New version: “Lisey’s story”
(Apple TV +)
Julianne Moore stars in “Lisey’s Story,” a new miniseries Stephen King adapted from his 2006 novel of the same name, which begins airing Friday on Apple TV +. Here she explains her introduction to Mr. King’s work and what drew her to the role of Lisey Landon in this love / horror story. Edited from an interview.
“My introduction to Stephen King came in 1976, when I went to see “Carrie” [available for purchase and rent on Amazon]at the theatre. I had never seen anything like it: there were so many children, the line from the cinema snaked through the parking lot. As we entered, the children coming out were absolutely terrified. People were shaking, they were so scared.
When I started looking at it, I didn’t think there was anything so terrifying. It’s really a bit sad. And then you sit there and you cry. This is the end of the film. And there’s that last moment when the hand comes out of the grave and everybody’s gone crazy screaming. I have never been so scared in my life. I liked it.
Stephen King’s work is a metaphor for what we feel: our fears, our dreams and our ability to understand, overcome and overcome them. The metaphor in ‘Lisey’s story’ it’s that you have this couple and this trip that they take together and, like every marriage, the only people who know what’s going on in the marriage are the two people there. In the journey of a long marriage, you are basically a witness to the life of the other: you build a life together and you create your own world, in a sense. He took this world that a couple shares and manifested it into a true supernatural world that they enter.
What intrigued me about ‘Lisey’s Story’ was its exploration of a very unusual marriage and partnership in cinema. So often when a relationship is described it all revolves around, “Ooh, I really like this guy, does he like me?” I think I found one, let’s get married, the end. But, for most of us, I think the story is what happens after that.
New version: ‘Ms. Fisher’s Modern Murder Mysteries’
“Ms. Fisher’s Modern Murder Mysteries,” an Australian thriller, returns for its second season Monday on Acorn TV.
The series follows the life of an aspiring detective named Peregrine Fisher (Geraldine Hakewill), in the mid-1960s in Melbourne. Fisher is a newly wealthy 20-something who inherited a fortune from her long-lost aunt, Phryne Fisher, who solved crimes in the 1920s in the popular Acorn series. “The Mysteries of the Murder of Miss Fisher” based on a series of books by Kerry Greenwood.
Deb Cox, co-creator of both series, says “Ms. Fisher” was born because Essie Davis, the actress who plays the main character of “Miss Fisher,” was so busy she was no longer available. for a complete series – just feature films such as “Miss Fisher and the Crypt of Tears”, which is also streaming on Acorn. She doesn’t think fans would come forward for a replacement and, as for Ms Davis: “I think maybe she bombarded us by letter.” So they opted for a spin-off instead.
When Ms Cox was developing the original series, she was drawn to Miss Fisher’s independence and her relationships with men she wasn’t married to at a time when it was decidedly taboo. Moving the series into the ’60s, with a new character, Ms. Cox says it was important to bring a similar level of independence to Ms. Fisher, but updated for the period she lives in. In the 1920s, she said, getting married meant women lost much of their independence. But in the 1960s, she says, things were changing.
“In the 1960s, I think women started negotiating thinking, why can’t I have a fulfilling, romantic, sex life with someone and still have all of these freedoms that I clung to,” Ms. Cox. “So that’s what ‘Ms. Fisher’s Modern Mysteries’ is on the verge. Apart from all the murders, it is for her to negotiate the kind of life she is going to have.
New version: “Sweet Tooth”
In “Sweet tooth, “ a new drama series adapted from the comic book series of the same name by Jeff Lemire, a mysterious virus known as “sick” has claimed the lives of most people on Earth. Around the same time, babies are born half-human, half-animal, with characteristics of pigs, birds, and other creatures. Many surviving humans believe the “hybrids” caused the virus and want to destroy them.
The central character here is Gus (Christian Convery), born with some of the characteristics of a deer, who is taken into the wilderness of Yellowstone National Park by his father (Will Forte), to live away from those who would do him bad. wrong. The plan works until Gus is 10 years old and they are discovered outside.
The series, released Friday, was developed by Jim Mickle, who co-directs the show with Beth Schwartz. Rather than following the strict comic book roadmap, they chose to focus the story on Gus’ unique perspective: a kid who grew up out of the network with a person, who has keen senses of an animal species and who is exploring a ravaged world that he sees for the first time.
“All the questions,” Mr. Mickle said, “came down to: what would it look like through Gus’ eyes? “
New version: “We Are Lady Parts”
When Nida Manzoor started writing as a child, she wrote serious poetry and songs that she performed for her forgiving grandfather. “I wanted to be some sort of brown-haired Bob Dylan girl,” says Ms Manzoor, who was born in Britain and of Pakistani descent.
After giving up the idea of being a musician, she started writing screenplays. On Thursday, the Peacock streaming service presents “We Are Lady Parts,” a comedy series created, written and directed by Ms. Manzoor. It’s the story of a punk rock band (and their manager) in London made up of four young Muslim women who write their own songs: “Why won’t you love me? Why do not you answer me ? Let me read, ghost me like I’m dead.
The series begins with a three-piece band, Lady Parts, looking for a lead guitarist. They recruit reluctant acoustic guitarist Amina (Anjana Vasan), who is looking for a husband and tends to lose her cookies on stage.
Ms Manzoor says the somewhat autobiographical idea arose out of her frustration with accounts that she says portray Muslim women as oppressed and lacking in agency. She said she wanted to write something “that reflected the women I knew”. She was also inspired by the musicians and artists she saw around London who “expressed the fullness of their identity”.
“I wanted to capture that,” she says, “but also, I wanted it to be a musical because I really wanted to lean into the things that I love, especially when I was dealing with a subject too. staff.”
Notes on broadcasting:
• Billions & Billions: The eight episodes of “Shadow and bone”, a new Netflix fantasy series from Eric Heisserer, the Oscar-nominated screenwriter of “Arrival,” aired for 1.93 billion minutes in its first 10 days since its release on April 23, Nielsen reported last week . Meanwhile, on Hulu, the service’s tentpole series, “The Handmaid’s Tale” aired for just over a billion minutes in the week the first three episodes of the fourth season aired on April 27.
• Make the group: “We Are Lady Parts” is the second Peacock series in a month about the women who bring the group together (or get back together). In “Girls5eva, “ a pop group from the 90s is getting back on its feet as they approach their fifties. Read more about it here.
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