sabato 17 giugno 2017
venerdì 16 giugno 2017
News tratta da "Variety"
Netflix got a lot of attention last year by declaring its intent to spend $6 billion on content in 2017. But that’s not a true reflection of the cash the company is actually shelling out. Through about 2011, the money Netflix spent on content each year was roughly equal to the amount the company expenses each quarter in its profit-and-loss statement. However, that changed starting in late 2012 with Netflix’s spending on original content, which is very different from the way it pays for licensed content. With licensed content, the streaming company has generally been able to arrange to pay in a manner that aligns with the way it accounts for content costs in its P&L statement — a little bit at a time over the life of the content. But with original content, Netflix has to fund the whole expense out of pocket from day one, meaning that almost all of the cash cost is incurred before the content is even available. As a result, whereas Netflix’s cash outlay on content was once considerably less than its total cost of revenue specified in the company’s income statement, it is 25% to 30% higher as of the last few quarters. If what Netflix spent on original content relative to its total content expenditure were to remain the same in the near future, that cost wouldn’t necessarily be an issue. But chief content officer Ted Sarandos has indicated he’s looking to raise the portion of original content on the company’s platform to half its total roster over the coming years. That means spending more and more cash up front. Thus, while Netflix has been profitable at a net income level for a number of years, it’s now burning through cash at a tremendous rate. The company’s preferred metric in this area is free cash flow, and both the dollar amount of losses and the margins those imply have been worsening over time, with a brief blip in the first quarter of this year. Its total net outlay over the last four quarters was $1.8 billion.This rapid shift from licensed to original content is the single biggest difference between Netflix and, say, HBO, whose spending on originals has remained constant in percentage terms over the past five years. Even Amazon isn’t spending at nearly the same levels as Netflix, and it has a massive e-commerce business to generate cash. Netflix has publicly anticipated “many years” of negative free cash flow and doesn’t forecast turning that around until it has reached a much larger revenue base. That means the strategy is entirely dependent on the company’s continued ability to grow rapidly and expand its margins. But if its growth trajectory slows or its cost of content increases faster than anticipated, Netflix will find its current ability to keep raising more debt seriously compromised.
giovedì 15 giugno 2017
mercoledì 14 giugno 2017
News tratta da "Prima on line"
Il Consiglio di Amministrazione di Auditel ha dato il via libera alla partenza del SuperPanel che, di fatto, triplica il campione per la rilevazione degli ascolti televisivi e che sarà la base per la rilevazione anche dei nuovi device digitali. I primi dati di ascolti tv basati sul nuovo campione saranno pubblicati il 30 luglio prossimo. Dopo aver sostituito integralmente, già nel 2016, il proprio campione base di 5.700 famiglie, Auditel ha selezionato e installato altre 10.400 nuove unità familiari, dotate di set meter, già in grado di produrre i dati di ascolto. L’operazione, che non ha precedenti a livello internazionale, ha raggiunto l’obiettivo della confluenza dei due campioni, rappresentativi della popolazione italiana, in un unico imponente super-campione costituito da 16.100 famiglie (circa 41.000 individui). “Mentre tutti i Jic, Joint Industry Committee, cioè i Comitati misti che governano le ‘Auditel’ nei diversi Paesi, sono alla ricerca di soluzioni per estendere i panel che misurano le audience e far fronte alle nuove sfide imposte dallo sviluppo tecnologico, il campione italiano – sostiene la stessa Auditel – si afferma come il più solido in Europa per numerosità e il primo al mondo nel rapporto panel/popolazione”. Triplicando di fatto le dimensioni della base di raccolta delle informazioni sull’ascolto della televisione, Auditel “assicurerà ai dati rilevati maggiore robustezza e ulteriore precisione, oltre a costituire un asset fondamentale al servizio dei futuri sviluppi della Ricerca e del mercato”.
I benefici del SuperPanel per Auditel comprendono la “riduzione del 50% dei ‘minuti a zero ascolto’” e “una riduzione del 66% dei fattori di espansione, con un significativo miglioramento dei margini di stima statistica e dell’interpretabilità dei dati, soprattutto ai bassi livelli di granularità e per le emittenti con maggiore variabilità di audience”. Il SuperPanel “rappresenta non solo lo strumento più evoluto oggi disponibile per rispondere alla frammentazione degli ascolti e garantire la misurazione dei servizi on demand, ma anche – sottolinea l’Auditel – l’infrastruttura sulla quale verrà costruita, con soluzioni innovative, la rilevazione dei nuovi device digitali (Smart TV, PC, Smartphone e Tablet) sui quali, già oggi, vengono fruiti numerosi segmenti di televisione”. “Una svolta epocale, per i broadcaster e le imprese che investono in pubblicità – rivendica l’Auditel – con il chiaro intento di pensare alla televisione ‘oltre la televisione’, e alle audience come a una somma intelligente di contenuti fruiti secondo diverse modalità di consumo, su tutte le piattaforme e tutti i device”.
Sul piano tecnico, “è già stata avviata una roadmap di implementazione che comprende le attività di adeguamento dei sistemi hardware e software di tutti i soggetti chiamati ad elaborare una mole di informazioni significativamente superiore alla precedente. Appena il sistema distributivo sarà simmetricamente a regime, si potrà partire con la pubblicazione dei nuovi dati prevista a partire dal prossimo 30 luglio”. Per supportare e accompagnare il mercato nei cambiamenti introdotti da questa evoluzione, Auditel ha messo a punto anche un piano di rilascioche coinvolgerà tutti gli utilizzatori dei dati mediante ‘workshop’ di approfondimento, attività di formazione e iniziative di ‘educazione’ alla lettura e all’impiego delle nuove metriche. Il complessivo programma di iniziative legato alla roadmap di implementazione e al piano di rilascio dei dati è stato oggetto di un dettagliato processo di condivisione con l’Autorità per le Garanzie nelle Comunicazioni (Agcom).
martedì 13 giugno 2017
GOSSIP - L'Uomo Pipistrello era un grande...uccello! Adam West-Batman a letto con 8 donne a notte, sveltine con il collega Burt Ward (Robin nella serie tv anni '60) nel backstage, orge a go-go e relazioni con le sorelle Wood...
News tratta dal "Daily Mail"
Perfino Batman aveva i suoi segreti. Sabato è morto, a 88 anni, Adam West, il primo che lo ha interpretato sullo schermo tra il 1966 e il 1968. L’attore ha vissuto una vita selvaggia, a base di sesso e alcol. La sua notorietà e il fatto che fossero gli anni swinganti dell’amore libero, gli garantirono l’attenzione femminile, al punto che andava a letto anche con otto donne a notte. Lui e Bart Ward, che interpretava il fidato Robin, facevano delle sveltine dietro le quinte, fra una scena e l’altra e mentre indossavano il costume. Fuori dal set, ancora meglio. West era un partecipante abituale alle orge, fu lui stesso a raccontare di quando venne cacciato da un’ammucchiata con l’amico Frank Gorshin, che nella serie interpretava l’Enigmista, perché entrambi si erano calati nei loro personaggi. West ebbe relazioni con le sorelle Natalie e Lana Wood, ex Bond Girl. Si sposò tre volte ed ebbe sei figli. Quando lo show fu chiuso, nel 1968, per lui fu un duro colpo. Non fu reclutato per altri ruoli prominenti e soffrì di depressione e alcolismo.
Perfino Batman aveva i suoi segreti. Sabato è morto, a 88 anni, Adam West, il primo che lo ha interpretato sullo schermo tra il 1966 e il 1968. L’attore ha vissuto una vita selvaggia, a base di sesso e alcol. La sua notorietà e il fatto che fossero gli anni swinganti dell’amore libero, gli garantirono l’attenzione femminile, al punto che andava a letto anche con otto donne a notte. Lui e Bart Ward, che interpretava il fidato Robin, facevano delle sveltine dietro le quinte, fra una scena e l’altra e mentre indossavano il costume. Fuori dal set, ancora meglio. West era un partecipante abituale alle orge, fu lui stesso a raccontare di quando venne cacciato da un’ammucchiata con l’amico Frank Gorshin, che nella serie interpretava l’Enigmista, perché entrambi si erano calati nei loro personaggi. West ebbe relazioni con le sorelle Natalie e Lana Wood, ex Bond Girl. Si sposò tre volte ed ebbe sei figli. Quando lo show fu chiuso, nel 1968, per lui fu un duro colpo. Non fu reclutato per altri ruoli prominenti e soffrì di depressione e alcolismo.
lunedì 12 giugno 2017
NEWS - Invasione rossa! "The Americans" lancia (geniale) campagna di lancio in vista degli Emmy Awards puntando sul legame Usa-Russia tra passato e presente
News tratta da "Variety"
FX has launched an appropriately covert campaign to push “The Americans” for Emmy Awards consideration. “The Americans” revolves around a married couple in Washington, D.C. who are long-embedded spies for their native Soviet Union. FX has taken digital and print ads in the Sunday editions of the New York Times, Washington Post and Los Angeles Times that point readers to the TheRussiansAreHere.org website. That URL sends users to FX’s existing For Your Consideration website on behalf of “The Americans,” which features links to all 13 episodes of the show’s fifth season and various promotional material on the show and its key players. Voting for the first round of Emmy nominations begins Monday and runs through June 26. FX also took the extraordinary step of buying a 15-second TV spot in CBS’ “Face the Nation” and other Sunday political roundtable shows. The provocative spot echoed the print ads with a shot of the U.S. Capitol building with the red hammer-and-sicyle Soviet flag flying overhead, while the soundtrack features a Red Army Chorus-style rendition of “America the Beautiful” but with lyrics in Russian. It ends with a voice-over announcer declaring “The Russians are here.” The cabler clearly aims to capitalize on the recent ratcheting of tensions between the U.S. and Russia. The two countries are at odds on numerous geopolitical concerns, notably the civil war in Syria. And last week former FBI director James Comey testified before Congress there was no doubt in his mind that hackers directed by the Russian government sought to meddle in the 2016 presidential election. “The Americans” has long been a critical darling but it never generated much Emmy heat until last year, when it grabbed noms for drama series and lead drama acting bids for stars Matthew Rhys and Keri Russell. FX is clearly looking to generate some buzz for the show with its unusual FYC promotional efforts, which may well cause a stir with TV news viewers who are unaware of the show. “The Americans” wrapped its fifth season last month. The Amblin TV drama is set for its sixth and final season next year.
News tratta da "Variety"
domenica 11 giugno 2017
News tratta da "TvLine"
Adam West, TV’s original Batman, has died. He was 88. West passed away after a short battle with leukemia, his family confirmed on Facebook. West rose to fame in 1966 as the star of ABC’s Batman, which produced a total of 120 episodes over three seasons before it ended in 1968. Burt Ward, who played Robin, issued the following statement to our sister site Variety:
I am devastated at the loss of one my very dearest friends. Adam and I had a special friendship for more than 50 years. We shared some of the most fun times of our lives together. Our families have deep love and respect for each other. This is a terribly unexpected loss of my lifelong friend. I will forever miss him. There are several fine actors who have portrayed Batman in films. In my eyes, there was only one real Batman that is and always will be Adam West. He was truly the Bright Knight.
West’s extensive TV resume included select episodes of The Detectives, Perry Mason, Gunsmoke and Fantasy Island. He also guest-starred on a number of sitcoms, including Laverne and Shirley, Murphy Brown, NewsRadio, George Lopezand The King of Queens. Most recently, he appeared as himself on the 200th episode of The Big Bang Theory. Earlier this year, West filmed a guest spot on NBC’s one-and-done Powerless, where he was set to portray Dean West, the chairman of Wayne Industries who visits Charm City to deliver bad news to Bruce Wayne’s cousin Van. The series was ultimately pulled from NBC’s schedule and his episode never aired.
venerdì 9 giugno 2017
We may be a while away from the third season of Mr. Robot, but perhaps this new scoop can hold us over for a bit. The cast stepped out at a For Your Consideration panel and screening for their hit USA Network series held at The Metrograph on Thursday (June 8) in New York City.
Stars Rami Malek, Grace Gummer, Carly Chaikin, Portia Doubleday and Christian Slater opened up about what we can expect from the upcoming season.
“Season 2 was, for me, as a character, the boundary season, with Sam Elliot (creator) trying to place these boundaries and restrictions on the direction Mr. Robot wants things to go,” Christian expressed (via Variety). “Every decision Elliot made created a combative situation between us, which was frustrating. We were trying to outsmart each other. I asked Sam what he felt was at the core of Season 3 between Elliot and Mr. Robot and the only word he was able to give me is ‘disintegration’.”
“I always ask Sam, what else can we do?,” Rami added. “I think Sam is very happy that it might come off as effortless in this moment, but I will assure you there’s nothing effortless about it. We know these characters so well, we can slip into them fairly easily, but the level of work is just as consuming as it was from day one.”
giovedì 8 giugno 2017
GOSSIP - Fiori d'arancio a "Gotham"! Ben McKenzie e Morena Baccarin si sono sposati!
A major congrats is in order for Ben McKenzie and Morena Baccarin of "Gotham"! The 38-year-old actors tied the knot on Friday (June 2) – her birthday – at the Brooklyn Botanical Gardens in Brooklyn, N.Y., a source close to the couple confirms to JustJared.com. They were “joined by family members and close friends for the small, intimate ceremony,” according to People. That weekend, Ben‘s former on-screen brother from The O.C., Logan Marshall-Green, posted a photo of them together, writing, “So proud of this guy. Here is to you @mrbenmckenzie”. Ben and Morena were first linked back in September 2015 and welcomed a daughter, Frances Laiz Setta Schenkkan, in March 2016. Congrats to the happy couple on the exciting news!
mercoledì 7 giugno 2017
NEWS - Le sit-com sono morte? Viva le sit-com! Nell'era dello streaming e di Netflix c'è ancora voglia di ridere per mezz'ora?
News tratta da "Uproxx"
Critics have been declaring the sitcom dead for decades. They died in 1983, the year before The Cosby Show resurrected them. They died after Everybody Loves Raymond and Friends went off the air; and they died again when NBC’s Must See TV comedy line-up went belly-up. Yet the half-hour comedy format remains resilient, capable of reformatting itself and rising again. While CBS has been able to cling to the past with its arsenal of laugh-track sitcoms, ABC has seen a minor resurgence in the form of diverse family sitcoms. NBC is even trying to resuscitate its Thursday night comedy block this fall with the return of Will & Grace, as well as Superstore, the network’s longest-running sitcom since Robert Greenblatt took over as chairman of NBC Entertainment in 2011. It will enter its third season in the fall. Sitcoms are doing well on networks and basic cable and they’re also thriving in a place that might not have been expected a few years ago: streaming services. Many of the best half-hour comedies have packed up their traditional television conventions and moved to streaming services like Netflix, Amazon Prime, and Hulu, where they they’ve become almost an antidote to other aspects of Peak TV. To wit: While the average television viewer cannot realistically keep up with the riches of television dramas — American Gods, Handmaid’s Tale, The Leftovers, Twin Peaks, Fargo, Better Call Saul, and The Americans among others currently occupy space on my weekly viewing schedule — the half-hour streaming comedy has provided a welcome respite from two-to-three month weekly investments for the average television drama, or the week of nightly viewings we devote to most streaming dramas. But a half-hour streaming comedy? We’re looking at a four-to-six hour investment, tops, which means we can binge an entire season of Master of None on a Saturday night, or Amazon’s Mozart in the Jungle on a single cross-country flight. In fact, I pulled an all-nighter over the weekend and finished Unbreakable Kimmy Schmidt and Amazon’s I Love Dick in a single sitting (though I do not recommend this). I don’t want to overstate it, but when our television schedules increasingly look like lengthy grocery lists, it’s immensely satisfying to be able to check off one or two items in a single weekend. While it may sometimes feel daunting to commit ten hours to watching Patriot no matter how good the reviews (and it’s a spectacular series), it’s well within our abilities to give up a half hour here and there to finish a season of Santa Clarita Diet despite mediocre reviews. Meanwhile, while everyone seemed to be excited about the return of Twin Peaks, Showtime debuted the series with two one-hour episodes, which meant for many viewers choosing between David Lynch’s comeback or The Leftovers and American Gods. Twin Peaks is also 18 hours long, which will make our Peak TV decisions even more difficult over the summer when it faces off against Game of Thrones and Fear the Walking Dead, among others. To put it another way: a person could watch three seasons of a half-hour comedy in the same time it takes to watch one season of Twin Peaks. It’s not just the time disparity, either. It’s the fact that streaming half-hour comedies have evolved so much in the last couple of years that they can provide as much substance as a so-called prestige drama, and that substance comes with a side of laughter. Dear White People is a perfect example: It’s funny, engaging, fast-moving and entertaining, but it may also be the most insightful series about racial politics that I have ever seen. The vibrant and beautifully written Transparent has also helped the transgender community make great strides — not to mention the fact that it’s one of television’s best series about Jewish identity issues — and it’s accomplished that in three seasons that can be viewed is less time than it takes to watch one season of The Walking Dead. Streaming half-hour comedies also lend themselves to quick binges. Network comedies like Black-ish and Speechless are great, but the fact that they air weekly — and are often broken up by long-stretches of reruns — means that they’re necessarily episodic in nature. Streaming comedies are designed for the modern television viewer: They’re self contained enough to be entertaining as stand-alone episodes, but serialized enough to encourage us to watch them in chunks. Typically, they’re also a much cheaper investment for studios and networks than a drama, which means there’s more freedom to take risks without badly affecting the bottom line. A season of Love for instance, can probably be produced for less than it takes to create one episode of Game of Thrones. In fact, some networks may be engineering their half-hour comedies for streaming consumption. “Looking at streaming as the new aftermarket is a big driver of a lot of programming decisions, not just in comedy,” says Alan Sepinwall. And “with Netflix, et. al., serialization is actually considered a plus.” Indeed, You’re the Worst probably plays as well on Hulu as it does on FXX; the same can be said of NBC’s The Good Place and Great News. The latter shares a spiritual kinship to Unbreakable Kimmy Schmidt, and it’s being dumped by NBC two episodes at a time at the tail end of the network season. That’s typically a ploy networks use to burn off series that they’ve already committed to airing but have no intentions of bringing back (see Best Friends Forever or Bent). Great News, however, has already been renewed for a second season. So why release 10 episodes so quickly? Because it makes them easier to binge on Hulu. Meanwhile, Unbreakable Kimmy Schmidt, which was originally created for NBC, probably would have been dumped and quickly cancelled two years ago by the network. On Netflix? The third season just premiered, and it’s one of the streaming service’s most popular comedies. Our political climate favors the half-hour streaming comedy, as well. While a show like The Handmaid’s Tale may be “necessary” television, how many people are eager for a powerful and timely nightmare that heightens our already existing fears? The Americans is a tremendous series — maybe the best on television — but the fact that it echoes our real-life political situation is beginning to feel like a liability rather than an asset. In short: This is the perfect era for the half-hour streaming comedy, a period in which we’re short on time but we still crave substance. The half-hour streaming comedy is like healthy fast food, perfect for the television viewer on the go who doesn’t want to get fat on episodes of Matt LeBlanc’s Man with the Plan or Kevin James’ Kevin Can Wait. We can still get all the nutrients we need without investing the time in a big meal like a season of House of Cards or Mr. Robot.
Critics have been declaring the sitcom dead for decades. They died in 1983, the year before The Cosby Show resurrected them. They died after Everybody Loves Raymond and Friends went off the air; and they died again when NBC’s Must See TV comedy line-up went belly-up. Yet the half-hour comedy format remains resilient, capable of reformatting itself and rising again. While CBS has been able to cling to the past with its arsenal of laugh-track sitcoms, ABC has seen a minor resurgence in the form of diverse family sitcoms. NBC is even trying to resuscitate its Thursday night comedy block this fall with the return of Will & Grace, as well as Superstore, the network’s longest-running sitcom since Robert Greenblatt took over as chairman of NBC Entertainment in 2011. It will enter its third season in the fall. Sitcoms are doing well on networks and basic cable and they’re also thriving in a place that might not have been expected a few years ago: streaming services. Many of the best half-hour comedies have packed up their traditional television conventions and moved to streaming services like Netflix, Amazon Prime, and Hulu, where they they’ve become almost an antidote to other aspects of Peak TV. To wit: While the average television viewer cannot realistically keep up with the riches of television dramas — American Gods, Handmaid’s Tale, The Leftovers, Twin Peaks, Fargo, Better Call Saul, and The Americans among others currently occupy space on my weekly viewing schedule — the half-hour streaming comedy has provided a welcome respite from two-to-three month weekly investments for the average television drama, or the week of nightly viewings we devote to most streaming dramas. But a half-hour streaming comedy? We’re looking at a four-to-six hour investment, tops, which means we can binge an entire season of Master of None on a Saturday night, or Amazon’s Mozart in the Jungle on a single cross-country flight. In fact, I pulled an all-nighter over the weekend and finished Unbreakable Kimmy Schmidt and Amazon’s I Love Dick in a single sitting (though I do not recommend this). I don’t want to overstate it, but when our television schedules increasingly look like lengthy grocery lists, it’s immensely satisfying to be able to check off one or two items in a single weekend. While it may sometimes feel daunting to commit ten hours to watching Patriot no matter how good the reviews (and it’s a spectacular series), it’s well within our abilities to give up a half hour here and there to finish a season of Santa Clarita Diet despite mediocre reviews. Meanwhile, while everyone seemed to be excited about the return of Twin Peaks, Showtime debuted the series with two one-hour episodes, which meant for many viewers choosing between David Lynch’s comeback or The Leftovers and American Gods. Twin Peaks is also 18 hours long, which will make our Peak TV decisions even more difficult over the summer when it faces off against Game of Thrones and Fear the Walking Dead, among others. To put it another way: a person could watch three seasons of a half-hour comedy in the same time it takes to watch one season of Twin Peaks. It’s not just the time disparity, either. It’s the fact that streaming half-hour comedies have evolved so much in the last couple of years that they can provide as much substance as a so-called prestige drama, and that substance comes with a side of laughter. Dear White People is a perfect example: It’s funny, engaging, fast-moving and entertaining, but it may also be the most insightful series about racial politics that I have ever seen. The vibrant and beautifully written Transparent has also helped the transgender community make great strides — not to mention the fact that it’s one of television’s best series about Jewish identity issues — and it’s accomplished that in three seasons that can be viewed is less time than it takes to watch one season of The Walking Dead. Streaming half-hour comedies also lend themselves to quick binges. Network comedies like Black-ish and Speechless are great, but the fact that they air weekly — and are often broken up by long-stretches of reruns — means that they’re necessarily episodic in nature. Streaming comedies are designed for the modern television viewer: They’re self contained enough to be entertaining as stand-alone episodes, but serialized enough to encourage us to watch them in chunks. Typically, they’re also a much cheaper investment for studios and networks than a drama, which means there’s more freedom to take risks without badly affecting the bottom line. A season of Love for instance, can probably be produced for less than it takes to create one episode of Game of Thrones. In fact, some networks may be engineering their half-hour comedies for streaming consumption. “Looking at streaming as the new aftermarket is a big driver of a lot of programming decisions, not just in comedy,” says Alan Sepinwall. And “with Netflix, et. al., serialization is actually considered a plus.” Indeed, You’re the Worst probably plays as well on Hulu as it does on FXX; the same can be said of NBC’s The Good Place and Great News. The latter shares a spiritual kinship to Unbreakable Kimmy Schmidt, and it’s being dumped by NBC two episodes at a time at the tail end of the network season. That’s typically a ploy networks use to burn off series that they’ve already committed to airing but have no intentions of bringing back (see Best Friends Forever or Bent). Great News, however, has already been renewed for a second season. So why release 10 episodes so quickly? Because it makes them easier to binge on Hulu. Meanwhile, Unbreakable Kimmy Schmidt, which was originally created for NBC, probably would have been dumped and quickly cancelled two years ago by the network. On Netflix? The third season just premiered, and it’s one of the streaming service’s most popular comedies. Our political climate favors the half-hour streaming comedy, as well. While a show like The Handmaid’s Tale may be “necessary” television, how many people are eager for a powerful and timely nightmare that heightens our already existing fears? The Americans is a tremendous series — maybe the best on television — but the fact that it echoes our real-life political situation is beginning to feel like a liability rather than an asset. In short: This is the perfect era for the half-hour streaming comedy, a period in which we’re short on time but we still crave substance. The half-hour streaming comedy is like healthy fast food, perfect for the television viewer on the go who doesn’t want to get fat on episodes of Matt LeBlanc’s Man with the Plan or Kevin James’ Kevin Can Wait. We can still get all the nutrients we need without investing the time in a big meal like a season of House of Cards or Mr. Robot.
martedì 6 giugno 2017
News tratte da "CoolMaterial" e "Variety"
Breaking Bad was a great show, but it ended up inspiring some behavior that isn’t quite on the right side of the law. For fans of the show who didn’t feel like taking up hard drug use, but still want some kind of intoxication at the hands of Walter White, get yourselves to New York this summer. The ABQ cocktail bar is coming to the Big Apple and it’s directly inspired by Heisenberg’s first meth cooking venue. The RV bar is already extremely popular in its native London, and nearly 1,500 people have signed up for the New York pop up. Inside, bartenders in yellow hazmat suits mix drinks using molecular mixology methods, including Saul’s C2H6O, a nitrogen cavitation cocktail. The RV’s location hasn’t been picked yet, but a few locations in Brooklyn seem most likely. If you’re lucky enough to get on the list, expect to pay $45 for two hours and three cocktails.
The saga of Walter White may not be over just yet. Vince Gilligan, creator of “Breaking Bad,” is teaming with Sony’s PlayStation division to create a non-game, virtual reality experience based on the iconic show. Details on the project are still scarce. Sony won’t discuss which talent are attached to the experience, won’t say whether it will be episodic or a one-off or give a firm launch window (other than confirming it won’t release this year). While it’s still in the early stages, though, Gilligan is reportedly eager to explore storytelling in VR. “We set up a day at our campus where we brought seven of the best show runners [Sony Pictures Television] work with, like David Shore of ‘The Blacklist’ and Ron Moore, who did ‘Battlestar Galactica,’ Vince and some other folks,” says Andrew House, global chief executive of Sony Interactive Entertainment, the company’s video game division. “And they just played around with VR. Several of them were intrigued, but Vince was the one who said, ‘I really want to do something with this. I want to experiment with this.'” Because production tools for live-action 360 video are still primitive, the experience will be assembled using computer graphics and Sony’s game team will work with Gilligan to realize his vision. Sony Interactive Entertainment has increasingly been exploring areas beyond video games to expand its reach. In 2015, the division and Sony Pictures Television teamed to create “Powers,” an adaptation of the popular comic book and the first scripted PlayStation original program. The show ran for two seasons. (Sony cancelled it on Aug. 3, 2016.) The unit also oversees PlayStation Vue, an over-the-top streaming service that House says has the highest retention rate of any network service offerings (including PlayStation Plus, and PlayStation Music). While House declined to give subscription numbers, he did say PlayStation Vue now has more users on non-PlayStation devices than on the gaming console. And monthly viewership among 18-34 year olds is 140 hours, roughly twice the national average for that demographic. With collaborations like the one with Gilligan, it’s hoping to push virtual reality to that same level of public appeal. “I think [this] could be another interesting way to see how VR can drive towards the mainstream,” says House.
lunedì 5 giugno 2017
domenica 4 giugno 2017
sabato 3 giugno 2017
venerdì 2 giugno 2017
News tratta da "Slashfilm"
Noah Hawley doesn’t know if he’ll make another season of Fargo. He’s said so himself in the past. When he’s working on a season of the acclaimed FX series, he’s not thinking about the future. Hawley is telling one story at a time. If he has another story to tell, he’ll tell it, but he’s in no hurry. To FX’s credit, they’re not already pushing for more. Below, FX Chief John Landgraf comments on whether we’ll see Fargo season 4 happen or not. We’re midway through another excellent season of Fargo. With only three seasons so far, the show’s creator has taken his time by not cranking out a season every year. FX chief John Landgraf has no interest in doing that either, from the sound of it. Unless Hawley wants to go back to Minnesota, season three could be the end of Fargo, which is what John Landgraf told The Hollywood Reporter:
There may never be another Fargo. Unless [creator Noah Hawley] has an idea for Fargo that he thinks he can make as good as the prior three. I think once people get to the end of this [season] they will find that it is thematically different. It’s really about the moment we live in now.
Fargo fans probably would rather never see another season of Fargo instead of a rushed one. What’s comforting is Hawley is an idea man, someone who can make completely different shows like Fargo and Legion, write novels, and maybe even go from directing television to film. You’d imagine someone with his imagination would think of another Fargo story to tell, but we’ll have to wait and see if he does. As he said, he’s okay waiting four years to return to the show if the inspiration strikes, but there is, as Landgraf pointed out, the possibility of that not happening.
giovedì 1 giugno 2017
PICCOLO GRANDE SCHERMO - Affogateli tutti! Nonostante l'ondata di critiche dopo aver distrutto il mito di "Baywatch" con un film da denuncia al WWF delle serie tv di culto (da oggi nelle sale), i produttori pensano già al sequel
News tratta da "Slashfilm"
News tratta da "Slashfilm"
Baywatch has faced a tsunami of middling to bad reviews, but that won’t stop the comedy-action movie from jetting forward to a sequel, and possibly, a franchise. Producers and writers are already planning a sequel to Baywatch with the cast, led Dwayne Johnson and Zac Efron, returning in their roles. Baywatch itself is a big-screen reboot of the popular ’90s TV show starring David Hasselhoff and Pamela Anderson, and a sequel would somewhat follow the footsteps of the successful movie reboot of 21 Jump Street. Though, according to reviews, that’s the only thing they have in common. Baywatch producer Beau Flynn told Variety that he and writers Damian Shannon and Mark Swift, who co-wrote the script for the first movie, have a rudimentary plan for Baywatch 2.
“We have an amazing story already. We’re bringing back Shannon and Swift who wrote on the first one, and I know Dwayne would be in, I know Zac and all the girls would be. We just have this really cool idea to put them in this whole new world. We would take it overseas.”
The “girls” in the cast that he mentions are Priyanka Chopra, Alexandra Daddario and Kelly Rohrbach, and other cast members include Jon Bass and Ilfenesh Hadera. They all seem game for another lap at the Baywatch pool, according to Variety.
Rohrbach, who made her feature film debut in Baywatch and takes over Pamela Anderson’s role from the original series, was especially excited.
“Of course! I couldn’t have asked for a better cast on my first film. These guys are awesome. They’re hilarious, they’re loving, they’re generous. We really were a family and I think that comes though on the screen, as well.” Daddario agreed, adding: “Yes! I would love to. I think it’s very cool to be part of a franchise, and I think it helps get other work. It’s fun. You get to travel the world and work with these amazing people, and you get to make people laugh, so I’m completely down for it.”
Chopra is the villain of the film so it seems unlikely she’ll return for the second. And what of Johnson and Efron? Well, Johnson is this movie’s most dedicated hype man, and is one of the driving forces behind the movie making it to the big screen, acting as the lead star and producer. With Johnson at the forefront of other massive blockbusters like Fast and Furious, the upcoming Jumanji, and solo supervillain movie Black Adam, the world’s best paid actor would have his hands full. But he would probably sign on for a sequel anyway.
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