The deal also marks the closest window Netflix has ever secured to the in-season period for primetime entertainment series, and less than a year after CEOs of several media conglomerates publicly indicated they were going to toughen their licensing strategies with subscription VOD services that were arguably cannibalizing linear ratings. “We are evaluating whether to retain our rights for a longer period of time and forego or delay certain content licensing,” Time Warner CEO Jeff Bewkes told investors on an earnings call last November.
That said, the CW-Netflix pact may end up an outlier to an otherwise increasingly conservative next wave of licensing deals between streaming services and conglomerates, many of whom are focusing more on their own streaming extensions.
CBS Corp. and Warner Bros., which produce the vast majority of CW’s primetime series, led the negotiations. The CW’s studio partners came back to the table this time around with a stronger hand compared to five years ago, thanks to CW’s growth under president Mark Pedowitz. Netflix’s willingness to step up for earlier post-season access to the shows reflects the sizzle CW has generated with its fleet of DC Comics-branded superhero shows, notably “The Flash” and “Arrow,” and buzzy critical darlings “Jane the Virgin” and “Crazy Ex-Girlfriend.”
From Hulu’s perspective, however, the CW in-season rights were not worth the pricetag to renew unless it came with stacking rights to all episodes — something that surely would have been a non-starter for CW and Netflix. From Hulu’s perspective, sources said, the vast majority of viewing was delivered only by CW’s two highest-rated shows: “The Flash” and “Arrow.” Moreover, fans of those two shows frequently lodge complaints with Hulu about the limited five-episode selection.
With Hulu bowing out, CW now has a stronger pitch to make to its broadcast affiliates about maintaining exclusivity of access to in-season streaming rights. The hope is that the tightened availability will boost streaming viewership via the CW’s website, which in turn could bring in more advertising revenue.
CW’s move to finalize the course for its streaming distribution for the next few years comes weeks after the network finalized a new five-year affiliation pact with its core Tribune Broadcasting station group.
Hulu’s strategic focus remains on being the hub for next-day access to current series from its partner networks Fox, NBC and ABC, in addition to its output pacts with FX and AMC Networks, Epix movie deal and off-network acquisitions including the “Seinfeld” library.
Hulu is also in the midst of a push to become a virtual MVPD by offering a skinny bundle of channels via OTT distribution.
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"Il trivial game + divertente dell'anno" (Lucca Comics)
Il GIOCO DEI TELEFILM di Leopoldo Damerini e Fabrizio Margaria, nei migliori negozi di giocattoli: un viaggio lungo 750 domande divise per epoche e difficoltà. Sfida i tuoi amici/parenti/partner/amanti e diventa Telefilm Master. Disegni originali by Silver. Regolamento di Luca Borsa. E' un gioco Ghenos Games. http://www.facebook.com/GiocoDeiTelefilm. https://twitter.com/GiocoTelefilm
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