皇冠体育在线

皇冠体育在线

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皇冠体育在线采用百度引擎0(Baidu 5)作为《剑灵》的正统续作,《剑灵2》在继承前作剧情的基础上,具备超越现有手游的精美画面,美丽的地图和魅力十足的游戏角色。不仅将拓展前作的世界观,还能根据玩家的选择提供不同的游戏体验,无论是玩法和世界观都不输端游。

1. 皇冠体育在线
事实上,小编在刚开始查阅上古纷争这款手游的时候,查阅到的并非是游戏,而是一部同名的小说,也就是说堂堂一款游戏甚至没有一部小说出名.... The rankings represent the most up-to-date Tomatometer scores as of December 31, 2019.All the lists on the Golden Tomato Awards are ordered by Adjusted Score, which is a weighted formula that compensates for the variation in the number of reviews when comparing movies or TV shows.Limited releases are defined as opening in fewer than 600 theaters at initial release. Platform releases, or movies initially released in fewer than 600 theaters that later expand, are categorized as Wide Release.Movies are eligible for the United Kingdom and Australia awards when at least four of these requirements are met: country of production company, country where the film is set, filming location, writer nationality, director nationality, cast nationality.Foreign releases are defined as non-English language films.In order to qualify for a Golden Tomato Award, a movie must have been released in American theaters in 2019, and it must have at least 40 reviews. For TV, all eligible seasons/movies must have premiered in the 2019 calendar year, and have a minimum of 20 reviews from different critics for the season or its episodes, including at least 5 reviews by top critics.
全球在地化体验,支援12种语言:英语、西班牙语、葡萄牙语、俄语、土耳其语、印尼语、泰语、简中、繁中、阿拉伯语、德语、法语。

2. 公平游戏环境
LOL手游虽然保持了竞技性的玩法,但毕竟还是一款手机游戏,具备了快节奏和悠闲游戏的定位。PC版本的老玩家都知道,晋级赛这个机制真的太痛苦了,尤其你运气不好遇到几个坑队友,一个晚上连打两个晋级赛,直接心态爆炸。今年PC版本都取消了小段位的晋级赛,对玩家进行减负了,而大部分主流的MOBA手游都没有晋级赛。皇冠体育在线仅靠着捏脸就能掀起如此高的热度,连吃鸡都能产生谜之“联动”,就足以证明《天谕》手游的质量了,甚至这种毫无拘束的游戏体验从捏脸一直延申到了游戏世界,从多变的天气到穿云入海,大有可玩的无缝大地图,一款超高自由度的新式MMO手游就这样展现在了玩家面前。

3. 激战团竞模式
随着手游在整个游戏市场的占比越来越大,手游市场火爆程度越来越高,越来越多的人们看到这一前景都想投身其中,其中不乏一些小白有疑问,不懂游戏可以做吗?

4. 呼朋唤友 随心所欲
(Photo by Independent Voices, Internet Archive)Rotten Tomatoes is celebrating Pride with our new section, Rainbow Tomatoes, where you can find guides to the best and most groundbreaking LGBTQ movies and shows to stream. As part of the celebration, we re spotlighting some of the work our archival team has been doing in bringing more LGBTQ publications into the Tomatometer. The Rotten Tomatoes Curation team – the team that works on gathering the movie and TV reviews that form Tomatometer scores, and which vets and approves the critics and publications that contribute to those scores – spends a lot of time digging through history to find publications and outlets to potentially add to our list of Tomatometer-approved sources. You can read a little about the project in a New Yorker article from Richard Brody published earlier this year; and check out the criteria by which we vet publications here. For Pride, we re shining a spotlight on seven publications that recently became Tomatometer-approved through this archival research. Among them are some of the earliest LGBTQ publications in America, and some of the longest-running, and a handful of short-lived titles that shook up the media scene and pushed the LGBTQ movement forward. Crucially, each saw film, TV, and criticism as vital to its coverage and engaged with Hollywood s representation of the LGBTQ experience – or its lack thereof – with sharp and honest insight.Below, you can read up on these pioneering titles and then read reviews published in their pages, many of which give a fascinating, of-the-moment account of how LGBTQ writers and thinkers responded to some of the most seminal LGBTQ films of the last 50 years.(Photo by One Magazine)ONE MAGAZINE (1953-67)ONE Magazine was born in the early 1950s from discussions that began among members of the pioneering Mattachine Society, many of whom would branch off to form the gay rights organization ONE, Inc. It was a simple idea, but a revolutionary one: to produce and distribute a pro-gay magazine that represented the interests, concerns, and challenges of the community. Launched in January 1953 and sold on the streets of L.A. for 25 cents, ONE is widely considered one of the first publications for the LGBTQ community in the U.S.A. (There were some short-lived predecessors, such as Vice Versa and Friendship and Freedom.) As such, it inevitably suffered raids of its offices and bans from the U.S. Post Office over issues deemed “obscene.” (The challenge to that ban led to a Supreme Court ruling that would become one of the gay rights movement’s most significant early victories.) Within ONE s striking, often abstract covers, readers found news, essays, fiction, letters to the editor, and reviews that are notable for the incisive ways they grappled with the portrayal of the gay experience on screen. “The important thing is that presumably Mr. and Mrs. Average will not see the bad points,” Don Slater wrote in his review of the British noir thriller, Victim, a landmark of gay cinema that the magazine concedes was not tailored to the gay audience. “Here lies the major contribution of Victim: that it appears possible the picture may reach and influence for the better thousands of people which ONE has not been able to, at least so far. Victim (1961) 100%Fresh: With typically British genius for compromise, the motion picture Victim which treats the subject of homosexuality almost fairly, if not squarely, also is a jolly good thriller. – Don Slater, May 1962The Children's Hour (1961) 78%Fresh: The beautiful black-and-white photography, the score, the impeccable acting and, above all that master director, William Wyler all combine to make a film classic. And when you ve seen it, you ve seen a landmark in homophile history. – Alison Hunter, June 1962Third Sex (1959) Rotten: To encompass the entire homosexual question in a single film is impossible This insipid film makes a brave attempt which is the nicest thing one can say about it. – Leslie de Noronha, October 1959Read more reviews from ONE Magazine.(Photo by Lesbian Tide)THE LESBIAN TIDE (1971-1980)The Lesbian Tide was, for its almost decade-long existence, marked by the renegade streak from which it was conceived. The publication was launched after the young, radical group running the newsletter for the L.A. branch of lesbian civil rights organization the Daughters of Bilitis – who had been ruffling the feathers of older, less radical members – decided to split off and create their own magazine in 1972. They were led by the The Lesbian Tide’s founder Jeanne Córdova, who told Long Beach newspaper The Press-Telegram in 2012: “At the time, there were no national lesbian newspapers. I wanted to reach lesbians in Tennessee, Florida and across the nation, not just Los Angeles. The guys had their paper, The Advocate. Why couldn’t lesbians have one? I wanted to be the lesbian Newsweek.” The founder also brought a ton of insight and plenty of personality to the magazine’s film reviews. Witness the opening to Córdova s review of Cleopatra Jones: I walked up to the box office on Hollywood Blvd. and asked, ‘Do you have a press ticket for Jeanne Cordova from The Lesbian Tide?’ ‘Wh…what newspaper was that, lady?’ ‘The Lesbian Tide. We heard there was a dyke in the film. There should be a ticket for me. Would you look please.’ That’s how I bluffed my way in to see Cleopatra Jones. Córdova, who died in 2016, may not have reached her Newsweek ambitions, but Tide was a landmark publication: it became the first lesbian publication to reach a national audience, as well as the first to use “lesbian” in the title. (Though, for a period, the team experimented with just The Tide to see if circulation would increase with the safer name. It did not.)Word Is Out: Stories of Some of Our Lives (1977) 100%Fresh: The film makers let the 26 individuals be themselves and in so doing they paint a realistic picture of what it means to be gay within this society. – Bridget Overton, July/August 1978The Bitter Tears of Petra von Kant (1972) 88%Fresh: The best movie on role playing, power, and human suffering that I have seen in a long time. – Karla Jay, April 1974Cleopatra Jones (1973) 79%Rotten: Take your .00 and go buy some sticks and poster board and stand outside and picket. That s the only potentially feminist contribution of Cleopatra Jones. – Jeanne Córdova, September 1973Read more reviews from The Lesbian Tide.(Photo by Bay Area Reporter)The Bay Area Reporter (1971-present)The Bay Area Reporter has been serving the queer community of San Francisco and its surrounds for almost 50 years and boasts of being the country’s longest continuously published – and highest circulation – LGBTQ newspaper. Its longevity and its location mean its pages have covered and influenced some of the biggest moments and figures in modern LGBTQ history. Harvey Milk wrote a column for the paper, the Milk Forum, in which he singled out political candidates worthy of the community’s support and pushed for readers to register to vote; in 1989, at the height of the AIDS crisis, the paper published an eight-page section with names and pictures of more than 500 people who had died of the virus that year. The paper was founded in 1971 by Bob Ross and Paul Bentley, who in those early days used a mimeograph to produce pamphlets dedicated to listing events, drag contests, parties, and drink specials, and even as it grew in size, influence, and ambition, the paper continued its dedication to live events and culture. That included insightful film reviews through the lens of the LGBTQ community, which it continues to publish to this day.The Rocky Horror Picture Show (1975) 78%Fresh: For the most part it moves spiritedly along and the whole thing is a giant giggle. It’s all so blatantly outrageous it can only be taken in the spirit of campy fun; this is one time a stage production has been enhanced by the film version. – Donald McLean, December 11, 1975Paris Is Burning (1990) 98%Fresh: Not since Andy Warhol s The Chelsea Girls have I been so taken and fascinated by such a gallery of real-life, stunningly etched characters. – Warren Sonbert, August 8, 1991 Cruising (1980) 50%Rotten: This is a malicious movie from the grim voyeurism of the ungraphically depicted sex to the nauseating and unnecessarily explicit scenes of violence. – Michael Lasky, February 28, 1980Read more reviews from The Bay Area Reporter.(Photo by Big Mama Rag)Big Mama Rag (1972-1984)Big Mama Rag was the feminist newspaper of Big Mama Rag, Inc., a Denver-based women’s rights organization that proudly wore the label of “radical.” Released monthly, the magazine was produced by a group of volunteers who wrote and edited news items and features on abortion, the Equal Rights Amendment, lesbianism, new legislation, and more; the editorial mission was to cover those things that would advance the cause of the women’s movement – and co

5. HD 画质与高品质音讯
使用強大的百度引擎2建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

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

7. 官方资讯
更多资讯请关注我们的官方社群:
官方网站:http://www.hbyilong.com/app/388140/26137.html
Facebook粉丝页:http://www.hbyilong.com/app/174862/58624.html
Twitter:http://www.hbyilong.com/app/791674/44845.html

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2.41.3 0月喜迎Another Game of Thrones actor joins the Star Wars universe, clips released of Oprah Winfrey s talk with Meghan Markle and Prince Harry, Starz will revive Party Down, Apple TV+ gathers star power for anthology series, Michael James Shaw joins The Walking Dead, and more top TV and streaming news.TOP STORYIndira Varma Playing Mystery Role in Obi-Wan Kenobi Series(Photo by Michael Tran/FilmMagic)Indira Varma will follow her Game of Thrones costar Pedro Pascal into the Star Wars universe. Varma, who played Ellaria Sand to Pascal s The Viper in the HBO fantasy series, has joined the cast of Star Wars: Obi-Wan Kenobi, starring opposite Ewan McGregor and Hayden Christensen.The series plot and details on Varma’s character are being kept under wraps, Deadline reports, and Disney has yet to confirm the casting yet. But Varma did like a Tweet sent by Kim Cattrall, who was congratulating Varma on the role (whatever that specific role may be).McGregor and Christensen are playing Obi-Wan Kenobi and Darth Vader in the series, which is set 10 years after the events of Revenge of the Sith and before the events of A New Hope.It s unlikely that lovers The Viper and Ellaria Sand would reunite in the Star Wars universe, since The Mandalorian takes place after the time of Return of the Jedi during a period in which Obi-Wan Kenobi is dead — a reunion is not impossible, however, depending on Varma s character and storyline.Meghan Markle Tells Oprah She Feels Liberated in New Clip from Special Airing on SundayDuchess of Sussex Meghan Markle and Prince Harry speak to Oprah Winfrey in a special, Oprah with Meghan Harry, that airs on Sunday at 8 p.m. on CBS. The program s first teaser released on Wednesday revealed that Markle feels the Palace takes part in the disinformation circulating about the couple.“I don’t know how they could expect that after all of this time we would still just be silent if there is an active role that The Firm is playing in perpetuating falsehoods about us,” Meghan said. “And if that comes with risk of losing things, I mean ― there’s a lot that has been lost already.”In a second clip released on Friday, Markle lamented not being able to speak for herself previously.“As an adult who lived a really independent life to then go into this construct that is, um, different than I think what people imagine it to be, it’s really liberating to be able to have the right and the privilege in some ways to be able to say, ‘Yes I’m ready to talk,’” Markle told Winfrey of previously having to turn down her invitation to be interviewed.Nicole Kidman, Cynthia Erivo, Alison Brie, and Merritt Wever to Star in Anthology Series Roar at Apple TV+(Photo by Vera Anderson/WireImage)All-stars in front of the camera and behind it: GLOW creators Liz Flahive and Carly Mensch have gathered a stellar lineup of actresses for Roar, an anthology comedy series based on a book of darkly comic short stories from Cecilia Ahern.Nicole Kidman, Cynthia Erivo, Alison Brie, and Merritt Wever will be front and center in the series, the first show to come from Flahive and Mensch in their overall deal with Apple. Kidman and Ahern will also be producers on Roar.NEW TRAILERS: Thunder Force: Melissa McCarthy and Octavia Spencer Poke Fun at Superhero TropesThunder Force is the team made up of Melissa McCarthy and Octavia Spencer when they get their hands on some superhero powers. Also stars Jason Bateman and Bobby Cannavale. Premieres April 9 (Netflix).More trailers and teasers released this week:• Shadow and Bone is based on Shadow and Bone and Six of Crows, two books from Leigh Bardugo’s bestselling Grishaverse novels. The series stars Jessie Mei Li (Alina Starkov) and Archie Renaux (Malyen Oretsev) with Ben Barnes (General Kirigan). Premieres April 23 (Netflix).• Law Order: Organized Crime welcomes back Christopher Meloni as Detective Elliot Stabler, the role that originated in SVU. Premieres April 1 (NBC).• Calls is a new mystery series in which every episode consists of 12-minute audio-only phone calls, Stars Pedro Pascal, Clancy Brown, Mark Duplass, Rosario Dawson, Paul Walter Hauser, Joey King, Lily Collins, Nick Jonas, and Judy Greer. Premieres March 19 (Apple TV+).• Made For Love stars Cristin Milioti as Hazel Green, on the run from her controlling tech-billionaire husband Byron (Billy Magnussen), who, she finds out, implanted a monitoring device into her brain. The series also stars Ray Romano as Hazel s father Herbert. Premieres in April (HBO Max).• Tom Clancy’s Without Remorse is a Jack Ryan spin-off telling the origin story of John Kelly (Michael B. Jordan), a Navy SEAL who is seeking justice for the murder of his pregnant wife when he discovers a global conspiracy. Jamie Bell, Colman Domingo, Jodie Turner-Smith, and Guy Pearce also star. Premieres April 30 (Amazon Video).• Jupiter’s Legacy, based on the comic book by Mark Millar and Frank Quitely, is about the world’s first superheroes, whose offspring aren’t living up to the expectations their parents had for them. Stars Josh Duhamel, Ben Daniels, and Leslie Bibb. Premieres May 7 (Netflix).• Bad Trip is a hidden-camera comedy movie co-written by and starring Eric Andre, and also starring Lil Rel Howery, Tiffany Haddish, and Michaela Colin. Premieres March 26 (Netflix).• Operation Varsity Blues: The College Admissions Scandal is a documentary using FBI wiretaps and reenactments, featuring Matthew Modine as Rick Singer, the man at the center of the college admissions scandal. Premieres March 17 (Netflix).• Hysterical is a documentary about the boundary-breaking women of stand-up comedy, including Fortune Feimster, Rachel Feinstein, Marina Franklin, Nikki Glaser, Judy Gold, Kathy Griffin, Jessica Kirson, Margaret Cho, Lisa Lampanelli, Wendy Liebman, Carmen Lynch, Bonnie McFarlane, Sherri Shepherd, and Iliza Shlesinger. Premieres April 2 (FX).• In the South ParQ Vaccination Special, the town’s citizens desperately want the COVID vaccination. Premieres March 10 (Comedy Central).For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: The Walking Dead: Michael James Shaw Will Play Commonwealth Leader Mercer(Photo by Kharen Hill/CBS via Getty Images)Blood Treasure and Bull star Michael James Shaw will play Mercer in the 11th and final season of The Walking Dead. In the comics, Mercer is a mohawked Marine and a leader at the Commonwealth, where he gets into a romance with Princess and is in the comic through the final issue. (Deadline)Sissy Spacek and Ed O’Neill will star in the Amazon sci-fi series Lightyears, about a couple who have known for years about a deserted planet buried underneath their backyard. When a young man enters their life, he shakes up their world, including revealing a lot more about that secret planet.David Oyelowo will star opposite Gugu Mbatha-Raw in HBO Max’s The Girl Before, the four-part adaptation of JP Delaney’s bestselling thriller about a woman who moves into an architect’s beautiful home, but quickly learns he has exacting rules and that the women who lived in the house before her met a tragic end.Another casting for Showtime’s The First Lady: Dakota Fanning will play Susan Ford, the daughter of Betty and President Gerald Ford, in the anthology series.Ione Skye has joined the cast of HBO Max’s Made For Love. (Variety)The Strain and SMILF star Miquel Gomez is joining the cast of CBS’s FBI: Most Wanted, playing special Agent Ivan Ortiz, a former LAPD Gang Unit officer and FBI counter-terror agent. He joins the series in the March 9 episode. (Deadline)Cobra Kai stars Vanessa Rubio, who plays Carmen, Johnny Lawrence’s love interest and the other mother of Johnny’s mentee, Miquel, and Peyton List, who plays Tory Nichols, Miguel’s ex and Samantha Russo’s rival, have been promoted to series regulars for Season 3 of the Netflix drama.Unorthodox Golden Globe-nominee Shira Haas will star as Golda Meier in an adaptation of Francine Klagsbrun s book Lioness: Golda Meir and the Nation of Israel. Barbra Streisand is producing the se
Debbie Day for Rotten Tomatoes: What was it like to get back together with the Deadwood gang? What was the first day of filming like?Kim Dickens: Instead of getting the band back together, we got the c suckers back together. Day one I would consider the read through. That was pretty magical. You know, when the whole cast gets together with the producers and writers and the network, HBO. It was a remarkable experience for all of us. I m almost flushed right now while I think about it, and while I relive the first moments of that table read. I mean, everybody was overwhelmed with tears and laughter and joy. We just launched right into it. Actually, the opening lines of the movie are pretty great. They re delivered by Calamity Jane and me. She almost couldn t get through those first few lines without having a lump in her throat.I think it was a gift to us as well. I m glad. I hope the fans will feel really satisfied with it, and I think they will. Day one of filming I wasn t there. Day three of filming I was there, and I was also there on the final day of filming. Before we filmed I was able to walk around [the set] and I was actually on the ranch and doing fittings and stuff. So we were getting geared up to it, but my first scene and first day on set was in the Bella Union, in Joanie Stubbs bedroom, in the bed with the mother of characters. So it was pretty much baptism by fire, right back in it. I couldn t have been happier. It actually happens to be one of my favorite scenes in the movie. I mean, I have so many favorite scenes in the movie, but that one just felt so quintessentially Deadwood, you know?(Photo by Warrick Page/HBO)Most actors aren’t able to revisit a character, but in the age of so many reboots and revivals it’s happening more frequently. What has that experience been like for you? Do you like being in her shoes again?It was great to be back in her shoes again, walking around in the muck and the mud, and donning the top hat again. It was remarkable, really. Ever since it was unceremoniously canceled after three seasons there had been rumors of, Well, we re going to do two movies. They talked about two movies forever. And then the rumors would come up that they were trying to do that, trying to do that, but it s a long ways off. And then there would be rumors at times through the years, Oh, absolutely not, it s never happening. So it was a bummer.We all stayed in touch. We all cherished the experience of Deadwood and working with David Milch and working with each other and production, everybody. Everybody was incredible on that — the production designer, the costume designer, cinematographers. … More than just hoping we d get to go back to it, which is part of it, we hoped that we d get to finish the story in a way.It was such a beautiful piece of art and with such a passionate fan base that I thought it was a real disservice for HBO to cancel it. Of course there are so many determining factors that make those decisions. I m not a studio, I m not a network, so whatever they do is beyond my understanding, but from an artistic point of view, and if you re embracing a show like that for what it is, which is a creative gem, then I think you owe it to the audience who you ve asked to stay dedicated. And so finally, 12 years later, we re doing it. It really felt surreal, I think. it was so long. The story is told on our faces; it s been so many years.(Photo by Warrick Page/HBO)As a refresher, can you remind us where we left your character and where we re picking up with her now?You know what? I was rewatching the series, which was just a delight to do. I think I left off — I d started a school. … Joanie Stubbs was making a more respectable woman of herself. I think Stubbs always had a reverence for what is not sinful, and always felt like she could not even get near anything that was not shameful. So to see her make those strides and to do something of worth and purpose shows such a terrific growth for her. And then when we find her 10 to 12 years later, she flipped back on her heels a bit, I guess you could say She s fallen back a bit into addiction, a little under water. And then we ll watch her journey from there. She s lost Cy Tolliver. She s regained The Bella Union. The price is just good. It s run down, as is she.She s still a woman of means, though. Right?Yeah, she s still running the joint. She s not at her best and has taken some hard times. Whatever support systems she had, be it positive and negative at times, is now gone.The language has always been its own character in the show. Did returning to that feel the same? Or did you have a new view of it?It did feel exactly the same. It s the same poetry. I believe it s metered, actually. It comes from David Milch and his genius and his staff that he works with. At first it was a little like, Oh, god! I ve gotta get those muscles loose again, because there s been nothing else like that in the interim. When you’ve got any sort of Shakespeare or any sort of heightened dialogue it sounds a little daunting at first. And then I started rewatching the series, and it s kind of like riding a bike. When I got the script, I knew the character. I knew the language. It had just been a long time. But it s so beautiful. if you re familiar with it, you already know. I didn t have to relearn it. It was already still in my muscles.Is there any concern about attracting new fans to the movie?Not for me as an actor. I m much more artistically minded in it. You certainly don t like to go and feel like you have to lay down some exposition or hand-hold your audience, because we never did that. It was mostly a piece where it was so compelling that audience leaned in. And if they were getting it or not, they were still leaning in, and finally they just started to feel the love and humanity of the whole thing.I would hope that our movie does the same thing with the richness and the characters and the richness of the storytelling. That people will be tuning in and following to it as an experience even if they don t know the characters yet. And then how delightful would it be for a new audience to see it and get to go back and see the other stuff? I think that would be very exciting for them. So hopefully it will work the way it s supposed to work. I feel like HBO had a desire for it to speak to the old fans and a new audience. I think they would want that. I m sure that s a business model that would be desirable for them. It could do both.It’s not very often that a movie inspires people to go back and watch the series.Yeah, it s remarkable. Our storytelling was in the episodic format. It was a very patient form of storytelling. It was in the beginning of what I think is the golden age of television, when it sort of turned that corner with The Sopranos. We were right there with it. It offered up a very nuanced form of storytelling and character development. No hand holding. And to be pushed into a two-hour format to tell a long-form story was, I m sure, tricky.I said to Robin Weigert last night, Look, if they want to see Deadwood as a radio play or an animated series, we ll do it. We ll do whatever form.”Deadwood: The Movie airs Friday, May 31 at 8 p.m. on HBO.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
All M. Night Shyamalan Movies RankedM. Night Shyamalan broke through into the mainstream with his second-feature, the late 90s horror phenomenon The Sixth Sense. The two similarly successful films that followed (Unbreakable, Signs) was building up Shyamalan as a director of possible Speilbergian talent, though in danger of having his third-act screenplay twists overwhelm his brand. That bore Rotten fruit with The Village and The Happening, which set off a bum streak with big-budget sci-fi and would-be blockbusters: The Happening, The Last Airbender, and After Earth.The Visit in 2015 would be a back-to-basics, comeback horror effort. Its box office and relative critical success set the stage for the Certified Fresh Split, which brought back the dark superhero world of Unbreakable. Shyamalan closed the trilogy with Glass.Shyamalan s latest is Old. See where it places as we rank all M. Night Shyamalan movies by Tomatometer!

Resistance keeps certain aspects of these larger-than-life baddies grounded and relatable. We do have amazing villains. People read into the villains as villains in their own lives or they may read into them as historical villains, Henson explained. We talked about the ancient Romans as conquerors who appropriated different lands that they settled in. Those were more of our references for the villains. But [the Skeksis] are delicious villains and they re great and are very horrible and very scary. From the sound of things, The Dark Crystal: Age of Resistance will blend a fair share of horror, fantasy and drama together that is sure to appeal to all ages. You may even need a reminder from time to time that these are puppets you re rooting for.The Dark Crystal: Age of Resistance premieres on August 30 to Netflix.The Dark Crystal Cast With Character PhotosThe Gelfling:
(Photo by © NEON)It s sometimes easy to forget in the blur of manic performances that have defined Nicolas Cage s work in the last decade – the chainsaw-wielding Red in Mandy, his wide-eyed murderous father in Mom and Dad, and other very Nic Cage roles that seem to come around every few months – that his is a career of chapters, each of which might singularly define a lesser performer, and that Wild Nic is just the latest. The star emerged in the 1980s as an edgy standout in zeitgest-capturing favorites (Rumble Fish, Peggy Sue Got Married), blossomed into romantic lead (Moonstruck) and A-list Oscar winner (Leaving Las Vegas), and crushed the box office a few times as an unlikely action hero in a string of Bruckheimer-produced 90s favorites.Then he went and recovered the Declaration of Independence as an Indiana Jones type in the National Treasure movies.Even within these Nic Cage eras, though, he always managed a few surprises. Consider his vanity-be-damned dual-role as the Kaufman brothers in Adaptation, for which he was nominated for an Oscar during a seeming career slump; or his delightfully unhinged performance in Bad Lieutenant: Port of New Orleans, a turn that would set the tone for our current Nic Cage chapter but which, at the time, was a shock to the system and a turn of the page, even if it was some time coming.Still, nothing in Cage s career is as surprising, perhaps, as the new Certified Fresh drama, Pig. Here, Cage plays Rob, a onetime big-name chef who now lives as a recluse in the wilds of Oregon with his best friend, a foraging pig who scouts for the truffles that are his owner/buddy s sole source of income. When the pig is stolen during a violent break-in at Rob s cabin, expectations are set for a John Wick-style revenge tale – and another very Nic Cage performance – but writer/director Michael Sarnoski has other things on his mind. And so does Cage. What follows is a somber, moving, and at times wryly funny tale about a man who descends into Portland s seedy underground foodie world (surprisingly violent), single-mindedly focused on retrieving the one thing in life he deeply loves. It is anchored by a quiet and deeply affecting performance from Cage, one that critics are calling a revelation and among the best work of his career.The movie is a marker for Cage, too, who told Rotten Tomatoes that Pig came around at just the right time, both in terms of getting back to his roots in more dramatic, soberer fare – though he does get to utter the line I don t f k my pig! – and in reflecting events and developments in his real life. I was feeling lost, Cage told us. I was feeling the need for isolation. I was feeling, Oh, I m no longer invited in Hollywood. Nor do I want to be invited in Hollywood. I have no interest in going back. I like making quiet little dramas. This is what I m interested in. Ahead of the movie s release in theaters, Cage spoke to us about this step away from his wild-man roles, what Pablo Picasso has to do with it, and a passion he shares with his latest character: good food and bold flavors.Joel Meares for Rotten Tomatoes: This movie has a bit of a strange conceit – the log line for this film is about a revenge-seeking truffle hunter! What was the pitch to you for the project when they were trying to get you on board? What was the thing that sold you on this story?Nicolas Cage: Well, I can tell you “revenge” never came into the equation for me. I read the script, Michael [Sarnoski]’s script, and I immediately responded to it more as a kind of cinematic haiku, a poem, really, a meditation on loss and a character analysis of a person who had lost great love. I also felt that I was at a point in my own life experience, aggregate collection of memories and dreams and experiences, that enabled me to respond to Rob in such a way where I felt that nothing had to be forced, that I felt I understood Rob.In fact, I told Michael over lunch that when I read his script I had a very evocative dream of my cat and something horrible happening to my cat, Merlin, who is one of my best friends. The relationship that you can have with our animal brothers and sisters, it s so much closer in some ways, so much more profound, because it s not corrupted by the noise of people and what that can harbor in terms of jealousies and angers. It s just unconditional love.So, I felt that those relationships – my relationship with my cat, my dog, who s no longer with us – those are things that I could put into this performance and it s a perfect time for it. When we all agreed to make the movie, we hadn t been hit by the pandemic yet, but I think we ve all gotten closer, even still, to our animal family, because we relied on them so heavily to get through that.(Photo by © NEON)Rotten Tomatoes: How old is Merlin, by the way? And was he helpful during the pandemic?Cage: Merlin is two years old. Very, yeah. I relied on him quite a bit. He s very affectionate, a Maine Coon cat. Really kind of like another son in some ways.Rotten Tomatoes: What was your relationship like with the pig, or pigs, you were working with in this film? How was it working with them?Cage: There was one pig. Her name was Brandy. Like many of us, she was very payment-oriented. She wasn t really interested in people. If they wanted to get a soulful look in her eyes, they would show her a bit of carrot off camera; or if they needed her to go to a certain mark, they would put some food down. But I think that relationship was really developed with the eye of Michael Sarnoski and our director of photography. They figured out ways of photographing Brandy and Rob so that the relationship never lapsed into schmaltz or Hallmark-card sappiness. It was just a quiet witnessing of these two in the wilderness. I think that made it more heartfelt in some ways, but it was a lot to do with getting her in the right position with the food, and also photographing it in the right manner.Rotten Tomatoes: You mentioned “soulful” and that I think is a very great word for this film and for your performance, and a lot of people have been saying this is a different Nicolas cCage than we ve seen in a while. The last film I saw of you in was Prisoners of Ghostland and then I was re-watching Mandy last night. They’re very different from Pig, but it does feel, to me at least as a viewer, that there is a connection between Robin as a character and someone like Red [Cage’s character in Mandy], who also has tried to escape the world and has that peace disrupted. Do you think that Robin really is so different from some of the characters you ve been playing lately? Or is there a connection?Cage: I mean, he s certainly different in the regard that he s not motivated by revenge, but I do share that observation, that he s similar to Red in that he s dealing with tremendous loss, and loss of love, and the feelings that can evoke. I think what people in the media may be struggling with is that I have made it almost a mission of sorts to go into what I sometimes call a Western Kabuki style of film performance, almost an operatic style of film performance – by design. I mean, this was always very carefully and methodically choreographed and though-out, both vocally and dance-wise in terms of movement. I wanted to do that because I felt that we had gotten caught in a trap of naturalism as a style.Not that I m Picasso, I m not saying that, but I remember one conversation that I had with my father, where I was very tripped out by Picasso s portraits that seemed so abstract with people having eyes on the same side of their face. Like, what is this? I said, Well, can he also do photo realistic drawing? and dad said, Absolutely. He broke free. I always thought that what you can do in one art form, maybe you can do in another, and why not take a chance and attempt some sort of breaking-free with film performance? But somewhere along the way, I think I needed to remind myself – and, in fact, I think I needed to remind certain folks in critical response – that it wasn t the only brush I painted with. I mean, I think Joe is a movie that I made not long ago that was as close to my true self as I could get in terms of what was important to him.(Photo by © NEON)Certainly, with Rob in Pig, I wanted to get back to a kind of a quiet, meditative, internalized performance. It was not difficult. It was something that I felt I had the life experience for and the memories and the dreams, if you will, to portray without forcing it. So when I read Michael s script, it was exactly the right material at the right time for what I was trying to convey. I was feeling lost. I was feeling the need for isolation. I was feeling, Oh, I m no longer invited in Hollywood. Nor do I want to be invited in Hollywood. I have no interest in going back. I like making quiet little dramas. This is what I m interested in. But I can see where it would be shocking to the folks that remember me making five Jerry Bruckheimer movies back-to-back, which at that time was the challenge, in my opinion – no one thought I should do an adventure film or that I even had the wherewithal to do an adventure film, but I had grown up on Bronson and Eastwood and Connery, and I thought, Well, that would be fun to at least try. It s kind of a situation of wanting to stay interested and also stay challenged. At this moment, what interests me is getting back to my roots, which is quiet dramas.Rotten Tomatoes: The film has a lot to say about food, different philosophies towards food, Robin s passion, and everything just looks beautiful that we get to see you cook – or your stand-in cooks make – in the movie. Are you a cook in your own time? And do you have a specialty?Cage:  I want to go on record: I didn t have any stand-in cooks. I can t replace my hands. If I see someone else s hand in front of my hand, I go, No, no, no. That takes me out of the movie. I had two excellent teachers, Chef Chris and Chef Rucker from Le Pigeon. Chef Chris taught me the mushroom tart, or pie, and then I learned the squab blueberry dish from Le Pigeon.Food has always been important to me. Food is what I like to spend my money on. Food, to me, comes first. I think that the chefs today can do amazing things in the world of art, because without food, then nothing else really matters: Food, and then I can enjoy music and then I can enjoy painting and then I can enjoy a great cinema and then I can meditate or then I can write a poem. Whatever it is, food comes first.I have tremendous respect for these people and I also understand the pressures that go into the world, the epicurean world. Because if you think about this art form – and it is an art – that s the only one where they re actually ingesting it physically into their body as an audience, or as a client, or as a foodie, or whatever you want to call it. There s tremendous pressure and risk with that. You don t want them to get sick. You want them to have a good experience. Everything matters. The ambience matters, the bread matters, everything. So it s a high-pressure job and I wanted to convey the regard and the reverence that I have for what they do.(Photo by © NEON)Rotten Tomatoes: When you re home, are you someone who has a go-to dish that you can whip up in five minutes?Cage: If you re asking me, am I a chef, I wouldn t put myself at that level, but I can cook. I make a pretty good seafood arrabbiata pasta. I am passionate about putting different tastes together. I like Japanese food, I like Italian, and Chinese is probably the most complex. I think the continent of Asia, probably, in my opinion, has the greatest and most complex foods of the world. But I remember I once imagined a sweet shrimp or an ebi and I went to my sushi chef and I said, Could you slice the sweet shrimp open and then could you put the uni inside the ebi and then can you put it on less rice, please, and then wrap it with the seaweed? I had that taste in my mind and it was so beautiful when I got it.So, I do like to put tastes together. I remember Joel Robuchon had something that was a Wow. He put coffee grinds with uni frappe. I mean, who thinks to do that? Who thinks to put coffee and sea urchin together? It was one of the most amazing taste sensations I ve ever had. So, yeah, I m very interested in that world and I do like to play around.I do Eggs Diablo – I really spice up my fried eggs over easy and I just kick in a lot of chili and red chili pepper flakes and some tomato paste. It s a beautiful little dish that I like to make for breakfast, but yeah, I enjoy it.The secret to great cooking for me is that you have to have respect for the actual ingredients. Sometimes these chefs get lost in overdoing it with the complexity of the sauce, because they re trying to mask what s wrong with the actual source, what s wrong with the fish. But if you get a great piece of fish, treat it with respect. Just light olive oil, some garlic, some sea salt, bingo. Trip to the moon, man.Rotten Tomatoes: I need to come to your place. Just finally, they re giving me the wrap, but for your upcoming Joe Exotic series, are we going to get the Kabuki-style performance? How extreme are we going there?Cage: That s not going to be happening, I m not playing Joe Exotic. We had two really excellent scripts, but I think I don t know. I think somewhere along the way, the studio felt that that was a fad that had come and gone and that it was a thing of the past. Frankly, I for one am okay with it because I have other things I want to explore and other characters I want to play.I was a bit trepidatious about going into the television universe, too. One of the things I really love about independent filmmaking is that I can get in and I can get out. If there s one problem in the chain of filmmakers, I know I ve got just four more weeks to go; but a TV character, if there s a problem and you re stuck on location for six months, that does seem a little terrifying to me.Pig is in theaters from Friday July 16, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
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Without any major wide releases this weekend, Hollywood just had the third-weakest Labor Day weekend since 2004. Whatever made up the top 10 last week week was pretty much here again this week, just with about two-thirds the revenue. In the meantime, most of America stayed away from the movies for one last summer vacation, fairs, BBQs, and – we assume – to save their money for the evil clown looking to break new records next weekend. For now, though, Angel Has Fallen can crow about being the top of a weak-ish crop for two weeks straight with a second-weekend haul of .8 million over four days.King of the Crop: Angel Does Not Fall In Second Week(Photo by Simon Varsano / © Lionsgate / courtesy Everett Collection)Neither Olympus Has Fallen nor London Has Fallen spent a single week in the top spot at the box office. Now, Angel Has Fallen has done it for two straight weeks and joins 300 and this year’s How To Train Your Dragon: The Hidden World as the only films featuring Gerard Butler to spend two straight weeks at number 1. In fact, the first How To Train Your Dragon is the only other film featuring Butler to spend any week at number 1. Over the four-day Labor Day weekend, Angel grossed an estimated .8 million, a number that is neither high nor low when it comes to grossers over the holiday; it is 25th overall amongst premieres and holdovers. At an estimated .91 million after 10 days, the film remains right on par with Richard Donner’s Conspiracy Theory, which made a little more in its second weekend and finished with million. It looks like Angel will come in a bit under that, but if its eventual international take comes in anywhere close to London’s 3 million, Lionsgate may be the first studio to take a second whack at this franchise.Rotten Returns: Bennett s War Fails to Cut Through(Photo by © ESX Entertainment)Forrest Films released its debut, the motorbike and military drama Bennett’s War, into 970 theaters this weekend. The film about an injured war veteran trying to make a comeback on the motocross circuit has a solid Tomatometer at 60%, but that s with just five reviews. The film grossed just 5,151 over the three-day weekend (Friday to Sunday) for a per-theater-average of 9. That is actually far from the lowest PTA of 2019 – John Travolta’s The Fanatic grossed ,153 in 52 theaters for less than a PTA – but it is the lowest of the year for an original wide release. The 20th anniversary showing of Cruel Intentions averaged 5 in 708 theaters; Keanu Reeves’ sci-fi film, Replicas, released this January, had a ,020 PTA in 2,329 theaters.Just for reference we looked at other August releases over time that opened in between 950 and 999 theaters and picked out a few highlights. In 2013 the Spanish language release, Instructions Not Included, with Eugenio Derbez, grossed .84 million in 978 theaters; in 2006, Idlewild made .74 million in 973 theaters; and in 1998, the Vince Vaughn/Joaquin Phoenix drama Return to Paradise opened to .46 million in 965 theaters.Top 10 and Beyond: Good Boys Continues Good Run, Brittany In a Marathon Race to B.O. Success(Photo by Ed Araquel / © Universal)Running down the rest of this weekend’s moneymakers, Universal should continue to be happy about the performance of Good Boys, which grossed .1 million over the four-day weekend and remains on course to gross around million. Hobbs Shaw has also maintained itself rather well and is headed for somewhere between 5 million and 5 million. The film is also approaching the 0 million mark worldwide, which is down from the previous two Furious movies but sees it outgrossing Fast Five – possibly even Fast Furious 6 – and turning a decent profit.Sony pulled an Endgame and put Spider-Man: Far From Home back into theaters with new footage for one last summer push, possibly in an attempt to push it over the 0 million line. That goal seems unlikely with 5.96 million to date, and it would need another million to pass Jumanji: Welcome to the Jungle for Sony’s highest-ever domestic release. That being said, the film is already the highest-grossing worldwide in the studio’s history with .122 billion, which is the 25th highest ever. Disney’s The Lion King is not going to become a top 10 all-time domestic grosser, but it is currently 13th all-time with over 3 million, and is chasing Rogue One (2.1 million) and The Dark Knight (5.2 million) to possibly finish 11th. Worldwide the film can now rest comfortably as the 7th highest-grossing film ever, having pushed past Furious 7 (.515 billion) and Marvel’s The Avengers (.518 billion) this weekend with a global total of .564 billion. Catching Jurassic World for 6th place (.671 billion) is not entirely out of the cards, but The Lion King will need its international fans to keep showing up. Disney owns six of the ten highest-grossing films of all-time.Last week’s two other openers benefited from a lackluster weekend. The faith-based Overcomer earned just shy of million and is currently outpacing both of director Alex Kendrick s other films, Courageous and Fireproof, which finished with .5 and .4 million, respectively. In its 13th day, the Certified Fresh horror-comedy Ready or Not passed million and now resides between the grosses of Mystery Men and Sinister 2, suggesting a final gross in the million range. (Not spectacular but not terrible either on a million budget.) Scary Stories to Tell in the Dark, on the other hand, is an unqualified success. The Guillermo del Toro-produced horror tale is very closely on par with the original Blade, which finished with just over million. All horror is going to take a hit next week with the opening of It: Chapter Two, so it may come up a bit short of that but is nevertheless into profit.Sony has the tale of two movies in Once Upon a Time…In Hollywood and The Angry Birds Movie 2. The former has grossed over 0 million and is not far behind the pace of where Robert Zemeckis’ What Lies Beneath was back in 2000, though a total of 0 million may be a reach in the U.S. after dropping out of the top 10 this week. The movie is over 3 million worldwide. As for the Angry Birds sequel, it is relying on its international dollars to save it because it is currently on an Underdog pace domestically – literally on pace with the movie Underdog – to hopefully make million.Finally, we get to some festival films. From Sundance we have this week’s Don’t Let Go (titled Relive at the festival), which made .04 million in its 922 theater launch.(Photo by © Amazon Studios)The most interesting story, though, could be developing under not just our noses, but also Amazon’s. The studio s Brittany Runs a Marathon expanded from five theaters into 49 this weekend; last weekend it made 0,711 and this week it earned 4,000 across the three-day weekend (and an estimated 9,000 for the four-day holiday). Last year’s The Old Man The Gun, with Robert Redford, made the same leap, starting with 2,131 and then climbing up to 3,928 the second week. The Old Man The Gun ended up making .2 million. Anything over .65 million would be Amazon’s second highest-grossing film to date.Maybe they should be looking at what Roadside is achieving with The Peanut Butter Falcon. That film opened in 17 theaters and it grossed 4,793 for the 43rd best per-theater-average of the year. Brittany had the sixth best, then expanded to the same amount of theaters as Falcon in weekend two and outgrossed it 4,000 to 7,212. The Peanut Butter Falcon then expanded into 996 theaters last week and grossed .97 million. It jumped up to 1,249 theaters this weekend and made another .92 million (and an estimated .95 million over the four-day holiday). Its total now stands at .94 million and is the 11th-highest grossing film ever in Roadside’s indie history. The film was not even a high-profile Sundance premiere; it was first shown at SXSW in March.This Time Last Year: Crazy Rich Asians Led Robust Holiday Weekend(Photo by Sanja Bucko/Warner Bros.)Crazy Rich Asians won the box office for a third straight weekend as audiences flocked to their favorites again. That .5 million victory over the four-day holiday put the leader at 7 million as it prepared to eclipse the second-place finisher, The Meg, which was over 3 million. Mission: Impossible – Fallout was third and passed the 0 million mark. The week’s top newbie, Operation Finale, finished fourth with just .87 million and a lackluster six-day total of .61 million since opening on a Wednesday. Bursting into the top 10 was Sundance hit, Searching, which made .61 million in just 1,207 theaters for fifth place. All combined it was the best Labor Day weekend since 2013, as the top 10 grossed .29 million and averaged 68.2% on the Tomatometer. This year’s top 10 grossed an estimated .69 million for just the 16th-highest holiday weekend since 1990 and averaged 68.8% with critics.On the Vine: Nothing Stands In It s WayNormally, the fall movie season begins with a flurry of films clamoring for awards attention, but this year it begins with what promises to be one of the most successful flicks of the year. The nearly three-hour conclusion of Stephen King s story of the evil in Derry, It: Chapter Two, arrives in theaters with the adults now in the room to battle Pennywise. No other wide release even dares to challenge this monster, and why would they? The first film opened to over 3 million and concluded with over 7 million domestic and 0 million worldwide, making it the highest-grossing horror film of all time (in 2017 dollars). Will the 2019 chapter introduce a new champion?The Full Top 10: August 30-September 2Angel Has Fallen (2019) 39% – .8 million (.91 million total)Good Boys (2019) 80% – .1 million (.12 million total)The Lion King (2019) 52% –  .32 million (3.55 million total)Fast & Furious Presents: Hobbs & Shaw (2019) 67% .21 million (9.02 million total)Overcomer (2019) 56% – .78 million (.32 million total)Ready or Not (2019) 88% .995 million (.47 million total)Scary Stories to Tell in the Dark (2019) 77% – .25 million (.87 million total)Dora and the Lost City of Gold (2019) 85% – .7 million (.16 million total)The Angry Birds Movie 2 (2019) 73% – .6 million (.39 million total)Spider-Man: Far From Home (2019) 90% – .51 million (5.96 million total)
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(Photo by Tommaso Boddi/Getty Images for AMC)It should come as no surprise that Christmas is not Greg Nicotero’s favorite holiday.“Do I even have to answer that question? Of course Halloween is my favorite holiday,” The Walking Dead and Shudder’s Creepshow series executive producer told Rotten Tomatoes. “I know that there s going to be a bunch of zombie heads on spikes in my front yard for sure. The zombie heads are easy. The spikes are harder for me, because now I have to make them. But I got a bunch of zombie heads that I want to line up along the street outside of my house.”Trick-or-treaters, be on the lookout, because as the co-founder of the Oscar and Emmy-winning KNB EFX Group special effects studio, Nicotero’s lawn decorations of horror will obviously top anything you can buy at Target. In addition to the more than 400 TV and movie projects he and KNB have worked on since they formed in 1988, Nicotero’s handiwork is an integral part of the look of The Walking Dead, which he has been a part of since the show premiered on Halloween 2010.In honor of the series’ 10th anniversary, we talked to Nicotero about how he was actually part of the series before it became a series thanks to his friendship with Frank Darabont, why he thinks the show’s Western vibes are a big reason it propelled zombies into the mainstream, and how the upcoming spin-off with Carol (Melissa McBride) and Daryl (played by his good friend and Nic Norman’s restaurant partner Norman Reedus) has been building since season 2.Nicotero also talks about the cast and crew’s famously close relationships (including the only person he told about how nervous he was to direct his first episode), how TWD and Creepshow are dealing with filming during the pandemic, and the very cool zombie idea he’d like to try out before The Walking Dead wraps after season 11.(Photo by Mark Hill/AMC)Kim Potts for Rotten Tomatoes: How are you doing?Greg Nicotero: I m really good. We re filming away on Creepshow, and it s been super fun, surprisingly. I was a little concerned about all of the crazy COVID procedures making it more tedious and less fun, but it s been a blast. The actors have been great, and the crew has been great. We re having a really good time, so it feels great to be back at it again. You get to set, and you ve got your mask on and your face shield, but when you re in it, you forget about all that stuff, and you get a chance to focus on what you love doing.You re also working on the additional Walking Dead season 10 episode that will air next year?Nicotero: Yeah. The challenge is sort of getting out of one bubble and getting myself into another bubble, then getting tested, then doing set work, and then tested again, because you can t go from one set to the other without getting tested and put into another bubble. We probably started prepping Walking Dead stuff back in July, just sort of making adjustments in what we were doing for the show to allow for accelerated makeup times and easier application and all kinds of scenarios. I was working on Walking Dead July, August, and September, and then in September we started shooting Creepshow again. It s been kind of busy.Has it forced you to make any storyline changes in either show?Nicotero: The Walking Dead stuff is really intended to be these kind of episodes that are a little more production-friendly … because you re dipping your toes in the water a little bit. With Creepshow, we re primarily a stage show, so we don t have to go out into the world very often, and that allows us to be a little bit more self-contained. Fortunately, not a lot of people kiss in either show, so we’re not worrying too much about somebody kissing someone. It s definitely a change in the way that we are accustomed to doing things, but so far, so good.Are you directing any of the six remaining season 10 episodes?Nicotero: No. Originally, (TWD showrunner) Angela (Kang) had called and asked me if I wanted to and, unfortunately, because of when the pandemic hit and everything shut down, Creepshow was set to start shooting, and we had prepped the first two episodes. I think in my head originally, I was like, “Well, I can shoot Creepshow and then run over and do Walking Dead,” and then I thought, “That s insane. I would literally die.” Until January, I m all the way up to my eyeballs in Creepshow.(Photo by AMC)Halloween this year marks the 10th anniversary of The Walking Dead. Does it feel to you like it s been a decade? I always think of the show as all of you making an hour-long movie, for TV, every week.Nicotero: Yeah, it feels like it s been 100 years. Honestly, time has a very different meaning when you re on a show of this magnitude for this duration, because there are some episodes I remember like they were yesterday. There are other episodes that I m like, “I don t even remember that,” just because we ve done so many episodes. Even when I go to the studio, and I ll stand on the backlot and be like, “This is where the prison was, and then that s where the Heaps were, and then, oh, this is the scene where they thought that Carol was dead and they put a grave in the prison field …” There are numerous beautiful moments of the show, and some of them get lost in the fact that we ve been on for such a long time, and I kind of forget some of them.I just recently went back and rewatched Game of Thrones with my son, Deven, and there was so much stuff that I was able to appreciate about the show going back and seeing it after a little bit of time. I m looking forward to doing that with Walking Dead, going back to the beginning and really sort of looking at what the DNA of the show was then and the great scenes that we crafted and the great moments with Chandler (Riggs) and with Emily (Kinney). There are so many people that you start going back and thinking about what amazing work they did. God bless Scott Wilson, because I had some of the greatest moments of my career with Scott. I ll be forever grateful that I got a chance to be a part of his life.I don t think I’ve ever talked to you about this: how did your involvement with the show begin? Nicotero: Frank (Darabont) is one of my best friends, still to this day, and probably a year before the show was ever put into production, he had given me the script and was like, “Okay, we re going to do The Walking Dead.” The irony behind all of this was I remember buying the first issue of the comic book when I was working with Robert Rodriguez in Austin, Texas. There was a great comic book shop there, and I bought the first issue. Frank and I had always talked about the idea of wanting to do a zombie project, because he loved Night of the Living Dead. His No. 1 criteria was, it s got to be the right stories. It really needs to be about survival and what people do, what they become in order to survive.I remember one night specifically, one dinner, where we were talking about it. I don t think we ever thought about it as a TV show, because this was years before Walking Dead even happened. At that point, zombie television wasn t even a thing. No one would have ever imagined doing a TV show with zombies in it. We were talking about a movie. Then a couple of years later he sent the script over and was like, “Hey, man, this is what we re going to do.” We had designed a couple of zombie busts that he took to his meetings to help sell the show, because one of the big questions that every network asked was, “Well, how are you going to do the zombies? No one s ever done anything like this on television before.” (Frank) was like, “Oh, it s easy. I got this guy, Greg Nicotero, and he makes zombie busts, and this is what the zombies are going to look like.”(Photo by Scott Garfield/AMC)There are so few of you left from the beginning, but you ve been there even before it was even a show.Nicotero: I remember talking about the opening scene with Frank, with a little girl at the gas station, and I said, “You know, Frank, the Dawn of the Dead remake had a very similar sequence where there s a little girl zombie at the beginning,” and he was like, “Yeah, I don t care about that. It doesn t matter. This is going to be our show.”I would have never imagined that the mainstream would have sort of caught up to everything that I have loved since I was a kid, which is zombie movies. Before The Walking Dead, zombies were a very, very niche sort of sub-genre that appealed to a specific group of people. I think what Frank was able to do was really break the mold and show that The Walking Dead really is a Western. Andy (Lincoln) always, always talked about that a lot; his inspiration for Rick Grimes was Clint Eastwood and The Outlaw Josie Wales. That was something that was very important, because a lot of the actors, when we did season 1, they hadn t seen a lot of zombie stuff. They hadn t seen Night of the Living Dead. They hadn t seen Dawn of the Dead. Even though that was a lot of the inspiration for the show, they were approaching it like Frank, from sort of a dramatic survival standpoint.I have to say that the cast that we put together for season 1, with Sarah Callies and Steven Yeun and Jon Bernthal and Laurie Holden and Jeff DeMunn … what a cast. I mean, the cast was absolutely astonishing and that s where Frank always excels, his ensemble casting. He did it in The Green Mile. He did it in Shawshank (Redemption). He did it in The Mist. And, of course, there are Norman (Reedus) and Melissa (McBride), who have been on the show since day one.Do you think it s that focus on those aspects, those dramatic aspects and the kind of survival, the universal, human themes is what really helped the show cross over to the mainstream?Nicotero: Absolutely. Absolutely, because a lot of times in zombie movies, prior to The Walking Dead, the gore was the big element, the horror was the big element, and I think there were a lot of instances where people might have been turned off by the gore. Even when you talk to people that watch The Walking Dead, they had this preconceived notion about it until they watched it, and when they experienced it through the eyes of Rick Grimes, who is waking up in the hospital, and he s learning about what the world is, the first thing people would say is, “It s not a show about zombies.” I m like, “No, it s a show about survival, and it s a show about what people are willing to do in a situation like that.” Of course the zombies are a big part of it, and I m very proud of the contribution that I ve made to the show and that my team has made to the show, but a lot of the drive for the show has been about those specific character moments where the audience can identify with Maggie or Glenn or Hershel and put themselves in those characters positions and imagine what they would or would not have been able to do.(Photo by Gene Page/AMC)Do you have a favorite episode or storyline? You ve been involved in so many of the great ones, but can you choose just one?Nicotero: I would probably say one of my favorite episodes is the episode where Merle fights The Governor and Merle dies [“This Sorrowful Life”]. The moment where Norman just literally poured his soul out when he saw Merle as a walker. I ll never forget filming that. I ll never forget people calling me and saying, “How the fuck did you make me cry in a show like this?” I ve had so many amazing moments working with Norman and working with Melissa. I mean, having filmed Andy s last episode, and the number of people that I ve had to kill on the show, that’s never fun.I don t know if I could pick just one episode. I think the episode where the walkers invade Alexandria [“Start to Finish”], and that was like our Night of Living Dead homage. I would probably go back and watch episodes and not even remember like, “Oh, I shot that episode. That s right,” because we’ve had so many, so many moments. Negan s introduction [“Last Day on Earth”, which was certainly controversial, but I m tremendously proud of what we did, and Jeffrey (Dean Morgan s) performance and shooting 12 pages of dialogue in two nights is, it s a little bonkers in the TV schedule. So yeah, I just don t know if I could pick one.Has the show ever made you cry?Nicotero: I think there have been characters that died (that have made me cry). I think the moment with Jeffrey DeMunn, that was the first episode I had ever directed [“Judge, Jury, Executioner”], and, yeah, I got emotional when I shot it and when I watched the first cut. Chandler was a little boy. I remember Chandler running down through the field and shooting his reaction to seeing Jeff on the ground with his stomach torn open and blood bubbling out of it, and just how hysterical everybody got. To see the fear in Jeffrey s eyes when Norman walked over with the gun and said, “I m sorry, brother, it was intense.That episode was just … I was so terrified, because it was the first hour of television that I had ever directed, and I had my little graphs and my little charts of where the camera would go. I think probably Andy was the only person that I had shared with him like, “I m scared sh less here,” but I trusted my instincts, I trusted my camera department, and I trusted my actors. If you look at the episodes in season 2, 3, and 3, those episodes are so dense. There s so much story that we re telling, and it just propelled us. If you watch that episode, which was written by Angela, there s so much. You re telling an entire season s worth of story in that one episode.That s what I mean. They were like movies every week.Nicotero: Oh, without a doubt. There s not one moment where there s a frame of film that doesn t serve something, that doesn t serve a character, a story point, the propulsion of the show as it s moving forward. I ve rewatched that episode recently, and it s just crazy what we did. I think we shot that in seven days maybe.(Photo by Gene Page/AMC)You are responsible for starting The Walking Dead Zombie School, to train the zombie actors on the show. How has that evolved through the seasons? I m guessing that just from watching the show, people are coming to you a little more prepared at this point.Nicotero: Definitely. In fact, I don t think we ve done Zombie School in two years, because at this point, we have our troupe of zombie performers and actors, and I think the people that we love, we bring them back over and over again. At the beginning, we wanted to make sure that we were maintaining the aesthetic of what we wanted for the zombies, but also, they had to be able to perform with the actors. They have to be able to die well, they had to be able to be convincing as zombies. What you don t want to do is spend an entire hour or two fine tuning background zombie performances that would then be taking away from shooting the rest of the scene, so it was always very important that the zombies were well directed in terms of their performance and what was expected of them. Every season, I would say we d probably end up with like 20 people that were just standout performers, and a lot of them initially came from a place in Georgia called Netherworld, which is a haunted house attraction that would open in September/October. A lot of those people that had been working at that attraction ended up being some of our best zombie performers.The Walking Dead cast and crew have been known to be very close, even though there are a lot of changes with all the character deaths. How have you maintained that?Nicotero: Well, listen, the dynamic of the cast changes as certain actors leave and other actors come in, so it evolves. It s a very organic thing. I think one of the unique things about any show that has a tightknit family is when you re in the trenches with them, you re sharing something that you can t share with anybody else. That was something I learned working with Quentin Tarantino. When we were doing Inglourious Basterds, he had looked at me one day and said, “You know, there s nobody else I would ever want to be in the trenches with,” and that really stuck with me a lot, because I realized that it s a shared experience, and I have a bond with this crew and these actors that no one can ever take away from me and no one can replace. I still keep in touch with most of the actors from the show, even if it s once a month, just a quick text saying, “Hey, how s it going?” I talk to Sonequa (Martin-Green) a lot. I talk to (Michael) Cudlitz a lot. I talk to Alanna (Masterson) a lot. Of course, on the show, Norman and Jeffrey and Christian (Serratos)  and Lauren (Cohan). Even during the pandemic, I would just find myself calling Khary (Payton) to just see how he is doing. or I would call Seth (Gilliam).When you ve been in these intense situations with these people for so long, they just become part of your life. I m grateful, forever grateful, for that and for the friendships that I have. I talked to Jeffrey DeMunn not long ago. It s like that never goes away. When you work on a movie, that goes for six months or eight months, then it s gone, and you move on. When you re doing serialized television, you come back year after year, and you come back with the same people. You watch their children grow up, and you watch them get married or divorced or whatever happens, but you end up being a part of that whole scenario. It s fun for me to look at Andy s kids and Jeffrey (Dean Morgan) s kids. Jeffrey s son is really into special effects makeup, so I would send him little makeup kits and little zombie wounds and things. I send videos to Andy from set of the creatures from Creepshow so that he can show it to his kids, because they re sort of now at that age where they re kind of fascinated with the monster aspect of it.(Photo by AMC)You mentioned Carol and Daryl, and how Norman and Melissa are the other people still with the show who have been there from the beginning. Their characters, separately and together, are so beloved that they’re going to be their own spinoff. Since you’ve witnessed it all, is that relationship something that developed organically? Nicotero: With Daryl, that was a creation of Frank Darabont, and I remember specifically when we were casting for the show, Frank had called me one day and said, “Hey, I m thinking about this guy Norman Reedus to play Daryl, and I know that you had worked with him on Masters of Horror. What did you think of him?”  I gave him a huge thumbs up, but I said, “Listen, let s reach out to the director and get a review from John Carpenter.” John couldn t say enough good things about Norman. The next thing I knew, I was sitting in the van dressed up as a zombie for (“Tell It to the Frogs”), and Norman s sitting in the chair next to me. I didn t even realize that the deal had gone through. He didn t recognize me because I was dressed up as a zombie. I had my zombie teeth in, and I was trying to talk to him. Ironically enough, I am the first zombie that Daryl kills in the series.I think the way that season 2 was crafted and the way that Daryl s character evolved into somebody who was not going to give up looking for Carol’s daughter, Sophia, that s really where that bond began, because of Daryl s undying commitment to find Sophia. Between Melissa s brilliant performance as Carol and Norman, they just fell together so perfectly that you couldn t have planned it. It just worked amazingly well and kept growing from there.

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皇冠体育在线 《天谕》端游在之前也是网易人气MMO作品,今年在翻新成手游后加入了更多新奇的游戏体验,尤其是前段时间推出家园玩法后,更是被网易打造成了手游矩阵中的中坚力量。

如今,游戏市场已经成为全民手机游戏。从目前的市场情况来看,手游已经占据了游戏市场的70%到80%左右。在玩家当中,手游玩家群体的覆盖面极其广泛,无论是学生、上班族、公司老板、家庭主妇还是自由职业者,都有手游玩家群体。全面渗透到各个年龄段人群,覆盖广泛的年龄段 (Photo by © Twentieth Century Fox)It was a huge news dump at Disney Investor Day this Thursday – the Mouse House s big day to show off and drive up all that sweet, sweet cash – with plenty for the Star Wars and Marvel Studios fans. But there were also exciting reveals beyond those two mega franchises. Check out the biggest stories of the week in TV and streaming (with some non-Disney stuff thrown in for good measure).TOP STORYFargo Creator Noah Hawley Will Spin Up FX’s Alien Series, With Ridley Scott in Talks to Executive Produce Disney Investor Day dropped SO.MUCH.NEWS. from the company’s many brands (see below), but one of the projects we’re most excited about: FX’s series adaptation of the Alien franchise. (Remember, FX and Fox s other brands all fall under the Disney umbrella since the acquisition.)FX Chairman John Landgraf announced the series, which will find Fargo and Legion creator Noah Hawley developing the project, and original 1979 Alien movie director Ridley Scott is deep in talks to serve as executive producer on the series, the first one based on the movie franchise. Speculation is that Scott might also direct episodes of Alien, as he did with the recent HBO Max series he produced, Raised by Wolves.Other TV news from Disney and related brands:New Star Wars series coming to Disney+ include Obi-Wan Kenobi, starring Ewan McGregor with Hayden Christensen returning as Darth Vader, and two series set in The Mandalorian era from Jon Favreau and Dave Filoni: Rangers of the New Republic and Ahsoka, a series featuring the fan favorite character Ahsoka Tano. Also Andor, featuring the return of Diego Luna as Andor Cassian, Star Wars: The Bad Batch, Star Wars: Visions, Lando, The Acolyte, and A Droid Story.Movies on the way for Disney+: Hocus Pocus 2, reboots of Three Men and a Baby with Zac Efron and Cheaper by the Dozen with Kenya Barris and Gabrielle Union, and a new Sister Act movie starring Whoopi Goldberg, who will produce with Tyler Perry.And more series projects for Disney+: Chip N Dale: Rescue Rangers, a hybrid live action-animated film starring John Mulaney and Andy Samberg; Pinocchio, directed by Robert Zemeckis and starring Tom Hanks; Peter Pan Wendy, starring Jude Law as Captain Hook and Yara Shahidi as Tinker Bell; Disenchanted, a sequel to Enchanted with Amy Adams returning as Giselle; live-action biographical films Greek Freak, about NBA star Giannis Antetokounmpo, and projects about Keanon Lowe and Chris Paul; and new animated takes on Diary of a Wimpy Kid, The Ice Age Adventures of Buck Wild, starring Simon Pegg, and Night at the Museum; plus animated series based on popular animated films, including Baymax, Zootopia+, Tiana, and Moana. Plus, Disney Animation Studios will release an original Africa-set animated series, Iwájú.Pixar will produce its first-ever long-form animated series. Win or Lose for Disney+, plus other Pixar projects are heading to the streaming service, including Inside Pixar, Pixar Popcorn, Dug Days (featuring the beloved dog from UP), a Cars project, and the movie Soul and short Burrow, both debuting on Disney+ on Christmas Day 2020.Marvel projects for Disney+ that were announced, or for which new details were shared, include the Samuel L. Jackson-starrer Secret Invasion; Ironheart with Dominique Thorne as a genius inventor; Armor Wars, starring Don Cheadle as James Rhodes; WandaVision; The Falcon and The Winter Soldier; Loki; the animated series What If…?; Ms. Marvel; Hawkeye; She-Hulk, starring Tatiana Maslany with co-stars Mark Ruffalo and Tim Roth (returning as Abomination); Moon Knight; a Guardians of the Galaxy Holiday Special; and a series of original shorts, I Am Groot.Disney+ content coming from National Geographic includes Limitless With Chris Hemsworth; Welcome to Earth featuring Will Smith; season 4 of the anthology series Genius, which will profile Martin Luther King, Jr.; the documentary film Cousteau, as well as the documentary series Secrets of the Whales; plus A Real Bug’s Life and America The Beautiful.Landgraf also announced It’s Always Sunny in Philadelphia has been renewed through season 18, which will make the series the longest-running live-action sitcom in TV history. Elsewhere, The Handmaid’s Tale has been renewed for a fifth season on Hulu.FX is also in talks for a two-season drama series about The Rolling Stones, and is remaking the 1980 miniseries Shōgun, based on James Clavell’s 1975 novel of the same name.It was also announced that s of Dec. 2, Disney’s portfolio of direct-to-consumer services has exceeded a total of 137 million global paid subscriptions, including 11.5 million ESPN+ subscribers, 38.8 million Hulu subscribers, and 86.8 million Disney+ subscribers.So yeah, this Disney+ thing seems to be working out for them.A Recipe for Seduction: The Lifetime Movie That’s Finger-Lickin’ WeirdKFC has already made chicken-themed Crocs. If you want to look like a bucket of the eatery’s famous fried birds, there’s a tracksuit that will help you along. And if you want your whole house to smell like the 11 herbs and spices in the brand’s secret recipe, there’s a fireplace log for that.But if KFC’s 2017 bodice-ripping book Tender Wings of Desire (a real thing, we swear) didn’t prove just how serious the company is about love, they’ve got a Colonel Sanders Lifetime movie to erase all doubts.On Dec. 13 (noon ET), Lifetime will premiere A Recipe for Seduction, a 15-minute movie (read: commercial) that stars Mario Lopez as the famed Col. Harlan Sanders, a man looking to give his heart, and his crispy friend chicken, to a very special woman.“As the holidays near, an heiress contends with the affections of a suitor handpicked by her mother,” as per the project’s official description. “When the handsome chef arrives with his secret recipe and a dream, he sets in motion a series of events that unravel the mother’s plans.”If you just can’t wait for the movie to unfold, check out the trailer aboe, featuring a murder plot, secret kisses, and Lopez in the Colonel’s trademark Fred-from-Scooby Doo kerchief.NEW TRAILERS: Cobra Kai Season 3 Promises More Johnny and Daniel Matchups, Fights, and An Actual CobraCobra Kai, season 3, looks set to start the new year off right with the reveal of what happened to Miguel after that brutal fall at the end of season 2, lots more karate and rivalries, and … Johnny Lawrence in a dinner jacket?! Stars Billy Zabka and Ralph Macchio. Premieres Jan. 8 (Netflix)More trailers and teasers released this week:• Nicolas Cage’s History of Swear Words, season 1, will find the Oscar winner getting cheeky about the place of cussin’ in our culture. Premieres Jan. 5 (Netflix)• Batwoman, season 2, finds new star Javicia Leslie donning the new suit and telling herself it’s “time to be powerful” against her foes. Premieres Jan. 17 (The CW).• A Creepshow Holiday Special finds guest stars Adam Pally and Anna Camp battling some very bad Santas. Premieres Dec. 18 (Shudder)• Sylvie’s Love is a movie about the love story between an aspiring producer and a jazz musician who meet when she’s working at her father’s record store in 1950s Harlem. Starring Tessa Thompson and Nnamdi Asomugha. Premieres Dec. 23 (Amazon Video)• Riverdale, season 5: Veronica finds out something happened between Betty and Archie, and other typically bonkers stuff happens. Premieres Jan. 20 (The CW)• Call Me Kat, season 1, stars Mayim Bialik as a woman who quits her job and opens a cat cafe. Premieres Jan. 3 (Fox)• Clarice, season 1, is a series sequel to Silence of the Lambs, picking up nine year after the events of the movie. Starring Rebecca Breeds, Michael Cudlitz, Kal Penn, and Nick Sandow. Premieres Feb. 11 (CBS)• Sweet Home, season 1, is a South Korean thriller about a young man who moves into an apartment after the accidental death of his family, only to have monsters start to attack he and his neighbors. Premieres Dec. 18 (Netflix)• Run the World, season 1, is a comedy from Living Single creator Yvette Lee Bowser and Leigh Davenport about four black women juggling careers, friendships, and love in Harlem. Stars Amber Stevens West, Andrea Bordeaux, Bresha Webb, and Corbin Reid. Premieres 2021 (Starz)• The Minimalists: Less Is Now is a documentary about how we all may think we want more stuff, but we might all be way happier by getting rid of some of the stuff we already have. Premieres just in time for the new year, Jan. 1 (Netflix)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Mahershala Ali and Jon Hamm Join Steven Yeun and J.K. Simmons in Voice Cast of Robert Kirkman’s Animated Series Invincible (Photo by © Well Go USA / courtesy Everett Collection)The Walking Dead creator Robert Kirkman has lined up an all-star voice cast for his Amazon animated series Invincible, including Mahershala Ali, Jon Hamm, Nicole Byer, Djimon Hounsou, Jeffrey Donovan, Jonathan Groff, Clancy Brown, and Ezra Miller. Based on the comic of the same name, the series revolves around teen Mark (Steven Yeun), the son of the most powerful superhero in the world (J.K. Simmons).Fargo season 4 star, Emmy winner Glynn Turman, will play Mose Wright in ABC’s six-episode series Women of the Movement. Wright was Emmett Till’s great uncle, a sharecropper and minister who testified in the trial to convict the white men who lynched his 14-year-old nephew in 1955, a key moment during the Civil Rights movement. (Deadline)Queen Latifah will lead the Netflix movie thriller End of the Road, playing a recent widow who loses her job and drives her family across the country to start over. But when they get to the desert in New Mexico, where they are isolated from anyone who can help, they find themselves in the crosshairs of a killer. Latifah will also executive produce the movie.(Photo by Jim Spellman/FilmMagic/Courtesy of Getty Images)Katherine Heigl will play the titular star of the limited series Woodhull, about Victoria Woodhull, the first woman to run for President of the United States, in 1872. The series about the feminist icon is still being shopped to networks and streaming services; Heigl will also produce. (Deadline)George Lopez is starring in Once Upon a Time in Aztlan, a drama in development at Amazon about a Chicano family living in a Los Angeles suburb. The series is the first dramatic TV role for the comedian, who will also be an executive producer. (Variety)Rosie O’Donnell, Donald Faison, and Griffin Dunne will guest star on the second season of Showtime’s The L Word: Generation Q. Jordan Hull, who plays Angie, the daughter of Bette (Jennifer Beals) and Tina (Laurel Holloman), has been promoted to series regular. O’Donnell will play Carrie, a brash and kindhearted public defender who gets under Bette’s skin; Faison plays Tom, a self-deprecating editor who works with Alice; and Dunne plays Isaac, an international art mega-dealer who comes into Bette’s orbit.(Photo by ©CBC / courtesy Everett Collection)Schitt’s Creek’s Noah Reid has joined the cast of Amazon’s Outer Range, the rancher drama starring Josh Brolin. Reid will play the youngest son (who, like his Schitt’s character, will be a singer) of the Tillerson family, rivals of the Abbotts, the family headed by Brolin’s Royal Abbott.American Vandal alum Tyler Alvarez has joined the cast of season 2 of Never Have I Ever for a recurring role as Malcolm, a former classmate of Devi’s who’s returning to school after starring on a Disney Channel show. (Deadline)Peabody Award-winning OWN drama David Makes Man has added Tony Plana, Brittany S. Hall, Erica Luttrell, Zsane’ Jhe’, Bobbi Baker, Patrice Arenas, Trinity Cidel, Brandi Huzzie, Rodney Gardiner, and Janmarco Santiago to its recurring cast for season 2, while Kiel Adrian Scott and Erica Watson will direct episodes.Jackée Harry is joining the cast of Days of Our Lives, where she’ll play a new character named Pauline, who has ties to the Carvers, longtime residents of Salem. (EW)SuFisher Stevens, Justine Lupe, and David Rasche have been promoted to series regular status for season 3 of Succession. (Deadline)PRODUCTION DEVELOPMENT: Julia Roberts Returning to TV in a Limited Series Produced by Reese Witherspoon (Photo by Amazon Prime Video)Julia Roberts will star in and executive produce the limited series The Last Thing He Told Me, at Apple TV+. Produced by Reese Witherspoon via her Hello Sunshine production company, the series will tell the story of a woman (Roberts) who bonds with her teenage stepdaughter while they’re trying to find out why Roberts’ character’s husband has mysteriously disappeared. The miniseries is an adaptation of author Laura Dave’s 2021 book of the same name. (Deadline)Oscar winner Emma Stone will star in The Curse for Showtime. The comedy is created by and co-stars Nathan Fielder and Benny Safdie, who also produce with Stone. Fielder also directs, and Benny Safdie’s brother Josh is also a producer. The series revolves around an alleged curse that disturbs the relationship of a newly married couple as they try to conceive a child while co-starring on their problematic new HGTV show.Netflix has announced a limited drama series called True Story, starring Kevin Hart and Wesley Snipes. Hart plays a successful comedian who, after a lost night with his older brother (Snipes), is in danger of losing everything he’s worked so hard for. Hart will also be an executive producer on the series, which was written by Narcos showrunner Eric Newman, with Sons of Anarchy producer Charles Murray as showrunner and EP.(Photo by Rotten Tomatoes)Margot Robbie has signed a first-look deal with Amazon to develop TV projects. Her LuckyChap Entertainment already produces the Hulu series Dollface and Netflix’s upcoming dramedy Maid, based on Stephanie Land’s bestselling book of the same name.Robert Rodriguez and his sister Rebecca are dev

2022-01-24

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皇冠体育在线 (Photo by Neilson Barnard/Getty Images)Alan Silvestri has composed the music for 17 of Robert Zemeckis movies, which sounds like a perpetual golden ticket to Oscar glory. Instead, Silvestri has only been nominated once for Best Original Score: for 1994 s Forrest Gump, which fell to The Lion King. Silvestri will have to take cold comfort in the fact his scores are among the most beloved and remembered in contemporary movie history, a body of work including the Back to the Future trilogy, Predator, The Polar Express, and now the Avengers theme.He entered the Marvel Cinematic Universe scoring Captain America: The First Avenger, returning a year later for 2012 s The Avengers, introducing a now iconic theme that has carried into Age of Ultron, Infinity War, and now Endgame. With the dust settling on the MCU s blockbuster emotion-wringer, Silvestri spoke on the origins of the Avengers theme, the temptation of using themes for every superhero, and his favorite Endgame musical moment.Spoiler warning for Avengers: Endgame!Alex Vo for Rotten Tomatoes: What were the origins of the Avengers theme? When did you start working on it, and when did you know you had it?Alan Silvestri: I had done Captain America for Marvel and got a call from Kevin Feige and Joss Whedon about Avengers. And they were very interested in exploring some possibility of [what] would become the Avengers theme. Time went on and I started to work my way into the film. When the mission is something like [coming up] with an overall theme, I try to find some place in the film that is going to be the quintessential spot where whatever the theme is, it s going to have to work here.I wound up going to that place in the film where they re all gathered and they re in the midst of this battle, and it s right after Banner arrives on a motorcycle. And it was such an interesting place in that film because these folks are in the middle of this big battle and it s all terrible and dangerous. All of a sudden they re in the town square, shoulder to shoulder, and nobody s moving. They re just literally posing. And it was the iconic Marvel still of the Avengers. And so the theme, whatever it was going to be, had to really carry that moment and help. I knew it had to be something heroic. Long, heroic, brass-filled notes in this melody, but we were also in the middle of this battle. So we needed to keep the energy up. So there s this string ostinato that that keeps the sense of drive. One thing led to another and that that s what came out, and it has lived on through the Avengers films, which has been fantastic.(Photo by Marvel Studios)Rotten Tomatoes: Iconic superhero themes usually serve one person, like Batman or Superman. What was the challenge in scoring a group?Silvestri: We talked early on in Avengers, and we also revisited the conversation in Infinity War and Endgame, about how you actually approach the characters thematically. Or how you don t approach them. I mean, clearly the Avengers experiment had to do with this collection of superheroes now fighting together as a team. And so, the conversation would come up: Are we going to really play a theme for each of the individuals and then have an Avengers theme or not? Certainly in Endgame, because of the sheer number of characters, we felt like the music had to hold things together and unify the film, and that if every one of these characters had their own signature themes, it could wind up doing just the opposite and become too distracting and fragmented.So again, the theme had to work for the collective, for the Avengers as a group, even though we did some call outs in all the films to some specific characters. Natasha had her bit of a theme in the original Avengers. Thanos clearly had his theme in Infinity War and Endgame. We tried to view the film musically from the point of view of the group. And the other interesting thing we found: With the Avengers theme, a little goes a long way. It’s a very simple, identifiable piece of thematic material, and you can abuse it just as easily as you can use it. So we knew we had to be very judicious in when and how we used the theme.Rotten Tomatoes: The actors don t get the full script for these movies. At what point are you brought in the process, especially for Infinity War and Endgame? Do you know all the story beats ahead of time?Silvestri: Yeah, I actually do. I actually know everything, and I have everything as it s being recorded. I have to be looking at the entire arc of the film all the time. Otherwise you really couldn t have the kind of overview, a sensibility that the score has to really bring to the film.Rotten Tomatoes: There’s an Endgame track called “The How Works” which I think is vital to the movie: It plays as the movie sells to the audience it s going all-in on time travel. Then the song has a flute rendition of the Avengers theme. Then it goes into crime jazz, a heist theme. Are there any limitations on where you can go on these movies?Silvestri: No, and I think that s one of the fun parts of the letting the movie take you to where it wants to go. And it s one of the nice things about having a simple, identifiable theme: It can be dressed in many, many different ways. And Marvel is known for having fun and for having humor in their films. And you used the word: heist. We just knew that we would have some fun with those traditional sounding, caper-type movies. And yet, our theme had to travel along with those kinds of settings. So we re using bongo drums and flutes and triangles and all of these rhythms. And it s kind of like a spy movie, but at the same time we have our Avengers theme being there. So we had a lot of fun.Rotten Tomatoes: Due to the emotional nature of Endgame, there were a lot of soft moments: Tony floating in space, Cap seeing Peggy, or Tony giving Cap his shield back, which uses a reprise of The First Avenger theme. Did you find there were more opportunities for the music to breathe in Endgame compared to Infinity War or the other Avengers?Silvestri: I think absolutely. I think that was really what Endgame was going to be about. It was going to be about resolution of 21 films worth of characters. It’s why the film was as long as it was. I think that the Russo brothers knew, and the writers knew, that it was going to take some time to resolve these relationships. Hawkeye and Natasha, Tony and Pepper… So there was a lot more air and a lot of these quiet scenes. Even with a scene like Thor and his mother. Just spectacular emotional moments. And so it was an opportunity, in what at face value would be considered a big action superhero film, to have a lot of quiet emotional places for music. And for the performances of the actors as well.(Photo by Marvel Studios)Rotten Tomatoes: Infinity War s fallen reappearing on the battlefield is going to be a defining image for a generation of moviegoers. How did you approach “Portals” for this?Silvestri: “Portals” was one of those scenes that the filmmakers identified early on as being a key moment, and potentially an historic moment in the entire Marvel universe. There were a number of different approaches that we took. And it took us a little while get a sense of what was really happening there. Again, you have that temptation with the reveal of all of these magnificent historic Marvel characters, there s this temptation to kind of become too segmented, and for every entrance to be doing something special and something different. And the more we worked on it and tried that actually, we saw that it just really wasn t working. It needed to be seen with much more of an overview and much more of a celebratory and promising sensibility, [rather than], “Here s this one and here s this one, and now this one.” The audience understands that.But the overriding emotion is, “Look what s happening. They re all coming, we re seeing them all, they re all coming back. They ve all come back to life.” So it wound up with much more of an overview. And then [we used a] new theme there because there was really nothing else that was gonna really take care of it. And it s one of those pieces where it s the same theme repeated a number of times, keys changing, getting bigger and more grand. And we knew that at the end of all this, we had to really set up the original Avengers theme after Cap delivers that amazing Avengers assemble line, which he almost whispers. Then we come in full bore with the original Avengers theme when the charge begins. So it took a while for us to find what would be the most satisfying approach. And I think we finally arrived at something that s working pretty well.Rotten Tomatoes: Do you have a favorite musical moment from Endgame?Silvestri: Well, I think that that almost falls into the category of which is your favorite child. It was interesting when I was early on working on the film. There’s the end of the film when Tony has left us and we have now maybe five or six minutes, with basically everyone who s been in the Marvel films attending the ceremony. That was a very challenging place, wondering what am I going to do for that. It needed to have a sense of reverence, a sense of gravity, yet it had to have a sense of beauty and promise and resolution. It was almost too terrifying to go there and work on it. I was working on the cue in the beginning of the film when Tony s stranded in space and finishes his message to Pepper. He puts his jacket on and he lies down, and there s just a very kind of simple, electronic, single instrument playing this theme that carries us from there, through Tony being put in the chair by Nebula.When I found that, I somehow knew that that was going to be the key to that amazing ceremony at the end of the film. And we never hear that again until the end of the film. But it was one of those things that was so great when I found it, to know that I don t have to be as terrified of the end of the movie now because I think I may have found a key in the very first reel. So that was very exciting to be sure.(Photo by Marvel Studios)Rotten Tomatoes: Before we go, I have to tell you: Even before I knew I was doing this interview, I re-watched Flight of the Navigator a few days ago.Silvestri: Wow! Haha!Rotten Tomatoes: It made me realize your theme was the first piece of music I connected with on an emotional level. I must’ve been 6 or 7. Thank you for that. Do you have any particular memories or stories from that movie?Silvestri: I remember I did that all electronically. And that I think was really driven by the budget for the the film. And I just have to say it s wonderful for you to say nice things about that, because every time I do a film I try to do the best I can. And I ve done a tremendous range of films and some people would say, “Well, that wasn t the best film you ever did,” and “Why did you do that?” and “Why did you do this film?” Clearly, Flight of the Navigator was a well-made film. But it was not a big budget film. It was very sweet, charming. I can only say I m trying to do the same job there as I was trying to do on Endgame, from the point of view of doing the best I can with what I m doing today.

2022-01-24
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