Serije kao takve

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Re: Serije kao takve

Post by plachkica on Wed Jan 03, 2018 4:07 pm

jebote kakve budaletine

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Re: Serije kao takve

Post by beatakeshi on Wed Jan 03, 2018 6:01 pm


Počela 4. sezona
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Re: Serije kao takve

Post by beatakeshi on Wed Jan 03, 2018 6:19 pm

Opšte oduševljenje
http://www.rts.rs/page/rts/ci/rtspredstavlja/story/2663/radjanje-kraljevine/2987897/uspon-nemanjica.html#comments
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Re: Serije kao takve

Post by bruno sulak on Wed Jan 03, 2018 7:41 pm

plachkica wrote:hajde nek neko sredi topik i splituje viškove. nemanjići bi vas se stideli.
nadvili ste se nad topik kao senke nad balkanom.

dete mi dobilo varicele pa dok se oko toga sredimo pa cu da splitujem


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The law provides us structure to guide us through paralyzing and trying times. But it requires us a vision to its procedures and higher purposes. Before we assume our respective roles in this enduring drama just let me say that when these frail shadows we inhabit now have quit the stage we'll meet and raise a glass again together in Valhalla.
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Re: Serije kao takve

Post by uskok i ajduk on Tue Jan 09, 2018 4:59 pm

"Друг милицајац" - симпа серија, филипенковски заплет. 

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Re: Serije kao takve

Post by Gargantua on Fri Jan 12, 2018 9:11 am

Which Dystopia Are We Living in Anyways?

While Black Mirror frets about individualism taken too far, Philip K. Dick’s Electric Dreams on Amazon returns to the terror of the collective.

   Spencer Kornhaber Jan 11, 2018

It’s a cliché to say the real world resembles a dystopian nightmare, but it’s instructive to pay attention to which dystopian nightmare catches on. George Orwell’s Nineteen Eighty-Four shot back to the top of bestseller lists after Donald Trump’s election, but it’s still less trendy to deploy the term thoughtcrime than it is to drop this phrase: We’re living in Black Mirror. Perhaps that’s just because Charlie Brooker’s slickly intense Netflix anthology series has the buzz of novelty. Or perhaps it’s because it has nailed something beyond the mere conceit that the future = bad.

Watch for whether Philip K. Dick, the Cold War–era sci-fi author who’s never really left public memory, begins to reclaim space from Brooker this year. The TV show The Man in High Castle, based on Dick’s alternative history about a world in which the Axis Powers had won World War II, will present its third season in 2018. Blade Runner 2049, a sequel to the most famous Dick adaptation, earned strong reviews last fall. Now comes Philip K. Dick’s Electric Dreams, a 10-part anthology series with a rotating crew of recognizable actors (Bryan Cranston, Anna Paquin, Steve Buscemi) and established filmmakers interpreting Dick’s stories. More than one publication has hyped the show as “Amazon’s answer to Black Mirror.”

Which is a funny thing, given how many of Dick’s obsessions are in Brooker’s work: the ethics of artificial intelligence, the undermining of reality, and the paranoia that modern conveniences will fundamentally alter their creators. Formally, the two shows align by serving up stand-alone episodes that play across the genre spectrum but maintain an air of the ominous. Both, too, first ran on the U.K.’s Channel 4 and feel ineffably British—brogues galore—even if Electric Dreams is largely set in some version of Chicago and Black Mirror hopscotches the globe. Certain concepts, such as virtual-reality hardware as dots affixed to the temples, are nearly identical in both shows.

Stylistically and philosophically, though, they’re a binary set. Electric Dreams is televisually muddy next to Black Mirror’s austere confidence, but it has an emotional generosity that the Netflix series lacks, serving up plenty of happy endings with twists that are more conventional. Of greater note are the contrasts in the shows’ thematic emphases. Electric Dreams usually insists that the tyranny of the collective is the urgent concern. Black Mirror is often a fantasy of individualism taken too far. The dystopian drama most apt for 2018 might be a synthesis of the two.

Electric Dreams riffs widely, ranging from post-apocalyptic thrillers (“Autofac,” in which a manufacturing plant that eerily evokes an Amazon processing facility keeps chugalugging after civilization ends) to poetic mini-dramas touched by the mystical (“The Commuter” never explains its trippiness and is better for it). Often, Dick’s source material is rendered almost unrecognizable: “Real Life” substitutes VR games for time-travel as the mechanism by which sanity is upended; “K.A.O.” builds the “mega-nation” of “Mex-US-Can” from a short story about a man who seems to be the only person to care about a dead body in the town square; “Safe and Sound” reworks a tale of consumerism and nuclear bunkers into one of consumerism and anti-terrorism.

Even with the variety, there’s a cohesive message. Electric Dreams repeatedly envisions political hellscapes in which a complacent majority seeks and destroys nonconformists. When there is a happy ending, it is because a special individual has overthrown the system; when there is an unhappy one, it is because the system has won. Bodysnatching is also an ever-present paranoia, and time and again the twist is that who you thought was a human was actually alien, or machine, or hallucination (or, in some cases, vice versa). New technology mostly serves to yoke people to an authoritarian mass. The self is forever at risk. Though such themes are always relevant, they became tropes of dystopian fiction in midcentury—amid anxieties about totalitarianism, spies, and the humanity of the dissident.

Black Mirror, by contrast, is largely worried with how the individual might overpower the group to horrifying effect. Whereas Electric Dreams’ characters constantly struggle to retain their individuality in the face of social pressure, Black Mirror is populated with self-indulgers and sociopaths who use tech to build their own personal virtual autocracies (over digital clones via VR or over a teen via text message) and hold entire nations hostage (with hacking or hashtags). Brooker’s normal folks become supervillains, and his power dynamics are, well, more about power rather than about social difference: Victims include children, criminals, and sentient AI. When Brooker does envision fascist-seeming societies (“Nosedive,” “Fifteen Million Merits,” “White Bear”), they are policed by citizens granted a share of control—and sapped of empathy—by devices. Brief flashes of care for others are usually in service of a cruel punchline enabled by supposedly helpful machines (“Hang the DJ,” “Metalhead”).

Black Mirror’s concerns make sense in an era of incessant personal branding and lone-wolf mass shootings. But we’re now also in an era when anti-democratic tendencies have regained a foothold in Western politics, and when collective-identity anxiety—other-ism of all sorts—is more explicit again. Hulu’s The Handmaid’s Tale, based on the 1985 Margaret Atwood novel, aptly refurbished a previous period’s conformist nightmare for today’s, and the best episodes of the patchy Electric Dreams try something similar. “Safe and Sound” amplifies the post-9/11 security state with personal gadgetry for a disturbing twist on high-school social climbing. “The Hood Maker” ditches the digital for a steampunk tableau in which telepaths create a loose parable for present-day privacy wars. “K.A.O.” amusingly stages a near-future satire in which the doping of the masses is utterly compatible with micro-targeted capitalism.

Such stories are more attentive than Black Mirror is to the notion that people can be manipulated by institutions—an old but newly potent concern when one group of Americans wonders if a foreign state has hijacked democracy and the other wonders if the deep state has. Reassuringly (if a bit banally), Electric Dreams also insist that individual acts of bravery and compassion make a difference in the face of conspiracies and numbing tech. Old-fashioned ideals and follies, Electric Dreams tries to say, can still inform relevant sci-fi.

It’s a shame that argument, with its implication of revolutionary can-do, will be undercut by simple problems of quality. Electric Dreams has the unmistakable feel of TV for TV’s sake, hemmed by budgetary and formal constraints. Its space voyages and machine labs are of the flimsy and hokey sort, never inspiring the awe or cool stylishness that Black Mirror so effectively borrowed from movies. The dialogue, too, is often high-minded but clunky. “If sacrifice, kindness, and love is not the ultimate test of what makes somewhat human, then what is?” announces one character in “Human Is,” an episode of Electric Dreams set on a militarized, ice-age version of Earth in the year 2520. It’s a lovely thought suggesting that even a bleak future can involve moral progress—but it’d be more convincing if the show around it felt like the entertainment of the present.


https://www.theatlantic.com/entertainment/archive/2018/01/which-dystopia-are-we-living-in-anyways/550172/
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Re: Serije kao takve

Post by Kondo on Fri Jan 12, 2018 9:50 am

Blind Lime Pie wrote:Uvek me zabavljaju racionalizacije ljudi bez fakultetske diplome koji su imali priliku i uslove da je steknu ali nisu dobacili dotle. Nisam se slagao sa kurikulumom, razočarao sam se, danas niko ne gleda diplomu nego šta znaš da radiš, blabla. A pravih razloga ima samo tri: lenj si, glup ili lud. Porota još uvek zaseda u mom slučaju, ali mislim da nisam ni lud ni glup, čim znam da mi je nedostatak diplome kolosalna životna greška za koju nema opravdanja. Nema ni za tebe, Uskoče. Nikakve pobune nema u tome što nešto ne znaš, a mogao si da znaš.

Mislio sam da ne-ludi i ne-glupi ljudi koji misle da je  nedostatak diplome kolosalna životna greška za koju nema opravdanja prosto zavrse faks na kraju i rese taj problem. Barem iz mog slucaja, ne mislim da je kolosalna, cak ne mislim ni da je greska, sem u tehnickom smislu sto bi me moglo sputavati za neke stvari koje mi do sada uglavnom nisu trebale (formalni uslovi).


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Re: Serije kao takve

Post by William Murderface on Fri Jan 12, 2018 9:51 am

Gargantua wrote:
Which Dystopia Are We Living in Anyways?

While Black Mirror frets about individualism taken too far, Philip K. Dick’s Electric Dreams on Amazon returns to the terror of the collective.

   Spencer Kornhaber Jan 11, 2018

It’s a cliché to say the real world resembles a dystopian nightmare, but it’s instructive to pay attention to which dystopian nightmare catches on. George Orwell’s Nineteen Eighty-Four shot back to the top of bestseller lists after Donald Trump’s election, but it’s still less trendy to deploy the term thoughtcrime than it is to drop this phrase: We’re living in Black Mirror. Perhaps that’s just because Charlie Brooker’s slickly intense Netflix anthology series has the buzz of novelty. Or perhaps it’s because it has nailed something beyond the mere conceit that the future = bad.

Watch for whether Philip K. Dick, the Cold War–era sci-fi author who’s never really left public memory, begins to reclaim space from Brooker this year. The TV show The Man in High Castle, based on Dick’s alternative history about a world in which the Axis Powers had won World War II, will present its third season in 2018. Blade Runner 2049, a sequel to the most famous Dick adaptation, earned strong reviews last fall. Now comes Philip K. Dick’s Electric Dreams, a 10-part anthology series with a rotating crew of recognizable actors (Bryan Cranston, Anna Paquin, Steve Buscemi) and established filmmakers interpreting Dick’s stories. More than one publication has hyped the show as “Amazon’s answer to Black Mirror.”

Which is a funny thing, given how many of Dick’s obsessions are in Brooker’s work: the ethics of artificial intelligence, the undermining of reality, and the paranoia that modern conveniences will fundamentally alter their creators. Formally, the two shows align by serving up stand-alone episodes that play across the genre spectrum but maintain an air of the ominous. Both, too, first ran on the U.K.’s Channel 4 and feel ineffably British—brogues galore—even if Electric Dreams is largely set in some version of Chicago and Black Mirror hopscotches the globe. Certain concepts, such as virtual-reality hardware as dots affixed to the temples, are nearly identical in both shows.

Stylistically and philosophically, though, they’re a binary set. Electric Dreams is televisually muddy next to Black Mirror’s austere confidence, but it has an emotional generosity that the Netflix series lacks, serving up plenty of happy endings with twists that are more conventional. Of greater note are the contrasts in the shows’ thematic emphases. Electric Dreams usually insists that the tyranny of the collective is the urgent concern. Black Mirror is often a fantasy of individualism taken too far. The dystopian drama most apt for 2018 might be a synthesis of the two.

Electric Dreams riffs widely, ranging from post-apocalyptic thrillers (“Autofac,” in which a manufacturing plant that eerily evokes an Amazon processing facility keeps chugalugging after civilization ends) to poetic mini-dramas touched by the mystical (“The Commuter” never explains its trippiness and is better for it). Often, Dick’s source material is rendered almost unrecognizable: “Real Life” substitutes VR games for time-travel as the mechanism by which sanity is upended; “K.A.O.” builds the “mega-nation” of “Mex-US-Can” from a short story about a man who seems to be the only person to care about a dead body in the town square; “Safe and Sound” reworks a tale of consumerism and nuclear bunkers into one of consumerism and anti-terrorism.

Even with the variety, there’s a cohesive message. Electric Dreams repeatedly envisions political hellscapes in which a complacent majority seeks and destroys nonconformists. When there is a happy ending, it is because a special individual has overthrown the system; when there is an unhappy one, it is because the system has won. Bodysnatching is also an ever-present paranoia, and time and again the twist is that who you thought was a human was actually alien, or machine, or hallucination (or, in some cases, vice versa). New technology mostly serves to yoke people to an authoritarian mass. The self is forever at risk. Though such themes are always relevant, they became tropes of dystopian fiction in midcentury—amid anxieties about totalitarianism, spies, and the humanity of the dissident.

Black Mirror, by contrast, is largely worried with how the individual might overpower the group to horrifying effect. Whereas Electric Dreams’ characters constantly struggle to retain their individuality in the face of social pressure, Black Mirror is populated with self-indulgers and sociopaths who use tech to build their own personal virtual autocracies (over digital clones via VR or over a teen via text message) and hold entire nations hostage (with hacking or hashtags). Brooker’s normal folks become supervillains, and his power dynamics are, well, more about power rather than about social difference: Victims include children, criminals, and sentient AI. When Brooker does envision fascist-seeming societies (“Nosedive,” “Fifteen Million Merits,” “White Bear”), they are policed by citizens granted a share of control—and sapped of empathy—by devices. Brief flashes of care for others are usually in service of a cruel punchline enabled by supposedly helpful machines (“Hang the DJ,” “Metalhead”).

Black Mirror’s concerns make sense in an era of incessant personal branding and lone-wolf mass shootings. But we’re now also in an era when anti-democratic tendencies have regained a foothold in Western politics, and when collective-identity anxiety—other-ism of all sorts—is more explicit again. Hulu’s The Handmaid’s Tale, based on the 1985 Margaret Atwood novel, aptly refurbished a previous period’s conformist nightmare for today’s, and the best episodes of the patchy Electric Dreams try something similar. “Safe and Sound” amplifies the post-9/11 security state with personal gadgetry for a disturbing twist on high-school social climbing. “The Hood Maker” ditches the digital for a steampunk tableau in which telepaths create a loose parable for present-day privacy wars. “K.A.O.” amusingly stages a near-future satire in which the doping of the masses is utterly compatible with micro-targeted capitalism.

Such stories are more attentive than Black Mirror is to the notion that people can be manipulated by institutions—an old but newly potent concern when one group of Americans wonders if a foreign state has hijacked democracy and the other wonders if the deep state has. Reassuringly (if a bit banally), Electric Dreams also insist that individual acts of bravery and compassion make a difference in the face of conspiracies and numbing tech. Old-fashioned ideals and follies, Electric Dreams tries to say, can still inform relevant sci-fi.

It’s a shame that argument, with its implication of revolutionary can-do, will be undercut by simple problems of quality. Electric Dreams has the unmistakable feel of TV for TV’s sake, hemmed by budgetary and formal constraints. Its space voyages and machine labs are of the flimsy and hokey sort, never inspiring the awe or cool stylishness that Black Mirror so effectively borrowed from movies. The dialogue, too, is often high-minded but clunky. “If sacrifice, kindness, and love is not the ultimate test of what makes somewhat human, then what is?” announces one character in “Human Is,” an episode of Electric Dreams set on a militarized, ice-age version of Earth in the year 2520. It’s a lovely thought suggesting that even a bleak future can involve moral progress—but it’d be more convincing if the show around it felt like the entertainment of the present.


https://www.theatlantic.com/entertainment/archive/2018/01/which-dystopia-are-we-living-in-anyways/550172/

Odličan tekst. Nisam ni znao za ove Electric Dreams. Krivim forum!


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"Oni kroz mene gledaju u vas! Oni kroz njega gledaju u vas! Oni kroz vas gledaju u mene... i u sve nas."

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Re: Serije kao takve

Post by паће on Fri Jan 12, 2018 10:10 am

William Murderface wrote:
Odličan tekst. Nisam ni znao za ove Electric Dreams.

У ствари, "Да ли андроиди сањају електричне овце", па отуд.

Krivim forum!

Ево већ сам сав искезечен.


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Сваки ниста ће ти рећи да је низам најбоља ствар. Ено онолики низамски растанци, и шта им фали?
"multiple websites" - c'mon, where would you find them? For starters, find ONE multiple website. Oh, you meant "more than one"? Well, that's called "many".
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Re: Serije kao takve

Post by William Murderface on Fri Jan 12, 2018 10:12 am

Pa u stvari nije, serija se zove Philip K. Dick's Electric Dreams.


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Re: Serije kao takve

Post by Filipenko on Fri Jan 12, 2018 11:51 am

"Naelektrisani snovi Filipovog kurca," ili ti "Bajka o erekciji". Moram potraziti.
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Re: Serije kao takve

Post by uskok i ajduk on Fri Jan 12, 2018 11:58 am

Filipenko wrote:"Naelektrisani snovi Filipovog kurca," ili ti "Bajka o erekciji". Moram potraziti.

.... Погађам: радња је 1939. кад Хитлер нападне Пољску, а Стаљин је удари са леђа?
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Re: Serije kao takve

Post by Filipenko on Fri Jan 12, 2018 12:00 pm

Ne, vec su Nemacka i zapadni saveznici iznureni petogodisnjim bespostednim ratovanjem u kojem im je izginulo skoro kompletno musko stanovnistvo...a Staljin svez, pripremljen i odmoran udari 1944. sa ledja 
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Re: Serije kao takve

Post by Guest on Fri Jan 12, 2018 12:11 pm

Filipenko wrote:Ne, vec su Nemacka i zapadni saveznici iznureni petogodisnjim bespostednim ratovanjem u kojem im je izginulo skoro kompletno musko stanovnistvo...a Staljin svez, pripremljen i odmoran udari 1944. sa ledja i iz orbite, pomoću dve pune čete Adeptus Astartes svemirskih marinaca
Fify
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Re: Serije kao takve

Post by Filipenko on Fri Jan 12, 2018 12:30 pm

Blind Lime Pie wrote:
Filipenko wrote:Ne, vec su Nemacka i zapadni saveznici iznureni petogodisnjim bespostednim ratovanjem u kojem im je izginulo skoro kompletno musko stanovnistvo...a Staljin svez, pripremljen i odmoran udari 1944. sa ledja i iz orbite, pomoću dve pune čete Adeptus Astartes svemirskih marinaca
Fify



Zahvaljujem.











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Re: Serije kao takve

Post by plachkica on Sat Jan 13, 2018 2:57 am

gledam smilf, ima na hbogo

preporuka

http://www.imdb.com/title/tt6274614/
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Re: Serije kao takve

Post by Filipenko on Sat Jan 13, 2018 3:28 am

plachkica wrote:gledam smilf, ima na hbogo

preporuka

http://www.imdb.com/title/tt6274614/





- Ovih godina na toj dejting sceni tamo preovlađuju baš te samohrane majke, neumerene u alkoholu, neumerene u hrani i lekovima, neumerene u svemu. Nemaju ni vremena ni živaca ni za šta, a za vratom imaju najmanje jednog, ako ne i više očeva svoje dece. Njima su praktično sve buduće veze osuđene na propast jer većina njih nema podršku porodice koja će pomoći u odgoju deteta, imaju te bivše partnere i često problematičan odnos sa njima, niska primanja i sadašnje partnere koji, koliko god da se trude, ne umeju da plivaju u svemu tome. Ili prosto neće toliku dramu - kaže on.



Na pitanje kakve su žene u Engleskoj, Zek ima veoma opširan odgovor.

- Da, postoji taj stereotip o pijanim Engleskinjama koje bauljaju niz ulicu praveći budale od sebe. A tužno je to što to uopšte nije stereotiop. Društva se menjaju - i vi ste se promenili od 2008. godine, kada sam vas upoznao, isto kao i mi. Ali naše promene idu brže i drastičnije. Žene tamo prosto ne vode računa o sebi, čak i kada su kao fine u toku radne nedelje, pa paze šta i koliko jedu i ne piju, vikendom to sve nadoknade, u ogromnim količinama. Ono što je nas možda i najviše upropastilo jeste pravi bum tinejdžerskih trudnoća koji se desio pre nekih 15 godina, a desio se nakon obećanja Tonija Blera da će sve samohrane majke dobiti pomoć od države u vidu stana i novčanih sredstava - priča nam Zek.

Kako je tamnošnja kultura takva da klinci već sa 16 godina grebu da se isele iz roditeljske kuće, ovo su videli kao idealan način da započnu "svoj" život - dobijaju i stan i novac, a zauzvrat "samo" rode dete.

- Devojčice su masovno već sa 16 godina rađale decu. A danas one nisu devojčice već mlade žene, u 90 odsto slučajeva samohrane majke više dece sa više očeva, koje i dalje žele da izlaze na sastanke, a za to nemaju ni sredstava ni vremena ni energije - kaže Zek, dodajući da je to masovna pojava.

Na sve to treba dodati podatak da jedan od četvoro ljudi u Velikoj Britaniji pati od neke vrste mentalnog poremećaja. Većinski to pogađa žene, a lekari su prezauzeti i nemaju vremena da se bave uzrocima, već samo dele pilule.

- Tako dobijate gomilu ljudi, opet kažem, većinski žena, koji gradom okolo hodaju na opijatima, a da toga ni sami nisu svesni. I to se oseća, ta atmosfera se oseća i u vazduhu - kaže on.


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Re: Serije kao takve

Post by xie saike on Sat Jan 13, 2018 12:10 pm

uvek sam oprezan na preporuke sa hbo


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Re: Serije kao takve

Post by plachkica on Sat Jan 13, 2018 12:22 pm

nemoj da si takav, najbolje serije dolaze sa hbo, wire, porodica soprano, ove sezone
big little lies, handmaid's tale...


filipe, promeni lektiru, zastranićeš.
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Re: Serije kao takve

Post by Kondo on Sat Jan 13, 2018 12:30 pm

sto me niko nije obavestio da je sinoc pocela repriza starog twin peaksa
uhvatih nekih pola sata, kolosalno i posle 27 godina


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Re: Serije kao takve

Post by Filipenko on Sat Jan 13, 2018 2:03 pm

plachkica wrote:filipe, promeni lektiru, zastranićeš.

Optuzujes me da nisam vec zastranio?
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Re: Serije kao takve

Post by Quincy Endicott on Sat Jan 13, 2018 2:38 pm

Kondo wrote:sto me niko nije obavestio da je sinoc pocela repriza starog twin peaksa
uhvatih nekih pola sata, kolosalno i posle 27 godina

pa okačio je neko na temi o Tvin Piksu, ghoulova recenzija bukvalno ima šemu prikazivanja


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Re: Serije kao takve

Post by Djamolidine Abdoujaparov on Sat Jan 13, 2018 4:04 pm

Programski savet RTS zatražio je od menadžmenta i uredničkog kolegijuma Javnog medijskog servisa da ne emituje naredne nastavke igrane televizijske serije o Nemanjićima, dok se na internoj projekciji u RTS ne odgleda cela serija, ili bar njena polovina, izjavio je za FoNet predsednik Programskog saveta prof. dr Milivoje Pavlović.
Pavlović je potvrdio da je takav stav većinom glasova usvojen u petak na sastanku Programskog saveta i ocenio da time nesporazumi oko ove serije, čiju je prvu epizodu RTS prikazao u novogodišnjoj noći, po svemu sudeći, ulaze u novu fazu.
Prema Pavlovićevim rečima, Programski savet RTS je pisani zahtev o tome uputio prof. dr Vladimiru Vuletiću, predsedniku Upravnog odbora RTS, Draganu Bujoševiću, generalnom direktoru, i Nebojši Bradiću, glavnom i odgovornom uredniku Kulturno-umetničkog programa RTS.
U pismu, koje je potpisao Pavlović, "ovaj zahtev se obrazlaže programskim, produkcionim i kulturološkim značajem serije o Nemanjićima, kao i pretežno negativnim reagovanjem opšte i stručne javnosti posle emitovanja prve epizode".
Kako se u dopisu navodi, "zahtev Programskog saveta temelji se na odredbama Zakona o medijskim servisima, Statutu RTS i aktima o delokrugu rada Programskog saveta, odnosno, onim stavovima ovih dokumenata koji naglašavaju pravo i obavezu Saveta da razmatra kvalitet programskih sadržaja i vrednuje domete ostvarivanja programske koncepcije Radio Beograda i Televizije Srbije".
Pavlović nije želeo da govori o budućim potezima Programskog saveta, ističući da je RTS veliki i dobro uređen sistem, u kojem se "tačno zna ko šta radi i za šta odgovara".
"Mi ćemo u potpunosti uvažavati načela slobode stvaralaštva i ingerencije uredničkih timova RTS. Kad odgledamo bar polovinu serije, formulisaćemo svoje stavove, a konačna odluka biće na menadžmentu i urednicima Televizije", napomenuo je Pavlović.
On se "iskreno nada da je nastavak serije bolji, i da će se smanjiti ili sasvim otkloniti ona preduga lista primedbi na prvu epizodu".
Upitan šta će se dogoditi u suprotnom slučaju, Pavlović je odgovorio: "E, onda bismo svi bili u velikom problemu...".

iskreno se nadam da neće ništa dirati i da će pustiti nastavak. serija ima 1 moćan treš potencijal dostojan onih treš ivenata davnih dana u Rexu i to treba čuvati kao malo vode na dlanu.
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Re: Serije kao takve

Post by МекРиди on Thu Jan 18, 2018 3:01 am

препоручите ми неку серију да прекратим време на послу.само да није комедија,може драма али најбоље нека болечина типа „Прави детектив“ и „Ханибал“


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I don't give a fuck about your war...or your president
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Re: Serije kao takve

Post by Filipenko on Fri Jan 19, 2018 1:44 pm

Ni Nemanjici vam nece tesko pasti...


Re: Serije kao takve

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