定制专属渠道SDK是什么？您想要和开发商进行手游联运合作的话，一个专属手游SDK是必不可缺的重要条件。拥有专属您的SDK，开发商将它植入到游戏中才能实现价值最大化。能够完全掌握用户注册登录数据，玩家充值的钱直接进入您的支付账户，另外支持支付宝、微信、银行卡等多元化支付方式。 Deadly Class is an ambitious fiction for Syfy to risk airing now, one that asks a viewership shocked by multiple deadly school shootings in recent years to embrace a story about teens trained in the assassination arts – one is a sword wielder, another’s expertise is poison, and so on. It s one of the more twisted coming-of-age stories you ve ever read, filmmaker and producer Joe Russo has said of the graphic novel the series is based on. The Russo Brothers, Joe and Anthony, co-directors of Avengers: Infinity War and 2019’s upcoming Avengers: Endgame, are executive producers on the series.Lana Condor, who so recently charmed Netflix subscribers in high-school rom-com To All the Boys I’ve Loved Before, here plays Saya, master of the katana. Condor told Rotten Tomatoes that series creators Remender and Miles Orion Feldsott took pains to ensure that the violence wasn’t gratuitous and wasn’t gun-based.“It s definitely a conversation to have. I think one of the biggest things is, we don t have any guns in our school,” the 21-year-old actress said. “We absolutely do not and are not promoting any sort of gun violence in schools whatsoever … and it s very rare that you see violence between the children. A lot of the violence that comes out of our show is either outside of the school, where they genuinely — our villains are quite horrible people. And that part of the show, it s just a part of television, right?”True. Deadly Class is certainly not the first fiction to put children in peril: You can thank Charles Dickens for that trend. Or the Old Testament if you want to get Biblical about it (see “Binding of Isaac,” Genesis 22).On TV, we’ve seen The Gifted on Fox, Impulse on YouTube Premium, AMC’s The Walking Dead, FX anthology series American Horror Story, and another of this week’s releases, teen-vigilante series Wayne from Rhett Reese and Paul Wernick, the writer-producer duo behind the Deadpool films. (Speaking of movies, the X-Men films, The Hunger Games series, and virtually every horror film ever regularly threatened their youngest characters, and that’s just not going to change.)The difference may be that these kids are on the offense and many have very bad intentions. Self-defense is second-nature at King s Dominion, and its student body isn’t made up of fumbling innocents. They are well-trained and lethal, and takes “jaded” to new levels.(Photo by Katie Yu/SYFY)When Rotten Tomatoes recently visited the set, series co-creator Feldsott explained that Master Lin’s (Benedict Wong) great-grandfather founded King’s Dominion as a training ground to help the disenfranchised gain power over their oppressors.“For Master Lin, one of the big journeys that he has over the course of the season is that he is trying to figure out exactly what he stands for,” he said. “Originally, his great-grandfather had a very noble intention when they founded the school. He was going to give power to the oppressed, and now as time as gone on, that mission has been somewhat corrupted, and now these more powerful organizations are giving their kids training at the academy. So he is having a crisis of conscience in the first season. He s having this argument with the teacher that Henry Rollins plays, who s saying, ‘You were different when you were younger. What do you stand for now?’ And there s also a powerful organization that is above Master Lin that expects him to maintain order in this place.”Wong, whose recent role as Wong in Marvel blockbusters Doctor Strange and Avengers: Infinity War has put him in front of massive audiences, credits the Russo Brothers for bringing him to the new character.“I was fortunate to get a call from Joe Russo. He said, ‘Hey, I really want you to be in this, and I just immediately said yes, and then said, ‘What? Sorry, what do you want me to be in then?’ Because the brothers have got an incredible pedigree,” Wong told Rotten Tomatoes.Wong reveals that the influx of criminal organizations have fueled Master Lin s crisis. It’s also important to remember that it’s fiction.“We re in a world that is not like our own world, obviously,” Wong said. “It s a heightened world, and it s more about the repercussions of violence, really, and what would happen. We re in a make-believe world of what would we do if we threw [together] the cartel, the CIA, NASA, and they send their kids to this school, and this man is now having to uphold it all and watch every lid before it flips.”(Photo by Allen Fraser/Syfy)The young Deadly Class cast members are also clearly thrilled with their roles, even if some of the main characters are described as “rats,” including new student Marcus (Benjamin Wadsworth), who is also an orphan. His lack of connections puts him at a disadvantage; he has no formal fight training like his schoolmates, for one, though his life has been hard.“We re gonna see how violence has affected Marcus,” Wadsworth promised. “He experiences some forms of psychosis. Trauma does weird things to human beings. They find unhealthy coping strategies like alcoholism, chain-smoking, drug-addiction. So I think it would show that, ‘Hey, you probably don t wanna do this or you re gonna get messed up.’”
Mindhunter: Season 2 (2019) 99% Description: The Behavioral Science Unit’s killer instincts move from theory into action when the FBI joins in a high-profile hunt for a serial child murderer.Premiere Date: Aug. 16, 2019ku体育入口(Photo by Valerie Macon/AFP via Getty Images)With the film industry drastically changed in 2020, awards season is also looking quite different this year, as nearly every planned ceremony for 2021 has been pushed. But there s plenty to celebrate in film and television, especially since the entire world has had plenty of time to catch up over the past few months.The Oscars, Golden Globes, and BAFTAS have already announced the dates of their
Marvel Studios released a second full trailer for April’s Avengers: Endgame on Thursday. And now that Captain Marvel is out in theaters, it finally establishes Carol Danvers (Brie Larson) will be part of the roster as they take the fight back to Thanos (Josh Brolin). But as with so much of the Endgame publicity, it plays coy with the actual plot. For instance: we assume the mission takes them to that garden planet Thanos relaxes on at the end of Avengers: Infinity War. It is a solid guess based on shots in previous trailers and the later part of Marvel Comics’ The Infinity Gauntlet, but we don’t really know that it is part of “whatever it takes” to win the day. Some believe the Avengers will go elsewhere and even elsewhen to undo the Mad Titan s brutal Snap.Nonetheless, the trailer offers a few more clues to the film’s overall shape. Here are five of the things we gleaned from it.Tony Pulls Off One More Surprise(Photo by Marvel Studios)Despite both long-form trailers opening with Tony Stark (Robert Downey Jr.) recording a final account to Pepper Potts (Gwyneth Paltrow), Tony can be spotted in the group shot toward the end – which features the team in Avengers-branded uniforms reported to allow them access to the Quantum Realm. Since that slow-motion group walk, featured in some form during every Endgame trailer (more on this later), takes place at the Avengers HQ, this means Tony makes it back to Earth before the final act of the film. We’re going to assume the Benatar (the Guardians of the Galaxy s ship) makes its way to Earth in that scene from the “Big Game Ad” in which Steve Rogers (Chris Evans), Black Widow (Scarlett Johansson), Bruce Banner (Mark Ruffalo), and James Rhodes (Don Cheadle) look up at something mysterious. At the time, we thought Carol might be assisting the ship in landing, but eagle-eyed fans online noticed a mysterious gap in the composition between Rhodey and Bruce which could be Carol erased from the ad to conceal her presence in the film. With that in mind, we’re guessing either Thor (Chris Hemsworth) found them or Tony really did pull off one more surprise.Of course, there’s always the possibility the message will be delivered to Pepper after the Avengers complete their endgame. But we really don’t want to think about that yet.The Past Matters(Photo by Marvel Studios)The trailer opens with a very pointed reminder that Tony built the first Iron Man suit from scraps in a cave. It moves on to remind the audience of early moments from Captain America: The First Avenger and Thor. Rumors suggest time travel will help the Avengers defeat Thanos, so these shots may support that plot thread. Alternatively, the trailer could be setting up a big sacrifice as the three original Avengers with solo movies face down their endgame. It is no secret that Downey, Hemsworth, and Evans plan to walk away from the Marvel Cinematic Universe after the film makes its worldwide debut, but will their time within the studio s overarching story really end with their characters boldly dying to save the universe? That’s kind of epic, but we want more Thor after Thor: Ragnarok reset his tone.Scott’s Escape From The Quantum Realm May Be Ill-Timed(Photo by Marvel Studios)One thing we still don’t know about the film is just how much time has passed since the final moments of Infinity War and Endgame. According to some reports, it could be years. We’ve always subscribed to the thought that Endgame takes place a year later – more or less in real time with our world. There’s a nice extra-cinematic symmetry to that. But no matter how long the interval, it is clear Scott Lang’s (Paul Rudd) escape from the Quantum Realm will see him facing down the grim new reality without the Pym clan to explain it. Y know, since they all turned to ash in the Snap. The one featured shot of him in the new trailer sees him reacting to missing posters in the wake of the Snap; which means he will no doubt determine his family s survival before making his way to Avengers HQ. Some believe his ability to access the Quantum Realm will offer the Avengers a time travel portal, but in this scene, it is clear Scott has no ability to muck with time and must endure the pain of the Snap.But considering our next topic, Scott may join the Avengers sooner rather than later.Black Widow’s Going Back To Red(Photo by Marvel Studios)With all all the talk about time travel and the gap between the two films, it’s time to talk about Natasha Romanoff’s hair. That might seem silly, but the new trailer features Nat with a variety of styles, lengths and colors. And if anything marks the progression of time within the film, it is the return of the classic Black Widow look.But tracking that progression is not easy within the context of the second trailer. Going from Black Widow’s last appearance in it – when Thor meets Carol – her hair is short and blond as seen in Infinity War. In her first appearance in the trailer, in which she reconnects with Clint Barton (Jeremy Renner) it seems to be longer, but still blond. Then, when Cap invokes the “not us” phrase from the Big Game ad, it’s clear she’s letting the blond grow out. When we see her again, suited up aboard a ship we presume is the Benatar, there are only a few streaks of blond remaining in her braided hair. During the hero walk, her hair is also predominate red, but we also see her with blond hair in the firing range sequence from the earlier trailers. Although, it does appear to be the length from the Clint Barton scene. Clearly, the film covers more time than we anticipated. Perhaps it covers the entire gap year and possibly more. It may also track the changes to the timeline should time travel come into play.Going back to Scott for a second, we noticed Nat’s hair is short in the Scott Lang stinger from the first trailer. If we assume her hair will be longer and red by the time the Avengers are ready for Thanos, Scott’s Quantum Realm exile following the Ant-Man and the Wasp stinger scene may not be that long at all. Perhaps his apparent mastery of the Quantum Realm will be a key part of the plan.Marvel went out of its way to hide Nat’s changing hairstyles until this trailer – we even suspect her key moment with Cap toward the end of the first trailer was altered to maintain her Infinity War hairstyle so giving it away now is rather telling.The Hero Walk Evolved(Photo by Marvel Studios)Also, while double-checking Black Widow’s appearances in the previous trailer and the Big Game ad, we noticed the hero walk featured in the new trailer and the TV ad actually appears in the first trailer as a completely empty Avengers HQ hangar bay. The addition of people across the first trailer, the Big Game Ad, and the second trailer feels as purposeful as revealing Nat’s hair color in the new trailer.The empty shot also occurs once more in this new preview. But in lieu of cutting to the profile shot of the group in the Big Game Ad, we see close-ups of the assembled Avengers in their coordinated uniforms. Cap leads the charge with Tony, Scott, Nebula (Karen Gillan), and Nat closely behind. Clint can also be seen alongside Rhodey; whose War Marchine armor has been painted to match the white-grey-red Avengers color scheme. In the Big Game version, the silhouettes include Cap, Scott, Nat (with the shorter hairstyle), Rocket (Bradley Cooper), Clint, Rhodey, and one completely mysterious shadow we’re going to assume is either Carol or Thor. Even though this scene keeps getting altered with each trailer, we’re going to assume this is nearly the full complement of heroes heading out into space to fight Thanos.(Photo by Marvel Studios)Of course, that leaves a few questions. For one, Bruce is notably absent from every version of the hero walk. Where is he? He could always be the mysterious shadow behind Rhodey. It is also possible Bruce’s arc needs to be obscured for reasons we will discover next month. Perhaps the heroes missing from the most recent version of the slo-mo walk are part of a frontal assault with a heavy-hitter team like Thor, Carol, and the Hulk, this is a possibility while the others go back in time to set up the tools necessary to undo the Snap.We also wonder why the team lacks for Wakandan representation. That nation definitely needs to repay Thanos for his “kindness,” and at least one capable Wakandan fighter survived the Snap. There’s still the question of Shuri’s (Letita Wright) survival following the Snap. She’s seen among the missing in a blink-and-you’ll-miss it moment from the first trailer. But considering all the alterations we discovered by just examining Black Widow’s hair, it is possible her very brief inclusion in the first trailer is there to obscure her Endgame situation; whether it be ascending to the throne or replacing Tony as the team’s tech wiz. And even if she did end up turning to dust, we hope the Avengers will extend an invitation to Okoye (Danai Gurira) to join them in the final conflict. Her face is on the new poster, after all.Avengers: Endgame opens everywhere on April 26.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
4. 呼朋唤友 随心所欲
Join us weekly as Rotten Tomatoes reports on what s opening, expanding, and coming to the specialty box office. From promising releases from new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week in Fresh Indie Finds. This week at the specialty box office, we have a pair of sci-fi horror flicks and a World War II true story. In Color out of Space, Nicolas Cage battles a meteorite that brings a colorful terror to his back yard, and in Zombi Child, a Haitian legend inspires a time-traveling horror tale about the walking dead. In The Last Full Measure, a DOD official searches for the truth behind a hero s forgotten tale of valor. In our spotlight section, we highlight the Oscar underdog-turned-frontrunner and the undisputed king of our Awards Leaderboard, Parasite, and in our indie trailer section, we have new clips from Ethan Hawke, Anjelica Huston, Stranger Things lead Noah Schnapp, and Riley Keough.Opening This Weekend
5. HD 画质与高品质音讯
Few industries enjoy taking really, really long extended holiday vacations quite like Hollywood, and when we get to this time of the year, there s rarely much in the realm of movie development news to discuss. Last week, we covered the year s biggest Fresh news stories, and this week, we re looking at the ones we deemed most Rotten instead.JANUARY: KEVIN HART PASSES GO, WILL COLLECT (AT LEAST) 0, IN MONOPOLY(Photo by Warner Bros.)Kevin Hart s Tomatometer has been getting better in the last few years, starting with his partnership with Dwayne Johnson in Central Intelligence (which carried into their Jumanji movies), and including his voice role in Captain Underpants: The First Epic Movie (Certified Fresh at 88%). Before 2016, however, his track record mostly carried a broad series of Rotten splotches, with only a few Fresh tomatoes, and most of those were for his comedy concert films. Hart had several new movies announced in 2019 (including Black Friday, Extreme Job, and remakes of Scrooged and Uptown Saturday Night), but it all started in January with the long-in-development board game adaptation of Monopoly. The idea of a movie based on the classic Monopoly board game has been kicking around for over a decade, including a time when Ridley Scott was attached, but the Monopoly movie we ll actually get sounds a drastic switch. Kevin Hart will star in Monopoly for Lionsgate and Hasbro, with his Ride Along director Tim Story also on board.FEBRUARY: BRAD PITT S ZOMBIE FIGHT ENDS WITH SCRAPPING OF WORLD WAR Z SEQUEL (Photo by Jaap Buitendijk/Paramount Pictures)If you were a big fan of Brad Pitt and director Marc Foster s zombie movie World War Z, February brought some bad news. After years of near-starts and delays, Paramount Pictures finally, apparently definitively, pulled the plug on a World War Z sequel. Pre-production was reportedly already well underway for a six month shoot in Atlanta and other nations around the world, but that also meant the budget exploded to over 0 million, and that was the breaking point for Paramount. Technically, it sounds like World War Z might come back, even with a sequel, in the future, but if it does, it would be with a much lower budget, without Foster directing, and possibly without Brad Pitt as well. [Editor s note: an earlier version listed David Fincher as editor of World War Z. This has been corrected and we regret the error.]MARCH: DISNEY/FOX MERGER LEADS TO SHELVING OF PROMISING X-MEN PROJECTS (Photo by 20th Century Fox Film Corp.)In March, Disney finalized its .3 billion deal to acquire the entertainment assets of the Fox film and TV studios. The deal was widely applauded by Marvel Comics fans who are eager to see the X-Men and Fantastic Four characters and properties now available for Marvel Studios in their future movies (though probably not until after 2022). However, that also meant that some/many of the projects that Fox had been developing would be shelved, including X-Force, X-23, Kitty Pryde, and Madrox the Multiple Man. We ll never know what those movies might have been like, and it s definitely possible some would have been Rotten (given Fox s record on recent X-Men movies). They re good examples, however, of the wide scope of Marvel movies we would have gotten if Marvel and Sony also had Fox developing movies every year. How long will it take now for Marvel Studios to go deep enough into their catalog to greenlight movies like Kitty Pryde and Madrox the Multiple Man?APRIL: THE BAD MOMS MOMS TO GET THEIR OWN MOVIE(Photo by STX Entertainment)After Bad Moms earned 3 million globally in the summer of 2016, it was followed by the sequel A Bad Moms Christmas in 2017. That second film introduced grandmother characters played by Christine Baranski, Cheryl Hines, and Susan Sarandon, and in April, we learned that they re going to get their own movie called Bad Moms Moms. It s not yet known if Kristen Bell, Kathryn Hahn, and Mila Kunis will reprise their roles as well, or if the third movie might introduce the next set of older great-grandmas (who could then get their own movie called Bad Moms Moms Moms). Both Bad Moms and A Bad Moms Christmas earned Rotten Tomatometer scores at 58% and 30%, respectively.MAY: SONIC THE HEDGEHOG TRAILER BACKLASH SPARKS REDESIGN (Photo by @ Paramount Pictures)Some of the year s most Rotten stories represent missteps that were eventually corrected, but we are looking at these stories as they were at the time. In this case, Paramount appeared to get the message within the same week, but still, at the time, the reaction was very negative. After all, Paramount Pictures should ve seen this one coming. In April, the first Sonic the Hedgehog trailer debuted, and the collective fan backlash against Sonic s design was even louder this time. (The eyes are too small, the nose is at the wrong angle, and the teeth. Where to even begin on the teeth?) The Sonic the Hedgehog missteps were only accentuated by the timing of the trailer in the same week as the first Pokemon Detective Pikachu reviews, as that film has not one but dozens of video game characters that look pretty much exactly like they do in the games. The good news, however, is that Sonic the Hedgehog director Jeff Fowler quickly responded on Twitter, The message is loud and clear you aren t happy with the design you want changes. Those changes came later in the year as we got a new Sonic the Hedgehog trailer in which he did indeed look a lot more like he does in the games. Sonic the Hedgehog is now scheduled as a Valentine s release on 2/14/2020.JUNE: SECURITY CAMERAS TO BE HAUNTED AGAIN IN PARANORMAL ACTIVITY 7 (Photo by Paramount Pictures)It s now been over four years since 2015 s Paranormal Activity: The Ghost Dimension earned the franchise s lowest box office to date, domestically earning one fifth less than the first film. The Paranormal Activity movies were also relatively affordable to produce, so it was probably inevitable that Paramount Pictures would want to start making them again. Producer Jason Blum (of Blumhouse Productions) is now developing Paranormal Activity 7 for Paramount, although the premise isn t yet known (though it seems obvious that it will probably be another found footage horror film). The Tomatometer scores for the last three films (24%, 39%, and 15%, respectively) don t offer much hope for the next installment, unfortunately. Since this news broke in June, Paramount has scheduled Paranormal Activity 7 for release on March 19, 2021, up against the second Tomb Raider movie starring Alicia Vikander, and the week before The Boss Baby 2.JULY: LOOK WHO S REMAKING LOOK WHO S TALKING(Photo by TriStar Pictures courtesy Everett Collection)One of the oddest examples of movies that ended up getting two sequels to justify it becoming a trilogy might arguably be 1989 s Look Who s Talking (Rotten at 59%), which was followed in 1990 by Look Who s Talking Too (Rotten at 14%), and in 1993 by Look Who s Talking Now (Rotten at 0%). John Travolta and Kirstie Alley starred in those movies about talking babies, and in the third movie, talking dogs. Despite those critical drubbings, Sony Pictures is now developing a Look Who s Talking reboot to be written and directed by Jeremy Garelick, whose 2015 comedy The Wedding Ringer earned a Rotten score at 27%. It s not yet known if Bruce Willis or any of the other voice actors might return for the reboot (but they probably won t).
Within Our Gates. (Photo by Courtesy the Everett Collection)We live in a time where some of the highest-paid actors in Hollywood are African American, and some of the most impactful films in theaters and on streaming – as well as the most profitable – are directed by African Americans. It’s the same story in music, pop culture, on YouTube and TikTok, and beyond: In today’s media landscape, the influence of Black creators and of the Black perspective is outsized.It wasn’t always that way, especially in film. Going back in time, there was generally a deep segregation in the industry – one could argue there still is, but that’s another story – that was reflected on the screen from the earliest days of American cinema. With Black creators largely relegated to the sidelines, and Black performers largely forced to conform to, and thus reinforce, stereotypes in major Hollywood films throughout the 20th century, true representation of Black lives in the country was absent from the screen. But one group of filmmakers pushed back, founding a genre of films made by and for African Americans right back to the medium’s infancy, combating stereotypes and setting the tone for an independent Black cinema right through to today. This genre is called “race films.”Body and Soul. (Photo by Courtesy the Everett Collection)What are “race films”? First, a bit on the history from which they emerged. In the deeply troubled history of American cinema, there has always been a tension between who could play what on screen. For African Americans, the legacy of the “minstrel shows” that had set the groundwork for Black representation in much of American popular culture in the late 19th century would set the stage for how African Americans could and would be portrayed on screen when the technology of the movies came along. Consider one of our earliest cinematic works, 1913’s Edison’s Minstrels, which featured whites in Black face and which is generally considered one of the first films to match sound with a minstrel show. (You can read contemporaneous reviews of Edison s display below.)The long tradition of segregation – a.k.a. Jim Crow, a.k.a. “the color line” – further defined what roles African Americans could play on screen for a large part of the century; Hollywood usually cast us as singers or dancers, or as maids, butlers, porters, and other servants. (So much have these representations echoed, even to today, that filmmakers like Spike Lee [with Bamboozled], Jordan Peele [with Get Out], and Ryan Coogler [with Black Panther] continue to resist and hit back at these early stereotypes.)(Photo by Courtesy the Everett Collection )The long shadow of the color line cut through all aspects of movies: not just in typecasting, but in segregated theaters and, of course, the absence of people of color behind the lens. Under the harsh divisions of the color line, the thriving but limited African American cinema suffered – between the late 1940s and 1969, there were almost no movies directed by African Americans released commercially. It’s a pretty shocking fact, but all too consistent with the de facto segregation that limited opportunities.Race films developed alongside and in reaction to this industry that pigeonholed African Americans or shut them out completely, and date back to as early as 1920 and the works of legendary African American filmmaker Oscar Micheaux. In a way – and heart on one hand, here – they were a straight-jacket approach to creating Black art that mirrored the segregation of the times, having to generally be produced outside of the Hollywood system. They featured actors who were of African heritage, and the films were significant for showcasing how talented actors could do more than play the stereotyped roles offered to them in major studio releases. And they were produced by independent production companies and focused on the everyday life of what it meant to be Black in America.The Scar of Shame. (Photo by Courtesy the Everett Collection)While the system was a product and mirror of segregation, it also fostered an entire generation of independent African American filmmakers and helped establish a “Black cinema” in America, an artform and system where Black directors were empowered to be independent – raising money, shooting and editing, and scoring films themselves. These movies gave African American audiences and actors a forum to articulate their own identity outside of the studio system which rarely bothered with the full spectrum of that identity.Among the most influential players in race films were white-owned film production groups like Reol Productions/Norman Studios, which propelled Edna Morton, one of the first major African American screen sirens, to stardom, as well as the highly regarded studios of African American filmmakers Micheaux (Micheaux Film and Book Company), and Spencer Williams of Amos ’n’ Andy fame, whose Amegro Films produced the classic 1941 race film, The Blood of Jesus.There are so many films today that show us the complexities of contemporary African American life, from Julie Dash’s poetic Daughters of the Dust and Charles Burnett’s Killer of Sheep, to the work of Tyler Perry and on to Ava DuVernay’s films and those from her production company, Array, and beyond. But it’s always good to know that as great as things are now – or at least, as much as they are improving – we should never lose track of where things used to be and the pioneers who worked to create their art within those constraints.As always in American cinema: It’s complicated.DJ Spooky, a.k.a. Paul D. Miller, is a composer, multimedia artist, and writer whose work immerses audiences in a blend of genres, global culture, and environmental and social issues. He is the Executive Producer of Pioneers of African American Cinema, a collection of the earliest films made by African American directors, which was released on DVD in 2015.Read reviews of Race FilmsAs part of the RT Archives Project, Miller chose the below films to help give readers a historical perspective on race films. The Rotten Tomatoes team sourced (mostly) contemporaneous reviews for each, so you can read what critics and writers had to say about them at the time of their release. Where possible, we have highlighted the reviews of Black film critics.
What happens when a professional journalist goes free-range as a podcaster with no checks on her work? That s just one question Truth Be Told creator Nichelle Tramble Spellman (Justified, The Good Wife) tackles in the new Apple TV+ legal drama.Based on Kathleen Barber s 2017 novel Are You Sleeping, Truth Be Told stars Aaron Paul as Warren Cave (Paul), a young man sent to prison 18 years ago for a murder he may not have committed, and Octavia Spencer as Poppy Parnell, a journalist and podcaster who initially helped put him behind bars only to realize two decades later that she may have contributed to the incarceration of an innocent man.Exploring topics of race, privacy, and the way we consume and are influenced by media, Spellman flips the true-crime genre on its head in Truth Be Told, which premieres also stars Lizzy Caplan, Mekhi Phifer, Michael Beach, and Elizabeth Perkins.True-crime podcasts have been the rage for some time. Yet, as addictive as they can be, there are also concerns about the lack of oversight in the way information is researched, collected, and delivered to the public. What is true one week, can be debunked in the next episode. And that can be tough for audiences to keep up with, especially if the show has already done its part in swaying public opinion.Just how harmful can unchecked journalism be, especially in this fast-paced cancel-culture period we re currently living in? And what are the consequences that may lie behind the public justice that can unfold after consuming popular episodic true-crime entertainment like the hit podcast Serial or Netflix s docu-series Making a Murderer?(Photo by Apple TV+) I like the idea of this woman who s a trained journalist with really great credits, who is now in a field where there are no checks and balances. There are no bosses — she s her own boss, Spellman explained during the show s press junket. As she goes down this rabbit hole, there s no editor, there s no publisher, there s no one to pull her back in. She goes against the first rule by making it personal. That s how we sort of got into the story, asking if there s a ripple effect in crime. The person at the center of it, how does her ambition couple with her guilt? Spellman and Spencer both share an obsession with the true-crime genre and the armchair-detective aspect of shows like the ones mentioned above, as well as Snapped, Cold Case Files, and Forensic Files. That listener-as-participant element of the story drew the Oscar-winner to the project. I was just excited to get to play something very close to how my mind works as an investigator, Spencer revealed. The only thing is, I like working from behind the screen, you know? The idea of actually being out in the real world asking questions, investigating in that way is a little scary. For the Shape Of Water actress, the biggest allure of the project was being able to play a character with a flawed moral compass. Sure, Poppy wants to discover the truth, but is it her guilt or the ever-present threat to her professional reputation that is driving the podcaster on this dangerous mission? That s what I love about Poppy, she answered. Her ascent into greatness — or fame or money — came on the back of whether or not this affluent young kid would get a fair trial. Would he be found guilty? For her, everything pointed at guilty. Fast forward 20 years, when you now have the cancel culture with social media and people are listening to her podcast. There s this fervor around it, an excitement, and she realized: Could she have been wrong? And what are the implications of her being wrong? (Photo by Apple TV+)This all brings us to the man on the other side of the argument: Warren Cave. When Poppy decides to re-examine his murder case for her podcast, the two eventually reunite, and the results, at least at the beginning, are a bit upsetting. Not only did Poppy possibly have a hand in putting an innocent man in jail, but his survival in prison meant Warren took some drastic measures. He was pushed into a corner, Aaron Paul said, discussing the reason his character became a white supremacist. He was thrown in prison at a very young age and he had to pick a side — that s the only way to really survive. Otherwise, he s just a punching bag 24/7. The side he picked was the Aryan Nation Brotherhood, which is a really terrifying sort of just dangerous place to be. Truth Be Told may be inspired by Are You Sleeping, but Spellman takes liberties with the story being told here. Not only did she pivot a bit from the original subject matter — according to the showrunner, Poppy Parnell was an ancillary character in the book — she also kept the outcome of the series a secret from the actors. At the very beginning of the shoot, my first burning question was, Well, did he do it?' Paul revealed. And Michelle was like, I m not telling you. And then I go, But I m the actor playing the guy, I should know if he did it or not! I honestly did not know whether or not he was innocent until the very end, truly. How does an actor play a convict who may be innocent of the crime he was imprisoned for? Especially if you, as the actor, don t know if he is in fact innocent? I always try to bring heart to any character I m playing whether it s a very bad person or a good person, Paul said. I just had to play him as honest as I saw him. Putting the actors pursuit of the truth of their characters onscreen may be tricky, but created an intriguing push-and-pull dynamic between the honesty of the roles and the show s overall quest for truth. In the criminal world, in the true-crime world, one of the things that they tell you that you can t rely on is the eyewitness because the truth is always malleable, Spencer said. To an eyewitness, you may not see or remember the same thing that I see or remember. So truth is sadly, it s perception and how we all remember this moment. I think truth is shaped by whatever lens you view the world. And whatever your truth is will inform what you think the truth is. A much as fans of the genre yearn to do their own investigative work in between episodes of their own favorite podcast, there s a largely not-talked-about component to the popularity of true-crime reporting and dramatization: the impact on the families involved. I was watching Making a Murderer, Spellman said. There was one point in the first season where I was thinking, God, this must be awful for the woman s family. You know what I mean? That this has become something that s like watercooler talk. And that idea that, if you had this tragedy in your past, and it s been personal, and it s something that your family has dealt with, and then it becomes this thing, where maybe your coworkers are talking about it. Maybe that s a secret that you didn t tell at work, because it s too painful. And then we have this discussion, this back-and-forth about these very real people as if they re fictional characters. (Photo by Apple TV+)Take cinematic stories like Netflix s Mindhunter, Quentin Tarantino s Once Upon A Time In Hollywood, Conversations With a Killer: The Ted Bundy Tapes, and the Zach Efron–starrer Extremely Wicked, Shockingly Evil and Vile, for instance. The bloody exploits of serial killers like Charles Manson and Ted Bundy have become a part of our pop culture lexicon, but their violent deeds caused very real pain for their victims and their victims families. It just becomes a story after a while, Spellman explained. Other people s pain is just a story. It s now a shorthand story, but that pain was real and it s still real for all of those families. So we touch on it when we go to Warren s family, Poppy s family [there s a] ripple effect there. Which brings us back to Poppy s podcast that threads it all together. As gimmicky as it may sound to have a voiceover narration guide an audience through the mystery that is slowly unfolding, that component works for Truth Be Told. And one of the reasons why, according to Spellman, is the unreliability of its host. The podcast is kind of an unreliable narrator, she said. We don t know Poppy s agenda. And we don t know when or if we can believe her. Truth Be Told episodes 1-3 are now streaming on Apple TV+.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
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