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AG体育网址采用百度引擎9(Baidu 6)Watch: Vin Diesel on the building-to-building jump in Furious 7 above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, actor Vin Diesel recalls the moment that for many has come to define the Fast and Furious franchise.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Furious 7 (2015) 82%When 2001 s The Fast and the Furious began with a trio of Honda Civics lifting a shipment of now-obsolete electronics from a delivery truck, there was no way to know that the film would eventually blossom into one of the most successful action-adventure franchises ever, still going strong 18 years later. Initially characterized by smaller-scale crime stories enlivened by elements of street-racing culture, the series has established a reputation for consistently one-upping its own breathtaking stunts and spectacular, over-the-top action scenes.By the time Furious 7 premiered in 2015, the franchise had already successfully transitioned into a globetrotting blockbuster adventure series, but its beating heart lay in the friendship between one-time criminal Dom Toretto (Vin Diesel) and former FBI agent Brian O Conner (Paul Walker). Just halfway through production on the film, however, Walker tragically suffered a fatal car accident, and his death loomed large over the proceedings. Diesel recalls his first interactions with Walker and how their relationship evolved over the course of the franchise.Vin Diesel and Paul Walker in 2001 s The Fast and the Furious. “We kind of embraced that he was this L.A. kid and I was this New York kid.” We got along from the start, and we kind of embraced that he was this L.A. kid and I was this New York kid. That was kind of the fun of building that brotherhood bond. We didn t know in the first film that we would be the poster child for brotherhood, but I guess it was beginning back then. He did something very interesting that was very flattering and also made me extremely uncomfortable.I d been acting since I was seven years old, and had gotten no lead roles, no lead movies, and then I went off and directed movies and went to Cannes and went to Sundance as a director. So, because of so many years of struggle, and then finally seeing the beginnings of success by doing it myself, I was very reliant on myself. I was very opinionated.And when we did a 50-person read-through for the first time at Universal with all the top executives, the marketing, and the directors and writers more people than I d ever seen in a production meeting. We were reading the script out loud. After every other line Paul was sitting on the opposite side of this big U-shaped table set-up he d look up and stop the read-through and say, Vin, what do you think of that line? And it kind of set the stage for what our relationship was gonna be, that he had a big brother in this. This was at the read-through when we didn t know each other. We had just met one second, and I guess I was so opinionated that Paul just wanted to hear truth. He didn t want any more Hollywood bulls t; he just wanted to know if the line was right or not. And he d stop and ask me, in front of everyone. Walker and Diesel s bond remained the center of the franchise. (Photo by Giles Keyte/Universal Pictures) I m proud of every moment of every frame and every player and everybody that s contributed. It s a big part of my life, both the happy times and the severe melancholy that comes with this whole saga for me. But I m proud of every moment of every frame and every player and everybody that s contributed. Of course, there s always faults and self doubt and, you know, a plague of being a perfectionist. You obviously have your highs and lows and your more confident moments and your less confident moments.And I just thought how grateful my children were born on these movies. Every one of my kids was born during a day I was filming with Paul. The irony is, I played the big brother in the saga, and one of the most influential people sending me off into fatherhood was Paul Walker. So, it s no mystery that these movies are very sacred to me. The Moment:  Cars don t fly! There is perhaps no one sequence in the Fast and Furious franchise that quite captures its freewheeling, devil-may-care sensibility as acutely as the one that takes place in Abu Dhabi midway through Furious 7. In it, Dom and Brian pilot a supercar from one skyscraper to another, and then again to the next one, smashing through windows and defying gravity in a gleeful display of impossible physics. When Diesel first read it in the script, he was surprised, but flattered.Diesel as Dom, preparing for the leap. (Photo by Universal Pictures)“It was that moment where we realized that Fast and Furious didn t need to be restricted in any way.” The first thing I can think of is, I remember going to everyone and saying, Come on. Dom can t just lift up this car, and seeing their faces look at me like I was crazy, like, Of course he can. And I m thinking, Oh my God. The belief that you all have in Dom is profound. Because lifting up the car, it s technically possible. If anyone can do it, it s Dom! So I remember that was the theme of the day. It was one of those things that was so enticing because it was so much wish fulfillment. It was designed so well  James Wan executed it brilliantly. Our second unit director, everyone just really knocked it out of the park.And it was that moment where we realized that Fast and Furious didn t need to be restricted in any way. That we were so thorough about story and character, and it s so much a tale of brotherhood and family, right, that we were allowed these kind of outrageous and fantasy-filled moments, and flying through the air was playing to that. Flying from building to building was playing to that. It was one of those solutions to the riddle, or answers to the riddle, How do we one-up the spectacle of each film? God, the things that we d been asked to do. Yeah, we were asked to fly. Obviously, CGI components to all of it. And traditionally, with Fast and Furious, we always try to take a practical approach first, so we ll take a practical run. But something as outrageous as that If you want to know if Paul and I drove from one building to the next, as much as I d like to say maybe, I mean, it s pretty obvious that that might not have been the thing for us to do. Cars can fly, with the help of CGI. (Photo by Universal Pictures) When you re sitting in that theater, and you see that scene, the first thing that reacts is the inner child in you. What s funny is that if you talked to us back then, we d be willing to do anything. What usually would happen was, in the first film, we went to, like, race car driving school. But then, as we continued making the films, it was more important for us to go to stunt-driving school. So, before every film, we would spend a couple of weeks in stunt-driving school and learn how to do stunts in cars. And you can learn as much as you want, but when it s actually shoot day, and the pyrotechnics are launching bombs and fireballs in the air and you re driving through smoke, and the steering goes out, it s always a dangerous thing. I don t think the world realizes how much risk one has to consider when doing some of those heavy action sequences with cars.Fortunately, we were safe. But it was always a running theme with Paul and I. We d do interviews, and we d talk about how we can t believe we re still OK, because of what we did and how committed we were to playing these roles. But yeah, without taking away the magic of movie making, thank God that that was in 2014 and

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8.47.8 0月喜迎Join us weekly as Rotten Tomatoes reports on what s opening, expanding, and coming to the specialty box office. From promising releases from new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week in Fresh Indie Finds. This week at the specialty box office, we find an Oscar-worthy biopic about an iconic and tragic classic film star, a genre mashup from the brilliant mind behind the Certified Fresh favorite 13 Assassins, a based-on-actual-events absurdist farce about inept police work, and an adventure tale about an evangelist superstar on the run. In our indie trailers section, we have a thrilling new trailer from Adam Sandler and Good Time directing duo the Safdie brothers, and Jesse Pinkman and Aaron Paul are back with the first full-length trailer for the feature-film continuation of the award-winning series Breaking Bad.Opening This Weekend
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Watch: Director and co-writer George Miller on the making of Mad Max: Fury Road above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, Mad Max: Fury Road director and co-writer George Miller reveals how his wild road movie – and the female warrior at its center – came to be.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Mad Max: Fury Road (2015) 97%Looking for a definition of that cursed Hollywood term, Development Hell ? Look no further than Mad Max: Fury Road, the movie that came three decades after the last Mad Max film and which took writer-director George Miller almost 20 years to make. Over the course of decades, production was famously waylaid by global events (September 11, the Iraq War), other productions shifting the filmmaker s focus (Happy Feet and its sequel), and then by nature: things were all set to go for shooting in Broken Hill, Australia, when mass rains turned the landscape from something that looked like a post-apocalyptic wasteland into something more like FernGully. The movie did eventually shoot in Namibia, though, and after years in editing – overseen by Margaret Sixel, Miller s collaborator and wife, who would win an Oscar for the film – was released in 2015.The acclaim was instant and loud; the pain had been worth it. Critics hailed Miller s 30-years-later sequel to Beyond Thunderdome as a bold and visionary achievement, with a relentless energy and practically-achieved action sequences that were beyond anything they d seen before. (It is number one on our list of 140 Essential Action Movies.) In a bold move, Miller moved Max Rockatansky (once played by Mel Gibson, here played by Tom Hardy) into an almost-supporting role, with Charlize Theron the true lead as Imperator Furiosa, the warrior on a mission to free a group of enslaved wives from their master, the evil Immortan Joe (Hugh Keays-Byrne). Fury Road s themes are big and weighty, its engines loud and mighty, and its impact has been huge. Here, Miller talks us through the moment he got the idea for this movie about an endless desert chase, dealing with the setbacks that delayed it, and how he finally got started making his vision a kinetic reality. The idea was simple: What if there was a chase and what was at stake was very elemental and very human? “Ideas are banging around in your head all the time, and you keep pushing them away until some get more insistent. And that s exactly what happened with Mad Max: Fury Road. I remember specifically, I was in Los Angeles, and I was at a traffic crossing. When the light went green to cross, I was walking across the road, and this idea popped into my head about what eventually became this Fury Road. By the time I got to the other side, I said to myself, ‘No way. I don t want to do another Mad Max movie.’ And that s what it was. The idea was very, very simple: What if there was a chase and what was at stake was very elemental and very human? In the old Hitchcock sense, the MacGuffin has to be very human. I thought, ‘Well, the best thing would be for them to be five or six women, and initially it was five to seven women being chased across the wasteland, pursued by a warlord, and Max gets caught up in their story. So, cut to months later, I didn t give it another thought. I m on that long flight home from Los Angeles to Sydney. It s through the night over the Pacific and in those unguarded moments when you ve got nothing else to do, the story played out in my head, at least a good half of it. I remember thinking, ‘Holy cow, this could work out OK!’ I landed in Sydney, and I went to my colleagues and I said, ‘Look, I think there s another Mad Max sometime in the future.’ I didn t know that it would be such a long time – that was in the late ’90s. But like all good stories, they really do insist on being made in some way. It s Darwinian.”Miller wanted to make the stakes as high as possible, and so the cargo was human. (Photo by Jasin Boland/©Warner Bros. Pictures/courtesy Everett Collection) The only reason that it s five brides that are being chased by the warlord is that we couldn t fit seven into a car. “In the Indigenous culture [in Australia], which is the oldest continuous culture that we have on the planet, one of the creation stories, or the common creation stories, depending on which part [of the country] you go to, is the story of seven sisters escaping some male principal, and it s a malignant male principal. In the story, they help create the topography and all the nature around, and there s a variation of that story all over Australia. It s an oral tradition. It was only as an afterthought that I figured out, ‘Hey, wait a minute, we re telling that story.’ The only reason for us that it s five brides that are being chased by the warlord is that we couldn t fit seven into a car, we couldn t distribute all the detail of characters. We had to differentiate a lot of characters, and to try it with seven people would be more difficult.” We could do things we could never even dream of doing back 30 years before, when it was all analog and old-school. “I love action movies, I love chase movies. I think one could argue that they re the purest form of cinema, in the sense that the syntax of cinema was developed pre-sound. I m a big fan of the book written – I think back in the 60s or 70s – by Kevin Brownlow, The Parade s Gone By , where he said this new language that we call cinema, which everybody can read now, is basically sorted out before the advent of sound. Because the cameras and the sound equipment became quite cumbersome, it took a long time for them to become agile again and we could get a kinetic cinema. And so, I m very, very attracted to that. [Fury Road] was an opportunity to do basically three things: Number one, use a basic idea. Number two, to do a film that was almost constant action and see how much subtext, see how much people could read on the run. And the other big thing was, after 30 years, to be able to use the new technology available, new cameras, the new digital dispensation, so that we could do things we could never even dream of doing back 30 years before when it was all analog and old school, but yet still building on the skills we learned then.”The movie existed on thousands of storyboards before there was a script. (Photo by Jasin Boland/©Warner Bros. Pictures/courtesy Everett Collection) When you ve got something that is essentially not verbal and you re trying to be very specific with your film language, the storyboard is the best tool the film existed on 3,800 panels around the room. “The best way to render [an action movie] is not with the written word, but with storyboards. I remember when I first started making movies, I d board them first, because that was the most immediate representation of the movie and what was swirling around in your head. Then I would do a boarded screenplay and turn it into a screenplay. And I thought, Oh, this is an opportunity to do that. When you ve got something that is essentially not verbal and you re trying to be very, very specific with your film language, the storyboard is the best tool, at least for production. So after laying out the basic story, we boarded the film first. There was [co-writer] Brendan McCarthy, who serendipitously started to work on the film. There was [storyboard artist] Mark Sexton, and we all sat in a room and prepared all these boards. So in many ways, the film existed on a wall and 3,800 panels around the room. It was there always reminding me. Even when I was working on Happy Feet, I d walk into what I called the Mad Max room, and there it was. It was a present thing, it wasn t just in people s heads at that point. But then the first setback was 9/11, and everything closed down, everyone was uncertain. It was very difficult to get the equipment we wanted, that we couldn t get in Australia, and so on. Insurances went up.” We had unprecedented rains in Broken Hill. Instead of red harsh earth, we had basically a flower garden. “Warner Brothers had already seen [material for] Happy Feet, and they were saying, ‘Hey, listen, when can we do Happy Feet?’, which was also prepared at the same time. Once that happened, I said, ‘OK, let s get into Happy Feet.’ Well, that s four years gone right there. Then we got [Fury Road] up again, and then, I think it s probably well known, we had unprecedented rains in Broken Hill [the area in far west New South Wales, Australia, where Miller planned to shoot]. Instead of red harsh earth, we had basically a flower garden, which was wonderful. And Lake Eyre, where we wanted to shoot, was now full of fish and frogs and pelicans. I was very familiar with Broken Hill, of course, because we d shot Mad Max 2 there. But we had actually roads built, we had 150 vehicles there, our stunt crew was there. A lot of the stunts were prepared there. I mean, on the one hand, it was bad for Mad Max, but it was a wonderful thing to see, because what s right under the earth, for the want of rain, is this amazing, amazing color and flowers, and they grew to waist high. I ve got pictures of it. I remember driving along this dirt road and stepping off the road and filming. It went on for miles, just this lilac and purple and green, just went on for miles. So it was put off again. I finally ended up doing another Happy Feet, and then the planets aligned, and we went off and shot Fury Road.”The Moment:  Remember me? Fury Road is ultimately Furiosa s movie: It is she who drives the action and it is she who ultimately gets to annihilate the villain, Immortan Joe. The moment in which she does so may not be the most spectacular moment in a film full of visuals and stunts and violence that stun and dazzle, but it lingers for its ferocity and its intimacy – there is so much that is unsaid about their history and about the world of Mad Max when she simply says, Remember me?, and viciously kills Immortan. Miller here reveals that the line was not originally in the script, and was something Theron felt she wanted to say.Theron and Miller on the set of Mad Max: Fury Road. (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) She had all the attributes that Furiosa had, even though they re from completely different worlds. “The thing that was contraband [in Fury Road] was human, and it was five wives, or breeders as we called them, escaping a tyrant who sat on top of this dominant hierarchy. Their champion had to be a warrior. And if it was a male, it just wouldn t work: It would be one man theoretically stealing five wives from another man. It had to be a female warrior, and hence Furiosa. The very first person who came to mind was Charlize. First of all, she s got the acting chops. Secondly, she s not somebody given to vanity. She s already gifted by beauty, so she is very happy to go against that. But it goes much deeper than that. For instance, she was the one who said, ‘Look, I d really like her to have no hair. If she were serious, she wouldn t mess around with hair in the wasteland, with all the dust and so on. But beyond that, she s also someone who is very, very disciplined. She was trained in ballet and I know enough about ballet and dancers to know that they re very tough people physically and very disciplined, with fantastic memory; I think they call it muscle memory nowadays, but fantastic memory and real understanding of where their bodies are in time and space. I learnt that particularly from doing the Happy Feet movies. Charlize had that. And then her own history, the way she came from South Africa, her own family history. I know she went to New York, became a dancer, which is another tough milieu to work in. And then she went to L.A. when she got injured and so on. She had all the attributes that Furiosa had, even though they re from completely different worlds. And the theory proved correct of course, because she was Furiosa. I mean, stopped thinking about her as Charlize when we were out there in the heat and the dust and on those big vehicles. When she was driving them, I stopped thinking of her as Charlize and only saw her as the character.”Theron was the first person Miller wanted for the role of Furiosa. (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) She was determined to not do any action as if it were a female doing a man s job. She said, ‘If I m going to pick up a weapon, I want to shoot as if I m really experienced.’ “[Charlize would] walk out of the makeup van and roll around in the dust, just to get it in her skin and under her nails. Before we started the film, she said, ‘Look, I ve got to tell you something. I hate dust on my hands.’ She has some sort of aversion to it. And I said, ‘Well, what are we going to do? Should we have wipes and things?’ She said, ‘No, no, it s going to help me.’ The other thing she was determined to do was not do any action as if it were a female doing a man s job. She said, ‘If I m going to pick up a weapon, I want to shoot as if I m really experienced.’ She had an aversion to guns, but she was determined to do it. ‘If I run, if I walk, if I hit somebody…’ You see the way she does things. I mean, that headbutt at the end of the movie: they re difficult to pull off, and she just did it. I mean, she was scarily good in that scene.” We know that stuff happened [between them], but you can never be explicit about all that stuff. It would be an epic novel. “The film itself, there s a lot of iceberg under the tip. I think one of the great concerns about the film is whether people could read enough [from the visuals and sparse dialogue] to get the story. We were never very explicit about everything. We knew something happened [with Immortan and Furiosa]. Here is a world in which people are commodities. They have the brand of the Immortan on their back; everybody in this story, including Max, we have to assume, has the brand of the Immortan on his back. Furiosa has it when we first see her; it s on the back of her neck. And so we know that stuff happened, but you can never be explicit about all that stuff. It would be an epic novel. She is the one who finally in this…not so much a chase, but a race to get to the Citadel… she is the one who finds herself in the position closest to Immortan. And she uses this moment to hook this harpoon on his mask, which is a privilege in that world, because in some way that mask filters the toxic air, something available to him that others would not have. She takes that moment to say, ‘Remember me.’”Miller says Theron came up with the line, Remember me?! . (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) Charlize on that day said that she wanted to say the line. It wasn’t a written line It was a little pause before the brutality of the moment. “[The moment] carries a huge amount of meaning to the character, and it implies a lot of grievance about their backstory. We have hints of it, we could speculate as to what it might be, but we don t know at that moment all the details. But it therefore becomes somewhat allegorical. It could be all of those who have somehow had to struggle out of some sort of oppression at the hands of some tyrannical figure. She gets her vengeance in that moment, but the story of course is not done. And it s a moment by the way, I think, is available only to her. I don t think any other character could have done it. I remember the line. I remember Charlize on that day said that she wanted to say the line. It wasn’t a written line. She said, ‘Look, I feel like I really want to say it. OK by you?’ I said, ‘Great.’ It just hit a sweet spot in amongst that action, and it was a little pause before the brutality of the moment and the continuation of the action that was to come.”The Impact: A Landmark Action FilmFury Road was one of those rare films that felt like a classic the moment it was released; it did not need time to age well, and critics and audiences felt instinctively it was something special. Which explains the accolades: the movie won six Academy Awards, all for craft and technical categories, and was that rare action film to be nominated for Best Picture and Best Director. It made almost 0 million worldwide, which may not seem huge when compared to MCU box office numbers, but is a mighty haul for a non-superhero film – especially one as oddball and manic as this. But that s almost beside the point.Fury Road was singularly exciting. It was part of a franchise, sure – though one that had not been revisited since 1985 – but it felt wholly original and invigorating. At a time when CGI overload and repeated formulas had many lamenting a settling sense of sameness, and safeness, in blockbuster cinema, Miller and co. came in and blew everything up. They showed that a big-budget car-chase movie could feel as special and distinct as anything at your local arthouse cinema. No wonder recent news that three more Mad Max movies are on the way – including one centered on Furiosa – set the film world on fire. Let s just hope we don t have to wait 30 years to see them. We fade to black, and they started to clap, and they stopped. I thought, Why did they do that? “I remember the first time I saw the film complete with an audience. Believe it or not, the most striking thing was how fine the detail had to be to get something across. If you didn t pay attention to the smallest detail, then the cumulative effect of the film wasn t going to play out. There s a very stark example. At the end of the first chase, at the end of the storm… the film really basically builds to that and it ends act one. There s a flare, we go to black, and then basically we see Max covered in sand, and the new act begins. Now, I remember thinking, ‘Boy, if this film works, there should be a catharsis at the end of that, just welcoming the silence. And if we re lucky, they might even clap.’ I remember watching the film with the audience, and they were leaning into the movie. They seemed to be really caught up and following it. I mean, it s a visual music, and they re there following the concerto and the symphony. And we fade to black, and they started to clap, and they stopped. I thought, Why did they do that?’ I couldn t work it out until I realized what we d left was a little sustained note. We didn t go to complete silence, and it sustained across into the next scene. When the audience heard that, it was a cue for them that, ‘No, this is not over yet.’ So it was very, very simple. We just faded out to complete silence. Then the next screening we saw there was a very satisfying clap from the audience; they were basically allowed to clap simply because everything went silent after all this noise and fire and all the fury of what it followed. So that was the thing I remember most apart from the fact that people seemed to be really engaged, and we scored well, and all that sort of stuff.”Miller, Theron, and Nicholas Hoult attend the world premiere at the 68th Cannes Film Festival in 2015. (Photo by Stephane Cardinale/Corbis via Getty Images) The way I like to measure the worth of the film is for how long does it follow you out of the cinema? “I really don t believe you know what your film is until a long time after it s released. For instance, the first public screening was at the Cannes Film Festival. It wasn t opening night, I think it was the second night, and there was rousing applause and a standing ovation that went on for a long time. But that s a unique situation, because having been on the jury of the Cannes Film Festival, that s a very enthusiastic audience. It s almost as if, if you don t get a rousing reception if the film was well made, somehow it s a negative. So that was a false reading. The most accurate reading for me is to go to a full cinema, and pay for your ticket, and sit there in the audience and see it. It’s simply in a neutral way, in the way that people would turn up to see a movie, and that s the most accurate reading. I guess the way I like to measure the worth of the film is for how long does it follow you out of the cinema? If you ve forgotten it by the time you re in the car park, then perhaps it s not such a good movie. But if it stays with you for a long time and washes over you, then that s really great. The greatest films are the ones that stay with you for a lifetime. I mean, we ve all had films in our lives that we remember, whether from childhood, or at any time of our life, that somehow we can t forget. They become part almost of our own individual narrative, and the great films seem to do that.” He opened his shirt, and there on his chest he had tattooed the Immortan s branding. I thought, ‘Oh, God, he wasn t just being polite.' “I was in Japan doing some promotion on Fury Road, and there was a Japanese critic, English-speaking, who was just so insightful about the movie. He read all the things that I hoped were there, that we thought were there, but were never sure whether people could pick up on. I said, ‘How many times did you see the movie?’ He said, ‘Once.’ I said, ‘You got all that from just on one reading of the movie?’ And he said, ‘Yes.’ When the interview finished, he called me over to the side and he said, ‘Can I show you something?’ He opened his shirt, and there on his chest he had tattooed the Immortan s branding. I thought, ‘Oh, God, he wasn t just being polite. This movie did have a serious effect on him.’ He said, ‘It just encapsulated so much about who we are as human beings now and in the past.’ I thought, ‘Oh, God, gee, well, that s about the best compliment I could get.’ Not to say that people should get tattoos [of the film], but that was a very, very, very moving moment for me. He read the movie so well.”There are three more films set in the Mad Max world in the works. (Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection) Mad Max: Fury Road is a very dark look at the world, but ultimately it s a great forge on which to test humanity. “I didn t expect Fury Road, particularly during the make of it, to be so well received. It was a tough film to make. But more than that, I didn t think that there could be an action movie that would seem to have a lot of subtext, a lot of, as I say, iceberg under the tip. I realize now, that probably is why the film did have a resonance that people refer to. And I know that because I ve had two people come to me and say, Oh, I ve just had a newborn baby girl, and I m going to name her Furiosa.’ It s a humbling thing, because it says that you have a big responsibility as a storyteller. You can t be casual about your stories. They re narratives that become part of people s lives, or references to them. And we all have those. I mean, Mad Max: Fury Road is a very, very dark look at the world, but ultimately it s a great forge on which to test humanity. In other words, in our world, in, say, the more comfortable first world, the unusual events are the darker, more malevolent behaviors of individuals. In the world of Mad Max, the positive regard for other people, acts of kindness, or the giving of oneself, are the exceptions. They shine like light in the darkness. Not wanting to get too cliché, but they become the exception, and therefore we learn a little bit more about that. So when Nux, the warrior, finally gets to do the one thing he s wanted to do all his life and drive the rig and realizes that he has to crash that rig at the end, well, that s a heroic act. When Max, the blood bag, wanting more than anything to be free, actually gives his blood to the dying Furiosa, that’s an act in which he relinquishes self-interest. It s a heroic act.”Mad Max: Fury Road was released May 15, 2015. Buy or rent it at FandangoNOW.
Adjusted Score: -1% Critics Consensus: Cursed's first season isn't as subversive as its source material, but strong plotting and a heroic performance from Katherine Langford make for an enjoyable escape.
(Photo by David Giesbrecht/FOX)This week s biggest TV news comes from the five main broadcast networks — ABC, CBS, NBC, Fox, and The CW — which debuted their fall TV schedules for advertisers in New York City all week long. We rounded up the news from each network in the order of this week’s presentation, along with when you’ll be able to watch each of them. Find out what nights your DVR will be getting the biggest workout in our roundup below, watch some of the trailers for the new series, and stick around for a new trailer for His Dark Materials from HBO and some major casting news at the end.TOP STORY: Fall TV PreviewNews from the New York UpfrontsFollowing Disney’s acquisition of Fox and many of the company’s assets — but not the Fox network — the broadcast network is having a rebuilding year. The fall will see the debut of football and wrestling, along with the premieres of existing hits including 9-1-1, the final season of Empire, The Resident, the second season of reality hit The Masked Singer, and, of course, The Simpsons.The network’s three new shows for the fall include Prodigal Son, about the son of a notorious convicted serial killer who has made hunting murderers his life’s work (and starring The Walking Dead’s Tom Payne and Masters of Sex’s Michael Sheen); Not Just Me, about a woman who discovers that her fertility doctor father used his own sperm to conceive more than a hundred children, including two new sisters (starring Brittany Snow and Timothy Hutton); and Bless the Harts, an animated series about a hard-working Southern family and featuring voices from Maya Rudolph, Kristen Wiig, Ike Barinholtz, and Jillian Bell, among others.Fox is holding several of its hit series for midseason (when football and baseball will be finished), including The Orville and Last Man Standing. It will also debut a 9-1-1 spin-off set in Texas and starring Rob Lowe, the cop drama Deputy starring Stephen Dorff, the soapy drama Filthy Rich starring Kim Catrall, and the artificial intelligence–themed drama NeXt starring John Slattery. New comedies include sitcom Outmatched, about average parents raising genius children, and two animated series: Duncanville and The Great North.NBC is bringing back many of its biggest series too, including The Voice, This Is Us, and all of the Chicago procedurals. There are also new seasons of New Amsterdam, The Blacklist, and the record-breaking 21st season of Law Order: Special Victims Unit. (It’s now the longest-running live-action prime time series in history.) The fall’s new drama is Bluff City Law, about a father-daughter lawyer duo in Memphis.On the comedy side, Perfect Harmony, which stars Bradley Whitford as a former Princeton music professor who becomes the director of a small-town church choir, and Sunnyside, starring Kal Penn as a disgraced New York City councilman who becomes a champion for a group of people attempting to become American citizens, join Superstore and The Good Place on the network’s Thursday night lineup.At midseason, the network will bring back comedies Will Grace and Brooklyn Nine-Nine, and dramas Manifest, Blindspot, and Good Girls. Reality series America’s Got Talent (and spin off The Champions), Ellen’s Game of Games, Little Big Shots, World of Dance, and American Ninja Warrior will also return in the new year. New shows debuting in 2020 include tearjerking drama Council of Dads, crime procedural Lincoln (based on the book The Bone Collector), musical Zoey’s Extraordinary Playlist, comedy Indebted, and sitcom The Kenan Show (yes, starring Saturday Night Live’s longest-tenured cast member, Kenan Thompson).Another network that’s sticking with its existing properties is ABC, which will premiere new seasons of Dancing With the Stars, The Good Doctor, The Conners, Bless This Mess, Black-ish, The Goldbergs, Schooled, Modern Family, Single Parents, Grey’s Anatomy, A Million Little Things, How to Get Away With Murder, American Housewife, Fresh Off the Boat, and America’s Funniest Home Videos in the fall.New scripted series debuting in the fall include the drama Emergence, about a cop who takes in a mysterious little girl she finds at a crime scene only to become embroiled in a conspiracy that leads back to the girl’s unknown identity; Stumptown, about a military-veteran private investigator who clashes with criminals and cops, based on the graphic novel of the same name and starring the MCU s Agent Maria Hill Cobie Smulders; and Mixed-ish, a Black-ish spin-off about the childhood of Tracee Ellis Ross’ Bow. Tiffany Haddish will also head up a rebooted version of the classic variety show Kids Say the Darndest Things.At midseason, ABC will bring back American Idol, The Bachelor, Shark Tank, The Rookie, Station 19, and Marvel’s Agents of S.H.I.E.L.D., and debut the dramas The Baker and the Beauty, about a Cuban baker in Miami who is thrust into the spotlight when he falls in love with an international superstar fashion mogul, and For Life, about a prisoner who becomes a lawyer and litigates cases for other inmates while fighting his own wrongful conviction and life sentence for a crime he didn’t commit (inspired by the real life of Isaac Wright Jr.). The only 2020 new comedy debut for the network is United We Fall, about two parents who stick together while juggling their kids and their overly involved extended family.CBS is bringing back a whopping 24 new shows in the 2019-2020 season, including 14 in the fall. The 2019 returnees are standby procedurals, including NCIS, NCIS: New Orleans, NCIS: Los Angeles, Blue Bloods, Hawaii Five-0, FBI, SEAL Team, SWAT, Magnum P.I., God Friended Me, and the final season of Madam Secretary. The loss of The Big Bang Theory will be big for the network, which is bringing back comedies The Neighborhood, Young Sheldon, and Mom.The new series debuting this fall on CBS include the Chuck Lorre–created comedy Bob Hearts Abishola, about a man who falls in love with his Nigerian nurse; courthouse drama All Rise, a courthouse drama focusing on a black female district attorney as she begins her new career as a judge; The Good Wife creators Michelle and Robert King’s psychological mystery Evil, starring Katja Herbers and Mike Colter, about a psychologist, a priest in training, and a carpenter who join forces to investigate unexplained mysteries, supposed miracles, demonic possessions, and hauntings and ultimately discover whether there is a logical explanation or something truly supernatural is at work; comedy The Unicorn, about widower Wade (Walton Goggins) who’s finally ready to begin dating again but doesn’t realize what a catch he is; and sitcom Carol’s Second Act, starring Patricia Heaton as a divorcee who follows her dreams and goes to med school, becoming her hospital’s oldest intern in the process.The network’s midseason schedule will include returning series Criminal Minds, MacGyver, Man With a Plan, The Amazing Race, Undercover Boss, and Big Brother, along with newcomers FBI: Most Wanted, a spin-off of Law Order creator Dick Wolf’s FBI that focuses on the Fugitive Task Force that pursues the criminals on the Bureau’s Most Wanted List; Tommy, starring Edie Falco as a former NYPD officer who becomes Los Angeles’ first female chief of police; and Broke, about a single suburban mother whose estranged sister and wealthy brother-in-law move in when their fortune disappears.The CWThe CW renewed every single one of its series that wasn’t already announced as ending this season, 11 in all. Superheroes Supergirl, Arrow, The Flash, and Black Lightning will premiere as usual in the fall, and will be joined by their new colleague Kate Kane (Ruby Rose), a.k.a. Batwoman. Also returning are Legacies, Charmed, All American, Dynasty, and, of course, Riverdale, with DC’s Legends of Tomorrow, Roswell, New Mexico, The 100, and In the Dark held for midseason.In addition to Batwoman, which you can read more about here, the fall will bring the network’s newest mystery series, Nancy Drew, which has a supernatural bent. Riverdale spin-off Katy Keene, starring Lucy Hale as the titular fashion designer and Ashleigh Murray reprising her role as pussycat Josie McCoy, will debut in the spring.Related: The CW Teases Batwoman, ‘Crisis on Infinite Earths’ Crossover, and Its Comic Book Future Trailer Watch: His Dark MaterialsNot to be outdone by the tsunami of broadcast news, HBO released its trailer for His Dark Materials. The series adapts Philip Pullman s book trilogy of the same name. The first season follows brave young Lyra (Dafne Keen) as she journeys through various worlds searching for a kidnapped friend and uncovers a conspiracy in which children are being stolen. The series also stars Ruth Wilson, James McAvoy, Clarke Peters, and Lin-Manuel Miranda. The series does not yet have a release date.FX Miniseries Mrs. America Adds to All-Star Cast Led by Cate Blanchett(Photo by Steven Chee/courtesy of FX)FX has hired an all-star team to join Cate Blanchett in its upcoming miniseries Mrs. America, which follows the movement to ratify the Equal Rights Amendment and the backlash led by a conservative woman named Phyllis Schlafly (Blanchett). The story will be told through the eyes of the women of that era — including Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug, and Jill Ruckelshaus — and explore how the American political landscape was forever shifted. It will debut on the network in 2020.Uzo Aduba will play Chisholm, Rose Byrne will play Steinem, Ari Graynor will play lawyer Brenda Feigen-Fasteau, Margo Martindale will play Abzug, Tracey Ullman will play Friedan, Melanie Lynskey will play Schlafly ally Rosemary Thomson, Sarah Paulson will play Schlafly’s best friend Alice (a fictional character), James Marsden will play conservative congressman Phil Crane, John Slattery will play Phyllis’ husband Fred Schlafly, and Jeanne Tripplehorn will play Phyllis’ sister-in-law Eleanor Schlafly.More Casting News: The New Pope, David Letterman Introduces New Guests, Captain Marvel Runs Wild(Photo by Gianni Fiorito/HBO)The upcoming second season of David Letterman’s Netflix talk show My Next Guest Needs No Introduction will feature a star-studded lineup of talent including Kanye West, Ellen DeGeneres, Tiffany Haddish, Lewis Hamilton, and Melinda Gates. All episodes of season 2 debut May 31.The new season of Running Wild With Bear Grylls, which moves from NBC to National Geographic this fall, will feature the host braving the elements with Captain Marvel herself, Brie Larson, and somehow-never-a-superhero Armie Hammer.Queer Eye’s Tan France will host a fashion competition series Next in Fashion with designer and model Alexa Chung. Eighteen designers will face off in challenges for a chance to win a 0,000 grand prize in the 10-episode series. Elizabeth Stewart and Eva Chen will be recurring guest judges with additional guest judges to be announced later. No date has been announced for the series.Finally, HBO announced that Sharon Stone and Marilyn Manson will guest star in The New Pope, the eight-episode follow-up series to The Young Pope, that will star John Malkovich and Jude Law — both as popes.Holy Father! Sharon Stone and Marilyn Manson will guest star in #TheNewPope, coming soon. pic.twitter.com/bMtNiVtMwq HBO (@HBO) May 17, 2019
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AG体育网址 Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List to reflect the specialty box office releases that are newly available on streaming services and VOD. This week we have a drama that follows two women attempting to end an unwanted pregnancy, a drama about two sisters kept apart by their conservative parents, and a follow-your-dream dramedy about an aspiring sommelier. In our Spotlight section, we call back to an award-winning love story about a painter and her muse who fall desperately in love on borrowed time.Streaming This Weekend

Another one from my childhood, or like from my teen years, is Sex, Lies and Videotape. It s funny teenage girls are not exactly the target audience there, but I think one of the things I really like that drew me in was the movies within the movies, which are women talking about sex directly to the camera. I think even though these are not independent feminist art projects, I saw them in that way. Within the narrative of the movie, they re tools for this man to get off. It was only a few years later that I would start this underground distribution network for women filmmakers called Joanie for Jackie, and in some ways I think those videos would have been good movies for Joanie for Jackie. Of course, they re not actually made by women, but I guess it sort of proves that if you re desperate enough for female filmmaking, you can find it even within that Steven Soderbergh movie. 新开双线传奇2021新版手游支持数据互通,玩家可以随时转移数据保证自己账号的安全,参与这里的传奇赛事还能为你争夺玛法荣耀,上线就有很多福利装备可以领取,技能也能免费送,喜欢传奇的就来加入一起激战吧!

2021-10-28

In the upcoming seven-part HBO limited series Mare of Easttown, Kate Winslet stars as a small-town Pennsylvania detective who grapples with past and present troubles while investigating a murder. It s a character that Winslet says she may not be that similar to — in part because, as she told journalists Wednesday during HBO and HBO Max s all-virtual winter Television Critics Association press day, I d be a f ing lousy detective. Read on to learn more about Mare of Easttown as well as details on HBO Max s Genera+ion and other programs coming to the sister networks.TOP STORYNo SVU Sundays for Winslet(Photo by Michele K. Short/HBO) I don t think I have the mental stamina that is required, Winslet said of being a detective, adding But I think the one thing I did feel I had in common with Mare — that I, quite honestly, was able to lean on a lot — was that real sense of family and how much it means to her to hold that together at all costs. And also to be able to admit to herself from time to time that she has failed in a lot of areas and tries desperately to correct those errors and to hold everyone as close to her as she can, even if she s a difficult person to live with from time to time. Winslet said she actually deliberately didn t binge-watch any TV crime dramas to prepare for her role, although she did watch a lot of real crime drama and a lot of YouTube footage. She also spent some time working with real police department individuals in blacked-out vehicles driving around those areas in order to learn, she explained, because we really wanted to capture the essence of what it s like to really be a detective from that town since it s a place that really exist. She also tried to master the distinct accent of this part of Pennsylvania. The thing that was hardest for me, of course, was to do it well enough that you kind of shouldn t hear the act of doing it, she said. I always hate that when you can hear someone doing a voice or doing an accent. And that s one of the things for me that is more important than anything is just making it just disappear and blend in. So I did spend a long time working with a coach and working with people locally, as well. And it was up there amongst the hardest accents I ve ever done. The limited series also stars Julianne Nicholson (The Outsider) as Lori Ross, Mare’s best friend since childhood; Jean Smart (Watchmen) as Helen, Mare s mother; Angourie Rice (Black Mirror) as Siobhan Sheehan, Mare’s teenaged daughter; Evan Peters (American Horror Story) as Detective Colin Zabel, the county detective called in to assist with Mare s investigation; Guy Pearce (Mildred Pierce) as Richard Ryan, a local creative writing professor; Cailee Spaeny (Devs) as Erin McMenamin, an isolated teen living with her volatile father; David Denman (Outcast) as Frank Sheehan, Mare’s ex-husband; John Douglas Thompson (Let Them All Talk) as Chief Carter, Mare s boss at the Easttown Police Department; Patrick Murney (Seven Seconds) as Kenny McMenamin, Erin s father; James McArdle (Ammonite) as Deacon Mark Burton; Sosie Bacon (Here and Now) as Carrie Layden, Drew’s mother and Kevin’s ex-girlfriend; Joe Tippett (Rise) as John Ross, Lori s husband and high school sweetheart; and Neal Huff (The Wire) as Mare’s cousin, Father Dan Hastings.The series is from creator and writer Brad Ingelsby (The Way Back), with all episodes directed by Craig Zobel (The Leftovers).Mare of Easttown will premiere Sunday, April 18 on HBO.Talking Bout HBO Max s Genera+ion(Photo by HBO)The latest in HBO and HBO Max s line of pot-stirring TV series is Genera+ion. Created by teen Zelda Barnz and her dad, screenwriter Daniel Barnz, and follows a group of high schoolers who have frank conversations about race, sexuality, gender identity and more.Starring younger actors like Justice Smith and Michael Johnston, it s based loosely on people Zelda knew from her time in high school and she says I think if you re basing a show o ff something real and authentic, something that s real and authentic is intersectionality and people who identify across the gender and sexuality spectrum and with different races and different ethnicities. And so I think it’s important to remember that they re not just people who are straight and gay, there s like a whole spectrum and all those identities deserve to be represented. The show will also, inevitably, draw comparisons to HBO s Emmy-winning teen drama, Euphoria.Daniel Barnz tells the TCA journalists that Euphoria is an incredible show and the craftsmanship in it is amazing, but that when you watch them, it’s just abundantly clear that they are different shows. One of the most obvious differences is that Euphoria is an hour-long show and ours is a half-hour show, he continues. And that s not just the time difference. You know, the real beauty and excitement of being able to work in that half-hour format is that there s less pressure on story and you re allowed to let your characters live and breathe and experience. And one of the things that Zelda’s always wanting us to do with the show is to reflect the actual experiences of teenagers which sometimes is kind of random or weird. And you go off on tangents and strange things happen, and we wanted to reflect that in the storytelling as well. The series stars Nathanya Alexander, Chloe East, Nava Mau, Lukita Maxwell, Haley Sanchez, Uly Schlesinger, Nathan Stewart-Jarrett and Chase Sui Wonders with Justice Smith, and Martha Plimpton.Genera+ion premieres March 11 on HBO Max.Plus: In Treatment Revived, Jean Smart Comedy Is on the Horizon, Surfer Garrett McNamara Describes the Perfect Wave, and Alex Gibney Investigates The Crime of the Century(Photo by HBO)A new installment of HBO s In Treatment premieres in May, this time with Uzo Aduba in the therapist s chair instead of Gabriel Byrne. The story will take into consideration the current global pandemic as well as other cultural and political issues. An example? There’s such a stigma attached to it, especially in communities of color, so it felt important to me, personally, to put that on television to show that we all need this, executive producer Joshua Allen told journalists. The series also stars Anthony Ramos, Liza Colón-Zayas, John Benjamin Hickey, Quintessa Swindell, and Joel Kinnaman.Jean Smart and Hannah Einbinder are starring in an as-yet-to-be-titled upcoming HBO Max comedy about a legendary Las Vegas comedian and her relationship with an entitled 25-year-old. Executive producers include Broad City’s Paul W. Downs (who also appears on the show) and Lucia Aniello and The Good Place’s Jen Statsky and Michael Schur. But is the show a send-up or homage of any performer in particular? “Every once in a while, there’ll be a scene or I’ll do something and I’ll think, ‘Oh, that kind of reminds me of so-and-so,' Smart said. I guess I borrow things from other comedians unconsciously, anywhere from Elayne Boosler to Phyllis Diller to Sam Kinison.”The upcoming six-part surfing documentary for HBO, 100 Foot Wave, follows surfing pioneer Garrett McNamara and his quest to find the largest wave. But what is the perfect wave? A perfect wave, for most surfers, has a really good barrel on it. So you come down the wave and instead of running 11 in front of the wave away from it, you wait for it to cave over you. You’re either running full speed and it passes you, or you wait until the last second and turn under it, McNamara said.Alex Gibney’s upcoming two-part HBO documentary, The Crime of the Century, looks at the opioid crisis. And while there are definitely similarities between the prevalence of this drug and the history of Big Tobacco, source Anna Lembke, the medical director of addiction medicine at Stanford University, explained that tobacco never pretended that they were selling medicine that would actually make you better; whereas, [for] the opioid industry, that was their winning ticket. Tina, an intimate look at the life and career of musical icon Tina Turner from HBO Documentary Films, premieres on March 27.HBO Max announced its adult animation slate, including a two-season order for Clone High, a modern refresh of the series from Phil Lord, Chris Miller, and Bill Lawrence that was set at a high school for clones of historical figures; a 10-episode order for Warner Bros. Animation’s Velma, a comedic origin story for brains of the Scooby-Doo Mystery Inc. gang, Velma Dinkley, voiced by executive producer Mindy Kaling; Fired On Mars, an existential workplace comedy set five minutes in the future, voiced by Pete Davidson (Saturday Night Live). The streamer also renewed creator JG Quintel (Regular Show) animated series Close Enough for seasons 2 and 3.Animated series in development include cat tale Hello Paul; Obi, an adaptation of Obi Arisukwu’s Instagram comic strip about a man-child pursuing a career as an artist; Uncanny Valley about three awkward domestic helper robots who kill their human owners and try to assume their identities; and comic book adaptation Cover, an animated espionage thriller from Brian Michael Bendis and David Mack.On an Apple device? Follow Rotten Tomatoes on Apple News.

AG体育网址 (Photo by HBO)The dawn of a new day breaks on Westeros in “The Last of the Starks,” episode 4 of Game of Thrones season 8. And it’s a grim one.The pyres are piled high with bodies of every stripe: Dothraki, Night’s Watch, Northern warriors, Mormonts, a Dondarrion, and on.How do you follow that? Lots of alcohol.1. Funeral(Photo by HBO)The remaining revengers assemble to say goodbye to the heroes who gave their lives fighting the army of the dead. (The revenging will have to wait – though not for long.)“They were the shields that guarded the realms of men, and we shall never see their like again,” Jon Snow says, in a nod to the Night’s Watch creed.Ghost survived, so we have that to thankful for. We’ll later see that he was battered and had his ear torn, and we wonder why Jon wouldn’t pull a surviving stable boy aside and tell him to – gently – tend to the direwolf, feed him, and give him a bath. That wolf is still covered in wight funk the last time we see him.2. Dinner(Photo by Helen Sloan/HBO)At dinner, Daenerys legitimizes Gendry: He is now Lord Gendry Baratheon of Storm’s End.Tyrion and Ser Davos continue their strange friendship in the only eulogy that Melisandre will likely receive.“To Arya Stark, the hero of Winterfell,” Daenerys says, but Arya is nowhere to be found.Tyrion outs Brienne as a virgin, which is so not cool to do in public that we really wish Tyrion would never drink again. At least Brienne gets something out of it Then there was the Starbucks cup controversy:You re telling me they had TWO YEARS to put together a decent show and they couldn t even spot the goddamn Starbucks cup in Winterfell??!?! #GameOfThrones pic.twitter.com/8opg7nyydv Jenna Guillaume (@JennaGuillaume) May 6, 20193. Relationship Drama(Photo by Helen Sloan/HBO)Gendry finds Arya, tells her his good news, and proposes to her in a hugely romantic gesture. She turns him down (we think): “I’m not a lady. I never have been. That’s not me.” But she can totally be a “not a lady” with Gendry — in a nice, historic castle with lands and loyal bannermen to grab some ale after work with.Who was that smiling at Podrick after dinner? She’s in for a surprise. Later, he embraces both her and a woman whose advances The Hound spurned. Correction: They’re in for a surprise.Jaime seduces Brienne – “I’ve never slept with a knight before” – then leaves her. On his way out, he confesses to her that he pushed Bran from the tower, he strangled his cousin, and he would have murdered everyone at Riverrun for Cersei: “She’s hateful. And so am I.” Brienne sobs. Been there, girl.Tormund’s wildling heart breaks at dinner over Brienne. The Hound is not interested. Willa says he can touch her, and Tormund miraculously recovers.And Gilly is pregnant. Can’t help but wonder: Will full-Craster Little Sam inherit Horn Hill or this half-Craster–Tarly child?4. Daenerys UnravelsAt dinner, Daenerys becomes crazy-eyed jealous when Tormund puts Jon in the spotlight and calls him “king.” Her seething gets Varys’ attention.Later in private, Daenerys tells Jon she loves him, but their kinship stops him mid-snog. She wants to un-know that he’s Rhaegar’s child. When he tells her that he has to tell Arya and Sansa who he is, she replies, “I’ve never begged for anything, but I’m begging you. Don’t do this. Please.”She’s under stress and people are seeing her sweat. “We’ll rip her out root and stem,” Daenerys says in a strategy session. You can see the mad king ranting and burning Starks in Varys’ eyes when he looks at her.Tyrion and Varys convince Daenerys not to immediately burn down the Red Keep and all of the innocents Cersei has gathered to her side as dragon-fodder should Daenerys attack.When Sansa suggests – Daenerys: stop talking, Sansa.“We have won the Great War. Now we will win the Last War,” Daenerys promises, and looks at Sansa. “In all Seven Kingdoms, men will live without fear and cruelty – under their rightful queen.” (Her attitude will come back to bite Daenerys in the butt when Sansa weighs whether or not to share a big secret.)5. Family DramaDebbie DayJon agonizes during the Stark family meeting in the godswood over whether to tell his sisters that he s really their cousin. Arya calls him “brother,” as in full rights to bogart the TV remote brother. He s dying inside and tells Bran to tell them – he’s not officially responsible for having told them if Bran tells him, right? He never really promised Daenerys that he wouldn’t anyway.Despite promising to keep his secret, Sansa promptly tells Tyrion, who promptly tells Varys, who notes that it’s no longer a secret, but is now “information” (which is a commodity he trades in).“A Targaryen father and a Stark mother – Jon’s the one man alive who might actually be able to keep the North in the Seven Kingdoms,” Varys says.Tyrion calls Varys’ musings “treason.”“You know where my loyalty stands. You know I will never betray the realm,” Varys says, in what may be the most important exchange in the episode.6. R.I.P.(Photo by HBO)When the Targaryen fleet drops anchor off of Dragonstone, Euron Greyjoy attacks. He has mounted scorpions on the front of his ships and unleashes on Rhaegal, who dies horrifically and plunges into the sea. Daenerys moves to attack, but retreats when she realizes how vulnerable Drogon is. Euron then attacks the Targaryen fleet, and, we later find out, takes Missandei prisoner.Tyrion, Daenerys, Grey Worm, and a group of Unsullied arrive at the walls of King’s Landing to deliver a message: surrender and release Missandei of Narth. Instead, The Mountain beheads Missandei, whose last word is “Dracarys,” indicating to her queen, we thought, that she should burn King’s Landing to the ground.(Photo by HBO)Plus, Arya takes the King’s Road with The Hound to settle some “unfinished business.” (Arya says she doesn’t plan on coming back to Winterfell, which sounds ominous – Sansa only just got her sister back. Don t leave me alone with weird Bran!) Bronn negotiates with the Lannister brothers: Their lives in exchange for Highgarden, the former home of the extinct House Tyrell. And, Jon tells Tormund to take Ghost with him beyond the Wall. OK, but who doesn’t hug their direwolf when they leave forever? Bad form, Aegon Targaryen, sixth of his name.Next week on episode 5: The Last War.What was your favorite moment of the episode? Tell us in the comments!Game of Thrones airs Sundays at 9 p.m. on HBO.

2021-10-28
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更新时间 2021-10-28
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