bob娱乐平台采用百度引擎4（Baidu 9）Wipe your eyes, despairing Spidey-fans: Sony and Disney have pushed through their financing impasse and reached an agreement on the future of Spider-Man.The two companies released a joint statement Friday in which it was announced they will co-produce a third movie in the current Spider-Man franchise – that s the one that kicked off with Homecoming and Far From Home, which has become Sony s highest-grossing movie ever – and Spider-Man would continue his involvement in the MCU.Which is great, given that Far From Home set him up as its future.The third standalone Spider-Man movie will be released July 15, 2021 – in line with the previous two films summer releases.You can read all about the impasse and what it might have meant here. But how did the two sides reach their agreement? According to Variety, the new deal was signed Thursday and negotiations involved all the studio big wigs: Marvel Studios Kevin Feige and Walt Disney Studios President Alan Horn, plus Sony Pictures Chief Tom Rothman. Disney will receive about 25% of the profits from the new film, Variety reports.Read: Your Full List of All Upcoming Marvel Movies – With Key Details!In a statement given to Variety, Feige said: “I am thrilled that Spidey’s journey in the MCU will continue, and I and all of us at Marvel Studios are very excited that we get to keep working on it. Spider-Man is a powerful icon and hero whose story crosses all ages and audiences around the globe. He also happens to be the only hero with the superpower to cross cinematic universes, so as Sony continues to develop their own Spidey-verse you never know what surprises the future might hold.”We Love You 3000 Tom Holland! pic.twitter.com/EeEyXoC3Pw Rotten Tomatoes (@RottenTomatoes) August 25, 2019Amy Pascal, whose Pascal Pictures will also produce the next Spider-Man film, said in a statement given to Variety: “This is terrific. Peter Parker’s story took a dramatic turn in Far From Home and I could not be happier we will all be working together as we see where his journey goes.”What does this all mean for fans? Well, given Feige s track record with the character – he not only co-produced the two recent Certified Fresh Tom Holland live-action films, but worked on Raimi s Spider-Man movies in the 2000s – the news could be cause for celebration.Though it s worth noting that Sony was also poised to do potentially interesting things with the character outside of the MCU: there was the chance of a Venom crossover, and Sony s Oscar-winning animated Into the Spider-Verse film – the best reviewed Spider-Man movie ever at 97% on the Tomatometer – opened up the doors to infinite possibilities.Tom Holland wants to play #SpiderMan for a very, very long time. pic.twitter.com/cKnQIM8BLD Rotten Tomatoes (@RottenTomatoes) July 8, 2019Either way, we re sure Tom Holland is feeling so good today. He told Rotten Tomatoes this year, I honestly would play Spider-Man until I can t walk anymore. Looks like he may just do that.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
One year ago was the last semi-true box office weekend of the pre-pandemic era. Tom Hanks announced he was COVID-positive on March 10, the NBA shut down, and soon theaters were to follow. The weekend was won by Pixar’s Onward for the second straight week, but with a 72.9% drop from its opening, earning only .6 million. New openers that weekend suffered, too: Bloodshot (.17 million), I Still Believe (.10 million), and The Hunt (.3 million), which had once been removed from the schedule indefinitely from the previous September. Bad Boys for Life had already crossed the 0 million line on March 7. Along with Onward (.5 million overall), two other films were destined to be stuck in the million category: The Invisible Man (.91 million) and The Call of the Wild (.34 million). Nearly every theater in the country was shut down by the next weekend.Full List of Box Office Results: March 12-14, 2021 (Photo by © Columbia TriStar Television/ Courtesy: Everett Collection.)It s been 22 years since the final episode of Seinfeld, aptly titled The Finale, first aired on May 14, 1998. It was one of the most highly anticipated hours of television ever broadcast, attracting a record-breaking 76 million viewers. But when all was said and done, the finale drew the ire of fans and critics alike. There was no happy ending here — and television audiences just weren t having it. In the 20-plus years since The Finale aired, the sitcom has evolved in complexity and ambition, and the show s co-creator, Larry David, has pioneered the cringe-comedy genre with Curb Your Enthusiasm. Comedy fans credit Seinfeld as the start of much of that growth – even as they lament the disappointing way the series wrapped up. Now, to celebrate the 22th anniversary of the show s end, we re here to say the finale wasn t all that bad. In fact, hear us out, here: the Seinfeld series finale was actually pretty darn great.In The Finale, Jerry and George (Jason Alexander) receive some fantastic news when their sitcom Jerry — which was shelved five years prior — is given the green light by NBC. To celebrate, the duo, along with Elaine (Julia Louis-Dreyfus) and Kramer (Michael Richards), take the network s private plane on a trip to Paris; of course, they never make it to France. After a Kramer-led mishap, the aircraft is forced to make an emergency landing in the fictional town of Latham, Massachusetts. While waiting for the plane issue to be fixed, the gang goes into town and ends up witnessing a carjacking. Instead of intervening to help the overweight victim (played by late comedian John Pinette), they stand on the sidelines, take a video of the crime on Kramer s camera, and make fat-shaming jokes about the victim, to boot. Minutes later, the group is hauled away to jail for violating the town s new Good Samaritan law, which basically makes it illegal to do nothing when witnessing a fellow citizen in crisis.(Photo by © Columbia TriStar Television/ Courtesy: Everett Collection.)What follows is a highly-publicized court case that puts Jerry, George, Elaine, and Kramer (aka The New York Four ) on trial for their crime. And to fully drive home how guilty the gang is, the prosecuting attorney brings in a load of cameo witnesses from the show s nine-season run, among them: the Soup Nazi (Larry Thomas), Leslie The Low Talker (Wendel Meldrum), Elaine s ex David Puddy (Patrick Warburton), Jerry s ex Sidra Holland (Teri Hatcher), and New York Yankees owner George Steinbrenner (voiced by Larry David). The cavalcade of witnesses gives audiences one last satisfying plot point in each of these characters story arcs, and acts as a hard-to-swallow reminder that the heroes they spent the last nine years with were actually anything but. After years of self-centered behavior, of not caring at all how their actions impacted any, and every, one they came in contact with — from Jerry assaulting and stealing a loaf of rye bread from an elderly woman named Mabel (Frances Bay) to George s deflating Trivial Pursuit mishap with the Bubble Boy — the group is found guilty for violating the Good Samaritan law and are put in jail for a year s time. The final moments find them behind bars, without any show of remorse, continuing their signature meaningless banter, as the camera pans away and eventually fades to black.People were not happy with this choice. Entertainment Weekly called it off-key and bloated, USA Today referred to the episode as dismal, giving it one-and-a-half stars, and Newsday asserted that The Finale was a major comedic disaster. The ninth and final season is Seinfeld s only Rotten season according to the Tomatometer, and the Critics Consensus – which reflects the sentiments of the critics – speaks to fans disappointment in its final flourish: the cynical show about nothing goes out defiantly on its own terms – even if means alienating fans who may have wanted things to end differently. (Photo by Joe Del Valle / ©Castle Rock Entertainment / Courtesy Everett Collection)Those assessments may have been somewhat correct at the time, but hindsight has proven the episode had way more going for it than Larry David walking away into the sunset with his middle finger held high. And it has a lot to do with going out defiantly on its own terms. I think the thing about finales is everybody writes their own finale in their head, whereas if they just tune in during the week to a normal show, they’re surprised by what’s going on, David explained to Grantland about the seemingly-impossible mission of satisfying expectations. They haven’t written it beforehand, they don’t know what the show is. But for a finale, they go, Oh, well this should happen to George, and Jerry and Elaine should get together, and all that. They’ve already written it, and often they’re disappointed, because it’s not what they wrote. Seinfeld changed the sitcom game when it arrived on the TV scene. But the program, which was marketed as the show about nothing, revealed itself over time as something more. It was a show filled with dark humor and bleak topics immersed in the everyday minutiae of city life; it was a program where a self-centered comedian and his privileged friends were unaffected and unchanged by the world around them. Seinfeld wasn t a program about nothing; the series explored the lives of a group of borderline nihilist New Yorkers who learned absolutely nothing and never ever changed, as those around them grew.As part of the plan that Larry David and Jerry Seinfeld put into place, their show, which prompted NBC to build its Must-See TV lineup, was never about teaching life lessons or handing out moral epiphanies. There was absolutely no character growth here. This all makes sense when you remember the two important rules the show s writers had to follow: no hugging and no learning.While the central crew may not have evolved into better people throughout the series nine-year run, the show taught television viewers that comedy could exist in a multitude of lanes. Sitcoms may still operate on the formula of dishing out morals and supplying growth to their lead characters, but there was something a bit too relatable about the way Seinfeld handled its final bow. We see it in the way The Finale depicts the highly-publicized trial as a televised spectacle not that different from the O.J. Simpson court proceedings that kicked off the Court TV trend just five years prior. The inclusion of the Johnnie Cochran–esque lawyer, Jackie Chiles (Phil Morris), and Geraldo Rivera as himself, commentating on the event, really helped bring to life the ridiculousness of the media circus. Did Seinfeld stay true to its formula through its nine-season duration? Maybe. When you view the series as the completely character-driven story that it was, then that changes things. Without each and every quirky role introduced on the series — and the endless supply of quotable lines the show birthed into the pop-culture vernacular — Seinfeld wouldn t have been such a success. And given that this was a show inspired by Jerry Seinfeld s life as a comedian, where his stand-up routines so famously picked apart the mundane details of everyday life, the lack of interest in digging under the surface and figuring out how any of these people tick makes even more sense. Remember: No hugging and no learning.According to Grantland, David was not interested in an emotional ride, and neither was Jerry. The show maintained protocol from episode one. Yearning for some sort of epiphany that would ve wrapped things up in a happily-ever-after bow is understandable, but that was never part of the plan. Jerry s postal-worker nemesis and neighbor Newman (Wayne Knight), who gets some oddball justice in the finale after his request to join the gang on their trip to Paris is turned down, ends up foreshadowing the events that transpire. In typical Newman fashion, he passionately delivers a vengeful, Pulp Fiction–style tirade: “Hear me and hear me well. The day will come. Oh yes, mark my words, Seinfeld — your day of reckoning is coming. When an evil wind will blow through your little play world, and wipe that smug smile off your face. And I’ll be there, in all my glory, watching – watching as it all comes crumbling down.” Jerry s smile may not have been ultimately wiped from his face — we see him doing stand-up in prison as the credits roll — but he, along with George, Elaine, and Kramer, do end up actually learning that there s a limit to bad behavior, even for these four.And so do we.As the guilty verdict is read, and the sentence is handed down, Judge Arthur Vandelay (Stanley Anderson) eloquently puts their crimes against humanity into perspective: Your callous indifference and utter disregard for everything that is good and decent has rocked the very foundations upon which our society is built. In today s fast-moving disconnected age of social media and fake news, the impact of these words have only grown in relevancy. Who knew at the end of the day, that this show about nothing would actually have something important to say? The writers may have honored the no hugging rule, but when all was said and done, there was a bit of a lesson to be had after all. The series finale of Seinfeld, The Finale, first aired on NBC on May 14, 1998.
说到三件套，手游的装备系统也简化了不少。装备栏共有5个被动装备和1个主动装备。通过购买鞋子并升级，可以获得中娅沙漏等主动技能。不过，并不是所有的装备主动技能都合并到鞋子上，像幽梦之魂这件装备，主动技能改为了被动触发，小手玩家直呼内行。bob娱乐平台æ¸¸æä¸ä½ å°åèº«ä¸ºåå£«å»ææå¤§éçï¼æ¸¸ææä½ç®åï¼è¿èåäºç»å ¸çä¸æ¶ç©æ³ï¼æå ´è¶£çç©å®¶èµ¶å¿«æ¥ä¸è½½ä½éªå§ï¼åè æç¹å¤ªå£å¼ gæ éä½åçä»ç»ç©å®¶å¨è¿æ¬¾æ¸¸æä¸æ®æ¼çè§è²å¹¶ä¸æ¯ä»£è¡¨æ£ä¹çåè ï¼èæ¯éªæ¶çé
4. 呼朋唤友 随心所欲
Alice Eve is a portrait of a lady playing with fire as married Susan Trenchard flirting with duplicitous bachelor John Bellasis (Adam James) in this exclusive look at the third episode of Belgravia. Julian Fellowes’ TV follow-up to Downton Abbey is based on his book of the same name about 19th century London society confronting the upward mobility of the nouveau riche.In episode 3, Reverend Stephen Bellasis (James Fleet) is forced to reveal the depths of his financial problems, causing his son John to set his manipulative sights on Charles Pope (newcomer Jack Bardoe) and Caroline, , Countess of Brockenhurst (Harriet Walter) as a way to make money; meanwhile, Susan isn’t shy about exploiting the Trenchards’ new social circle.About the show: Belgravia is a story of secrets and scandals amongst the upper echelon of London society in the 19th century. When the Trenchards accept an invitation to the now legendary ball hosted by the Duchess of Richmond on the fateful eve of the Battle of Waterloo, it sets in motion a series of events that will have consequences for decades to come as secrets unravel behind the porticoed doors of London s grandest neighborhoods.The limited series reunites Downton Abbey’s award-winning creative team; with Fellowes adapting his bestselling novel for the screen and Carnival’s Gareth Neame and Nigel Marchant executive producing alongside Liz Trubridge and Fellowes. John Alexander (Sense Sensibility, Trust Me) will direct all episodes with Colin Wratten (Killing Eve) producing.In addition to Eve (She’s Out Of My League), Walter (The Crown), Fleet (Four Weddings and a Funeral), James (Band of Brothers), and Bardoe (in his television debut), Belgravia’s cast includes Tamsin Greig (Episodes), Philip Glenister (Mad Dogs), Tara Fitzgerald (Game of Thrones), Ella Purnell (Miss Peregrine’s Home For Peculiar Children), Richard Goulding (The Windsors), Tom Wilkinson (Michael Clayton), Diana Hardcastle (Best Exotic Marigold Hotel), Paul Ritter (Chernobyl), and Saskia Reeves (Luther).Belgravia airs Sundays at 9/8c on Epix.
5. HD 画质与高品质音讯
(Photo by Zade Rosenthal/Walt Disney Studios Motion Pictures)All Jeremy Renner Movies RankedJeremy Renner got his worst movie out of the way early with National Lampoon s Senior Trip, his feature debut which notched an impressive 0% in 1995. Renner essentially vanished from the big screen for years, notably returning in 2002 as the title Jeffrey in the Dahmer biopic. Obviously, this was going to be one dynamic, unpredictable movie career.He s since done well in Certified Fresh efforts like Arrival, The Town, and The Hurt Locker which got him a Best Actor Oscar nom. Renner was also for a time the guy you apparently hired when you re trying to figure out how to extend the life of your franchise. Think Bourne Legacy, which he starred in before Matt Damon decided to return to the spy series. Or how about Mission: Impossible Ghost Protocol, where he was obviously being groomed to take over for Ethan Hunt, until Tom Cruise and Christopher McQuarrie decided to throw the series into overdrive with Rogue Nation and Fallout.Even his Hawkeye in the Marvel Cinematic Universe has had a strange trajectory, like an arrow curving around in the wind. It started with an odd cameo in Thor, being brainwashed in the first Avengers, and becoming quip-master general in Age of Ultron. And in case you thought he was under-appreciated, his absence from Infinity War led to half the life in the universe whipped to dust. Of course, everything got all wrapped up in Endgame, so now we re ranking the best Jeremy Renner movies (and the worst) by Tomatometer!
(Photo by Jesse Grant/Getty Images)Every casting in the MCU has made headlines, from the inspired albeit unconventional casting of Robert Downey Jr. in Iron Man to the moments-before-San-Diego-Comic-Con casting of Simu Liu in Shang-Chi. Just about everyone has had an opinion on who should play these iconic comic book characters on screen, and they ve been debated, scrutinized, and celebrated in every corner of the internet. But it may surprise some to learn these difficult choices have all rested in the hands of one woman. Over the course of 12 years, 24 films, and hundreds of roles, casting director Sarah Halley Finn has been the unseen force pumping the lifeblood directly into the heart of the MCU. Today, it may seem like a no-brainer now to cast RDJ as Tony Stark or Chris Pratt as Star-Lord, but in the early days, neither name was at the top of the Marvel wish list. It was thanks to Halley Finn s foresight and persistence that both actors were paired with their roles, but the MCU s lead casting director insists her efforts are a collaborative process. Casting over 1,000 roles has allowed Finn to accumulate a few stories of near-castings and tales of actors who took a little more convincing to say yes, some of which she shared with us when we chatted with her a few weeks ago. Read on for our extended conversation with Sarah Halley Finn, in which she chats about casting not only RDJ and Pratt, but also some yet-to-be-cast actors she hopes to add to the ever-growing universe. Iron Man: He wasn t exactly known as an action hero. (Photo by Marvel Studios) The casting is always this collaborative process with the director and the writers and the producers, each trying to find the absolutely perfect embodiment of this character. And as we were working on Iron Man for a couple of months, we were really talking about a lot of different people that could play the part. But we kept coming back to Downey. Of course, everything you see onscreen is the reason why we kept thinking about him. And ultimately, because it wasn t a slam dunk at the time he tested for it. He had been known for Oscar-nominated work. He was an incredible actor. He wasn t exactly known as an action hero. This was a very different kind of role, and he hadn t been doing the same work for a few years, so he was willing to screen test. And that was the proposal that we made to our people as a way to just find out if it was really the way to go for the character. So because he agreed to screen test, we worked on it fast, and really, he came onto the soundstage in high spirits. I remember walking him in and I remember it so crystal clear he came in high spirits. He knew what he wanted to do. I think he felt good, and I think as soon as he said the words, we all knew we had arrived. Captain America: No one else could play Steve Rogers except him. (Photo by Marvel Studios) After Chris Evans turned us down, I think it was the creatives who made that happen. It s Kevin Feige, it s Joe [Johnston]. It was really about helping him understand that there is an exciting character to play. It was not just an idea. He might have had a thought of what this means in the comic book universe but not what ideas it was about. But I know he also considered what this represented for his life and all those kinds of considerations you re aware of that and what he was weighing at the time. But it was really the creative engagement detailing about how he was the perfect person to bring this character to life, how no one else could play Steve Rogers except him and why, and what qualities he had that were perfect for it. And then they got creatively engaged to the point where it s harder to say no. Hulk: I had worked with Mark off-Broadway in New York, and it was really exciting when he jumped in. (Photo by Marvel Studios) Hulk was already in production when I came onto Iron Man, so I was not involved in casting [Edward Norton], and I think for whatever reasons, [Norton] was not involved when I was doing Avengers. So again, it was talking to Joss [Whedon], talking to Kevin, my team. How do we see this character now? What are his qualities? What are we looking for? Who is the best person to bring him to life? I had worked with Mark forever ago, off-Broadway in New York, and I had known him for a long, long time. And it was really exciting when he jumped in, and jumped in quickly. He was cast right before San Diego Comic-Con correct? Yes, but there are hours and hours of stories for every single person, and that happens with more people than you might think, because one of the things is these actors aren t just sent a script. It s not like they re just sent a script that they can say yes or no to it. The scripts are secret. They re confidential. They get hand-delivered with a security guard and they re waiting in the car while you read. It s really sometimes a long process and of engagement with the creatives, with the director, and with Kevin [Feige], to help people understand the world. Maybe there s some artwork, maybe there are some examples of things that can get them to understand what they re going to be playing, but it s not always as easy as it might seem. Thor: Yes, both Liam and Chris Hemsworth read and were the loveliest guys. (Photo by Marvel Studios) It took months. In truth, I have not slept in 10 years. Are you kidding? [Laughs] Yes, both [Liam and Chris Hemsworth] read and were the loveliest guys. But for Thor, Liam was young. He was so young at the time, and it was a long process, and hopefully, we ve gotten it right. But we ve got Liam in our sights. We ll find something for him. [Laughs] It seems like there was no one else to play that part now, but when we were approaching Thor with Kenneth Branagh, we knew this guy had to be part Shakespearean. Asgard had to exist in a complete otherworld and yet be utterly relatable and human. And that was a very difficult combination. And the material we were using for auditions, was a Shakespeare scene. So it took some callbacks, and some work, to really feel like we had arrived there. And then Thor changed entirely with Thor: Ragnorok. Yeah, it s amazing and it s really gratifying for me, because I think another hope when we re casting these roles is that we re going to find actors who have the range to go a really long distance. And I think when Chris Hemsworth broke, we knew he was a movie star, but I don t think people saw in him the performance he just gave in Thor: Ragnarok and Endgame. To see him make that leap to comedy and the way the audiences responded to him, it was so exciting. It s like an actor you know, and yet, you re discovering him in completely a new way, and really fun to be able to surround him with interesting characters like Korg and all the other characters that you see him interact with. Star-Lord: We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms. (Photo by Marvel Studios) Actually [Chris Pratt] came up after he read because there were a lot of things we were trying to accomplish. We really want this to be perfect. We wanted it to be perfect for us, and a movie for the fans, and it was a long search on Guardians of the Galaxy. It doesn t seem like a difficult role, but it s a difficult role. He s heroic, but he s a bit childish. He comes into his own. He s very funny, and he also has this deep issue that he struggles with abandonment from his father and his childhood so there s a lot of layers that go in. We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms; and could bring all of the dimensions of the character to life. Chris was known for comedy; he wasn t necessarily known as heroic. He also wasn t known as an action guy. Chris had done another audition for me for another Marvel film, and I had seen those kinds of heroic noble qualities in him, and I knew he had the comedy. And I had seen Zero Dark Thirty and Moneyball, so I knew he could bring the action element to the role.And so, I kept bringing it up to James, to the point where James I read in a print [magazine] called me annoying and didn t really see him for the role. He claims that I tricked him. I don t really remember it that way. [Laughs] It just so happened that Pratt was coming to read and James was there at the same time. So, yeah. [Laughs] Well, the one thing I will say, what s great about James is that he was very public on the press tour to be like, No, this is Sarah. I didn t see it, but I m so glad she made me do it. That s also great about working with him. It was very generous of him to be as open as he was about the process. And frankly, we had a lot of humor and that kind of camaraderie throughout the casting process. It really helped, and it helped him work with Chris. It helped Dave Bautista, who hadn t had a lot of acting roles, feel comfortable. And I think that his energy, his humor, his compassion, as an artist and as a director, was infused throughout the whole production. I think you can feel that in all the performances. The Guardians: Ensemble casting takes a lot of thought and a lot of work, and we test things out. (Photo by Marvel Studios) By the way, ensemble casting takes a lot of thought and a lot of work, and we test things out, you know? Once we cast Chris [Pratt], we were able to think about the qualities that he brought to the role, and then how to juxtapose that and how to support that in different ways to make the film interesting. So with [Dave Bautista], we knew that their chemistry was going to be really important, for Drax and Star-Lord to have something. And again, we did some mix and matches. We tried different ideas, but Dave and Chris really clicked. And so, it was being able to see that. And then, conversely, with Zoe [Saldana], we knew we really wanted somebody strong who was going to go up against him and give him a run for his money in a certain way, and she really brought that. And that s the process with any group casting. Rocket: You need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. (Photo by Marvel Studios) I approach voice actors the same exact way I approach the onscreen characters. I think that you need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. There s incredible pathos he brings, and he s damaged and wounded. And yet, you want to care for him, and you want to love him, and you want to laugh with him. And I think the audience got completely behind him. Basically, when we started thinking about the character, we re looking for the essential qualities. Who do we want to convey this emotion? How does the director want that character to come to life? So with Rocket, we had a very good idea of what James wanted, but we went through over a hundred voices, probably more. And that s my team, which is amazing, and taking James thoughts and notes. And we asked the other departments to give us any visual aids we could start pairing and mixing and matching a wide range of vocal qualities, of temperaments, of cadence, to try to see what would and all that comes together for how we could best personify that role. Spider-Man: The search went on for over a year just to cast that one role. (Photo by Chuck Zlotnick/Columbia Pictures) Can I talk about that? [Laughs] Those guys Asa Butterfield, Timothée Chalamet, and even Tom Holland have been really open about discussing it. Yeah, well they re all amazingly talented actors. I can say that much. They re all amazingly talented actors, but again, it was a role that we were trying to combine very specific elements and a range of qualities. So, for various reasons, I think the search went on for over a year just to cast that one role. And I think they ve all gone on and done great, and I think Tom has really done right by the character. The Villains: Michael B. Jordan s role was so poignant. (Photo by Matt Kennedy /© Marvel / © Walt Disney Studios Motion Pictures) I don t think we necessarily approached casting a villain in a different way from casting anybody else. You re still going, What are the essential qualities we re looking for and who s the best person to bring that to life? And in Black Panther, Michael B. Jordan s role was so poignant. It captured everything we hoped to do, which is create a multi-dimensional character who is not one-sided and who audiences can understand even if they re doing bad things. New Faces in the MCU: We can look anywhere. Marvel is so open. (Photo by Courtesy @DisneyStudios Twitter) It gives me so much energy to see more [diversity] in the MCU, and I m so excited to go into work every day, because I feel like there are no limits. We can look anywhere. Marvel is so open. It s a new day, and really, we are going to try anything. We have a deaf actress, Lauren Ridloff, who joined The Eternals, and right now we re looking for an 18-year-old Muslim-Pakistani female. It is beyond exciting. Casting Disney+: We re really approaching the streaming shows like movies. Yeah, it s very early but we re really approaching the streaming shows like movies. They re going to be very satisfying, I hope. We re really not looking at them any differently. They re incredible storytelling. We have incredible writers. We re putting together incredible casts, incredible directors. Very ambitious visions for these shows and the present a lot of new challenges but I m really excited. Casting Oscar Winners: They re able to stretch and do something that might be completely different. (Photo by Chuck Zlotnick ©Marvel Studios 2019) When I first came to the MCU and I was working on Iron Man, I was walking down the hall and somebody was making fun of me and saying, Oh, what, are we just going to have all Academy Award winners and nominees in the film? And I had a moment of panic thinking, Oh, my God, I m going to make the most boring superhero ever. What s it going to be? Nobody s going to relate to it. But [knocks wood] it s worked out well, and I think for these actors, there s a lot to play. There s a huge range to a lot of these characters, and sometimes it s just something really different. Look at what Cate Blanchett did in Thor: Ragnarok. It was fantastic. But Kevin and the mindset at Marvel is very collaborative. It s collaborative with the directors, it s collaborating with the actors. Creatively, they re all able to play in the sandbox. They re able to stretch and do something that might be completely different. So for someone like Brie Larson, yes, it s a leap to go from Room to Captain Marvel, but the way she embraced that character was complete, you know? She did the physical training. She researched it, she dug in with the directors and wanted to find out how to create this character in the way that I think actors approach in a role. So yeah, it was the whole process for her and for every actor to who takes on one of these roles. A Wish List for The Female Avengers? I don t know. I don t know if I can give you a few? I ve got a hundred. But I don t feel like I can No, I can t. I can t say. It s like asking me to pick my favorite kid. I can t do it. But hit me back after [Phase Five], maybe. Then I can tell you. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by HBO)HBO’s fantasy epic Game of Thrones ended on Sunday night with a finale that tied together many loose ends – we now know the fate of doltish Edmure Tully, for instance – and left many still hanging.One thing we learned is that in this world of Ice and Fire, a dragon is not a beast, but a passionate, intelligent participant in the world around him. Drogon chose not to burn Jon Snow, despite the fact that he killed its mother. Book readers will love that touch.The critics are still weighing in with their verdict on “The Iron Throne,” but an early count of reviews, shows them split roughly down the middle, which gave the series finale an early Rotten score. (We should know in the next 24 hours where the score will settle.)Until then, let’s look at some of the biggest moments of the episode.1. Tyrion Digs Out Cersei and Jaime(Photo by HBO)Despite actress Lena Headey’s Instagram goodbye last week, we were unable to believe Cersei and Jaime were dead until Tyrion dug them out of the rubble on Sunday night.The dead lovers are entwined and still beautiful in death. Considering that they were crushed by the Red Keep, that is something.2. Daenerys “Break the Wheel” Speech(Photo by HBO)It just got all Hunger Games up in here. The scene has a fascist aesthetic – very Triumph of the Will, the 1935 Nazi propaganda film directed by Leni Riefenstahl. Or – another way of looking at it – like any Star Wars Stormtrooper assembly ever.The Mother of Dragons first thanks her Dothraki bloodriders for defeating the men in the iron suits, tearing down their stone houses, and delivering the Seven Kingdoms to her. She names Grey Worm the Master of War.(Photo by HBO)She addresses the Unsullied in Old Valyrian, congratulating them on being “liberators.” One person in the audience who may understand her is Arya, and she does not look happy.Tyrion sidles up to Daenerys, who accuses him of treason. He throws down his Hand of the Queen pin, and she promptly has him detained.Arya sneaks up on Jon: “You’ll always be a threat to her. I know a killer when I see one.”3. Tyrion and Jon Come to an Undertanding(Photo by Helen Sloan/HBO)Tyrion argues that Daenerys has gone beyond her initial purpose, now intending to recut the world under her rule.“Love is more powerful than reason,” Tyrion says.“Love is the death of duty,” Jon says, quoting Maester Aemon.“You are the shield that guards the realms of men,” Tyrion reminds Jon. “Who is the greatest threat to the people now? … Do you think I’m the last man she’ll execute? Who is more dangerous than the rightful heir to the Iron Throne?”The clincher? Tyrion reminds Jon that Sansa and Arya won’t bend the knee.4. Jon Kills Daenerys(Photo by Helen Sloan/HBO)First, Drogon emerging from under a pile of ash to greet/inspect Jon was spectacular – the effects are, of course, perfect this episode.Daenerys lives the moment she dreamed about: her death.Jon begs for mercy for Tyrion and the people who followed Cersei, but Daenerys refuses, painting a picture of an entirely new world order: “I know what is good. And so do you.”He does.(Photo by HBO)After her pitch/proposal, she and Jon kiss.“You are my queen – now and always,” he says, as he stabs her.Be comforted: Drogo and Daenerys’ son are waiting for her.5. Drogon Melts the Iron Throne(Photo by HBO)Drogon senses something is amiss and touches down behind Jon. The dragon grieving for his mother is both fearsome and moving. At his full height, he resembles Maleficent in Disney classic Sleeping Beauty.After seriously threatening Jon, Drogon melts the Iron Throne, picks up Daenerys, and flies away. We’re hoping not to a red priestess of R hllor for some resurrection ritual.6. “All hail Bran the Broken, First of his Name, King of the Andals and the First Men, Lord of the Six Kingdoms and Protector of the Realm”(Photo by Macall B. Polay/HBO)Grey Worm brings prisoner Tyrion before a council of lords and ladies of the realm. Among them: Samwell Tarly; Lord Edmure Tully; Arya, Bran, and Sansa Stark; Brienne of Tarth; Ser Davos Seaworth; Gendry Baratheon, apparently still Lord of Storm’s End; Yara Greyjoy; a Dornish lord; inexplicably hot Robin Arryn, lord of the Eyrie; and Lord Arryn s bannerman Lord Yohn Royce.They are here to decide the fate of Tyrion, Jon Snow, and the realm overall. Davos offers Grey Worm the Reach (Highgarden, former home of the Tyrells), but Grey Worm is being stubborn and just wants “justice.”Arya almost steals the scene entirely, threatening to cut Yara’s throat for suggesting that Jon should die.(Photo by Macall B. Polay/HBO)Tyrion argues that the gathering should choose a new king to decide everyone’s fate. Looks like Edmure returned simply to make an ass of himself again, but Sansa stops him before he finishes nominating himself for king. Sam suggests an open election and is laughed back into his seat.Tyrion denies that he wants the throne and suggests “Bran the Broken” – and so it is. When Sansa notes that Bran can’t have children, Tyrion says it’s for the best.“That is the wheel the queen wanted to break. From now on rulers will not be born. They will be chosen – on this spot – by the lords and ladies of Westeros to serve the realm,” Tyrion suggests.Sansa breaks the North off to be an independent kingdom. Because: Sansa.Bran names Tyrion his Hand.7. Closure(Photo by Helen Sloan/HBO)Tyrion informs Jon that his cousin has ordered him back to the Night’s Watch. Grim, but not death.Grey Worm heads for Naath; presumably, he and the Unsullied will protect the people who cannot protect themselves.(Photo by Helen Sloan/HBO)“What’s west of Westeros? No one knows. That’s where all the maps stop. That’s where I’m going,” a remarkably emotional Arya informs her family while saying goodbye to Jon.Brienne becomes Lord Commander of the Kingsguard and fills in Jaime Lannister’s pages with brave deeds.(Photo by Helen Sloan/HBO)Bran the Broken s small council includes Ser Davos (Master of Ships), Ser Bronn (Master of Coin – this is another bad idea, Tyrion), and Grandmaester Tarly. Bran notes that they’re missing a master of whisperers, a master of law, and a master of war. While Tyrion addresses
Could music icon David Bowie have experienced the same level of fame in the England portrayed in Epix drama Pennyworth? Creator Bruno Heller and executive producer Danny Cannon doubt it.“I think he would be allowed to release that awful first album with ‘Laughing Gnome’ and all that,” Heller told Rotten Tomatoes when we talked to him, Cannon, and cast members recently. “He never would ve met Mick Ronson, and he d still be floating about singing about elves.”Considering the program’s use of anachronistic music – like The Clash and Roxy Music – the disappearance of Bowie from the cultural scene may be the clearest indication of Pennyworth’s nightmare world. It is easy to image Lord Harwood’s (Jason Flemyng) vision of England has little room for him.“I think David Bowie would probably be put into stocks and have vegetables thrown at him,” Cannon added.(Photo by Epix)Despite the easy jokes about making a show centered on Batman’s butler, Pennyworth distinguished itself by re-framing the adventures of Alfred Pennyworth (Jack Bannon), Thomas Wayne (Ben Aldridge), and Martha Kane (Emma Paetz) against the style of the early 1960s and a thought experiment in which the English Civil War did not occur until the time of Queen Elizabeth II. The result was an unexpectedly satisfying debut season and an order for more episodes on EPIX.When the program returns for season 2, one year has passed since Alfie, Thomas, and Martha stopped Harwood’s coup and rescued the Queen. It has also been one year since Alfred killed his father during the senior Pennyworth s attempt to bomb the entire British aristocracy out of existence. In the ensuing chaos, Harwood, Bet Sykes (Paloma Faith), and her sister Peg (Polly Walker) escaped the Tower of London with Harwood resuming his attempt to take over the country. He may not have claimed the title of Lord Protector just yet, but with London, Manchester, and a few other smaller towns resisting his authority, the situation is pretty dicey.(Photo by Epix)Meanwhile, Alfie has worked his way into running a nightclub.“He s taken it over from a good friend of his, Bannon explained. But really his main focus is to save up some money and get out of [England].”The work keeps him busy and away from thoughts about his father. But considering he comes from a generation expected to just carry on through traumatic stress, Alfie’s nightmares linger, and Bannon doubts he’ll ever find help for his various issues.“I think it would be something perhaps that he should look into,” he joked. “I m sure if he lived nowadays in the modern world, he would look into it. Last year, it was something he was experiencing very much on his own and this year people are noticing perhaps that Maybe not that he s unraveling, but there are cracks appearing.”The nightclub itself serves as a glamorous respite from the battles on the front line and another example of that British resiliency.“We wanted London to reflect not just being at war, but the way that they could still celebrate and party in terrible circumstances, which is very British,” Cannon explained.Bannon was, nonetheless, surprised when he arrived on set and saw how swanky the club turned out to be. Expecting a more rundown nightspot, he said, “Mark Scruton, our production designer, had got carried away basically and built this enormous club that was decadent and wonderful and brilliant.”As one of the few new marquee sets, it stands out almost immediately. But the club, and the trouble Alfie gets into in the early part of the season, reflects a tougher challenge ahead — getting his mother to immigrate with him.“She s got to come with him to America,” Bannon said. “I don t think he would leave her behind. The problem is convincing her that America is a good idea. That s the hard bit for him.”(Photo by Epix)Also, for fans of Sandra (Harriet Slater), Bannon thinks Alfie loves her “in his own way,” but it may lead to other conflicts in the future— especially as Esme (Emma Corrin) is still the love of his life.The deteriorating situation in England brings Thomas back to the realm. Now appointed the British station chief for the CIA, his assignment comes with an unspoken directive: the U.S. may be willing to back Harwood over the Queen if the tide of war turns in his favor.“[Thomas s] initial intentions of working with the CIA were for reasons that he believed in,” Aldridge said. “I think he s gone on this journey [and] ending up incredibly cynical and detached from his work.”It makes for a more conflicted Thomas than we’ve seen so far. Nonetheless, Thomas continues to exhibit a boyish nature Aldridge believes only comes out around Martha.(Photo by Epix)“He s trying to do a very good job of playing an adult — I think he was even trying to play kind of older and more responsible than he is — but I think around her, there s kind of an honesty switch that happens. He s less able to bullshit her,” he said.There’s also the possibility that the way he presents himself is all a cover for the beast Crowley (Jonjo O Neill) discovered within him.But Aldridge suggested the beast is more an echo of his son, saying, “I love that was brought into it, and the idea was that it s something that he shares with Bruce.”That said, working for the Company in his new capacity may force Thomas s beast to reappear.Fighting the good fight all this time, though, is Martha. In the wake of the season 1 bombing, she continued to ally herself with the remnants of the No Name League and the Queen’s loyalist coalition.“She s kind of willing to sacrifice anything for that, almost to like a selfish degree,” Paetz said.(Photo by Epix)It means she spends plenty of time on the front lines. and it quickly becomes clear she likes the thrill of it all. Which leads to one question about future events: Will she be able to let that go some day to settle down in Gotham?“I don t think that she can really, entirely, now,” Paetz said. “It brings up questions like, ‘What does it mean to be a vigilante?’ [and] ‘Do you feel like you re doing something for the good of everyone, or actually, is it satisfying something in you, because it feels good for you to do it?’ In theory, she’s fighting a very noble cause that she does believe in, but it really satiates something in her that doesn t really have anything to do with the cause itself.”Martha’s thirst for adventure and justice in the series represents one of the largest expansions of the character in any medium. A happy addition, to be sure, even if it seems at odds with Batman’s memories of her.Although, it is always possible Bruce just doesn’t acknowledge the lives his parents led.“A lot of people say to Ben and I, ‘Oh, there s like this kind of almost stoic archetype that Thomas and Martha fall into, as his parents, how was it stepping into those roles?’ But I think that, to me, a lot of that seems like it s centered around Batman in the comics,” Paetz said. “Thomas and Martha are [the memory] of someone whose parents had died tragically young, [and] is their idea of who they might ve been — airbrushed and edited out and idealized, more than they actually were.”If that is the case, it allows for Batman’s eventual parents to become more fully realized here than ever before.(Photo by Epix)A handful of new faces will also be joining the show, including Simon Manyonda as Lucius Fox, Jessica De Gouw as Melanie — described by Heller as a “dangerous character. The more you re attracted to her, the more dangerous she becomes.” — and James Purefoy as Alfie’s old commanding officer, Captain Gulliver Troy. He also happens to be Melanie’s husband, which will add another layer of danger to Alfie’s interactions with her.But the first fresh face viewers will meet is Salt, a high value target to the Queen s league played by Edward Hogg. Though unassuming in his first few scenes, Heller noted “authoritarians come in all shapes and sizes” when asked about the character.“Everyone dismisses [someone like Salt] as too low class, too provincial, too vulgar, not a heroic enough a character. Those people can, especially in times of change, in times of conflict, push their way to the front,” Heller said.The producer noted Hogg plays both “the very real, serious threat” hidden in the character and “an amount of pantomime villainy” necessary in a show sharing its ancestry with Gotham.(Photo by Epix)And much like Harwood, Salt represents part of the rising tide of fascism within the series’ antagonists. To Heller, fascism is a tough opponent to crack as it is seductive — “What man has not pictured himself in knee-high leather boots?” he joked — and noted even Batman exhibits certain fascistic tendencies in his war on crime.“He doesn t form a political party. He doesn t make it political. He makes it personal,” Heller explained. “If you think the solution [to Gotham’s problems] is destruction, that s sort of fascism. That s the essence of it. Batman is precisely struggling with Christian charity and the old eye-for-an-eye stuff.”Paetz, meanwhile, hopes the tide of authoritarianism can subside.“Can anyone be inherently evil and therefore, will evil manifest itself in fascist forms of government throughout history? I hope the answer is no,” she said. “That people are not inherently evil, there is good, and we can nurture and fight our way out of this.”Bannon joked: “Bruno keeps writing things that keep happening in real life and we keep begging him, ‘just write a nice world where everyone gets on and it s all fine,’ but he keeps telling us that s not very interesting for a TV show.”Heller’s writing also makes the cast apprehensive about what they may find if the show ever moves to Gotham City. Paetz would like to see a kitschy America where “everybody is served by movie star.”(Photo by Epix)Aldridge admitted he wouldn t want to see the myth of America dispelled, even if it seems at odds with the U.S. that Thomas actually knows.“Whenever Thomas references Gotham, he says that it s complete chaos on the streets,” he said.Bannon, meanwhile, said, “I ve stopped trying to guess things with Pennyworth because I always get them wrong, or anything I guess is by no means as exciting as what Bruno comes up with. So who knows? I mean, I dread to think.”Thanks to the COVID-19 pandemic, EPIX will run four episodes across the next month. The final six episodes of season 2, which will feature the arrival of Batman’s ally Lucius Fox in larger role, will air later in 2021.Pennyworth season 2 premieres on Sunday, December 13 on Epix.On an Apple device? Follow Rotten Tomatoes on Apple News.
Daniel Radcliffe may never in his lifetime escape questions about his most-famous role: Harry Potter. Fortunately, the star doesn t mind fielding fan queries, including those from Potterhead colleagues and the occasional journalist.Radcliffe s Miracle Workers costar Karan Soni, who plays Sanjay, was the biggest Potterhead on the cast, Radcliffe revealed, and he was happy to indulge Soni.“I think there’s like an expectation that I will hate talking about it, which I really don’t particularly,” Radcliffe told Rotten Tomatoes.Radcliffe now stars in surreal TBS comedy Miracle Workers, which presents Heaven, Inc. as a regular office grind where employees try to answer prayers every day. God (Steve Buscemi) is over it and decides one day that he’s going to blow up the Earth.(Photo by Curtis Baker/TBS)Angels Craig (Radcliffe) and Eliza (Geraldine Viswanathan) convince God to give them a chance to prove humans are worth preserving. If they can perform one miracle in two weeks, God will let the Earth live. The prayer they’ve chosen to answer: Help Sam (Jon Bass) and Laura (Sasha Compere) fall in love.The angels can’t directly interfere with Sam and Laura. They can just set things up and hope they work. It’s like a game of Sims with real people.“They’re a lot more caring with them than I was with my Sims,” Radcliffe said. “I killed my Sims accidentally. I put the fridge the wrong way around and didn’t realize.”Viswanathan confessed to even more sadistic Sim abuse.“I used to take the ladder out of the pool and just watch them suffer,” she said of her Sims abuse, which shocked her costar.“That’s you killing them!” Radcliffe objected. “I accidentally made my guy die. That’s a murder.”(Photo by Curtis Baker/TBS)Heaven, Inc.’s interference on the show also has collateral damage. Obstacles they throw in Sam and Laura’s path may have deadlier impacts on completely innocent bystanders.“It does, but it is all for the goal of saving the entire world,” Radcliffe said in defense of the angels. “We’re in a world where virtually anything can be justified in order to save the existence of the species as a whole.”Miracle Workers is a dark comedy that way, but it’s ultimately optimistic.“There’s a through-line of hope even when it’s really messed up and extremely dark,” Viswanathan said. “They’re just sticking together and believing in something and going for it. That’s very much the ethos of the show.”(Photo by Curtis Baker/TBS)Miracle Workers showcases Radcliffe’s comedic side. He has had funny cameos in films like Trainwreck and shows like Bojack Horseman, and he even played a farting corpse in 2016 film Swiss Army Man opposite Paul Dano.“I’ve always loved doing comedy,” Radcliffe said. “I think I’ve done a fair amount that certain people have seen. Swiss Army Man is a fairly niche film. The stage shows I’ve done have actually mostly been comedy in some way. I love it. It’s a very lovely thing, particularly on a set like this where you just have to go to set and try and be stupid every day and make people laugh.”And Miracle Workers can be gloriously stupid. One joke is just about how to pronounce “gyro.” Most foodies know it sounds like “yee-ro,” not like a gyroscope.“I thought it was ‘gyro’ as well, but my girlfriend — near where Erin grew up is a huge Middle Eastern community — and she was like, ‘No, it’s yee-ro,” Radcliffe said.(Photo by Curtis Baker/TBS)If Miracle Workers is a hit, there will be a second season, but it won’t be about the same angels. Creator Simon Rich’s plan is to make Miracle Workers an anthology series.“The idea would be to reset it in a different time, place, characters — sort of to do for comedy what American Horror Story is for horror,” Radcliffe said. “Once you’ve saved the world, it’s hard to find where to go from there for the second series, I think.”Whether or not that means season 1 ends with a miracle or we all die, it will be a definitive ending.“The opportunity TBS gave him to do was to do a totally self-contained season so you didn’t have to, as a writer, write an open-ended ending which may or may not go onto something in season 2,” Radcliffe said of Rich s deal. “Essentially they let us make a three-hour film with commercials.”(Photo by Curtis Baker/TBS)Returning to our Potter obsession (and Radcliffe s patient accommodation), we related that when his Potter costar Rupert Grint spoke to us for Snatch season 2, he said it was weird for him to watch another actor play Ron Weasley in the play Harry Potter and the Cursed Child. Radcliffe hasn’t seen the play yet, but not because of another actor playing Harry.“I think I would find it weirder just sitting in the audience and know that people were probably looking at what my reaction to the thing was,” Radcliffe said. “That’s kind of the reason I haven’t gone.”It’s hard to believe that it has been eight years since Harry Potter and the Deathly Hallows Part 2. Radcliffe has had a whole career since then, but he’ll always be Harry Potter.“It’s still a big part of my life, but I’ve gotten to go on and do loads of other things,” Radcliffe said. “I’m very happy with how it’s all gone. If you told me at the time that I was going to be sitting here eight years later talking about this amazing, weird series that I love, I’d be very, very happy with that sort of thing.”Most actors don’t get one or the other. Radcliffe considers himself blessed to have both.“I don’t think the idea of me always being known as Harry Potter and the idea of me just being an actor who does lots of stuff are mutually exclusive,” Radcliffe said. “I think they can both be true. So far they have been so fingers crossed.”Miracle Workers premieres Tuesday, February 12 at 10:30 p.m. on TBS. The premiere is available for viewing now at TBS.com.
OK, commenters: Fire up your engines because we re tackling a big one in our latest edition of Vs., pitting the Star Wars Prequels against the Star Wars Sequels and declaring definitively which galactic triptych is the superior set of films. We re looking at box office data and Tomatometer scores for Episodes 1-3 and 7-9, as well as which trilogy delivered the best moments and gave us the most memorable characters. Are you a Darth Maul vs. Qui-Gon vs. Obi-Wan person? Or do you prefer your lightsaber battles more of the Throne Room variety? Does a Jar Jar Binks outweigh the awesomeness of Ewan McGregor s young Obi-Wan? And how do they compare to Babu Frik? Watch above as Rotten Tomatoes Contributing Editor Mark Ellis lays out the case for both trilogies and – bravely – declares a winner.Star Wars: The Rise of Skywalker is available digitally on March 17, 2020. 这款魔幻手游画风属于那种精致的画风，在游戏当中魔族和人类爆发出了激烈的战争，在这个背景之下玩家要来到这个世界生存。游戏有着多达9种的职业，玩家可以通过进阶来强化自己，探索这个奇幻的大陆。从画面和玩法上来看，这款游戏都属于魔幻手游当中值得体验的一款。
“I remember looking out on the deck over all of Hollywood and feeling simultaneously on top of the world and never more isolated and alone. That was the beginning of the character for me.”“At the same time, I had just moved to LA. I was living in this house up in the Hollywood Hills that was like a friend of a friend of a friend s house. I somehow was paying like 0 a month to live in this glorified closet in a beautiful mansion. I don t quite know how it was arranged, but I remember there were rumors at the time, the rumors amongst the housemates, that it was the third-highest elevated house in all of Hollywood. That Johnny Depp had lived there once… It was on the top of this hill, up this very windy road that I immediately got into a car accident on. Then I didn t have a car, and I was stranded up on this house. I remember looking out on the deck over all of Hollywood and feeling simultaneously on top of the world and never more isolated and alone. That was the beginning of the character for me, the idea of this guy who was living in a house like this who d had every opportunity for success but still couldn t find a way to be happy.”“I really liked the sad episodes of The Simpsons, like ‘Lisa s Substitute’ or ‘Marge Be Not Proud’… That was kind of the tone I was going for.” I’d be lying if I said I was not inspired [by The Simpsons], if I tried to play it cool like, ‘Oh, what’s that show? Never heard of it.’ That was a huge influence on me growing up. There s the sense of the sensibility, the sense of humor. I particularly really liked the sad episodes of The Simpsons, the more emotional episodes like ‘Lisa s Substitute’ or ‘Marge Be Not Proud.’ I remember always loving those and wishing they were all like that, and so that was kind of the tone I was going for early on with BoJack because I want it to feel like a sad episode of The Simpsons. I think what s so great about those episodes in particular is they don t sacrifice jokes for emotion – they are very funny and full of great gags, but they are also very moving as well and very melancholy. Will Arnett as BoJack in season 1. (Photo by © Netflix)“By the end of the first season, they d be going, ‘Oh my God, why do I have feelings? Where did this come from?’”“I pitched it as a show that is going to start very fun and goofy, like most adult animated shows, but by the end of its first season, it s going to turn into more of a dramedy along the lines of a live-action show, like a Girls or even Mad Men, which felt a little more unprecedented in the world of animation, to indulge that much in seriousness and emotion. We were going to trick people by making people think it was a typical animated sitcom, but actually by the end of the season, they d be going, ‘Oh my God, why do I have feelings? Where did this come from?’. I always assumed the audience would join us on this ride and go from, ‘Oh, this is fun. This is silly,’ to, ‘Oh my God, I have feelings.’ It never occurred to me that some people might see the silly part and go, ‘Not for me,’ click and not even know that the rest of the show turns into this totally other thing. I think if I were doing it again, I might try to include more clues at the beginning that this was a more serious show. Even then, I think it s hard to do because there are clues in the beginning: In the first episode of the show, BoJack and Diane have like a two-minute conversation on the fleeting nature of happiness, right? That s the thing that everybody loved about the first season, that it did that change and that it was both of those things, that it wasn t just one or the other. When we were working on season two, I definitely felt the confidence of, ‘Let s go further in that direction because that s what the show is. That s the sweet spot.’”“People loved the Grouplove song, and people loved the Patrick Carney/Ralph Carney song. At the end of the day, we thought, ‘Could we do both?’”“Andy Gowan is our music supervisor, and he kind of put the word out to a bunch of different bands and a bunch of different artists, ‘Hey, here s a new show. We re looking for some music.’ We got a lot of responses, and the two that kind of rose to the top for me were this very playful, sing-songy, Grouplove song and this very heavy, spooky Patrick Carney and Ralph Carney song. I remember there was a lot of debate over which song are we going to use, and then as we kept watching, director Mike Roberts put together this incredible sequence of BoJack going through his day, and we played different songs over it to see what felt right. We d bring in people from the crew, we did focus groups, and it was pretty evenly split. People loved the Grouplove song, and people loved the Patrick Carney/Ralph Carney song. At the end of the day, we thought, ‘Could we do both?’ We ended up using the Patrick Carney, Ralph Carney song at the beginning… I think it is a little bit of a hint of what s to come in the show. It does make you think like, ‘Oh, this feels a little more dramatic than like a typical animated, fun sitcom.’ Then I think the Grouplove song [used in the end credits], kind of the opposite, is so fun and bright, and at the end of some of our episodes, which are really downer endings, it almost feels like an ironic poke in the ribs. I ve really enjoyed using that song as juxtaposition against all these different endings. Essentially as the show has gotten more and more serious, it s kind of revealed itself to have new layers to it.”Will Arnett (BoJack), Raphael Bob-Waksberg, Paul F. Tompkins (Mr. Peanutbutter), Alison Brie (Diane), and Aaron Paul (Todd). (Photo by Eric Charbonneau/Netflix) As soon as I saw Will Arnett s name, I was like, ‘Oh my God, yes, that s the guy,’ because he s so funny, but there s also a darkness to him. “The character of BoJack was not written with Will in mind. I wasn t thinking, ‘You know who d be a great, washed up, sad, lonely actor? Will Arnett.’ It was written for this drawing that Lisa Hanawalt had drawn of this horse guy. Then once we were developing the project, we thought, ‘Before we pitch this around, it might help to have some talent attached.’ Linda Lamontagne is our casting director, and she kind of drew up a list: ‘Here are some actors I think would be right for this.’ As soon as I saw Will Arnett s name, I was like, ‘Oh my God, yes, that s the guy,’ because he s so funny, but there s also a darkness to him. I feel like in his gravelly performance, you feel like he s lived a life, and there s a sadness lurking underneath there. Again, he s so funny. I mean, there are lines that we have made BoJack say that I would not have the chutzpah to give to an actor because they re so dopey, but that I knew that Will Arnett could pull them off. I remember in the writer s room, like looking at a line in a script being like, ‘Are we really going to keep this line in? This is so stupid.’ Then we do the table read, and Will Arnett reads it, and it s the funniest thing you ve ever heard. You re like, ‘Oh my God, he took our dumbest stuff, and he spun it into gold.’”“Who would be the funniest person to be judging this booty competition reality show? What if it s Felicity Huffman?”“We ve had a lot of incredible guest stars over the years. Usually, it just happens because we write a script, and then we think, ‘Who would be a good person for this script? Who would be the funniest person to be judging this booty competition reality show? What if it s Felicity Huffman?’ Then we go to them, and they usually say ‘yes,’ which is crazy. Occasionally, we ll hear something like, ‘Oh, this person s a big fan of the show.’ Then we ll keep them in mind if there s a part for them to play.When anybody likes the show, it s a shock and a delight to me, and it feels great, and it makes me suspicious that they re tricking me. Then when we ve had people come on the show or people that I ve seen, who have been heroes of mine, tell me they re fans of the show, that completely blows my mind. To have Weird Al Yankovic, who I grew up with, come be a guest star on the show and tell me personally that he really loves the show, my brain can t process that. I don t know how to take that kind of compliment, and I quickly change the subject to something else.”Amy Sedaris is Princess Carolyn. (Photo by © Netflix)“We wanted to, through Princess Carolyn, explore what is it like being another person in this person s life? That episode, ‘Say anything,’ has the first really sad ending of the series.”“I think a big turning point for our show happens in that first season at really episode seven and episode eight, which are called ‘Say Anything’ and ‘The Telescope.’ ‘Say Anything’ is episode seven, and that s an episode that s entirely told from Princess Carolyn s perspective. Up to that moment, almost everything that s happened in the show has been through BoJack[’s perspective]. A few episodes had small B stories or C stories, but they re really heavy A-story episodes. Then to switch it and be like, ‘No, BoJack is the side story this time, it’s really focused on this other character,’ felt like a bit of a departure for us. BoJack kind of falls into some sort of wreckage and steps out and like dusts himself off and wanders into the next misadventure. We wanted to, through Princess Carolyn, explore what is it like being another person in this person s life? What is it like attaching yourself to this kind of toxicity? That episode, ‘Say Anything,’ has the first really sad ending of the series. Everything up until then had been pretty light – or maybe we d end on like a dark kind of joke – but ‘Say Anything’ really ends on a serious, kind of sad moment with this lonely character. That for me was a real sign of where we wanted to go.”
bob娱乐平台 This may be the month of Christmas specials galore, but for those looking for less holiday-related fare, a bunch of beloved shows are coming back – and there is plenty to catch up on before these series return. The fan-favorite Vikings are back on History, for one, along with the equally fearsome Midge Maisel of The Marvelous Mrs. Maisel on Amazon Prime. Or if the Great Unknown is more your speed, you’ll be set with Lost in Space on Netflix and The Expanse on Syfy. For more, you’ll have to keep reading for this month’s full offering of binge-worthy returnees. Vikings 93% (History)What it is: In the mood for a meaty, generations-spanning period drama that has violence, politics, sex, and true-to-history recreations to spare? Look no further than Vikings, Michael Hirst’s brilliant follow-up to The Tudors. The heart of the series begins with the rags-to-riches tale of legendary Viking Ragnar Lothbrok (Travis Fimmel) and his rise to power before passing the narrative baton to his children.Why you should watch it: Vikings is complex, calculated storytelling. Gorgeous, lush sets and production design, committed and gritty performances all around — it is a wonder that the program doesn’t garner awards acclaim on par with Game of Thrones (though it certainly has drawn comparisons). Season 6 premieres Dec. 4 on History.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 58 hours (for the first five seasons)The Marvelous Mrs. Maisel 88% (Amazon Prime)What it is: In 1950s New York City, Midge Maisel’s (Rachel Brosnahan) husband, Joel (Michael Zegen), admits to having an affair and leaves her. Rather than getting back, she gets even, and decides to pursue his dream of becoming a stand-up comedian— which makes sense, because she was the funny one writing his jokes all along.Why you should watch it: A runaway comedy hit upon its debut, Maisel won top honors at both the Emmys and Golden Globes for its first season — and only bowed this year to Amazon’s other awards-sweeper, Fleabag. But Brosnahan’s star-making performance (and her scene-stealing costars like Tony Shalhoub and Alex Borstein) continue to anchor a series that is smart, funny, and full of heart while also being absolutely timely. Season 3 premieres Dec. 6 on Amazon Prime.Where to watch: AmazonCommitment: Approx. 18 hours (for the first two seasons)The L Word 57% (Showtime)What it is: From creators Michele Abbott, Ilene Chaiken, and Kathy Greenberg, this Emmy-nominated series (decorated elsewhere by GLAAD for its landmark lesbian, bisexual, and transgender characters) charts the intersecting friendships and love lives of a group of queer women living in Los Angeles. Why you should watch it: As heralded today as it is maligned, there’s no denying that The L Word made leaps for LGBTQ representation onscreen upon its 2004 premiere, even if it didn’t always hit its mark. While its first season was Certified Fresh for all its bombastic soapiness and memorable characters, critics didn’t follow it into its subsequent seasons, resulting in years without Tomatometer scores — and its sixth and final season was ravaged with a measly 8%. But the show still has its fans and its merits. Plus, its reboot is sure to revisit the components that first made us fall in love with these ladies while expanding and bettering itself where there is room to grow. Season 7, retitled The L Word: Generation Q, premieres Dec. 8 with returning stars Katherine Moennig and Jennifer Beals on Showtime.Where to watch: Amazon, Google Play, Hulu, Microsoft, Netflix, VuduCommitment: Approx. 70 hours (for the first six seasons)The Expanse 94% (Amazon Prime)What it is: Based on the series of novels by James S. A. Corey (the pen name of collaborators Daniel Abraham and T Franck), this space-hopping science-fiction series follows Earth-bound United Nations executive Chrisjen Avasarala (Shohreh Aghdashloo), asteroid belt-dwelling police detective Josephus Miller (Thomas Jane), and officer of an ice freighter Jim Holden (Steven Strait) as they uncover a conspiracy that risks intergalactic peace within disparate colonies and the survival of humanity as they know it. Why you should watch it: We see enough social and political turmoil here on Earth to know that if and when we expand our humanly horizons to other planets in the solar system, tension is likely to continue. Here, it just makes for great TV with timely allegorical themes to spare. Season 4 premieres Dec 13 on Amazon Prime.Where to watch: Amazon, Google Play, Microsoft, VuduCommitment: Approx. 26.5 hours (for the first three seasons)Marvel's Runaways 84% (Hulu)What it is: Creators Josh Schwartz and Stephanie Savage leave their mark on the Marvel Cinematic Universe with this hit Hulu series based on the comic of the same name, which follows a motley group of super-powered teens who unite to stop their supervillian parents.Why you should watch it: By this point, you know what you’re getting with an MCU project, but Runaways still manages to have a few surprises up its sleeve. Led by a cast of a excellent young actors and featuring a unique spin on the hero-villain narrative (and exploring relationships between friends and family in the process), the streaming series is a welcome addition to the already well-trod Marvel empire. Its third and final season premieres Dec. 13 on Hulu.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 20 hours (for the first two seasons)Lost in Space 76% (Netflix)What it is: A classic story of the sci-fi genre, 2018’s Lost in Space reboot finds new ways to tell the tale of the Robinson family, a clan of space colonists who must adapt to survive after their ship gets flung off course (living up to the series’ title) and crash lands on an alien planet.Why you should watch it: The original Lost in Space is one of those series that every sci-fi lover should watch simply because of the influence it wielded over future series in the genre. But this new reboot — bolstered by state-of-the-art visuals, new characters, and uncharted territories — is an upgraded entrant to the canon that deserves a binge all its own. Part Swiss Family Robinson, part Star Trek, Lost in Space has something for everyone. We vote you make it your unlikely family binge this holiday season. Season 2 returns Dec. 24 on Netflix.Where to watch: Amazon, FandangoNow, Google Play, Microsoft, NetflixCommitment: Approx. 8.5 hours (for the first season)You 91% (Netflix)What it is: You’ll find yourself yelling at your television in equal parts frustration and enchantment with this Penn Badgley–starring hit. The former Gossip Girl actor plays Joe Goldberg, an unassuming (albeit attractive) bookseller who moonlights as the psychotically obsessive stalker of NYU student and aspiring writer Guinevere Beck (Elizabeth Lail). Why you should watch it: You is just the latest example of a cancelled series finding second life on Netflix. While the thriller series cornered a niche audience upon its premiere on Lifetime, it was cancelled after one season. Then it hit Netflix late last year, became a word-of-mouth water-cooler hit, and was picked up for a second round, which should be intriguing enough to get you to at least hate-binge this soap-drenched stalker drama. Season 2 premieres Dec. 26 on Netflix.Where to watch: Amazon, FandangoNOW, Google Play, Netflix, VuduCommitment: Approx. 8.5 hours (for the first season)Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image courtesy of © Netflix, © Amazon Prime Video