GOSSIP - Fine Agosto col Bennet che ti voglio! La protagonista di "Agents of SHIELD" ammicca per Eric Ray Davidson...

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GOSSIP - Da "Glee" a Bob Dylan. Dianna Agron debutta nel cabaret a New York cantando hit del premio Nobel, dei Doors e dei Kinks

Dianna Agron is set to make her debut as a cabaret singer with a week of performances at the Cafe Carlyle in New York City next month! The 31-year-old former Glee actress will perform at the acclaimed venue from September 19 through 23. Dianna has a super cool plan for the set list to fit the lower register of her voice. She will be singing songs typically performed by men, such as Bob Dylan, The Doors, The Kinks, and The Zombies. Dianna is no stranger to the stage after performing on two nationwide concert tours for Glee. Get your tickets to see Dianna now on TicketWeb.com!

TELEFILM ART - Ecco i poster promozionali di "The Gifted"!

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NEWS - Il nuovo trailer di "AHS: Cult" fa accapponare la pelle. A Trump

SGUARDO FETISH - "Carpool Karaoke" omaggia "Game Of Thrones" per la puntata di stasera con l'inseparabile coppia Maisie Williams-Sophie Turner!
Carpool Karaoke: The Series is getting the Game of Thrones treatment! In the newly released video for the upcoming episode, the show’s regular intro was replaced by an animated sequence based off of the mega-popular HBO series. In the upcoming episode, GoT stars Sophie Turner and Maisie Williams get behind the wheel and have some fun as they drive around together. Sophie and Maisie‘s episode of Carpool Karaoke: The Series airs on Tuesday, August 22 on Apple Music. Watch the intro for the upcoming episode below!

GOSSIP - American Horror Reunion for Cher! Il cast di "AHS: Cult" tutto insieme al concerto della cantante mummificata (è la promozione cross-over, bellezza!)
The cast of American Horror Story: Cult enjoyed a weekend off from work in Vegas! The cast – including Colton Haynes, Billie Lourd, Sarah Paulson, Billy Eichner, Adina Porter, Alison Pill, Leslie Grossman, and Cheyenne Jackson – headed out to Vegas on Saturday (August 19) to attend Cher‘s show at the Monte Carlo Resort and Casino’s Park Theater. Joining the AHS castmates at the show included Colton‘s fiance Jeff Leatham, Cheyenne‘s husband Jason Landau, and Cher‘s son Chaz Bono. After the show, the cast went VIP to meet Cher herself before partying it up in Sin City until morning. American Horror Story: Cult premieres on September 5 on FX.

GOSSIP - Nina Dobrev: "dopo l'addio a 'TVD' ho avuto paura di non lavorare più!". E per non rischiare diventa direttrice di "Harper's Bazaar" di settembre

We’re obsessed with harper by Harper’s BAZAAR‘s latest cover, which features Nina Dobrev. The 28-year-old actress served as guest editor for the September issue, on newsstands August 22. Here’s what she had to share with the mag:

On her shocking departure from the hit CW series The Vampire Diaries in 2015: “That was the plan from the get-go. If anything, the fact that [leaving] terrified me drove me even more. I needed to feel that fear of ‘Oh, my God, what if I never get a job again?’ That just made me want to work five times as hard to make sure that didn’t happen.”

On her roles since then: “The things I want to do aren’t necessarily the things that are expected of me. I don’t want to play a teenager anymore. I want to play adult roles and be challenged and work with great filmmakers and tell incredible stories, and that has meant being really picky.”

On living an adventurous life: “My rule of thumb is, I’ll try anything once. I have a healthy—or possibly unhealthy—obsession with trying things for the first time. Nobody imagines me to be by myself backpacking, so they just think, ‘It can’t be her.’”

On how her modest background helped shape her political views: “I come from an immigrant family, and I think it’s unacceptable to treat anyone like that,” of Donald Trump’s “build the wall” rhetoric. “Hopefully he’ll get impeached. Or indicted. Or both. He just doesn’t act like a president. He acts like a reality star on a terrible, horrible show that should never be aired. And he’s responsible for incredibly important decisions for the country that I live in, so my opinion does matter whether or not I had a chance to vote.”

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GOSSIP - Meglio la Rica (Costa) che Rick! Norman Reedus e Diane Kruger beccati in spiaggia assieme (lui ha i capelli che sembrano più puliti quando li ha fradici che asciutti...)
Diane Kruger and Norman Reedus are going strong as a couple and they were spotted spending time together on the beach in Costa Rica! The 41-year-old actress was seen wearing a bikini while joining Norman, 48, on Thursday (August 17). The hot couple was also seen on the beach last week and you can see those photos here as well. Diane and Norman have been enjoying their tropical vacation after being apart while filming their respective projects, the film JT Leroy in Canada and the TV series The Walking Dead in Atlanta.

NEWS - Cogli la prima Mela! Apple si lancia all'attacco di Netflix sulle serie tv con 1 miliardo di budget

News tratta dal "Corriere della Sera"
Apple sfida Netflix. Un miliardo per produrre serie tv lanciandosi nel sempre più affollato mondo dello streaming. E non vuole soltanto distribuire ma anche mettersi dietro la telecamera. Per sfidare Netflix (e Amazon), secondo il Wall Street Journal, Cupertino nel 2018 riserverà un budget di un miliardo di dollari per la produzione di film e serie tv. Poco in confronto ai suoi ricavi, pari a 260 miliardi nel 2016. Molto se si pensa che la Time Warner (che ha creato serie di successo come Game of Thrones o Westworld) l'anno scorso per il suo canale Hbo ha speso circa la metà. Non si sa ancora quale sarà il canale di trasmissione ma le intenzioni di Apple di scendere in campo sono chiare: lo ha annunciato più volte il vicepresidente Eddy Cue. E un'anticipazione l'abbiamo vista a giugno, con il lancio del reality show «Planet of the Apps» su Apple Music. La Mela, comunque, si muove in ritardo. Serviranno titoli di tutto rispetto per poter sfondare sul piccolo schermo digitale.

GOSSIP - La "strana coppia" di "Broad City": "ecco come Trump ha influenzato la comedy"
Abbi Jacobson and Ilana Glazer of "Broad City" are on the cover of Nylon magazine’s August Denim Issue, on newsstands! Here’s what the comedy duo had to share with the mag:

Ilana, on how Trump effected Broad City this season: “This season is infused with what they’re feeling—and what we’re feeling—which is something along the stages of grief: denial, anger, bargaining, depression, and acceptance.”

Abby, on Broad City’s success: “I love this product we’ve made and I’m so happy to put it out in the world.”

Ilana, on people who criticize others for being political on social media: “I don’t care. Yass. Unfollow. Kill it.”

For more from the comedians, visit Nylon.com

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NEWS - Shonda Rhimes lascia ABC per Netflix? Ecco perché i grandi showrunner mollano i network generalisti

Articolo tratto da "Vulture"

For networks and their affiliated studios, finding a way to hold on to top-tier talent used to be a relatively simple proposition. Big producer threatening to jump to another company? Back up a Brinks truck. And if money alone wasn’t the only concern, offer the talent more “creative freedom,” usually by guaranteeing a certain number of “straight-to-series” projects so her ideas won’t have to go through the usual (and often demoralizing) pilot process. As important as both those factors remain in talent negotiations, Shonda Rhimes’s just-announced decision to sign with Netflix and leave ABC/Disney points to a bleak new reality for old-school broadcasters trying to hold on to big names. For some Hollywood creatives, particularly those at the peak of their careers, offers of big bucks and promises of creative autonomy aren’t enough to overcome the view that network television is now the least attractive medium in which to work. Rhimes didn’t leave just leave ABC. She left network TV. As financially lucrative as broadcast remains, the trade-offs seem increasingly not worth it for showrunners such as Rhimes, who chafe at its many downsides. Instead of making anywhere from 8 to 13 episodes per year, broadcast producers often have to churn out two dozen episodes each season. Content restrictions mandated by advertisers and the government give creators less storytelling freedom. Shorter and shorter episodic lengths, the result of networks trying to squeeze in even more commercials, mean stories often need to be rushed. Talking to The Wall Street Journal about her decision, Rhimes strongly hinted that these fundamental differences between making a show for a broadcaster and for a streamer such as Netflix drove her to depart. “I’m thrilled by the idea of a world where I’m not caught in the necessary grind of network television,” she told the newspaper. Keep in mind, Rhimes already had about as much creative freedom as any producer currently working in linear TV today enjoys. She had basically stopped taking most (if not all) notes from her bosses at the network and studio. Even after her drama The Catch had clearly failed to connect with audiences, ABC ordered a second season of the show and gave Rhimes time to overhaul the premise. (It still didn’t work.) Still, even if her superstar status understandably forced ABC to give Rhimes more room to make shows the way she wanted to, she was still mostly making shows by network TV rules.

By contrast, streaming networks in general offer producers a completely different creative playground. Netflix lets Masters of None’s Aziz Ansari and Alan Yang imagine a comedy in which every episode feels like a new, mini–independent film. Amazon gives Jill Soloway the freedom to tell a story like that at the heart of Transparent, an idea that wouldn’t make it past the pitch stage at a broadcaster. And the all-episodes-at-once model pioneered by Netflix gives creators the opportunity to engage audiences in immersive viewing experiences designed to be digested over the course of a few days rather than via the relatively glacial pace of a weekly release. Linear networks such as HBO and FX obviously offer some of the same freedoms as a Netflix, and even broadcasters have pushed their own boundaries to allow for creative innovation (think ABC’s own American Crime). A streamer like Netflix, however, offers all of these innovations, in addition to a global reach unmatched by linear networks and a deep, deep pocketbook with which to fund creators’ visions. For a few years now, the stark differences between the network and Netflix models of television have made it more difficult for broadcasters to attract top names. Networks struggle like never before to find interesting and well-known actors in their shows each pilot season because so many stars now want to work on streaming shows. As one exec told Vulture last year, “The talent wants to go to the fancy-schmancy new kids on the block.” (And if a streaming series isn’t an option, a premium or basic cable show often comes before broadcast these days.) The Rhimes deal shows how streaming fever may now be spreading beyond younger, fresher talent to creators who are already successful veterans in the network world. While this is clearly a problem for broadcasters, particularly a struggling network such as ABC, it’s also important to not assume it spells doom for linear TV. There are still plenty of talented producers willing — even eager — to work in a medium where even the least successful series reaches far more viewers than most cable shows and the likely audience for streaming shows. Plus, networks have proven time and again they’re able to adapt to new threats. Basic cable was supposed to spell the end for broadcast; it didn’t. HBO’s late-1990s golden age (Sex and the City, The Sopranos) was seen by some as a sign great writers would never again work for one of the Big Four, but then some relative unknowns named J.J. Abrams, Damon Lindelof, Marc Cherry, and, yes, Shonda Rhimes created Lost, Desperate Housewives, and Grey’s Anatomy, all of which premiered in the same 2004–05 season.

Things are far tougher for broadcasters than they were even ten years ago, of course. Younger viewers in particular have nearly given up watching scripted shows via linear television. Advertisers are moving their money elsewhere. But plenty of folks still do have a nightly TV habit, and like the Big Three automakers who’ve managed to (mostly) stay afloat despite decades of foreign threats, broadcasters have proven themselves exceedingly resourceful over the years. Pundits have predicted the death of network TV forever, but so far, network TV has always found a way to survive.

TELEFILM ART - Nostalgia canaglia! Per le repliche di "Stranger Things" Netflix omaggia i poster di due cult come "Stand by me" e "Nightmare"

News tratta da "Uproxx"
Stranger Things isn’t back until October, just in time to turn your Halloween into a big Netflix viewing party, but that doesn’t mean the streamer isn’t trying to do something special in the lead up to the premiere. The folks at the show’s official Twitter account are working on #StrangerThursdays, a re-watch of the first season that comes complete with some live tweeting and a new poster each week that acts as a take on one of the films that influenced the show. So far they have hit the frist two episodes from the show, giving us two fine posters to gawk at that are based on the classic posters from Stand By Me and A Nightmare On Elm Street.The plans seems to be that a new poster will be revealed for each episode, sending up one of the ’80s films that were noted to be major influences on the show back when it first premiered. The Stand By Me parallels were apparent from the start, with Stephen King even giving his stamp of approval to the show and saying he loves it. The Nightmare influences might be a little more a stretch, but the basic ideas are still there. Terror, evil, and the supernatural have invaded a small town, the adults seem worthless, and it is up to the children to put a stop to it before it’s all too late. That might be a stretch, but the show does a good job sending up the classic poster for the film and you can’t fault that.

GOSSIP - Fa caldo? Tutti sotto la palma con Rachel Bilson!

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SGUARDO FETISH - Chi fa da sè fa per due! La "strana coppia" di "Broad City" lancia la linea di sex toys per gli orgasmi garantiti

News tratta da "Uproxx"

Broad City has never shied away from the subject of sex, whether it comes to the will they, won’t they one-sided chemistry of the two female leads (they won’t), casual sexual encounters, masturbation, or kink such as pegging or men dressing up as babies. So it only seems obvious that Comedy Central would pair up with the British adult retailer Lovehoney to produce a complete line of Broad City sex toys that Abbi and Ilana would be proud of. The specially branded line of merchandise features a complete pegging kit, naturally, as well as your garden variety selection of vibes and wands, a butt plug, and even a set of kegel balls to prepare your nature’s pocket for carrying your secret stash or anything else. But that’s not all! Ever the progressive minds, they’ve got a little something for the dudes too, including a masturbation ball and something called the “Respect Your Dick 10 Function Love Ring,” which is colorfully described as follows.

The Broad City Respect Your Dick love ring is some high class sh*t. While it treats your schlong to a sensational squeezing, it embraces your cojones too. And ‘cos sharing is caring, the bullet attachment zeroes in on her clit so you both have lift off.

Broad City returns on September 13, and as we previously reported the fourth season will be avoiding all mentions of a certain “orange person” which makes complete sense now because that would definitely be a turnoff.

NEWS - Clamoroso al CibaLynch! "Porte aperte a una nuova stagione di 'Twin Peaks'". Ma tra 25 anni o prima?

News tratta da "Deadline"
It took more than 27 years for Twin Peaks to return to television. With the 18-episode followup season nearing the end of its run on Showtime, could there be another installment of David Lynch’s cult series? “It was always intended to be one season,” Showtime president and CEO David Nevins told Deadline at the Showtime TCA party. “A lot of people are speculating but there’s been zero contemplation, zero discussions other than fans asking me about it.” That said, “the door’s always open to David Lynch, whether that would lead to another season, I don’t know if he wants to do it,” said Showtime programming president Gary Levine, who was ABC’s executive on the original Twin Peaks series and played a key role in bringing the revival to Showtime. “This was a Herculean effort. I’m not sure if any director has ever done 18 hours in a row of a series… It’s remarkable what he achieved,  fans are liking it and for me that’s what’s satisfying.” The 18-episode Twin Peaks sequel, which had a rocky three-year road to the small screen, was written by the original series’ creators Lynch and Mark Frost and entirely directed by Lynch, with Kyle MacLachlan reprising his role. It has been a modest linear ratings performer but has driven record Showtime streaming sign-ups.

GOSSIP - Sofiaaaa! La Vergara si adegua al buco dell'ozono e resta come mamma Natura l'ha fatta...

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

CORRIERE DELLA SERA
La complessità delle serie tv spiegata in un manuale (prolisso)

"La complessità narrativa è ormai talmente diffusa e popolare che potremmo considerare quel periodo che va dagli anni Novanta fino a oggi come l'era della televisione complessa. La complessità non ha sostituito le forme convenzionali della maggior parte dei programmi televisivi: a tutt'oggi vanno in onda molte più sitcom e serie convenzionali che narrazioni complesse, per non parlare dei tanti generi di non-fiction e semi-fiction di successo come i reality, i telegiornali satirici e i programmi di lifestyle, che a tutt'oggi sono anzi tra i più diffusi». Alla serialità americana mancava una definizione che in qualche modo la legittimasse all'interno della comunità scientifica (sempre così autoreferenziale), dei media studies e dei cultural studies. Complex Tv. Teoria e tecnica dello storytelling delle serie tv di Jason Mittel è stato pubblicato da Minimun Fax, a cura di Fabio Guarnaccia e Luca Barra: dalla rivoluzione apportata dai Soprano al successo irripetibile di Lost, dalla struttura comica complessa di Arrested Development e How I Met Your Mother fino alla radicale trasformazione di Walter White in Breaking Bad, lo storytelling televisivo è profondamente cambiato, grazie a novità tecnologiche, produttive e di ricezione. Spesso per nobilitare questa tv, si fa un abuso di paragoni letterari o cinematografici. La parte più interessante del lavoro di Mittel è proprio questa: analizzare il mezzo televisivo in sé, piuttosto che cercare di legittimarlo attraverso similitudini cross-mediali. «È cambiato il modo in cui — scrive Mittel — gli spettatori guardano la serie, così come sono cambiate la produzione e la distribuzione, e tutto ciò ha portato a una nuova forma di storytelling che io ho definito complex tv, tv complessa». Il libro spiega il fenomeno addentrandosi nei dettagli. Con un linguaggio un po' troppo accademico. In 300 pagine si poteva dire meglio quello che l'autore dice in 600". (Aldo Grasso)

NEWS - Il trailer della 3° stagione di "Mr. Robot" omaggia la "Democrazia" (di Leonard Cohen)

It’s coming from the sorrow in the street
The holy places where the races meet
From the homicidal bitchin’
That goes down in every kitchen
To determine who will serve and who will eat

It’s coming to America first
The cradle of the best and of the worst
It’s here they got the range
And the machinery for change
And it’s here they got the spiritual thirst

I’m sentimental, if you know what I mean
I love the country but I can’t stand the scene
And I’m neither left or right
I’m just staying home tonight
Getting lost in that hopeless little screen

From the wars against disorder
From the sirens night and day

Democracy is coming to the USA

GOSSIP - Se avete caldo godetevi... l'inverno! Ariel Winter (quasi) vestita per "Imagista"

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GOSSIP - Li mortacci sua! "Star Trek: Discovery" non ha potuto iniziare le riprese fino alla dipartita di Sonequa Martin-Green in "The Walking Dead"

The upcoming series Star Trek: Discovery had a bunch of delays and the producers just revealed that one of them was waiting for star Sonequa Martin-Green to become available! The 32-year-old actress was committed to The Walking Dead and AMC wouldn’t let her join another series until her death on that show was made public.

Sonequa opened up about her gratitude for being on the show while joining cast members Jason Isaacs, James Frain, and Mary Chieffo, as well as executive producers like Alex Kurtzman at the 2017 TCA Summer Press Tour on Tuesday (August 1) in Beverly Hills, Calif.

“The honor is mine. The pleasure is mine. I feel that we are all running over—our cups are running over with gratitude and excitement,” Sonequa said about being the first minority female to be a lead on a Star Trek show (via E! News). “We’re bursting at the seams from the weight of it and the breadth of it. We just—we couldn’t be more thrilled to share this journey with you because we understand its significance. We know we’re telling a story we believe in. Everybody is so passionate…This is an epicly grand, yet microscopically tuned, deeply emotional story. We don’t take it for granted. We don’t take it lightly. I certainly don’t. I feel like—it’s a dream to be able to be a part of history. It’s a dream. So, thank you.”