Glee guru, American Horror Story aficionado, and The New Normal initiator Ryan Murphy has a racy new show — and he’s currently searching for a lucky network to put it on. Yes, that's right. Murphy is continuing his quest to take over the world, one TV show at a time.
The showrunner extraordinaire has teamed up with Dexter co-executive producer Lauren Gussis to create and co-write a sexually charged drama called Open. According to Deadline, Open is being described as a "modern, provocative exploration of human sexuality and relationships," and the project is expected to be one of the biggest cable sales of the year.
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The scandalous subject matter seems like a perfect match for premium cable tycoon like HBO, due to the fact that Showtime is set to premiere their highly anticipated bare-it-all drama Masters of Sex starring Michael Sheen and Lizzy Caplan. Cable networks will also get the opportunity to snag the show, as Deadline reports that Murphy is looking to pitch Open to a few select outlets.
Open just recently hit the market and it’ll be interesting to see which network gets hot-and-bothered enough to drop the big bucks for Murphy’s next sure-to-be hit.
Are you intrigued by Open? Think Murphy should focus on the shows he already has before he adds a new one? Shout out your thoughts in the comments below!
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[Photo Credit: Andres Otero/WENN]
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Fairy tales are the hottest trend right now and it's easy to see why. No matter how many times you retell it, the parts are recognizable and welcomed: a princess bites a bad apple, a damsel misplaces her shoe, a tired beauty slips into a coma-like nap. Each of these childhood fables showcases that pure of heart always triumphs over the forces of evil. So why is it that all the A-list actresses are tossing aside the tiaras and fighting for the villainess roles?
Cate Blanchett is the most recent Hollywood hopeful in talks to play the evil stepmother in Disney’s live-action remake of Cinderella, to be helmed by Never Let Me Go director Mark Romanek. According to The Hollywood Reporter, Blanchett was originally set to play the evil witch in Disney’s Snow White and the Seven, but that project was later dropped. A fine choice considering this year alone, there have been three Snow Whites—Ginnfer Goodwin, Kristin Stewart and Lilly Collins—all claiming to be the fairest of them all in the land of pop culture.
Blanchett joins the ever- growing list of actresses who have decided that it’s good to be bad. Angelina Jolie is currently lending her legs and her acting skills to another former Disney classic as the dark dragon-loving witch in Maleficent. While both Julia Roberts and Charlize Theron questioned the integrity of a magic mirror in their Snow White-themed cinematic tales.
One could assume that these actresses are merely looking for a new roll to broaden their repertoire and resumes, but we’ve got a different—slightly more evil –theory. Fresh faces like Emma Stone, Ellie Fanning, and Jennifer Lawrence are quickly taking to their thrones as the new leading ladies of Hollywood. Perhaps our big-screen veterans are able to empathize with these youth-crazed villains in their quest to stay in the magical spotlight. Or maybe they just really enjoy the wickedly wonderful costumes!
Why do you think A-Listers are opting for the darker rolls? Cast your spell in the comments below!
Follow Leanne on Twitter @LeanneAguilera
[Photo Credit: Andres Otero/Wenn]
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It’s 1936 and shy 7-year-old Moncho (Manuel Lozano) feels painfully out
of place in his Galician village until a kindly schoolteacher (Fernando
Fernán Gómez) takes him under his wing inspiring in the youngster a
love for nature and poetry. But the exciting New World that opens up
before Moncho’s eyes is soon threatened by the dark tide of fascism
rising around him.
Perfect casting from the awkwardly adorable Lozano to renowned Spanish
national treasure Fernán Gomez does much of the work for the
filmmakers. Uxía Blanco and Gonzalo Uriarte also make strong impressions
as Moncho’s parents whose divided loyalties (hers to the Church his to
the Republic) are played subtly at first but become increasingly evident
as the political atmosphere intensifies. In the end though it’s Fernán
Gómez’s youthful energy and quiet dignity that give the film its soul.
Director-producer José Luis Cuerda creates a magical world in which
fable-like episodes such as a romantic interlude between Moncho’s older
brother and a mute Chinese woman seem perfectly believable then
seamlessly makes the difficult transition to the more serious tone of
the last section. At times he loses his grip on the loose-jointed
narrative but all that is forgotten when he gets to the brutally honest
finish a masterfully set-up sequence as unexpected as it is inevitable.