三国策略类单机游戏采用百度引擎1（Baidu 1）The movie rankings represent the most up-to-date Tomatometer scores as of February 28, 2021. The season and TV movie rankings represent the most up-to-date Tomatometer scores as of December 31, 2020.All the lists on the Golden Tomato Awards are ordered by Adjusted Score, which is a weighted formula that compensates for the variation in the number of reviews when comparing movies or TV shows.Limited releases are defined as opening in fewer than 600 theaters at initial release, or as virtual cinema. Platform releases, or movies initially released in fewer than 600 theaters that later expand, are categorized as Wide Release.Movies are eligible for the United Kingdom and Australia awards when at least four of these requirements are met: country of production company, country where the film is set, filming location, writer nationality, director nationality, cast nationality.Foreign releases are defined as non-English language films.In order to qualify for a Golden Tomato Award, a movie must have been released in the United States between January 1, 2020 and February 28 2021, and it must have at least 40 reviews. All eligible seasons and TV movies must have premiered in the 2020 calendar year, and have a minimum of 20 reviews from different critics for the season or its episodes. All contenders need to have at least 5 reviews by Top Critics.
之所以会想每个模式都玩一玩，其实主要还是因为玩家在《使命召唤手游》中获得的游戏体验比较爽快、刺激。而这就要说到《使命召唤手游》对细节的优化了。 For 2021, DC FanDome was a nearly four-hour livestream updating fans on the latest DC films, TV series, comics projects, and video games. Even just watching it for the film and TV content was a task worthy of Earth’s Mightiest Mortal, and categorizing the announcements is the sort of thing you might set Brainiac 5 to do. Nevertheless, we tried to live up to Shazam and Brainy, watching all of it and compiling everything related to film and television at DC FanDome 2021 from the look of Blue Beetle’s costume to Ace the Bat-Hound’s drinking habits. To say there is a lot of DC Entertainment material on the horizon is an understatement. Just take a look at what we learned:DC’s Film Roster Is Amazing: The Flash, Black Adam, And The Batman (Oh My!)DC Entertainment made a big push with its feature film slate this time around. With two films shooting, one completing production, and two in pre-production, there was a lot to talk about even if only The Batman had a proper trailer to unveil during the event.FanDome began with a look at Black Adam, featuring a scene of the title character (played by Dwayne Johnson) being awakened from millennia of slumber by archeologist Adrianna Tomaz (Sarah Shahi). Of course, her team of explorers came with an armed detachment, so bullets start flying and Adam calls down the lightning. Literally. Combined with some behind-the-scenes footage, it at least confirms that the film – in development for over a decade – will actually come out next year.Aquaman and the Lost Kingdom also offered some behind-the-scenes footage and a first-look at Black Manta’s (Yahya Abdul-Manteen II) upgraded costume. Eagle-eyed viewers also spotted a black variant of Arthur’s (Jason Momoa) classic costume. Shazam: Fury of the Gods also unveiled a behind-the-scenes sizzle reel with co-star Asher Angel confirming the end of principal photography. The film sees Helen Mirren and Lucy Liu playing goddesses arriving in Philadelphia to tangle with the Shazam Family. It s due out in 2023.(Photo by DC)Over on the HBO Max side of things, the principal creatives and stars of Batgirl and Blue Beetle offered the briefest of teases, including design art of the title characters’ respective costumes and a broad sense of what the films will be. Batgirl star Leslie Grace said the character is a “girly girl, but she’s capable and strong and determined… She’s sincere and wants to prove herself.” Co-director Adil El Arbi also confirmed the character will have red hair and use a cowl as part of her outfit (some recent Batgirl costumes favor goggles instead).“It’s going to be crazy, but it also has feelings,” Blue Beetle screenwriter Gareth Dunnet-Alcocer said of the project. “It contains all that’s great about Blue Beetle.” Things like the scarab, Jaime Rodriguez’s (Xolo Maridueña) costume, and his family were referenced as key elements Dunnet-Alcocer and director Angel Manuel Soto wanted to bring to the screen. “He’s a Mexican-American kid who wants to be a part of this world, but he’s hitting the same obstacles a lot of us face,” the screenwriter said. He also added that the closeness of family is part of what sets him apart” from other superheroes – noting he has no way of keeping his suit or powers a secret from his parents.(Photo by DC)And as for the suit? “I know for a fact we have the best suit, and I haven’t seen it yet,” Maridueña said.There is one animated feature on the roster, DC League of Superpets, which sees Johnson giving voice to Krypto the Superdog while Kevin Hart voices Ace the Bat-Hound. In a brief clip, Ace can be seen, well, relieving himself while Krypto looks on in dismay. The film will also feature the voices of Kate McKinnon, John Krasinski, Vanessa Bayer, Natasha Lyonne, Diego Luna, and Keanu Reeves. It is set for release on May 20, 2022.(Photo by DC)But perhaps the most impactful presentation outside of The Batman trailer was the first-look at The Flash. The long-in-development film which has missed half-a-dozen release dates at this point – genuinely looks amazing from the footage director Andy Muschietti compiled for FanDome. For one thing, Barry’s (Ezra Miller) new suit(s) looks incredible, and the teases of Supergirl (Sasha Calle), Batman (Micheal Keaton), and a second Flash (also Miller) provided some of the best moments of the whole four-hour event. Capping it off: a shot of Barry examining the Batmobile as it hides under a tarp.Curiously, though, director Patty Jenkins offered no updates on Wonder Woman 3 while chatting with Lynda Carter about the character s 80th anniversary, other than to reconfirm she is working on it.HBO Max Is The New Center Of The DC MultiverseIf there’s one thing this year’s FanDome made clear, it is that HBO Max is the new hubworld for DC’s expansive multiverse. Beyond Batgirl and Blue Beetle’s eventual debuts on the service, Pennyworth – previously an Epix exclusive – will be moving to Max for its third season late in 2022. The previous two seasons will become available to subscribers early next year.Additionally, most of the DC Universe orphans Max adopted Titans, Doom Patrol, and Harley Quinn will return for subsequent seasons next year with fourth seasons of Titans and Doom Patrol confirmed at the event. Harley Quinn will return “sometime in 2022,” according to Harley (Kaley Cuoco) herself. The last of the rescued DC Universe shows, Young Justice, debuted two episodes of its fourth season (subtitled “Phantoms ) on Max immediately after FanDome concluded.If all of those shows weren’t enough, Peacemaker’s premiere date was also announced during FanDome: January 13, 2022. Creator James Gunn also unveiled a teaser trailer which suggests Peacemaker (John Cena) may actually grow a little on his next adventure. That said, the star said the hardest part of playing the character is “becoming a super a hole. I’m usually a regular a hole.” Gunn wrote all eight episodes and directed five, extending his time in the DC Multiverse. In fact, Cena expressed a wish to continue playing Peacemaker in subsequent seasons, which may mean more of Gunn’s sensibility in the future.Although HBO Max’s focus is on the DC superheroes, it will also be the home of DMZ, a four-part limited series based on a comic published by DC Comics now-defunct Vertigo imprint. Ava DuVernay directs Roberto Patino’s adaptation of the book, which stars Rosario Dawson as an outsider who may tip the scales in the US’s second civil war.But for all the hour-long live action DC shows calling HBO Max home, Green Lantern was conspicuously absent from FanDome. The program, from Arrowverse mastermind Greg Berlanti, is set to star Jeremy Irvine as Golden Age Green Lantern Alan Scott and Finn Wittrock as 1980s fan-favorite Guy Gardner and sees the characters in their respective time periods facing social issues and weird space threats. Also absent: Berlanti’s Strange Adventures anthology series, first announced at HBO Max’s initial public unveiling, and any mention of J.J. Abrams’ live-action projects.Batman: The Animated Series Is Getting A Spiritual Successor(Photo by Everett Collection)One project Abrams did promote, though, is the upcoming Batman: Caped Crusader. Produced and developed by Abrams, Batman: The Animated Series’ Bruce Timm, long time DC animation executive producer James Tucker, and The Batman director Matt Reeves, the series will go back to what Timm called the “original principles” of Batman: TAS with fewer broadcast restrictions. Set in the early days of Batman’s war on crime, it will feature a version of the character who uses Bruce Wayne as a mask to hide his activities as the Caped Crusader.“It’s just Batman,” added Reeves. “No Justice League.”And because the series takes place so early on in his career, animated Batman audiences will see him in a lower-tech situation than usual. According to Tucker, “We find him discovering these things.” That means viewers may see several iterations of the Batmobile and, quite possibly, the trial-and-error involved in creating Batarangs. Tucker added that as the series begins, no one trusts the Batman and vice-versa. He also teased that some of the Dark Knight’s traditional relationships may not form. “Nothing is assumed in this series,” he said.Reeves and Timm agreed the series will lean heavily in to the 1940s noir style, but the characters will be more modern in terms of inclusivity. Timm also added that the program will be, overall “more Batman: The Animated Series than Batman: The Animated Series.” It is unclear when the series will debut, but it will be available on both Cartoon Network and HBO Max.Caped Crusdaer isn’t the only word on DC animation, though, with an HBO Max Superman animated series, My Adventures with Superman, in production, the preschool-targeted Batwheels preparing for release, the currently running Aquaman: King of Atlantis, and a stellar upcoming lineup in the dependable DC Animated Movie direct-to-video range.Indeed, DC FanDome was the occasion to debut a trailer for Catwoman: Hunted, an upcoming DC Animated Movie featuring Elizabeth Gillies as Catwoman and Stephanie Beatriz as Batwoman. The pair must team up to take down the organization known as Leviathan in a stylish, anime take on the characters. Other DC Animated Movies set for release in 2022 include Green Lantern: Beware My Powers, Battle of the Super Sons, and a compilation of the 2022 DC Showcase shorts headlined by Constantine: The House of Mystery. Matt Ryan will, of course, reprise his role as magician and con man John Constantine.Before all of that, though, is the release of Injustice, a DC Animated Movie based on the video game and comic book of the same name. During FanDome, a clip was released featuring Joker’s (Kevin Pollak) “masterpiece” – a brutal act of violence which sets Superman (voiced by Justin Hartley) on a dark path. The scene is surprisingly grim and offers those less familiar with the DC Universe Animated line an idea of the sorts of films available. Injustice debuts on home video platforms this Tuesday.Gwendoline Christie Leans Into The Bowie Look For Sandman’s LuciferAlthough not part of the HBO Max lineup, The Sandman received a little recognition via the debut of Gwendoline Christie’s Lucifer in a first-look photo. The image recalls the Bowie-esque appearance the Prince of Darkness assumed in his first Sandman comic book appearance. Its unclear if Christie will keep the look in subsequent appearances or evolve like her comic book counterpart. Curiously, though, Lucifer’s initial androgyny gave way to a more masculine countenance as The Sandman’s story wore on. Perhaps that will also be part of the changes writer Neil Gaiman and his collaborators have in mind for the adaptation of his comic book.Shortly after the Lucifer reveal, Gaiman took to Twitter to clarify that the series will debut on Netflix sometime in 2022. Initial messaging about the series suggested it could launch in late 2021, leading to some confusion and Gaiman’s exasperation in the tweet.DC’s other Netflix-based show, Sweet Tooth, was represented by star Christian Convery answering fan questions. The program, already renewed for a second season, will also remain on Netflix.Barry Will Finally Get Gold Boots On The Flash TV SeriesIn one of the earliest announcements of the event, The Flash TV series star Grant Gustin revealed Barry is finally getting gold boots like his comic book counterpart. “It’s always been the final element that I think has been missing from our suits,” Gustin said. “The suit we have now is the closest we have to a lot of the [comic book] iterations … but I always thought the gold boots would be the final touch.” DC released a close-up image of the boots and a look at the suit with the footwear added. As Gustin intimated, the boots have long been a running joke behind the scenes. They will debut when The Flash begins its eighth season in November.Beyond the long-awaited kicks, the Arrowverse was also represented at DC FanDome via an assortment of special videos. Batwoman stars Javicia Leslie and Rachel Skarsten teased Batwoman and Alice’s state-enforced team-up while the cast of Supergirl looked back their six seasons. DC’s Legends of Tomorrow celebrated 100 episodes in 100 seconds and the cast of Superman and Lois presented a tour of the Kent farmhouse.And although not technically an Arrowverse show (it takes place on the Post-Crisis Earth-2, after all), Stargirl took an extended look at this week’s upcoming episode, which sees Courtney (Brec Bassinger) trapped in the Shadow Lands, where she runs into the Golden Age Dr. Mid-Nite (Alex Collins).But to cap off the Arrowverse presence at FanDome, Naomi star Kaci Walfall debuted a first look at the program, in which she stars as a high schooler who discovers her connection to the DC Multiverse is more staggering than she can imagine. And as the scene shown during FanDome revealed, it all begins with a Superman sighting.Naomi will debut on The CW sometime in 2022.On an Apple device? Follow Rotten Tomatoes on Apple News.
David Fincher’s first movie since 2014’s Gone Girl is a throwback to Old Hollywood, even recapturing some of the look and sound of films from the 1940s. Mank is also a passion project, a biopic scripted by his father, Jack Fincher, and focused on screenwriter Herman Mankiewicz and the creation of Citizen Kane.According to the first reviews, the movie won’t exactly go down in history as famously as the Orson Welles classic it’s about, but with great performances by Gary Oldman as the titular protagonist and Amanda Seyfried, plus its unique retro aesthetic, it’s sure to be very popular with Netflix subscribers and awards organizations alike.Here’s what critics are saying about Mank:How does it compare to David Fincher s other films?It’s one of David Fincher’s finest works. Eric Eisenberg, Cinema BlendOne of his most personal – and most beautiful… it would be tempting to say this is his Citizen Kane. James Mottram, South China Morning PostHis best movie since The Social Network and one of his most audacious filmmaking experiments since Benjamin Button. Eric Kohn, IndieWireThe film is pure Fincher — technical and artistic mastery, combined with a script that is perhaps too cerebral or self-referential for many viewers. J. Don Birnam, Splash ReportMank is, markedly, the least-enjoyable film he’s ever directed. Nick Newman, The Film StageWill fans of classic movies like it?Mank is a tale of Old Hollywood that’s more steeped in Old Hollywood than just about any movie you’ve seen, and the effect is to lend it a dizzying time-machine splendor. Owen Gleiberman, VarietyThe most gorgeous piece of cinema you ll see anywhere…meant to match the look and feel of its era, as if it s eight decades ago and you just bought a ticket. Peter Travers, ABC NewsThis is a film that transports you back in time. Chris Evangelista, SlashfilmCatnip for devotees of Turner Classic Movies… Mank [is] necessary, if not entirely fulfilling, viewing for film lovers. Alonso Duralde, The Wrap(Photo by Netflix)Will it have broad appeal?Mank’s premise and subject matter would seem to appeal only to a cinephile or fan of a bygone era, but there also lies powerful themes of addiction, genius, collaboration, betrayal, and painful political home-truths. Lewis Knight, Daily MirrorThere’s a way that it’s almost more inside baseball than it needed to be. And that could limit its appeal. Owen Gleiberman, VarietyIt will not be everyone’s cup of tea… a film about people sitting around talking, discussing scripts, or even intrigue, is not superficially appealing. J. Don Birnam, Splash ReportDo you need to see Citizen Kane first?While seeing Citizen Kane before Mank isn’t mandatory, you’ll have a greater appreciation for Fincher’s craft and technique when you can clearly see how he’s echoing the style of Welles’ seminal picture. Matt Goldberg, ColliderThere is some pleasure in spotting the winks and legends and shout-outs, but… you have to give the unfamiliar viewer reasons to care. By the end of Mank, even I wasn’t sure any of this mattered all that much. Jason Bailey, The PlaylistBut does it honor that film s legacy?It only enhances one’s appreciation of the genius 1941 movie at the center of its plot. Eric Eisenberg, Cinema BlendThose looking for a movie about the development of Citizen Kane will likely be disappointed and would be better suited watching the 1999 TV movie RKO 281. Matt Goldberg, Collider[It] never fully nails how the dream of Kane came to be. Owen Gleiberman, Variety(Photo by Netflix)How is Gary Oldman s central performance?One of the greatest performances of his career – which is a statement that should be taken with extreme weight. Eric Eisenberg, Cinema BlendA performance every bit as immersive as his Oscar-winning Winston Churchill in Darkest Hour. James Mottram, South China Morning PostAs is usually the case with the actor, he grabs hold of the role and shakes the life out of it. Chris Evangelista, SlashfilmOldman is giving one of his more engaging performances in recent memory. Alonso Duralde, The WrapSomebody younger should have portrayed the Oscar-winning screenwriter. This isn’t to take anything away from Oldman’s performance, but to each their own. Danielle Solzman, Solzy at the MoviesWhat about Amanda Seyfried?Amanda Seyfried is a wonderful scene-stealer. Eric Eisenberg, Cinema BlendIt’s the best thing she’s done in her career. James Mottram, South China Morning PostAmanda Seyfried, as Marion Davies, is by far the most human presence, the closest to a lifeblood. Nick Newman, The Film StageHer awards-worthy performance is likely to score her a well earned Oscar nomination. Erik Anderson, AwardsWatchHer awards-worthy performance is likely to score her a well earned Oscar nomination. Lewis Knight, Daily MirrorRyan FujitaniHow is the late Jack Fincher s screenplay?Jack Fincher’s script is brilliant, both in structure and detail. Eric Eisenberg, Cinema BlendThe script is punchy and not afraid to lean into melodrama, and Fincher is clearly having fun bringing his father’s words to life. Chris Evangelista, SlashfilmFincher’s script is wildly uneven, however, but when it hits, it really hits. Jason Bailey, The PlaylistWhat the script never quite cracks is the machinery of the creative process. Leah Greenblatt, Entertainment WeeklyPerhaps it’s inevitable that a screenplay about the screenwriter of Citizen Kane could never live up to its subject’s greatest work. Anna Menta, DeciderHow does the film look?It’s possible to go into a kind of trance at just how beautiful this film looks. Peter Bradshaw, GuardianThe style opens the doors to all varieties of callbacks to the specific and memorable aesthetics of Citizen Kane, instantly making you fall back into the time period. Eric Eisenberg, Cinema BlendYour eyes may see the black and white color as too crisp and intelligible to fully believe this is an 80-year-old movie, but Fincher and his team come deliriously close. J. Don Birnam, Splash ReportThe commitment to immersing us into a 1930s/1940s mood is impressive but I wish cinematographer Erik Messerschmidt had adopted the classic Academy ratio of the time as well. Erik Anderson, AwardsWatchWhy does [Fincher] shoot digitally, on the Red Monstro Monochrome, rather than 35mm, giving the picture an unmistakable (and sometimes unfortunate) digital sheen? Jason Bailey, The Playlist(Photo by Gisele Schmidt/Netflix)And how does it sound?The audio here is not what you’re used to hearing from a Netflix movie… it sounds like the type of audio you’d hear were you watching Mank in some grand movie palace. Chris Evangelista, SlashfilmTrent Reznor and Atticus Ross imbue their score with that same level of commitment to the period that’s unlike anything they’ve ever done. Erik Anderson, AwardsWatchAtticus Ross and Trent Reznor also deliver a seamlessly blended and moody score befitting the origin story of Welles’s directorial masterpiece. Lewis Knight, Daily MirrorBenny Goldman could have written the score, which nattily punctuates the beats on the type of dialogue Mankiewicz was famous for. Fionnuala Halligan, Screen InternationalIs there enough here to care about?Mank left me oddly cold despite its magnificent craftsmanship The emotional punch never lands, and so while Mank has no problem earning the viewer’s respect, it struggles to find our adoration. Matt Goldberg, ColliderFor all its crisp and glitz its relevant post-capitalist concerns and lament for the theatrical experience Mank is without emotion. Robert Daniels, IGNA movie that mostly unfolds at a distance — esthetically ravishing but emotionally remote. David Rooney, Hollywood Reporter(Photo by Netflix)Will Mank still rank high on end-of-year lists?It’s one of the year’s best films. Erik Anderson, AwardsWatchOne of the very best movies of the year. Peter Travers, ABC NewsUnquestionably one of the best of 2020. Eric Eisenberg, Cinema BlendWithout a doubt one, of the year’s very best. Lindsey Bahr, Associated PressIt’s Netflix’s richest production to date. Hannah Woodhead, Little White LiesMank‘s bad parts don’t outweigh its copious good parts, but it’s not quite the grand slam cinephiles were hoping for. Anna Menta, DeciderMank is still a treat; for those looking for more, we always have Citizen Kane to fall back on, after all. Fionnuala Halligan, Screen InternationalMank opens in limited release theaters on November 13, 2020, then heads to Netflix on December 4, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News.三国策略类单机游戏概要：代号侠破解版是一款特色的武侠版仙侠手游，内置丰富的战斗玩法，玩家可以走进特色的江湖战斗中，体验不一样的游戏玩法。并且还有破解版资源免费使用，一键挂机战斗轻松解放双手，感兴趣的小伙伴们快来下载试试吧!
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The networks continued their big Television Critics Association (TCA) presentations this week, with Showtime making the biggest splash thanks to new details on its Dexter reboot, New Blood, and some frank admissions about how the original series ended. Not to be outdone, ABC made news with an historic first for Dancing with the Stars. Plus there are tons of new trailers – including a look at the second season of Apple TV+ s The Morning Sow – and big casting news, including LaKeith Stanfield s return to scary stories as the lead of the adaptation of hit thriller novel, The Changeling. Check out all the week s biggest stories below.TOP STORYUpcoming Dexter Limited Series: Showtime President Says ‘I Think This Is Going to Be Brilliant’(Photo by © Showtime)One of the best things about Showtime’s upcoming Dexter: New Blood limited series is that it finally gives all us Dexter devoted a chance to see a proper ending for the serial killer of serial killers.And it turns out viewers weren’t the only ones dissatisfied with the 2013 original series finale, which saw Dexter Morgan (Michael C. Hall) faking his death … and going off to work for a lumber company in the northwest.“You know what? Dexter is a jewel in the crown of Showtime, and we didn t do it justice in the end, I think,” Showtime president of entertainment Gary Levin said during the network’s Television Critics Association (TCA) presentation on Tuesday. “And that has always been a burr under my saddle.”Hall also said viewers’ unhappiness with the original series was a big reason why he finally said yes to revisiting the role that earned him five Emmy nominations.“I think a lot of what was mystifying or dissatisfying to people is a lot of what creates the appetite that we re hopefully satisfying now,” Hall said during the New Blood TCA session. “The show did not end in a way that was definitive for people or gave anybody a sense of closure. We didn t hear from Dexter. He didn t say anything to us when the show ended, and I think it left audiences, if nothing else, (in) a sense of suspended animation. Yeah, I think a big part of our motivation was to definitively answer the question of what happened to this guy.”Levine said he thinks they nailed it this time. “We always wanted to see if there was a way to do it right,” he said. “I have to say, we finally got to a place that I am just – I can t wait to show it to you and the world. I think this is going to be (brilliant).”And we can confirm the limited series – or “special event series,” as the network is officially calling it – gets off to a good start. Picking up about a decade after Dexter went off to live his lumberjack life, in New Blood he’s now residing in a small town in upstate New York, going by the name Jim, and ingratiating himself with the townsfolk while he successfully resists the urges of his Dark Passenger.For a while, anyway … and that’s all we’ll say about that.The 10-episode event series was filmed in Massachusetts during the pandemic, with original series showrunner Clyde Phillips (who left the series before it ended) back on board, and is intended as a one-off. But would a great ratings performance for the show mean Dexter could become a regular visitor to the Showtime lineup?“You re way ahead of me,” Levine said. “I m trying to finish producing the special event series. Expectation is so high for it. And, again, the series is so special to our network and to me, that that s my focus right now. Let s make it great. The future will take care of itself.”Dexter: New Blood premieres on Showtime Nov. 7.More from Showtime: Your Honor Gets Surprise Second Season as the Ray Donovan Movie Lands a Date(ish)(Photo by Skip Bolen/Showtime) Though the finale of the Bryan Cranston thriller Your Honor was quite definitive, Showtime announced the limited series will return for a second season, after Cranston became intrigued with a storyline idea from writer and showrunner Peter Moffat. Levine said he is still “completely in the dark” about that idea, but Season 2 is a go anyway. The Ray Donovan movie that will wrap up that series after its abrupt cancelation with multiple storylines left dangling, is tentatively planned for a 2022 winter premiere. Liev Schreiber and Jon Voight return as Ray and Mickey, with most of the rest of the cast also return, according to Levine. The last five episodes of Billions Season 5 premiere Sept. 5, and Levine said despite their pandemic delay, they “come back just shot out of a cannon, and you are immediately thrown back into the story.” Season 6 is scheduled to premiere in January. Desus Mero was renewed for a fourth season. Levine said Showtime swapped a long-in-development Halo series for The Man Who Fell to Earth with Paramount+ because Halo was always “an odd fit” with Showtime’s drama-heavy lineup. The Wood writer and director Rick Famuyiwa is teaming up with The Chi and Snowfall writer Justin Hillian to adapt the 1999 comedy movie as a potential Showtime series.At ABC, The Connors Are Set to Go Live, Kevin Hart Swims with Sharks, and A First for Dancing with the Stars(Photo by Axelle/Bauer-Griffin/FilmMagic) During its TCA panel, ABC revealed the first two contestants for Season 30 of Dancing with the Stars: Olympic gold medalist gymnast Suni Lee, and, in what will be the competition’s first-ever same-sex pairing, pop star JoJo Siwa, who will compete with one of the female pro dancers. The rest of the cast will be revealed on Sept. 8, and the season premieres live on Sept. 20. The Connors’ cast is doing live Season 4 premieres for the East Coast and West Coast on Sept. 22. Kevin Hart will be a new guest shark on Season 13 of Shark Tank, which premieres Oct. 8. John Carroll Lynch’s character didn’t make it out of Big Sky’s first season alive, but Lynch has been confirmed as a returning presence for Season 2. His character, it’s important to note, did have a twin … The Goldbergs Season 9 premiere will give George Segal a proper send-off, with a storyline that includes the death of his character. Steve Harvey will star in a primetime court show called Judge Steve Harvey.NEW TRAILERS: The Morning Show Season 2 Trailer Reveals a Surprise New Cast MemberThe Morning Show, Season 2, finds even more drama surrounding the UBA network’s morning show, as Jennifer Aniston’s Alex and Reese Witherspoon’s Bradley appear to no longer be co-hosts! That’s not the only surprise: we knew Julianna Margulies had joined the cast, but so has Will Arnett, who’s playing Alex’s agent, Doug. Also starring: Billy Crudup, Steve Carell, Mark Duplass, Nestor Carbonell, Karen Pittman, Bel Powley, Desean Terry, Janina Gavankar, and Marcia Gay Harden. The new season premieres Sept. 17 (Apple TV+)More trailers and teasers released this week:• MAID is a drama series based on Maid: Hard Work, Low Pay, and a Mother’s Will to Survive, Stephanie Land’s fantastic bestselling book about a single mom doing everything she can to try to give her young daughter a better future. Margaret Qualley is Emmy-worthy as titular, housecleaning mom Alex, while Qualley’s real-life mom, Andie MacDowell, plays Alex’s unreliable mother. Also stars Nick Robinson, Anika Noni Rose, and Billy Burke. Premieres Oct. 1 (Netflix)• The Power of the Dog is a drama film written and directed by Jane Campion, based on the Thomas Savage novel of the same name, about a wealthy, sadistic early–20th-century Montana rancher (Benedict Cumberbatch) who wages a campaign of torment against a young widow (Kirsten Dunst) when she marries his brother (Jesse Plemons) and moves to their ranch with her son. Also stars Frances Conroy, Keith Carradine, and Adam Beach. Premieres Dec. 1 (Netflix)• Yellowjackets is a coming-of-age, psychological drama about a high school girls soccer team that survives a plane crash in the wilderness and what happens to the players afterwards. Stars Melanie Lynskey, Juliette Lewis, and Christina Ricci. Premieres Nov. 14 (Showtime)• Monsters Inside: The 24 Faces of Billy Milligan is the docuseries about a serial rapist who had no memory of the assaults and was eventually diagnosed with multiple personality disorder, with doctors determining he had as many as two dozen distinctly different personalities. Billy was found innocent by reason of insanity in a groundbreaking legal defense, but that was hardly the end of his story. Premieres Sept. 22 (Netflix)• Turning Point: 9/11 and the War on Terror is a five-part docuseries about the attacks that “changed the world in ways that have taken decades to understand.” Premieres Sept. 1 (Netflix)• Dan Brown’s The Lost Symbol is an adaptation of Brown’s bestseller of the same name, and follows the early adventures of young Harvard symbologist Robert Langdon, who must solve a series of deadly puzzles to save his kidnapped mentor and thwart a chilling global conspiracy. Stars Ashley Zukerman, Eddie Izzard, and Valorie Curry. Premieres Sept. 16 (Peacock)• Love on the Spectrum Season 2 is six new episodes that continue to tell the stories of people on the autism spectrum as they navigate the world of dating and relationships. With a few familiar faces, and some delightful new ones, this season represents an even wider range of people and personalities, showing just how diverse the autism spectrum really is. Premieres Sept. 21 (Netflix)• Nailed It, Season 6, features a whole new slew of contestants, including, yes, beloved 30 Rock star Jack McBrayer. Also features guest judge Wayne Brady. Premieres Sept. 15 (Netflix)• Happier Than Ever: A Love Letter to Los Angeles is a cinematic concert experience starring Billie Eilish, fresh off the heels of her brand-new album, Happier Than Ever, playing every song in the album s sequential order from the stage of the legendary Hollywood Bowl. Premieres Sept. 3 (Disney+)• 9/11: One Day in America is a four-night docuseries that offers a comprehensive account of 9/11, using archival footage and new interviews with eyewitnesses who have had almost two decades to reflect on the events they lived through. Premieres Aug. 29 (NGC)• Maya and the Three is an animated fantasy kids series about a warrior princess who is about to celebrate her 15th birthday and her coronation when she learns something shocking. Voice talent includes Queen Latifah, Diego Luna, Gabriel Iglesias, Zoe Saldaña, and Stephanie Beatriz. Premieres later this year (Netflix)• Goliath Season 4 is the series’ final season, in which Billy (Billy Bob Thornton) returns to his Big Law roots after Patty (Nina Arianda) takes a job at a prestigious white-shoe law firm in San Francisco, and together, they try to take down one of America’s most insidious Goliaths: the opioid industry. Also stars Tania Raymonde, Bruce Dern, Jena Malone, and J.K. Simmons. Premieres Sept. 24 (Amazon Video)• The Starling is a dramedy movie starring Melissa McCarthy and Chris O’Dowd as a couple who try to deal with their grief after a tragedy strikes. Also stars Timothy Olyphant, Kevin Kline, Daveed Diggs, and Loretta Devine. Premieres Sept. 24 (Netflix)• Dug Days is a series of five short films starring beloved Pixar pooch Dug, from the Oscar-winning movie Up, who embarks on a world of new backyard adventures. Premieres Sept. 1 (Disney+)• Intrusion is a thriller movie about a husband and wife who move to a small town, where a home invasion leaves the wife traumatized and suspicious that those around her might not be who they seem. Stars Freida Pinto and Logan Marshall-Green. Premieres Sept. 22 (Netflix)For all the latest TV and streaming trailers subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Game of Thrones Star Jacob Anderson Will Play Louis in Interview with the Vampire at AMC(Photo by David M. Benett/Dave Benett/Getty Images for Paul Smith)Grey Worm! Game of Thrones star Jacob Anderson, who played Grey Worm for six seasons on GoT and has already been cast as a new character named Vinder on the next season of Doctor Who, has been cast as Louis, the titular vampire who’s being interviewed by a journalist, in AMC’s upcoming Interview with the Vampire series adaptation of Anne Rice’s classic novel. Australian actor Sam Reid has already been announced as the series’ Lestat, the vampire who mentors Louis. (Variety)Maya Rudolph and Andy Samberg will co-host Peacock’s holiday baking competition series Baking It. The six-episode series will feature eight teams of two people – spouses, siblings, best friends, and more – who will bake holiday treats in hopes of winning cash prizes. The judges: real-life grandmas who know how to bake up a yummy treat or two themselves.NBC has found the lead for its Annie Live! musical that will air on Dec. 2: 12-year-old Celina Smith, who appears on the Nickelodeon series Young Dylan. Previously announced cast includes Harry Connick Jr. as Daddy Warbucks, Taraji P. Henson as Miss Hannigan, Tituss Burgess as Rooster, and Nicole Scherzinger as Grace.Kate Mulgrew has added another role to her very packed schedule: she’ll play Drew Finch, a dangerous, formidable spy, in Showtime’s remake/book adaptation of The Man Who Fell to Earth with Chiwetel Ejiofor and Naomie Harris. Star Trek: Voyager and Orange Is the New Black alum Mulgrew is also reprising her Captain Janeway role in the animated Trek series Prodigy; she’s playing a colleague of Michelle Obama’s in Showtime’s First Lady anthology series; and she’ll star in Lifetime’s Flowers in the Attic: The Origin prequel miniseries. (Deadline)Josh Duhamel will co-star with Renee Zellweger in the NBC true crime miniseries The Thing About Pam, about the murder of Betsy Faria, whose husband was convicted of killing her. Zellweger plays Pam Hupp, the one-time friend of Faria’s who has a lot to hide, while Duhamel will play the defense attorney for Betsy’s husband, Russ. (Deadline)(Photo by Taylor Hill/Getty Images)Genius: Aretha Franklin star Cynthia Erivo will star in the 1970s-set thriller series Steel, about a single mother and arms dealer who has to balance her personal life with her very dangerous business ambitions. The drama is not yet attached to a network or streaming service.Amy Brenneman has joined the cast of Apple TV+’s thriller series Shining Girls, where she’ll play the mother of Elisabeth Moss’s Chicago reporter, who survived a vicious assault and then decides to track her attacker. (Deadline)Arrow and Chuck alum Brandon Routh will voice Gideon Jura in Netflix’s animated series adaptation of the Magic: The Gathering card game.Chloë Sevigny will star in Hulu’s The Girl from Plainville, the true crime limited series about the case of Michelle Carter, who was convicted of involuntary manslaughter for sending text messages that prosecutors said helped talk Conrad Roy into taking his own life. Elle Fanning will play Carter, while Sevigny will play Roy’s mother.FX has announced the rest of the cast for its limited series adaptation of author Jon Krakauer’s nonfiction bestseller Under the Banner of Heaven, about brothers Dan and Ron Lafferty, who committed a double murder in the name of God. Previously announced leads Andrew Garfield and Daisy Edgar-Jones will be joined by Rory Culkin, Sam Worthington, and Wyatt Russell, playing the Lafferty brothers, Adelaide Clemens, Christopher Heyerdahl, and Denise Gough. The series was created by Oscar-winner Dustin Lance Black, and will be produced by Ron Howard, Brain Grazer, and Jason Bateman.Spider-Man: Homecoming and Upgrade star Logan Marshall-Green has joined the cast for the second season of ABC’s Big Sky, where he’ll play Travis, an undercover and longtime friend of Kathryn Winnick’s Jenny. Possible romance is afoot.PRODUCTION DEVELOPMENT: LaKeith Stanfield to Star in Apple TV+ Horror Series The Changeling(Photo by Steven Ferdman/Getty Images)Apple TV+ has ordered a series adaptation of the bestselling book The Changeling, author Victor LaValle’s horror drama about a new father whose wife commits a shocking act, sending him to a “fairytale for adults” world in New York City to find his wife after she seemingly disappears into thin air. Oscar nominee LaKeith Stanfield will play new dad Apollo, and Cruella writer Kelly Marcel will write and serve as showrunner for the series. (Note: the book and series are not related to the popular 1980 horror film.)HBO Max has ordered the six-episode limited series Full Circle from the No Sudden Moves team of director Steven Soderberg, writer Ed Solomon, and executive producer Casey Silver, with Soderbergh and Solomon also EPs. The drama follows an investigation into a botched kidnapping, uncovering long-held secrets connecting multiple characters and cultures in present day New York.Writer, actor, and comedian Yassir Lester will be the head writer for upcoming Disney+ Marvel series Armor Wars, starring Don Cheadle as James Rhodes, a.k.a. War Machine. Lester worked with Cheadle previously on Black Monday, and has also written for Kenan, Girls, and The Carmichael Show.Also at Disney+, the streaming service has ordered Nautilus, a series based on Jules Verne’s 20,000 Leagues Under the Sea. The 10-part, live-action series will tell the origin story of Captain Nemo and his titular submarine from the classic novel, which was also the subject of the 1954 Disney movie adaptation of Verne’s book, starring James Mason and Kirk Douglas.New York Comic Con is, for now, still on as an in-person event for October 7-10. But if you prefer virtual fan events, there are two big ones on the horizon: Star Trek Day on Sept. 8, hosted by Wil Wheaton and Mica Burton, and featuring panels, announcements, and special surprises, live-streamed at Paramount+. And on Sept. 25, Netflix will host TUDUM, its three-hour global fan event spotlighting more than 70 series and movies, including Cobra Kai, Stranger Things, Bridgerton, The Witcher, Cowboy Bebop, The Crown, Ozark, The Umbrella Academy, and Money Heist. BTW, TUDUM? It’s that sound you hear at the beginning of everything you watch on Netflix. Like Netflix’s version of the Law Order DUN!(Photo by Geoffrey Short / Netflix)Speaking of Cowboy Bebop, Netflix released a series of first-look photos, and a premiere date – Nov. 19 – for the space Western about three deadly bounty hunters, played by John Cho, Mustafa Shakir, and Daniella Pineda, trying to track down the solar system’s most dangerous baddies.More highly-anticipated release dates confirmed this week: Succession Season 3 will premiere on HBO on Oct. 3, while the official Curb Your Enthusiasm Instagram confirmed Larry David’s 11th season will also return in October.Roku, which hosts series created by the now-defunct Quibi, has ordered a second season of the Quibi drama Most Dangerous Game, which starred Liam Hemsworth in Season 1. For Season 2, Hemsworth will be replaced by David Castañeda, playing a fighter who will become rich if he wins a deadly game, and if he loses … he really loses. Returning for Season 2 is two-time Oscar winner Christoph Waltz as Miles Sellers, the CEO of The Tiro Fund, a front for a centuries-old game in which hunters pay exorbitant fees for the privilege of hunting humans.The Golden Girls on the big screen: Fathom Events is hosting “Forever Golden! A Celebration of The Golden Girls,” a nationwide mini-marathon of five episodes of the series – “The Engagement,” “The Flu,” “The Way We Met,” “Ladies of the Evening,” and “Grab That Dough” – on Sept. 14 and 21. A list of theaters and ticket sales are available at FathomEvents.com.TV swag of the week: Star Wars and Marvel sound effects machines, and to celebrate the final season of The Walking Dead, the official whiskey of The Walking Dead, Sexton single malt, available for a limited time in a Walking Dead Cocktail Kit that makes eight drinks that sound so delicious you’ll want to knock someone over the head with a barbed wire-covered baseball bat.On an Apple device? 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5. HD 画质与高品质音讯
3.29.2 9月喜迎ers. The pandemic matters. While we can probably expect another strongly-worded “I told you so” from the National Association of Theatre Owners (NATO) this week, the numbers do not lie. Streaming or not, since the end of June, when F9 opened, only two films have grossed more than 2.5 times its opening weekend: The Boss Baby: Family Business (3.42x), which was also streaming for free on Peacock, and The Forever Purge (3.47x), which was exclusively in theaters. Here is a breakdown of the rest.THEATER EXCLUSIVEF9 (2.43 / 7 weeks)Old (2.27 / 3 weeks)Snake Eyes: G.I. Joe Origins (1.94 / 3 weeks)Escape Room: Tournament of Champions (2.51 / 4 weeks)The Green Knight (1.77 / 2 weeks)Stillwater (1.92 / 2 weeks)DISNEY PREMIER ACCESSBlack Widow (2.16 / 5 weeks)Jungle Cruise (1.86 / 2 weeks)HBO MAX (SINCE GODZILLA VS. KONG)Mortal Kombat (1.81)Those Who Wish Me Dead (2.59)The Conjuring: The Devil Made Me Do It (2.70)In the Heights (2.58)Space Jam: A New Legacy (2.08 / 4 weeks)But let’s not let the HBO Max decision off the hook either. Repeat business seems to be at a stand still until we get a true all-clear on COVID and Delta, and streaming only doubles down on that. So the opening weekend is more crucial than ever before. The Suicide Squad is just the seventh film during this time to start with over million, joining HBO Max compatriots Godzilla vs. Kong and Space Jam: A New Legacy. The former stretched its legs through a still-wide open marketplace while vaccine hope was at its peak; the latter dropped like a stone and may end up with the worst multiple for a family film this year.We could just drop all the variables and statistics and know that in our hearts, Gunn’s film goes nowhere south of million in normal times. And that is as conservative as it gets. The top “R”-rated opening in August is still Straight Outta Compton, with .2 million, so it s hard to even suggest that a high-profile DC film whose almost universally-maligned “PG-13” effort is the highest opening weekend ever in August with 3.68 million wouldn t make million or more. Not when both Deadpools opened to over 5 million, Joker to over million, and Logan with .4 million.The only thing we know for sure is that this year, in our current circumstances, The Suicide Squad will not be joining the 0 million club and the odds are very much in favor that nothing from the rest of Warner Brothers lineup for 2021 will be invited in either.The Top Ten And Beyond: Jungle Cruise Sailing Towards 0 Million Last week’s no. 1 film is showing some potential to eventually join the 0 million club. Jungle Cruise fell 55% to .7 million this weekend. In this environment that actually constitutes a victory given that it is the lowest drop for a no. 1 film in its second weekend since Spiral fell 47.5% from a meager start of .7 million. That puts Jungle’s 10-day toll at million, which is ahead of Godzilla vs. Kong’s .05 million at 10 days, though with that film’s Wednesday opening it only had four weekend days to accumulate that total compared to Jungle’s six. Nevertheless, it is still a better second weekend than GvK’s .88 million, so we’ll give Jungle Cruise a puncher’s chance of breaking that ceiling.M. Night Shyamalan’s Old fell back just a single spot for the third straight week. It is right in line with The Forever Purge’s third weekend of .1 million. Overall, it is still ahead of that film’s pace by almost million, so look for Old’s final tally to be in the range of million, just getting over Lady in the Water’s total and avoiding being the lowest-grossing film of Shyamalan’s post-Sixth Sense career. Black Widow dropped to fourth place with million, which is the third-best fifth weekend this year behind A Quiet Place Part II (.19 million) and F9 (.82 million). Still, it did pass F9 this week and now certainly has a lock to claim the crown of summer champion, not to mention fairly decent odds to compete for the highest-grossing film of the year, with possibly No Time to Die and Spider-Man: No Way Home as its biggest challengers.(Photo by © A24)Amongst last weekend’s adult entries, Stillwater dropped 45% to .86 million and stands total at million. It looks like Focus Features, which has put every one of its 13 films into theaters since Kajillionaire last September, is going to have its highest-grossing film of the pandemic – but just its second to pass million and one which is unlikely to hit million. The Green Knight is just A24’s third theatrical release during this time and their numbers have actually gone up. From Oscar nominee Minari (.1 million) to Zola (.1 million) and now to David Lowery’s film (the first in the company s history to start in third place), which has earned million so far.On The Vine: A Background Player and the Queen of SoulThings get a little more crowded in theaters next week. Delayed multiple times since last year, audiences can finally see Ryan Reynolds as a video game character trying to escape in Free Guy (which critics are digging). More folks are trying to rob Stephen Lang’s abusive blind guy in Don’t Breathe 2, and Jennifer Hudson takes on the role of Aretha Franklin in the biopic, Respect. All three films will be exclusive to theaters.Full List of Box Office Results: August 6-8, 2021
This week s Ketchup brings you another 10 headlines from the world of film development news (the stories about what movies Hollywood is working on for you next), covering such titles as Black Adam, Fast Furious 9, and Disney s Pinocchio remake.This WEEK S TOP STORYDWAYNE JOHNSON S BLACK ADAM IS FINALLY GETTING MADE(Photo by Robert Viglasky / © MGM)Let s start this story by turning the clock way back to November of 2007. Marvel Studios Iron Man (5/2/2008) was still six months away from release (we have, of course, gotten over 20 more MCU movies since then). It was in early November of 2007, however, that Dwayne The Rock Johnson first signed with Warner Bros. to play the DC Comics anti-hero Black Adam in what, at that time, was expected to be the Shazam! movie (Black Adam is one of Shazam s main enemies). This week, nearly 13 years later, Johnson confirmed that he will finally start filming his Black Adam solo movie in July of 2020, which will be a few months shy of 14 years after he first signed on. Warner Bros. has not yet announced a release date for Black Adam, but it probably won t be until either late 2021 or sometime in 2022. The film will be directed by Jaume Collet-Serra, who also recently directed Johnson in next year s Jungle Cruise (7/24/2020), based on the long-running Disney theme park attraction. Meanwhile, Johnson s next movie will be the sequel Jumanji: The Next Level, on December 13, 2019.Other Top Headlines1. JENNIFER HUDSON S ARETHA FRANKLIN BIOPIC RESPECT ATTRACTS STAR-STUDDED CAST (Photo by Derek Storm/Everett Collection)The success last year of Bohemian Rhapsody means that we re going to continue getting pop and rock star biopics, but Hollywood doesn t react to new trends particularly quickly. Baz Luhrmann is currently filming his Elvis Presley movie (starring Austin Butler from Once Upon a Time in Hollywood), and the next movie expected to get going is Respect, based on the life of soul singer icon Aretha Franklin. Jennifer Hudson has been attached to star in Respect for a while now, but it wasn t until this week that we learned who will be joining the film s large ensemble cast. Those stars include six-time Tony-winner Audra McDonald, Academy Award winner Forest Whitaker, Academy Award nominee Mary J. Blige, frequent Netflix star Marc Maron, Tituss Burgess, and Marlon Wayans. MGM has scheduled Respect for release on August 14, 2020, which will be just two days shy of two years after Aretha Franklin s death on August 16, 2018.2. ADAM DRIVER JOINS BEN AFFLECK AND MATT DAMON FOR THE LAST DUEL (Photo by Jessica Miglio/©Warner Bros. Pictures)In August, we learned that former screenwriting partners and Good Will Hunting costars Ben Affleck and Matt Damon would be reuniting in a historical drama called The Last Duel for director Ridley Scott (Gladiator, Alien, Blade Runner). Affleck is still attached to star in the film, but this week, it was revealed that he will be taking a supporting role instead, with Adam Driver (Kylo Ren from the Star Wars movies) in early talks to take the other lead opposite Matt Damon. Damon and Driver will star in The Last Duel as two knights in 14th century France whose bond is tested by treachery and a young woman forced to navigate the brutal and oppressive culture of the era in order to survive. Jodie Comer of Killing Eve has recently joined the film as the woman who comes between the two knights. Filming of The Last Duel is expected to start in early 2020.3. DISNEY HIRES CHERNOBYL CREATOR FOR PIRATES OF THE CARIBBEAN REBOOT(Photo by Walt Disney Studios)If you thought you d seen the last of Johnny Depp s Jack Sparrow, then Well, you might be right. The truth is, we don t really know. What we do know is that Disney is still interested in continuing the Pirates of the Caribbean franchise or rebooting it, as it were with producer Jerry Bruckheimer. The production hit a snag earlier this year when Deadpool screenwriters Rhett Reese and Paul Wernick dropped out of Pirates, but things look to be back on track with the hiring of Craig Mazin (the Emmy-winning creator of HBO s popular miniseries Chernobyl) and Ted Elliott, who co-wrote the first four films in the franchise. Whether or not any of the series regulars will make an appearance in the new film is still up in the air.4. ROBERT ZEMECKIS MAY REMAKE DISNEY S PINOCCHIO After recently directing a few more adult-centric dramas, Robert Zemeckis (Flight, The Walk, Allied, Welcome to Marwen) seems to be returning to his kid-friendly roots with his remake of Roald Dahl s The Witches, which Warner Bros. has scheduled for October 9, 2020. Zemeckis has not yet officially confirmed his next film as director, but according to reports this week, he may be returning to Disney for their live-action remake of their second ever animated feature, the 1940 version of Pinocchio. Although described as live action, it s possible that Pinocchio himself may be some form of animated character, especially considering one of Zemeckis favored strengths over the last 15 years or so has been stop-motion in movies like The Polar Express, Beowulf, and last year s Welcome to Marwen. If he does sign on, Zemeckis will next have to start casting Pinocchio, including finding a new Gepetto, following the recent departure of Tom Hanks from the project.5. CARDI B JOINS FAST FURIOUS 9(Photo by Stephane Cardinale - Corbis/Getty Images)Like many pop stars and rappers before her, Cardi B is actively pursuing film roles to add to her résumé. Just a month after making her feature film debut in Hustlers, she has apparently found her next major film project in next year s Fast Furious 9 (5/22/2020). This news came directly from a video that Vin Diesel posted on his Instagram this week with Cardi B at his side. Fast Furious 9 actually started filming in June, so it seems likely that Cardi B s contribution to the movie will be one of the last things to be filmed. Diesel posted the video just after another singer, the Latin music star Ozuna, also joined the movie this week. As it happens, Cardi B and Ozuna released a song together in 2017 called La Modelo, so it s possible that their roles in Fast Furious 9 will be directly connected.6. HUGH JACKMAN, REBECCA FERGUSON TEAM UP FOR SCI-FI ACTION MOVIE REMINISCENCE (Photo by Wilson Webb/©Warner Bros.)It has now been over two years since Hugh Jackman s last movie as Wolverine, 2017 s Logan. Since then, Jackman has starred in a musical (The Greatest Showman), a political drama (The Front Runner), and an animated comedy (Missing Link), but what he hasn t yet returned to are the kind of genre films that made him famous in the first place. That appears to be changing very soon with the news this week that he is reuniting with his Greatest Showman co-star Rebecca Ferguson in a science fiction noir called Reminiscence, which is being compared to movies like Blade Runner, Total Recall, and Inception. Set in a future Miami beset by exaggerated climate change, Reminiscence will tell the story of a private investigator (Jackman) who travels into his client s memories to solve cases.7. ZOEY DEUTCH S ZOMBIELAND: DOUBLE TAP CHARACTER MIGHT GET HER OWN SPINOFF (Photo by © Columbia Pictures)Last week, the horror comedy sequel Zombieland: Double Tap managed to beat the opening weekend of the original 2009 film with a domestic opening of .9 million. It s not yet known if there will ever be a proper Zombieland 3 (unless everyone involved wants to wait another 10 years), but director Ruben Fleischer is already talking about another direction he d like to take. Speaking to The Hollywood Reporter, Fleischer said, I would love to do a Madison standalone movie, referring to the new character played in Zombieland: Double Tap by Zoey Deutch. If such a movie does get made, it s not known if some of the other Zombieland characters would also return. THR also revealed this week that an earlier Zombieland 2 screenplay would have featured a de facto Ghostbusters reunion in which Dan Aykroyd would ve played a zombie version of himself.
Behind powerful acting from both of its stars, Sandra Oh and Jodie Comer, Killing Eve has been a Certified Fresh hit for three straight seasons. And Phoebe Waller-Bridge has created a show filled with unexpected twists, dark humor, and deep-rooted characters that both fans and critics just can t get enough of. That s why Rotten Tomatoes’ own Naz Perez has pulled five other titles you may want to check out if you love Killing Eve. With options that appeal to both your assassin sensibilities and your powerhouse leading lady sensibilities, hopefully figuring out your next binge session will be an absolutely killer experience.
Marvel directors Joe and Anthony Russo (Captain America: Civil War, Avengers: Endgame) reunite with current Spider-Man actor Tom Holland for Cherry, an ambitious drama that proves they’re interested in a lot more than just epic superhero blockbusters. Does the effort pay off, though? The first reviews of the new film are mixed on the success and failure of the adaptation, which chronicles the stacked, lengthy story of a young man through his experience in the Iraq War and then his subsequent drug addiction and criminal exploits. Holland comes out on top for most critics, though, even including those with negative reactions overall.Here’s what critics are saying about Cherry:Do the Russo brothers have another hit on their hands?A masterclass in filmmaking… It’s all too easy to throw the word ‘masterpiece’ around, but Cherry deserves it. Josh Wilding, ComicBookMovie.comThis is a consistently engaging flick… likely to be one of the more underrated titles of 2021. Joey Magidson, Awards RadarPowerful… It may not be perfect, but it is close. Tessa Smith, Mama s GeekyIt doesn’t succeed as a war film, as a heist flick, or the star vehicle it so craves to be for Holland. It’s just average at its core. Robert Daniels, The PlaylistCherry is prime contender for one of the worst films of the year. Jeffrey Zhang, Strange HarborsShould they stick to the comic book stuff?It proves that there’s much more to Joe and Anthony than just capes, shields, and special effects. Josh Wilding, ComicBookMovie.comThe Russos are better moviemakers than their Marvel movies allow them to be. They demonstrate that here. Glenn Kenny, New York TimesThe main takeaway of Cherry is that being able to make a good superhero film doesn t mean you can direct a good war and crime drama. Nicole Ackman, Next Best PictureThere may not be a shallow CG background this time, but there s a shallow narrative. Spencer Perry, ComicBook.comI admire the Russos for trying to take on material that’s drastically different from everything else in their filmography. But Cherry is a movie that quickly gets away from them. Matt Goldberg, Collider(Photo by ©Apple TV+)How is their directorial style here?There s a lot of style and skill on display and despite the dark subject matter, it means Cherry is a visually entertaining watch. Ian Sandwell, Digital SpyHere we have a movie that succeeds wildly due to the Russos’ creativity… They employ all manner of tricks, as well as some incredibly clever choices. Joey Magidson, Awards RadarThere are some incredible uses of the camera here… It feels a lot like the filmmakers wanted to experiment and try some new things. Josh Wilding, ComicBookMovie.comIts stylistic elements are invigorating. Ben Rolph, Discussing FilmYou might not think of them in the same breath as the auteur directors of our times. But they graduate to that class here, giving the film its own unique narrative and visual style. Joey Morona, Cleveland Plain DealerCherry is showy and immature. The directors’ stylistic choices are not only jarring, they often undercut moments of emotional heft by distracting the viewer and taking them right out of the moment. Laura Potier, Outtake MagChucking aspect ratios, needle-drops, and tricks of style into a blender doesn’t equal a good movie, but it looks like nobody wanted to tell the Russos post-Endgame. Jeffrey Zhang, Strange HarborsHow is it as an adaptation of Nico Walker s book?The book was celebrated as a gritty generational rallying cry. The Russo brothers, working in a style of troweled-on extravagance, inflate it into a showreel. Owen Gleiberman, VarietyCherry seems to rush through so much of the minutia of the novel which inspired it that it just feels like checking boxes. Matt Oakes, Silver Screen RiotIn trying to tell everything, there s a lack of focus and connectivity. Ian Sandwell, Digital SpyOver-stylized and overstuffed to a fatal fault, Cherry takes its source material’s aware self-loathing and transforms it into a shallow music video. Jeffrey Zhang, Strange Harbors(Photo by ©Apple TV+)How is the script on its own?The screenplay by Jessica Goldberg and Angela Russo-Otstot is rock solid, in an old-fashioned way. Joey Magidson, Awards RadarPerhaps the sign of a script that is bloated and thick, there are also times Cherry feels like parody. Spencer Perry, ComicBook.comMiss a piece of the action because you were checking Twitter? Don’t worry, the ceaseless, incessant narration will fill you in! Chris Evangelista, SlashfilmIt becomes obvious that there is no overarching vision for what this film is about or who it is for. Leigh Monson, WhatToWatchThe Russos and their writers simply didn’t know how or where to cut Walker’s story down. The movie lacks focus. Hope Madden, Columbus UndergroundIs the film s length an issue?The film takes its time, and it’s time well taken. Mick LaSalle, San Francisco ChronicleThe story doesn’t really kick in for about 80 minutes. It’s a good story, but does not require as much setup as its given. Fred Topel, Showbiz Cheat SheetOne of the biggest faults with this movie is how long it is. Tessa Smith, Mama s GeekyIt has an overly-long runtime which drags a little during the lead up to the third act. Ben Rolph, Discussing FilmAt two hours and twenty minutes long, fatigue will likely have already set in by the time you reach its third act. Nicole Ackman, Next Best Picture(Photo by ©Apple TV+)Does it try to do too much?This movie is basically four movies in one — a romantic comedy, a war film, a drug movie, and a heist flick — which is not necessarily a bad thing. Tessa Smith, Mama s GeekyThe Russos managed to balance everything from teen romance to drug addiction perfectly. Josh Wilding, ComicBookMovie.comIt s a convoluted mess that feels like several different films stitched together into one Frankenstein s monster of a movie. Nicole Ackman, Next Best PictureWhile it sounds like a fair idea on paper, the exercise of making these varied tones and concepts doesn’t always work, even within each of the sections. Spencer Perry, ComicBook.comThe movie presents itself as a dread-ridden slice of life, yet almost every moment in it feels based not on experience but on the experience of other movies. Owen Gleiberman, VarietyWhat are some of the films it references?The Russos seem interested in making something akin to Scorsese cinema… Eventually Cherry breaks free enough of its influences to present a credible, at times harrowing, American addiction tragedy. Glenn Kenny, New York Times[It’s] a horrendous Scorsese knockoff that fails to understand why that director’s movies work so well. Matt Goldberg, ColliderCherry takes inspirations from Fight Club, Full Metal Jacket, Jarhead, and Requiem for a Dream to put them in a blender for a punishing two hours and twenty minutes. Leigh Monson, WhatToWatchCherry wants to be Requiem for a Dream and Jarhead and Bonnie and Clyde all at once but manages only to be a haphazard imitation of all. Matt Oakes, Silver Screen RiotCherry has the beating heart of an indie film wrapped in the sweeping, epic flair of a Quentin Tarantino, Oliver Stone or Ang Lee movie. Joey Morona, Cleveland Plain Dealer(Photo by ©Apple TV+)Does Tom Holland s performance outshine the movie s faults?This is certainly Tom Holland’s show, with the writing, cinematography, and editing working in coordinated effort to highlight just how hard Holland’s working to give us this character’s blood, sweat, and tears. Leigh Monson, WhatToWatchThough his ambition is present in every instance, there are times where Holland can t make the gravity of some moments really land. Spencer Perry, ComicBook.comBecause of him, this is a good movie. Without him, I am not sure Cherry would have accomplished what it sets out to do. Tessa Smith, Mama s GeekyIt’s a fine performance but one that will surely be looked back at as a stepping stone, rather than a genuine coming out party. Matt Oakes, Silver Screen RiotHe really pushes himself in a wide-ranging and committed performance, holding together a movie that is overambitious and narratively muddled. Ian Sandwell, Digital SpyDoes anyone else in the cast shine?Ciara Bravo, as Cherry’s girlfriend, wife and eventual partner in junkie-dom, is at times the performer who has the strongest emotional hold on the viewer, and the most memorable find here. Glenn Kenny, New York TimesBravo, in her first major role, delivers an equally powerful performance, matching her co-star step for step. Joey Morona, Cleveland Plain DealerCiara Bravo is a revelation too, presenting the heart and soul of the film. Joey Magidson, Awards RadarBravo, meanwhile, puts herself on the map here in a huge way and makes one thing clear: she’s a star…we cannot wait to see what she does next. Josh Wilding, ComicBookMovie.comForrest Goodluck and Jack Raynor deliver an excellent mix of tragedy and comedy. Hope Madden, Columbus UndergroundSupporting players, often Black folks, are either enveloped in shadows or have a gun pointed in their faces. The women are even less regarded. Robert Daniels, The Playlist(Photo by ©Apple TV+)Is it a difficult watch at times?Cherry is dark, heavy stuff. The graphic violence of war and the raw and ugly reality of addiction make the film uncomfortable to watch at times. Joey Morona, Cleveland Plain DealerCherry is raw and difficult to watch at times but the result is a beautifully honest film that is well written and well-cast. Allison Rose, FlickDirectNothing here feels as gritty as it should. There’s no stark realism, no raw honesty. Everything in Cherry is for show. Subtlety is for chumps. Chris Evangelista, SlashfilmIt s hard to shake the feeling that [the actors are] playing dress-up, a glossy Riverdale rendering of craving and codependence. Leah Greenblatt, Entertainment WeeklyDoes it ever lighten up?The most surprising thing about Cherry, and its primary saving grace, is the humor that bleeds throughout it. Spencer Perry, ComicBook.comWhen Cherry robs banks, the banks have parody names like Capitalist One, Bank F s America, Credit None, S tty Bank, or even just The Bank. Ho ho ho, my sides, they’re splitting! Who are you to resist the unparalleled wit of Cherry? Chris Evangelista, SlashfilmThere’s hardly a moment in Cherry that’s believable, but the film’s true crime is that there’s hardly a moment in it that’s enjoyable either. Owen Gleiberman, VarietyWill you want to see it more than once?This movie will take you on an emotional, powerful journey over the course of 150 minutes you’ll want to relive. Josh Wilding, ComicBookMovie.comI will be watching this again. Tessa Smith, Mama s GeekyCherry is in theaters on February 26, 2021 and on Apple TV+ on March 12, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by © Warner Bros. )While the comic-book superheroes made the leap to filmed entertainment very quickly – Superman appeared in animated shorts within three years of his first appearance in Action Comics #1 and precursor pulp heroes were already in Saturday morning movie serials by 1938 – it took decades for the superhero movie to truly coalesce into a genre. After the Superman cartoons, characters like Batman, the original Captain Marvel, and Captain America joined the pulp heroes as movie serial stars, and Superman himself would finally be featured in his own serial in 1948. But more often than not, these films followed the established serial format with the 1948 Superman innovating only enough to use a piece of animation to denote the character s flying ability. After the serials went extinct, the superheroes returned to comic books.In 1966, Batman: The Movie and its parent television show defined for generations what comics on screen should be: campy. And while that film is great on its own merits (and 77% Fresh on the Tomatometer), it made it difficult for movie producers to ever take a costumed superhero seriously until the mid 70s.At that point, producer Ilya Salkind and his father Alexander optioned the rights to Superman from DC Comics. The plan was to make a lavish two-part film in the vein of their recent successes, The Three Musketeers and The Four Musketeers, with The Godfather author Mario Puzo writing a 500-page script comprising Superman and Superman II. The intent was to engage Goldfinger director Guy Hamilton and shoot both films concurrently in Italy. DC Comics had suggested stars like Steve McQueen and Dustin Hoffman for the title role. When writers Robert Benton, David Newman, and Leslie Newman came in to revise Puzo s script, the project’s tongue was firmly in its cheek as scenes called for super-puns and a cameo by Telly Savalas in his then-famous television role as Kojak.But as fate would have it, forces intervened and the irreverent tone were dismissed when Richard Donner, fresh from his success on The Omen, took over as director after the production moved to England. Little did anyone know at the time, but Donner and his collaborators would go on to define the superhero genre as it exists today in ways both large and sublime. Here is a look at just five of the ways Superman: The Movie – released December 15, 1978 – laid out the superhero film blueprint.1. By Emphasizing The Origin(Photo by © Warner Bros. )While Superman’s origin story is one of the most fascinating elements about the character, productions like the 1948 Superman serial and the 1950s The Adventures of Superman television series rushed through the Krypton and Smallville aspects of the story to get mild-mannered Clark Kent into his Superman persona. Clearly, that’s where the action is and the kids want to see Superman rough up some crooks or bend a gun with his bare hands.But Donner and creative consultant Tom Mankiewicz – who wrote an uncredited draft of the film for the director – saw the value in examining Superman’s early life. The resulting film has a three-part structure featuring the most realized presentation of Krypton seen by audiences up to that point. Where the earlier productions presented a very generic sci-fi world of silver shoulder pads and headbands, Donner and production designer John Barry reframed Krypton as a world where humanoids lived in crystalline structures more grown than built. Costume designer Yvonne Blake fabricated the robes worn by Marlon Brando and the other performers which would glow when exposed to a lightsource perched on cinematographer Geoffrey Unsworth s camera.The lavish details of Krypton served a number of purposes. As the Salkinds paid Brando a then-absurd .7 million and 11.75% of the gross for just 12 days of shooting, Donner devised additional material for Brando to perform just in case. Secondly, the early Krypton scenes would also establish the conflict of Superman 2, necessitating Krypton make a last impression on the viewer.And as the Smallville material was also thematically important, Donner and his team embraced those scenes with equal passion. In doing so, Superman does not appear in his costume until minute 47 of the movie s 142 runtime. It was a script decision which would have a lasting impact on the superhero genre as it emerged. Today, holding back the scene in which the hero first gets his or her costume until minute 47 (or thereabouts) is a standard plotting convention. Tony Stark (Robert Downey Jr.) is not seen in the Mark I Iron Man suit for a good 40 minutes in the first Iron Man – and it is nearly an hour before the more familiar Mark III suit debuts. Same goes for Bruce Wayne (Christian Bale) in Batman Begins and Clark Kent (Henry Cavill) in Man of Steel. While not yet a screenwriting convention when Batman was released in 1989, 21st Century superhero films relish the origin story and hold back the character’s completed costume identity for a long time, a technique first realized in Superman.2. By Honoring The Spirit Of The Character(Photo by © Warner Bros. )As mentioned before, the conventional wisdom about superheroes, such as it was, was to treat the characters as figures of camp. Batman 66 was fondly remembered for that tone. Donner, who idealized Superman as a core pillar of Americana, refused to treat the character that way in favor of honoring the spirit of Superman comics.To be fair to the Salkinds and the producers of Batman ’66, both characters went through a campy phase in which the characters colors were brighter than ever before and their stories saw them face goofy sci-fi threats instead of intense street thugs. Those tales were also light on characterization, with Batman, Superman, and their associated casts resetting back to their established status quo at the end of every story. But by 1975, a younger crop of writers was treating the DC superheroes with a greater sense of gravitas and emotional fidelity. Though not an avid reader of Superman comics at any point in his life, Donner decided Superman needed a similar emotional truth to be credible on screen.That sense of emotional truth led to the single most important decision made in the entire production: casting Christopher Reeve in the title role. He wowed casting director Lynn Stalmaster, who kept suggesting him to Donner and the producers until the offered him an audition opposite The Omen’s Holly Palance. Though clearly perspiring at the armpits of an early Superman costume, Reeve instantly transformed into the stalwart servant of justice. The scene – the interview with Lois Lane seen in the finished film – also reveals a playful side, and Reeve perfectly embodied the way Superman has fun with his persona. He proved capable of the sort of intensity the comic-book Superman was facing at the time with equal precision.Though he looked the part, the Reeve Superman is not a 1:1 interpretation of any one creative direction of the character – from the comics to George Reeve’s portrayal on The Adventures of Superman – but it is the idealized personification of him as Donner sought to put on screen. Modern superhero films continue to choose spirit over exacting recreation, leading to performances like Gal Gadot in Wonder Woman and Chris Evans in his appearances as Captain America. Neither may look as exactly right as Reeve does, but they create a version of the characters which are still faithful.3. By Embracing the Real World (Verisimilitude! )(Photo by © Warner Bros. )Much like his choice to imbue Superman with an honest emotional range, Donner s decision to give the film’s world verisimilitude was key to making the film work. While Batman: The Movie before it and Batman after it featured heightened realities of pop art madness or expressionist extremes, the bulk of Superman takes place in a Metropolis not so much designed as borrowed from New York in the late 1970s. While Batman’s lack of powers make him easier to believe in a cartoon world, Superman’s fanciful abilities almost require the world around him to be more mundane. And so the Daily Planet’s famous ornamental globe ends up relocated to the lobby as the New York Daily News s entrance doubles for the great metropolitan newspaper. The newsroom set was also inspired by the look of the Daily News’s offices. The grime and grit of New York at the time gives Metropolis an authenticity it would never have again, as subsequent Superman movies used backlots to realize city streets. A DC Comics city would not feel this lived in again until Chicago played Gotham City in Christopher Nolan’s Dark Knight cycle.By grounding the world Superman inhabits in the reality of late 1970s New York, the film’s more fanciful aspects feel closer to our world. To paraphrase the poster s tagline, the film must make you believe that a man can fly. Selling that illusion was not just a feat of special-effects wizardry, but also the responsibility of the world to make it seem as natural as possible.As it happens, Richard Donner has a plaque of Superman flying a banner in his office. It reads “verisimilitude!” It is the philosophy which makes his better films work and the thing other filmmakers strive for when they say they want to make a “grounded” superhero movie. The Marvel Cinematic Universe, for example, has more outlandish concepts like Asgard and the worlds of Guardians of the Galaxy, but in films like Ant-Man and Captain America: The Winter Soldier, the setting retains the verisimilitude of the years in which they were made. Or, at least, verisimilitude is their starting point, making later scenes like the crash of the Helicarriers or the implosion of a San Francisco building seem more plausible.4. By Giving it a Poppy Sense Of Fun(Photo by © Warner Bros. )Once Clark Kent (Reeve) arrives in Metropolis, both the measured, articulate dialogue of the Krypton sequence and the bucolic feel of the Smallville section give way to the rapid-fire verbal sparring of the Daily Planet newsroom. Conducting that orchestra is Jackie Cooper as editor Perry White. The man would be at home in a movie like His Girl Friday with the sly quips coming at six-or-seven per minute. Characters talk over each other, confuse one another, and build to comedic crescendos. In a word, the whole thing pops. Consider Lex Luthor’s (Gene Hackman) initial scene in which he and Miss Teschmacher (Valerie Perrine) trade insults. The snappy dialogue comes from an older tradition, but it fits so well with the characters that it seems like the most natural way for people in Metropolis to relate to one another.That poppy sense of fun would be borrowed wholesale by the MCU, with Robert Downey Jr’s facility for quippy ad-libbing setting the pace. But you also see it in films like Spider-Man: Homecoming and Thor: Ragnarok. Both are so comfortable with their realities that they can poke fun at the self-seriousness that superheroes attained after The Dark Knight Returns and Watchmen were released in the mid-1980s.Curiously, that tension between seriousness and comedic agility forms some of the conflict between Superman and Lex. In their first encounter, when Superman pushes the door to Lex’s bunker off its hinges, he responds with a wry “It’s open, come in,” and orders Otis (Ned Beatty) to “take the gentleman’s cape.” Though capable of having fun with his own Boy Scout persona in earlier scenes, Superman is having none of it and refuses to spar with Lex. The greatest criminal mind of the age, though, continues to try to engage him in that style of patter. It lasts until the moment Lex finally puts the kryptonite medallion around Superman’s neck, proving that the quipster is a legitimate threat to the Man of Steel and California.5. By Getting Romantic(Photo by © Warner Bros. )Sure, Lois Lane’s (Margot Kidder) interior monologue during the “Can You Read My Mind?” flying sequence may be one of the most cornball things every committed to film, but the romance between Lois and Superman – a thing de-emphasized in the serials and The Adventures of Superman – makes such a stunning return in Superman that just about every subsequent superhero movie felt honor-bound to include the character’s original romantic entanglement for good (Captain America: The First Avenger) or ill (Thor: The Dark World, Green Lantern). There are exceptions, of course: Batman paramour Julie Madison predated Vicki Vale in the comics by almost 10 years, but would not be seen on film until Batman Robin. But even in cases where the romance is not the one true pairing, most comic-book movies emphasize a romantic plot as key to the movie.In Superman’s case, Donner and Mankiewicz felt it was more central to the piece than any exterior foe Superman would face. Mankiewicz, in particular, wanted to make sure filmgoers “wanted to see these two kids get together.” It s a will-they-or-won t they chemistry. As Kidder later put it, Lois was as immune to most men as Superman is to bullets; therefore she treats Clark with a dismissive authority. But Superman literally sweeps her offer her feet and all of her sarcasm and bravado falls away. On screen, it leads to a powerful chemistry subsequent films desperately hoped to emulate, even in stories where a romance may not actually serve the movie. We re looking at you, Batman Begins.Of course, there as so many more things to consider, like the iconic Superman theme by John Williams. Then there are the little moments which will always stand out: the man on the street who calls Superman’s costume a “bad outfit”; Lois’s stunned “You’ve got me? Whose got you?” when he rescues her from plummeting to her death a few moments later; and Lex’s angered scream of “Miss Teschmacher!” In building such a genuinely grounded platform from which Superman could soar, Donner and his partners designed the format from which all big budget superhero movies derive. Sure, they can react against the formula (Blade, Hellboy, The Dark Knight) or embrace it, but Superman will always serve as the baseline from which to examine how successfully they bring beloved comic-book superheroes to the screen.Superman: The Movie was released December 15, 1978
三国策略类单机游戏 (Photo by Marvel Studios)As revealed in last week s episode of WandaVision, the sitcoms recreated in its earliest episodes truly mattered to Wanda (Elizabeth Olsen). The homages to The Dick Van Dyke Show, Bewitched, The Brady Bunch, and Malcolm in the Middle literally recall a suitcase her father carried around Sokovia. The shows continued to offer her solace into her adulthood, as seen in the moment when she and Vision (Paul Bettany) first bonded at Avengers HQ. Although there is some discussion as to when the DVD box sets in the suitcase were available at the time, and a few other questions about the timeline, this thematic connection is key to the overall story. And, as the program’s director of photography Jess Hall told Rotten Tomatoes recently, it was there from very early on. It was in the first draft of [showrunner] Jac Schaeffer’s episode eight script that I read early in pre-production, he said. So it was in my mind and informed my approach from the beginning. In the flashback to her Sokovian child, viewers learned Dick Van Dyke was Wanda s favorite of the old American sitcoms exported to the Eastern European country. Naturally, it was the one the series took the greatest pains to recreate.Although, as Hall explained, It was never simply about recreating specific shows; we were also interested in eras and the stylistic and technical approach that defined specific periods in the history of television sitcoms, which led to many more visual departures in subsequent episodes. It also created a mission for Hall to find the line between completely recreating the visual look of a 1950s sitcom and that of the contemporary story the series is actually telling.(Photo by Marvel Studios)One vintage look the show avoided, for example, was that of the kinescope. Prior to the adoption of 2 videotape in 1957, many live programs were recorded by simply pointing a film camera at a TV monitor. The resulting image garbled the intended contrasts and warped the overall image, but created a “good enough” copy for these programs to be shipped off to affiliate broadcasters outside of, say, the New York area. For WandaVision, it would ve been distracting. But even in terms of series originally shot on film, like Bewtiched, Hall noted it is still rare to actually see the original quality of the recording.“One of the things in going back to the original [broadcast of shows] was you re obviously not looking at an ‘original original,’ because you re looking at something that was shot on film and then transferred to video,” he said. “What I was able to do on the early footage [of WandaVision] was get some prints of some of the early sitcoms on film. I got some from the original negative and I then projected those and I looked at those.”The research led to the first episode’s recreation of The Dick Van Dyke Show’s lighting scheme and camera angles. Although, thanks to the rare negatives he looked at, the WandaVision footage is sharper than most people’s memories of that vintage program.(Photo by Marvel Studios)Creating that clearer-than-you-remember image became the working philosophy for the subsequent recreations of shows like Bewitched, The Brady Bunch, and even Family Ties – itself now a vintage program to the horror of many viewers.“In my mind, the reference was actually much closer to the original, not necessarily what had been seen by viewers on the televisions of the period,” he said. “I think once you go to that level, you re potentially degrading the image so much that you re losing some of the original characteristics. So our objective was not quite that.”He added the aim of the photography was to look at the [vintage] material and then create something that somehow has a modernity to it.”That modernity matters as, ultimately, The Brady Bunch and Malcolm in the Middle prove to be what Wanda was watching at pivotal moments in her life. Presumably, Bewitched and Family Ties held similar positions her memories for traumas yet to be explored.Series director Matt Shankman identified shows that were iconic both in terms of era and integral to Wanda s history via an emotional connection established in her childhood, Hall explained. Thus, recreating the camera movements of Family Ties became important on both the technical and thematic levels. And, as it happens, those details would create a strong connection for the audience young enough to remember when that show aired on NBC or when some of the older programs ran in syndication — to say nothing of the people who may remember when Dick Van Dyke first aired!(Photo by Marvel Studios)To younger viewers, though, notions of fuzzy images caused by poor antenna reception, overworked videotape sources, and even the lower resolution of television in the 20th century would require explanations all their own and had the potential to get in the way of the story. In situations like those, Hall, Shankman, and the rest of the crew would look critically at what they could do with the image and judge whether it was too much. This is maybe [correct for] the era, but does it really serve the dramatic purposes of our narrative? was the question Hall would ask. That s what really leads the choices, he said. This is why the boxier aspect ratio of the first three episodes gives way to the wider 16:9 frame of HDTVs in episode five.The cinematography adds a dimension to Wanda’s story — something Hall called “the difference between an original and the memory of an original.”“The reality that Wanda s creating is quite fragile. So I think absolute replication was definitely not the goal. It was more about kind of whirring the audience into this kind of comfortable sitcom reality that was vaguely nostalgic,” he said.Creating that comfort also meant the visuals could be disrupted to “bring in some of the more sinister aspects of the narrative.” A great example of this in episode one when Mr. Heart (Fred Melamed) starts choking; the Dick Van Dyke–inspired staging and lighting gives way to more modern photography for the series’ first chilling moment.(Photo by Marvel Studios)But even with the elements he wanted to recreate – the filmic look of 60-year-old sitcoms shot on 35mm film, for example – technical limitations still appeared by virtue of the changes in filmmaking technology. Hall called it an “inherent challenge” as the 4K resolution High Dynamic Range digital cameras used to capture WandaVision result in a substantially different image than a film camera from the 1960s.“You re taking that highest level of quality and then trying to degrade it. There s a kind of contradiction there,” he said. “But it s a really interesting way to approach it. If someone asked me to do [a show like WandaVision] five years ago, I might ve said, ‘Oh we should shoot that on 35 mil,’ or ‘Let s shoot that shoot on 16 mil, let s get an old video camera to do that.’ With this show, I really decided to do the whole show on one camera and to really try and use the technology to actually create the different looks.”In fact, a whole field of filmmaking is devoted to making the qualities of specific vintage film stocks available to cinematographers like Hall. The results can be striking, as seen in the first three episodes of WandaVision.“There was a lot of in-depth color science work that I did with Technicolor to place a huge-bandwidth, raw high-quality camera signal in an envelope, which restricted the signal down to a 1950s black-and-white look, or an early color film look, or an early video look. There are plenty of algorithms and lots of computer tech behind that color science, but Hall said he really relished exploring the digital platform to its full capabilities. That was really one of the exciting things about this project and sort of appropriate to Marvel, who I feel are always kind of at the cutting edge technologically. And by shooting the entire series in 4K HDR, Hall delved into the higher end of what can be captured on the format.“The potential to have richer colors is actually technically a possibility now,” he said. “That really opened up a whole world for me in terms of what I looked at on the comic book reference, which had this incredibly vivid color.”(Photo by Marvel Studios)The results lead to the dynamic contrast in scenes set outside Wanda’s Hex, the colors on display when Monica steps through the barrier in episode seven, and the beauty of the images within Wanda s recreation of classic sitcoms.Of course, recreating sitcoms led to one more challenge for Hall: the three-camera set-up itself. Unlike movies, which typically light and shoot one angle of a scene at a time, sitcoms typically light an entire stage with three cameras following the actors as they play out a scene. In many productions, the job of editing the shots was done on the fly as a videotape recorded the resulting program. Other shows would take the material caught be the three cameras to the editing room and build the episode there. For WandaVision’s debut episode, the production mounted a full live-to-tape recording in front of a studio audience. episode five — the Family Ties-inspired episode — was also shot in the three camera set-up, but lacked a studio audience, a difference sure to please fans of television production.Nevertheless, lighting for three simultaneously running cameras taught Hall — a veteran of single-camera productions — a new set of skills.“You ve got to light for the 180 [degrees of the stage]. You re shooting a wide shot and two medium shots at the same time or you re shooting a two shot and two close ups at the same time,” he said. That means finding a lighting scheme which serves several cameras at once while still conveying the intent of each shot. He credited Shankman, a veteran sitcom actor from shows like Just The Ten of Us, with putting him through a “sitcom bootcamp” to hone the multicamera discipline. As a result, they wound up shooting scenes outside the Hex with multiple cameras.“There were action sequences that required coverage. And if you ve got a stunt, you might as well put a third camera on it because it might not be replicated again,” he said. Nevertheless, he admitted there were times he was happy to be out of the studio and on location with the S.W.O.R.D. crew or in Westview’s beautifully manicured exteriors. “I think the location work definitely provided some light relief from the set work, which became quite intense,” he said. “But this show had so much diversity in it, you never had a chance of getting bored because every day was different.”(Photo by Marvel Studios)Near the end of episode eight, Hall had the opportunity to turn the camera at his own lights just as Wanda came to understand why she started recreating old TV shows in the first place. As he put it, it s a self-reflexive moment that exposes the constructed reality of a show which thematically features a constructed reality at its core. And though we may not yet know the full extent of what Wanda, as the Scarlet Witch, can construct, the moment stands as one of the most fascinating in terms of what it took to tell her story. We are revealing the mechanisms of the medium itself and illustrating to the spectator that their perception of reality is manufactured, subject to change and transformation, Hall said.With one episode or revelations yet to be transmitted, we can t wait to see how Hall and his team photograph WandaVision s conclusion.The WandaVision season 1 finale premieres on Friday, March 5 on Disney+.On an Apple device? Follow Rotten Tomatoes on Apple News.
Summer is approaching, and cinematically speaking, there are plenty of places to go during these hotter months, but nothing seems like a better destination than In the Heights. Once you see the nearly unanimous rave reviews of the upcoming musical — directed by Jon M. Chu (Crazy Rich Asians) based on the Broadway smash by Lin-Manuel Miranda (Hamilton) — you’ll want to book this virtual trip to the Washington Heights neighborhood of New York City.Here’s what critics are saying about In the Heights:Is this THE movie to see this summer?In the Heights is a knockout… This one deserves to be the film of the summer. Manuel Betancourt, That ShelfIn The Heights’ irrepressible energy is the perfect note on which to kick off this summer’s blockbuster season. Danette Chavez, AV ClubEvery summer should have a movie like this one. Joshua Rivera, Polygon[It’s] more than just a movie. It’s more than just a musical. It’s an event. Anna Menta, DeciderIn the Heights isn’t just a movie, it’s a movement. Matt Rodriguez, ShakefireCould it even be the movie of the year?There may not be a bigger cardiac rush this year than In the Heights. Leah Greenblatt, Entertainment WeeklyOne of the best films of the year, In the Heights is a special experience. Adriana Gomez-Weston, We Live EntertainmentOne of the best films of the year that is perfect in almost every way. Matt Rodriguez, ShakefireIt’s one of the liveliest and most moving films you’re likely to see this year. Siddhand Adlakha, IGN Movies(Photo by Macall Polay/©Warner Bros.)Will fans of the original Broadway production be happy with it?Bursting with life, love and melody, it amplifies the mega-wattage of Lin-Manuel Miranda’s Broadway show, transforming it into a jubilant cinematic experience. Courtney Howard, Fresh FictionChu perfectly captures the energy of — and builds upon — Lin-Manuel Miranda’s Tony-winning musical. Anna Menta, DeciderChu’s vision expands and enriches the show’s rendering of Washington Heights into a moving spectacle, elevating mundane mornings or trips to the pool into something mesmerizing and exhilarating. Monica Castillo, The WrapIt’s a musical adaptation that feels grand and intimate in equal measure; there’s plenty of pizzazz to go around but Chu knows just when to zero in on small details to make this effervescent musical sing. Manuel Betancourt, That Shelf[It’s] a triumphant adaptation… In its joyous excess, In the Heights makes a case for adapting Broadway musicals into Hollywood cinema. Joshua Rivera, PolygonWhat about fans of movie musicals in general?In the Heights is proof that the movie musical isn’t dead — it simply needed a little flavor. Juan Barquin, The Film StageEven as it calls back great movie musicals both old and new, it also feels like a great leap forward for the genre. Manuel Betancourt, That ShelfThis is the very best of what a movie musical can be. Anna Menta, DeciderIt’s exceptional and rapturous, as all great musicals should aspire to be. Courtney Howard, Fresh FictionIt does what a great musical should do. It makes you feel alive. Siddhand Adlakha, IGN MoviesIt’s the best Hollywood musical in years. Jacob Oller, Paste Magazine(Photo by ©Warner Bros.)How are the musical numbers?Each one feels impossibly more iconic than the one that came before it. Anna Menta, DeciderAlmost all the songs are bangers that keep emotions high — you’ll weep, you’ll cheer, you’ll hum the songs to yourself on the way out of the theater. Jacob Oller, Paste MagazineAlthough not perfect in execution, the musical numbers of this adaptation take characterization to new heights as they each respond to the popular music of the character’s country of origin. Orlando Maldonado, The Playlist[Chu’]s end goal seems to be doing the mostest for each musical number, which doesn’t necessarily correspond to doing the bestest. Martin Tsai, Critic s NotebookHow is Jon M. Chu s direction?In the Heights is the movie he was destined to make, and going forward, I hope to see Chu create more musicals for the ages. Alan Cerny, Vital ThrillsOne exciting aspect of the whole experience is Chu s vision on what a movie musical can be… [He] inherently understands that musicals are magical, no matter how small and realistic the plot. Erin Strecker, MashableChu hits a lot more often than he misses, and always when it counts most. David Ehrlich, IndieWireMr. Chu’s abrupt transitions between naturalistic street scenes and the soundstage are characteristic of an inconsistent and incoherent style. Martin Tsai, Critic s NotebookWhile the spontaneity of the dance numbers ultimately works in Chu’s favor, the frequent close-ups do not, and it makes me wish he showed the potential for splashy musicals that he did in his Step Up movies. Hoai-Tran Bui, SlashfilmAt times, I found myself a little frustrated with Chu’s directing choices… I wanted to yell HOLD STILL! so I could see amazing performers — and they are all truly fantastic — do their thing. Alissa Wilkinson, Vox(Photo by ©Warner Bros.)Are there any standout performances?The cast is uniformly excellent, with special notice to Anthony Ramos whose charisma leaps off the screen. Travis Hopson, Punch Drunk CriticsOne of the most charismatic and radiantly likable performances you’ll ever see on a screen of any kind, Anthony Ramos plays Usnavi as a naturalized storyteller with a twinkle in his eye. David Ehrlich, IndieWireThe ensemble assembled is out-of-this-world stellar. Ramos and Hawkins turn in top shelf performances. Grace gives a career-defining turn… Merediz is a graceful powerhouse. Courtney Howard, Fresh FictionIt’s hard to pick a favorite performance, but with soul-stirring, son-infused Paciencia Y Fe, Merediz reminds us why she’s Latinx acting royalty. Danette Chavez, AV ClubWhile the entire ensemble cast shines, the film is Merediz’s, and she’ll likely be in conversation during the coming award season. Adriana Gomez-Weston, We Live EntertainmentDoes it have a message?In the Heights contains a message of hope that’s well-needed right now. Adriana Gomez-Weston, We Live EntertainmentIn The Heights’ timely story has a topical message that feels right at home in a musical setting… that’s reinvigorated by the way that Huedes adapts her own book into the realities of today. Mike Reyes, CinemaBlend[It’s] a bit heavy-handed at times with its messaging. Juan Barquin, The Film Stage(Photo by ©Warner Bros.)How important is the film s Latinx representation?What I love most about In the Heights is how Latino culture is represented front and center and is not just some afterthought saved for a scene or two. Matt Rodriguez, ShakefireWhat makes the adaptation of In the Heights so remarkable is that it is a major Hollywood musical that allows its Latino characters to live normal lives, outside of gang or narco violence and outside of stereotypes. Monica Castillo, The WrapIn the Heights pulls off the impossible as it accurately represents the Dominican, Cuban, Puerto Rican, and many other Latin diasporas in the United States. Orlando Maldonado, The PlaylistWhat’s most special about In the Heights is that it shines a light on an often overlooked community on film. Adriana Gomez-Weston, We Live EntertainmentThe film ultimately comes off as a corporate vision of celebrating diversity. Martin Tsai, Critic s NotebookBut is it also a movie for everyone?Not everyone is going to feel represented when they watch In the Heights. That’s an impossible task for any movie. Yet [it] can represent many things for many different viewers. Monica Castillo, The Wrap[It’s] a big Hollywood musical that’s not just for Latinx people, but for fans of Broadway, Hamilton, Lin-Manuel Miranda’s cult of personality, and musical theater in general. They’re going to flock to this film like it’s a hot new brunch spot in Crown Heights. Joshua Rivera, PolygonAre there any problems with the movie?Not all of the updates are seamless; some of the meaningful tension from the original is sacrificed for an unambiguously happy ending. Danette Chavez, AV ClubNarrative and pacing issues… including the very real defanging of the source material’s more complex relationships which create a kind of generic happy-happy joy-joy feeling. Scott Mendelson, ForbesHawkins isn’t charismatic enough to elevate a paper-thin character when placed against a star like Grace. Juan Barquin, The Film StageNot all character arcs are as strong as others, specifically when it comes to Vanessa’s. Her internal and external stakes aren’t brought together nearly as cohesively as her love interest’s. Courtney Howard, Fresh Fiction(Photo by ©Warner Bros.)Should we see it on the big screen if we can?Dreams like this, whether they be large or small, need a big screen to be truly seen; and In The Heights is absolutely worthy of being made into a big time moviegoing experience. Mike Reyes, CinemaBlendSeeing this massive, guileless, heartfelt piece of Hollywood entertainment on the big screen is like coming home after a long year in exile only to find that it’s still there, and maybe even better than you remembered. David Ehrlich, IndieWireSee it with a crowd that will applaud every song and show-stopping dance number. Mike Ryan, Uproxx[It] couldn’t come at a better time and absolutely must be seen in a theater… The experience is absolutely euphoric, and should be seen surrounded by as many friends and family as one can gather. Travis Hopson, Punch Drunk CriticsIn the Heights is a stunning, triumphant return to the cinema that reminds us again and again and again why we love seeing movies on the big screen, together. Jacob Oller, Paste MagazineWill we want to see it again and again?When the credits rolled on Jon M. Chu’s joyous, colorful, pulse-pounding, and hopeful In the Heights, all I could think of was how badly I wanted them to restart the film. Travis Hopson, Punch Drunk CriticsIn the Heights was the last film I caught inside of a movie theater in 2020. I have not stepped foot in one since that advance press screening last spring… There is no film I am more eager to watch amidst an audience than this ode to the beauty of crowds, to the value of solidarity, and to the pleasures of community. Manuel Betancourt, That ShelfIn the Heights releases in theaters and premieres on HBO Max on June 11, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News. 说起游戏画质，是评价一款游戏的前提，一款游戏如果没有好的画质与优秀的游戏优化，就不能称为一款好游戏，作为魔幻类型的手游题材，始终是有很多玩家非常喜欢的，下面就给大家带来10款画质让人看到惊呆的魔幻手游。
(Photo by Justin Bettman )Writer and producer Tarell Alvin McCraney is clear that he is no activist. Despite a body of work that often grapples with topics of belonging and community, codeswitching and survival, and freedom and healing, the Oscar-winning scribe of the Barry Jenkins–directed Moonlight is just committed to reflecting the world as it is, particularly for those poor, Black, and queer. Therein lies the importance of his television drama David Makes Man, which returns for its second season on the Oprah Winfrey Network this Tuesday. Focused on the struggle to survive in a world that would rather see Black people snuffed out by systematic and systemic oppression, the series is perhaps the realest and most liberating show on TV making plain a vision for the future, and the present, that holds, like a grandmother’s embrace, all of its people.“As an artist who definitely wants to learn and be affected by all of the activism in the world, I try to allow that to make me brave enough to at least bring up the questions that I don t have answers to,” McCraney says of creating work in this moment of ongoing social unrest. That means not “rehashing anything that we know is right or wrong in this work, like the prison industrial complex,” he says. It’s about more nuanced questions, says the writer and series executive producer. “How does [the prison industrial complex] harm our communities, and whom does it harm? And in what ways? And are there other possibilities, like whose voices can be lifted or not in these moments? I was like, ‘I m scared of that question, but at the same time, I m going to talk about it.’” (Photo by Rod Millington / ©2018 Warner Bros. Entertainment Inc. )The first season of David Makes Man centered on a 14-year-old prodigy named David (played exquisitely by Akili McDowell), who lives in the projects of Miami and who is haunted by the death of a father figure and mentor. Bussed out of his community to a mostly white school, David is forced to embody two personas: one to navigate the streets that raised him, and another to succeed in the education system that may offer him a way out. With a strong ensemble cast including Alana Arenas, Isaiah Johnson, Travis Coles, and icon Phylicia Rashad, the series was a critical darling — season 1 is Certified Fresh at 100% on the Tomatometer — and nabbed a Peabody.In season 2 of the series executive produced by Michael B. Jordan, Oprah Winfrey, and showrunner Dee Harris-Lawrence, David is now a rising businessman in his 30s (played by Kwame Patterson) who must choose between the instincts that helped him survive adolescence or finding a new way to live. Ahead of the season’s premiere, Rotten Tomatoes spoke with McCraney about the decision to jump 15 years in the narrative, how the 2020 social uprising and pandemic impacted the show’s storytelling, and the subtle and overt ways queerness shows up in the show.Tre’vell Anderson for Rotten Tomatoes: At the end of season 1, David is still a teenager in school; we start season 2 almost two decades later. Talk to me about the motivation behind that choice. Tarell Alvin McCraney: The decision was in the making of the show. One of the initial passes at the last episode of season 1 was to do a little fast-forward, so you would see David dealing with the issues he had experienced in season 1. So even in the initial pitch, when I spoke to Ms. Winfrey and MBJ, my thought was: I want to show how we pick up these skills. I want to show how the Kobes of the world, the LeBrons, the Ryan Cooglers, how these very particular genius-folk get from being where they are in the communities that they grow up in to navigating mostly white society in these various different ways.In order to do that, I want us to look at how trauma can sort of take a snapshot of who you are in that moment, that moment when the bear attacks, the look on your face and your reaction, and how you keep replicating that moment throughout time, and how you are still that 13-year-old, that 14-year-old, that 15-year-old, even as you re an adult now dealing with your own child, or dealing with your spouse, or dealing with your boss. You re now dealing with them as if it s that moment of collision all because you ve been triggered and haven t found a way to let go of that, or work through it, or find another way. That was always the aim.And rather than make it clinical, you will see David seemingly successful with the trappings of success all around, surviving [but] still not living fully, still thinking everything is a life-or-death situation, still thinking that they ve got to be the best at everything and not taking the time to learn, to be wrong, to be still. There s that meme that s been going around just last week of like, “The best thing we can do for ourselves is to find what triggers us, so that we don t enact those traumas onto other people.” Well, I couldn t have said it better myself for good ol’ David: he has yet to take that time to, as my grandma would say, look back over his life and think things over. That was always the purpose and now we re here, in this chapter of David s life, doing just that. (Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: The last time I spoke with you was in the lead up to the series premiere and we talked about the masks we, as Black people, sometimes learn to wear to navigate various spaces. In what ways does that concept manifest for David now?McCraney: In the same way. That s the problem, right? There are moments that you ll see 15-year-old David bring grown self and not really living through grown self, but just wearing it. Same kid, same terrified, same insecure, same childlike imagination. And in some ways, that s great. I mean, who is that friend that can be like, Hey Tre vell, and in the way that they say it, a part of you fully [transports back to that time, even as] it may not be able to in the flesh because we ve grown or changed or shifted our hair or now we got a different eyeliner than we used to wear when we were 15.But as Missy Elliott says, Same teeth, same hoop earrings. Within us, there is a person that is connected to that part of our lives, and that is in there sometimes popping up and not. The masks we put on to go out and be, Oh, I m grown, but that kid s still in there somewhere. And is he OK? Or is he running around terrified? And if you don t stop him from being terrified, if we are not comforting that part of ourselves, I think some real stress and some real damage can happen. It s been thrilling actually doing all of this cause, I swear, it s like affirming to me some of the work I needed to do with myself, but also talking about the ways in which our society, our communities, don t allow this kind of inward looking.Rotten Tomatoes: Production resumed in October after the social uprisings of last summer. Did any of that, or the pandemic, impact the storytelling and ideas you all decided to surface?McCraney: We don t write directly about those times, but a lot of those issues come up, be it care, be it closeness, be it community, be it gentrification. Police reform comes up. One of the things that we kept talking about was, “Who are we at this moment?” and someone asked me earlier today, “Am I an activist?” and I was like, I can t claim that. I feel like activists are superheroes. That s like asking me if I m an Avenger. You’ve got to have a certain skill set and the ones who are out there saving our lives and making space, they have a certain skill set and their analysis is on point.(Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: But you have spoken before about purposefully making a show that will stoke very necessary conversations that we as Black people need to have. You and the team seem to have perfected the ability to reflect the specificity of Black trauma in a way that doesn’t feel harmful, and I can see how people might see that as activism. McCraney: Well, how do I talk about the fact that every time I wanted to make a show about a 30-year-old Black man, people were like, Well, Black men don t watch TV. OK, I recognize that the world thinks that; however, if they did, if for some reason a whole bunch of Black people sat around and watched this, what would I want us to be doing? Certainly not just crying the entire time, or certainly not just bemoaning a lot of the pain that we ve been through. Do I want to be in the reality of it? Sure. But I also want to be pointing at a path towards healing. I want to be a part of families being able to come together and watch together and engage together and have dialogue together in a way that may be uncomfortable, but it s not suffering.Where s the line of uncomfortability, but not suffering? bell hooks talks about that in All About Love, that that s love. The intention is that I can make myself uncomfortable in order for you or somebody I love to grow and to be nurtured, but the moment I’m suffering in order for you to be growing or be nurtured, that s not love. So, I don t want anybody to be suffering or having to suffer through what I m doing. Uncomfortability I can take. Uncomfortability is where the growth happens anyway.(Photo by Rod Millington / 2018 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: One of the many beautiful things about this show is its creativity and imagination, its extremely cinematic in approach. What are the conversations you have with the writers room about ensuring that?McCraney: Well, that s the job. That’s the agreement of our show that s different from other shows. There are plenty of shows about people who grew up in the hood. There are plenty of shows about police officers who used to be in the hood. There are plenty of shows about architects who are developing the neighborhoods in which they grew up. We have those shows, but we don t have shows about when the young person who may or may not become a part of the drug operation is trying to do their homework and starts imagining their lineage through water and earth. We don t have those moments, and not because they re not there. I thought, this is where I d love for us to see it and feel it, and remember it. And even though we don t experience the world exactly like David, I am sure that the corner boys have imaginations. I m sure that the corner boys imagined different things than what they re seeing right in front of them. I m sure of it because some of them ended up writing dope rhymes that we listen to. I m sure that the little girls who are playing double dutch one minute and dodging bullets in another, imagine things different and feel things different and wish they could say something like this in their head, but can t in real life. I m sure the mothers who may have been addicted to drugs and are trying to get past that obstacle for the benefit of their children and themselves, sometimes imagine a world that is completely different than the obstacles that they face. And that s our remit, that s our job to explore the interiority of those folks and how their resilience to get through those things can be so compelling, amazing, but also exhausting, tiring. And that maybe there are other things, and other ways and other tools that we need, once we have survived those things, to live. (Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: I find that the way queerness is incorporated to the show, in both subtle and overt ways, to also be something special. It feels intentional.McCraney: I m glad you brought that up. In full transparency, one of the things that we did early in the first season is engage with consultants on the show. I was like, Yeah, I m queer and I m here, but I want another opinion. I don t want to be the only person refracting back. There were queer people in our writers room, but I also asked Hari [Ziyad] to be a consultant. And so in the way you re talking about it, in the writers room, in the creative process, we had queer reflections in many ways, some that were visible and some [that weren’t]. That was really important to me that it would be reflected in the show because it, again, reminded me of growing up. There were just so many ways that queerness was around me all the time. Sometimes it was talked about. Sometimes it was admonished. Sometimes it was celebrated. But it was just always there.Again, that s why I always say I’m not an activist. Activism takes a great deal of intentionality – and so does art, but also sometimes it s just the way you see it. Sometimes you just go, I see it this way and I m going to paint it that way cause it s easier. How do I be as truthful to this as possible and make sure that I can maintain it with all the respect and love that I can? I feel really honored that [people] think I m some super genius that is figuring this stuff out, but queerness finds a way to be in the picture anyway.David Makes Man season 2 premieres on OWN on Tuesday June 22, 2021. On an Apple device? Follow Rotten Tomatoes on Apple News.