横板动作系列的最佳手游，游戏以火影系列作为剧情，玩家可以体验原著当中各种忍者的战斗方式，同时最近上线的须佐佐助也是让人气得到了进一步提升，毕竟这部动漫的读者实在是太多啦。 The first appearance of DC Comics Doom Patrol advertised the ragtag group as the world s strangest heroes. More than half a century later, those misfits have their own series on the DC Universe streaming service, Doom Patrol.Premiering February 15, the series follows a group of very unusual characters — a human brain contained in a robot body, a former actress with the ability to stretch her body into impossible shapes, a horribly burned pilot containing an electromagnetic force, and a paraplegic genius who brings them together — as they begrudgingly embark on a mission to stop the supervillain Mr. Nobody from plunging the world into a fit of absurd madness. They re all weird, confirmed Timothy Dalton, who plays the group s de facto leader, Dr. Niles Caulder. Also known as The Chief, Caulder is an avid collector of odd personalities.“He s obviously got a very particular kind of personality; it s a rich and complex personality,” Dalton told Rotten Tomatoes. “But he might be the sanest one of the lot — or the most normal at times.”(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc.)While the Doom Patrol cast was previously introduced in an episode of DC Universe s first live-action series, Titans, the characters made their first appearance in the DC Comics anthology My Greatest Adventure in 1963. The low-selling series was in danger of cancellation when writer Arnold Drake was tasked with creating a new lead feature that could potentially save the title. Drake, fellow writer Bob Haney, and artist Bruno Premiani assembled the group of very unusual characters he dubbed collectively the Doom Patrol, which were advertised on the cover of My Greatest Adventure #80 as the world s strangest heroes. Now, 56 years later, their creations are leading their own TV series, which is based on Drake, Haney, and Premiani s work and later comic book stories by Grant Morrison, Richard Case, and a number of other artists.Robotman, Negative Man, Elasti-Woman, Crazy Jane, and new recruit Cyborg are led by the Chief, whose keen analytical mind and mechanical prowess was able to save the brain of Cliff Steele (Brendan Fraser), a race car driver from the 1980s who survived a terrible accident only through The Chief’s intervention. While Cliff is still alive, the fact that he is trapped in a mechanical body means he s without his five senses or full range of emotions — and without his full identity.“Hubris got the best of this narcissistic daredevil race car driver who cheated in more than one way,” Fraser told RT.But in cheating death, Cliff also became Robotman, a person only partially aware of Cliff’s life as the series begins. According to Fraser, there is a clear delineation between Cliff and Robotman that will be explored as the series progresses.“He needs to learn to be a better human being than he ever was in a human body,” Fraser explained. “And he can only do that by being trapped in this mechanical creature.”(Photo by Quantrell D. Colbert / 2018 Warner Bros. Entertainment Inc.)The nature of Cliff s confinement, and that of fellow Doom Patrol member Larry Trainor (Matt Bomer), is obvious from their lack of human faces — Cliff’s robot face cannot mimic expression; while Larry, the former test pilot, hides his badly burned visage behind bandages — but another longtime resident of The Chief’s home uses a very different mask to hide her internal prison. The third member of the group, Rita Farr (April Bowlby), was an actress in the Hollywood studios of the 1950s. But an on-set accident turned her into a blob of stretchy gelatinous flesh that she struggles to keep in lockstep with the celluloid memory of her more glamorous appearance. While it may seem narcissistic on its surface, Bowlby said the underlying nature of her character s identity crisis makes her all the stranger.“I think she pushes people away, but all she really wants is people to love her,” Bowlby said. “She s surrounded by old memorabilia of herself, obsessed with herself, and then doesn t understand why other people aren t.”Also strange for Bowlby was creating two different versions of Rita. One appeared in an episode of DC Universe’s Titans last October, but the other is the one audiences meet on Doom Patrol.“Rita [on Titans] was, I felt, very loving and kind, almost like a 50s housewife,” Bowlby said. But when Jeremy Carver came on board to develop Doom Patrol into its own television show, he decided to rethink the characters and set it apart from Titans entirely. Bowlby abandoned the motherly Rita in favor of the one she read in Carver’s first script.“She s crippled emotionally,” she said of the revised character. “And she likes to protect herself from people and being outside in the world.”(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc.)The sense that she must protect herself from the world and protect the world from her abilities left Bowlby with the sense that Rita is not a hero.“I imagine that eventually we ll see Rita own her power, but right now it is not a power. It s a threat to her. She doesn t like it. She doesn t know how to control it,” she explained. “It s almost like she s working against even what [the Doom Patrol is] trying to do.”In fact, Fraser and Dalton both feel their characters are far from the hero archetype. Although Dalton joked that the Chief is somewhat heroic in giving the group a place to live, he added that the viewer should be “left in two minds about him” and his motivations. And as Fraser put it, Cliff is “not out to fight crime and make the world a better place like the Justice League.”But there is one character on Doom Patrol is looking to be a hero: Victor Stone, also known as Cyborg (Joivan Wade). The character may be the best known of Doom Patrol’s cast thanks to his appearances on Teen Titans, Teen Titans GO!, and in the Justice League feature film. The series honors that rich media history by envisioning him as a young man anxious to get on a big superteam like the Justice League. The survivor of a horrific accident that took the life of a close family member, Vic was rebuilt with cybernetic limbs and neural implants that offer him greatly enhanced speed, endurance and a few other abilities. With his promising football career ended by the accident, Vic is dedicated “to being that superhero and protecting people and essentially giving back,” Wade explained.“Being with the Doom Patrol is a great opportunity for him to do that and to learn,” he continued. “He gets to test out being a leader within the group and train to function within a team, which are skills he’ll need.”But even Justice League candidates can have some strangeness to them, and Wade teased a potential oddity for the Vic.“He s a computer as much as he is a human, Wade said, so having this piece of software and the cybernetics which made his body up, there is this question of, ‘Well, it s programming, isn t it?’ So based on that, how does he know what s real and what s not real?”While that leads to a question of identity, Wade is certain Vic’s desire to be a hero is genuine to the man and not his program.When it comes to identities, though, Crazy Jane (Diane Guerrero) has the market cornered. Created by Grant Morrison and Richard Case in the author s seminal 1980s run on the Doom Patrol comic book, Jane is a metahuman dealing with Dissociative Identity Disorder — and each of her 64 personalities has a superpower of its own. Jane s struggle leads to plenty of trouble at the Caulder mansion and plenty of strange happenings in the town nearby. But Guerrero said there is a very mundane and relatable aspect to Jane that viewers will connect with right away.“Her brain s never off,” she said. “That s part of the reason why some people drink or take on hobbies. It’s just to quiet the mind. Something s always constantly battling to surface.”For Jane, the battle is containing those personalities – all with their own scruples in addition to their powers.“Her job is to be steady and to be neutral and not to feel.” Guerrero said. It makes the character a hero in her eyes just be trying to manage it all.(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc.)Nonetheless, less heroic personas do emerge, like Hammerhead, a super strong and extremely angry person who manifests despite Jane’s best efforts to keep the anger contained.“[Jane is] the person who has all these feelings, but doesn t want to feel too much, and Hammerhead is just is totally OK being in that space and unapologetic, Guerrero said. While the personality often makes life in the mansion worse, There are situations that present themselves where you need Hammerhead’s force and anger to sort of help you through it.”Though Hammerhead s strength can be advantageous, it may be no match for the group s principle antagonist in the the first season: Mr. Nobody. Played by Alan Tudyk, the character is an old foe of The Chief and someone against whom the five main characters must unite. While several members of the Doom Patrol cast question their status as heroes, Tudyk said Nobody is “embracing his villainy” as the series begins.“He wants to hurt Niles, so he uses everything at his disposal — and so much of the world is at his disposal — to hurt him.” Unlike the others, Nobody chose his strangeness. That decision led him to a power and an understanding of the absurdity behind the world, which means he might be able to see himself as a therapist to the group but would take “too much joy in the pain it causes.” As Tudyk explained, “He would use the information you gave him as a therapist against you.”Though Nobody s intentions may be malicious or even heroic in some absurd way, they will change the Doom Patrol forever. As Guerrero put it, “I love how these people are forced to look at themselves — to really, really look at themselves — because they ve all pretty much given up.”Said Dalton, “Their potential strengths are their downfall. They don t know how to use them in any other way than in this self-destruction, really.”In the comics, the group eventually found a way to become heroes, as the cover blurb promised. Perhaps all their television counterparts need to do is find a way to care again, embrace their strangeness, and curb their self-destructive tendencies. It would be heroic enough of an act — at least for one season.Doom Patrol launches on Friday, February 15, with new episodes released on subsequent Fridays on DC Universe.
4. 呼朋唤友 随心所欲
(Photo by Showtime)Video game adaptations are tough. For years, feature film takes on beloved games like Super Mario Bros. and FarCry have been the butt of jokes thanks to producers who take the title and little else from the source material. Even more recent, high-gloss, and faithful efforts seem to lose something in the translation. (See our guide to 47 Video Game Movies Ranked Worst to Best. )But Paramount+ hopes to buck that tragic big-budget trend with a high-end series based on Microsoft’s epic game franchise Halo. As Showtime Networks co-president Gary Levine put it at the 2019 Television Critics Association summer press tour, “Our challenge on this series was to take a video game and make it into a character drama that belongs on Showtime.” Two years later, Showtime’s corporate parent, ViacomCBS, announced the series would instead be one that belongs on its rebranded Paramount+ streaming service.Navigating the landscape from game mechanics to filmed entertainment is often as difficult as any mission series main character Master Chief confronts, but here are the details we know so far about the Paramount+ Halo series.[Updated on 2/24/21]1. It Is Based Upon a Huge Game Universe(Photo by Elizabeth Goodenough/Everett Collection)Beginning with 2001’s Halo: Combat Evolved, the Halo series charts the ongoing conflict between a spacefaring humanity in the 26th century and an alien theocracy known as the Covenant. In that first game, Master Chief John-117, a genetically enhanced Spartan supersoldier encased in advanced armor, faces off against the Covenant for control of a Halo — a ring-shaped space station/super weapon created by an ancient and extinct race the Covenant worship as gods. The game changed the perception of first-person shooters on home consoles and gave Microsoft its first huge win in that market when the game was released as a launch title for the original XBox.Sequels followed — five so far in the main series with a sixth, Halo Infinite, due out in 2021 (we hope) — and a surprising number of spin-offs. New characters appeared to play off against the stoic Master Chief and the spin-offs further developed the Halo universe by featuring more story-driven first-person shooters or switching to other game mechanics like Real Time Strategy. Books, comics, and animated series further deepened the breadth of the franchise s universe and history.The television series will attempt to “weave deeply drawn personal stories with action and adventure set within that richly imagined vision of the future.” Anchoring those stories will be Master Chief, played by American Gods’ Pablo Schreiber (pictured).In a 2019 interview, Levine told Rotten Tomatoes and a small group of reporters that Schreiber has “the physicality to be a Spartan, to be Master Chief. But he is [also] a great dramatic actor.” A mention of Schreiber’s comedic chops and the “twinkle in his eye” suggests Master Chief may be seen without his helmet or armor; a first for Halo should it happen. Although Levine added, “we’re not violating anything big,” so Master Chief may remain within his armor throughout the series.2. Steven Spielberg Is Involved (Sort Of)(Photo by Walt Disney Studios Motion Pictures /Courtesy Everett Collection)Since 2013, Spielberg’s Amblin Television has been involved in developing the current iteration of the Halo TV project. At that time, he was said to be on board as an executive producer, but it seems he will not take on any direct creative duties. Nonetheless, there is always the potential he will take an interest in the series, particularly as it focuses on two of his favorite topics: war and aliens.Microsoft’s 343 Industries — an entity it established to manage the Halo brand following the departure of original developer Bungie — will also produce the series, suggesting a level of direct developer control seen only with Ubisoft producing 2016 s Assassin’s Creed. That film, however, proved developer input may not lead to a great adaptation as that film only garnered a 19% on the Tomatometer and an audience score of 43%.3. Its Cast Reflects Halo’s Past And Future(Photo by Priscilla Grant/Everett Collection)Joining Master Chief on this television journey will be Yerin Ha as Quan Ah, a new character devised specifically for the series. First announced alongside Schreiber, the character is described as a “shrewd, audacious 16-year-old from the Outer Colonies who meets Master Chief at a fateful time for them both.” The series will also feature Californication’s Natascha McElhone (pictured), Fargo’s Bokeem Woodbine, Shabana Azmi, Bentley Kalu, Natasha Culzac, and Kate Kennedy.McElhone will play Dr. Catherine Halsey, inventor of the Spartan super-soldiers and Cortana, the advance AI who is the key to humanity’s survival and a constant element in Master Chief’s adventures. Cortana is also the name of Microsoft’s AI assistant on its platforms; the name was, in fact, derived from Halo. At one point, McElhone was set to voice Cortana, but scheduling issues led to the character s original voice, Jen Taylor, stepping in and creating one bit of continuity with the games.Woodbine will take on the role of Soren-066, another established Halo character. He is an old friend of Master Chief’s and a privateer in conflict with the military — which means he may come into direct conflict with Azmi’s character, Admiral Margaret Parangosky, the head of Naval Intelligence and another character from the games who seemingly places the Halo TV series in a specific part of the franchise’s history. But, as Levine said, “you re going to get new information in our series, but we are not going to violate any of the things in the canon.”Kalu, Culzac, and Kennedy all play new characters to the Halo universe with familiar affiliations. Kalu is Spartan Vannak-134, Master Chief’s de facto deputy. Culzac is Spartan Riz-028, a “cybernetically enhanced killing machine,” and Kennedy is Spartan Kai-125, another Spartan super-soldier tasked to the mission. Actors Yerin Ha, Charlie Murphy, Olive Gray, and Danny Sapani are also part of the series in unspecified roles.”4. It Has Great Talent in the Writers’ RoomExploring the “richly imagined universe” is executive producer and showrunner Kyle Killen, creator of critically acclaimed Lone Star (83% on the Tomatometer) and the fan-favorite NBC series Awake (89% Audience Score). Both series featured protagonist who faced dual realities — literally in the case of Awake’s Micheal Britten (Jason Isaacs). Both shows also faced tough competition on broadcast television and did not last beyond their initial episode orders; nonetheless, a 10-episode cable series may turn out to be the best format for Killen as a writer and producer. And should Halo s protagonist find themselves caught between two worlds — say humanity versus the culture of The Covenant — Killen will be a great fit for the material.The Last Ship’s Steven Kane also serves as showrunner alongside Killen. His TNT series has an 83% on the Tomatometer and proved to be success on that network over the course of five seasons. Kane reportedly oversees production in Budapest while Killen supervises writing and other stateside production efforts.Also, the initial episodes will be directed by Robin Hood’s Otto Bathurst, who replaced Rupert Wyatt due to scheduling conflicts.“[He] is a marvelous director,” Levine said of Bathurst. “Unbelievably passionate about the project, and he has been leading our team beautifully.”5. This Is Not the First Attempt Adapt Halo(Photo by Vanguard Cinema)Halo nearly became a feature film in the early part of the 21st century. In 2005, 20th Century Fox and Universal picked up the project thanks in part to a script written by Annhilation’s Alex Garland. According to Garland, the story was a fairly faithful adaptation of the two Halo games available at the time. Peter Jackson was poised to produce with both Guillermo del Toro and Neill Blomkamp eyeing the director’s chair. Sadly, tough negotiations between the studios, Jackson, and producer Peter Schlessel led to the project’s collapse.After to the project’s implosion, Blomkamp said he would have used Master Chief as “the most important supporting cast member” with other characters doing “most of the emotional heavy lifting.”Since the time of the failed feature attempt, Microsoft produced two live-action webseries which were later released as films: Halo 4: Forward Unto Dawn and Halo: Nightfall. The latter was produced by Ridley Scott’s production company Scott Free and featured Luke Cage’s Mike Colter as Agent Jameson Locke, a playable character in Halo 5: Guardians.6. The Switch to Paramount+Although intended to be a Showtime original series, David Nevins, CBS Chief Creative Officer and Showtime Networks Chairman and Chief Executive Officer, surprised reporters during a February 2021 Investor Day presentation by adding the program to the Paramount+ roster. The streaming service, a rebrand of the existing CBS All Access, intends to encompass more of ViacomCBS’s programming. According to Nevins, Halo fits right in with the sort of content the streaming service intends to highlight. “From all the early glimpses we’ve seen, it’s crystal clear that Halo is a visually stunning thrill-ride, anchored in riveting, character-driven storytelling,” he said. “With such tremendous appeal to every audience, we realized Halo had the potential to become a defining show for what will become the broadest streaming platform at ViacomCBS – the new Paramount+.” Showtime will still be involved as a producer alongside 343 Industries and Amblin.7. What s the Status? Production began in Budapest during the fall of 2019, but the COVID-19 pandemic led to a long delay. It is currently in production again with Paramount+ setting it for an early 2022 debut.On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
(Photo by BBC America; HBO; ©20thCentFox/Courtesy Everett Collection; FX; Andrew Eccles / © CW / Courtesy: Everett Collection)TV Vampires By TomatometerEven before the fall 2008 premieres of True Blood on HBO and Twilight in theaters ushered in the vampire craze of the late 2000s, television had immortalized the mythological creatures in series dating back to the early days of the medium.Off-kilter 1960s sitcom The Munsters included bloodsuckers in its cast of spooky characters, and supernatural soap opera Dark Shadows, which debuted in 1966, introduced a number of nightwalkers over its six-year run.Rotten Tomatoes has compiled a list of TV s best and worst vampire series. While the shows don t all have to be solely about vampires, each of the series on this list must have significant characters with the urge to suck blood. That s why even though General Hospital spin-off Port Charles didn t start off as a supernatural series, it made this list anyway because of the series vampire-related story lines.True Blood and The Vampire Diaries, of course, feature prominently, but there are also many that debuted before Edward Cullen sparkled in the sunlight — the grand dame of teen supernatural soap operas, Buffy the Vampire Slayer, for one. We ve also added newcomers, including the based-on-the-film FX comedy What We Do in the Shadows and Dracula, a Netflix-BBC co-production from Sherlock creators Mark Gatiss and Steven Moffat.Check out our list of the best vampire TV shows ranked by Tomatometer. Shows that don t have series-level scores are listed alphabetically after the numbered entries.
Jacqueline Coley for Rotten Tomatoes: Tell us about #blackAF. Is this black-ish unleashed?Kenya Barris: Yes, and no. It s a family show about my family, so in that, it is like black-ish, but those were archetypes. This is more accurate — well, except for the mother of my children; she s very different from what Rashida is doing. Rashida is a little bit more of a revolutionist. I ve been doing family shows for a long time, but felt like they needed a reboot. With Netflix, it feels like we re in this new era, in this new dawn, and what better place to try to reboot black-ish into a more authentic family. I made them functionally dysfunctional. And the notion behind it was to take out of my point of view, give the point of view of my daughter, and try and do it in a much more honest way.At ABC, I love those guys, but they were terrified of talking about having any kind of success. They thought it could be ostracizing. I always felt the opposite. I felt like, in the time of Jay-Z and Beyoncé, Barack and Michelle [Obama], or Swizz Beatz and Alicia [Keys], the idea of wish fulfillment and aspirational things really resonates. At the core of it, it s a human story; that was what I m tapping into, or that was what we hoped. But it s also so much scarier, because this was me and much closer to my real family — a rejection of this is a rejection of me in a much bigger way.(Photo by Netflix)You ve mostly worked in linear television. How was the switch to streaming?Barris: It was terrifying. It honestly was. No ad breaks? Just streaming? I m a fan of telling stories where in Act 1, you set the problem up, really explore it in the second, and resolve it in the third. And this was a completely different way of telling those stories. I really enjoyed it, to be honest with you. I enjoyed not having to focus on act breaks and commercials.But at the same time, one of the things that I missed was, Netflix is an unbelievably free, creative environment. As much s t as I used to talk about getting notes, there s something to having a partner give you notes, even if you disagree with them. The freedom to make what you want is a place you want to be as creative person. But if it bombs, you can t blame anybody else. [Laughs] I was like, Be careful what you wish for. But, it was a really, really good experience. I don t know what s going to happen with the show, but we re proud of what we did. They let me do something that I ve never done before. I m so proud of the actors and the family that we put together and the kids and Rashida. But it was terrifying.As your first show on a new deal with Netflix, this is a big swing as far as subject matter and tone. Was that a choice? Barris: I wanted to be noisy. [Netflix] is doing 400 series this year. Not 400 episodes of television, 400 series. To stand out in that crowd was really important to me. I would like to say I don t care what people think, but I care about the critics. In network television, you have your morning-after scorecard. You have ratings that was like basically getting your grade on your test.Netflix doesn t really have that. All you really have is critics, and they ll tell you if you make it or not. So for that, I knew I wanted to be loud. I wanted to try to be noisy and let it be authentic and personal. And know your lane — this is as close to my lane as I possibly can get. I let myself hang out there, but it makes it a lot scarier.(Photo by Netflix)Let s talk about episode 5. It talks about criticism and Rotten Tomatoes in general, but the first thing we have to know is, are you surprised by anything else besides Space Jam, which is discussed in the episode, being rated Rotten on the Tomatometer?Barris: [Laughs] Not to be controversial, but — f k it — I m just gonna say it: I m a huge Boots Riley fan. I think Sorry To Bother You got a 90-something percent. I m like, Really? I m with you until horse people. [Laughs] But my daughter argues with me about it, because she was like, That s the beauty of it. We don t get to do that often in our business We [Black creatives] are not allowed to be open and fluid, have weird endings, and get those kinds of ratings. But still, I check the score.At RT, we argue about scores all the time if that makes you feel any better. Will you be checking the score for #blackAF when it drops? Do you still care?Barris: Absolutely. I care. Tyler thinks I m crazy for caring, but I care. I care what white people are saying. I care what gay people think. I care what Black people think. I care what Rotten Tomatoes thinks. I care. Steven Spielberg put this article out, and he said if you believe any of it, you have to believe all of it, so he doesn t read reviews. Good for him. I m neurotic. I want to be liked, probably too much, but I definitely care. I think we need commercial success. There s room for If Beale Street Could Talk and Moonlight, but there was also something special about Cosby. We have learned the whole story about the man now, but at the time it was special that he became what he did. The Cosby Show changed the trajectory of what we were in this world. That was the first time I ever saw my white friends want the same father that I had.It s one of the things that I was really always happy about with black-ish is that when we first came on, we beat or came close to beating Modern Family. And, that was a huge statement to the powers that be. A lot of things that came after were because of black-ish in some aspect. Not to toot my own horn, but they were kind of derivative of what we did. Other creators said, Oh, why can t I talk about my family? I could talk about my family, and I can be more specific. People started seeing themselves reflected in things and that became the mainstream.(Photo by Emily V. Aragones/Netflix)You brought in Tyler Perry for this episode to talk about the Rotten Tomatoes, and he doesn t share your opinion.Barris: I love that Tyler was like, Oh, I don t f k with them Tomatoes. I have people in my family, they enjoy his films, particularly my mom, my aunt, and some of my relatives. They get so much enjoyment from his movies — honest enjoyment, not just ironic or so-bad-it s-good, just honest enjoyment. He opens up at box offices and does business, too. So why are those people s opinion not as important as someone else s opinion. Their opinion counts, too. Tyler puts a movie out that people enjoy. And because people or certain critics might not feel like it s the most elevated form of comedy, he s destroyed Black culture. There are people who really enjoy him, just as there are people who love Adam Sandler.Tyler Perry opens up doors for Shonda [Rhimes] and me, for Barry Jenkins, and so many others. The only color Hollywood really cares about is green. And, he has the greenest story in Hollywood. He deserves to do his movies and be celebrated just as much as Adam Sandler. He knows his audience. He entertains them, and he s opened so many doors for people of color. Why take away his success? Why marginalize his success because it s not for you. That s where Rotten Tomatoes and those other aggregators have a hard time accurately evaluating our work. It s hard because I feel like many white male reviewers are afraid. They feel like if a female-driven movie or an LGBTQ movie or a Black movie comes out, they can t rip on it. They think, I m not going to be the guy who says something bad about this. Then at the same time, because Tyler Perry s the whipping boy, he s the one guy that they re comfortable taking a swipe at, and I have a problem with that.(Photo by Netflix)In that same episode, you had a Zoom call with a fictional Ava DuVernay, Tim Story, Lena Waithe, Will Packer, and Issa Rae — a.k.a. some of the biggest names in Black Hollywood. How did that come about? Did they have input in their characters ?Barris: I wrote it, and I gave them a little bit of a pitch when I sent it. My pitch was Michael Bay and Jerry Bruckheimer could be on a show together. And, Jerry could joke, Sorry I didn t blow something up, Michael. No one would think any less of Michael Bay or Jerry Bruckheimer for that. They d say, They re bosses and that s how they talk in real life. They can be self-deprecating with their work and never think less about each other. Why can t we do that? Here s the exact group of people responsible for a lot of entertainment on television right now. Especially, in a cultural sense. Why do all our calls have to be something that s like, Between you and me Why can t people see us actually have the conversations that we have and know that we re critiquing our work, too, just the same way everyone else is critiquing our work.How honest do you think creatives are with each other, publicly or privately, if you could give them a grade?Barris: I think it s probably a B. The one thing that I really appreciate about us is that we show up for each other. Black Panther is a great example of us showing up for each other. Black Panther was an amazing movie. Ryan Coogler is going to go down as one of the best filmmakers in the history of cinema. But, one of the things that helped that movie is that we showed up for him. In addition to everyone else showing up, because it was a great movie, we showed up for him. And it was the same thing with Girls Trip. That first weekend, in droves, and our people showed up with their girlfriends. And then boom, next thing we see is white girlfriends showing up doing the same thing. When things cross over and become mainstream, and it allows everyone else to be a part of it. It doesn t feel so niche.That s something that we do, and it s important that we continue to do it. As far as celebrating sort of publicly, actually, I think we get an A. I think that privately the conversations are always a little bit scarier. You can have them with your close peers, and sometimes it s a little bit harder to sit through, because you don t want to have say something that makes someone feel like you re not being supportive. But we re getting better. The calls, that episode, the willingness of people who have active careers to do things like this shows that we re getting better. I m a huge Jordan [Peele], but after Jordan did Us, I was seeing articles saying like, He s Hitchcock. And I was like, I think even Jordan would be like, That s a little bit quick. There s a positiveness to us being embraced like that, but we have to put in the work. We have to be respected in terms of the general notion of what it takes to really put those 10,000 hours in.I just watched Unorthodox on Netflix, and I m like, Why can t we [Black people] have this? Black people get, like, four stories to tell. White people have like a million options. With [Unorthodox], that story was such a niche story, but it was told so well, someone bought it and people support it. I m like, Why can t we tell more of those stories? Why can t we get stories that feel outside of what people are used to hearing from us?, because that s how we actually grow culturally and within the industry.Since you do read reviews, do you have a favorite critic? Barris: Emily Nussbaum did a great New Yorker article on me, and she kind of changed my career. She embedded with us for a few days and she really got it. She s also like a TV fanatic. I am always interested in what people like her have to say. I get it. Some people don t like what I do, and I am OK with that, but I am also not going to pretend it doesn t bother me. I get it: I m not for them. But that s that needy part of me, because I want so badly for them to like my stuff.Many creatives feel that way. Quentin Tarantino was awarded Best Original Screenplay last year by New York Film Critics Circle, and he spent half his acceptance speech talking about one of the members who has hated every movie he s made, but Tarantino loves his writing. And this is a man with multiple Oscars and nothing to prove. Barris: And, that s part of why Tarantino s a good writer. How do you say that you don t care? How could you not care? It s you. You ve put years of your time, energy, and life-blood into this thing, to say you don t care? It s like you re either a sociopath or a liar.#blackAF premieres April 17 on Netflix.
Although superhero shows make up the bulk of Comics on TV options, the format can get a little tiresome at times. Whether it be repeated plot points or uninspired antagonists – we’re looking at you, Ricardo Diaz – the grind of a superhero show can lead to a certain amount of fatigue. This goes double for a casual viewer less interested in the crossover potential of the Arrowverse or the late, lamented Marvel universe on Netflix.But the first half of 2019 has seen a number of startling and well-produced superhero shows redefine and revitalize what the genre can be. Instead of season-long big bads strung across 22-episodes, the heroes face existential crisis in shorter seasons. And in at least one case, Amazon’s adaptation of The Boys, the supers are anything but heroes. In fact, the series, and its unique take on super-powered people, has revitalized the superhero show as a whole in just 8 episodes thanks to its adventurous storytelling.So let’s take a look at some of the ways it uses capes, heat vision, PTSD, and old-fashion love stories to give the superhero genre a fresh perspective.Spoiler Alert: The following discusses plot points from the entire first season of Amazon series The Boys. Stop now if you haven t watched every episode.It Adapts Finite Source MaterialOne of the key things setting The Boys – and some of the other 2019 debuts, in fact – apart from an Arrowverse or a Marvel show is its source material, the 72-issues series (and some special releases) by Garth Ennis and Darick Robertson. The finite nature of the original comic book makes it more like a novel than the never-ending battle in the pages of The Flash or X-Men. This means the show has a sense of direction even the Marvel series on Netflix could not necessarily claim beyond the first season of Jessica Jones and, to a certain extent, the third season of Daredevil. And it is the sort of thing unheard of in the shows of the Distinguished Competition.Knowing the shape of the full story ahead of time means the chance to properly plot it. In the case of The Boys, this is best illustrated in the way Hughie (Jack Quaid) comes to know the other members of Billy Butcher’s (Karl Urban) team, how they all meet the Female (Karen Fukuhara), and how most them come to rely on a super in critical moment. It is different from the books, but it delivers characters precisely when they are need — particularly Frenchie (Tomer Capon). Yes, not every plot point is expertly timed across the first season, but for the most part, The Boys asks questions and answers them with a rare precision.It Knows When To Walk Away From That AdaptationModern finite comics share more in common with novels than the ongoing travails of Superman and Spider-Man. It is a definite benefit to comic book storytelling overall, but it means fans of titles like The Boys will expect certain moments to appear in the series almost verbatim. When Rotten Tomatoes talked to executive producer Eric Kripke about key scenes, he said balancing those expectations with the understanding that TV is a different format is key to producing a good adaption.“Luckily, I m a huge fan of the material, so the scenes that are important to the fans, and that the fans love, I love too,” he explained.At the same time, it was important to break down the comic and determine “what scenes fit in the particular version of the story we re telling and fit the tone and fit the style.” Kripke expected at the time that “there will inevitably be fans that are unhappy with some things that I didn t include. But, he continued, “it s my responsibility to tell the best story that I know how to tell, and I try to use as many of the pieces of the book as I can, but some of them just don t fit in our version of the story.”Sometimes, elements of a story change for more practical reason, like Butcher’s dog Terror. Glimpsed in one or two flashbacks on the television series, Terror was almost an extra appendage of Billy’s in the comic. But when facing the realities of having a dog on set among all the other technical challenges of a superhero show, Kripke made a tough decision. “It literally would have been impossible to finish the show on our schedule with our ambition if, on top of everything else we were doing, we had a dog,” he explained.Of course, at Comic-Con, Kripke suggested there may be a chance for Terror to be part of Billy’s present-day life in season 2.Beyond purely practical concerns regarding Terror, readers of The Boys will note a change in tone. The darkness and despair beautifully rendered by Robertson in the pages of the comic book have been toned down for a brighter world. It also introduces Starlight (Erin Moriarty) in a position of strength, re-casting her as the story s heart from the get-go. That greater focus on the light in the initial episodes counterpoints the darkness in the hearts of characters like Homelander (Antony Starr) and A-Train (Jessie T. Usher), while making Hughie’s entry into Butcher’s world more inviting. At least, inviting to viewers ready to look at the violence Hughie witnesses with a more satirical slant.It Quickly Complicates the CharactersThanks to that strong sense of direction, characters accrue a level of complication at A-Train’s pace. Consider how corrupt he seems at the onset or when he kills his secret girlfriend. But the sense he is a one-note character is soon shattered when a reality show producer asks him to omit the painful gang-related truth in his origin story. And as his body continues to break down from the effects of Compound V, we see he is as much of a victim of Vought’s machinations as Annie (Moriarity) or Hughie. Sure, a viewer might walk away from the season still hating A-Train’s guts, but at least it comes from a richer understanding of his situation. He is getting ground inside the machine.As the season progresses, we see the caricatures of episode 1 give way to more complex characters with each passing scene. Queen Maeve (Dominique McElligott) goes on an odyssey to realize her lost optimism. She may not resemble the hero Annie is turning into, but even those few words of encouragement she offers at the end of the season indicate a positive change. Or, at least the sort of positive change we can hope to see from these characters. But that also means Maeve could easily fall back into her old ways when we see her again next year.Meanwhile, Butcher defies traditional classifications of hero and anti-hero. He’s doing this all in memory of his wife, but at some point, one gets the impression he just needed the excuse in order to start killing. He may not grin the way Homelander does while offing an enemy, but a similar satisfaction is present. And considering the season ends with the two of them at the same place, we can expect some discussion of their commonalities during an uncomfortable backyard barbecue.
Studio Ghibli is arguably the most recognizable and beloved animated studio outside of Disney/Pixar, one that has proven time and time again that animation is more than just entertainment aimed at kids thanks to critically acclaimed movies that challenge what you can do in the medium. So it s easy to understand, then, that the moment one of the studio s main directors, Hayao Miyazaki decided to retire (the first time), fans around the world began searching for a successor. Rather than a studio, could it be an auteur like Mamoru Hosoda (Summer Wars, Mirai) or Makoto Shinkai (Your Name, Weathering with You)? Would it be a studio founded by former Ghibli employees like Studio Ponoc, makers of 2018 s Mary and the Witch s Flower?It might, in fact, be none of the above. In truth, the animation studio that best captures the magic of Studio Ghibli and the themes they explore, all while carving out an identity and space in the industry of its own, is Cartoon Saloon. The Irish studio founded in 1999 has earned Academy Awards nominations for every single feature film it s produced, and all of them are Certified Fresh at 90% or above on the Tomatometer. Its latest offering, Wolfwalkers, is being called the best animated film of the year by several critics, and it demonstrates why Cartoon Saloon s unique blend of traditional animation and folklore make it the true successor to Studio Ghibli.Their Films Deal with Folklore and Myth(Photo by ©Apple TV+)You don t need to be familiar with yōkai or kodama to appreciate Princess Mononoke, and you certainly don t need to know what a tanuki is in order to enjoy Pom Poko, but with both, you certainly do get the feeling that you re watching a movie that s deeply rooted in Japanese culture. Hayao Miyazaki and the people at Studio Ghibli don t really adapt specific folktales the way Disney does, but they add creatures and beliefs as flavor to deepen the story and the cultural context. My Neighbor Totoro s titular character may not be based on any specific creature of lore, but he is still instantly recognizable as an uniquely Japanese being.The movies of Cartoon Saloon aren t direct adaptations of any particular tales either, but they incorporate folkloric creatures and beliefs. Wolfwalkers takes its central concept from old myths about natives of the Kilkenny region in Ireland being able to transform into wolves while their bodies lie in a sort of trance, while Song of the Sea is about selkies, or humans that could transform into seals. These two movies, as well as the studio s feature debut The Secret of Kells, make up an unofficial trilogy about Irish folklore, using legends and myths to tell fantastical stories about the conflict that arises when belief and tradition are threatened or abandoned.Even if The Secret of Kells and Wolfwalkers are period pieces steeped in important moments of Irish history, there is a universality to their stories. You don t need to know about Oliver Cromwell s conquest of Ireland to understand Wolfwalkers central conflict and how it affects its main character s relationship with her father — who works for Cromwell himself. But it does add some context that grounds the film in a real place and a real moment in time.They Explore Humanity s Relationship with Nature(Photo by Cartoon Saloon)As evident even in their earliest films, a big part of Ghibli movies is the focus on humanity s fragile relationship with the environment and the struggle between nature and industrial progress. Miyazaki s films in particular often explore how technology causes people to drift away from their cultural traditions while factories damage the land they live on. Perhaps the most obvious example of this is Princess Mononoke, a movie all about nature fighting back when humans start burning down forests to expand their towns and their industry.Song of the Sea is partially about a Celtic goddess who threatens to destroy the world, but director Tomm Moore uses that as a starting point to tell a story about what happens when people begin to lose their cultural identity. Like many a Miyazaki film, Song of the Sea depicts the city as an oppressive, dirty place that drowns the freedom of the country and its children as the ones who are best suited carry on the country s cultural heritage while the city s inhabitants forget about it.Wolfwalkers definitely takes some pointers from Princess Mononoke in its central conflict — a group of humans who set out to kill every wolf in the nearby woods — except the nature vs. industry conflict is used as an allegory for the Cromwellian ideal of taming the wild Irish lands and burning down traditions to replace them with English principles. As with Song of the Sea, the distinction between the city and the country informs the visual style as well. Kilkenny and its walls are drawn with geometric rigidity, and it almost resembles a prison as it looms in the background — just like the city cars in Song of the Sea, which only serve to spew black smoke and narrowly avoid hitting innocent children. Meanwhile, the art style of the woods, trees, and wolf of the forest are more sketched-out, with traditional Celtic spiral pattens to show the wolves haven t been tamed, for they represent the real cultural Ireland.Their Visual Styles are Exquisite and Unique(Photo by ©Apple TV+)As a studio grows and its films become more popular, a visual style is bound to emerge. Anyone can recognize Disney s particular trademarks, just as all of Pixar films take on a similar visual language. Studio Ghibli s films are instantly recognizable too, and yet they all feel and look incredibly different from each other. This balance between versatility and recognizability is the key to Cartoon Saloon.The Irish studio s unique visual style appears in every one of their movies, which feel like they belong in a strange sort of multiverse. At a time when CG animation is everywhere, Cartoon Saloon s style feels defiant and stunning, but each of their films feels distinct from one another, as they try to capture the aesthetic of their subject matter. The Secret of Kells feels like an illustrated picture book to mimic the illuminated Christian tome that gives it its name, whereas The Breadwinner looks and feels distinctly like Afghan art, and Wolfwalkers pays homage to the wood-cut illustrations of the 1600s. By now, you know how to recognize a Cartoon Saloon film, but they always manage to offer some surprises, too.They Aren t Afraid of the Dark(Photo by ©Apple TV+)Though animation has a bit of a reputation for being kids entertainment in the West, Studio Ghibli is a perfect example of why this is entirely untrue. Not only do their more kid-friendly movies like Kiki s Delivery Service tackle deeper and darker subjects like depression, but no one would dare call Grave of the Fireflies — a movie about two kids trying to survive in Japan during WWII — a kids movie.Similarly, Cartoon Saloon s movies are certainly entertainment made for broader audiences, but they also often go to darker places. The studio s debut film, The Secret of Kells deals with an incoming Viking invasion, and Song of the Sea s main theme is grief and loss, but they are still stories being told through the eyes of kids. The protagonist of Wolfwalkers is literally hunted by her father at one point, but it s The Breadwinner, the studio s third feature, that best exemplifies their diversity in storytelling. The film follows a young Afghan girl posing as a boy to help her family survive after her father is imprisoned as a dissident by the ruling Taliban. This film is clearly aimed at a slightly older audience — hence its PG-13 rating — as it explores a more mature subject matter in its war-torn world, and even the colors are more naturalistic compared to the rest of the studio s filmography.They Entrust the Future to Children(Photo by ©Apple TV+)It s not only that Cartoon Saloon s movies can get dark, it s that the worlds of the films feel like they re approaching a cataclysmic ending, even as they somehow remain optimistic about the future.A village is threatened by Vikings coming to destroy it; a little girl is engulfed in a war; a sea deity wants to turn the world to stone; the new people in charge want to burn the forest down. There s a sense of urgency and doom looming large over each of Cartoon Saloon s feature films, brought upon by the hubris of man — a theme the studio shares with Ghibli. Hayao Miyazaki s movies in particular often deal with the error of trusting mankind to treat the world with respect. And yet, both studios seem to deeply trust their young protagonists and believe that children are the ones who will save the Earth. Parvana faces horrible, horrible things in The Breadwinner, but in her own small way, she wins in the end. War and evil will continue and people will still reject wolves and nature, but at least the children will be all right and grow up to do incredible things, hopefully with the lessons they ve learned throughout their journeys in both Studio Ghibli s and Cartoon Saloon s films firmly rooted in their hearts.Wolfwalkers debuted on November 13, 2020 and is currently available to stream on Apple TV+.On an Apple device? Follow Rotten Tomatoes on Apple News. 2、投入成本低，回报高。2020年的手游市场有了爆发式的增长，玩手游的人越来越多，充值也不是一件稀奇的事了，有关数据显示充值玩家占比在百分之八十以上。前期创业者只需投资几万块钱基本上就可以坐等收钱了。
This weekend felt like a crucial mid-term for theatrical releases. Between the hybrid release controversies of the summer and the continued lack of attendance for non-IP originals, particularly those aimed at adults, it is still anyone’s guess what we are headed for come the holiday movie season. Barring the return of some new surge of virus infections (at least those numbers are headed in the right direction) people will hopefully feel safer filling seats at their local theaters. They certainly had a choice this weekend between staying home and buying a ticket. The latter won for one film while the former created some dismal numbers for another, casting a shadow over anything not part of a franchise the rest of the year.King of the Crop: Halloween Kills its Hybrid Release with million Debut(Photo by Universal Pictures)Before the pandemic, the focus on this weekend’s #1 movie would have been the drop from its predecessor’s million start in 2018. Halloween Kills’ million weekend is a 33.8% drop from three years ago, but even that can be put in a positive perspective looking at other sequel drops of this stature over the years. Among R-rated sequels to films opening over million, 300: Rise of an Empire (36.4%), Ted 2 (38.4%), Paranormal Activity 4 (44.8%), Sex and the City 2 (45.6%), The Matrix Revolutions (47.1%), and The Hangover Part III (51.5%) all dropped further. Alien: Covenant fell 29.1% from Prometheus but didn’t have nearly as far to fall as Halloween Kills did, leaving It: Chapter 2 (26.2%) and Deadpool 2 (5.23%) as the higher standards. The point is that this is a really terrific number for David Gordon Green’s sequel..4 million is the sixth-best opening of the pandemic. As it marks the third consecutive week of a film opening over million, that statistic may quickly become an afterthought, though it shouldn’t. Where Halloween Kills busted the ceiling this weekend was in the hybrid streaming wars. After it was announced the film would simultaneously premiere on the Peacock service the same day it premiered in theaters, its chances for widespread theatrical success appeared to be kneecapped. The first film was a rather frontloaded success story, posting just a 2.09 multiple over its opening weekend. Halloween Kills may be down 34% from the 2018 opening, but it is up 58% from the year’s best hybrid HBO MAX openings, with Godzilla vs. Kong and Space Jam: A New Legacy each in the million realm. Kong already had a two-day head start with .4 million prior to the weekend and to date is the only hybrid release (sans an additional fee) to crack the 0 million barrier. And that was a March 31 release that took over 11 weeks to reach that milestone. Halloween Kills is already halfway there in just three days.Kills also nearly doubled up The Suicide Squad (.2 million) for the best “R”-rated opening of the year in any release strategy. 54 million Peacock subscribers at last count compared to roughly 73 million for HBO MAX. (And those are late July numbers.) The five biggest WB/HBO MAX openings dropped like flies in their second weekends Godzilla vs. Kong (56.9%), The Conjuring: The Devil Made Me Do It (57.1%), Space Jam: A New Legacy (69.1%), The Suicide Squad (71.5%), and Mortal Kombat (73.2%). 2018’s Halloween fell 58.8% to .4 million in weekend two, so there’s a good chance Kills falls below million next weekend, especially if people realize they actually have Peacock on their cable service. Those who actually still have cable service.Rotten Returns: Ridley Scott s The Last Duel Reinforces a Grim Trend(Photo by 20th Century Studios)What may actually be the bigger story this weekend is the continuing failure of non-IP films aimed at adults to draw them in. Ridley Scott’s The Last Duel was speculated to at least get into eight-digit territory this weekend. Its fate was all but sealed when it opened to just 0,000 in previews Thursday night, and the final numbers were even worse than imagined. The historical drama with a cast boasting Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck grossed a mere .8 million this weekend. That is less than Damon in Stillwater did this summer (.18 million) and the worst start for a Damon-led film opening in over 3,000 theaters. The previous low was We Bought a Zoo (.36 million), which nevertheless went on to gross over million over its 2011 holiday season release.There is a strong chance that The Last Duel will not even be able to leg itself out enough to outgross All the Pretty Horses (.5 million) or Stillwater (.2 million), leaving it as the third-lowest grossing Damon-led film ahead of only Suburbicon (.77 million) and Promised Land (.59 million), both of which were released in fewer than 2,050 theaters. The story is far grimmer than anything surrounding Damon’s perceived star power, though. The Last Duel represents a continuing trend in the pandemic box office for anything other than a sequel, franchise, universe-builder, or Disneyland ride to break out among audiences. Free Guy, Raya and the Last Dragon, and Old are the only films outside of those categories to gross over million this year. The Last Duel is about to become the third theatrical-exclusive film released this year in over 3,000 theaters that fails to gross even million.The Top 10 and Beyond: No Time to Die Takes Aim at 0 Million(Photo by Nicola Dove/©MGM)No Time To Die missed the opportunity to become the fifth film of the pandemic to gross 0 million in its first 10 days; instead it will take 11. With .3 million this weekend (a 56% drop) the 25th James Bond film is just shy of the milestone. That is a slightly better second weekend than F9 had ( million), though Bond is still nearly million behind its pace while also about million ahead of A Quiet Place Part II’s 10-day run. The film has a good chance to stick around the Top Five into just before Thanksgiving (and could hang on enough into that holiday) so we’ll stick with a final gross between 0-170 million domestically. Globally the film is over 7 million and could actually surpass F9’s 6 million to become the highest-grossing film of the pandemic era.Venom: Let There Be Carnage fell to .5 million (the second-best third weekend of the year), bringing its total to just over 8 million, still on a very solid pace for 0 million. That is about million below Shang-Chi’s third weekend and overall about million behind its 17-day pace. Shang-Chi and the Legend of the Ten Rings drove its total to over 8 million and is going to settle into the 5 million territory, suggesting that the Venom sequel will come in somewhere around the original Venom’s total of 3 million.The Addams Family 2, which is also on VOD for .99, is not far behind the pace of The Boss Baby: Family Business, which was also streaming on Peacock s subscription tiers. That animated film finished with over million. Addams looks to be in line to come in between -55 million. A24’s odd folktale, Lamb, managed to stay put in eighth place, falling from just over million to 3,000 and driving its total to million. Not too shabby, all things considered, and the studio can put this on its mantle along with the knowledge that David Lowery’s The Green Knight is going to outgross Ridley Scott’s The Last Duel.On the Vine: A Timothée Chalamet Double Feature with Denis Villeneuve s Dune and Wes Anderson s The French Dispatch(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Fear is the mind killer next week when Denis Villeneuve hopes people will take his advice and see his adaptation of Frank Herbert’s Dune on the big screen instead of watching it from their sofas on HBO MAX, which will begin streaming the film Thursday night. Actually theaters and the home service will be showing Dune: Part One, as the opening title card announces it. There is no release date or production start date for Dune: Part Two. Also finally opening is the animated film, Ron’s Gone Wrong, and Wes Anderson’s latest, The French Dispatch.Full List of Box Office Results: October 8-10, 2021