venerdì 30 settembre 2016
NEWS - Clamoroso al Cibali! Frank Darabont chiede risarcimento di 280 milioni di dollari al network AMC per essere stato fatto fuori da "The Walking Dead"
News tratta da Slashfilm.com
The legal drama playing out behind the scenes of AMC’s The Walking Dead is getting almost as ugly as the bloody battles on the show itself. Back in 2011, original showrunner Frank Darabont was pushed out in the middle of production on the second season. Not long afterward, he sued AMC over the show’s profits. Now we’ve learned exactly how much he is seeking in damages: a jaw-dropping $280 million.
Darabont was with The Walking Dead from the beginning, and was a huge part of its early success. But a few months before the second season debut — after work had already begun on the new season — Darabont was pushed out and replaced by Glenn Mazzara. (Mazzara himself dropped out after season three, and was succeeded by Scott M. Gimple who remains showrunner to this day.) Much back-and-forth ensued over why exactly Darabont had been fired, but the one thing that’s been crystal clear is that Darabont is still hopping mad about the whole debacle.
Darabont and his agents at CAA filed their lawsuit against AMC in 2013. Since then, the case has shuffled forward at a walker’s pace. Finally, this week, the plaintiffs officially indicated they were ready to go to trial and revealed they were seeking over $280 million from AMC. However, it’ll still be a while before the whole matter is settled. Even if the judge allows the case to move forward, she’s already said her 2017 calendar is full, and therefore that the earliest the trial can take place is 2018. Naturally, AMC maintains it’s done nothing wrong. “Plaintiffs’ damages claim has no basis in reality and we will continue to vigorously defend against this lawsuit,” they said in a statement to THR.
As for how Darabont and CAA reached that $280 million figure, here’s where we get a little technical. Darabont’s contract entitles him to up to 10% of certain Walking Dead profits. But the figure isn’t necessarily based on an assertion that The Walking Dead has raked in billions of dollars in pure profit. Rather, Darabont’s team is arguing that AMC Studios licensed The Walking Dead to its own network affiliate (i.e., AMC the channel) for well below market value in order to ensure that The Walking Dead would never make enough money to pay people like Darabont, who are owed a cut of the profits. AMC argues that it had the right to set that license fee.
Darabont is additionally arguing that AMC further reduced that payday by cutting him out of profits for the second season. Darabont maintains he worked on all of the episodes of The Walking Dead season two, but AMC is saying that doesn’t count because he had to be working full-time on The Walking Dead through the end of season two to be considered a profit participant for that season.
While Darabont is far from the first disgruntled TV producer to sue his former employer, the Walking Dead case is getting particular attention because of the massive amount of money at stake. The twists and turns of the lawsuit may be a little less viscerally satisfying than the spectacular kills carried out by Rick Grimes and company, but it’s an interesting peek at a side of the business we don’t tend to think about all that often.
Anyway, while all of this is happening The Walking Dead remains as lively as ever. The show’s seventh season premieres October 23.
News tratta da Slashfilm.com
The legal drama playing out behind the scenes of AMC’s The Walking Dead is getting almost as ugly as the bloody battles on the show itself. Back in 2011, original showrunner Frank Darabont was pushed out in the middle of production on the second season. Not long afterward, he sued AMC over the show’s profits. Now we’ve learned exactly how much he is seeking in damages: a jaw-dropping $280 million.
Darabont was with The Walking Dead from the beginning, and was a huge part of its early success. But a few months before the second season debut — after work had already begun on the new season — Darabont was pushed out and replaced by Glenn Mazzara. (Mazzara himself dropped out after season three, and was succeeded by Scott M. Gimple who remains showrunner to this day.) Much back-and-forth ensued over why exactly Darabont had been fired, but the one thing that’s been crystal clear is that Darabont is still hopping mad about the whole debacle.
Darabont and his agents at CAA filed their lawsuit against AMC in 2013. Since then, the case has shuffled forward at a walker’s pace. Finally, this week, the plaintiffs officially indicated they were ready to go to trial and revealed they were seeking over $280 million from AMC. However, it’ll still be a while before the whole matter is settled. Even if the judge allows the case to move forward, she’s already said her 2017 calendar is full, and therefore that the earliest the trial can take place is 2018. Naturally, AMC maintains it’s done nothing wrong. “Plaintiffs’ damages claim has no basis in reality and we will continue to vigorously defend against this lawsuit,” they said in a statement to THR.
As for how Darabont and CAA reached that $280 million figure, here’s where we get a little technical. Darabont’s contract entitles him to up to 10% of certain Walking Dead profits. But the figure isn’t necessarily based on an assertion that The Walking Dead has raked in billions of dollars in pure profit. Rather, Darabont’s team is arguing that AMC Studios licensed The Walking Dead to its own network affiliate (i.e., AMC the channel) for well below market value in order to ensure that The Walking Dead would never make enough money to pay people like Darabont, who are owed a cut of the profits. AMC argues that it had the right to set that license fee.
Darabont is additionally arguing that AMC further reduced that payday by cutting him out of profits for the second season. Darabont maintains he worked on all of the episodes of The Walking Dead season two, but AMC is saying that doesn’t count because he had to be working full-time on The Walking Dead through the end of season two to be considered a profit participant for that season.
While Darabont is far from the first disgruntled TV producer to sue his former employer, the Walking Dead case is getting particular attention because of the massive amount of money at stake. The twists and turns of the lawsuit may be a little less viscerally satisfying than the spectacular kills carried out by Rick Grimes and company, but it’s an interesting peek at a side of the business we don’t tend to think about all that often.
Anyway, while all of this is happening The Walking Dead remains as lively as ever. The show’s seventh season premieres October 23.
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri
LA STAMPA
Arriva da oggi "Luke Cage", super-eroe super-iore di "Daredevil" e "Jessica Jones"
Dopo Daredevil, il vendicatore cieco di Hell's Kitchen, vigilante di notte e avvocato di giorno, e Jessica Jones, investigatrice a tempo perso, ex-eroina ora ritiratasi a vita privata, tocca a Luke Cage: eroe sì, ma per caso. La sua storia inizia in galera (lo scopriremo dopo le prime puntate, in flashback studiati e precisi) e finisce ad Harlem. Tra i due estremi, una serie infinita di sparatorie, inseguimenti, tensione e scazzottate. Action come si deve. E anche qualche effetto speciale che, rispetto a Daredevil e a Jessica Jones, funziona molto meglio. La nuova serie tv di Netflix, in arrivo oggi, è una delle più politiche: i protagonisti sono tutti neri; Luke Cage incarna la riscossa, l'onestà e la voglia di fare di una comunità intera. Picchia, ma solo perché costretto. Non vuole visibilità, ma alla fine cede: è la chiamata dell'eroe. Luke Cage, il primo supereroe nero della Marvel. Una rivoluzione. E uno (di quattro) dei Difensori. Protagonista assoluto è Mike Colter: nero, enorme, muscoloso. Ha esordito sul piccolo schermo nel 2002, nel primo episodio di E.R. Alle musiche ci sono AG Shaheed Muhammad e Adrian Younge: è importante ricordarli perché Luke Cage non è solo una serie recitata, ma anche - e in un certo senso soprattutto - musicata. Ogni episodio (e in totale sono tredici, ciascuno lungo circa cinquanta minuti) è intriso di note: pop, rap, classica, leggera, rock. Le scene hanno il loro ritmo; e dopo i momenti - che pure ci sono - di sospensione, si riprende a tutta velocità. Inspira ed espira. Stringi i denti. Picchia duro. Luke Cage è l'ennesima serie sui supereroi, che usa i superpoteri come pretesto; quelle che racconta, alla fine, sono persone qualunque: con problemi qualunque. Proprio come prescrive Stan Lee, padre- padrone della Casa delle Idee. C'è Harlem, più che New York. I grattacieli lasciano il posto alle case popolari. Mattoni rossi e strade asfaltate. I proiettili rimbalzano. Luke Cage è invulnerabile. Ma sotto una pelle così dura, si cela un'anima spezzata: è il destino dell'eroe. E dietro la serie, c'è l'uomo: in questo caso Cho Hodari Coker, che ha abbracciato totalmente il progetto e che l'ha riadattato - perfettamente - ai tempi e al piccolo schermo. Il risultato (male è una serie accattivante e appassionante, con una storia intensa, di un uomo contro tutti, e di un quartiere e di una comunità intera. L'attualità c'entra e non c'entra. C'è qualche richiamo, certo. Ma l'ossatura è finzione - pura, bellissima e fumettosa. Tredici episodi, solo tredici: è la nuova hit di Netflix; preparatevi al binge watching". (Gianmaria Tammaro)
LA STAMPA
Arriva da oggi "Luke Cage", super-eroe super-iore di "Daredevil" e "Jessica Jones"
Dopo Daredevil, il vendicatore cieco di Hell's Kitchen, vigilante di notte e avvocato di giorno, e Jessica Jones, investigatrice a tempo perso, ex-eroina ora ritiratasi a vita privata, tocca a Luke Cage: eroe sì, ma per caso. La sua storia inizia in galera (lo scopriremo dopo le prime puntate, in flashback studiati e precisi) e finisce ad Harlem. Tra i due estremi, una serie infinita di sparatorie, inseguimenti, tensione e scazzottate. Action come si deve. E anche qualche effetto speciale che, rispetto a Daredevil e a Jessica Jones, funziona molto meglio. La nuova serie tv di Netflix, in arrivo oggi, è una delle più politiche: i protagonisti sono tutti neri; Luke Cage incarna la riscossa, l'onestà e la voglia di fare di una comunità intera. Picchia, ma solo perché costretto. Non vuole visibilità, ma alla fine cede: è la chiamata dell'eroe. Luke Cage, il primo supereroe nero della Marvel. Una rivoluzione. E uno (di quattro) dei Difensori. Protagonista assoluto è Mike Colter: nero, enorme, muscoloso. Ha esordito sul piccolo schermo nel 2002, nel primo episodio di E.R. Alle musiche ci sono AG Shaheed Muhammad e Adrian Younge: è importante ricordarli perché Luke Cage non è solo una serie recitata, ma anche - e in un certo senso soprattutto - musicata. Ogni episodio (e in totale sono tredici, ciascuno lungo circa cinquanta minuti) è intriso di note: pop, rap, classica, leggera, rock. Le scene hanno il loro ritmo; e dopo i momenti - che pure ci sono - di sospensione, si riprende a tutta velocità. Inspira ed espira. Stringi i denti. Picchia duro. Luke Cage è l'ennesima serie sui supereroi, che usa i superpoteri come pretesto; quelle che racconta, alla fine, sono persone qualunque: con problemi qualunque. Proprio come prescrive Stan Lee, padre- padrone della Casa delle Idee. C'è Harlem, più che New York. I grattacieli lasciano il posto alle case popolari. Mattoni rossi e strade asfaltate. I proiettili rimbalzano. Luke Cage è invulnerabile. Ma sotto una pelle così dura, si cela un'anima spezzata: è il destino dell'eroe. E dietro la serie, c'è l'uomo: in questo caso Cho Hodari Coker, che ha abbracciato totalmente il progetto e che l'ha riadattato - perfettamente - ai tempi e al piccolo schermo. Il risultato (male è una serie accattivante e appassionante, con una storia intensa, di un uomo contro tutti, e di un quartiere e di una comunità intera. L'attualità c'entra e non c'entra. C'è qualche richiamo, certo. Ma l'ossatura è finzione - pura, bellissima e fumettosa. Tredici episodi, solo tredici: è la nuova hit di Netflix; preparatevi al binge watching". (Gianmaria Tammaro)
giovedì 29 settembre 2016
GOSSIP - Tutti a casa di Lea! Non dite a Naya Rivera che la Michele si professa "tutta casa e niente party"!
Lea Michele poses in her living room of the cover of InStyle‘s special Home and Design issue, on stands September 30. Here’s what the 30-year-old Scream Queens star had to share with the mag:
On preferring to a night-in at home: “I’m a homebody. I’m not a party girl. I’ve never been that. Trust me, I love to go out and share a nice bottle of wine with some friends over a delicious meal, but my perfect night is at home with people I love.”
On her close relationship with her parents: “My mom and dad have done so much for me and helped me along the way immensely, both logistically and emotionally. Opening my home to them and treating them to a beautiful, relaxing time makes me happy.”
On wanting to have a family: “I am so looking forward to having a big family and being a mom, though I’m in no rush. The thing that I’m the most happy about is that I wake up every day feeling content, just me. I’ve never really had that before. I think once you find that, then all the things you want in life come your way.”
For more from Lea, head to InStyle.com.
Lea Michele poses in her living room of the cover of InStyle‘s special Home and Design issue, on stands September 30. Here’s what the 30-year-old Scream Queens star had to share with the mag:
On preferring to a night-in at home: “I’m a homebody. I’m not a party girl. I’ve never been that. Trust me, I love to go out and share a nice bottle of wine with some friends over a delicious meal, but my perfect night is at home with people I love.”
On her close relationship with her parents: “My mom and dad have done so much for me and helped me along the way immensely, both logistically and emotionally. Opening my home to them and treating them to a beautiful, relaxing time makes me happy.”
On wanting to have a family: “I am so looking forward to having a big family and being a mom, though I’m in no rush. The thing that I’m the most happy about is that I wake up every day feeling content, just me. I’ve never really had that before. I think once you find that, then all the things you want in life come your way.”
For more from Lea, head to InStyle.com.
mercoledì 28 settembre 2016
Incontro positivo d'intenti con @ComuneMI.
— Telefilm Festival (@TelefilmFest) 27 settembre 2016
Pensiamo a ipotesi #TelefilmFestival 10 da inviargli.
Stay tuned! @RGuaineri @AcademyTelefilm
martedì 27 settembre 2016
Clamoroso al CibalHouse (White)!
Il cast di "Stranger Things" alla Casa Bianca da Obama...
News tratta da Mic.com
Il cast di "Stranger Things" alla Casa Bianca da Obama...
News tratta da Mic.com
The summer
festival season doesn't have to end in September if the Obamas don't
want it to. The White House announced the lineup for its first South by South Lawn music, film and interactive festival on Sunday, along with some special guests, including the young stars of the science-fiction hit show Stranger Things and the Oscar-winning Leonardo DiCaprio.
Millie Bobby Brown (Elle), Caleb McLaughlin (Lucas), Finn
Wolfhard (Mike) and Gaten Matarazzo (Dustin) will appear alongside
creators Matt and Ross Duffer during the student film portion
of the White House festival, where students will premiere films based
around the theme: "The World I Want to Live In." DiCaprio will premiere
his new climate documentary, Before the Flood, and speak with
President Obama and climate scientist Dr. Katharine Hayhoe on "the
importance of protecting the one planet we've got for future
generations," the White House wrote in its announcement.
lunedì 26 settembre 2016
NEWS - Clamoroso al Cibali! "The Big Bang Theory" verso la chiusura? Lo showrunner Steve Molaro rivela che "la 10° stagione sarà l'ultima"
News tratta da "Uproxx"
Speculation began last May, after the ninth season finale of CBS’s venerable hit Big Bang Theory, that this 10th season could
be the final year for the comedy. Ratings for the show continue to be
stellar relative to every other comedy on television — it was seen by
more than 20 million people a week last season — but it has also shown
signs of aging. Last season, ratings slipped 11 percent in the 18-49
demo, although it still remained TV’s top comedy by a large margin. This 10th season, however, is a contract year, so CBS will have to
decide if they’re willing to shell out a huge amount of money to keep
the cast on for another season. The network pays Kaley Cuoco, Jim
Parsons, Johnny Galecki, Kunal Nayyar and Simon Helberg around $5.25
million an episode as it stands, and the cast may be looking
for more to stick around for an 11th season. CBS would need the sitcom
to continue putting up huge numbers to justify the cost. Ratings for this week’s season premiere of Big Bang Theory weren’t exactly confidence boosting.
Overnight ratings show that the CBS sitcom pulled a 3.6 rating among
adults 18-49 and 15.4 million viewers overall. That’s a drop of 15
percent in overall viewers, but a whopping 23 percent in the 18-49
demographic compared to last year’s season premiere. Granted, last
year’s season premiere paid off a few cliffhangers, but even still, a
drop that big is probably turning some heads at the network. Rumors began in earnest that this could be last season after the spring finale. Series star Kunal Nayyar suggested that possibility, while showrunner Steve Molaro was even more definitive, telling The Hollywood Reporter that he “thinks” season 10 will
be the final year for the comedy. “The reality is that maybe season 10
is the ending point. The real answer is, I don’t know and all I can do
right now is go episode to episode and try to make each one the best
that we can”. The network, of course, will want to keep the sitcom around as long
as it can continue to make money on it, and CBS head Glenn Geller
suggested over the summer that he was confident
the network could resign the stars, but with ratings that continue to
dwindle, the network will have to decide if the numbers justify the
expense. Dwindling ratings or not, there is still something to be said for Big Bang Theory’s ability to launch new shows. Kevin James’ Kevin Can Wait premiered on Monday after Big Bang Theory to a very respectable 2.6 rating among adults 18-49 and 11.2 million viewers, which is in line with the debut of Life in Pieces in the same slot last season.
Big Bang Theory might have also taken a small hit from The Voice, which returned to NBC on Monday night with new mentors Miley Cyrus and Alicia Keys. It dropped only two-tenths of a point from its 2015 debut. It also helped boost the premiere of Kristen Bell’s The Good Place to a solid 2.3 rating among adults 18-49.
News tratta da "Uproxx"
Speculation began last May, after the ninth season finale of CBS’s venerable hit Big Bang Theory, that this 10th season could
be the final year for the comedy. Ratings for the show continue to be
stellar relative to every other comedy on television — it was seen by
more than 20 million people a week last season — but it has also shown
signs of aging. Last season, ratings slipped 11 percent in the 18-49
demo, although it still remained TV’s top comedy by a large margin. This 10th season, however, is a contract year, so CBS will have to
decide if they’re willing to shell out a huge amount of money to keep
the cast on for another season. The network pays Kaley Cuoco, Jim
Parsons, Johnny Galecki, Kunal Nayyar and Simon Helberg around $5.25
million an episode as it stands, and the cast may be looking
for more to stick around for an 11th season. CBS would need the sitcom
to continue putting up huge numbers to justify the cost. Ratings for this week’s season premiere of Big Bang Theory weren’t exactly confidence boosting.
Overnight ratings show that the CBS sitcom pulled a 3.6 rating among
adults 18-49 and 15.4 million viewers overall. That’s a drop of 15
percent in overall viewers, but a whopping 23 percent in the 18-49
demographic compared to last year’s season premiere. Granted, last
year’s season premiere paid off a few cliffhangers, but even still, a
drop that big is probably turning some heads at the network. Rumors began in earnest that this could be last season after the spring finale. Series star Kunal Nayyar suggested that possibility, while showrunner Steve Molaro was even more definitive, telling The Hollywood Reporter that he “thinks” season 10 will
be the final year for the comedy. “The reality is that maybe season 10
is the ending point. The real answer is, I don’t know and all I can do
right now is go episode to episode and try to make each one the best
that we can”. The network, of course, will want to keep the sitcom around as long
as it can continue to make money on it, and CBS head Glenn Geller
suggested over the summer that he was confident
the network could resign the stars, but with ratings that continue to
dwindle, the network will have to decide if the numbers justify the
expense. Dwindling ratings or not, there is still something to be said for Big Bang Theory’s ability to launch new shows. Kevin James’ Kevin Can Wait premiered on Monday after Big Bang Theory to a very respectable 2.6 rating among adults 18-49 and 11.2 million viewers, which is in line with the debut of Life in Pieces in the same slot last season. Big Bang Theory might have also taken a small hit from The Voice, which returned to NBC on Monday night with new mentors Miley Cyrus and Alicia Keys. It dropped only two-tenths of a point from its 2015 debut. It also helped boost the premiere of Kristen Bell’s The Good Place to a solid 2.3 rating among adults 18-49.
Martedì 27/9 alle 15 in assessorato di @RGuaineri x incontro sulla eventuale 10^ edizione #TelefilmFestival a #Milano. Stay tuned! @ComuneMI
— Telefilm Festival (@TelefilmFest) 23 settembre 2016
venerdì 23 settembre 2016
News tratta da "Forbes"
CBS finished the 2015-2016 television season as the most-watched broadcast network, so it may not come as a surprise that the stars that propelled it to the top of the TV heap have taken the top five spots on FORBES’ 2016 list of television’s highest-paid actors.
The Big Bang Theory’s Jim Parsons once again tops this list, this year with a $25.5 million take earned between June 1, 2015 and June 1, 2016. As was the case with last year’s list, a lucrative Big Bang contract counted for the lion’s share of Parsons’ earnings, as it did for his fellow castmates Johnny Galecki (#2 on the list, with $24 million in earnings during the period analyzed by FORBES), Simon Helberg (whose $22.5 million in earnings gave him the #3 spot) and Kunal Nayyar (#4, with $22 million).
Though Helberg and Nayyar have a slightly lower per-episode salary than do Parsons and Galecki (who both command a Friends-like $1 million per episode), side projects – like Helberg’s role in Florence Foster Jenkins and Nayyar’s bestselling book, “Yes, My Accent Is Real” – helped secure their spots in the top five.
Rounding out the CBS-dominated top-five is NCIS’ Mark Harmon, who once again made $20 million thanks to his role as series lead and executive producer. NCIS was the third-most watched television program in the 2015-2016 season, behind only the Super Bowl and, of course, The Big Bang Theory.
New to the list this year — due in part to the highly-anticipated reprisal of his role as Fox Mulder – is The X-Files’ David Duchovny. His $10 million take during the period analyzed by FORBES was enough to tie him for the 13th
spot with CBS’ Michael Weatherly, another newcomer. This cycle,
Weatherly’s salary came from his role as fan-favorite Tony DiNozzo on NCIS; whether his new Bull) strikes just as much resonance with fans remains to be seen.
venture as Dr. Jason Bull (on CBS’
Helping to clear space for Duchovny and Weatherly were Ashton Kutcher, Jon Cryer, Patrick Dempsey and Simon Baker – all of whom appeared on last year’s list but did not make repeat appearances due to either their shows being cancelled (Kutcher and Cryer’s money-maker was Two and a Half Men, while Baker’s earnings driver was The Mentalist – both of which ended in February 2015) or their character getting killed off (RIP, McDreamy).
While stars of the Tiffany Network dominated the top of the 2016 list, the leading actors from the Alphabet Network dominated the rest of it. The men of Modern Family – Ty Burrell, Jesse Tyler Ferguson, Ed O’Neill and Eric Stonestreet – once again benefited from per-episode salaries in the mid-six figures, a cut of the back end profit and varying side projects. Burrell, for instance, starred in an ad campaign for the National Association of Realtors (in-character, no less!); while Ferguson got a boost from an ad campaign with Voya and Fully Committed, the one-man Broadway show he anchored this past spring and summer.
Other actors repping ABC on the list: Nathan Fillion and Justin Chambers. Fillion’s last season as Castle’s titular character (the show was cancelled this spring) helped him earn a $12 million haul, a figure good enough to tie him with Ray Romano and Ferguson at the #7 spot. Chambers, who has played Alex Karev on Grey’s Anatomy since its inception in 2005, came in at #15 with $9.5 million.
All told, the 15 men on this list earned $225 million – a figure that outpaces the $208.5 million brought in by television’s top-earning actresses. The gender wage gap still persists — though it’s not as large in TV-land as that which women face outside of Hollywood. As FORBES’ Maddie Berg explains here, this is due in part to the beauty of cast-wide salary negotiations, which is common for large ensemble shows. Big Bang’s Parsons and Galecki earn the same per-episode salary as Kaley Cuoco, while Burrell, Ferguson et al. earn the same Modern Family paycheck as co-star Sofia Vergara — though Vergara, of course, outpaced her male co-stars in annual earnings thanks to a bevy of endorsement and licensing deals.
FORBES’ earnings estimates are based on data from Nielsen, Box Office Mojo and IMDB, as well as interviews with agents, managers, lawyers and industry insiders. Our list of the world’s highest-paid TV actresses was published last week, while the lists of the highest-paid film actors and actresses were published in August. All earnings figures are before management fees and taxes.
venture as Dr. Jason Bull (on CBS’
Helping to clear space for Duchovny and Weatherly were Ashton Kutcher, Jon Cryer, Patrick Dempsey and Simon Baker – all of whom appeared on last year’s list but did not make repeat appearances due to either their shows being cancelled (Kutcher and Cryer’s money-maker was Two and a Half Men, while Baker’s earnings driver was The Mentalist – both of which ended in February 2015) or their character getting killed off (RIP, McDreamy).
While stars of the Tiffany Network dominated the top of the 2016 list, the leading actors from the Alphabet Network dominated the rest of it. The men of Modern Family – Ty Burrell, Jesse Tyler Ferguson, Ed O’Neill and Eric Stonestreet – once again benefited from per-episode salaries in the mid-six figures, a cut of the back end profit and varying side projects. Burrell, for instance, starred in an ad campaign for the National Association of Realtors (in-character, no less!); while Ferguson got a boost from an ad campaign with Voya and Fully Committed, the one-man Broadway show he anchored this past spring and summer.
Other actors repping ABC on the list: Nathan Fillion and Justin Chambers. Fillion’s last season as Castle’s titular character (the show was cancelled this spring) helped him earn a $12 million haul, a figure good enough to tie him with Ray Romano and Ferguson at the #7 spot. Chambers, who has played Alex Karev on Grey’s Anatomy since its inception in 2005, came in at #15 with $9.5 million.
All told, the 15 men on this list earned $225 million – a figure that outpaces the $208.5 million brought in by television’s top-earning actresses. The gender wage gap still persists — though it’s not as large in TV-land as that which women face outside of Hollywood. As FORBES’ Maddie Berg explains here, this is due in part to the beauty of cast-wide salary negotiations, which is common for large ensemble shows. Big Bang’s Parsons and Galecki earn the same per-episode salary as Kaley Cuoco, while Burrell, Ferguson et al. earn the same Modern Family paycheck as co-star Sofia Vergara — though Vergara, of course, outpaced her male co-stars in annual earnings thanks to a bevy of endorsement and licensing deals.
FORBES’ earnings estimates are based on data from Nielsen, Box Office Mojo and IMDB, as well as interviews with agents, managers, lawyers and industry insiders. Our list of the world’s highest-paid TV actresses was published last week, while the lists of the highest-paid film actors and actresses were published in August. All earnings figures are before management fees and taxes.
Etichette:
David Duchovny,
Jesse Tyler Ferguson,
Jim Parsons,
Johnny Galecki,
Kunal Nayyar,
L'EDICOLA DI LOU,
Mark Harmon,
Michael Weatherly,
Modern Family,
NCIS,
NEWS,
Simon Helberg,
The Big Bang Theory,
Ty Burrell,
X-Files
NEWS - Clamoroso al Cibali! Kiefer Sutherland non si è mai rivisto in "24" e non si riguarderà neanche in "Designated Survivor" (l'importante è che non si sia visto in "Touch"...)
News tratta da "Uproxx"
Kiefer Sutherland would have us believe that he’s a perfectionist. As he told Jimmy Kimmel on Monday’s episode of the ABC late-night series, the star of beloved ‘80s films like Young Guns and The Lost Boys does not like watching the finished product of his movies and television shows, because once he wraps production, there’s simply nothing he can do about it anymore. So, instead of just sitting back and enjoying Emilio Estevez’s perfect Old West hairstyle in that delightful Billy the Kid bar scene, Sutherland simply steers clear of his work so he doesn’t wonder if perhaps he could have twirled his gun a little better or somehow looked cooler leaning back in his chair.
His reasoning, the star of the new ABC series Designated Survivor told Kimmel, dates back to the 1986 film Stand By Me. He claims he was “absolutely horrified” by his performance and thought that his career was over, and so once the film was a huge hit, he decided it was just wise not to watch anything he’s in. Shockingly, that includes 24, the show that changed his name to Jack Bauer for the rest of eternity. “I’ve managed to make 216 episodes of 24 and I don’t think I’ve ever watched a single one of them,” he claimed. Is he just being modest and yanking our cranks? He has to be, there’s no way he hasn’t enjoyed being one of TV’s all-time greatest badasses.
He also says that he hasn’t watched the Designated Survivor pilot, which airs Wednesday night on ABC. In it, he plays the titular “designated survivor,” who becomes president of the United States after an explosion at the State of the Union address kills the president and every member of his Cabinet. Of course, it makes sense he wouldn’t watch, because I assume the first episode is just Sutherland’s character saying, “Holy sh*t I’m the president” for an hour.
News tratta da "Uproxx"
Kiefer Sutherland would have us believe that he’s a perfectionist. As he told Jimmy Kimmel on Monday’s episode of the ABC late-night series, the star of beloved ‘80s films like Young Guns and The Lost Boys does not like watching the finished product of his movies and television shows, because once he wraps production, there’s simply nothing he can do about it anymore. So, instead of just sitting back and enjoying Emilio Estevez’s perfect Old West hairstyle in that delightful Billy the Kid bar scene, Sutherland simply steers clear of his work so he doesn’t wonder if perhaps he could have twirled his gun a little better or somehow looked cooler leaning back in his chair.
His reasoning, the star of the new ABC series Designated Survivor told Kimmel, dates back to the 1986 film Stand By Me. He claims he was “absolutely horrified” by his performance and thought that his career was over, and so once the film was a huge hit, he decided it was just wise not to watch anything he’s in. Shockingly, that includes 24, the show that changed his name to Jack Bauer for the rest of eternity. “I’ve managed to make 216 episodes of 24 and I don’t think I’ve ever watched a single one of them,” he claimed. Is he just being modest and yanking our cranks? He has to be, there’s no way he hasn’t enjoyed being one of TV’s all-time greatest badasses.
He also says that he hasn’t watched the Designated Survivor pilot, which airs Wednesday night on ABC. In it, he plays the titular “designated survivor,” who becomes president of the United States after an explosion at the State of the Union address kills the president and every member of his Cabinet. Of course, it makes sense he wouldn’t watch, because I assume the first episode is just Sutherland’s character saying, “Holy sh*t I’m the president” for an hour.
giovedì 22 settembre 2016
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri
CORRIERE DELLA SERA
Con "The Affair" il tradimento è un omicidio diviso in due
"La serie tratta di un affair, una relazione extraconiugale osservata da una doppia prospettiva: quella di Alison Lockhart (Ruth Wilson), una cameriera trentenne di una tavola calda di Montauk, località degli Hamptons (il posto chic delle vacanze newyorkesi), e quella di Noah Solloway (Dominic West), professore di Lettere di una scuola pubblica di Brooklyn, aspirante scrittore con figli problematici (Sky Atlantic, mercoledì, 21.15). Ideata da Sarah Treem e Hagai Levi, già noti per «In Treatment», «The Affair» si è subito imposta per la struttura narrativa, spezzata in due sulla base dei punti di vista e dei resoconti dei due amanti, che offrono visioni diverse sugli stessi accadimenti: un omicidio, avvenuto ai tempi della loro relazione, che funge da sottotrama. È una tecnica narrativa conosciuta con il nome di Rashomon effect (dal film del 1950 di Akira Kurosawa dove s ’intrecciano quattro versioni dello stesso avvenimento) e non di rado usata al cinema (basti pensare a Gone Girl, 2014). Memoria divergente. I risvolti e le conseguenze psicologiche della storia tra Noah e Alison vengono raccontati da due punti di vista differenti. Entrambi, a loro modo, sono infelici e insoddisfatti e un senso di angoscia pervade tutta la storia. Chi mente e chi è sincero? Nel ricordo cambiano le sfumature, i vestiti, lo sguardo sugli altri personaggi della storia (la moglie di Noah è molto più affascinante e positi va nella memoria di Alison, mentre è spesso un’insopportabile snob viziata nell’immagine che ne ha il marito). Un dettaglio trascurato nella versione dell’uno diventa elemento inverante in quella dell’altro: un bacio o il testo di un sms cambiano valore a seconda di chi li ricorda, l’innocenza si trasforma in malizia, l’erotismo in romanticismo, l’eroismo in pavidità, l’emozione in freddo calcolo. La somma di «verità soggettive» riesce ad avvicinarsi alla presunta oggettività delle indagini?". (Aldo Grasso, 17.09.2016)
CORRIERE DELLA SERA
Con "The Affair" il tradimento è un omicidio diviso in due
"La serie tratta di un affair, una relazione extraconiugale osservata da una doppia prospettiva: quella di Alison Lockhart (Ruth Wilson), una cameriera trentenne di una tavola calda di Montauk, località degli Hamptons (il posto chic delle vacanze newyorkesi), e quella di Noah Solloway (Dominic West), professore di Lettere di una scuola pubblica di Brooklyn, aspirante scrittore con figli problematici (Sky Atlantic, mercoledì, 21.15). Ideata da Sarah Treem e Hagai Levi, già noti per «In Treatment», «The Affair» si è subito imposta per la struttura narrativa, spezzata in due sulla base dei punti di vista e dei resoconti dei due amanti, che offrono visioni diverse sugli stessi accadimenti: un omicidio, avvenuto ai tempi della loro relazione, che funge da sottotrama. È una tecnica narrativa conosciuta con il nome di Rashomon effect (dal film del 1950 di Akira Kurosawa dove s ’intrecciano quattro versioni dello stesso avvenimento) e non di rado usata al cinema (basti pensare a Gone Girl, 2014). Memoria divergente. I risvolti e le conseguenze psicologiche della storia tra Noah e Alison vengono raccontati da due punti di vista differenti. Entrambi, a loro modo, sono infelici e insoddisfatti e un senso di angoscia pervade tutta la storia. Chi mente e chi è sincero? Nel ricordo cambiano le sfumature, i vestiti, lo sguardo sugli altri personaggi della storia (la moglie di Noah è molto più affascinante e positi va nella memoria di Alison, mentre è spesso un’insopportabile snob viziata nell’immagine che ne ha il marito). Un dettaglio trascurato nella versione dell’uno diventa elemento inverante in quella dell’altro: un bacio o il testo di un sms cambiano valore a seconda di chi li ricorda, l’innocenza si trasforma in malizia, l’erotismo in romanticismo, l’eroismo in pavidità, l’emozione in freddo calcolo. La somma di «verità soggettive» riesce ad avvicinarsi alla presunta oggettività delle indagini?". (Aldo Grasso, 17.09.2016)
mercoledì 21 settembre 2016
NEWS - Prequel di "Game of Thrones" sì o no? Showrunners in forse, HBO non vuol rinunciare ai draghi dalle uova d'oro. E intanto George R. Martin sforna un romanzo dopo l'altro...Più si che no!
News tratta da Mic.com
But given Game of Thrones' massive popularity, a spinoff seems likely, especially when you consider other popular dramas following suit (see: Breaking Bad and The Walking Dead spinoffs). However, if HBO decides to go this route, they'll need new showrunners.
Martin, meanwhile, was happy to chime in on the possibility, noting that he has thousands of pages of Westerosi backstory that could be used in a potential prequel.
News tratta da Mic.com
After another year of Emmys domination for Game of Thrones —
HBO's drama now holds the record for most wins for a prime-time series —
it's easy to forget that the series is coming to an end sooner rather
than later. The show has two shortened seasons left — the next of which will likely miss the cutoff for next year's Emmys, so we'll have a new best drama winner for at least one year.
Speaking with reporters after the Emmys, series co-creator David Benioff addressed his own interest in a prequel.
"You might want to ask George about that," Benioff said, in reference to Game of Thrones' source material from author George R.R. Martin, according to Entertainment Weekly.
"It's a great world that George created. I think it's a very rich
world, and I'm sure there will be other series set in Westeros, but for
[Benioff and co-creator D.B. Weiss], this is it."
Martin, meanwhile, was happy to chime in on the possibility, noting that he has thousands of pages of Westerosi backstory that could be used in a potential prequel.
"Well, I do have thousands of pages of fake history — everything that led up to Game of Thrones — so there's a wealth of material there, and I'm still writing more," he said.
Martin has previously expressed interest in turning his Tales of Dunk and Egg novellas into
stand-alone television movies, which is one potential avenue for HBO to
pursue. There are plenty of other worthwhile spinoff ideas too, ranging from the events of Robert's Rebellion to anything led by noted 10-year-old badass Lyanna Mormont.
However, as Martin noted, he still has two more Game of Thrones novels
to write that will (hopefully) take precedent, so don't expect official
news of a spinoff from HBO in the immediate future.
martedì 20 settembre 2016
NEWS - Clamoroso al Cibali! Il capitano Kirk (Shatner) alla Festa dell'Unità di Bologna si fa pagare 80 euro per una foto insieme (!!!), 160 euro per fargli domande in prima fila. E' la spending review dei Renziani-Vulcaniani...?
Articolo tratto da "La Repubblica"
'Spazio,
ultima frontiera. Eccovi i viaggi
dell'astronave Enterprise durante la sua missione quinquennale, diretta
all'esplorazione di nuovi mondi, alla ricerca di altre forme di vita e
di civiltà, fino ad arrivare coraggiosamente dove nessun uomo è mai
giunto prima'. Cominciavano così le puntate di Star Trek, sulle immagini
dell'astronave guidata dal capitano James Tiberius Kirk che volava tra
le galassie. William Shatner, il capitano Kirk appunto, senza
l'Enterprise è atterrato alla Festa dell'Unità di Bologna per tre giorni
d'incontri con gli appassionati fan della serie televisiva, che
quest'anno festeggia il cinquantennale, e con i militanti Pd della
festa. E arrivato dove nessun attore americano era arrivato prima: nel
bel mezzo della festa del Partito Democratico per farsi fotografare con i
fan, firmare autografi, presentare se stesso e la sua storia E solo chi
non conoece Star Trek può pensare che il capitano sia fuori luogo.
Shatner è stato il protagonista della prima, originale, serie
televisiva, dal 1966 al 1969, poi ha vestito i panni del capitano in
molti film, ma è per le puntate storiche degli anni Sessanta che è
entrato nella leggenda, perché in quella serie, con le sue scenografie
di cartapesta, con i modellini delle astronavi, gli effetti speciali
fatti con poche cose, gli alieni vestiti in fogge quantomai bizzarre, si
respirava l'aria degli anni Sessanta, fatta di pace, amore e musica, di
sogni e visioni, di pacifismo e innovazione, della voglia di cambiare
il mondo come di quella di esplorarne altri.
Era una serie straordinariamente ottimista, libertaria, antirazzista, induriva, era la saga della conoscenza e dell'accettazione del diverso, dell'altro, dell'alieno, perfetta insomma per una festa di un partito che di nome fa "Democratico'. Shatner ha fatto altre cose nella sua lunga carriera d'attore, ma per moli, per tutti, è ancora il Capitano Kirk, e quel molti che hanno fatto la fila a Bologna non sono venuti a incontrare l'attore ma il Capitano, sono venuti da tutta Italia per avere una foto, un ricordo, l'autografo di un personaggio che ha incarnato sul piccolo schermo il sogno di un mondo migliore, di un futuro migliore. «Quando abbiamo iniziato eravamo un gruppo di giovani visionari con una passione sconfinata quella per il futuro», ha detto Shatner ai giornalisti. «Ci nutrivamo di amore per la tecnologia, e avevamo costantemente lo sguardo rivolto altrove, ll dove solo la fantasia poteva arrivare'. I fan di Star Trek sono ancora così, pensano che 'ci sia vita su Marte' corna cantava David Bowie, si lasciano volentieri portare altrove da un film o da una storia di fantascienza ma sanno che c'è sempre un altrove da cercare anche su questo pianeta E amano andare a una Festa che, come ha capito Shatner, è straordinariamente popolare: "Mi sono sentito subito a casa, l'ambiente è familiare. Appena messo piede tra gli stand ho avvertito un'incredibile somiglianza tra questo appuntamento e le feste della contea, avvenimenti molto popolari in America grandi raduni dove arriva gente da tutta l'area per stare insieme, mangiare, divertirsi, esprimere opinioni. Proprio come succede qui..". Gli appassionati hanno partecipato allo show di Shatner—un botta e risposta con l'attore —pagando da 120 euro fino a 160euro, per la prima fila, 80 euro per una foto con lui, 60 per il solo autografo. E' la spending review vulcaniana, bellezza.
Articolo tratto da "La Repubblica"
Era una serie straordinariamente ottimista, libertaria, antirazzista, induriva, era la saga della conoscenza e dell'accettazione del diverso, dell'altro, dell'alieno, perfetta insomma per una festa di un partito che di nome fa "Democratico'. Shatner ha fatto altre cose nella sua lunga carriera d'attore, ma per moli, per tutti, è ancora il Capitano Kirk, e quel molti che hanno fatto la fila a Bologna non sono venuti a incontrare l'attore ma il Capitano, sono venuti da tutta Italia per avere una foto, un ricordo, l'autografo di un personaggio che ha incarnato sul piccolo schermo il sogno di un mondo migliore, di un futuro migliore. «Quando abbiamo iniziato eravamo un gruppo di giovani visionari con una passione sconfinata quella per il futuro», ha detto Shatner ai giornalisti. «Ci nutrivamo di amore per la tecnologia, e avevamo costantemente lo sguardo rivolto altrove, ll dove solo la fantasia poteva arrivare'. I fan di Star Trek sono ancora così, pensano che 'ci sia vita su Marte' corna cantava David Bowie, si lasciano volentieri portare altrove da un film o da una storia di fantascienza ma sanno che c'è sempre un altrove da cercare anche su questo pianeta E amano andare a una Festa che, come ha capito Shatner, è straordinariamente popolare: "Mi sono sentito subito a casa, l'ambiente è familiare. Appena messo piede tra gli stand ho avvertito un'incredibile somiglianza tra questo appuntamento e le feste della contea, avvenimenti molto popolari in America grandi raduni dove arriva gente da tutta l'area per stare insieme, mangiare, divertirsi, esprimere opinioni. Proprio come succede qui..". Gli appassionati hanno partecipato allo show di Shatner—un botta e risposta con l'attore —pagando da 120 euro fino a 160euro, per la prima fila, 80 euro per una foto con lui, 60 per il solo autografo. E' la spending review vulcaniana, bellezza.
lunedì 19 settembre 2016
NEWS - Emmys, la duplice vittoria di "Veep" alla vigilia delle presidenziali è un segnale...mica da ridere! Premi riparatori a Malek e Maslany ("Mr.Robot", "Orphan Black"). William H. Macy può essere nominato anche 100 volte che tanto non vincerà mai...MIGLIOR COMEDY
Black-ish
Master of None
Modern Family
Silicon Valley
Transparent
Unbreakable Kimmy Schmidt
Veep
MIGLIOR DRAMA
Game of Thrones
The Americans
Better Call Saul
Downton Abbey
Homeland
House of Cards
Mr. Robot
MIGLIOR ATTORE PROTAGONISTA DRAMA
Kyle Chandler, Bloodline
Rami Malek, Mr. Robot
Bob Odenkirk, Better Call Saul
Matthew Rhys, The Americans
Liev Schreiber, Ray Donovan
Kevin Spacey, House of Cards
MIGLIOR ATTRICE PROTAGONISTA DRAMA
Claire Danes, Homeland
Viola Davis, How to Get Away with Murder
Taraji P. Henson, Empire
Tatiana Maslany, Orphan Black
Keri Russell, The Americans
Robin Wright, House of Cards
ATTORE NON PROTAGONISTA DRAMA
Jonathan Banks, Better Call Saul
Peter Dinklage, Game of Thrones
Michael Kelly, House of Cards
Kit Harington, Game of Thrones
Ben Mendelsohn, Bloodline
Jon Voight, Ray Donovan
ATTRICE NON PROTAGONISTA DRAMA
Emilia Clarke, Game of Thrones
Lena Headey, Game of Thrones
Maggie Smith, Downton Abbey
Maura Tierney, The Affair
Maisie Williams, Game of Thrones
Constance Zimmer, UnREAL
ATTORE PROTAGONISTA COMEDY
Anthony Anderson, Black-ish
Aziz Ansari, Master of None
Thomas Middleditch, Silicon Valley
Will Forte, The Last Man on Earth
William H. Macy, Shameless
Jeffrey Tambor, Transparent
ATTRICE PROTAGONISTA COMEDY
Ellie Kemper, Unbreakable Kimmy Schmidt
Julia Louis-Dreyfus, Veep
Lauri Metcalf, Getting On
Tracee Ellis Ross, Black-ish
Amy Schumer, Inside Amy Schumer
Lily Tomlin, Grace and Frankie
ATTORE NON PROTAGONISTA COMEDY
Louie Anderson, Baskets
Andre Braugher, Brooklyn Nine-Nine
Tituss Burgess, Unbreakable Kimmy Schmidt
Ty Burrell, Modern Family
Tony Hale, Veep
Keegan-Michael Key, Key&Peele
Matt Walsh, Veep
Etichette:
Bloodline,
Downton Abbey,
Emmy Awards,
Game of Thrones,
Jeffrey Tambor,
Julia-Louis Dreyfus,
Maggie Smith,
Mr. Robot,
NEWS,
Orphan Black,
Rami Malek,
Tatiana Maslany,
Transparent,
Veep,
William H. Macy
Alla vigilia delle presidenziali, la duplice vittoria di #Veep è una cartina di tornasole mica da ridere. #Emmys #Emmys2016
— Leo Damerini (@LeoDamerini) 19 settembre 2016
News: #Emmys2016, Nominees/Winners.https://t.co/WlfXJpSt1L via @sharethis
— AccademiaTelefilm (@AcademyTelefilm) 19 settembre 2016
sabato 17 settembre 2016
News: #SpikeLee's She's Gotta Have It Snags 10-Episode Series Order at @Netflix.https://t.co/wMwRI1quoO via @TVLine #Netflix— AccademiaTelefilm (@AcademyTelefilm) 16 settembre 2016
venerdì 16 settembre 2016
GOSSIP - Troppa Naya fa male! Dopo non aver difeso l'ex Mark Salling dalle accuse di pedopornografia, la Rivera si scaglia anche contro l'ex collega di "Glee" Lea Michele ("una primadonna che voleva stare al centro del palco da sola!")
Naya Rivera is dishing on all the behind-the-scenes drama from her time Glee. The 29-year-old actress talks candidly about her “feud” with co-star Lea Michele in her new book Sorry, Not Sorry: Dreams, Mistakes & Growing Up.
“One of the Glee writers once said that Lea and I were like two sides of the same battery and that about sums us up,” Naya wrote. “We are both strong willed and competitive — not just with each other but with everyone — and that’s not a good mixture.”
Naya continued, “As the show progressed, though, that
friendship started to break down, especially as Santana moved from a background
character to one with bigger plot lines and more screen time. I think Rachel —
erm, I mean Lea — didn’t like sharing the spotlight. On top of
that, she had a hard time separating work from our outside friendship, whereas
it was a lot easier for me. I’m not offended when people offer feedback or
criticism, and if things get heated on set, I try to keep perspective. We’re
all stressed, yes, but we’re all working toward the same goal, so laugh it off
and keep it movin’. Lea was a lot more sensitive, though, and it seemed like
she blamed me for anything and everything that went wrong.”
“If I’d complained about anyone or anything, she’d assumed I was b-tching about her,” Naya wrote. “Soon, she started to ignore me, and eventually it got to the point where she didn’t say a word to me for all of season six. Lea and I definitely weren’t the best of friends, and I doubt we’ll ever sit on her couch and eat kale together again, but the rumors of our ‘feud’ were blown out of proportion”. As for
Lea‘s relationship with Cory Monteith, Naya wrote, “When Cory and Lea started dating, it was a total surprise. The more serious they got, the less Cory hung out with us and the more he seemed like a different person. One year he came back from the break between seasons super skinny. He said he’d been spending a lot of time at the gym and was trying to be responsible — not spending money all the time and buying crazy cars like he used to. My personal feelings for Lea aside, I knew that she wasn’t a partier, so I felt like maybe their relationship could actually be good for him. I was happy for Cory to have a stable influence in his life, wherever it was he found it”.
Naya Rivera is dishing on all the behind-the-scenes drama from her time Glee. The 29-year-old actress talks candidly about her “feud” with co-star Lea Michele in her new book Sorry, Not Sorry: Dreams, Mistakes & Growing Up.
“One of the Glee writers once said that Lea and I were like two sides of the same battery and that about sums us up,” Naya wrote. “We are both strong willed and competitive — not just with each other but with everyone — and that’s not a good mixture.”
Naya continued, “As the show progressed, though, that
friendship started to break down, especially as Santana moved from a background
character to one with bigger plot lines and more screen time. I think Rachel —
erm, I mean Lea — didn’t like sharing the spotlight. On top of
that, she had a hard time separating work from our outside friendship, whereas
it was a lot easier for me. I’m not offended when people offer feedback or
criticism, and if things get heated on set, I try to keep perspective. We’re
all stressed, yes, but we’re all working toward the same goal, so laugh it off
and keep it movin’. Lea was a lot more sensitive, though, and it seemed like
she blamed me for anything and everything that went wrong.”“If I’d complained about anyone or anything, she’d assumed I was b-tching about her,” Naya wrote. “Soon, she started to ignore me, and eventually it got to the point where she didn’t say a word to me for all of season six. Lea and I definitely weren’t the best of friends, and I doubt we’ll ever sit on her couch and eat kale together again, but the rumors of our ‘feud’ were blown out of proportion”. As for
Lea‘s relationship with Cory Monteith, Naya wrote, “When Cory and Lea started dating, it was a total surprise. The more serious they got, the less Cory hung out with us and the more he seemed like a different person. One year he came back from the break between seasons super skinny. He said he’d been spending a lot of time at the gym and was trying to be responsible — not spending money all the time and buying crazy cars like he used to. My personal feelings for Lea aside, I knew that she wasn’t a partier, so I felt like maybe their relationship could actually be good for him. I was happy for Cory to have a stable influence in his life, wherever it was he found it”.
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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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