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bluebeardsbride-archive · 4 years

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reading list for 2020 2019 reading list literature recommendations last updated 7.1.2020

crossed = finished bolded = currently reading plain = to read * = reread + = priority

ask if you want PDFs!

currently reading: The Brutality of Fact: Interviews with Francis Bacon by David Sylvester We Eat Our Own by Kea Wilson Frankissstein by Jeanette Winterson Inferno by Dante Aligheri

novels (unsorted) The Border of Paradise by Esmé Weijun Wang +Justine by Lawrence Durrell Blood Meridian by Cormac McCarthy +Death in Venice by Thomas Mann* The Robber Bride by Margaret Atwood The Name of the Rose by Umberto Eco* The Letters of Mina Harker by Dodie Bellamy Story of the Eye by Georges Bataille +Nightwood by Djuna Barnes +Malina by Ingeborg Bachman A Girl is a Half-Formed Thing by Eimear McBride Monsieur Venus by Rachilde +The Marquise de Sade by Rachilde +A King Alone by Jean Giono +The Scarab by Manuel Mujica Lainez +The Invitation by Beatrice Guido Operation Massacre by Rodolfo Walsh She Who Was No More by Boileau-Narcejac Mascaro, the American Hunter by Haroldo Conti European Travels for the Monstrous Gentlewomen by Theodora Goss Kiss Me, Judas by Christopher Baer Possession: A Romance by A.S. Byatt The Grip of It by Jac Jemc Celestine by Olga Ravn The Girl Who Ate Birds by Paul Nougé The Necrophiliac by Gabrielle Wittkop Possessions by Julia Kristeva

classics The Decameron by Giovanni Boccaccio* Purgatio by Dante Aligheri Paradiso by Dante Aligheri

short story collections The Wilds: Stories by Julia Elliot The Dark Dark: Stories by Samantha Hunt Severance by Robert Olen Butler Enfermario by Gabriela Torres Olivares Sirens and Demon Lovers: 22 Stories of Desire edited by Ellen Datlow and Terri Windling The Beastly Bride edited by Ellen Datlow +Vampire In Love by Enrique Vila-Matas Collected works of Leonora Carrington Collected works of Silvina Ocampo Collected works of Everil Worrel Collected works of Luisa Valenzuela

theatre +Faust by Goethe The Tragical History of Doctor Faustus by Christopher Marlowe Phaedra’s Love by Sarah Kane

nonfiction (unsorted) Countess Dracula by Tony Thorne +The Bloody Countess by Valentine Penrose Infamous Lady: The True Story of Countess Erzsebet Bathory by Kimberly L. Craft Blake by Peter Akroyd Lives of the Necromancers by William Godwin A History of the Heart by Ole M. Høystad On Monsters by Stephen T. Asma +Ghostly Matters: Haunting and the Sociological Imagination by Avery Gordon +Consoling Ghosts : Stories of Medicine and Mourning from Southeast Asians in Exile by Jean M. Langford essays (unsorted) When the Sick Rule the World: Essays by Dodie Bellamy Academonia: Essays by Dodie Bellamy ‘On the Devil, and Devils’ by Percy Shelley +An Erotic Beyond: Sade by Octavio Paz

poetry +100 Notes on Violence by Julia Carr

academia (unsorted) Essays on the Art of Angela Carter: Flesh and the Mirror edited by Lorna Sage The Routledge Companion to Literature and Food edited by Lorna Piatti-Farnell, Donna Lee Brien Cupid’s Knife: Women's Anger and Agency in Violent Relationships by Abby Stein Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious by Fabio Vighi The Severed Flesh: Capital Visions by Julia Kristeva Feast and Folly: Cuisine, Intoxication, and the Poetics of the Sublime by Allen S. Weiss

on horrror Terrors in Cinema edited by Cynthia J. Miller and A. Bowdoin Van Riper Robin Wood on the Horror Film: Collected Essays and Reviews by Robin Wood Monster Theory: Reading Culture by Jeffrey Cohen The Philosophy of Horror, or Paradoxes of the Heart by Noël Caroll Dark Dreams 2.0: A Psychological History of the Modern Horror Film from the 1950s to the 21st Century by Charles Derry Monsters of Our Own Making by Marina Warner Monster Culture in the 21st Century: A Reader edited by by Marina Levina and Diem My Bui

the gothic Woman and Demon: The Life of a Victorian Myth by Nina Auerbach Skin Shows: Gothic Horror and the Technology of Monsters by J. Halberstam +Perils of the Night: A Feminist Study of Nineteenth-Century Gothic by Eugenia C. Delamotte Art of Darkness: A Poetics of Gothic by Anne Williams Body Gothic: Corporeal Transgression in Contemporary Literature and Horror Film by Xavier Aldana Reyes On the Supernatural in Poetry by Ann Radcliffe The Gothic Flame by Devendra P. Varma Gothic Versus Romantic: A Reevaluation of the Gothic Novel by Robert D. Hume A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful by Edmund Burke Over Her Dead Body by Elisabeth Bronfen The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology by Kate Ellis Gothic Documents: A Sourcebook, 1700-1820 by E. Clery Limits of Horror: Technology, Bodies, Gothic edited by Fred Botting The History of Gothic Fiction by Markman Ellis The Routledge Companion to the Gothic edited by Catherine Spooner and Emma McEvoy Gothic and Gender edited by Donna Heiland Romanticism and the Gothic Tradition by G.R. Thompson Cryptomimesis : The Gothic and Jacques Derrida’s Ghost Writing by Jodie Castricano

bluebeard Bluebeard’s legacy: death and secrets from Bartók to Hitchcock edited by Griselda Pollock and Victoria Anderson The tale of Bluebeard in German literature: from the eighteenth century to the present Mererid Puw Davies Bluebeard: a reader’s guide to the English tradition by Casie E. Hermansson Bluebeard gothic : Jane Eyre and its progeny Heta Pyrhönen Bluebeard Tales from Around the World by Heidi Ann Heiner

religion The Incorruptible Flesh: Bodily Mutation and Mortification in Religion and Folklore by Piero Camporesi Afterlives: The Return of the Dead in the Middles Ages by Nancy Caciola Discerning Spirits: Divine and Demonic Possession in the Middle Ages by Nancy Caciola “He Has a God in Him”: Human and Divine in the Modern Perception of Dionysus by Albert Henrichs The Ordinary Business of Occultism by Gauri Viswanathan The Body and Society. Men, Women, and Sexual Renunciation in Early Christianity by Peter Brown

cannibalism Eat What You Kill: Or, a Strange and Gothic Tale of Cannibalism by Consent Charles J. Reid Jr. Consuming Passions: The Uses of Cannibalism in Late Medieval and Early Modern Europe by Merrall Llewelyn Price Cannibalism in High Medieval English Literature by Heather Blurton +Eating Their Words: Cannibalism and the Boundaries of Cultural Identity edited by Kristen Guest Dinner with a Cannibal: The Complete History of Mankind’s Oldest Taboo by Carole A. Travis-Henikoff

crime Savage Appetites by Rachel Monroe In Cold Blood by Truman Capote The Mind Hunter: Inside the FBI’s Elite Serial Crime Unit by John Douglass

theory/philosophy Life Everlasting: the animal way of death by Bernd Heinrich The Ambivalence of Scarcity and Other Essays by René Girard Interviews with Hélène Cixous Symposium by Plato Phaedra by Plato Becoming-Rhythm: A Rhizomatics of the Girl by Leisha Jones The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture edited by Konstanze Kutzbach, Monika Mueller The Severed Head: Capital Visions by Julia Kristeva

perfume & alchemy Perfume: The Alchemy of Scent by Jean-Claude Ellena The Perfume Lover: A Personal Story of Scent by Denyse Beaulieu Past Scents: Historical Perspectives on Smell by Jonathan Reinarz Fragrant: The Secret Life of Scent by Mandy Aftel Das Parfum by Patrick Süskind* Scents and Sensibility: Perfume in Victorian Literary Culture by Catherine Maxwell The Foul and the Fragrant by Alain Corbin +throughsmoke by Jehanne Dubrow “The Ugly History of Beautiful Things: Perfume” by Katy Kelleher

medicine The Butchering Art by Lindsey Fitzharris

Finished (Vampires): An Uneasy Essay on the Undead in Film by Jalal Toufic

#reading list #my recommendations #sp #bookmark

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rpsabetto · 6 years

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Ready Player One

(USA 2018)

Schmaltzking Steven Spielberg is in regular form with Ready Player One, his film adaptation of Ernest Cline’s 2011 gamer fantasy novel.

Reality bites in 2045, especially in Columbus, Ohio, where Wade (Tye Sheridan) lives with his aunt (Susan Lynch) and her no good boyfriend (Ralph Ineson) in “the Stacks,” a favela-like slum of discarded mobile homes piled on top of each other. Things…

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thefederalistfreestyle · 6 years

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Hamilton's Jamael Westman and Ash Hunter to appear in Tristan Bates' Off the Record event (WhatsOnStage):

Jamael Westman and Ash Hunter, who play Alexander Hamilton and the alternate Alexander Hamilton in the West End musical, are to appear at a one-off event at the Tristan Bates Theatre.

The actors are the next guests for Off the Record, a series of in conversation events taking place at The Actors Centre at the Tristan Bates Theatre in London.

Hunter and Westman will join actor and Actors Centre board member Elliot Barnes-Worrell on Friday 21 September between 1pm and 2pm to discuss what it's like working on the show.

[. . .] Tickets are available from the Tristan Bates Theatre.

#hamilton #jamael westman #ash hunter #london #event #tristan bates theatre #west end company #whatsonstage

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h00dsw0rld · 1 year

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Elliot Barnes Worrell

#elliot barnes worrell

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themuller13 · 7 years

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@a-forger-and-a-point-man asked about the Talk Back with the Against cast at the Almeida. This is what I can remember. Maybe someone can help with further tidbits?

Well, here we go, spoilery stuff under the cut :)

Ben was there, drinking a glass of red wine and sitting a bit away from the others to start with, looking down on the floor. They were all sitting on the office chairs used in the play, and Ben kind of nudged closer to Elliot Barnes-Worrell during the talk. He plays Melvyn, one of the workers at Equator; Melvyn is one of the few characters in the play who never actually meets Luke, but he is a follower and together with Tracey (Adelle Leonce) starts out on a new take on life after Luke’s murder.

The director, Ian Rickson, kind of conducted the talk back, starting out with an apology for the forensic tent, which delayed the start of the play, because there was a problem folding it. Ben and Amanda Hale (Sheila and Kate) were standing at the entrance to the house, getting a bit worried.

Kevin Harvey (Jon, the owner of Equator, and the ex-sex-worker-turned-creative-writing-professor) was there as well, being sad about not having been with his family and babies because of this play. The whole audience went ‘awwww’, which he seemed to appreciate very much.

Philippe Spall (middle-aged man, whose son was raped by his baseball coach, and Chris, who provides drugs of any kind to his best friend Dan and later to Anna) was the last of the cast attending the talk back. None of the female actors were there, because of family and other obligations.

Ian tried to get all of them to talk at one point or other, about their character, the play, about all of them playing volleyball on stage before the play starts. Apparently that’s a thing, Ben kind of brought with him? I find the idea very intriguing. All of the cast members have to work together to keep the ball in play–and according to Elliot, loosing a point is met with cheers as long as it is done in a spectacular manner.

The Ian took questions from the audience. I had expected lots of hands, but only one came up, asking about the scene with Kate. Which Ian and Ben were happy to talk about, as it is the scene which pushes Luke forward with his mission, finally giving him the understanding he needed. I’m sorry for not remembering the second question, the third and last one was my own. That one was about how the actors worked with the vision Luke was going to announce at the end of the play, right before he gets shot. We never get to know it, but I thought it might be interesting if the actors had thought about it to kind of motivate their characters. It turns out that Shinn has written the actual vision for Luke, so Ben knows what his character intends to do (I don’t agree with @beaubete that we now know for sure, Luke had visions from God, as my question was regarding the last vision Luke wanted to present to the world but then gets killed); Ian explained how Jon was more than anxious about Luke’s vision, which is very clear during the play. Jon is really doing everything he can to coax Luke into telling him in advance what the vision was about–and whether it would be critical of capitalism. Melvyn on the other hand thought he needed the vision to get on with his life, only to find he had to find the courage in himself to become involved for real with Tracey. Tracey again, needed to find the courage to tell the manager of Equator, that she didn’t want to continue their “workers-with-benefits” (probably called something else, but I hope this makes sense) affair. Instead, Melvyn and Tracey decide to try for a ‘real’ relationship including dating and telling each other ‘stuff’.

Ben, if I remember correctly, talked about how it is exiting to be part of a new play, especially one which takes on current themes in this times. Contrary to many reviews, Ben’s Luke is not meant to be likeable or have us root for him.

I should have written stuff down right after the talk, because I can’t remember much more from it. But maybe somebody on Tumblr can help with further tidbits?

As it was, Ben was much more relaxed and talkative than what I have seen in other Q&A’s with him. Then again, it’s the first time I have seen him life in such a setting, so…

#against #talk back

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deciulla · 7 years

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Against, a World Premiere

Ben Whishaw photographed by Nadav Kander

Silicon Valley. The future. A rocket launches.

Tickets are on sale now for Against, in previews from Saturday 12 August. Ian Rickson (Jerusalem) directs this World Premiere production by Christopher Shinn, Pulitzer-nominated writer of Dying City and Teddy Ferrara.

Ben Whishaw (Bakkhai) returns to the Almeida in a cast including Fehinti Balogun, Elliot Barnes-Worrell, Nancy Crane, Emma D'Arcy, Amanda Hale, Kevin Harvey, Adelle Leonce, Martin McDougall and Naomi Wirthner.

12 August - 30 September

BOOK NOW MORE

Source: The Almeida

#ben whishaw

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thedreamingdinosaur · 7 years

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Directed By: Robert Icke

Cast:

Francisco, Gravedigger – Barry Aird. Horatio – Elliot Barnes- Worrell. Ophelia – Jessica Brown Findlay. Player Queen – Marty Cruickshank. Rosencrantz – Calum Finlay. Marcellus – Joshua Higgott. Guildenstern – Amaka Okafor. Reynaldo – Daniel Rabin. Ghost, Player King – David Rintoul. Hamlet – Andrew Scott. Gertrude – Juliet Stevenson. Laertes – Luke Thompson. Polonius – Peter Wight. Claudius – Angus Wright. Bernardo, Player 3, Priest – Matthew Wynn Fortinbras – John MacMillan Voltimand – Lorna Brown Newscaster – Sule Rimi Young Hamlet – Samuel Smith Priest – Father Roy Pearson Reporters – Skye Bennett, Tommy Burgess, Andrew Lewis, David Tarkenter, Pippa Winslow

To be, or not to be, that is the question.

It’s time for me to delve into the world of A-Level Drama review/ University level BA (Hons) English Literature critical analysis. Although my work load is excessive, I feel that it was necessary to share my experiences of another fantastic show with you all.

Shakespeare’s Hamlet is one of the most reenacted plays of all time. With hundreds of renditions being performed all around the UK, each one brings elements of the classical Shakespearean theatre along with new and refreshing ideas.

Robert Icke is the latest member to jump on the band wagon and delve into the world of the Prince of Denmark along with a fabulous cast! With a 8 week run at The Almeida Theatre, Islington, and a newly announced West End transfer from June to September 2017, Icke used the small space of the theatre’s auditorium to his full advantage, adding a 21st century twist to the play.

For those who do not know the story, Hamlet explores the themes of madness, depression, misogyny and death… lots and lots of death. All the death. So. Much. Death.

Synopsis Hamlet is distraught after the death of his father. Two watchmen, and Horatio, witness the ghost of the late king walking through the castle late one night. When Hamlet is informed of this he see’s the apparition for himself and is informed by the spirit that it is indeed his deceased father and that his Uncle Claudius was the one who murdered him. Hamlet is ordered by his father to avenge him and is set on doing so until the very end. Along the way this drives him into deep madness. His mother, Gertrude, and Uncle see this and become increasingly worried about him and consult in Rosencrantz and Guildenstern to watch him. All the while Polonius believes that Hamlet is mad in love with his daughter Ophelia hence his sudden outbursts but this is not the case and is clear when he orders Ophelia to go to a nunnery (dick move Hamlet… dick move…). He soon learns of a group of Actors in town and orders them to perform a scene which closely resembles his image of his fathers death, to draw out a reaction from his uncle. When Claudius runs from the room, Hamlet, along with Horatio, is convinced that he is truly and utterly guilty. Hamlet confronts his mother about this in privacy, or so he thinks. While hearing a noise from behind a curtain he jumps to conclusions and stabs poor Polonius, and instantly setting his own destiny in the form of his dispersal from Denmark to England where Claudius has plans for him to be killed. And so begins the spiral of death… After Polonius, it is Ophelia who is next to die from grief and drowns in a river. Laertes (her brother) returns from France in pure rage at the death of his father and sister. Claudius convinces Laertes that this is all Hamlet’s doing. Later he soon receives a letter from Hamlet telling him of his immediate return to Denmark due to an incident on his journey to England. Claudius comes up with a plan to put everyones mind at ease and a fencing match out of revenge is arranged between Hamlet and Laertes. The king poisons Laertes blade so when it strikes Hamlet, he will be killed. As a back up plan he also puts poison into his goblet. Hamlet returns at the time of Ophelia’s death and is stuck with even more grief and reveals that he had loved Ophelia all along (awwww) When the match begins between Laertes and Hamlet, the latter scores the first point but refuses to sip from the goblet. Instead his mother does and is quickly dies from the poison. Laertes manages to cut Hamlet with the blade, but he does not die. Laertes is then cut by his own blade (idiot) and while dying, he tells Hamlet that Claudius is responsible for the queens death as well. Hamlet stabs Claudius and then makes him drink the rest of the poison from the goblet (ultimate death!!) and everyone who’s dying finally dies.

The setting itself was kept very minimalistic with just a ‘L’ shaped sofa, chair, lamp, small coffee table being used as the main set. A set of sliding doors were placed at the back of the stage which allowed us to envisage the layout of the palace. The 4th wall is broken several times throughout the play, with characters using the audience’s seating area for stage entries and also as their own audience when it came to the player’s play. It allowed you to be drawn in and fully included within the play, making you feel as if you were apart of the tragedy. Live action cameras where used to show recordings of certain events including the fencing match between Hamlet and Laertes at the end of the play as well as pre-recording of newscasts to show the events in the world at that time. The recordings bought the 21st century through in the classical play.

Leading the show this time, Hamlet was played by the wonderful Andrew Scott, known most famously for his role as Jim Moriarty in BBC Sherlock. He bought to the stage a fresh rendition of the Prince of Denmark and truly channeled the madness that was meant to be. The elements of humour that he incorporated into the scenes broke away from the underlying seriousness that the play gives. Mocking and teasing characters also allowed us to see that Hamlets outlook on life had completely been effected by the death of his father. Andrew was able to incorporate the near psychopathic elements that he portrays in his role as Moriarty to a controlled yet still effective limit and also where needed, as well as showing a character who his grieving and hurting still.

The most famous speech in any Shakespearean play opens with the line ‘To be or not to be’. It has been recited by thousands over the years, including Benedict Cumberbatch in his rendition of Hamlet back in 2015. This time Andrew Scott took a very simplistic and minimalistic approach on the speech. An empty stage, with just him stood downstage, centre. All lights dimmed except the one spot line, illuminating the actor. Silence filled the entire theatre as the speech began. It wasn’t at all how I imagined. I expected something big and grand, overdramatic and nearly insane, similar to that of Benedict’s. But with this simpler tone, I was pleasantly surprised.

It’s not only Scott who embraces the madness and true identity of their character. Jessica Brown Findlay was able to give us a version of Ophelia which was truly something that I had not seen before. At first we see her lovestruck and smitten by Hamlet’s charming nature. But later we are introduced to her fiery ways. After the death of her father, see seems to sink into herself. Depression overtakes the poor girl and sends her into pure madness. We see her weakened physically with the use of a wheelchair showing us that she in need of support. But also her mental state is shown. While Claudius tries to get through to her she sings ‘Saint Valentine’s Day’ possibly with references to her beloved Hamlet. This contradicts the purity of the outfit chosen as a line reads ‘And opened the door to his room. He let in the girl, and when she left, She wasn’t a virgin anymore.’ We see Ophelia dressed in a simple white dress. The use of white here signifies the purity of the young girl although her mind has been tainted. Eventually her madness drives her to death as she drowns in the river. An important thing to note with Ophelia’s character is the way that flowers are used with her. Violets are common with the character. When she dies, Gertrude wears a Violet, a symbol of faithfulness and modesty. These are also present at the scene of her death too. Jessica managed to not over work Ophelia’s insanity all the while including enough to show her decline.

One person who we see go through very little emotional change is Claudius, played by Angus Wright. The only time we seem some emotion from him is at the end during his poisoning and death, when we see fear strike the king. Throughout the play, he remains neutral to any form of reaction while the rest of the cast show their grief, sadness, love and joy. This is pivotal for Claudius character. Angus managed to show us someone who is suspicious and suspected throughout the entire play, yet ignore the accusations by others, including the ghost of his late brother.

To contrast we the conflicting emotions that Gertrude, Juliet Stevenson, is force to go through. While wanting to protect her son from the conflicts that he battling with, she is also not wanting to disappoint her new husband and king. Eventually it clearly gets too much for the poor queen as she drinks the poison set for her son. While in versions of the play this may seem harder to pick up on, Juliet was able to give a clear perception on where she stood

Each element and scene of the play was bought to life with some truly amazing talent. The connection between all characters and their relationships with each other was entirely believable and mesmerising. The cast fully immersed themselves into the world of Shakespeare, yet at the same time, keeping us still updated in the modern world by the use of their costumes, sets and technology. The fear with a modern adaptation of a classical piece of art, is that of losing the original effect. This, however, was not to case in Ickes representation.

The final scenes of the play left me on the edge of my seat. A live fencing competition will always be tense despite the knowledge of the excessive safety elements that all actors and crew members go through, and that they have rehearsed and performed the scene more times than you know, does not push the fear away from your mind. Ending the play, Icke chose a beautiful send off for all characters who met an untimely death. As each character heads towards the bright light at the end of the tunnel, we end with Horatio cradling a lifeless Hamlet in his arms.

Robert Icke has truly honoured Shakespeare’s name by directing an outstanding piece of dramatical art. It is clear he has thought long and hard, along with his creative team, about what he wanted to achieve and has done so with great success. It has earned it’s 3 month west end transfer allowing more people to witness this iconic play.

To top the night off however, I was able to meet Andrew Scott himself outside the theatre’s main entrance. The poor man was extremely tired but still put on a huge smile for all of his fans that greeted him with so much pride, praise and excitement. Well done Andrew, you deserve it.

But the big question is; is Andrew’s version better than Benedict’s? While I loved both plays, and regard them as some of the best pieces of theatre that I have ever had the pleasure of watching in my life, I find myself at a place where I am unable to answer that question. Truthfully, both plays had elements in which captured the audience in aww and some which might have lacked ever so slightly. But at the end of the day, all plays have their faults and all have their shining moments.

So is this a play in which I would see again? Absolutely! I am planning on, getting more another ticket to see it in the new theatre. To anyone looking for a night out in London during the summer holidays, I would 100% recommend seeing the show.

★★★★★

By Natalie Midwinter.

Review Time!: Hamlet – 06.04.2017 (WARNING CONTAINS ‘SPOILERS’) Directed By: Robert Icke Cast: Francisco, Gravedigger - Barry Aird. Horatio - Elliot Barnes- Worrell. Ophelia - Jessica Brown Findlay.

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bdub86 · 4 years

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Austin Eaton, Jimmy Butler, LiAngelo Ball

Malachi Kirby, Nathan Stewart-Jarrett, Elliot Barnes-Worrell

Jarod Joseph, Safaree Samuels, Bow Wow

Sir Chidi, Reece King, Quincy Brown

John Boyega, Eric Andre, Diggy Simmons

Lil Skies, J. Cole, B.o.B

Young Thug, Cory Wharton, Future

Luka Sabbat, Harley Alexander-Sule, G Herbo

Daniel Ezra, Chance Perdomo, Ace Hood

Franz Drameh, Marshall Price, Demetrius Harmon

*Please DO NOT reblog if you are willing to ignore whitewashing, racial slurs, BLACKFACE or post white people and celebrities who have done these things. No, I won’t care how long ago it happened. This post is for, by, and about black people! This post is not meant to be a token splash of color on pages filled with mostly white faces*

Just to be clear: If regularly including ALL KINDS of black people isn’t important to you, this post is not for you. If you can overlook racism towards black people, period, but especially by your nonblack celebrity faves then this post is not for you. If you only objectify (ignore the objectification of) black men then move the fuck on. If your default porn preference is fetishizing interracial race play, Mandingo, sex slave or some other dehumanizing fantasies MOVE THE FUCK ON.

FYI, if this caption bothers you then I’m DEFINITELY talking about you.

This post is about celebrating black men and connecting with others who respect black men and not those who fetishize us and our bodies.

#black men #black is beautiful #black history month

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ivisitlondon · 7 years

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iVisit.... HAMLET @ Almeida Theatre

As rehearsals begin, the cast for HAMLET at the Almeida Theatre is announced. Barry Aird, Elliot Barnes-Worrell, Marty Cruickshank, Calum Findlay, Joshua Higgott, Amaka Okafor, Daniel Rabin, David Rintoul, Peter Wight, Angus Wright and Matthew Wynn join the previously announced Jessica Brown Findlay, Andrew Scott, Juliet Stevenson and Luke Thompson in a production directed by Almeida Associate Director Robert Icke.

ghost / devil acting / madness be / not be

HAMLET is designed by Hildegard Bechtler, with lighting by Natasha Chivers, sound by Tom Gibbons, and video design by Tal Yarden. The Associate Director is Daniel Raggett. Casting is by Julia Horan.

Barry Aird’s theatre credits include Hamlet at the Barbican; Othello for Frantic Assembly; The Mousetrap and The Shawshank Redemption in the West End; Measure for Measure; Hamlet for Theatre Royal Plymouth and on tour; The Sons of York at the Finborough Theatre; What the Butler Saw at Salisbury Playhouse; Watership Down at the Lyric Hammersmith and on tour; The Taming of the Shrew at Bristol Old Vic; Speaking Like Magpies; Sejanus His Fall; Believe What You Will; Sir Thomas Moore; Othello; Henry VIII; The Merry Wives of Windsor; Camino Real; and St Erkanwald for the RSC. Television includes Berlin Station; Marcella; Close to the Enemy; Peaky Blinders; Doctor Who; Love and Marriage; Merlin; Lewis; Misfits; Survivors; Dracula; and Being Human. Film includes The Marker; City of Tiny Lights; Avengers: Age of Ultron; Dungeons and Dragons: The Book of Vile Darkness; and Eleven Fifty-Nine.

Elliot Barnes-Worrell’s theatre includes Man and Superman at the National Theatre; Richard II, The Two Gentleman of Verona; and Henry IV, Part I & 2 for the RSC; The Loneliness of The Long Distance Runner for Pilot Theatre at York Theatre Royal and on tour; and Loyalty at Hampstead Theatre. Television includes Jericho; Poirot and Doctor Who; and film includes Ready Player One.

Jessica Brown Findlay has previously appeared in Uncle Vanya at the Almeida and Oresteia at the Almeida and Trafalgar Studios. Her television credits include Downton Abbey, The Outcast, Jamaica Inn, Labyrinth and Black Mirror: 15 Million Merits. Her film credits include Albatross (nominated for her performance in the Best Newcomer categories at the 2012 British Independent Film Awards and the Evening Standard Film Awards), Winter’s Tale, Lullaby, The Riot Club, Victor Frankenstein, Steven and This Beautiful Fantastic.

Marty Cruickshank’s theatre includes Richard II; The Heresy of Love; Hamlet; and Love in a Wood for the RSC and A Midsummer’s Night’s Dream for the RSC and Garsington Opera; After Electra at the Tricycle Theatre; Exit the King for Theatre Royal, Bath; Early Days; A Fair Quarrel; and The World Turned Upside Down for the National Theatre; Much Ado About Nothing and Two Clouds Over Eden at the Royal Exchange; London Wall at the Finborough Theatre and in the West End; Pygmalion at Chichester Festival Theatre and in the West End; Summer Lightning; Habeas Corpus; Quartermaine’s Terms at the Royal & Derngate; A Delicate Balance at Nottingham Playhouse; and A Flea in Her Ear at the West Yorkshire Playhouse. Television includes Babs; Line of Duty; Lewis; Spooks; Kavanagh QC; Faith in the Future; and Unnatural Pursuits. Film includes London Wall; I, Anna; and The Fool. As a writer, Marty’s credits include The Princess of Cleves for ICA; A Difficult Age for English Touring Theatre; Why Things Happen for Second Stride; and Bathing Elizabeth for Channel 4/Warner Sisters.

Calum Finlay’s theatre credits include The Ghost Train and Too Clever By Half at Manchester Royal Exchange; Dunsinane for the RSC and National Theatre of Scotland and The Merry Wives of Windsor; The Mouse and His Child; Macbeth and Jubilee for the RSC; Tartuffe at Birmingham Repertory Theatre; and The Prince of Denmark for the National Theatre. Joshua Higgott has previously appeared in Oresteia (also Trafalgar Studios) and 1984 for the Almeida Theatre and in the West End. Past theatre credits include Shakespeare in Love at the Noël Coward Theatre; The Alchemist for Liverpool Everyman; Regeneration for Royal & Derngate Theatre; Birdsong UK Tour; and Twelfth Night at the Cambridge Arts Theatre. His film credits include Darkest Hour; The Mummy; Juliet Remembered; and The Machine.

Amaka Okafor’s theatre credits includes Peter Pan at the National Theatre; I See You at the Royal Court; Hamlet at the Barbican; Mermaid for Shared Experience; Glasgow Girls for the National Theatre of Scotland, Citizens Theatre and Theatre Royal Stratford East; Flathampton for the Royal & Derngate; Dr Korczak's Example for the Royal Exchange and Arcola Theatre; The Bacchae for the National Theatre of Scotland; Branded and Hitting Heights at the Old Vic; and Meantime at Soho Theatre. Amaka was in the Ensemble at The Unicorn Theatre for two years.

Daniel Rabin is currently appearing in Mary Stuart at the Almeida and previously appeared in 1984 for the Almeida in the West End. Other theatre includes Pericles; The Winter’s Tale; King John; Tis Pity She’s a Whore; Anthony and Cleopatra; and Holy Warriors at Shakespeare’s Globe; Oedipus for Nottingham Playhouse and the Spoleto Festival; Ignorance at Hampstead Theatre; Blue Remembered Hills at Chichester Festival Theatre; and The Bomb at the Tricycle Theatre. Television includes The Royals; Game of Thrones; Ambassadors; Our Men; Henry - Mind of a Tyrant; The Roman Mysteries; and Money Can't Buy You Love. Film includes Lilac's Laughter; Mind The Gap; and Two's Company.

David Rintoul’s theatre credits include Nell Gwynn for Shakespeare’s Globe and at the Apollo Theatre; Remembrance of Things Past; The World Turned Upside Down; The Trojan War Will Not Take Place; A Midsummer Night’s Dream; and The Rivals at the National Theatre; The Roaring Girl; The White Devil; The Witch of Edmonton; The Taming of the Shrew; Breakfast with Mugabe; The American Pilot; Keepers of the Flame; Henry IV, Parts I & II; Edward III; and Island Princess at the RSC; The Speculator at the Traverse Theatre; As You Like It and Map of the Heart at Shakespeare’s Globe; The Big Fella and Anderson’s English for Out of Joint; Gaslight and Phaedra for the Royal Lyceum Theatre, Edinburgh; Dirty Dancing at Aldwych Theatre; Lady Windermere’s Fan; The Winslow Boy; and Putting It Together for Chichester Festival Theatre; An Ideal Husband and Macbeth for the Old Vic; and Etta Jenks and Sergeant Ola and his Followers for the Royal Court. Television includes Game of Thrones; Muncie; Silk; Doctor Finlay; The Bible; Injustice; Private Practice; Pride and Prejudice; Taggart; The Cherry Orchard; Hornblower; Poirot; and Sweet Medicine. Film includes The Iron Lady; My Week with Marilyn; Unrelated; and The Ghost Writer. Andrew Scott will play Hamlet. Andrew most recently appeared in The Dazzle at Found111. His other theatre credits include Olivier Award-winning performances in Cock and A Girl in a Car with a Man, as well as Birdland, Dying City, Crave and Playing The Victim at the Royal Court; 50 Years on Stage, Sea Wall, Emperor and Galilean and Aristocrats at the National Theatre; Design for Living and Dublin Carol at the Old Vic; and The Vertical Hour on Broadway. His recent films include Swallows and Amazons; Alice in Wonderland: Through the Looking Glass; Spectre, Jimmy’s Hall, Victor Frankenstein, Locke, Pride (BIFA Award for Best Supporting Actor). Forthcoming films include Denial, Handsome Devil. Television credits include his BAFTA winning role as Moriarty in the BBC’s Sherlock, The Hollow Crown, The Town, The Hour, John Adams and Band of Brothers. He has twice won the BBC Audio Drama award for his work on Radio.‎

Juliet Stevenson is currently sharing the role of Mary Stuart and Elizabeth I with Lia Williams in Mary Stuart at the Almeida, having previously appeared here in Duet for One. Other theatre credits include Winnie in Beckett’s Happy Days at the Young Vic; The Seagull, Private Lives, Caucasian Chalk Circle, Hedda Gabler and Yerma for the National Theatre; Les Liaisons Dangereuses, As You Like It, Troilus and Cressida, Measure for Measure and A Midsummer Night’s Dream for the RSC; The Heretic, Alice and Death and The Maiden (Olivier Award for Best Actress) at the Royal Court. Her film credits include Departure, Mona Lisa Smile, Bend it Like Beckham, Emma, Truly Madly Deeply and the upcoming Let Me Go. Her television credits include The Enfield Haunting, The Village, White Heat, The Accused, The Road from Coorain, The Politician’s Wife and One of Us. She was awarded a CBE in 1999 for her services to drama.

Luke Thompson previously appeared in Oresteia at the Almeida and at Trafalgar Studios. His other theatre credits include A Midsummer Night’s Dream (shortlisted for the Evening Standard Outstanding Newcomer award), Blue Stockings, Julius Caesar and The Broken Heart at Shakespeare’s Globe; Tiger Country at Hampstead Theatre. Television credits include The Suspicions of Mr Whicher and In the Club. Film includes Making Noise Quietly.

Peter Wight’s theatre credits include The Red Lion; Ivanov; Sleep With Me; Murmuring Judges; The Resistible Rise of Arturo Ui; Black Snow; and Waiting for Godot at the National Theatre; Trelawny of The Wells at the Donmar Warehouse; In Basildon; Otherwise Engaged; Chekhov's Women in the West End; The Spanish Tragedy; Much Ado About Nothing; Barbarians; A Clockwork Orange; and Hamlet for the RSC; Mouth to Mouth, The Seagull (also Broadway) , In The Republic of Happiness; In Basildon (also West End); Face to the Wall; and Not A Game for Boys at the Royal Court; The Caretaker for the Globe Warsaw; Edward II at the Royal Exchange Manchester; Dearly Beloved and Grace for Hampstead Theatre. Television includes Brief Encounters; I Want My Wife Back; Our Zoo; The Mimic; The Paradise; Hit and Miss; Public Enemies; Titanic; Money; Monday Monday; Boy Meets Girl; 10 Days to War; Party Animals; Dalziel and Pascoe; Persuasion; Fantabulosa!; Murder Prevention; Early Doors; Room at the Top; The Security Men; and Uncle Adolf. Film includes The Program; Mr Turner; King of Soho; Another Year; Kon-Tiki; Hard Boiled Sweets; Womb; Atonement; Hot Fuzz; Lassie; Babel; Pride and Prejudice; and Vera Drake. Angus Wright has previously appeared in Oresteia (also Trafalgar Studios), 1984 in the West End, and A Midsummer Night’s Dream for the Almeida. Other theatre credits include The Cherry Orchard at the Young Vic; Twelfth Night & Richard III for Shakespeare’s Globe on Broadway; Privates on Parade in the West End; The Master and Margarita for Complicite; The Cat in The Hat at the National Theatre and Young Vic; Wastwater at the Royal Court; Design for Living at the Old Vic; The Merchant of Venice; Hamlet; Talk of the City; The Theban Plays; The Dybbuk; Henry IV Parts 1 & 2 for the RSC; Measure for Measure for Complicite and the National Theatre, Mrs Affleck; War Horse; Saint Joan; The Seagull; Dream Play; Stuff Happens; Three Sisters; Chips with Everything; and Mother Courage at the National Theatre. Television includes Flowers; Peep Show; Father Brown; Being Human; Breathless; Murder on the Home Front; Above Suspicion; Boudica; Cambridge Spies; The Shooting of Thomas Hurndall; The Way We Live Now; and Between the Lines. Film includes A Little Chaos; Jack Ryan; Maleficent; Closed Circuit; Private Peaceful; The Iron Lady; Affair of the Necklace; Kingdom of Heaven; RKO 281; The Bank Job; Bridget Jones’s Diary; Charlotte Gray; Cutthroat Island; First Knight; Labyrinth; and Frankenstein. Matthew Wynn’s theatre credits include Measure for Measure at the Young Vic; Henry V and A Midsummer Night’s Dream at the Nuffield Theatre, Southampton; The Guardsman at the Albery Theatre; and Bouncers for Wakefield Theatre Royal and Hull Truck. Film includes Interview With A Hitman; Leave To Remain; and Aberdeen. Television includes Silent Witness; Spooks; Man Down; Mount Pleasant; The Real Essex Boys; 55 Degrees North; Harry & Cosh and Byker Grove.

Almeida Associate Director Robert Icke has adapted and directed Mary Stuart, Uncle Vanya, Oresteia (also West End; won the Critics' Circle and Evening Standard Awards for Best Director) and the multi-award winning 1984 with Duncan Macmillan (also West End as well as playing several UK and international tours) at the Almeida. His work as a director includes The Fever at The May Fair Hotel, Mr Burns at the Almeida, Boys and Romeo and Juliet for Headlong. He made his National Theatre debut directing The Red Barn, at the Lyttelton Theatre in October 2016.

#@AlmeidaTheatre

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imb4ic · 4 years

Video

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Dolittle Trailer Oficial para LatinoAmerica

Sinopsis El Dr. John Dolittle vive en soledad detrás de los altos muros de su exuberante mansión de la Inglaterra del siglo 19. Su única compañía proviene de una variedad de animales exóticos con los que habla todos los días. Pero cuando la joven reina Victoria se enferma gravemente, el excéntrico médico y sus peludos amigos se embarcan en una aventura épica en una isla mítica para encontrar la cura. Dirigida por Stephen Gaghan Escritores Stephen Gaghan Dan Gregor Doug Mand Chris McKay Thomas Shepherd Hugh Lofting Elenco (en orden por créditos) Robert Downey Jr. ... Dr. John Dolittle Antonio Banderas ... King Rassouli Michael Sheen ... Dr. Blair Müdfly Jim Broadbent ... Lord Thomas Badgley Jessie Buckley ... Queen Victoria Harry Collett ... Tommy Stubbins Emma Thompson ... Poly (voice) Rami Malek ... Chee-Chee (voice) John Cena ... Yoshi (voice) Kumail Nanjiani ... Plimpton (voice) Octavia Spencer ... Dab-Dab (voice) Tom Holland ... Jip (voice) Craig Robinson ... Kevin (voice) Ralph Fiennes ... Barry (voice) Selena Gomez ... Betsy (voice) Marion Cotillard ... Tutu (voice) Kasia Smutniak ... Lily Dolittle Carmel Laniado ... Lady Rose Frances de la Tour ... Dragon (voz) Jason Mantzoukas ... James the Dragonfly (voz) Ralph Ineson ... Arnall Stubbins Joanna Page ... Bethan Stubbins Sonny Ashbourne Serkis ... Amall Stubbins Jr. Oliver Chris ... Sir Gareth Clive Francis ... Archbishop Paul Holowaty ... Navy Man Elliot Barnes-Worrell ... Captain William Derrick Mark Umbers ... Lieutenant David Sheinkopf ... Don Carpenterino Sid Sagar ... Jeff the Prisoner Martin Pemberton ... Postman Tim Treloar ... Humphrey the Whale (voz) Jim Carretta ... Beard Mouse and Leona (voz) Nick A Fisher ... Mini the Sugar Glider (voz) Matt King ... Clyde Ranjani Brow ... Mouse (voz) Kelly Stables ... Mouse (voz) Scott Menville ... Army Ant (voz) Gia Davis ... Baby Animal (voz) Henry Holcomb ... Baby Animal (voz) Kyrie Mcalpin ... Baby Animal (voz) Isley Zamora ... Baby Animal (voz) Stewart Scudamore ... Pirate Samson Kayo ... Pirate John-Luke Roberts ... Pirate / Animal Performer Joseph Balderrama ... Prisoner Daniel Hoffmann-Gill ... Prisoner Jane Leaney ... Animal Performer Josh Jefferies ... On set Chee-Chee / Animal Performer Shaun McKee ... On Set Yoshi / Animal Performer Richard Soames ... Animal Performer Producido por Sarah Bradshaw ... productor ejecutivo William M. Connor ... co-productor Robert Downey Jr. ... productor ejecutivo Susan Downey ... producer (p.g.a.) Debra James ... line producer: adicional photografía Jeff Kirschenbaum ... producer (p.g.a.) Jon Mone ... productor ejecutivo Joe Roth ... producer (p.g.a.) Musica por Danny Elfman Cinematografía por Guillermo Navarro Edición por Craig Alpert Casting por Lucy Bevan Diseño de Produccion Dominic Watkins ________________________________________________________ Suscribete y dale me gusta para que alcance a mas personas como tú. ________________________________________________________ Mira más de nuestro contenido! Reseña de Parásitos https://www.youtube.com/watch?v=TcOD0... Trailer de Viuda Negra https://www.youtube.com/watch?v=WeMD8... Featurette Tup Gun Maverick https://www.youtube.com/watch?v=1L5r9... Reseña de Cindy La Regia https://youtu.be/_V401rGBDyo Aquí nuestro canal https://www.youtube.com/channel/UC0LU... Danos tu comentario! Queremos leerte!

#robert downey jr #iron man #avenger #dolittle

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tuseriesdetv · 5 years

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Noticias de series de la semana: Más 'Stranger Things', adiós a SHIELD

Renovaciones

AMC ha renovado Fear The Walking Dead por una sexta temporada

Amazon ha renovado The Boys por una segunda temporada

A falta de confirmación oficial, Netflix ha renovado Stranger Things por una cuarta temporada

NBC ha renovado A.P. Bio por una 3ª temporada que se emitirá en su servicio de streaming

E4 ha renovado Dead Pixels por una segunda temporada

Netflix ha renovado Luis Miguel por una segunda temporada

FX ha renovado Archer por una undécima temporada

DC Universe ha renovado Doom Patrol por una segunda temporada

AMC ha renovado NOS4A2 por una segunda temporada

Cancelaciones

Netflix ha cancelado She's Gotta Have It tras su segunda temporada

La séptima temporada de Agents of S.H.I.E.L.D. (ABC) será la última

Noticias cortas

Kristen Johnston (Tammy) será regular en la séptima temporada de Mom.

Michael Michele (Dominique Deveraux) será regular en la tercera temporada de Dynasty.

Ben Lewis (William) será regular en la octava y última temporada de Arrow.

Andrea Brooks (Eve Teschmacher) será regular en la quinta temporada de Supergirl.

Jasika Nicole (Carly Lever) será regular en la tercera temporada de The Good Doctor.

Chance Hurstfield (Danny Dixon) será regular en la segunda temporada de A Million Little Things.

Netflix ha eliminado la escena del suicidio de la primera temporada de 13 Reasons Why.

La segunda temporada de Legacies tendrá veinte episodios, cuatro más que la primera.

La producción de la segunda temporada de Titans se ha detenido tras la muerte de Warren Appleby, un coordinador de efectos especiales.

Mehcad Brooks (James Olsen) abandonará Supergirl en la 1ª mitad de la quinta temporada.

Habrá dos películas continuación de V (1984).

The Orville pasa de FOX a Hulu.

Incorporaciones y fichajes de series

Chloë Sevigny (American Horror Story, Big Love), Jack Dylan Grazer (It; Me, Myself and I), Alice Braga (Queen of the South, Ciudad de Dios), Faith Alabi (Cold Feet), Spence Moore II (All American, 13 Reasons Why), Corey Knight (Nobodies), Tom Mercier (Synonymes), Sebastiano Pigazzi, Ben Taylor, Francesca Scorsese, Jordan Kristine Seamon y Kid Cudi (How to Make It in America, Westworld) protagonizarán We Are Who We Are, escrita y dirigida por Luca Guadagnino (Call Me by Your Name, Suspiria).

Oliver Jackson-Cohen (The Haunting of Hill House, Man in an Orange Shirt) protagonizará The Haunting of Bly Manor junto a Victoria Pedretti. Será Peter, un joven encantador que vive en la mansión.

Thora Birch (American Beauty, Ghost World) y Kevin Carroll (The Leftovers, Snowfall) se unen a la décima temporada de The Walking Dead. Serán Gamma, una whisperer; y Virgil, un superviviente que se cruzará con el grupo.

Josh Charles (The Good Wife, Unbreakable Kimmy Schmidt) protagonizará Away junto a Hilary Swank. Será Logan, ingeniero de la NASA.

Brandon Routh (Superman Returns) volverá a ser Superman en el crossover del Arrowverse.

Paul Adelstein (Prison Break, Scandal) será recurrente en la séptima temporada de Chicago PD como el superintendente Jason Crawford.

Jack Huston (Boardwalk Empire, Eastwick), Jason Schwartzman (Mozart in the Jungle, Wet Hot American Summer), Ben Whishaw (A Very English Scandal, Mary Poppins Returns), Jessie Buckley (Chernobyl, Wild Rose), Salvatore Esposito (Gomorra), Andrew Bird, Jeremie Harris (Legion, The Get Down), Gaetano Bruno, Anji White (The Chi), Francesco Acquaroli (Dogman, Suburra), E'myri Crutchfield (Roots) y Amber Midthunder (Legion, Hell or High Water) protagonizarán la cuarta temporada de Fargo. junto a Chris Rock.

Joseph Morgan (The Originals, The Vampire Diaries) será recurrente en la cuarta temporada de Animal Kingdom como Jed, el hermano de Colin (Grant Harvey).

Morris Chestnut (Rosewood, Nurse Jackie) será recurrente como el doctor Barrett Cain en la tercera temporada de The Resident.

Tahar Rahim (The Looming Tower, The Last Panthers) protagonizará The Serpent, serie de BBC One sobre uno de los criminales más escurridizos del siglo XX.

André Benjamin (American Crime, High Life), cantante conocido como André 3000, se une al reparto de Dispatches from Elsewhere. Además, Tara Lynne Barr (Casual, Aquarius) será recurrente interpretando a una versión joven del personaje de Sally Field.

Christine Lahti (The Blacklist, Chicago Hope) sustituye a Dierdre O'Connell en el papel de Sheryl Luria en Evil.

Thomas Doherty (Descendants, The Lodge) será un nuevo interés amoroso de Lizzie (Jenny Boyd) en la segunda temporada de Legacies.

Nathalie Sharp (Hit the Road) será Anna, una exitosa guionista televisiva, en BH90210.

Madison Thompson (Kevin (Probably) Saves the World, Shots Fired) será recurrente en la tercera temporada de Ozark como Erin, hija adolescente de Helen (Janet McTeer).

Alexa Mansour (Unfriended: Dark Web), Nicolas Cantu (The Amazing World of Gumball), Hal Cumpston (Bilched), Annet Mahendru (The Americans, Tyrant) y Aliyah Royale (The Red Line) protagonizarán el nuevo spin-off de The Walking Dead.

Juan Antonio (Empire) y Shawntay Dalon (Detroiters, Booked) serán recurrentes en la segunda temporada de Good Trouble como Marcus, abogado de Legal Aid; y Lisa, madre soltera a punto de ser desahuciada de su apartamento.

Pósters

Nuevas series

Luz verde directa en NBC a una comedia sobre un adinerado hombre de negocios (Ted Danson; The Good Place, Cheers) que se presenta a alcalde de Los Ángeles por las razones equivocadas. Escrita y producida por Tina Fey (Unbreakable Kimmy Schmidt, 30 Rock). Trece episodios.

BBC One ha encargado cuatro episodios de Us, drama adaptación de David Nicholls (Patrick Melrose) de su propia novela. En ella, Connie (Saskia Reeves; Luther, Shetland) le dice a su marido Douglas (Tom Hollander; Baptiste, The Night Manager) que no está segura de querer seguir casada y él se propone recuperar el amor de su mujer y de su hijo (Tom Taylor; Doctor Foster, The Dark Tower) en un viaje por Europa que ya habían planeado. Completan el reparto Sofie Gråbøl (Fortitude, The Killing), Iain De Caestecker (Agents of S.H.I.E.L.D., The Fades) y Thaddea Graham (Curfew, The Letter for the King).

HBO Max, el nuevo servicio de streaming de Warner, ha encargado diez episodios de un reboot de Gossip Girl ambientado ocho años después. Escrita y producida por Joshua Safran (Quantico, Gossip Girl).

Series commitment de Showtime a una serie musical sobre un joven músico que descubre un misterio al mudarse de nuevo a la casa donde creció. Intercalará historias entre 1959 y la actualidad. Producida por Alicia Keys, Benj Pasek y Justin Paul.

Nick Santora (Scorpion, Prison Break) adaptará las novelas de Jack Reacher para Amazon.

ITV ha encargado tres episodios de un remake de Van Der Valk (1972-1992), inspirada en las novelas de Nicolas Freeling, sobre un detective neerlandés que resuelve crímenes en Amsterdam. Protagonizada por Warc Warren (Safe, Mad Dogs), Maimie McCoy (The Three Musketeers), Luke Allen-Gale (Dominion), Elliot Barnes-Worrell (Jericho), Darrell D'Silva (Strike Back), Emma Fielding (Les Misérables), Kees Boot (Judas), Reinout Bussemaker (Flight HS13), Frances Grey (Home Fires), Daniel Lapaine (The Durrells), Stephanie Leonidas (Snatch), Mike Libanon (Kill Switch) y Vineeta Rishi (Line of Duty). Escrita por Chris Murray (Midsomer Murders).

Nordig Group producirá One Bad Apple, en la que la hija del Diablo, equivalente femenino de Darth Vader, entra como alumna a un internado rural británico porque está cerca del lugar donde enterraron el Santo Grial, que evita el regreso de Satán a la Tierra. Dirigida por Eagle Egilsson (Gotham, The Wire). Creada por Paul Johnson y escrita por Gavin Scott (The Young Indiana Jones, Small Soldiers) y Rebecca Scott (Blood Relative, Murder Among Friends), padre e hija.

Amazon desarrolla The Heavens, space opera con un tono oscuro y emocionalmente complejo que se centra en una joven que encuentra una poderosa arma olvidada por un imperio ya desaparecido y deberá unir a una galaxia en guerra para combatir a un antiguo enemigo. Basada en una idea de Lev Grossman (The Magicians) y producida por los hermanos Russo.

ITV encarga cuatro episodios del thriller sobrenatural Because The Night, sobre un hombre que lleva diez años huyendo de su pasado cuando alguien se presenta en su puerta con noticias que desencadenan una serie de decisiones catastróficas. Escrita por Neil Cross (Luther, Crossbones) e inspirada en su novela 'Burial' (2009). Dirigida por Niall MacCormick (The Victim, The Durrells).

Nicole Kidman producirá el drama Crime Farm, una historia de amor psicosexual que sigue a dos expertos forenses cuyo matrimonio prospera gracias a la depravación de los crímenes que investigan, en desarrollo en HBO Max. Escrita por Janine Sherman Barrois (Claws, The Undoing).

USA Network prepara un revival de Nash Bridges al que volvería Don Johnson. Sería un especial de dos horas que podría servir como backdoor pilot de serie completa.

James Corden desarrolla para FOX la comedia de animación Dead Henry, en la que Henry busca, en el cielo, el sentido de la vida. Escrita por Sam Leifer y Ben Turner.

Fechas

Hulu ha adelantó el estreno de la cuarta temporada de Veronica Mars al pasado 19 de julio

La segunda temporada de Hold the Sunset se estrena en BBC One el 2 de agosto

Wu Assassins llega a Netflix el 8 de agosto

La segunda temporada de Titans se estrena en DC Universe el 6 de septiembre

Unbelievable llega a Netflix el 13 de septiembre

La 23ª temporada de South Park se estrena en Comedy Central el 25 de septiembre

Creepshow se estrena en Shudder el 26 de septiembre

La décima temporada de The Walking Dead se estrena en AMC el 6 de octubre

La cuarta y última temporada de The Man in the High Castle llega a Amazon el 15 de noviembre

La cuarta temporada de The Expanse llega a Amazon el 13 de diciembre

Tráilers y promos