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亚博体彩app采用百度引擎9(Baidu 3)We are thrilled to launch a new program at Rotten Tomatoes, RT Labs, and couldn’t be happier to share it with the world ­­­– especially all the critics and aspiring critics out there.This new educational resource, which will take ­the form of engaging videos, live events, written guides and features, to support entertainment critics as they crack into the industry and navigate their way through it.We wouldn’t exist without the great work of movie and TV critics ­and fans, and we hope they find the RT Labs valuable.Now let’s get to the details.What exactly is “RT Labs”?Well, pretty much what it sounds like: An online (and eventually also IRL) educational resource program to support aspiring, up-and-coming, and working entertainment critics in their career development.RT Labs will feature recorded panel discussions and classes with critics and industry experts on topics like self-publishing, pitching your work, building relationships, and, of course, the craft of producing a movie and/or TV review.Not only will RT Labs showcase engaging conversations between whip-smart people, but it will give critics real actionable guidance on how to effectively use their talents and develop their careers.And we think non-critics who love movies, TV, and engaging with critics will get a kick out of the RT Labs, too. (Hey, it’s the rare school that doesn’t cost a thing, so why not check it out?)Where can I find RT Labs?Right here on Rotten Tomatoes! Just go to our Critics section and click on Critic Resources. This is where we’ll be posting our videos and other materials. And while you’re poking around, check out all these other great resources we have for working and aspiring critics.What’s up first?We’re kicking things off with RT Labs: Critics Edition, the first in a two-part video series focused on the ins and outs of self-publishing. The panel is moderated by Sharronda Williams, who self-publishes on the YouTube channel Pay or Wait, and she is joined by Erik Anderson of AwardsWatch, freelance writer Robert Daniels, Li Lai of Mediaversity, and IndieWire’s Kristen Lopez.In this first video, they tackle topics like branding yourself, platform management and budget (a.k.a. how to make a buck!), and editorial oversight. In the next video, you’ll get their thoughts and guidance on networking, hiring contributors, and making the transition from self-publishing to freelancing.We plan to release new resources as part of the RT Labs on a quarterly basis – so stay tuned.… And a bit of background (the “why”)At Rotten Tomatoes, we remain committed to supporting aspiring and working critics. We’ve done it with educational resources and live and online events and panels; by revamping our Tomatometer-approval and Top Critics criteria to better reflect the current media landscape and ultimately enrich and diversify the pool of critics whose views form our Tomatometer scores; as well as through more material support, like the 0,000-plus we’ve donated to film festival press inclusion programs and university and junior-college scholarships.RT Labs is a continuation of that commitment to critics and to their development.With all that said, class is in session. We hope you get something out of it.

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在当下的手游代理市场上,如何选择一家优质靠谱的手游代理加盟平台变得至关重要。伴随着智能手机的普及,目前我们国内的游戏市场发展潜力巨大,有超过3000亿的手机游戏消费市场,为手游代理的潜力发展,提供最强有力的市场支撑。 The Most Dangerous Game, a thriller series starring Liam Hemsworth and Christoph Waltz (Quibi)Mrs. America, drama about the movement to ratify the Equal Rights Amendment, starring Rose Byrne and Cate Blanchett (FX)Coffee Kareem, a buddy-cop comedy movie starring Ed Helms and Taraji P. Henson (Netflix)The Willoughbys, an animated movie starring Martin Short, Will Forte, Maya Rudolph, Terry Crews, Jane Krakowski, and Ricky Gervais (Netflix)Solar Opposites, an animated series created by Justin Roiland and Mike McMahan (co-creator and former head writer, respectively, of Rick and Morty)  and starring Thomas Middleditch, Mary Mack, and Sean Giambroni (Hulu)#FreeRayshawn, drama starring Laurence Fishburne (Quibi)Singled Out, a dating game show hosted by Keke Palmer and Joel Kim Booster (Quibi)The Iliza Shlesinger Sketch Show (Netflix)Vida, third and final season, starring Mishel Prada and Melissa Barrera (Starz)The Great, the Catherine the Great dramedy miniseries, starring Elle Fanning and Nicholas Hoult (Hulu)Never Have I Ever, coming-of-age dramedy, starring Maitreyi Ramakrishnan (Netflix)Harley Quinn, season 2, starring Kaley Cuoco (DC Universe)We’re Here, the reality show about a cross-country effort to produce a one-night-only drag show (HBO)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: Michael Biehn Joins The Mandalorian for Season 2(Photo by Phillip Chin/Getty Images)The Terminator and Alien star Michael Biehn has joined the cast of the Disney+ Star Wars drama The Mandalorian for its second season, in which, Making Star Wars reports, he will play a bounty hunter. Season 2, which will also include new cast member Rosario Dawson, is scheduled to premiere in October.In a Dick Wolf multi-network crossover, Chicago P.D. star Tracy Spiridakos will take her Hailey Upton from NBC to CBS (and a New York setting) for a guest appearance on Wolf’s FBI drama in the March 31 ep of FBI.Development News: Elton John, Country Superstars Lead At-Home Concert Events on CBS, Fox(Photo by Steve Granitz/WireImage)We’re going to get a peek at Elton John’s living room: the legendary pop star will host Fox Presents the iHeart Living Room Concert for America, March 29 (9 p.m.) special that will feature performances from John, in his living room, and Mariah Carey, Billie Eilish, Alicia Keys, Backstreet Boys, and Billie Joe Armstrong from their living rooms. The hour-long special will air commercial free, and is dedicated to the medical workers who are tirelessly trying to get all of us through the pandemic. Viewers will be encouraged to donate money to Feeding America and the First Responders Children’s Foundation during the telecast, which will also stream on Fox digital platforms.CBS, meanwhile, has revealed an all-star list of performers for its previously-announced ACM Presents: Our Country concert that will air on April 5 (8 p.m.). Kelsea Ballerini, Dierks Bentley, Kane Brown, John Legend, Luke Bryan, Brandi Carlile, Eric Church, Luke Combs, Sheryl Crow, Florida Georgia Line, Lady Antebellum, Miranda Lambert, Little Big Town, Tim McGraw, Old Dominion, Brad Paisley, Darius Rucker, Thomas Rhett, Blake Shelton, Gwen Stefani, Shania Twain, Carrie Underwood, and Keith Urban will be featured in at-home performances, while Bryan, Paisley, and Rucker will perform a tribute to the late Kenny Rogers.The aforementioned Billie Eilish and John Legend will also perform on Homefest: James Corden’s Late Late Show Special on March 30 (10 p.m.). BTS, Andrea Bocelli, David Blaine, Dua Lipa, and Will Ferrell will also be among the guests, as Corden hosts from his garage.Corden, by the way, will be featured in the National Theatre’s streaming of the play One Man, Two Guvnors, part of the British theater’s weekly screenings of full-length plays. Corden’s performance will be streamed for seven days, beginning at 7 p.m. on March 26. (YouTube)And more musical TV news: CBS will air Let’s Go Crazy: The Grammy Salute to Prince on April 21. Maya Rudolph hosts the tribute concert, which will feature performances by Foo Fighters, Sheila E., Beck, Common, H.E.R., John Legend, Gary Clark Jr., Earth, Wind, Fire, Chris Martin, Morris Day and The Time, and the Revolution.The Late Show With Stephen Colbert will be the first broadcast late-night talk show to return to a daily schedule. Colbert (who announced the return on Twitter) and his staff will be working for their own homes, and new eps resume on Monday, March 30. No word yet on the content or potential guest line-ups for the show.John Oliver and Bill Maher are also returning with new episodes of their HBO late-night series, also both taped from their homes. Last Week Tonight with John Oliver returns on March 29, while Real Time with Bill Maher returns on April 3.NBC’s medical drama New Amsterdam, starring Ryan Eggold, has postponed an upcoming episode which revolved around a flu pandemic in New York City. Series creator David Schulner said “the world needs a lot less fiction right now, and a lot more facts” about the episode, titled “Our Doors Are Always Open,” which was scheduled to air on April 7. The network now plans to air it next season. (Deadline)Family Guy characters Stewie and Brian were so bored with board games they decided to record a coronavirus quarantine podcast. It’s on FG creator Seth MacFarlane’s Instagram.Shout! Factory will release the first-ever streamed episodes of The Tonight Show Starring Johnny Carson on April 1. Curated from the more than 5,000 episodes Carson produced across three decades, the first batch of episodes to be released will be grouped thematically: Comic Legends of the 60s, featuring Carl Reiner, Bob Newhart and Mel Brooks; and Hollywood Icons of the 70s, featuring Burt Reynolds, Goldie Hawn and Michael Caine. Episodes featuring Jerry Seinfeld, Richard Pryor and Garry Shandling will also be available.Eric Stonestreet and Will Forte will be the first contestants on the Jimmy Kimmel–hosted Who Wants to Be a Millionaire series of special episodes that will mark the iconic game show’s 20th anniversary. The first episode, which finds the celeb guests playing to win money for their favorite charities, airs on April 8.AMC has greenlit the anthology series National Anthem, an eight-episode musical dramedy, the “tragically funny story of a middle class midwestern family tumbling down the ladder of American society … periodically bursting into song as they struggle to catch themselves.” The series comes from Emmy and Oscar-winning producer Mark Johnson (Breaking Bad, Better Call Saul, Rectify, Rain Man, Bugsy, The Natural).The Ringer is launching The Wire: Way Down in the Hole, a podcast devoted to a rewatch of The Wire. Former ESPN star, and current writer for The Atlantic, Jemele Hill, will co-host the show with The Ringer’s Van Lathan. (THR)Netflix has ordered 40 episodes of an Angry Birds animated series, which will feature tween-aged characters at summer camp. The episodes, 11 minutes long each, will premiere in 2021.Netflix has greenlit a new series from organization whiz Marie Kondo. Sparking Joy with Marie Kondo will find the titular star and her team heading to a small town in America to help the citizens tidy up. People can nominate towns at TidyMyTown.com.

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On July 28th, 1999, in the midst of quite possibly the best movie year ever, a wildly entertaining summer popcorn movie about genetically modified sharks eating scientists was released into theaters. In a perfect world, Deep Blue Sea would have outperformed The Matrix, The Sixth Sense, and Big Daddy at the box office, and received more critical accolades than Election, The Insider, and Toy Story 2. American Beauty would’ve never won best picture, and Samuel L. Jackson would have an Oscar for his work as Russell Franklin, a monologuing “suit” who gets eaten during one of his monologues. Also, it would’ve cleaned up at the Blockbuster Entertainment and MTV Movie Awards. Okay, so maybe we exaggerate a little. But only a little.In reality, the million-budgeted, R-rated original creature feature starring a “bionic studmuffin” pulled in a respectable 5 million worldwide, won zero Oscars, and earned a Rotten 59% Tomatometer score. Which is a shame, because Deep Blue Sea is a damn fine blockbuster in its own right that features genuine surprises, inventive set-pieces, and sharks that are a combination of the velociraptors from Jurassic Park and Bradley Cooper from Limitless. Director Renny Harlin and screenwriters Donna and Wayne Powers and Duncan Kennedy brought the goods, and the end result is a crowd-pleasing delight whose fingerprints can be found on any number of similar movies that followed.To provide you with five reasons why Deep Blue Sea was a perfect summer blockbuster, we put on our shark fin hats, consumed all the smart-shark serum we could find, and dove into a glassy underwater world filled with gliding beasts to convince you of its greatness.1. RENNY HARLIN KNEW HOW TO CRAFT A CROWD-PLEASERIf you were lucky enough to watch Deep Blue Sea in a packed theater during its opening weekend, you probably remember audiences losing their minds when Russell Franklin (Samuel L. Jackson) is eaten halfway through his purposefully pompous motivational speech. Nobody would have guessed that Jackson would be wiped off the board so quickly, and it s one of the greatest surprise deaths in film history that had people jumping out of their seats to applaud the fun surprise (we were some of those people, and we apologize if you were the person we picked up and ran around the theater with).Renny Harlin set out to make a summer popcorn movie that made you throw your popcorn in the air during its big scares, and cheer when a character named Sherman “Preacher” Dudley (LL Cool J), stabbed a 45-foot shark in the eye with his crucifix necklace. The 100-minute runtime comes and goes quickly and you are left with Cool J’s awesome song, Deepest Bluest, which was written for the movie and made Will Smith’s own 1999 movie anthem Wild Wild West  look tame in comparison. Deep Blue Sea was made to entertain, and entertain it did; it’s no wonder that Stephen King, Roger Ebert, and 1999 cinema lover Brian Raftery thought it was much more than a “so bad it s good” movie.2. IT DREW INSPIRATION FROM SPIELBERG CLASSICS, BUT IT IS ITS OWN BEAST(Photo by Warner Bros. courtesy Everett Collection)If you don’t have time to rewatch the Jaws and Jurassic Park franchises again, no worries just watch Deep Blue Sea. It has a higher Tomatometer score than all of the sequels except Jurassic World, which seems fitting because Jurassic World shares many of the elements of Deep Blue Sea, such as secret genetic modification, feeding sharks to larger aquatic animals, and introducing Owen Grady (Chris Pratt), a rough-around-the-edges velociraptor handler who notices the pack tendencies of the velociraptors and has a “will they, won’t they” relationship with his boss.The easiest thing to do is compare Deep Blue Sea to Steven Speilberg’s Jaws. That s not entirely unfair, because it features giant sharks and cheeky license plate cameos. Also, Harlin planned the deaths of his three sharks exploded, electrocuted, exploded according to the deaths of the sharks across the Jaws franchise. But the film still has more in common with Speilberg’s other summer blockbuster, Jurassic Park. The two movies feature scientists playing god, massive storms, escaped carnivores, limb separation, skeleton crews,  kitchen fights, and a surprising Samuel L. Jackson death. The biggest difference is that Harlin had no time for PG-13 shenanigans — he wanted blood, and he wasn’t about to wait an hour to introduce his gliding monsters.3. THE SHARKS GET A LOT OF SCREENTIME(Photo by Warner Bros. courtesy Everett Collection)Renny Harlin always went big, and with Deep Blue Sea he insisted the animatronic version of the main mako shark be 26-feet, so that it would be one-foot longer than Bruce, the 25-foot Great White in Jaws (bold move, Renny). He also didn’t want to show his creatures sparingly; he wanted them front and center.The million budget allowed Harlin and effects supervisor Walt Conti (Free Willy, Anaconda) to build and unleash their lifelike animatronic mako sharks into massive water tanks, located in Fox’s Baja Studios in Rosarito, Mexico, that had been built for James Cameron’s Titanic. The controlled environment allowed Harlin and cinematographer Stephen F. Windon to to film a lot of shark footage, because they didn’t have to worry about the same environmental (storms, waves, currents, winds) and salt water (corrosion) issues that had plagued movies like Jaws and Waterworld when they shot in the Pacific or Atlantic oceans.The highlight is the 26-foot, generation II behemoth, which weighed 8,000 pounds and swam up to 30 miles per hour, because it had a 1,000 horsepower engine inside of it. The animatronic sharks were guided by remote control and swam independently throughout the corridors and hallways of the Aquatica set that Production Designer William Sandell (who eventually worked on water-logged epics like The Perfect Storm, Master and Commander: The Far Side of the World, and Poseidon) built specifically to allow lots of movement. This means the sharks are on camera a lot, and they still look great in 2019.Jaws, The Shallows, The Reef and Open Water may have higher Tomatometer scores than Deep Blue Sea, but their sharks don’t get nearly as much screen time. Deep Blue Sea doesn’t go cheap on the sharks, and that’s why it is considered, by some very smart people, to be the greatest shark movie ever made. The insane amount of shark carnage was ideal for summer audiences hoping for, you guessed it, shark carnage.Quick note: The CGI sharks, on the other hand, are not good. We hate admitting it, but it’s true. Thus, we’ll only mention said subpar CGI this once.4. THE KILLS ARE INVENTIVE AND FUN(Photo by Warner Bros. Pictures)Aside from the super gratuitous scene involving Dr. Susan McAlester (Saffron Burrows) stripping out of her wet suit to electrocute a shark (which Harlin blamed on studio notes in the DVD commentary), Deep Blue Sea is loaded with inventive set pieces, surprise deaths, and characters who might not understand how ladders work. While we love the irony of Russell Franklin being eaten while monologuing about surviving an avalanche, we think the drawn out torture of Jim “I’m God” Whitlock (Stellan Skarsgård) is the MVP moment of Deep Blue Sea.The reason we love Whitlock’s demise so much is because of how intricate it is. First, his arm is bitten off by the generation II mako in the Aquatica’s wetlab. Then, while being winched up to the rescue helicopter, the winch malfunctions and drops him into the water where the generation II mako is waiting for him. The gigantic shark takes him on an underwater ride, then uses his gurney as a battering ram to break the huge glass window that separates the wetlab from the ocean (a nice Jaws 3-D homage). To recap: his arm is bitten off, he s dropped back into the water, and he s used as a battering ram to smash a window. It’s awesome, and based on in-depth research, it’s estimated the whole ordeal covered about 1.12 miles, which is quite the trip for the brilliant scientist.5. THE SHARKS ESCAPE PLAN IS EPIC(Photo by Warner Bros. Pictures)It’s clear that Harlin and the screenwriters put a lot of thought into the layout of Aquatica and how exactly it would be flooded. Throughout the movie we see maps, layouts and receive the requisite expository dialogue to make sure we know the geography of the three sub-levels, elevator shafts, and living quarters. The systematic sinking of the facility is ingenious, because it starts with the sharks taking out the underwater video cameras, then leads to the flooding of the first and second sub-levels, which pushes the herded humans to the wet entry in the third sub-level. Once they are there, and Russell Franklin is eaten, they are forced to depressurize the room, which causes tons of ocean water to start flooding in. From there, they open a few more strategic doors, and Aquatica is literally and figuratively sunk. The plan makes the inmate mako sharks seem like criminal masterminds who are always one step ahead of their prey (The Dark Knight’s Joker would be proud).This may sound a little like tinfoil speculation, but two of the weakest scenes in the movie actually make sense when you realize these sharks are Keyser Söze-level brilliant. First, the opening scene involving bikini clad appetizers initially feels like it belongs in another movie. However, the shark that escaped Aquatica clearly intended to find out if GPS trackers had been implanted inside of him and his fellow sharks (they had), and to test the response time of Carter Blake (Thomas Jane). Once they learn they are being tracked, they realize they have to take out Aquatica and kill the humans inside to be free.The arguably weakest scene of the movie is the aforementioned one in which Dr. McAlester strips down to electrocute a shark it’s admittedly gratuitous and unnecessary. However, earlier in the movie, McAlester sensed that she was being watched through the porthole window in her room (she was), and during this time, the sharks likely learned she kept her research in her locker. When she later returns to her flooded office, a generation I mako is waiting for her to take that research out of the locker. As she grabs the master hard drives, the shark attacks, and during the melee, the research is destroyed and the shark is zapped. The shark had her dead-to-rights when she walked in, so it only makes sense that it was waiting to destroy the research to prevent further shark torture. In other words, Deep Blue Sea was planned out to a tee, and it s difficult not to love Harlin for going all out to make this big-budgeted popcorn creature feature as fun as possible.Tell us what you love about Deep Blue Sea in the comments!亚博体彩appIt was all quite silly, but that is one of the show’s key strengths. It finds a compelling through-line while turning its characters into puppets or action TV stars.The episode’s Charlie’s Angels pastiche, complete with another appearance by Amy Louise Pemberton as Gideon in human form, played up all the biggest, broadest 70s TV tropes to a tee. We definitely hope the series will find a way to play around with its format like this again next year.3. The Death of Ricardo Diaz(Photo by Robert Falconer/The CW)We’ll be honest, we were never all that fond of Arrow season 6 big bad Ricardo Diaz (Kirk Acevedo). He lacked for a good motivation, he was completely devoid of menace, and he had a nasty habit of evading death. In fact, he was the first Arrow nemesis to survive a season without dying or ending up incapacitated. He entered season 7 as a wanted man before getting locked up, briefly joining the ersatz Task Force X, and then finally dying at the hands of Oliver’s half-sister, Emiko (Sea Shimooka).Now, beyond the delayed satisfaction of seeing this bad guy finally getting his comeuppance, the poetic justice of his death makes it one of the more memorable Arrow moments this year. During one of Diaz s monologues in season 6, he revealed his greatest fear: dying in prison. While we’ll never know if Emiko knew this was the death he feared the most — although it’s reasonable to think The Ninth Circle may have had some intel on this issue — she definitely served him with a brutal end to his sad life.Of course, ending his life led Emiko to becoming another bland Arrow villain, but that s a discussion for another day.2. Barry and Nora confront Thawne in 2015(Photo by Sergei Bachlakov/The CW)The Flash’s 100th episode, “What’s Past is Prologue,” offered fans a lot of wonderful remembrances of previous seasons — from Cisco’s (Carlos Valdes) hoodies to Savitar’s (Gustin) emo take on Barry — but it also featured one haunting scene amid the Easter eggs and callbacks.After their escape from a time wraith damages a badly needed piece of tech, Barry realizes he and Nora (Jessica Parker Kennedy) will have to visit Eobard Thawne (Tom Cavanagh) when he was still pretending to be Harrison Wells to get the equipment fixed. He also knows the precise time to visit because he already visited Thawne on this particular day (January 27, 2015) a couple of years ago to get insights from the Reverse Flash on stopping Zoom (Teddy Sears). Yeah, time travel on The Flash can leave you with a headache.The scene itself, though, is a master class of acting from Cavanagh, Gustin, and Kennedy. Within seconds, Cavanagh reminds the viewer of the brilliance and menace he gave Thawne during The Flash’s first season as he uncovers the real reason for Barry’s second visit and the truth about Nora. She’s not the daughter Thawne expected to meet, and as it turns out, their conversation set into motion the plan that first sent Nora on her trip to visit her parents in 2018.Again, time travel on The Flash can be hard to keep straight sometimes.Besides Cavanagh’s ease with playing Barry’s true nemesis, the scene also provides Gustin a chance to let loose as Thawne is the only person Barry absolutely hates. The fear Kennedy displays throughout the scene comes more from Nora’s reaction to Barry than the cool menace of Thawne. All of it adds up to something unsettling and pivotal. Besides a top moment from this year’s Arrowverse, it might be a contender for an all-time best moments list.1. The Monitor Ends Earth-90(Photo by Jack Rowand/The CW)One moment stands above the rest — a true twilight of the superheroes. First seen at the end of The Flash’s 100th episode, this scene takes viewers to the heretofore unseen Earth-90. There, we see that heroes including Stargirl, a Smallville-like Green Arrow, the Ray, and many more have fallen. The last surviving hero is Barry Allen (John Wesley Shipp, reprising his role from the 1990s Flash TV series), who learns his attempts to change Earth-90 into a worthy planet have failed. The apparent judge in these matters is The Monitor (LaMonica Garrett), an impossibly powerful figure who offers the Book of Destiny to various Earths as a test. But just as The Monitor reclaims the book to end Earth-90’s existence, The Flash speeds away to another reality.While meant as a teaser for the 2018 crossover “Elseworlds,” it also manages to be a great tease for the next year s crossover, “Crisis on Infinite Earths.” The red skies and dead heroes evoke imagery straight from the original comic book. More importantly, it brings the story’s epic scale to television. Nothing in the Arrowverse has ever looked quite like that scene. And the Monitor’s subsequent cameos on Arrow, Supergirl, and Legends recall his first appearance in this scene as the apparent bad guy — another callback to the character’s earliest comic book appearances.It remains to be seen if the television version of “Crisis” will be as apocalyptic as this moment. But if it is, this scene will continue to echo throughout the crossover event.Of course, these are just our top 5 choices. Other memorable moments include Lex Luthor’s (Jon Cryer) rendition of Frank Sinatra’s “My Way” in the Supergirl season finale, Iris (Candice Patton) discovering she missed the battle between King Shark and Gorilla Grodd, and Mick Rory (Dominic Purcell) revealing himself as a beloved romance novelist to a convention hall full of fans. Then there s Nora s final goodbye, of course. But as all these moments prove, the Arrowverse never stops creating breathtaking, funny, or emotional scenes. And with its biggest crossover coming next season — five parts in all, as Batwoman gets in on the action — we expect to see even more incredible moments in the fall.

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Version 4.79.72022-01-24

8.93.4 7月喜迎Amazon has confirmed that Delroy Lindo will play the titular role in its upcoming Anansi Boys series, based on Neil Gaiman’s bestselling novel. Lindo will play Anansi/Mr. Nancy, who is “all charm. As far as (Charlie Nancy, his estranged son) knows, (Anansi) was a lazy, charming man who cheated on Charlie s mother. But Mr. Nancy had another side to him. He was a god of stories and trickery.” The six-episode series begins filming in Scotland later this year.Shailene Woodley will headline Showtime’s Three Women, based on Lisa Taddeo’s New York Times bestseller of the same name, about three women and how their lives are changed by their messy, complicated love lives. Taddeo spent eight years chronicling their lives, and Woodley will play a writer who’s documenting the women’s stories, just as Taddeo did for her book. Taddeo is also writing the series, which begins filming this fall, Deadline reports. Meanwhile, Showtime announced Jurassic World: Dominion star DeWanda Wise will play Sloane, one of the titular three women, a glamorous entrepreneur in a committed open marriage until two sexy new strangers threaten her  love story.Matt Bomer and Michelle Monaghan will star in the Netflix mystery thriller Echoes, about identical twins who secretly swap lives, with two homes, two husbands, and a child in the mix. Monaghan plays both twins, Leni and Gina, whose world blows up when Leni goes missing. Bomer plays Leni’s husband, Jack, a veterinarian who may be the one with the most to lose with Leni’s disappearance.Hamilton Emmy nominee Phillipa Soo has joined the cast of Apple TV+’s Shining Girls, a thriller starring Elisabeth Moss as a reporter who’s a victim of a brutal attack and then tries to hunt down her attacker. Soo will play the “intelligent and sure-footed” researcher who works at a planetarium in the series, based on the 2013 bestselling novel by author Lauren Beukes. (Deadline)The Fringe alum Anna Torv has been cast in HBO’s The Last of Us videogame adaptation, playing Tess, a survivor and smuggler in the post-apocalyptic world of the series.Related: Everything We Know About The Last of Us HBO SeriesEmmy, Oscar, and Tony winner Ellen Burstyn has joined the cast of Showtime’s The First Lady, where she’ll play Sara Delano Roosevelt, the mother of President Franklin D. Roosevelt, who will be played by Kiefer Sutherland in the series. PS: someone get Burstyn a great audiobook project, so she has a shot at completing that EGOT! (Deadline)David Makes Man alum Nick Creegan will play Marquis Jet, Jada Jet’s (Robin Givens) son on Batwoman. (Deadline)True Blood alum Joe Manganiello has joined AMC’s moon-set series Moonhaven, playing Tomm, the assistant to the Earth’s diplomat to the moon. Tomm’s plans are changed, though, when he’s shot up with a Moon drug. (TVLine)Reno 911! star Thomas Lennon has joined The Big Leap, the Fox dramedy that’s a show-within-a show about a group of down on their luck people trying to change their lives by competing on a reality show that ends with a production of Swan Lake. Scott Foley stars in the series, while Lennon will play the head of unscripted programing at the TV network airing the show-within-the show. (Deadline)RuPaul, Ike Barinholtz, and Lauren Ash will star in the Netflix animated comedy Chicago Party Aunt, about life of the party Diane (Ash), whose motto is, “When life gives you lemons, turn that s into Mike’s Hard Lemonade.”
Brooklyn Nine-Nine is going to look very different when it returns to TV on January 10, premiering on its new network, NBC, after Fox canceled the sitcom last May.“One episode is black and white,” revealed star Chelsea Peretti on a December visit to the show’s Los Angeles set. “It s no words. It s opera music and subtitles.”Added her costar Melissa Fumero, “It’s getting really experimental.”They are joking, of course. Probably. In fact, the rest of their costars told Rotten Tomatoes that their series is pretty much exactly the same. And that’s the way fans want it. But the cast and writers are able to take bigger risks now that the show has come back from the dead.“In some ways we imagine ourselves as having super powers now, because the worst thing that can happen is the thing that already happened, so we re taking a lot of big swings,” leading man Andy Samberg, aka Det. Jake Peralta, promised.Joked creator Dan Goor: “A lot of big swings — an entire episode in Japanese. That would be so cool, actually to do like an anime version of our show. I think that one thing we really wanted to do this season was more of this sort of experimental or different — experimental might be too highfalutin, but of the out-of-form episodes that we started doing in seasons four and five. So it s things like ‘The Box,’ or issues episodes like ‘Moo Moo.’ We wanted to do more of those and to challenge ourselves formally, and I think we felt empowered to do that kind of thing because we are living on borrowed time.”What exactly will that entail? Read on to find out what to expect from the sixth season of Brooklyn Nine-Nine.Jake and Amy’s Married Life(Photo by Vivian Zink/NBC)NBC’s promos for the new season have focused heavily on Amy (Fumero) and Jake’s relationship, and the season premiere will see the duo on their long-awaited honeymoon. Much like their wedding, however, it doesn’t necessarily go to plan when someone else from the Nine-Nine tags along — and it’s not who you’d expect.“They re not letting me say anything,” Fumero said, but know that “their honeymoon won t be the honeymoon they think it s going to be.”After they return, they’ll slip right back into their regular lives.“Our philosophy with Jake and Amy was just to continue doing what we had done, which was not to force drama, not to force relationship moments before they felt natural, and to take advantage of the fact that I think that there s a comedy dynamic between Jake and Amy that exists independently of the romantic dynamic between them,” Goor explained. “We can put them on work stories together and office stories together that don t have to have a romantic through line to them because there s the odd couple aspect of them.”One reason Jake and Amy work as a couple, Fumero told Rotten Tomatoes, is because they’re living their own lives.“When we first started the relationship and also [decided] that we weren t going to do a will they/won t they for too long and just actually explore them as a couple that does work, in their own weird way, when it s received well — it s just a big relief and a huge compliment,” she said.As costar Peretti pointed out, “think how many couples are so limited in so many movies and shows, but especially in movies, where it s just like, the female is this thing that s there, and then the guy is doing all this interesting stuff. The beauty of [Jake and Amy] is that they re friends and that s how a lot of people s marriages are now. They both have passions, and they re both friends.”Holt’s Commissioner News(Photo by Vivian Zink/NBC)The season 5 finale ended on a cliffhanger, with Captain Holt (Andre Braugher) finding out whether or not he got the commissioner job. The premiere will pick up right where that episode left off, and the rest of the half-hour will see Holt dealing with the results.Braugher was tight-lipped about Holt’s fate, however, giving a very diplomatic Holt-like answer when asked about what happens to his character.“The premiere episode is well-written and I think very funny, and so I was very happy to be a part of that,” he said.Upcoming Episodes(Photo by Vivian Zink/NBC)The second episode of the season flashes back to the early days of Hitchcock’s (Dirk Blocker) and Scully’s (Joel McKinnon Miller) careers.“This is my favorite because Joel and Dirk from the get-go have been underrated, I think, and are such fan favorites, and the origin story is so funny to me,” said Joe Lo Truglio, a.k.a. Jake’s BFF Charles Boyle. “It s so good. The fans are going to love it.”There’s also a #MeToo episode involving Amy, which was directed by star Stephanie Beatriz.“It was nice to show Amy s vulnerable side, which we don t get to see a lot,” Fumero said. “For me, it was tough, because I and every woman I know have stories, have experiences, have things that have happened to us. That s a little bit of what we re telling in that episode, and those lines were hard to say because I ve said them in real life. Stuff like this has happened to me and every woman I know.”Beatriz said she has a newfound appreciation for all the work television directors to do, but she’s grateful she had the opportunity to do it — and in such an impactful episode.“It s not like directing a film because directing a film is just your vision and what you want to do,” she explained. On TV, “you have to hit all these marks someone else has already created for you and you have to make the episode fit into a world. And I m lucky because I have been in this world for five years, so I know what the world is. Thinking about doing that on another show is very overwhelming, but also exciting. I want to do it.”Other episodes will feature another Halloween heist, the return of Craig Robinson’s Pontiac Bandit (whose “world gets a little bigger,” revealed Lo Truglio), and a mysteriously bloody Hitchcock.“Hitchcock will be bleeding in a few episodes, which is always inexplicable. But there will be blood,” star Terry Crews said.More Swearing, More Nudity(Photo by NBCUniversal)One thing the characters weren’t able to do on Fox is swear. But NBC comes with an entirely different standards and practices department, and apparently Brooklyn Nine-Nine’s new network is totally cool with cursing (which will be bleeped, of course), and nudity (which will be blurred).“Fox had a no bleeping policy and a no pixellation policy, and NBC has bleeps and it s fun,” Goor said.That means you will hear Terry (the character) say something you would never expect to hear Terry (the character or the person) ever say in real life.Said Crews, “I had one where I m ashamed. I m actually very ashamed. Oh my God, it was so jarring. Everybody had to regroup for five minutes.”Lo Truglio and Fumero confirmed the shocking dialogue, which will appear — bleeped — in a later episode.“We couldn t believe it, because Terry Crews does not talk like that,” Lo Truglio said.Said Fumero, “it literally shocked me, and I didn t know what to say. He was so dirty, but it was so satisfying to hear Terry say it.”Blocker and McKinnon Miller were especially worried that the new nudity policy would affect their characters the most.“I scared me a lot when I heard that [we could have nudity], because they ve had me do so much stuff without my shirt on,” said Blocker. “I m thinking, ‘What else they going to have me take off?’”Added McKinnon Miller, “Every week I prayed that we re not in a bathhouse or something.”Chelsea’s Departure(Photo by Vivian Zink/NBC)Peretti announced in late 2018 that she’s leaving the series, but Gina Linetti will still be around for several episodes. The actress told Rotten Tomatoes to expect an extremely dramatic and bloody exit for her character.“My departure is like the Red Wedding,” Peretti joked, referencing one of the most talked-about and brutal moments of HBO s Game of Thrones.But there’s “heart and hilarity” in the half-hour, which will likely not be the final time we see the character, Fumero revealed.“It s a pretty exciting exit,” Peretti said. “I think you ll have fun, and you ll feel your feelings and a good mix of everything you would want from a Gina Linetti exit, and from this family, where there s clearly so much love there.”The actress also promised a heartfelt scene with Samberg and said, “I completely go nuts on a dance moment, so there s definitely a lot to sink your teeth into.”But, Peretti continued, “There s nothing casual about it. That doesn t mean the door is slammed shut, but it s definitely a big old goodbye.”Brooklyn Nine-Nine airs Thursdays at 9 p.m. on NBC.

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Ghcxuf The latest from Wes Anderson is unmistakably his, but it’s also something more. The writer/director’s tenth feature, The French Dispatch, premiered this week at the Cannes Film Festival, and the first reviews dispatched from the French Riviera are celebrating its mix of the familiar and the fresh. If you’re a fan of Anderson’s work, you won’t be disappointed. If you’re not partial to his quirks and constructs, you may still find something to appreciate in this anthology of stories that plays like a cinematic representation of an old issue of a literary magazine.Here’s what critics are saying about The French Dispatch:Will Wes Anderson fans be pleased?This is the Wes we know and love, with his artful considerations of love, liberty and what lives on after we die.  Hannah Strong, Little White LiesIt’s a film that weaponizes whimsy in ways that will dazzle die-hard fans of the director.  Jason Gorber, SlashfilmWas it worth the wait? Well, for fans of the American director’s idiosyncratic stylings, the answer is surely yes.  James Mottram, South China Morning Post[It’s] a beguiling curio, and one that no other filmmaker could have created.  David Rooney, Hollywood ReporterHow does it rank in his filmography?It’s one of Anderson’s very best. Ed Potton, TimesThis is Anderson in full flower, one that only grows in a rarified altitude. Todd McCarthy, DeadlineA work of such unparalleled Andersonian wit that at times the sheer level of detail that bedecked the screen was enough to make [my] jaw slacken. Jessica Kiang, The PlaylistEven by Anderson’s standards, this has to be the most ambitious film he’s ever produced. James Mottram, South China Morning PostAnderson’s most impressionistic and unusual film in quite some time… his most ambitious since his stop-motion adaptation of Fantastic Mr. Fox. Hannah Strong, Little White LiesThe Del Toro/Seydoux pairing stands out as Anderson’s most affecting love story since his 2007 short Hotel Chevalier. Eric Kohn, IndieWire(Photo by ©Searchlight Pictures)Which of his films is it most reminiscent of?The French Dispatch bears some of the DNA last glimpsed in The Life Aquatic With Steve Zissou, another portrait of a storyteller partly drawn from real life. Eric Kohn, IndieWireThe Grand Budapest Hotel [is] arguably The French Dispatch’s closest kin among Anderson’s previous films. David Rooney, Hollywood ReporterThe French Dispatch initially feels like a companion piece to The Grand Budapest Hotel… but it quickly reveals itself to be something else entirely. Robbie Collin, Daily TelegraphOne of the most labor-intensive films in existence. It makes The Grand Budapest Hotel look as if it was improvised over a weekend and shot with a smartphone. Nicholas Barber, BBCDoes it feel like his most signature work?The most Anderson of all Anderson films. It s Anderson distilled, Anderson squared, Anderson to the nth degree. Nicholas Barber, BBCThe ultimate Anderson movie because it’s everything he does whipped up into five jewel-box episodes… an Anderson sampler pack. Steve Pond, The WrapThe French Dispatch takes Anderson’s signature play with nested narrations and his love of midcentury culture to new heights. Pat Brown, Slant MagazineAnderson has found a close-to-ideal structure that flatters his mercurial, omnivorous tastes but also gets him out of any one storyline before its convolutions can convolute too much. Jessica Kiang, The PlaylistThe French Dispatch is a near-perfect encapsulation of Anderson s filmography and perhaps the best film to show to newcomers. Rafael Motamayor, ColliderIt might not be at the very zenith of what he can achieve but for sheer moment-by-moment pleasure, and for laughs, this is a treat. Peter Bradshaw, Guardian(Photo by ©Searchlight Pictures)Does it take Anderson in any new directions?Anderson employs too many new tricks in his tenth feature to keep track of them all…[it’s] original in a way that you can only marvel at so deep into a veteran’s filmography. Luke Hicks, Film School RejectsIt’s a significant breakthrough to see the director engaging with sexuality and violence as aspects of real life…[it] feels less safe than Anderson’s earlier work, and that’s a good thing. Peter Debruge, VarietyThe French Dispatch doesn’t have much of the sneaky sentimental undercurrent that makes Anderson’s films more than just intellectual exercises. Tim Grierson, Screen International[It’s] closer to a French New Wave experiment than the more controlled ensemble stories in his repertoire. Eric Kohn, IndieWireI was expecting something more from this gifted director: more maturity, more depth, more interesting storytelling. Jo-Anne Titmarsh, HeyUGuysWhat if you aren t a fan of Wes Anderson?Anyone previously unimpressed by Mr. Anderson’s peculiar sensibility should run a mile in the opposite direction, and then a mile further. Jessica Kiang, The PlaylistYou probably know whether you love his work or hate it. Well, The French Dispatch isn t going to change your mind. Nicholas Barber, BBCAudiences who in the past have found Anderson’s work precious and overly mannered… [may] accuse the new film of veering almost into self-parody. David Rooney, Hollywood Reporter(Photo by ©Searchlight Pictures)How does the film look?Boy, it sure looks pretty. Steve Pond, The WrapThere is certainly much enjoyment to be found in Anderson’s amazing visuals. Peter Bradshaw, GuardianAmong his most visually remarkable, each frame filled with meticulously crafted small details that add up to a dense, inviting cinematic jewel box. Tim Grierson, Screen InternationalFlicking between black-and-white and color, the level of detail in recreating 1960s-ish France is breathtaking, with production designer Adam Stockhausen excelling. James Mottram, South China Morning PostAdam Stockhausen s doll s-house production design is eye-wateringly precise, the black-and-white images of the city s ancient buildings deserve their own coffee table book. Nicholas Barber, BBCThe [black and white cinematography] stands up visually against the best Pawlikowski films thanks to the work of all-timer director of photography Robert Yeoman. Luke Hicks, Film School Rejects[It features some of] the most dizzyingly inventive shots Anderson has ever cooked up (which is saying something). Robbie Collin, Daily TelegraphEach frame [is] so drolly composed that its meticulousness itself becomes a joke. Pat Brown, Slant MagazineIs there more style than substance?While it is full to the hilt with stuff – so much stuff! – it sorely lacks any real substance. Jo-Anne Titmarsh, HeyUGuysThere isn t much going on beneath its extraordinary bejeweled surface. The film is – to use a French term – a jeu d esprit with no depth to its characters or edge to its satire. Nicholas Barber, BBCThe marvelous design can prove more engaging than the characters who populate it… leaving the viewer to focus on the packaging as opposed to the content. Tim Grierson, Screen InternationalAnderson overwhelms his film with so much detailed whimsy that dramatic conventions, narrative coherence and any deep meaning take a distant back seat to his entrancingly detailed doodling. Todd McCarthy, Deadline[It’s] series of exquisite miniatures — amusing, meticulously designed and impeccably executed but maybe not adding up to much more than the sum of their parts. Steve Pond, The WrapThe sentiment needed to really sell the wistful conclusion gets buried beneath all the cameos and stylistic flair. Pat Brown, Slant Magazine(Photo by ©Searchlight Pictures)Who stands out in the cast?Jeffrey Wright gives a wonderfully poised performance. Peter Bradshaw, GuardianWright’s performance may be the strongest selling point of The French Dispatch, and the one that brings it all home. Eric Kohn, IndieWireWright’s implacable authority is mesmerizing, Lea Seydoux as a prison guard/artist’s muse is a delightful enigma and Lois Smith almost steals the show as [a] wealthy art dealer. Steve Pond, The Wrap[Seydoux] brings a fierce, Fraco sullenness that’s particularly intoxicating, lending a kind of local credence with her role to Anderson’s entire folly. Jason Gorber, SlashfilmDel Toro and Seydoux’s scenes together are the closest this whirlwind movie comes to finding a human soul. Nate Jones, New York Magazine/VultureWhat is it like to experience The French Dispatch?The unconventional project succeeds in delivering that very particular hodgepodge pleasure of reading a well-curated issue from cover to cover. Peter Debruge, VarietyThe experience is akin to flipping through the eccentric pages of the publication in question, overwhelmed by the details streaming in. Eric Kohn, IndieWireWatching this anthology-style film is like leafing through an edition of the magazine, as Anderson takes us from Page 1 right through to Declines Deaths. James Mottram, South China Morning PostWatching Wes Anderson’s The French Dispatch is a delirious experience. It’s akin to being a guest at some amazing meal, with each course more stunning than the last. Jason Gorber, SlashfilmThe cinematic equivalent of a brakeless freewheel through a teeming bazaar – if said bazaar was stacked with beautiful vintage artifacts, all meticulously arranged. Robbie Collin, Daily Telegraph(Photo by ©Searchlight Pictures)Do you need to be a literary buff to appreciate the film?The winks come as dense and dizzying as guilty-pleasure movie references do in a Quentin Tarantino picture. Peter Debruge, VarietyAnderson has pointed to the New Yorker as his grand inspiration, and this shines through with plenty of references without ever feeling too insular or alienating to those with less affinity for the publication. Hannah Strong, Little White LiesUnapologetically literary, Anderson’s credits thank a pantheon of long-form writers, from Mavis Gallant to James Baldwin, immediately providing a bibliography to delve into to elicit some of the more subtle real-world references. Jason Gorber, SlashfilmIt will provoke the full range of reactions from the euphoric among pure art devotees to outright rejection by, shall we say, those not on speaking terms with ultra-refined tastes. Todd McCarthy, DeadlineWill it make us laugh?The French Dispatch is very funny. Peter Bradshaw, GuardianApart from Ernst Lubitsch or Jacques Tati, it’s hard to imagine another director who has put this level of effort into crafting a comedy. Peter Debruge, VarietyInspired physical comedy figures throughout the film. David Rooney, Hollywood ReporterThe script is a relentless hoot. Robbie Collin, Daily Telegraph(Photo by ©Searchlight Pictures)Does it have any major problems? The Concrete Masterpiece is the best of all the stories. By coming first, it sets the following stories up for some emotional misconnection. Luke Hicks, Film School RejectsIts sense of busyness keeps it from achieving the emotional impact that its finale is clearly aiming for. Pat Brown, Slant MagazineThe French Dispatch feels a bit emotionally distant compared to some of Anderson s other movies. Rafael Motamayor, ColliderWill we want to see it again?It’s a film I cannot wait to visit over and over. Jason Gorber, SlashfilmLike any print classic, it begs to be leafed over again and again so that new details emerge. Hannah Strong, Little White LiesAnderson seems to cram about 20 different movies into a two-hour runtime, and multiple viewings are definitely encouraged to even try and grasp half of what Anderson is trying to do. Rafael Motamayor, ColliderIt’s nearly impossible to follow everything on the first watch. Perhaps still so on the second and third… No doubt that will only make rewatches richer. Luke Hicks, Film School RejectsThere is just too much to take in… It is a film that would warrant multiple viewings just to absorb those fleeting, marvelous images. Jo-Anne Titmarsh, HeyUGuysSome viewers will watch it 100 times and spot new little details every time. Other viewers will walk out or switch off in a matter of minutes. Nicholas Barber, BBCThe French Dispatch releases in theaters on October 22, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News. 😈😈


亚博体彩app 《方舟:生存进化》手游是一部带有进化玩法的沙盒生存手游,起初玩家玩这款游戏时可能会很艰难,但不需要多少时间玩家就能获得进化,玩家能够在《方舟:生存进化》手游中造出弓箭、麻醉枪,到了那个时候恐龙们就很难再对玩家造成威胁,反倒是玩家能用饥饿驯服法将大部分《方舟:生存进化》手游生物给驯服。

Fan Favorite Movies 2019It d actually be weird if Endgame had not won this category. A 90% Audience Score? A .8 billion box office haul? The biggest movie of all-time? And yet, you voters let it lose to The Death of Dick Long?! But, no, that d be another timeline, maybe one where Thanos gets away with it, and half the shawarma in the universe is wiped from existence. This is our timeline, where Avengers are winners: They win at beating the bad guys, they win at making preposterous time-travel plots work like gangbusters, and they win at assuring audiences that the 21-movie buildup was worth the hype. There was never a movie event quite as massive as Avengers: Endgame, and there may never be again. Of course, audiences showed up to buy tickets to ensure it d be the biggest movie ever. But the ways people continue to support the movie – in debate, at conventions, and at polls like these long after the movie has closed, where the movie beat out Parasite by almost 1,000 votes – broadcast how a story that started with a guy in a cave with a box of scraps continues to resonate all over.The order below reflects the number of total votes cast for each TV show by users in a poll that ran on RT from January 9 to February 16.« Previous Category Next Category » (Photo by ©DreamWorks SKG/Courtesy Everett Collection)Some dragons are big and scary and could definitely kill you with a single exhale — and others, like How to Train Your Dragon s Toothless, are big old sweethearts who just so happen to breathe fire.Toothless (and his human BFF Hiccup) are back for more adventures in How to Train Your Dragon: The Hidden World, as they set out on a new journey to protect their dragon utopia of Berk and head to a world they previously though only existed in myths and legends.In honor of Toothless new adventure, Rotten Tomatoes has rounded up pop culture’s most famous — and infamous — dragons. Which is your favorite?


(Photo by Netflix)The long and arduous road to bring The Irishman to theaters spanned two decades and featured several dead ends and detours. It took Netflix stepping in at the last minute with a 0 million budget and multimillion-dollar ad campaign to distribute Martin Scorsese s long-awaited gangster opus as he had hoped to see it. Though the streaming giant s row with theater owners prevented a large-scale rollout, the film delighted audiences over the Thanksgiving break, and as the accolades continue to roll in on our Awards Leaderboard, we are now safely considering it a lock for a Best Picture Oscar nomination and perhaps even a win.Realizing a script by Steven Zaillian based on the controversial eponymous memoir, Scorsese has created his most epic work in the gangster genre with which he has become synonymous. The film chronicles Frank The Irishman Sheeran s time as a member of the Teamsters Union and as a hitman for the Mob, as well as his friendship with various mafia figures from the early 1960s onward, including infamous Teamster boss Jimmy Hoffa. To bring the story to screen with actors Al Pacino, Joe Pesci, and Robert De Niro playing younger versions of themselves, the shoot had to employ cutting edge de-aging technology and groundbreaking visual effects and photography techniques. To achieve this, cinematographer Rodrigo Prieto and visual effects supervisor Pablo Helman utilized a by-any-means-necessary approach to the visuals, inventing new camera equipment and techniques to shoot the action without encumbering the actors performances or Scorsese s vision. When we sat down with Prieto and Helman, they broke down their efforts, the new camera rig they fashioned, and why, when you work with Martin Scorsese, the last thing you want to tell him is No, we can t do that. Usually, I don t get involved talking to the DP and the director together until later on, but this was so important. (Photo by Netflix)Pablo Helman: I ve been involved with the project since 2015, so that s been four years, and we were all discussing the whole process with Marty [Scorsese], and I was working with him on Silence. We were shooting in Taiwan, and I took the opportunity to get to know Marty in Taiwan, and we started talking about technology, and of course, he s such a curious person. He always wants to know more about stuff. So we started talking about technology and making actors younger, and he told me that he had a project that he s been trying to do for about nine years, and this was in 2015. He sent me the script overnight, and of course, when he says he is going to send you something overnight, then you read it overnight. So I read the script and in the morning I was in.Rodrigo Prieto: I guess it would have been very soon after that when we had the conversation that started seeming like this was viable, and The Irishman could be, in fact, made. For me, I was just hearing about it, but not in a specific way. I was obviously so immersed in Silence, so it wasn t really until after we were done with Silence that I really started hearing about The Irishman and the idea of shooting a test. But I wasn t able to physically shoot the test myself, but I did participate in arranging for it. I got Reed Morano to shoot it; she s a director and a DP and she s wonderful. Of course, Pablo made the whole test happen. Then, later on, I saw the test while I was in the post-production phase of Silence.Helman: For me, it s just the same thing that Rodrigo did. Usually, I don t get involved talking to the DP and the director together until later on, but this was so important. Also, as a visual effects supervisor, I don t want to interfere with anything that Rodrigo is planning to do and he s talking to Marty about, but I realized how intrusive what we were going to do was going to be, and I tried to stay away from any creative decisions that would influence how we were going to shoot the movie. I really trusted Pablo. I knew that if he said he could do something he was going to do it. (Photo by Netflix)Prieto: When we started our first discussions, the essential part of all this was the look that we were going for. As I ve said before, we wanted the movie to have this feeling of memory, and I felt that it was important to photograph it with film emulsion, with film negative, because also I was doing the simulation of photography in Kodachrome for the 50s, Ektachrome for the 60s, and then in the 70s, it was a different process. But it all was based on photochemical processes that we all have in our memories; photographs, photography not digital photography, but photography either on the transparencies or on negatives. So we felt very strongly that we had to shoot this movie on film, but Pablo explained to me this rig that he was concocting that had to be digital, because all the shutters of the three cameras had to be synchronized. And then also he described how these, the main camera and the witness cameras, had all had to move in unison.So we actually had to create a rig that could take three cameras, so it made it physically impossible for it to be film cameras. So then, for me, it became choosing a camera that would be able to map the colors and the lookup tables of the Kodachrome and Ektachrome and so on, onto a digital camera that would match the film camera, the way that the film negative was responding to those lookup tables. Then, in addition to that, I told Pablo, you have to make sure and you have to guarantee to me that you ll be able to also match the texture, meaning the film grain. And since we worked very closely on Silence before, I really trusted Pablo. I knew that if he said he could do something, I knew that it was true. He was going to do it. So with that trust, I was okay. I said, all right, let s split it. We ll shoot on film, which everything that happened doesn t need the three-headed monster for the visual effects. Then we ll shoot the digital cameras for that, and we ll make it all match, and indeed that s what happened in the end. I think everyone of us that has worked with Marty has come to realize you really don t say no to Marty. (Photo by Netflix)Prieto: I think every one of us that has worked with Marty has come to realize you really don t say no to Marty. There is no limit in him as you know, and that s part of the joy of working with him. But he has these amazing ideas and concepts, and it s up to us to figure out how to make that actually come to fruition and technically achieve it and also artistically enhance it. That s a beautiful thing.Helman: I think in terms of film or digital or all these, I don t think he has this predetermined notion that everything has to have a film texture. It s more of an emotional thing for him. When I projected tests of something shot on film negative and something shot on digital, he feels more connected to the actors on what he s seeing on film negative. So it s more a feeling than a dogma. But then again, I know that he doesn t have a compunction of shooting a whole movie on digital. It s not something that he necessarily is married to one or the other. But I think that in the case of The Irishman, he agreed that the texture of film was an important part of this feeling of memory. I think it was pretty successful. Pablo was very impressed.Prieto: One thing for me that was also important and we talked a lot, Pablo and I, in pre-production was that I wanted to be able to sit in the digital intermediate room doing the color grading as if I shot the whole movie on film negative, and the lighting on the face replacements on the DGI visual effects would be the same that I did on the set and would react the same way of when I tweaked it in the ice suite. And it did. It felt completely organic. Whenever I came up to the shots that were Pablo s, as opposed to the ones that I had shot with a film camera, and then I came to the visual effects shots, it felt pretty seamless, and I think that was thanks to whatever magic Pablo did. From the beginning, [Scorsese] told me that De Niro was not going to wear any markers. He was not going to wear any helmets or cameras in front of him. (Photo by Netflix)Helman: Also, it s a way for us to understand what it is that he s after. You see, when he says something, he really means it, and it all goes to how he feels about something, so it s part of our job.Prieto: I think that there were other technical things that we talked about, because we were working with infrared technology and there was the lights and things that Rodrigo and I already talked about. We don t involve him. It s part of solving the problem.From the beginning in Taiwan, Marty told me that Bob De Niro was not going to wear any markers. He was not going to wear any helmets or little cameras in front of him. He wanted to be on set with the lighting, so there wouldn t be reshoots or shooting a scene in a different controlled environment that we call a mock-up studio or anything like that. He told me, I want the technology completely away from the performances. I want to work the way I want to work with the actors. The actors want to work with the actors too, and I want that technology completely away. The reason is the difference. You can see the difference in the performances. If the actors are not in the moment, in a different environment, not acting with their acting partners, the movie doesn t happen, because a lot of what happens between two actors is a connection that translates through the camera into the audience. If you are in the middle as the technology and visual effects supervisor, it s going to take it all in the movie, and we don t want to do that.Also, in cinematography, there s a lot of preference in terms of the lights, the cameras, the marks on the floor all these things that I try to make as minimal as possible. In fact, I try not to say things to the actors. I want them just to feel as free as possible. The three-headed monster camera rig became a concern in pre-production because we knew that Scorsese was going to want to be able to move the camera in whichever way he would desire. I didn t want to say, Marty, we really can t do this shot you re saying, because this camera s too heavy or big. Pablo and I worked together to make sure the camera team and also with every rental and ILM to design a rig that could work on any type of camera head, be it a fluid head or a remote head, a crane, or even on steady cam. We tested that several times and went back to the drawing board when initially we failed; particularly the remote head didn t respond. It was not happy with the weight. We had to come up with different materials and different types of motors for the focus and all these things. It was actually quite fun in pre-production to work on this and figure it out.Helman: On the set for me, it was important that my focus was the main camera and the lighting for that. The camera movement and the other witness cameras that were shooting infrared and actually lighting infrared would be Pablo s world. There were camera technicians for those cameras, focus pullers. There was our whole team. Each camera had its own team, but I didn t want to worry about that. I wanted to be able to deliver the schedule. So, that was another part that I m grateful to Pablo, because indeed, he just made sure that he was getting the information he needed from those cameras, and I mostly forgot about it. There were instances where even the rig, we had to make it so that we could detach one of the witness cameras and place it in a different place for example, putting it on top of the main camera because I needed to be close to a wall or I was seeing the other camera in one of the shots. We tended to shoot a lot with two cameras simultaneously. So we then were able to remove the camera and put it in a different spot. It was modular, so we kind of created a monster that was relatively nice to us. It wasn t so monstrous after all.I think the whole idea was, from a technology point of view, to remove the burden from the actors. If you remove the burden from the actors, that burden doesn t go away. It gets spread out throughout all these departments. The first department that hits is Rodrigo s, because he s got double the crew in the camera. So you have infrared, then it also spreads over the production design because you see the rig; it s about 30 inches wide. The frame of a door in the United States is about 32 inches, so we have to make sure, and we knew we had like 117 locations, so we had to get the rig through the doors and all kinds of things. Also, because we re working with infrared technology and really old cars from the 50s and 60s, the windshields on the cars have lead, and the lead doesn t let the infrared light go through, and I can t have that. So we had to take all the windshields off. All the windshields that you see are all CG. See how it spreads all over the place? It was a whole team working out the technology so that it was away from the actors and the director and they could do wherever they wanted. I have to credit everybody with being able to work together. That s one of the skills that could take them anywhere. (Photo by Netflix)Helman:  At some point, I had to say to Rodrigo, This is what we need for this, but I don t know how to take 20 pounds away from there, because I don t know exactly what your department and you are going to need. So it was a working together thing in a way that I hadn t worked before, so maybe that is part of it? You have a team of people and you need to be careful with elbows and not elbow each other and those kinds of things.Prieto: I ll have to also credit my focus pillar, Trevor Loomis, and even a camera operator, Scott Sakamoto. They were instrumental in suggesting different types of motor and cables. Then the friends from area rental, figuring out a lighter plate on which to put the cameras. Both Pablo and I had requirements. For instance, what I was describing, I insisted on this possibility of removing pieces from both sides of the rig so we could have the camera in whatever corner needed to be. Pablo needed the witness cameras to be able to be adjustable because it depends on the distance of us to the actor s face. You need it to be able to adjust these cameras. For all these things, there was a whole team of people making sure that it worked. I think everybody took it with enthusiasm, and there are these kinds of challenges that we all relish. I m sure that if we do it again, we d figure out some other ways that would be even more practical. That s the way technology advances, right? But it s all manmade in the end, especially in the beginning when you re creating something new. You re doing it by hand basically.Helman: I have to credit everybody with being able to work together. That s one of the skills that anybody has that could take them anywhere. If you have the skill to work with other people, you can do anything in your life. It was difficult at times, but it was great. It was great being flexible and being able to accept solutions from other departments. It was really important that we communicated and sent pictures and made sure that we were on the same wavelength. (Photo by Netflix)Helman: Throughout post-production, I kept sending images to Rodrigo. During the production, we talked about the fact the lighting is so important, not only for the movie, but obviously because of the content and all the decisions that Marty and Irwin made. Also because of the technology. The technology is such that works from the lighting setup. If I cannot match the lighting, I cannot finish my work. So it was really important that throughout we communicated and we sent pictures and just made sure that we were on the same wavelength.Prieto: During the shoot, that was an important factor and also a challenge, time-wise. We did have to get the lighting information to Pablo to be sure that, in post-production, he had everything accurate. It wasn t just by eye, seeing what I had done in this shot, saying, OK, it looks like we used the three-quarter backlight here. They actually were able to input into the computer the exact information besides intensity and color and texture of each one of the lighting units, plus the influence of this set itself onto the light that ultimately lights a face. It s not only the lighting units, but it s also the environment as well. We had to every time shoot a mirrored sphere in the place of where the actor s face would have been. Also, we had to shoot a gray sphere and then color charts with all the different levels of black to white and the different colors and a lighter, which is a system where you put a camera where the face of the actor would be, and you d do a 360-degree capture of everything that s around the face of the actor. It s bracketed as well, meaning that you get all different levels of exposure.So all that information is fed into the computer, and it basically reproduces that on the actor s face. I m sure there s some tweaking also going on to make sure it matches what the main camera saw before the faces were replaced. I must say, it was very accurate. Obviously we re all a little bit neurotic about what we do, and we re very specific about why I lit in a certain way with a certain unit, with a certain intensity. I recognize everything I did while I was doing the DI, and when I was doing it, it was very seamless. So I really don t remember any instance whatsoever where I had to go back to Pablo and say, This doesn t look like the lighting I did. Can you redo it? It really felt very accurate. I even saw the movie before the visual effects. I saw it all put together with the faces of the actors as they were when we shot them. Then I started doing the DI and felt no real difference in the lighting, and I think, as Pablo says, it s crucial for the naturalism of the effects. They blend in perfectly with the lighting that was done on the set.Helman: Yeah, and besides that, there is a scientific reason why that had to be so. It s because the capturing of the performances has to do with comparing what we got on set with what I m rendering on the computer. So if there s a difference in lighting, the comp

亚博体彩app The Montagues and Capulets. The Hatfields and McCoys. Bette and Joan. Tay Tay and Kanye. The world has given us some epic feuds over the centuries, but do any even come close in scale to wise-cracking, abs-heavy, claws-vs.-katanas feud that has raged between X-Men Universe members Ryan Reynolds and Hugh Jackman since the late 2000s? (Probably, definitely – but just go with us here.) In our latest episode of Vs., we’re getting into the beefcake battle that has dominated social media for over a decade: Funnyman Reynolds vs. showman Jackman, the Green Lantern vs. the Paperback Hero (Google it). To fairly adjudicate the long-running quarrel, our host Mark Ellis will compare the two well-rounded thesps on a number of criteria: Box office performance; Tomatometer and Audience Scores; iconic characters they’ve played; and their feuding abilities. Who will win ultimate bragging rights? And will this be the FINAL word in this actorly contest of brawn and barbs? Tune in to find out.On an Apple device? Follow Rotten Tomatoes on Apple News.

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