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亚博网站网址采用百度引擎9(Baidu 2)Barbara Ling:  I got a call to read the script at Quentin s house, and I went crazy for it, then met with Quentin. And the first big meeting was kind of insane. He writes the script as if it s a novel. It was an enormous amount of places. It was all I could do to try to take notes and catch up on how many locations we were going to need it was so massive. A massive film driving through LA, nonstop. It s stopping at many different types of areas. So once Quentin and I talked about the things that were most crucial for him and what he d love to see that could be discovered, all of the rest happened really quite quickly. Within the first 24 hours of me starting, I made sure I had Rick [Schuler] starting the next day, because the one thing that was very apparent to me, time was of the essence, and it was gonna take a lot of wrangling. It s Los Angeles, which is not an easy hunt. So Rick threw his department together fast.Rick Schuler: I was working on Ford v Ferrari and decided to jump over because I wanted to do the Quentin movie. Then I interviewed with Barbara. I guess that interview went well. [laughs] I was excited to be working with her, because she grew up and lived in Hollywood at that time. I came to Hollywood much later, so I was very excited about that. But yeah, it started rather quickly. Barbara met with him first, and then I got to the script, and then just started breaking down the locations. Barbara was already doing the locations that were written in the script and scouted already. So there was plenty for me to start wrapping my head around, like Musso Frank s and Casa Vega and all that kind of stuff. And then it was only later that I jumped in and talked more with Barbara and Quentin about other specific locations.Ling: We had Quentin in a car the very first week we both started. By the end of that week, we were driving the streets of LA. We had a tight window of only about 12 weeks before the tech scout and the first commercial shoots. Those little commercials were being made for within the film first, which meant that you had 12 weeks to put this movie together, to have the budget, start building, and start finding. The best part was being in the car with Quentin those hours and long conversations. And it does take hours, because driving through Los Angeles scouting is always hours. [laughs] In one respect, it was good, because that s where you get so much about what he s thinking. He s going, Yeah, and what about that? What about if we do this?  It s a creative time. And then there was nonstop driving with him once Rick would assemble things. It was a very quick process, but very creative and very fun. The hardest part [was] getting all of [these fractured moments] pinned down in the beginning. (Photo by Columbia/Sony Pictures)Ling: You have a layering in this film that s separate from the world that they were in the everyday 1960s, and then you had the TV shows that they were in at that time. Rick Dalton s Lancer would ve been set as an 1800s Western. So now we re doing this film, and we re doing the eras within the era. The constant was 1969, the live-action now. The actors, you d see on the streets or in their homes. And then we d go to a set, and now we re coming into a TV show. You have the Westerns, the Hullabaloo, and these fractured moments around different sets that carry on as their characters are on the set. When Cliff Booth is fighting Bruce Lee you re there on the outside of the set in the 1960s. You re not on the inside of the set, but it s there in the background.And those scenes within the scenes are the hardest part. Getting all of that pinned down in the beginning how many TV shows are there? It s a lot. It s a lot because there were a broad range of shows. But Quentin had to pin it down for himself. He said,  Okay, we re going to do 20 of these shows. But then you had the everyday action of the movie, Rick s life, Rick coming home, Cliff going to his trailer, the introduction of the Polanski house. And there s actually a lot that we did that didn t make the cut, because what happens with any movie is that you go for the gold, and then you think, Well, maybe I don t need that now. [Quentin s] an encyclopedia of both film and TV shows of that era. (Photo by Columbia/Sony Pictures)Schuler: Do you remember how he [Quentin] would pop things on us? Like, we were driving back from somewhere, and he goes, Oh, okay, go down Riverside. Go by Bob s Big Boy, and make a left on Furman. Stop. Now, let s get out of the car. And then he showed us a restaurant that he had frequented with his family growing up called The Money Tree on Riverside. And then once he sort of told us about that, he said, Well, an FBI episode was shot here. And we re listening, and he s like, Yeah, and I want to do this scene here. And that was sort of completely out of the blue.Ling: What s so great about Quentin, he s an encyclopedia of both film and TV shows of that era, particularly of the 50s, 60s, and 70s. And because there were scenes from FBI he wanted to recreate, which he did with Rick s character, we found a location and put that into the episode. He had found an old FBI with Burt Reynolds that he knew had a moment driving right down Riverside Drive and making the turn on Furman he just knew exactly where that was. The Money Tree was the place he had gone to, and he said, This would be fabulous if we just recreate on this block, if we could put everything back. And I was like, Well, that s not an easy ask. [laughs] Riverside is not an easy street, but it was fabulous because it s something off the beaten track, and that s what makes period work fun. And working with Quentin, those are the things that aren t always obvious, but it s very fun. Hollywood tends to be kind of an idea, but not so much a destination. [Tarantino] could make it a destination. (Photo by Columbia/Sony Pictures)Ling:  I would say Hollywood Boulevard was certainly one of the most massive things we tried. That had not really been done in probably 50 years, that someone was allowed to close Hollywood Boulevard. To have that much work done and closed down for, what? Three days? It was massive. Just the logistics of getting it done was like a miracle.Schuler: When Quentin mentioned he wanted to do Hollywood Boulevard, I was thinking, Oh, we ll do it between 9:00 AM and 3:00 PM in the afternoon, and then we ll do some night stuff, so that we can work between rush hours and all that. And then as he kept talking about Hollywood Boulevard, it became clear to me, Oh, there s no way we re going to do this, this way. We re going to have to really shut this whole thing down. So I started talking to the stakeholders in the area about what we wanted to do. Eventually, it led to a meeting with those stakeholders, and it became clear that I needed to get the council s office on board. The Department of Transportation was going to say no, because they have to say no. Our filming there is not going to make driving around Hollywood easier. They made it clear that if I could get the council s office to override everybody else, then they would be willing to go along with it, because, essentially, there was political cover, and it was out of their hands. I understood that, so eventually, we were able to go ahead and do that.Quentin came to the meeting, and by that time, everybody was on board with the project. And part of it was due in part that it was a movie about Hollywood. It was a man who had essentially grown up in Hollywood, that worked in Hollywood, that owned a theater in Hollywood, and who better to be able to do something like this and actually give something back to the city? That was the plug he made, and it worked. Hollywood tends to be kind of an idea, but not so much a destination. He could make it a destination. People could watch this movie, come to Hollywood, and start looking for locations where we shot. When I went into this meeting, they said they didn t do this except like maybe 50 years ago it was Alex in Wonderland  Quentin had actually shown us that movie. They also had shut down Hollywood Boulevard, they had tanks on the street, cars on fire, and machine gun fire in that movie. And as a humorous point, I said, Okay, you ve done this before. I can promise you, we won t do this again, but I do need some time to do some stuff that will bring people to this city. And they consented to that. [Rick Dalton s house] was our hardest location to scout. (Photo by Columbia/Sony Pictures)Ling: [Rick Dalton s house] was our hardest location, because it was written with such detail. Quentin had a shot that was actually written in the script about Rick in his pool. He s floating, and the camera is on Rick then the camera pulls up, comes up over the house, over the trees and lands right in front of the driveway with the Polanskis coming out the door and getting in their car. He wanted to do that in one shot. To get that was the longest thing we ever hunted. This was Rick s army of human beings searching every avenue on Google Earth looking for two houses that we could actually use that had all the other things we needed, which was a great pool and a view. That went on for months and months, trying to find this combination. And eventually, we found it, but it took months, an enormous amount of work, different homes, and different things. But the shot was so crucial to Quentin, it had to work. He had to be able to get this shot. But finally, in Studio City, up in the hills, we found this great pool that actually had a great view, and then it had a house above it. And all of it could be just altered enough to look more like hillsides.What we didn t do was use Rick s interior house there that became four locations. Rick s interior, I built on a stage, because that was too specific for Quentin in staging, especially for the final scene. That would ve been nearly impossible to find a house that would let me rebuild the interior to look like what he needed. So we did that one on a stage, and then we put in a pool, but in miniature, that was only about six inches deep, so that you could still look out the window at night. And then up at Sharon s house, for her backyard, we used yet another house that was in Tarzana. We altered the back of their house, so when you came out of a door at Sharon s house in Studio City, you actually were in this new location.It was an amazing collection of locations to make one thing. Plus, Quentin did a brilliant, brilliant job in his staging, so you never know that s not all just the same place. It was a number of locations to make up those two. But the feeling of Rick s interior was very important with Quentin it had to feel like a bachelor pad of the time, one of the late 50s for an early 60s kind of actor in Benedict Canyon. This mid-century kind of development actually is what they were. And it s the idea of, Rick Dalton s not a decorator, so he just puts a lot of stuff from his shows. He s got his saddle from one of the Westerns. He s got his Spanish bar we did Palomino skins in it and that s kind of the center of his universe within his home. And of course, the TV, with the mid-century BarcaLounger. You can tell it s not a female-driven home; it s very male-driven. And those are the things that a man would decorate around. The bar was also very important to Quentin what the cups were and things like that. And a lot of pieces from Quentin s own house are in that bar. He also loves to put in little tidbits of old movies like the Hopalong Cassidy poster with a Hopalong Cassidy cup, and all the other things that he collects. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. (Photo by Columbia/Sony Pictures)Ling: It all started just quickly with Musso s, which of course is still very period. That place still looks like 1969, and they adore Quentin. They were very lovely, particularly with the decorating and prop crowd. When we said, Oh, we re going to bring out the dishes that were the right dishes for 1969. They still had everything it was still in that kitchen. The only things we changed out were things in the front, getting rid of the digital cash registers. We changed the curtains and all the stuff by the front door back to the curtains of the time. And we changed all the bottles to make sure that they were the labels from 1969, because even a lot of the alcohol has changed.Certainly, the theaters had more work, particularly the Bruin, who also were great to us. They let us change out their snack bar, put it back to the original snack bar, get rid of things on the side, and put up huge posters inside of there. We had to actually put our own projectors in, because Quentin wanted the film Sharon was watching to be the actual film, not to put that in digitally. So in the back of the theater, they let us take out seats and build another booth and put in film projectors with enough light that we projected the film, in film. So Sharon Tate (Margot Robbie) was watching the film the way it would have been screened at that time. So they were very gracious with all of this. They found even some of the original deco poster holders in their basement and brought them out for us; they were original to 1969. Then we built pieces on the exterior of the building to hold the posters. We were very lucky that both the theaters were managed by the same company. They were incredibly great in letting us change the marquees out of LED to florescent marquees again that could have letters on them. And they let us do that overnight, as their last film came down before we closed the theater. It wasn t easy, but we were very lucky. It was the same thing with Casa Vega. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. That helped a lot.Once Upon A Time in Hollywood is available now for purchase on Blu-Ray and VOD.Like this? 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1. 亚博网站网址
Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List. This week for our fresh picks we have a dark love story, an authentic drama about a former Texas pageant queen, and a dramatic tale about Van Life. In our Spotlight section, we call back to the recent Certified Fresh documentary about the masterpiece of a bad movie Showgirls and its cultish legacy, including an interview with the film s director, Jeffrey McHale.Streaming This Weekend 当然,《天谕》手游中还有很多丰富的玩法,比如专为收集党和风景党玩家准备的冒险玩法,对于那些嫌打怪太枯燥的玩家,就可以直接揣上相机去云垂大陆旅游,不仅拍照能得到奖励,路上还能发现各种隐藏的宝箱。
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2. 公平游戏环境
ow up – but when they do, the tension ratchets up to levels that have some calling The Descent the best horror movie of the 2000s. The director combines two effective distraction techniques for this terrifying “boo”: we’re both emotionally invested in the argument and trying to follow it as Marshall’s camera – the action already obscured with night-vision – swings from person to person. When it swings back to find a beastie standing behind Alex Reid’s Rebecca, we’re completely unprepared. Cue piercing growl.3. I saw her face from The Ring (2002) 71%You can argue that this kind of cut-away is the cheapest trick, randomly popping up in the middle of a compelling conversation, but that doesn’t make it any less effective. And in The Ring, it’s all the more effective for offering one of our earliest looks at the contorted, disturbing, Munch-like expressions with which Samara leaves her victims. We saw her face, too, and we won’t be forgetting it any time soon.2. Hand claps from The Conjuring (2013) 86%It’s the jump scare so good they built a teaser trailer on it. In this scene, the scariest moment in the universe-spawning first Conjuring movie, director James Wan plays us brilliantly: there’s the slow lure down the staircase, the bouncing basketball, the exploding lightbulb, and then a moment of silence before the out-of-nowhere hands reach in for a quick clap-clap. A brilliant callback.1. Scary Bilbo from The Lord of the Rings: The Fellowship of the Ring (2001) 91%Just about the last place you would expect one of the most effective jump scares ever, but in a franchise of talking trees, magic rings, and all-seeing fire eyeballs, you ought to expect the unexpected. After being stabbed by a Ringwraith, Frodo awakes healed in Rivendell, believing he s completed his journey to deliver the One Ring to the elf stronghold. Oh, sweet summer child. Frodo then reunites with Bilbo and they engage in nostalgic conversation. Even after retirement far away from the Shire, Bilbo feels the corrupting pull of the ring, transforming into a snarling freak who grabs at Frodo. Peter Jackson s Lord of the Rings trilogy, like the books it s based on, has an intoxicating quality, drawing viewers deep into Tolkien s universe through simple, quiet dialogue between old friends, so this jump scare feels like the ultimate violation of a moment s respite.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.亚博网站网址英雄联盟手游的皮肤数量还是挺多的,基本上让端游中的一些热门皮肤都出现在手游中。手游中皮肤点赞量最高的还是KDA女团和神王系列皮肤,不少玩家在看到手游中的皮肤之后,都陷入了选择恐惧症。就KDA皮肤而言,每一款皮肤不管是人物模型还是技能特效,都堪称一绝。只不过玩家的预算十分有限,需要选择自己最喜欢的皮肤进行购买。

3. 激战团竞模式
Weekend Box Office Results: Halloween Kills Its Hybrid Release with Million Debut October 17, 2021

4. 呼朋唤友 随心所欲
On November 27th, 1985, audiences flocked to theaters to root for perennial underdog boxer Rocky Balboa yet again in Rocky IV, the third installment in the successful franchise to be both written and directed by its star, Sylvester Stallone. In the film, Rocky faces off against Russian boxer Ivan Drago (Dolph Lundgren), a square-jawed, granite-fisted giant who kills Rocky’s best friend (and former rival) Apollo Creed (Carl Weathers) during an ill-fated exhibition match. Stallone clearly drew inspiration for the film from another legendary fight of the 20th century: In 1938, American boxer Joe “The Brown Bomber” Louis faced German boxing champ Max Schmeling in a rematch heard around the world, as 70,000 screaming fans at New York’s Yankee Stadium watched Louis redeem an earlier loss to Schmeling and secure a victory not just for himself, but for American democracy. Swap out the Nazi-era Germans for Cold War Russians and add a tragic death for dramatic effect, and that basic outline should sound pretty familiar.Some might argue that Rocky IV s jingoistic leanings and adherence to music-driven montages make it one of the lesser entries in the franchise. But after three films that saw Rocky evolve from a likable, leg-breaking enforcer to a world heavyweight boxing champ, this sequel earns its right to strip back its plot and simply focus on Rocky duking it out with a Russian titan for 15 rounds. Though it failed to strike a chord with critics, Rocky IV was a blockbuster smash that pulled in 2 million at the domestic box office (adjusted for inflation), and it remains a culturally relevant fan favorite 35 years after its release. Here s why it still resonates with fans so much more than any of the other sequels.Apollo Creed s Brutal and Surprising Death Still HurtsThough the MGM accountants tallying the box office totals and home video sales most likely didn t mind, Stallone regrets killing off Apollo Creed to fuel Rocky IV s revenge narrative, and it s not hard to see why. Rocky and Apollo had endured so much punishment by 1985 that audiences had come to accept their skulls were essentially concussion-proof, so Apollo s death at the hands of Ivan Drago was shocking. Sure, even those who didn’t watch the incredibly spoilery movie trailer could have guessed that the overly confident Apollo was going to lose to Drago, thereby setting up a rematch. But it’s hard to believe that any popcorn-munching audience expected to see Rocky cradling a dead Apollo in his arms while a murderous Russian dispassionately quips, If he dies, he dies. Part of what makes the death so cruel is that it was only supposed to be an exhibition match, and Apollo treats it as such. He dances his way through an elaborately staged entrance, complete with James Brown himself singing Living in America. When the fight finally starts, he prances around the ring, cheerful as ever, taunting Drago and throwing ineffectual jabs. Faster than you can say “Yo, Adrian,” Drago retaliates, and the atmosphere changes immediately as he batters Apollo from one corner of the ring to the next. When Apollo realizes what s happening, his pride gets the better of him, and he insists Rocky not stop the fight no matter what what follows still makes us scream at the screen 35 years later.Stallone directed this scene expertly, as the flashy entrance and cocksure antics give way to the shocking visual of Rocky’s white pullover stained red with Apollo s blood. Some argue that using Apollo’s death as Rocky s motivation is lazy, but it’s hard to debate how effective the shock was and how simply it sets up the iconic fight.The Training Montages Are LegendaryWhat makes Rocky IV a unique entry into the franchise is the 29 minutes of montage action, featured in eight separate scenes dispersed throughout the film. Some of them simply catch the viewer up on previous Rocky films, while others showcase the original songs by James Brown, Survivor, and John Caffer that Stallone commissioned for the film. The musical montages in particular were wise business decisions, as the soundtrack sold over a million copies and hit number 10 on the Billboard Top 200 list.The most iconic, perhaps greatest-ever montage happens after Rocky travels to Russia and begins a rustic training regimen that includes carrying logs, chopping down trees, and helping locals when their sleigh overturns in waist-high snow. His back-to-basics training, fueled by Survivor’s “Hearts on Fire,” is in stark contrast to that of Drago, whose routine sees him attached to heart monitors, running in cavernous halls, and pummeling things so hard they make Dwayne Johnson s punches in Hobbs and Shaw seem like love taps. No, really: in Hobbs and Shaw, Johnson s Luke Hobbs “only” punches with a force of 1235 psi (lbs. of pressure per square inch), but in Rocky IV, Drago hits register at 2150 psi (real-world boxers only average 1200-1700 psi). In other words, don t sit in the front row of a Drago fight unless you want to feel the shockwave in your own ribs every time he lands a blow.Most importantly, though, the Rocky vs. Drago montage recalls the original 1976 film, which depicts Stallone punching slabs of meat, downing raw eggs, and jogging up the steps of the Philadelphia Museum of Art. Both are gritty, back-to-basics affairs that serve their purpose with maximum efficiency, and they re awesome to watch.Ivan Drago Is A Villain for the AgesThanks to a spiky flat top and a chiseled, glycerin-soaked 6 5 physique, Dolph Lundgren s Ivan Drago is one of cinema’s most recognizable characters, and for good reason. Lundgren s imposing physical presence would later lead to roles as a bionic supersoldier (Universal Soldier), a Marvel badass (The Punisher), He-Man (Masters of the Universe), and a guy who flips cars like they’re pancakes (Showdown in Little Tokyo). He also happens to be a Fulbright Scholar with a master’s degree in chemical engineering and a black belt in Kyokushin Karate.The one thing the Swedish-born actor realized he didn t possess was the same kind of electric charisma that prior Rocky antagonists played by Carl Weathers, Hulk Hogan, and Mr. T flaunted effortlessly. So Lundgren worked with Stallone to capitalize on his stoic nature and subtle tics, crafting a machine-like uber-villain who might just have a little more lurking below the surface. Some critics like Roger Ebert called him “more of a James Bond villain than a Rocky-style character,” which isn t exactly wrong Richard Kiel s Jaws comes to mind but by focusing on Lundgren’s physical prowess and limiting his dialogue to a few memorable quotes, Stallone managed to get himself a nice little stew going. Believe it or not, Lundgren only delivered nine lines in the entire film, but with winners like I must break you, You will lose, and If he dies, he dies now entrenched in the pop culture vernacular, you d have to admit he made them count.The Final Fight Manages to Feel FreshAfter two epic Apollo Creed fights and two short but thrilling brawls with Clubber Lang that saw Rocky going 2-for-4 and avenging losses to both fighters, audiences probably didn’t want to see the same formula repeated again. In the first two films, Apollo was either too cocky (and still won) or tired himself out chasing a knockout (and lost, though he could have won easily). After destroying  Rocky easily in the third film, Clubber lost the second fight because Rocky got into his head, which resulted in a knockout after Rocky hit him so hard it sounded like a jet took off in the arena.What makes the fight between Rocky and Drago unique is the way Rocky makes Drago realize he’s a mortal. Drago has never faced a real challenge; his training partners seem like KO fodder, and Apollo clearly didn’t take him seriously. Sure, Drago’s power is near superhuman, and even when he misses, the air is enough to push Rocky back. But once Rocky opens up a cut on his face, and the crowd starts turning against him, he s caught off guard, seemingly unprepared for any scenario in which he isn t a dominating force. Rocky shatters Drago s confidence and his nerves by standing toe-to-toe with him and forcing him to acknowledge and respect his iron will.The cherry on top is the catharsis of seeing Drago destroyed. In Rocky and Rocky II,  Apollo was supremely charismatic, and you weren’t exactly rooting against him. In Rocky III, Clubber Lang is also magnetic and larger than life, and aside from his trash talk, he was just an excellent boxer Rocky had to overcome. Drago, however, killed Apollo, showed no remorse, trained on steroids, and represented America s greatest threat during a tense period of the Cold War. When Rocky finally turns the tide of the fight and unleashes the decisive flurry on Drago, it s thrilling and satisfying in a way that none of the franchise s previous climactic bouts have been.Fun side note: In order to make the action more believable, Stallone and Lundgren actually punched each other during the fight, and at one point, Stallone insisted Lundgren cut loose as hard as you can. Stallone ended up in the ICU for four days.Its Influence Continues TodayWith an average of 89% on the Tomatometer and close to 0 million at the worldwide box office, Creed and Creed 2 reinvigorated the Rocky franchise, focusing on the rise of Adonis (Donnie) Creed (Michael B. Jordan) as a champion boxer under the tutelage of Rocky Balboa. The presence of Ivan Drago can be felt throughout the two films, as Adonis attempts to fight in the sport that killed his father and ultimately faces a Russian showdown of his own. In a clever callback to Rocky IV, Creed 2 specifically focuses on the battles between Donnie and Viktor Drago (Florian Munteanu), the son of Ivan. Their first fight sees Donnie overwhelmed (like his father in Rocky IV), and the second meeting plays out like the Rocky/Ivan fight, as Viktor becomes dismayed that he can’t knock out Donnie and loses when Ivan throws in the towel to save his son from further punishment. The two Creed films owe a lot to the legacy of Rocky IV, introducing a new generation of fans to Ivan Drago.Even outside of the franchise, the wonderful College Humor 30 for 30 parody has racked up millions of views, and the legend of Lundgren sending Stallone to the hospital after a Swedish super punch has mad the rounds. Recently, Stallone announced he was working on a Rocky IV director’s cut; the news started trending on social media and the controversy surrounding the decision to remove the weird robot subplot has gotten a lot of press. People love Rocky IV, and that’s why 35 years later, it still inspires passionate discussion and remains one of the most popular sports films ever made.Rocky IV was released in theaters on November 27, 1985.Thumbnail image by (c)United Artists courtesy Everett CollectionOn an Apple device? Follow Rotten Tomatoes on Apple News.

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

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

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8.96.0 9月喜迎而国传资源点、公会天梯战、结拜等一系列新玩法的加入,则使得《真?三国无双霸》这款手游在保持单机品质的基础上,为各位喜爱无双割草玩法的玩家,开启了全民燃战三国时代。在“破军测”版本中,你能够借助大幅拓宽的社交系统,结识志同道合的伙伴,邂逅心心相印的佳人,找
(Photo by IFC Films, Sony Pictures Entertainment, MGM)“Know Your Critic” is a new column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.Kristen Lopez is a culture writer, classic film expert, and an advocate for fellow critics. She draws attention to disability representation and the lack of accessibility in many theaters she visits for screenings. She’s determined to not be the only person people think of when they hear “disability” and “criticism” in the same sentence.“I don t speak for everybody, and I would love to have more disabled critics that I could disagree with and be like, No, you’re wrong,” she told Rotten Tomatoes. “I can t speak for every single disability in the world. There is only so much time in the day that I can devote to writing, I can t hit everything. I need some other critics to help share the load with me.”Last year, Lopez contributed to Rotten Tomatoes first book, Rotten Movies We Love. Her take on The Greatest Showman – as with many of her reviews – suggests that our reactions to movies are personal, even sometimes contradictory, when it comes to style and story. As a disabled person, it s so flawed and ableist, but I love the music and the flash, she told Rotten Tomatoes.Lopez is a Los Angeles-based pop culture writer whose work can be found at Culturess, Forbes, The Movie Isle, Citizen Dame, and Remezcla, among many others.How do you watch award shows?For the first time last year, I watched the Oscars by myself. It was very, very odd, but it allowed me to sit in my pink PJs and eat sushi and yell at the TV, which was nice… I feel like award shows are not something you need to endure alone. You should have friends. Especially when things go wrong.What’s your favorite screening snack?I’m an M Ms person. I need to have something to keep my mind focused on a movie, and M Ms are one of those where I can just – I m sure annoying to whoever I m sitting next to – I can roll them around in my mouth and have something to focus on.Do you have a movie theater pet peeve?It’s the people that buy the handicap companion seat that they don t need… I ve been fortunate that if I ask somebody to move, nine times out of 10, they ll be like, Okay – but that s always my pet peeve.You’re sitting down to write. Do you prefer a shot of alcohol or espresso, and what is your spirit of choice?I m a writer, so I can either be an alcoholic or drink coffee, and I prefer to not be an alcoholic, so I drink coffee.Do you read other reviews before or after watching something?I will read reviews after I ve already seen something, mostly because I want to know if I am completely nuts liking or not liking something. I m like, What is everybody else saying? Then I ll see that they re all in love with the movie and I m sitting there thinking like, Okay, well, what s wrong with me? I didn t like it. (Photo by IFC Films)Is there an under-the-radar director or screenwriter that you think more people should know about?For me, it s the team of Mary Harron and Guinevere Turner. They ve been around forever, but I feel like every time they have something out, people are like, Oh, yeah. Why are they not doing more? I say, Well, they are. It s just they re not working with the big studio people yet.” Charlie Says is a really different type of Manson movie that s really feminist and biting about the misogyny and racism of that time, and it s awesome.What do you think is the biggest misconception about critics?The biggest misconception is that we hate movies – we only got into this to gripe about things we can t do, and I have to laugh. I never wanted to be a director. I ve never wanted to be a screenwriter. I love appreciating films and I love talking about them, especially in the last couple of years where I ve written about representation and disability. My goal now is I want to talk about movies that should be doing more or are doing really great when it comes to representation that nobody s talking about.I did not get into this business to work long hours, not make a ton of money, and just be berated on Twitter because I hate films. I got into this because I love movies and I love appreciating them and hopefully influencing somebody to go see something that I love.Is
前言:英雄联盟作为一款已经运营了十年之久的游戏,已经有了非常多的玩家和粉丝,随着游戏的不断发展,比赛机制的不断完善,这款游戏正在逐渐地走向世界,最近一段时间手游的出现,引来了很多玩家的关注。第二轮测试的开启,也让大量的玩家涌入其中,这一次,官方一共更新出了60多个英雄,每一个英雄都和端游一样,无论是技能还是各种操作细节,都是完美还原了,当然也有一些小的细节进行了更新,毕竟端游和手游还是有一定差距的,这两天再见玩的ez就非常的不错。可以算得上是目前手游中最顶尖的AD了,前期对拼换血,魔切成型团战可以一打五。

Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.This week in our inaugural 2021 installment of Indie Fresh List, we have a theater adaptation about a famed night in history, a historical political documentary about MLK and the FBI, and newly available on VOD, a tale about a young woman going to extreme lengths to handle grief  and get vengeance. In our Spotlight Section, we have a recent drama starring The Crown s Vanessa Kirby and a fantastical documentary about people with autism who are non-verbal.  Catching up on some trailers that dropped while we were on hiatus, we have new clips featuring Zendaya, Daniel Kaluuya, Rosamund Pike, Trevante Rhoades, and Tilda Swinton.New This Weekend
Though the requisite French fashion designer–diva in Emily In Paris might consider the show s title basic, Americans might instead call it forthright.  The name of the new Netflix rom-com starring Lily Collins tells you exactly what you re going to get: the story of a successful young American and her fabulous new life in Paris.From Sex and the City and Younger creator Darren Star, the show follows Collins Emily, a twentysomething marketing manager who gets a promotion and moves to the City of Lights to run social media for a luxury French marketing agency. Culture clashes abound, both in the office and in her personal life. While she quickly makes friends in her French chef neighbor (Lucas Bravo), Chinese ex-pat Mindy (Ashley Park), and stylish Parisian Camille (Camille Razat), Emily finds it much harder to fit in at work, where her all-American effervescence and inability to speak French aren t exactly appreciated.(Photo by Carole Bethuel/Netflix)The series, which was originally commissioned for Paramount Network, but moved to Netflix after some corporate shuffling, is Star s first streaming series. I love the idea that people can binge this show, and they re not waiting for next week and next week and next week, Star told Rotten Tomatoes over Zoom ahead of the Emily In Paris premiere.Before you grab some champagne and chocolate and settle in for a binge, read on to find out what else you need to know about the fizzy rom-com.1. Living In Paris(Photo by Carole Bethuel/Netflix)The first thing to know about the series, which was filmed in Paris late last summer and fall, is that living the Parisian life is just as dreamy as you d expect. I wish for jealousy s sake that I could say it wasn t the best time ever, Park told Rotten Tomatoes, but that just wasn t the case: I couldn t have had more fun if I tried. Days off included strolling along the Seine, trying new restaurants, and sipping plenty of wine. Park got an apartment in the historic 4th arrondissement neighborhood of the Marais, and it was exactly what Emily is going through, but I was living it in real time, Park said. There is a wine bar that I took almost everyone who visited me that had the best orange wine and was about the size of this little living room — it s the best. Lucas Bravo and Camille Razat, they would take me out to their favorite French spots, she said.Of course, moving anywhere new is a difficult and isolating experience, and it takes Emily a little while to feel comfortable. Then there s the fact that although the historic buildings in Paris are beautiful, they do have some downsides; for one, the frequent need of repair.Collins experienced the personality of the city s aging infrastructure first hand. Though she said she had a similarly blissful time exploring Paris — her first time in the city for more than a handful of days — she also had some less-than-idyllic experiences like her character. I had a lot of meta experiences as Lily and Emily, like, where my hot water didn t work for two weeks, or my heating stopped working or just funny things where I was like, OK, this is Lily, but it s also very Emily, Collins said.2. Working in Paris(Photo by Carole Bethuel/Netflix)Like all of Star s series, there s a fantasy element at work in this show. First of all, Emily is described as a marketing executive at the ripe old age of not-even-30, which is a bit of an exaggeration even if she was a wunderkind who worked her way up the corporate ladder quickly. But even so, the culture clash at her new company is very extreme, with the buttoned-up French staff not at all receptive to Emily s over-eager, bubbly personality and ask for forgiveness, not permission work style.Emily is a fish out of water careening forward without first assessing how her new colleagues operate (a rookie mistake). It s an interesting situation for Emily because she was sent there last minute, Collins explained. So the office is expecting someone older who speaks French, and she arrives and she s someone younger who doesn t understand the language at all. So right away, it s like, Oh, wait, this is not gonna work. Emily is very passionate, loves her work, and is very articulate, and quite loud and obvious. And so when she comes bustling in to prove herself right away, it can seem like a lot, Collins said. Her youthful boldness, her youthful passion, at the beginning is like a full train rolling, going straight ahead 20 miles an hour too fast. 3. Romance in Paris(Photo by Stephanie Branchu/Netflix)Paris is also called the City of Love for a reason — it is tres romantic, especially the version of Paris captured by this breezy 30-minute show. Emily has a boyfriend back home, a fancy client who s extremely into her, and sizzling chemistry with neighbor Gabriel, who s also a chef at the bistro downstairs from their apartments.But above all, Collins said, I think this is a romantic comedy where mostly Emily s trying to find love within herself. The City of Love is teaching her so much about finding love within herself, and then obviously with these people that she s meeting. It shouldn t be too much of a spoiler to tease that perhaps something explosive will happen between Emily and her hot chef neighbor — come on, you ve seen a romantic comedy before, right? The situation is very complicated on both ends, Bravo said, but Gabriel ultimately can t resist the sparks between them. He s wearing that charming self-confidence mask, but he s really lost, the Nice-born actor said. And when Emily comes around, and at his doorstep — he is not looking for her, she really steps into his life — he sees this very curious character; he sees an opportunity. It s like, OK, what I m feeling right now, I need to experience it because I felt kind of dead all this time and lost, and I feel something right now so I need to experience it. 4. Cooking (and Eating) in Paris(Photo by Roger Do Minh/Netflix)While Park is Tony-nominated for her work in Broadway s Mean Girls musical and Collins has been a big-screen star for years, American audiences won t be as familiar with Bravo. The actor was born in the South of France but lived all across Europe as the son of a professional soccer player, settling in Paris to finish his studies. After a five-year stint in Los Angeles, he moved back to Paris, where he s worked in TV and film for the past few years.As someone who moved around a lot as a kid, Bravo said he s comfortable in all sorts of situations, and that includes his professional life. But his role as a chef isn t necessarily that big of a stretch, since he s got his own skills in the kitchen from his stint working as a chef. I was bartending, and at some point, I was like, I don t think I can learn anything more about bartending. So I asked the chef, because the sous chef just left, I asked him if I could step in and he said yes, Bravo said. And so I started learning and cooking the little plates at first and then he made me part of the bigger process. And the kitchen was open so the customers could see us, and I was totally overplaying it. Sometimes the omelet didn t have to jump so high, but I would just [do it] just for the sake of it. I discovered what it is to be a chef and the food was actually good! 5. Season 2 in ParisEmily and Gabriel s burgeoning relationship, of course, gets complicated as the season progresses, leaving lots of potential storylines should the series get picked up for a second season.While Netflix typically takes a month or two to decide whether to renew a show, Star said that he has ideas ready should they get the green light. So although he hasn t formally started working on a second season, there s a lot of roads to take. So that s the idea: to have a lot of possibilities. Collins is also excited about further exploring that Emily-Gabriel dynamic and said: Hopefully we get to go to a season 2, because we can kind of maximize on that since we are left with a cliffhanger in the last episode, we don t know how it ends yet. Emily In Paris launches on Netflix on Friday, October 2.On an Apple device? Follow Rotten Tomatoes on Apple News.
David Lowery’s The Green Knight has earned a solidly Fresh Tomatometer score thanks to largely positive reviews and its position as theatrical counter-programming against the glut of big-budget summer blockbusters hitting theaters as of late. It’s a reimagining of the late 14th-century poem “Sir Gawain and the Green Knight,” which tells one of the most well-known stories in Arthurian legend canon – the tale of Sir Gawain, who accepts a terrifying challenge from a stranger on Christmas, and the quest he must embark on one year later.It was a bold choice for Lowery to adapt a 700-year-old chivalric romance for the 21st century, and one that required a number of changes so that a story so profoundly rooted in the morality and literary style of the Middle Ages resonated with a modern audience. Here are five ways he changed the original Arthurian epic to do just that… and one important way he kept the medieval story intact.The Green Knight Gets Wild(Photo by © A24)In Lowery’s vision of Arthurian legend, the Green Knight is a primal supernatural entity, one whose ties to the natural world are right in his design. He is the Green Man of ancient myth come to life with his bark face accented by a beard made of curling twigs. Neither fully man nor tree, he harkens back to an older, pagan time when the lines between the natural world and the supernatural were far more blurred. Even the offshoot “branches” that crown his head vaguely evoke the horns of Cernunnos, the Celtic Horned God and lord of wild things. It’s deliberate character design meant to evoke the ancient unease of humanity realizing it doesn’t have full control of the world, and it’s a smart decision on Lowery’s part.The design of the Green Knight in the original poem is a less wild thing; the antagonist is more nobleman who just happens to be green. When Arthur’s court meets him, he’s kitted out in forest green finery, with emeralds and jewels encrusting his ax and bridle, his fine-spun clothes trimmed with silk and ermine. It was a striking image, one that made an impression in the late 14th century, but one that today would fail to impress modern moviegoers who have seen it all. By stripping the sense of rich civility from the Green Knight, Lowery draws out the inherent otherness of the character and tinges it with horror.Mother Knows Best: Recasting Morgan le Fay and Enriching Her Motivation(Photo by © A24)When the original poem was written, it was during a time in the Middle Ages in which Morgan le Fay’s role in Arthurian legend was transitioning from benevolent protector to villain. As patriarchal Christian morality took root and began heavily influencing writing of the era, Morgan (Arthur’s half-sibling), previously an amalgam of earlier revered, magical female Celtic deities, was recast as a malevolent sorceress of evil intent. Her role was often to play the antagonist in the mythology, intent on causing chaos in her half-brother’s court.Her motivations for summoning the Green Knight and arranging the challenge in the original poem were fittingly petty: hoping Arthur would take up the challenge, Morgan merely wanted to frighten Guinevere in a bit of spite. Gawain taking up the challenge instead was coincidental. That’s a flimsy and wildly outdated premise to build a story around in modern times. Lowery changed Morgan’s connection to Gawain and, in doing so, changed her motivation. By making Morgan Gawain’s mother in the film, her game, while harsh, made much more sense. A petty, inexplicably cruel woman sending a man to his potential death because she’s miffed at another woman is nonsensical and regressive; but a powerful woman secretly pushing her son to find his greatness is something one can understand, if not necessarily agree with.Sir Gawain: Peak Millennial(Photo by © A24)As with so many things in “Sir Gawain and the Green Knight,” what makes perfect sense in a medieval poem doesn’t translate so well to the big screen in 2021. This is arguably never truer than with Gawain himself. Dev Patel’s portrayal of Gawain is vastly different than the Gawain of the poem; while he’s less likable, he’s also more relatable.Poem Gawain was not so much a character in his own right, but a noble archetype and morality tale in one. He was meant to be the chivalric ideal and had the depiction to match. In fact, Gawain held himself to such a high standard in the poem that his test was to learn he was human and fallible, and that perfection is something that only God himself can achieve. Gawain is pious and pure, humble and extraordinarily chaste, courageous and benevolent to all he meets.Thus, Lowery was presented with the Captain America problem: how does one make a character so inherently perfect interesting? Marvel achieved it not by changing Captain America, but by changing the world around him. Lowery achieved it by doing the opposite: keeping the world the same but changing Gawain. His Gawain is far more flawed than the version in the poem, an entitled wastrel who is squandering his potential in sex and drink. Purity and chastity are not in movie Gawain’s nature and his test, in many ways, is the opposite of the test presented in the source. Poem Gawain had to learn that even great knights can wobble; movie Gawain had to see if he could even be great at all.As a heroic ideal, The Green Knight’s protagonist is quite lacking, but as a character whose struggle makes sense for moviegoers today, he’s incredibly timely.Making New Frenemies(Photo by © A24)“Sir Gawain and the Green Knight” is a true hero’s journey, an epic quest of man vs. nature, but moreover, of man vs. himself. There are only a handful of characters in the original poem and Gawain spends large chunks of the story by himself. For the purposes of depicting the Christ-like trials of a noble knight in a chivalric romance, it works; for a modern movie adaptation, however, it makes for an awfully boring on-screen story.Lowery wisely recognizes this and addresses it by adding three characters who seamlessly blend into the story while playing key roles in Gawain’s growth. Essel (Alicia Vikander) is the earthly temptation he must set aside to fully devote himself to his quest; the Scavenger (Barry Keoghan) is meant to shatter the naiveté and sheltered worldview Gawain holds; Winifred (Erin Kellyman) presents Gawain with a test of his altruism and chivalry. Each brings something essential that Gawain must learn in order to evolve, and their use provides a blueprint for how to add original characters to Arthurian adaptations that still feel as vital and necessary to the story as any characters in the old mythology.Bye, Bye to The Wild – and Potentially Slow – Hunt (Photo by © A24)Adapting an older story requires an insightful balance of knowing what to keep and what to cut: Too slavishly devote yourself to the original source and you risk dragging the story down with unnecessary scenes; deviate too far and you risk undermining the very aspects that made the original story so beloved in the first place.While Lowery certainly added to the story, he also excised certain parts with a decisive hand. The most impactful edit was Lowery’s compression of the poem’s lengthily told three-day hunting scene, during which readers follow Lord Bertilak as he rides out each day to hunt, with the third and final day offering a parallel narrative with Bertilak chasing a wily and evasive fox as Gawain tries to evade Lady Bertilak’s aggressive advances back at the castle. It’s a great bit of symbolism, but an unnecessary part of the story that would have further dragged down the already slow-burn movie.Condensing it kept the crux of Gawain’s quandary intact in the film while not killing the momentum that was building up heading into the third act.…And What Lowery Smartly Chose NOT To Change(Photo by © A24)Though Lowery took plenty of liberties with the original poem, The Green Knight remains true to the spirit of its source. So many layers are packed into “Sir Gawain and the Green Knight,” but what truly holds it up are two tentpole themes that remain searingly relevant: the duality of the pagan natural world vs. ordered Christianity, and the core story of a knight discovering the man he truly is. Remove or change other elements and the story still largely stands on its own, but remove those two foundational pillars and it comes crashing down.Lowery’s instincts for what to change and what to leave intact served him well, and the result is the old, archetypal story told in a fresh new way. One that feels urgent and modern, and yet true to its source. After Hollywood’s recent, multiple failed attempts to bring more Arthurian stories to the big screen, it might look to The Green Knight for an example of how to make Camelot and its endless well of stories relevant again.The Green Knight is in theaters now. On an Apple device? Follow Rotten Tomatoes on Apple News.
相信关注英雄联盟手游的人都知道一个消息,官方闷声做大事宣布开启不删档测试,这一次英雄联盟手游是真的来了!虽然不删档测试的消息来很突然,但是提前上线对无论是对苦苦等待久已的玩家还是之前不断在进行内测的游戏本身来说,毫无疑问都是一个好消息。
评分 & 评价
9.8
8.5 万 个评价
游戏时长 0.7小时

Ghcxuf After all the waiting, there is finally a trailer for the fourth Avengers film, now revealed to be called Avengers: Endgame. But the secrecy around that title extends into the trailer, with its brief glimpses of the post-Infinity War Marvel Cinematic Universe. Nevertheless, we ve pored over the 2:25 trailer to glean some things we now know about Avengers: Endgame.The Title(Photo by Marvel Studios)Endgame itself is something of a revelation, though it was one of the subtitles people have been guessing since Avengers: Infinity War came out earlier this year. And though Infinity War was marketed as being the end of the story begun in the first Avengers film, this appears to be the true conclusion, with the remaining characters trying to piece together some sort of a future or, indeed, a response to Thanos (Josh Brolin).As it happens, Endgame is a pretty popular title in comics. In Marvel s history, it has been used on a number of occasions, notably as the name of an X-Factor storyline featuring Apocalypse and as the title of the story featured in Avengers #71. In the latter instance, a handful of Avengers found themselves in 1941, only to tussle with the Captain America, Namor, and the Human Torch of that era a group collectively known as The Invaders.Which would be a good group name for a coalition seeking to undo what Thanos has wrought. Additionally, many believe time travel will be key to stopping Thanos, so maybe Endgame will feature some sort of trip to previous films.Clint s Traded In His Bow For A Sword(Photo by Marvel Studios)Clint Barton (Jeremy Renner) is back in action as we catch a brief glimpse of him cleaning off a sword following a rain-soaked battle. While his choice of weapons might seem strange for those expecting Hawkeye to join the fight, Clint s comic book counterpart did the same thing in the wake of the Civil War storyline to become Ronin.Curiously enough, a young woman named Kate Bishop became Hawkeye during Clint s brief death (long story) and his time as Ronin. But the chances an MCU version of Kate will show up are slim. Also of interest to stories further down the road, Clint was still Ronin when the Skrull secret invasion occurred. Considering the Skrulls are about to become a part of the MCU in Captain Marvel, it may be worth noting whether or not Ronin is a permanent switch.Meanwhile, we ll take MCU Clint s shift to Ronin as confirmation that his family turned to dust during the Snap.Steve Shaved Off His Beard(Photo by Marvel Studios)Okay, this might be a shallow one, but Steve Rogers (Chris Evans) beard inspired as much of a following as Cap does himself. It reflected his status as a fugitive in the period between Captain America: Civil War and Avengers: Infinity War. Also, Evans just looks great with a beard.But the loss of the facial hair suggests the film will not pick up immediately after the Snap; instead, it seems some time has passed. How much time remains to be seen, but Black Widow s (Scarlett Johansson) confirmation that Thanos completed his objective to wipe out half the universe would take some time to substantiate. Let s assume she sent Thor (Chris Hemsworth) and Rocket (Bradley Cooper) out into the universe to investigate.One theory suggests the MCU has moved in real time between Infinity War and Endgame, with the universe adjusting to the deep losses for a whole year . But others suggest even more time will have passed before Endgame begins. Either way, picking up a ways after the Snap allows the event to have meaning even if the Avengers reverse it.Tony Has The Benatar(Photo by Marvel Studios)Despite his grief, Tony Stark (Robert Downey Jr.) has commandeered the Benatar, the ship left behind on Titan by the Guardians. Unfortunately, it seems he has no clue how to navigate it or use its FTL (faster than light) capabilities, as we see him recording a sad message for Pepper Potts (Gwyneth Paltrow) about his impending doom. Nonetheless, the fact he found a way off Titan is a positive sign, as the Avengers will presumably need an FTL-capable ship to reach Thanos on his quaint garden planet.But it is unclear if Nebula (Karen Gillan) is also aboard. Despite the shot of her remembering the Guardians, Tony s message to Pepper suggests isolation. Are they on the same ship, or did she abandon Tony in the far reaches of space? The latter is certainly a possibility as her thirst for vengeance has no doubt been renewed by her father s success. Also, she would know how to take the ship faster than light, so her absence would explain why Tony is adrift.Then there s the ship Cap and Black Widow are on in the moments before the title reveal. It could be a quinjet or the Benatar, but considering their talk of the plan, they must be in space. Then again, maybe Thor used Stormbringer s Bifrost ability to move a quinjet to their target.Come to think of it, he could use that ability to save Tony. Unless, of course, Captain Marvel (Brie Larson) rescues him first.Scott Escaped The Quantum Realm!(Photo by Marvel Studios)And perhaps in the most appropriate stinger ever featured in a trailer, Cap and Black Widow receive an unexpected visitor at the Avengers HQ the one and only Scott Lang (Paul Rudd)!When we last saw Scott, he was exploring the Quantum Realm as Hank Pym (Michael Douglas), Janet Van Dyne (Michelle Pfeiffer) and Hope Van Dyne (Evangeline Lilly) all turned to dust. The Ant-Man and the Wasp stinger scene evoked memories of Infinity War and left the viewer wondering how Scott would escape his pickle. The movie even twisted the knife with a final piece of on-screen text: Ant-Man and the Wasp will return? So, we re happy to see him at full size again. Some suggested his imprisonment in the Quantum Realm would somehow help the Avengers defeat Thanos. But maybe his escape will prove more useful.But really, we just can t wait to hear him explain how he got out while still trying to contain his excitement in working with Cap.Thanks to the trailer s expert editing, there is still plenty we don t know. Will Bruce Banner (Paul Ruffalo) and the Hulk ever reach an accord? Will Captain Marvel come back to Earth? Will the team use time travel and set up a Bill Ted style time hack? And, perhaps more importantly, is the Endgame of the title the one Doctor Strange (Benedict Cumberbatch) predicted, or something else entirely?Maybe we ll learn some of these answers in the inevitable second trailer. Avengers: Endgame opens on April 26, 2019. 😈😈

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而对于王者荣耀官方而言,这款游戏是否会随着LOL手游上线而失去热度,现在还不好评判。但是有一点可以确定,LOL手游上架之后,王者荣耀确实是流失了一部分玩家啊。同时,天美在上架猴子孙行者皮肤之后,有玩家为了情怀买单,但热度也没有LOL手游大啊。各位玩家们,你们对此有什么想说的话,记得在留言区跟我交流沟通哈。

亚博网站网址 (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.

2022-01-19
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