亚博旗下平台采用百度引擎7（Baidu 1）With classic characters such as Supergirl and Batgirl making an indelible mark on pop culture — along with more recent characters including Harley Quinn — the iconography for the DC Super Hero Girls range of comics, toys, and books was strong and the appeal immediate. Debuting in 2015 with a web series and a toy line, it re-framed characters like Batgirl and Harley as students at Super Hero High who experienced typical young teen problems along with complications from their side gigs as heroes. It eventually led to direct-to-video features, an animated broadcast special, and graphic novels as part of a continual expansion of the brand.But last week s debut of a new DC Super Hero Girls animated series on Cartoon Network, developed and executive produced by My Little Pony: Friendship is Magic’s Lauren Faust, establishes a new cartoon continuity for the brand that is separate from the web series. And as voice actors Tara Strong and Kimberly Brooks — veterans of both versions — told Rotten Tomatoes, the new series is very different from its predecessor.The show focuses on a group of girls at a Metropolis-area high school who discover they all moonlight as superheroes. The team includes Batgirl, a.k.a. Barbara Gordon (Strong); Wonder Woman, a.k.a. Diana Prince (Grey Griffin); Zatanna (Kari Wahlgren); Green Lantern, a.k.a. Jessica Cruz (Myrna Velasco); Bumblebee, a.k.a. Karen Beecher (Brooks); and Supergirl, a.k.a. Kara Danvers (Nicole Sullivan). Characters including Lena Luthor, her older brother Lex, and Barry Allen also populate the world. Harley Quinn (also Strong) even makes a cameo appearance in the series’ 60-minute debut, “#SweetJustice;” a frantic, silly, and fun introduction to the characters as they learn to be friends and heroes.(Photo by Warner Bros./Cartoon Network)“The last version was geared toward a younger audience,” Strong explained. While the earlier format “had its place” and drew in plenty of little girls who were fans of the superheroes, she noted the new show is “a lot sleeker and more sophisticated and appeals to a much broader audience.”The growing sophistication and broader intended age range also means an added emphasis on what superheroes do best: fight.“[On] this show we actually do some serious fighting,” Strong said. “We have serious weaponry. The stakes are a lot higher. In my view, it s a completely different show, although still encapsulating what it is to be a female superhero and be a teenager.”The series is also hilarious and will attract plenty of boys as well, the women added, but most importantly, it ll appeal to families.“The kids are going to like it and also there s humor that adults are going to get, too. It s not wasted on us,” Brooks said. Gags include punny names for businesses, an extended Twilight pastiche in #SweetJustice, and nods to more obscure elements of DC Comics mythology.Wahlgren credited Faust and her deep knowledge of the comics as essential to shaping the series and explicitly communicating to her stars what she wants to achieve.“She s so talented and she s also really, really open to suggestions and interpretations from the actors,” Wahlgren said. “I think we ve all had a chance to find our characters because she s given us a lot of leeway to do that.”(Photo by Warner Bros./Cartoon Network)Added Strong, “I just thanked her last week for having every single body type represented in this show. As a little girl, I was never, like, a little stick-skinny thing, and when you see magazine covers of supermodels you think, Oh is that what I m supposed to be? And so the fact that every single body shape is represented in superheroes [means] … there s an authenticity to these characters that translates.”As it happens, Faust was fostering a concept very similar to DC Super Hero Girls for ages. As part of Cartoon Network’s 2012 DC Nation block, she produced a pilot of sorts with Super Best Friends Forever, five animated shorts featuring a bulked up Supergirl (Sullivan), a tiny and energetic Batgirl (Strong), and a confident Wonder Girl (Griffin) leading the pack. So the fact that aspects of the designs and the voices return in DC Super Hero Girls is no accident.“As a concept series for these females, I thought [Super Best Friends Forever] was such a strong idea. It was not long after Powerpuff Girls and I thought, let s keep this rolling. And it didn t get picked up,” Strong recalled. The continued success of the DC Super Hero Girls range led to discussions with Faust to revive elements of Super Best Friends Forever as the new DC Super Hero Girls show. As production began, Faust produced a new version of the Super Best Friends Forever short “Time Waits for No Girl” — in which Batgirl waits for her father to go to sleep so she can join the other heroes — as DC Super Hero Girls “#TheLateBatsby,” which ran in front of the theatrical release of Teen Titans GO! to the Movies.All three actors have long associations with the DC Comics characters. Brooks voiced Oracle in the Batman: Arkham video game series, Lightning and Mari McCabe in the previous DC Super Hero Girls, and Batgirl in the Lego Batman 3: Beyond Gotham video game. Strong often voices Harley in projects as varied as the earlier DC Super Hero Girls, Batman: Arkham City, and an infamous scene on Arrow ( for which she’s credited as Deranged Squad Female ). She is also well known for voicing Raven in the Teen Titans and Teen Titans GO! animated series. Wahlgren has voiced Starfire in the DC Animated Universe direct-to-video features, Saturn Girl, and Zatanna once before in the Justice League Heroes video game.The three stars agreed that the new DC Super Hero Girls is a particularly special project. Each time they return to a character, as they do here, it requires bringing something new or different to the role depending on whether the tone of the project is dark or silly or crazy or anything else.(Photo by Warner Bros./Cartoon Network)“When we go in to audition or we meet the team, they ll say, you know, This is really dark, or, This is really silly, or, This is really crazy, ” Strong said. “You have to tweak it a little bit to match the world that you re performing in.“We become these characters in our minds, we envision ourselves,” she continued. “You could ask these girls anything about their characters, and they ll be able to tell you from a very organic place what they re all about.”With their understanding of the characters, they said the key appeal of the new DC Super Hero Girls series is their camaraderie and sense of fun.“[They’re] these kick-ass chicks doing some pretty incredible things together,” Strong said. “Navigating friendship and superhero and teenager all wrapped up in this fun, beautiful package.”In addition to inspiring feelings of empowerment, it also sparks nostalgia for the stars.“This show, I think, is so much fun because we get to tap into our youth — at least that s important to me, anyway,” Brooks said, adding, “I love that all of those different types that you went to school with in high school are represented. Everything from the more hippie, environmentally conscious to the overly theatrical girly girl, to the really shy, studious smart kid. I just feel like everybody s going to be able to see themselves in at least one of the characters.”DC Super Hero Girls airs Sundays at 4 p.m. on Cartoon Network.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
与此同时，本次盛典通过迭代游戏内容玩法，展示了《梦幻西游》手游依旧旺盛的生命力；建立跨界联动，传递出品牌努力触达不同领域的决心，用新鲜感来加固玩家与游戏的羁绊；而玩家与策划的问答环节，来自天南海北的玩家之间的沟通，则笃定了《梦幻西游》手游深入玩家群体，打造交心的社群氛围的决心，呼应了“青春”的主题。 hip.”“The relationship [between Ellie and Carl] was drawn largely from both Bob Peterson s relationship with his wife and my own relationship. There s high points and low points, difficulties and successes, and so we really wanted to portray the full wide breadth of that relationship. [There were] two relationships in particular that we focused on. Marc Davis was one of Disney s nine old men. He and Alice have a sort of fabled marriage and getting to know them was amazing. We got to visit their studio and talk about a little bit of their life together. And, actually, the two of them traveled to Papua, New Guinea. They went on these fantastic adventures as well as both being artists. So they were a great inspiration. [The other relationship was that of] Joe Grant, who was a guy that was head of story basically on Dumbo. He developed Fantasia, all these amazing films, was second in position down with Walt Disney in the 30s and 40s. And I got to know him late in his life as well and he had a wonderful relationship with his wife. So just looking around us at all these great role models and people, you realize, OK, nobody s perfect. Everybody has their bumps. I think that s what makes the sequence feel a little bit more real for people.”Pete Docter says he knew Carl had to have a reason to go on his adventure. (Photo by ©Walt Disney Co./courtesy Everett Collection)THE MOMENT: Carl and EllieOver the last three decades, the animator-tormenters at Pixar have been jerking the tears from our eyes with precision. Think of Jessie s When Somebody Loved Me sequence from Toy Story 2, or the moment Bing Bong fades away in Inside Out. Or the final moments of Toy Story 3. Or any of the other dozens of times the studio has turned on our waterworks. Chief among these moving moments is the opening sequence of Up, which sees Carl and Ellie meet cute as roughhousing kids, then court, marry, and persevere through some very dark times, ultimately living out a happy life until eventually Ellie dies, leaving Carl alone. It s beautiful and wrenching stuff, and goes to places few expect a family movie to go (at one point, we see the couple visit a doctor and learn that they cannot have children). Docter says the sequence underwent a number of changes before taking its final form. An original slapstick-style approach was ditched, as was most of the dialogue, and the filmmakers debated just how far they could push their audience when it came to the darker side of life.Ellie and Carl meet as kids at the beginning of the sequence. (Photo by ©Walt Disney Co./courtesy Everett Collection)“[Originally] Carl was, in the very first bit, trying to catch a bird and Ellie came to the bird s defense and punched him. Now Carl was out for revenge.”“The first draft of this was showing how their relationship [started]. So we introduced the characters to each other. We saw them as kids when they first saw each other. And it became kind of a battle. In fact, Carl was, in the very first bit, trying to catch a bird and Ellie came to the bird s defense and punched him. So now Carl was out for revenge. It became a back-and-forth of punching contests in the most unlikely places; in the middle of a Christmas pageant or taking the trash out. These very innocent scenes – the characters would surprise each other and punch each other. We thought it was hilarious, but [then] we showed it to the audience – we do a screening here at Pixar as we re making the films, we screen them about every three months – and it just kind of went over like a lead balloon. Nobody really laughed. So we thought, Well, this has to be shorter anyway because it s taking too long to get to the main action of our film. As it turned out that sequence really reduced down to about four-and-a-half minutes. It’s really not too long but it also becomes the emotional bedrock on which the rest of the film relies to move forward.”“Ronnie del Carmen, who was our head of story, came to me and said, ‘I think this would work better with no dialogue.’”“That sequence started fully scripted. We wrote multiple short little scenes where they were finishing each other s sentences and discussing stuff. Then as we started to storyboard it, Ronnie del Carmen, who was our head of story, came to me and said, ‘I think this would work better with no dialogue.’ And I said, ‘No, I think you re wrong. I think we should continue with the direction we set.’ But he eventually talked me into it and boy, the further we went We initially had sound effects and we took those out. We basically stripped it down just to music. My theory is, and it’s a somewhat crackpot theory probably, but I grew up watching Super 8 films that my parents had taken of all of us, and there s something about stripping away some element that makes it more emotional. Similarly, I have some audio cassettes that my parents recorded of us when we were kids and you can t see but you can hear. Something about having something lacking makes the audience have to fill in. They have to be an active participant and get involved in a way.”Ellie and Carl as their relationship progresses in the opening sequence. (Photo by ©Walt Disney Co./courtesy Everett Collection)“The pain and loss of that situation bonded those characters together and made you empathize more with them.”“There s one moment in that montage where Ellie has to go to the doctor and it s sort of implied that they can t have children for whatever reason. We didn t spell it out because we didn t feel like that was necessary. That raised some eyebrows even here at work as we were developing the film. Someone – it was an anonymous person – it must have hit too close to home and [they] got very upset. So, we did experiment with taking it out. And we thought, Well, maybe [the sequence] could still work [without it] because there s some really charming stuff. But the strange thing was, not only did we not feel the emotion as strongly in that one little sequence, but as we watched the rest of the film the whole film lost a little bit. I can t really fully explain that other than to say it was a real dark, low moment for them that I think made that relationship feel more real. The sort of pain and loss of that situation bonded those characters together and made you empathize more with them.”THE IMPACT: Life s Complexities, DistilledThe accolades came quickly for Up. The movie became at the time only the second animated movie ever to be nominated for Best Picture at the Academy Awards (it would take home Best Animated Feature, as well as Best Original Score for Michael Giacchino, whose composition, Married Life, is so key to the success of the opening sequence). Just as quickly, it entered the canon of Pixar greats, right alongside Finding Nemo, Toy Story, Wall-E, and the rest. But for Docter, the real lasting legacy of Up is felt in the form of letters and fan interactions, not shiny awards, when he sees first-hand how the moving moment that he helped create has affected and helped others.“She said it was very cathartic and that she felt as though she got to spend some time with her husband in a weird way.”“When we start out making these films, we re just trying to make something funny and entertaining and hopefully with a bit of heart and emotion to it. But they sometimes really tap into people s own lives in ways that are completely unexpected. There was a woman who wrote to me who said her husband had just died and so she went to the film just needing a break from life to get away from the sorrow. As I m reading the letter I m thinking, ‘Oh no’ – the wife dies and so it s mirroring her own life experience. But in the long run she said it was very cathartic and that she kind of felt as though she got to spend some time with her husband in a weird way. Even though this is a bunch of pixels on the screen and none of it actually exists. Part of what I really love [about] making animated films is that none of it exists. It s all a big trick. And yet when done well we can really make the audience care about these characters, believe in them as though they re real people.”Pete Docter at the Los Angeles premiere of Up in 2009. (Photo by Michael Germana/Everett Collection)“These films are dress rehearsals for life for a lot of people.”“These films in a way are dress rehearsals for life for a lot of people. I know when kids play house or cars or whatever, they re kind of acting out what they re looking [at] around them. They re kind of trying this suit on, and I think films are a little bit the same way. It s a way of understanding the world. We’ve had a lot of people respond, both on Up and especially on Inside Out, talking about how their autistic children really use these films in very significant ways to understand emotion, to understand interaction, relationships. I think because you can watch it over and over. This is something animation does; we try to distill down all the complexity and nuance and messiness into something clean and easy to see. It s like a caricature. In three lines, Al Hirschfeld would do these amazing caricatures of people that looked more like them than their own face did. That’s what we re striving to do with animation: to take all the messiness of life and make it more pure and easy to understand.”Up was released on May 29, 2009. Buy or rent it at FandangNOW.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
996怒火一刀是款最新推出的传奇手游，游戏是由996游戏平台助力维护推出的传奇手游，各种自由交易绝对的让玩家们放心，“怒火一刀”最原始的玩法一比一的还原端游，超高的爆率打怪无比的刺激，刀刀能够秒野怪，获取的各种元宝和金币都能够在这里玩到，喜欢996怒火一刀的兄弟们快来下载畅玩吧！亚博旗下平台Fans Choice: Favorite Movies 2018The fans have spoken! This year, for the first time in the history of our annual Golden Tomato Awards, we included categories for Favorite Movie of 2018 and Favorite TV Show of 2018, allowing Rotten Tomatoes users to vote for a winner from a pool of Certified Fresh films and TV series. For the Fans Choice of Favorite Movie of 2018, the top 10 included some expected contenders like Spider-Man: Into the Spider-Verse, Mission: Impossible Fallout, and Crazy Rich Asians, as well as a few less obvious choices like Roma and BlacKkKlansman. In the end, though, it was a certain superpowered battle royale that racked up the most clicks out of the total 26.9K votes cast, earning the title of Favorite Movie of 2018.The order below reflects the number of total votes cast for each film by users in a poll that ran on RT from January 11 to January 24.« Previous Category Next Category »
egative Man, which, on any other show might be too weird to really work, but here it just adds to the overall bizarre vibe and weird nature of the program. – YeomanFinal Verdicts?(Photo by Bob Mahoney / ©2018 Warner Bros. Entertainment inc. All Rights Reserved)In a most welcome and unexpected surprise, DC Universe s Doom Patrol scores touchdowns right from the get-go. This is the superhero series to watch in 2019. – JosephI still cannot shake that the special effects are not even on par with Legends of Tomorrow but there is enough here that I am interested in following this show to see where it goes. – Alex Maidy, JoBlo s Movie EmporiumThe third original series from the fledgling streaming service is wonderfully bizarre and self-aware, exactly what you d hope for comic book characters once billed as the World s Strangest Heroes. – Kevin Melrose, CBRThis adaptation from executive producers Geoff Johns and Greg Berlanti is just as wonderful and weird as the comic. – Mark A. Perigard, Boston HeraldDoom Patrol launches Friday, February 15 on DC Universe.
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It’s been a long time coming, but the latest installment in the Fast and Furious franchise, F9, is finally hitting theaters this month and the cast and creators couldn’t be more excited to share the series biggest entry yet. (Yes, it’s true: They go to space.) But how do they feel about the Furious story wrapping up with the upcoming 10th and final film? Rotten Tomatoes correspondent Nikki Novak sat down with a bunch of the main players – stars Vin Diesel, John Cena, Jordana Brewster, Sung Kang, Nathalie Emmanuel, Tyrese Gibson, Chris Ludacris Bridges, Helen Mirren, and director Justin Lin – to reflect on endings and potential new beginnings. Plus: The Fast family talks a potential Jurassic World/Fast and Furious crossover, finally delivering #JusticeForHan, how they plan to top themselves in the next film, and what really goes on at their infamous and epic cast dinners.F9 is in theaters Friday, June 25, 2021. On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Marvel/ABC)Although superheroes came to dominate comic books with the arrivals of the Justice League and the Fantastic Four in the 1960s, horror comics were big business in the decade prior with publisher EC Comics leading the pack. Successful titles like The Vault of Horror also became a lightning rod in the decade s juvenile delinquency scare. A Senate sub-committee was formed to determine of horror comics were poisoning the youth of America and rumblings of government intervention scared the comic book industry as a whole. DC Comics, Marvel, and Archie Comics (and a few other now-defunct publishers) forestalled any sort of regulation by agreeing to form their own self-censoring body, the Comics Code Authority. Though intended to ensure wholesome reading for youngsters, the CCA had a second, potentially more sinister purpose: preventing EC Comics from publishing horror comics. As EC publisher Bill Gaines put it in the documentary Comic Book Confidential, the CCA s first act was to ban almost every word used in EC s titles.Of course, the code also meant DC, Marvel, and Archie would avoid horror elements in their comics as well. But this restriction became less of a concern for the CCA in the early 1970s (well after EC became known for Mad Magazine). Marvel quickly introduced Morbius this Living Vampire in the pages of Spider-Man and began publishing The Tomb of Dracula. The series introduced the prominent horror figure into its comic universe and marked the debut of the day-walking vampire hunter Blade. Soon, Ghost Rider and other horror-tinged characters appeared in the Marvel universe. Anticipating the code changes, DC revived House of Secrets as a horror title in 1969 and spun off its recurring Swamp Thing feature in 1972. These titles represented a marriage of horror and the superhero which continues to this day. They would also inspire the horror titles of the 1990s independent market which never faced the Comics Code Authority or its restrictions.And as television continues to mine comics for inspiration, horror characters (and horror titles) are finally making their mark on networks and streaming services. Some lean into the graphic nastiness of horror conventions, while others go for more subtle terrors. But which are the most successful? Let s take a look at the five scariest comic book characters to grace the screen so far and see how they bring elements of horror to the comic book show subgenre.Ghost Rider | Marvel's Agents of S.H.I.E.L.D. 95%Burning an indelible impression into S.H.I.E.L.D.’s fourth season, Ghost Rider (Gabriel Luna) first appeared to Daisy (Chloe Bennet) as Robbie Reyes, a kid with car and a sense of justice. But when she pressed the issue of his apparent vigilantism, she met the Rider. Bursting forth from Robbie’s skull, the character had an aspect body horror about him. Later, viewers grasped the real terror as Robbie slowly let Daisy and Coulson (Clark Gregg) know the truth: the previous Rider – who may or may not have been Johnny Blaze – saved Robbie from a car wreck and passed the Rider onto him. Once bonded, the Spirit of Vengeance learned the accident was meant as a reprisal against Robbie’s uncle Eli (José Zuñiga), a would-be crime lord attempting to use the mystical Darkhold to further his plans. The Rider and Robbie formed an uneasy alliance as they became protectors of East L.A. Nonetheless, the Rider s interest in serving vengeance on Eli meant their partnership was always uneasy.Subsequent terrors included the Rider’s possession of Mack (Henry Simmons), the moment he finally dragged Eli to Hell, and his haunting deal with Coulson.The basic horror element here is, of course, demonic possession. And while more gruesome and graphic scenes were downplayed (this is still ABC after all), the terror of the Rider comes not just from his look, but from the way people feel when he inhabits them and the last traumatic effects. The series played him properly as supernatural force even the seasoned S.H.I.E.L.D. agents found terrifying.The Walkers | The Walking Dead 80%, Fear the Walking Dead 75%, and the Upcoming Third Walking Dead Series(Photo by AMC)How can we have a list of the scariest comic book characters on television without mentioning the Walkers of AMC’s various Walking Dead programs. Even if none of the shows use the word, they still trade in the existential horror of zombies — the notion that your body will be absorbed into some mindless mass of flesh after you die. Beyond that, zombie fiction also comes with a healthy dose of claustrophobia and the absolute terror of potential killing your own loved-ones once they turned. Also, because everyone in The Walking Dead world is a bad day from becoming a Walker, death takes on a second, awful meaning.But beyond the intellectual horrors of the zombie concept, the Walkers are incredible special effects. For the last decade, Greg Nicotero and his KNB EFX Group have done amazing things on television budgets and schedules to make Walkers ooze, crawl, drip, and gross out viewers. Sure, the Walkers are often just a mass of bodies swarming encampments – and, to be fair, that mass is terrifying – but the featured Walkers realized by KNB will remind viewers just how discussing and terrible zombification would be.Ramsey Rosso and His Blood Brothers | The Flash 89%The most recent entry on the list takes some of its cues from the Walkers, but offers the classic image of the zombie a superhero upgrade thanks to dark matter and some occasionally dodgy CGI. Debuting in last week’s episode of The Flash, but getting a proper workout this week, the corpses controlled by Ramsey Rosso (Sendhil Ramamurthy) represent a dose of genuine horror movie tropes in the generally bright world of The Flash.Now changed by his strange dark-matter-and-blood substance, Rosso needs to feed on the living to maintain his existence – shades of a vampire there – but must first generate intense fear in them for the blood infusion to be effective. And if those ideas weren t terrifying enough, he can also control the bodies of his victims in a manner reminiscent of the Walkers before they eventually dissolve into more of that blood-like ooze.The effects work may not be up to par with The Walking Dead, but the ideas are effective and the blood brothers oozy ends are particularly gross.Rosso and his blood-kin also represent a new kind of horror – the sort which occurs when your work starts owning you. Rosso is so driven to cure his HLH that he is willing to sacrifice his own humanity – and the humanity of those he meets – to do it. Oh, and one supposes there is an element of egotism there, as well. Call it a critique of late-stage capitalism or the dangers of an out-of-whack work/life balance, but the results are pretty consistent with the sort of themes one finds under the decaying flesh of a zombie.And considering how humdrum the last few Flash villains have been, a horror-tinged adversary like Rosso is a welcome change.Jason Woodrue | Swamp Thing 92%(Photo by DC Universe)One of the great disappointments of DC Universe’s decision to cancel Swamp Thing after one year was that we only had one quick scene with Jason Woodrue (Kevin Durand) as the monstrous Floronic Man. It is a great scene in which Matt Cable (Henderson Wade) walks into the Marais Sherriff’s HQ and discovers all his coworkers dead. The power is out, the shadows are deep, and when Matt can make out distinct images, they are of persistent vegetation. Then he comes upon the Floronic Man, now seemingly driven mad from becoming a plant-based lifeform. The two exchange brief words, but the creature knows what it wants to do – kill anyone it encounters.This post-credit scene is a marvel, but it represent the culmination of the work Durand put into the previous ten episodes of the series establishing Woodrue as one of its great slow-burn menaces. And considering the show’s titular hero is himself a body-slashing figure of horror himself, that is saying something.Invited to Marais by local businessman Avery Sunderland (Will Patton) to investigate why the local swamp is having a bad reaction to his special “accelerant,” Woodrue appears as a man more invested in plants than people. The notable exception: his ailing wife Carolyn (Selena Anduze), who has a form of early onset Alzheimer’s Disease. Woodrue hopes to find a cure for her in the swamp and its reaction to his formula, but his offbeat personality changes into something menacing once he chances a look at Abby Arcane’s (Crystal Reed) sample of Swamp Thing’s (Derek Mears) plant matter. Soon it grows into an obsession and leads him to a place where he is willing to use his wife as a lab rat to prove he can save her.The terror here is, of course, that of a spouse gone wrong. And while it might be on a more operatic scale, the final moments of Woodrue and Carolyn’s relationship could just as easily be a more naturalistic episode of domestic violence. But since this is Swamp Thing, the ideas are heightened and Durand’s performance, already on the edge from the moment he first appears on screen, explodes into something altogether horrifying.The Reverse-Flash | The Flash 89%(Photo by Jordan Nuttall/The CW)While some of Barry Allen’s (Grant Gustin) other Speedster rogues may lean into more obvious horror clichés – Zoom, for one, would be at home in a film in which he slaughters camp counselors by the score – the original Reverse-Flash (Tom Cavanagh) consistently pulled off being the scariest character on comic book television in 2014 and 2015 while wearing a yellow suit.Thanks to his blurred face, crackling red eyes, and his mastery of speed, the character exuded menace and generated terror whenever he zipped into the frame. And to that Cavanagh’s stellar performance (both with and without vocal distortion), he continues to be the benchmark of villainy on that show. Consider his appearance during the 100th episode, in which he generated a season’s worth of chills in just three short scenes and out of costume.But in form of the Reverse-Flash, he is a sight to behold. A vision of terror fused with the generally heroic aspects of The Flash s own design. The success of that vision made Barry s own go at being a nightmare of himself — the time remnant known as Savitar — far less successful. Of course, it also proves more is less as the simple methods and motives of the Reverse-Flash still successful engage audiences when villains like The Thinker and Savitar fail to impress.His form of terror may not be as universal as demons or zombies. Indeed, it is very personal to Barry and, oddly enough, Cisco Ramon (Carlos Valdes). But it nevertheless manages to inspire some nightmares for viewers of The Flash. He is that relentless thing looking to tear down your accomplishments and undermine everything you aspire to be and a form of depression personified — with violence, calculation, and Cavanagh s voice.Which characters do you think are the scariest that have jumped from comic books to television? Tell us in the comments! Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Listen, we get it: This is the time of year that you want to be soaking up some sunshine and staying away from the various screens in your life. But with a crop of 13 certified fresh returning series like this, how can you resist!?Fear the Walking Dead 75% (AMC)What it is: An extension of the zombie apocalypse world of AMC mega-hit The Walking Dead that takes place in Los Angeles before the events of its mothership series and shows how city dwellers deal with the virus outbreak.Why you should watch it: It comes as little surprise that if you love The Walking Dead, you’ll love Fear. Its engrossing backdrop and cast of memorable characters is enough to tune in week to week, even through some of its more languid, slow-boiled pacing. Season 5 premieres June 2 on AMC. Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 40 hours (for the first four seasons)Luther 88% (BBC America)What it is: This BBC drama follows a brilliant Detective Chief Inspector (Idris Elba) who finds it difficult to strike a work-life balance as he struggles to toe the line between genius and madness.Why you should watch it: Elba is a four-time Emmy nominee and Golden Globe winner for his spellbinding performance as DCI Luther, a magnetic cross between Sherlock Holmes and Columbo, in this gritty character study that adds a new dimension to the cop show genre. Season 5 premieres June 2 on BBC America.Where to watch it: Amazon, Google Play, Microsoft, VuduCommitment: Approx. 17 hours (for the first four seasons)Black Mirror 84% (Netflix)What it is: Basing its title on the black, reflective screen of a powered-off phone, tablet, or computer, this hit anthological Channel 4-turned-Netflix series from creator Charlie Brooker examines mankind’s dark, twisted (and thankfully, for now, hypothetical) future when beholden to modern technology.Why you should watch it: Few other sci-fi series today have proven as prescient on technology, sociology, and politics as Black Mirror, and it just keeps getting better. Plus, the Emmy-winning series has helped launch the careers of U.K. talent like Daniel Kaluuya, Letitia Wright, Alex Lawther, Hayley Atwell, Domhnall Gleeson, and many others.Where to watch it: NetflixCommitment: Approx. 20 hours (for the first four seasons)The Handmaid's Tale 83% (Hulu)What it is: Set in a not-too-distant future and adapted from Margaret Atwood’s acclaimed novel of the same name, The Handmaid’s Tale is the harrowing imagining of a society where fertile women are forced into slavery to help procreate for the rich and powerful. A gripping and prescient look at modern patriarchy’s darkest corners (and possible futures), it truly is must-watch TV.Why you should watch it: Last year, The Handmaid’s Tale became the first-ever streaming series to take home the Television Academy’s top honor: the Emmy for best drama. We’d follow its formidable cast — Elisabeth Moss, Ann Dowd, Joseph Fiennes, Alexis Bledel, and Samira Wiley among them — and behind-the-camera creatives anywhere, maybe even to Gilead. Season 3 premieres on Hulu June 5. Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 19 hours (for the first two seasons)Designated Survivor 71% (Netflix)What it is: David Guggenheim’s political thriller imagines what would happen if an entire presidential administration was killed in one fell swoop and the low-ranking cabinet member tapped as designated survivor (a true-life position here played by Kiefer Sutherland) was sworn in as leader of the free world.Why you should watch it: This network drama-turned-Netflix reboot marks a welcomed return to TV for Sutherland, who, as the titular survivor Tom Kirkman, holds no prisoners as a man between a rock and hard place. Paired with crackling scripts and an excellent ensemble, Designated Survivor is a mile-a-minute thrill-ride and a worthy follow-up to 24. Season 3 premieres on Netflix June 7.Where to watch it: NetflixCommitment: Approx. 30 hours (for the first two seasons)Big Little Lies 89% (HBO)What it is: From creator David E. Kelley and based on the novel of the same name by Liane Moriarty, Big Little Lies is an murder mystery of intertwined upper-class mothers living in Monterey, California.Why you should watch it: Big Little Lies is one of the buzziest ensemble dramas on TV today, and that’s thanks in large part to its stacked cast of A-list stars and producers: Reese Witherspoon, Nicole Kidman, Shailene Woodley, Laura Dern, Zoë Kravitz — and, in an twist that just about broke the internet, Meryl Streep is co-starring in the new episodes as a woman whose arrival in the rich seaside town of Monterrey causes trouble for the main women. Season 2 returns by popular demand on HBO June 9.Where to watch it: Amazon, FandangoNow, Google Play, HBO Now, VuduCommitment: Approx. 7 hours (for the first season)Claws 90% (TNT)What it is: Niecy Nash stars as Desna Simms, the takes-no-prisoners owner of a nail salon in the swampy town of Manatee County, Florida. She’s flanked by a scene-stealing assortment of coworkers and patrons. The drama flares, however, when she and her employees turn to organized crime and start laundering money.Why you should watch it: Full of camp, high-stakes crime drama, and firecracker scripts with performances to match, Claws is some of the most fun you’ll have with a TV series this summer. Plus we’ll take any excuse to see two-time Emmy nominee Nash execute her perfect blend of humor, brawn, and heart as the leading lady. Season 3 premieres June 9.Where to watch it: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 15 hours (for the first two seasons)Pose 98% (FX)What it is: From creators Ryan Murphy, Brad Falchuk, and Steven Canals, Pose depicts New York City’s ballroom and voguing scene of the 1980s with sickening pageantry, tea-spilling drama, and high fashions for the gods. Why you should watch it: Pose made waves upon its premiere by being the largest ever ensemble cast of transgender actors playing trans characters on TV. But aside from its progressive stamp of approval for onscreen representation, it’s also just damn good TV, expertly acted, written, and directed, and unafraid to tackle LGBTQ+ issues that we’ve never seen explored in such a way before. Season 2 premieres on FX June 11.Where to watch it: Amazon, FandangoNOW, Google Play, Microsoft, Netflix, VuduCommitment: Approx. 6 hours (for the first season)Queen Sugar 98% (OWN)What it is: After the unexpected death of their father, estranged siblings Ralph-Angel (a conman fresh out of prison), Nova Bordelon (a New Orleans–based journalist and activist), and Charley Bordelon (an upper-class Los Angeles mother to a teenage son) move to rural Louisiana to claim their inheritance: hundreds of acres of sugarcane farmland.Why you should watch it: Queen Sugar is the result of women both behind and in front of the camera joining their powers: executive producer Oprah Winfrey; executive producer, director, and writer Ava DuVernay; stars Rutina Wesley and Dawn-Lyen Gardner; and other female directors for each episode of its three seasons. And their work isn’t the only stunning aspect of the series — sprawling locations under the Louisiana sun and timely discussions of racial prejudice, mass incarceration, and more make it a thought-provoking family drama. Season 4 premieres on OWN June 12.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 32.5 hours (for the first three seasons)Younger 98% (TV Land)What it is: Sex and the City helmer Darren Star strikes gold again for city-dwelling women of a certain age with Younger, starring theater vet and now small-screen charmer Sutton Foster as a single mother who lies about her age to pursue her dreams in publishing.Why you should watch it: Foster is absolutely pitch-perfect in this fun, sexy, metropolitan comedy, and she’s matched by a bevy of scene-stealing co-stars: Miriam Shor, Hilary Duff, Nico Tortorella, and Debi Mazar, who are all stellar. Season 6 premieres on TV Land June 12.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: About 25 hours (for the first five seasons)Marvel - Jessica Jones 82% (Netflix)What it is: Private detective/hard-drinking superhero Jessica Jones overcomes abuse and reluctantly helps save the residents of New York City in the final season of Netflix s Marvel propjects.Why you should watch it: Krysten Ritter is sublime as the jeans-and-leather jacket-wearing titular superhero, and her nuanced performance is vital to the portrayal of abuse on screen. Plus, the supporting cast — led by Rachael Taylor and Carrie-Ann Moss, plus David Tennant as the insidious first-season villain Kilgrave — is second to none. Season 3 premieres on Netflix June 14.Where to watch: NetflixCommitment: About 17.5 hours (for the first two seasons)The Detour 90% (TBS)What it is: The Detour follows the Parker family as they embark on a roadtrip from their Syracuse, New York home to Florida for a family vacation.Why you should watch it: As its title would indicate, not everything goes to plan in this well-meaning family road trip, and missteps and mishaps abound. Created by husband-wife duo Samantha Bee and Jason Jones (who stars as the central father with Natalie Zea, Ashley Gerasimovich, and Liam Carroll), the scripts are funny and heartfelt while still leaving room for some unexpected run-ins with the law and other twists. Season 4 premieres on TBS June 18.Where to watch: Amazon, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 11 hours (for the first three seasons)Dark 95% (Netflix)What it is: This foreign-language streaming series from creators Baran bo Odar and Jantje Friesehildren combines elements of time travel sci-fi, horror, and family drama to tell the story of the fictional German town of Winden; its children are inexplicably disappearing, leaving residents in varied states of emotional disarray.Why you should watch it: Netflix’s first German-language original series is a doozy: spine-tinglingly eerie, fantastical, and at times downright terrifying, it’s a must-watch for any fans of the genre. Season 2 premieres on Netflix June 21.Where to watch it: NetflixCommitment: Approx. 8.5 hours (for the first season)Legion 91% (FX)What it is: While Legion is among the most original—and undefinable—series on TV today, in the simplest of terms, it’s the story of psych-ward patient David Haller (Dan Stevens) and his sidekick-turned-nemesis Lenny (Aubrey Plaza) as David more fully becomes what he’s always known himself to be: a mutant.Why you should watch it: To anyone who says they’re tiring of the superhero genre overtaking film and TV, we say, “Have you seen Legion?” Noah Hawley’s absolutely singular X-Men–based vision is a mind-bending and engrossing head-scratcher that’s well worth committing to. And committing is exactly what Stevens and Plaza do with their no-holds-barred, fearless performances. Season 3, its final season, premieres on FX June 24.Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 15 hours (for the first two seasons)Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image photo credit: David Giesbrecht/Netflix; Sarah Shatz/FX; Pari Dukovic/FX
nic Black Panther leader he portrayed in Judas and the Black Messiah, Kaluuya finished by sneaking in a cheeky line: We gotta celebrate life, man. We re breathing, we re walking. It s incredible My mom and my dad, they had sex. It s amazing! Cut to Kaluuya s sister burying her face in her hands and his mother, confused at what she d just heard, mouthing, What is he talking about? Daniel, you rascal, you.Ma Rainey’s Black Bottom Makeup and Hairstyling Team Makes HistoryThe team behind the hair and makeup for Netflix’s Ma Rainey’s Black Bottom already made history before Sunday night, with Mia Nel and Jameika Wilson the first Black women to be nominated in the category. Their win now makes them the first Black women to win for the category; their colleague, Sergio Lopez-Rivera, became the first Hispanic/Latino person to win for Makeup and Hairstyling. Accepting the award, Neal said, “I can picture Black trans women standing up here. And Asian sisters. And our Latina sisters. And indigenous women I know that one day it won’t be unusual or groundbreaking, it will just be normal.”Chloé Zhao Gives the Night s Most Uplifting Acceptance SpeechChloé Zhao made history on Sunday night as the first Asian woman to win Best Director at the Oscars, which was fittingly announced by last year s winner, Bong Joon-ho, who narrated a thoughtful introduction to the category featuring quotes from all the Best Director nominees. But Zhao also gave arguably the most poignant, inspiring speech of the evening, explaining how she motivates herself to keep going when things become difficult. She recounted her childhood in China, when she and her father would recite classic Chinese poems and try to finish each other s sentences. The poem she holds most dear begins, People at birth are inherently good, and Zhao continued on to describe how that philosophy has influenced her throughout her life. She finished by holding her statuette and saying, This is for anyone who has the faith and the courage to hold on to the goodness in themselves, and to hold on to the goodness in each other, no matter how difficult it is to do that. Amen to that.“I’m luckier than you”: Minari’s Yuh-jung Youn Becomes First South Korean Woman to Win Best Supporting Actress, Steals Night With SpeechKorean actress Yuh-jung Youn, who steals much of the moving family drama Minari as an unconventional grandmother, almost stole the whole night with her historic win for Best Supporting Actress. Not only did the win make Youn the first South Korean woman to take out the category – and only the second Asian woman, after Miyoshi Umeki in 1957 – but the veteran accepted the honor in style, with a speech that had the room – and social media – in stitches. In just a few minutes, she flirted with Brad Pitt, who’d handed her the statuette; forgave everyone in Hollywood who’d mispronounced her name; and revealed she doesn’t believe in competition and only won the award over competition like Glenn Close, because “I’m luckier than you.” She finished by thanking her sons, because… they were the reason she had to go out and work.Questlove s Oscar Trivia Results in Glenn Close Doin Da Butt Late in the evening, right after H.E.R. received the Academy Award for Best Song, the Oscar program took an unexpected, unprecedented detour to play something of a parlor game hosted by the night s DJ, Questlove. Lil Rel Howery grabbed a microphone and wandered through the audience looking for willing participants who were asked to guess whether a song played by Questlove was a previous Oscar nominee, Oscar winner, or neither. After engaging Best Actress nominee Andra Day (The United States vs. Billie Holiday) and Best Supporting Actor winner Daniel Kaluuya (Judas and the Black Messiah), Howery approached Best Actress nominee Glenn Close as Questlove spun the 1988 E.U. hit Da Butt, featured in Spike Lee s School Daze, quipping That s not fair to Glenn Close. She don t know nothing about doin Da Butt.' Of course, Close immediately responded not only with the correct song title, but who sang it, where they were from, and what movie it was featured in, noting that my friends at the Oscars missed it, and it wasn t nominated. The capper, though? With some encouragement from Howery, Close stood up from her booth, proceeded to do Da Butt, and immediately set social media afire. Whether or not the whole stunt was scripted or, to some, unbelievably cringey it was one of the few spirited moments to be found in an otherwise quiet, intimate night.What were your biggest highlights of the night? Tell us in the comments. Are you as obsessed with awards as we are? Check out our Awards Leaderboard for 2020/21.On an Apple device? Follow Rotten Tomatoes on Apple News.
亚博旗下平台 A lonely, winding track of asphalt up the dark side of a mountain. An overnight stay at the empty hotel on the summit. A writer, hot off the success of his first two best-selling books, wanders the hallways. He sees his two-year-old son being strangled by a fire suppression hose. The writer wakes up from this nightmare, screaming in a frenzied sweat. He s still in the hotel.Sound like a horror story you know? That s because it is. Or, at least, the start of one.The empty road and the emptier hotel, that s all true. And it lays down the foundation to modern horror s most beloved haunted house tale: The Shining, by Stephen King, which he was possessed to write after a single visit to the Stanley Hotel in Estes Park, Colorado. The year was 1974. Late September, just as the Stanley was shutting down for the winter. King, his wife Tabitha, and their son Joseph had holed up in room 217 as the only guests in a 142-room manor.A long night ensued.The next morning, King had everything he needed to finish the book he was working on. Title: Darkshine.A LEGACY OF MODERN HORRORThe Shining, 1980. (Photo by Warner Bros / courtesy Everett Collection)The Stanley today is like it was in 1974 when King visited, and just like in 1909 when the hotel was built: Frigid, with hot water still getting lost on its way up to all the rooms. It s the kind of creaky palace where when something goes wrong, you chalk it up as part of the experience. Like most places with a page on Atlas Obscura, it has strange energy. Maybe because everybody there s putting out and getting sucked into the vibe, desiring to be part of a subconscious conduit for netherworld encounters. They re certainly opening their wallets for it.Since publication of The Shining novel in 1977, the Stanley Hotel has become an international destination. Or at least busy enough to stay open during winters. It attracts horror fans from all over the pop cultural strata. And that includes movie directors. I wrote Hush at the bar of the Stanley with my wife Kate, Mike Flanagan, one such director, tells a private theater crowd in Estes Park in October, Hush being his 2016 home invasion slasher. We named the John Stanley character in the movie as homage. His wife is Kate Siegel, who starred in Hush, and appears in Flanagan s other works he s developed over a momentous decade. Big material like Netflix s The Haunting of Hill House, and Oculus, his breakthrough feature starring Karen Gillian. In 2013, Flanagan screened Oculus at the Reel Mountain Theater in Estes Park, mere steps away from the Stanley, where one of his horror idols once found wicked inspiration. After the Oculus screening, the couple stuck around for a week seeking the same. The screenplay for Hush developed in those seven days, a movie released the same year with two others he directed: Gerald s Game and Ouija: Origin of Evil, establishing Flanagan as a low-key rising horror master.And now he s back in Estes Park screening his new movie, making abundantly clear he knows this is the biggest professional and personal risk yet: A sequel to The Shining.INSIDE THE INSPIRATIONThe Shining and Doctor Sleep author Stephen King. (Photo by Paramount/courtesy Everett Collection)The historic Stanley ghost tour runs several times a day, though obviously the best time to go is at night. Darkness shrouding the estate, it becomes no challenge to channel what King saw that winter night in 74. The dining hall, bustling by day, empties of life. Then appears Stephen King, and his wife Tabby. They re being served dinner at one of the long tables. All the other chairs are up, and an eerie orchestra echoes over the PA.At the bar alone, King is tended to by a bartender named Grady. The same namesake as the caretaker in The Shining who goes mad, kills his family. Grady feeds King the line his fans ought to know: That his money is no good here. A death knell for the alcoholic (which King was at the time), that no more liquid, burning as it soothes, would arrive to quench an all-consuming thirst. The horror!The ghost tour guide pulls back the spell, claiming in truth it s because the Stanley was closed, and dear Grady didn t want to bother counting the cash towards their taxed earnings. Another tall tale to add to the mythology.Then the approach to room 217, footsteps mute on carpet, where King stayed long ago. The guide points out the kid-chasing hose of nightmares across the hall. You don t get to go through 217 unless you book it, a tough job because it s by far the Stanley s most requested room. Either pay up, or sneak in. Here s what you ll find unique inside the room: A shelf filled with the author s books, a framed bedside picture, and the bathtub where King imagined the necrotic – though still rather fresh – corpse of an elderly woman floating. (There s also a king-sized bed, though there s no evidence he had anything to do with that.)In 1977, three years after his Stanley stay, King released The Shining, sculpting everything that unsettled him into the Overlook Hotel. In 2013, he published its sequel novel, Doctor Sleep. In-between, Stanley Kubrick made a famous movie. Infamously, King hated it. And not just because room 217 got changed to room 237.APPROVAL FROM THE KINGMike Flanagan on Doctor Sleep set. (Photo by Warner Bros. /courtesy Everett Collection)Flanagan, like most, watched The Shining before he read the book. He was in eighth grade. A sleepover, where all the kids saw it on VHS. The experience left him petrified. It also left him with instruction on how to build tension, atmosphere, and dread – without resorting to jump scares.And now, as the new caretaker of the Overlook, he s responsible with adapting Doctor Sleep for the masses. Flanagan takes on the monumental expedition of reconciling Kubrick s mind-blowing dark vision with King s emotional, personal redemption arc of the plagued Torrance family. That s something its writer-creator has never felt ever made its way into theaters, resenting the Shining movie as it eclipsed the source book. So when did Doctor Sleep s director feel ready for this volatile project? I ve never in this entire process felt prepared to do it, Flanagan recognizes, speaking with us at his room in the Stanley Hotel. It happened very fast. I had the opportunity to do it because of a meeting I had at Warners about doing a DC movie. They asked if I was familiar with Doctor Sleep and I said yes. Stephen King approved me for it because he was happy with Gerald s Game. If he hadn t given me his permission, I wouldn t have made the film. And sending him the script, I was terrified because that was his chance to be like, No, you can t do this to my world.' Do what exactly to his world? Let s just say for those going into Doctor Sleep having read the book first, expect significant departures. Only this time, they re approved by the King.SERVING TWO WORLDSJack Nicholson, Shelley Duvall in The Shining. (Photo by Warner Bros. / courtesy Everett Collection)Both Shinings have the same set-up: Alcoholic writer Jack Torrance (Jack Nicholson in the movie) takes a job as the Overlook winter caretaker, dragging along his wife Wendy, and son Danny, whose cursed gift of telepathy and clairvoyance awakens malevolent apparitions of the past. How book and movie reach their endings diverge wildly.Same with Doctor Sleep. Establishing story on-page and on-screen are similar: Haunted adult Dan Torrance (Ewan McGregor in the movie) is using his shine to guide the terminally ill into the afterlife, when he encounters a young girl named Abra (Kyliegh Curran). She s got the same gift, only more powerful than anything s Dan ever seen, attracting the likes of Rose the Hat (Rebecca Ferguson), a semi-vampire who feeds off these abilities. Though book and movie unfold along different paths, Flanagan s adaptation captures that redemptive, cautiously hopeful tone of King s text. I read Doctor Sleep in 2013 as soon as it came out, Flanagan explains. The weird thing was that this story was so quintessentially Stephen King, and it so completely and loudly jettisoned all of the Kubrick from it. Yet all the images in my head were Kubrick images. Because that s The Shining that I know, that s the Overlook that I know. It s one of the most influential movies in my life. We spoke of movies like 2001: A Space Odyssey and Blade Runner, whose enduring relevance comes partly from their unsolvable central mysteries. Blade Runner 2049 recognized Ridley Scott s puzzle (Is Deckard a replicant?), and knew what a losing proposition it d be to answer it. So the Denis Villeneuve sequel didn t.Ewan McGregor in Doctor Sleep. (Photo by Warner Bros. / courtesy Everett Collection)Then there s 2010: The Year We Make Contact, released in 1984. This follow-up explains everything about A Space Odyssey, from why HAL malfunctioned to what ever happened to David Bowman. It s a decent sci-fi movie and, in the shadow of 2001 s majesty, completely inappropriate. As an obvious film nerd, Flanagan understands this fandom, this weight and expectation inherent to a Shining sequel, like running into a hedge maze with only a single chance out. I felt like the coolest way to do it would be to try at long last, at least attempt, reconciling the King road and the Kubrick road. Which would not be easy. It would be fraught with landmines, Flanagan says. But that s the only really exciting way to do it. Because if you jettison the King and just do a sequel to Kubrick, then you re into 2010 territory. He continues: But if you jettison the Kubrick and just do this standalone thing that s talking about Danny Torrance and the Overlook, then I feel like you re flinching away from what the story really wants to be. You re ignoring the most familiar cinematic language that an audience already has on one of the most ubiquitous pop culture phenomenons when it comes to horror. So it really felt like this was the only way to do it. As a fan, that s what I want. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
自从LOL手游上线后，借助着英雄联盟这一端游现象级IP的热度，吸引了很多玩家入坑尝试。而且LOL手游官方也是非常舍得发福利，各种送皮肤和英雄的活动目不暇接，让很多哪怕对这款游戏不感兴趣的玩家，也被丰富的福利活动给吸引。更是有很多主播选择转型英雄联盟手游，十分看好这款手游的前景。 If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.