相信玩过英雄联盟手游的小伙伴，应该没有不喜欢剑圣这个英雄的吧！凭借强大的输出以及收割能力，不仅能享受斩杀脆皮的快感，更能体验到收割团战的成就感。目前剑圣的玩法很多，其选择一种适合自己的玩法，也势必能让我们团战战力表现更进一步。本期也是针对剑圣这个英雄，为大家带来一个贴吧大神分享的一刀流玩法，废话不多说，赶紧随我去看看。亚博网址链接Compared to other genres, comedies and horror films are at greater risk of losing their efficacy as they age. No matter how The Exorcist may have terrified audiences upon its release, there s a good chance someone watching it for the first time in 2020 won t be fazed by it, either because they ve become desensitized or because the subject matter is effectively passé at this point.One film that has avoided that fate is Rob Reiner s adaptation of Stephen King s Misery, precisely because it has only become more relevant since it debuted in theaters on November 30, 1990. The harrowing tale of a deranged superfan who kidnaps her favorite author not only anticipates the rise of toxic fandom, but also hints at the kind of dangerous direct access that contemporary social media affords the general public. It s also just a damn good movie. To celebrate its 30th anniversary, we explore how the Hitchcockian thriller predicted the fraught relationship between the content creators of today and their sometimes problematic fans. Keep those cockadoodie sledgehammers handy. When you first came here, I only loved the writer part of Paul Sheldon. When we first meet Annie Wilkes (played b Kathy Bates, who won an Oscar for her performance), she s polite, sweet, and, dare we say it, likable. Sure, she has difficulty with boundaries, but she seems harmless enough and genuine in her love for the work of writer Paul Sheldon (James Caan). Having rescued Paul from a bad car accident during a snowstorm, she s initially surprised to discover he s different from what she expected, based on how his book covers described him, but she makes the most of her private audience with him to air her grievances.This disconnect between a celebrity s public persona and private self is an all-too-common discovery in the age of social media. These days, every public entity, from pop stars and athletes to fast food companies and, ahem, movie review websites, maintains such a meticulously curated presence online – their brand – that breaches of protocol, even deeply human ones, risk massive controversy. Even still, it s never been easier to contact your favorite actor, comedian, or, yes, writer; all it takes now is a Tweet, and if you re lucky, you might get a response. This unprecedented access can lead to fun, insightful interactions, but it can just as easily breed unfettered hostility – there may not be anyone strapped to a bed, but this is about as direct as hate mail can get, and it can be pretty nasty. I m your number one fan. There is nothing to worry about. The thing that differentiates Annie Wilkes from most other movie stalkers is that her violence and sense of entitlement are born of artistic admiration, rather than sexual attraction or murderous intent. She is dangerously unwell, of course, but her sickness manifests in a twisted devotion to Paul s popular, Harlequin-esque series romance novels starring a character named Misery Chastain.Our first indication that she s more than just an obsessive fan comes when she convinces Paul to let her read a draft of his latest book, an attempt to branch out from romance. To say Annie disapproves of the profanity is a gross understatement; as Paul calmly explains that it s based on his own experiences, she lashes out in a bizarre tirade before she catches herself, but by then it s clear something is amiss.Later, when Annie picks up a copy of the latest Misery book and discovers the character dies, she snaps and calls Paul a murderer. The dynamic changes as she ceases to be a caretaker and instead becomes Paul s captor. She grows more violent, but she rationalizes her behavior as a byproduct of her love for Paul and the books. She kisses his cheek, apologizes, and asks him to forget anything bad has happened. When she finally admits that she s kidnapped him, she blames Paul for everything; clearly he brought it all upon himself.Three decades later, we ve seen a rise in fan culture taken to dangerous extremes, with cries of ruined childhoods and death threats forcing some to leave social media altogether. Like Annie, the gaslighting comes from a place of distorted love, the kind that compels her to hobble Paul with a sledgehammer when he dares to seek escape from his captivity. He has committed a grievous crime in the eyes of his number one fan, and he is obligated to fix it at any cost. You re gonna write a new novel Now you ll make it right. In Annie s mind, there is only one way for Paul to atone for killing Misery Chastain: Bring her back to life in a new book, and do it in a fashion that satisfies Annie. She knows exactly what story she wants to read, but she needs Paul to write it. Naturally, the first pages he delivers aren t to her liking, because she remembers the novels better than anyone – possibly even better than Paul himself – and according to her, the new direction flies in the face of continuity, and she won t stand for it. Her expectations are more important than the right story being told, so she throws another hysterical tantrum, and an exasperated Paul is back to square one.In real life, this admittedly isn t a new phenomenon. Sir Arthur Conan Doyle, for example, was compelled by publishers and fans to revive Sherlock Holmes over a decade after he wrote the character s death. Nowadays, though, it s exceedingly common to see people feel so entitled to a piece of media that they would presume to dictate how it should be done.It s natural for fans to feel a connection to their favorite characters, and it s frequently said that a creator s work no longer belongs to them once it s presented to the public. But it s another thing to send death threats to Rian Johnson for his handling of Star Wars: The Last Jedi – whatever one s opinions on the film are – and even campaign to remake the film. Just a year later, Game of Thrones viewers were so incensed at the series final season that they petitioned HBO to spend millions of dollars to remake it as well. After a massive fan outcry, Paramount Pictures literally went back to the drawing board and redesigned the title character in Sonic the Hedgehog, effectively delaying the release of the film by four months. Next September, HBO Max will premiere Zack Snyder s Justice League, a recut, partially reshot, serialized version of the 2017 DC superhero film closer to the director s vision, thanks in large part to another fan petition after the original production suffered multiple setbacks and a poor reception. This is, in other words, not a trend on the downswing. I put two bullets in my gun. One for you and one for me.
King of the Crop: Spider-Man Swings to the Top(Photo by Sony Pictures Animation)Without looking, it would have been easy to assume that some animated title would have a massive opening this month. Most of them tend to get out early before the Thanksgiving holiday, which opened the door for Sing to grab the top spot for an animated film with a .2 million back in December of 2016. Now the mantle has been taken by Spider-Man: Into the Spider-Verse with a million opening. Films opening between -40 million this month have averaged a final haul of 1 million. Sing’s 0 million is a big part of that, as is last year’s Jumanji: Welcome to the Jungle, which finished with over 0 million. Scott Derrickson’s The Day the Earth Stood Still remake in 2008 is the only one to finish with less than 0 million (.3 million, to be precise). Spider-Verse will have some challengers opening this week, but this is still likely to be a top choice over at least one of them in the long run. Only the Hotel Transylvania films have opened better for Sony in their animation department, though if Spider-Verse can best the aforementioned average, it will pass all of them to become their biggest success to date.Rotten Returns: Mortal Engines Nearly Hits Bottom of Exclusive List(Photo by Universal Pictures)There is no way around the Mortal Engines numbers. They are abysmal, and we re not talking about just the 28% it received on the Tomatometer. It has joined the list of bottom five December films opening in 3,000 theaters, a list that now looks like this:The Nativity Story (.8 million), Mortal Engines (.5), Collateral Beauty (.10 million), Walking with Dinosaurs (.09), The Wild Thornberrys (.0)Thanks to the holiday season playing out the way it does, those other films finished between and .1 million. Mortal Engines, however, is the most expensive among them, with a budget of 0 million (Walking with Dinosaurs cost million). Suggesting that this is the flop of the year might make for juicy headlines, but it simply is not the case. Mortal Engines could have made two cents this weekend and both A Wrinkle in Time and Solo: A Star Wars Story would have lost more money. It is not even the worst domestic opening vs. its overall production budget. In other words, yes, it is bad and it is a bit embarrassing, but look at the broader picture.The Peter Jackson production could still be saved with a decent international haul (it has made .3 million so far). But it shows the peril of trying to mount an expensive fantasy production in this day and age that did not come from the mind of George Lucas or the pages of comic books. Even adaptations such as John Carter, Valerian and the City of a Thousand Planets, and Ghost in the Shell failed to generate enough interest with American audiences. Universal has also had their issues over the years (including 1995’s Waterworld) with failed attempts at Robin Hood (2010) Peter Pan (2003), but also more recently with 47 Ronin, Cowboys Aliens, The Great Wall, and their attempts at reimagining or rebooting their classic monster series (Van Helsing, The Wolfman, and The Mummy). Universal has had an otherwise solid year with big hits like Jurassic World: Fallen Kingdom, Halloween, and Fifty Shades Freed (see a pattern?), but they are likely preparing Mortal Engines to join Pacific Rim Uprising and Skyscraper in the red column for 2018.The Top 10 and Beyond: Eastwood Has One of His Best Draws; Aquaman Gets a Head Start(Photo by Claire Folger/Warner Bros.)Clint Eastwood is in front of the camera for the first time since 2012’s Trouble with the Curve this weekend, and despite Warner Bros. almost going out of their way not to campaign the film for awards and keep it from critics as long as possible, it still managed to squeak by with a score of 63%. The .2 million opening for The Mule (63%) is actually Eastwood s third best of any movie he s starred in. Space Cowboys opened to million in 2000 and Gran Torino, after four weeks of playing in less than 100 screens, exploded to a .4 million weekend in January 2009. Since 1990, 23 films have opened in December between -20 million and ten of them reached 0 million (four of which were R-rated Best Picture nominees, including Jerry Maguire, The Green Mile, and The Wolf of Wall Street). We will know better next week whether it can come close to the .6 million average final gross of those 23 films or even join Gran Torino, In the Line of Fire, Unforgiven, and Million Dollar Baby as Clint’s 0 million star vehicles.Meanwhile, Illumination’s The Grinch continues to forge a path to over 0 million with the smallest drop in the Top Ten (23%); Ralph Breaks the Internet has officially fallen behind it on the chart. Disney’s sequel has nearly an identical haul to Bohemian Rhapsody in its first 26 days, and it should still have enough in the tank to at least match the original’s 9 million gross. That Queen movie, though, remains the WOW of the holiday box office with nearly 9 million worldwide. Fantastic Beasts: The Crimes of Grindelwald is not far behind with 5 million, though both are likely to be eclipsed by Mary Poppins Returns and Aquaman, which has already grossed over 3 million internationally.The PG-13 alternate cut of Deadpool 2, Once Upon a Deadpool, has grossed .8 million since it opened on Wednesday. Fox nearly made as much this weekend with
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3.81.1 8月喜迎(Photo by Rachel Murray/Getty Images for Netflix)Over the course of the past two weeks, a monumental change in the way Marvel Entertainment handles its creative endeavors took place. On the ground, it may appear like a humdrum shift of executives, but its effects will be far reaching. The change? Kevin Feige, president of Marvel Studios, is now the chief creative officer at Marvel overall. This means he has the final say in all of their film, television, and publishing endeavors. At the moment, it appears the change will not drastically upset the day-to-day business of Marvel Comics, but the news almost immediately changed things at Marvel Television, the unit of Marvel Entertainment run by Jeph Loeb.Loeb has been the executive vice president of Marvel Television since 2010, making him the ultimate authority on programs like Agents of S.H.I.E.L.D. and animated offerings like the current Spider-Man and the Marvel Rising series. He also shepherded Marvel efforts in the streaming sphere with the Netflix series like Daredevil, Jessica Jones, and Luke Cage and Runaways on Hulu and served as an executive producer on FX s Legion.RELATED: Kevin Feige s Oral History of the Marvel Cinematic UniverseBut shortly after Feige was announced as the new CCO, word broke of Loeb’s planned departure from the company, a move that reportedly was in the works prior to Feige’s new appointment. The news follows a general trend established when Marvel Studios, not Marvel Television, announced it would make limited run series with its MCU Avengers for the Disney+ service.For fans of characters like the Scarlet Witch and Hawkeye, there is nothing but good news here. Fans of Marvel Television, however, have found their favorite shows disappearing in a snap. So let’s take a look at the potential ramifications of Loeb’s departure and what it means for Marvel Television.Marvel Television May Cease To Be a Distinct UnitAs we often like to mention when discussing Marvel, the names of their divisions matter in the scope of the Walt Disney Company overall. And in this case, the distinction is the primary issue. Marvel Studios is a division of the Walt Disney Studio while Marvel Television is a unit of Marvel Entertainment, which operates as a separate entity from the Studio in the Walt Disney family of companies. This was not always the case, though. In 2015, Feige initiated Marvel Studios transfer to the Walt Disney Studio, reportedly to escape the control of Marvel Chairman Isaac Perlmutter. His effort was successful, but it changed a key element of Marvel Television s strategy: the notion that Marvel’s TV shows would be connected to the films. After Marvel Studios left Marvel Entertainment, those connections generally amounted to namechecks in Marvel Television series with zero reciprocity on the studio side until James D Arcy’s cameo in Avengers: Endgame as Agent Carter’s Edwin Jarvis.But beyond this creative divide was the sense that the studio and Marvel Television were far more separate than anyone was really willing to admit. Although, this separation was made crystal clear last May when Loeb himself told Rotten Tomatoes and various other reporters that creative decisions for the sixth and seven seasons of Agents of S.H.I.E.L.D. had to be made without the knowledge of Endgame’s five-year jump in time. We had to go without knowing where they were going, he said. Otherwise, we d be living in a world that was brilliantly shown in Endgame. RELATED: Disney s Streaming Service: Disney+ s Price, New Shows, Launch Date, and MoreThis lack of communication will disappear with Feige now in charge of Marvel Television — although, it is currently unclear if Marvel Television will remain its own branded unit. Thanks to the Disney+ limited series, Marvel Studios built up its own television production unit which may make Marvel Television entirely redundant. Also, considering the unfortunate amount of cancellations in Marvel Television’s column over the last year — including Cloak Dagger, which Freeform finally canceled last Friday — the unit may just be dissolved entirely.Although, it is also possible Marvel Studios will use the name and some of the people in the unit. Presumably, its successful children’s animation initiatives will continue on with minimal changes, in much the same way Marvel Comics will continue with its current leadership. And though it means some good people will most likely lose their jobs, at least everything will finally be connected.The Disney+ Programs May Supplant The Existing Marvel Television Universe(Photo by Albert L. Ortega/WireImage)As we mentioned earlier, the evident disconnect between shows like Runaways and the feature films will disappear in this new era of Marvel content. Feige (pictured above with Marvel star Scarlett Johansson) himself said as much when he discussed the studio’s Disney+ plan at August s D23 Expo while announcing four new series set to join their calendar: Ms. Marvel, Moon Knight, Hawkeye, and She-Hulk.These additional Disney+ announcements read like a list of dream projects lifted directly from Loeb’s desk. Moon Knight was often rumored to be part of a second wave of Netflix content from Marvel Television, while She-Hulk and the Kate Bishop version of Hawkeye both neatly fit the description of a female-led series the division was reportedly developing for ABC as a companion to S.H.I.E.L.D. Also, all of these characters feel a part of the unacknowledged Marvel Television universe. Well, that is to say Moon Knight would make a splash as the first truly costumed character in The Defender’s Manhattan while Ms. Marvel’s Kamala Khan and She-Hulk’s Jennifer Walters would fit right into the brighter, poppier Marvel world of S.H.I.E.L.D.RELATED: Your Full List of All Upcoming Marvel Movies — With Key Details!But considering these are all Marvel Studios production, we can’t help but think they will chart their own course and ignore events established on S.H.I.E.L.D. or Daredevil. And with Loeb gone, no one will feel particularly inclined to advocate for the established Marvel Television programs or their histories. Additionally, Marvel Studios will not be able to develop television projects based on any of the characters from the Netflix shows for another 18 months (at the earliest), suggesting they may start from scratch when Luke Cage and the Punisher become available to them. The Marvel TV universe, as we’ve known it since S.H.I.E.L.D.’s debut in 2013, may experience a very permanent blip of its own.Although, that Edwin Jarvis cameo in Endgame is one positive sign that all may not be lost. But even if, say, Olivia Holt and Aubrey Joseph play Cloak Dagger’s Tandy and Tyrone again in a Marvel Studios show, don’t expect them to reference the events of their recently canceled series.Helstrom and The Offenders Animated Programs May Not Go Forward(Photo by ABC)Even before word of Loeb’s departure broke, there was the sense Marvel Television was already winding down. During the summer, he happily proclaimed a new “Adventure Into Fear” initiative on Hulu. The plan featured new live-action series, anchored by a planned Ghost Rider program, which would delve into Marvel Comic’s horror titles in a mode incompatible with Disney+ family friendly edict. Gabriel Luna, who played the Robbie Reyes version of Ghost Rider on S.H.I.E.L.D., was set to reprise his role. Plans were also afoot for Helstrom, a series based on Marvel’s Damion Helstom – a.k.a. the Son of Satan.Additionally, Hulu and Marvel Television were in process of developing four animated series based on concepts as wild as Hit-Monkey (a literal monkey turned hit-man), and M.O.D.O.K. — the Mobile Organism Designed Only for Killing. Said to appeal to adult animation fans, the programs would culminate in a one-hour special cheekily called The Offenders.Then Hulu passed on Ghost Rider just as rumors surfaced indicating Marvel Studios had its own interest in the character.RELATED: All 23 Marvel Cinematic Universe Movies RankedAt the present, it appears the “Adventure Into Fear” initiative is dead, although Helstrom is going forward with a cast including Tom Austen, Sydney Lemmon, and Elizabeth Marvel. According to a Marvel press release, the series will debut on Hulu sometime in 2020. But without Loeb, it seems unlikely the Marvel Studios version of Marvel Television will continue the Adventure Into Fear when it has its own plans for horror with Doctor Strange and the Multiverse of Madness.Also, it is unclear if The Offenders programs will still go forward. Thanks to the long lead times needed for animation, it is possible at least one or two of the series will make to production and stream on Hulu. But it is also possible the whole thing will be scrapped.This Hulu uncertainty also extends to Runaways. Though a constant success for the streamer, it is unknown if the program will return after its third season launches on December 13.The Erasure of Marvel’s Inhumans(Photo by ABC/Marvel)But if there’s one (admittedly silly) good thing to come from Loeb’s departure, it is the potential elimination of Marvel’s Inhumans from the MCU. Once meant to be a feature film in Marvel Studio’s Phase 3, the project was allegedly part of Perlmutter’s hopes to downplay the importance of the X-Men by recasting the Inhuman concept as the MCU answer to mutants. But once Marvel Studios became a Disney Studios division, Inhumans kept getting pushed farther into the distance.Eventually, Marvel Television took it on and the results were — well, 11% on the Tomatometer really says it all. Despite good actors like Anson Mount, exquisite location shooting in Hawaii, and a willingness to put a giant teleporting bulldog on screen, the show was shockingly generic. Its plot ended with the Inhuman royal family and their subjects moving to Hawaii and preparing for an ancient, unseen enemy. Thanos may have been the implied threat, but it seems Feige was the foe they were really bracing for.RELATED: Marvel TV Ranked by TomatometerRumors indicate Marvel Studios is looking to recast the Inhuman royal family for the Ms. Marvel series. The character is an Inhuman and interacts with the Inhuman royal family on a number of occasions. She also ends up taking care of that teleporting bulldog for a time. If the rumors are true, it likely means this one series is definitely out of MCU continuity.And for all the good Loeb did at Marvel Television — we did get two seasons of Agent Carter, three seasons of Legion, seven of S.H.I.E.L.D., and shows dedicated to Luke Cage and Jessica Jones, after all — we won’t mind if this one element of his tenure slips quietly away into dust.(Photo by Netflix)Loeb s formal announcement is expected before Thanksgiving with his departure occurring by the end of the year, giving him a full decade at Marvel, Deadline reported. In addition to his executive producer role on the Marvel titles mentioned previously, the titles he oversaw included The Punisher, The Defenders, Iron Fist, and The Gifted. Loeb previously had been a producer and writer on NBC s Heroes and The CW s Smallville, was a supervising producer on ABC s Lost, and co-wrote 1985 film Teen Wolf, starring Michael J. Fox.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
The 93rd Academy Awards were unlike any other we ve witnessed in recent memory or possibly ever before as the ceremony was structured to accommodate social distancing measures brought about by the ongoing coronavirus pandemic. The result was an unusually intimate, subdued ceremony filled with personal anecdotes and touching tributes. Of course, that doesn t mean things didn t get a little wacky from time to time ( Glenn Close doin Da Butt is officially a thing now), and there were still plenty of larger-than-life moments, from incredible musical performances and tear-filled dedications to laugh-out-loud one-liners and groundbreaking milestones.Recommended: Full List of Winners from the 2021 Academy AwardsRecommended: The Biggest Snubs and Surprises of the 2021 Oscar NominationsRecommended: All the Winners of the 2020 Golden Tomato AwardsThings started with a bang, as H.E.R. performed an amazing rendition of her Oscar-winning song Fight For You before the ceremony started and Regina King kicked off the festivities by entering Los Angeles iconic Union Station in a stunning single tracking shot as the credits rolled. From there, we got tear-filled dedications, inspirational speeches, laugh-out-loud one-liners, and groundbreaking milestones. Read on for the biggest moments of the 2021 Oscars.H.E.R. Delivers Showstopping Performance of “Fight For You” Before Winning Best Original SongThose expecting to see the much hyped-up pre-recorded performances of this year’s Best Song nominees during the show were likely disappointed to learn that the five songs were actually shown during ABC’s pre-show. The standout performance was also the final performance: H.E.R.’s rousing rendition of “Fight for You” from Judas and the Black Messiah, which incorporated archival footage and a battery of dancers to deliver a chills-inducing moment just minutes before the start of the ceremony. The song went on to win Best Original Song in the ceremony proper.Regina King Enters in Epic One-ShotWe were told in the lead-up to tonight’s ceremony that Steven Soderbergh and his co-producers wanted the night to play out like a film – and the first minutes of the broadcast delivered on that promise. Bringing to mind those famous opening moments of Goodfellas, a single camera shot tracked Regina King – her Oscar firmly in hand – as she walked into LA’s Union Station, through its cavernous hall, and onto the stage. Throughout the entire shot, cinematic credits announced the various presenters (“starring…”). King kicked things off by marking the conviction of Derek Chauvin earlier this week: Now, I know that a lot of you people at home wanna reach for your remote when you feel like Hollywood is preaching to you, but as a mother of a Black son, I know the fear that so many live with, and no amount of fame or fortune changes that, OK? Thomas Vinterberg Pays Moving Tribute to His DaughterUpon winning the Oscar for Best International Film for Another Round, director Thomas Vinterberg began his acceptance speech as anyone might expect, thanking the appropriate parties who supported the film and those with whom he worked directly on it, including the four main actors at the heart of the story. But midway through his speech, Vinterberg recounted how, four days into shooting the film, he lost his daughter Ida in a tragic auto accident. As he paused and wiped tears from his face, Vinterberg collected himself and explained how she had read the script two months prior to production and was glowing with excitement about the film, in which she was originally supposed to appear. Vinterberg closed by dedicating the film to Ida, saying, If anyone dares to believe that she s here with us somehow, you ll be able to see her clapping and cheering with us Ida, this is a miracle that just happened, and you are part of this miracle. Maybe you ve been pulling some strings somewhere; I don t know. But this one is for you. Daniel Kaluuya Embarrasses His FamilyAfter missing out on the Best Actor Oscar back in 2018, Daniel Kaluuya became the sixth Black actor to win Best Supporting Actor at the Academy Awards on Sunday night. Speaking off the cuff, Kaluuya thanked the usual folks and gushed about his collaborators while his mother and sister, both in attendance at LA s Union Station, looked on. As he wound up his acceptance speech with some inspirational words about Fred Hampton, the ico
亚博网址链接 The Directors Guild of America have announced the nominees for the 2019 Directors Guild Awards, honoring outstanding directorial achievements across film and television. There were few surprises in the film categories, as recent Golden Globe winner Alfonso Cuarón, Spike Lee, and Bradley Cooper earned nods for Roma, BlacKkKlansman, and A Star Is Born, respectively. Cooper also scored a nomination in the First-Time Feature Film category, however, alongside Eighth Grade s Bo Burnham and Sorry to Bother You s Boots Riley, among others. In TV, both Atlanta and The Marvelous Mrs. Maisel score multiple nominations in the Comedy Series category, while mainstays like Homeland and The Americans were joined by The Handmaid s Tale, Ozark, and new HBO series Succession. Winners will be announced on Feb. 2 in a ceremony in Hollywood; read through for the full list of nominees below.Feature Film