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Guía de series: Estrenos y regresos de octubre 2021

Una considerable cantidad de series se nos presentarán en la tele próximamente. Como siempre, habrá que ver si cantidad es lo mismo que calidad.

¡Feliz octubre!

Leyenda:

Verde: series nuevas.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tv movies, documentales, especiales o pilotos.

Morado: season finales.

Púrpura: midseason finales.

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Calendario de series

1 de octubre:

SWAT (5T), Magnum PI (4T) y Blue Bloods (12T) en CBS

The Many Saints of Newark en HBO Max

Maid (1T completa), The Guilty, Forever Rich y Diana: The Musical en Netflix

3 de octubre:

Ridley Road (1T completa) en BBC One

The Walking Dead: World Beyond (2T y última) en AMC

4 de octubre: On My Block (4T y última) en Netflix

5 de octubre: Escape the Undertaker y Dave Chapelle: The Closer en Netflix

6 de octubre:

CSI: Vegas (1T) en CBS

Brassic (3T) en Sky Max

La venganza de las Juanas (1T completa) y There's Someone Inside Your House en Netflix

7 de octubre:

Young Sheldon (5T), United States of Al (2T), Ghosts (1T) y Bull (6T) en CBS

One of Us Is Lying (1T) en Peacock

The Billion Dollar Code en Netflix

The Outpost (series finale) en The CW

8 de octubre:

Nancy Drew (3T) en The CW

Leverage: Redemption (1bT) en IMDb TV

Pretty Smart (1T completa), Family Business (3T y última completa), Mio fratello mia sorella y Grudge en Netflix

Acapulco (1T) en Apple TV+

Madame X en Paramount+

Justin Bieber: Our World en Prime Video

10 de octubre: The Equalizer (2T) y SEAL Team (5T) en CBS

11 de octubre:

The Baby-Sitters Club (2T completa) en Netflix

We're Here (2T) en HBO

The L Word: Generation Q (2T finale) en Showtime

12 de octubre:

Chucky (1T) en Syfy

The Oval (3T) en BET

13 de octubre:

Dopesick (1T) en Hulu

The Sinner (4T) en USA Network

Legends of Tomorrow (7T) y Batwoman (3T) en The CW

Sistas (3bT) y Twenties (2T) en BET

Just Beyond (1T) en Disney+

Hiacynt y Distancia de rescate en Netflix

14 de octubre:

B Positive (2T) en CBS

Guilty Party (1T) en Paramount+

Legacies (4T) en The CW

Aquaman: King of Atlantis (1T) en HBO Max

Another Life (2T completa) en Netflix

15 de octubre:

You (3T completa), I onde dager y De slag om de Schelde en Netflix

I Know What You Did Last Summer (1T) en Prime Video

Day of the Dead (1T) en Syfy

Cobra (2T) en Sky Max

Puppy Place (1T) en Apple TV+

Halloween Kills en Peacock

16 de octubre: Misfit: The Series (1T completa) en Netflix

17 de octubre:

Succession (3T) en HBO

Fear The Walking Dead (7T) en AMC

Hightown (2T) en Starz

19 de octubre:

Queens (1T) en ABC

Runt en Apple TV+

20 de octubre: Found, Night Teeth y Stuck Together en Netflix

21 de octubre:

The Blacklist (9T) en NBC

The Girl in the Woods (1T) en Peacock

Sex, Love & Goop en Netflix

One of Us Is Lying (1T finale) en Peacock

22 de octubre:

Invasion (1T) en Apple TV+

Inside Job (1T completa), Locke & Key (2T completa) y Maya and the Three (1T completa) en Netflix

Dune en HBO Max

24 de octubre: Insecure (5T y última) y Curb Your Enthusiasm (11T) en HBO

25 de octubre: All American (4T) y 4400 (1T) en The CW

26 de octubre:

Todo lo otro (1T) y Dolores en HBO Max

The Last O.G. (4T) en TBS

27 de octubre: Sintonía (2T completa), Hypnotic y W lesie dzis nie zasnie nikt 2 en Netflix

28 de octubre:

Luis Miguel: La serie (3T y última completa) en Netflix

Walker (2T) en The CW

Love Life (2T) en HBO Max

29 de octubre:

Colin in Black & White (1T completa), El tiempo que te doy (1T completa) y Army of Thieves en Netflix

Swagger (1T) en Apple TV+

Paranormal Activity: Next of Kin en Paramount+

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Estrenos de series

Maid (Netflix)

Para lidiar con la pobreza y la falta de vivienda, una madre soltera (Margaret Qualley; The Leftovers, Once Upon a Time... in Hollywood) comienza a trabajar como criada en casa de una exitosa abogada (Anika Noni Rose; Roots, Assassination Nation). Con Nick Robinson (Love, Simon; A Teacher), Andie MacDowell (Four Weddings and a Funeral, Groundhod Day), Billy Burke (Revolution, Twilight), Tracy Vilar (House, M.D., Partners), Xavi de Guzmán (The 100, Take Two), BJ Harrison (Chilling Advenures of Sabrina, Motherland: Fort Salem) y Rylea Nevaeh Whittet.

Basada en las memorias de Stephanie Land (2019). Escrita por Molly Smith Metzler (Shameless, Orange Is the New Black). Dirigen John Wells (Shameless, Animal Kingdom), Helen Shaver (Vikings, Orphan Black) o Nzingha Stewart (Little Fires Everywhere, Black Monday). Diez episodios.

Estreno: 1 de octubre

Estreno en España: 1 de octubre en Netflix España

Ridley Road (BBC One)

Vivien (Agnes O'Casey) es una joven judía que, en 1962, abandona su vida cómoda en Manchester e, inspirada por el Grupo 62, una coalición militante antifascista que combate el neofascismo en Reino Unido después de la guerra, se infiltra en el NSM, un movimiento neonazi que está creciendo en Londres, tras la desaparición de su novio. Completan el reparto Rory Kinnear (Years and Years, Penny Dreadful), Tracy-Ann Oberman (It's a Sin, After Life), Eddie Marsan (Ray Donovan, Gangs of New York), Tamzin Outhwaite (New Tricks, EastEnders), Samantha Spiro (Sex Education, Me Before You), Rita Tushingham (In the Flesh), Danny Hatchard (Our Girl, EastEnders), Tom Varey (Ackley Bridge, No Offence), Julia Krynke (The A Word, Line of Duty), Gabriel Akuwudike (1917, Hanna), Danny Sykes (Bulletproof) y Hannah Traylen (Harlots, Unforgotten).

Basada en la novela de Jo Bloom (2014), escrita y producida por Sarah Solemani (Barry) y dirigida por Lisa Mulcahy (Years and Years, Blood). Cuatro episodios. 

Estreno: 3 de octubre

CSI: Vegas (CBS)

William Petersen (Grissom), Jorja Fox (Sara), Wallace Langham (Hodges) y Paul Guilfoyle (Brass) vuelven a esta secuela de CSI (2000-2015) a la que se unen Matt Lauria (Friday Night Lights, Kingdom), Paula Newsome (Chicago Med, Barry), Mel Rodriguez (The Last Man on Earth), Mandeep Dhillon (After Life, Bulletproof), Jamie McShane (Bloodline, SEAL Team), Robert Curtis Brown (The Handmaid's Tale, Station 19), David Paladino (You), Sean Alexander James (The Morning Show) o Johnny Rey Diaz (Pam & Tommy).

Escrita por Jason Tracey (Elementary, Burn Notice). Diez episodios.

Estreno: 6 de octubre

La venganza de las Juanas (Netflix)

Cinco mujeres con la misma marca de nacimiento, y todas llamadas Juana, deciden investigar sobre su pasado y descubren una red de mentiras montada por un poderoso político (Carlos Ponce; Devious Maids, Julie and the Phantoms). Protagonizada por Juanita Arias (El señor de los cielos, Como tú no hay dos), Sofía Engberg, Oka Giner (Señora Acero, Gossip Girl: Acapulco), Renata Notni (Mi adorable maldición, Sueño de amor) y Zuria Vega (Mi marido tiene familia, Que te perdone Dios). Completan el reparto Carlos Athié (Mi adorable maldición, Que te perdone Dios), Federico Espejo (La casa de las flores, La jefa del campeón) y Pablo Astiazarán (Ingobernable, Club de Cuervos).

Adaptación mexicana de la telenovela colombiana Las Juanas (1997-1998). Escrita por Jimena Romero (Más sabe el diablo, ¿Quién eres tú?). Dieciocho episodios.

Estreno: 6 de octubre

Estreno en España: 6 de octubre en Netflix España

Ghosts (CBS)

Comedia monocámara adaptación de la serie británica en la que una pareja hereda una casa de campo destartalada y llena de fantasmas. Protagonizada por Rose McIver (iZombie, Woke), Utkarsh Ambudkar (The Mindy Project, Brockmire), Brandon Scott Jones (The Good Place, The Other Two), Rebecca Wisocky (Devious Maids, For All Mankind), Danielle Pinnock (Young Sheldon, Get Shorty), Richie Moriarty (The Tick), Asher Grodman, Sheila Carrasco (Jane the Virgin) y Román Zaragoza (Austin & Ally).

Escrita y producida por Joe Port y Joe Wiseman, productores de Zoey's Extraordinary Playlist o New Girl.

Estreno: 7 de octubre

One of Us Is Lying (Peacock)

Cinco estudiantes de instituto son castigados y enviados a la sala de detención, de la que solamente cuatro salen vivos. Todos son sospechosos y todos tienen algo que ocultar. Protagonizada por Marianly Tejada (The Purge), Cooper van Grootel, Annalisa Cochrane (Cobra Kai, Heathers), Chibuikem Uche, Barrett Carnahan (Cobra Kai, Alexa & Katie), Jessica McLeod (You Me Her), Melissa Collazo (Swamp Thing), Mark McKenna (Wayne, Sing Street), Martin Bobb-Semple (Pandora, Free Rein), Karim Diané (StartUp), Sara Thompson (The 100, Burden of Truth), George Ferrier (Dirty Laundry), Miles J. Harvey (American Vandal), Zenia Marshall (Date My Dad), Hugo Ateo (Siren, The Terror) y Alimi Ballard (Queen of the South, CSI).

Basada en la novela de Karen M. McManus (2017). Escrita y producida por Darío Madrona (Élite, Los protegidos) y Erica Saleh (Evil, Instinct). Dirige y produce el piloto Jennifer Morrison (Euphoria). Ocho episodios.

Estreno: 7 de octubre

The Billion Dollar Code (Netflix)

En los años 90, dos pioneros de la informática alemanes fueron a juicio con una demanda multimillonaria para luchar por sus derechos como inventores del algoritmo de Google Earth. La historia real de la dura batalla de dos grandes amigos contra un oponente aparentemente invencible cuenta con el mundo del hackeo en Berlín y el idealista mundo de los inicios de Silicon Valley como telón de fondo. Con Mark Waschke (Dark, Tatort), Mišel Matičević (Babylon Berlin, Tatort), Leonard Scheicher (Das Boot, Das schweigende Klassenzimmer), Marius Ahrendt, Lavinia Wilson (Deutschland 86, Deutschland 89) y Seumas Sargent (Spy City).

Creada y producida por Oliver Ziegenbalg y Robert Thalheim, escrita por Ziegenbalg y dirigida por Thalheim.

Estreno: 7 de octubre

Estreno: 7 de octubre en Netflix España

Pretty Smart (Netflix)

Comedia multicámara centrada en Chelsea (Emily Osment; Young & Hungry, Hannah Montana), una altanera e ingeniosa intelectual sin habilidades sociales para vivir en el mundo real que, cuando su novio la deja inesperadamente, se ve obligada a vivir con su despreocupada y jovial hermana Claire (Olivia Macklin; The Young Pope, Filthy Rich) y sus amigos: Grant (Gregg Sulkin; Runaways, Wizards of Waverly Place), un dulce y romántico entrenador personal; Solana (Cinthya Carmona; Greenhouse Academy, East Los High), una antigua abogada que ahora se dedica a la sanación; y Jayden (Michael Hsu Rosen; Tiny Pretty Things, Jessica Jones), un influencer de las redes sociales.

Creada, escrita y producida por Jack Dolgen (Crazy Ex-Girlfriend, Diary of a Future President) y Doug Mand (How I Met Your Mother, Crazy Ex-Girlfriend). Producida por Kourtney Kang (How I Met Your Mother, Fresh Off the Boat) y dirigida por Pamela Fryman (How I Met Your Mother, Frasier). Diez episodios.

Estreno: 8 de octubre

Estreno en España: 8 de octubre en Netflix España

Acapulco (Apple TV+)

Comedia bilingüe centrada en Máximo (Enrique Arrizon; Las hijas de Abril, La jefa del campeón), un joven mexicano que en 1984 consiguió el que creía que sería el trabajo de sus sueños en un resort pero que resultó ser un puesto mucho más complicado que le haría cuestionarse su moral y sus creencias. Eugenio Derbez (No se aceptan devoluciones, Dora and the Lost City of Gold) producirá y narrará la serie interpretando a la versión actual del joven. Completan el reparto Damián Alcázar (Narcos, Señora Acero), Camilla Pérez (A Teacher, Gotham), Raphael Alejandro (Once Upon a Time, Bunk'd), Jessica Collins (The Young and the Restless, It's Always Sunny in Philadelphia), Chord Overstreet (Glee), Vanessa Bauche (Luis Miguel: La Serie, Rosario Tijeras), Rafael Cebrián (Las aventuras del capitán Alatriste, Narcos), Fernando Carsa, Regina Reynoso (La rosa de Guadalupe), Regina Orozco (La casa de las flores, Mi marido tiene familia) y Carlos Corona (El señor de los cielos, Doña Flor y sus dos maridos).

Inspirada en la película How to Be a Latin Lover (2017). Creada por Austin Winsberg (Zoey's Extraordinary Playlist, Gossip Girl), Eduardo Cisneros (No se aceptan devoluciones) y Jason Shuman (Anger Management) y escrita por Winsberg y Chris Harris (How I Met Your Mother). Diez episodios.

Estreno: 8 de octubre

Estreno en España: 8 de octubre en Apple TV+ España

Chucky (Syfy)

Serie continuación de la saga cinematográfica protagonizada por Chucky (Brad Dourif) en la que Jake (Zackary Arthur; Transparent, Kidding), un adolescente gay solitario que sufre acoso y busca su sitio tras la muerte de su madre, encuentra al muñeco diabólico en una venta de garaje. Alex Vincent, Christine Elise McCarthy y Jennifer Tilly volverán a interpretar a Andy Barclay, Kyle Simpson y Tiffany Valentine. Completan el cast Devon Sawa (Final Destination, Casper), Teo Briones (Ratched, Pretty Little Liars), Alyvia Ayn Lind (Daybreak, Masters of Sex), Fiona Dourif (True Blood, The Blacklist), Barbara Alyn Woods (One Tree Hill; Honey, I Shrunk the Kids: The TV Show), Björgvin Arnarson (The Seventh Day) y Lexa Doig (Continuum, Arrow).

Creada y escrita por Don Mancini (Child's Play, Bride of Chucky), que también dirigirá el primer episodio. Ocho episodios.

Estreno: 12 de octubre

Estreno en España: Enero en Syfy España

Dopesick (Hulu)

Limited series que explorará el inicio de la crisis del opio en Estados Unidos y cómo afectó a varias familias, cuyas historias se cruzaron, desde el lanzamiento al mercado del fármaco OxyContin a finales de los 90 con una promoción que obviaba los altos índices de adicción que generaba. Protagonizada por Michael Keaton (Birdman, Beetlejuice), Peter Sarsgaard (The Killing, The Slap), Kaitlyn Dever (Last Man Standing, Unbelievable), Rosario Dawson (Luke Cage, Jane the Virgin), Will Poulter (The Maze Runner, Midsommar), Michael Stuhlbarg (Boardwalk Empire, Call Me by Your Name), Jaime Ray Newman (Veronica Mars, Bates Motel), Will Chase (Nashville, Smash),  John Hoogenakker (Jack Ryan, Castle Rock), Phillipa Soo (Hamilton, Smash), Jake McDorman (Shameless, Greek), Ray McKinnon (Deadwood, Sons of Anarchy), Cleopatra Coleman (The Last Man on Earth, In the Shadow of the Moon), Andrea Frankle (Cloak & Dagger, The Purge), Rebecca Wisocky (Devious Maids, For All Mankind), Meagen Fay (Agent Carter, Malcolm in the Middle) y Trevor Long (Ozark, Low Winter Sun).

Adaptación del libro de no ficción de Beth Macy (2018), escrita por Danny Strong (Empire, The Butler) y dirigida por Barry Levinson (Paterno, Rain Man). Producen Strong, Levinson y Keaton. Ocho episodios.

Estreno: 13 de octubre

Estreno: 12 de noviembre en Disney+ Star España

Just Beyond (Disney+)

Antología que adapta Goosebumps, las historias gráficas de R.L. Stine en las que distintos personajes realizan viajes de autodescubrimiento en mundos llenos de brujas, aliens, fantasmas o universos paralelos. Podremos ver en la serie a Mckenna Grace (The Haunting of Hill House, Designated Survivor), Nasim Pedrad (Scream Queens, New Girl), Lexi Underwood (Little Fires Everywhere, The First Lady), Henry Thomas (The Haunting of Hill House, E.T. the Extra-Terrestrial), Christine Ko (Dave, Upload), Malcolm Barrett (Preacher, Timeless), Sally Pressman (Army Wives, Good Girls), Cedric Joe (Space Jam: A New Legacy), Riki Lindhome (Another Period, Enlightened), Tim Heidecker (Moonbase 8), Gabriel Bateman (The Mosquito Coast, Outcast), Cyrus Arnold (The Exorcist), Arjun Athalye (Are You Afraid of the Dark?), Jack Gore (Billions, The Kids Are Alright), Logan Gray (Vengeance), Elisha Henig (American Vandal, Mythic Quest), Rachel Marsh (Before We Go), Jy Prishkulkni (The Birch), Izabela Vidovic (The Fosters, Supergirl) y Megan Stott (Little Fires Everywhere).

Escrita y producida por Seth Grahame-Smith (Pride and Prejudice and Zombies, The Hard Times of RJ Berger). Produce R.L. Stine. Ocho episodios.

Estreno: 13 de octubre

Guilty Party (Paramount+)

Comedia negra en la que Beth Burgess (Kate Beckinsale; Underworld, Serendipity), una periodista sin prestigio, trata de salvar su carrera siguiendo la historia de Tony Plimpton (Jules Latimer), una joven madre que está en prisión y condenada a cadena perpetua por asesinar a su marido aunque ella dice ser inocente. Beth tendrá que lidiar con contrabandistas de armas, la cultura del clickbait o su propio pasado. Con Geoff Stults (Enlisted, Little Fires Everywhere), Laurie Davidson (Will, Cats), Andre Hyland, Tiya Sircar (The Good Place, The Fugitive), Alanna Ubach (Euphoria, Girlfriends' Guide to Divorce) y Madeleine Arthur (The Family, Snowpiercer).

Creada por Rebecca Addelman (Dead to Me) y dirigida por Trent O'Donnell (No Activity, New Girl). Producida por Addelman, O'Donnell y Beckinsale. Diez episodios.

Estreno: 14 de octubre

I Know What You Did Last Summer (Prime Video)

Un año después del accidente mortal que estropeó la noche de la graduación, un grupo de adolescentes es perseguido por un asesino. Mientras averiguan quién es, descubren el lado secreto de su pueblo aparentemente perfecto y de ellos mismos. Con Madison Iseman (Jumanji, The Next Level), Bill Heck (The Old Man, Locke & Key), Brianne Tju (Light as a Feather), Ezekiel Goodman, Ashley Moore (Popstar: Never Stop Never Stopping), Sebastian Amoruso (Solve), Fiona Rene (Stumptown), Cassie Beck (Connecting, Good Joe Bell), Brooke Bloom (Homecoming, Alpha House), Sonya Balmores (Inhumans), Spencer Sutherland (Afterlife of the Party), Chrissie Fit (Awkwafina Is Nora from Queens)

Basada en la novela de Lois Duncan (1973) en la que se inspiró la película de 1997. Escrita y producida por Sara Goodman (Preacher, Gossip Girl). Produce James Wan (Saw, The Conjuring). Ocho episodios.

Estreno: 15 de octubre

Estreno en España: 15 de octubre en Prime Video España

Misfit: The Series (Netflix)

Tras la trilogía cinematográfica neerlandesa, Julia (Djamila) y las misfits trabajan en las canciones y las coreografías de un musical que la nueva directora quiere prohibir para que se centren en la disciplina, las notas y los estudios. Julia idea un plan para sabotear las reglas de dirección y trabajar en el musical en secreto.

Estreno: 16 de octubre

Estreno en España: 16 de octubre en Netflix España

Day of the Dead (Syfy)

Oda a la película de George A. Romero (1985) en la que seis extraños intentarán sobrevivir en las primeras veinticuatro horas de una invasión zombie. Con Keenan Tracey (Bates Motel, The 100), Daniel Doheny (Brand New Cherry Flavor, Alex Strangelove), Natalie Malaika (The Color Rose), Morgan Holmstrom (I Still See You), Kristy Dawn Dinsmore (Vikings), Miranda Frigon (Aurora Teagarden Mysteries), Mike Dopud (Power, Arrow), Dejan Loyola (Saving Hope, iZombie), Marci T. House (iZombie, Julie and the Phantoms), Kevin O'Grady (Julie and the Phantoms, You Me Her), Matty Finochio (Once Upon a Time in Wonderland, The Order), Trezzo Mahoro (Van Helsing), Christopher Russell (UnREAL, Dirk Gently) y Lucia Walters (The 100, The L Word).

Escrita por Jed Elinoff y Scott Thomas, creadores de Raven's Home. Diez episodios.

Estreno: 15 de octubre

Queens (ABC)

Cuatro mujeres de cuarenta y tantos se reúnen para intentar recuperar la fama y el estilo que tenían en los 90 cuando se convirtieron en leyendas del hip-hop con el grupo Nasty Bitches. Protagonizada por Eve (Eve, Feel Good), Naturi Naughton (Power, The Client List), Nadine Velazquez (My Name Is Earl, Six), Taylor Selé (P-Valley, The Deuce), Pepi Sonuga (Famous in Love, Ash vs. Evil Dead), Brandy Norwood (Moesha, Star) y Precious Way (Days of Our Lives, Partners in Rhyme).

Escrita y producida por Zahir McGhee (Scandal, Stumptown). Dirige el piloto y produce Tim Story (White Famous, Prince of Peoria).

Estreno: 19 de octubre

The Girl in the Woods (Peacock)

Hay una colonia de carácter sectario en el noroeste del Pacífico que protege al mundo de los monstruos escondidos tras una puerta secreta en pleno bosque. Carrie (Stefanie Scott; A.N.T. Farm, Insidious: Chapter 3), una misteriosa guerrera, huye de esta colonia y trata de mantenerse a salvo en el pequeño pueblo de West Pine, donde se da un debate medioambiental entre mineros y activistas. Allí, Nolan (Misha Osherovich; Freaky, NOS4A2) y Tasha (Sofia Bryant, I Am Not Okay with This), mejores amigos aunque formen parte de distintos bandos, reaccionan de diferente manera ante la llegada de Carrie y de las fuerzas extrañas que comienzan a acechar el pueblo. Además, el antiguo mentor de Carrie (Will Yun Lee; The Good Doctor, Altered Carbon) tiene ahora la misión de encontrarla y obligarla a regresar a la colonia, donde deberá enfrentarse a las consecuencias de su deserción. Completan el reparto Kylie Liya Page (Ninja Assassin), Reed Diamond (Agents of S.H.I.E.L.D., Designated Survivor) y Leonard Roberts (Heroes, Buffy the Vampire Slayer).

Adaptación de los cortometrajes de Crypt TV The Door in the Woods (2018) y su secuela The Girl in the Woods (2020). Escrita por Casey Modderno (The Birch). Krysten Ritter (Jessica Jones) dirige los cuatro primeros episodios y Jacob Chase (Come Play), el resto. Producen Modderno, Ritter, Chase y Jack Davis y Darren Brandl, de Crypt TV. Ocho episodios.

Estreno: 21 de octubre

Invasion (Apple TV+)

Cuenta una invasión alienígena desde distintos continentes, con el punto de vista de un sheriff a punto de retirarse (Sam Neill; Jurassic Park, Peaky Blinders), un soldado en Afganistán (Shamier Anderson; Wynonna Earp, The Next Step), un matrimonio de inmigrantes sirios que viven en Long Island (Goldshifteh Farahani y Firas Nassar) o una inteligente miembro del control de las misiones del programa espacial japonés (Shioli Kutsuna, Deadpool 2).

Escrita y producida por Simon Kinberg (X-Men: Days of Future Past, The Twilight Zone) y David Weil (Hunters). Dirigida y producida por Jakob Verbruggen (The Alienist, The Fall). Diez episodios.

Estreno: 22 de octubre

Estreno en España: 22 de octubre en Apple TV+ España

Inside Job (Netflix)

Para los empleados de esta organización secreta, las conspiraciones no son teorías, son hechos. Precisamente, es su trabajo mantenerlas en secreto. Cuenta con las voces de Lizzy Caplan (Masters of Sex, Castle Rock), Christian Slater (Mr. Robot, Dr. Death), Clark Duke (Greek, I'm Dying Up Here), Andrew Daly (Silicon Valley, Veep), Bobby Lee (MADtv, Love), John DiMaggio (Mythic Quest, Disenchantment), Tisha Campbell (My Wife and Kids, Dr. Ken) y Brett Gelman (Stranger Things, Fleabag).

Comedia de animación creada y escrita por Shion Takeuchi (Disenchantment, Gravity Falls). Producida por Alex Hirsch (Gravity Falls). Veinte episodios.

Estreno: 22 de octubre

Estreno en España: 22 de octubre en Netflix España

4400 (The CW)

Reboot de la serie The 4400 (2004-2007) en la que 4400 personas ignoradas, menospreciadas o marginadas que han desaparecido durante los últimos cien años aparecen en un instante sin haber envejecido ni un solo día y sin recuerdos de qué les ha ocurrido en todo este tiempo. Mientras el gobierno corre a analizar la potencial amenaza y contener la historia, los 4400 deben afrontar su nueva vida y hacerse a la idea de que es probable que hayan vuelto por una razón específica. Con T.L. Thompson, Cory Jeacoma (Power Book II: Ghost), Ireon Roach (Candyman), Derrick A. King (Call Your Mother), Autumn Best, Joseph David-Jones (Arrow, Nashville), Khailah Johnson, Brittany Adebumola (Grand Army), Jaye Ladymore (Empire) y Amarr Wooten (Knight Squad, American Housewife).

Creada, escrita y producida por Ariana Jackson (Riverdale, UnREAL).

Estreno: 25 de octubre

Colin in Black & White (Netflix)

Limited series que sigue los años formativos de Colin Kaepernick, el quarterback de los San Francisco 49ers y activista que durante la temporada de 2016 se arrodilló antes de los partidos mientras sonaba el himno nacional. Jaden Michael (The Get Down) interpretará una versión adolescente del jugador. Completan el reparto Nick Offerman (Parks and Recreation, Devs), Mary-Louise Parker (Weeds, The West Wing), Klarke Pipkin, Amarr Wooten (Knight Squad, American Housewife) y Mace Coronel (Nicky, Ricky, Dicky & Dawn).

Escrita y producida por Michael Starrbury (When They See Us). Producida por Ava DuVernay (When They See Us, Queen Sugar) y Kaepernick, que narrará la historia. Seis episodios.

Estreno: 29 de octubre

Estreno en España: 29 de octubre en Netflix España

Swagger (Apple TV+)

Drama que explorará el mundo del baloncesto juvenil centrándose en los jugadores, sus familias y los entrenadores. Tocará temas como los sueños, la ambición, el oportunismo o la corrupción inspirándose en los años de juventud del jugador Kevin Durant. Protagonizada por O'Shea Jackson Jr. (Obi-Wan Kenobi), Isaiah Hill, Shinelle Azoroh, Quvenzhané Wallis (Beasts of the Southern Wild, Annie), Caleel Harris (When They See Us, Castle Rock), James Bingham, Solomon Irama, Ozie Nzeribe (Shameless), Tessa Ferrer (Grey's Anatomy, Mr. Mercedes), Tristan Mack Wilds (The Wire, 90210) y Jason Rivera.

Escrita, dirigida y producida por Reggie Rock Bythewood (Shots Fired, Players). Produce Durant. Diez episodios.

Estreno: 29 de octubre

Estreno en España: 29 de octubre en Apple TV+ España

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Lion King Review: The Power of Consolidation in Hollywood

(Bloomberg) — Come for the harmonic pairing of Beyoncé and Donald Glover as they sing the Elton John classics, stay for the comedic fireworks of Seth Rogen and Billy Eichner in Walt Disney’s live-action The Lion King.

That’s the standard take from the reviews of one of Disney’s crown jewels this year, which hits theaters nationwide Friday. But critics have given this version of the beloved tale a frosty reception—only 60% are recommending it, according to aggregator Rotten Tomatoes. With an estimated $175 million-plus opening weekend, it’s still likely to record the second-biggest opening of the year so far, behind only Avengers: Endgame.

“I don’t think critics’ reviews are going to matter as much with this film,” says Shawn Robbins, chief analyst at Box Office Mojo. Robbins predicts it will generate more than $1.3 billion globally, which would overtake Beauty and the Beast as the biggest of the live-action re-imaginings the studio has been plugging away at since the success of Alice in Wonderland in 2010.

The strategy has helped introduce the studio’s most popular characters, from Belle to Aladdin, to a new generation of consumers. It is also contributing to a year in which Disney is exerting dominance over Hollywood the likes of which Tinseltown has never seen. Since it closed a $71 billion offer for a swath of 21st Century Fox assets in March, the studio’s domestic market share has risen to nearly 35%, more than double its closest rivals, Warner Bros. and Universal Pictures.

One of the key indicators that helps explain why audiences will turn out to Lion King, whatever the critics say, is the dominance of Disney’s so-called “event films.” The top-five grossing films so far this year—four of which are Disney movies—account for 36% of the box office ticket sales. In 2018, that sort of box office concentration was less than 23%.

Doug Creutz, analyst at Cowen & Co., has been studying this evolution. He expects that by the end of summer, the top-four-grossing movies from Hollywood’s most lucrative season will account for more than half of all ticket sales. This level of consolidation has happened last year, too, and in 2015. But it was pretty rare before then: From 2001 to 2014, there was only one year in which the top four films exceeded even 40% of the total.

2019 has the potential to be “highly concentrated,” Creutz says. With upcoming sequels of Star Wars and Frozen still on the way, he says it’s possible that the year will set a record for the fewest number of movies that account for the biggest share of the box office. “Nobody wants to put their movie next to Disney’s big movies,” he says.

Compounding the issue is that there is a record number of wide releases this summer—34 of them, compared to the 18-year average of just 24. This makes the odds of success lower for anything that isn’t a huge event at theaters, and the fallout will be born by smaller studios trying to compete with Disney, according to Creutz. Producers and distributors have a tougher choice to make about whether a movie has the ability to survive in a theatrical release, or if streaming is a better fit.

Even this year’s Aladdin, which was widely panned, managed to swing a sizable profit, raising $964 million globally. (Dumbo, which flopped in March, appears to be the rare exception.) The Lion King has already opened in China, the second-biggest movie market, and has bested the results of The Jungle Book, Beauty and the Beast, and Aladdin.

Fans of Beyoncé are doing their part to ensure The Lion King’s success, using the singer’s lion character Nala as their profile pictures on social media as a way to raise the profile of the movie. But for some critics, the fierceness of the singer’s stage persona doesn’t translate. Nala’s “Lions, are you with me?” rallying cry is no “Okay ladies, now let’s get in formation.”

Catalina Combs, of the review site Black Girl Nerds, notes that the best song of the movie isn’t Beyoncé’s but the comedians’ “Hakuna Matata.” “The voice work, combined with the hyperreal CGI during the more emotional scenes, comes off as bad dubbing,” she wrote. “At times, it sounds incredibly cheesy.”

At the screening I attended last week, it was hard to know if what you were seeing was real or digital. Visually, the film is stunning, mixing technology from the gaming world, virtual reality, and real sounds and views of Africa. That seems to have come at the cost of facial expressions that might allow you to connect with a character.

Others were disappointed that the film is a play-by-play of the original 1994 animation. To David Ehrlich of Indiewire, the movie is “a creatively bankrupt self-portrait of a movie studio eating its own tail.”

It isn’t the most powerful Hollywood property when factoring merchandise and other revenue streams—that title might go to Pokémon—but Lion King ranks high and has had remarkable staying power, in large part because of some $9 billion in ticket sales to its stage show, which has run through more than 9,000 performances.

And unlike such Disney properties as Marvel, which are driven by toy sales, the movie merchandise tie-ins include a cosmetic collection by Luminess and Sir John, Beyoncé’s makeup artist, along with $75 crown rings, courtesy of jeweler Pandora. There’s a hat line from milliner Gigi Burris, and Bloomingdales will have its own in-store “Style Kingdom.”

But the fact that even Beyoncé can’t make the movie a resounding success on all measures is perhaps a warning for the studio’s many remakes in store. A live-action version of Lady and the Tramp for Disney’s new streaming service is scheduled for later this year. Mulan is set for a March 2020 release, and Cruella, a reboot of 101 Dalmatians starring Emma Stone, is cued up for 2020. For a remake of The Little Mermaid, Disney is trying to keep the franchise current by casting black actress and singer Halle Bailey as Ariel. The studio has live-action versions of its animated hits scheduled through 2023.

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Fantasia 2018: Unfriended: Dark Web, Tales from the Hood 2, The Night Eats the World

Among its many major discoveries, the Fantasia International Film Festival can lay ownership to what can now be called the “Unfriended” franchise. In 2014, a horror movie called “Cyber National,” which took place all on one computer screen, was soon picked up for distribution, and retitled to “Unfriended.” Four years later, Fantasia had the international premiere of its sequel, “Unfriended: Dark Web.” Curiously, after the showing on Friday night, it was announced that director Stephen Susco’s film will have two endings when it is officially released, a bid to make the movie a tempting type of game. Don't fall for it. 

Curiosity killed the dumb horror character, as we know from cinematic death-traps structured just like this one, but “Unfriended: Dark Web” stretches this conceit until it snaps, which happens about 15 minutes in. A lost-and-found laptop with a bunch of violent videos, ominous file names on it and even the idea of going deep into the dark web is just not that seductive of a Pandora’s Box. As “Unfriended: Dark Web” then drags viewers through its mechanical course of events, the film works like a slasher movie as presented all on one laptop screen. Nastiness is its main offer, not tension. 

The person who finds said laptop, Matias (Colin Woodell), soon understands from a slew of Facebook message notifications that someone who owned this computer was doing some very suspicious transactions, and is in demand from a lot of people. Then, the person who claims (in caps lock, always) that Matias stole the laptop demands it back. Matias shares this with his friends who he is simultaneously Skyping with, some of whom fill the “dumb teenagers in a haunted house” set-up, including a smart, glasses-wearing guy, and a goofy comic relief guy. 

But good poutine gravy are these characters dumb and the movie even more so, at times shameless for the type of tricks it tries to pull with a straight face. One of the key plot points is that Matias’ girlfriend Amaya (Stephanie Nougeras) is deaf, which makes for moments of cheap tension that are just too mean-spirited, in which she can’t hear someone lurking behind her in what’s meant to be one of the more unsettling “boogeyman” moments. Or, not a spoiler, when Matias desperately tries to convince his friends that all of the stuff was a game; they believe it, and it becomes insulting to us that the movie thinks we would accept that. 

All of this happens as dully presented on one screen that goes between Facebook chat to a Skype session, with too many creative liberties. However nervous the movie wants to be, it’s far too inert, and can only hand-hold the audience. One nagging idea is how the dark web boogeyman can type in black text within one of Matias’ Facebook chats with another friend, accompanied every time by an overeager boom from the sound design. Of course, said messages then dramatically vanish. For a movie that wants to be scary because of its real-life possibility, it’s a carelessly broad depiction. “Unfriended: Dark Web” may compel you to cover the cameras on your electronic devices, but its filmmaking will be rendered obsolete when the superior screen-based thriller “Searching,” also produced by Timur Bekmambetov, comes out next month, or plays Fantasia next week.

On the other hand, “Tales from the Hood 2” proves that there should be approximately a hundred more films to that franchise’s name. It’s been 23 years since the film installment of this horror anthology, which like its sequel, was directed by Darin Scott and Rusty Cundieff, and executive produced by Spike Lee. If it even needs to be pointed out, those shorts, which tackled police brutality, violent families, the destruction of black bodies and more, are still as immediate and disturbing in 2018. 

It feels particularly fitting to talk about them together, so take this as not just a recommendation for “Tales of the Hood 2” but also “Tales from the Hood.” “Tales from the Hood 2” is similar to the first installment in a lot of ways, in particular because it comes with special horror branding: shorts that welcome viewers with campiness and overt horror beats, but achieve their thrills out of Scott and Cundieff's serious messages about history. Here, two young women (one Caucasian, one African American) carelessly wander into a museum filled with racist toys, and antiques from a time not removed from our own. They’re lectured by an owner of the museum about the real horror behind those images, with an emphasis on trying to devalue black lives with such awful depictions. They're explicitly told not to mess with these pieces of history, but it falls on deaf ears. 

I wouldn’t dare spoil what happens next, but the gory, shocking, funny and unforgettable images that result are the values of “Tales from the Hood” movies at their best: these shorts are not afraid to go beyond what you might expect. They can be bombastic and poignant all the same, with thrills and a message. And in a way that's different from so many horror anthologies, these are parables are primed for discussion as much as entertainment. 

Made on a smaller scale than its predecessor, “Tales from the Hood 2” is rough around the edges filmmaking-wise, and its writing can be a bit shaky: a slow-burn short about predatory bros feels like a weak corrective to the often male-focused perspectives in their storytelling. And the second short, about a psychic, takes a bit too long to get to its albeit outrageous comedic pay-off. 

But the last short in this sequel, which mixes real-life history with a nightmare about a black conservative man, is one of the most audacious from both films. It won’t be spoiled here, but it’s a great example of the “Tales from the Hood” movies coming into their own, still thinking of horror way beyond jack-in-the-box thrills. As horror fans chew on the notion of “elevated horror” considering the likes of “Get Out" (referring to movies that use genre thrills to explore political messages), “Tales from the Hood 2” proves Cundieff and Scott have been thinking at that level the whole time. 

One of the best movies I’ve seen at Fantasia so far is one of its most minimal: the exciting mash-up of a solo survival movie and the threat of a single zombie bite. “The Night Eats the World,” based on the novel by Pit Agarmen, is a terrific showcase in particular for Anders Danielsen Lie, previously of “Oslo, August 31st” and “Reprise.” Like the best movies that isolate us with one actor as they navigate and adapt to their deadly surroundings, it locks us into the psychology of Lie’s character Sam, who is the only living soul, as far as the eye can see, after an overnight zombie apocalypse. 

With his Paris apartment building functioning as a type of fort, Sam’s exploration of the building for life substances and through other life stories highlights one of the character-driven film’s best aspects: it’s not a movie you can get a step ahead of. We're with him in an open world, and we're more worried about him going crazy than him being bitten. Lie is so charismatic as our surrogate into this experience that the spacious movie feels full enough, even if the plot becomes mostly about his endurance physically and mentally. 

Sam goes through different feelings about his lucky foe: shock, amusement (he starts to embrace his drum set, even though it stirs up the zombies outside), and extreme loneliness. The movie is filled with extensive passages where there’s no dialogue as he exhibits these different states of mind. It's about a man getting comfortable with being alone, which becomes a quietly powerful message under all of it. And at the same time, director Dominique Rocher doesn’t under-utilize the dread of the zombie component, using classic zed logic like a more existential “Shaun of the Dead” meets “All Is Lost.” 

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Noticias de series de la semana: Apple renueva en masa

Renovaciones

CBS All Access ha renovado Why Women Kill por una segunda temporada

Disney+ ha renovado High School Musical: The Musical: The Series por una 2ª temporada

The CW ha renovado The Outpost por una tercera temporada

The CW ha renovado Pandora por una segunda temporada

Apple TV+ ha renovado For All Mankind por una segunda temporada

Apple TV+ ha renovado See por una segunda temporada

Apple TV+ ha renovado Dickinson por una segunda temporada

Apple TV+ ha renovado Little America por una segunda temporada

Apple TV+ ha renovado Home Before Dark por una segunda temporada

FOX ha renovado Bless the Harts por una segunda temporada

Disney Channel ha renovado Raven's Home por una cuarta temporada

Cancelaciones

NBC ha retirado Sunnyside de la parrilla en su primera temporada. Seguirá online.

NBC no encargará más episodios de Bluff City Law. Su cancelación dependerá de la audiencia en diferido.

Noticias cortas

Daniella Alonso (Cristal), Michael Michele (Dominique), Sam Underwood (Adam) y Adam Huber (Liam) serán regulares en la tercera temporada de Dynasty.

Sonya Walger (Molly Poole) y Krys Marshall (Danielle Poole) serán regulares en la segunda temporada de For All Mankind.

NBC ha encargado un episodio adicional de Sunnyside, once en total, para su emisión online.

El accidente de coche en el que se vio envuelta Helen Hunt, que no resultó herida seriamente, obligó a parar la producción del revival de Mad About You hasta el lunes, donde se evaluará la situación basándose en la disponibilidad de Hunt.

La producción de Cowboy Bebop se detiene durante entre siete y nueve meses por una herida en la rodilla de John Cho que requiere cirugía y rehabilitación.

Incorporaciones

Russell Tovey (Years and Years, Looking) protagonizará el thriller sobrenatural Because the Night. Será un hombre que lleva diez años huyendo de un secreto cuando alguien de su pasado (Bertie Carvel, Doctor Foster) se presenta en su puerta con noticias que desencadenan una serie de decisiones catastróficas. Les acompañan Amrita Acharia (Game of Thrones, The Good Karma Hospital), Nina Toussaint-White (Bodyguard, GameFace) y Paul Bazely (Benidorm, Critical).

Mackenzie Davis (Halt and Catch Fire, Black Mirror) y Himesh Patel (Yesterday, EastEnders) protagonizarán Station Eleven, limited series adaptación de la novela de Emily St. John Mandel (2014) para HBO Max que nos muestra a los supervivientes de una gripe devastadora mientras intentan reconstruir el mundo aferrándose a lo mejor de lo que se ha perdido. Serán Kirsten y Jeevan, dos supervivientes. Escrita y producida por Patrick Somerville (Maniac, The Leftovers). Diez episodios.

Se confirma la participación de Greg Kinnear (Little Miss Sunshine, As Good as It Gets) en The Stand interpretando a Glen Bateman, un profesor viudo con artritis que se une a Stu (James Marsden) en un viaje para conocer a Abigail (Whoopi Goldberg). Heather Graham (Californication, Angie Tribeca), Eion Bailey (Once Upon a Time, Band of Brothers), Katherine McNamara (Shadowhunters, Arrow) y Hamish Linklater (The Newsroom, Legion) serán Rita Blakemoor, una mujer adinerada que intenta escapar de Nueva York; Teddy Weizak, un superviviente acompañante de Harold (Owen Teague); Julie Lawry, una conquista de Lloyd (Nat Wolff); y el doctor Ellis, un coronel militar y especialista en enfermedades infecciosas.

Patton Oswalt (Veronica Mars, Veep) se une a la segunda temporada The Boys. Se desconocen detalles. Goran Visnjic (Timeless, ER) y Claudia Doumit (Timeless) serán recurrentes como Alistair Adana, el carismático líder de una misteriosa iglesia; y Victoria Neuman, una prodigiosa joven congresista.

Missi Pyle (Impulse, Mom) y Holley Frain (Gossip Girl, Grey's Anatomy) serán recurrentes en The Betty Broderick Story, la segunda temporada de Dirty John, como Karen Kintner, una esposa y madre divertida y carismática del círculo de amigas de Betty (Amanda Peet); y Evelyn Crowley, una amiga amable y comprensiva de Betty que está casada con un colega de Dan (Christian Slater).

Natalie Morales (Santa Clarita Diet, Parks and Recreation) será recurrente en la segunda temporada de Dead to Me como Michelle, una mujer que conoce a Judy (Linda Cardellini) en la residencia.

Justin Kirk (Weeds, Kidding) se une como recurrente a Perry Mason. Se desconocen detalles.

Jason Behr (Roswell) se une como recurrente a Roswell, New Mexico. Se desconocen detalles. Gaius Charles (Friday Night Lights) y Justina Adorno (Grand Hotel, Seven Seconds) serán recurrentes como Bronson, un granjero local; y Steph, una joven educada, brillante y mordaz que nunca pide perdón por ser como es.

Derek Cecil (House of Cards, Treme) y Max Beesley (Jamestown, Ordinary Lies) serán recurrentes en The Outsider, adaptación de la novela de Stephen King, como Andy Katcavage y Seale Bolton.

Stephen Lobo (Snowpiercer, Continuum) será el detective Jim Corrigan en el crossover del Arrowverse.

Naomie Harris (Moonlight, Collateral Beauty) y John Dagleish (Christopher Robbins, Mary Poppins Returns) se unen a The Third Day. Harris protagonizará la segunda mitad interpretando a Helen, una mujer firme que llega a la isla buscando respuestas.

Richard Flood (Shameless, Red Rock) será recurrente en la decimosexta temporada de Grey's Anatomy como el nuevo jefe de cirugía pediátrica.

Andrene Ward-Hammond (Claws, The Righteous Gemstones) y Ellen Tamaki (Charmed) serán recurrentes en la segunda temporada de Manifest como Kate Bowers y Drea Mikami, nueva capitana y nueva compañera de Michaela (Melissa Roxburgh).

Joe Minoso (Chicago Fire) será recurrente en la tercera temporada de Get Shorty como Hector, líder de una banda de Capotillo (República Dominicana) que controla el crimen en Los Ángeles.

Garcelle Beauvais (Siren, The Magicians) será recurrente en la segunda temporada de Tell Me a Story como Veronica Garland, una socialite y mujer de negocios casada con el padre de Simone (Ashley Madekwe).

Pósters

   Nuevas series

Pathé y Vendôme han adquirido los derechos del reportaje en exclusiva del The New York Times sobre el incendio que arrasó Notre-Dame y desarrollan una miniserie en colaboración con el periódico. Se grabará en inglés, aunque algunos personajes hablarán distintos idiomas. Se buscan guionistas y directores.

THR3 y Grupo Chespirito preparan un universo de series, películas y cómics sobre los personajes creados por Chespirito que empezará con una serie biográfica del actor, creador y protagonista de El Chavo del Ocho o El Chapulín Colorado.

Mark Boal (Zero Dark Thirty, The Hurt Locker) escribirá la limited series Fall And Rise: The Story of 9/11, basada en el libro de Mitchell Zuckoff, para ABC. Contará las historias de aquellos que murieron, se salvaron o cambiaron para siempre en el atentado.

Freddie Highmore (Bates Motel, The Good Doctor) escribirá y producirá junto al escritor británico James Mitchell la comedia negra Homesick que prepara TBS. Basada en las experiencias de Mitchell y centrada en la relación entre un veinteañero con un desorden alimenticio y su madre narcisista, explora temas como la salud mental, la imagen física, la masculinidad tóxica y lo que significa desafiar las expectativas de género.

HBO desarrolla The Most Fun We Ever Had, adaptación de la novela de Claire Lombardo (2019) que sigue a cuatro hermanas que luchan por existir a la sombra del idílico matrimonio de sus padres y cuyas vidas se complican con el regreso del hijo que una de ellas dio en adopción hace quince años. Escrita por Lombardo y Anya Epstein (The Affair, In Treatment). Producida por Amy Adams (Sharp Objects) y Laura Dern (Enlightened).

Sony Pictures TV ha adquirido los derechos de A Spark of Light, novela de Jodi Picoult (2018), para convertirla en una limited series. En ella, un hombre armado toma rehenes en una clínica de salud reproductiva y un negociador de la policía recibe un mensaje de su hija (Joey King; The Act, Fargo), que está dentro junto a una enfermera, una mujer herida, un doctor, una provida que se ha convertido en paciente y una joven que quiere interrumpir su embarazo.

BBC Two encarga seis episodios de The Witchfinder, comedia sobre un presuntuoso cazador de brujas (Tim Key; This Time With Alan Partridge, Brassic) y su inquisitiva y grosera sospechosa (Daisy May Cooper; This Country, The Wrong Mans) en su camino a un juicio por Anglia Oriental, al este de Inglaterra, en 1647, en un momento de guerra civil, hambre, peste, puritanismo, superstición y ganas de encontrar chivos expiatorios. Creada, escrita y dirigida por Neil y Rob Gibbons (This Time With Alan Partridge, Veep).

HBO Max encarga Grease: Rydell High, spin-off de Grease centrado en el instituto en los años 50, con personajes conocidos y nuevos y con grandes números musicales de la época y canciones nuevas.

CBS Television Studios prepara un revival de la película y la serie Clueless con el regreso de algunos personajes pero un tono más dramático. La nueva versión, escrita por Jordan Reddout y Gus Hickey (Will & Grace, Man with a Plan), se centraría en Dionne (Stacey Dash), que se convierte en la chica más popular tras la desaparición de su amiga Cher (Alicia Silverstone).

Fechas

La undécima y última temporada de Will & Grace se estrena el 24 de octubre

Guilt se estrena en BBC Two el 30 de octubre

La tercera temporada de No Activity se estrena en CBS All Access el 21 de noviembre

The Outsider se estrena en HBO el 12 de enero

Tráilers y promos

The Marvelous Mrs. Maisel - Temporada 3

Shameless - Temporada 10

The Man in the High Castle - Temporada 4 y última

Dickisnon

The Outsider

Atypical - Temporada 3

No Activity - Temporada 3

The Sinner - Temporada 3

[harriettprinsep-blog]

English Model Freed After Being Kidnapped To become Sold, Italian Authorities Point out.

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[ultralifehackerguru-blog]

New Post has been published on http://www.lifehacker.guru/all-the-best-movies-coming-to-and-leaving-netflix-in-march-2017/

All the Best Movies Coming to and Leaving Netflix in March 2017

Spring is in the air and daylight saving time is about to start, which means those carefree lazy nights of binge watching Netflix will now come with a side of guilt as you look off into the late evening sunset. Good thing there’s some good stuff arriving this month to keep you occupied.

The Highlights

As has been the case for several months now, the big push here is once again Netflix originals. That kicks off with the first season of Marvel’s Iron Fist, a show about a superhero doing superhero things and probably kicking people. There’s also 13 Reasons Why, a teen suicide drama directed by Tom McCarthy based on the popular young adult novel of the same name. Other new series include One More Time, Beau Sejour, and Samurai Gourmet. As for returning shows, Love comes back for its second season of bored-skinny-white-30-somethings-in-Los-Angeles-doing-things, and Grace and Frankie lines up for its third season. Netflix is also dropping a few new feature length films, including the Hell Week coming of age drama Burning Sands, the comedy-caper Deidra & Laney Rob a Train, the South Korean nuclear disaster film, Pandora, the Madalyn Murray O’Hair biopic Most Hated Woman in America, and finally, the much talked about The Discovery.

Netflix is also debuting Five Came Back, a documentary based on the book of the same title that details the effects of World War II on Hollywood and its directors. In conjunction with that, Netflix is offering up a ton of classic World War II documentaries, including How to Operate Behind Enemy Lines, Let There Be Light, Prelude of War, and a bunch more.

As for non-Netflix titles, Disney’s The BFG (RT: 75%) and Pete’s Dragon (RT: 86%) are easily the biggest highlights. Life Aquatic (RT: 56%), Archer season seven, and the ‘90s teen goth totally not lame at all classic, The Craft (RT: 50%) all also arrive this month.

You won’t have much to worry about as far as movies leaving, unless you haven’t seen Jaws (RT: 97%) yet, in which case you should really take care of that. The 2014 Emile Edwin Smith Oscar vehicle and dramatic tour de force Mega Shark vs Mecha Shark is also leaving.

Leaving Netflix This Month

March 1

Jaws

Justice League: War

Jaws 2

Jaws 3

Jaws: The Revenge

Justice League: The Flashpoint Paradox

Keeping Up Appearances

Monarch of the Glen: Seasons 1 – 7

National Lampoon’s Animal House

Robin Hood: Seasons 1 – 3

Survivors: Series 1 – 2

Leaving 3/2/17

Black or White

Sweetwater

March 3

Bill & Ted’s Bogus Journey

Misfire

Web Junkie

March 4

Entertainment

I Dream of Wires

Otto the Rhino

Seashore

The Discoverers

The Nanny Diaries

March 5

Food Chains

Jail Caesar

The Days to Come

Two Hundred Thousand Dirty

March 6

Pit Stop

Rigor Mortis

March 7

Hansel vs. Gretel

March 8

Love At First Fight

The Starving Games

March 15

Boy

B for Boy

My Girlfriend’s Boyfriend

Sushi: The Global Catch

March 16

American Dreamz

March 23

Love Me

The Invincible Iron Man

March 25

All Stars

Pup

The Perfect Wedding

March 27

Dragonwolf

March 28

Erasing Hate

The Kingdom of Dreams and Madness

March 29

6 Guns

Detropia

I Melt With You

Mega Shark vs. Mecha Shark

The Life and Crimes of Doris Payne

Arriving on Netflix this Month

March 1

Angry Birds: Season 2 (2013)

Blazing Saddles (1974)

Chicago (2002)

Deep Run (2015)

Dirt Every Day: Season 1 (2013)

Epic Drives: Season 2 (2015)

Friday After Next (2002)

Head 2 Head: Season 2 (2013)

Hot Rod Unlimited: Season 1 (2013)

Ignition: Season 1 (2013)

Impossible Dreamers (2017)

Jurassic Park (1993)

Jurassic Park III (2001)

Kate and Mim-Mim: Season 2 (2015)

Know Your Enemy – Japan (1945)

Kung Fu Panda (2008)

Let There Be Light (1946)

Memento (2000)

Midnight in Paris (2011)

Nacho Libre (2006)

Nazi Concentration Camps (1945)

Roadkill: Season 2 (2013)

Rolling Stones: Crossfire Hurricane (2012)

San Pietro (1945)

Singing with angels (2016)

Sustainable (2016)

Slums of Beverly Hills (1998)

The Craft (1996)

This Is Spinal Tap (1984)

Tenacious D in: The Pick of Destiny (2006)

The Lost World: Jurassic Park (1997)

The Memphis Belle: A Story of a Flying Fortress (1944)

The Negro Soldier (1944)

Thunderbolt (1947)

Tunisian Victory (1944)

March 3

Greenleaf: Season 1 (2016)

March 4

Safe Haven (2013)

March 5

Señora Acero: Season 3 (2016)

March 7

Amy Schumer: The Leather Special—NETFLIX ORIGINAL

March 8

Hands of Stone (2016)

The Waterboy (1998)

March 9

Thithi (2015)

March 10

Buddy Thunderstruck: Season 1—NETFLIX ORIGINAL

Burning Sands—NETFLIX ORIGINAL FILM

Love: Season 2—NETFLIX ORIGINAL

One More Time: Season 1—NETFLIX ORIGINAL

The Boss’ Daughter (2016)

March 13

Must Love Dogs (2005)

Million Dollar Baby (2004)

March 14

Disney’s Pete’s Dragon (2016)

Jim Norton: Mouthful of Shame—NETFLIX ORIGINAL

March 15

Disney’s The BFG (2016)

Notes on Blindness (2016)

March 16

Beau Sejour: Season 1 –NETFLIX ORIGINAL

Coraline (2009)

March 17

Deidra & Laney Rob a Train—NETFLIX ORIGINAL FILM

Julie’s Greenroom: Season 1—NETFLIX ORIGINAL

Marvel’s Iron Fist: Season 1—NETFLIX ORIGINAL

Naledi: A Baby Elephant’s Tale (2016)

Pandora—NETFLIX ORIGINAL FILM

Samurai Gourmet: Season 1—NETFLIX ORIGINAL

March 18

Come and Find Me (2016)

The Vampire Diaries: Season 8 (2016)

March 20

El Reemplazante: Season 1-2 (2012)

March 21

Ali & Nino (2016)

Another Forever (2016)

Evolution (2015)

Fire at the Sea (Fuocoammare) (2016)

March 23

How to Get Away with Murder: Season 3 (2016)

Welcome to New York (2015)

March 24

Bottersnikes & Gumbles: Season 2—NETFLIX ORIGINAL

Déjà Vu (2006)

Felipe Neto: My Life Makes No Sense—NETFLIX ORIGINAL

Grace and Frankie: Season 3—NETFLIX ORIGINAL

Ingobernable: Season 1—NETFLIX ORIGINAL

Spider (2007)

The Square (2008)

The Most Hated Woman in America—NETFLIX ORIGINAL FILM

Who Framed Roger Rabbit (1988)

March 25

The Student Body (2017)

USS Indianapolis: Men of Courage (2016)

March 26

The Life Aquatic with Steve Zissou (2004)

March 27

Better Call Saul: Season 2

March 28 

Archer: Season 7 (2016)

Jo Koy: Live from Seattle—NETFLIX ORIGINAL

March 30

Life in Pieces: Season 1 (2015)

March 31

13 Reasons Why: Season 1—NETFLIX ORIGINAL

Bordertown: Season 1—NETFLIX ORIGINAL

Cooper Barrett’s Guide to Surviving Life: Season 1 (2016)

Dinotrux: Season 4—NETFLIX ORIGINAL

FirstBorn (2016)

Five Came Back—NETFLIX ORIGINAL

GLOW: The Story of the Gorgeous Ladies of Wrestling (2012)

Rosewood: Season 1

The Carmichael Show: Season 1-2

The Discovery—NETFLIX ORIGINAL FILM

Trailer Park Boys: Season 11—NETFLIX ORIGINAL

©

[shaymehr]

Music’s Manic Episode Over Digitization

Nestled on the side of the California coast breathing in salty air and luring in young audiophiles is Sound Spectrum, a record shop that’s been right where it’s sitting since 1967.

Wave Baker, a 15-year employee of Sound Spectrum, believes that in music we have “the best of all worlds for us today”.

Baker, a self proclaimed “student of sound,” says that for him the digitization of music has led to music becoming more convenient in “packaged tiny bites” and a growing appreciation of all live sound growing from concerts to the wind.

Baker makes the shift of music into the digital age seem expected and natural, but not everyone agrees with this sentiment.

In the last decade music has shifted more and more from something owned to something borrowed as listeners have shifted from purchasing physical copies of an artist’s work to streaming them online using a variety of platforms.

And regardless of where their loyalties lie, almost every music lover you meet has dipped their toes in the piracy pool if not cannon balled in.

Even music giant, Apple, which has dominated MP3 sales for over a decade is now joining the streaming business with Apple Music.

Streaming services for the first time had generated more sales than CDs in 2014 according to a report released by the Recording Industry Association of America as quoted  

It’s safe to say that the battle is over and streaming has come out on top, with a bevy of companies such as Pandora, Spotify, Apple Radio, Google, Tidal and others, now flood the streaming market.

As technology out grows the copyright laws in place, several problems have arisen. Artists complain that they aren’t paid the royalties they are owed with streams of their work. Streaming services struggle to stay afloat or turn a profit, as royalties and licensing fees are too high. And somewhere in between, 20 to possibly 50 percent of the fees are lost to a “black box” of middlemen according to the Berklee College of Music’s Institute for Creative Entrepreneurship as quoted by NPR. Industry insiders refer to this as a black box because the money is not traced back to the writer or artist, but is lost someone along the chain of companies used to pay labels and artists.

But there isn’t even agreement on who is to blame and the finger is pointed in several directions.

Ted Coe, Development Coordinator at KCSB FM, doesn’t think the finger should be pointed at any one entity but the system. He says, “Capitalism has always been a problem for art…it rips at the fabric of doing things because you’re passionate.”

Coe quoted Boots Riley, an artist, saying, “ it’s going to be a different economy for musicians”. He feels that musicians now have to make a choice whether to be viable and lose autonomy or follow their passion and scrape by.

A slew of critics from all corners of the music industry have suggested amendments to law and some other more creative solutions to try to appease all members of the industry.

According to RollingStone, The International Federation of the Phonographic Industry, the music industry’s U.N., decided that one solution to music piracy would be to standardize music release dates. They have been backed by the Music Business Association, which represents many U.S. retailers including Spotify.

In the U.S. before July 10th music was released on Tuesdays, while in other countries the release dates varied. So if one country received a release before another there was incentive to leak the album illegally to virgin ears.

The IFPI announced that the new worldwide release date would be Friday after music consumers were surveyed on their preferences. It is their hope that this will reduce the urge to leak unreleased content and therefore reduce revenue loss for artists and labels.  

James H. Richardson, a UCLA law and management scholar, devoted his dissertation to how appropriately changing the compulsory licensing scheme could save the music industry. He suggests changing the foundation with a multi-part amendment to copyright law.

His solution involves tying licensing fees distributors pay to labels to distributor’s revenue. This would prevent distributors from going into deficits or out of business entirely.

Next it involves setting a minimum royalty rate so that distributors would still have to pay artists something even if they were making little to no revenue. This is key in the fledgling phases of more platforms.

And lastly Richardson’s solution involves putting a tax on the licensing fees. This would have the impact of music content being offered at market value, diversity in labels competing and funding for copyright governance boards to function autonomously.

Coe, of KCSB FM, states that industry members he respects are now backing copyright law changes to compensate performers as well causing him to lean in this direction as well.

Hip-hop artist Jay Z came up with a unique solution after trying to collaborate with several streaming platforms, according to NPR. He decided independence was key to artist control and he purchased his own service, named Tidal. With the backing of celebrities like Beyoncé, Daft Punk, Kanye West, Madonna and several other big names, he hopes to focus on giving the largest shares to artists and audio quality. Audio quality is one of the only gripes of users of streaming services. Jay Z hopes to provide uncompressed file options that promise high sound quality to avid audiophiles at a higher price tag. Tidal will have no free version like Pandora or Spotify, which should evade it falling into a deficit early on.

Stephen Masnyj, a long time audiophile and KUCI’s promotions director, believes that large labels are stifling artists. When artists don’t get paid sufficiently they can’t eat or live let alone create.

He proposes a reinstatement of a type of patron system, much like a tech start up. “Like Angel investors, investors would hold a five percent stake in an artist’s work leaving the other ninety five percent to the artist. The five percent would be enough to cover the cost of recording, producing and distribution,” says Masnyj. Angel investors are people who are not interested in being refunded or making interest.

He’s not alone in viewing this path as a solution. It seems to be an up and coming idea in the youngest generation of music industry hopefuls.

One form of this patron system already exists in the crowd-funding site, Kickstarter. Artists encourage fans to donate in order to fund their projects, usually albums, in exchange for gifts of CDs, vinyl, shirts and other merchandise.

Artists like the band, Crook and the Bluff launched their Kickstarter in May 2014 and by June had raised $5,680, which was enough to record and distribute their album both physically and digitally.

In merely two months they had raised enough to produce their art and do so autonomously.

Kenny Oravetz, general manager at KCSB FM and producer of “The Roadtrip”, agrees with the idea of patronage to support and fund artists. He says, “If I was rich and really loved an artist I would make sure they could continue to produce work.”

Another possible solution he offered was one in which labels and artists would change their focus from the store to the experience.

Oravetz believes listeners expect music to be free in a world where everything is instantly available online.

Baker, of Sound Spectrum, goes so far as to say, the “laws of nature are supportive of music being shared” to support this idea.

Labels should focus on the “live experience” and sell tickets, merchandise like shirts, CDs, and vinyl when artists tour. Oravetz states that ticket prices have gone up passed the inflation rate so maybe labels are in fact catching on.

Artists also tour much longer than they have in the past, often longer than a calendar year. This is likely due to the higher revenue stream from performing than producing the album and banking on sales.

Spencer Vonhershman, coordinator of an all ages venue known as Funzone and soon to be radio disc jockey, thinks it’s a little blurrier than simply directing all focus to touring and ticket sales for every band.

He believes that artists loosely fit into three tiers. The lowest tier is composed of “hobby musicians” that would be happy to move up but will take any opportunity. The middle tier is artists that require album sales to keep making music and “scrape through with tours”. And the top tier is artists whose livelihoods provide more than their own income and need album sales to remain at the top.

Essentially album sales are still vitally important to all artists.

However, Vonhershman thinks tying merchandise to albums sales at shows is a creative compromise.

“People want to be able to show their friends they went to the show,” says Vonhershman. He’s referring to when items are packaged with digital downloads.  Nowadays vinyl comes with a digital download so that the new wave of young audiophiles can be fully satisfied. They’re not just stuck with this large impractical though rich sounding piece of plastic, but have their portable bite sized MP3s for convenience too.

Strangely enough despite the grand scale shift from physical to digital ownership, digital piracy, and then borrowing through streaming services, vinyl has had a comeback of sorts. It can be found in every hip shopping mall and record stores that are now frequented by a much younger demographic then before.

Vinyl sales are the only physical media that is increasing in revenue. Vinyl sales soared to 9.2 million copies last year, according to Nielsen music as quoted by Stereogum. The average vinyl sold at $23.84, which is up 40% even when adjusting for inflation. So you have an old medium with rising prices and sales.

While the push back of vinyl is far from balancing out the revenue loss from streaming, it is an interesting phenomenon worth exploring since it might contain a truly viable solution.

Wave Baker believes that the draws of vinyl for young people are it’s “warmer and deeper” tones, which “most authentically reproduce the live music experience”.

With digital music the compression means that something’s missing; that the sound waves are crunched together.

It may seem paradoxical that while the mainstream music consumer is shedding their weigh in physical media and “extraneous” sound waves, there’s a growing niche circling back to a largely impractical vinyl.

But the fact is that the market is simply reacting to consumer demands for, as Baker said it, “the best of all worlds”. Vinyl is something physical that can be provided as merchandise at shows, can come with a digital download code for convenience, sells an album, and ultimately results in more of the payment getting to the actual artist.

So it seems that this solution of accommodating the industry by weighing heavier on the live experience is already naturally occurring, at least with vinyl, and is the most viable step in the right direction for the industry.

References

Stephen, Masnyj, promotions director, KUCI.

Kenny, Oravetz, general manager, KCSB FM.

Ted, Coe, developmental coordinator, KCSB FM.

Spencer, Vonhershman, venue owner, Funzone.

Wave Baker, employee, Sound Spectrum.

Geslani, Michelle. “Streaming Music Services Made More Money Than CD Sales For The First Time Ever” [electronic source]. (2015). Consequence of Sound. Retrieved July 28, 2015, from consequenceofsound.net.

Grow, Kory. “Music Industry Sets Friday As Global Release Day” [electronic source]. (2015). Rollingstone. Retrieved July 20, 2015, from Rollingstone.com

Hogan, Marc. “Have We Reached Peak Vinyl?” [electronic source]. (2015). Stereogum. Retrieved July 28, 2015, from Stereogum.com

Hogan, Marc.  “Is Transparency the Music Industry’s Next Battle?” [electronic source]. (2015). NPR music. Retrieved July 23, 2015, from npr.org.

Hogan, Marc.  “Streaming Utopia: Imagining Digital Music’s Perfect World” [electronic source]. (2015). NPR music. Retrieved July 23, 2015, from npr.org.

Richardson, James H. (2014) The Spotify Paradox: how the Creation of a Compulsory License Scheme for Streaming On-Demand Music Services Can Save the Music Industry. SSRN, 1-45.

Sanders, Sam. “Jay Z’s Music Service, Tidal, Arrives With a Splash, And Questions Follow” [electronic source]. (2015). NPR Music. Retrieved July 20, 2015, from npr.org.

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