#nick de noia

[emmynominees]

murray bartlett as nick de noia in welcome to chippendales

primetime emmy award nominee for outstanding supporting actor in a limited series or movie

[seekerofthemuse]

Is there a single role Murray Bartlett didn't absolutely slay?

[jocia92]

Thoughts on Dan Stevens in the 'Welcome to Chippendales' premiere.

Paul Snider was a truly horrible person, and I think that he is up there with the most unlikable people Dan has ever played. Which is partly because he was a real person who caused real harm. It was unsettling to watch him yell about Dorothy Stratten being a fucking bitch and a slut and all the rest. Even so, the show’s version is probably not even half as repugnant as the real man seems to have been. He's obviously still obnoxious, crass, misogynistic and ultimately violent, but the pretty light tone and writing of the show doesn't really allow for getting into it and of course he's just a minor part of the story. The Eric Roberts version of Snider in 'Star 80' was far scarier, but that was a totally different kind of project.

The show really condenses the timeline of Paul Snider's and Dorothy Stratten's connection to Chippendales and her murder. I guess to make it seem more immediate and fit it in one episode. Although they both had small but crucial parts in the early days of Chippendales, it was really not a huge part of their lives and hadn't been for a significant period by the time of their deaths.

In the show they have Steve Banerjee be inspired by a visit to a gay club with the idea for a male strip club for women, with Snider being against it initially. Presumably because Steve is the lead character and they wanted him to have the idea.

In real life Snider brought the idea to Banerjee. From Episode 1 of the podcast 'Welcome to Your Fantasy' (quoted is Bruce Nahin, who used to study for the bar at Destiny II, and then became an investor in the club. Not portrayed in the show.)

“Paul had gone to Canada someplace and saw some sort of gay male revue that was striptease, and he came and he told us about it.”

Snider convinces Banerjee that Chippendales should host its own male strip show, but not a gay revue. At Chippendales, the men will strip for women. Banerjee goes for it. What's he got to lose? They agree that Snider will emcee the show and they'll split the profits.

Bruce describes Snider in the podcast as “Animated. Crazy. Wouldn't stop talking. Obnoxious. Not one of my favorites.”

He was very bad at being an emcee, which was a problem, and they ended up replacing him with a local radio DJ named Richard Barsh. So that was the end of Paul Snider's involvement in Chippendales. It seems like they were easily able to take the idea and push him out. Nick De Noia hadn't entered the scene at that point.

Performance wise Dan definitely tore through the episode. He seemed to be especially having a lot of fun with Paul’s cringeworthy emceeing and delivered his lines in those scenes with an absolutely unhinged energy. I enjoyed the whole recruiting guys at the beach/flyer handing out part. It was funny, despite Paul's grossness. The way he shot that basketball so terribly and then yelled "fuck!" made me laugh. I think Dan sold Snider's desperation and patheticness well. He always goes for it completely in whatever he does.

Fully ignoring the terribleness of Paul Snider, I do love Dan in those outfits.

It's interesting that Dan has played two different real-life figures this year, at different ends of the seventies. Paul Snider makes John Dean seem like a great guy by comparison.

[transgenderer]

Somen Banerjee was born in Bombay (now Mumbai), India[2] on October 8, 1946. After operating a Mobil gas station and a failed backgammon club, he moved to the United States. Banerjee bought a failed Los Angeles club named "Destiny II" and turned it into a nightclub that featured female mud wrestling and a "Female Exotic Dancing Night." The 1979 addition of a male stripper dance troupe performing to target female audiences was the first of its kind in the United States.

Banerjee was charged with enlisting the aid of Ray Colon, a former Palm Springs police officer and lounge room entertainer, to commit the murder of show producer Nick De Noia in 1987, and in 1990 and 1991, a plot to kill Michael Fullington, a former Chippendales dancer and choreographer, and two other ex-Chippendales dancers, who Banerjee felt were competition to the Chippendales franchise.[4][5][6] He eventually pleaded guilty to attempted arson, racketeering, and murder for hire. He entered into a plea bargain that would have led to 26 years in prison, and loss of his share of Chippendales.[citation needed]

In the early morning of October 23, 1994, hours before he was due to be sentenced, Banerjee was found dead in his cell, having hanged himself. Reports stated that while he was depressed, it was not thought he would take his own life.[1]

do they think epsteined him. did he know something

[mariacallous]

On the inaugural night of the Chippendales club, the audience’s disbelief at the sight of a half-dozen men dancing and disrobing quickly melts into delight. The financially struggling owner, Somen (Steve) Banerjee (Kumail Nanjiani), has named his Los Angeles establishment for an eighteenth-century cabinetmaker whose rococo designs, Steve claims, adorned the residence of the viceroy of India. The venture may well be the earliest of its kind: a mainstream venue for striptease, by men, for women. The visual appeal of the amateur gyrators, who swan about on a sunken stage in the center of the room, to the Village People’s “Macho Man,” is questionable: they sport muscles and skimpy black underwear, but also mullets and long, greasy curls. Their looks may not matter much anyway; the hooting women are thrilled just to play the part of men for a night. But, for some, a real show needs more than role reversal. “Talk about a flaming pile of trash,” the choreographer Nick De Noia (Murray Bartlett) says at a later performance, when Steve asks him to leave. (Male patrons are not allowed.) In less than a decade, the two men, working in tandem, turn Steve’s frantic experiment into a national sensation, and lock themselves in a rivalry so radioactive it cannot but end in mutual destruction.

Opening in the late nineteen-seventies, Hulu’s “Welcome to Chippendales” is a night-club-lit comic tragedy that traces the spectacular rise and sordid fall of a cheesy yet pivotal corner of the sexual revolution. The series’ initial pleasures coalesce around the streamlining of the production numbers and the chiselling of its mall-sexy, Ken-doll-on-steroids camp aesthetic. Nick hires dancers who can move in unison—some, like Otis (Quentin Plair), boast professional stage experience. The troupe’s costumer, Denise (Juliette Lewis), smooths out the act’s kinks by supplying tearaway pants. Dorothy Stratten (Nicola Peltz), a Playmate turned rising actress, whose slimy, controlling husband, Paul Snider (Dan Stevens), talks his way into a small stake in Chippendales, is responsible for what becomes the brand’s signature flourish: the stand-alone cuffs and collars, inspired by the bunny uniforms at the Playboy Club. (When bean-counting Steve first meets Dorothy, he’s impressed—not by her title or her soft yet staggering beauty but by her acquaintance with Hugh Hefner.) As the business’s original mastermind, Steve goads a church group into protesting the club, then calls up a local TV station, garnering his “den of perversion and sin” some free publicity on the evening news.

Those who know Chippendales only from the “Saturday Night Live” sketch or as a popular Las Vegas revue may be surprised to learn of the organization’s violent history: in the early nineties, the real-life Banerjee pleaded guilty to racketeering, attempted arson, and murder for hire. It’s fitting, however, that the Hollywood version of this story focusses on a briefly magical collaboration that turns toxic over credit-hogging. The showrunners Jenni Konner (“Girls”) and Robert Siegel (“Pam & Tommy”) nurse ambitions of sociological insight in their reimagining of an Indian immigrant whose American Dream takes the form of a queer white man’s channelling of suburban-female desire. And yet the writers are also loath to relinquish the story’s twisty, true-crime roots. The result is an ideas-rich but disjointed series that feels like it’s tackling too much, yet somehow hardly enough, with a protagonist whose motivations are subject to whatever wild happenstance the scripts are setting up next. (Why does Steve idolize Hefner? And what does he think of his own improbable role in granting a greater degree of sexual agency to the kinds of women who might not consider men like him—brown, speaking accented English, financially unsteady in a disreputable industry—a viable sexual or romantic partner? “Chippendales” is strangely uninterested in the answers.) As the eight-episode season progresses, and the stripteases become sleeker, the show around them only gets messier.

No one enjoys the club’s runaway success for long. Nick, a Sondheim-loving snob with two Emmys that he won’t let anyone forget about, is tortured by the artistic challenge of having to top his own themed stagings. (An early favorite: shirtless bellhops thrusting against an ecstatic becardiganed hotel guest on a spinning fourposter bed—a genteel porn scenario that simultaneously emphasizes the woman’s allure and class status.) Although many hands went into building Chippendales, Nick knows, as does pretty much everyone else, that it is his genius that sustains it as an attraction. After a coke-fuelled bender, he and Denise decide that the most logical way to level up the stage show is by mounting “Hunkenstein,” a horror-tinged rock opera, to be performed by a live band, about the creation of the ultimate beefcake, assembled from the exceptional parts of various men. Steve’s angry rejection of the pitch poisons the well of his relationship with his choreographer. Every subsequent no from the boss further convinces Nick that he is “Mr. Chippendales,” a meaningless designation that he’s happy to trumpet on national television as he turns the production into a franchise and a tour, stoking Steve’s rancorous, scheming rage.

The divalicious Nick is the series’ only fully realized character, though Lewis and Annaleigh Ashford, who plays Steve’s charmingly practical wife, Irene, lend their scenes a lived-in sweetness that their narcissistic male counterparts resist. (Bucking the trend in recent strip-centric entertainment such as “Magic Mike,” “Hustlers,” “Zola,” and “P-Valley,” which reframe exotic dance as labor, sometimes under precarious or perilous conditions, the performers here, save one, are little more than a huddle of glistening torsos.) Compared with the supernova that is Nick, who is endowed with every last drop of Bartlett’s considerable charisma, Steve is a cold, gray moon. His arc is grander, though, transforming him, à la Walter White, from a striving underdog into a self-pitying sociopath. Nanjiani is serviceable as an actor from scene to scene, but he can’t find his character’s core, and receives little help from the writing. The racial microaggressions that Steve regularly endures are flat and obvious, almost P.S.A.-like. His biography is frustratingly spartan; the series only suggests, and barely makes coherent, why he moved to the U.S. and, before Chippendales, sacrificed half a decade of his life to an ascetic existence as a gas-station manager, subsisting on expired sandwiches, despite having enjoyed a comfortable life back in India. It’s only when Steve decides to wield America’s racial hierarchy against other minorities in pursuit of his own upward mobility—a dramatization of the middle ground between white and Black America that many Asian Americans occupy—that the series periodically achieves the political relevance it fumbles toward.

When Nick signs up Otis, the most talented of the auditioning dancers, Steve hesitates, noting, “He is Black.” Then he sees an opportunity in Otis’s race: “Customers will love it.” Both Steve and Nick turn a blind eye to the way their mostly white clientele single out the token dancer of color for particularly loutish objectification, grabbing Otis’s head for a kiss or reaching inside his briefs despite his clear discomfort. (“You don’t really get that at Lincoln Center,” Nick jokes.) Otis, who admires Steve’s achievements as a “brown-skinned brother . . . making shit happen for himself,” seeks racial solidarity with his employer, who sees his own hunger reflected back at him in a flattering light. But the entrepreneur, always sniffing around for a shortcut, realizes that the fastest way to climb up is by stepping on others. Steve’s misfortune is not that he’s wrong but, rather, that he lacks the wealth and the connections to discriminate at scale. America may be where Steve aspired to reinvent himself, but his adoptive home is relentless in making sure he knows his place. ♦

[dgct2]

Murray Bartlett quickly is becoming an Emmy darling. After years of flying largely under the radar, the Australian actor became a household name with his role on the first season of The White Lotus which landed him his first Emmy nomination and first win in 2022.

A year later, he is back with two Emmy nominations, as Supporting Actor In A Limited Or Anthology Series Or Movie for his role as Nick De Noia in Welcome To Chippendales, and as Guest Actor In a Drama Series for playing Frank opposite fellow Emmy nominee Nick Offerman on The Last Of Us.

Two lead actor nominees, Pedro Pascal in Drama Series for The Last Of Us and Quinta Brunson in Comedy Series for Abbott Elementary, are also nominated as Guest Actor/Actress In a Comedy Series for hosting Saturday Night Live. (Pascal gets bonus points for also scoring an Emmy nom in the Narrator category for Patagonia: Life On The Edge Of The World).

[rickchung]

Welcome to Chippendales (prod. Robert Siegel).

Hulu’s television adaptation of the surreal true crime story of the salacious origins behind the female-driven entertainment brand stars Kumail Nanjiani as Indian-American businessman and Chippendales founder Somen “Steve” Banerjee. There’s a lot of fun seeing the rise of male striptease culture in 1980s Los Angeles but the way the unsavoury criminal elements unfold leading to racketeering, arson, and murder in an episodic format never adequately highlights the real-life drama.

Nanjiani’s natural comic instincts are hampered by the frankly dour persona of the greedy Banerjee. Murray Bartlett shines in the role of charismatic choreographer Nick De Noia while surrounded by a talented supporting cast. Still, all the sordid ‘80s striptease business fun never entirely comes together with the more serious criminal elements.

[bitsmag]

Welcome to Chippendales traz Kumail Nanjiani como rei do strip-tease masculino

Seriado produzido pela plataforma Hulu é true-crime do criador de Pam & Tommy Kumail Nanjiani Acaba de sair o trailer do novo seriado true-crime da Hulu, Welcome to Chippendales. Robert Siegel, criador de Pam & Tommy, é o showrunner. Kumail Nanjiani (Silicon Valley) é Somen “Steve" Banerjee, o empreendedor responsável pela franquia de clubes de strip tease masculino Chippendales que reinou nos anos 80. O ótimo ator australiano ganhador do Emmy, Murrey Bartlett (White Lotus) também está no seriado no papel de Nick de Noia, produtor e coreógrafo.  Ainda no elenco estrelado estão Juliette Lewis, Andrew Rannells e Dan Stevens. Com oito episódios o seriado estréia na plataforma Hulu em 22 de novembro. No Brasil ainda não há data de estreia, mas deve ser disponibilizado no Star+. https://youtu.be/DchtacgVLbQ Read the full article

[omgthatdress]

Speaking of trashy and amazing based-on-a-true-story murder movies that should be coming up

Dev Patel is signed on to play Steve Banerjee in a movie about Chippendales, directed by the guy who did I, Tonya. This movie is going to water my crops and eat my pussy.

(Go listen to the Welcome To Your Fantasy podcast because it is WILD and well-done and omfg it's so good)

Basically Steve Banerjee was an immigrant from India who opened a night club called Chippendales, gave it an all-male strip review & put the dudes in collars in cuffs. It became hugely popular. Then he brought on a TV producer named Nick de Noia who basically turned it from himbos taking their clothes off into an actual act and a brand and made Chippendales the phenomenon we know and love today. And then Steve Banerjee had him killed.

[allaboutandrew]

Rannells (Black Monday, Girls5Eva) will recur as a rich kid investor in Chippendales New York and the love interest of Nick De Noia (Bartlett), who fueled Chippendales’ transition from seedy West L.A. strip club to worldwide sensation.

[larevistadelinsti]

Textos guanyadors del concurs Sant Jordi en català

La participació al concurs literari de Sant Jordi en llengua catalana ha estat extraordinària en quantitat i qualitat. Publiquem avui els escrits guanyadors. Bon Sant Jordi!!!!

1r d’ESO

EL JARDÍ SOMIAT,  Zayd El Kasmi, 1rB

Cada dia que passa desitjo canviar l'estil de la meva vida. Un estil on hi hagi tranquil·litat per descansar i respirar. Un dia, en llevar-me, vaig sentir que era un dia especial. Era primavera. Vaig treure el cap per la finestra. Tot era diferent. Hi havia un gran jardí tot florit de diferents tipus de flors. També hi havia una font amb una aigua que brillava amb la llum del sol.

Se sentien els xiulets dels ocells que volaven i jugaven al voltant d'aquella font. Era l'ambient que desitjava. Però, per desgràcia, era simplement un somni.

L'endemà, vaig rebre la notícia de mudar-nos. Quan vam arribar no em podia creure el que veia amb els meus ulls. Era aquell jardí que havia somiat! Per fi, el meu somni s'ha fet realitat.

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EL  BOSC,  Shahina Uddin, 1rC

   Hi havia una vegada una nena que es deia Maria. Vivia a la vora de un riu i al costat hi havia un bosc. Li agradava molt la natura, i cada dia regava les flors del seu jardí, però els seus pares no li deixaven anar al bosc a ella sola.

  Un dia, la Maria s’havia plantejat que volia anar al bosc ella sola, així que es va escapar per la nit: va agafar una llanterna i se’n va anar. Pel camí es va trobar un nen plorant li va preguntar què li passava, però ell no va contestar. Després d’una estona, li va dir que s’havia perdut feia tres dies, i que tenia 7 anys. Li vaig preguntar que com es deia i a on vivia: em va dir que es deia Marc i que vivia a la ciutat. No estaba molt lluny, així és que li vaig dir que l’endemà el portaria a casa seva, que ara havia d’anar anar a casa meva.

  Quan va arribar a casa, la Maria va despertar a la seva mare i li va dir la veritat: que s'havia trobat un nen plorant. La mare la va castigar, però també l’endemà va deixar anar sola a la Maria al bosc perquè portés el Marc a casa.    

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2n d’ESO

Natàlia i l’estrany jardí,  Silvia Alas, 2n A

Una vegada hi havia una noia que es deia Natàlia. Quan Natàlia tenia set anys la seva mare va morir i des de llavors el seu pare es va convertir en alcohòlic. Sempre que bevia, es va tornar molt boig, així que va acabar cridant i colpejant a Natàlia.

Un dia, Natàlia es va cansar de tots els abusos i va fugir de casa seva.Va córrer per moltes hores quan va topar amb un jardí.Ella va decidir explorar-la.

Al principi semblava un jardí normal. Va seguir caminant quan va veure una glorieta. Al bell mig de la glorieta hi havia una flor que brillava. Va pujar a la glorieta i va admirar la flor, quan de sobte va sentir una veu darrere seu.

-Què fas aquí?- va dir la persona.

Es va girar ràpidament i va veure un noi.El noi tenia els cabells rossos i els ulls blaus, però el que era realment estrany és que tenia orelles d'elf.

Natàlia li va dir al nen, Luca, que es va escapar de casa. Luca va entendre i la va deixar quedar-se amb ell.La va portar a la seva casa que està en el jardí i li va mostrar la seva habitació.Mentre Luca tancava la porta, va dir...

-Mai no deixaré que aquell home et torni a fer mal.-

L'endemà al matí, es va despertar amb un somriure a la cara, quan de sobte es va adonar que... Tot era un somni.

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La rosa solitària,   Qian Qian, 2n C

Al jardí, hi havia una rosa que estava apartada de la resta. Era molt més bonica que les altres, i les flors no volien estar amb ella perquè li tenien enveja i la ignoraven.

La rosa es va sentir molt trista. Se sentia malament amb si mateixa, ja que creia que havia fet alguna cosa malament. Va pensar que si canviava, les altres flors tornarien a parlar amb ella, però res del que feia era suficient perquè tornessin a fer-li cas.

Un dia va aparèixer una papallona i li va preguntar per què estava trista. Ella li va dir que estava trista perquè les altres flors la ignoraven i no li parlaven. L’animaló va respondre que si feien allò era perquè no veien l'important que era, que no valia la pena canviar per tenir unes amigues que no apreciaven la seva vàlua, i que valia més estar sola a tenir amigues com aquelles.

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3r d’ESO

Situació increïble,  Amabela Irish Tamaño Celestial, 3rA

Sota la llum de la lluna brillant, el riu fluïa en la nit silenciosa. Em vaig quedar al damunt d’una muntanya, a punt per fer una foto d’aquest paisatge, però per a la meva sorpresa un mussol va agafar la meva càmera mentre estava a punt de plasmar aquest bell moment. Vaig començar a córrer pel bosc, vigilant el meu entorn, les gotes de llum volaven a prop de l’herba gairebé negra.

Vaig continuar mirant cap a on havia anat el mussol, sentia que caminava en cercles i que corria per a sempre. Finalment, el mussol va desembarcar en un arbre. Poc a poc vaig començar a pujar a l’arbre i vaig agafar la càmera, vaig pensar que mai no tornaria a veure aquella vista tan bonica, però mentre em vaig asseure a la branca de l’arbre, vaig mirar els voltants i vaig trobar la visió més bonica del bosc i la muntanya a prop. Em fa molta gràcia que em passés aquesta situació.

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La promesa,  Salma Alkamboui, 3rC

Una vegada en Nick que anava caminant pel bosc, de cop i volta va beure un paper i un llapis al terra, els va agafar i va llegir el que posava en el llapis: "Dibuixa el bosc que vols", el Nick va començar a dibuixar un arbre i quan va acabar de dibuixar, l'arbre va cobrar vida pròpia i va sortir del full, després va dibuixar un altre i es va donar compte que era veritat que tot el que dibuixava es feia realitat; llavors va començar a dibuixar animals, rius, i tota mena d'arbres.

Després va dibuixar un nen, quan el nen va sortir del paper va agafar el llapis i va començar a dibuixar llaunes, bosses de plàstic, ampolles de vidre i de plàstic, paper ,cartró, bolquers … Va dibuixar tantes deixalles que el bosc que en Nick havia dibuixat ja no es podia veure, també es va donar compte que els animals no podien respirar, que els esquirols es pensaven que les piles eren avellanes i els conills pensaven que els retoladors taronges eren pastanagues.

En Nick va poder observar com en un minut tots els animals del bosc morien i com els arbres desapareixien gràcies a la tala d'arbres excessiva. Va ser llavors quan va voler buscar el nen que ell mateix havia dibuixat però ja no el podia trobar. Després de buscar entre les deixalles el va trobar assegut damunt d'una rentadora. Veia com el nen dibuixava fàbriques, gent fent caça furtiva, gent posant-se roba de pell d'animals, etc.

Quan li va preguntar que perquè hi havia dibuixat totes aquelles coses el nen li va respondre que era perquè els humans havien fet que la realitat fos d’aquella manera: animals morint per menjar plàstic, esquirols confonent piles amb avellanes, peixos ofegats, boscos plens de plàstics, fins i tot boscos sense arbres de tant talar-los.

Llavors el Nick va entendre que la humanitat estava fent malament les coses fins i tot que ell mateix estava fent malament les coses. Llavors li va demanar al nen si podia esborrar totes les deixalles perquè desapareguessin i el nen li va dir que les esborraria si ell prometia fer les coses bé, en Nick va acceptar i el nen va esborrar les deixalles.

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4t d’ESO

La pluja, la meva companya,  Scarlet Labour Encarnación, 4t C.

Avui torna a ser dilluns, però no és un dilluns qualsevol, és un dilluns plujós.

M'encanta seure davant de la finestra i veure com llisquen les gotes fins que arriben a la seva fi.

Aquesta preciosa pluja em permet veure l'exterior, després que diversos dies, el meu marit em tingués tancada a l'habitació. Avui, després de molts dies de de súpliques, em permet veure la pluja.

És el moment en què puc estar connectada amb l'exterior. La resta dels dies, és una tempesta, de la qual no puc escapar, per això desitjo que cada dia plogui, per poder retrobar-me.

Perquè jo, com a víctima de violència de gènere, visc en un confinament complet, on la natura és la meva única companyia i via d'escapament.

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El Cavaller Cec,  Aroa Mesa, 4t D

Yang era un Drac que vivia en una cova del Montseny. Durant el dia se'l passava dins la cova i durant la nit prenia les verdures dels horts de la gent del poble. Un dia va arribar l'esperat 23 d'abril, segons la llegenda, dia en què vindria el cavaller Sant Jordi per venjar-se de les malifetes de Yang. Però el drac no tenia por, perquè subestimava les capacitats del cavaller per la seva condició d'home cec. El cavaller Sant Jordi però, tenia un pla B que Yang no coneixia.

Així doncs, el dia d'abans, el cavaller va plantar una rosa amb un cascavell a l'entrada de la cova. La nit següent, quan el drac va sortir de la cova i va trepitjar la rosa, va fer sonar el cascavell avisant amb el seu so al cavaller. En aquell moment, Sant Jordi li va endinsar la fletxa deixant anar un rajolí de sang que caient a la terra va fer brollar un munt de verdures formant l'hort més extens que mai ha existit.

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1r de Batxillerat

No tan vulnerable poncella inquieta,  Laia Rui Martínez Sánchez, 1r batx. A

Si fossis una estació series la primavera. Ets el pol·len que viatja pel vent sense destí aparent. La flor que floreix sense importar el temps. Ets l’olor que queda després d’un dia de pluja, aquest que agrada tant però al mateix temps és tan odiat. Ets un ocell lliure que té por a ser tancat en una gàbia. És més, donaries la teva pròpia vida abans que això succeís. Creus que la llibertat hauria d’anar de la mà amb la vida i que existeix bellesa en allò intangible. Et consideres forta, però en el fons els dos sabem que no deixes de ser una vulnerable poncella inquieta. Ets de les que mai seguirà patrons i sempre serà impredictible. Ets inspiració, màgia i singularitat.

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2n de Batxillerat

Avui és un dia com qualsevol altre,  César Peguero, 2n batx.A

És al matí i m'acabo d'aixecar, el sol m'acompanya, la neu que ahir vaig gaudir ja s'està escampant. Avui és un dia com qualsevol altre, miro a l'horitzó i no ha canviat res, la meva vida segueix sent la mateixa.

El temps cada vegada corre més ràpidament i jo no em moc, tot i això, el meu entorn evoluciona. L'amor es respira i els colors creixen per tots llocs. Jo també començo a canviar, m'adapto als colors, il·luminats pel sol que brilla sense por. Mentre aquest brilla, la pluja comença a caure sobre un camp de flors, però no importa, ja que l'arc de Sant Martí omple l'escena.

Passa el temps i les flors ja no són com eren. Des del meu lloc habitual sento les rialles d'uns nens jugant al riu, es respira una felicitat tan forta que m'obliga a somriure.

El color marró banya tot allò que conec. Començo a tenir fred, miro a terra i el meu abric s'ha caigut. Miro a l'horitzó amb l'esperança de trobar alguna cosa de color, no ha canviat res. Sense avisar apareix la pluja mentre jo dormo, i aquesta em desperta pensant que aquella època de les flors ha tornat, però l'arc de Sant Martí no hi és.

Un altre cop el temps passa, i jo l'acompanyo. Neu cau sobre meu, i torno a sentir les rialles de nens jugant. Passa el dia i passa la nit, la neu ja s'ha escampat, és al matí i avui és un dia com qualsevol altre per un arbre.

                                           **********************

[seekerofthemuse]

I am so normal about this promo. Oh damn. Holy shit

[gazeta24br]

Gui Flowerz alça o primeiro voo solo com o EP “bem na era da comunicação // perdemo o diálogo”, reunindo os singles bem recebidos “Róliude” e “Lucky Strike”, além da inédita “Yagora Kissori”. O lançamento reúne o álbum em todas as plataformas, além de um registro em vídeo de uma apresentação ao vivo em estúdio e visualizers para todas as faixas no YouTube. Ouça “bem na era da comunicação // perdemo o diálogo”: https://ditto.fm/bem-na-era-da-comunicacao-perdemo-o-dialogo Confira a apresentação ao vivo: https://youtu.be/SnzB9wfdv4E Confira o visualizer do EP: https://youtu.be/bS78CwNnh-k Depois de trabalhar com nomes da cena alternativa nacional, como Cigana, DSTN e bona, o músico transforma as suas próprias visões em canções inéditas que flertam com o neo indie psicodélico, porém sem se restringir a rótulos. Gui Flowerz é o resultado de uma sequência de madrugadas em estúdio. Assista ao clipe “róliude”: https://youtu.be/zr_7CXTTqAM “O projeto nasceu do meu baú de noias. Acho que quando você tem um projeto que você se dedica e dá importância demais pra ele, vem o lado bom que é ser profissa, de virar algo sólido pra vender, mas, ao mesmo tempo, rola o risco daquilo virar um engomadinho que nunca se deixa pisar fora da faixa. E quando rola isso você não deixa de fazer música, você engaveta elas, até que você percebe que tem algumas ali que se conversam e que existe um fio da meada”, analisa Gui. O produtor, compositor, músico e beatmaker paulista vai de Tyler The Creator a Don L,  Matuê e River Tiber a Nick Hakim, de Power Rangers ao Show de Truman, de sua Limeira natal a Hollywood. “bem na era da comunicação // perdemo o diálogo” ganha força nas contradições que exibe com orgulho desde o título. Referências pop e questões profundas se encontram em canções sobre o amadurecimento e abraçar o desconhecido. O próprio Gui deu vazão às suas novas criações e transformou essa jornada em um projeto solo ao mesmo tempo ousado e despretensioso, como um olhar de múltiplas lentes, filtros e cores sobre os acontecimentos da vida, construído com parceiros novos e recorrentes. “Quanto à estética, eu quero aqui deixar meu muito obrigado ao time Lazy  Friendzzz e em especial à Vitória Trigo por converter os meus decibéis em cores. Tudo o que vocês andam vendo aí dos lançamentos teve no mínimo uma opinião dela e grande parte foi discutido, planejado e executado por ela, essa mina é foda. A gente passa horas e horas assistindo clipes e essa soma é o que faz o nosso trabalho ter elementos ímpares. Eu amo esse processo”, resume. Assista ao visualizer “Lucky Strike”: https://youtu.be/bQqmdUqQVg0 Depois de revelar os primeiros singles, agora o projeto Gui Flowerz ganha forma completa, acompanhado de materiais visuais que complementam os vídeos já lançados. Ao lado dos músicos Marcelo Bonin, Juca Natal, Gabriel Archangelo, Tiago Val e Matheus Pinheiro, Gui Flowerz dá novas cores às canções do EP em uma live session com direção de Matheus Fractal, fotografia por Vitória Trigo e  Thomas Dalfré. “A gente decidiu soltar junto com o lançamento do EP essa live session tocando tudo ao vivo, porque eu acredito que a música se transforma quando a gente tá  arrebentando com uma molecada numa sala e foi muito lindo ver isso acontecendo,  principalmente com esses sons que foram feitos com um teclado e um notebook”, reflete Gui. Do minimalismo a um trabalho amadurecido, Gui Flowerz faz de seu primeiro EP um encontro de todas as facetas de um artista plural e inquieto. “bem na era da comunicação // perdemo o diálogo” já está nas principais plataformas de música. Crédito: Bia Souza   Ficha técnica EP PRODUZIDO POR - Lazy Friendzzz MIXAGEM - Hugo Silva MASTERIZAÇÃO - Pedro Soares   Live Session DIREÇÃO: Matheus Fractal FOTOGRAFIA: Vitória Trigo e Thomas Dalfré   Acompanhe Gui Flowerz: https://www.instagram.com/guiflowerzzz/

[pkmgettodaze]

Todo aspirante a colorista deveria dar uma boa olhada em Luke Cage Noir, a paleta de cores usada por Nick Filardi é de atordoar. Leitura obrigatória a todos fãs de e obras noir, arte e, claro, quadrinhos. - Luke Cage Noir (2009) - #Roteiros: Mike Benson e Adam Glass #Arte: Shawn Martinbrough #Cores: Nick Filardi #lukecage #marvel #quadrinhos #noia #lukecagenoir #comics https://www.instagram.com/p/BtjPeaXgiIr/?utm_source=ig_tumblr_share&igshid=o05bgf7e7yt9

[tuseriesdetv]

Noticias de series de la semana

Renovaciones

ABC ha renovado Grey's Anatomy por una decimonovena temporada

ABC ha renovado Station 19 por una sexta temporada

Hulu ha renovado The Great por una tercera temporada

Apple TV+ ha renovado The Morning Show por una tercera temporada

Netflix ha renovado Emily in Paris por una tercera y cuarta temporada

Netflix ha renovado Rebelde por una segunda temporada

Peacock ha renovado One Of Us Is Lying por una segunda temporada

Epix ha renovado Godfather of Harlem por una tercera temporada

Cancelaciones

Netflix ha cancelado Gentefied tras su segunda temporada

Noticias cortas

Camille Cottin (Hélène) será regular en la cuarta y última temporada de Killing Eve.

A dos semanas del estreno, FOX retrasa Monarch hasta otoño debido al coronavirus.

Monique Curnen (Blanca Rodriguez) será regular en la segunda temporada de Power Book II: Ghost.

Danielle Galligan (Nina), Daisy Head (Genya) y Calahan Skogman (Matthias) serán regulares en la segunda temporada de Shadow and Bone.

 Fichajes

Shirley MacLaine (The Apartment, Irma la Douce) y Amy Schumer (Inside Amy Schumer, Trainwreck) participarán en la segunda temporada de Only Murders in the Bulding.

Sharon Stone (Basic Instinct, Casino) interpretará a Lisa Bowden, la madre de Cassie (Kaley Cuoco), en la segunda temporada de The Flight Attendant.

Mark Ruffalo (Spotlight, The Normal Heart) y Hugh Laurie (House M.D., The Night Manager) protagonizarán All the Light We Cannot See. Serán Daniel LeBlanc, padre de Marie-Laure (Aria Mia Loberti) y cerrajero principal del Museo de Historia Natural de París; y Etienne LeBlanc, un excéntrico y solitario héroe de la Primera Guerra Mundial que sufre trastorno de estrés postraumático y graba retransmisiones de radio para la Resistencia francesa.

Aubrey Plaza (Parks and Recreation, Legion) será Harper Spiller, que está de vacaciones con su marido y sus amigos, en la segunda temporada de The White Lotus.

Domhnall Gleeson (About Time, Ex Machina) protagonizará The Patient junto a Steve Carell. Será un asesino en serie que toma a un psicoterapeuta como prisionero para que le ayude a reprimir sus instintos homicidas.

Iván Sánchez (Pequeñas coincidencias, La Reina del Sur) y José Pastor (La otra mirada, Acacias 38) interpretarán a Bosé.

Murray Bartlett (Looking, The White Lotus) será Nick De Noia, compañero y némesis de Banerjee (Kumail Nanjiani), en Immigrant.

Storm Reid (Euphoria, When They See Us) será Riley Abel, una niña huérfana de Boston, en The Last of Us.

Sendhil Ramamurthy (Heroes, Never Have I Ever) será recurrente en Good Sam como Asher Pyne, nuevo esposo de Vivian (Wendy Crewson) y terapeuta licenciado.

David Walton (About a Boy, Masters of Sex) y Moriah Brown (Raising Dion) se unen como regulares a la segunda temporada de Power Book II: Ghost.

Ana Villafañe (The Americans, New Amsterdam), Rob Delaney (Catastrophe, Bombshell), Arturo Luis Soria (Insatiable) y Ahmed Elhaj (Grantchester) se unen a Bad Monkey.

Ian Alda (Silicon Valley), Sonny Valicenti (Mindhunter), Ben Feldman (Superstonre, Mad Men), Rob Morrow (Billions, Num3rs), Rama Vallury y Eva Victor (Billions) se unen como recurrentes a Super Pumped.

Yul Vazquez (Treme, The Looming Tower), Julio Macías (On My Block, Selena: The Series), Ariana Guerra (Helstrom, Raising Dion), Kerri Medders (SEAL Team, Alexa & Katie), Tom Amandes (Everwood, Scandal), Natalia del Riego (American Crime) y Miguel Ángel García (Ensemble) serán recurrentes en Promised Land.

Mark O'Brien (City on a Hill, Halt and Catch Fire) se une como regular a la segunda temporada de Perry Mason. Interpretará a Thomas Milligan, ayudante del fiscal del distrito.

Anjana Vasan (We Are Lady Parts, Temple) y Robert Gilbert se unen como regulares a la cuarta y última temporada de Killing Eve. Interpretarán a Pam, una joven asesina en prácticas; y Yusuf, exmilitar que trabaja con Eve (Sandra Oh). Marie-Sophie Ferdane será recurrente como Gunn, asesina con más problemas incluso que Villanelle (Jodie Comer).

Humayun Saeed (Jawani Phir Nahi Ani) interpretará al doctor Hasnat Khan, interés amoroso de Diana (Elizabeth Debicki), en la quinta temporada de The Crown.

Mandela Van Peebles (Mayor of Kingstown) y Em Haine (Chilling Adventures of Sabrina, The Mighty Ducks: Game Changers) se unen como regulares a Reginald the Vampire. Aren Buchholz (When Calls the Heart), Savannah Basley (Wynonna Earp, The Art of More), Marguerite Hanna y Georgia Waters (Siren) serán recurrentes.

Lyndon Smith (Crazy Ex-Girlfriend, Parenthood), Zuri Reed (Flatbush Misdemeanors), Jake Austin Walker (Rectify, Stargirl), Antonio Cipriano (City on a Hill, Safehaven) y Jordan Rodrigues (The Fosters, Light as a Feather) se unen a National Treasure.

Christian Robinson (Black Mafia Family) será recurrente en Interview With the Vampire como Levi, un baptista que se gana el corazón de Grace (Kalyne Coleman).

Anna Leong Brophy (Traces, Code 404), Patrick Gibson (The OA, The White Princess), Lewis Tan (Into the Badlands, Wu Assassins) y Jack Wolfe se unen a la segunda temporada de Shadow and Bone como regulares.

Pósters

     Nuevas series

Mahershala Ali (Green Book, Moonlight) protagonizará y producirá The Plot, adaptación de la novela de Jean Hanff Korelitz (2021), en Hulu. Será un escritor en dificultades que roba una idea que cambia su vida y hará lo que sea para proteger todo lo que ha construido cuando le amenace alguien que conoce su secreto. Escrita por Abby Ajayi (How to Get Away with Murder). Ocho episodios.

Hulu encarga Reboot, comedia en la que el disfuncional reparto de una antigua sitcom familiar se ve obligada a reunirse en un reboot y lidiar con sus problemas sin resolver. Protagonizada por Keegan-Michael Key (Key and Peele, Schmigadoon!), Rachel Bloom (Crazy Ex-Girlfriend), Judy Greer (Kidding, Arrested Development), Johnny Knoxville (Jackass), Calum Worthy (The Act, Austin & Ally) y Krista Marie Yu (Last Man Standing, Dr. Ken). Creada, escrita y producida por Steve Levitan (Modern Family, Just Shoot Me!).

FX ha encargado Kindred, adaptación de la novela de Octavia E. Butler (1979) que se centra en Dana (Mallori Johnson, WeCrashed), una joven negra aspirante a escritora que ha roto con sus obligaciones familiares y se ha mudado a Los Ángeles para escribir su propio futuro. Antes de poder establecerse en su nuevo hogar, se ve arrastrada una y otra vez a una plantación del siglo XIX con la que ella y su familia están sorprendentemente e íntimamente relacionados. Con Micah Stock (Bonding, The Right Stuff), Ryan Kwanten (True Blood, The Oath), Gayle Rankin (GLOW, Perry Mason), Austin Smith (Hamilton), Antoinette Crowe-Legacy (Godfather of Harlem, Passing) y David Alexander Kaplan (Embattled). Escrita y producida por Branden Jacobs-Jenkins (Watchmen) y producida por Darren Aronofsky (The Fighter). Janicza Bravo (In Treatment, Zola) dirige y produce el piloto. Ocho episodios.

HBO Max ha encargado diez episodios de la nueva Degrassi, sobre la vida en el instituto. Escrita por Lara Azzopardi (The Bold Type, Mary Kills People) y Julia Cohen (Riverdale, The Royals).

FX ha encargado Justified: City Primeval, limited series adaptación de la primera novela (1980) de la saga de Elmore Leonard en la que se basó la serie Justified. Timothy Olyphant protagonizará la serie, retomando su papel de Raylan Givens. Escrita y producida por Michael Dinner y Dave Andron (Justified, Snowfall). Dinner (Justified, Unbelievable) también dirigirá. Producida por Graham Yost, creador de Justified.

Disney+ ha anunciado The Santa Clause, limited series continuación de la trilogía cinematográfica en la que Scott (Tim Allen) está a punto de cumplir 65 años y sale en busca del sustituto apropiado. Escrita por Jack Burditt (Last Man Standing).

Fechas

La vigesimoquinta temporada de South Park se estrena en Comedy Central el 2 de febrero

The Last Days of Ptolemy Grey se estrena en Apple TV+ el 11 de marzo

Welcome to Flatch se estrena en FOX el 17 de marzo

Human Resources llega a Netflix el 18 de marzo

The Offer se estrena en Paramount+ el 28 de abril

Tráilers y promos

Inventing Anna

Atlanta - Temporada 3

In From the Cold

Bel-Air

Suspicion

Super Pumped: The Battle for Uber

Dollface - Temporada 2

Human Resources

The Responder

Promised Land