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亚博在线官网采用百度引擎8(Baidu 1)一、要说“峡谷萌神”是谁?当属提莫。为此,国服LOL手游专门为玩家定制了“无限热爱”版“熊猫皮肤”送给水友!没错,提莫的熊猫皮肤只要玩家进入游戏,直接可以领取(直接送提莫英雄和提莫这款熊猫皮肤)!

1. 亚博在线官网
One of the first scenes in P-Valley shows a scantily clad woman on a pole — but she’s not gyrating or enticing some horny onlookers in the audience. No, this woman – Mercedes, star Brandee Evans’ queen bee of The Pynk strip club – is backstage mocking one of the patrons she so easily cons into parting with his hard-earned cash.After performing show-stopping routines all night, she is also sore and tired.Starz series P-Valley centers on exotic dancers in the swampy Mississippi Delta, and — make no mistake — nudity and sex scenes definitely occur. But the show is less about tantalizing and twerking and more about the talented (and often voiceless) women who work hard to make it look like they can fulfill sexual fantasies while barely breaking a sweat.And it s getting rave reviews for its efforts. P-Valley blends the profane, the sacred, and the politics of the almighty dollar to tell engrossing stories about Black women on the margins who use their bodies to keep families and communities afloat. It s also one of the year s best new shows, TV Guide s Malcolm Venable wrote about the first season, which is currently Fresh on the Tomatometer at 100% with 10 reviews.Series creator Katori Hall told Rotten Tomatoes that one of the intentions of her show was to explore the female gaze.“We have inherited this huge box of hyper-sexualized images of women,” said Hall, who made a point of only hiring female directors for the eight-episode first season. But on P-Valley, Hall said, “we were just adamant that all sexuality was going to be in service to plot, and it was always going to be a reflection of characters in the world.”(Photo by Starz)Hall adapted the drama from her play, P y Valley, which uses the missing letters of that title. The show’s opening credits also show the full title, but Hall said that they are officially using this “little, clean nickname” because that will make it easier for things like billboards and TV listings. Hall developed the play s story by conducting research and interviews in visits to more than 40 strip clubs over a span of six years. She met the female performers and was able to “really get behind the scenes with them — not only at the club, but [be] really interested in their lives. I ve met their husbands, their sons, their daughters, and really got to know them on an intimate level.”“When people think of the strip club, they don t think of a theatrical experience,” Hall added. “They don t think of strength. They just think of exploitation, and we wanted to show there s flight in this space, and there s also falling in this space. And there is a dance between exploitation and liberation.”The opening credits song, which Hall wrote with Memphis rapper Jucee Froot — and which Froot performs — includes taunting lines like “we make falling on the sky look easy,” but also “green on the floor/money talk/can you hear me?”The show features a predominately Black cast, which is authentic to what Hall experienced in these clubs during her research, but may look different to viewers in other parts of the world.Series star Evans explained: “On P-Valley, we’re showing you the Southern style; we’re showing you the Black experience in the South. So you’re going to hear people say ‘that’s not how we are’ and that’s OK. But that’s how this is. In the South. In the Black club. This is what’s truly going on, and I hope that you look beyond the ladies on the pole and on the stage and go, What’s in their heart?’”(Photo by © Starz)Beyond the dancing, a mysterious new girl, Autumn Night (Elarica Johnson) joins The Pynk s ranks, and another plot involves talk of a shady corporate takeover. An LGBTQIA love story centers on Nicco Annan’s Uncle Clifford, the Pynk’s madam who identifies as gender fluid, uses “she/her” pronouns, and knows how to rock some eyeliner and heels. This character could easily have become a stereotype with one false step, but Hall said she and the other writers made a point of grounding her by showing how she reacts in various environments — be it as a mom, a pimp, a savvy business person, or simply a comforting friend.“It’s this very kaleidoscopic lens that we re viewing this character from,” she said. “That’s why Uncle Clifford feels like this fully fleshed-out human being instead of this walking stereotype with the hair and nails. We actually see when the hair and nails come off.”Uncle Clifford is just one of many ways the show is fighting preconceived prejudices – and not just from potential audiences. Although star Evans taught a dance class called Hip Hop in Heels, which was meant to help inspire confidence in its women attendees, she told Rotten Tomatoes that exotic dancing was a whole other matter, and she had to learn to twerk for the part. She eventually did almost all of her own stunts and dances in the show.(Photo by Starz)Evans is also a preacher’s daughter from Memphis. She remembers tentatively telling the wife of her current pastor about the part, worried she’d be shunned by her community. Instead, the other woman excitedly asked for the show’s time and channel.Evans’ Mercedes, however, does not have such a positive experience with the church. P-Valley discusses the character’s relationship with her mother, Patrice (Harriett D. Foy), who has found Jesus in her later years. Patrice dreams of her turn at the pulpit, just as Mercedes dreams of leaving the pole behind to open a gym where she can build out her other business as a cheerleading coach. Although the two women do not see eye-to-eye, P-Valley argues that they have a similar ability to hustle.“The church is held up because it is this patriarchal system, and the fact that you have this woman who really wants to have her own business and be on her pulpit,” Hall explained. “Juxtapose that with Mercedes. She wants to be with her own studio; on her own stage. They’re actually striving for the same thing, just in two completely different worlds.”Hall added that though many women have to struggle to break into most arenas, “this show really demonstrates that you can be a woman of high moral regard in one space, but you re still gonna struggle as much, if not more than, the woman that you look down upon.” Endgame vs. the MCU: After three days, the Fifth Biggest MCU Movie – and Coming for the CrownAt 0 million, Avengers: Endgame immediately becomes the 50th highest-grossing domestic film of all-time. That is already more than Aquaman grossed in 105 days. It also took Captain Marvel 24 days to gross what Endgame did in three; and Endgame is now the fifth highest-grossing film in the MCU. In a remarkable bit of solidarity, Captain Marvel moved up to second place at the box office this weekend, dropping just 11% for an eighth-weekend haul of million. That’s the 10th best eighth weekend of all time (up from last week’s 15th best seventh weekend) and the fifth best this for the current century, behind Avatar (.8 million), Frozen (.7 million), Jumanji: Welcome to the Jungle ( million), and Black Panther (.7 million).And let s get super math-y for a minute. If we were playing the Take Two game from The Price is Right – where you have to pick the cost of two prizes that add up to a specific amount – the only MCU title one could pick to combine with another for a total less than Endgame’s opening weekend is The Incredible Hulk. Take that movie s 4.8 million, match it with Captain America: The First Avenger (6.6 million), Ant-Man (0.2 million), Thor (1.0), or Thor: The Dark World (6.3 million) and you have the only pairings that come up less than Endgame’s 0 million start. Only eight films in the MCU have grossed more in their entire run than Endgame did in three-and-a-third days.There has been no fatigue with the MCU, as frequently as that myth has been told. Endgame had already grossed 5 million outside of the U.S. before even opening here. Through Sunday, Endgame has grossed 9 million internationally (14th all-time) and .2 billion globally (the eighth MCU film to reach that milestone and the fastest ever to pass it). Those numbers make Endgame the 18th highest-grossing film of all time internationally. And it s done that since Thursday.Records on the Horizon: Endgame Sets its Sights on Avatar, The Force Awakens(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Domestically, Avengers: Endgame is now beyond targeting the totals of the two mega-grossing James Cameron films, Avatar and Titanic – because it is going for the big dog. Star Wars: The Force Awakens, the highest-grossing film ever domestically, earned 6.7 million here and Endgame is already blowing past all of its early records. Avatar is the all-time world champ with .78 billion – and that s going to be a tough number to beat, even for a film expected to become just the fifth film ever to gross billion worldwide. Other records that Endgame has its eye on for next week include:Biggest 10-Day Gross: Star Wars: The Force Awakens (0 million)Biggest Second Weekend: Star Wars: The Force Awakens (9.2 million)Smallest Drop For A Film Opening To Over 0 million: Star Wars: The Force Awakens (-39.8%)Fifth Highest Worldwide Gross Ever: Jurassic World (.671 billion)It would take a drop of more than 57.4% for Endgame to not break the second-weekend record held by The Force Awakens. Thirteen of the 21 previous MCU films had drops lower than that. We predict that at least two of the records above will fall next week. Though highly unlikely, it would be remarkable if it bests the 39.8% drop of Star Wars: The Force Awakens. And if it does, one should expect just about every record to fall after that.This Time Last Year: It All Began With a Record-Breaking First Weekend for Infinity War(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Getting a sense of déjà vu? On this same weekend last year, Avengers: Infinity War grossed 7.6 million, breaking the record for the highest opening weekend ever – a record that lasted officially one year minus a day. Its per-theater-average of ,599 was still second to The Force Awakens, and it would not go on to outgross the all-time champ, nor its Marvel counterpart, Black Panther. That film got a similar boost to what Captain Marvel got this week, dropping just 4% from the previous weekend and finishing in the top five. The rest of the Top 10 grossed a combined .31 million for a grand total of 3.01 million, and the films averaged 59.3% on the Tomatometer. This year’s Top 10 grossed an estimated 7.5 million and averaged 69.5% on the Tomatometer.On the Vine: Long Shot Set To Top Newcomers, At a Distant SecondJoel MearesIt takes a brave rom-com to go up against a juggernaut, but next week s has the critics on its side. Jonathan Levine’s Long Shot, with Charlize Theron and Seth Rogen, is at 84% on the Tomatometer after its SXSW premiere in March. Look for it to lead the newcomers handily. Among those newcomers are STX’s first foray into animation with UglyDolls, based on the line of plush toys. In The Intruder Dennis Quaid pulls a reverse Cold Creek Manor as the previous owner of a home terrorizing the new couple (Michael Ealy and Meagan Good) who have moved in.The Full Top 10: April 26-28Avengers: Endgame (2019) 94% – 0 million (0 million total)Captain Marvel (2019) 79% – .05 million (3.58 million total)The Curse of La Llorona (2019) 28% – .5 million (.28 million total)Breakthrough (2019) 63% – .30 million (.11 million total)Shazam! (2019) 90% – .52 million (1.15 million total)Little (2019) 46% – .44 million (.85 million total)Dumbo (2019) 46% – .24 million (7.01 million total)Pet Sematary (2019) 57% – .29n (.61 million total)Dumbo (2019) 46% – .14 million (2.84 million total)Penguins (2019) 92% – .05 million (.72 million total)
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2. 公平游戏环境
(Photo by Christopher Polk/Getty Images)Typically this time of year, the awards season begins to take shape, and while we have new glimmers of hope courtesy of One Night in Miami and Nomadland, many niggling questions remain unanswered. Which films are in contention? Will theaters be open in time to screen contenders? Will the current films on the calendar hold their dates?In truth, the entire season is in jeopardy, depending on how you look at it, with so many questions still left unanswered after most of the major film festivals have concluded. On the precipice of an unprecedented season, we thought we would kick off our awards coverage with a detailed breakdown of what we know and what we don t about the 2020-2021 season.A Disruption in the Timeline(Photo by Kevin Winter/Getty Images)Earlier this year, the Academy announced that, due to the COVID-19 pandemic, they would be pushing back the deadlines and ceremony date for Oscars 2021. The show, which will air live on ABC Sunday, April 25, 2021, was originally scheduled for February 28, 2021. Coinciding with the Oscars celebration, the Academy Museum of Motion Pictures, initially scheduled to open to the public on December 14, 2020, will open on April 30, 2021.With this change, the Academy also announced that the eligibility period will extend to February 28th, 2021. The extension was made in the hopes of giving theaters more time to return to normal, but as the COVID-19 crisis continues, the chances of that happening are rapidly dwindling. Other awards contests like the Golden Globes, Critics Choice Awards, and Independent Spirits have followed suit and moved to later dates, which line up with Oscar season, though most of the major critic groups, like the NYFCC and LAFCA, have chosen to keep a calendar year eligibility. The Oscars have also removed the theatrical screening requirement, allowing for VOD releases to compete if they were intended for a theatrical run. The extension is a significant change but should have little effect on which films are in contention, but the VOD option may usher in quite a few non-traditional Oscar hopefuls. Be sure to bookmark our 2020-2021 awards calendar if you want to keep up to date on all the award show changes.The Netflix Season(Photo by Netflix)As digital screenings will be the way this year, many are dubbing it the Netflix Season. As the streaming giant is not beholden to traditional box office considerations they are the studio best equipped to navigate these uncertain times, and their awards slate is quite ambitious. Netflix recently picked up the Best Actress contender Pieces of A Woman, starring Vanessa Kirby, as well as Euphoria creator Sam Levinson’s quarantine-filmed Malcolm Marie, adding the pair to their already crowded roster of nearly 20 films set to compete in 2021.Previously released films like Spike Lee’s Da 5 Bloods and I’m Thinking of Ending Things are very much in the thick of contention for several categories, and Aaron Sorkin’s The Trial of the Chicago 7 and Radha Blank’s Sundance winner The Forty-Year-Old Version are scheduled to hit the platform soon. Ron Howard’s Hillbilly Elegy, David Fincher’s Mank, and George Clooney’s The Midnight Sky are in post-production and remain undated, but pundits are banking that they will bring the goods. A-list casts acting in “awards-friendly” source material is precisely what Oscar voters love.However, with a handful of strong candidates and no need to consider box office viability, Netflix can carefully plot out their release calendar to drum up timely buzz as often as possible. The recent tragic death of Chadwick Boseman will likely have a significant impact on the release of Viola Davis’ Ma Rainey’s Black Bottom, but the August Wilson adaptation is still expected to join the titles mentioned above in what will likely be a Netflix vs. Netflix race in several categories. In short, Netflix is in the driver s seat this year with the most competitive titles and release date flexibility, so it might be a foregone conclusion that they will be the big winner on Oscar night no matter what happens next.A New Campaign Playbook(Photo by Kevork Djansezian/Getty Images)This year s Emmys taught us that the typical campaign strategy playbook has been thrown out the window. The glitzy Hollywood parties and cocktail mixers will likely be completely absent from the season with a few exceptions. Also, with limited theatrical/drive-in releases, the post-screening Q As that typically drive ticket sales and buzz are also not possible.More importantly, though, the festival calendar has been nearly removed from the equation entirely. The Toronto International Film Festival and New York Film Festival, normally critical for a film s long-term chances, have been able to proceed with virtual screenings and drive-in events, but the typical post-premiere buzz that is generated was decidedly muted. That buzz only affects audience interest in the films, but it also marshals the attention of voters, something that will be difficult to command given the limitations of COVID-19.After they were forced to cancel their yearly event, the Telluride Film Festival put on a large A-list drive-in event to premiere Nomadland simultaneously with Venice and TIFF. Venice continued with the scaled-down slate, but each festival s place as a key piece of the awards landscape has been considerably affected. Awards strategists and studios, therefore, have been relying on virtual events and catered meals sent directly to industry professionals and voters as a way to keep their films top of the mind.Big Budget Exodus Creates an Indie Lover s Paradise (Photo by Chiabella James/Warner Bros. Entertainment)A few days ago, Disney announced an adjustment to their film calendar, shortly after Universal and Warner Brothers had done the same: West Side Story, The French Dispatch, Candyman, and A Quiet Place II all vacated their dates. Currently, the only viable big-budget awards options still on the calendar are Dune and Disney s animated musical Soul, both of which are still expected to hit theaters. However, the chances of that are still in question as theaters are still largely closed in New York and Los Angeles. This lack of studio options could set up an indies first season, which would be an interesting turn of events after films like Joker, Black Panther, Mad Max: Fury Road, Bohemian Rhapsody, and 1917 brought blockbusters to the Best Picture race in recent years.Though many may lament the lack of studio releases, there s an equally vocal contingent that s celebrating the chance to have a true indie season. This year s Oscars may closely mirror the season s penultimate event, the Independent Spirit Awards. There are only a handful of films left on the schedule with budgets over million, but there is a legitimate chance they all could still vacate their dates. This may be the first time in recent memory without a single big-budget Best Picture nominee.(Photo by Plan B Entertainment)Despite the pandemic, 2021 has already seen a promising crop of Oscar-worthy films, but most films in contention this year had to forego a traditional theatrical release to go straight to VOD.  Sundance favorites like Minari, The 40-year Old Version, and The Father have not been released yet but are almost certainly contenders. Small indie releases like Never Rarely Sometimes Always, The Assistant, Miss Juneteenth, and First Cow could battle it out against fall releases like Nomadland and One Night in Miami, giving multiple films from female directors a chance to pull nominations. And those are just the dated titles. Ma Rainey s Black Bottom, Mank, Promising Young Woman, The French Dispatch, and Pieces of a Woman are all on several Oscar shortlists, though we still don t know if they will release in time for this year s contest.On the studio side, Disney s Soul and Dune are the most likely options for a big-budget Best Picture nominee, but the chances both stay the course and release as scheduled is still very much in the air. It is very reasonable to think that Dune, Wonder Woman 1984, and Soul will all follow the lead of No Time to Die, which very recently fled 2020 for an April, 2021 release, in which case the indies will undoubtedly dominate in most of the major categories.Will It Happen?Ryan FujitaniThough it is the most unlikely scenario, there is a question about whether or not the season will actually happen. Yes, that would be extreme, but let s break it down. The Academy of Motion Pictures Arts and Sciences is a non-profit organization chiefly dedicated to honoring, preserving, and helping shepherd the art of motion pictures. The organization s biggest fundraiser to help achieve that mission is the fees they earn from their contract with ABC to broadcast the Oscars; the Academy earns the majority of its operating budget from this one event. So in that respect, the Academy s true top priority is not film preservation but keeping ABC happy and the ratings high so that they don t lose their biggest revenue source. This is not a cynical statement, just a cold hard fact. That fact was also partially the motivation for things like the recent membership changes, the telecast, and the ill-conceived Popular Film Oscar.With a pricey new Academy museum currently under construction and awards show ratings in steady decline, the Academy is acutely aware that relevance is important. If the Oscars cease to be a premiere advertising event, their contract will not be as valuable, or worse, they could lose it altogether. This is a reason to hold the show no matter what, but if the lack of marquee names and big-budget hits leads to lackluster viewership, the results could be catastrophic for their revenue prospects. If they don t proceed with the season, it would certainly be damaging, but the Board of Governors who run the Academy might decide that skipping a year and coming back strong would be a better bet.The Emmys double-digit decrease in viewership for their socially distant ceremony last month was also a worrying sign, but coupled with the Oscars 20% decrease in viewership from 2018 to 2019, it s hard to imagine there s any scenario that won t see a significant audience drop-off. If that s likely to happen, the case can be made just to bite the bullet and put on a variety show to celebrate the Academy and push the competitive ceremony to 2022. For this, they would have to pool all eligible films from both 2020 and 2021. Admittedly this sounds far-fetched, but if we see a rise in COVID-19 cases, lockdowns, and production issues, we may end up with the same number of eligible films during that two-year time period. Moreover, if theaters are still shuttered and studios are still holding films, 2021 may look more like 2020, and if it does, will the show go on?In end, the decision lies with the Board of Governors, and if they believe that their revenue, relevancy, or brand will be severely damaged by a limited season, they might vote to pull out altogether. This is the nuclear option and the least likely, but it wouldn t be the first time that the Academy has had to back off on a plan. Let s not forget the Popular Oscar was a real thing until it wasn t.On an Apple device? Follow Rotten Tomatoes on Apple News.亚博在线官网Subscribers of HBO MAX get two Seth Rogens for the price of one with the streaming service’s first original feature, An American Pickle. Rogen stars as a Jewish immigrant in 1919 who winds up thrust forward a century into modern America, where he meets his great-great-grandson — also played by Rogen. The one-man, two-character comedy is receiving mostly positive reviews, which highlight a sentimentality over hilarity as well as a surprising performance from its lead in his dual roles.Here’s what critics are saying about An American Pickle:Does HBO Max have its first hit on its hands?It marks an auspicious beginning and is sure to be a crowd-pleaser.  Pete Hammond, DeadlineAn American Pickle is an absolutely brilliant two-hander… it’s exactly what we need right now.  Courtney Howard, Fresh FictionIn a time when we can all use a good laugh, An American Pickle very much delivers.  Eric Eisenberg, Cinema BlendEven premiering on HBO Max, it feels awfully inconsequential, like an ambitious Funny or Die sketch.  Matt Singer, ScreenCrush(Photo by HBO Max)How is Seth Rogen?This dual performance is the best, purest thing he s ever done as an artist, in front of or behind the camera. Matt Zoller Seitz, RogerEbert.comAn American Pickle features what may be the most mature performance we’ve seen from Seth Rogen in a while. Danielle Solzman, Solzy at the MoviesThe most exciting part of this pickle is Rogen s breaking of his manchild mold to explore roles more challenging, rich, and uniquely funny. Kristy Puchko, IGNAn American Pickle gets by on the strength (or make that strengths) of Rogen’s performance. Chris Evangelista, SlashfilmRogen is so adept at breathing depth into two distinct roles. David Rooney, Hollywood ReporterBoth roles ultimately demand a lot from Rogen, and he is exceptional. Eric Eisenberg, Cinema BlendSo two Seth Rogens isn t too much Seth Rogen?I was expecting something along the lines of Adam Sandler in Jack and Jill, but what I got instead is reminiscent of Nic Cage in Adaptation. Rendy Jones, Rendy ReviewsThe movie trickery, laid on with extensive CGI effects, is impressive, aided immeasurably by Rogen in top form on both accounts. Pete Hammond, DeadlineWhile the premise is promising, the execution aches from the growing pains of Rogen s shifting persona. Kristy Puchko, IGN(Photo by HBO Max)Is it funny?It’s not laugh-out-loud funny; it’s folksy funny. Michael Roffman, Consequence of SoundAn American Pickle is more interesting than laugh-out-loud hilarious. Mike Ryan, Uproxx[It’s] a comedy too contrived to be convincing and too formulaic to be funny. Owen Gleiberman, VarietyThere are some scattered laughs but it s not particularly funny. Brian Truitt, USA TodayAn American Pickle lacks the focus to be hilarious or emotional. Instead, it’s a frustrating, ramshackle affair. Matt Goldberg, ColliderDoes it hold particular appeal if you re Jewish?An American Pickle is most certainly the type of film that will appeal more so to Jewish viewers than a broad comedy audience. Danielle Solzman, Solzy at the MoviesThe humor is for the most part genuinely funny, and even doubly funny if you share in the Jewish references. Gabriella Geisinger, Digital Spy(Photo by HBO Max)Is this a more sentimental affair?There’s a lot of heart behind the picture’s sentiments about familial honor, work ethic and religious heritage. Courtney Howard, Fresh FictionAn American Pickle uses arguably the dumbest concept imaginable to tell a surprisingly tender story. Brandon Katz, ObserverThere’s an undeniable and lovely sweetness at play in this film; a type of warmth and acceptance that helps elevate the entire package. Chris Evangelista, SlashfilmAn American Pickle is swift and nimble enough to avoid weighing itself down with schmaltz. A.O. Scott, New York TimesIts soulful sweetness outweighs its flaws. David Rooney, Hollywood ReporterAn American Pickle premieres on HBO Max on Thursday, August 6.

3. 激战团竞模式
After its first rebellious and cuss-riddled steps into a new DC Comics world, Titans returns this week to wrap up its hanging season 1 plotline — the arrival of Trigon (Seamus Dever). But once it does, the series will blow the roof off of its more contained plot to reintroduce the Titans as a team and explore more of its past, even as newer members join the reformed group.Dick Grayson/Nightwing (Brenton Thwaites), Rachel Roth/Raven (Teagan Croft), Koriand r/Starfire (Anna Diop), Gar Logan/Beast Boy (Ryan Potter

4. 呼朋唤友 随心所欲
With this week’s news that Broadway will remain shuttered through the year, Disney’s presentation of Lin-Manuel Miranda s Hamilton couldn’t be more essential. The filmed version of the stage show, documented from a few performances by the mostly original cast in 2016, arrives on Disney+ this Fourth of July weekend, allowing fans and newbies alike a chance to see the musical phenomenon in the comfort of their own homes. Of course, critics are happy to recommend this next best thing to the live production, whether they’d seen it before or are finally getting a first taste themselves. Some are even saying this is the film we need right now.Here’s what critics are saying about Hamilton:Does the film do the live show justice?Hamilton on streaming… reveals once again the brilliance at its core — and confirms it as foundational myth worth treasuring time and time again.  Angie Han, Mashable[It] captures the widely-beloved show’s infectious vigor and electrical charge, spinning it into a renewed powerful, affecting, and immersive experience.  Courtney Howard, Fresh FictionThe filmed version of the Broadway sensation makes for immersive, exhilarating, magnificent cinema.  Richard Roeper, Chicago Sun-Times[It] is the greatest translation, democratization and preservation of any Broadway show, ever.  Chris Jones, Chicago TribuneThe film adaptation is a marvelous and welcome addition to the show s legacy in spite of a few imperfections.  Linda Holmes, NPRHamilton is as monumental a thing as ever.  David Ehrlich, IndieWire(Photo by ©Disney+)How is it for those who have seen the show before?Absolutely, positively, there is new insight and new excitement here for people who already know that they love this show. Linda Holmes, NPRExperiencing the complete production on film for the first time, I was affected by parts of it more piercingly than ever before. David Rooney, Hollywood ReporterHamilton‘s biggest show-stopping numbers are just as impactful on the small screen. Brent Hankins, The Lamplight ReviewFor those who have seen the show live, the biggest added value here is the expanded revelation of the vulnerability displayed by the actors. Chris Jones, Chicago TribuneDoes it live up to the hype for the first-timers?Against all odds, lives up to its hype. Breaking news, I know. But… I’d convinced myself that Hamilton couldn’t be nearly as good as the rest of the world was proclaiming. Sean O Connell, CinemaBlendFor those of us who have never seen the stage show… it’s a particular pleasure to be figuratively ushered into the live Richard Rodgers Theater audience. Justin Chang, Los Angeles TimesFor those who do get to experience Hamilton for the first time with the original cast, you really couldn’t have a better experience. Danielle Solzman, Solzy at the MoviesThe lone time I – as a newbie – felt ever so slightly removed from this live show’s fanfare is when the die-hards in the audience audibly chuckle at King George III’s first appearance. Courtney Howard, Fresh Fiction(Photo by ©Disney+)Which performances stand out most in this version?Audiences seeing this cast for the first time will be bowled over by the depth of the performances, notably so with Leslie Odom Jr. as Aaron Burr. David Rooney, Hollywood ReporterIt’s Leslie Odom Jr., who plays the antagonist Aaron Burr, who emerges as the great emotional force of the film. Chris Jones, Chicago TribuneArguably its most humane, deeply felt performance is by Leslie Odom, Jr. playing Aaron Burr. Linda Holmes, NPRDaveed Diggs shines while pulling double-duty as both Marquis de Lafayette and Thomas Jefferson. Danielle Solzman, Solzy at the MoviesPhillipa Soo and Renée Elise Goldsberry are superb as the Schuyler sisters. Thom Geier, The WrapHow does the filmed format affect the experience?There’s more gained by harnessing the intimate undercurrents of these numbers with close-ups and medium shots. Courtney Howard, Fresh FictionDue to the abundance of long shots and smooth cutting, the intermittent closeups are all the more striking in their intimacy. And sometimes their comedy. Justin Chang, Los Angeles TimesBetter than a front-row seat, Kail’s film is just cinematic enough to amplify and accentuate the show’s emotional undertow without messing with the carefulness of its stage direction. David Ehrlich, IndieWire[It] emphasizes the individual performances, albeit sometimes at the expense of the show s staging and choreography… Still, it s an effective way to capture the show s emotions, if not its sweep. Angie Han, MashableThe camera that’s necessary for a Hamilton movie limits what you can look at We’re controlled by director Thomas Kail’s eye. Sean O Connell, CinemaBlend(Photo by ©Disney+)Could this actually be better than seeing it live?The film also has the advantage of showcasing the stage

5. HD 画质与高品质音讯
使用強大的百度引擎0建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

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2.86.9 5月喜迎(Photo by Everett Collection)Our new Classic Film Catch-Up feature connects you with classic films to put on your watchlist – beloved favorites and hidden gems alike. With more time at home, there s no better opportunity to finally watch these titles that helped define cinema as we know it.The current situation of social distancing has many of us thinking of ways to maximize the time we spend at home. We re also eating several times a day and annoying our pets, but being productive does cross our minds from time to time. Puzzles, long-abandoned books, craft projects, and New Year s resolutions have suddenly jumped to the top of our to-do lists. In the RT comments, many of you have shared how you re catching up on classic films, and we happen to agree that now is the perfect time to increase your classic film viewing.Concentrating on films released before 1980 (both well-known titles and hidden gems), we re producing new guides to essential classic films curated by theme, filmmaker, actor, genre, or style – all for your classic catch-up needs. Want to see our picks for the best French farces? How about a curated list of Fresh picks from Alfred Hitchcock, Peter Sellers, or Billy Wilder? As well as curating watch lists, we re breaking down the films, telling you where you can watch them, and giving you some more recent and/or well-known films the classics might remind you of so you can gauge which movies are right for you.This week in the Classic Film Catch-Up, we re ready to dance and sing about lesser-known or forgotten musicals – some classics, and some should-be-classics. The 50s and 60s were truly the golden ages of movie musicals; Best Picture winners like The Sound of Music, West Side Story, My Fair Lady, and An American in Paris made stars out of Natalie Wood, Leslie Caron, and Rita Moreno, while established stars like Julie Andrews, Gene Kelly, and Audrey Hepburn catapulted to icon status on the backs of musical roles during this period. Later years saw rock musicals like Jesus Christ Superstar, Grease, and Tommy break into the mainstream – however, countless gems have been largely forgotten by modern audiences. And we re here to fix that.Some titles on this list found cult-like followings in later years while others were unfortunate victims of too-close comparisons with their Broadway inspiration – either way, we think the films make up an eclectic roster of must-watch musicals. Read below for our list of hidden gem classic musicals you need to see or revisit.Got another favorite hidden gem classic musical you d add to our list? Have a suggestion for a future theme or classic film to feature in the column? Let us know in the comments. The Unsinkable Molly Brown (1964) 78% What is it? A rags to riches musical about a famed socialite who survived the sinking of the Titanic.Why you need to see it: Debbie Reynolds is widely known for her role in Singin in the Rain – and for being Carrie Fisher s mother. However, if you want to see the triple-threat performer at her peak you must watch The Unsinkable Molly Brown. Reynolds plays the famed Denver socialite from humble beginnings who survived a flood as an infant and then the Titanic disaster as an adult. The film follows a fictional Molly from her years as a saloon girl to her eventual fame as one of the richest women in the country. Nominated for eight Academy Awards, the film was a hit for MGM, but is not as familiar to modern audiences as some of its glossy contemporaries. Filled with humor and show-stopping numbers, the movie will have you humming ditties like  I ll Never Say No and Belly Up to the Bar, Boys as soon as the credits roll.Watch it if you like: Singin in the Rain, Princess Diaries, The Great Gadsby, Lawless, Funny Girl, My Fair LadyWhere to watch: Stream on TCMWatch app. Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.Man of La Mancha (1972) 50% What is it? A musical biopic about Don Quixote author Miguel de Cervantes, using his most famed literary creation as a plot device.Why you need to see it: It s hard to understand why the film adaptation of The Man from La Mancha starring Peter O Toole and Sophia Loren was not a critical and commercial hit. The original stage production was a smash on Broadway and took home five Tonys, but audiences were none-too-impressed with the film version: It failed to earn back its production budget and Time thought so little of it that the magazine didn t even publish a full review. Most of the problems with the adaptation are a result of its troubled production; a revolving door of directors and a heated debate over whether to make the film a musical at all crippled any effort to do justice to the source material. The dreary costumes, laughable sets, and indifferent cinematography may mar the overall product, but the music remains incredible, and Toole and Loren give it their all despite the challenges. So it s still worth a watch.Watch it if you like: The Man Who Killed Don Quixote, Don Juan Demarco, Monty Python, and the Holy Grail, The Mask of Zorro, The Three MusketeersWhere to watch: Stream now on HooplaDigital. Rent or buy on FandangoNOW, Vudu, Amazon, and iTunes.Carmen Jones (1954) 77% (Photo by Courtesy of 2Oth Century Fox)What is it? George Bizet s Carmen is re-imagined with an all-Black cast.Why you need to see it: Carmen Jones is another Broadway hit to get the Hollywood treatment. Dorothy Dandridge, Diahann Carroll, Pearl Bailey, and Harry Belafonte are mesmerizing in this story of the misadventures of a troublesome seductress living in America during World War II. Playing Carmen, Dandridge made her mark on history, becoming the first African American woman to be nominated for Best Actress in a Motion Picture. Nominated for two Oscars, the film is well-known but not frequently watched. The performances, costumes, and rich Technicolor landscapes make watching the film a truly transformative experience that is almost enough to forgive the choice to dub the voices of famed singers in the production.Watch it if you like: Porgy Bess, Introducing Dorthy Dandridge, Carmen: A Hip-Hopera, Rent, Les MiserablesWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.The Wiz (1978) 42% What is it? The Wizard of OZ is remade with a contemporary story, new music, and an all-Black cast.Why you need to see it: As many Twitter users pointed out during NBC s The Wiz Live! in 2015, many movie fans have not seen The Wiz. Beloved in the Black community, the film was a commercial disaster despite starring icons Diana Ross, Richard Pryor, Michael Jackson, and Lena Horne. A modern imagining of Dorothy s trek along the yellow brick road – with music from Quincy Jones and Luther Vandross, direction by Sidney Lumet, and words by Joel Schumacher – the film was one of the most expensive musical productions ever made, and lost million at the box office. The film s popularity never matched its ambition outside of the Black community, where it s still lauded as a cult classic. And it s easy to see why when you watch it today. With some of the most gifted musicians of our time in front of and behind the camera, The Wiz is a soulful crowd pleaser that showcases these artists at the height of their popularity and powers.Watch it if you like: The Wizard of OZ, Oz, The Great and Powerful, Return to Oz, Moonwalker, Idlewild, LabyrinthWhere to watch: Stream now on Starz app. Rent or buy on FandangoNOW,  Vudu, Amazon, Google Play, and iTunes.There's No Business Like Show Business (1954) 67% (Photo by Courtesy of 20th Century Fox)What is it? Chronicles the lives and loves of The Donahues, a family vaudeville act.Why you need to see it: In a way, this is the original jukebox movie musical – all of the songs from There s No Business Like Show Business were previously penned by Irving Berlin for other works. Stacked with stage powerhouses like Ethel Merman and Dan Dailey, as well as film stars like Mitzi Gaynor and Donald O Connor, the film was primarily a vehicle to showcase Marilyn Monroe, who had just married Joe DiMaggio and was one of the biggest names and box office draws in Hollywood. However, with a near two-hour runtime (a rare feat for musicals of that era), audiences found the film to be a little too Broadway and lacking in story. Monroe, who famously only took the role to ensure her casting in The Seven Year Itch, didn t shine in any of her musical numbers and was lambasted by critics. Despite all this, however, There s No Business like Show Business does have some of the most incredible and lavish musical numbers ever committed to screen, and further highlights Berlin s incomparable musical catalog.Watch it if you like: A Chorus Line, Gypsy, Funny Girl, Some Like it Hot, The Greatest ShowmanWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.Cover Girl (1944) 95% (Photo by Courtesy of Sony Home Entertainment)What is it? A young chorus girl wins a cover girl contest, is thrust into stardom, and must choose between her career or love.Why you need to see it: Rita Hayworth became one of only a handful of women who had the enviable honor of dancing with both Gene Kelly and Fred Astair on screen with her role in Cover Girl. Dancing alongside Kelly in her first role with top billing, Cover Girl was one of Hayworth s final films before Gilda solidified her as a film icon. Shown briefly in The Shawshank Redemption, Hayworth s iconic entrance and overall performance here was also the inspiration for Jessica Rabbit in Who Framed Roger Rabbit. A massive hit at the time, this story of a showgirl-turned-star has been sadly dwarfed in later years by Kelly s and Hayworth s more memorable roles like Singin in the Rain and The Lady From Shanghai, respectively.Watch it if you like: Gilda, Showboat, A Chorus Line, Almost Famous, A Star is Born, RockstarWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.Hair (1979) 88% What is it? An anti-war rock musical set within the hippie counter culture.Why you need to see it: Though many will know Hair s catchy opening number  Aquarius, the musical itself is a bit of a lesser-known treasure outside of musical theater obsessives. The first film directed by Milos Forman after his critical and commercial smash One Flew over the Cuckoo s Nest, Hair had critics raving about his skill in adapting the controversial and stylized musical. Roger Ebert said of Forman: He brings life to the musical form in the same way that West Side Story did. Still, some contemporaries – including the musical s creators – argued it diluted the musical s anti-war message was diluted on the journey from stage to screen.Watch it if you like: Jesus Christ Superstar, Across the Universe, Sgt. Pepper s Lonely Hearts Club Band, Fear Loathing in Las VegasWhere to watch: Stream now on Hoopla and PrimeVideo. Rent or buy on FandangoNOW,  Vudu, Google Play, and iTunes.
腾讯在第三季度财报中也提及,其认为《天涯明月刀手游》是2020年在中国新推出最成功的MMORPG游戏。《天涯明月刀手游》是古龙正版授权,端游核心团队打造的国风大世界MMORPG手游。行业领先的美术技术,呈现画卷般瑰丽的国风盛世;数十个可攻略NPC,红尘一刻中邂逅命定之人;撸猫烹饪牵马渔猎,真实感知江湖百态;策略性与打击感兼备,酣畅战斗玩法静候挑战;更可逆天改命,体验指尖上的平行宇宙!你心动的每一刻,都是天涯。天命已至,静候君约!
之所以说提莫队长是新手玩家最容易了解LOL手游的英雄,就在于他的技能机制可以让他看起来很闲,但是作用也很大。然后在自己布置各种可能的方案时,能够对各种可能性有足够的时间去了解。

So, what exactly has changed? Let’s dive in. Traditionally, Top Critic status was mostly awarded to ‘top’ publications rather than individuals, so that the Tomatometer-approved critics working for Top Critic publications were given the label on our site when their reviews were published. We’ve removed that requirement so that individuals who write for multiple publications or for themselves, and aren’t necessarily working for one masthead full-time, can be Top Critics.At a time when being “on staff” is rarer and rarer for journalists, this change makes the Top Critics pool more representative of the active critics’ community at large.The criteria are still rigorous – these are the top critics, after all. We’re looking for the highest quality work, the deepest commitment to criticism, and significant reach. To that end, we’ve introduced new metrics that potential individual and publication Top Critics must hit, including how long they’ve been publishing reviews for, how frequently they do so, and audience size benchmarks. (For critics and publications serving underrepresented groups, the metric minimums are looked at on a case-by-case basis.). If you’d like to check out the new criteria, you can do so HERE.Also new is our Top Critics Advisory Committee, which works closely with the Rotten Tomatoes team to evaluate candidates. The Board, made up of several critics and industry professionals of diverse backgrounds and prominence, will meet regularly to consider potential Top Critics, which will be designated on a rolling basis.(Photo by © Rotten Tomatoes)How do the new criteria impact the makeup of our Top Critics? With the launch of the revamp, we’re adding 170 new individually approved Top Critics. (And note: previously approved Top Critic publications and individuals aren’t losing their designation; we’re looking to add more voices, not remove them.) Among the new Top Critics, 60 percent are women, an estimated 25 percent are people of color, and 24 percent publish via video and podcasts.At Rotten Tomatoes, we are committed to building an inclusive critics community that reflects not just the current media landscape, but the global entertainment audience. Modernizing our Top Critics selection process is a big part of that and continues the work we did in revamping our overall critics’ criteria in 2018, which introduced more fresh voices and platforms into the pool of opinion that makes up our Tomatometer scores. You can read about those changes HERE.Now, a richer and more diverse set of reviewers will be showcased as Top Critics, spotlighted at the top of our movie and TV pages and playing their part in Certified Fresh designations. If you see that little red star next to one of their names, go on and check out their work – we think you’ll like it.
New Marvel and Assassin s Creed series are in the works, first-look images at costumes for the new Batwoman and Titans Red Hood, In Treatment returns with new cast, Jon Stewart scores Apple TV+ deal, and more of the week s top TV and streaming news.TOP STORYGolden Globe Winner Oscar Isaac May Join the MCU in New Series Moon Knight(Photo by Jeff Kravitz/FilmMagic)Click image to view full Moon Knight No. 32 cover in a new tab.Is Oscar Isaac trading his place in the Star Wars universe for life in the Marvel Cinematic Universe? Maybe, as the actor who plays X-wing pilot Poe Dameron in the Star Wars sequel films is reportedly in talks to lead the cast of the new Disney+ series Moon Knight, about the Marvel comics Batman-ish superhero. Like The Caped Crusader/Bruce Wayne, Moon Knight/Marc Spector is a billionaire who uses his wealth to find cool crimefighting gadgetry and is a super sleuth. Moon Knight, unlike Batman, also has superpowers.Clash director Mohamed Diab has signed on to direct the series, Deadline reports, while Jeremy Slater, who developed and wrote the Netflix adaptation of The Umbrella Academy, will develop and head the writing staff on Moon Knight, which will join a pair of other recently announced new Marvel series on Disney+, including She-Hulk, starring Tatiana Maslany, and Ms. Marvel, starring newcomer Iman Vellani.Isaac already has another series lined up, meanwhile; he’ll reunite with his A Most Violent Year co-star (and Julliard classmate) Jessica Chastain in HBO’s limited series remake of Scenes from a Marriage. Chastain replaces Michelle Williams, who had to drop out of the project because of a scheduling conflict.Assassin’s Creed Series Coming to NetflixNetflix and Ubisoft are officially teaming up to develop a live-action #AssassinsCreed series. pic.twitter.com/2VFXT3YHUy Rotten Tomatoes (@RottenTomatoes) October 27, 2020Netflix is teaming up with Ubisoft for a live-action series adaptation of Assassin’s Creed, the internationally bestselling videogame. The live-action story will be first, but the collaboration between the streaming service and the videogame producer will also include animation and anime projects.“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix executive Peter Friedlander. “From its breathtaking historical worlds and massive global appeal as one of the bestselling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”Since its 2007 release, Assassin’s Creed and its sequels have sold more than 150 million copies worldwide. The game series has already hit the big screen, in the 2016 movie starring Michael Fassbender.First Looks: The New Batwoman Suit and Red Hood’s New Titans Duds(Photo by The CW)Feast your eyes on these, the super cool new outfits worn by new Batwoman Ryan Wilder in the second season of the CW’s Batwoman series, and Red Hood’s new threads in the HBO Max DC Comics drama Titans.New Batwoman Ryan Wilder, played by new series star Javicia Leslie, will initially be seen in the suit worn by Kate Kane (Ruby Rose) in season 1, but by the third episode of the new season, she’ll reveal her redesign of her outfit, signifying she’s really fitting (ha, literally!) into her new superheroine role.(Photo by Ben Mark Holzberg/HBOMax/Courtesy of Warner Bros.)Click image to view full image in a new tab.Red Hood, a.k.a. Jason Todd (Curran Walters) will be sporting a bold red and black hooded (duh) outfit that will be the first time an individual Red Hood costume has been seen in a live-action production. Seasons 1 and 2 of the series will be available Nov. 1 on HBO Max.Tim Burton Shopping a New Addams Family Series(Photo by Melinda Sue Gordon / © Paramount Pictures / Courtesy Everett Collection)Emmy winner and Oscar nominee Tim Burton is shopping a new live-action TV series version of the The Addams Family, the classic cartoon that’s already been adapted as several TV series and movies. The original TV series aired on ABC from 1964-66; Burton’s reboot would be set in present time, and told from the perspective of the family’s teen daughter Wednesday Addams, the character so brilliantly played in the Addams movies by Christina Ricci.Smallville producers Alfred Gough and Miles Millar are set to write the pilot, serve as showrunners, and act as executive produce alongside Burton, who also plans to direct the whole series, which would be his first major primetime series. (Deadline)NEW TRAILERS: The Midnight Sky: George Clooney Stars in and  Directs Post-Apocalyptic Netflix DramaThe Midnight Sky is the post-apocalyptic story of a lonely Arctic scientist who is trying to stop a group of astronauts from returning to Earth after a mysterious global calamity, starring and directed by George Clooney. The film also stars Felicity Jones, Kyle Chandler, David Oyelowo, and Demián Bichir and is based on the novel Good Morning, Midnight by Lily Brooks-Dalton. Premieres Dec. 23 (Netflix).More trailers and teasers released this week:• The Crown season 4 features the stories of Diana (Emma Corrin) before she was princess and the administration of Prime Minister Margaret Thatcher (Gillian Anderson). Olivia Colman returns as British monarch Queen Elizabeth II. Premieres Nov. 15 (Netflix).• Saved by the Bell, season 1, finds the original Bell gang – including California Governor Zack Morris (Mark-Paul Gosselaar) going back to Bayside High to deal with a new group of teens, including Zack’s very Zack-like son. Premieres Nov. 25 (Disney+).• Crazy, Not Insane is a documentary directed and produced by Alex Gibney and narrated by Laura Dern, about the work of psychiatrist Dorothy Otnow Lewis, who studies the psychology behind murder, including those committed by Ted Bundy. Premieres Nov. 18 (HBO).• Black Narcissus is a three-episode series, based on the novel of the same name by Rumer Godden, about a nun (Gemma Arterton) who leads a mission to a remote part of the Himalyas, where she is tempted by her feelings for a local war veteran. Alessandro Nivola, Aisling Franciosi, the late Diana Rigg, and Jim Broadbent also star. Premieres November 23 (FX).• Selena: The Series, season 1, stars Christian Serratos in the story behind the rise of beloved Tejano superstar singer Selena Quintanilla. Premieres Dec. 4 (Netflix).• The Chilling Adventures of Sabrina, season 4, is the final run for Kiernan Shipka’s teenage witch, who, when we last saw her, had split herself into two people in an effort to save the world. Premieres Dec. 31 (Netflix).• The Liberator is an animated limited series about a World War II military officer who returns to the battle field after nearly being killed in battle. The series tars Bradley James, based on the book The Liberator: One World War II Soldier’s 500-Day Odyssey by Alex Kershaw. Premieres Nov. 11 (Netflix).• Run is a movie thriller about a tragic mother and daughter, starring Sarah Paulson and Kiera Allen. Premieres Nov. 20 (Hulu).• A Teacher is a drama about a teacher who has a devastatingly destructive affair with her student. Starring Kate Mara and Nick Robinson. Premieres Nov. 10 (FX).For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Emmy Winner Uzo Aduba Starring in New Season of HBO Therapy Drama In TreatmentDebbie DayOrange Is the New Black and Mrs. America Emmy winner Uzo Aduba will star in the fourth season of HBO’s In Treatment, with a scheduled 2021 premiere. She will play Dr. Brooke Lawrence, the lead therapist in the return of the series that debuted on HBO in 2008. Divorce and Wings alum Thomas Haden Church has signed on to star in and executive produce the Fox comedy The Texanist, based on the Texas Monthly magazine column about an Austin radio show host who doles out advice about the Texas way of doing things to natives and newcomers to the state. Emmy winner Church is a current resident of Texas who also grew up there.The Get Down alum Jaden Michael will play young Colin Kaepernick in Netflix’s Colin in Black White, the six-episode series created by Kaepernick and Emmy winner Ava DuVernay.  Emmy nominee Michael Starrbury writes the series and serves as executive producer, alongside DuVernay and Kaepernick, who will appear as himself as narrator of the autobiographical series.Allison Tolman and Nick Frost will star in the second season of the CBS All Access dark comedy anthology series Why Woman Kill. The new season will feature a new ensemble cast and storylines set in 1949, exploring the lengths one woman will go to in order to finally belong. Tolman will play Alma, a timid and awkward housewife who’s hopeful about her future, until her life is disrupted when she learns about her husband’s secret hobby. British actor, writer, and director Frost will play Bertram, Alma’s kind, good-natured veterinarian husband whose secret hobby is darker than his jovial nature would suggest.Rosario Dawson has joined the cast of Hulu’s opioid crisis drama Dopesick, playing tough DEA agent Bridget Meyer in the eight-episode series that stars Michael Keaton and is written by Danny Strong. (TV Line)The Office alum Craig Robinson will host Fox’s new celeb reality series The Masked Dancer, which premieres in December. He’ll be joined by panelists Ken Jeong, Paula Abdul, Brian Austin Green, and Ashley Tisdale as the show does for famous types willing to shake their groove things while wearing head-to-toe silly costumes what The Masked Singer does for crooning celebrities.Marilyn Manson, Ali Larter, C. Thomas Howell, Ryan Kwanten, Denise Crosby, Breckin Meyer, Ted Raimi, and Kevin Dillon are among the cast for the second season of Creepshow, the hit Shudder horror series from The Walking Dead director, producer, and special effects whiz Greg Nicotero.Apple TV+’s international drama Pachinko, which will be told in Korean, Japanese and English, has announced its cast. The series, based on the bestselling novel by author Min Jin Lee, chronicles the hopes and dreams of four generations of a Korean immigrant family, and will star Min Ho Lee, Jin Ha, Anna Sawai, Minha Kim, Soji Arai, and Kaho Minami. Soo Hugh (The Terror and The Killing) is creator, writer, executive producer, and showrunner on the project.Amazon’s ranch-set mystery drama Outer Range, starring Josh Brolin, has added Lili Taylor, Tom Pelphrey, and Tamara Podemski to the cast. Taylor will play Cecilia, the wife of Brolin’s rancher owner Royal Abbott, while Pelphrey is Perry, the oldest Abbott son, and Podemski plays Joy, the first gay, Native American county sheriff candidate. (Deadline) PRODUCTION DEVELOPMENT: Jon Stewart Returns! The Daily Show Alum Will Host a New Current Affairs Series for Apple TV+(Photo by Jay L. Clendenin/Courtesy Apple TV+)Jon Stewart is coming back to TV on a regular basis: The Daily Show alum has signed a deal with Apple TV+ that will include a new current affairs series, a multiple season, one-hour, single-issue show that will explore topics that are currently part of the national conversation and his advocacy work. The topic of each season will be further explored in a companion podcast. Apple also has a first-look deal Stewart on projects to be produced and developed for the service.Stewart’s Big Daddy co-star Adam Sandler will star in Netflix’s adaptation of Czech author Jaroslav Kalfar’s novel Spaceman of Bohemia. Chernobyl miniseries director Johan Renk will direct the story, about an astronaut (Sandler) whose marriage is falling apart while he’s on an eight-month space mission. When he thinks he has befriended a giant talking space spider, it may actually be a sign that he’s having a mental breakdown. (THR)Ava DuVernay is developing an NBC drama, Sovereign, about an Indigenous family trying to maintain control of their tribe’s future in the face of threats within and outside the family. Navajo Nation member Navajo Nation member Sydney Freeland co-wrote the pilot based on a story from DuVernay, who will executive producer the series with Cheyenne and Mescalero Apache Tribal Nations member Bird Runningwater. (TV Line)Netflix has picked up the thriller Born to Be Murdered, starring Tenet star and Ballers alum John David Washington. The movie, expected to debut in 2021, is the story of a couple (Washington and Alicia Vikander) who, while on vacation in Greece, become involved in a “violent conspiracy.” Call My By Your Name director and producer Luca Guadagnino produced the story. (THR)Netflix also picked up the Toronto Film Festival standout Concrete Cowboy, the drama starring Idris Elba and Stranger Things and The New Edition Story star Caleb McLaughlin, for a likely 2021 release. The film, which also features When They See Us Emmy winner Jharrel Jerome, follows 15-year-old Detroit native Cole, who’s sent to live with his dad Harp (Elba) in Philadelphia, where he learns about the urban cowboy culture. Lorraine Toussaint and Method Man also co-star/ (THR)Dick Wolf and former showrunner of The Chi, Ayanna Floyd Davis, are in early talks with Peacock to develop a reboot of Wolf’s ‘90s cop drama New York Undercover. The original 1994-99 series, which aired on Fox and starred Malik Yoba and Michael DeLorenzo, will be written by Floyd Davis and is a “re-examination of the original, reflecting the current times,” according to Deadline.Olympic bronze medalist figure skater and Dancing with the Stars champ Adam Rippon is developing a figure skating comedy for NBC. Rippon will act as an executive producer on the series, which will “tackle the oversized ambitions, underwhelming talent, and boundless heart as one woman fights her family, failing knees, and every other skater on the ice.” (Variety)Emmy-winning Sopranos writer Terence Winter is adapting the book Friends of the Family: The Inside Story of the Mafia Cops Case as a drama series. The book, by Tommy Dades and Mike Vecchione, tells the true story of a pair of NYPD detectives who were secretly working for the mafia. (Deadline)It’s a Neighbors reunion: stars of that film, Rose Byrne and Seth Rogen, will reunite with the movie’s director, Nick Stoller, for the Apple TV+ comedy series called Platonic, about a pair of childhood friends who reconnect as adults, repair the rift that separated them as children, and engage in an all-consuming friendship.HBO Max and Cartoon Network are rebooting the 1990-92 Steven Spielberg-produced series Tiny Toon Adventures as Tiny Toons Looniversity, which will find Babs, Buster Bunny and their friends going off to the titular institution of “hijinx” learning. Spielberg will return as an executive producer.A Soundtrack for Your Halloween Decorations (To Drive Your Neighbors Insane)If you really, really love the Unsolved Mysteries theme song, Netflix has a Halloween treat for you: a five-hour version of the tune.
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When the children s cartoon Avatar: The Last Airbender aired on Nickelodeon from 2005 to 2008, it was unlike anything kids or adults had ever seen. The show was praised for its art direction, soundtrack, cultural references, humor, and most importantly, its themes, as Avatar was not afraid to explore concepts rarely touched on in youth entertainment. And now, with the show arriving on Netflix after what feels like a 100-year sleep, it is about to be introduced to a whole new audience while simultaneously reminding hardcore fans what made it so special. And to go along with the show s reemergence into the pop culture mainstream, Rotten Tomatoes’ Mark Ellis is delivering five titles you may have missed that tackle many of the same themes, have similar animation styles, and contain characters that follow a similar journey.
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7 天前

游戏时长 24分钟

(Photo by DreamWorks)Star Wars and the Marvel Cinematic Universe are currently two of the absolute biggest properties out there, so it might be easy to forget how much of a niche market sci-fi and comic-book fans in general would have represented just 20 years ago. Before San Diego Comic-Con became a huge phenomenon garnering coverage from pretty much every news outlet around, genre fans were often ostracized and mocked by mainstream media. Everything changed on Christmas Day of 1999, though, when we got an adventure-comedy that was not only a love letter to sci-fi shows like Star Trek, but also one of the first movies to embrace fan culture as something positive.Galaxy Quest has a simple premise: what if aliens watched a sci-fi TV show from Earth and, believing it was real, asked the stars of the show for help in defeating an alien general? The film overcame production issues, including a change in directors from Harold Ramis to one who had barely done any feature films – and certainly no sci-fi movies – to become a cult hit that remains beloved decades later. It was even voted as one of the best Star Trek films by fans (higher than Star Trek Into Darkness). For it’s 20th anniversary, let’s walk in the suns of Warvan and explore why the film that got us to never give up and never surrender still endures to this day.It Nails the Fan Convention Atmosphere(Photo by DreamWorks)Back in the ‘90s, pop culture conventions were niche events, not at all like the juggernauts akin to San Diego Comic-Con. When Galaxy Quest begins, we meet a group of washed-up actors from the eponymous fictional sci-fi TV series at one such convention. The vast majority of the fans are dressed up in cheap costumes based on their favorite characters, and they’re being amped up by a moderator who appeared in one episode (played by Sam Rockwell).When the actors finally show up, it’s a sight that will be familiar to anyone who’s ever attended a similar event. The main actor in Galaxy Quest, Jason Nesmith (Tim Allen, arguably at the peak of his career), thinks too highly of himself, arriving late and soaking in all the attention from the fans while overshadowing his former co-workers. He occupies an entire table himself to sign autographs, while the rest of the cast are forced to share a smaller one. Alexander Dane (the late, great Alan Rickman), another actor on the show, has become absolutely fed up with making convention appearances and dealing with fan after fan coming up to him and repeating his famous catchphrase – to be fair, he did play Richard III.Galaxy Quest depicts not only the absurdity and the pettiness of it all, but also the love that goes into attending these fan conventions. It also predicted the rise of these conventions in ways no one could have foreseen back in 1999. The film, clearly inspired by Star Trek and its loyal fanbase, came at a time when these types of events drew just a few thousand fans. Now, similar events have become so big that they now encapsulate the entirety of pop-culture, and the biggest one, the aforementioned San Diego Comic-Con, draws in over 100,000 fans annually, with major studios dropping big announcements and news outlets reporting on them.It s a Legitimately Good Sci-Fi MovieOne of the reasons Galaxy Quest remains as beloved as it is today is that, unlike many parodies and spoofs, it still makes the effort to be a good sci-fi movie in and of itself. After Harold Ramis left the project, a relatively unknown director named Dean Parisot signed on, and he made sure that the film looked better than just a cheap knock-off of old Star Trek episodes, which is what the original plan called for. In the newly released documentary Never Surrender, producer Mark Johnson says that Parisot directed the film as a drama, focusing on the characters and elevating the movie from operating merely as an extended joke.That feeling of legitimacy comes from the fact that the technical aspects of the film make it look as good as most sci-fi movies from the time. Where Spaceballs and other parodies used their lower budget to make fun of the movies they’re parodying via cheaper recreations, Galaxy Quest aims to look as good as  if not better than some of the Star Trek movies themselves. The special effects were created by Industrial Light and Magic, who had plenty of experience with the Star Trek franchise, and production designer Linda DeScenna, who did set decoration for the first Star Trek movie, also did the set decorations for Galaxy Quest.Never Surrender offers the impression that there were some differences of opinion on how “cheesy” the movie should ultimately be, but the end result erred on the side of realism in order to properly sell the drama of the characters. The creature effects were even created by Stan Winston, known for his work on The Thing, Jurassic Park, Aliens and more. Winston and his team meticulously recreated both the cheap effects that would be appropriate for the show-within-the-movie, like the headpiece worn by Alan Rickman’s character, and the look of the “real” aliens, who might feel right at home in the bigger-budget Star Wars or Star Trek movies.What makes Galaxy Quest special is that the movie is more than a parody, it s an homage. It s not funny at the expense of Star Trek and other sci-fi shows, and it doesn’t turn the staples of the genre into dick jokes like Spaceballs does. Instead, the film plays out as commentary, and it s funny because everyone who worked on the movie loved and understood the genre and knew what elements were worth poking a bit of fun at, and what elements needed to be played completely straight.It Pays Respect to Obsessive FansArguably the main reason why Galaxy Quest became such a hit with fans is the way the movie approaches fandom. This is a movie that came out well before the mainstreaming of geek culture and Comic-Con, before Game of Thrones and superheroes became part of the day-to-day conversation. In other words, the nerds and sci-fi fans of 1999 were more accustomed to being portrayed as basement-dwelling, D D-playing social misfits.Galaxy Quest‘s treatment of this niche culture is best represented by Brandon (Justin Long), a trivia-obsessed fan who uses his knowledge of the show to guide Nesmith and his crew through a replica of the spaceship and save their lives. The movie doesn’t ostracize fans or treat their obsessive cataloguing of pointless details as a waste of time. On the contrary, it treats fan obsession as an asset, which was innovative and way ahead of its time.The movie also depicts how fans can at times mistake fiction for reality. We learn that the Thermians, the aliens who have come to ask Nesmith and his fellow actors for help, have based their entire culture around the TV show, which they consider to be historical documents. Their enthusiasm at watching Nesmith step into the bridge is infectious, and they try to emulate the virtues of the characters in the show, while being completely blind to the many, many flaws of the extremely human people behind the costumes. By the end, their enthusiasm even manages to make the actors themselves embrace the heroic values their characters represent. Nesmith has been so immersed in the success his role had afforded him that he had never considered the positive effect it had on others, how he actually inspired them to do good, until the moment he becomes an actual hero – all thanks to some alien fans.It Predicted the Power of Fan Culture(Photo by DreamWorks)After the actors save the Thermians and return to Earth, they are greeted by a wave of enthusiastic fans at the convention, who cheer at the sight of a literal spaceship crashing into the convention center. The ending of the film reveals that Galaxy Quest the TV show subsequently enjoyed a new wave of popularity that resulted in a revival series, thanks to the fans.In this way, Galaxy Quest was again ahead of its time, as it came out before studios and networks realized the power of fans, but predicted that fans would be able to bring a beloved show back from the dead. It came out a mere three years before the Fox series Firefly, which was cancelled in 2003 after just one season and eventually saw a feature film continuation in 2005 after fans campaigned to bring it back.Though only 20 years old, Galaxy Quest feels like the beginning of a new era for nerd culture. It coincided with the release of Star Wars: Episode I and the rise of blogs and sites that generated online debate. It foresaw the release of major geek-friendly film franchises that weren t merely cult favorites but bona fide blockbusters, like X-Men, Spider-Man, Lord of the Rings, and Harry Potter. Fan conventions became gathering places for hundreds of thousands of like-minded individuals to camp out for days on end in order to catch a glimpse of their favorite pop-culture stars or a trailer for the new movie in their favorite franchise. Fans now not only drive the box office, but they manage to revive their favorite franchises much faster than they used to – just look at the near-instant renewal of Brooklyn Nine-Nine.Galaxy Quest may not be widely regarded as a key player in the rise of geek culture and fandom, but it should be; its influence can be seen in everything from the 2009 Star Trek reboot to Marvel s Guardians of the Galaxy movies. If there’s one thing this cult classic has taught us, it is to never give up, and never surrender.Galaxy Quest was released on December 25, 1999.

游戏时长 1.5小时

Ghcxuf murderous doll. But we did pick up several details that even the trailers have yet to reveal.Here’s what we learned.These Aren t Your 1980s Karen and AndyJust as in the original, the story revolves around a single mother and son, Karen and Andy Barclay. Here, they’re played by Aubrey Plaza and Gabriel Bateman, respectively, and Andy’s about double the age of the original character, at 12 now. With age, Andy’s character deepens from a 6-year-old naïf to a sweet but moody pre-teen who loves his mom, even if she doesn’t understand him at all.Karen is also a little less chaste in this version. In the original, she was a widow, but, here, it’s assumed dad just never stuck around. As the producers said, Karen being a single mom was the subtext in the old film, but “it’s the text of the new film.” Karen fills her time with bad boyfriend Shane, who, like most bad boyfriends in moviedom, is not long for this world. There’s a potential for a little romance, however, with Detective Mike, played by Brian Tyree Henry.Detective Mike is a kind of moral center of the story and lives in an old building with Karen and Andy. When Karen can’t deal, she escapes to the dingy basement and smokes, which is where Mike can find her. We saw one such scene being filmed at Riverview, where Plaza and Henry improvised a tender moment shared between their two characters. Klevberg certainly seemed to be an actor’s director, allowing emotion to drive the scene, quite a bit different from the original. 😈😈

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(Photo by Courtesy the Everett Collection)It s estimated that between 75 and 90 percent of films made before 1929 are either lost or only exist in incomplete form. As part of our RT Archives project, we are collecting contemporaneous reviews for those films – see a full list here and read what critics said about them at the time – and shining a spotlight on the stories and people behind them. Learn more about the RT Archives project here. In the early 20th century, the name Annette Kellermann elicited an awe reserved for a select few. A screen siren in the most literal of terms, Kellermann (often credited as Kellerman, with a single n ) was a swimmer-turned-actress who arguably stands now as a precursor for the kind of crossover success that has marked the careers of the likes of fellow former athletes Dwayne ‘The Rock’ Johnson and Arnold Schwarzenegger. Indeed, like those two Hollywood stars, Kellermann’s physique was instrumental to her entry into and success in cinema, making her a pioneer of the jock film star that seems all too common today.Kellermann was first seen on the big screen in short films like Miss Annette Kellerman (1909), where she showed off her swimming technique and her then-famous high dives. But it would be her work on feature films like Neptune’s Daughter (1914) and A Daughter of the Gods (1916), the first ever million dollar picture, that cemented her as a marquee name in the budding film industry. Only a few of Kellermann’s 30-odd film appearances survive to this day – both Neptune s Daughter and A Daughter of the Gods have been lost – but they’re enough, along with her cultural impact as a health advocate, a one-piece swimsuit trailblazer, and an intrepid athlete, to have made her an indelible part of early film history.Born in 1886 in Sydney, Australia to a pair of musicians (her father was a violinist, her mother a pianist), Kellermann needed to wear steel braces on her legs as a child. Likely due to polio, this is what first pushed her to take up swimming at age 6, as a way of strengthening her legs. By the time she was 13 she’d completely rehabilitated those future money-earners and by the time she was 16 she’d taken up swimming in earnest, winning meets and breaking records in New South Wales state championships.(Photo by Hulton Archive / Stringer / Getty Images)Kellermann soon became a sensation in Australia, alternating between participating in swimming and diving exhibitions as well as breaking more records during competitions. In 1905, she and her father moved to England where her long-distance swims earned her plenty of press; she was even sponsored by The Daily Mirror to attempt to swim the English Channel, a feat she’d try two more times in those years without ever being wholly successful. Moving away and eventually retiring from long-distance swimming, Kellermann set her eyes on more lucrative ventures that still made great use of her talents.That’s how Kellermann ended up across the Atlantic. Oft-advertised as “The Perfect Woman” – posters for her appearances usually included measurements that showed her body metrics matched the Venus de Milo’s – Kellermann was a vaudeville sensation in the early 1910s. Her elaborate synchronized swimming performances attracted audiences in Chicago, Boston, New York, and eventually all over Europe and in her native Australia. It was during this time that Kellermann gained even more notoriety for an alleged 1907 arrest on a Boston beach. While contemporary women’s swimwear consisted of a rather bulky dress/pantaloon combination (often accompanied by long black stockings and bathing slippers), Kellermann had opted to wear a fitted one-piece costume that ended in shorts above her knees – the kind she wore during her exhibitions – which led to her being cited for indecency. (Photo by Courtesy the Everett Collection)The incident, which remains disputed, nevertheless speaks to Kellermann’s advocacy against such strictures on women’s bodies. Advocating for sleeker swimsuits that were less restricting, she led the way toward relaxing Victorian-era norms on what was appropriate beachwear, eventually selling her own branded “Annette Kellermann Sun-Kist’ swimsuits” in U.S. stores from around 1914 to the late 1930s, all but making her name synonymous with the one-piece swimsuit we know today. A savvy entertainer keyed into a rapidly changing audience, Kellermann knew she had the wherewithal to diversify into other potentially lucrative endeavors. While her first foray on the stage (in the short-lived London production of Undine) in 1912 wasn’t a good fit, her eventual move into feature-length films soon turned her into a bona fide movie star. Her first feature film, Neptune’s Daughter, was produced by Carl Laemmle of Universal Film Producing Company; based on an idea pitched by Kellermann herself, the Captain Leslie T. Peacock-scripted and Herbert Brenon-directed adventure film followed a young mermaid intent on avenging her sister, who died when caught by fishermen’s nets. With a fantastical background and even a romantic subplot that echoed a certain Hans Christian Anderson folk tale, Neptune’s Daughter was crafted around Kellermann’s talents. Not only were her swimming and diving skills front and center in elaborate underwater set pieces, but that same “perfect body” that had lured vaudeville audiences to her shows was here yet again presented as a selling point. As Variety noted in its review of the film, men were likely to watch the film several times, “if only for the purpose of having another flash at the divine form of Kellermann, in this instance draped only by her hair, as the mystic power of the Witch s shell transforms her from a mermaid into a regular girl.”(Photo by Courtesy the Everett Collection)Her second feature, A Daughter of the Gods – reportedly the first ever million-dollar film production – further established Kellermann as a performer whose sheer physicality could command the screen. Yet again playing a water-based creature, the Australian swimmer-turned-actress turned heads for what’s considered the very first nude scene by a major star. Still, critics at the time admired her acting as much as her physicality: “Miss Kellermann aside from her daring feats, acted with great skill and gave a most creditable impersonation,” Moving Picture World noted in its review of A Daughter of the Gods.Kellermann’s creative input on these early productions, as well as later films like Queen of the Sea (1918), What Women Love (1920), and Venus of the South Seas (1924), put her in a league of equally influential film screen stars like Charlie Chaplin and Mary Pickford. The many death-defying stunts she performed – including jumping into pools with live crocodiles and diving from rocky cliffs, often shooting on location in Jamaica and Bermuda – established her as an action star whose showmanship and athleticism always went hand in hand. It’s no surprise to find that, decades later, another swimmer-turned-actress (MGM’s Esther Williams) would star in a musical biopic on her life in 1952’s Million Dollar Mermaid. Kellermann was a legend in her own time, a true pioneer who managed to make a name for herself with her body but never let herself be reduced to it. While most of her films have been lost, her extraordinary stunts surviving only in film reviews and printed features, she remains a pivotal figure in early cinema that deserves to be better known and appreciated. What Critics Said About Kellermann s Lost Films When They Were Released: A revelation (Photo by Courtesy the Everett Collection)“In several of the scenes Miss Kellerman, in white, close-fitting tights, gives entertaining exhibitions of swimming and diving, her graceful form standing out against the brushwood like a marble statue as she poses before she dives.” – The Daily Telegraph (Sydney)“[Kellerman] proves herself an accomplished actress, a mistress of the terpsichorean art, and an expert swordswoman, well worthy to be wooed and won by the King of the country she lands in.” – The Age (Melbourne) “There is one scene that particularly will live in the memory. Annette, a mortal, feels the lure of the water. Behind a bush in the forest she discards her peasant dress. Out darts a white-tighted figure. From a vegetation-faced cliff over an inland bit of still water Annette performs the evolutions that have thrilled her audiences in settings far different.” – George Blaisdell, Moving Picture World “Miss Kellerman, in a recent interview, said she did not wish to go in for swimming and diving any longer. She wanted a play in which she could have a dramatic part so she might be judged for her histrionic merits. In this production she has proven her right to such consideration.” – A. Danson Michell, Motion Picture News“The usual spectacular dives Miss Kellermann has become famed for are performed during the picture, and she gives visual evidence also of her remarkable ability to swim and of endurance, always in the water with a fish-tail (as a mermaid) that prevents the employment of her feet for assistance, swimming only with her hands. As a picture actress, Miss Kellerman is a revelation.” – Variety(Photo by Courtesy the Everett Collection)“Some admirable light and shade effects are revealed in the photographed scenery during the progress of the story, which has been ingenious ly developed and produced, and the performance throughout of Miss Kellermann as the child of the seas is as skillful as it is graceful and refined.” – The Daily Telegraph (Sydney)“Miss Kellermann aside from her daring feats, acted with great skill and gave a most creditable impersonation.” – Moving Picture World“Herbert Brenon placed his confidence in the appeal of the mass scene and Miss Kellermann s physical charm and skill in diving and swimming to carry the fanciful story along to success. His confidence, it would seem, was well placed.” – Motography“The beautiful figure of Annette Kellermann and her matchless skill as an amphibienne are made the most of in A Daughter of the Gods, the elaborate, spectacular and somewhat monotonous photofable which was unfolded for the first time last evening at the Lyric Theatre.” – The New York TimesOn an Apple device? Follow Rotten Tomatoes on Apple News.

亚博在线官网 Watch: Director and co-writer George Miller on the making of Mad Max: Fury Road above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, Mad Max: Fury Road director and co-writer George Miller reveals how his wild road movie – and the female warrior at its center – came to be.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Mad Max: Fury Road (2015) 97%Looking for a definition of that cursed Hollywood term, Development Hell ? Look no further than Mad Max: Fury Road, the movie that came three decades after the last Mad Max film and which took writer-director George Miller almost 20 years to make. Over the course of decades, production was famously waylaid by global events (September 11, the Iraq War), other productions shifting the filmmaker s focus (Happy Feet and its sequel), and then by nature: things were all set to go for shooting in Broken Hill, Australia, when mass rains turned the landscape from something that looked like a post-apocalyptic wasteland into something more like FernGully. The movie did eventually shoot in Namibia, though, and after years in editing – overseen by Margaret Sixel, Miller s collaborator and wife, who would win an Oscar for the film – was released in 2015.The acclaim was instant and loud; the pain had been worth it. Critics hailed Miller s 30-years-later sequel to Beyond Thunderdome as a bold and visionary achievement, with a relentless energy and practically-achieved action sequences that were beyond anything they d seen before. (It is number one on our list of 140 Essential Action Movies.) In a bold move, Miller moved Max Rockatansky (once played by Mel Gibson, here played by Tom Hardy) into an almost-supporting role, with Charlize Theron the true lead as Imperator Furiosa, the warrior on a mission to free a group of enslaved wives from their master, the evil Immortan Joe (Hugh Keays-Byrne). Fury Road s themes are big and weighty, its engines loud and mighty, and its impact has been huge. Here, Miller talks us through the moment he got the idea for this movie about an endless desert chase, dealing with the setbacks that delayed it, and how he finally got started making his vision a kinetic reality. The idea was simple: What if there was a chase and what was at stake was very elemental and very human? “Ideas are banging around in your head all the time, and you keep pushing them away until some get more insistent. And that s exactly what happened with Mad Max: Fury Road. I remember specifically, I was in Los Angeles, and I was at a traffic crossing. When the light went green to cross, I was walking across the road, and this idea popped into my head about what eventually became this Fury Road. By the time I got to the other side, I said to myself, ‘No way. I don t want to do another Mad Max movie.’ And that s what it was. The idea was very, very simple: What if there was a chase and what was at stake was very elemental and very human? In the old Hitchcock sense, the MacGuffin has to be very human. I thought, ‘Well, the best thing would be for them to be five or six women, and initially it was five to seven women being chased across the wasteland, pursued by a warlord, and Max gets caught up in their story. So, cut to months later, I didn t give it another thought. I m on that long flight home from Los Angeles to Sydney. It s through the night over the Pacific and in those unguarded moments when you ve got nothing else to do, the story played out in my head, at least a good half of it. I remember thinking, ‘Holy cow, this could work out OK!’ I landed in Sydney, and I went to my colleagues and I said, ‘Look, I think there s another Mad Max sometime in the future.’ I didn t know that it would be such a long time – that was in the late ’90s. But like all good stories, they really do insist on being made in some way. It s Darwinian.”Miller wanted to make the stakes as high as possible, and so the cargo was human. (Photo by Jasin Boland/©Warner Bros. Pictures/courtesy Everett Collection) The only reason that it s five brides that are being chased by the warlord is that we couldn t fit seven into a car. “In the Indigenous culture [in Australia], which is the oldest continuous culture that we have on the planet, one of the creation stories, or the common creation stories, depending on which part [of the country] you go to, is the story of seven sisters escaping some male principal, and it s a malignant male principal. In the story, they help create the topography and all the nature around, and there s a variation of that story all over Australia. It s an oral tradition. It was only as an afterthought that I figured out, ‘Hey, wait a minute, we re telling that story.’ The only reason for us that it s five brides that are being chased by the warlord is that we couldn t fit seven into a car, we couldn t distribute all the detail of characters. We had to differentiate a lot of characters, and to try it with seven people would be more difficult.” We could do things we could never even dream of doing back 30 years before, when it was all analog and old-school. “I love action movies, I love chase movies. I think one could argue that they re the purest form of cinema, in the sense that the syntax of cinema was developed pre-sound. I m a big fan of the book written – I think back in the 60s or 70s – by Kevin Brownlow, The Parade s Gone By , where he said this new language that we call cinema, which everybody can read now, is basically sorted out before the advent of sound. Because the cameras and the sound equipment became quite cumbersome, it took a long time for them to become agile again and we could get a kinetic cinema. And so, I m very, very attracted to that. [Fury Road] was an opportunity to do basically three things: Number one, use a basic idea. Number two, to do a film that was almost constant action and see how much subtext, see how much people could read on the run. And the other big thing was, after 30 years, to be able to use the new technology available, new cameras, the new digital dispensation, so that we could do things we could never even dream of doing back 30 years before when it was all analog and old school, but yet still building on the skills we learned then.”The movie existed on thousands of storyboards before there was a script. (Photo by Jasin Boland/©Warner Bros. Pictures/courtesy Everett Collection) When you ve got something that is essentially not verbal and you re trying to be very specific with your film language, the storyboard is the best tool the film existed on 3,800 panels around the room. “The best way to render [an action movie] is not with the written word, but with storyboards. I remember when I first started making movies, I d board them first, because that was the most immediate representation of the movie and what was swirling around in your head. Then I would do a boarded screenplay and turn it into a screenplay. And I thought, Oh, this is an opportunity to do that. When you ve got something that is essentially not verbal and you re trying to be very, very specific with your film language, the storyboard is the best tool, at least for production. So after laying out the basic story, we boarded the film first. There was [co-writer] Brendan McCarthy, who serendipitously started to work on the film. There was [storyboard artist] Mark Sexton, and we all sat in a room and prepared all these boards. So in many ways, the film existed on a wall and 3,800 panels around the room. It was there always reminding me. Even when I was working on Happy Feet, I d walk into what I called the Mad Max room, and there it was. It was a present thing, it wasn t just in people s heads at that point. But then the first setback was 9/11, and everything closed down, everyone was uncertain. It was very difficult to get the equipment we wanted, that we couldn t get in Australia, and so on. Insurances went up.” We had unprecedented rains in Broken Hill. Instead of red harsh earth, we had basically a flower garden. “Warner Brothers had already seen [material for] Happy Feet, and they were saying, ‘Hey, listen, when can we do Happy Feet?’, which was also prepared at the same time. Once that happened, I said, ‘OK, let s get into Happy Feet.’ Well, that s four years gone right there. Then we got [Fury Road] up again, and then, I think it s probably well known, we had unprecedented rains in Broken Hill [the area in far west New South Wales, Australia, where Miller planned to shoot]. Instead of red harsh earth, we had basically a flower garden, which was wonderful. And Lake Eyre, where we wanted to shoot, was now full of fish and frogs and pelicans. I was very familiar with Broken Hill, of course, because we d shot Mad Max 2 there. But we had actually roads built, we had 150 vehicles there, our stunt crew was there. A lot of the stunts were prepared there. I mean, on the one hand, it was bad for Mad Max, but it was a wonderful thing to see, because what s right under the earth, for the want of rain, is this amazing, amazing color and flowers, and they grew to waist high. I ve got pictures of it. I remember driving along this dirt road and stepping off the road and filming. It went on for miles, just this lilac and purple and green, just went on for miles. So it was put off again. I finally ended up doing another Happy Feet, and then the planets aligned, and we went off and shot Fury Road.”The Moment:  Remember me? Fury Road is ultimately Furiosa s movie: It is she who drives the action and it is she who ultimately gets to annihilate the villain, Immortan Joe. The moment in which she does so may not be the most spectacular moment in a film full of visuals and stunts and violence that stun and dazzle, but it lingers for its ferocity and its intimacy – there is so much that is unsaid about their history and about the world of Mad Max when she simply says, Remember me?, and viciously kills Immortan. Miller here reveals that the line was not originally in the script, and was something Theron felt she wanted to say.Theron and Miller on the set of Mad Max: Fury Road. (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) She had all the attributes that Furiosa had, even though they re from completely different worlds. “The thing that was contraband [in Fury Road] was human, and it was five wives, or breeders as we called them, escaping a tyrant who sat on top of this dominant hierarchy. Their champion had to be a warrior. And if it was a male, it just wouldn t work: It would be one man theoretically stealing five wives from another man. It had to be a female warrior, and hence Furiosa. The very first person who came to mind was Charlize. First of all, she s got the acting chops. Secondly, she s not somebody given to vanity. She s already gifted by beauty, so she is very happy to go against that. But it goes much deeper than that. For instance, she was the one who said, ‘Look, I d really like her to have no hair. If she were serious, she wouldn t mess around with hair in the wasteland, with all the dust and so on. But beyond that, she s also someone who is very, very disciplined. She was trained in ballet and I know enough about ballet and dancers to know that they re very tough people physically and very disciplined, with fantastic memory; I think they call it muscle memory nowadays, but fantastic memory and real understanding of where their bodies are in time and space. I learnt that particularly from doing the Happy Feet movies. Charlize had that. And then her own history, the way she came from South Africa, her own family history. I know she went to New York, became a dancer, which is another tough milieu to work in. And then she went to L.A. when she got injured and so on. She had all the attributes that Furiosa had, even though they re from completely different worlds. And the theory proved correct of course, because she was Furiosa. I mean, stopped thinking about her as Charlize when we were out there in the heat and the dust and on those big vehicles. When she was driving them, I stopped thinking of her as Charlize and only saw her as the character.”Theron was the first person Miller wanted for the role of Furiosa. (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) She was determined to not do any action as if it were a female doing a man s job. She said, ‘If I m going to pick up a weapon, I want to shoot as if I m really experienced.’ “[Charlize would] walk out of the makeup van and roll around in the dust, just to get it in her skin and under her nails. Before we started the film, she said, ‘Look, I ve got to tell you something. I hate dust on my hands.’ She has some sort of aversion to it. And I said, ‘Well, what are we going to do? Should we have wipes and things?’ She said, ‘No, no, it s going to help me.’ The other thing she was determined to do was not do any action as if it were a female doing a man s job. She said, ‘If I m going to pick up a weapon, I want to shoot as if I m really experienced.’ She had an aversion to guns, but she was determined to do it. ‘If I run, if I walk, if I hit somebody…’ You see the way she does things. I mean, that headbutt at the end of the movie: they re difficult to pull off, and she just did it. I mean, she was scarily good in that scene.” We know that stuff happened [between them], but you can never be explicit about all that stuff. It would be an epic novel. “The film itself, there s a lot of iceberg under the tip. I think one of the great concerns about the film is whether people could read enough [from the visuals and sparse dialogue] to get the story. We were never very explicit about everything. We knew something happened [with Immortan and Furiosa]. Here is a world in which people are commodities. They have the brand of the Immortan on their back; everybody in this story, including Max, we have to assume, has the brand of the Immortan on his back. Furiosa has it when we first see her; it s on the back of her neck. And so we know that stuff happened, but you can never be explicit about all that stuff. It would be an epic novel. She is the one who finally in this…not so much a chase, but a race to get to the Citadel… she is the one who finds herself in the position closest to Immortan. And she uses this moment to hook this harpoon on his mask, which is a privilege in that world, because in some way that mask filters the toxic air, something available to him that others would not have. She takes that moment to say, ‘Remember me.’”Miller says Theron came up with the line, Remember me?! . (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) Charlize on that day said that she wanted to say the line. It wasn’t a written line It was a little pause before the brutality of the moment. “[The moment] carries a huge amount of meaning to the character, and it implies a lot of grievance about their backstory. We have hints of it, we could speculate as to what it might be, but we don t know at that moment all the details. But it therefore becomes somewhat allegorical. It could be all of those who have somehow had to struggle out of some sort of oppression at the hands of some tyrannical figure. She gets her vengeance in that moment, but the story of course is not done. And it s a moment by the way, I think, is available only to her. I don t think any other character could have done it. I remember the line. I remember Charlize on that day said that she wanted to say the line. It wasn’t a written line. She said, ‘Look, I feel like I really want to say it. OK by you?’ I said, ‘Great.’ It just hit a sweet spot in amongst that action, and it was a little pause before the brutality of the moment and the continuation of the action that was to come.”The Impact: A Landmark Action FilmFury Road was one of those rare films that felt like a classic the moment it was released; it did not need time to age well, and critics and audiences felt instinctively it was something special. Which explains the accolades: the movie won six Academy Awards, all for craft and technical categories, and was that rare action film to be nominated for Best Picture and Best Director. It made almost 0 million worldwide, which may not seem huge when compared to MCU box office numbers, but is a mighty haul for a non-superhero film – especially one as oddball and manic as this. But that s almost beside the point.Fury Road was singularly exciting. It was part of a franchise, sure – though one that had not been revisited since 1985 – but it felt wholly original and invigorating. At a time when CGI overload and repeated formulas had many lamenting a settling sense of sameness, and safeness, in blockbuster cinema, Miller and co. came in and blew everything up. They showed that a big-budget car-chase movie could feel as special and distinct as anything at your local arthouse cinema. No wonder recent news that three more Mad Max movies are on the way – including one centered on Furiosa – set the film world on fire. Let s just hope we don t have to wait 30 years to see them. We fade to black, and they started to clap, and they stopped. I thought, Why did they do that? “I remember the first time I saw the film complete with an audience. Believe it or not, the most striking thing was how fine the detail had to be to get something across. If you didn t pay attention to the smallest detail, then the cumulative effect of the film wasn t going to play out. There s a very stark example. At the end of the first chase, at the end of the storm… the film really basically builds to that and it ends act one. There s a flare, we go to black, and then basically we see Max covered in sand, and the new act begins. Now, I remember thinking, ‘Boy, if this film works, there should be a catharsis at the end of that, just welcoming the silence. And if we re lucky, they might even clap.’ I remember watching the film with the audience, and they were leaning into the movie. They seemed to be really caught up and following it. I mean, it s a visual music, and they re there following the concerto and the symphony. And we fade to black, and they started to clap, and they stopped. I thought, Why did they do that?’ I couldn t work it out until I realized what we d left was a little sustained note. We didn t go to complete silence, and it sustained across into the next scene. When the audience heard that, it was a cue for them that, ‘No, this is not over yet.’ So it was very, very simple. We just faded out to complete silence. Then the next screening we saw there was a very satisfying clap from the audience; they were basically allowed to clap simply because everything went silent after all this noise and fire and all the fury of what it followed. So that was the thing I remember most apart from the fact that people seemed to be really engaged, and we scored well, and all that sort of stuff.”Miller, Theron, and Nicholas Hoult attend the world premiere at the 68th Cannes Film Festival in 2015. (Photo by Stephane Cardinale/Corbis via Getty Images) The way I like to measure the worth of the film is for how long does it follow you out of the cinema? “I really don t believe you know what your film is until a long time after it s released. For instance, the first public screening was at the Cannes Film Festival. It wasn t opening night, I think it was the second night, and there was rousing applause and a standing ovation that went on for a long time. But that s a unique situation, because having been on the jury of the Cannes Film Festival, that s a very enthusiastic audience. It s almost as if, if you don t get a rousing reception if the film was well made, somehow it s a negative. So that was a false reading. The most accurate reading for me is to go to a full cinema, and pay for your ticket, and sit there in the audience and see it. It’s simply in a neutral way, in the way that people would turn up to see a movie, and that s the most accurate reading. I guess the way I like to measure the worth of the film is for how long does it follow you out of the cinema? If you ve forgotten it by the time you re in the car park, then perhaps it s not such a good movie. But if it stays with you for a long time and washes over you, then that s really great. The greatest films are the ones that stay with you for a lifetime. I mean, we ve all had films in our lives that we remember, whether from childhood, or at any time of our life, that somehow we can t forget. They become part almost of our own individual narrative, and the great films seem to do that.” He opened his shirt, and there on his chest he had tattooed the Immortan s branding. I thought, ‘Oh, God, he wasn t just being polite.' “I was in Japan doing some promotion on Fury Road, and there was a Japanese critic, English-speaking, who was just so insightful about the movie. He read all the things that I hoped were there, that we thought were there, but were never sure whether people could pick up on. I said, ‘How many times did you see the movie?’ He said, ‘Once.’ I said, ‘You got all that from just on one reading of the movie?’ And he said, ‘Yes.’ When the interview finished, he called me over to the side and he said, ‘Can I show you something?’ He opened his shirt, and there on his chest he had tattooed the Immortan s branding. I thought, ‘Oh, God, he wasn t just being polite. This movie did have a serious effect on him.’ He said, ‘It just encapsulated so much about who we are as human beings now and in the past.’ I thought, ‘Oh, God, gee, well, that s about the best compliment I could get.’ Not to say that people should get tattoos [of the film], but that was a very, very, very moving moment for me. He read the movie so well.”There are three more films set in the Mad Max world in the works. (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) Mad Max: Fury Road is a very dark look at the world, but ultimately it s a great forge on which to test humanity. “I didn t expect Fury Road, particularly during the make of it, to be so well received. It was a tough film to make. But more than that, I didn t think that there could be an action movie that would seem to have a lot of subtext, a lot of, as I say, iceberg under the tip. I realize now, that probably is why the film did have a resonance that people refer to. And I know that because I ve had two people come to me and say, Oh, I ve just had a newborn baby girl, and I m going to name her Furiosa.’ It s a humbling thing, because it says that you have a big responsibility as a storyteller. You can t be casual about your stories. They re narratives that become part of people s lives, or references to them. And we all have those. I mean, Mad Max: Fury Road is a very, very dark look at the world, but ultimately it s a great forge on which to test humanity. In other words, in our world, in, say, the more comfortable first world, the unusual events are the darker, more malevolent behaviors of individuals. In the world of Mad Max, the positive regard for other people, acts of kindness, or the giving of oneself, are the exceptions. They shine like light in the darkness. Not wanting to get too cliché, but they become the exception, and therefore we learn a little bit more about that. So when Nux, the warrior, finally gets to do the one thing he s wanted to do all his life and drive the rig and realizes that he has to crash that rig at the end, well, that s a heroic act. When Max, the blood bag, wanting more than anything to be free, actually gives his blood to the dying Furiosa, that’s an act in which he relinquishes self-interest. It s a heroic act.”Mad Max: Fury Road was released May 15, 2015. Buy or rent it at FandangoNOW.

2022-01-17
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