九阴真经 下载采用百度引擎4（Baidu 9）(Photo by George Pimentel/Getty Images)When Rotten Tomatoes spoke to Rob Morgan during his Just Mercy press run, we described the interview as a victory lap, of sorts. Morgan was humbled about the description (“Aww thank you. Rotten Tomatoes for the win, baby.”) The description is apt: Morgan has had a busy 2019. He ended his run as Turk Barrett, the connective tissue of the Marvel Netflix Universe. Not to lag behind, Morgan began doing the film festival circuit with two heavy hitters. The first was he Joe Talbot-directed The Last Black Man in San Francisco, which premiered at 2019 Sundance Film Festival and in which he plays Jimmie Fails’ father James Sr. The second was the Destin Daniel Cretton-directed Just Mercy, based on the book by Bryan Stevenson, which premiered at 2019 Toronto International Film Festival.Morgan has become known as a scene-stealer, playing understated but impactful roles. As Herbert Richardson in Just Mercy, he commands attention in one pivotal scene in which we follow Richardson in his routine before his execution. It’s equally disturbing and mesmerizing, with Morgan acutely tapping into the emotion of a man who knows his end is near.We spoke to Morgan about that scene, how he doesn’t lose himself in his roles, what he has coming in future projects, and his skill in industry relationship building: “My most high-profile work comes from directors want to work with me.”(Photo by Warner Bros. Pictures)Joi Childs for Rotten Tomatoes: How did you prepare for the role of Herbert Richardson in Just Mercy? Especially that heart-stopping scene as he prepares for his execution?Rob Morgan: Well, Herbert Richardson, he actually was executed, so I didn t really have live footage to go off of. I had two pictures of him, and I would just stare into his pictures and stare into his eyes and try to download his spirit. Bryan Stevenson wrote a phenomenal book, Just Mercy, and it was filled with all kinds of information that helped me tap into Herbert’s spirit. And also, just my everyday experience as a Black man in America, I get information that informs me in ways that I can parallel my own life with Herbert Richardson. Maybe not to the high degree of being on death row, but I can still parallel some of his oppressive conditions with my own, just walking around in this society. So, I took a lot of that in my imagination, and when Destin [Daniel Cretton] said action, that s what we came up with.RT: Your characters in Just Mercy, The Last Black Man in San Francisco, and Mudbound have the common thread of living through hard times. When you give these understated but powerful performances, how do you avoid losing yourself too much?Morgan: I trained with the American Theatre of Harlem, and by the grace of God, that was my foundation to understanding the art of storytelling and understanding that I m blessed to be in a play. I m not showing up to do brain surgery. I m not showing up to cure cancer, but I m showing up to play and give voice to the voiceless. I love who I am as a person. So, I love my lifestyle. I love playing chess, you know? I love fumbling around on the guitar, I love being present with people. So, I don t lose myself so much, because I love who I am. It s a skill of being able to go in and understand that I m doing this for a slice of time compared to somebody that actually had to live this for their whole life. They couldn t stop when they said cut. They couldn t take the outfit off, you know, like, Hap Jackson, the sharecropper I played in Mudbound.(Photo by Warner Bros. Pictures)You know, my grandfather, he had that lifestyle, so I was able to tap into my grandfather. I actually used his name in the movie, I ad-libbed because I was pulling from him so much. I know these people and these people are in me. So, I used the ability to tap in when I need to to tell those stories. But at the same time, I love who I am enough that when they say cut, I m able to come back and be Rob Morgan.RT: Let’s pivot to something a little lighter: You truly are the connective tissue of the Marvel Netflix Universe. What motivated you to continue to be a part of all those series, even in small moments?Morgan: Well, I mean, Julie Schubert, a casting director in New York City, called me in to audition, and they seemed to have liked my take. And the character Turk Barrett is actually written as one of the only characters that goes in and out of the whole universe. He was so much more in the actual comic book world that we didn t get a chance to explore, but I pretty much just showed up when they called my name. When they said, “Hey, Rob, we got a scene for Turk. Come through,” that s when I showed up. Yeah, I mean it was a fun experience. I didn t realize how the fan base was just so heavy. You know, I get recognized for Turk Barrett probably more than any of my other roles, even more than the Stranger Things role. But yeah, I just auditioned, tried to be an actor to get a job, and fortunately, they liked my personality and style and saw what I could bring to the character, and I just showed up when they called me.(Photo by Jake Giles Netter / © Warner Bros.)RT: You have a busy 2020 with three anticipated films: The Photograph, Cut Throat City, and Greyhound. Can you speak about the projects?Morgan: [For The Photograph] Man, that was a great project to be a part of. And for them to trust me with the character, I was completely honored. I think Issa Rae has a great finger on the pulse of getting good content out there. So, I thought it was just a win-win situation to be working with that caliber of visionaries and storytellers, you know, of our time. And my man, James Lopez, who was one of the producers, he gave me the thumbs up on Stella Meghie. Again, Stella Meghie, the director of the movie, she had all these options, and she was like, “Scratch all these names off. Get me Rob Morgan.” That s really how that happened, too, again. My most high profile work comes from directors who want to work with me. That s how I got that, too. Stella Meghie was basically like, “Nope, I don t want to see none of these people. Show me Rob Morgan.” And I went and met with her, we clicked, and I got the job.Cut Throat City, William Clevinger is one of the producers. Kyle Tekiela was one of those producers on Mudbound, so they were familiar with my work. The project came up, my window of opportunity was open, and they squeezed me in. I thought it was a treat to work with some hip hop royalty. I feel like [RZA is] a successful composer of music in films, and then for him to go into his directorial thing, I wanted to be there and support the brother. And he trusted me with his vision, and it was kind of like a powerhouse cast movie, because you got Wesley Snipes, Isaiah Washington, you got Denzel Whitaker. I mean, you got, like, Eiza González, you know, you got so many heavy hitters in this movie, it’s like, “Hey, man, I’d love to come down there and play with them.” You got TI in the movie, you know, Tyron Woodley from the UFC. So, it felt like one of those movies that was just going to have a huge market of eyes on it. Where it s at right now, I don t know. I think it s coming in South by Southwest I m not sure but I don t know where the movie is now.[For Greyhound], to work with Tom Hanks and to see how open and giving he is as such an A-list actor, it just shows you how it’s not the heaviest stuff we do. Tom Hanks, when you meet him, he’s a such a cheerful, open, giving, fun guy. You would imagine this star that’s been in our living room for 20-plus years would have this kind of personality, but he s still a beautiful, giving human being. And it was a real treat to work with Tom Hanks. And now, when he sees me, he’s like, “Rob!” I’m like, “Tom!” It s like, “Wow, I actually can call Tom Hanks a friend.” So, yeah, it was beautiful.RT: Last question: What’s your personal secret to building relationships in this industry, especially with an expansive resume like yours?Morgan: I always say my work is my best agent. My work is my best PR. And that s basically how I get around it; I get the work I get by just people seeing my work.Just Mercy is in theaters everywhere January 10.
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The news that Patrick Stewart had, after 19 years, agreed to return to the character of Jean-Luc Picard, the Star Trek role that made him a global celebrity, sparked loads of excitement among the fanbase. As the 79-year-old actor explained, the decision to head back into the universe that Gene Roddenberry created, relied on the caveat that Picard would boldly go where no Star Trek series has gone before. I don t mean to give any offense to anyone, but I struggled a little bit with this issue, Stewart told select members of the press at the official junket for Star Trek: Picard. I was so obsessed with this idea that we must leave The Next Generation behind, that we must pull the curtain down on that and explore new things. In the latest Star Trek series on CBS All Access, a strong ensemble of Star Trek newcomers join Stewart; Isa Briones plays the mysterious Dahj, Michelle Hurd appears as former Starfleet Officer Raffi Musiker, Alison Pill plays Dr. Agnes Jurati, and Santiago Cabrera takes on the role of hot-headed pilot, Chris Rios. It is not the same world when we wrapped The Next Generation, Stewart continued. And I argued that I wanted that change and that world to be reflected insofar as it affected Jean-Luc and what had happened to him. The backstory of those 19 years is very, very important. But the great thing about it is — and I wasn t prepared for this — I discovered I also lived through those 19 years; Patrick had lived through them. And I had changed. I m different. I feel differently about the world that I m living in, and in subtle ways. (Photo by Matt Kennedy/CBS)As Star Trek fans know, there are multiple timelines that exist within this cinematic universe. That can add continuity confusion, depending on a viewer s expectations with Star Trek: Picard. Showrunner Alex Kurtzman explained that the Romulan supernova that impacted the events of J.J. Abrams 2009 movie, which sparked a new timeline and universe separate from the original Star Trek series — this event is also referenced in Picard — is the catalyst for the vastly different timelines that exist across the Star Trek universe. That s a lot to take in for new viewers, but the return of Stewart in his iconic role will most likely be a huge draw for people to tune in. Through all the strife Picard has been dealt since we last saw him, he s still the highly-revered Starfleet admiral fans have grown to love and respect. We live in a continuity of a timeline, Kurtzman said. There s emotional experiences that have certainly informed the show, but [Patrick Stewart] did not want to just play the part he had played in the same way. And I think you ll find, as you go on that, fundamentally, Picard, as a character, has not changed. He s not the dark angry version of Picard. He s still very much the man you know from Next Generation. But the circumstances of his life have changed radically and threw him off course. And so he s really wrestling with who he is now and what it means to be Picard in a world where not only does he not have an army, but things are very, very gray. How do you hold on to your clear moral compass in a world that s very gray? There is no greater captain in my mind for that challenge than Picard. (Photo by James Dimmock/CBS)According to series co-creator Michael Chabon, one of the themes Star Trek: Picard explores is the it s never too late concept of age and retrospection. This, according to Chabon, is something mostly unseen in the Star Trek universe. What we haven t ever had before, not just on Star Trek, but on almost any television show ever, and certainly any kind of serious dramatic television show is a central protagonist — a hero — who is effectively 80-years-old. Patrick was 78 when we started, he is 79 now. Jean-Luc Picard, in canon, is about 92. To have a person at that point in his life, reckoning with that question of: What does it mean to be a man, a human, a captain, a leader? And now he s an old man and he s still trying to answer that question, just like Star Trek is always trying to answer that question, but he s answering it in a different way than he did before. (Photo by James Dimmock/CBS)Discovery ended up being the first series in the Star Trek television universe that strayed from the narrative formula of exploring a different mission on-board a starship in every episode. Star Trek: Picard takes that storytelling baton and runs with it. Not only does much of the program take place on Earth, the series, which Kurtzman identifies as the first true adult drama in the world of Star Trek, hones its focus on the characters in the world and not just that of Jean-Luc Picard. Uniquely, that s a kind of storytelling which I don t think has been done much, period. Much less, in Star Trek, executive producer Akiva Goldsman added. So we re super delighted by that prospect because, as storytellers, it gets us to do the narrative hours in a way that s different and complicated. Relationships get to change and move, and you get to show one thing and then reverse it up. (Photo by James Dimmock/CBS)As much as the team was able to switch things up and delve into a more character-driven storyline, essentially creating a 10-hour movie, in the process, Goldsman asserted that Star Trek: Picard was made for both the die-hard Trek fans and newbies alike. We re trying to be able to deliver emotion and information and philosophy and character in a way that is engaging because you re watching it, Goldsman said. And if you know everything about it, you re like, Well, that was cool. And if you know nothing about it, you re like, Well, that was cool. And it might be cool, differently. It may have more color, or more revelation, depending on where you live in that spectrum of audience. But we really, really wanted to be welcoming of a listener s heart. Because that s part of the story we re trying to tell. Chabon agreed: We were absolutely committed to the idea that we wanted to make a show that, if you ve never seen Star Trek — if you re not sure what Star Trek really is even all about and you think you don t like Star Trek because what you ve seen before hasn t really grabbed you — or if you re a total novice, you will be able to sit down and still watch the show and enjoy it. (Photo by James Dimmock/CBS)Of course, having Patrick Stewart involved helps. The familiarity of fans to the actor, whose cinematic repertoire blossomed greatly after leaving the world of Star Trek behind, will surely help bring newbies into the fold. And, against his previous wishes, Stewart eventually warmed up to the notion of bringing some Next Generation characters and storylines back for another go in Picard. I was involved in meetings I d never been involved in as an actor before, Stewart, who had the added responsibility of co-executive producer on the series, explained. I could contribute. And I began, increasingly, to feel my colleagues from Next Generation, we need to see them. They, too, can reflect how the times have changed. I think it was the right thing to do. And I hope, with time, we are able to see more. To keep track, four familiar faces will be joining Jean-Luc Picard on this new adventure. Brent Spiner is reprising his role as android Commander Data. Marina Sirtis is returning, alongside Jonathan Frakes — who, once again, steps behind the camera to direct — as Deanna Troi and William Riker, respectively. Star Trek: Voyager s Jeri Ryan and Star Trek: The Next Generation s Jonathan Del Arco will be bringing their beloved Borg characters, Seven of Nine and Hugh, to this new tale, as well.(Photo by James Dimmock/CBS)Thematically, Star Trek has always operated best when it s held a mirror up to society to show us what works and what needs fixing. The first interracial kiss on television happened in the original series, between Captain James T. Kirk (William Shatner) and Uhura (Nichelle Nichols). Star Trek has always been a series based on the ideas of inclusion and exclusion while digging into the evolving question: what is humanity? These are some of the ways Roddenberry s concept has thrived for over the past five decades. And that s a trend that continues in Star Trek: Picard. This was one of the shows that our family, as a family, would happily sit down and watch, Michelle Hurd explained. When I got this job, that s the first thing I remembered: sitting with my mom and dad and my two sisters and watching the show. Not only because of Uhur,a but the fact that it was telling the stories of people who were other, the people who were pushed away. It just really brought me back to the understanding that Star Trek is more than just a show; it s a place where we can all be seen and represented and it makes me so proud to be part of it. Every Star Trek has a bridge family, and, in Picard, a rag-tag crew eventually forms. But every unit needs a leader, and Stewart discovered stepping back into his most iconic role was quite easy. He s never left me, the actor admitted during the 2020 Television Critics Association winter press tour.(Photo by James Dimmock/CBS)Jean-Luc Picard may have been gone from our screens for nearly two decades, but his return is coming at just the right time, Kurtzman said. Right now more than ever, we need great leaders. We need great leaders like Jean-Luc Picard. And we don t have them, Kurtzman added. My hope is that we will inspire people to remember that and think about that deeply. And the next generation that is now much more vocal about many of the problems they ve been left with, because of previous generations, will look to something like Star Trek and say it s possible. You know, maybe we won t get there in our lifetime. But maybe we can lay brick for our children s children to get there. Star Trek: Picard premieres on Thursday, January 22 on CBS All Access. Marvel Studios released a second full trailer for April’s Avengers: Endgame on Thursday. And now that Captain Marvel is out in theaters, it finally establishes Carol Danvers (Brie Larson) will be part of the roster as they take the fight back to Thanos (Josh Brolin). But as with so much of the Endgame publicity, it plays coy with the actual plot. For instance: we assume the mission takes them to that garden planet Thanos relaxes on at the end of Avengers: Infinity War. It is a solid guess based on shots in previous trailers and the later part of Marvel Comics’ The Infinity Gauntlet, but we don’t really know that it is part of “whatever it takes” to win the day. Some believe the Avengers will go elsewhere and even elsewhen to undo the Mad Titan s brutal Snap.Nonetheless, the trailer offers a few more clues to the film’s overall shape. Here are five of the things we gleaned from it.Tony Pulls Off One More Surprise(Photo by Marvel Studios)Despite both long-form trailers opening with Tony Stark (Robert Downey Jr.) recording a final account to Pepper Potts (Gwyneth Paltrow), Tony can be spotted in the group shot toward the end – which features the team in Avengers-branded uniforms reported to allow them access to the Quantum Realm. Since that slow-motion group walk, featured in some form during every Endgame trailer (more on this later), takes place at the Avengers HQ, this means Tony makes it back to Earth before the final act of the film. We’re going to assume the Benatar (the Guardians of the Galaxy s ship) makes its way to Earth in that scene from the “Big Game Ad” in which Steve Rogers (Chris Evans), Black Widow (Scarlett Johansson), Bruce Banner (Mark Ruffalo), and James Rhodes (Don Cheadle) look up at something mysterious. At the time, we thought Carol might be assisting the ship in landing, but eagle-eyed fans online noticed a mysterious gap in the composition between Rhodey and Bruce which could be Carol erased from the ad to conceal her presence in the film. With that in mind, we’re guessing either Thor (Chris Hemsworth) found them or Tony really did pull off one more surprise.Of course, there’s always the possibility the message will be delivered to Pepper after the Avengers complete their endgame. But we really don’t want to think about that yet.The Past Matters(Photo by Marvel Studios)The trailer opens with a very pointed reminder that Tony built the first Iron Man suit from scraps in a cave. It moves on to remind the audience of early moments from Captain America: The First Avenger and Thor. Rumors suggest time travel will help the Avengers defeat Thanos, so these shots may support that plot thread. Alternatively, the trailer could be setting up a big sacrifice as the three original Avengers with solo movies face down their endgame. It is no secret that Downey, Hemsworth, and Evans plan to walk away from the Marvel Cinematic Universe after the film makes its worldwide debut, but will their time within the studio s overarching story really end with their characters boldly dying to save the universe? That’s kind of epic, but we want more Thor after Thor: Ragnarok reset his tone.Scott’s Escape From The Quantum Realm May Be Ill-Timed(Photo by Marvel Studios)One thing we still don’t know about the film is just how much time has passed since the final moments of Infinity War and Endgame. According to some reports, it could be years. We’ve always subscribed to the thought that Endgame takes place a year later – more or less in real time with our world. There’s a nice extra-cinematic symmetry to that. But no matter how long the interval, it is clear Scott Lang’s (Paul Rudd) escape from the Quantum Realm will see him facing down the grim new reality without the Pym clan to explain it. Y know, since they all turned to ash in the Snap. The one featured shot of him in the new trailer sees him reacting to missing posters in the wake of the Snap; which means he will no doubt determine his family s survival before making his way to Avengers HQ. Some believe his ability to access the Quantum Realm will offer the Avengers a time travel portal, but in this scene, it is clear Scott has no ability to muck with time and must endure the pain of the Snap.But considering our next topic, Scott may join the Avengers sooner rather than later.Black Widow’s Going Back To Red(Photo by Marvel Studios)With all all the talk about time travel and the gap between the two films, it’s time to talk about Natasha Romanoff’s hair. That might seem silly, but the new trailer features Nat with a variety of styles, lengths and colors. And if anything marks the progression of time within the film, it is the return of the classic Black Widow look.But tracking that progression is not easy within the context of the second trailer. Going from Black Widow’s last appearance in it – when Thor meets Carol – her hair is short and blond as seen in Infinity War. In her first appearance in the trailer, in which she reconnects with Clint Barton (Jeremy Renner) it seems to be longer, but still blond. Then, when Cap invokes the “not us” phrase from the Big Game ad, it’s clear she’s letting the blond grow out. When we see her again, suited up aboard a ship we presume is the Benatar, there are only a few streaks of blond remaining in her braided hair. During the hero walk, her hair is also predominate red, but we also see her with blond hair in the firing range sequence from the earlier trailers. Although, it does appear to be the length from the Clint Barton scene. Clearly, the film covers more time than we anticipated. Perhaps it covers the entire gap year and possibly more. It may also track the changes to the timeline should time travel come into play.Going back to Scott for a second, we noticed Nat’s hair is short in the Scott Lang stinger from the first trailer. If we assume her hair will be longer and red by the time the Avengers are ready for Thanos, Scott’s Quantum Realm exile following the Ant-Man and the Wasp stinger scene may not be that long at all. Perhaps his apparent mastery of the Quantum Realm will be a key part of the plan.Marvel went out of its way to hide Nat’s changing hairstyles until this trailer – we even suspect her key moment with Cap toward the end of the first trailer was altered to maintain her Infinity War hairstyle so giving it away now is rather telling.The Hero Walk Evolved(Photo by Marvel Studios)Also, while double-checking Black Widow’s appearances in the previous trailer and the Big Game ad, we noticed the hero walk featured in the new trailer and the TV ad actually appears in the first trailer as a completely empty Avengers HQ hangar bay. The addition of people across the first trailer, the Big Game Ad, and the second trailer feels as purposeful as revealing Nat’s hair color in the new trailer.The empty shot also occurs once more in this new preview. But in lieu of cutting to the profile shot of the group in the Big Game Ad, we see close-ups of the assembled Avengers in their coordinated uniforms. Cap leads the charge with Tony, Scott, Nebula (Karen Gillan), and Nat closely behind. Clint can also be seen alongside Rhodey; whose War Marchine armor has been painted to match the white-grey-red Avengers color scheme. In the Big Game version, the silhouettes include Cap, Scott, Nat (with the shorter hairstyle), Rocket (Bradley Cooper), Clint, Rhodey, and one completely mysterious shadow we’re going to assume is either Carol or Thor. Even though this scene keeps getting altered with each trailer, we’re going to assume this is nearly the full complement of heroes heading out into space to fight Thanos.(Photo by Marvel Studios)Of course, that leaves a few questions. For one, Bruce is notably absent from every version of the hero walk. Where is he? He could always be the mysterious shadow behind Rhodey. It is also possible Bruce’s arc needs to be obscured for reasons we will discover next month. Perhaps the heroes missing from the most recent version of the slo-mo walk are part of a frontal assault with a heavy-hitter team like Thor, Carol, and the Hulk, this is a possibility while the others go back in time to set up the tools necessary to undo the Snap.We also wonder why the team lacks for Wakandan representation. That nation definitely needs to repay Thanos for his “kindness,” and at least one capable Wakandan fighter survived the Snap. There’s still the question of Shuri’s (Letita Wright) survival following the Snap. She’s seen among the missing in a blink-and-you’ll-miss it moment from the first trailer. But considering all the alterations we discovered by just examining Black Widow’s hair, it is possible her very brief inclusion in the first trailer is there to obscure her Endgame situation; whether it be ascending to the throne or replacing Tony as the team’s tech wiz. And even if she did end up turning to dust, we hope the Avengers will extend an invitation to Okoye (Danai Gurira) to join them in the final conflict. Her face is on the new poster, after all.Avengers: Endgame opens everywhere on April 26.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Saturday, Dec. 29American Gods Holy Day Binge, Starz, 12 p.m. PT/3 p.m. ET — The cast of American Gods, including Ricky Whittle, Orlando Jones, Yetide Badaki, and more, will live tweet their favorite moments during this all-day season 1 marathonStarship Troopers Marathon, El Rey Network, 9 p.m. — A marathon featuring the original 1997 Starship Troopers movie, along with three of its sequel films.A Midnight Kiss, Hallmark, 8 p.m. — With only one week to prepare, Lisa Patterson (Adelaide Kane) and her family of party planners are given the biggest job in their company s history: a New Year s Eve party for tech entrepreneur Megan Clark. But when her brother breaks his leg and her parents head off on a planned vacation, Lisa must reluctantly enlist the help of her brother s visiting college buddy, David Campos (Carlos PenaVega), to help her pull off the event. But what Lisa didn t plan on was falling in love in the process. Sunday, Dec. 30The Twilight Zone Marathon, Syfy, 11 p.m. — The network’s annual marathon will run through Wednesday, Jan. 2 at 6 a.m. and will include fan-favorite episodes “Nightmare at 20,000 Feet,” “A Quality of Mercy,” “The Monsters are Due on Maple Street,” “The Invaders,” and “The Encounter.”Monday, Dec. 31 — New Year s Eve(Photo by Paul Kane/Getty Images)Firefly New Year’s Marathon, El Rey Network, 6 a.m. — Watch the hit space Western series Firefly (and its movie, Serenity), beginning on Monday and running through Tuesday, Jan. 1, 2019.Fox’s New Year’s Eve With Steve Harvey: Live from Times Square, Fox, 8 p.m. — Maria Menounos cohosts the network’s New Year’s Eve programming, which will feature performances by Sting, Robin Thicke, Florence + the Machine, Jason Aldean, Juanes, and Why Don’t We, along with appearances by Kenan Thompson, Ken Jeong, and the Fox NFL Sunday on-air team.Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest, ABC, 8 p.m. — The American Idol host once again helms the annual NYE program.NBC’s New Year’s Eve, NBC, 10 p.m. — Carson Daly and Chrissy Teigen host the special, which will feature appearances from Leslie Jones and Keith Urban.Taylor Swift reputation Stadium Tour, Netflix — Couldn t get tickets to the pop superstar s latest tour? Catch the filmed version from the comfort of your own home.Tuesday, Jan. 1 — New Year s Day Who Year’s Day Doctor Who Marathon, BBC America — Instead of a traditional Christmas Day special, the eleventh season of the Doctor Who revival starring new Doctor Jodie Whittaker will air a New Year’s Day special.HGTV All-Premiere New Year, HGTV, 2 p.m. — Watch brand-new episodes of Caribbean Life, Mediterranean Life, Bahamas Life, My Lottery Dream Home, Pool In My House, HGTV Dream Home 2019, and other lifestyle programming all afternoon and evening.ID’s Premiere New Year, Investigation Discovery, 4 p.m. — The network will debut new series, including Deadly Secrets, Killing Time, American Nightmare, and Hometown Homicide; season premieres of Your Worst Nightmare and Evil Lives Here; and new episodes of Deadly Deception and Body Cam.Great Performances – From Vienna: The New Year’s Celebration 2019, PBS, 9 p.m. — Hugh Bonneville hosts this special featuring the Vienna Philharmonic.
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6.67.3 2月喜迎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 include VOD and select drive-in releases. This week we have an Irish crime thriller, a World War II tearjerker, and a documentary about ACLU lawyers. In our Spotlight section, we have a new sex comedy featuring Stranger Things star Natalia Dyer, and we have new trailers featuring Stranger Things Joe Keery, Sense8 s Tuppence Middleton, and Rome s James Purefoy.New This Weekend
(Photo by ©Marvel Studios)The numbers look good for Shang-Chi and the Legend of the Ten Rings, which pulled in a record-breaking million across the four-day weekend. They look even better for theaters and the industry. The only people probably looking at the numbers with some grief are the folks at Paramount, which recently pushed both Jackass Forever and Top Gun: Maverick off this year’s schedule into 2022. That could still turn out to be a good idea and ultimately be looked back upon as just a slight delay for some bigger grosses, assuming the pandemic numbers head in the right direction again. But as the box office numbers have been showing for the past month now, people are still going to the movies – especially when there are no streaming options. But even more important for the industry is the extrapolation of these numbers, which are starting to feel more like pre-2020 instead of 2021. And not to bury the lede, but the box office just had its biggest Labor Day weekend ever. Not bad.King of the Crop: Shang-Chi Breaks Multiple Records, But Can It Be the first 2021 Movie to Hit 0 Million?Only four other times in history has the four-day Labor Day holiday grossed over 0 million, led by the likes of Rob Zombie’s Halloween, Lee Daniels’ The Butler, Guardians of the Galaxy, and The Possession (two of those movies did not even debut in that weekend). The films in this Labor Day weekend s top 10 grossed over 1 million, besting the 4 million over the 2007 holiday which was led by Zombie s Halloween.Last week when we measured the success of Candyman, it was the Thursday-preview numbers that served as our guide. This week, we note that Shang-Chi had the second-best preview numbers during the pandemic, with .8 million. That is more than F9’s .1 million and less than Black Widow’s .2 million, which we should remember was made before the film hit Premier Access on Disney+ on Friday. Shang-Chi had no Premier Access on Friday, nor Saturday, Sunday, Monday, nor going forward.The seven past live-action PG-13 films which have grossed between .3 million and .3 million in Thursday previews include 2014’s Godzilla, Fantastic Beasts and Where To Find Them, Fantastic Beasts: The Crimes of Grindelwald, Transformers: Age of Extinction, The Hobbit: The Desolation of Smaug, and The Amazing Spider-Man 2. They averaged a three-day opening weekend of .5 million, with the second Fantastic Beasts film posting the weakest eventual three-day haul with .1 million. Shang-Chi and the Legend of the Ten Rings posted an estimate of .5 million over just the three days. That may be slightly below the average of those other films, which all had more recognizable name brands than Shang-Chi, but it is also the biggest Labor Day opening ever, the second-best opening of the pandemic, and the third-best September weekend ever behind both of the It films.(Photo by ©Marvel Studios)Those are also the only films to ever open in September and gross over 0 million. That is a number the box office has yet to crack since Bad Boys for Life did it before shutdown in 2020. Black Widow opened to million and could not do it – but it was also available for a price at home. F9 opened to million and came up shy of 5 million, despite being a theatrical exclusive. Only five films have ever grossed million or more in their first five days and failed to gross 0 million: Fifty Shades of Grey, X-Men Origins: Wolverine, The Simpsons Movie, and The Day After Tomorrow are four of them; the fifth is this summer’s Black Widow (i.e. pandemic + home availability = some will avoid the risk).Shang-Chi has very little competition over the next few weeks before Venom: Let There Be Carnage releases in its new just-announced date – Sony was clearly encouraged by this weekend s numbers – and No Time To Die comes out. Add Monday’s holiday to the total and Shang-Chi is estimated to have a gross around million over the four days, very much in line with the pre-pandemic average based on its Thursday numbers. What a difference a day makes! If we can begin to measure some metrics by films just being a day or so off their pre-2019 theatrical exclusive wavelengths, we may be making some progress. Especially if we can all just stay safe out there.The Top Ten And Beyond: Candyman Holds Strong As Free Guy Sets Sights on Passing Jungle Cruise(Photo by 20th Century Studios)Shang-Chi could not deliver the best Labor Day weekend ever all by itself. The continuing success of Free Guy can not be overlooked as it made another .9 million over the weekend and .4 million total over the holiday, bringing its total to .5 million in 25 days. That is over half a million more than what Jungle Cruise had in 26 days (.97 million). Cruise, which has been available on Disney+’s Premier Access, still has a strong presence in the top 5 in its sixth weekend of release and has driven its theatrical total to 6.7 million. Free Guy, without any streaming options until the end of the month, is now likely to surpass Jungle’s numbers and possibly get as high as 0 million. Free Guy’s three-day weekend also ranks 16th all-time amongst fourth weekends for August releases – higher than Rise of the Planet of the Apes, Straight Outta Compton, Rush Hour 3, and Lee Daniels The Butler. It has made 9 million worldwide to date. Jungle Cruise is at 9 million.Candyman contributed even more money to the pot this weekend, making .4 million for a 53% drop from last weekend – better than The Conjuring: The Devil Made Me Do It’s 57% fall from a .1 million start and Old’s 59.3% fall from .8 million. With an increase to .3 million through the holiday, Candyman’s .7 million in 11 days is less than a million behind the pace of HBO Max’s The Suicide Squad, which made .6 million in 10 days. Remember that James Gunn’s day-and-date streaming film fell 71.5% down to .4 million in its second weekend. Candyman is now poised to surpass that film’s total and settle in with around million- million.Paw Patrol: The Movie, which Paramount sacrificed into theaters so Clifford the Big Red Dog could live on someday, grossed .1 million this weekend and an estimated .3 million over the holiday. No family film released in the second half of August has ever grossed million, let alone one streaming at the same time. Paw Patrol finds itself with .5 million after 17 days, which is better than The Angry Birds Movie 2 was doing in the same period in 2019 with a .94 million third weekend and .79 million. It went on to gross .66 million. Expect Paw Patrol to end up in that vicinity – lower than most family films gone hybrid this year, but potentially still higher than Sony’s Peter Rabbit 2, which was exclusive to theaters.On The Vine: James Wan s Original Horror Film, Malignant, a Venice Favorite, and MoreJames Wan’s Malignant may be the closest thing to challenge Shang-Chi’s number 1 slot (but that is still further away than Jim Carrey’s shot at Lauren Holly in Dumb and Dumber). The horror film will also be streaming on HBO Max starting Friday. In more exclusive news, STXFilms is putting the Kristen Bell and Kirby Howell-Baptiste crime comedy, Queenpins, into select Cinemark theaters, just their second during the pandemic after this February’s The Mauritanian. Then Focus will be releasing Paul Schrader’s The Card Counter, which debuted to great critical acclaim at the Venice Film Festival this past week. It currently stands at 97% on the Tomatometer.Full List of Box Office Results: September 3-6, 2021
One gave us Michael Myers and the Thing, the other Freddy Krueger and Ghostface – and both gave us many, many sleepless nights. But who is the king of making us quake? In our latest episode of Vs., we’re slicing and dicing the numbers to find out who is the true master of horror: John Carpenter or Wes Craven. Will it be the famed director – and killer composer – who essentially defined the slasher genre with Halloween? Or will it be Craven, who let us know that danger lurked under the stairs, in the last house on the left, and in our dreams? Our favorite Final Boy and Rotten Tomatoes contributing editor Mark Ellis is examining Tomatometer and Audience Score data, box office performance, iconic moments and characters from their films, to make a call. And if you don’t agree, have at him: He’s just putting on some Jiffy Pop right now and his phone number is… we mean, let us know in the comments!On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: © New Line, © First Run Features
With studios and distributors loading up on a pre-launch campaign against Disney’s dominance at the box office – something that will be amplified with next week’s release of The Lion King – there were not a lot of alternatives for moviegoers to get behind this weekend. Marvel and Pixar both led the way again and the two newcomers could barely combine to beat the film in second place. For those in a Chicken Little panic over supposed dwindling ticket sales this year, this weekend certainly gave fuel to that fire with the top 10 films adding up to the lowest July weekend total since 2009.King of the Crop: Spider-Man Not Far From the Billion Club (Photo by © Columbia Pictures / © Marvel Studios/ Courtesy Everett Collection)Spider-Man: Far From Home took the lead again to no surprise for a second straight week. With 9.2 million on Thursday, it ranked as the 32nd highest-grossing film ever after 10 days in theaters. However, the drop to .3 million this weekend has put its numbers closer to Sam Raimi’s Spider-Man 2 than many of the top-tier MCU films. Raimi’s film had 5.1 million after 10 days and a .1 million second weekend. It finished its run with 3.5 million. Spider-Man: Homecoming made .2 million in its second weekend. Just remember that Far From Home also had a Tuesday opening (and the biggest one of all-time). Amongst the 35 films to have reached 5 million domestic, only Transformers: Revenge of the Fallen, Titanic, and Frozen made less in their second weekends than Far From Home. (Titanic’s .4 million in 1997 would be about .5 million today.) Worldwide the film has grossed over 7 million and will soon become the ninth film of the MCU to gross over a billion dollars.Rotten Returns: Stuber Disappoints with Million Start(Photo by Mark Hill/ © TM & copyright © Twentieth Century Fox Film Corp.)Stuber may not be a mega-budgeted production at million, but unless you are a true indie or working under the Blumhouse margin, an million opening is just not going to cut it. Thirty six films in 2019 have opened in 3,000 theaters or more and only Missing Link (.9 million) and Fox’s The Kid Who Would Be King (.1 million) – both Certified Fresh at 89% on the Tomatometer, incidentally – grossed less in their opening weekends. (A Dog’s Journey made .03 million.) Stuber, with a Tomatometer score of 46% currently, joins Winnie the Pooh, Ramona and Beezus, Monte Carlo, and Katy Perry: Part of Me as the films this past decade to open between million and million in July. They all posted final tallies between .1 million and .7 million. None of those films were rated “R” though.Top 10 and Beyond: Crawl Takes Small Bite as Disney Offerings Show LegsToy Story 4 crossed the 0 million line worldwide this weekend. Plus, the once-dubbed “disappointment” from burned analysts is only the 23rd highest-grossing film ever after 24 days with over 6 million at the domestic box office. Though the film is right in line with Toy Story 3’s fourth weekend of million, it did slip slightly behind during the week from being million ahead of the third film’s pace to just around million. No worries, however, as it is still on pace for a 0 million haul in North America. The fim is over 1 million worldwide.To finish up the Disney dominance news this week, their live-action version of Aladdin has officially become one of the 50th highest-grossing films of all-time in the world with over 0 million. The Lion King is already gearing up to join that list having grossed .7 million in China this weekend. Then, of course, Avengers: Endgame grabbed an additional .8 million across the globe and is now less than million away from capturing Avatar’s all-time record with .780 billion.(Photo by © Paramount Pictures / courtesy Everett Collection)Over to the horror side of the top 10, Paramount chose not to screen Alexandre Aja’s alligator horror film, Crawl, for critics this week. Nevertheless those that reviewed it gifted it with an 88% on the Tomatometer and it s already Certified Fresh. It may have bested Stuber for the newcomer crown this weekend, but its million start is not entirely a cause for celebration, even with just a .5 million budget. That is more than the .9 million that another mid-July alligator film called Lake Placid opened to back in 1999. That film would have opened to about .7 million in today’s dollars and finished with .7 million. The smart money is on Crawl finishing with less, unless word-of-mouth – which again, is good – pushes it further.Ari Aster’s Midsommar has .4 million after 12 days, which puts it between fellow Wednesday openers No Escape, the 2015 terrorist thriller, and the 2004 remake of Around the World in 80 Days. That may suggest a finish in the - million range. Except Midsommar’s .5 million weekend was less than either of theirs. The film would need .2 million to pass A24’s first wide opener, The Witch, for fifth place on their all-time chart. Midsommar is nevertheless going to finish no worse than right behind it in sixth place with more than The Disaster Artist’s .1 million. Annabelle Comes Home is now over million, placing the film firmly between the third weekend grosses and totals of The First Purge (.10 million, .48 million) and Rocky Balboa (.01 million, .27 million), so figure a final tally in there while it currently stands at over 3 million worldwide – far less than either of the previous films but more than enough to turn a profit.Coincidences in box office are always fun to find and this week’s example comes with Danny Boyle’s Yesterday, which has become the director’s second highest-grossing film ever. That has nothing to do with coincidence though. Actually the .75 million it grossed this weekend and a total at .3 million puts the film in league with another tale of a singer from the U.K. that opened in June and was released by Universal some nine years ago. That film was Get Him To The Greek. It grossed .1 million in its third weekend and had .8 million after 17 days on its way to .9 million.On the Specialty Box Office: The Farewell Shows Signs of Being a Breakout HitFinally, in limited release news, Bleecker Street’s The Art of Self-Defense (Certified Fresh at 92%) grossed 1,000 in seven theaters. That per-theater-average of ,285 is just a bit less than Late Night’s ,593 average in 14 theaters when it first opened. Amazon expanded that film into over 2,200 theaters in weekend two and it has grossed more than million to date. Bleecker will expand Art into over 500 theaters next weekend and it is the ninth film in Bleecker’s history (out of 32 releases) to score 90% or higher on the Tomatometer.But the developing story may be that of Lulu Wang’s The Farewell, with Awkwafina. One of the most beloved films out of Sundance this year grossed 1,330 this weekend in just four theaters. That is the 15th best opening ever for a film launched in just four venues and the third best for A24. Moonlight (2,075) and Lady Bird (4,437) opened just a bit stronger and they, respectively, rank third and first amongst all A24 releases. The Farewell also maintains a perfect Certified Fresh score of 100% on the Tomatometer. It is the 28th A24 film to score 90% or higher out the distributor s 77 releases.This Time Last Year: Hotel Transylvania 3 Bests Skyscraper(Photo by © Sony Pictures Releasing)Adam Sandler’s ghoulish animated series showed no signs of wavering as Hotel Transylvania 3: Summer Vacation got its first taste of the box office outside of September and opened at number 1 with million. Ant-Man and the Wasp dropped 61% to second place, but that was still good enough to keep back Dwayne Johnson’s attempt at Die Hard in Skyscraper, which opened to just .9 million. In limited release, Bo Burnham’s Eighth Grade opened to 3,797 in just four theaters. The Top 10 films grossed 4.03 million and averaged 67.7% on the Tomatometer. This year’s Top 10 did an estimated 3.04 million and averaged 66.9%. It was actually the lowest Top 10 total for a weekend in July since the July 31-August 2, 2009 weekend when Funny People led the way with .65 million and a top 10 total of 7.14 million.
It’s almost impossible to imagine that Owen Wilson initially didn t think he should act in 1996 s Bottle Rocket. From the very first scene, in which his character Dignan oversees an escape plan for his friend Anthony (Luke Wilson), who’s casually checking out of a voluntary psychiatric hospital, you’re sucked in by his energy, a weird mix of motor-mouthed enthusiasm and childlike wonder and sensitivity.But Wilson had a point. As the film’s co-writer, Bottle Rocket was his baby — the other parent was co-writer and director Wes Anderson, a friend he met at the University of Texas at Austin — and his one shot. Perhaps he wanted to ensure the duo’s unique sensibilities were not muddied by the compromises that would inevitably come when first-timers make a big studio-backed movie. Maybe he figured starring in front of the camera and doing quality control behind it would be too much to take on. (This worry wasn’t unfounded: Bottle Rocket, which started shooting in 1994 and didn’t hit theaters until two years later, was plagued with rewrites, reshoots, and post-production woes.)The film follows Wilson’s wannabe-thief of a ringleader as he and his zen-like friend Anthony and their rich pal Bob (Robert Musgrave) — three people who have no business breaking bad — pull off jobs to fall into the good graces of a bohemian crime boss (James Caan). While on the lam at a motel, Anthony, who doesn’t speak Spanish, falls for the only person he thinks understands him, Inez (Lumi Cavazos), who doesn’t speak English. Bottle Rocket is full of absurd setups like this, but somehow feels grounded and gentle, with an assured, invigorating directorial style. So to celebrate it turning twenty-five — Bottle Rocket was released in theaters on February 21, 1996 — and in anticipation of Anderson’s upcoming The French Dispatch, here are five reasons it remains special.Audiences Mostly Didn t Get It But the Right People Did(Photo by Deana Newcomb/©Columbia Pictures courtesy Everett Collection)Martin Scorsese picked Bottle Rocket as one of the ten best films of the 1990s. James L. Brooks liked the short “Bottle Rocket,” which played at Sundance, so much that he flew down to Dallas to meet “the boys” in their “flop” — his words — and greenlit the feature, which was put out by Columbia Pictures. Paul Schrader said he’d never seen a character like Dignan onscreen before — high praise from the creator of Travis Bickle. And Walt Disney Studios chair Joe Roth saw enough in Anderson and Wilson to bankroll their follow-up, Rushmore, for double Bottle Rocket’s budget.But audiences, particularly the ones in test screenings, didn’t share that enthusiasm. “I’d never felt so humiliated,” Anderson recalled in the Criterion Collection commentary for Bottle Rocket, reliving a screening when dozens left the theater before the credits rolled. What’s more, Bottle Rocket didn’t get into Sundance, the festival that screened the original “Bottle Rocket” short to acclaim. “It was kind of like the end of the world,” Anderson said of the snub in Matt Zoller Seitz’s book The Wes Anderson Collection. When the film finally did come out, it pulled in roughly 0 grand at the box office, or about a tenth of its budget.It Introduced Us to the Brothers WilsonCritics, however, dug Bottle Rocket, which is Certified Fresh at 85%. A big part of the appeal back in ’96 was that it debuted these fresh-faced unknowns, Owen and Luke Wilson, who are both arresting in their own ways. Over the next decade, Owen and Luke would go on to become a comedic powerhouse and something of a kind-eyed leading man, respectively, and you can already see them playing to those strengths here. The two have an undeniable chemistry, with Luke’s more level-headed Anthony trying to temper — and inevitably indulging — the unrealistic expectations of Owen’s Dignan. Five years later, they would offer a more drama-tinged spin on this dynamic as another pair of brotherly longtime friends in The Royal Tenenbaums. It’s also worth shouting out Andrew Wilson, Owen and Luke’s older sibling IRL, who plays Future Man, the bullying brother of Bob in the movie, for his comic chops.The Dialogue Is Loose, Fast, and QuotableWes Anderson has made a name for himself with his stylized visual calling cards, yes, but also his dialogue, which tends to feature lines that drip with irony, often delivered after pauses. Those lines are in Bottle Rocket — Dignan’s declaration that “Bob’s gone; he stole his car” springs to mind — but those deliberate beats are less prevalent. There are two scenes — a walk-and-talk before a “practice job” and an argument while planning a bookstore robbery — when the characters talk over each other in a way that feels naturalistic and almost a bit improvised. But the constant throughout, whether Anderson lets a line linger or not, is that Bottle Rocket’s script stays buoyant and truly funny. We’re partial to this exchange, when Dignan tries to ease a distressed Anthony with a picture of Mr. Henry’s crew:DIGNAN: Fact: I learned more in the two months I spent with Mr. Henry and his crew than I learned in 15 years of academic study. Fact: I can guarantee you after Mr. Henry sees us pull this job, he’s gonna take a personal interest in our future. Fact: Mr. Henry drives a Jaguar. ANTHONY: Fact: Dignan, the picture’s not doing it for me right now. DIGNAN: Well, does the fact that I’m trying to do it do it for you? It Hints at What s to Come from Wes Anderson(Photo by Deana Newcomb/©Columbia Pictures courtesy Everett Collection)About that style: Bottle Rocket isn’t as in-your-face with the Wes-isms as his later work. You won’t find any backdrops as meticulously designed as Margot’s bedroom in The Royal Tenenbaums or any breakdowns as breathtaking as the ship’s in The Life Aquatic with Steve Zissou. But his penchants are on display. There are some choice needle drops of ’60s songs (the Rolling Stones’ “2000 Man,” Love’s “Seven and Seven Is”), as well as a slow-motion walk, a letter read aloud, a “binoculars” shot, references to inspirations like The 400 Blows, and other ingredients he’s synonymous with now.It Maintains an Indie/Outsider Spirit(Photo by ©Columbia Pictures)For all of its stylistic confidence, Bottle Rocket feels like you re watching a group of friends make a movie. To be fair, that s not far off base: Anderson, the Wilsons, Musgrave, and supporting actors like Kumar Pallana and his son, Dipak, were pals. Some were occasionally roommates. Scenes were shot at St. Mark s, where the Wilsons attended and from which Owen was expelled. Bottle Rocket has an intimate, singular quality you don’t always get from a big-budget film. And while Anderson’s canvases would grow a lot bigger in subsequent films, something from Bottle Rocket would always remain a constant: stories that pull for underdogs, and outsiders that exist in their own little sealed-off worlds.Bottle Rocket was released in theaters on February 21, 1996.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Universal / courtesy Everett Collection)20 Movies To Watch If You Loved The Invisible ManIf you re looking for more movies like The Invisible Man, surprise: We ve got a few recommendations! To get it out of the way, yep, The Invisible Man is a new entry in the Universal Classic Monster franchise. It was the first cinematic universe, kicking off way back in the 20s. (The 1920s and not, you know, our 20s.) Dracula, the Wolfman, Frankenstein s monster, the Mummy are all part of this motley crew, including the Invisible Man, who had six previous movies. This new Invisible Man is notable for its departure from formula by framing the story from the victim s perspective, but we re including these original six Universal Monster movies here for historical context. And, hell, let s throw in the other famous hard-to-see creep, Hollow Man, as a reminder that for decades, this is all we had in the invisible jerk subgenre.2020 s The Invisible Man, besides being a cracking horror/thriller, has also captured the zeitgeist for Moss Cecilia character and her plight. Cecilia flees a violent relationship, only to be tormented and trapped by her abuser, and made to look crazy in the eyes of friends and family. This is a form of gaslighting, a term specifically derived from 1944 s Gaslight, a psychological thriller starring Ingrid Bergman as a wife manipulated by her husband into thinking she s going insane. 1955 s Diabolique is probably the best of this type of story, though shout-out to Satoshi Kon s Perfect Blue, and even Scream, once you arrive at its endgame revelations. Black Swan, High Tension, and Girl, Interrupted are also worth watching through the lens of female-driven stories with shifty narratives.Invisible Man has drawn high marks for its use of negative space, which forces viewers to search through seemingly banal shots for hidden terrors, drumming up considerable dread and paranoia. It Follows about a malevolent entity taking the shape of humans, often depicted shuffling in backgrounds is a previous horror phenomenon that similarly uses negative space to maximum effect.Audiences may also be impressed by Invisible Man s stylish presentation. Writer/director Leigh Whannell had already made a name for himself in horror by co-creating the Saw series (he s also one of the leads in the first movie). But his 2018 cyberpunk/body horror/action effort Upgrade represented a dramatic creative leap forward for him. It s fun to see Whannell apply Upgrade s style towards the world of The Invisible Man.And, of course, there s Elisabeth Moss, who first came to public attention with The West Wing, Mad Men, and then in the inescapable The Handmaid s Tale. But Moss has been acting in film since the early 90s (who can forget her as little girl in Suburban Commando?) and her most notable movie work is of the last few years: 2014 s The One I Love (witness her in a slightly happier relationship, before it turns sci-fi bizarre), psychological thriller Queen of Earth, and 2019 acting showcase Her Smell.
Sony Pictures Television has tapped The LEGO Movie and Cloudy with a Change of Meatballs filmmakers Phil Lord and Christopher Miller to develop a number of programs based on the company s piece of Marvel Entertainment as part of an overall development deal, according to news reports.At first glance, it definitely looks like a good fit, as Lord co-wrote Spider-Man: Into the Spider-Verse, the phenomenal, Oscar-winning, and Certified Fresh debut of Spider-Man Miles Morales (Shameik Moore) in theaters — who will likely continue his adventures on the big screen.But can the duo sustain a whole Spider-Verse industry with just the intellectual property available to them through Sony’s control of Spider-Man and related characters? Perhaps these five TV show ideas prove just how easy it will be to build a television Spider-Verse.Peter Porker, The Spectacular Spider-HamOriginal Creators: Tom DeFalco and Mark ArmstrongFormat: half-hour animated seriesConsidering the impact Spider-Ham made in Into the Spider-Verse, we’ll be stunned if a Spider-Ham animated series was not the first thought Miller and Lord had when the ink dried on their deal.Originally a goof character in one of Marvel’s honest-to-goodness funny books, Peter Porker stayed around to earn his own title. The conscious funny animal parody of Spider-Man is a key part of the appeal – and why he is such a success in the film – and it is easy to imagine a half-hour cartoon playing on the fact Spider-Ham and his world’s inhabitants know they are cartoons. Spider-Ham could face Mysteriape, the Buzzard (Spider-Ham’s take on The Vulture), and the King-Pig – a part we’re sure Vincent D’Onofrio would love to make his own. To say nothing about Spider-Ham’s team-ups with Goose Rider and Deerdevil! Provided the Spider-Ham spoofs of Ghost Rider and Daredevil are part of Sony’s Spider-Man IP package, of course.The series would have to be more than punny names and one-liners. But considering Lord and Miller managed to find emotional content in LEGO minifigs and a spoof of 21 Jump Street, the hardest part will be casting the voices joining John Mulaney on this journey. We are, of course, presuming he would return to voice Spider-Ham. He already reprised the role for the Caught in the Act short film accompanying the home video release of Into the Spider-Verse.If there is one stumbling block, it may be Marvel Entertainment’s – and therefore Disney’s – general control of the characters in regards to television animation; they produce the current Spider-Man cartoon, for example. It is entirely possible they would the first shot at an animated Spider-Ham series.Spider-GwenOriginal Creators: Jason Latour and Robbie RodriguezFormat: hour-long live-action dramaThe Spider-Gwen comics re-imagine Spider-Man s ill-fated girlfriend Gwen Stacy as the one bitten by the radioactive spider on that high school field trip. She becomes Spider-Woman, while Peter uses his abilities with science to emulate her. The premise is full of great hooks thanks to the way it restructures Spider-Man s origins and world. Peter, for example, becomes the Lizard and after he attacks the school dance, Spider-Woman ends up blamed for his death. On her world, Matt Murdoch is both the Kingpin and one of her constant adversaries, Peggy Carter is the director of S.H.I.E.L.D., and a female Sam Wilson is the Captain America who fought in World War II (Steve Rogers made comics about her exploits after she vanished at the end of the war).But all of those changes to established characters underpin the relationships between Gwen and her friends – which include Mary Jane Watson, Betty Brant, and Glory Grant – and with her father, Captain George Stacy. He initially hunts Spider-Woman not knowing she and Gwen are the same person. And considering a lot of the elements of Spider-Gwen’s larger world would not be available to the production because of complicated rights reasons – Matt Murdoch cannot be a live-action character until 2023 thanks to the original deal with Netflix, for example – getting to the meat of Gwen’s story would be key in a live action take on the comic book. Keeping her identity secret from her father definitely makes for a great season 1 story.Silver SableOriginal Creators: Tom DeFalco and Ron FrenzFormat: hour-long live-action dramaBut for a character without complicated rights issues, Lord and Miller could turn to Silver Sable, a character so clearly in Sony’s control, they very nearly made a film teaming her up with Black Cat. It had a release date at one time and director Gina Prince-Bythewood (who defined the look of Marvel’s Cloak Dagger) set to helm the production. Then Sony separated the characters into their own projects. Now, it is unclear if it is happening at all. But maybe the character would be better served on television.As the owner of a private military contracting service, Silver Sablinova could find herself in a political drama like The West Wing or a spy game program like Alias. Trained by her father to hunt Nazis, Silver Sable personally handles any contract which leads to the apprehension or elimination of war criminals. Using those ideas, a Silver Sable TV show could be one of the meatier and grittier programs Miller and Lord develop. Provided Sony wants something more like Homeland, of course.If the company really wants multiple television shows, varying up the tone and pitching the content to different age groups will be a must. And even if the show skews more toward the adventure aspects with less of an emphasis on geopolitics or Silver Sable’s interior life, it could prove to be the concept meant for an older audience. Also, we’d welcome another pilot directed by Prince-Bythewood, who made the first episode of Cloak Dagger quite compelling despite the fact the title characters only meet for a minute or two near the end.Spider-Man NoirOriginal Creators: David Hine, Fabrice Sapolsky, and Carmine Di GiandomenicoFormat: hour-long live-action limited series or half-hour animated seriesWe’ll be honest, Spider-Man Noir, whether voiced by Nicolas Cage or not, really cannot sustain a long-running television series in the vein of Arrow or even Daredevil. But if designed as an eight-episode limited series, it has just enough of a premise and style to make it a stand-out short-run television program.Then again, a Lord and Miller series based on the concept could take its cues from the original 2009 Spider-Man Noir comic book miniseries, in which Daily Bugle reporter Ben Urich uses his network of informants to blackmail local crime boss “the Goblin” and pay for his secret drug addiction with the money. Peter initially appears as someone Ben takes under his wing in this story, until Peter gets bitten by a mystical spider – science takes a back seat to mysticism in this reality – and learns the truth about Ben. While things do not turn out great for Ben in the comic, keeping him the focus of a television series and Spider-Man as something of a mystery re-centers the concept in thrilling way. Ben becomes the eyes and ears of a heavily shadowed 1934 in which we see characters we recognize, but in whole new ways; like the Chameleon as a simple master of disguise or Otto Octavius as a Nazi agent.The reality of producing a show with a stylized period aesthetic would keep Spider-Man Noir a limited series – or turn it into a prestige animated program – but it could be strong enough to commission a second eight-episode run.
九阴真经 下载 就我个人来说，我绝对不会去为一个半成品游戏买单，首充什么的都不会碰，甚至于连白嫖的想法我也不会有，下载的不会考虑的，如果有朋友邀请或者询问我，我也都会推荐他们不要去考虑使命召唤手游，于商业化，他没有做到像CFM那样彻底，轮竞技性，他无法像OW、LOL等真正做到绝对公平，只能说不伦不类，要改良的地方还有很多，如果只是暂时还比较差，以后会调整的“未来可期”游戏，那也值得期待，但是游戏的一系列操作都是在告诉玩家，游戏是只有会原有框架增加，比如说增加一些数值枪之类的，大幅度调整应该没有的，那半成品的使命召唤手游又有什么好期待呢？
手游吃鸡变声器怎么弄？许多玩家现在在玩吃鸡游戏的时候都想要用一下变声器或者语音包来跟队友整一下活，这种玩法最近也比较流行，不过很多玩家还不知道这样的变声器去哪里弄一个，小编这里帮大家准备好了吃鸡专用变声器手机版应用，不妨下载试一试哦！ 1. A Sudden PeaceBlood of Elves, the first long-form Witcher novel, begins with all of Ciri’s experiences in season 1 inhabiting the narrative’s past. In the two years between the fall of Cintra and the start of the novel, the northern kingdoms won a war against Nilfgaard and an uneasy peace rules the day.It is possible season 2 will start from this standpoint, with two years passed in the gap between the season 1 finale and the season 2 premiere. But then again, The Witcher plays fast and loose with what it considers important, so the conflict between Nilfgaard and the northern kingdoms may matter to the series as a source of constant conflict.Although, as it happens, the Northern Kings in the books want another war with Nilfgaard in the books, so perhaps a two-year time jump will be The Witcher’s opening salvo as season 2 begins.2. The Hunt For Yennefer(Photo by James Minchin/Netflix)Clearly, Yennefer’s well-being will be of the utmost importance when the show returns. As it stands, she seemingly used all of her chaos to halt the Nilfgaard army. But considering her easy way with portals throughout the season, we expect to find some self-preservation extinct kicked in and transported her far from Sodden Hill.But her disappearance from the battlefield means several interested parties will be searching for her. Fans will no doubt want to see her united with Geralt and Ciri – it is part of the show’s premise after all. And, as it happens, a series can only go so long separating its main characters before viewers get impatient (even if The Witcher saga excels at keeping its principle characters apart). At the same time, The Witcher’s short season orders (just eight episodes!) means it is possible Geralt and Ciri will search throughout the North for her and only succeed in season 2’s final moments.Hopefully, Yennefer will have an interesting story in the interim.Also, both the Nilfgaard mage Fringilla (Mimi Ndiweni) and any surviving members of the Chapter’s task force would likely want to find her as well. She has a legacy, after all, and people will be interested in seeing it serve their ends.3. Training Ciri(Photo by Netflix)Much as how the early short stories outlined the world before Ciri arrived on the scene, season 1 roamed the timeline and offered key pieces of backstory before the main Witcher saga begins. This suggest the real story begins in season 2 with Geralt not chasing after Yennefer – which Ciri’s question about her implies – but instead taking Ciri to Kaer Morhen. It is the home he referenced while dealing with the rotfiend bite and where his novel counterpart takes Ciri in Blood of Elves.At Kaer Morhen, she is trained by several older witchers, including Vesemir, who was mentioned briefly in the later episodes of season 1. Triss Merigold (Anna Shaffer) also becomes her teacher for a time before Ciri relocates to Ellander and, eventually, is taught by Yennefer herself.It’s all exciting material for a novel, but it is easy to think the series will eat a lot of this plot within two or three episodes. Although considering the way it plays with time, it is entirely possible the season will begin with Ciri and Yennefer leaving Ellander and Geralt nowhere to be found, setting up the format of the second season and allowing the flashback structure to highlight Ciri’s education.4. Geralt and Triss?(Photo by Katalin Vermes/Netflix)Back in the books, Triss finds herself drawn to Geralt as their paths cross more and more. In the video game series, players are given the option of perusing more serious and long-term ties with Triss. And considering how much time the games spend on that relationship, we think it is possible the television series will devote some plot to it as well.Granted, Triss was not in the best of shape when we last saw her; she was being cradled by another survivor of the Sodden Hill defense. But we’re inclined to assume anyone who did not die on screen will find a way to mend themselves in the interim between seasons. And should season 2 follow events of Blood of Elves, Triss will be needed at Kaer Morhen. That certainly leaves some time for Geralt to spark an interest in another mage. Or, at least, for her to develop an unrequited attraction.
九阴真经 下载 目前国内手游的发展已经完全成熟，在各大游戏APP中，琳琅满目的游戏名让人难以抉择，各种推荐广告更是随处可见，不过虽然游戏越来越多，但能够做到风靡全国，稳居热门的游戏，来来去去数过来，也就那么几个，很多游戏虽然花不少软妹币宣传，但也很难在手游市场形成冲击，很快就沦落到停服的窘境。