面对面游戏下载

面对面游戏下载

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面对面游戏下载采用百度引擎0(Baidu 7)大家都知道大IP改的手游很多时候都是流水线换皮,但是如果刚开服一周不到就取消渠道服的话,还是很严重的,渠道服的玩家也不在少数,取消的话必然会引起大家的逆反。

1. 面对面游戏下载
Recently, Rotten Tomatoes expanded our list of the best-reviewed LGBTQ movies of all time to 200 films. We dive deeper into one of the best movies on that list, The Birdcage, which is celebrating its 25th anniversary.As the kind of sissy boy whom my schoolmates scolded for my lack of soccer skills and my predilection for choir practice (I was a soprano, naturally), I spent much of my childhood wrestling with my own seemingly insufficient masculinity. Despite how obviously I failed at performing manliness, I was wracked with anxiety about how I knew I should act. This is not as uncommon an experience as I felt it was. Whether you grew up in Colombia, as I did, or in the South of France or in Miami, the pressures of acting like a man were as soul-crushing as they were laughable. This is what one of my favorite movies growing up taught me, though not until I revisited it decades later.The Birdcage is, above all, a farce about masculinity. About its frailty and its attendant anxieties. Based on Édouard Molinaro’s La Cage aux Folles, Mike Nichols’s broad comedy stars Robin Williams (in khakis and a Selleck-ish mustache) and Nathan Lane (in linen pants and the occasional wig) as Armand and Albert Goldman. The couple run the The Birdcage, a drag club in South Beach where Albert (as “Starina”) is its greatest star. When Armand s son Val (Dan Futterman) informs him that he’s going to  marry his girlfriend Barbara (Calista Flockhart) he caveats the good news with a request: might he go along with the white lie Barbara told her ultra-conservative parents, Senator Kevin Keeley (Gene Hackman) and his wife Louise (Dianne Wiest), that Armand is a straight cultural attaché?(Photo by MGM Home Entertainment / Everett Collection)The comedy stems from the failed attempts at keeping the charade of a heterosexual (and heteronormative) Goldman family. If Albert cannot present himself to the Keeleys as Armand’s partner, by god he’ll do it as Val’s definitely-not-gay uncle, a scenario that gives Lane every delicious comic beat he could ever hope to play. In one of the scenes that I could probably still perform from memory, Albert tries to butch himself up. He practices spreading some mustard on some toast only to be scolded by his frustrated lover: “Don’t use the spoon! And don’t dribble little dots of mustard: men smear! Smear!”The film was a staple of my teenage years. Whenever it was on cable we’d watch it as a family. We’d laugh in unison as we saw Lane’s flailing attempts to walk straight, only to end up deciding to pass himself off as Val’s mother in surprisingly convincing Old Lady drag. My laughter was, during those family viewings, comforting and discomfiting in equal measure. I laughed at Lane’s femininity in a way that I hoped inoculated my own. What a laughable stereotype, I thought. Thank god I’m not that gay, I reassured myself, still in the closet. I may be called a ‘marica’ in school, but surely I pass more easily than this out-of-drag drag queen. I loved the film precisely because it gave me room for such distance.(Photo by MGM Home Entertainment / Getty Collection)By the time I got to college, that kind of thinking led me to a revisionist understanding of the film that felt all the more insidious: it’s films like these – big broad comedies trafficking in caricature – that fuel the homophobia around me. Couldn’t we do better? Couldn’t we be more than punchlines? Did we have to be effeminate gay men with high-pitched voices who couldn’t hold their pinkies in check when “smearing” our toast?It’s only slowly dawned on me how much I came to project onto The Birdcage which, Hank Azaria’s lisping “Guatemalanness” aside, is a wholly assured satire about homophobia a (Photo by Russ Martin/CBS)Intentionally or not, by the finale of its sophomore season, Star Trek: Discovery, along with actor Ethan Peck, who guest-starred as Spock, provided an argument for another prequel to the original series.At least two more live-action series are in the works: the first led by Michelle Yeoh as Philippa Georgiou about Starfleet s shadowy Section 31 division, and the other led by Patrick Stewart, revisiting his role as Jean-Luc Picard from The Next Generation. (Santiago Cabrera, Michelle Hurd, Alison Pill, Harry Treadaway, and Isa Briones will join Stewart in the new series.) The Short Treks program has already seen four episodes released, and Emmy Award–winner Mike McMahan (Rick And Morty) is developing Star Trek: Lower Decks, a half-hour animated comedy focused on the support crew of one of Starfleet’s least important ships.Even if the intention is to see Spock recur on Discovery, the case made for a series about a young and hungry Enterprise crew led by Anson Mount as Christopher Pike, Rebecca Romijn as Number One, and Peck as an up-and-coming version of the iconic sci-fi figure couldn’t be stronger.Discovery’s second season focused on universal themes of family, understanding, love, and loss — all well-trod storytelling paths with the inherent danger of an attack of saccharine. Under the guidance of Alex Kurtzman and his team, however, the result has been mysterious, thrilling, unpredictable, and, of course, very worthy of the series’ recent third season renewal.Both Discovery seasons are Certified Fresh: Season 2 currently has an 83% Tomatometer score, while season 1, which endured a lot of huff and bluster about what Star Trek is supposed to be, is just behind it at a healthy 82%.Ahead of season 2, some residual grousing turned up around the highly anticipated appearance of Spock, the brother of lead character Michael Burnham, played by Sonequa Martin-Green.As Sopan Deb of The New York Times wrote in a recap of the season premiere: “There is an elephant on the bridge. Spock … It’s always been a sore point that Burnham is supposed to be Spock’s foster [sister], whom apparently we never hear about in the history of all of Star Trek. In ‘Brother,’ we get hints about this. Burnham suggests that Spock didn’t accept her as a sibling — which seems, frankly, out of character for Spock, but it’s too early to determine that until we see how this story unfolds.”(Photo by Ben Mark Holzberg/CBS)Now the story has unfolded, and we’ve witnessed Michael and Spock push and pull against each other as if connected by rubber bands. Will they or won’t they be a family? In the finale that aired Thursday night, we found out that they will. The hate Michael perceived Spock had for her melted away over the course of the season — life lesson: bad feelings will escalate when fueled by a lack of communication. The finale showed just how deeply his love for his sister ran, with Spock choosing to accompany her into the unknown and their mutual dismay when it becomes apparent that their ever-after as loving siblings is not to be. Personal log: Stardate 1201.7, Spock says in voice-over of a scene of him embracing their mother in the finale. One hundred and twenty-four days have passed since your disappearance We’ve sworn never to speak your name in the presence of others. Yet, I feel you with me, always. We spoke to Peck ahead of the finale to find out how the season went for him and what it’s been like inhabiting such an beloved character in an enormous franchise, and, though he was understandably circumspect about whether we’ll see more Spock, one thing’s certain: He won’t be wearing a red shirt.(Photo by Ben Mark Holzberg/CBS)Debbie Day for Rotten Tomatoes: It’s been so exciting to watch your character develop over the season; the arc has been quite extreme for Spock. Fans have a very specific vision about what the character is, but they start in a very different place with you — can you talk a little bit about that?Ethan Peck: You re absolutely right. The season arc is hugely transformational for him. I consider it, I understand it to be sort of his genesis. He is in this place of uncertainty, and back in the beginning of his appearance on season 2 of Discovery, and he ends up much closer to the Mr. Spock we met at the beginning of the original series. It s just an incredible honor, not just to play Spock, but to play him in this moment in his life when he is full of doubts and he has these pieces of himself that aren t quite yet fitting together well.What makes Spock so special is that he is these polar opposites, but they live together in harmony and he creates something much more than either human or Vulcan, in my opinion. I think this is why he s so highly regarded and so respected and so compelling; because he makes the space in himself for the cold Vulcan logic and the warm hysterical human tendencies. That s an amazing character to play and to be, and to have found that, I think there was an effort on not just my side, but on the writer s side to make sure that it was clear he s not yet the Spock that we have known to come and love in the original series.We get glimpses along the way, and I think at the end we really come full bore with that mature Spock, or begin to.(Photo by Russ Martin/CBS)Did you know going into this that you were going to play this very special moment in the character s life? How much did you know about what this season would be for him?Peck: I didn t know all that much. I think they took, obviously a huge risk, casting me. Not necessarily — in my opinion — being proven as an actor. Who knows, because it is such a delicate balance in this character and the portrayal of this character of logic and emotion. But then I think that they saw I was extremely dedicated and passionate about doing it, about understanding it, and I was working on the edge of my abilities throughout the season, and I learned so much from doing it. Not just from the experience itself of creating and showing up every day on set and working, but from Spock himself.I think they gave me a little more responsibility as they went on, and I d like to think that what I did informed their decision to keep him on. I think in maybe some worlds, there was a possibility that I totally shat the bed, excuse my language, and they gave me less responsibilities, sorta phased me out, so I just feel incredibly grateful and honored. It s all very surreal to me, still. I just feel filled with those feelings of gratitude and honor.For fans of the franchise, it s been very exciting to have the character there. One of the highlights, of course, is when it s becoming apparent what Michael’s role is exactly with the angel: that she is responsible for some of the signals. But then Spock s shuttle is disabled, and he s not able to get back to Discovery to continue on the journey with her. How did you build that emotional moment for the character with his sister?Peck: To speak specifically to the good bye on the shuttle, I think all of the work that we ve all done with the Spock in the months that I ve been there prior to that moment was really priming me for that good bye. I think in that moment, we really see Spock take ownership of himself and of his constituents: of this Vulcan side, of this human side. It s an action that is deeply emotional and executed highly logically.In the beginning of part one of the finale, Spock decides that he will stay with Discovery. That s a very emotionally driven move. He wants to stay with his family, he wants to stay with his sister, with one of the, I think, few places that he can call home — if you can call a person a home — because, in a way, they have so much in common. Although she s not half human–half Vulcan, she is. She was this human that was raised on Vulcan, and in season 1 you really see her become more human and learn what it is to be human. In this second season, I think we see Spock become more human and more Vulcan together.In the beginning of part one, he thinks that he ll stay, but in the end, he knows that he can t and must say goodbye, and emotionally he would be driven to go with Michael Burnham with Discovery into the future, but logically it s not possible. I think maybe at that moment he discovers there s a responsibility he has to tie up his end of the journey, which is to remain.(Photo by John Medland/CBS)The relationship was a continuation from moments that we hadn t seen as viewers. I was really interested in your emotional build to that moment with a person with whom you ve supposedly had such a fraught relationship.Peck: Yeah. I think it s a great competition that exists between the two of them — as does exist between many siblings — and we really, I think, dug into the sibling rivalry of it all. Also, I think they re very similar; they re both hyper-intelligent, they re both, I think, perfect candidates for Starfleet, they have dedicated themselves to something larger than just who they are as single beings. So I think there s a great respect that lives between them that, in the beginning, I don t think is honored, but there s a lot of anger on both sides, but they realize that they probably understand each other more than anybody else understands them, in all the known universe.That feeling of being seen, of being understood, I think, is so essential to satisfying life. I think we all search for understanding and for similarities in one another. Because these are such unique characters, there aren t many like them, and so I think to have found, I guess, sort of an anchor point in reality, is crucial to them becoming something more than they were, to evolving.To quote Spock, This comfort is essential to evolution. I think that really encapsulates what s happening in the second season between Spock and Michael Burnham. In terms of the preparation for that last scene, I think the whole season was preparation for it. I don t think that I, at that point, needed to do that much work, but trust what I had built and what we had built, about Spock and about the crew on Discovery.At the very end when she s saying goodbye, she tells him, “There’s a whole galaxy out there full of people who will reach for you. You have to let them. Find that person who seems farthest from you and reach for them. Reach for them. Let them guide you.” Was that a nod to his future relationships with a personality like Captain Kirk?Peck: Absolutely. I m not sure who came up with that, but I think it was Alex Kurtzman, and I remember him just glittering while he was telling me this revelation that he d had about this moment and about this beacon he s setting for the future in himself that does end up becoming Kirk.Discovery and Burnham shot off through a wormhole into the future, Admiral Cornwell is dead, Georgiou is somewhere out there, Leland died in a puddle of nanites, and Ash Tyler becomes a permanent Commander in Section 31. Spock, meanwhile, rejoins Enterprise and — despite everyone lying to Starfleet and saying that Discovery and her crew, including Burnham, blew up — he recommends that a gag be placed on everyone s knowledge of what happened. What is his interest in making that recommendation?Peck: Because of the dangers of Control. To really completely bury the knowledge of this omnipotent and sinister entity, it should be completely eradicated from the books. Not just physically eradicated, but also conceptually eradicated because of the extraordinary danger that he poses to the universe, or it poses to the universe.(Photo by Russ Martin/CBS)I think I know, but what’s the significance of Spock shaving?Peck: I think it s an externalization of his alteration. I think the beard is an externalization of his inner turmoil and his unraveling. To shave is a settling back into a security of who he is and his comfort with himself. That s what it means to me. It s also a part of his goodbye to Michael. The self that he knew when he was learning from her and being with her, and to shave it is a part of that. What did you make of it?Just him transitioning — like a butterfly coming out of a cocoon — and becoming the man that he would be.Peck. Absolutely. Yeah.Is there any hope that we ll see the Enterprise and Spock again?Peck: Is there hope? Yes, I hope so.Are you signed up for season 3?Peck: I can t say. I know there s nothing out there on it either way.But you do hope so?Peck: Yeah, I hope so.Star Trek: Discovery seasons 1 and 2 are available to stream on CBS All Access.
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2. 公平游戏环境
ot with very little. The Wrap s Carlos Aguilar said: “The 2D animated rendering of the master filmmaker is more graphic interpretation than faithful portrait, perfect to cruise between reality and the anxiety-fueled nightmares that besiege his sleep.”The Wolf House (2018) 96%Country: Chile(Photo by Kimstim Films)An eerie stop-motion animation that will chill you to your bones, La Casa Lobo is not for the faint of heart. It tells the story of Maria, a woman who escapes a secretive German colony as she takes refuge in a house in southern Chile. Directors Jaoquín Cociña and Cristóbal León shot the film over five years, using 12 different locations in the process, including Casa Maauad in Mexico City, the National Museum of Fine Arts in Santiago, Chile, and Upstream Gallery in Amsterdam, Netherlands. All that globe-trotting seems to have paid off in terrifying dividends: Critics agree it’s a viewing experience like no other. La Casa Lobo is an instant folk-horror classic, a terrifying fairy tale bound to stick with you long after the credits roll. Olimpia (2018) Country: MexicoIn 1968, a coalition of students from across México came together to push for social and political change. This protest, known as the Mexican Movement of 1968 (Movimiento Estudiantil), provides the backdrop for Olimpia. The film follows three students at the Nacional Autónoma de México (UNAM) as the school is seized by the military following massive student-led unrest. It s been hailed by critics for showing a new perspective on the events, drawing comparisons to 1968 s El Grito, the long-banned documentary that captured the protests as they unfolded. The outcome resulted in several high-profile massacres with a lasting impact on the country (as seen in Alfonso Cuarón’s Roma, set between 1970 and 1971), and Olimpia effectively re-creates the events which ignited the movement. The rotoscope effect adds a layer of reality to the proceedings, while simultaneously giving it an uncanny valley feel that amps up the tension. An important film about an important moment of time, Olimpia is a good starting place for anyone looking to learn more about the Movimiento Estudiantil. Coco (2017) 97%Country: USA(Photo by Pixar / courtesy Everett Collection)A celebration of music and country, Coco is widely known in the U.S. as an English-language film, but the Spanish-language version of the film is one of the few dubs that is widely beloved (next to the epic Spanish language dub of The Lion King, of course). Coco was the first film released by the studio to feature an exclusively Latinx cast, and cast members including Gael García Bernal, Alfonso Arua, Sofía Espinosa, Luis Valdez, and Carla Medina were able to reprise their roles for the dub. Doubly helpful was everyone doing their own singing. The radio version of main heartbreaker “Remember Me” was sung by Mexicana folk singer Natalia Lafourcade and US pop star Miguel, both of whom were already up to the task of singing en Español. Because the story already takes place in México and deals with culturally specific beliefs and celebrations, there’s little about the movie’s content that reads as phony, helping it become the highest-grossing original animated film in México. That, and releasing it just in time for Día de los Muertos. Whatever language you watch it in, Coco is a celebration of Mexican life, culture, and music that’s perfect for viewers of all ages. Birdboy: The Forgotten Children (2015) 94%Country: SpainBased on co-director Alberto Vázquez’ graphic novel, Birdboy takes place on an island devastated by a massive factory explosion that has left half its land toxic, the water fishless, and our hero Birdboy possessed by a demon. After spending years isolated from the rest of society, Birdboy’s life is forever changed when Dinki, a young mouse from an abusive home, finds him on her journey to freedom. Their attempts to escape the island are undermined by a ruthless police force determined to find and capture Birdboy dead or alive. You know, just your basic coming-of-age story that tackles ecological disaster, drug abuse, and the dangers of religious extremism. The 2016 Best Animated Feature winner at the Goya Awards (and a Rotten Tomatoes off-the-radar staff pick), Birdboy was hailed by critics as an oddball triumph, heavily praised for its striking animation at once whimsical and terrifying and ability to find hope inside its dark world. If the themes didn’t make it obvious, Birdboy is definitely not for younger viewers (though anyone old enough to Tweet is likely already familiar with the abject terror of living in a world on fire and may find it, sadly, #relatablecontent). Those equipped to wade into this dreary world may find themselves leaving with a little more hope than they ever could have imagined.Virus tropical (2017) 78%Country: Colombia(Photo by Interior13 Cine)Virus Tropical is a black-and-white piece of animated perfection based on Colombian-Ecuadorian cartoonist Power Paola’s graphic memoirs of the same name. Paola, the youngest of three siblings and by far the strangest, can’t seem to figure out how to fit in a society that demands compliance. It’s an exploration of identity, a coming-of-age story rich with self discovery. The film’s animation is reminiscent of Marjane Satrapi’s Persepolis, sketchy in the best sense and full of imaginative imagery born of Paola’s particular worldview. It’s a joyous, melancholy ode to growing up and learning how to be yourself against all odds. Underdogs (2013) 67%Country: Argentina(Photo by TWC / courtesy Everett Collection)Football (or, as Ted Lasso would call it, soccer) fans will find much to like in Metegol, a charming 3D animated feature known in the U.S. as Underdogs. The film follows Amadeo and his beloved foosball table, whose figurines have suddenly come to life. Together, they must defeat an evil bully who is determined to destroy them. Though director Juan José Campanella is better known for his live-action filmography, which includes The Secret in Their Eyes and several episodes of AMC’s outstanding Halt and Catch Fire, he works well in the animated space. The camera work is fluid, and though it has some of the shortcomings of lower-budgeted CGI, it’s never distracting to the story. It’s geared toward younger audiences, but it moves quickly enough, and once the jokes start rolling even viewers may find themselves chuckling along.Wrinkles (2014) 93%Country: Spain(Photo by GKids / courtesy Everett Collection)Most animated features feel like they re geared towards young people, and it’s even rarer to find animated films that take on the complexities of aging. Writer Paco Roca’s Arrugas (adapted from his comic book of the same name) explores the lives of elderly people living in a retirement home. As newly admitted Emilio becomes acquainted with his new surroundings via his charming roommate Miguel (who may or may not be a bit of a kleptomaniac), it dawns on Emilio that he is not simply here because he is old; he has early onset Alzhemiers. The recipient of the 2014 Goya Award for Best Animated Feature, Arrugas doesn’t sugarcoat much, which can make it a bit difficult to watch. But with a charming cast of characters, warm humor, and endless insight, it s a bittersweet meditation on life and love. Unfortunately the original version of the film isn’t currently streaming in the U.S., but if you’re curious you may be able to find the English dub, which features Martin Sheen and George Coe in the lead roles. Anina (2013) Country: Uruguay/Colombia(Photo by 3GTG )Anina, adapted from a novel by Sergio López Suárez, tells the story of young Anina Yatay Salas, the girl with the triple palindrome name (thanks, dad). After a fateful sandwich-related mishap, Anina and her arch nemesis, Yisel, receive a punishment so strange it nearly breaks Anina’s wild spirit. It was submitted as Uruguay s entry for Best Foreign Language film for the 86th Academy Awards, and though it wasn’t nominated, remains a lovely feat of 2D animation from director Alfredo Soderguit. Chico & Rita (2010) 87%Country: Spain/UK(Photo by GKIDS)Chico Rita has more than enough music and energy to keep you dancing long into the night. It tells the tale of the titular Cuban musicians whose passion for their craft is matched only by their love and adoration for one another. Winner of the Goya Award for Best Animated Film, Chico Rita’s unique animation style flows as freely as the jazz music at its center. Each frame seems to dance to the beat, the camera pushing and pulling as fluidly as it would in any live-action film. It s truly a wonder to watch unfold, which is probably why in addition to being the first Spanish language title ever to receive a nomination for Best Animated Feature at the 84th Academy Awards Chico Rita is currently Certified Fresh. Una carta épica de amor a Cuba y su música, Chico Rita is one for the ages. Fat, Bald, Short Man (2011) Country: ColombiaWe all get a little insecure sometimes. In Carlos Osuna’s Gordo, calvo, y bajito, Antonio Farfan firmly believes all the misfortunes of his life can be traced back to three things: He is fat, he is bald, and he is short. When a fatter, shorter, balder man arrives at his office, Antonio must face the facts: Maybe the problem isn’t his looks after all. Maybe it s him. It’s a moving film, with  simple rotoscoped animation capturing Antonio’s mental gymnastics as he attempts to unlearn everything he knows about himself and become the person he was always meant to be. Nocturna (2007) Country: Spain/France(Photo by GKIDS)When the stars start disappearing, orphan Tim must find a way to save them, lest he and all of Nocturna be forever stuck in the dark. Nocturna’s animation is gorgeous, a spiraling dreamland that recalls the beauty of Van Gogh’s Starry Night, but with computer-generated graphics. Though the story is aimed squarely at young viewers, this timeless tale of courage in the face of adversity and finding light in the dark will resonate with audiences of all ages. A visual feast filled with fantastic characters and brought to life by an impressive voice cast, including Imanol Arias, Nocturna is well worth a watch. () Country: ArgentinaDirector s Liliana Romero and Norman Ruiz’ Fierro is an animated adaptation of José Hernández’ epic poem, Martín Fierro, an important cultural touchstone figure for Argentina. It begins with young Fierro living with his family on their ranch, whose existence is upended when he is drafted to protect the Argentine border from Indigenous hostiles. When Fierro becomes disillusioned with his position, he defects and joins the Indigenous cause in a story of corruption, freedom, and justice. The characters in the film were all designed by Roberto Fontanarrosa, an Argentinian cartoonist and writer who sadly died before the film’s release. The film’s 2D animation is Newgrounds-esque, which works well for Fontanarrosa’s characters. The static backgrounds (often simply of expansive sky) add a sense of space and place to the provincial setting, and a surreal quality to Fierro’s moments of introspection. It’s a fitting adaptation that lives up to both its source material and the late cartoonist who helped create it. () Country: MexicoYou have to crack a few eggs to make an omelette, but what if the egg had a say in becoming breakfast? That’s the dilemma for Toto, a talking egg who is snatched from his hen-mother just moments after being laid to be processed as food. After being sold to a household with a very egg-hungry cat, Toto is determined to get back to his mother with the help of some friends, and become the rooster he was meant to be. Una pelicula de huevos was the first feature from Mexican animation studio Huevocartoon Producciones, and was so well received in Mexico it still holds its place as the 10th highest-grossing film produced in the country. Though it never received a theatrical release in the U.S., it hatched two sequels (including 2015 s Huevos: Little Rooster s Egg-cellent Adventure) and even spawned a video game. The animation is fairly simple (think WB Saturday morning Cartoons in their heyday not the most exciting, but it gets the job done), so the real draw is the humor. The film is an extension of shorts created by Rodolfo Riva Palacio and Gábriel Riva Palacio, who also helm the feature. Though the feature-length version’s humor is toned down for younger audiences, there are still traces of the short’s double entendres.面对面游戏下载Space Force marks the highly-anticipated reunion of The Office alums Greg Daniels and Steve Carell. Carell, who co-created the series with Daniels, plays four-star General Mark R. Naird, who leads the newly-minted sixth branch of the U.S. Armed Services a concept directly inspired by Donald Trump s very-real announcement to have American boots back on the moon by 2024. John Malkovich s Dr. Adrian Mallory is Naird s unlikely partner, offering unwelcome scientific insight during every step of the mission. According to the first reviews of the series, the timely comedy struggles to connect with audiences and many of the jokes fall flat, but the show s two leads deliver the goods in bringing their characters to life.Here’s what critics are saying about Season 1 of Space Force:Steve Carell and John Malkovich have strong comedic chemistryBut where the show really strikes a chord is in the more heartfelt, charming moments – particularly between Carrell’s regimented veteran Naird and Malkovich’s stubborn head scientist Dr. Adrian Mallory. —Nicola Austin, We Have a HulkCarell remains likable and charismatic, even if his gravelly voice as Mark sounds a bit forced, and he and Malkovich (underrated for his comedic abilities) have entertaining chemistry. — Josh Bell, CBRAnd the show comes to life most when we get to watch Carell and Malkovich go head-to-head as military determination clashes with scientific limitations. — Nola Ojomu, MetroTogether, Carell and Malkovich forge a charismatic pair that could carry even more episodes than they already do, while Malkovich’s Dr. Mallory could certainly stand for more development on his own. — Ben Travers, IndieWireCarell and Malkovich make a great comedic duo! — Grace Randolph, Beyond the Trailer(Photo by Aaron Epstein/Netflix)Carell does his best to distance himself from Michael ScottCarell is good playing Naird as a straight-laced military man, who rigidly adheres to his principles even when they make him utterly depressed. After a long day on the job, he s a good dad, who makes time to help his daughter with her math homework.— Jonathan W. Hickman, The Newnan Times-HeraldMark Naird isn’t exactly Michael Scott 2.0. He has a wife, Maggie (Lisa Kudrow in a part-time role), a teenage daughter, Erin (Diana Silvers), and is more aggressive and confident than Michael ever was. He’s a plausibly orthodox military man; when Maggie complains that he’s too rigid in his thinking, he insists, “I can be flexible if I’m ordered to be.” But the way Naird stalks through most of the episodes as a defiantly ignorant, periodically bigoted a hole feels unfortunately very reminiscent of that first Office season when Michael was unbearable. — Alan Sepinwall, Rolling StoneCarrell plays General Mark R. Naird like a puffed-up, military-issue Michael Scott complete with earnest love for his workmates and an inability to recognise the error of his ways until it s too late. —Brian Lloyd, entertainment.ieUnfortunately, the jokes fail to connect But it might be easier to listen to than most of the jokes. Space Force is inexplicably unfunny, a black hole for laughter, with stretches of bombs lasting minutes, not just because the gags rarely work, but because there aren t that many jokes in the first place. It feels like the first draft of a comedy before the jokes were put in. — Tim Surette, TV GuideThe jokes themselves are also scarce, and when they do show up, they can be painfully all over the place. — Sean Price, The SpoolDaniels and Carell have failed to give their series any discernible point of view, delivering instead an innocuous and startlingly unfunny sitcom about military bureaucracy. — Kristen Baldwin, EWPut a different way, for Space Force to work, Carell and Daniels — as capable a pair of satirists as we have (see The Office) — would need to come with their humorous focus and targets incredibly well honed. Through the first season, despite fitful highlights, that just isn t there. — Daniel Fienberg, THRHere’s a comedy for people either desperate for new Office content, or who still find “covfefe” funny. —Blake Goble, Consequence of Sound(Photo by Aaron Epstein/Netflix)Political satire or surreal comedy — the show struggles to find its toneAt certain points it feels like biting satire, others complete farce. Sometimes the show is super silly and surreal, and other times it feels like a straight comedy. That inconsistent tone makes it so that you never know what you’re watching or what you’ll get from scene to scene, episode to episode. — Michael Walsh, NerdistThe series, of course, isn’t going to come without having some contemporary references. On the political side, there are clear-as-day references to Senator Chuck Schumer and House Speaker Nancy Pelosi and Congresswoman Alexandria Ocasio-Ortez. Though for whatever reason, the Schumer-esque character is a congressman rather than a senator. Instead of AOC, we have AYC (Ginger Gonzaga) aka Angry Young Congresswoman.— Danielle Solzman, Solzy at the MoviesAdmittedly, the parodies are a little too on-the-nose at times, removing the suspension of reality some might expect while they put on a movie or TV series. Even then, that s something that speaks volumes to the world we live in, rather than to the quality of the programming itself. — Adam Barnhardt, Comic BookIts pieces of political satire are both too literal (as when a young liberal congresswoman named “Anabela Ysidro-Campos,” played by Ginger Gonzaga, gives Space Force’s hell in a hearing that evokes an SNL cold open) and too dated (Mark’s annoying communications manager, played by Ben Schwartz, is “Tony Scarapiducci,” or more colloquially, “F Tony” as in “F Jerry,” I guess?). — Caroline Framke, VarietyThe ensemble cast is spectacularAnd their team is ensemble gold: Don Lake as Naird s overly eager-to-please assistant, Jimmy O. Yang (Silicon Valley) as Mallory s unflappable No. 2 and Ben Schwartz (Parks and Recreation) as the smarmiest of media managers. [ ] Maybe the best reason to enlist in Space Force: the posthumous performance of Fred Willard in one of his last TV roles as Naird s lovingly befuddled dad, a grace note for an earnestly amusing show that isn t afraid to wear its heart on its star-spangled sleeve. — Matt Roush, TV InsiderBen Schwartz , whom many will remember for his cheeky Jean-Ralphio in Parks and Recreation, is still a comic relief at all times. — Mikel Zorrilla, EspinofOh, and every single time the Armed Forces 4-Star Generals meet, you are sure to be giggling in your seat. It is comprised of greats like Jane Lynch and Patrick Warburton and the dry humor is basically a masterpiece. Trust me. Whenever they showed the room, I knew it was about to be a hilarious scene.I have to mention others like Tawny Newsome, Fred Willard (RIP), and Jimmy O. Yang. Each of them bring their own elements to the show. You know you have a good show on your hands when the supporting characters make you laugh just as hard as the main characters. In fact, Steve Carell almost plays the straight man in this one — almost. — Tessa Smith, Mama s GeekySpace Force hol

3. 激战团竞模式
《黑暗与光明手游》有着很多元化的玩法,比方说支持生存玩法、建造玩法、驯养玩法等等,还能进行跨服战争。在游戏里玩家们需要占领地图打造自己的家园,每个玩家都需要造出自己的房子,不少人会建造出那些美观大气的房子,也有些玩家设计出了温馨的小木屋,玩家们能在游戏里发挥出自己的建造天赋,打造出心目中理想的家园来生存。

4. 呼朋唤友 随心所欲
London pop trio Bros had an 18-month hot flash of success when they were the biggest thing since sliced bread. I wasn’t a fan back then several of my female school friends were but it was impossible to escape their songs and not get swept up in the teen hysteria. Then, as quickly as it had begun, it was over. This charming and hilarious documentary picks up 28 years after Bros’ chart-topping heyday and shows the fractious relationship between the band’s core members, identical twins Matt and Luke Goss. While their outlook on life is sometimes unintentionally funny, there’s a lot of real laughs too, not least an epic tangent about the banning of childhood game Conkers. There is also a real heart to the film, and it’s difficult not to be moved as they overcome tragedies and their differences to return to the arena for a comeback show. Highly entertaining.

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

6. 团队合作
邀请您的好友共赴战场,透过队内语音商定策略,设下完美埋伏,在对手措手不及时给予迎头痛击。您可以在好友需要协助时回应其召唤,也可以为您的公会贡献一己之力。

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0.31.5 3月喜迎Action superstar Jason Statham returns to the big screen this month in Guy Ritchie’s latest crime thriller, Wrath of Man, a revenge/heist mashup that sees the actor and director pairing up for the first time since 2005’s Revolver. Ahead of the movie’s release, Statham and Ritchie sat down with Rotten Tomatoes correspondent Erik Davis to talk about their long friendship and past collaborations, and why the crime genre endures. Plus, co-star Scott Eastwood shares his thoughts on Ritchie’s “impeccable taste” and why he’s so excited for this film to play on the biggest screens possible.Wrath of Man opens in theaters on May 7, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Valerie Macon/AFP via Getty Images)It seems not even a pandemic can stop awards season. Some films like Dune are still a question mark to finish in time for a theatrical 2020 release, but with the Academy extending the window for eligibility and allowing films to bypass a theatrical roll-out, the show will go on even if the show is virtual. Bringing back our series of Ridiculously Early Oscar Predictions, we start the 2020-2021 awards season with the gentlemen. We admit it s a little early, but this isn t exactly a normal Oscar year.Our early Best Actor predictions list is still a bit tenuous, as several films have yet to be screened by critics groups and voters before the February deadline for Oscar submissions. No matter what happens, the upcoming season will make history as the first in which films will not have to screen in theaters to contend for Hollywood s top prize, which sets up some intriguing possibilities for what films could break through and snag a nomination. The Academy of Motion Picture Arts and Sciences (AMPAS) announced earlier this summer that the Oscars would be postponed by two months to April 25, 2021, and extended-release date eligibility rules to February 28, 2021, in addition to allowing streaming-only submissions and making all eligible films available on the Academy screening library, forgoing the typical Oscar voter screenings.Despite being already dubbed The Netflix Season by many of those in the know, fierce competition is a-brewing for 2020. A number of the films likely to be in the conversation have already screened and earned Tomatometer scores, and pundits are already singling out the major standout performances in them. Our list does include performances nobody has seen, but for which pre-release buzz and expectations are high. With that said, some on this list may end up in the Supporting Actor category.Whether we like it or not, the campaigns are quietly underway, the conversation has started, and we re now ready to join it. If history and basic math tell us anything, it is that most of these names won t make it to Oscar night, but we re pretty confident many of them will be right up there in awards chatter. So please read on as we break down our ridiculously early picks for 2020 Best Actor contenders.Don t agree with our picks? Have at us in the comments.Daniel Kaluuya and LaKeith Stanfield, Judas and the Black Messiah (2021) 96%LaKeith Stanfield and Daniel Kaluuya are two of the most electrifying young actors in Hollywood. Working with acclaimed directors like Denis Villeneuve, Rian Johnson, Destin Daniel Cretton, Jordan Peele, Steve McQueen, and Ryan Coogler (who serves as a producer on Judas and The Black Messiah), both actors have amassed impressive filmographies and varied work in just a few short years. After working together for Jordan Peele s Oscar-Winning masterwork Get Out, Stanfield and Kaluuya reunite here to portray two pivotal if not well-known names from the Black Civil Rights movement. Stanfield plays William O Neal, a petty criminal-turned-informant who agrees to work for the FBI to take down Fred Hampton (Kaluuya), the leader of the Illinois chapter of the Black Panther Party. Catapulted into the conversation by a fiery new trailer, the film has all the right pieces to make a deep run, come awards season. A tragic true-life tale with sociopolitical undertones featuring a former Best Actor nominee is the stuff Oscar campaigns are made of. The only question mark now is whether or not the film which has an unspecified 2021 release date will premiere before the February deadline to be eligible for 2020 accolades.Delroy Lindo, Da 5 Bloods (2020) 92%There have been dozens of Vietnam War films over the years to compete for Oscars, but none like Da 5 Bloods, Spike Lee s follow-up to his Oscar-winning hit BlacKkKlansman. The film features stand-out performances from Clarke Peters, Norm Lewis, Isiah Whitlock Jr., Chadwick Boseman, and Lovecraft Country star Jonathan Majors, but the most actorly performance belongs to Delroy Lindo, who s likely to compete for the Best Actor prize. As the bombastic member of Da 5 Bloods tasked with returning to Vietnam to bring home the remains of a comrade lost during the war and perhaps a hidden fortune Lindo is transformative. Despite a career that spans nearly five decades and over 70 credits, it s surprising that Lindo has never been in the awards conversation, and his role here as the Trump-supporting Vietnam vet with PSTD is his best shot. Spike Lee is coming off his Oscar win for BlacKkKlansman, and his cachet with voters has never been higher. With its timely message, the film could be a huge play for Netflix, which is assumed to do well in this streaming-friendly season.Timothée Chalamet, Dune (2021) 89%Jacqueline ColeyIn the four short years since he broke out into the mainstream with his Oscar-nominated performance in Call Me By Your Name, Timothée Chalamet s name has percolated in the awards conversation. This year he has the enviable position of having two films that could earn him a nomination: Wes Anderson s The French Dispatch and Denis Villeneuve s Dune. His turn in Dune, however, is what we re banking on for him and Arrival director Villeneuve to weave some Oscar magic, with a long-awaited adaptation of the award-winning science-fiction novel by Frank Herbert, poised to be a far cry from David Lynch s much-derided 1984 adaptation. Villeneuve has been on an unbeatable streak with critics and has a proven track record for crafting genre films that capture voters attention, scoring nominations for four of his last five Certified Fresh features, though he failed to secure an acting nomination for Amy Adams in Arrival. It stands to reason that if Dune lives up to even half of its hype, it could equal the accolades of George Miller s Mad Max: Fury Road and perhaps top it with an acting nomination for Chalamet. Starring alongside Oscar Issac, Zendaya, Jason Mamoa, and Javier Bardem, Chalamet is currently in Budapest filming re-shoots; a trailer is expected by the end of the month, and Villeneuve recently said that Dune could be this generation s The Lord of the Rings, so anything is possible.Anthony Hopkins, The Father (2020) 98%(Photo by Sony Pictures Classics)Since The Father s debut at the Sundance film festival earlier this year, Anthony Hopkins has been penciled in at the top of just about every Best Actor tip sheet by awards prognosticators. Still Fresh at 100% on the Tomatometer, the film, which is based on a French play, has seen acclaimed adaptations for Broadway, the London West End, and the French stage, and in each iteration, the actor playing the titular Father has taken home the best acting prize. Adapted and directed by the original playwright, Florian Zeller, the film is a poignant and disturbing journey through the deterioration of a man s mind. Suffering from Alzheimer s, an aging man stubbornly refuses his daughter s aid despite the grown evidence he is losing his grip on reality. A difficult watch, Hopkins work is incomparable with Gregory Ellwood of The Playlist calling it his best work this century. It should bring Hopkins back into the Lead Actor conversation following his supporting nomination last year playing retired Pope Benedict for The Two Popes, and it could be the role that brings him back to the winner s dais for the first time since he won in 1991 as the iconic and terrifying Hannibal Lecter in Jonathan Demme s The Silence of the Lambs.Andrew Garfield, The Eyes of Tammy Faye (2021) 66%Televangelists Tammy Faye Bakker and her husband Jim were two of the most salacious personalities of the 1970s and early 80s, and this drama, based on the award-winning documentary The Eyes of Tammy Faye Bakker, chronicles their rise and very public fall. The story, filled with drugs, fraud, sexuality, and, of course, Jesus, is as legendary as it is incredulous and should place both Jessica Chastain (as Tammy Faye) and Andrew Garfield (as Jim) on the lips of many prominent voices in awards punditry. It also doesn t hurt that it was directed by Michael Showalter, who was in the director s chair for the 2017 Oscar-nominated film The Big Sick. This is another film without a solid release date, so it could be pushed back to 2021, but it will likely still screen in time for the 2020 season. Keep an eye out for an I, Tonya-styled campaign strategy for the previously nominated Garfield and two-time nominee Chastain.Ben Affleck, The Way Back (2020) 84%Ben Affleck has been unfairly maligned as mediocre despite two Oscars and acclaimed work in award-winning films, including Shakespeare in Love, Argo, Good Will Hunting, Gone Baby Gone, and The Town. Following some personal and professional hardships, Affleck kicked off the year with a celebrated performance that mirrored his personal struggles. The newly single father of three plays Jack Cunningham, a former high school basketball phenom who never lived up to expectations and buried his pain at the bottom of a bottle. Forced to take a coaching job at his alma mater years later, he focuses himself on helping the young team, which might be his final shot for redemption. It was a surprisingly well-received entry during the typically lackluster releases of January, and critics raved about the film s feelgood story arc and Affleck s heartfelt performance. Currently rated Certified Fresh at 83% on the Tomatometer, the comeback drama has a built-in awards-friendly storyline, based on true events that are similar to the recently sober star s own personal battles with alcohol exactly the type of narrative strategists love to parrot to voters during the season.Eddie Redmayne and Sacha Baron Cohen, The Trial of the Chicago 7 (2020) 89%(Photo by Netflix)Produced by Steven Spielberg and written and directed by Oscar-winner Aaron Sorkin, The Trial of the Chicago 7 was thought to be a surefire awards contender for Paramount earlier this year. However, difficulties arising from COVID-19 prompted Paramount to sell the film to Netflix, giving the streaming giant yet more ammunition for an impressive haul in what many are dubbing the Netflix Season. The story of seven men charged with inciting a riot outside the Democratic convention in 1969 as part of a larger protest to the Vietnam War is another film tailor-made for awards in an election year. It features key figures from the time, including Black Panther Chairman Fred Hampton (the center of the aforementioned Judas and The Black Messiah) as well as political activist Bobby Seale and famed members of the Chicago 7 Abbie Hoffman and Tom Hayden. Hoffman and Hayden are played by Oscar nominee Sacha Baron Cohen and Oscar-winner Eddie Redmayne, respectively, and both men are poised to rise above the already stacked cast that includes Succession s Jeremy Strong, Micheal Keaton, Joseph Gordon Levitt, Yahya Abdul-Mateen II, and Willliam Hurt.John David Washington, Tenet (2020) 70%At several points in the past few months, there was some question whether or not Christopher Nolan s latest psychological action film, Tenet, would even reach theaters; as of now, it looks like it will, at least internationally. Never in doubt from a production standpoint, as the film has been long finished, the only question was if the global pandemic would prevent the film being screened in theaters. As Nolan is a staunch advocate of the theatrical experience, it was unlikely that it would shift over to a streaming platform or VOD, especially since Nolan has gone on record to say the films is most designed for the audience/big-screen experience. Appearing alongside our next Batman, Robert Pattinson, and Elizabeth Debecki in what seems to be a mind-bending Inception-style action flick, the star of the film is John David Washington, who looks to achieve what he was unable to garner for his breakout film, Spike Lee s BlacKkKlansman. The plot of  Tenet has been kept tightly under wraps even the name of Washington s character, which is currently listed as the protagonist but expectations are high, as Nolan, like Dune s Denis Villeneuve, is a director known for his ability to rack up Oscar nominations for genre films. As last year s Best Actor prize went to a role-based off a comic book character, it s reasonable to believe that this year, an exceptional performance from a genre thriller could do the same.Tom Hanks, News of the WorldIf it s Oscar season and Tom Hanks is in a movie, he s likely in the conversation. However, his Supporting Actor Oscar nomination last year for A Beautiful Day in the Neighborhood was his first in nearly 20 years. After flirting with a nomination for Sully, The Post, and Captain Phillips, Hollywood s favorite dad is back in in the conversation with two pictures: Greyhound, in which he plays a captain for the third time, and News of the World, where you guessed it he plays yet another Captain. Hanks earned positive reviews for Greyhound, which he also wrote, but his best shot at a Best Actor nomination is likely for Paul Greengrass adaptation of the 2016 novel News of the World. Written by poet and author Paulette Giles, the novel set off a bidding war when it was optioned in 2017, eventually landing at Universal pictures. Unlike Netflix and smaller streamers, large-scale studios like Universal might be at a bit of a disadvantage at voting time, as their tried and true method for promotion cocktail parties, Q As, and craft showcase events will no longer be viable in the days of COVID-19. After three straight years with a favored film in the Best Picture race (Get Out, Green Book, and 1917), one of which was a winner, it will be interesting to see how Universal and the other large studios fare in the new landscape, and the Oscar push for News of the World and Hanks, in particular, will be a strong indication of whether or not they can stay nimble and adapt when forced to find innovative ways to reach voters.Also in contention: Gary Oldman MankLiam Neeson Ordinary LoveDenzel Washington The Tragedy of MacbethBenicio Del Toro The French DispatchMatt Damon StillwaterAnsel Elgort West Side StoryMichael Fassbender Next Goal Wins
第三款为《黑暗与光明手游》,它同时结合了以上两款游戏的特征,是一款魔幻题材的生存类沙盒游戏。在广袤多样的大世界环境之中,玩家可以领略到魔幻世界的多姿多彩,接触到各种各样的奇幻生物,展开惊险刺激的魔幻之旅。

首先,是在体量方面,在这一点上,端游占有很明显的优势。毕竟,手游更讲究利用碎片化时间,游戏的节奏往往也比较快。尤其是在近几年,像《荒野乱斗》这种强调竞技性、每一局时间短的游戏饱受欢迎。但端游不同,选择这类游戏的玩家要坐在电脑前体验更具有沉浸感的内容。或许在玩手游时,你可以花费十几分钟打上一局,然后去做别的事,随时暂停;如果你是一个端游玩家,只要准备好开始游戏,往往就要投入数个小时。
这款皮肤是拳头专门为手游设计的一款专属年限皮肤。注意这“专属”二字,女枪的牛年限皮肤,只在lol手游端上架,而在端游上是没有的。玩家可以在游戏中参加开服福利活动获得。需要逐步结束皮肤才能获得。
如果大家想要体验这款游戏的话,个人建议还是从手游入手比较合适,毕竟这种简化之后的玩法,也会让大家理解游戏的操作更加简单一点。
手游市场的逐步升温,让手游代理项目变得火热起来,再加上现在手游代理通过和手游联运平台合作就能够获得大量游戏的授权让手游代理门槛变低,更是吸引大量创业者,以前做手游代理主要是看游戏,而现在则是需要我们去选择平台,那么优质的手游代理平台能够为我们提供什么服务呢?
评分 & 评价
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面对面游戏下载 同时手游的玩法还融合的传统端游的还原玩法,并且增加了一些创新的花样玩法,比如,更新了珍珑棋局作为端游中玩家升级的主要副本,黑白棋子以及棋魂都让老玩家有了一定的情景记忆,如此的情怀副本自然也被继承到了手游中。从玩法上看,《天龙八部》新版玩法是更新了珍珑棋局在移动端的简化,这不仅可以节省玩家的升级时间,还可以让玩家在初期就能体验到游戏核心玩法,并在一定程度的扩大了玩家的升级渠道,同时也加快在游戏中的进程。

The last ever Arrow panel at Comic-Con on Saturday turned out to be surprising emotional. While the stars of the series still have several episodes to shoot, they all became overwhelmed with the prospect of letting their characters go. But during the session, a spontaneous outpouring of admiration for series star Stephen Amell led to the start of tears.After the panel, several members of the cast and crew assured Rotten Tomatoes they did not plan to open the waterworks. “It’s always a benefit,” quipped executive producer Marc Guggenheim, before adding the whole group just found themselves navigating that territory in response to questions.“It’s not every day you see Stephen cry,” added co-star Katie Cassidy-Rodgers. “The thing about this that’s really incredible is that it all started with Arrow and Stephen. it was time to pay respect.”“I don’t do particularly well anticipating appreciation,” Amell explained. “It catches me off-guard.”Nonetheless, a season of emotional closures is on the menu for the series’ final year.“In the first three episodes, Oliver has closure with five characters that I never thought he’d get closure with. And it happens in very unexpected ways,” Amell said. “They may not know it, but he knows it. He’s left a lot of loose ends along the way, and I hope over the course of the year that we’re going to tie up as many as possible.”The final season will see Amell’s Oliver Queen taking on a mission for The Monitor (LaMonica Garrett), which will presumably take Green Arrow into different realms of time and space. And considering the glimpses we saw of former nemesis Prometheus (Josh Segarra) during the panel, anything will be possible as Arrow prepared for its last bow.Snowpiercer Series Finally Gets a TrailerWondering how the Snowpiercer TV series will tie in to the 2013 film? Well, the first trailer for the long-in-development drama reveals that it takes place nearly a decade before the events of the movie. And showrunner Graeme Manson (co-creator of Orphan Black), revealed that visually, the series takes on the look of director Bong Joon-ho s film, but the ideas of the French graphic novels on which the movie was based. We pull from [Le Transperceneige], he said. They re a source of inspiration, and a number of things we ve pulled out of that. I think the show has the feel of the movie and a lot of the ideas of the graphic novels. He also revealed that the series is able to visit so many previously unseen areas of the train. The difference between the show and the movie really is the movie was such a terrific adventure story that started in the tail and charged completely linearly up to the engine, he said. The show, meanwhile, will spend time in every area. Our heart is in the tail, but we spend time in every single class. The Expanse Cast Rides High on Waves of GratitudeThe Expanse cast and series creators radiate excitement and gratitude when talking about season 4 — the season saved by Amazon s Jeff Bezos and a massive fan-fueled campaign. The series panel featured cast members Steven Strait, Wes Chatham, Shohreh Aghdashloo, Cas Anvar, Dominique Tipper, and Frankie Adams as well as executive producers Naren Shankar and Ty Franck.Actor Burn Gorman (Pacific Rim) joins the cast this season, in which the U.N. sends the Rocinante crew on a mission to explore new worlds beyond the Ring Gate. The Gate has given humanity access to thousands of Earth-like planets, creating a land rush and heightening tensions between the opposing forces of Earth, Mars, and the Belt. The first of these planets to be inhabited, Ilus, is rich with natural resources, but also spotted with the mysterious ruins of a long-dead alien civilization. While Earthers, Martians, and Belters all maneuver for control of the planet, these early explorers are unaware of its dangers.The Expanse season 4 lands on Amazon Prime Video on December 13.The Orville Moves to Hulu.@hulu will be entering the galaxy as #TheOrville takes off as a new Hulu Original.Season 3 of The Orville will stream exclusively on Hulu in 2020. The Orville (@TheOrville) July 20, 2019The upcoming third season of Seth MacFarlane s space-set drama The Orville will have a new home: The series is moving to Hulu, where it will debut season 3 in late 2020. As the show has evolved and become more ambitious production-wise, I determined that I would not be able to deliver episodes until 2020, which would be challenging for the network. So we began to discuss how best to support the third season in a way that worked for the show, MacFarlane explained in a press release announcing the news, which was revealed at the show s panel.Is Impulse s Henry a Hero or a Villain in Season 2?Lauren LeFranc, showrunner of YouTube’s original sci-fi series Impulse, told fans at the series SDCC panel that the show will delve deeper into the mythology and origins of teleportation in its upcoming second season, due this fall. Injecting more action and humor into the mix, Impulse will continue to give voice to trauma survivors, while also be digging further into the dynamics of our core heroes — and there’ll be a few new baddies thrown into the mix.Henry’s powers will evolve in a chaotic, violent manner, LeFranc warned. And if you’re expecting her to become a full-blown superhero, star Maddie Hasson says to expect the unexpected.“We talk a lot about heroes in the first season, and in the second season we talk a lot about villains,” she explained. “You get to decide what Henry is, and it’s not always what it seems.”Project Blue Book Headed to Roswell in Season 2The upcoming second season of History Channel s UFO-themed Project Blue Book will delve deeper into some famous alleged government coverups that have remained unsolved to this day.David O Leary and executive producer Sean Jablonski told the crowd at the show s SDCC panel that Area 51 and Roswell are just a couple of the cases they ll be exploring. Combine that with the Butch Sundance dynamic of Aiden Gillen s Dr. Hyneck and Michael Malarkey s Captain Quinn, it sounds like the new episodes will be a noir adventure that s sure to make you believe we re not alone in the universe. Project Blue Book returns to History in the winter. This month, Netflix and Dreamworks are releasing the third season of Jurassic World: Camp Cretaceous, an animated spin-off of the popular Jurassic Park franchise that focuses on a group of kids trying to survive in Isla Nublar. And in April, the fourth season of Fast Furious Spy Racers premiered on Netflix — another show that took a huge live-action franchise and made it more accessible for younger audiences.This is not unlike a trend in the ’80s and ’90s that saw all kinds of live-action franchises turned into kid-friendly cartoons, no matter how not-for-kids the movies were. Everything from RoboCop to Godzilla were turned into a toy-churning machine that entertained, and baffled, kids on Saturday mornings. To celebrate the release of the new season of Jurassic World: Camp Cretaceous, grab your favorite cereal because we re looking at the weirdest animated spin-offs of blockbuster franchises originally aimed at adults.Godzilla: The Series (1998-2000)Why the Original Isn t for Kids: Though no Godzilla movie has been rated R, the films still feature a story about a giant monster rampaging through the city and sensationalize the horrors of nuclear power. The much-maligned 1998 film unleashed a giant monster (which basically treated Godzilla like a dinosaur) on the Big Apple and caused all kinds of chaos. This year’s Godzilla vs. Kong scored better on the Tomatometer but is still rated PG-13.What the Cartoon Changed: For many ’90s kids, this was their definitive Godzilla story. It helped that the cartoon actually had its titular monster go up against other amazing monsters, from mutated animals to mythological beings like Quetzalcoatl and the Loch Ness monster. Though not really a violent show, there was a lot of cool monster action, creature designs, and even homages to horror films like The Thing.Rambo: The Force of Freedom (1986)Why the Original Isn t for Kids: An R-rated franchise about a Vietnam war veteran suffering from PTSD who kills, maims, and otherwise obliterates dozens of people wherever he goes, Rambo is a franchise that doesn t really scream Saturday morning cartoon. And yet, a 65-episode show graced our screens in the ’80s.What the Cartoon Changed: Well, to the surprise of no one, Rambo: The Force of Freedom ( The Animated Series ) severely toned down the violence from the original movies. Rather than being dropped into a war zone or sieging a small town while struggling with his PTSD, this Rambo leads a team of heroes from around the world to fight an evil organization called S.A.V.A.G.E. This is basically G.I. Joe but with more muscular men. Rambo never mentions the Vietnam war, nor does he ever kill anyone, but he certainly does take the time to teach kids about morality, doing the right thing, and even the environment. He even dressed up as Santa Claus at one point!Police Academy: The Animated Series (1988-1989)Why the Original Isn t for Kids: Though later films would tone down enough to get even a PG rating, the franchise started life as an R-rated comedy with everything from foul language, to nudity. The franchise is known for its low-brow humor, sexual innuendo, and physical comedy. Still, that didn t stop it from becoming a cartoon made by Warner Bros. that lasted two seasons and 65 episodes.What the Cartoon Changed: Taking place between the fourth and fifth films in the franchise, the cartoon focuses on the cast getting into trouble, some slapstick comedy ensues, and the mismatched group of cops learning to be a team and solve crimes ends up saving the day. Some episodes start featuring a recurring villain in the form of a crime boss nicknamed Kingpin, whose stature and intelligence really resembles that of the Marvel villain of the same name.Beetlejuice (1989-1991)Why the Original Isn t for Kids: Out of the films in this list, Beetlejuice is the only one rated PG, but that doesn t mean it was kid-friendly. After all, there is a lot of talk about suicide, and the eponymous Beetlejuice is a depraved and devious poltergeist who tries to force a teenage girl to marry him.What the Cartoon Changed: The ABC animated show brings back Tim Burton to executive produce, and only loosely adapts the movie into a long-form series. The scares and gore are gone, as is the sexual innuendo. Instead, the show turns Beetlejuice into a lovable goofball who goes on journeys with his friend Lydia across the Neitherworld. Beetlejuice usually tries to scam the residents of this afterlife realm, and the duo goes on adventures with monsters, ghouls, and other creatures. The show was praised for its mix of traditional 2D animation along with CGI, and it won an Emmy for best animated show.RoboCop (1988)Why the Original Isn t for Kids: Alongside Rambo, this is arguably the weirdest film to have been adapted into a kids cartoon, but like most Paul Verhoeven films, RoboCop got severely misinterpreted and turned into a franchise that glorified what the first film criticized (as we ll see later). A film that barely avoided an X rating because the titular character constantly blows heads and genitals off feels very much unsuited for a Saturday morning cartoon, but that didn t stop Marvel from producing one anyway.What the Cartoon Changed: Rather than a scathing indictment of capitalism and militarization of the police, RoboCop is also turned into a superhero who fights everything from polluters to a KKK-like gang. At one point, RoboCop even plays a part in Middle East peace processes. Of course, the character doesn t kill anyone, with his deadly weapons turned into non-lethal lasers that later are added to the main live-action franchise.Conan the Adventurer (1992-1993)Why the Original Isn t for Kids: In case it hasn t been clear so far, most of these cartoons were adapted from popular live-action movies that had a lot of merchandising potential, they just needed a way to market directly to kids, even if they could not watch the original film. Even if a kid was not allowed to watch Conan the Barbarian crush his enemies, see them driven before him, and hear the lamentation of the women, they might still want a muscular Arnold Schwarzenegger action figure that brandishes Conan s cool sword.What the Cartoon Changed: Rather than a child slave, Conan is — you guessed it — kind of a superhero now. Like in the film, he s on a quest for vengeance against a villain, but this time he embarks on the journey with more naïveté and sensibility than the film suggested. He does not rip a vulture s throat out with his teeth, he s more like He-Man, honorable and with a strong sense of morality. Despite this, the cartoon stayed strangely accurate to the original works of author Robert E. Howard.Toxic Crusaders (1991)Why the Original Isn t for Kids: The Toxic Avenger is an early attempt at a superhero comedy. The story of a man who is dumped into a vat of toxic waste and becomes a hideously disfigured monster with superpowers, the film is hyper violent, full of sexual references, and incredibly gory.What the Cartoon Changed: Toxic Crusaders takes a cue from other environmentally conscious cartoons of the time like Captain Planet and Swamp Thing and focuses squarely on the toxic waste part of the Toxic Avenger. Now part of a superhero team, the Crusaders combat pollution and a lot of aliens.Little Shop (1991)Why the Original Isn t for Kids: Whether you enjoy the original Roger Corman film or the Frank Oz–directed musical from the 80s, Little Shop of Horrors has something for everyone — except children. The film versions are full of sexual innuendo as well as a ton of darkly comedic murders, which the musical takes a step further by having the man-eating plants conquer the entire world and eat everyone.What the Cartoon Changed: The early ’90s saw a lot of films turned into short-lived animated shows, especially those with environmentalist messages. Little Shop takes Audrey II and turns the man-eating plant into the prankster and hip rapper, Junior, who gets into all sorts of whimsical trouble with its friend, the de-aged Seymour. The plant can still hypnotize, but rather than hypnotize people, Junior can control other plants to aid in mischief. There are still a lot of musical numbers, but they are paired with moral lessons.Roughnecks: Starship Troopers Chronicles (1999-2000)Why the Original Isn t for Kids: Though not as hyper-violent as RoboCop, this is another franchise Paul Verhoeven touched that got its political aspect diluted with the years. The original Starship Troopers film was a poignant sci-fi satire about fascism and military-led nationalism. There is a ton of graphic violence involving soldie

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Taylor (cont.): The scale of the scene was big for me, at the time, because I hadn t really done anything big and epic yet. That came later, and the show hadn t gotten its big budget boost until later. So, by the terms of the time, it was a bigger deal, and we didn t have much money, and we didn t have enough extras, and we couldn t afford the visual effects that we had planned, so it was all very sort of getting by by the seat of our pants. But I remember talking to my DP, Alik Sakharov, and both of us agreeing that the core, it was really a story about a father and his two daughters, and sticking to that dynamic guided us through how we handled the scene.In fact, the most emotional moments for me were some of the stuff between the way we crosscut between Ned and his daughters and, certainly, between Ned and Arya, who sort of inherits the narrative at the end of that episode. We hand off from Ned and take it to her in a way that I was happy with, because of course, her character, like all characters, has a long road ahead of them, and we re going to grow with them. But I remember being very conscious about saying, OK, we re finishing Ned, but the story continues and we re passing the narrative, passing the consciousness, passing the subjectivity to this young girl. So, we did that with pictures and with sound, and I was happy with how it turned out.(Photo by HBO)Can you also talk a little bit about the performances of your actors, in that moment?Taylor: Yeah. Again, it hung mostly on the three. Ned Stark was the linchpin, the centerpiece of the whole thing, and his performance I still think is just heartbreaking and beautiful. It s partly because I have daughters, and I sort of know what it d be like. I can t know, but I think I identify with him up there: a combination of anguish and shame and despair. His performance was perfect.Our two actresses were so young and were going to develop and build and grow so much, but I think they did amazing work, both of them, in that scene. Joffrey also is great as the consummate villain, with his pettiness and naiveté on display. I did watch it recently and was impressed with everyone, and when you go to a wide shot, everyone is absolutely in character. Cersei and Sansa, and even Varys and everyone is really playing their relationship to this moment, intensely. I was very happy.All anybody really wants to know is what Ned Stark was whispering when he was about to get his head chopped off, and that s the question I get a million times. I know I spoke to him about what would be going through his head and what he would be doing, and we agreed that he d be praying to his own gods and trying to make peace and trying to accept. So I know he came up with a prayer, probably talking to our language guy and our writers, but it was nothing scripted. It was really his invention, but it was to do with the prayers to his gods.(Photo by HBO)The series would have been so different if he had survived, and it seems obvious, but can you talk a little bit about how essential that moment is in the series overall?Taylor: I think it s true that it is the turning point. Some friends and I have talked about the show and one of the things we have come to believe is that it s an epic show that has a kind of the pilot episode is the first season. It s not like the first episode sets you up. It s such a scale of storytelling that really the whole first season is the pilot. It s the turning point of Ned being destroyed and the dragons being born. The stakes rise and chaos is initiated.The Starks and everyone is sort of scattered to the winds, and all the seasons that follow are about the slow reconnection of those people that were scattered. In that way, it really does launch the story forward and shape what s to come. [In] the eighth season, the culmination is everyone coming back together, everyone finding their place in the battle that will finish things, and much of that comes from what happened that day.What was your first experience watching Ned s beheading with people who weren t involved with the production and didn t know what was coming?Taylor: That was a revelation, partly because of that scene, and also because we didn t know when we were doing it the scale of the audience response to the series as a whole, so we had no idea that we would find this audience. I was most stunned by the way that Ned connected to every demographic and to every economic level. It was such effective storytelling and such a great performance on his part and doing what fantasy can do, which sort of transposes to an environment where everybody, I think, can relate.I was really taken aback and impressed that the people who seemed torn up by it really took Ned as their character. As I said, I was struck by [how] it cut across all categories, and frequently we re aware of how our society and our time is fractured along any number of measurable lines, and in that moment I was struck by how much everybody had taken that character into their hearts and identified with them and felt the loss of him, which was inspiring.I think that was the first moment that people started posting video reactions on the internet, right? Taylor: Yeah. I remember seeing something on YouTube, and one young man was watching and he was just beside himself. It was just devastating. He was so upset with us and stuff. It was the best audience response you could find.Going back, would you do anything differently with that moment?Taylor: Yes. Of course. I mean, I look at it now and I see the crudeness of some of it. Some I can blame on budget and time and stuff. But also I think I ve gotten better at handling scenes of that scale, so I think I might have done a better job with the camera. But I can t think of anything to change in terms of the performance the actors gave, and I can t argue with the emotional impact that it has, so in that way I m not trying to redo it in my head.Moment: Mother of Dragons(Photo by HBO)Next is the Mother of Dragons scene. Viewers watched Daenerys walk into the fire and everyone thinks she s sacrificing herself. She thinks she might be, too. Can you tell us about building that moment with your actors?Taylor: A lot was going on there, obviously. It s a tragedy, it s a funeral, it s the end of things, and as we discovered, it s the beginning of everything, too. I know — I ve heard this, and we spoke about it — that Emilia did not think her character expected to die in the flames. She didn t know what was coming, but whatever came she felt was right. So there s a wonderful look she gives to Iain Glen when he s all torn up. When she s about to walk in she looks at him, and it s such a forgiving, letting go look from such a place of wisdom. I thought it was really beautiful, and that, for me, was the attitude that Emilia had Daenerys take into the flames — that she knew the rightness of what she was doing.Partly it s a culture where when the King dies, the Queen goes with him, but she s a Targaryen. I think in her mind she knew flames were not going to be the problem, that something was going to happen, or that she was going to a place, that it wasn t necessarily her death that she was walking to. Certainly nobody, including her, expected the birth that happened with her three sidekicks.But that was the beginning of the new dawn. One detail that I was happy with and proud of was that I believe, in the book, that scene plays at night, and the dragons are born in the night. I remember pushing for the transition to be to dawn, so that when the dragons are born they re born into the dawn of a new day. It was partly a storytelling thing, to say that this has ended and now this is beginning, but it was also because we had that amazing location. I wanted to make sure that we saw it, and that we could back off and hear the dragons voices scaled. If it was night we couldn t have afforded to light it because we didn t have any money back then. I remembering being very happy with [it]. One of my favorite moments is the transition to dawn when Iain Glen s character walks in and we follow his feet and his sword in to discover her for the first time, and that transition to dawn meant a lot to me.(Photo by HBO)It was beautiful.Taylor: That location was in Malta and it s beautiful, right by the coast. It s all ocean on the right side of frame and desert on the left, but we had to erase the ocean and replace it with desert to make it look like we were in the right setting. It was funny to take such a beautiful image with this glistening sea and erase it all and put more sand in.I was going to ask about some of the effects in that moment, because obviously, the dragons. Can you just talk a little bit about coordinating to get the exact right baby dragon experience?Taylor: On the day Emilia did a great job of having nothing to work with, and none of us had seen the dragons yet. [Showrunners] David [Benioff] and Dan [Weiss] kept talking about [how] they wanted them to be absolutely biologically believable. In all the research they d done with dragons, they threw away anything that had four feet and wings. They wanted to go off physiognomy and physiology that was real, so they looked at bats and creatures where the forelimbs are the wings. That became a big part of the design of the creatures.Just the fact that these awesome beings would enter the story as tiny, fragile, squeaky dependent creatures was a hint, or a gesture toward the scale of where we were going — that eventually they were going to be the size of jumbo jets. But at this point they were nothing.That relates to another question I had about when you re building these moments to film, taking into consideration what s to come for the character. How much of that is part of your filmmaking process?Taylor: You always want to know, because a lot of it, the way you would weight a certain moment comes from knowing where you re headed and playing against that, sometimes, or being true to it but playing against it. Certainly Daenerys has one of the strongest arcs in television. She was basically chattel — she s an object being sold off at the beginning, and she rises to become the most powerful person in that world.I think we were all guided by a dim awareness of her overall arc, but I had no grasp of the details, certainly, of where we were going. I m sure she had had talks with David and Dan. They probably gave her a lot more insight to where her character was going than I was privy to at the time. I just knew that this was the beginning of something very, very big.In fact, I think even when we did that scene I was naive about the scale of the storytelling. I thought that in season 2 the dragons would be something substantial to contend with, but they were not even preteen by season 2. I ve always been impressed with how they were taking their time to build layer on layer of things, and the dragons are one case where David and Dan had a very clear idea of the long game they were playing.Moment: Viserion Becomes an Ice DragonSpeaking of dragons, that brings me to the third big twist. We lose one of those baby dragons. Well, he gets adopted.Taylor: He s co-opted, appropriated. Yeah. I remember when I had been away from the show and I was coming back to do one episode, because it worked out schedule-wise. I saw that I was getting the second-to-last episode, which usually, in HBO terms, means you re getting a big one because there s a season structure where the second-to-last episode pulls out all the stops, and frequently the last episode is kind of a denouement.I thought, Oh, that s great. But then I started seeing the other scripts and realizing that in that season, every episode was huge. Every episode had a major huge event or battle or something, so I realized that that was just the nature of the show that had grown so much since I had been away. But then, when I read my script, I got to that moment with the dragon and I knew the power of what is was, because partly [in] killing off any longstanding character, the incredible upheaval it means for the balance of power is major.But also the fact that you re basically killing a puppy. You know it s going to have a very strong resonance with the audience, so I was really grateful to be able to handle that moment. The reveal of the turn at the end, of course, was one of the yummiest episode-enders I d ever been given — when we see the blue eye open and know what that means. Mostly it was just gratitude being able to do it. I remember designing all the sequences with the dragon, and it was great to be able to work at the scale of storytelling that so much of the show has driven you to this point.

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2022-01-22
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