Notícias da TV

[DarkPhoenix]

Já subscrevi.
Aparentemente, é só hoje.

[JRibeiro]

Eddie Murphy and Shawn Ryan Are Teaming Up to Make a Beverly Hills Cop TV Show

Nearly a year ago, Eddie Murphy told Rolling Stone that he was interested in turning his classic 1984 action comedy Beverly Hills Cop into a TV show. Now Vulture has learned exclusively that the project is not only a reality, but that The Shield creator Shawn Ryan is leading the charge to resurrect Axel Foley. Multiple industry insiders tell us Ryan, Murphy and Sony Pictures Television have partnered on a small screen adaptation of the massively successful film franchise, and that broadcast networks began hearing their pitch on the spin-off this afternoon. And here's the kicker: In addition to his main role as an exec producer, Murphy has agreed to an on-camera role in the show. Feel free to begin doing the Neutron Dance.

Murphy telegraphed his intent to be a visible presence in the TV version of Cop during his chat with Rolling Stone last October. "I'd do the pilot, show up here and there," he told the magazine. Murphy was also very specific about the idea he had for reviving Axel. It would be a series "starring Axel Foley's son, and Axel is the chief of police now in Detroit." Vulture hasn't heard details of the pitch to networks, so it's very possible that the concept Ryan and Murphy is bringing to the networks has changed since. Our spies were only sure that the series is designed to be "a buddy cop show," that it will be an hourlong crime procedural with strong comedic elements (hello, CBS!), and that Murphy would appear in the pilot and possibly a few special episodes throughout the first season.
As for the major players in this version, Murphy and his self-titled production company were producers on the Cop movie franchise, which is one reason he's on board as an exec producer. Sony has an overall deal with Ryan (who's getting ready to launch The Last Resort on ABC), and Paramount Pictures released the feature films (though it's unclear what role the movie studio might have in the TV take). Still, one thing is for certain: Multiple networks will go crazy for the chance to make this show. Also, if producers don't use "Axel F" as the theme song, we will not be amused.

[siroco]

O realizador britânico e criador de várias séries de culto como «Espaço 1999» e «Thunderbirds» Gerry Anderson morreu hoje aos 83 anos, informou o filho do também produtor.Gerry Anderson sofria de Alzheimer desde 2010 e o seu estado de saúde tinha vindo a deteriorar-se durante os últimos seis meses, indicou Jamie Anderson, num blogue pessoal na Internet.

«Estou muito triste por anunciar a morte do meu pai, o criador dos 'Thunderbirds', Gerry Anderson», afirmou Jamie Anderson.

Diário Digital / Lusa

[siroco]

O Panda Biggs vai apresentar no dia 21 de Janeiro a série de desenhos animados «Wolverine & X-Men», assim como «BeyWheelz», mais 13 episódios da saga Beyblade.«Depois da tragédia que atingiu o Instituto Xavier, cabe a Wolverine convocar humanos e mutantes para trabalharem juntos na tentativa de impedir uma guerra que destrua toda a civilização.»

Esta é a sinopse de «Wolverine & X-Men», que estreia no dia 21 de Janeiro. No total serão 26 episódios, de segunda a sexta-feira, às 18h30.

Antes, no dia 17, estreia «BeyWheelz», de segunda a sexta-feira, às 07h30 e às 21h00.

«A história desta nova aventura repleta de personagens, equipas e truques renovados, decorre numa cidade futurista, onde o herói Sho é o campeão do torneio mundial BeyWheelz. A paz do local é assolada pelo ataque de um exército maligno chamado “The Dominators” colocando o mundo numa espiral fora de controlo.»

[JRibeiro]

PILOT SEASON: The ‘Revolution’ Effect — Drama Pilots Head To The Future

It is an unwritten rule of network development — if a new show from a genre not currently on TV becomes a hit in the fall, a lot of pilots in that milieu get ordered the following season as networks try to replicate the success.

Case in point this year — NBC‘s Revolution. J.J. Abrams/Eric Kripke’s post-apocalyptic series emerged as the biggest hit of the fall, and now the networks are betting heavily on other dramas set in the future. Today alone, three futuristic hourlong pilots received a green light, including one from Abrams, an untitled project at Fox with Fringe showrunner J.H. Wyman set in the near future when all LAPD officers are partnered with highly evolved human-like androids. The other two were at the CW — The Hundred, which has a post-apocalyptic setting similar to Revolution, and Oxygen. The Hundred takes place 97 years after a nuclear war has destroyed civilization when a spaceship with the human survivors sends 100 juvenile delinquents back to Earth to investigate the possibility of re-colonizing the planet. Oxygen is in the vein of District 9 ans is about a human society where a group of alien visitors are kept in prison. The CW has been the most aggressive in pursuing futuristic dramas. In addition to The Hundred and Oxygen, the network has ordered a second pilot for the Hunger Games-esque The Selection, which is set 300 years into the future. After building its brand mainly on contemporary teen soaps, the CW has fully embraced genre and high-concept dramas this season. Out of its six pilots only one, Taylor Hackford’s naval base-set Company Town, reflects present America. In addition to the three futuristic dramas, the network also has backdoor pilot The Originals, a spinoff from hit vampire drama The Vampire Diaries, and Reign, about 16th century Mary Queen of Scots.

ABC, which has been consistent in its efforts to get a sci-fi/genre hit on the air post-Lost, has two more hopefuls, Marvel’s comic book-inspired S.H.I.E.L.D., from Joss Whedon, and the zombie-themed The Returned. Other high-concept/genre broadcast drama pilots in contention include Fox’s Sleepy Hollow, from Alex Kurtzman and Bob Orci; and Delirium, set in a world where love is eradicated; Abrams’ other pilot, NBC’s Believe with Alfonso Cuaron, about a girl with special power battling evil elements; NBC’s Bloodline, about a young woman from an ancient line of mercenaries, brigands and killers; and the Carlton Cuse-produced comic book adaptation The Sixth Gun; as well as CBS’ summer series Under The Dome, based on Stephen King’s book.

[rui sousa]

'Contra Informação' regressa em março... na SIC

O formato de humor e sátira política deixou de ser exibido na RTP1 há dois anos, mas vai voltar ao canal onde "nasceu".

Foi na SIC que o programa arrancou em 1992 sob o nome Jornalouco. Agora, passados mais de 20 anos e depois de ter feito sucesso no principal canal da estação pública, o formato vai voltar.
De acordo com uma revista semanal, o programa vai ser apresentado já em março e vai contar com a participação do ator Vítor Espadinha, que vai entrevistar o boneco de Miguel Relvas.
À publicação, o ator adianta ainda que o programa será exclusivamente como bonecos e que terá outro nome. O novo Contra Informação vai voltar a ser produzido pela Mandala.

In http://www.dn.pt/inicio/tv/interior.asp ... id=3035343

[JRibeiro]

Já é oficial, Jimmy Fallon substitui o Leno na Primavera de 2014

Official: Jimmy Fallon to replace Jay Leno

It’s official: NBC announced today that Jimmy Fallon will succeed Jay Leno on The Tonight Show.

Leno will wrap up 22 years of hosting the franchise in Spring 2014, which marks the end of his current contract. Fallon, who currently reigns at 12:30 a.m. with his Late Night, will take over at that time. Had NBC made the decision to install Fallon earlier — like, say, around the Winter Olympics — it would have had to pay out millions in penalty fees to Leno.

As previously reported, The Tonight Show will return to its original home in 30 Rock in New York and will be executive-produced by Lorne Michaels (Saturday Night Live, 30 Rock). He replaces longtime EP Debbie Vickers.

It’s unclear who will take over Late Night, Fallon’s current show. An announcement is expected soon.

“Congratulations Jimmy,” Leno said in a statement. “I hope you’re as lucky as me and hold on to the job until you’re the old guy. If you need me, I’ll be at the garage.” Added Fallon in a statement, “I’m really excited to host a show that starts today instead of tomorrow.”

“Jay Leno is an entertainment icon, making millions of people laugh every weeknight for more than 20 years,” said Steve Burke, Chief Executive Officer of NBCUniversal. “His long reign as the highest-rated late-night host is a testament to his work ethic and dedication to his viewers and to NBC. We are purposefully making this change when Jay is #1, just as Jay replaced Johnny Carson when he was #1. Jimmy Fallon is a unique talent and this is his time. I’m thrilled he will become the sixth host of ‘The Tonight Show’ at exactly the right moment, in conjunction with our coverage of next year’s Winter Olympic Games from Sochi, Russia.

NBC added in its announcement today that The Tonight Show has ranked No. 1 — ahead of its ABC and CBS — in 18-49 viewers and total viewers for each season since Leno’s return in March 2010 and for the 14 seasons before his departure in May 2009. During the current season, Tonight is consistently No. 1 versus his rivals, averaging a 0.8 rating, 3 share in adults 18-49 and 3.5 million viewers.

Fallon’s Late Night has ranked No. 1 in 18-49 versus the time period’s ABC and CBS competition each season since debuting in March of 2009.

On Monday, the two late-night hosts seemed to indicate there was no bad blood between them by performing a “duet” that mocked the ongoing speculation about who’s going and who’s leaving.

[Grande Guru]

Já é oficial, Jimmy Fallon substitui o Leno na Primavera de 2014

Official: Jimmy Fallon to replace Jay Leno

It’s official: NBC announced today that Jimmy Fallon will succeed Jay Leno on The Tonight Show.

Leno will wrap up 22 years of hosting the franchise in Spring 2014, which marks the end of his current contract. Fallon, who currently reigns at 12:30 a.m. with his Late Night, will take over at that time. Had NBC made the decision to install Fallon earlier — like, say, around the Winter Olympics — it would have had to pay out millions in penalty fees to Leno.

As previously reported, The Tonight Show will return to its original home in 30 Rock in New York and will be executive-produced by Lorne Michaels (Saturday Night Live, 30 Rock). He replaces longtime EP Debbie Vickers.

It’s unclear who will take over Late Night, Fallon’s current show. An announcement is expected soon.

“Congratulations Jimmy,” Leno said in a statement. “I hope you’re as lucky as me and hold on to the job until you’re the old guy. If you need me, I’ll be at the garage.” Added Fallon in a statement, “I’m really excited to host a show that starts today instead of tomorrow.”

“Jay Leno is an entertainment icon, making millions of people laugh every weeknight for more than 20 years,” said Steve Burke, Chief Executive Officer of NBCUniversal. “His long reign as the highest-rated late-night host is a testament to his work ethic and dedication to his viewers and to NBC. We are purposefully making this change when Jay is #1, just as Jay replaced Johnny Carson when he was #1. Jimmy Fallon is a unique talent and this is his time. I’m thrilled he will become the sixth host of ‘The Tonight Show’ at exactly the right moment, in conjunction with our coverage of next year’s Winter Olympic Games from Sochi, Russia.

NBC added in its announcement today that The Tonight Show has ranked No. 1 — ahead of its ABC and CBS — in 18-49 viewers and total viewers for each season since Leno’s return in March 2010 and for the 14 seasons before his departure in May 2009. During the current season, Tonight is consistently No. 1 versus his rivals, averaging a 0.8 rating, 3 share in adults 18-49 and 3.5 million viewers.

Fallon’s Late Night has ranked No. 1 in 18-49 versus the time period’s ABC and CBS competition each season since debuting in March of 2009.

On Monday, the two late-night hosts seemed to indicate there was no bad blood between them by performing a “duet” that mocked the ongoing speculation about who’s going and who’s leaving.

Aguardemos o resultado.

[JRibeiro]

That’s What the Money’s For!; or, What Is Going On At AMC?

A little extra Mad Men? Fine. More zombies and lawyers? OK. But it's starting to seem like the cable phenomenon's cupboards are bare.

Good news, Mad Men fans! You’re going to get even more of the show before its next and final season ends. Bad news, Mad Men fans! You only get one extra episode, and you won’t see the last half of the season until 2015.

AMC network announced today that it would be splitting the seventh and last season of the landmark ’60s series over two years. If that move sounds familiar, it’s because the network did exactly the same thing with Breaking Bad (though it got two eight-episode half-seasons). It comes on the network’s decisions in the past week to wring more seasons out of two other franchises, as it announced a Breaking Bad spinoff (Better Call Saul) and a second zombie series from the makers of The Walking Dead, yet untitled. (The Dead Walking? Zombie 2pocalypse?) And it comes from the network that also pioneered talk shows about its own dramas–Talking Dead, Talking Bad. (Have they announced Better Talk Saul yet?)

It comes, as well, as the network has cancelled The Killing and neither Hell on Wheels nor Low Winter Sun have managed to set TV on fire. Meanwhile, Breaking Bad is drawing huge ratings, but has only two more episodes to air. Not to sound ungrateful for a little extra Don Draper or the continued counsel of Mr. Saul Goodman, AMC is starting to look like it threw a dinner party, found spider webs in the cupboard, and is stre-e-e-e-e-tching the leftovers in the refrigerator as far as they will go.

There are worse problems, of course, than following up on fast success. But AMC is in much the position of HBO in the mid-’00s, after its early hits The Sopranos, Sex and the City, Six Feet Under, and Deadwood (as well as critics’ fave The Wire) went off the air. It will have a lot of holes to fill and not much has yet emerged to fill them.

As for Mad Men in particular, I do trust Matthew Weiner’s creative skills, and to be fair, Breaking Bad does not seem to have suffered creatively from its last season being split in two. But it’s a different show, with a sprinter’s metabolism. Mad Men, in its best seasons, has used every one of its 13 episodes to build slowly, steadily, subtly, symphonically. I hope to be proven wrong, but I doubt an interruption will help it, especially if it’s driven more by business needs than creative ones.

(I’ve also heard the theory that a split season will expand Mad Men’s Emmy eligibility, which might be a factor here. Emmys are more important to AMC than some other networks, but I doubt that would be the main consideration for this kind of move at any network. Awards are nice, but the ultimate mark of recognition in the TV biz? As Don would say, “That’s what the money’s for!”)

It’s the most unhelpful advice to look at AMC’s dilemma and say, “Just develop more great shows!” But it’s also the only real way out of this problem. The only real replacement for an original, out-of-the-blue series is another original, out-of-the-blue series, not a clone or a continuation.

HBO came through a similar fix, developing a new generation of shows from the crowd-pleasing True Blood to the prestigious Treme to the crowd-pleasing-and-prestigious Game of Thrones. Maybe my biggest worry about AMC’s clone strategy is that it will work, ratings-wise, and thus become standard operating procedure for cable networks trying to keep the good times going.

That may be good business, but it’s the way to become a creative zombie network: walking, sure, but not really living.

[JRibeiro]

ABC Family Preps Horror Drama With Jamie Lee Curtis Attached To Star, Steve Miner To Helm

ABC Family has closed a deal for a high-profile horror spec script by writer Jeff Dixon, which has Jamie Lee Curtis attached to star and Steve Miner to direct and executive produce if the project goes to pilot. That would mark a reunion and return to the horror genre for the Halloween H2O star Curtis and its director Miner. While there is no green light yet for the project, I hear it is being put on a fast track. Titled The Final Girls, the drama revolves around a group of girls who have, in essence, survived their own personal horror stories and are brought together by a mysterious older woman (Curtis) to channel the stress and scars of their experience for some greater good. Horror launched Curtis’ feature career with the Halloween movies, starting with the original 1978 franchise-starter Halloween. Miner also helmed the second and third installment of another popular horror movie franchise, Friday The 13.

In addition to Halloween H20, Miner directed Curtis in Forever Young. He recently has been working mostly at ABC Family, directing the pilots and multiple episodes of the network’s Make It Or Break It and Switched At Birth. If The Final Girls gets the green light, it would mark Curtis’ first series regular role since 1989′s Anything But Love. She recently did an arc on NCIS and guest starred on New Girl. Curtis is with CAA, Miner and Dixon with Gersh.

[JRibeiro]

For TV Shows, It's a Seller's Market
Broadcasters No Longer Have First Dibs in Race for Original Series

Broadcast TV networks used to get first crack at all the best scripts in Hollywood. Nowadays, they are mere participants in a mad scramble.

TV-show creators this year are taking their pitches far beyond the networks, says Jennifer Salke, president of NBC Entertainment. "They are taking them to Netflix, they are going to HBO, they are hitting every cable outlet," she says. "It just puts you in the position of being even more of an underdog."

Ms. Salke says NBC aggressively pursued one big comedy project from a major outside studio this season, but "the creators decided to negotiate with Netflix instead."

Growing demand for original TV series to satisfy broadcasters, cable TV channels and online video is creating a scarcity of writers, directors and even actors available to produce certain types of shows. Keach Hagey reports.

That one of the major broadcast networks would feel like an underdog highlights the increasingly competitive landscape in the world of television.

As the traditional broadcasters—Fox, ABC, NBC and CBS—kick off another fall TV season this week, an explosion of original programming from cable networks and online video is giving consumers ever-greater choices. The growing demand for new series also is creating a scarcity of writers, directors and even actors available to produce certain types of shows.

Many writers who networks would turn to for dramas, for example, are already tied up making shows for cable networks, industry executives say.

"The best writers are in demand now in multiple places," says Patrick Moran, the executive vice president of ABC Studios, part of Walt Disney Co.

"We're seeing everyone participating in this derby," says Kevin Reilly, chairman of entertainment for Fox Broadcasting Co. "It's at a fever pitch right now."

Some network executives say the broadcasters need to rethink their approach to producing programming around an official September to May season.

In Mr. Reilly's view, the broadcasters' current system is "insane": The major networks all race to buy scripts and produce 10 to 20 pilots each on the same timeline, hustling to get pilots made in the weeks before big annual presentations to advertisers in the spring, when they show off the ones they have picked up for airing.

That leads to artificially intense competition for talent in the last-minute frenzy. Mr. Reilly says there are times when actors he doesn't know—and has to look up on entertainment database IMDb—have six or seven offers broadcast networks and cable outfits.

"We're trying to lead the way to get out of that outdated system," Mr. Reilly says. He says the official TV season makes no sense when cable rivals are putting out their top shows at all times of year.

Network executives say they are answering the challenges by stepping up their original programming investment and ordering up more "limited series," closer in length to typical cable series. Shorter-run series make it easier to attract talent.

Viewership at the Fox network last season dropped 21%. In an interview, Mr. Reilly makes no excuses—calling the season "tough." Fox plans to spend $150 million more this fiscal year to develop new series—representing a 10% bump over the previous year in programming spending—as it adds scripted shows to the summer.

This week Fox will launch new shows including serialized drama "Sleepy Hollow," sitcom "Dads," and police station comedy "Brooklyn Nine-Nine." But then in the spring it will launch a comeback of the counterterrorism thriller "24,"' followed by mid-summer launch of "Wayward Pines" from creator M. Night Shyamalan.

Some network executives are weighing whether to skip pilots altogether for some projects, to attract high-quality talent. NBC, owned by Comcast Corp., ordered "The Michael J. Fox Show," a comedy debuting on Sept. 26 loosely based on its star's own struggles with Parkinson's disease, off the pitch— without so much as a script, let alone a pilot.

"We just jumped on board because we didn't' think we should be in a position to lose that project," Ms. Salke says.

Starz Chief Executive Chris Albrecht estimates there has been a 33% increase in the number of scripted dramas on television since 2010. Last season, he says, there were about 180 scripted dramas throughout the entire television ecosystem. "I've been in this business for decades, and it is more competitive than I've ever seen it," says Mr. Albrecht, a former HBO CEO.

With all the competition between new shows, it is also harder for winners to break through. "This day and age, 'The Wire' wouldn't make it beyond the first season," says Mr. Albrecht.

For the 2013-14 season, Needham Insights estimates that there are 70 cable networks that ordered their own scripted series. In 2002 there were "fewer than a dozen" doing that outside of the premium outlets like HBO and Showtime, estimates media industry analyst Jack Myers.

Time Warner Inc.'s TNT and TBS expect to boost original episodes by 40% this year. AMC Networks on Monday announced it is developing a companion series for zombie thriller "The Walking Dead."

The proliferation of original shows elsewhere has taken a toll on repeats that broadcasters have long used to plug holes in their 36-week official season and throughout the summer. Over the past decade, ratings of prime-time repeats on the major networks among 18 to 49-year-olds have fallen 64%, according to Fox's analysis of Nielsen data.

"It doesn't make sense to dedicate airtime to repeat programming," says Benjamin Swinburne, a media and entertainment analyst at Morgan Stanley. "Everyone is increasing the number of programming hours and making it more of a yearlong schedule."

[JRibeiro]

Marvel Preps 60-Episode Package Of Four Series & A Mini For VOD & Cable Networks

The notorious secrecy that surrounds Marvel‘s projects has been heightened to the nth degree for this one. No one would breathe a word, with rumors that everyone from top to bottom is bound by strict nondisclosure agreements, but I hear that Marvel is quietly putting together a package of four drama series and a miniseries — a total of some 60 episodes — that would be taken out to the VOD and cable space, with Netflix, Amazon and WGN America rumored as potential candidates. Feelers had been sent out, and I hear there’s already interest from digital platforms and traditional cable networks in the package, which I hear is in very early stages with very little talent attached. Reps for Marvel refused any comment. The company has been so adamant about keeping its projects under wraps that ABC topper Paul Lee joked at TCA in August that critics who wanted to attend a screening of the Agents Of S.H.I.E.L.D. pilot — the only one in ages to not be distributed in advance — could expect to be asked to submit “a sample of your grandmother’s urine or the Marvel guys won’t let you in.” In addition to S.H.I.E.L.D., which was just given a full-season order, as we first reported, Marvel is developing a potential TV series inspired by Agent Carter, a one shot featured on the Blu-ray release of Iron Man 3. It is unclear whether that project is being earmarked for ABC or would be part of the VOD/cable package. Committing to 60 episodes off the bat is a big undertaking for a network/digital service but would make sense for outlets new to scripted programming that are looking to quickly build up a slate and want to capitalize on the Marvel brand.

[DarkPhoenix]

O excelente documentário produzido por Ridley Scott, passa hoje ao serão, no canal Odisseia.

http://www.imdb.com/title/tt2273319/?ref_=fn_al_tt_1

[JRibeiro]

Colbert substitui David Letterman no Late Show

Stephen Colbert Named New ‘Late Show’ Host

A week after David Letterman announced his retirement, CBS has named his successor. Stephen Colbert has inked a five-year deal to take over Late Show, a move that is effective as soon as Letterman officially steps aside from the late-night show he has headlined since its launch on CBS in 1993. Colbert is host of Comedy Central’s faux-news show The Colbert Report, which airs at the same time as Late Show, 11:30 PM. Colbert had been on the radar of top CBS brass for awhile and was said to be a top choice of CBS Corp. CEO Leslie Moonves. Colbert too had had an eye on the job for a long time, synching up his Comedy Central contracts withlate show with david letterman logo Letterman’s. His current one is coming up at the end of this year, making him available for the Late Show host transition, slated for sometime in 2015. “Stephen Colbert is one of the most inventive and respected forces on television,” said Moonves today. “David Letterman’s legacy and accomplishments are an incredible source of pride for all of us here, and today’s announcement speaks to our commitment of upholding what he established for CBS in late night.”

CBS said in its announcement that specific creative elements well as the producers and the location for the Colbert-hosted Late Show will be determined and announced at a later date. That language is sure to pique interest from politicians in both New York, where Letterman’s show currently lives at the Ed Sullivan Theatre, and in LA, where Mayor Eric Garcetti and film czar Ken Ziffren called Moonves directly Tuesday asking the CBS chief to move the late-night franchise to the West Coast. That came one day after NY Mayor Bill de Blasio urged Moonves to keep Late Show in New York after Letterman steps down. Colbert has deep roots in New York where he has lived and worked for two decades, so keeping the show in his home town would appear a more natural choice.

Colbert, a Second City alum, was a correspondent on Jon Stewart’s Daily Show team for eight seasons before spinning off Colbert Report in 2005. The show has two Peabody Awards and earned 27 Emmy nominations, winning four times — including for Outstanding Variety Series last year when it broke The Daily Show’s 10-year winning streak. Colbert’s two books have been New York Times bestsellers and he has two Grammys, for spoken word and best comedy album.

“Simply being a guest on David Letterman’s show has been a highlight of my career,” Colbert said in today’s announcement. “I never dreamed that I would follow in his footsteps, though everyone in late night follows Dave’s lead.” He added: “I’m thrilled and grateful that CBS chose me. Now, if you’ll excuse me, I have to go grind a gap in my front teeth.”

The Colbert hire leaves several questions in the air besides whether the new Late Show could change addresses. Letterman’s production company Worldwide Pants isn’t likely to continue producing the new incarnation. Its other CBS show is Late Late Show With Craig Ferguson, whose host has a provision in his contract that gave him a shot at succeeding Letterman at 11:30 PM, with a multimillion dollar penalty attached if he was passed over. It also leaves a gap at Comedy Central, where Daily Show and Colbert Report have controlled the late-night landscape there for almost a decade. However, the cable network has a strong new latenight player in @midnight, which has done very well behind Colbert.

[waltsouza]

"The Expanse" quer ser a maior série de sempre do canal Syfy


"The Expanse", o conjunto de três best-sellers de ficção-científica assinado por James S. A. Corey (o pseudónimo literário de Daniel Abraham e Ty Franck), é a nova aquisição do canal norte-americano Syfy.

O arranque terá 10 episódios e, segundo o presidente do Syfy, Dave Howe, promete "ser a série mais ambiciosa do canal até ao momento", tendo em conta "a escala e a profundidade épicas" dos livros de James S.A. Corey.

A ação deste thriller de ficção científica transporta-nos 200 anos para o futuro e acompanha um detetive e o capitão de uma nave nas buscas por uma mulher desaparecida, expondo, nesse processo, uma das maiores conspirações da História.

Ainda sem elenco nem data de estreia prevista, "The Expanse" posiciona-se, de acordo com o canal, como o sucessor de "Battlestar Galactica", que foi, entre 2003 e 2009, uma das principais propostas do canal.

Entretanto, na imprensa, especula-se que a nova serie poderá ser um "Guerra dos Tronos" espacial.

Mark Fergus e Hawk Ostby escreveram o guião e os autores dos livros fazem parte da equipa de produtores que está a desenvolver todo o projeto.

http://filmspot.pt/artigo/the-expanse-q ... syfy-4829/