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猪猪乐园游戏下载采用百度引擎8(Baidu 4)可能很多人都看过主播玩人类一败涂地,这游戏最大的特点是“沙雕”,手游上线后,一周卖出超过200万套,非常受欢迎,还是熟悉的味道。手游将联机人数增加到8人,当你随便进入一个房间,你会发现女玩家的数量非常多,局内聊天系统很完善,你大可以当成一款社交游戏来玩。

1. 猪猪乐园游戏下载
(Photo by ©Lionsgate courtesy Everett Collection)Sometimes, when a movie is set entirely in one location, it s a sure bet that the filmmakers were able to squeeze their budget for every penny, and you can tell that s the only logical reason why the characters seem unable to go anywhere else. But there are some movies that manage to use this limitation to great effect.In the case of thrillers or horror movies, the use of a single location can serve to increase the tension through a feeling of claustrophobia, something typically alleviated in other films by cutting away to a new location. One of the best examples of this is the 2010 film Buried, in which Ryan Reynolds plays an American contractor named Paul Conroy who is working as a truck driver in Iraq when he gets kidnapped and, well, buried in a wooden box somewhere in the desert.To mark its 10th anniversary, let s grab our Zippo lighters and Blackberry phones as we dive into what makes Buried so terrifyingly effective.It Wears Its Hitchcockian Influences on Its Sleeve(Photo by ©Lionsgate courtesy Everett Collection)The director of Buried, Rodrigo Cortés, cites Alfred Hitchcock as a major influence on the film, and it shows. The film begins with an extended credits sequence that instantly brings to mind the work of legendary graphic designer Saul Bass, who designed the credit sequences of many of Hitchcock s thrillers, like North by Northwest and Vertigo. From there, the movie utilizes some of the Master of Suspense s most effective techniques and adapts them to fit the more modern script, including the real-time suspense of Rope, the confined location of Lifeboat and Rear Window, and even the creative use of lighting that comes from the main character s phone and Zippo lighter, effectively contrasting the warmer hues of the latter with the cooler ones of the former.It s Incredibly ClaustrophobicYou d think that spending 95 minutes in a single, confined location would grow stale rather quickly, but somehow Buried manages to keep it feeling fresh throughout its runtime. The film rarely uses the same shot twice, and for the most part, it plays in real time, adding to the sense of dread as the clock continues to tick. As the story progresses, viewers are also introduced to new elements that threaten Paul, like a snake that finds its way into the coffin for a snuggle.Cortés and his cinematographer Eduard Grau compensate for the film s minuscule set by finding novel angles from which to shoot Paul s suffering. Multiple coffins were built for the film, allowing the camera crew to capture those impossible angles, getting as uncomfortably close to Reynolds or as far removed, as if we re seeing Paul from above the ground as needed. The resulting effect adds greater tension to the film, as it plays with the audience s expectations that Paul will manage to break free eventually.Ryan Reynolds Rises to the Challenge(Photo by ©Lionsgate courtesy Everett Collection)Ryan Reynolds had already dabbled in several genres by the time he made Buried, but he was still mostly known for romantic comedies like Definitely, Maybe and The Proposal. His intimate and emotional turn as Paul in Buried helped prove he had more than one ace up his sleeve.Because we never cut away to what s happening outside of the wooden box Paul finds himself in, the entire plot unfolds via various hysterical phone calls he makes to ask for help. These serve both to provide exposition for Paul s predicament (and the efforts to rescue him) and to function as vessels for the drama that slowly but steadily sketches the details of Paul s life. Reynolds has never been as believable or understated as he is in this movie, and the more we find out about his personal life — like tensions with his wife s friends, the death of his father, his mother s dementia — the more we realize Paul was dead inside long before he was trapped in the coffin.Single-location movies hang on the shoulders of its actors. Locke wouldn t work nearly as well as it does without Tom Hardy. Andre Gregory and Wallace Shawn make My Dinner with Andre more than just another banal conversation. Likewise, Reynolds delivers an incredibly raw performance in Buried, and it s because of him that the movie works.Its Sound Design Stands OutSince we don t get a lot of visual stimulation in Buried, the film lets sound do some of the heavy lifting to tell its story. We ve talked about how much of the plot is revealed through a series of phone calls, but sound designer James Muñoz brings Paul s suffocating world to life. The wood creaking, the sand falling in from holes in the lid, the burst of the lighter igniting, Paul s panicked breathing these sounds rise and fall in intensity with razor-sharp attention to detail to maximize their effectiveness in increasing the tension. The moments when Paul resigns himself to darkness turn even the slightest noise into an instantly bone-chilling encounter with the unknown.It Commits to Its Premise and Sticks the Landing HardThe problem with single-location movies is that, more often than not, they cut away from the main setting to give us a flashback, or allow the protagonist to escape their predicament halfway through in order to move the action to a new level. Buried doesn t do this. For 95 minutes straight, we are stuck in a coffin with Paul. No matter how many people he calls on the phone during the film s runtime, he is the only person we see. There is no flashback to his kidnapping, no cutaway to his weeping wife, no check-in with his captors, just Paul. This heightens the tension, as it plays with the audience s expectation that, at some point, we ll eventually see something other than the coffin, until we don t.Arguably the boldest decision the movie makes is not to rescue Paul. He dies as the coffin fills with sand, and the man in charge of rescuing him can only apologize over and over on the phone. The film literally never leaves Paul s side, and it ultimately cuts to the credits without a happy resolution. It s a risky choice not to offer any relief to the audience after watching this man suffer for an hour and a half, and if the unconventional nature of the rest of the film didn t already turn off some viewers, it s likely the ending did. But that choice is the only right one to make for a movie that spends its entire runtime subverting expectations; when the lights go up, we are all still trapped in that coffin with Paul, and the realization hits like a ton of bricks. That s the brilliance of Buried, one of the best single-location thrillers ever crafted. 其次则是产品本地化的打磨,我们都知道LOL手游是由拳头游戏研发,并非腾讯研发。所以要把一款海外手游本地化,并不是一朝一夕就能完成,哪怕是我们大胆预估一下,从去年海外公测时,国服就在做准备,但如今也才过去4个多月时间,短短4个月想要把LOL手游完全本地化,任务有点艰巨。

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100 Best Musical Movies of All TimeIf you ve got a song in your heart, we ve got a list for your eyes: The best-reviewed musicals from Wizard of Oz to La La Land! With Lin-Manuel Miranda s In the Heights finally making the leap from Broadway to screen, we ve put together 100 showstoppers that s all-singing, all-dancing!Every expression of the musical movie is present in this cavalcade of the 100 best-reviewed: the classics (All That Jazz, The Sound of Music), the mostly moderns (La La Land, Mamma Mia! Here We Go Again, Mary Poppins Returns), the MGMs (Singin in the Rain, An American in Paris), the Astaire Rogers (Top Hat, Swing Time), intimate indies (Once, Dancer in the Dark), and stuff for the kids (Willy Wonka and the Chocolate Factory, Chitty Chitty Bang Bang). We kept this countdown to live-action musicals, so nothing animated except for the partially so, like Mary Poppins.And we picked movies where people break into song and dance, not ones where they just perform music; in other words, Crazy Heart, Bohemian Rhapsody, and the 2018 A Star Is Born don t work for this list, but the Judy Garland A Star Is Born does.Other than that, if the film was Fresh after 20 reviews with some light feet and golden voices whose songs are key drivers of the plot, it was up for inclusion. After that, we ranked them all by Adjusted Tomatometer.And now it s time for the big showstopper: The 100 Best Musical Movies of All Time! #100猪猪乐园游戏下载There’s something so exciting about the arrival of a new voice on the movie scene. Sure, we love to see the veterans and masters do their thing, but it’s that adrenaline rush that comes with discovery and potential that really drives a lot of film lovers. When we see an amazing debut, we not only appreciate it on its own, but we can imagine all the great movies to come from people like Jordan Peele, Greta Gerwig, Ryan Coogler, and Ari Aster. It’s a glimpse of the future.This list of some of the greatest directorial debuts of the 2010s offers a vision of the future of filmmaking that’s diverse, ambitious, daring, and brilliant. We chose the directors based on Tomatometer scores, the impact of their work (awards, box office, general adulation), and, in many cases, the work they would go on to make after their debut or the projects they have teed up. Names like Barry Jenkins and Damien Chazelle may seem like omissions, but they actually had films released pre-2010; other names, like this year s Phillip Youmans, who made his Certified Fresh debut while still in high school, arguably deserved a place, but we kept to a strict 30 slots. It could have been a much, much longer list.Without further ado or caveat, here are 30 incredible directing debuts from the last decade. We may be looking back, but it’s because we’re so excited about what’s ahead.Derek Cianfrance: Blue Valentine (2010) 86%(Photo by Davi Russo/©The Weinstein Company/courtesy Everett Collection)When he was barely more than a teenager, Derek Cianfrance wrote and directed a small project called Brother Tied that didn’t get a theatrical release, so most consider this 2010 drama his debut. And what a debut! It helps to have two of the best actors of their generation delivering at the top of their game, which is what Cianfrance got from Michelle Williams and Ryan Gosling as a couple whom we watch disintegrate in front of our eyes. Both were nominated for Golden Globes and Cianfrance would go on to work with Gosling again in 2012’s Certified Fresh The Place Beyond the Pines.Ava DuVernay: I Will Follow (2010) 82%(Photo by ©AFFRM/Courtesy Everett Collection)Given how much she would go on to accomplish with acclaimed works like Selma, 13th, and When They See Us – not to mention as a producer and mentor – it’s almost hard to believe that Ava DuVernay’s directorial debut came just this decade. The former publicist turned heads with this independent drama about a woman (Salli Richardson-Whitfield) forced to take care of a sick aunt (Beverly Todd). Shot in only 11 days on a shoestring budget, it’s easy to see the talent that would turn DuVernay into a household name over the next 10 years.Dee Rees: Pariah (2011) 95% (Photo by Focus Features/ Everett Collection)Long before her Oscar-nominated Mudbound, Dee Rees wrote and directed this 2011 Sundance gem, a film about a young woman dealing with her emerging homosexuality. Adepero Oduye stars as Alike, a 17-year-old who becomes more comfortable with her lesbian identity, even as she faces pushback from her family and community. It’s a tender, honest film that only makes one wish that Rees would work more often – it was six years between Sundance premieres for the filmmaker.J.C. Chandor: Margin Call (2011) 87% (Photo by Jojo Whilden/©Roadside Attractions/courtesy Everett Collection)Sometimes a great new director is announced with a small, intimate cast – sometimes it’s with a ridiculous ensemble that includes more than one Oscar winner. J.C. Chandor was blessed enough to find himself directing Jeremy Irons, Kevin Spacey, Paul Bettany, Stanley Tucci, Demi Moore, Zachary Quinto, and more in this riveting look at the beginning of the financial crisis that was still fresh in investors’ minds when the film was released in 2011. Chandor used this well-received film as a launchpad and directed three other Fresh films before the decade was over – All is Lost, A Most Violent Year, and Triple Frontier.Benh Zeitlin: Beasts of the Southern Wild (2012) 86% (Photo by Fox Searchlight./Courtesy Everett Collection)Most Sundance veterans will tell you that they remember specific world premieres, one of them being the 2012 launch of Beasts of the Southern Wild, a heartfelt, poetic look at childhood that would go on to land Oscar nominations for Best Picture and Best Director. (It would also gift us with an incredible on-camera talent in Quvenzhané Wallis.) There’s something transcendent about this film, which announced a major new talent who took way too long to make a follow-up. The good news is that Zeitlin finally has finally done that: Wendy will also have its world premiere at Sundance in January 2020, and it will likely be the hottest ticket of the festival.Drew Goddard: The Cabin in the Woods (2011) 92% (Photo by Diyah Pera/©Lionsgate)Fans of Drew Goddard s writing on Buffy the Vampire Slayer and Lost weren’t too shocked to discover he could also write and direct a kick-ass movie too, but even they were a little blown away by this modern horror classic. Subverting the tropes of most scary stories about beautiful people in remote cabins, Goddard’s directorial debut was a much-needed jolt of genre adrenaline at a time when audiences weren’t really taking horror movies all that seriously. He would go on to write The Martian and write and direct another subversive puzzle film, 2018’s Bad Times at the El Royale.Lorene Scafaria: Seeking a Friend for the End of the World (2012) 55% (Photo by Darren Michaels/©Focus Features/Courtesy Everett Collection)Before she gave the world Hustlers, Lorene Scafaria wrote and directed this quirky comedy starring Steve Carell and Keira Knightley in what’s basically a pre-apocalyptic buddy movie. When it’s announced that an asteroid is going to hit the planet, Carell’s sad sack goes on a road trip with his neighbor to find the true love of his life before it’s too late. Scafaria proved adept at directing performers, a skill further deployed in 2015’s The Meddler and 2019 s Hustlers, which is starting to rack up awards this season.Joshua Oppenheimer: The Act of Killing (2012) 95% (Photo by ©Drafthouse Films/courtesy Everett Collection)After producing films in Indonesia in the 2000s, Joshua Oppenheimer decided to make his first feature documentary about the open wound in that country, namely the mass genocide that took place from 1965 to 1966, the perpetrators of which were never brought to justice. His masterstroke is in allowing the violent war criminals to reenact their own crimes, using the power of the camera against them. The final scenes, in which one of the leaders of the death squad finally comes to terms with his own sinful past, are unforgettable. Don’t miss the companion film, The Look of Silence.Ryan Coogler: Fruitvale Station (2013) 94% (Photo by ©Weinstein Company/courtesy Everett Collection)Few directors have made as much of an impact in a relatively small amount of time as Ryan Coogler, who has directed three films and has yet to notch a Tomatometer score under 94%. Everyone on Earth knows about Creed and Black Panther, but his debut was back in 2013 with Fruitvale Station, the true story of the tragic murder of Oscar Grant, a young man killed by a Bay Area Rapid Transit (BART) officer in 2009. It was also the first major film role for Michael B. Jordan, who would go on to star in all of Coogler’s films. Their relationship seems likely to produce quality through the next decade and beyond.Andy Muschietti: Mama (2013) 63% (Photo by George Kraychyk/©Universal Pictures/Courtesy Everett Collection)The life of Argentinian filmmaker Andres Muschietti changed forever when Guillermo del Toro saw a three-minute short he made with his sister called Mama he would go on to develop it into a feature under the eye of del Toro. Jessica Chastain gives a fearless performance as a woman trying to deal with two children found in the woods, protected by a supernatural entity known only as Mama. Muschietti proved he had enough of a gift with atmosphere here that WB tapped him to direct two of the biggest horror movies of the decade in the It flicks. And it all started with the right person seeing just a few minutes of film.Jennifer Kent: The Babadook (2014) 98% (Photo by ©IFC Midnight/Courtesy Everett Collection)Australian writer-director Jennifer Kent shook Park City and then the rest of the world in 2014, when she dropped her fable of parental grief and fear in the amazing The Babadook. Adapting her own short film, Monster, Kent directed Essie Davis in the story of a single mother trying to deal with the sudden loss of her husband while raising a troublesome child. Oh, and there’s a horrible creature in the basement too. (Or is there?) The wave of highbrow horror that ended the 2010s likely doesn’t crest as high without The Babadook, a masterpiece of tension that weaves relatable emotions into a ghost story and felt like an instant classic the first time we saw it. Kent followed it with this year s Certified Fresh The Nightingale.Justin Simien: Dear White People (2014) 91%(Photo by ©Roadside Attractions/courtesy Everett Collection)Don’t take just our word for it: Sundance named Justin Simien a “Breakthrough Talent” by giving him a special award after the world premiere of his brilliant 2014 dramedy about life on a black campus in the 2010s. Tessa Thompson plays Samantha White, a student at Winchester University, a mostly white school. Simien uses White to branch off and introduce us to a fascinating ensemble of players, instantly becoming one of the most interesting young voices in cinema on modern issues of race and class. He adapted the film into an acclaimed Netflix series – all three seasons are Certified Fresh – and has finally directed a follow-up that will premiere at Sundance 2020, Bad Hair.Ana Lily Amirpour: A Girl Walks Home Alone at Night (2014) 96% (Photo by ©Kino Lorber/Courtesy Everett Collection)What do most of these breakthrough debuts have in common? They announce distinct new voices. No one else on Earth could have made A Girl Walks Home Alone at Night, a black-and-white “Iranian Vampire Spaghetti Western.” It’s not like we get one of those movies every weekend at the multiplex. The minute Ana Lily Amirpour landed on the scene, we knew that her voice was going to be her own, something proven further by The Bad Batch, her even crazier follow-up. Love or hate her films, they aren’t like anything else.Dan Gilroy: Nightcrawler (2014) 95% (Photo by Chuck Zlotnick/©Open Road Films/Courtesy Everett Collection)It’s actually less common than you think for successful screenwriters to segue smoothly into the director’s chair, as the two roles sometimes take different skill sets. It turns out that it wasn’t a problem for Dan Gilroy, who may be an even better director than he was a writer, as proven by this 2014 award-winner that stars Jake Gyllenhaal as an L.A.-based man who gets hooked on getting raw and often bloody footage for local news. Gilroy directed Gyllenhaal to one of the best performances of his career in a film that feels just as timely now as it did five years ago.Alex Garland: Ex Machina (2015) 92% (Photo by ©A24/Courtesy Everett Collection)Alex Garland wasn’t your typical newcomer when he dropped his 2014 directorial debut. After all, he had been a regular collaborator with Danny Boyle as the writer on 28 Days Later… and Sunshine, and even dabbled in video game writing. And yet Ex Machina still felt like an introduction to a major new talent. The story of a man who develops a doomed relationship with a daring new form of A.I. was so well-received that Garland landed an Oscar nomination for Best Original Screenplay. And there are people who will tell you that his follow-up, 2018 s Certified Fresh Annihilation, was even better.László Nemes: Son of Saul (2015) 96% (Photo by ©Sony Pictures Classics/Courtesy Everett Collection)Hungarian director László Nemes proved that there are still stories to tell about the Holocaust with this terrifying vision of life in Auschwitz near the end of World War II. Géza Röhrig plays Saul, a man deeply numbed by the horror of what he’s had to do as a Sonderkommando, the Jewish prisoners who were forced to assist the SS. When he becomes determined to give a murdered child a proper burial, Son of Saul becomes a story of purpose in a place designed to crush the human spirit. With impeccable sound design and a visual style that puts viewers in Saul’s shoes, this was a debut admired around the world, all the way to an Oscar for Best Foreign Language Film.Marielle Heller: The Diary of a Teenage Girl (2015) 95% (Photo by Sam Emerson /© Sony Pictures Classics / courtesy Everett Collection)Marielle Heller has been so successful this decade that it’s hard to believe that her debut was only four years ago. Since then she’s directed two films with Tomatometer scores above 95% in Can You Ever Forgive Me? and A Beautiful Day in the Neighborhood. She’s

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tories filmed weeks prior sit abandoned, covered in fake blood and gore — evidence of the sheer speed of production.)“We’re shooting so fast that when one of them is done, the guys just throw it on the floor in the room and grab the next one and run to set. So when you walk by our lock-up, everything is just thrown everywhere. There’s no time to even pick anything up,” Nicotero said. “The skin crawlers, the big bloody monster, they’re all on the ground. We finish shooting and it was soaked in blood and they just dropped it and it’s still sitting there, because you don’t even have five minutes to wipe the blood off. We’re moving that fast.”4. He hired big names to star.(Photo by Shudder)How did the little horror series for a streaming service wind up with genre heavyweights like Tricia Helfer, Adrienne Barbeau, Jeffrey Combs, and Bruce Davidson, plus other stars including Giancarlo Esposito, David Arquette, Kid Cudi, and Big Boi (yeah, Outkast’s Big Boi)?“I literally texted every single actor I’ve ever worked with to find out what they were up to and I was like, ‘Come on, let’s play, it’ll be fun,’” Nicotero said. One thing he could promise his pals: It’s quick. You come in, you shoot a couple of days, and you leave. So in that regard it’s been fun, but it’s also been insanely hard.”5. The scary stories include adaptations and originals.(Photo by Shudder)Adaptations include Stephen King’s “Gray Matter” (which kicks off the series), Joe Hill’s “By the Silver Water of Lake Champlain,” Joe R. Lansdale’s “The Companion,” Josh Malerman’s “The House of the Head,” Christopher Buehlman’s “The Man in the Suitcase,” Bruce Jones’ “All Hallows Eve,” and John Skipp and Dori Miller’s “Times Is Tough in Musky Holler.”The original stories include “Lydia Layne’s Better Half” by John Harrison and Nicotero, “Skincrawlers” by Paul Dini and Stephen Langford, “Night of the Paw” by John Esposito, and “Bad Wolf Down” by Rob Schrab.Again, Nicotero hit up his friends to obtain the season’s best-known story: “I actually wrote Stephen King and said, ‘Can’t be Creepshow without a Stephen King story. What do you think?’ And he’s like, ‘I have just the story!’ Within 20 minutes, Stephen had two different stories that he had proposed,” Nicotero said, and once production began, it was clear “Gray Matter” was the right choice. “It was just cool that he said, ‘Yeah man, sure.’”6. It honors its roots.(Photo by Warner Brothers/courtesy Everett Collection)While filmmaking techniques have advanced in the more than 35 years since the original, which was originally designed to pay tribute to mid-century horror comics, this Creepshow retains much of its look. That means intros and outros that use the familiar comic book motif.“Because of the comic book vibe with all the panels, I think Creepshow is a different experience. We are really embracing the split-screens and going through the panels. So it’s got that flair and flavor to it, which is great,” Nicotero said.And the crew — from prop makers to set decorators — are also reverent horror fans, and have filled the series with plenty of Easter Eggs. Gray Matter has “probably 30” nods to King’s work. An ash tray from the original film owned by one of Nicotero’s friends appears in every episode.“I want people to look and then they’ll watch it a couple more times,” he said of “Gray Matter.” “There’s a lot of little things. Comic books, the voodoo doll – I forget half of them because we’ve been shooting for seven weeks. I’ll probably go back and go, ‘Oh s , I forgot about that one!’ But it’s been fun because even the art department guys come and go, ‘Look, we made this!’ and I’m like ‘That’s great, I didn’t think about that!’ Even ‘The House of the Head,’ … it’s a really great psychological thriller about a little girl who comes home and her dollhouse is haunted. She goes to the store and she’s like, ‘I need help,’ and she goes to the store and gets a cop and puts the cop toy in and then the cop gets killed and she goes and gets an Indian. We did a little Chief Woodenhead from Creepshow 2 as the Indian. All that nerdy s where we’re doing it and I’m like, ‘No one’s ever going to notice this,’ and on set, half the crew is like, ‘Is that Chief Woodenhead?!’ I’m like, ‘How the f do you guys know that? This is great.’ So there’s a lot of that kind of stuff, and it’s been fun.”New episodes of Creepshow debut Wednesdays at 9 p.m. ET/6 p.m. PT on Shudder’s TV live-stream and On Demand.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

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1.29.6 2月喜迎若凌的实力水平大家有目共睹,短短三天就冲上国服前15这样的成绩的确少见,相信LOL手游的玩家也知道最强王者的含金量,对于还在白银黄金挣扎的大部分普通玩家,内测阶段就拿下王者的若凌的确有两把刷子,当时他就凭这一点收获了不少粉丝。个人能力出众,LOL手游经验丰富,直播很幽默,也不高冷,颜值还不低,这样的主播谁不爱呢?那么大家认为目前最强的LOL手游主播是谁呢?
What it is: A teen Emily Dickinson was a rebel with gifts and intelligence well beyond her years; Dickinson is the story of how she set out to be the world’s best living poet in ways both unexpected and engrossing.Why you should watch it: Creator Alena Smith’s hit flagship series with Apple TV+ left us wanting more the minute it started. Why? Well, Dickinson is herself a subject of intrigue, and played by an Oscar nominee like Hailee Steinfeld (who’s also attached as an executive producer), she’s certainly a compelling character. But set to a contemporary soundtrack, sprinkled with millennial-tinged dialogue, and boasting a fast-paced, fantastical, feminist aesthetic that leaves period dramas of yesteryear in its dust, Dickinson is simply unlike anything we ve seen before — and that’s a good thing. Season 2 premieres Jan. 8 on Apple TV+.Where to watch it: Apple TV+Commitment: Approx. 5 hours (for the first season)
Shonda Rhimes is a master of infusing otherwise tired or trite television genres with important, topical conversations said with flair.Grey’s Anatomy, her smash hit medical drama on ABC, brought in stories of sexual assault, abortion, adoption, single motherdom, and more into a world of hospital doctors who grapple daily with how to save a life. On her other cult ABC shows, How To Get Away with Murder and Scandal, talks about racial injustice, corruption, and taking down the establishment flittered under the score of, respectively, a murder mystery and a drama about Washington, D.C., insiders.It doesn’t hurt that these shows also frequently involve smoldering glances and frolics under the sheets.In keeping to form, the latest series produced under the Shondaland mantle, Bridgerton, doesn’t disappoint.(Photo by Liam Daniel / © Netflix)Created by Shondaland veteran Chris Van Dusen (Scandal, Grey s Anatomy, others) and base

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猪猪乐园游戏下载 om the H in the Hollywood sign in the early 1930s.The limited series, co-created by Ian Brennan, plays out like a dream – what would happen if profit-driven studios had taken the brave step of giving minorities major lead roles during Hollywood s Golden Age? – and comes loaded with many of über-producer Murphy s TV signatures. There s a cast of attractive young newcomers (Broadway star Jeremy Pope, Ready or Not’s Samara Weaving, Spider-Man: Homecoming’s Harrier, and more); a handful of Murphy veterans (The Assassination of Gianni Versace’s Darren Criss, The Politician’s David Corenswet); plenty of visual panache, this time with a 1940s Hollywood flair; and lots to put a smile on any LGBTQ viewer s face — a fictionalized Rock Hudson is among the lead characters, for starters.And as with American Horror Story, Feud, and other Murphy-produced series, Hollywood is marked by a number of veteran actresses in the kind of complex, flashy roles you don t see a lot of outside of Murphyland. Holland Taylor is a wise studio executive; Mira Sorvino plays an aging actress struggling to land a role; and Broadway legend Patti LuPone stars as Avis Amberg, the studio head s wife who has to take over when he suffers a heart attack. It s Avis who makes the call to cast Washington, and who deals with the fallout, and it s LuPone who runs away with the series: Whether she s dressing down a group of bean counters trying to shutter her studio, getting plastered backstage at the Oscars, or getting freaky with 26-year-old Corenswet s Jack – expect memes of the staircase moment to do the rounds – she s a joy to watch.Rotten Tomatoes recently called LuPone at the Connecticut home that s enjoyed some fame during quarantine; the actress has been offering virtual tours of her eclectically decorated basement on Twitter ever since fans began obsessing over it when she appeared on a Rosie O Donnell live stream. It was the day after her birthday when we called, and she was hungover from a night with people on Zoom getting trashed on martinis — not something she usually drinks. Her mouth may have been dry, but LuPone had plenty to say about working with Murphy, what she d change about the entertainment industry today, her Tiger King–themed birthday present, and why those in the arts deserve more respect.Joel Meares for Rotten Tomatoes: Hollywood is just the latest Ryan Murphy production you ve been a part of – fans will remember you from AHS and Pose. What is it about what Ryan’s doing in the television landscape that’s drawing you to his projects?Patti LuPone: He offers me jobs. It s simple is that. And he offers me really great parts. I did a little thing on Glee, that was the first time I worked for him. I got a call from my agent, and they were very excited about it, they said, Ryan Murphy wants to do a whole episode about you, Patti. And I m like, No, I m still a working actor. I cannot be Patti LuPone d out of the business. And they were shocked I said no. Because they didn t know how Ryan would react. I said, Tell them, I would be happy to do one scene, but I can t have an entire episode. And I did this one scene with Lea Michele and Cory Monteith. But then I was offered American Horror Story then Pose and now this.You know what Ryan’s doing? He s forming a repertory company on film. And that s an extraordinary thing — that Ryan will offer you a great part in a great television show, you know what I mean? It s just really wonderful that somebody trusts you enough to go, “Here, play this. Here, play that.” It s always different.(Photo by Saeed Adyana/Netflix)This particular role in Hollywood, Avis, is so meaty. Part of it is just the clothes — which I m still getting over because you get to wear some amazing stuff — but then you also get to have this boy toy and some pretty wild sex scenes with David [Corenswet]. And then she becomes this boss business woman. What was it like to play all these aspects of Avis?LuPone: Well, I had an indication [of the arc] when Ryan talked to me about the part; he told me what would happen, that she would end up running a studio and making movies just for gays, minorities, and women. So I knew that that was going to be the arc of the character. And he did preface it by saying, “…and she has sex scenes.” And I said: Finally. We only got a script at a time, so I didn t really know how exactly it was going to unfold. I was thrilled that he trusted me, and I was thrilled that he gave me meat to act.Ryan has spoken about Hollywood as a sort of rewriting of movie history that gives people a happy ending who didn t necessarily get a happy ending in many ways. It’s a corrective fantasy. Is there something about the entertainment industry or Hollywood today that you would rewrite, as Ryan does in the series? What would you change about the industry if you could?LuPone: First of all, there are no showmen left. Do you know what I mean? There s no Louis B. Mayers, Jack Warners left; there are no Irving Thalbergs left. These people had theater in their blood. And I mean theater encompassing everything, do you know what I mean? They would have theatrical blood where they could choose writers and they could choose materials; materials to give to an audience. What are we doing as far as filmmaking is concerned today? We re regenerating cartoons.So I would hope that artists would lead. And I don t just mean actors, I mean anybody with an artistic bent would lead. My problem is that — and this is on Broadway as well, any entertainment aspect — we are second-guessing the audience. We are underestimating the audience. They can take a whole lot more and they need it. We need to educate, [and] they need to educate us. So, we should put everything out, much broader ideas, and let the audience decide. They are smarter than we think they are, or that we give them credit for. (Not me, because I m on that side of the stage where I deal with them.) But we need to empower the people that green-light films so they aren t underestimating them.Is the problem that those particular decision-makers lack an artistic bent?LuPone: I think that s part of it. The other is financial. I saw it changing when I was doing [ABC drama] Life Goes On years ago. I saw it changing when the Harvard bean counters, the Yale bean counters came out and took over Hollywood and the music industry. I d heard about it and I sort of felt it when I was in California, that was 1989 to 1993. You could feel it changing.Also, there should be more women in every position of power, not just in the entertainment industry, but in our politics. There s just something that the men lack right now and that s empathy.Ryan seems to have that quality.LuPone: Oh, Ryan is a champion.OK, I have to ask you about your time social distancing in Connecticut. Your home, and particularly your basement, has taken the Internet by storm ever since you appeared on Rosie O’Donnell’s live stream, and you’ve showed us your cassettes and jukebox and all sorts of things on Twitter. Are you surprised that people are so fascinated by your home and your basement and your life right now?LuPone: Yes. Yes. Yes. But you know what, if it s bringing anybody joy, I m very happy to do it. It has to be when the inspiration strikes, so that there is a mood to [the Twitter videos]. And today the mood struck because we were planning this one and I had to wait until I was sort of in the right frame of mind. What happened was I got really trashed last night because it s my birthday. I got trashed on martinis, which I don t drink. So I m hungover today and I said to my kid, Let s do it. I m not bathing, I m not combing my hair. I m not brushing my teeth. Let s do it right now. And we did it. People wanted to know what was in the locker, so I showed him things that were in the locker.I heard somebody wanted to see more of my basement. 😘 pic.twitter.com/fBea7emR6h Patti LuPone (@PattiLuPone) March 23, 2020You now know you what I m doing straight after this! What is a Patti LuPone hangover cure, by the way?LuPone: Oh my God, I don t know. I m still hungover. I woke up so sick. Apparently, I was crazy last night. I don t remember anything, but my husband told me. Because it was Bingo, it was Zoom Bingo. And I started yelling at the computer — well not the computer — and then I won and then I peed my pants and then I came upstairs. What the hell was happening? Maybe there s too much information for you, but it was one of those sort of I just passed out. Then I woke up this morning, my throat was so dry, my head was pounding. Who the hell knows?These days it s just kind of like every night could turn into that if you let it. I haven t seen a movie collection necessarily or DVDs or VHSes in your basement. Do you have one and what might we find in it?LuPone: Yes. And you know it s in the corner? It was by Nipper [her statue of the RCA dog]. But we ve just gotten rid of a lot of VHSes as well — actually we haven t gotten rid of the VHSes yet, because we re going to transfer them to digital — but [we have gotten rid of] a lot of the DVDs because they re basically on the computer. We’re leaving our home to our kids, right? That s what parents do. So my husband and I, in this time, are trying to lessen our imprint — not that we re going to die anytime soon, but you know how you collect stuff? We’re in the process of purging a lot of stuff that is not necessary anymore. So a lot of the DVDs went south. I m not going to watch the movies again, or if I want to, they re on Netflix or YouTube. So the physical movies are gone. I mean, I just got rid of a bookcase: 12 boxes of books that I got rid of!Oh no! But that s good. You re doing your part. Is there a film that you ve returned to or a TV show that you ve returned to during this time? Or something new you’ve discovered?LuPone: I m watching Babylon Berlin and My Brilliant Friend and Grace and Frankie, and now I want to watch Unorthodox; oh, somebody told me about Sex Education. But what I m doing is reading, I m reading a lot. I m reading the latest translation of Madame Bovary, which I d never read. Then starting on Hilary Mantel s The Light and the Mirror.I’m reading that at the moment, actually. Did you see the Wolf Hall miniseries?LuPone: I did. And at first, I didn t understand what Mark Rylance was doing [in the role of Thomas Cromwell]. But I think Mark Rylance is one of the great actors. I didn t understand what he was doing, and then Oh, Oh. It deeply revealed itself. I mean, he s extraordinary. (Photo by Saeed Adyana/Netflix)And I know you’ve watched Tiger King…LuPone: Yes, I did. You know what I got for my birthday from my kid? I got an authentic bumper sticker that says “Joe Exotic for President.” But it s one of those authentic ones from 2016.That s amazing. Ryan is reportedly working on series about Joe Exotic with Rob Lowe. Is there a role that you would covet to play?LuPone: Maybe Saff. Saff Saffery. [Laughs] I should play Saff; I m too old to play Saff. Um Yeah. We ll have to find a role for me. I don t know. I can t be Carole Baskin… No, it d be a challenge. On a more serious note, there’s been a lot of talk these last few weeks about how important the arts are — we’ve all turned to TV and film and music and reading to keep ourselves sane. Do you think there might be some sort of landscape change in terms of how government and people just view writers and musicians and filmmakers when this is all over? More respect? More funding?LuPone: Not as long as we have the present government. Not at all  I do not think so if the Republicans hold power; I think we will sink further, further into obscurity if they hold on to power in 2020. And I think we are taken for granted, and we are also treated as third-class citizens in this country. That s been my experience my entire career, in various ways. So I don t think so. But other countries? Probably so, because they re just smarter than we are. And more cultured than we are.(Photo by Saeed Adyana/Netflix)I’m wondering if you can expand a little for someone who s reading this and doesn t understand perhaps what you mean by “third-class citizens.” The perception might be, Patti LuPone or Ryan Murphy, et cetera, all live wonderful lives. Can you unpack that a bit?LuPone: Theatricals have always been treated with phenomenal distrust. The actress on stage, she was considered a prostitute; they were the first people that wore makeup and she was they were sub-society. I remember when I was performing, The Acting Company was performing at the Ford Theater, the reopening of the Ford Theater during Jimmy Carter s administration. And the Carters were coming to the performance that night, and we were invited to the White House to meet the President. Basically, it was the clearing out of the social calendar and there were some celebrities there: Alexis Smith, Henry Fonda, John Houseman. And just as they got to Henry Fonda and John Houseman, the military guards stopped the receiving line. I actually said, No, no, you can t do that. They re coming to see us tonight. And we were escorted off the property, basically. We ve always been considered do I want to say “non-essential”? Even though it is.I have said forever, it s an inherent right: The arts are an inherent right in human nature. And they keep de-funding the National Endowment for the Arts. I mean people were bitching that they gave the Kennedy Center million in the first stimulus package. The arts are crucial for mental and spiritual health. Yet we are, like I said, taken for granted. Or put in situations where we are totally dismissed. I have felt it my entire career. And, yes, I make a living. [But] I don t always make a living. There s that expression, You re only as good as your last shift, and I m going to be in financial peril if this goes on too much longer. I m no different than anybody else.Finally, we know that one of your theatrical pet peeves is when people put their phones on in the theater — you famously grabbed a phone from an audience member during a performance of Gypsy on Broadway. Do you have any pet peeves when you re going to the cinema? Things that really bother you?LuPone: The same thing. People talking during the movie or people texting during the movie. It s the exact same thing, you are together in a proscenium environment. And it s public manners. We, in this country, have forgotten our public manners — that other people exist besides ourselves. So, it s how we conduct ourselves in theaters, all kinds of theaters. Movie theaters, legitimate theaters. It s the same piece.Hollywood is available to stream on Netflix from Friday, May 1, 2020.

1. FIRST MOVIE UNITING SCORSESE, DE NIRO, AND DICAPRIO STARTS FILMING SOON Ryan FujitaniLike many directors of his stature, Martin Scorsese enjoys working with some of the same actors repeatedly. Early in his career, the actor Scorsese worked with the most was Robert De Niro (Mean Streets, Taxi Driver, and recently, The Irishman), and in the 2000s and 2010s, that distinction more often went to Leonardo DiCaprio (The Aviator, The Departed, Shutter Island). For his next film, Martin Scorsese is going to double down, so to speak, by working with both Robert De Niro and Leonardo DiCaprio. That film, which starts filming in March, will be called Killers of the Flower Moon, based upon a non-fiction book about a series of murders in Oklahoma in the 1920s that was one of the first major cases taken on by the then-new Federal Bureau of Investigation. Leonardo DiCaprio is expected to play one of the FBI agents, and Robert De Niro will play a local cattle rancher suspected of committing the murders of Osage tribe members.2. ALEXANDER PAYNE TO REMAKE BABETTE S FEAST(Photo by (c) Orion courtesy Everett Collection)As good as they often are, most films in a language other than English are going to face a box office handicap in the United States, so there is a very old tradition of some of those movies being remade in English. One that has arguably crossed over well in the last 30 years or so is 1987 s Babette s Feast (Fresh at 97%), a Danish film about a French woman who brings her culinary skills to a remote village unaccustomed to food that tastes good. Although he had a bit of a critical misstep with Downsizing (Rotten at 48%), director Alexander Payne has otherwise delivered a series of Certified Fresh films (including Election, About Schmidt, Sideways, and Nebraska), and he s now developing an English-language reimagining of Babette s Feast, which will be set in a religious community in small-town Minnesota.3. 2020 SUNDANCE FILM FESTIVAL COMPETITION FILMS ANNOUNCED (Photo by Amazon Studios)For pretty much every year since the 1990s, the Sundance Film Festival has become the first place that many people hear about some of the films that later go on to become awards season contenders. (This year, those films include Clemency, Hala, and Honey Boy.) We don t have enough space here to list all of the films in Dramatic Competition next year, but we will note that the roster is one of Sundance s most diverse ever, with over half the films being directed by people of color. Some of the more famous actors in competition in 2020 include Zazie Beetz and Winston Duke (Nine Days), Daniel Dae Kim (BLAST BEAT), Meek Mill (Charm City Kings), Elisabeth Moss (Shirley), Andy Samberg (Palm Springs), Tessa Thompson (Sylvie s Love), and Steven Yuen (Minari).4. DAKOTA AND ELLE FANNING TO PLAY SISTERS FOR THE FIRST TIME 而《天地劫》手游对此作了大量的简化设计,简单来说现在的《天地劫》每个角色都拥有五内,分为“迅、烈、神、魔、魂”五种。通过提升五内点数,即可让人物获得自身灵力、迅捷、体魄等能力的提升。而核心上,还是和原来的《天地劫》一样不同的分配方案获得不同的技能,但是区别在于,手游更加侧重于鼓励玩家合理地搭配每一个人物的技能,从而获得最高收益。


in which the Warner siblings try to predict what happened between 2018 (when the episode was written) and 2020; of course, no one could ve predicted the events of this extraordinary year, which posed a challenge for the writers. When we started in 2018, we went through the calendar of events coming up and wrote in the ones that would feel topical, Wild explained. We have a segment all about the Olympics, but now there s no Olympics due to COVID. As a show that prides itself on social commentary, we have to speak to the cultural realities we re given. The inelegant social experiment we re living through now, we couldn t see coming. Wild also teased one small change that was made in light of the pandemic. We had to kill a few jokes that weren t about COVID, but about illness in general. There was one where Dr. Scratchansniff gets really sick, and it looks like he had a virus, and we had to change it to make it more silly. Gabe put like polka dots on him to make it different. Animaniacs launches on Friday, November 20 on Hulu. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.On an Apple device? Follow Rotten Tomatoes on Apple News.

猪猪乐园游戏下载 One of the first big buzzed-about movies of the 2020 film festival is One Night in Miami, which marks the feature directorial debut of Oscar-winning actress Regina King, and there’s already talk of her being a contender for the Academy Award for Best Director (she’d be the first Black woman nominated in the category). Much of that praise and recognition of its foursome of ensemble players comes from the first reviews of the drama out of the Venice and Toronto Film Festivals, but the overall reception of the film’s adaptation from the stage  — based on Kemp Powers’ play about Malcolm X, Sam Cooke, Jim Brown, and Muhammad Ali (then still known as Cassius Clay) interacting in a hotel room in 1964 — is still overwhelmingly positive.Here’s what critics are saying about One Night in Miami:How is Regina King s work behind the camera?King proves to be a gifted director of actors.  Kevin Maher, The TimesIt’s really no surprise that King’s first major feature is a home run… her lens is one that brings out the best of all her leads and portrays them in a sympathetic light.  Adriana Gomez-Weston, We Live EntertainmentRegina King stands apart from many of her actor-turned-director peers… she’s opening what promises to be an exciting new chapter in an enduring career.  Alonso Duralde, The WrapHere s hoping that King, one of our most consistently excellent screen actors, continues to spread her wings in this direction.  David Rooney, Hollywood ReporterIf this is what we can expect from a Regina King movie, then sign me up for the rest of her portfolio. Jamie Broadnax, Black Girl NerdsHow is Kemp Powers adaptation of his own play?One Night in Miami is… a strong argument for Powers’ medium-crossing skills. Kate Erbland, IndieWireThe fact that these four are unwinding in a motel room, matching wits and ideas and teasing out their underlying rivalries, never feels like a conceit. Owen Gleiberman, VarietyWhat is brilliant about One Night in Miami is the script. The dialogue cuts you to the core, and there are scenes that will stick with you long after you finish watching. Jamie Broadnax, Black Girl NerdsKemp Powers adapts his own stage play to form the screenplay for Regina King’s One Night in Miami – he just doesn’t adapt it enough. Rodrigo Perez, The PlaylistRyan FujitaniDoes it feel like a stage production?It’s clear in parts that this is taken from a stage work, but King really elevates it to true film status, unlike some other stage-to-screen projects. Trey Mangum, Shadow and ActThey do a fantastic job of making you not feel that you’re locked in this room… this film was meant for the big screen. Sharronda Williams, Pay or WaitThis is undeniably a very theatrical film, but it never hides that – indeed, it makes the most of a certain claustrophobia. Jonathan Romney, GuardianWhen we’re in that small hotel room, with four outsize characters pacing out their tightly choreographed marks… we quickly start to wonder when the curtain’s going to fall. Rodrigo Perez, The PlaylistKing and Powers’ treatment of that outstanding premise hasn’t quite made the leap from stage play to big-screen film; it has landed in TV-movie territory instead. Nicholas Barber, BBCAre the new scenes worthy additions?King has opened up the action in the best possible way, mixing in scenes set outside the motel room… that show us the characters on their own, confronting what racism looked like in 1964. Owen Gleiberman, VarietyThere is an electrifying scene in which Cooke (Leslie Odom Jr.) quells a hostile audience with a version of Chain Gang. Geoffrey Macnab, IndependentThe scenes are useful in a beginner’s guide sense, but largely feel like optional extras, and it’s only when the quartet comes together that the film begins to cook. Robbie Collin, Daily TelegraphAre the conversations compelling?The film’s riveting debates are as rousing as any sporting encounter. Shane Slater, The SpoolOne Night in Miami is a casually entrancing debate about power on the part of those who have won it but are still figuring out what to do with it. Owen Gleiberman, VarietyOne Night in Miami is funny. The quartet endearingly rib each other at every point and there are some true laugh out loud moments. Robert Daniels, 812filmreviewsIt’s refreshing to see a movie in which the characters aren’t right or wrong, but offering different takes—sometimes argumentatively—about what the fight means to them. Ruben Safaya, CinemalogueThe conversation is, of itself, often fascinating, even when it’s at its most didactic. Rodrigo Perez, The Playlist(Photo by ©Amazon)Is it moving?The great thing about it is that it has a whole lot of heart…the group’s camaraderie, brotherhood, love and emotion delivers in full. Trey Mangum, Shadow and ActThe film adds some emotional intensity to its academic interest. Nicholas Barber, BBCAgainst the odds, the film has an emotional kick. Geoffrey Macnab, IndependentKing and Powers aren’t attempting to offer a precise historical transcription of whatever happened… One Night in Miami provides is something richer: an emotionally accurate telling. Kate Erbland, IndieWireOne Night in Miami moved my spirit in ways that left me speechless, honored and, in a strange way, hopeful that a whole new generation will now be introduced to Black royalty and Black men who were classy, smart, charming and most of all Black AND Proud. Carla Renata, The Curvy Film CriticHow is the ensemble?One of the year’s best acting showcases. Kate Erbland, IndieWireSensational. All four [actors] burrow their way into the psyche of these legends, into their manners and contradictions and vulnerabilities. Owen Gleiberman, VarietyTheir jostling performance styles make each combination of voices feels like its own distinct treat. Robbie Collin, Daily TelegraphEven if some of the in-the-room scenes might drag a little, the performances keep the proceedings lively. Alonso Duralde, The WrapAre there any standouts?Kingsley Ben-Adir is a standout in his role as Malcolm X… Simmering with a quiet intensity, [he] takes this feature to the next level. Adriana Gomez-Weston, We Live EntertainmentThe towering performance that centers the nuanced ensemble work is British actor Ben-Adir s laser-focused, quietly impassioned Malcolm. David Rooney, Hollywood ReporterWith Leslie Odom Jr. making a big impression in the ostensibly lesser role of Sam Cooke… this versatile actor sings and acts his way into awards play. Fionnuala Halligan, Screen InternationalRelative newcomer Goree oozes charisma in a star-making moment, making great use of every moment he is on-screen. Trey Mangum, Shadow and ActGoree’s mannerisms, tone, inflection, and scene-stealing moments as Ali are enough in this writer’s opinion to warrant him awards consideration. Jamie Broadnax, Black Girl NerdsMVP Aldis Hodge, interpreting rather than imitating his character, [delivers] the film’s most magnetic performance as a result. Rodrigo Perez, The PlaylistAldis Hodge is simply perfection. Carla Renata, The Curvy Film Critic(Photo by ©Amazon)Do the film s portrayals do justice to the historical figures?One Night in Miami (and both King and Powers) exhibits great affection for its central characters, but it never feels like a hagiographic exercise. Kate Erbland, IndieWireOne Night In Miami positions Malcolm X as more troubled and unsure than his usual onscreen persona… at times, even, he seems more human, even weakened. Fionnuala Halligan, Screen InternationalThe characters, loosened up by a few drinks and the pleasure of their camaraderie, reveal who they are — not just what they think and feel, but how they think and feel it — in a way that even a lot of good biopics never quite find the room for. Owen Gleiberman, VarietyThere is something very slightly diminishing about further lionizing these already legendary icons of Black excellence at the expense of all the other people. Rodrigo Perez, The PlaylistThe film does its subjects a disservice by not allowing them a little more zest and irreverence. Nicholas Barber, BBCIs this film a timely one?This half-century-old discussion of race, celebrity and activism in the United States often feels as if it could have taken place last week. Robbie Collin, Daily TelegraphPowers makes a convincing case for an organic debate in which the stakes are personal for each of the participants and the issues no less relevant today. David Rooney, Hollywood ReporterKing succeeds at turning a property with a number of potential wrong turns into a vibrant historical tale tackling issues and controversies that remain tragically relevant nearly 60 years later. Alonso Duralde, The WrapIt’s an immensely watchable evocation of a moment when Black America was on the verge of an upheaval that continues to resonate, in 2020 as strongly as ever. Jonathan Romney, GuardianThese men in their respective lanes are righteous and unapologetically powerfully Black in ways we may not have been able to recognize in 1964 but has become so crystal clear in 2020. Carla Renata, The Curvy Film CriticI just love seeing positive Black male friendships, positive Black male interactions on screen. These are the images hat we should continue to be able to see in media. Sharronda Williams, Pay or WaitOne Night in Miami premiered at the Venice Film Festival on September 7, 2020.

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