#tornante television

[they-have-the-same-va]

Nyx Ulric in Kingsglaive: Final Fantasy XV shares a voice actor with Todd Chavez from BoJack Horseman.

Voiced by Aaron Paul

[bojackhorsemanobviously]

Bob-Waksberg will write and serve as showrunner on the series, which he will executive produce alongside Noel Bright and Steven A. Cohen for Tornante Television. Lisa Hanawalt is supervising producer and will design the original art for the series. ShadowMachine is producing out of its Los Angeles animation studio. Corey Campodonico and Alex Bulkley will serve as co-executive producers. 

HELLO??????

[demifiendrsa]

Undone – Season 2 Official Trailer

Season 2 of Undone will premiere on Prime Video on April 29, 2022.

[useless-catalanfacts]

Hola! Una pregunta, com és que la gent a Catalunya no pot veure els canals del País Valencià, però sí els d'Euskadi o d'altres comunitats autònomes? (no soc ni visc als països catalans)

Hola!

És una de les estratègies de l’Estat espanyol, impulsada sobretot pel PP i també pel PSOE, per eliminar la llengua catalana. No estic exagerant, aquest és l’objectiu.

En un primer moment, quan es van crear les televisions i ràdios públiques, aquestes podien emetre on vulguessin. TV3, Catalunya Ràdio i Catalunya Informació es podien veure/sentir des del País Valencià i les Illes Balears, i Canal9 (aleshores el canal de tv públic del País Valencià) es veia des de Catalunya i les Illes. L’entitat Acció Cultural del País Valencià (ACPV) s’encarregava dels repetidors que permetien que la senyal de TV3 arribés arreu del País Valencià, tot i les dificultats que hi posava el govern espanyol (el PSOE va donar les freqüències de TV3 a Canal9 per intentar fer-les incompatibles).

El govern autonòmic del País Valencià, en mans del PP, es va dedicar durant anys a posar multes per raons purament ideològiques a ACPV, dient que emetien TV3 de manera il·legal, fins que el preu de les multes va pujar tant que no les van poder pagar. El PP veia TV3 com una amenaça perquè enfortia l’ús de la llengua catalana-valenciana, i sobretot la unitat de la llengua i la consciència de Països Catalans.

Al 2011, el govern del PP a la Generalitat Valenciana va prohibir que TV3 emetés al País Valencià alhora que van fer un canvi en la llei que posava 30.000€ de multa per cada 15 dies que s’emetés un canal il·legal. Per una associació com ACPV, aquestes xifres són impensables. El 2014, la Generalitat Valenciana del PP va prohibir també l’emissió de Catalunya Ràdio. Aquells anys es van veure imatges surrealistes de la Guardia Civil anant a precintar els repetidors i funcionaris tirant-los a terra durant la nit, en contra del que dictaven sentències judicials locals.

A sobre, el 2013 la Generalitat Valenciana, encara en mans del PP, va tancar Canal9. Es va començar amb la “imposició de Catalunya” * però un cop eliminat el català de Catalunya el següent pas va ser el propi valencià de la Comunitat Valenciana. El País Valencià va passar a ser l’única regió d’Europa amb llengua pròpia sense cap mitjà en el seu idioma, fins que 5 anys després i amb moltes dificultats s’ha obert el canal públic valencià A Punt.

*Cal recordar que entre la dreta al País Valencià és molt comú utilitzar la retòrica del “blaverisme”. El blaverisme és el moviment incentivat per l’Estat espanyol dels anys de la Transició (1970s) que defensa, amb dades que no tenen absolutament cap rigor històric ni lingüístic, que el valencià i el català són llengües completament diferents, que el valencià ja es parlava al Regne de València durant l’ocupació musulmana abans de la conquesta de Jaume I, i que el concepte Països Catalans (que per cert, el va inventar l’escriptor valencià Benvingut Oliver i Estellés al segle XIX i el va popularitzar l’escriptor també valencià Joan Fuster) és un complot de Catalunya per esborrar la història del Regne de València que segons ells no és més que una regió espanyola. Segons els blaveristes, ells són els únics defensors del valencià, mantenint-lo pur i allunyat dels catalans que el volen substituïr, per això han creat les seves pròpies normes ortogràfiques per l’única raó de separar-se del català parlat a la resta dels PPCC. Un dels eslògans més típics dels blaveristes és “no mos fareu catalans” justament en referència a això. Curiosament (no), mai no defensen València amb un “no mos fareu espanyols”, i a sobre estan en contra de la denominació “País Valencià” perquè diuen que no és un país sinó una regió espanyola, i s’oposen a l’ensenyament del valencià a les escoles perquè diuen que és una imposició pancatalanista, preferint el castellà. Fins i tot sense entrar en qui va finançar aquest moviment en els seus inicis i per quins motius (*ehem* el País Valencià era la comunitat autònoma amb un percentatge més alt d’independentistes durant la Transició i l’Estat no podia permetre que el moviment s’escampés i s’enfortís amb la resta dels PPCC *ehem*), es pot veure com el motor principal del blaverisme és la catalanofòbia i voler-se allunyar del seu propi poble per ser uns bons espanyols i no uns catalufos més. La introducció del blaverisme al País Valencià va aconseguir en part enfrontar el moviment valencianista i una part de la població valenciana contra Catalunya.

Òbviament, els valencians no es van quedar de braços plegats davant de tot això. Hi va haver manifestacions tant contra el tancament dels repetidors de TV3 com posteriorment els de Canal9.

A més, posar traves d’aquest tipus és il·legal segons la legislació europea. La llei diu el següent:

Els Estats membres garantiran la llibertat de recepció i no obstaculitzaran les retransmissions en el seu territori dels serveis de comunicació audiovisual procedents d’altres Estats membres per motius inherents als àmbits coordinats per la present Directiva.

A més, la Carta de Llengües Regionals o Minoritàres reconeix la necessitat de la reciprocitat dels mitjans en la llengua comuna de les comunitats minoritzades:

ARTICLE 7.2

Les parts es comprometen a eliminar, si encara no ho han fet, tota distinció, exclusió, restricció o preferència injustificades que afectin l’ús d’una llengua regional o minoritària i tinguin per objecte descoratjar o posar en perill el seu manteniment o el seu desenvolupament. L’adopció de mesures especials en favor de les llengües regionals o minoritàries, destinades a promoure una igualtat entre els parlants d’aquestes llengües i la resta de la població o encaminades a tenir en compte les seves situacions particulars, no és considerada com un acte de discriminació envers els parlants de les llengües més esteses.

ARTICLE 11.2

Les parts es comprometen a garantir la llibertat de recepció directa de les emissions de ràdio i de televisió dels països veïns en una llengua usada en una forma idèntica o pròxima d’una llengua regional o minoritària, i a no oposar-se a la retransmissió d’emissions de ràdio i de televisió dels països veïns en aquesta llengua. Es comprometen, a més, a garantir que no sigui imposada a la premsa cap restricció a la llibertat d’expressió i a la lliure circulació de la informació en una llengua usada en una forma idèntica o pròxima d’una llengua regional o minoritària. L’exercici de les llibertats esmentades més amunt, que comporten deures i responsabilitats, pot ser sotmès a certes formalitats, condicions, restriccions o sancions previstes per la llei, que constitueixen mesures necessàries, en una societat democràtica, per a la seguretat nacional, per a la integritat territorial o per a la seguretat pública, per a la defensa de l’ordre i per a la prevenció de la delinqüència, per a la protecció de la salut o de la moral, per a la protecció de la reputació o dels drets d’altri, per impedir la divulgació d’informacions confidencials, o per garantir l’autoritat i la imparcialitat del poder judicial.

Tornant a la teva pregunta, tots aquests atacs han anat contra els mitjans en català-valencià perquè l’objectiu és dividir la llengua per matar-la. No els importa que veiem la televisió en castellà de l’Aragó, d’Extremadura o d’on sigui que parlin castellà (a Aragón TV només hi ha un programa de mitja hora a la setmana que s’emeti en aragonès), el gallec ens queda lluny i l’èuscar no l’entenem. Aquestes altres televisions no són una amenaça per a l’Estat.

Ara per sort a moltes part de Catalunya rebem la senyal d’IB3 i a moltes parts de les Illes Balears i Pitiüses reben la de TV3. Però el País Valencià continua aïllat. A la Catalunya Nord depén de la proximitat geogràfica amb la frontera, i a L’Alguer no reben cap mitjà en català.

Al segle XXI, és indispensable per la supervivència de la llengua que els parlants puguin sentir-la als mitjans, sobretot els infants amb canals com el Súper3. Estem veient una devallada sense precedents en l’ús de la llengua i tots aquests impediments hi han jugat un paper clau.

Espero haver-me explicat bé, no dubtis en tornar a preguntar si alguna cosa no ha quedat clara. Gràcies per l’interès!

[vivalatoons]

My Talk: BoJack Horseman

Back in the 90s, there was a famous TV show about a horse raising three human kids. Yet, that’s only a part of the life of a washed out horse actor. This is the reflection of BoJack Horseman.

I heard about BoJack from animation fans. I decided to get involved once my friends told me about it. It was just great timing since the 6th season was announced. Let me tell you: I’m grateful this show exists.

Plot. This show takes place in Hollywood where humans and animals live among each other. BoJack Horseman hasn’t reach the same peak of fame since his famous role in Horsin’ Around. The show continues to follow BoJack Horseman and his messy, rocky, and life changing journey.

Characters. These are the true key elements that make the show wonderful. BoJack Horseman is a washed-up actor in Hollywood. He struggles to overcame his own demons yet tries to make himself become better. Todd Chavez is BoJack’s friend who stays with BoJack. He’s friendly and surprisingly gets himself into loosely-related wacky misadventures. Diane Nguyen starts as BoJack’s ghostwriter. She is a Vietnamese-American writer who has idealistic views and learns more about herself along the process. Princess Carolyn is BoJack’s agent and former girlfriend. She stays persistent in her work yet tries to balance her work and life. Mr. Peanutbutter is a yellow lab dog who was BoJack’s former sitcom rival. He has the personality of a dog by being happy and full of energy. Each of the characters benefit from each other as the story continues and builds for interesting & complex relationships.

Animation. The show is animated with the following studios: Tornante Television, Shadow Machine, and Boxer vs Raptor. Lisa Hanawalt, the production designer, created the style for the show. The animation is one of a kind for adult animation. It can be simple, then the animation would get experimental depending on the stories. The animals are anthropomorphic and still emulate their animalistic traits. I enjoy how the shots of the show gives fantastic outlooks with the landscape or the point of view of what a character sees.

Addressing topics in a mature way. It’s no secret that this is known as the show with the depressing horse. I would say the serious stuff comes along with season 1 episode 11. The continuity of the show is wonderful and great for character developments. Many hot topics like abortion, sexual harassments, and gun control. The themes of self-destruction, depression, alcoholism, finding your identity, and so many more are displayed. It’s such an important factor in the show. When you see how the show address these topics, they execute it in a way that most shows fail at doing. It’s even more impactful with animation.

BoJack Horseman is important to me. Sadly, Netflix decided to end BoJack after their 6th season. It sucks because Raphael Bob-Waksberg had more to tell with the stories. Thankfully, the show wrapped up nicely. I still wonder what was Raphael’s true ending he wanted to share. When I was younger, I began to watch adult animated shows. Years later, I saw that most of those shows were full of shock value, excessive violence & sexual moments, overrated, and just ran out of steam. Just because you can do or say things on an adult show doesn’t make it adult. I didn’t get into the show when it premiered since I was 14. I can see now that it was for the best when I did watched the show last October. BoJack Horseman finally make me realize and cope with my depression and anxiety. The show told me things that I wish I had here years ago. I had a traumatic moment in my life where my family relative stayed with us for a year. Him staying with us result in some mental breakdowns and a shift in how I look at things now. I also was not doing ok in high school. Everyone around me was crushing on someone and having partners. I would focus myself in situations to like a boy just to avoid people’s questions on who I like. Thanks to Todd Chavez, I discovered that I was asexual. It’s so easy to talk to people about it because I just say, “You know Todd from BoJack? Yeah, I’m ace just like him.” It’s funny how a show about a horse actor make me understand and not feel ashamed for my flaws & demons. Thanks to BoJack Horseman, I’m able to see things more clearer.

BoJack Horseman is an example on how to do an adult animated show. I appreciate the whole team of BoJack Horseman for making a remarkable show that has blown away misconceptions of animation and the ability to tell stories. No other adult animated & live-action show will ever reach the recognition BoJack has done. In fact, the show is somehow aware for the general audience yet not as popular to the current adult animated shows running. It’s weird, but I’m glad it gain some success. BoJack Horseman is a wonderful show full of pieces of tragedy & elegance.

[tucaandbertie]

congratulations to Tornante Prod. for winning two Annies!

for Writing in an Animated Television/Media Production for Tuca and Bertie and Best General Audience Animated Television/Media Production for Bojack Horseman

[whatsnewcartoons]

What’s New In 2019: The Cartoons.

PART 2:

Separated by network. All premiere dates are estimated until confirmed. Timings are in EST.

DISNEY CHANNEL:

- Amphibia (TBA):  Created and executive produced by Matt Braly (Gravity Falls), Amphibia chronicles the adventures of Anne Boonchuy, a self-centered 13-year-old who is magically transported to the fictitious world of Amphibia, a rural marshland full of frog-people. With the help of an excitable young frog named Sprig, Anne will transform into a hero and discover the first true friendship of her life.

The series was announced to be greenlit for production in early 2018 and is expected to premiere later in 2019.

- The Owl House (TBA):  Created and executive produced by Dana Terrace (DuckTales) is a horror-comedy series that follows Luz, a self-assured teenage human girl who accidentally stumbles upon a portal to the Demon Realm. There she befriends a rebellious witch, Eda, and an adorably tiny warrior, King. Despite not having magical abilities, Luz pursues her dream of becoming a witch by serving as Eda’s apprentice at the Owl House and ultimately finds a new family in an unlikely setting.

The series was announced at the same time as Amphibia and a Season 4 renewal of Star vs the Forces of Evil in early 2018. Similar to Amphibia, it is expected to release in late 2019.

- Vikingskool (end 2019): The series will follow a group of young would-be Viking warriors in an elite Vikingskool. Ross described the alumni as being “Like freshmen in ‘Top Gun,’ but for Vikings. ”The group will embark on a series of humorous and exciting adventures in a mystical world. At the heart of the tale are three best friends: Erik, Arnie and Ilba, each with their own unique Viking strengths and weaknesses.

The series is being produced by Ireland’s Cartoon Saloon (“The Secret of Kells,” “The Breadwinner”) and France’s Samka Productions (“Jamie’s Got Tentacles”) with post-production from Norwegian VFX company Storm Films. It’s this pedigree that prompted Ross to explain to Variety: “There is a substantial Viking history in Ireland and Northern France. As a co-production we can say it’s the only Viking show made by actual Vikings.” 

The series’ 26 half-hours are scheduled for broadcast at the end of 2019. 

- 101 Dalmatian Street (early 2019): Inspired by Dodie Smith’s 1956 novel and the 1961 movie, it will be based in Camden Town, London.

Featuring 43 cast members covering 106 speaking roles, the modern tale will focus on dalmatians Dylan and Dolly, their parents Doug and Delilah and 97 younger puppies whose names all also begin with D. Miriam Margolyes, known for her portrayal of Professor Sprout in the Harry Potter film series, will voice Bessie the Cornish Cow.American actors Josh Brener and Michaela Dietz will voice Dylan and Dolly, the eldest Dalmatian siblings. Rapper Ben Bailey Smith, also known as Doc Brown, will voice Sid Squirrel as well as Spencer Sausage Dog. The series will also feature EastEnders star Tameka Empson as Pearl Police Horse and Bethan Wright as Prunella Pug.

The series has premiered its first episode on Disney Channel Africa and is set to premiere on Disney Channel UK in January. It will premiere in the US in spring 2019.

NETFLIX:

- Pinky Malinky (January 1, 2019): Pinky Malinky is a brand-new fly-on-the-wall reality show that follows the everyday life of Pinky, an infectiously positive hot dog living in a human world. With his best friends Babs and JJ by his side, Pinky reaches for the stars in the small town of Sackenhack. Through his good spirits and sausage sensibilities, Pinky proves that a "wiener" is only one small letter away from being a "WINNER!"

Using the tropes of a mockumentary and reality show format, Pinky and his friends will talk directly to the camera and the audience to share their absurd and silly take on real life. At times, all children feel like they don't fit in and Pinky's undeniably unique point of view as a literal wiener amongst humans will allow kids to laugh at his familiar struggles and enjoy his unusual perspective on the challenges of being a school-aged kid. By always reaching for the stars, Pinky pushes himself further than anyone could imagine. Pinky and his friends' humorous experiences will also be shared across social media and Nickelodeon's digital platforms. Co-created and co-executive produced by Chris Garbutt and Rikke Asbjoern (The Amazing World of Gumball) and executive produced by Scott Kreamer (Kung Fu Panda: Legends of Awesomeness), the trio are a part of the Artist Collective, an internal diverse group of experienced creators who mentor and support up-and-coming talent while also collaborating to cultivate, challenge and inspire Nickelodeon's development pipeline. Pinky Malinky will star Lucas Grabeel (Glenn Martin DDS, I Kissed A Vampire) as Pinky Malinky, Diamond White (The Haunted Hathaways) as Babs Buttman, and Nathan Kress (iCarly) as JJ Jameson. Under the deal with Netflix, Nickelodeon is producing two seasons — 59 episodes — of Pinky Malinky for the streaming service. The first season, consisting of 28 episodes is now available on Netflix.

- Tuca & Bertie (TBA): The series, which has received a 10-episode order, is an adult-oriented comedy about the friendship between two 30-year-old bird women who live in the same apartment building: Tuca (Haddish), a cocky, care-free toucan, and Bertie (Wong), an anxious, daydreaming songbird.

Both Haddish and Wong will also serve as executive producers in addition to starring. Lisa Hanawalt created the series and will serve as executive producer. Hanawalt is the production designer and producer on Netflix’s critically-acclaimed animated series “BoJack Horseman.” Raphael Bob-Waksberg, the creator of “BoJack” will also executive produce along with “BoJack” executive producers Noel Bright and Steven A. Cohen. Michael Eisner’s The Tornante Company, which produces “BoJack,” will produce. Animation is being done at Shadowmachine.

The series was announced to be in production in February 2018 and is set to release in the summer.

- Carmen Sandiego (January 18, 2019): Carmen Sandiego started as a video game in 1985 and ventured out into books, television, and comics. Children of the ‘90s have searched for Sandiego in the U.S.A., in Europe, in Space, and back in Time. The PBS animated series Where In The World Is Carmen Sandiego? ran for 295 episodes between 1991 and 1995. Author John Peel wrote 10 Carmen Sandiego books in the '90s. DC Comics published four issues of a Carmen Sandiego comic starting in June 1996.

Believe it or not, after more than two decades Sandiego, a notorious crook, is still on the loose. Can she outrun the Netflix binge watchers? We’ll have see if Rodriguez has what it takes.

Insiders say that Netflix has ordered 20 episodes of the series, which aims to be as educational as it is entertaining, given the title character’s globetrotting adventures. The series is set to release on Netflix on January 18, 2019.

- Cannon Busters (March 1, 2019):  Cannon Busters tells the story of a royal droid named S.A.M., who is searching for her best friend, and heir to the throne. Along the way, she’s joined by an old maintenance droid and a fugitive. The 12-episode series buy is part of Netflix’s impending wave of anime titles including Ultraman, Kengan Ashura, and season two of Aggretsuko.

Cannon Busters was created by LeSean Thomas, a storyboard artist and character designer known for his work on The Boondocks, the animated Black Dynamite series, and The Legend of Korra. Following a successful Kickstarter campaign, Netflix has bought 12 episodes, adapted from a 2003 comic of the same title. 

The series was first announced at the Netflix panel at the 2018 Anime Expo and is set to release on Netflix on March 1, 2019.

 - Twelve Forever (TBA): The series centers on 12-year-old Reggie, whose desire to remain a child is so powerful it creates a fantasy world in which she never has to grow up. She’s joined by her friends Todd and Esther, who visit this amazing world to live out their superhero fantasies and escape the responsibilities of impending adulthood.

Production companies behind the series are the Cartel and Puny Entertainment. In addition to Vickerman, executive producers include the Cartel’s Stan Spry and Bradford Bricken, and Puny’s Chris Hardwick and Shadi Petosky.

The original pilot was first aired on Cartoon Network in 2015 and was not picked up by the network until Netflix was announced to have picked it up for a first season in December 2017 and is set to release sometime in 2019.

So that’s the stuff you can expect from the major networks (and Netflix) in terms of animation this year. Which shows are you most excited to watch this year? Here’s to an amazing 2019 full of amazing cartoons.

For the upcoming cartoons on Cartoon Network and Nickelodeon, go check out Part 1.

[horseman-bojack]

Lionsgate to Sell Netflix’s BoJack Horseman to International Channels

Netflix’s BoJack Horseman will be sold to networks internationally for the first time after Lionsgate scored a rights deal that will see it launch sales of the show at Mipcom, the biggest global program-trading get-together of the year. With Netflix and Amazon retaining global rights to their originals, some of the biggest shows in the world never make it to the market. But Lionsgate’s distribution arm will arrive at Mipcom in Cannes with the first three seasons of BoJack dubbed into 11 languages. Lionsgate’s deal with Michael Eisner’s Tornante, which makes BoJack, means that it will get to sell Seasons 4 and 5 internationally at a later date. It can also offer buyers some on-demand rights. Lionsgate’s Debmar-Mercury has already done a deal for BoJack Horseman with Comedy Central in the U.S. The international deal has been more than a year in the making, Jim Packer, president of worldwide television and digital distribution for Lionsgate, told Variety. “Animated comedies are hard – they are not easy to produce, but they work incredibly well in syndication,” he said. “These shows tend to perform at a level that allows them to get licensed year after year internationally.”

(Variety)

[moviesandmania]

NOS4A2 - television series, USA, 2019

NOS4A2 – television series, USA, 2019

NOS4A2 is a 2019 American ten episode television series produced by AMC Studios in association with Tornante Television, based on Joe Hill’s bestselling novel of the same name. Kari Skogland will direct the first two episodes. The series stars Ashleigh Cummings and Zachary Quinto.

The cast also includes Olafur Darri Olafsson, Virginia Kull, Ebon Moss-Bachrach and Jahkara Smith (aka Sailor J).

P…

[dweemeister]

December 3, 2018

By Carolyn Giardina

(The Hollywood Reporter) -- Pixar’s Incredibles 2 and Walt Disney Animation Studios' Ralph Breaks the Internet lead the 46th Annie Awards feature nominations with 11 and 10 noms, respectively, including in the top category of best animated feature. Additionally, ASIFA-Hollywood gave Disney’s Mary Poppins Returns five nominations, including three in animated feature categories, potentially reopening the discussion about what constitutes an animated feature...

Best Animated Feature

Early Man (Aardman)

Incredibles 2 (Pixar/Walt Disney)

Isle of Dogs (Fox Searchlight Pictures/Indian Paintbrush/American Empirical Pictures)

Ralph Breaks the Internet (Walt Disney)

Spider-Man: Into the Spider-verse (Sony Pictures Animation/Columbia)

Best Animated Independent Feature

Ce Magnifique Gâteau!, Belgium (Beast Animation / Vivement Lundi! / Pedri Animation)

MFKZ, France (Ankama / Studio 4ºC)

Mirai, Japan (Studio Chizu)

Ruben Brandt, Collector, Hungary (Hungarian National Film Fund)

Tito and the Birds, Brazil (Bits Productions/Split Studio)

Best Animated Short Subject

Grandpa Walrus, France (Caïmans Productions)

Lost & Found, India (Wabi Sabi Studios)

Solar Walk, Denmark (Nørlum)

Untravel, Serbia (Film House Baš Čelik/Serbia Coproduction: BFilm, Bratislava/Your Dreams Factory, Bratislava)

Weekends (past lives productions)

Best Animated Television/Broadcast Production for Children

Hilda (Hilda Productions Limited/Netflix/Mercury Filmworks)

Kung Fu Panda: The Paws of Destiny (DreamWorks Animation Television)

Little Big Awesome (Amazon)

Rise of the Teenage Mutant Ninja Turtles (Nickelodeon)

Tales of Arcadia: Trollhunters (DreamWorks Animation Television)

Best General Audience Animated Television/Broadcast Production

Big Mouth (Netflix)

Bob's Burgers (20th Century Fox Television/Bento Box Entertainment)

BoJack Horseman (Tornante Productions/Netflix)

Human Kind Of (Cartuna/Facebook Watch)

The Venture Bros. (Adult Swim/Titmouse, Inc.)

A full list of nominees can be found in the link above.

[nightmareonfilmstreet]

AMC’s Horror Series NOS4A2 Casts YouTube Star Jahkara Smith

The upcoming AMC series NOS4A2, based off the Joe Hill novel of the same name, has just cast YouTuber Jahkara Smith in a recurring role.

Jahkara, who has only previously been seen on her successful YouTube channel as Sailor J, has been cast in the role of Maggie Leigh. Maggie is a young but eccentric librarian who carries a magic bag of Scrabble tiles that enable her to find lost items. But not without a cost.

NOS4A2 is a Bram Stoker Award winning novel penned by Joe Hill that debuted in 2013. The story centers around Vic McQueen who discovers she can also find lost things by riding her bicycle through a bridge in her hometown as a child. She soon gets tangled up with a supernatural character named Charles Manx, a child abductor, and all-around terrifying individual.  The supernatural elements unfold when it is discovered that Manx is abducting children and taking them to a mysterious place called “Christmasland”. A place that exists in his mind yet is also very, very real. With the promise of being happy forever, it is a place not at all what it’s cracked up to be. Her battle with Manx and the inner demons it leaves her with take place over the course of 20 years.

The series was first announced back in 2015. It wasn’t until this April that it was officially ordered as a 10-episode run.

  Welcome To Christmasland

This is not the first adaptation of one of Hill’s works, with Netflix having picked up his massively successful comic Locke & Key, and the 2014 film Horns starring Daniel Radcliffe (Harry Potter) and Juno Temple (Unsane). With other notable works including Heart-Shaped Box and The Fireman Joe Hill definitely knows his stuff. And with good reason. He is the son of none other than the master of the modern horror novel; Stephen King.

With AMC’s track record of knowing how to handle episodic horror, *cough cough* The Walking Dead, I for one am excited to see how they handle this property. Charlie Manx is a nightmare come to life. Just horrifyingly creepy. Feeding off the souls of the children he claims and transforming them into creatures themselves. It’s enough to keep anyone up at night.

Jami O’Brien (Fear The Walking Dead) will be the showrunner on the series. Executive Producer credits will be going to Hill and O’Brien alongside Lauren Corrao who is the Co-President of Tornante Television.

The series is currently set to debut sometime in 2019.

  Have you read the novel? Excited to see this? Let us know in the comments down below or hit us up on Twitter. And don’t forget to check out the Horror Fiends of Nightmare on Film Street Facebook group!

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Tuca & Bertie Season 3 Announced

Adult Swim has renewed Tuca & Bertie for a third season:

Everyone’s favorite BFFs are set to soar even higher as Adult Swim, the leader in adult animation and #1 destination for young adults, greenlights a third season of the animated comedy Tuca & Bertie. Adult Swim has also secured the international rights for seasons two and three, now making the show available globally via the brand. Filled with relatable scenarios and never-ending chaos, the final two episodes of Tuca & Bertie season two are set to premiere Sunday, August 8 and Sunday, August 15 at 11:30 p.m. ET/PT.

This season on Adult Swim, Tuca & Bertie has increased the number of teen viewers (ages 12-17) and young females (ages 18-24) coming to the network – up +65% and +38%, respectively.  Tuca & Bertie has consistently ranked #1 during its Sunday 11:30p-12a timeslot versus basic cable among Teens, Adults 18-24/34 and Men 18-24/34/49 (excluding sports).

Tuca (Haddish) and Bertie (Wong) are best friends, and they’re both full of ghosts!  Bertie is busy excavating her inner ghouls with the help of a therapist, while Tuca prefers to stuff hers behind the toilet. She’ll deal with them later, right now she’s just too busy trying not to be single anymore! Meanwhile, Speckle (Steven Yeun) is building a new house but soon finds he’s driven to the brink of insanity…good thing he’s just a cartoon.

Tuca & Bertie is created and executive produced by Lisa Hanawalt, with Raphael Bob-Waksberg, Noel Bright, Steven A. Cohen, Haddish, and Wong also serving as executive producers, The series is produced by Michael Eisner’s The Tornante Company with the animation being done at Shadowmachine.

Tornante Television is a leading independent studio wholly-owned by Michael Eisner’s Tornante Company. Tornante Television develops, produces and finances animated and live action comedy and drama series for both domestic and international distribution. In addition to Tuca & Bertie, the company produces the acclaimed series BoJack Horseman for Netflix and Undone for Amazon Studios. Tornante Television also produced NOS4A2 on AMC.

Adult Swim (AdultSwim.com), launched in 2001, is WarnerMedia’s #1 brand for young adults offering original and acquired animated and live-action series.  Airing nightly from 8 p.m. to 6 a.m. (ET/PT) on its linear channel, and also available through HBO Max, Adult Swim is basic cable’s #1 network with persons 18-34 and 18-49, and is seen in 94 million U.S. homes, reaching over 40 million viewers via HBO Max.

Warner Bros. Global Kids, Young Adults and Classics (GKYAC) brings together Cartoon Network, Adult Swim, Boomerang and Turner Classic Movies (TCM), as well as Cartoon Network Studios and Warner Bros. Animation. Among the iconic franchises, series and characters under the GKYAC banner are Looney Tunes, DC’s animated Super Heroes, Rick and Morty, Craig of the Creek, the classic Hanna-Barbera library, Tom and Jerry, Scooby-Doo, Warner Bros.’ unrivalled film library, and many more.

GKYAC’s mission is to be the premiere global provider of kids, family, young adults, and classics content and brands. The group’s programming supplies unique and compelling content for HBO MAX, WarnerMedia’s direct-to-consumer platform. Uniting these award-winning networks and innovative brands helps maximize opportunities and growth potential, both as standalone businesses and as content generators, to drive and support its franchises, cross-studio initiatives as well as ratings.

Warner Bros. GKYAC’s content is currently distributed in 192 countries around the world and the division’s networks are in 500 million homes, delivered through more than 65 channels in 31 languages.

[useless-catalanfacts]

Moltes gràcies per la resposta tan elaborada! M'ha quedat clar, però podries explicar el paràgraf que comença per "Tornant a la teva pregunta, tots aquests atacs..."? La televisió basca per exemple no seria també una amenaça per a l'Estat?

De res! :D

Tornant a la teva pregunta, tots aquests atacs han anat contra els mitjans en català-valencià perquè l’objectiu és dividir la llengua per matar-la. No els importa que veiem la televisió en castellà de l’Aragó, d’Extremadura o d’on sigui que parlin castellà (a Aragón TV només hi ha un programa de mitja hora a la setmana que s’emeti en aragonès), el gallec ens queda lluny i l’èuscar no l’entenem. Aquestes altres televisions no són una amenaça per a l’Estat. 

No em vaig explicar bé en l’última part.

Televisions com les de l’Aragó i Extremadura, i en gran part la gallega, no són una amenaça perquè, per desgràcia, acaben donant la raó al nacionalisme espanyol en tots els sentits.

Es presenten sempre com a televisions secundàries. No intenten competir amb els canals estatals (AragónTV no intentarà mai fer el paper que fa TVE1, per exemple), perquè tampoc en tenen gaire necessitat. Sempre està bé tenir notícies d’àmbit local i descentralitzar la informació, però per molta gent espanyola castellanoparlant les seves necessitats informatives ja queden cobertes amb les notícies d’àmbit estatal. De fet, si Catalunya i el País Basc no haguéssin demanat poder tenir televisió pròpia, moltes d’aquestes altres comunitats no l’haguessin demanada mai. És part de la política coneguda com a “café para todos” segons la qual totes les comunitats autònomes de l’Estat espanyol tenen les mateixes necessitats i demandes, i no se’ls pot donar més recursos a unes que a les altres. Per tant, si Catalunya vol una tele pròpia, no importa que la raó sigui perquè té una llengua pròpia, i tot i que altres comunitats ja tinguin molts més mitjans en la seva llengua (el castellà) dels que tindrem mai els catalanoparlants, se’ls ha de donar a cada comunitat la mateixa importància . Ja em diràs tu quina necessitat té la Comunitat de Madrid, per exemple, de tenir una televisió pròpia separada de la de Castella-La Mancha. Tot això resulta en que, havent-hi menys “necessitat”, molts programes són per omplir.

(https://www.youtube.com/watch?v=D2HK57hB0nY aquest sketch del Polònia del 2011 reflecteix molt bé la idea del “café para todos” hahaha. Artur Mas (aleshores president de Catalunya) demana a Zapatero (president d’Espanya) una merda punxada en un pal, i els presidents de les altres comunitats autònomes corren a demanar-ne també dient que donar-la a Catalunya i a ells no és discriminatori tot i acceptar que no tenen ni idea de per què Catalunya voldria una merda :’) És un gag, però la idea és aquesta.)

Els programes per omplir temps duen a que tots aquests canals tinguin poca audiència.

La majoria no inverteixen gaire en programes de qualitat. A diferència de TV3, els periodistes més qualificats marxen a treballar als mitjans estatals (RTVE).

Presenten les cultures de les seves comunitats com a folklore, reforçant la idea de regió espanyola i no de cultura pel seu propi dret.

No hi ha programació en llengües com l’asturià o el llion��s, i la presència de l’aragonès a AragónTV són només 30 minuts en tota la setmana.

No hi ha gaires programes crítics amb el discurs hegemònic de l’Estat, com ara documentals, entrevistes a activistes o programes de debat amb diferents punts de vista com sí que hi ha a TV3 i Euskal Telebista (per exemple, a TV3 el programa FAQS és molt popular).

El resultat és molt diferent del tipus de contingut i qualitat que esperem de TV3, perquè la necessitat és diferent des del primer moment. TV3 té vocació de televisió nacional, ser a Catalunya (Sud) el que TVE és a Espanya. I ho aconsegueix força bé tot i tenir pocs recursos econòmics. Per exemple, el telenotícies més vist a Catalunya és el de TV3. En canvi, no et trobaràs a Extremadura que gaire gent substitueixi el telenotícies estatal (ja sigui Antena3, TVE1, La Sexta, o el que sigui) per les notícies del Canal Extremadura.

En moltes comunitats autònomes castellanoparlants, el canal de televisió autonòmic vindria a ser el que a Catalunya és la Xarxa de Comunicació Local (canals locals de comarques o ciutats). Posaràs el canal el dia que surti el que heu fet al teu poble, però no t’empassaràs el programa dedicat a retransmetre en directe totes les festes patronals de cada poble.

Sí que tens raó en remarcar la diferència de la televisió basca. Per les mateixes raons que a Catalunya (llengua pròpia, importància de la política diferenciada de l’estatal, punt de vista diferent del majoritari a l’estat, consciència nacional, etc) Euskal Telebista també té vocació d’intentar ser televisió nacional. No sé fins a quin punt ho estan aconseguint, però jo he vist alguns documentals sobre política que han fet i es noten professionals i de molta qualitat.

En aquest sentit, Euskal Telebista sí que es pot considerar un “perill” per a l’estat, de la mateixa manera que l’estat ha deixat clar que considera TV3 un perill a Catalunya. Però això és diferent del què em referia a la resposta anterior.

TV3 és un perill a Catalunya, Euskal Telebista és un perill al País Basc, perquè ens dona el poder de la informació i de generar discursos a nosaltres i l’estat deixa de ser l’únic marcant el discurs. Però per la llengua i el tipus de contingut que hi ha, és poc probable que els catalans ens posem a mirar Euskal Telebista o que els bascos mirin massa TV3. O sigui, TV3 no és gaire perillós al País Basc, i Euskal Telebista no és gaire perillós a Catalunya.

En canvi, sí que seria normal i habitual que al País Valencià es mirés TV3 (com ja es feia amb normalitat abans de la prohibició) i que a Catalunya es mirés A Punt. Perquè és la mateixa llengua i el mateix país, i els temes que es tractin ens afecten igualment. A més, no cal oblidar que a mitja Catalunya es parla un català més semblant al del País Valencià que al de la majoria de programació de TV3.

Amb Euskal Telebista, això seria comparable en tot cas amb emetre la televisió de la comunitat autònoma d’Euskadi a Navarra, per exemple. No sé si hi ha hagut controvèrsia amb això (segurament beautiful-basque-country ho sabrà si els hi ho vols preguntar).

L’estat espanyol porta dècades fent grans esforços per diluïr la consciència de Països Catalans, i fins a cert punt està funcionant, sobretot al País Valencià però ara també a Catalunya. S’intenta mantenir-nos aïllats els uns dels altres perquè siguem més dèbils i sigui més fàcils vendre’ns la idea que la nostra llengua és inútil perquè la parla poca gent. Per això, s’ha separat legalment el valencià de les altres variants del català. Poder veure la tele i sentir la ràdio d’arreu dels Països Catalans ens faria estar més units, comprende millor les dificultats i la situació política de les altres parts del nostre país, i acostumar-nos als diferents accents i variants dialectals. En resum, deixaria d’estar en dubte la unitat de la llengua (que és una tonteria, però hi continua havent gent que defensa que cada sub-dialecte del català és un idioma separat -o un dialecte del castellà- i el fet que no estiguem acostumats a sentir accents d’altres parts ens fa caure més fàcilment en aquesta mentida). Un exemple recent (del 2020) de la importància que li ha donat l’Estat a mantenir-los lingüísticament separats és la llei segons la qual la Generalitat Valenciana i la Generalitat de Catalunya han de parlar en castellà entre sí obligatòriament i no en valencià-català. O un cas més exagerat d'una anys enrere, quan es va decidir que legalment el català parlat a la Franja de Ponent no es podia dir "català" sinó que s'havia de dir "LAPAO" (Lengua aragonesa propia del área oriental).

És això al que em referia, però sí tens raó que la televisió basca dins del País Basc (pocs programes trascendeixen fora) també és una amenaça al discurs únic de l’Estat.

[hermanwatts]

BoJack trying to erase Sharpie off a whiteboard in this trailer is a whole mood

Image: Tornante Television/Netflix

Who amongst us hasn’t accidentally done this at least once?

Continue reading…

BoJack trying to erase Sharpie off a whiteboard in this trailer is a whole mood published first on https://sixchexus.weebly.com/

[aion-rsa]

NOS4A2 Release Date, Cast, News, and More

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Joe Hill's supernatural novel, NOS4A2, is being adapted into a television series on AMC. Here's everything you need to know...

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Mar 30, 2019

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NOS4A2 is the next big horror series coming to AMC. The show is based on the best-selling novel of the same name by Joe Hill, the son of horror master Stephen King. It's not surprising then that NOS4A2 is a deliciously haunting piece of fiction.

The 10-episode series – produced by AMC Studios in association with Tornante Television – will arrive under the primary purview of showrunner Jami O’Brien (Fear the Walking Dead), joined by executive producer Lauren Corrao, Co-President of Tornante Television. As Hill lauded of O'Brien in an April statement, “her beautifully composed scripts show a writer at the height of her powers, one who has an exquisite touch with character and a relentless instinct for suspense.”

Hill will also serve as an executive producer on the series. Kari Skogland (The Handmaid’s Tale) is confirmed as the director of the first two episodes. 

Here's everything else we know about the series:

NOS4A2 Release Date

NOS4A2 is arriving this summer and with a helpful lead-in. NOS4A2 will debut on Sunday, June 2 at 10 p.m. ET. That's one hour after Fear the Walking Dead Season 5. It's a summer horror double feature.

NOS4A2 Cast

The primary duo of NOS4A2 has been officially announced!

Zachary Quinto (Star Trek) will play Charlie Manx, an immortal parasitic serial killer who uses his 1938 Rolls Royce with the license plate number "NOS4A2" to kidnap children. According to the description, Manx is “a seductive immortal who feeds off the souls of children, then deposits what remains of them into Christmasland – an icy, twisted Christmas village of Manx’s imagination where every day is Christmas Day and unhappiness is against the law.”

Ashleigh Cummings (Miss Fisher's Murder Mysteries) will play series protagonist Vic McQueen, a young New England-based starving artist who suddenly discovers that she possesses a supernatural psychic ability connected to the killer, allowing her to track him and rescue his victims, an endeavor she will attempt to accomplish without losing her own mind. As the official description adds, “what Vic lacks in social confidence, she makes up for in courage, humor, and tough-as-nails grit.”

Rounding out the cast are Olafur Darri Olafsson (The Deep) as Bing Partridge, Virginia Kull (Big Little Lies) as Linda McQueen, Ebon Moss-Bachrach (The Punisher) as Chris McQueen, Jahkara Smith (of YouTube fame) as Maggie Leigh, Karen Pittman (Luke Cage) as Angela Brewster, Rarmian Newton (Nightmares & Dreamscapes) as Drew, Darby Camp (Big Little Lies) as Haley Smith, and Ashley Romans (Shameless) as Tabitha Hutter.

NOS4A2 Photos

AMC released some images for NOS4A2 at its 2019 TCA winter press tour appearance. At the panel, Quinto revealed that his villain, Charlie Manx appears in five different stages of physical aging appearance depending on how recently he...uh....drains a child of their souls. The photos reflect at least two of those stages.

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