下载bob国际在线采用百度引擎7（Baidu 7）(Photo by Marcos Cruz/Vagrant Productions/SYFY)Rae s co-star Tim Rozon couldn’t wait to read the comic once it came on his radar. Like her, he read it before the audition and felt it helped him get the part.“For my screen test, I made sure I had orange-reddish hair color to match [the character] from the comic book,” Rozon said.His character, a stranded Earthman named Issac who serves as Elida’s “goofy sidekick,” may seem somewhat familiar to fans of Rozon from Wynonna Earp, in which he plays Doc Holliday — which is to say, there’s a bit of a scoundrel to Issac.“I haven t felt so right for a part pretty much since Doc Holliday,” Rozon said, although, “Doc can be pretty intense, whereas Isaac is just a bumbling fool, and I feel like I m a little closer to that at times.”(Photo by Marcos Cruz/Vagrant Productions/SYFY)Also like Wynonna Earp and other Canadian-produced sci-fi shows, Vagrant Queen likes to play fast and loose with its tone. It can feature a bombastic, heroic slow-mo shot and immediately segue into a joke. It was one of the appealing aspects both Rae and Rozon found when the ready the pilot script.“I love the dynamic of it,” Rae said. “Everyone usually chooses, ‘Oh, this is comedy, we can t have these heavy drama moments.’ Or ‘Oh, this is drama, we can t have it that funny.’ But I love that we choose where we need to put that comedy, and we choose where we need to put those heavy moments to make it realistic and make you invested in the character storylines. I love that we do it all. It kind of gives me a Guardians of the Galaxy feel when it comes to adding all those aspects into one.”(Photo by Syfy)Viewers will see that from the first episode, which introduces Elida, Issac, third major character Amae (Alex McGregor), antagonist Lozaro (Paul du Toit), and a host of secondary characters who come to life almost immediately — if, in some cases, just to be quickly knocked off the board. And as some of these guest characters matter to the main three, they, like Rozon’s Issac, “use humor a lot to deflect feelings and deal with feelings.”But then, he felt the more fluid tone – which he described as “heart, humor, and hectic” — is essential to the show.“It s got to have that right mix,” he said. “All of that is a testament, in my opinion, to [showrunner] Jem Garrard. This lady is a powerhouse. She is incredible.”(Photo by Marcos Cruz/Vagrant Productions/SYFY)Garrard, who previously produced Android Employed, came to Vagrant Queen with an intensity and built out from the comic book’s initial six issue run, creating new situations fans of the book will begin to see as early as the pilot and a new major character with Amae. Introduced as the sister of one of Elida’s favorite bartenders, she joins the group as they are in bad need of an engineer and, so it seems, a mediator. “She is the glue that keeps [Elida and Issac] together because they are literally polar opposites,” Rozon said.Although, Rae believes theirs is “just a real-ass friendship where people are on their individual journeys and they do stuff for themselves, not necessarily thinking about the consequences or repercussions for others.”The nature of Elida and Issac’s friendship is another departure from the comic — where they seemed more like very uneasy allies — but as Rozon pointed out, the television series has more time to flesh out their shared history than the six-issue comic. He also thinks the comic book characters have as tight of a bond as their television counterparts. But what about their constant verbal sparring? “You can only be with your real friends when you call your real friends out, you know what I m saying?” he said.(Photo by Marcos Cruz/Vagrant Productions/SYFY)Of course, there is a reason they’re on each other’s last nerve when we meet them. Elida stole Issac’s ship last she saw him, and, last time he saw her, he was literally shooting her in the back. It should be a friend-ending moment, but when you see the ship in question, the Winnipeg. It will all make sense.Like all the great sci-fi shows, the Winnipeg serves as the program’s signature environment. It is both stylish and rough-and-tumble all at once. Perhaps smaller than the Serenity of Firefly or the Raza of Dark Matter, its faded walls, messy floors, and quirky layout will remind some of a long lost, but favorite spaceship toy from childhood. And, as Rozon told us, it is named after one of Canada’s toughest towns.“It s cold and it s nasty,” he said. “If you re from Winnipeg, you re tough.”The set itself is one continuous piece, allowing scenes to play out from the command module out to the loading dock or the individual rooms. And that sense of verisimilitude made it real easy for the actors to get into character.“This is it, man. This is the dream. This is what I signed up for,” Rozon said.(Photo by Marcos Cruz/Vagrant Productions/SYFY)Although, not everything in the Vagrant Queen galaxy can be a dream. Elida is still running from her noble birthright and a government hellbent on seeing her dead. Or, at least, it seems like that’s what they want. Their representative, Lozaro, may have his own reasons for chasing Elida. The two also have a history, but initially, flashbacks will be the only time we see him interact with her, as he is often two steps behind her or sequestered on his own ship.“It seems like he s in a different version of the show, but really he s just in his world, thinking his own little thoughts that he thinks are so legitimate,” Rae said of the character. Consequently, Lazaro’s scenes are some of the funniest, aided, of course, by the silliness of his Republic guards.The show goes out its way to give the guards little bits of character even as they are stuck in restrictive black armor. And to give you a little more of the show’s flavor, it wasted no time putting all three main characters in those costumes.“They re terrible,” Rae joked. “They look great but they are the worst costumes!”“There s one [eyehole], but it s in the forehead area,” making it almost impossible to see and stunt work comical, she recalled.“You can t gracefully walk around in them,” added Rozon, who also teased that videos of the group working in the costumes will surface at some point. Despite the difficulty of working in them, he said, “we had a lot of fun in those costumes.”(Photo by Marcos Cruz/Vagrant Productions/SYFY)But the fun to be had with the overt goofiness of Lazaro and the Republic guards is offset by the more serious elements of the Republic as the show’s antagonist force and the internal jeopardy for Elida — as much as she doesn’t want it, she was trained to be a queen. To Rae, that interior conflict (and its outward manifestations) may be the most salient aspect of the show.“I understood why she wasn t overly aristocratic because all of the monarchy, all of these aspects of her life had stopped her from understanding her true self,” she said. To put a finer point on it, “Elida” isn’t even the name she was born with, but Rae maintains it is the character’s true name no matter what the loyalists out in the galaxy might think.“Yeah, I wouldn t like [the loyalists] either,” she added. “So it was pretty easy to click into that.” Nonetheless, her past is something she will have to face at some point.(Photo by Marcos Cruz/Vagrant Productions/SYFY)“All of these things will be answered for you by the end of Vagrant Queen,” Rozon teased. “Jem s also really smart at setting things up. Everything s going to get dealt with.”Which, presumably, includes how and why Isaac ended up in deep space and Lozaro s real reason for chasing Elida.Vagrant Queen premieres on March 27 at 10 p.m. ET on Syfy.
Promises (2008) and Captain Fantastic (2017)Rami Malek: Bohemian Rhapsody – No prior nominationsStatistically speaking, the prior nominees without wins (Bradley Cooper, Willem Dafoe, Viggo Mortensen) and the lone first-timer (Rami Malek) have a better chance of winning than Oscar winner Christian Bale. Prior nominees without wins and first-time nominees have won 15 of the last 18 Oscars, with first-time winners Matthew McConaughey, Eddie Redmayne, Leonardo DiCaprio, Casey Affleck, and Gary Oldman winning in the last five years.The even distribution of nominations and awards to first-timers and prior nominees has forced us to dig deep to find an advantage between prior nominees (without wins) and those with zero Oscar love. The Academy has awarded 10 of the last 18 Oscars to actors playing real-life characters (more than any category this century). The reason we’re bringing this up is that 4 of the 5 nominees this year played real-life characters – in Vice, Bohemian Rhapsody, At Eternity’s Gate, and Green Book. Right now, Malek seems like the statistical frontrunner because six of the seven first-time nominated winners since 2001 have played real-life characters (Jamie Foxx, Adrien Brody, Forest Whitaker, Philip Seymour Hoffman, Matthew McConaughey, Eddie Redmayne).Who has the advantage? The competition is fierce, but we think Rami Malek has the advantage because the Academy loves to award first-time nominees for playing real life characters.Best Supporting Actor: No Oscar History? No worries. (Photo by @ Universal)Nominees since 2001: 17 prior Oscar winners, 34 prior nominees (with no wins), and 39 first-time nominees.Winners since 2001: 1 Oscar winner, 5 prior nominees, and 12 first-time nominees.Nominated in 2019: 2 Oscar winners, and 3 first-time nominees.Mahershala Ali: Green Book – 1 Oscar win for Moonlight (2016)Sam Rockwell: Vice – 1 Oscar win for Three Billboards Outside Ebbing, Missouri (2018)Sam Elliott: A Star is Born – No prior nominationsRichard E. Grant: Can You Ever Forgive Me? – No prior nominationsAdam Driver: BlacKkKlansman -No prior nominationsThis category leans heavily towards first-time nominees and winners with 17 of the last 18 Oscars going to first-time winners. Twelve of those 17 actors, 12 were first-time nominees, with five first-time nominees winning consecutively since 2014 (Jared Leto, J.K. Simmons, Mark Rylance, Mahershala Ali, Sam Rockwell). This statistic will help Adam Driver (BlacKkKlansman), Sam Elliott (A Star is Born), and Richard E. Grant (Can You Ever Forgive Me?) because they are first-time nominees who are up against prior Oscar winners Mahershala Ali (Green Book) and Sam Rockwell (Vice).Who has the advantage? Adam Driver, Sam Elliott, and Richard E. Grant are the actors to watch according to the category’s history – even if the pundits have Mahershala Ali as favorite.Best Supporting Actress: First-Time Nominees Step Right Up(Photo by @ Netflix)Nominees since 2001: 20 prior Oscar winners, 23 prior nominees (with no wins), and 47 first-time nominees.Winners since 2001: 0 Oscar winners, 6 prior nominees, and 12 first-time nominees.Nominated in 2019: 2 Oscar winners, 1 prior nominee (with no wins), and 2 first-time nominees.Emma Stone: The Favourite – 1 Oscar win for La La Land (2016) and one prior nomination for Birdman or (The Unexpected Virtue of Ignorance)Rachel Weisz: The Favourite – 1 Oscar win for The Constant Gardener (2005)Amy Adam: Vice – five prior nominations for Junebug (2005), Doubt (2008), The Fighter (2010), The Master (2012) and American Hustle (2013)Regina King: If Beale Street Could Talk – No prior nominationsMarina de Tavira: Roma –No prior nominationsFirst-time winners have won the Best Supporting Actress Oscar 18 times since 2001. No other acting category can boast this stat, which gives Regina King (If Beale Street Could Talk), Amy Adams (Vice), and Marina de Tavira (Roma) the advantage over Oscar winners and The Favourite co-stars Emma Stone and Rachel Weisz.King and de Tavira have an advantage over multiple-time nominee Adams, because they’re first-time nominees in a category that has awarded 12 of the last 18 Oscars to first-time nominees. The category is so first-time-nominee–loaded that four of the last five winners (Lupita Nyong’o, Patricia Arquette, Alicia Vikander, Allison Janney) were first-time nominees, with Viola Davis (Fences) being the prior-nominated standout of the group.Who has the advantage? Regina King is almost a guaranteed lock to win the Oscar. However, based on the data we’ve analyzed, Marina de Tavira has a better probability of winning because Roma was nominated for Best Picture – 11 of the last 18 winning actresses have appeared in movies nominated for Best Picture. Could an upset be brewing? If she wins, you heard it here first. You could say that 2019 is the year superheroes were thoroughly deconstructed on television. Between The Umbrella Academy, Doom Patrol, and Amazon’s upcoming The Boys, being a hero isn’t just about flying around, saving the day, and hiding yourself from your closest loved ones. And as The Boys teaser trailer Amazon recently unveiled illustrates, being a hero comes with plenty of “fringe” benefits: including a club where heroes can use their powers in all sorts of debauched ways, a voyeur with invisibility abilities, and various other abuses of powers. But that hedonism comes at a price as the titular Boys set out to knock some sense into the superhero community.But there’s more to The Boys than that NSFW trailer suggests. Here’s everything we know about the subversive superhero series, which debuts Friday, July 26 on Amazon Prime Video.Another Preacher Collaboration(Photo by Amazon)As the trailer boldly touts, the hourlong comic book adaptation comes from executive producers Seth Rogen and Evan Goldberg, who finally brought Preacher to the screen after a long gestation with other producers. But the series also comes from the same source as Preacher (pictured above): the comic books of writer Garth Ennis.With artist Darick Robertson, Ennis set out to blast the superheroes apart in 2006 with The Boys. The title was initially published by DC Comic’s Wildstorm imprint, but was cancelled after six issues. According to reports at the time, DC brass became uncomfortable with the series after noticing its corrupt superhero team bore an uncanny resemblance to the Justice League. And considering the first thing the team does is coerce an obvious Stargirl analogue into performing oral sex on them, it is hardly a surprise DC would cancel it outright.Ennis and Robertson soon found another publisher —Dynamite Entertainment — and continued their story for another 60-odd issues. Of course, as often happens with Ennis’ work, the coarseness of its initial story lines gave way to something more nuanced and considered, an element of his writing Rogen and Goldberg clearly enjoy as they keep adapting his comics into television.Cutting Down the SuperheroesThe television version stars Jack Quaid as Hughie, a blissfully happy human whose life turns to crud when his girlfriend is obliterated before his eyes by A-Train (Jesse T. Usher). The speedster hardly takes a moment to consider his actions before running off at superspeed to continue his pursuit of a perp. And while the scene was shocking to comic book readers — and will eventually be shocking to viewers — it is hardly an uncommon occurrence in the world of The Boys. In fact, a shell-shocked Hughie soon finds himself confronted with a standardized settlement agreement from Vought, the management company that represents and promotes the superheroes.He also meets Billy Butcher (Karl Urban), a government agent with a mandate to clip the superhero wings when they get too rowdy. He intends to recruit Hughie into his cadre known as The Boys because revenge is a great motivator.The team also includes Laz Alonso as Mother’s Milk, Butcher’s most trusted ally; Tomer Kapon as unstable weaponsmith Frenchie; and Karen Fukuhara as Female, a quiet killer repurposed into Butcher’s plans for the superheroes. Jennifer Esposito will also appear as CIA Agent Susan Raynor, Butcher’s somewhat unwilling accomplice within the Company.The Light of the SevenThe Boys also focuses on the exploits of those very flawed and corruptible heroes. In the comic book, Starlight (played by Erin Moriarty in the television series) becomes our window into the worldview of the superhero team known as The Seven — which we presume will carry over to television as Starlight is described as a lead role.More akin to a superstar NFL team during a winning season than the Avengers, The Seven bicker about percentages, likeness rights, and their next movie role more than they maintain the safety of the planet. Thanks to the simultaneously beautiful and grotesque artwork from Robertson, the reader is left to wonder if such a team even needs supervillains to fight. They do a great job of being their own worst enemies.As mentioned before, the team is composed of some fairly obvious Justice League stand-ins, including Homelander (Antony Starr), Queen Maeve (Dominique McElligott), the aforementioned A-Train, The Deep (Chase Crawford), and Black Noir (Nathan Mitchell). From the trailer, it is easy to see corrupted versions of Superman, Wonder Woman, The Flash, Aquaman, and Batman in their aesthetics.And also like a major league sports team, The Seven’s destiny is not theirs to control. In the television series, Elizabeth Shue plays Madelyn Stillwell, Vice President of Hero Management at Vought. She plots the team’s adventures and maintains public relations for them when incidents like A-Train atomizing Hughie’s girlfriend occurs. But she is also a cog in the Vought machinery and may have motives differing from her superiors.The Significance of Simon Pegg(Photo by Astrid Stawiarz/Getty Images)In the early 2000s, capturing a celebrity’s likeness was all the rage in comic books. Marvel s The Ultimates featured Samuel L. Jackson’s visage as its version of Nick Fury well before he was cast in the role. Ultimates writer Mark Millar would continue the trick with Wanted, in which the main character bore an intentional resemblance to Eminem and the story s take on Catwoman featured a woman who looked very much like Halle Berry.On The Boys, Robertson, a big fan of Shaun of the Dead, decided to use Simon Pegg as the basis for Hughie – known as “Wee Hughie” in the book. Pegg was thrilled to become a comic book character and told fans he would gleefully play Wee Hughie in a Boys film should it ever get off the ground.Then Pegg aged out of the role, illustrating just how long it can take for a comic book to become a live action project. But Amazon thrilled fans by revealing Pegg’s presence would still be part of The Boys television destiny. At New York Comic Con last October, they announced the actor would play Hughie’s father. It is an important visual connection to the books history fans will no doubt enjoy when they finally get to see the show.Irreverence Is on Display, But It s Not All The Boys Has to Offer
4. 呼朋唤友 随心所欲
(Photo by ©Nickelodeon / Courtesy: Everett Collection)Four years after animated series Avatar: The Last Airbender finished its groundbreaking run, Nickelodeon premiered the sequel series The Legend of Korra. The anticipation around the show was immense, but no matter how much praise the show got for its mature themes and inventive animation, many saw both Avatar Korra and the show itself as a lesser successor to the tale of Avatar Aang.To mark the show s Netflix premiere, we re taking a look at how The Legend of Korra not only mastered all four elements, but in some ways improved upon its predecessor, enhancing it in the process, and brought balance to the world.IT TOOK EVEN MORE INSPIRATION FROM HAYAO MIYAZAKIWhere Avatar: The Last Airbender was heavily inspired by Asian cultures, landscapes and places, The Legend of Korra jumps forward 70 years in time and finds inspiration in 1920s New York City, Hong Kong, and Shanghai. The main setting in the show, Republic City, is experiencing rapid urbanization and extraordinary technological advances, with the steam-powered technology we saw in the first series giving way to electricity and even magnetism. Automobiles, airplanes, movie cameras, and even mecha suits become normal in the span of the show s run.But, this being Avatar, the setting is more than just window-dressing. The show takes a page out of Hayao Miyazaki’s playbook, particularly his film Princess Mononoke, to explore how rapid industrialization comes at the cost of the world losing its connection to nature. Like in the Studio Ghibli movie, Korra introduces a world that is so disconnected from its spirituality that giant spirits attack people in the second season of the show, bending went from a revered art form to a skill used for menial jobs and even pro-bending, a popular boxing-like sport.IT DID ORIGIN STORIES RIGHTEven though Avatar had a bigger focus on history and the past compared to Korra, the sequel series focuses more on mythology and the spiritual origin of the Avatar. Season 2 makes the spirit world and the Avatar s role as a bridge between the two worlds its central theme, and through it, Korra also explores the origin of the Avatar itself.The two-parter episode Beginnings, from the second season of Korra, is easily among the best storytelling in the entire franchise. The episode tells the story of the very first Avatar, named Wan, and how he fused with the spirit of light in order to battle the spirit of darkness that threatened to destroy both the physical and spirit worlds. Instead of simply using the episode to answer questions no one really wanted answered, Beginnings gave us a prequel story that added to the established mythology without contradicting what came before. The story of Wan directly reflects that of Korra: how by doing what they think is right, they end up creating more problems. The introduction of the light spirit as the cause of the Avatar s powers becomes a huge part of later seasons and one of the best additions to the world s mythology.IT GREW UP WITH ITS AUDIENCEJust as The Last Airbender’s audience grew up between the two shows, so did the themes of the show grow up and become more mature by the time Korra premiered.Korra transforms the subtext of the first show into text, making death an integral part of the story. There are several gruesome deaths shown on screen throughout the show, including a murder-suicide and the execution of a queen by suffocation — and it s not simply for shock value, but to show the consequences of death on the characters. Depression, PTSD, and grief become huge themes in the series, and Korra portrays this with respect to its younger audience, not shielding them, but making them understand the heavy weight of loss.Likewise, Korra isn t afraid to get political, especially through its excellent villains. Far from the sometimes black-and-white villains of Avatar, the show isn t afraid of making its villains sympathetic, or having Korra learn from them. The first villain, Amon, was the leader of a radical group who sought to bring equality to benders and non-benders, who are marginalized in the show s world. The second wanted to bring the world back into spirituality. Korra even dives into nationalism and how it evolves into fascism when left unchecked, leaving the audience to decide how much they d agree with such a leader, and how far they d go before realizing they are following the wrong person — a bold, yet very timely theme for an animated show.IT ALLOWED ITS HERO TO FAILIn interviews, co-creator Bryan Konietzko has talked about wanting Korra to be the polar opposite of Aang, a go-getter and hot-headed girl who s always dreamed of becoming the Avatar. Indeed, unlike the very Campbellian Aang, Korra is not a nobody who realizes she is a chosen one and grows to become more confident; she s the daughter of her tribe s chief who always believed she was special. What makes Korra special is how the show allows its hero to fail, repeatedly, and learn from her mistakes to become a better person.When her hot-headedness leads to Korra losing a big fight against Amon and nearly losing her powers, she spends the second season second-guessing herself and getting others to make decisions for her. When her faith in the wrong person backfired, season 3 saw Korra learn to trust her feelings and accept the consequences. Throughout the show, Korra fought and failed, but she always learned how to pick herself back up and became better because of it.More importantly, the show s more mature subject matter led to the third season ending with Korra in a wheelchair after losing a fight, and the fourth season saw Korra deal with crippling depression and PTSD. These are themes very rarely seen in kid s animation, let alone such a mainstream series as this, and it not only made Korra an exceptional experiment, but the character s journey adds gravitas to the world of the first show as well.IT HAD GLOBAL CONSEQUENCESGone are villain-of-the-week stories from Avatar, leaving Korra to deal with world leaders, bureaucrats, and entire Nations worth of critics instead.When she first arrives in Republic City, Korra realizes that being the Avatar doesn t mean she is instantly well-received by all. Because Aang had disappeared for 100 years and came back to a world engulfed in war, most of the people he encountered were happy to see him, help him in his quest and to accept his wisdom. Korra, on the other hand, realizes that the Avatar doesn t come before the local leaders, that getting involved in a Nation s inner conflict becomes an international incident with severe consequences, and that each Nation has its own way of dealing with issues and wars. This leads to the show exploring the fascinating idea that Korra finds herself in a world that has outgrown the need for an Avatar, that growing apart from spirituality means the world has no need for a spiritual leader.Likewise, Korra makes it very clear that the actions of its leading lady have huge consequences. When Korra deals with Amon and his Equalists ideals, Republic City evolves into the first democracy in the world. When Korra decides to leave the spirit portals open, spirits cross over and start living everywhere, and it restores an entire lost Nation. Just by being injured and out of commission, Korra s absence led to the rise of a fascist dictator that threatened to become the new Ozai.IT EMBRACED DIVERSITY AND QUEER REPRESENTATIONEven though Korra premiered in a post–Buffy the Vampire Slayer world, it was still rare to see a genre show with a female lead, let alone a female lead of color. But Korra not only pushed for diversity in its cast, it also gave us one of the most groundbreaking finales in an animated series.The series final image shows Korra and Asami walking hand in hand to a spirit portal, looking into each other s eyes with a deep emotion and longing that was beyond just a friendship, before drifting into the sunset together. The indication was very clear – these two women had a deep love for each other – and it didn t take long before the creators confirmed that the scene was the beginning of a romantic relationship.What made the moment so significant was not only that it was one of the first times a bisexual couple was shown on-screen on a children s cartoon, but how much it was built up. The show s last two seasons showed us significant glances, hand-holding, blushing, and other hints that Korra and Asami had a deeper relationship than any other two characters on the show. Not only did this image become significant in the context of kid s cartoons, breaking barriers for other shows to include explicitly queer characters and plotlines, but it also made the world of the first show richer by making it more diverse and lived-in.The Legend of Korra is now streaming on Netflix.
5. HD 画质与高品质音讯
9.78.3 7月喜迎Season 1 of AMC horror anthology series The Terror took viewers north to the Arctic in the mid-1800s and stranded them there along with a starving, desperate expedition crew that was slowly descending into madness and a ferocious, definitely-not-a-bear creature that tore at survivors bit by terrifying bit. The season – which starred Jared Harris, Tobias Menzies, and Ciarán Hinds as officers on the doomed expedition – has a 93% Certified Fresh Tomatometer score, was hugely popular with Rotten Tomatoes visitors, and seemingly grew its audience through strong word of mouth.“I like to joke, ‘If you loved season 1, you ll get none of it in season 2,” season 2 showrunner Alexander Woo told Rotten Tomatoes ahead of The Terror: Infamy premiere.This time, the setting mostly sticks to U.S. soil, but rather than a giant, bounding beast of teeth, claws, and fur, the new season takes a more subdued tack; its terror comes in the form of a haunting.“The yūrei is very specific. It s the thing crawling out the television set in The Ring. It s the spirit of a dead person – usually, in the folklore, a woman who has been wronged in life and has come back with this insatiable rage, this all-consuming hunger that cannot be – it is literally impossible to quench,” Woo explained.(Photo by AMC)The spirit of season 2 then lies in the genre of kaidan, old-fashioned Japanese ghost stories, which U.S. audiences have not seen much of on TV, aside from genre films playing on cable or on streaming services or in Japanese series available online.This story starts at Terminal Island, between San Pedro and Long Beach in California, ahead of the bombing of Pearl Harbor, and follows Japanese families into internment by the U.S. government during wartime. Woo and his team didn’t have a book to follow, as season 1 executive producers David Kajganich and Soo Hugh did in adapting Dan Simmons’ 2007 fictionalized account of the doomed Arctic expedition, but were able to research eyewitness accounts from about 125,000 internment camp survivors from archives and organizations, like the Japanese American National Museum and Densho at Heart Mountain, which was one of the camps. The goal was to recreate the world of the internment camps.“We were the beneficiaries of some real, real geniuses on the show who built a world out of Vancouver, which is not a small task. Vancouver s a very modern city. It doesn t look like 1940s anything. To create not only a period world which spans two continents, and many, many states, it is no small feat,” Woo said. “To do it in a way that doesn t fall into those images you get in your mind of World War II period pieces — it s drab, you know? I didn t want it to feel drab. I wanted it to feel very present, and very alive. They created a visual signature with this piece. John Conroy and Barry Dunleavy, our cinematographers, created this really gorgeous cinematic visual style that was really lush, and moody, and atmospheric.“Then, Jonathan McKinstry, our production designer, went into painstaking detail to recreate the world from archival photos. So much so that when George Takei walked into our set, he said, ‘This is exactly how I remember it, with one exception.’ With the exception of some plates that we had, which were not chipped enough. We went and chipped them up so they would look a little more worn,” Woo recalled.(Photo by AMC)Takei plays Yamato-san, an 80-year-old living on Terminal Island who warns members of the younger generations of the danger of the yūrei.“Early on in the season, the characters use a bunch of different terms because they re not entirely sure what it is.,” Woo said. “Early on they use terms like ‘obake,’ which is a term for a spirit, which is kind of neutral. It could be even benevolent. It could be benevolent, or malevolent. Then, they use the term bakemono’ a little later on, which refers to something a little more malevolent.”Infamy’s story focuses particularly on 22-year-old Chester Nakayama (Derek Mio), who has dropped some of the elder generations’ cultural observances – like believing in yūrei – for his own American experience, including dreams of becoming a Life magazine photographer and a relationship with Mexican-American Luz Ojeda (Cristina Rodlo).“The genesis of this comes from my co-creator Max Borenstein, who had actually heard George Takei give a talk 20 years ago, and was inspired to pitch this idea to AMC of telling an internment story through this genre lens, and specifically using the kaidan – or Japanese folk tales/Japanese ghost stories – at the center of it, and that would be the genre component of it,” Woo related.“You see in the first few episodes, to the immigrant generation, the older generation, the ghosts are very real. They are as real as you or I,” he said. “It is not a figment or a superstition or any sort of made up hoo-ha. To Chester s generation, this is just some sort of weird old-country belief that he does not believe, until [a point when] he s pretty sure it s real now. But early on, he completely pooh-poohed the notion. And that, to me, is a great illustration – one of many – of the rift between the immigrant generation and the American-born generation, the Issei and Nisei, in our show.”(Photo by Ed Araquel/AMC)Chester feels confined and complains early on that his parents moved from one island to a smaller island, but he thinks of himself as wholly American with access to all of America, Woo said.“Chester is, for me, an illustration of what it s like to embrace a country that doesn t embrace you back, you know? As we find out in subsequent episodes, his Americanness is challenged,” Woo said. “And so the yūrei represents something that is organically part of the culture of his father s generation, and he has to confront his own Japaneseness in order to deal with it. He has to accept it and then understand it and then find a way to confront it. And that s why we felt that that was an appropriate angle into the supernatural part of the story.”The series also stars Kiki Sukezane as Yuko Tanabe; Shingo Usami and Naoko Mori as Chester’s parents, Henry and Asako Nakayama; and Miki Ishikawa as Amy Yoshida. Casting was done in the U.S., Canada, and Tokyo, resulting in a cast made up of actors from Japan and those of Japanese ancestry. George is arguably the most notable living person who s ever lived with the internment. He s also a working actor in our business. It seems obvious, and natural for us to at least offer him a role in our show. He says he s made it his life s work. He s declared this many times, that this is his life s work: to bring awareness to this period in history because there s so many lessons from that that could be taken from that to the present. To our delight, he agreed enthusiastically to be part of our show, Woo said.“The casting of the rest of the show was a monumental feat by our team of casting directors. We have Carrie Audino here in L.A., and she s won Emmys for Mad Men and West Wing,” he said. “We had Yôko Narahashi in Tokyo, and we had the casting directors in Vancouver as well: Corinne Clark and Jen Page. That entire team scoured four continents to find the cast where — we re very proud of this —every single Japanese and Japanese-American speaking role is portrayed by an actor of Japanese ancestry. The original idea behind that was, there s a lot of Japanese focus in the show. Obviously, we need people who could speak the language.(Photo by Ed Araquel/AMC)“As we were going through the casting process, we found that so many Japanese-American actors, or Japanese-Canadian actors, had such a personal connection to the internment, which is probably not surprising, because, if your family has been here since the ’40s, you lived through the internment [and/or] your family lived through the internment. So many people had such deep investment in it that we felt we should just cast wall-to-wall with actors of Japanese ancestry, because they brought such an investment to the material.”Woo noted that he is himself of Chinese ancestry and feels connected to the heart of the story: the inevitable rift between a generation that immigrates to a new country that will perhaps never accept them, and their children born in that country who lose pieces of their cultural identity in their assimilation as naturalized citizens.“There are resonances for almost anyone who has a generational connection to having an immigrant experience,” he said. “In this country, frankly, you don t have to go very far back to get to an immigrant in anyone s family. This story, as we came to explore and meet with people and talk with people, is the story of the Japanese-American people, but it s not specifically exclusively a story for the Japanese-American people. There re lessons from this that speak to anyone whose family has been touched or shaped by the immigrant experience, which really is just about everyone.”(Photo by Ed Araquel/AMC)Production designer McKinstry returned to the series from season 1, but other contributors to season 2 are new, including co-costume designers J.R. Hawbaker and Tish Monaghan.“The world really came to life in the costumes,“ Woo said, describing how Hawbaker met with Terminal Islanders and found archival photos of clothing worn during the period to help define each character over the course of several years. “[They] were able to build a world using both vintage pieces and pieces they created.“The kimonos, specifically, which are incredibly labor intensive — it usually takes over a year to build a kimono, and we had to build several of them, and the multiple versions, because you need one for the double, you need one for the stunt person. They get dirty, they get bloody,” he said. “There were these fabrics that J.R. specifically found that had this shimmer to it, this ghostly shimmer to it, which it was really astonishing. … We had an entire kimono team … The kimono wrangler, the kimono designer, the people doing the dyeing. It was its own production; I don t even remember how many people, but it was a large team just to deal with the kimono.”Even with elaborate costuming and exacting production design from another time, Woo wanted the story to come alive for modern viewers. The idea of using a supernatural element to begin with, the idea was to use that genre toolbox as a way for the audience to access the emotions of the historical experience, he said. Because when you re doing a period piece, there s frequently a danger of it feeling like a museum piece, of feeling that
How does the movie compare to Jackie?“Like Larraín’s earlier film Jackie, in which Natalie Portman starred as JFK’s grieving wife, this is a self-consciously poetic and elegiac affair.” Geoffrey Macnab, Independent (UK)“Spencer is a movie made very much in the spirit of Larraín’s Jackie…every bit as good; it may be even better.” Owen Gleiberman, Variety“As in Larraín’s equally brilliant, surprising Jackie, to which Spencer is an intricately attuned companion piece, the director thrills in presenting a public icon freed of her public, unsure how to act around herself.” Guy Lodge, Film of the Week“Spencer is something else indeed…a more accessible approach in some ways, but also more ambitious.” Pete Hammond, Deadline Hollywood Daily“Unlike the maelstrom of emotions in Larain’s previous, and similarly-calibrated celebrity portrait pic, Jackie, this one is slower, linear and more austere, better to fit the genteel and regimented-to-death context of a Yuletide with Her Majesty.” David Jenkins, Little White LiesIs Spencer better than past Princess Diana biopics?“A considerable upgrade on the ill-fated 2014 biopic in which Naomi Watts played Diana.” Geoffrey Macnab, Independent (UK)“Far from the laughable disaster of Oliver Hirshbiegel’s 2013 Diana starring Naomi Watts, Larrain’s Spencer will cause a sensation…it’s certainly a royal biopic like no other.” Jason Solomons, The Wrap“We have seen many takes on Diana…but Larrain has something very different, very intimate, and very revealing in mind here.” Pete Hammond, Deadline Hollywood Daily Will it please fans of The Crown?“This is a long way from the more decorous treatment of Netflix’s The Crown.” David Rooney, Hollywood Reporter“This isn’t The Crown, it is far more insular, an intimate portrait of a woman trying to save herself.” Pete Hammond, Deadline Hollywood Daily“A more daring alternative to Netflix’s popular show The Crown, Spencer tries, and largely succeeds, to get under Diana’s skin.” James Mottram, South China Morning Post“Larrain, working from Steven Knight’s script, is clearly going for something more classical here than can be found in an episode of the giant Netflix series The Crown.” Jason Solomons, The Wrap“Spencer, the eerie, witty and quite extraordinary film that has resulted from their persistence, isn’t necessarily for fans of The Crown, or fetishists of royal ritual and ceremony.” Guy Lodge, Film of the Week“Unlike The Crown, there is no risk whatsoever of Pablo Larraín’s resplendently mad, sad and beautiful Spencer…being mistaken for historical fact.” Robbie Collin, Daily Telegrap
(Photo by History)History s Vikings has never shied away from depicting the brutality in the lives of Norsemen and women in the 9th century. Through five seasons, the show has followed the exploits of legendary Viking chieftain Ragnar Lothbrok (Travis Fimmel), his crew, and his family. What began as a small-scale story of exploration, and also some old-fashioned raiding and pillaging, has turned into an epic saga spanning several decades and a tr
hat show’s producers is running the Dirty John series.“There’s this fun, twisted fairy-tale aspect to the story,” Alexandra Cunningham tells Rotten Tomatoes, explaining that her adaptation doesn’t just add visuals, but is actually able to expand on the emotions of the story by dramatizing it. “A lot of things we’ve maintained — the spine and the scaffolding of the story — because they are so compelling and true and heart-wrenching. We put a lot more flesh on some bones.”For instance, Cunningham says she was able to address a concern people who listened to the podcast or read the Los Angeles Times articles had raised: Many listeners thought Debra Newell was “an incredibly stupid woman” for falling for Meehan’s exploitative schtick in the first place.Casting Britton as Newell certainly helped Cunningham combat this perception, and she framed the events in ways that should make viewers more empathetic towards the main character. She was also able to add some more depth to Meehan, who was not a participant in the podcast for reasons that are obvious to anybody who listened to the end. The show can follow Meehan as he goes about whatever dodgy business he was involved in, whereas the non-fiction podcast had to keep the speculation at a distance.“It gives you an even more complete picture of this man and commits you more emotionally than [you would have been] just [reading] the descriptions of what he did in the podcast, since you’re sort of watching them along with him,” Cunningham says. “It’s a point-of-view perspective that the podcast couldn’t do.”Up and Vanished Continues the InvestigationTrue crime might be podcasting’s leading genre, but don’t forget that it’s also been a TV mainstay for decades, dramatized or not. The recent Up and Vanished special, about Tara Grinstead, a teacher and former beauty queen who went missing in Georgia three years ago, is as much a sequel to host Payne Lindsey’s original podcast as it is an adaptation.“Both mediums rely on good storytelling,” Lindsey says of the difference between podcasts and TV. “Even though a podcast is strictly audio, listeners develop their own visuals for the story. It’s kind of a more intimate experience, and sometimes I think it actually makes the audience feel closer to the people involved.”The podcast medium offered Lindsey one thing that TV doesn’t. Because podcasts are typically cheaper and faster to make than TV shows, Up and Vanished was able to generate renewed interest in the case that led to a crucial break in real time.“That would have been a lot harder to do with a television crew on the ground, following a production schedule, along with all of the other elements that make a TV show,” he says.The Future(Photo by Syed family/HBO)The three November podcast-inspired shows are quite different from another, revealing the fundamental wrinkle in any discussion about the future of podcasts on TV: It’s a medium, not single genre.“There’s a spread of genre that makes this a little hard to talk about efficiently,” journalist Quah says.The scripted drama–turned–prestige TV Homecoming is a very different beast than the two true-crime podcasts, even if Dirty John turned from non-fiction to scripted when Bravo dramatized it. There are also improvisational comedy podcasts like Comedy Bang Bang and My Brother My Brother and Me, both of which did their audio counterparts proud on TV (and both of which continue in podcast form, though not on television). Then there are the talk shows-with-a-twist, like Desus Mero and even Bill Simmons’ Any Given Wednesday (to a certain extent), which launched as a result of the hosts’ popular podcasts.There are even more TV adaptations in the works: Crimetown, a non-fiction podcast about corruption in Providence, Rhode Island, is coming to FX, as is the spooky Welcome to the Night Vale. Fantastically popular podcast Serial is getting an HBO documentary, The Case Against Adnan Syed (pictured above), but a scripted television adaptation of the murder-mystery by The LEGO Movie’s Chris Lord and Phil Miller has been in development hell since 2015. Limetown, a scripted horror podcast, will hit Facebook Watch and star Jessica Biel.Some of these shows will be good certainly. Others, maybe not so much. That they began their lives as podcasts doesn’t give them an inherent advantage or disadvantage over any other type of adaptation, aside from maybe being more buzzworthy than other series.“Isn’t it the story that’s more crucial? You wouldn’t say books make good movies — it depends on the book,” Homecoming’s Bloomberg says.Podcasts have a lot of things going for them: They’re cheap to make, generally flexible productions to undertake, and can connect with large audiences in an intimate way. They’re not a guarantee for success on TV, but the right podcast with the right creative team can, ideally, become something new — something that’s more than just a podcast with pictures.“The fundamental thing,” Quah says, “is to create something native to the experience.”
(Photo by Universal/ courtesy Everett Collection)11 Fresh Cicely Tyson Movies and SeriesDiscovered at age 30 while working as a typist in New York, Cicely Tyson transformed what was an already unlikely, late-blooming modeling stint into a full-blown acting career, and would become a trailblazer for Black artists across film, TV, and theater from the 1950s and well into the 21st century. Tyson s versatility across stage and screen meant easy occupancy in roles worthy of her dignity and attention, with appearances in I Spy and Mission: Impossible, a co-starring part in kitchen sink TV drama East Side/West Side, and films like The Comedians and The Heart Is a Lonely Hunter.The Civil Rights era signaled a dramatic societal shift, not just in American civics but in arts and entertainment. This opened the path for Tyson s creative peaks, starting with 1972 s Sounder, the deeply humanistic Depression-era drama. For her role as a mother whose husband has been incarcerated and is left to care for their only son (along with a runaway dog), Tyson received her sole Best Actress Oscar nomination. (She would become an Honorary Award recipient in 2019.)Television emerged as a daring storytelling force during the 70s, thanks to films and miniseries like 1974 s The Autobiography of Miss Jane Pittman. Tyson portrayed Pittman across 90 years of her character s life, from a child born into slavery to becoming a figurehead of 1960s social justice. Tyson won the Best Lead Actress in a Drama Emmy, and the TV-movie would go on to take Outstanding Special. Tyson would make history again as Kunta Kinte s mother in the first section of the 1977 s legendary miniseries Roots, which garnered a Emmy nomination for her.Tyson would ultimately be nominated for at least one Emmy every decade afterwards, including a late-career surge starting with 2014 s The Trip to Bountiful, and a stunning five-nomination run into 2020 for How to Get Away with Murder, playing Annalise s (Viola Davis) mother, Ophelia.Two days before her death in January 2021, Tyson published her memoir: Just As I Am. We look back on her life and career in film (including Fried Green Tomatoes and The Help), TV (Autobiography of Miss Jane Pittman), and series, including Cherish the Day, created by Ava DuVernay. Here are 10 Fresh movies and series starring the legendary Cicely Tyson. Death on the Nile (2022) Directed by: Kenneth BranaghStarring: Kenneth Branagh, Gal Gadot, Armie Hammer, Annette Bening, Rose Leslie, Letitia WrightOpening on: February 11, 2022 (formerly September 17, 2021)Kenneth Branagh will return as detective Hercule Poirot following the surprise success of 2017 s Murder on the Orient Express, which Branagh also directed. So far, big names like Gal Gadot, Armie Hammer, Annette Bening, Letitia Wright, and Rose Leslie have joined the whodunit. Uncharted (2022) Directed by: Ruben FleischerStarring: Tom Holland, Mark Wahlberg, Antonio Banderas, Sophia Taylor Ali, Tati GabrielleOpening on: February 18, 2022 (formerly February 11, 2022)This Indiana Jones-styled action-adventure film, based on the popular video game series of the same name, has been floating around in development for more than a decade, but it wasn t until June of 2019 that we got some solid forward movement on it. Tom Holland was confirmed to s
下载bob国际在线 It was a viewpoint Kripke presented to Ennis when the two sat down to talk about how The Boys could become a television show. In bringing the humanity Ennis characters ultimately find further to the surface, Kripke felt he could realize the shocking “water-cooler moments” while advancing the story or advancing the character or to make a satirical point about what s going on in our culture. “So I get to make a story about politics, athletics, celebrity, corporations, the military industrial complex — all within the guise of irreverent superhero show,” he continued. “This is an endlessly inventive place for me to play, and sure enough, once we got together with the writers, we found that was true.”At the same time, Kripke believes the show also has to potential to be one of the most “human” superhero stories to appear on a screen of any size.“I wanted to feel the humanity of these people and all its complicated, messy, glory,” he said. “[In] my experience of superhero material — and I know there s more emotional stuff out there — it s rarely done where you have these characters who are just complicated and contradictory. And so the guiding North Star for us on this show was always, What s the single most realistic way that this character can react in any given moment? ”The result: characters with PTSD, panic attacks, drug addiction, sexual dysfunction, and the morbid need to protect their share of the gross profits.The ideas will be familiar to readers of the comic book, but one element Kripke felt he had to change was the voice of Hughie from a Scottish to an American accent. (Ennis approved the switch as long as Butcher remained British.)“Because our first play is for an American audience, I would like that audience surrogate to be American,” he explained. “Garth will read every script, and really the only thing he comes back with is, ‘Here s a lot of line notes of what a British person would really say.’ Which, I am more than happy to utilize.”Meanwhile, The Seven represent a sort of American corporate exceptionalism, with Madelyn Stillwell (Elisabeth Shue) running the team behind the scenes for Vought, the company marketing and bank-rolling the best known superheroes. As Shue put it at Comic-Con, “she’s drunk with power.” But is unclear if that power — or something else — drives what actor Anthony Starr called “Oedipal issues” between Stillwell and his character, Homelander. The seeming Superman lives the most veiled existence, setting the tone for the rest of the Seven’s hang-ups and insecurities — the very things The Boys hope to exploit for Butcher’s revenge and the strings Stillwell pulls on to maintain control of her super-employees.“It was a great counter-narrative to the DC/Marvel stuff,” Urban said of the conflict during the panel.“Which you’re in!” Rogen interjected. “You can have it all!”But it seems unlikely The Seven and The Boys can have it all, with one side or the other ceding some territory as Butcher s private war becomes an open conflict in The Boys s first season.The Boys streams on Amazon Prime Video on July 26.