亚博APP官网下载苹果版采用百度引擎3（Baidu 1）James Wan’s Aquaman may have started with the lowest opening ever in the DC Universe, but seven days later, it is looking more like Michael Phelps than some lowly dog paddler. The film is entering very exclusive territory this weekend just as two more December releases join the 0 million club by the time the clock strikes midnight on New Year’s Eve. That makes 32 for 2018 with at least two more films still hoping to surpass last year’s (and 2014’s) total of 33 to become second only to 2013’s 35 0 million-plus films. That record may come up short, but Hollywood has shot past its previous ticket sales record (.37 billion in 2016) and is now eyeing a billion year at the box office.King of the Crop: Aquaman Joins Impressive Club of December Releases(Photo by Jasin Boland/ ™ & © DC Comics)After its first weekend, Aquaman was million behind Justice League. After weekend two it is now million ahead and climbing. How high? Quite actually. Because as of this Sunday, Wan’s film is now the sixth highest grossing December release after 10 days, behind five little films: Star Wars trio The Force Awakens, The Last Jedi, and Rogue One, as well as Avatar and Lord of the Rings: The Return of the King. All seven December films to have made 0 million by this point have reached the 0 million mark, and Aquaman is million ahead of The Two Towers. Peter Jackson’s film opened on a Wednesday, so that pace will tighten over the next couple of days. But Return of the King made .8 million in its second weekend and ended with 9.7 million. Aquaman grossed .5 million and is likely looking at a final gross in that vicinity, which would surpass both Suicide Squad and Batman v Superman for second highest grossing feature film in the DC Universe behind Wonder Woman. With 8 million worldwide, it is the seventh highest grossing film of 2018 and will be passing Mission: Impossible – Fallout and Venom soon with its eye then on a billion dollars.Fresh Surprise: WWI Documentary Out-Performs New Releases(Photo by Warner Bros. Pictures)Speaking of Peter Jackson, his WWI 3D documentary, They Shall Not Grow Old, has become one of the top-grossing documentaries of the year. After just two nights. Fathom Events held special single-night screenings on December 17, when it broke the company’s record with .3 million, and then again this past Thursday, when it broke it again with another .37 million. That was more than this week’s openers, Holmes Watson and Vice, grossed on Thursday with a full day of screenings. With .7 million in two nights it has made nearly as much as partisan documentaries, Death of a Nation (with a 0% Tomatometer score) from pardoned felon Dinesh D’Souza (.88 million) and Michael Moore’s Fahrehheit 11/9 (.35 million). Warner Bros. will open the film in a few cities on January 11, and you can expect it to rise from the seventh highest grossing documentary of 2018 into the top five – and maybe even higher.Rotten Returns: Holmes Watson (aka the Anti-Aquaman)(Photo by Columbia Pictures)Holmes Watson opened in theaters without being screened for critics. Hey, Disney did the same thing for Christmas opener, Tombstone, back in the day, too. How bad could it be? Well, it is currently just the third wide-release of the year to score lower than 10% on the Tomatometer after Slender Man and Death of a Nation’s golden doughnut of 0%. That is where Holmes was with its initial set of reviews, but folks were already in the midst of paying good money to see it on Christmas Day. Around .4 million and 24 hours later, some were already calling it a “commercial flop” on Twitter despite the fact that only four of 23 films to open on Christmas to more than million failed to reach million.That still would not have been enough to cover its million budget in domestic dollars, but it’s not like it was Mortal Engines or Welcome to Marwen this month; however, Holmes Watson’s audience numbers have been scaling down to its current Rotten Tomatoes score of 9%. Though .7 million after its first six days still has it pacing for somewhere between -60 million, its numbers are diminishing at the pace of Aliens Vs. Predator – Requiem, which finished with just .7 million after it opened on Christmas. So it will depend on international audiences to determine whether the film is “a commercial flop” or not.The Top Ten and Beyond: Poppins Bumblebee To Join 0 Million Club Soon(Photo by Walt Disney Studios)Mary Poppins Returns just missed becoming the 26th film opening in December to reach 0 million in its first 12 days; though it will do so on New Year’s Eve. Of the films in its 12-day company that had between million to 7 million at this point, Poppins’ -million weekend is second only to Daddy’s Home’s .2 million. (Poppins is likely to fly past Daddy’s Home’s 0 million.) The next crop of films above them (sans Marley Me) are all 0 million grossers. So as long as Rob Marshall’s film maintains its current pace it should rise high enough to be one of the three highest grossing films of the season.Spider-Man Into the Spider-Verse did join the 0 million club this weekend. At 3.6 million it is in the company of Catch Me If You Can, Les Miserables (2012), Into the Woods, True Grit (2010), and Unbroken, but its third weekend of .3 million surpasses all of theirs, suggesting the film is headed for north of 0 million — an estimate that could continue to rise with the word-of-mouth it is receiving.Bumblebee, with another million this weekend, is also headed for 0 million like every other film from December to have million after 10 days. Clint Eastwood’s The Mule, on the other hand, took 17 days to hit the million mark, but it is not out of the running to become the 34th film of 2018 to reach 0 million. For a film that needs around 0 million to break even, million seems to be the worst-case domestic scenario at this moment. As it is pretty closely aligned with the 0.7 million–grossing The Pelican Brief, there is still a possibility this will be Clint’s sixth film as a director to reach that height.While Holmes and Watson was grossing .4 million on Christmas Day, Adam McKay’s award hopeful, Vice, was gathering up .7 million and a 64% score on the Tomatometer. It has made million in its first six days and eyes somewhere around million final domestic gross, but is already Annapurna’s highest grossing film to date surpassing this summer’s Sundance pickup, Sorry To Bother You. Ralph Breaks the Internet has fallen behind the pace of last year’s Coco, but is still million ahead of Tangled, which keeps 0 million very much in the picture. It only takes Ralph and Poppins to break the single-year record of most films to reach the milestone in any year. A 0 million final gross may be out of reach for Illumination’s The Grinch, but its 6 million makes it undoubtedly one of the biggest hits of the season, even while it could end up being the company’s third-lowest grossing film to date; albeit one with still over 0 million in profit.Beyond the Top Ten you will find both The Favourite (.2 million) and Mary Queen of Scots ( million) doing decent business in less than 850 theaters each. Both continue to do better than Robert Zemeckis’ Welcome to Marwen, which has grossed .7 million. There are still seven films this year further in the red than Marwen (including Ralph Breaks the Internet), though it is still little comfort being among the 10 biggest financial losers of 2018.In further limited release news, we have the three best per-theater-averages of the week: The Ruth Bader Ginsburg drama, On the Basis of Sex (74%) averaged ,909 this weekend and has made .5 million in 33 theaters since Christmas. Destroyer (76%) has been in three theaters since Christmas and has made 5,661. It averaged ,491 this weekend. Then there is Stan Ollie (89%), which opened on Friday in five theaters, averaging ,935 for a total of ,674. Aquaman had the fourth best average with ,497, and Barry Jenkins’ If Beale Street Could Talk was fifth, adding 60 theaters (for a total of 65). It averaged ,686 and has grossed nearly million.This Time Last Year: The Last Jedi Held Off Jumanji for the Last Time(Photo by Walt Disney Pictures)Star Wars: The Last Jedi maintained the top spot for a third straight week (and passed the 0 million mark), though Jumanji: Welcome to the Jungle closed the gap with a .5 million-to- million showdown. Christmas day openers, All the Money in the World and Molly’s Game made .7 million and .3 million, respectively, in their first full week of release. Steven Spielberg’s The Post and Paul Thomas Anderson’s Phantom Thread led the per-theater-average list with ,342 (nine theaters) and ,124 (four theaters). The Top Ten films grossed a total of 3.3 million over the weekend, which included New Year’s Eve, and they averaged 65.1% on the Tomatometer. This year’s Top Ten grossed 3.1 million and averaged 65.6%.On the Vine: There Is No Escape From Horror in 2019(Photo by Columbia Pictures)The new year kicks off with horror about domains from which there appears to be no safe room, though do not expect to see a Tomatometer score for either until later in the week. The PG-13 Escape Room with Taylor Russell, Deborah Ann Woll, and Tyler Labine should get a score just before it opens. Then Eli, from the director of Sinister II, will get reviews from critics brave enough to check out the tale of a boy with auto-immune issues stuck in a dangerous home when it opens on Friday.The Full Top 10: December 28-30Aquaman .5 million (8.7 million total)Mary Poppins Returns .0 million (.9 million total)Bumblebee – .5 mi
很多玩家发现，在各国家和地区，LOL手游都出现了不同程度的玩家减少，游戏评分下降的情况。而在玩家各种各样的吐槽声中，其中一个原因就是LOL手游的服务器不太稳定，尤其是韩服区，在上线早期时还能够体验几局，到了高峰区时就常常出现登录游戏一小时却怎么也进不去游戏的情况，这样的状况让玩家逐渐失去耐心，最终流失。 (Photo by © MGM, @ Netflix, @ Marvel Studios)This year, Halloween returned and Black Panther arrived. Wreck-It Ralph broke (and fixed) the internet, and Jim Halpert (a.k.a. John Krasinski) screamed silently in A Quiet Place. One movie even scored an actual zero on the Tomatometer… Do you remember which one?And on TV, Emma Stone and Jonah Hill joined forces in Netflix’s Maniac, The Fab Five of Queer Eye warmed our hearts, and NBC’s Manifest crashed while The Good Place soared (or is it the other way around?). Were critics as wowed by that long take and lingering camera in The Haunting of Hill House as we were?You don’t have to have seen every movie or every series to know its score — though perhaps you’re that big of a film and television buff, that you’ll have seen many of this year’s releases anyhow.The question now is: How well do you know Rotten Tomatoes? Test your knowledge below by guessing the Tomatometer scores of this year’s movies and TV series.Scores are updated as of December 21, 2018.2018 Movies:
(Photo by Michele K. Short. ©Universal Pictures/courtesy Everett Collection )All Tiffany Haddish Movies Ranked by TomatometerAfter toiling through the stand-up and TV guest appearance circuit for well over a decade, and using a memorable supporting role in Key Peele s Keanu as a major stepping stone, Tiffany Haddish broke into the mainstream with 2017 s Girls Trip. The biggest and best-reviewed female ensemble comedy since Bridesmaids, the Certified Fresh Trip would raunchify audiences up to a 0 million haul at the domestic box office. Haddish capitalized on her new, sudden fame with a steady yet varied slate of films in 2018, including starring opposite Kevin Hart in Night School, working with Tyler Perry on Nobody s Fool, and turning those Kyrie Irving Uncle Drew commercials into an unlikely (and Fresh!) feature.In 2019, there was no animated sequel with a 2 in its title that Haddish could resist, as she voiced fowl (The Angry Birds Movie 2), a Shih Tzu (The Secret Life of Pets 2), and shapeshifting plastic (The Lego Movie 2: The Second Part).Haddish kicked off 2020 with Like a Boss, but critics were less than enthused: See where it places as we rank all Tiffany Haddish movies by Tomatometer!亚博APP官网下载苹果版(Photo by WB/ courtesy Everett Collection)How to Watch Harry Potter Movies In OrderEveryone came into the Wizarding World through the Harry Potter books and movies, which introduced us to a gifted 11-year-old, his friends Ron and Hermione, and their hallowed school of magic, Hogwarts. Watching the Harry Potter movies in order, seeing the story unfold chronologically in-universe, used to be as easy as finding the one where Daniel Radcliffe looks youngest and starting from there.But the series has expanded now with the Fantastic Beasts movies, set some 70 years before The Sorcerer s Stone. So to watch the Harry Potter movies in order, your journey now begins with Fantastic Beasts and Where to Find Them, set in 1926 and starring Eddie Redmayne as Newt Scarmander. Fantastic Beasts: The Crimes of Grindelwald is set in 1927. The third Fantastic Beasts intends to release July 2022, with two more movies to close out the Scarmander and Grindelwald saga. Then the story of Harry himself begins, starting with Sorcerer s Stone and concluding in the second-part of The Deathly Hallows, for eight Certified Fresh movies in a row. There s also a Harry Potter series early in development for HBO Max. For now, see our guide below on how to watch all Harry Potter movies in order.
hat show’s producers is running the Dirty John series.“There’s this fun, twisted fairy-tale aspect to the story,” Alexandra Cunningham tells Rotten Tomatoes, explaining that her adaptation doesn’t just add visuals, but is actually able to expand on the emotions of the story by dramatizing it. “A lot of things we’ve maintained — the spine and the scaffolding of the story — because they are so compelling and true and heart-wrenching. We put a lot more flesh on some bones.”For instance, Cunningham says she was able to address a concern people who listened to the podcast or read the Los Angeles Times articles had raised: Many listeners thought Debra Newell was “an incredibly stupid woman” for falling for Meehan’s exploitative schtick in the first place.Casting Britton as Newell certainly helped Cunningham combat this perception, and she framed the events in ways that should make viewers more empathetic towards the main character. She was also able to add some more depth to Meehan, who was not a participant in the podcast for reasons that are obvious to anybody who listened to the end. The show can follow Meehan as he goes about whatever dodgy business he was involved in, whereas the non-fiction podcast had to keep the speculation at a distance.“It gives you an even more complete picture of this man and commits you more emotionally than [you would have been] just [reading] the descriptions of what he did in the podcast, since you’re sort of watching them along with him,” Cunningham says. “It’s a point-of-view perspective that the podcast couldn’t do.”Up and Vanished Continues the InvestigationTrue crime might be podcasting’s leading genre, but don’t forget that it’s also been a TV mainstay for decades, dramatized or not. The recent Up and Vanished special, about Tara Grinstead, a teacher and former beauty queen who went missing in Georgia three years ago, is as much a sequel to host Payne Lindsey’s original podcast as it is an adaptation.“Both mediums rely on good storytelling,” Lindsey says of the difference between podcasts and TV. “Even though a podcast is strictly audio, listeners develop their own visuals for the story. It’s kind of a more intimate experience, and sometimes I think it actually makes the audience feel closer to the people involved.”The podcast medium offered Lindsey one thing that TV doesn’t. Because podcasts are typically cheaper and faster to make than TV shows, Up and Vanished was able to generate renewed interest in the case that led to a crucial break in real time.“That would have been a lot harder to do with a television crew on the ground, following a production schedule, along with all of the other elements that make a TV show,” he says.The Future(Photo by Syed family/HBO)The three November podcast-inspired shows are quite different from another, revealing the fundamental wrinkle in any discussion about the future of podcasts on TV: It’s a medium, not single genre.“There’s a spread of genre that makes this a little hard to talk about efficiently,” journalist Quah says.The scripted drama–turned–prestige TV Homecoming is a very different beast than the two true-crime podcasts, even if Dirty John turned from non-fiction to scripted when Bravo dramatized it. There are also improvisational comedy podcasts like Comedy Bang Bang and My Brother My Brother and Me, both of which did their audio counterparts proud on TV (and both of which continue in podcast form, though not on television). Then there are the talk shows-with-a-twist, like Desus Mero and even Bill Simmons’ Any Given Wednesday (to a certain extent), which launched as a result of the hosts’ popular podcasts.There are even more TV adaptations in the works: Crimetown, a non-fiction podcast about corruption in Providence, Rhode Island, is coming to FX, as is the spooky Welcome to the Night Vale. Fantastically popular podcast Serial is getting an HBO documentary, The Case Against Adnan Syed (pictured above), but a scripted television adaptation of the murder-mystery by The LEGO Movie’s Chris Lord and Phil Miller has been in development hell since 2015. Limetown, a scripted horror podcast, will hit Facebook Watch and star Jessica Biel.Some of these shows will be good certainly. Others, maybe not so much. That they began their lives as podcasts doesn’t give them an inherent advantage or disadvantage over any other type of adaptation, aside from maybe being more buzzworthy than other series.“Isn’t it the story that’s more crucial? You wouldn’t say books make good movies — it depends on the book,” Homecoming’s Bloomberg says.Podcasts have a lot of things going for them: They’re cheap to make, generally flexible productions to undertake, and can connect with large audiences in an intimate way. They’re not a guarantee for success on TV, but the right podcast with the right creative team can, ideally, become something new — something that’s more than just a podcast with pictures.“The fundamental thing,” Quah says, “is to create something native to the experience.”
4. 呼朋唤友 随心所欲
Kimberly Potts for Rotten Tomatoes: What attracted you to this topic, to this project?Kerry Ehrin: Initially it was Brian Stelter s book, Top of the Morning (which the Apple TV+ series is based on). I really liked it, and the tone of the world he was describing, and I was just saying it felt like a very good stage to write great character stories on, set against this high stakes world, but also there s a social absurdity to that world … so competitive, and the behavior gets a little bit like, almost high school-ish. So that was a very intriguing world to me. And then obviously Reese and Jennifer, getting to create complex female characters with high profile, high stakes jobs, and write about female relationships in a real way was very intriguing to me. All those elements don t line up every day.(Photo by Apple TV+)One of the most things with the stars of morning TV is how much their personal lives are impacted by their jobs. Even just the fact that they have to get up at these ridiculous hours — that has to impact their time with their kids and their family and friends and personal time. How much are you going to get into that, Alex and Bradley s personal lives, as the season goes on?Ehrin: A great deal. I think that s a big part of Alex s story, how much she has sacrificed to get to that top level. And Bradley is really just entering into this world. So her story is more about being from the outside and trying to acclimate and immerse into it … When you live those kind of hours, there s no question that it becomes your life and it dictates your life. Any high-stress job becomes your life and dictates your life.I m guessing that s something you can relate to as a showrunner.Ehrin: Oh, 100 percent. I mean, I could also relate to it when I was working retail. Jobs do end up dictating your life. But yeah, I mean, when you have a ton of financial responsibility for other people, you do live with it all the time.Getting into the characters, viewers are going to assume that Mitch Kessler (Steve Carell) is Matt Lauer. What is your response to that?Ehrin: Well, I mean, it isn t. I get, I guess, why people would go there. I don t know … I don t know why they never pick Charlie Rose. But all I can tell you is … it isn t Matt Lauer. It s an amalgam of human beings that I ve interacted with, that have been in my life, and some people that have been in the public eye. But it really is an original tale. It isn t “The Matt Lauer Story” at all. Nor did I want to write that.(Photo by Apple TV+)In the first three episodes, viewers get some viewpoints that they might not be expecting. This is a discussion of all angles and some nuanced points of view that haven’t played out so much in a scripted series. Episode three in particular, with Mitch’s conversation with the director played by Martin Short — do you think people are ready for, or maybe even craving at this point, a nuanced look at this subject?Ehrin: I feel like there s a lot of layers to that question. I mean, one of them is, there s a specific road we re going down with the stories that we re telling, and you re meeting a character in the beginning, so there s that aspect of it. I m trying to say this without giving too much stuff away. It’s a story about human beings who are in this web. And I don t think (Mitch) is written overly sympathetically. It s interesting to me that people are saying, Oh, he s so sympathetic. And I don t think he s any more sympathetic than anyone in the show. I think everyone on the show is really screwed up in different ways. He’s a narcissist, he clearly lives inside his own reality of what s real and what s right. And I mean, yeah, Steve Carell is a likable, charming guy, but so are a lot of these guys. So I think you have to look at the whole enchilada. And I would say this will be a better discussion after episode ten.It s interesting to see this particular story play out from all these different points of view.Ehrin: It s a huge thing. There s a huge movement. It has affected everybody, and it s seismic. So yeah, it s a story of looking at it and at all the elements.(Photo by Apple TV+)Kudos for keeping the Martin Short cameo under wraps. He was great, and having such a beloved actor playing that character, saying those shocking things about his behavior, and challenging Mitch to consider his own behavior, was impactful. I hope the surprise of his appearance isn’t spoiled for people before they watch the episode.Ehrin: That would actually be great, because it is so exciting to see him, and he s so good. Man, that guy is a great actor. He s really, really good.What s your goal overall with the development of Bradley and Alex s characters? Ehrin: They both have important individual stories. Alex s being about a highly successful person who has sacrificed so much of her life and was so close to this partner who gets fired for sexual misconduct. And it really is about how it dismantles her life. And then Bradley s is about a person who has a lot of demons from her family and isn t really psychologically or emotionally set up for success, and finds herself pulled into this world. And how do you, as sort of an emotional outsider of success, how do you function in that world? And can you survive it? Can you thrive in it or is that impossible?In addition to that, there is the story of these two women who come into each other s lives, and I really wanted to do a realistic story and not make them hate each other, like All About Eve, or they re best friends and they re never mean. I really wanted to do just a real nuanced portrayal of all (aspects) of a female working relationship — all of its wonderful complexities. And that s been the ongoing road. That s the heart of it to me, what that relationship is about and how it develops and evolves.(Photo by Apple TV+)We’ve met Bradley’s family, her mom and her brother, and there have been hints that she has sort of been almost a parental figure for both of them. Is that something we’ll get into a lot more?Ehrin: Yeah. That s a big part of Bradley s character, who she is and dealing with that. If you have baggage that you haven t dealt with and you get thrust into a high-stress, high-profile job, it s a different experience than someone who does not have that baggage.You ve made great television, told great stories, on network and cable, and now a streaming service. Has it been different in any big ways creating this show for a streaming service?Ehrin: There s been more freedom, certainly. I think that was always a challenge for me, because I ve been doing this for a while, and for a big chunk of my career there weren t all these venues available. And you had to fit in (on) broadcast, and it was always, always, always a challenge to — if you re a little idiosyncratic, if you re a little dark, if you re a little to the left of center, it was just harder to fit into that mold, that box, and still get to play with your whole deck of cards.Do you feel like you finally have gotten to do a show, this show, exactly how you would want to do it?Ehrin: Yeah, I do. I mean, I felt that way about Bates as well, except for the swearing. It really would have made it a little more (realistic) to have people be able to talk the way people actually speak. And also, commercials are just death to me. That used to kill me about Bates, because I felt like it was like an opera, and then you d be so into these huge, crazy things, and then it s an ad for erectile dysfunction or insurance. And it just was like, it completely wrecked it for me. So that was always hard. But this is pretty cool. It is a lot more freedom. It s a lot more money to make stuff. It s been pretty great. New episodes of The Morning Show premiere on Fridays on Apple TV+.
5. HD 画质与高品质音讯
1.87.7 1月喜迎who first proposed a boycott of HFPA events were slightly more measured, saying this was a good step but not near enough and far too slow for a group of so few members. Then on Friday, a letter from Netflix Co-CEO Ted Sarandos took what was already a crisis for the HFPA and turned it into a full-blown disaster when he announced Netflix would not participate in any HFPA events until more changes were made and made quickly. In a message directed to the organization, Sarandos stated: “Today s is an important first step, however, we don t believe these proposed new policies — particularly around the size and speed of membership growth — will tackle the HFPA s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate. Amazon and Warner Bros. soon followed with similar statements.It was a game-changing move. In truth, for everything said up to this point, if the studios were satisfied with the HFPA s proposals, nothing was going to change, as they held all the power. But with the weight of the increasingly powerful streamers and a major studio joining in, the winds were shifting.It didn’t help that at the height of the organization’s current woes, both the diversity consultant and PR crisis manager discontinued their work with the HFPA, nor that fresh issues have emerged: A couple of weeks ago, a current member mistook Daniel Kaluuya for Leslie Odom Jr. in the Oscars press room – a gaffe that left Kaluuya stunned and for which the journalist has refused to apologize. It s little wonder that this week three-time Golden Globe winner Tom Cruise sent his awards back to the HFPA in protest of their actions.(Photo by ©AMPAS courtesy Everett Collection)With NBC’s announcement that it will not air the broadcast they had paid million to secure just last year, the crisis is now existential for the HFPA. As things compound, many cannot help but ask, Can the Golden Globes survive? Some have suggested the HFPA can indeed weather the storm with a severe overhaul, while others say the situation is too far gone to repair, and perhaps NBC and other networks should look at a different set of awards to spotlight with a major broadcast, as some have suggested. It s difficult to dislodge anything with this much history in Hollywood, and funnily enough, all of this has happened before.In 1968, NBC pulled their TV contract with the Golden Globes when an FCC report detailed that the HFPA “substantially misleads the public as to how the winners were chosen and the procedures followed in choosing them.” At that time, the group did not actually vote on category winners, as it was assumed, but rather decided winners via a lobbying committee. After changes were made and a professional accounting firm was hired to compile the vote, NBC ended up televising the show, and that is what we think will likely occur this time around.If the Golden Globes disappear, that leaves a gap in the awards calendar in early January, something that second-tier shows like the Screen Actors Guild Awards or Critics Choice Awards could fill. But unless they re partnered with a major broadcaster like NBC – with its global reach and top hosting and presenting talent from a pool of SNL alums and late-night leaders – it s unlikely they would hold into it if NBC and the Globes eventually make nice. For now, we can all agree that the Globes must make swift changes, or they will cease to exist; it still remains to be seen, however, if that is possible, given the current membership s reputations.On an Apple device? Follow Rotten Tomatoes on Apple News.
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at firstname.lastname@example.org.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
Rosemary s Baby and 1944 s Gaslight combine in this new horror tale from first-time director Joe Marcantonio featuring stellar performances from newcomer Tamara Lawrance and Killing Eve s Fiona Shaw. A young pregnant woman plagued by disturbing hallucinations begins to suspect the family caring for her has nefarious intentions for her unborn child. With impressive, nuanced performances all round, this is a film that grips throughout despite its slow pace. You may decide early on that you know where it s going, but the ending still makes an impact, writes Jennie Kermode in Eye for Film. We recently chatted with Marcantonio about the film, the horrors of parenting, and what is on his Indie Fresh List.Jacqueline Coley for Rotten Tomatoes: Is it better to do horror right now? It seems like horror as a genre might be a bit pandemic proof.Joe Marcantonio: Kindred is a film that skirts many genres there are funny bits, scary bits, thrilling bits, elements of suspense but it isn’t a horror film in a traditional sense. There are no jump scares, maniacs, or monsters. I was inspired by the films of Park Chan-wook and Bong Joon-ho, and the way that South Korean cinema manages to mix genres in really interesting and unique ways. Just look at how hard it is to categorize a film like Parasite.Having said that, it’s clear that times of uncertainly or national trauma always seem to serve as a catalyst for interesting horror films. The Great Depression spawned Frankenstein and The Mummy in the 30s, about the fear of the unknown. McCarthyism spawned Invasion of the Body Snatchers, about the potential infiltration of an insidious force. The Vietnam War spawned Psycho, Rosemary’s Baby, and The Exorcist, all about the breakdown of traditional family values. The War on Terror spawned the term torture porn, when there was so much talk about torture and whether it is ever justifiable. And recently the Fake News era seems to have produced recent films like His House and Saint Maud that have escapist fantasy elements yet deal with truth and lies. I guess Kindred potentially falls into the same camp. Watching scary films that reflect the society in some way enables people to experience their fears in a safe space, to feel scared or terrified yet retain some control. It acts as a catharsis at times of uncertainty.Many have made the obvious Rosemary s Baby comparisons, but what is it about motherhood and horror? Why can it twist into something terrifying so easily?I remember how helpless I felt when I was first left at home in charge of my son, and how freaked out I was to be responsible for keeping such a vulnerable creature alive. We’d had a home birth, and when the midwife left and my wife was resting, I stood in the kitchen, holding him, not knowing what to do. The level of vulnerability and uncertainty was overwhelming, and if you add the anxiety and terror involved, it is very fertile ground for horror.To be totally honest, the truth is that a lot of the characters in the film are reflecting my own experiences as a parent. There is a monologue that Margaret gives about her regrets as a parent, and there is an uncomfortable amount of truth in there about my feelings and mental health concerns in the wake of my daughter s birth. It’s slightly traumatic for me to watch as, it feels very exposing and raw, but it s probably my favorite scene in the film.Talk about casting Tamara. So much of the film falls on her reaction, and was it always intended to have a Black female lead?The script Jason and I wrote was always non-specific about race, simply because we were open to all possibilities. In the end, we cast Tamara because she was the best actress we saw, not because she was the best Black actress we saw. Maybe I was being naive to what some people s reactions to that choice would be, but I’m very glad we picked her. She’s really terrific, a superb actor and a wonderful person. Race is such a prevalent talking point in the USA at the moment (and it s an issue in the UK too), so I totally understand people reading a lot into that decision, but the film was always intended as one about the British class system and inherited wealth, rather than one about race. Margaret would hate anyone who tried to take her son away, whatever they looked like or race they were. Because of the decision to cast Tamara in the role, we’ve had a lot of comparisons to Get Out, and seem to have caught the ire of some reviewers who think that we were jumping on some kind of bandwagon, or attempting to copy that film in some way, but that was never the case. We do feature an old-fashioned teacup in Kindred, as they do in Get Out, but that’s only because the film is set in the UK and we drink a lot of tea! Margaret wouldn’t be caught dead drinking from a mug; it s far too common.The house is a big part of the drama of the film. How did you find the perfect location?For a variety of reasons, we decided to shoot the film in Ireland, and their political history means that there were a lot of manor houses built by the English landowners that were initially installed by Oliver Cromwell and his cronies. But after Irish independence, a lot of the large houses were burned down or fell into disrepair. In England, a grand house like that would have a car park and a cafe, and they’d charge you a small fortune to walk around and look at the paintings. But their outlook on these things is different in Ireland, so we had a few good locations as options.The house was always intended to be a character in the film, and I had a clear image in my mind about the kind of place we had to find. We found a few okay options, but kept hearing whispers about a place called Stradbally. A few people even suggested we shouldn t go and look at it because of the associated cost problems; it is so far from Dublin you need to put crew up in hotels. But we drove out to visit, and as soon as we saw Stradbally Hall, I apologized to my producer because I knew this was the place and his job was going to get a lot harder. An upside to its remoteness is that not a lot of other people have shot there I think the only shoot was a couple of scenes in the Lassie movie back in 2005. The guy who owns the house is called Thomas coincidently, that is the same name as Jack s character in the film. It felt like a sign.The place looks haunted on its face. Did you feel that in real life?It’s definitely a slightly spooky place. Most of the strange paintings and taxidermy in the film were actually situated around the house; boxing hedgehogs, foxes, ferrets it was all quite odd. The owners are a friendly family with young kids, and they live in a small, modernized part of the house, but one member of the family still lives in that larger part of the house, and every now and then he’d unexpectedly walk past in his dressing gown and give you a bit of a fright.What is on your Indie Fresh List what independent films are you watching, or what are you watching in general?I really enjoyed His House and Saint Maud they are both genre films, and they feel very considered and cinematic in their approach. They avoid the kitchen sink drama feel that a lot of independent British films fall into. Parasite and Uncut Gems are my favorite films of the last year or so, and I just rewatched both series of Succession, which is so well written it makes me queasy.Kindred is available now in select theaters and on VOD.
Based on the psychological horror novel by Iain Reid, I’m Thinking of Ending Things is the latest head trip from Charlie Kaufman (Synecdoche, New York), this one a Netflix Original. The first reviews of the movie are predominantly positive, but there’s a consensus that it’s not for everyone given that the filmmaker’s usual non-literal and existentialist storytelling leads to some very weird places. But even if you’re not the biggest fan of Kaufman, you might find enjoyment in the performances by leads Jessie Buckley and Jesse Plemons as a couple heading to meet his parents — as well as Toni Collette and David Thewlis as those parents — in the closest we get to a straightforward plot.Here’s what critics are saying about I’m Thinking of Ending Things:Will Charlie Kaufman fans like it?It’s Kaufman’s best film yet as a director. James Clay, Fresh Fiction[It’s] his most tender film: his intricate flourishes are in service of something far gentler and open-hearted than any of his previous work. Luke Gorham, In Review OnlineI m Thinking of Ending Things is by far his bleakest, so steeped in suffocating anxiety it should come with a mental health advisory. David Rooney, Hollywood ReporterIt’s possibly Kaufman’s most challenging work yet. Whether that challenge will reward you depends on your taste and tolerance. John Nugent, Empire MagazineI’m Thinking of Ending Things feels like both an act of self-parody for its director and also a radical departure from his previous work…it takes Kaufman’s usual fixations and turns them inside out. David Ehrlich, IndieWireWhich of his films is it most reminiscent of?I’m Thinking of Ending Things is even stranger than Kaufman’s 2008 directing debut Synecdoche, New York. Matt Goldberg, ColliderA perfect companion piece for the physical deterioration on display in Synecdoche… [but] I’m Thinking of Ending Things is completely focused on the interior and becomes all the more terrifying and heartbreaking in its various turns. Kyle Pinion, ScreenRexHardcore Kaufman heads will get the most out of I’m Thinking of Ending Things — although I’d rate myself as a significant admirer of his work, and this left me colder than anything he’s done since Human Nature. Matt Singer, ScreenCrush(Photo by Mary Cybulski/NETFLIX © 2020)What else is it like?Feels like a spiritual mate of sorts to Amy Seimetz’s recently released She Dies Tomorrow in its means towards pondering mortality. Tomris Laffly, The PlaylistI’m Thinking of Ending Things suggests a joyless couple out of a mediocre Woody Allen film crossed with Barton Fink. Owen Gleiberman, VarietyLinklater-esque dialogue laced with Bergman-esque dread. David Ehrlich, IndieWire[It’s] as if Alejandro Jodorowsky directed Meet The Parents. John Nugent, Empire MagazineTonally and structurally, it reminds me a lot of mother!, Darren Aronofsky’s similarly phantasmagorical tale of an unhappy couple trapped in a country house. Matt Singer, ScreenCrushWill fans of the book appreciate the adaptation?Kaufman has probably made as complex and audaciously loopy a film as admirers of Reid’s novel could have desired. David Rooney, Hollywood ReporterIn adapting this generic puzzlebox setup, Kaufman demonstrates an elegance of vision elsewhere absent from his work. Luke Gorham, In Review OnlineKaufman produces a finale so close in spirit to the novel that it feels pulled from the same pages. Or at least ripped from an alternate-universe version of Reid’s book. Barry Hertz, Globe and MailViewers will probably benefit from familiarizing themselves with the source material. Hannah Woodhead, Little White LiesIf you’re trying to follow it without having read the book, it may not make a lick of sense – and even if you have, Kaufman goes in directions that Reid never did. Steve Pond, The Wrap(Photo by Mary Cybulski/NETFLIX © 2020)Does the movie work as a horror film?It’s really scary in a way that conventional scary movies really aren’t scary: insidiously disquieting and yet also somehow poignant and sad. Peter Bradshaw, Guardian[It’s] a waking nightmare — its horrors are the more mundane, existential fears of aging out of love, of relevance, of your own mind. Clint Worthington, Consequence of SoundNothing but the existential terror of our own existence… Thinking of Ending Things is awash in a sea of anxieties to drown its audience in fear and sorrow. Matt Goldberg, ColliderCharlie Kaufman, true to unique, auteur form, has crafted a story that invokes so much more than what conventional genre classification easily describes. Leigh Monson, What to WatchSo it s pretty heady?It turns out that Christopher Nolan is not the only director making long, stylish brain-teasers these days. Steve Pond, The WrapI’m Thinking of Ending Things feels less like a film about thought than it does a thought that’s been filmed. David Ehrlich, IndieWireBy the time the film’s final minutes arrive, you’ll be scratching your head and beaming with solemn understanding at the same time. Clint Worthington, Consequence of Sound(Photo by Mary Cybulski/NETFLIX © 2020)Is it maybe too weird for some viewers?The problem with I’m Thinking of Ending Things isn’t that it’s too weird, but that it’s the work of a filmmaker who keeps asking Is love possible? even when he’s stacked the deck against it. Owen Gleiberman, VarietyThe further I’m Thinking of Ending Things gets from any semblance of a recognizable reality, the less there is to care about any of the characters and what will happen to them if they ever arrive at their destination — if they even have one. Matt Singer, ScreenCrushHow are Jesse Plemons and Jessie Buckley?This is Buckley’s show, and she further cements her status as one of the gutsiest and most intuitive actors in the world. David Ehrlich, IndieWireBuckley continues her streak of grounding heavy-duty narratives with emotionally shattering interiority. Barry Hertz, Globe and MailPlemons establishes himself with this role as the heir apparent to Philip Seymour Hoffman… the tragic grandeur of his performance and the aching burden of Jake s secrets creep up on you. David Rooney, Hollywood Reporter[He’s] a first-rate actor, here suggesting the late Philip Seymour Hoffman’s tightly coiled melancholy. Michael Phillips, Chicago Tribune[He] evokes Philip Seymour Hoffman’s torment without his passion. Owen Gleiberman, Variety(Photo by Mary Cybulski/NETFLIX © 2020)And what about Toni Collette and David Thewlis as the parents?Collette and Thewlis are easily the show-stealers, swinging moods with such vicious intensity that it’s astounding that their characters feel at all cohesive. Leigh Monson, What to WatchDavid Thewlis’ buttery British accent is coupled with venomous words that rivals his performance in Mike Leigh’s Naked. James Clay, Fresh FictionThewlis delivers the best line-reading of the year while describing the temperature during his brief appearance. Hannah Woodhead, Little White LiesCollette either escapes [Kaufman’s] grasp or was unfortunately encouraged by her director to run through a gamut of tics that not-so-fondly recall her terrorized possession in Hereditary. Barry Hertz, Globe and MailWho else deserves recognition?Jay Wadley’s flurried, virtuosic score is as much of a scene-stealer as Molly Hughes’ lived-in and creaky production design. David Ehrlich, IndieWireIt’s in the editing by Robert Frazen and the cinematography by Lukasz Zal that gives the film kinetic energy to place you right in the middle of the action, it’s almost alienating. James Clay, Fresh Fiction(Photo by Mary Cybulski/NETFLIX © 2020)So is it good or bad?It exists outside the good/bad spectrum because it is a very successful at being excruciating. It is a horror film without reprieve and without answer. Matt Goldberg, ColliderOn many levels it s a bold, brilliant work… yet in many fundamental ways, the movie is frustrating; it s frequently a hard slog, as distancing as it is illuminating. David Rooney, Hollywood ReporterWith Kaufman, always, I’m willing to take the vexations along with the rewards. Michael Phillips, Chicago Tribune[It’s] a work unlike anything else you’re bound to see this year. It’s haunting and hilarious. Disturbing and captivating. It hypnotizes you like a cobra than goes in for a kiss instead of a bite. Chris Evangelista, SlashfilmWill we need to see it more than once?I suspect that many viewers will want to rewatch the film fairly quickly, to piece together the pieces of meta narrative sprinkled throughout and to make full sense of an ending that might be a bit less definitive than expected. Leigh Monson, What to WatchI felt like I would absolutely appreciate the film more if I watched it a second time, and could not fathom having the patience to sit through it again any time soon. Matt Singer, ScreenCrushI m Thinking of Ending Things premieres on Netflix on September 4.
另外在游戏优化方面，LOL手游也做的相当出色，游戏虽然在建模、画面表现上非常出色，但是游戏所需要的硬件配置却不高，二测期间用三年前的安卓手机玩完全没有压力，同时值得称赞的一点就是手游的AI系统做的也相当棒，存在很强的对抗性，相比之下，一些现在国内数一数二的moba手游在这方面做的却相当拉胯，AI过于简单，甚至画面卡顿都能成为常态。 ing Race halted production on its 33rd season, and European content conference MIPTV 2020 has been canceled. Now SWSW — which lost presenters in Apple, Netflix, Amazon Studios, Twitter, WarnerMedia, Facebook, and TikTok and celeb attendees including Trent Reznor and Ozzy Osbourne — also canceled its March events. We are devastated to share this news with you, SXSW organizers wrote in an event update on SXSW.com. “ The show must go on is in our DNA, and this is the first time in 34 years that the March event will not take place. We are now working through the ramifications of this unprecedented situation. Fox News has canceled its upfront presentation for later this month in New York. Disney has canceled its European launch of Disney+ in London. And Japan’s Olympic minister has suggested the Summer Games could be postponed until later in 2020. (Deadline)As of now, PaleyFest 2020 – featuring cast members and showrunners from The Mandalorian, The Boys, Star Trek: Picard, Schitt’s Creek, Outlander, Ozark, and more – is still on for March 13-22 in L.A.Read Also: No Time to Die Gets Pushed Back to November, and More Movie NewsA Triple Dose of Courteney Cox Coming Back to TV: Friends Reunion, Game Show, and a Horror-Comedy Series(Photo by Jordin Althaus/E! Entertainment/NBCU Photo Bank/NBCUniversal via Getty Images)Courteney Cox is headed back to primetime via Starz’s Shining Vale, a horror-comedy series from Divorce creator Sharon Horgan and Jeff Astrof, co-creator of NBC’s Trial Error. Cox will play the mom of a dysfunctional family who leaves the city to move to a small town. They take up residence in a house where a lot of bad things have happened, but mom Pat is the only one who notices. That leads her to believe she’s either possessed or depressed — the symptoms are the same for both.And two sure-thing C.C. sightings ahead: that Friends reunion we’re all living for on HBO Max, and, as part of its Red Nose Day fundraiser, NBC will air the special Celebrity Escape Room, with Jack Black hosting contestants Cox, Lisa Kudrow, Ben Stiller, and Adam Scott. The special will air on May 21, followed by a two-hour variety show telethon that will raise money for childhood poverty charities.Oprah Creates Apple TV+ Special To Address American Dirt Book ControversyIt’s Oprah Winfrey’s multimedia world we live in, and she’s going the Apple TV+ route to address the recent controversy surrounding author Jeanine Cummins’ bestseller American Dirt, and Oprah’s own role in the literary drama. At midnight ET on March 6, Winfrey will premiere a two-part interview with Cummins, plus authors Reyna Grande, Julissa Arce and Esther Cepeda, and members of the Latinx community, followed by a discussion with Latinx people “who saw themselves reflected in the book and share their insights into real-life migrant experiences,” according to Apple.American Dirt, which tells the story of a Mexican mother and son who try to make their way to the American border after the rest of their family is murdered by a cartel, has drawn the ire of readers who accuse Cummins – who identified as white before revealing she has a Puerto Rican grandmother, Vulture reports – of being “appropriative” in telling the story. The book has sparked discussion about who has the right to tell stories outside their own cultures and experiences, and Winfrey found herself pulled into the mix (and the target of anger from some of those readers) after she selected the book for her Oprah’s Book Club.New Trailers: Hugh Jackman Dishes Up Some Bad Education on HBOMore trailers:Penny Dreadful: City of Angels, season 1, starring Natalie Dormer (Showtime)I Know This Much Is True, drama starring Mark Ruffalo (HBO)Stranger Things, season 4 table read (Netflix)Killing Eve, season 3, starring Sandra Oh (BBC America)What We Do in the Shadows, season 2 teaser (FX)The English Game, season 1, from Downton Abbey creator Julian Fellowes (Netflix)Breeders, season 1, family comedy starring Martin Freeman (FX)The Last O.G., season 3, starring Tracy Morgan and Tiffany Haddish (TBS)Belgravia, limited series based on the Julian Fellowes novel (EPIX)Home Before Dark, season 1, starring Brooklynn Prince and Jim Sturgess (Apple TV+)Transformers: War For Cybertron Trilogy: Siege, season 1, animated series (Netflix)Boomerang, season 2, with all episodes directed by women of color (BET)Elite, season 3, Spanish teen drama (Netflix)Future Man, season 3, starring Josh Hutcherson (Hulu)On My Block, season 3, teen comedy (Netflix)Tales From the Loop, season 1, starring Rebecca Hall (Amazon Video)Go Karts, coming-of-age racing movie (Netflix)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: Silicon Valley Star Thomas Middleditch Needs a Kidney in Chuck Lorre s B Positive(Photo by Michael Kovac/Getty Images for 101 Studios)Silicon Valley star Thomas Middleditch will star in Chuck Lorre’s CBS comedy pilot B Positive, about a recently-divorced dad, Drew, who needs a kidney donor. Sara Rue – a vet of three Lorre series: The Big Bang Theory, Mom, and Two and a Half Men – and You’re the Worst star Kether Donohue will also star in the series. Rue will play Drew’s ex, while Donohue will play a party girl friend of Drew, and the previously announced Annaleigh Ashford (Masters of Sex) will play the woman who donates a kidney to Drew. (Variety)The Handmaid’s Tale star Ann Dowd has been cast as the titular POTUS in Showtime’s pilot for the adaptation of The President Is Missing, the novel by James Patterson and Bill Clinton. Dowd plays President Jillian Stroud, who goes missing halfway through her first term in office, thrusting her veep, played by David Oyelowo, into her job. (Deadline)Orange Is the New Black star Lorraine Toussaint will play the aunt of Queen Latifah’s Robyn McCall on the CBS reboot of drama The Equalizer.ra Sedgwick is starring in the ABC comedy pilot My Village, about a recently widowed Midwestern woman who moves to Los Angeles to be near her adult children, but doesn’t exactly fit in with the hipster L.A. lifestyle.Warcraft star Ben Schnetzer has replaced Barry Keoghan as main character Yorick Brown in FX’s drama Y: The Last Man. The series adaptation of Brian K. Vaughan’s comic revolves around Yorick’s quest to find out what wiped out all male chromosomes on the planet, leaving him … what the title says. The rest of the cast includes Diane Lane, Marin Ireland, and Amber Tamblyn. (THR)Without a Trace star Anthony LaPaglia will play Trevor, the widower who moves in with his son, Jim Jeffries’ character, in the NBC comedy pilot Jeffries. (Deadline) Veep star Reid Scott will star in the high-concept NBC drama pilot Echo, about a team of undercover FBI agents who go into the past, assume the identities and bodies of the victims, and try to prevent crimes before they happen. Scott will also be a producer on the series, which has signed True Blood star Janina Gavankar as the female lead, playing a cop. (Deadline)Schitt’s Creek star Emily Hampshire has been cast as the co-lead in EPIX’s Chapelwaite, opposite Adrien Brody. The 10-episode drama is based on Stephen King’s Jerusalem’s Lot, and is planned for a fall 2020 premiere. Hampshire will play Rebecca, an aspiring writer who applies for the job of governess to Captain Charles Boone’s (Brody) children, and hopes to use them as inspiration for the book she’s writing. “In doing so,” according to EPIX, “Rebecca will not only craft the next great gothic novel, she’ll unravel a mystery that has plagued her own family for years.”Taxi and Back to the Future star Christopher Lloyd is guest starring on NCIS, playing a Navy veteran of the Pearl Harbor attack who gets caught up in a Gibbs (Mark Harmon) investigation. (TVLine)The Facts of Life and Living Single star Kim Fields has joined the cast of the Netflix comedy The Upshaws, about a working class African American family in Indiana. Fields will play a mother of three, married to a character played by Mike Epps and sister of a character played by Wanda Sykes.Succession star Ashley Zukerman will star in NBC’s drama pilot Langdon, about the Robert Langdon character at the center of Dan Brown’s The Da Vinci Code novel and its sequels. Tom Hanks played the character in the movie versions of Brown’s books.Brandon McKnight, who plays Chester P. Runk on The Flash, has been promoted to series regular for season 7 of The CW series. (Deadline)(Photo by Claudio Lavenia/Getty Images)R B star Usher will executive produce and serve as a judge on the Quibi dance competition series The Sauce. (Deadline)Doctor Who and Years and Years star Maxim Baldry has been cast in Amazon’s Lord of the Rings series. No details about his role have been announced, but the series has already been renewed for a second season before the first premieres.Suits alum Gina Torres will play one of the titular roles in the ABC drama pilot The Brides, a “sexy, contemporary reimagining of the Dracula story.” From producer Greg Berlanti and Riverdale creator Roberto Aguirre-Sacasa, the series revolves around three immortal women – led by Torres’ Cleo Phillips – who go to great lengths to maintain their family’s power.Wayward Pines and Sleepy Hollow star Shannyn Sossamon will play the lead in the Fox drama pilot The Cleaning Lady, about a doctor who moves to the U.S. from the Philippines to get medical treatment for her son. When things go badly, she has to go into hiding, and becomes the on-call cleaning woman for the mafia. (Variety)Rumer Willis has been cast in a “pivotal” role on Fox’s firefighter drama 9-1-1. No specifics are available on who she’ll play, but the Empire and Masked Singer alum, and Dancing with the Stars champion, is said to be involved in “one of the show’s biggest emergencies yet.” (TVLine)Tony-nominated Broadway star Hailey Kilgore (Once on This Island) has signed on for the Power prequel series Power Book III: Raising Kanan, where she’ll play Jukebox, the Kanan Stark corrupt cop confidant played by Anika Non-Rose in the original series. The teenage version of Jukebox is one of Kana’s best friends, and an aspiring singer.HBO Max has cast its Gossip Girl reboot stars: Whitney Peak (Chilling Adventures of Sabrina), Eli Brown (Pretty Little Liars: The Perfectionists), Emily Alyn Lind (Code Black), Johnathan Fernandez (Lethal Weapon), and Jason Gotay (Peter Pan Live!). Kristen Bell will return as the narrator, a role she performed in the original CW series. Lind will play a character with a long-time boyfriend whose eye may start wandering, but the rest of the characters’ descriptions are being kept under wraps.How to Get Away with Murder vet Kendrick Sampson will play Brad, the boyfriend of Odette Annable’s Janey Steadman in ABC’s pilot for the thirtysomething sequel, thirtysomething(else).The Good Doctor star and executive producer Daniel Dae Kim will join New Amsterdam in the recurring role of the hospital’s new head trauma surgeon. He debuts in the April 7 episode. (TVLine)Brett Gelman, whose conspiracy theorist and Hopper pal Murray Bauman was introduced during season 2 of Stranger Things, has been promoted to series regular for season 4.Kirstie alum Eric Petersen will play the title role in AMC’s Kevin Can F*** Himself, about the secret life of what we think of as the typical sitcom TV wife (played by Schitt’s Creek star Annie Murphy). Mary Hollis Inboden (The Real O’Neals) has also been cast as the couple’s neighbor, Alex Bonifer (Superstore) plays Kevin’s best friend.Pitch star Kylie Bunbury will star with Katheryn Winnick (Vikings) in David E. Kelley’s ABC thriller The Big Sky, about a PI and an ex-cop who partner to locate two sisters who have been kidnapped by a truck driver in Montana. Ryan Phillippe and Chicago P.D. alum Brian Geraghty also star. (Variety) (Deadline)Star Trek: Discovery alum Jason Isaacs has joined the cast of the Sophia Bush CBS medical drama pilot Good Sam. He’ll play the surgeon father of Bush’s Sam, and, after waking up from a month-long coma, he finds out Sam is now his boss. (Variety)Grace Gummer (Mr. Robot) and Prodigal Son’s Molly Griggs will join Alec Baldwin, Jamie Dornan, and Christian Slater in the Peacock limited series Dr. Death, based on a podcast about a sociopathic doctor (Dornan). (Deadline)Burn Notice star Coby Bell will play Texas Ranger captain Larry James on The CW’s Walker, Texas Ranger reboot, Walker, with Jared Padalecki. (Deadline)Read More: Premiere Dates Calendar: Quibi Announces Launch Line-upDave Chappelle, Ali Wong, David Letterman Headline Netflix s First Comedy FestNetflix will host its first comedy festival – the Netflix Is a Joke Fest — in Los Angeles in April and May, including performances by Dave Chappelle, David Letterman, Jerry Seinfeld, Jane Fonda, Lily Tomlin, Amy Schumer, Jamie Foxx, Ali Wong, Wanda Sykes, Sebastian Maniscalco, Mike Birbiglia, and Hannah Gadsby. Tickets for the weeklong, multiple venue fest go on sale on March 6.Development News: Disney+ To Reunite LeFou and Gaston for Beauty and the Beast Prequel Series(Photo by Laurie Sparham /© Walt Disney Pictures /courtesy Everett Collection)Josh Gad and Luke Evans will reprise their roles as LeFou and Gaston, respectively, for a six-episode musical prequel to Beauty and the Beast on Disney+, EW reports. Once Upon a Time creators Eddy Kitsis and Adam Horowitz will develop the project and showrun the series along with Gad. Producers are reportedly in talks with composer Alan Menken to return.Podcasting with Christafuh: Fans of The Sopranos will soon have the opportunity to get new, behind-the-scenes scoop on the classic HBO drama, straight from the mobsters’ mouths, when stars Michael Imperioli and Steve Schirripa — that’s Christopher and Bobby — launch the Talking Sopranos podcast. The two will bring fellow cast members, writers, and directors into the mix as they break down each episode of the show — that’s 85 installments before we get their opinions about whether or not Tony survived the series finale. Talking Sopranos will debut in April on Apple, Spotify, and YouTube.A E has scheduled a two-night salute to country music superstars. On April 12, the network will debut Biography: Dolly, documenting the life of the legendary Dolly Parton, followed by Willie Nelson: American Outlaw, a Nashville concert in honor of Nelson, featuring performances by George Strait, Chris Stapleton, Dave Matthews, Jack Johnson, Emmylou Harris, Sheryl Crow, Norah Jones, and Vince Gill. The following night, Biography: Kenny Rogers unfolds the life and career of the singer best known for his hit song “The Gambler.”British novelist and Chaplin screenwriter William Boyd is writing a miniseries about the 2019 fire in the Notre-Dame cathedral in Paris, based on The New York Times coverage of the devastation. (Variety)Fresh Off the Boat writer and co-producer Cindy Fang and executive producers Melvin Mar and Jake Kasdan are developing the comedy Asian Descent for Freeform. The dark comedy is about an aspiring musician who has to move back home with her immigrant parents when her dreams aren’t working out. (Variety)Jessica Alba will host the docuseries Parenting Without Borders for Disney+. Based on the 2014 book of the same name written by Christine Gross-Loh, the series will find Alba travelling all around the world to spend time with families and learn about their parenting customs. Deadline says the series is described as “Anthony Bourdain: Parts Unknown for parenting.” (Deadline)Quibi has ordered a trio of non-scripted series: Sex Next Door, which will follow the lives of four sex workers in Seattle; Hot Off the Mic, a daily show where comedians will give their takes on the headlines of the day; and How We Met, which will follow a new couple’s origins story each episode. (Deadline) (Deadline)Judge Judy will end after its upcoming 25th season, but Judith Sheindlin announced she’s developing a new series, Judy Justice, which will premiere the following year.Comedian Atsuko Okatsuka will host the Quibi game show Let’s Go, Atsuko! A Woke Japanese Game Show. Two contestants will be asked to name something they love and something they fear, which will be used to tailor challenges for them that take place in the “surreal universe inside [Okatsuka’s] grandma’s fridge.” (Deadline)