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Sniderman Joins Blue Ant from Vice’s Pulse Films
Sam Sniderman will run global production at Blue Ant Media, joining the channel operator, producer and OTT operator from Vice Media’s Pulse Films. Blue Ant has scaled up with a deal for the production companies in Racat Group, the business owned by former News Corp. and Fox executive David Haslingden. Based in London and reporting... Read more »
DRG Names New CEO, Fox Takes New Role
Jeremy Fox will focus on OTT drama business Atrium and become executive chairman at U.K. distributor DRG, with Richard Halliwell filling his previous CEO role. Former BBC Worldwide executive Halliwell has been at MTG-owned DRG since 2013 and will now run the business as Fox focuses on working up Atrium, DRG’s fledgling premium OTT drama... Read more »
Perché la cannabis terapeutica di stato rischia di non funzionare

Dopo l’entusiasmo iniziale, il progetto stenta a decollare. Le zavorre che non gli hanno permesso di farlo sono tre. Leggi

Kino: «Transformers» mit schwachem Start in den USA

Im Film retten die Maschinen die Welt, im wahren Leben stottert ihr Motor: Der neue «Transformers»-Film bleibt in den US-Kinos hinter den Erwartungen der Branche zurück. Kräftig punkten kann dafür weiter «Wonder Woman» - und zwei kleine Filme sorgen für Überraschungen.

Computer: Zeitung: Facebook will eigene Serien zeigen

Die TV-Ambitionen von Facebook gehen offenbar weiter als bisher bekannt. Das weltgrößte Online-Netzwerk will nach Informationen des «Wall Street Journal» auch exklusiv teure Serien zeigen.

Fifty Shades Darker; 20th Century Women; Patriots Day and more – review

The second Fifty Shades is flawed but easy on the eye, while Annette Bening gives the performance of her life as a single mother in 70s LA

I don’t believe in the term “guilty pleasure”: if a film, however ropey, gives me pleasure, I’m not ashamed to concede that something about it is working. Still, the delight I take in Fifty Shades Darker (Universal, 18) pushes this attitude to its limit. The first film based on EL James’s potpourri-porn novels was surprisingly sly, pruning and embellishing the author’s lilac prose with something like irony. This follow-up, directed in gaudily gilded fashion by James Foley, falls into more of the source material’s pitfalls of whiplash plotting and inconsistent, doll-like characterisation.

Still played with sporting gumption by Dakota Johnson, S&M novice Anastasia Steele has gone from a curious but self-contained woman to a yes-no-yes-no marionette to sexual impulse – not necessarily her own. Yet the surface pleasures remain as the camera creamily wallows in yacht-rock luxury, the soundtrack curls up in the breathy cooing of Taylor Swift et al, and the two gorgeous leads amply expose their gorgeousness. It’s not profoundly sexy, it’s not built to last, but it’s swipe-right film-making of the most superficially attractive order.

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