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thewrittennerd · 2 years

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Author's Note: So, originally, I'd intended for Hallie and Jake's oldest son to be named Elijah but am letting another author have the name and I'll change mine to Ephraim. There will be a connection worked in with a back story behind it.

Credit for spoken lines go to their respective creative writing teams on “All American” (airing Mondays on The CW; Season 5 x Episode 4) and “FBI: International” (airing Tuesdays on CBS; Season 1 x Episode 13)

Previously, in “Baciami Ciao”, Hallie tells Jake her complicated birth story through a series of flashbacks.

Chapter Three

Maverick's jaw slackens with confusion and then shock coursing its way through his bloodstream. His gaze moves from the clear plastic bag being held out to him by Jake and out the window as his mind flashes back in time to a memory he'd never told anyone, not even Iceman, about.

Early 1987 – North Island

As Maverick is heading toward the doors for the base's main structure, his ears pick up on voices raising higher and higher the closer he gets. The dark haired pilot stops in his tracks just to the side of the doors in order to get a better shot at what was being said. “I just don't get why we can't tell him the truth!” Maverick's jaw drops. That belonged to Ron “Slider” Kerner.

“Because, according to Mike, I'm carrying his 'oops' baby. A baby he didn't think we'd ever have because he'd been shooting blanks!” Maverick hears the agitation in Hannah Metcalf's voice as her feet begin storming toward Maverick's hiding spot.

“But it isn't his, Hannah, and if you think for one second that I'm going to stand by and watch you play pretend…then I guess this is over. Don't bother calling me when you're looking for a roll in the hay and don't come knocking when you're needing a shoulder to lean and cry on.”

“But…Ronnie…”

Ron ignores her soft pleas and leaves the mess hall without looking back.

Present Day – Somewhere in the Midwest

Ron is in the middle of a morning session with his yoga instructor via Zoom on his tablet. Just as he is about to move into his next pose, the Siri on Ron's cell phone begins going off with a phone call alert. “Call from…Sarah Kazansky,” the automated voice says.

With a bit of a grumble and a soft, frustrated groan, Ron puts his session on pause long enough to answer his phone. “Kerner,” he responds, his voice coming out a bit more harsh than he actually anticipated. So, with a clearing of his throat, Ron starts his side of the conversation over. “This is Ron Kerner speaking.”

“Admiral Kerner, this is Dr. Hallie Burnett Seresin calling on behalf of Thomas and Sarah Kazansky. I understand that…Ephraim Philip Seresin, you give the toy back to Marley, now.”

Ron hides a gasp from the phone call as the woman who identified herself as Hallie, a doctor, starts ranting in a soft and gentle voice to her son to not break anything of great value in Tom's and Sarah's home with all the running around. “I'm sorry, Mom,” Ron hears the boy (teenager, maybe?) apologize quietly and gently to “Hallie”.

“It's okay. Just be more careful, please?” Hallie says. Her oldest, almost a carbon copy except his blue & green eyes, hugs Hallie gently and kisses the side of her still sleep-mussed and crinkled blonde waves.

“Dr. Burnett?” she hears muffled from upstairs. Hallie leaps from the kitchen chair and goes rushing up the carpet-covered steps, taking them two at a time until she bursts into the master bedroom. Sarah is wearing a panic-filled expression, hand trembling as it holds up the cloth handkerchief her husband is almost never without these days. Hallie nods at seeing the bright crimson stains that adorn the once-white material.

“Limit his activity and the visitors,” Hallie tells the older woman in gentle demand.

J&H | F&H | J&H

“I've been called back to Top Gun.” Jake's voice is soft…reserved…hesitant. Almost as if he's afraid to say it. “That's all I know at the moment. Any other details they're keeping Top Secret and classified.” He pauses for a moment. As if he's wanting to give her a reassuring kiss. But he isn't here and Hallie can focus on their kids and her medical career. Jake sighs. “Judging by your silence I take it that you're shocked by the news.”

Hallie ends the Face Time calling session before she says something she'll regret later and initiate another argument between herself and Jake. Before she can so much as take a sip of the coffee poured before Jake's unexpected phone call, Hallie is greeted by the sight of all of her and Jake's children; from Ephraim down to Marley and Luke, and the youngest, Noah and Nathaniel. They're a mix of hair shade, eye color and skin tone but there's no mistaking who they belong to. “Is it true that Daddy's coming home to here in San Diego? Because then you can get back together!” Fourteen year old Abigail bounces around in her excitement, which is short lived by the heavy sigh that emerges from Hallie's very form. “He is going to stay with us, right Mama?”

“He might live in the barracks, Abby. We didn't discuss the living situation during our phone call,” Hallie tells her daughter.

“But there's still a possibility he could choose here, Mama! He could sleep in one of the guest rooms downstairs. Please, oh please, Mama. Invite him to stay here with us!” Abigail pleads, her ice crystal blue eyes filling up with tears for further effect.

Hallie sighs, knowing she'd already lost this fight. “Ephraim, darling. Go and get some of the fresh linens from the closet. Then, after you've done that, head onto school. You've got that big presentation today.” The teenage boy grins before kissing his mother's cheek loudly and hurrying from the room.

F&H

“This is ridiculous. Jake can't possibly still want me back in his arms again,” Hallie mutters in an attempt at giving herself a well-deserved and probably overdue pep talk. “And even if he did…he probably has a girlfriend by now. Oh why did I have to give into Abigail's pleading with me? It'll be fun, she said. Ugh!”

“I don't.” The suave timbre of his voice with that thick Texan drawl speaks from the shadows all around the pair of former spouses. Whirling around in her startled state after her impromptu pep talk with herself, Hallie finds herself under an intense scrutiny. “Nor do I want to date anyone other than you.” The long, slow movement of his navy blue and white striped polo shirt being pulled up a pair of smooth, muscular six-pack abs is enough to nearly distract his ex-wife from the start of his speech.

Nearly.

“You may be thinking that I could have any woman I want but I don't. Not…one…single…bit. The one I want is standing here in this home that we built from its very bare bones. She may think that I've always been a wild card trying to earn his spot in the playoffs but it's her who held that treasured concept. That I gamble with her heart and the love which connects the deepest part of us both, makes us one. But I don't, Fastball, you know that. We both do.” Jake has finally come to a stop in front of Hallie; the deep intensity of his gaze remaining focused solely on her face.

“Non mi devi niente, nemmeno un discorso di spiegazione,” Hallie tells her former husband. She starts brushing past Jake but he is quick to grasp Hallie's bare forearm, the tops of his fingers just barely grazing the outside of her breast. Hallie doesn't shy away from either touch on her body but boy oh boy do they start wreaking havoc on her insides. (“You don't owe me a thing, not even an explanation speech.”)

“Non sono andato avanti,” Jake murmurs, spiking the temperature of Hallie's nerve endings into a lava-hot boil. (“I haven't moved on.”)

“Onetamente non importa nemmeno,” the words tumble from Hallie's mouth before she can stop them and she remains frozen in place except to lick her suddenly dry, cracked lips. (“Honestly, it doesn't even matter.”)

“Fa a me,” Jake responds in the same murmur from before. (“It does to me.”)

And then, as if they'd been pulled back in time to the moments before Hallie confessed her pregnancy with Noah & Nathaniel, Jake's mouth has crashed to land on her own.

She meets his dueling tongue with a dancing folly of her own, hands not idle as they seek out Jake's broad and firm shoulders. Fingers bunch into tight, awkward and curled fists against the sinew flesh; digging themselves in until Hallie's nails are leaving behind half crescent moon-shaped marks. The blonde starts to realize what she's doing and is about to remove her hands when one of Jake's hands grip Hallie's forearm. “Per favor. Fammi sentire te per stasera.” (“Please. Let me have the feel of you for tonight.”)

“Solo per stanotte,” Hallie responds in a gentle, raspy murmur. (“Just for tonight.”)

“Solo per stanotte,” Jake replies, his green eyes turning into a deep emerald color the deeper he stares into Hallie's blue…sapphire…eyes. (“Just for tonight.”)

They crash together once more; mouths melding, hands seeking. Blood boiling above the normal hottest temperature. Jake tugs gently at the straps of Hallie's matching bra and underwear set in a deep cobalt and sapphire blue shade. The lace he barely pays attention to as Jake's mouth covers the satin beneath. Hallie moans as the flat part of his tongue proves underneath the bottom of her breast, starting a path of kisses and touches that she can't help but keen from, making her slender form go backward into a perfect arched position. It pushes Hallie tighter to the firm muscles that are a part of her ex-husband's chest.

A groan of longing escapes Jake's lips as he's moving into a kneeling position. The warm nature of his breath causes Hallie's stomach muscles to spasm and then ripple. “Are you still jogging when you can?” Jake's question is soft even though it comes from out of nowhere into the left field that was involved in the cat and mouse baseball match between the former spouses.

“Y…Yes. When I can,” Hallie says with a brief nod to go with her answer. Her stomach's muscles quiver as Jake rubs the top of his head and the rough stubble of his five o'clock shadow from unshaven cheeks against the flesh. “Cosa devo fare per farti tornare a casa per occuparti dei nostri figli e restare?” (“What must I do to make you come home to me and our children and stay?”)

“Tutto quello che devi fare e chiedermelo,” Jake replies, looking up at her. (“All you have to do is ask me.”)

“Questo sono io che chiedo,” Hallie says, her voice soft and pleading. (“This is me asking.”)

Jake surges upward off his knees and connects their lips in what could only…if any of their friend groups were witnesses to it…be described as a kiss filled with emotion in heavy droplets.

They stumble together as a unit to switch off the water for the hot tub and then move to the doors along the back wall. Hallie is the first one to grab for a door knob, helping herself and Jake into one of the non-guest rooms; a room designed specifically for them. With lips still locked to Jake's, Hallie has no choice but to jump up slightly until her thighs grip both Jake's hips. He tightens said grip with both hands and steps over to lay Hallie among the bed covers. She uses both caps of her knees to lock in place against Jake's hip so that he couldn't separate himself from Hallie.

Not that Jake really wanted…or planned…to separate himself from the woman beneath him. Widening her stance around him Jake maneuvers his groin snug against her pelvic bone. “Mia moglie, il mio cuore, la mia anima, il mio amore.” (“My wife, my heart, my soul, my love.”

“Mio marito, il mio cuore, la mia anima, il mio amore,” Halle replies, grinding the lower half of her body against Jake's. (“My husband, my heart, my soul, my love.”)

J&H | F&H | J&H

At her home just down the street and around a loop block from Hallie and Jake's, Norah has just put some of her youngest grandchildren to bed after dinner, bath and a bedtime story. The youngest ones Norah sits with in the rocking chair…a staple in her life that she'd found in New Orleans, brought with her to Texas and then to San Diego…setting it into motion with the tips of her sock-covered toes.

And then there's a knock at the front door. It isn't loud, which Norah is grateful about, and she carefully gets up from the rocking chair. With six-month old Noah cradled in her arms Norah the door to the nursery open just a crack, baby monitor hooked to the back pocket of her sweatpants. Emerging from the hallway Norah finally trudges to a stop by the front door, opening it to find a man with buzz-cut short graying hair. “What can I help you with at this time of day, sir?”

“Well this is awkward. I'm looking for Dr. Hallie Seresin. I've been told this is where she lives. I must be at the wrong address because you're definitely not her and you're definitely not her mother.”

“You're wrong. I am her mother.”

#jake seresin #glen powell #alice bellagamba #jake and oc #top gun maverick

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spaceexp · 4 years

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NASA funds eight new projects exploring connections between the environment and COVID-19

Elizabeth Goldbaum for GSFC News Greenbelt MD (SPX) Sep 04, 2020 While scientists around the world are confined to their homes during the COVID-19 pandemic, Earth observing satellites continue to orbit and send back images that reveal connections between the pandemic and the environment. "Satellites collect data all the time and don't require us to go out anywhere," Hannah Kerner, an assistant research professor at the Univers Full article>>

#space

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sciencespies · 3 years

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Planet provides data to federal civilian agencies under NASA contract

https://sciencespies.com/space/planet-provides-data-to-federal-civilian-agencies-under-nasa-contract/

Planet provides data to federal civilian agencies under NASA contract

SAN FRANCISCO – Researchers delving into climate change, biodiversity loss and other topics through work funded by U.S. federal civilian agencies and the National Science Foundation will have access to Planet Earth-observation data through September 2022, under a NASA contract announced Sept. 14.

The announcement follows NASA’s decision in July to offer wider access to Planet data, which had previously been limited to NASA-funded work. Now, some 300,000 researchers, contractors and grantees, who receive funding from federal civilian agencies and NSF, will have access to the data, Planet said in a Sept. 14 news release.

“NASA has led the way in engaging with the commercial space industry and this new contract further validates their commitment to both commercial space and climate action,” Robbie Schingler, Planet co-founder and chief strategy officer, said in a statement. “In the most critical decade for climate action, NASA has made it possible to provide researchers with robust datasets that can be used to monitor and address the current climate crisis and we look forward to collaborating further on this important work.”

The NASA contract win couldn’t come at a better time for Planet, a decade-old company preparing to list shares publicly through a merger with dMY Technology Group, Inc. IV, a special-purpose acquisition company. Planet offers daily Earth imagery with a fleet of more than 150 Dove cubesats and high-resolution imagery with 21 SkySats.

NASA’s Earth Science Division awarded Planet a $6.7 million contract in 2019 for data to track essential climate variables. In 2020, the space agency expanded the award made through the Commercial SmallSat Data Acquisition Program to cover NASA employees, contractors and NASA-funded research.

NASA then awarded Planet a $2.24 million contract in July to share data with federal civilian agencies and NSF through September 2021. The latest award extends the contract through September 2022. Planet received $6.2 million for the first task order awarded under the new contract for data provided until Jan. 13, 2022, according to the USAspending website.

“Extended access to Planet data for all federally-funded scientists is a game-changer for researchers trying to figure out what’s happening right now with our rapidly-changing world,” Joe Levy, a Colgate University professor who conducts research on permafrost landsystems, said in a statement. “Working on NSF-supported research in Antarctica using Planet data means being able to watch for changes to Earth’s polar regions practically every day the sun is up. We’re seeing day-to-day changes in where ground ice is thawing, when meltwater is flowing, and how once-frozen environments are evolving.”

Hannah Kerner, a University of Maryland, College Park, assistant research professor who serves as the machine learning lead for NASA Harvest, a Food Security and Agriculture initiative, also applauded the Planet contract.

“As a consortium that spans multiple agencies and universities, the ability to share data and collaboratively advance research methods is critical for achieving our goals,” Kerner said in a statement.

#Space

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saintssinnersauthors-blog · 4 years

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A HUGE THANK YOU to CA King for moving Saints & Sinners forward!!!!! We’re super excited! Eek! We are NOW on Pinterest!!! https://pin.it/2rEQN2c Also a huge thank you to Andi Lawrencovna for her tireless efforts and bun busting! And to Angelina Kerner for busting buns! Thank you to the authors who are hanging on for this wild ride we’re on! You’re spectacular!!!!! Mary Ann Abraham Bryan Harrell (BK Harrell) Darlene Kuncytes Author Madison Granger Megan Kuykendall Annamarie Gardner Crystal StClair Hannah Earl Shaunna Author Rodriguez Didi O Deborah Garland Author https://www.instagram.com/p/CB6sVv3A_Tj/?igshid=1ejrkeqtczbr6

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garudabluffs · 4 years

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Hannah-Jones won a Pulitzer Prize for creating the 1619 project at The New York Times, which tracks the legacy of slavery. Her latest article for the Times Magazine, What is Owed, makes the case for economic reparations for Black Americans. FRESH AIR*

A Call For Reparations: How America Might Narrow The Racial Wealth Gap

If true justice and equality are ever to be achieved in the United States, the country must finally take seriously what it owes black Americans. By Nikole Hannah-Jones

Most of the time these uprisings have produced hand-wringing and consternation but few necessary structural changes. After black uprisings swept the nation in the mid-1960s, Johnson created the Kerner Commission to examine their causes, and the report it issued in 1968 recommended a national effort to dismantle segregation and structural racism across American institutions. It was shelved by the president, like so many similar reports, and instead white Americans voted in a “law and order” president, Richard Nixon. The following decades brought increased police militarization, law-enforcement spending and mass incarceration of black Americans.

The prosperity of this country is inextricably linked with the forced labor of the ancestors of 40 million black Americans for whom these marches are now occurring, just as it is linked to the stolen land of the country’s indigenous people. Though our high school history books seldom make this plain: Slavery and the 100-year period of racial apartheid and racial terrorism known as Jim Crow were, above all else, systems of economic exploitation. To borrow from Ta-Nehisi Coates’s phrasing, racism is the child of economic profiteering, not the father.

At least 6,500 black people were lynched from the end of the Civil War to 1950, an average of nearly two a week for nine decades. Nearly five black people, on average, have been killed a week by law enforcement since 2015.“

READ MORE https://www.nytimes.com/interactive/2020/06/24/magazine/reparations-slavery.html

A Call For Reparations: How America Might Narrow The Racial Wealth Gap

*LISTEN 42:25 https://www.npr.org/2020/06/24/882773218/a-call-for-reparations-how-america-might-narrow-the-racial-wealth-gap

#What Is Owed Reparations 1619 Project #Nikole Hannah-Jones

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artsforlifenonprofit · 6 years

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“Don’t feed the plant!” Audrey Two makes her stage debut at MASC (Monroe Actors Stage Company) as Little Shop of Horrors by Alan Menken and Howard Ashman takes the stage for the first time in the historic Capitol Theater in Waterloo, IL on Friday, Feb 8. The musical will continue on Feb 9, 10, 15, 16 and 17. Friday and Saturday performances are at 7:30p.m. and Sunday matinees are at 2:30p.m. The production is directed by Matt Dossett, with choreography by Karen Lee and music direction by Marcia Braswell. The talented cast is headlined by George Doerr as Seymour, Julie Petraborg as Audrey, John Jauss as Mr. Mushnik, Sarah Polizzi as Ronnette, Kara Grossmann as Crystal and Hannah Lindsey as Chiffon. Orin is played by Seth Aycock and Tim McWhirter is the voice of Audrey Two. The ensemble consists of Jeff Clinebell, Valleri Dillard, Jennifer Kerner, Reagan Posey, Rachel Mackenzie, Mark Sochowski and Austin Brouk. Tickets are available by calling 618-939-SHOW (7469) or by visiting the website at www.masctheatre.org. BPA Eligible https://www.instagram.com/p/BtUDw1oghfO/?utm_source=ig_tumblr_share&igshid=1f55ioskfvc19

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downthetubes · 6 years

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From The Trenches and In Pictures: The Lakes International Comic Art Festival 2018

Photo: Andrew Mark Sewell

This year’s Lakes International Comic Art Festival – the weekend-long event in Kendal, Cumbria, now in its sixth year – saw dedicated comics fans brave Storm Callum in their hundreds to enjoy a weekend of creator events, exhibitions (some still on), steampunk, book launches and more this weekend.

Me and my doppleganger! Photo: Andrew Mark Sewell

For me, it was a bit of a…

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mkulimaforum · 5 years

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Food security from space? Only with NASA. #currentlylistening to Dr. Hannah Kerner on the On Orbit podcast & learning how @NASAHarvest is using machine learning systems to enhance #foodsecurity throughout our world Take a listen here: https://t.co/4ypf4mmyc3

— CSIS Food Security (@CSISFood) February 13, 2020

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iliketopgun · 7 months

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What my drafts look rn

#rosalie riveter kerner #hannah kerner #hayley mockingbird prescott #lyra chaos mitchell #cassidy rascal bradshaw #zoë prescott #madison machado #samantha karma kazansky #natalia jackson #samantha atkinson #lydia kortez #iliketopgunbs

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tuseriesdetv · 7 years

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Noticias de series de la semana: FX y AMC a juicio

Demanda contra AMC por la muerte de Bernecker

Más de seis meses después de la muerte de John Bernecker, su madre ha presentado una demanda culpando a AMC por producir The Walking Dead, como en anteriores temporadas, con "mínimo coste y máximo beneficio". Dice la denuncia que, como último eslabón en la toma de decisiones de producción, son responsables de asegurar las precauciones de seguridad para proteger a sus artistas y que sabían que la grabación de la octava temporada, incluido el séptimo episodio, no estaba siendo ejecutada de forma segura de acuerdo a los estándares de la industria. La cadena comenta que se toma la seguridad de sus empleados en todos sus sets "extremadamente en serio" y que "cumplen o exceden los estándares de seguridad de la industria". La investigación de OSHA concluyó que la escena no se ensayó, que no había ambulancia en el set y que el actor Austin Amelio, que interpreta a Dwight, empujó a Bernecker pese a que se le dijo expresamente que no lo hiciera. [Fuente]

Apoyo a Murphy contra Olivia de Havilland

Olivia de Havilland demandó a Ryan Murphy y FX por su representación en Feud: Bette and Joan y estos presentaron una moción argumentando que la demanda debería ser rechazada bajo el estatuto de California que prohíbe demandas frívolas amparándose en la Primera Enmienda (en resumidas cuentas, libertad de expresión). Estas mociones suelen tener éxito pero la juez Holly Kendig, de la Corte Superior de Los Ángeles, no la consideró oportuna en este caso. Kendig acepta que FX tiene libertad de expresión, aunque se centra en el segundo punto del estatuto, que destacaría los derechos de de Havilland sobre los demandados al presumirse una mínima probabilidad de prevalencia en su testimonio. Ahora, Netflix, The Electronic Frontier Foundation y la MPAA -que incluye a Paramount, Sony, Twentieth Century Fox, Universal, Disney y Warner Bros.- apoyan a Murphy y FX en su intento de apelación. Afirman que el análisis de la Corte es una desviación sin precedentes de décadas de protección a la libertad de expresión y amenaza con condenar géneros enteros de películas basadas en hechos reales como docudramas y biopics. "Los autores, guionistas y directores no pueden contar este tipo de historias si se les requiere presentar cada momento con el cien por cien de exactitud", dice el abogado Mark Kressel en un amicus curiae (una presentación voluntaria de terceros ajenos a un juicio sobre un tema generalmente de interés público) en el que señala que películas como The Post, Molly's Game o I, Tonya, candidatas al Oscar, podrían verse afectadas por esta decisión. MPAA y Netflix aclaran en una nota al pie que no creen que una queja relacionada con un docudrama no pueda estar justificada, sino que, en este caso, de Havilland no puede probar que la representación sea ofensiva o que se haya actuado con malicia. Su principal preocupación es que la juez haya permitido que sobreviva esta demanda. Daniel Nazer, abogado de EFF completa la queja en otro escrito diciendo que "la mera intención de crear un drama realista será suficiente para cancelar su protección en la Primera Enmienda", que "todo el género necesitaría el permiso expreso de todos los sujetos, haciendo imposible completar trabajos como The Social Network o The People v. O.J. Simpson" y que "una amenaza de pleito sería suficiente para disuadir a muchos creadores de finalizar un proyecto". "Si FX hubiera decidido representar a de Havilland como una criatura mitad humano y mitad gusano, Feud estaría protegida por la Primera Enmienda. Pero si, para cumplir los requisitos que aseguran la libertad de expresión, un artista debe convertir a una persona real en un híbrido de humano y gusano, entonces la doctrina subyacente es totalmente errónea". [Fuente] SAG-AFTRA, el sindicato de actores, coincide con EFF en ciertos aspectos pero, aun sosteniendo que no es cuestión de elegir un bando en este caso concreto, opina que la Primera Enmienda no es absoluta y que los cineastas tienen la obligación de hacer un ejercicio de precaución al representar a un individuo vivo para no invadir de forma injustificada sus derechos individuales o deshonrar falsamente su reputación. [Fuente]

Renovaciones de series

CBS ha renovado la sitcom Murphy Brown (1988-1998) por una undécima temporada. Candice Bergen vuelve como protagonista. Además, la cadena ha encargado pilotos de reboots de Magnum, P.I. (1980-1988) y Cagney & Lacey (1981-1988).

Sky ha renovado Fortitude por una tercera y última temporada

BBC One ha renovado Doctor Foster por una tercera temporada

Cancelaciones de series

USA Network ha cancelado Damnation tras su primera temporada

USA Network ha cancelado American Rust antes de su estreno por problemas de casting.

Incorporaciones y fichajes de series

Meryl Streep se une como regular a la segunda temporada de Big Little Lies. Será Mary Louise Wright, la madre de Perry (Alexander Skarsgård).

Paul Bettany no interpretará finalmente al príncipe Philip en The Crown.

Cherry Jones (Transparent, Awake) será la madre de June (Elisabeth Moss) en la segunda temporada de The Handmaid's Tale.

Kip Pardue (Marvel's Runaways, Ray Donovan) será Chad, el prometido de Kelly/Zelena, en el episodio 150 de Once Upon a Time, dirigido por Lana Parrilla.

John Malkovich (Con Air, In the Line of Fire) participará en varios episodios de la tercera temporada de Billions interpretando al multimillonario ruso Grigor Andolov.

Lolita Davidovich (True Detective, Shades of Blue) se une como recurrente a la cuarta temporada de How to Get Away with Murder. Se desconocen detalles del personaje.

Kenneth Brannagh (Murder on the Orient Express, Dunkirk) se une a la tercera temporada de Upstart Crow.

Michael Shannon (Nocturnal Animals, Boardwalk Empire) protagonizará The Little Drummer Girl junto a Florence Pugh y Alexander Skarsgård. Será Kurtz, un espía israelí.

Hannah Waddingham (Game of Thrones, 12 Monkeys) será recurrente en Krypton como Jax-Ur, una de los principales científicos del planeta y líder de la organización terrorista Black Zero. El personaje ha sido tradicionalmente masculino en la mitología DC.

Joanne Whalley (Wolf Hall, The Borgias) será la hermana Maggie Murdock en la tercera temporada de Daredevil.

Evan Gamble (Hap & Leonard, The Vampire Diaries) será recurrente en la cuarta temporada de Fear The Walking Dead como Ennis, alguien que solo se preocupa por sí mismo.

David W. Thompson (Green Room, Win Win) sustituye a Charlie Tahan en el papel de Scarecrow durante la cuarta temporada de Gotham.

Ashley Zukerman (Manhattan, Designated Survivor) será recurrente en Succession como Nate, un consultor político con buenos contactos y amigo de la familia Roy.

Nadine Lewington (Holby City, Containment) será recurrente en la quinta temporada de The Originals como Greta Sienna, un vampiro que vivió en Europa en los años 20.

Monique Green será recurrente en One Day She'll Darken como Nina, prima de Fauna (India Eisley).

Chyna Layne (Shemekka) ha sido ascendida a regular de cara a la segunda temporada de She's Gotta Have It.

Pósters de series

Nuevas series

Helen Mirren (The Queen) interpretará a Catherine the Great en una miniserie de cuatro episodios para Sky y HBO escrita por Nigel Williams (Elizabeth I) y dirigida por Philip Martin (Prime Suspect).

Apple ha dado luz verde directa a un drama escrito, dirigido y producido por Damien Chazelle (La La Land, Whiplash). No se conocen más detalles.

Netflix encarga ocho episodios de Unbelievable, limited series basada en hechos reales que se centra en una adolescente que mintió sobre haber sido violada y las dos detectives que descubrieron la verdad. Escrita por Susannah Grant (Erin Brockovich).

Sky encarga ocho episodios de Curfew, drama sobre una carrera ilegal de coches armados y customizados desde Inglaterra hasta Escocia para escapar de un gobierno totalitario. Protagonizan Sean Bean (Game of Thrones, The Lord of the Rings), Adrian Lester (Riviera, Hustle) Malachi Kirby (Roots, Black Mirror), Phoebe Fox (Close to the Enemy, Black Mirror), Robert Glenister (Hustle, Spooks), Aimee-Ffion Edwards (Peaky Blinders, Detectorists), Rose Williams (Reign), Elijah Rowen (Vikings) y Guz Khan (Zapped, Borderline). Creada por Matthew Read, guionista de Hammer of the Gods y productor de Happy Valley o Doctor Foster.

Paramount Network, antigua Spike TV, ha adquirido los derechos de MaddAddam, trilogía de novelas de Margaret Atwood (The Handmaid's Tale, Alias Grace) que narra la tendencia de la humanidad a la autodestrucción. Adaptan David Kanter (Philip K. Dick's Electric Dreams) y Linda Carlson (Five Came Back). Darren Aronofsky intentó adaptarla previamente para HBO.

FX ha encargado un piloto del reboot de What We Do in the Shadows, la película de 2014 escrita, dirigida y protagonizada por Jemaine Clement (Flight of the Conchords) y Taika Waititi (Thor Ragnarok, Hunt for the Wilderpeople). Clement escribirá y Waititi dirigirá el reboot producido por ambos.

Tomorrow Studios desarrolla la adaptación de The Oracle Year, la novela de Charles Soule (2018) sobre un joven de Nueva York que tiene 108 visiones del futuro y monetiza esas predicciones para convertirse en famoso.

La productora Caryn Mandabach (Peaky Blinders, Nurse Jackie) prepara When We Were Orphans, limited series adaptación de la novela de Kazuo Ishiguro (2000) sobre un detective de Londres en los años 30 que resuelve la misteriosa desaparición de sus padres en Shanghai cuando era niño.

Desarrollan una serie basada en la trilogía cinematográfica de los noventa The Mighty Ducks, sobre un abogado que se convierte en entrenador de un equipo juvenil de hockey. Steven Brill, guionista original, prepara un guion. Jordan Kerner repite como productor.

El spin-off de Grey's Anatomy, centrado en un parque de bomberos, se titulará Station 19.

Fechas de series

La segunda temporada de Jamestown se estrena en Sky1 el 9 de febrero

La segunda temporada de Sneaky Pete llega a Amazon el 9 de marzo

La segunda temporada de Timeless llega a NBC el 11 de marzo

Otras imágenes

Crossover de Scandal y How to Get Away with Murder

Tráilers de series

Seven Seconds