With a muscular catalog of some 4,000 feature film titles and 10,500 TV episodes, MGM Television has a bounty of material from which to draw in fashioning its development slate, and prexy Roma Khanna, at the helm of TV and digital distribution since 2011, is using it to her advantage. All while touting original series such as the top-rated “Teen Wolf,” now in its fourth season on MTV, and the highly anticipated “Fargo” on FX, to pad the growth of Metro-Goldwyn-Mayer’s smallscreen arm. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season SEE MORE: From the April 01, 2014 issue of Variety “We have great jewels in our library, from the ‘Rocky’ films to the James Bond franchise to ‘Legally Blonde,’ and they are a huge advantage to us in the marketplace,” notes Khanna of the production company’s key to financial and critical success. “But we also don’t just want to be a company that reinvents our library. We haven’t gone into this thinking about how (these movies) have been done and how they should have been done, but rather we’re focusing on the smartest way to re-create them for the future.” This philosophy came into play when partnering with cabler FX and scribe Noah Hawley (“Bones”) to adapt the Coen brothers’ Oscar-winning 1996 film “Fargo,” pictured above, as a 10-episode limited series starring Martin Freeman, Colin Hanks and Billy Bob Thornton. “We didn’t set out with the network to do something that was derivative but something that was reverential,” says Steve Stark, president, television production and development at MGM. “The question became how do we develop a whole new story and all new characters that are in tone with what we loved about the movie?” Eric Schrier, president, original programming & FX Prods., echoes that message. “We were always hoping to do something inspired by the movie rather than a re-telling of the movie. I don’t think we would have succeeded had we gone that way.” The primary thrust of MGM TV, says Khanna, is not to “redo” movies, but to “redesign” them for modern times. “The idea behind ‘Fargo’ was to reframe it for our current history,” she says. “ ‘Fargo’ is a state of mind and that is what this show is about.” Khanna credits the MGM TV exec team, which includes John Bryan, president, domestic television distribution, for keeping the focus on smart and aggressive growth. “We’ve really created an entrepreneurial environment built on decades of collective experience,” she says. “The one thing we all have in common is our spirit.” That gusto and dedication has helped drive the net’s first major scripted skein, “Vikings,” a sprawling family saga set in medieval Scandinavia. Chris Ottinger, MGM’s prexy of international television distribution and acquisitions, hails the one-hour drama as “lush, big, real, and rich like a feature film.” “We filmed it a year ago and by the time we were finished at MIP (in 2013), the show was pretty much sold everywhere — to more than 125 countries,” says Ottinger of the Michael Hirst-created skein, now in its second season. “It flew off the shelf in a way that I had never seen before.” MGM TV’s strategy for expansion on both the domestic and international levels includes continued sales for such syndicated programs as “Paternity Court” (which the company brought to syndication in 92% of the U.S. through its finance and distribution entity Orion TV Production), the gameshow “Let’s Ask America” and the viral video show “Right This Minute,” which airs on the basic cabler HLN. But scripted series will remain the heart of MGM TV’s ramp-up efforts. “Our goal is to double, if not triple, our production slate in the next couple of years,” says Khanna. “We have projects in development with literally every broadcaster out there. We have half-hours in development, but the core of our portfolio will be one-hour cable dramas. There is a real appetite for that type of programming and we want to create the best.”

Tal Shaked and Einat Shamir were crossing the road together in Cannes two years ago when they decided it was time to make a change. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season SEE MORE: From the April 01, 2014 issue of Variety The two women, both fortysomething mothers who had worked in the Israeli television industry for more than 20 years, were exhausted with the big broadcasters and tired of clawing their way around its male-dominated hierarchy. It was Mipcom, and everyone, it seemed, was hungry for the next big format. Shamir, who worked as head of scripted material at Israel’s Channel 10 for eight years and Shaked, who helped bring programs like “Beauty and the Geek” and “Survivor” to Israeli TV, were longtime friends. Standing on the street in Cannes after another exhausting meeting, the decided this would be their last Mipcom working for other people. They flew back to Israel, quit their jobs and founded the local outlet A Capella, a boutique content management group that has had a string of successes in two years and is now betting that its gameshow format, “The Big Picture,” which will be unveiled this week at Mip, will be a hit with buyers. “We cherry-pick,” says Shaked, who for years led Israel’s international division at Channel 10. “We work very closely with our creators. Our creators are on the frontlines, we put them there, and we look at things with a very broad perspective — exposing them to the world, and their talent to the world.” One of those creators is Israel magician and mentalist Nimrod Harel, who penned a psychological thriller series for A Capella, “The Believer,” which has been sold to Fox Intl. Channels. It was Harel who dreamed up “The Big Picture.” The fully interactive program, which shot its pilot last month in Israel but is being peddled only to foreign buyers, asks contestants to successfully identify a series of photographs, while the audience at home plays along via an integrated app and also has a shot at taking home half of the $1 million prize. “The Big Picture” takes a page from last October’s Mipcom darling, the singing competish “Rising Star,” by tapping into integrative technology to give home viewers a direct stake in the results and loop them in, in a manner never seen before. Harel had the idea for the program, he says, when he saw his 1-year-old son, Itamar, watching a “Baby Mozart” program and squealing with delight as he correctly identified a photograph of a musical instrument. Such a simple concept, Harel realized, could translate into television gold, and when he brought it to Shaked and Shamir, they decided to skip Israeli screens completely and aim only for the international market. “It’s not that we don’t want to work in Israel,” Shaked says. “But what we’re doing is bringing Israel to the world. We think that Israeli creators are so talented and there’s so much creative talent here, so much good storytelling — why shouldn’t these series be on HBO or Showtime or AMC? And if it happens here as well, then terrific.” A Capella’s religious drama series “Reaching for Heaven,” about a secular Jewish family thrown into chaos when the patriarch decides to embrace ultra-Orthodoxy, was picked up last year by Entertainment One and Sundance for two adaptations; a U.S. version following a Jewish family in Las Vegas, with Mike Seid as scribbler; and a U.K. version focusing on a Christian family. Shaked and Shamir say they are also in talks with European producers for a third version, spotlighting an Islamic family. “We have a feeling where television is going right now,” Shaked says. “People want entertainment, feel-good television, that they can share with their family.”

As digital players continue to shape the traditional television landscape, the 51st edition of MIP TV plans to up the ante on showcasing multiscreen innovations, creating more synergies and opportunities for content creators. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season “More than ever, it’s crucial for Mip TV to connect broadcasters with the next generation of creators and talent that are breaking through in the (over the top) arena,” says Laurine Garaude, topper of Reed Midem’s TV division. As part of MIP Digital Fronts, brands like Chipotle, websites such as What’s Trending, and shingles and platforms like Fox Digital Studio, Vuguru and Smokebomb Entertainment will be on hand to present their original online concepts. The confab will host its first 4K spotlight program, including a keynote by Niclas Ericson, head of the TV division of world soccer governing body FIFA, and screenings of 4K footage covering all genres — factual, natural history, music, sports and drama — held in a 4K theater located in the main exhibition hall. “This year’s World Cup soccer tournament is a start. 2016’s Olympics in Rio, and the UEFA soccer championship (in 2016) are expected to be the catalysts for mainstream 4K adoption by consumers,” says Chris Forrester, exec producer of MIP TV’s 4K conferences. “But you cannot launch a channel on the back of single events, no matter how compelling they are. The industry needs factual content, drama, music and all the other genres fulfilled in 4K.” For its Media Mastermind keynotes, Mip TV has lined up such industryites as Starz CEO Chris Albrecht, Studiocanal’s CEO and chairman Olivier Courson, Tandem Communications’ prexy Rola Bauer, YouTube’s global head of entertainment Alex Carloss, Maker Studios’ exec chairman Ynon Kreiz and Red Arrow’s managing director Jan Frouman. MIP Doc, the documentary event that precedes Mip TV, has programmed speakers including Dean Possenniskie, A&E Networks’ managing director of Europe, Middle East and Africa; and Paul Welling, senior VP and head of channels for Discovery Central & Eastern Europe, Middle East, Africa. The talent roster expected to attend MIP TV’s World Premiere TV Screenings and walk the red carpet include Maggie Gyllenhaal, who will be promoting Hugo Blick’s politically engaged “The Honorable Woman” for the BBC, pictured above; Curtis “50 Cent” Jackson, from Starz’s new show “Power”; and Kim Cattrall with the BBC dramedy “Sensitive Skin,” which she also exec produces. Over at MIP Doc, “The Mentalist’s” exec producer Chris Long will be on hand to present the premiere of “A Tale of Two Thieves,” repped by Christophe Bochnacki’s Balanga. Children and teen entertainment will play a big part at the market, which will organize a Junior at MIP TV sidebar, including a keynote by Tara Sorensen, head of kids programming at Amazon Studios, a matchmaking session and a summit with 80 creatives and execs. The TV mart will also host a Focus on Israel, with a panel discussing Business Opportunities in Israel organized at Mip Formats (April 6), a session titled Co-Production Marketplace, Success Stories From Israel (April 5) at Mip Doc, and a Fresh TV screening session (April 8) showcasing the hottest content from Israel, notably “Prisoners of War” (remade in the U.S. as “Homeland”), “In Treatment” and “Hostages.” MIP TV is set to attract approximately 11,000 participants and 4,000 buyers from 100 countries. European marketgoers rep 67% of all buyers, followed by buyers from the Asian Pacific region (16%), The U.S. (9%) and Africa/Middle East (7%).

David Letterman’s decision to retire next year has predictably set off a storm of speculation about successors to his “Late Show” throne. TV PILOTS/DEVELOPMENT SCORECARD: Follow all of the development action during upfront season Stephen Colbert (pictured) has had quite a reversal of fortune in the past seven days. Last week he was forced to defend his Comedy Central series from accusations of racial insensitivity stemming from a joke involving a reference to Asian-Americans. But in the past 48 hours Colbert has been tabbed by showbiz insiders and the media as a top contender to move to CBS’ 11:35 p.m. slot. CBS reps have steadfastly declined comment on possible Letterman successors. A source close to the situation said the network intends to move quickly to set its post-Letterman lineup, a process that is expected to take a few weeks but not months. Colbert’s current contract with Comedy Central runs through 2014. He has hosted “The Colbert Report” in the persona of faux conservative commentator since 2005 after getting his start on Comedy Central’s “The Daily Show with Jon Stewart.” Moving to CBS would give him the opportunity to move out from behind the mask of the fulminating Bill O’Reilly-esque character he’s played for nearly a decade. That could be a risk for CBS as viewers don’t have much of a sense of Colbert’s actual on-canera personality. However, he excels in the guest interview segments on “Colbert Report,” even when done in character. Letterman, who turns 67 next week, surprised viewers on Thursday when he announced he would exit late night TV sometime in 2015. “We don’t have the timetable for this precisely down,” he told the Ed Sullivan Theater audience. “I think it will be at least a year or so, but sometime in the not too distant future.” Sources close to the situation tell Variety the decision was ultimately Letterman’s despite the fact that he is now going up against much younger competitors on NBC and ABC. He joked about his impending departure (and old age) on Friday’s telecast, saying he knew it was time to hang it up when his makeup artist who turned to him recently and said “‘Dave, there’s really nothing more I can do.’” The longer the speculation continues, the more difficult the situation becomes for Letterman’s latenight companion, Craig Ferguson. Speculation is mounting that CBS does not see “The Late Late Show” host as a prime contender to replace Letterman. Ferguson, 51, is in the midst of contract talks with CBS as his current deal ends later this year. Ferguson does, however, have a clause in his contract that calls for him to either succeed Letterman or command a form of payout from CBS. A report in the New York Daily News Friday said his payout could be as much as $8 million-$12 million. Chelsea Handler, the host of E!’s “Chelsea Lately,” has emerged as a possible replacement for Ferguson, as the host is in the midst of her own contract wrangle with the NBCUniversal cabler.

Banijay Group has tapped former Endemol North America boss David Goldberg to launch the L.A.-based Banijay Studios North America and develop original content across multiple genres. Serving as CEO of Banijay North America and as Banijay Group prexy, Goldberg will oversee the entertainment shingle’s further expansion into English language territories and Latin America. Goldberg will be based in Los Angeles and will report to Marco Bassetti, CEO of Banijay Group. Last September, Goldberg stepped down from Endemol USA (Big Brother)_ which he launched — after a 13-year tenure. The new outfit will be Banijay’s second North American production entity, alongside Bunim/Murray Productions, which is behind such hit shows as “Keeping Up with the Kardashians” and ”Total Divas” (E!), “Project Runway” (Lifetime), “The Challenge” (MTV), and “The Bad Girls Club” (Oxygen). Bunim/Murray will remain independent from Banijay Studios North America, and continue to grow its operations in North America which already include BMP Latin, BMP Digital, and BMP Films. Jonathan Murray, chairman of Bunim/Murray, will continue to report directly to Bassetti. “We are very pleased to have David join us, and excited at the prospect of working with him and his team in the coming months as they develop new formats which we will roll out globally through our growing production capabilities,” said Marco Bassetti, CEO of Banijay Group comments. “David’s expertise, persuasive powers and creative vision will be huge assets to us as we continue to increase our production presence in English speaking markets, a strategic priority for us that will continue to roll out over the coming year.” David Goldberg added, “Banijay is a well capitalized, creative company that has the potential to become one of the most important players in the largest television market in the world. Banijay Studios North America will be a magnet for some of the most creative producers and talent in the content creation business. Goldberg also said he was looking forward to expanding Banijay’s multi-territory, multi-platform business.”

With the ‘Net buzzing about Captain America: The Winter Soldier now playing in U.S. theaters, it’s easy to forget that the 2014 Summer Blockbuster Season doesn’t begin until May (yes, well before the summertime actually starts), with such heavily-marketed franchises installments as The Amazing Spider-Man 2 and the Godzilla reboot leading the way. Each of the Godzilla previews released to date has used the same formula to great effect; a vague sketch of the storyline (in short: there are giant monsters on the rampage), combined with intense end-of-world atmosphere and brief glimpses at the King of Monsters – and at least one fellow Kaiju – destroying various human cities as it continues its trek around the globe. No surprise, a newly-released Godzilla extended TV spot (read: one-minute long TV trailer) doesn’t deviate from the course, meaning it’s just as enticing, yet mysterious as its predecessors. The promo does conclude with a nice straight-on shot of the gargantuan lizard, sounding off with its thunderous roar – or maybe this is all just a Men in Black situation, where Godzilla’s just sneezing and us silly humans are jumping to the wrong conclusion. The same goes for these additional Godzilla international TV promos, which have made their way online. While it’s easy to appreciate the monster effects and sheer scale of the onscreen destruction as technical accomplishments, what keeps your interest is the sense that the reboot’s director Gareth Edwards’ (Monsters) is genuinely invested in the human side of this “natural disaster” – the impact it has on everyday people’s lives, and how their responses vary with regard to the mind-boggling situation they’ve been shoved into. In order words, Edwards and the film’s credited screenwriter Max Borenstein (Seventh Son) at least seem to be aiming to produce a Godzilla movie that’s a heart-pounding, moving, and topical viewing experience all at once. We’re definitely not along in cheering them on to accomplish that goal. __________________________________________________ The Godzilla human cast includes Aaron Taylor-Johnson and Elizabeth Olsen (Avengers: Age of Ultron), along with Bryan Cranston (Breaking Bad), Ken Watanabe (Inception), Juliette Binoche (Cosmopolis), David Strathairn (Lincoln), and Sally Hawkins (Blue Jasmine).

English character actor Chiwetel Ejiofor has officially joined the ranks of Oscar-nominees, thanks to his performance as free man-turned slave Solomon Northup in the Best Picture Oscar-winner 12 Years a Slave. Of course, Ejiofor has been racking up strong onscreen performances for more than a decade (see: Serenity, Kinky Boots, Children of Men, etc.), which has provided all the more reason to be excited about him recently being linked as a potential cast member for the upcoming Star Wars: Episode VII. However, it turns out that’s not the only long-running iconic blockbuster franchise that Ejiofor is currently being pursued to join. According to a new report, he’s the top-choice to follow in the footsteps of Casino Royale actor Mads Mikkelsen (Hannibal) and Skyfall‘s Oscar-winner Javier Bardem (No Country for Old Men) – by playing the villain opposite Daniel Craig as Agent 007, in the upcoming 24th installment in the British espionage series (which shall be the fourth to feature Craig in the famous secret agent role). A new article by Variety asserts that Ejiofor is the front-runner to portray the (currently, under-wraps) antagonist in the tentatively-untittled James Bond 24, though an actual deal has yet to be made. Moreover, before the actor can sign on, scheduling issues need to be worked out, as he’s attached to star in Lawless director John Hillcoat’s upcoming crime/drama Triple Nine, which is expected to begin filming this year for a 2015 release. (Sidenote: If Ejiofor does sign on for Bond 24 in the near future, it’s safe to say he’s out of the running for Star Wars: Episode VII.) It would be easy to picture Ejiofor playing a cunning and ruthless, yet also posh and sophisticated opponent for Craig’s 007, much like many a Bond villain of yore. Indeed, a general throwback approach may be the route that the next installment takes, based on what screenwriter John Logan (Skyfall) has said about utilizing traditional Bond franchise elements – not to mention, Craig expressing his desire to recapture some classic Bond irony/camp, without being kitschy. The Bond franchise is still moving forward into the future, though, as the next film will bring back Ralph Fiennes as the new ‘M’, Naomie Harris as Moneypenny, and Ben Whishaw as ‘Q’ following their introduction in Skyfall. Sam Mendes will also return to direct this new film, with the search now underway to find the next “Bond girls” – Variety says the filmmakers are looking for “one Scandinavian and one British woman” – before production gets started this October, according to Fiennes.

NOTE: The following post contains MAJOR SPOILERS for the How I Met Your Mother series finale.] It’s no question that the How I Met Your Mother series finale was controversial among watchers and critics. Not since Lost has a finale episode spawned so much debate (side note: a majority of Screen Rant readers thought that the Lost finale was awesome but nearly 49% hated the HIMYM finale). It’s a bit surprising, however, considering that most hotly debated finales are those of drama series – while this outrage is over a sitcom. It’s understandable though; has always packed an emotional punch. But the finale’s wallop made some feel more like suckers. Audiences spent 9 seasons watching Ted Mosby (Josh Radnor) grow up and out of his childish fantasies to find the woman he was really meant for only to have her die from some unnamed illness so that, year’s later, Ted could regress back to his 20s and end up with Robin (Cobie Smulders). Nevertheless, it appears there’s a bit of light on the horizon. According to a report over at Deadline, the Season 9 DVD set will include an alternate “happy” ending. Creators Carter Bays and Craig Thomas had apparently contemplated a different conclusion during the run which will make its way onto the DVD as an extra. The adjusted end won’t involve any additional footage, but will instead work everything they’d shot into a different turnout. Producers and 20th Century Fox TV declined to comment on any specifics but the source described this alternate conclusion as a “happy ending.” From what was presented in the finale, this means that Ted’s alternate reality could go a couple of different ways. One could be that the mother still dies, but Ted considers Tracey the love of his life and remains a widower forever, which isn’t very happy at all. Or, Tracey lives happily ever with Ted and their kids. Of course, those are just the two most obvious possibilities – and it’ll be interesting to see what the producers consider “happy” in their alternate conclusion. For some, and depending on what is actually in the alternative ending, this move could be seen as a total cop-out. Bays and Thomas went with the plot they had in mind since the beginning of the show, even going so far as to shoot the scenes of Ted’s kids telling him to go for it with Robin way back in Season 2. Yet, what they didn’t anticipate was how much audiences would love Cristin Milioti as Tracey, how funny she would be and how well she’d meshed with the rest of the cast (especially Ted). They also didn’t appreciate how long fans have been waiting for Ted to get over his childish obsession with Robin. As a result, it might have been better to embrace the Radnor/Milioti chemistry and change the ending altogether. Now, however, they may have seen the error of their ways – and are attempting to appease fans who were frustrated by the ending – while making an extra buck on DVD sales while they are at it. Of course, the scenes will probably be online within minutes of release. Still, even if fans get what they want (no guarantees that’s what this “happy ending” entails) and Tracey is saved from an early death, will seeing the alternate take actually make a difference – given that the one that aired is still the primary ending? Sure it’d be fun to see Ted and Tracey grow grey together but won’t the “true” ending always be in the back of our minds?

Barely two months into his term as the host of The Tonight Show and it is undeniable: Jimmy Fallon is a force to be reckoned with after reinventing the late night standard bearer, earning solid reviews and consistently decisive wins in the ratings while making viral comedy bits a daily fixture on social media. As CBS deals with the looming retirement of David Letterman, they aren’t just trying to replace a legend that has been a constant part of their nightly lineup for 22 years with The Late Show, they’re also trying to find someone that will challenge Fallon and that someone may be Colbert Report host Stephen Colbert. According to a new report from Mashable, it seems that there is mutual interest between Colbert and CBS and that contact was initiated before last night’s announcement. “Colbert has not had any formal contract discussions with CBS, and no agreement is in place, but sources tell Mashable that he first engaged with network executives while Letterman was still mulling the timing of his retirement. Though CBS has had conversations with other candidates, including Colbert’s Comedy Central counterpart Jon Stewart, individuals with knowledge of the situation say Colbert is currently the front-and-center candidate.” On its face, the idea of Colbert moving on up to The Late Show slot (there’s no word yet on if the show name will pass from Letterman to the next host, or if it will stay in New York or move to Los Angeles) makes a lot of sense. Critically adored with a devoted and advertiser friendly fanbase, Colbert is a gifted comic performer and searing satirist as well as an occasionally daring interviewer who feels like a stylistically natural successor to Letterman and an experienced and capable opponent for Fallon. The trouble is, all this week, Colbert has been at the center of a firestorm thanks to a tweet that was sent from the Comedy Central run Colbert Report twitter account; a gaffe that prompted many to support the #CancelColbert micro-movement to get Colbert fired. But while they say all publicity is good publicity, this latest controversy stands as a reminder that Colbert’s exaggerated on-screen persona (and Daily Show host Jon Stewart’s less exaggerated but more severe persona) can also polarize. NBC has the opposite of that. Jimmy Fallon is an effervescent and in-offensive showman, but CBS has to decide if they can attack that as a sort of weakness with counter programming like Colbert or accept it as a trend and adapt. Speaking of CBS, Craig Ferguson is a candidate that doesn’t seem to be getting a lot of internet support despite his nine year run behind David Letterman as the host of The Late Late Show, which is produced by Worldwide Pants, Letterman’s production company. A proudly alternative show with a robot sidekick (Geoff Peterson), uber-casual interviews, and a whimsical, cheeky, and un-tethered sensibility, Ferguson could represent the most outside-of-the-box choice and an expensive “no” thanks to a clause in his contract that will pay him $8 million dollars if he doesn’t get Letterman’s chair. Whether Ferguson would take that money and run remains to be seen, but there are reports that CBS did, at one point, reach out to John Oliver about replacing Ferguson, should he leave. This all happened before Oliver booked his weekly series on HBO, though, so we can probably count him out, but a new rumor about Chelsea Handler linking up with CBS following Letterman’s announcement has popped up and there are indications that she might be a candidate for either the 11:35 or 12:35 show. So the question has to be asked: is CBS going to use Letterman’s departure to completely redesign its late night lineup, and where does Ferguson go? Clearly, CBS has a plan and they have been working at putting their ducks in a row for quite some time, making it all the more impressive that both Letterman’s intentions and other possible names haven’t leaked out until now, though now that the flood gates have come open, we should probably expect a deluge and a long process. Where will that process wind up? Really, it’s anyone’s guess. Maybe it will be Colbert, or maybe CBS will tag a big name like Chris Rock, Kevin Hart, or Neil Patrick Harris (who the Mashable article also mentioned as a dark horse candidate). Maybe they’ll explore Jimmy Kimmel’s seeming openness to replacing Letterman, or convince Conan O’Brien to leave TBS when his contract expires next year. Maybe it’ll be someone else from cable like Chris Hardwick or Joel McHale (who has always seemed like he might flourish in such a job), or someone totally unexpected. The possibilities are exciting to ponder even if this is a bittersweet moment, but while the field is seemingly full of attractive options, the pressure is on for CBS, lest they choose wrong and cede control of late night over to NBC for the next decade or so.

Futamono is the term used for a Japanese dish traditionally served in a pot that is covered with a lid to keep food warm. It’s no surprise, then, that in an episode of Hannibal where Jack Crawford finally comes around to see Will’s side of things – that Hannibal Lecter, for all his glorious cuisine, his impeccable sense of style, and supposed compassion, is about as likely a suspect at they come – would also go to incredible lengths to keep a lid on things, to prevent Jack from uncovering his secret, and to convince others of his innocence, now that he’s no longer above suspicion. Of course, the term futamono also has a far more direct connotation, considering Jack Crawford literally lifted a lid to discover Miriam Lass is still among the living. Because ‘Futamono’ ends with the discovery of Miriam in yet another (albeit brighter) cliffhanger, the primary focus of the episode is the thinly veiled game of cat and mouse that is played between Jack and Hannibal. It is a new dynamic that builds off the growing antagonism between Will and Lecter, but it also creates a ripple effect that dramatically alters two key relationships by bringing forth the apparent end of Dr. Bloom’s romantic inclination toward Will, and her sudden passion for all things Hannibal. Sudden seems like an apt word to use in relation to this episode. Even though Bloom’s reasoning for jumping from Will’s sinking ship to Hannibal’s seemingly unsinkable vessel is sound enough (attempted murder isn’t the most endearing of gestures), the intensity with which she finds herself under the spell of Dr. Lecter is nonetheless quite curious. Maybe Alana Bloom simply is as Dr. Chilton described her: “catnip for killers,” or perhaps she now sees Hannibal like Will once was: an enigmatic presence who also happens to be a tragic victim – an aspect which would be in keeping with her character. Then again, the possibility exists that there is something entirely different behind Bloom’s shifting allegiance. It’s a question that raises the level of suspicion on Hannibal even further, but it does so from the perspective of the audience, the group that is normally in on every devilish action perpetrated by Dr. Lecter. The generation of uncertainty on the title character works in tandem with a narrative that has the head of the FBI behavioral sciences unit suddenly questioning a trusted colleague at the behest of a man who has admittedly had trouble distinguishing the boundaries of reality. And yet, despite this problematic roadblock, Jack follows up on Will’s suspicions, winds up colluding with Dr. Chilton and eventually turns a suspicious eye toward, as Chilton so self-amusedly refers to him: “Hannibal the cannibal.” That kind of mistrust is a long time coming, considering the warning signs hanging about Hannibal, such as the way people keep turning up dead around him; the way he glides about silently, like a wraith; or the fact that underneath the exquisitely tailored veneer of humanity hides the biological equivalent of cold surgical steel. All these things seem like unmistakable red flags, but it’s important to remember: this is Hannibal – the strange corner of the network television universe where rules and common sense are ostensibly thrown out the window in favor of casting light on all things disturbingly gorgeous. And ‘Futamono’ wastes nothing in regard to making the disconcerting look pleasing to the eye. While the elegantly intertwined city councilman/tree tableau is one of Hannibal’s finest, it is the painstaking effort Dr. Lecter puts into making Dr. Abel Gideon’s final meal memorable that lingers most. But with the Chesapeake Ripper ostensibly clearing Will’s name, the question is: Who’s next on the menu?

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An anti-piracy firm has found a shortcut to obtaining the personal details of account holders connected to pirating IP-addresses. Instead of having a judge decide, Rightscorp obtains so-called DMCA subpoenas which only a court clerk has to sign off on. A worrying development that could lift the copyright troll business to a new level. ip-addressWeek in and week out hundreds of U.S. citizens are dragged into lawsuits because their Internet account was used by someone to share copyrighted material. These cases all follow a familiar pattern. The copyright holder files a lawsuit mentioning several IP-addresses, and asks the court for a subpoena to identify the account holders connected to it. It’s then up to a judge to decide whether or not the subpoena should be granted. If it is, ISPs usually inform the affected customer who can then appeal the disclosure before a judge. If this fails, the personal details of the subscriber are handed over by the ISP, after which the affected user usually receives a settlement request from the copyright holder. This is how file-sharing cases have worked for years, and on the surface it appears to be a fair process. However, for piracy monitoring outfit Rightscorp this process is proving too cumbersome. Instead of arguing their case before a judge, they’re using a shortcut that will be of great interest to copyright trolls. A few weeks ago several people received a settlement request from Rightscorp via snail mail. This is peculiar since the company generally doesn’t know who the account holder is. As opposed to classic copyright trolls, Rightscorp usually sends its settlement requests via DMCA requests. Perhaps even more worrying, the settlement letter in question mentions a subpoena. Not a regular one, but a DMCA-subpoena, which bypasses the judge and only has to be signed off by a court clerk. In other words, Rightscorp used an uncommon shortcut to cheaply and quickly expose the alleged pirates, and the ISPs in question happily complied. Wondering why all other trolls aren’t doing the very same thing, we asked several legal experts for advice. Without exception they told us that DMCA subpoenas are not meant to be used against ISPs who only pass through information, only those who actually store content. This was decided in a case between Verizon and the RIAA more than a decade ago, and has been upheld in subsequent cases. “The RIAA v. Verizon case clarified that 512(h) subpoenas could only be issued to service providers who hosted infringing content directly on their servers. Because in filesharing cases the allegedly infringing material is stored on users’ systems, 512(h) subpoenas are inapplicable,” Cathy Gellis, a technology lawyer in the San Francisco Bay Area told TF. So why is Rightscorp using these DMCA subpoenas? We asked the company, and CEO Christopher Sabec said that they believe the court made the wrong decision at the time. According to Sabec the verdict won’t hold up at the Supreme Court, so they’re ignoring it. “The [RIAA vs. Verizon] Court case used flawed reasoning in concluding that an ISP such as Verizon is not a ‘Service Provider’ even though it clearly meets the definition laid out in the statute,” Sabec told us. “The issue has actually not been addressed by the vast majority of Circuit Courts. We believe that the decision you cite will be overturned when the issue reaches the Supreme Court,” he adds. It’s worth noting that for now Rightscorp is avoiding any of the major Internet providers. Below is the list of ISPs that were targeted, which includes Fidelity Communication, Sweetwater Cable and even the City of Wilson. Of course, these smaller organizations are less likely to object.

Tracker Name : Xbox-Sky.cc Signup Link : http://anonym.to/?http://www.xbox-sky.cc/register.php Genre : Games Closing Date : Additional Information :

Tracker Name : extremebits Signup Link : http://anonym.to/?http://www.extremebits.org/signup.php Genre : Sports Closing Date : Additional Information :

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Attackers exploited a vulnerability in a popular video-sharing site to hijack users' browsers for use in a large-scale distributed denial-of-service attack, according to researchers from Web security firm Incapsula. The attack happened Wednesday and was the result of a persistent cross-site scripting (XSS) vulnerability in a website that Incapsula declined to name, but said is among the top 50 websites in the world by traffic based on statistics from Amazon-owned firm Alexa. XSS flaws are the result of improper filtering of user input and can allow attackers to inject unauthorized script code into Web pages. If the code is stored permanently by the server and delivered to all users who view the affected page, the attack is considered persistent. Users of the unnamed video-sharing site can create profiles and leave comments and the XSS flaw allowed attackers to create a new account with rogue JavaScript code injected into the img tag corresponding to its profile picture. "As a result, every time the image was used on one of the the site's pages (e.g., in the comment section), the malicious code was also embedded inside, waiting to be executed by every future visitor to that page," the Incapsula researchers said Thursday in a blog post. The rogue code generated an iframe that loaded a DDoS script into visitors' browsers from a third-party command-and-control (C&C) server, effectively hijacking the browsers and forcing them to send requests in the background to a third-party site. The resulting attack against the targeted site consisted of 20 million GET requests received from 22,000 browsers at a rate of around 20,000 requests per second, according to the Incapsula researchers. "Most websites can not sustain 10 percent of that volume," said Marc Gaffan, co-founder of Incapsula, Friday via email. "Furthermore since the requests are coming from real user's browsers, it's very difficult to detect and block them." The hijacked browsers stop sending requests once the infected page is closed, so the attackers strategically posted comments on popular videos that were 10, 20 and 30 minutes in length. This "effectively created a self-sustaining botnet comprising tens of thousands of hijacked browsers, operated by unsuspecting human visitors who were only there to watch a few funny cat videos," the Incapsula researchers said. Exploiting XSS vulnerabilities to launch DDoS attacks is not something new. The technique itself has been known for years, but hasn't been used frequently because it requires vulnerabilities in highly trafficked websites to be truly effective. The Incapsula researchers believe the attack Wednesday might have only been a test run, because the attack script on the C&C server was further improved and updated with tracking capabilities, possibly for future billing purposes. This could indicate that the attackers are building a DDoS-for-hire service around the technique. "This could be the start of a new trend in which sites that allow user generated content could be systematically exploited," Gaffan said. "Hence the investment in new attack technology."

The owner of a company that offers DVD-ripping tools has been fined $30,000 for six offenses that violated Antigua’s copyright law. The pursuit of Slysoft’s Giancarlo Bettini, though, has been led by major Hollywood studios and their technology partners. Bettini has long been a target for the Advanced Access Content System Licensing Administrator (AACS LA), the body that develops and licenses the copyright claims used on HD DVD and Blu-ray Disc formats. It is led by powerful entities like Warner Bros, Disney, Microsoft, and Intel, among others. Yet being in Antigua, Bettini had been able to avoid the grasp of the giant firms. In a 2013 World Trade Organization ruling, Antigua was allowed to ignore US copyright law to recoup lost revenue from a US-imposed trade blockade against the West Indies island that curbed its internet gambling services. AACS has pursued legal action against Slysoft to block its software, yet since the Digital Millennium Copyright Act is impertinent overseas, AACS has appealed to Antigua for help. Specifically, AACS has pointed to Antigua’s Copyright Act of 2003, which has anti-circumvention clauses. The law says it is an offense to manufacture "any device or means specifically designed or adopted to circumvent any device or means intended to prevent or restrict reproduction of work, a phonogram or a broadcastor [sic] to impair the quality of copies made.” The law allows for only criminal action against an offender, meaning AACS needed Antigua to pursue charges against Bettini. And that is what happened, marking the nation’s first conviction under the 11-year-old law. Bettini was found guilty in an Antigua & Barbuda court of six charges under the law and ordered to pay a fine of $5,000 per offense, according to TorrentFreak. He was required to settle two of the fines right away. The other four are due at the end of April. Bettini faces six months in jail for each fine he fails to pay. “[slySoft was] clearly violating Antiguan law, and the court ruled accordingly,” said AACS attorney Bruce Turnbull. Slysoft offered TorrentFreak little in response, as the case is pending. “Subsequent to the recent ruling against Bettini, his lawyer Dane Hamilton QC immediately filed a notice of appeal so the judgment has been stayed,” Slysoft said. AACS now sounds ready to use the Antigua decision – and a separate AACS case against DVDFab which resulted in the seizure of that company’s US-based assets – to put the screws to Slysoft’s business partners. “[The victory against Slysoft] gives us a concrete decision to take to others who facilitate SlySoft and their business. We can say to those who do business with them: ‘This is an illegal activity,'” AACS’s lawyer told TorrentFreak. Slysoft, a local company that provides DVD and Blu-ray backup tools, is considered a “rogue site” by the Office of the United States Trade Representative.

A little more than six weeks after its launch, anti-digital-piracy group CreativeFuture has nearly doubled its membership, and -- more significantly -- expanded beyond the big studios, networks, agencies and others behind its founding. Oscar Winner Juan Jose Campanella Talks AMC's 'Halt and Catch Fire' and Fighting Piracy The nonprofit advocacy group is the successor to Creative America, which was founded three years ago during the disastrously unsuccessful battle to pass legislation to curb international piracy of intellectual property. "Our first set of members got people talking about it and started explaining what we want to accomplish," CreativeFuture executive director Ruth Vitale tells The Hollywood Reporter. "Now we want to make it clear this is a concern for everybody that creates entertainment. We are finding everybody (in the entertainment industry) wants to be part of this." In addition to the first wave of supporters -- which included Fox, Sony, CAA, the Director's Guild, SAG and about 60 other producers, lawyers and organizations -- the new list of members has managers like Bender/Spink, independents like Cinetel, producers such as Legendary Entertainment and additional agencies, including Paradigm. There are now more than 120 members and the list is growing. "The creative community has to stand up and speak," says Vitale, a former studio executive and film producer. "It can't just be big companies. It has to be writers, directors, cinematographers, producers and many others. We are an organization of people who create the work that this country and the entire world enjoy." "This is an issue that impacts all who create for a living," says Paul Brooks, president of Gold Circle Entertainment and a member of the coalition. "If we don't stand up for the work that we do, who will? CreativeFuture was created so we could speak with one collective voice." There is no initiation fee or dues, only a commitment to become involved in spreading the word about the scope of the problem and working to stop the pirates in as many ways as possible. Of course, not everyone agrees, as became clear in 2011 when SOPA and PIPPA legislation went down in flames thanks to opposition from Google and many others in the tech community -- combined with the angry reaction from those who distribute and consume content freely without paying any license fees or royalties. Unlike Creative America, the goal is not legislation this time. It is to create a dialogue about the value of creative products like movies and TV shows and the damage caused by piracy, especially over the Internet. "We can't be sitting here while Silicon Valley says everything should be free," says Vitale. "We shouldn't be sitting here saying we're too busy making our TV shows and movies and we don't have time to talk about this. So CreativeFuture was created as a haven, an umbrella under which all those people can speak and respond to the opponents of the value of creativity and copyright. We're starting a movement." To accomplish that, Vitale and others have been speaking to groups, companies and people, but that isn't enough. To reach the next level, says Vitale, they have introduced some initiatives: Mobilizing Creatives -- Encourage the creative community to speak out about the value of what they do and the harm caused by piracy, not just to them, but to all those who depend on the successful production and distribution of content -- from florists to dry cleaners. This is not much different than marketing movies and TV shows," says Vitale. "It's about keeping an issue at the forefront of people's minds. And what's great about it is, it's coupled with what they do for a living." Follow the Money -- The goal is to take the profit out of piracy. The group will target advertisers, advertising agencies, networking companies, digital retailers and others. It will also go after credit card and other companies that process payments to digital sites that carry copyright material without permission. "This is not about kids in the basement doing this because they want to screw the man," says Vitale. "This is for-profit criminal enterprises. …They are not good guys. They are bad guys." Youth Outreach -- The group is working with schools and organizations to reach young people and explain the value and cost of creative works, the harm done to artists by pirates and how it can impact them if they choose a career in the creative fields. "People don't connect the dots," says Vitale. "Kids steal movies, people steal movies and say 'Ah, it's just taking a copy of it.' What they don't realize is that they are putting money in the pockets of people who have done nothing but steal the creative work of people who have worked very hard."

Tracker Name : Adult Cinema Network Signup Link : http://www.adult-cinema-network.net/signup.php Genre : Porn Closing Date : Limited SignUp Additional Information :

There will be some brief schedules downtime tomorrow,while we do some hardware upgrades. We also have some presents planned for you guys in the coming weeks.Stay tuned guys The PTP staff

Hi Friends sending out as a reminder of Haven Karaoke show tonight and every friday from 8pm UK time with Lynn. She will be on radio normally from around 7pm for the run up with some great music. Come tune in and have fun and get yourself some bonus points. All singers welcome and every new singer will get 1TB upload credit. Also theres quiz night Tuesday nights from around 7pm UK time with plenty bonus points + GB's to be won. Will have also got Daily Trivia , Plenty new forum games , Loads of new arcade games , Casino and not forgetting a great selection of radio's some on air 24/7 and huge selection of movies you can watch onsite with no need to download. Will have also had some really great comments about how fast we get torrents onsite mostly well before some of the much bigger sites do. so if there is anything you grab regularly let us know and we will do our best to get it for you before anyone else the tracker will give you may even get some free bonus / GB's or possibly VIP have fun

You may expect some downtime today the provider is doing maintenance to our server