After all the puzzlement, wonder, and possible curses, HBO’s Watchmen is finally out in our world. Exquisitely produced and full of the sort of heady content the prestige cable channel favors, it is easy to see how people will be commenting on its cops-vs.-white supremacists A-plot for the next nine weeks.But as these ideas are only just percolating in the first episode, fans of the original graphic novel have another viewpoint to grapple with: how Watchmen builds on the tangential world of the original 1986 comic book maxiseries by Alan Moore, Dave Gibbons, and John Higgins. As it is now clear this is a story set in that same world with the potential to become a direct sequel, it is fair to examine how executive producer Damon Lindelof (The Leftovers) and his team used the iconography devised by the comic book s creative team to put their treatise on race relations in the Watchmen context.Let’s take a look at what the season premiere revealed about the program’s world so far and how it draws from the comic book to establish its reality.Points of Departure(Photo by Mark Hill/HBO)Any good piece of fiction set in an alternate reality must address the point in history where its world diverges from our own, as Amazon’s The Man in the High Castle, for example, communicates easily. The point at which Watchmen diverges is a little more subtle, as it is not based in a historical event but a movement in fictional storytelling. Considering Moore and his collaborators were working for DC Comics, we’ll use June of 1938 – the publication date of Superman’s first appearance in Action Comics #1 – as the rough moment at which Watchmen s world and our own diverge. If the Watchmen comic book is an examination of a world in which costumed heroes had a real effect on U.S. history, then it is reasonable to assume they first debuted during that pre-war summer.While the point of departure is not addressed in the episode itself, it is worth making that assumption as the episode’s opening scene – a depiction of the Tulsa Race Riot – takes place in 1921, a good decade and change prior to the arrival of masked crusaders. Opening on that tragedy, and the racial motivations behind it, is very much a statement of intent from Lindelof. The Watchmen comic contains a wide number of themes, but race is only partially addressed. In the television series, it is the foundation of its major plotline. In using a real historical event, in which the most affluent black community in the U.S. at the time was leveled, and setting the series in the same city, Watchmen reminds the audience that both our reality and it share an abiding wound despite very different outcomes for Watchmen s World War II and Vietnam War — as well as other conflicts altered thanks to the mere existence of Dr. Manhattan and the other Minute Men.Since the riot took place prior to our presumed point of departure, the legacy of those events simmer under the other, more fantastical events of the Watchmen world. The program’s opening moments – a silent film detailing the exploits of real life U.S. Marshal Bass Reeves – suggests the world of Watchmen may have other points of departure predating 1938.Rorschach’s Mask As a Symbol of White Supremacy(Photo by HBO)Back in Watchmen, it is easy to see Rorschach’s journal as a manifesto more aligned with extremist ideologies. Of course, nothing is truly black and white in that story – which is, in many ways, the whole point – so it is doubly interesting to see his iconography so closely related with the Seventh Kavalry, the unambiguous bad guys of the Tulsa storyline. For readers of the original comic, the journey his mask makes following his death could be one of the most interesting elements of the series fictional history.Spoiler alert: If you haven’t read Watchmen, the following contains spoilers.(Photo by Mark Hill/HBO)In the comic book, Rorschach is the first of the still-active Minute Men to learn of the Comedian’s death, and his investigation brings the others together and eventually leads them to the culprit, Adrian Veidt. But, again, nothing is black and white, so his reasoning for the murder (and the subsequent annihilation of New York) is something most of the characters find they can live with: He intends to scare the world into an age of peace and prosperity. The only one among them who cannot accept murder on this scale as the price of peace is Rorschach himself. And it costs him his life.That reversal is one of the great literary tricks of the original comic book series. Just about every major character has a moment where they are the protagonist and the antagonist, and, as it happens, a reader can find themselves agreeing with Veidt because this is just a story and it is all quite academic (see also: Thanos grim calculus in Avengers: Infinity War). For those readers, Rorschach becomes the bad guy in the story s final pages and, on some readings, you can even see his acceptance of death as a heroic play to stop himself from spoiling Veidt’s golden age.We glimpse that world of peace for a page or two before Rorschach’s journal, which he sent to a conservative-leaning magazine called New Frontiersman, seemingly undoes everything Veidt tried to achieve. At least, we hope subsequent episodes will offer concrete details as to why the paradise the heroes agreed to did not stick. But at the moment, we can infer that the magazine published Rorschach’s journal and made Veidt the enemy of the world (note the newspaper reporting Veidt’s death as “confirmed”). It also, presumably, made Rorschach himself something of a hero among New Frontiersman s readership and, across the decades, he became a central figure of white separatist movements as he was white himself and espoused a certain type of moral purity often popular among extremists — the very one the Seventh Kavalry quote from his journal in their video to the Tulsa police.Rorschach would not necessarily have aligned with the Seventh K during his lifetime — though, we admit, he espoused a lot of their ideas — making it a curious legacy for the character. Again, nothing is black and white in the Watchmen comic, but passing decades have a habit of flattening notable people to a handful of key details and the nuance of Rorschach’s life disappears as he becomes part of the Seventh Kavalry’s mythology. The only thing black-and-white about the representation is the character’s mask, which here has transformed into that group s most powerful symbol.Squid Storms(Photo by Colin Hutton/HBO)The squid looms large in Watchmen history and is the key omission from the 2009 film adaptation. Veidt’s ultimate plan was to unleash an allegedly alien squid on Manhattan, killing all around it and scaring the nations of the world into peace. The creature was the product of the finest minds Veidt could corral – and at least one comic book creator. Until the publication of Rorscach’s journal, the plan worked – as evidenced in the comic’s second-to-last page – but the series introduces unintended consequences, which the book had no interesting in addressing.Watchmen’s debut episode suggests squid storms occur regularly. Much smaller versions of the original creature rain from the sky and are hazardous enough for cities to invest in warning sirens (a newspaper tells us deaths do sometimes occur during these storms). The way Angela Abar (Regina King) deals with the mess the storm leaves on her car shows they are also an annoyance. It may be the program’s best usage of the time gap between the original comic book series and the modern television show, as time has turned Veidt s attempted legacy into an occasional moment of inclement weather.Of course, the Lord of a Country Estate’s (Jeremy Irons) squid-themed anniversary cake suggests Adrian Veidt may have another legacy in the works for the world.One has to wonder if that new legacy will tempt Dr. Manhattan back from Mars. When we last saw him in the comic book, he was unwilling to tell Veidt if the terror he unleashed on New York was worth it in the end. Instead, Manhattan merely says Nothing ever ends. He also mentions leaving Earth s corner of the universe for some place else, but as the first episode reveals, he may have spent the last few decades making sandcastles on the red planet. Will he finally have an answer to Veidt s question?Police-Issue Archies(Photo by Mark Hill)With all that background world building in place, the first episode of Watchmen devotes most of its run-time to its real premise: in 2019 of the Watchmen world, cops dress like superheroes to protect their identities. Angela is known as Sister Night, a Tulsa PD detective who works with Looking Glass (Tim Blake Nelson), Red Scare (Andrew Howard), and the curiously-named Pirate Jenny (Jessica Camacho). They are all distinctive (though rank-and-file offers remain in customary police blues augmented with Watchmen yellow half-masks), suggesting detectives on the Tulsa police force have a major say in their costumes. It also suggests Red Scare did not put a lot of money or effort into his persona.But will all the eye-catching looks, it may have been easy to miss the coffee cup Angela drank from while talking to police chief Judd Crawford (Don Johnson). It had an owl-design which will tip off any and all Watchmen readers that Dan Dreiberg, aka Night Owl II, may have had something to do with Tulsa’s implementation of masks in law enforcement. When we last see him in the comic book, he is one of the few to seemingly thrive in the paradise Veidt tried to create. Is it possible he survived the tumult after Rorschach’s journal went public to become this world’s version of a tech giant?RELATED: What Critics Are Saying About WatchmenThe fact the police use a vehicle very similar to his flying Owlship suggests he or his decedents are profiting from the current climate. Although, it may just be evidence of Crawford s abiding love for all things Nite Owl — he also had a copy of Nite Owl I s autobiography on his desk.But should it turn out that Dan supports or supported police departments after 1986, it also reflects one of the major differences between Watchmen’s world and our own: the lack of the internet. Though not a major idea in this first episode, we hope the lack of a near-instantaneous global communication tool factors in as the series progresses.Or, maybe, the Internet is Veidt’s next attempt at a legacy. Will the Watchmen world be able to handle it?Watchmen airs Sundays at 9 p.m. on HBO. Adjusted Score: 102827% Critics Consensus: The Ballad of Buster Scruggs avoids anthology pitfalls with a consistent collection tied together by the Coen brothers' signature blend of dark drama and black humor. Synopsis: An anthology of six short films that take place in 19th-century post-Civil War era during the settling of the Old... [More] Starring: Tim Blake Nelson, Willie Watson, David Krumholtz, James Franco Directed By: Joel Coen, Ethan Coen
Released halfway through what many argue is the best year in film history, Election didn’t exactly set the box-office ablaze after it debuted on April 23, 1999 the million-budgeted movie made a mere .2 during its run. And while critics for the most part went gaga for it — Election is Certified Fresh at 92% — compared to other class-of-’99 highlights, it’s almost easy to understand the general public s collective confusion about it: It’s not a technological game-changer like The Matrix (88%), not a Best Picture conversation piece like American Beauty (88%), not an ambitiously sprawling drama like Magnolia, not a dorm-room philosophical manifesto like Fight Club (79%), and, even with its high-school setting, not quite what first pops into mind when we talk about ’90s teen movies (despite being co-produced by MTV).Director Alexander Payne and writing partner Jim Taylor’s follow-up to their abortion satire Citizen Ruth (80%) is not a tidy sell. The comedy, which follows an idealistic teacher (Matthew Broderick) hell bent on making sure one particularly ambitious student (Reese Witherspoon) loses the school’s presidential election, is decidedly dark yet laugh-out-loud funny and paced at a fun, confident clip. So how good is it, with the benefit of two decades’ worth of hindsight? Let us count the ways.Its Script Is Better Than the Book It Was Based on (and That’s Saying Something)Before his novels were adapted into big-deal film and TV projects (Little Children, The Leftovers), a then-unemployed Tom Perrotta, obsessed with the one-two punch of the Anita Hill hearings and the 1992 U.S. Presidential election, cooked up a brisk, very funny page turner in response. Election’s narrative setup, in which each chapter is told from the perspective of a different character, couldn t have been easy to sell on the big screen. Yet Payne and Taylor stick to it, economically and tidily introducing each main player (Broderck’s Mr. M., Witherspoon’s Flick, Chris Klein’s smiley jock Paul Metzler, Jessica Campbell’s nihilistic Tammy Metzler), usually doing something embarrassing. (See: the freeze frame of Witherspoon s unbecoming expression.)Speaking of embarrassing, Payne and Taylor’s script consistently strips away any empathy for these characters that the book had, pointing out that most of the people onscreen are essentially trash. (Just count the number of shots of refuse, or when it’s used as a major plot point). Similarly, the duo cook up new scenes, like Mr. M. being stung in the eye by a bee (humiliating) or the re-shot ending, in which spoiler alert! the now-disgraced teacher doesn’t have a sort of heart-to-heart with Flick as he does in the novel, but instead chucks a soda (trash again) at her limo when he spots her in D.C.The Casting Is Ace, with Breakthroughs, Debuts, and One Indelible Character(Photo by Paramount courtesy Everett Collection)After her turns in Fear and Cruel Intentions, Witherspoon was keen to go full-comedy, initially hoping to play Tammy Metzler, the screw-it-all sister of popular football star Paul Metzler who makes waves as a last-minute candidate in her school s student council election, running against her brother. But she was convinced to take on the role of Tracy Flick instead — and thank god for that. Beyond critical hosannas from the likes of Roger Ebert and a much-deserved Best Actress nom at the Golden Globes, the young actor displays a deft comedic sensibility and range (not to mention a killer, energetic midwestern accent) that raises Tracy Flick to icon status. In the following decade, that performance would influence Tina Fey’s impersonation of Sarah Palin, and Dan Harmon said Flick was the inspiration for Annie Edison on Community.Then there’s Flick’s nemesis, Mr. M., the most popular and beloved teacher at school. At first, Perrotta didn’t think Broderick would work for the role. But, like he proved three years earlier in The Cable Guy, the actor’s sensitive, soft-spoken demeanor is the perfect comedic foil, and as his life starts spiraling out of control (an extramarital affair here, an election sabotage there), his aww-shucks, nice-guy shell makes the whole mess he creates that much funnier.Although his role wasn’t as demanding as Witherspoon s or Broderick s, Chris Klein also shouldn’t get short shrift. Payne discovered the high school senior when he was scouting locals in Omaha, and in his onscreen debut as the sidelined quarterback-cum-student body hopeful Paul Metzler, Klein amps up the dumbness, walking around the halls with a smile plastered on his face like a clueless kid. That summer, Klein would go on to co-star in American Pie, which did 14 times the box-office business of Election and made him something of a teen-movie celeb.It Somehow Tackles Taboos and Maintains Its Comic Levity“Her p y gets so wet.”“F k me, Mr. M.”Both of those lines are in reference to Tracy. (We know. Yikes.) The first one comes from Tracy’s math teacher, Mr. Novotny (Mark Harelik), who drops the description while admitting his affair to Mr. M. The second is from “Tracy,” during a fantasy Mr. M. has while having sex with his wife. (Garbage, remember?) Payne impressively keeps the film lively and buoyant, even when delving into these dark depths, not letting anyone off the hook morally or taking a tonal left turn.The nastiness doesn’t stop there. Later, in a delightful bit of verbal sparring, Mr. M. brings up the affair, to which Tracy spits back, “I don t know what you re referring to, but maybe if certain older, wiser people hadn t acted like such little babies and gotten so mushy, then everything would be OK and I think certain older people, like you and your colleague, shouldn t be leching after their students, especially when some of them can t even get their own wives pregnant.” Broderick’s stunned, I’ve-been-bested-by-a-pupil face that follows is priceless.It Nails the Hell of High School (and A Certain Slice of the Midwest)(Photo by Paramount courtesy Everett Collection)No matter what side of the desk you’re on, high school can be incredibly boring. Payne captures that monotony throughout Election, with shots of students spacing out until the bell rings and giving half-assed answers when pushed by their teachers. As he nears rock bottom, the once-idealistic Mr. M., record-holder for teacher-of-the-year at his school, gets fed up with the routine, too. “‘Mr.McAllister. Mr.McAllister,’” he says, in a voice mocking a whiny student. “‘Can I get an A? Can I get a recommendation? Can I? Can I?’ F k them.”The midwest — or, more accurately, Payne’s hometown of Omaha, where the film takes place — isn’t spared, either. Chain restaurants playing depressing pop, cheap cars with dirt-smudged windshields, hyperbolically polite parents, and frosty, grey-skied mornings paint a picture of a very specific mediocrity. (The director also explores his native state, and similar dark-comedic waters, in Citizen Ruth, About Schmidt, Downsizing and, yes, Nebraska.)It’s Still Politically RelevantWe don’t want to get political here (this is a safe space, people), but can you talk about Election without bringing up, you know, elections? Beyond the aforementioned inspiration for Perrotta’s book, Witherspoon’s turn as Tracy Flick has drawn comparisons to too many real-world politicians to mention over the years. (Hillary Clinton, hands down, is the most referenced, and Payne claims Barack Obama told him Election was his favorite political film.) But it does say something about the film’s longevity (or maybe mankind’s predictability) that critics saw plenty of Election in the most recent U.S. Presidential face-off. Same as it ever was.Election opened in limited release April 23, 1999Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.bobapp官网许多手游爱好者最喜欢的游戏环节就是打怪，这款游戏中打怪还能赢红包，从元的小红包到18元的大红包金额不等，取决于游戏关卡的难度。玩法上采用的是经典的射击玩法，只要选择合适的技能释放红包还是很好得的。
Listen, we get it: This is the time of year that you want to be soaking up some sunshine and staying away from the various screens in your life. But with a crop of 13 certified fresh returning series like this, how can you resist!?Fear the Walking Dead 75% (AMC)What it is: An extension of the zombie apocalypse world of AMC mega-hit The Walking Dead that takes place in Los Angeles before the events of its mothership series and shows how city dwellers deal with the virus outbreak.Why you should watch it: It comes as little surprise that if you love The Walking Dead, you’ll love Fear. Its engrossing backdrop and cast of memorable characters is enough to tune in week to week, even through some of its more languid, slow-boiled pacing. Season 5 premieres June 2 on AMC. Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 40 hours (for the first four seasons)Luther 88% (BBC America)What it is: This BBC drama follows a brilliant Detective Chief Inspector (Idris Elba) who finds it difficult to strike a work-life balance as he struggles to toe the line between genius and madness.Why you should watch it: Elba is a four-time Emmy nominee and Golden Globe winner for his spellbinding performance as DCI Luther, a magnetic cross between Sherlock Holmes and Columbo, in this gritty character study that adds a new dimension to the cop show genre. Season 5 premieres June 2 on BBC America.Where to watch it: Amazon, Google Play, Microsoft, VuduCommitment: Approx. 17 hours (for the first four seasons)Black Mirror 84% (Netflix)What it is: Basing its title on the black, reflective screen of a powered-off phone, tablet, or computer, this hit anthological Channel 4-turned-Netflix series from creator Charlie Brooker examines mankind’s dark, twisted (and thankfully, for now, hypothetical) future when beholden to modern technology.Why you should watch it: Few other sci-fi series today have proven as prescient on technology, sociology, and politics as Black Mirror, and it just keeps getting better. Plus, the Emmy-winning series has helped launch the careers of U.K. talent like Daniel Kaluuya, Letitia Wright, Alex Lawther, Hayley Atwell, Domhnall Gleeson, and many others.Where to watch it: NetflixCommitment: Approx. 20 hours (for the first four seasons)The Handmaid's Tale 83% (Hulu)What it is: Set in a not-too-distant future and adapted from Margaret Atwood’s acclaimed novel of the same name, The Handmaid’s Tale is the harrowing imagining of a society where fertile women are forced into slavery to help procreate for the rich and powerful. A gripping and prescient look at modern patriarchy’s darkest corners (and possible futures), it truly is must-watch TV.Why you should watch it: Last year, The Handmaid’s Tale became the first-ever streaming series to take home the Television Academy’s top honor: the Emmy for best drama. We’d follow its formidable cast — Elisabeth Moss, Ann Dowd, Joseph Fiennes, Alexis Bledel, and Samira Wiley among them — and behind-the-camera creatives anywhere, maybe even to Gilead. Season 3 premieres on Hulu June 5. Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 19 hours (for the first two seasons)Designated Survivor 71% (Netflix)What it is: David Guggenheim’s political thriller imagines what would happen if an entire presidential administration was killed in one fell swoop and the low-ranking cabinet member tapped as designated survivor (a true-life position here played by Kiefer Sutherland) was sworn in as leader of the free world.Why you should watch it: This network drama-turned-Netflix reboot marks a welcomed return to TV for Sutherland, who, as the titular survivor Tom Kirkman, holds no prisoners as a man between a rock and hard place. Paired with crackling scripts and an excellent ensemble, Designated Survivor is a mile-a-minute thrill-ride and a worthy follow-up to 24. Season 3 premieres on Netflix June 7.Where to watch it: NetflixCommitment: Approx. 30 hours (for the first two seasons)Big Little Lies 89% (HBO)What it is: From creator David E. Kelley and based on the novel of the same name by Liane Moriarty, Big Little Lies is an murder mystery of intertwined upper-class mothers living in Monterey, California.Why you should watch it: Big Little Lies is one of the buzziest ensemble dramas on TV today, and that’s thanks in large part to its stacked cast of A-list stars and producers: Reese Witherspoon, Nicole Kidman, Shailene Woodley, Laura Dern, Zoë Kravitz — and, in an twist that just about broke the internet, Meryl Streep is co-starring in the new episodes as a woman whose arrival in the rich seaside town of Monterrey causes trouble for the main women. Season 2 returns by popular demand on HBO June 9.Where to watch it: Amazon, FandangoNow, Google Play, HBO Now, VuduCommitment: Approx. 7 hours (for the first season)Claws 90% (TNT)What it is: Niecy Nash stars as Desna Simms, the takes-no-prisoners owner of a nail salon in the swampy town of Manatee County, Florida. She’s flanked by a scene-stealing assortment of coworkers and patrons. The drama flares, however, when she and her employees turn to organized crime and start laundering money.Why you should watch it: Full of camp, high-stakes crime drama, and firecracker scripts with performances to match, Claws is some of the most fun you’ll have with a TV series this summer. Plus we’ll take any excuse to see two-time Emmy nominee Nash execute her perfect blend of humor, brawn, and heart as the leading lady. Season 3 premieres June 9.Where to watch it: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 15 hours (for the first two seasons)Pose 98% (FX)What it is: From creators Ryan Murphy, Brad Falchuk, and Steven Canals, Pose depicts New York City’s ballroom and voguing scene of the 1980s with sickening pageantry, tea-spilling drama, and high fashions for the gods. Why you should watch it: Pose made waves upon its premiere by being the largest ever ensemble cast of transgender actors playing trans characters on TV. But aside from its progressive stamp of approval for onscreen representation, it’s also just damn good TV, expertly acted, written, and directed, and unafraid to tackle LGBTQ+ issues that we’ve never seen explored in such a way before. Season 2 premieres on FX June 11.Where to watch it: Amazon, FandangoNOW, Google Play, Microsoft, Netflix, VuduCommitment: Approx. 6 hours (for the first season)Queen Sugar 98% (OWN)What it is: After the unexpected death of their father, estranged siblings Ralph-Angel (a conman fresh out of prison), Nova Bordelon (a New Orleans–based journalist and activist), and Charley Bordelon (an upper-class Los Angeles mother to a teenage son) move to rural Louisiana to claim their inheritance: hundreds of acres of sugarcane farmland.Why you should watch it: Queen Sugar is the result of women both behind and in front of the camera joining their powers: executive producer Oprah Winfrey; executive producer, director, and writer Ava DuVernay; stars Rutina Wesley and Dawn-Lyen Gardner; and other female directors for each episode of its three seasons. And their work isn’t the only stunning aspect of the series — sprawling locations under the Louisiana sun and timely discussions of racial prejudice, mass incarceration, and more make it a thought-provoking family drama. Season 4 premieres on OWN June 12.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 32.5 hours (for the first three seasons)Younger 98% (TV Land)What it is: Sex and the City helmer Darren Star strikes gold again for city-dwelling women of a certain age with Younger, starring theater vet and now small-screen charmer Sutton Foster as a single mother who lies about her age to pursue her dreams in publishing.Why you should watch it: Foster is absolutely pitch-perfect in this fun, sexy, metropolitan comedy, and she’s matched by a bevy of scene-stealing co-stars: Miriam Shor, Hilary Duff, Nico Tortorella, and Debi Mazar, who are all stellar. Season 6 premieres on TV Land June 12.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: About 25 hours (for the first five seasons)Marvel - Jessica Jones 82% (Netflix)What it is: Private detective/hard-drinking superhero Jessica Jones overcomes abuse and reluctantly helps save the residents of New York City in the final season of Netflix s Marvel propjects.Why you should watch it: Krysten Ritter is sublime as the jeans-and-leather jacket-wearing titular superhero, and her nuanced performance is vital to the portrayal of abuse on screen. Plus, the supporting cast — led by Rachael Taylor and Carrie-Ann Moss, plus David Tennant as the insidious first-season villain Kilgrave — is second to none. Season 3 premieres on Netflix June 14.Where to watch: NetflixCommitment: About 17.5 hours (for the first two seasons)The Detour 90% (TBS)What it is: The Detour follows the Parker family as they embark on a roadtrip from their Syracuse, New York home to Florida for a family vacation.Why you should watch it: As its title would indicate, not everything goes to plan in this well-meaning family road trip, and missteps and mishaps abound. Created by husband-wife duo Samantha Bee and Jason Jones (who stars as the central father with Natalie Zea, Ashley Gerasimovich, and Liam Carroll), the scripts are funny and heartfelt while still leaving room for some unexpected run-ins with the law and other twists. Season 4 premieres on TBS June 18.Where to watch: Amazon, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 11 hours (for the first three seasons)Dark 95% (Netflix)What it is: This foreign-language streaming series from creators Baran bo Odar and Jantje Friesehildren combines elements of time travel sci-fi, horror, and family drama to tell the story of the fictional German town of Winden; its children are inexplicably disappearing, leaving residents in varied states of emotional disarray.Why you should watch it: Netflix’s first German-language original series is a doozy: spine-tinglingly eerie, fantastical, and at times downright terrifying, it’s a must-watch for any fans of the genre. Season 2 premieres on Netflix June 21.Where to watch it: NetflixCommitment: Approx. 8.5 hours (for the first season)Legion 91% (FX)What it is: While Legion is among the most original—and undefinable—series on TV today, in the simplest of terms, it’s the story of psych-ward patient David Haller (Dan Stevens) and his sidekick-turned-nemesis Lenny (Aubrey Plaza) as David more fully becomes what he’s always known himself to be: a mutant.Why you should watch it: To anyone who says they’re tiring of the superhero genre overtaking film and TV, we say, “Have you seen Legion?” Noah Hawley’s absolutely singular X-Men–based vision is a mind-bending and engrossing head-scratcher that’s well worth committing to. And committing is exactly what Stevens and Plaza do with their no-holds-barred, fearless performances. Season 3, its final season, premieres on FX June 24.Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 15 hours (for the first two seasons)Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image photo credit: David Giesbrecht/Netflix; Sarah Shatz/FX; Pari Dukovic/FX
4. 呼朋唤友 随心所欲
(Photo by Syfy; BBC AMERICA; Netflix/Courtesy Everett Collection)The past year has offered 12 TV seasons Certified Fresh at 100% — including The Good Place, Cobra Kai, Vida, and Dear White People — of 110 overall that are Certified Fresh. A voracious TV consumer could simply work their way down the list of every Certified Fresh TV show of 2018, or have a look at Rotten Tomatoes staff picks. Our editorial staff has considered the year in television and curated a list of series that may not have met the criteria for Certified Fresh, but nonetheless have captured our imaginations and earned our recommendation anyway.The Expanse 94%What It Is: In the 23rd century, after colonizing the solar system, humans make first contact with an alien race. But rather than meet face-to-whatever, the interaction occurs via the ancient, extinct race s super-advanced A.I. technology, which humanity struggles to understand, communicate with, and ultimately control.Why You Should Watch It: It s been 10 years since Syfy s Battlestar Galactica remake from Ronald D. Moore (Outlander) went off the air. The series, which topped our list of the 100 best sci-fi series of all time, won worldwide fans through its gritty space-opera storylines about the human struggle with and against intelligent machines. The BSG world felt lived in, and its characters, both human and machine, presented a seemingly viable space-based future.The Expanse, which Amazon dramatically rescued from cancellation this year, is BSG s very worthy successor in offering a similarly complex sci-fi tale with engaging characters and award-worthy production design. It stars Steven Strait, Shohreh Aghdashloo, Dominique Tipper, Cas Anvar, Wes Chatham, Frankie Adams, and Thomas Jane. Why the show hasn t enjoyed the same level of worldwide appeal is one of the series greatest mysteries.Where to Watch: Amazon, Syfy (season 3)Commitment: around 25 hoursPicked By: Debbie Day, TV Features EditorBarry 99%What It Is: In this dry, sometimes unexpectedly somber HBO dark comedy, a professional killer for hire from the Midwest travels to Los Angeles for a hit and stumbles into an acting class, where he not only discovers a community of aspiring actors who welcome him but also begins to imagine a quieter, more normal life.Why You Should Watch It: Thanks to his up-for-anything enthusiasm and easygoing charisma — not to mention his impeccable comedic timing — SNL and Documentary Now alum Bill Hader has earned a sizable fanbase over the years. Those fans were always going to show up for Barry, no matter how good (or bad) it was. Fortunately, the series does a magnificent job balancing Hader s natural boyish charm and his less frequently utilized — but still incredibly effective — proficiency at communicating deep pathos (see: The Skeleton Twins), and he s aided by a stellar ensemble that includes Stephen Root, Anthony Carrigan, Sarah Goldberg, and Henry Winkler in one of his finest roles in years.Barry begins with a funny idea, infuses it with real emotional investment, and tosses in a few Oh, sh ! moments just to keep you on your toes. Hader and Winkler have already taken home Emmys for their efforts, and they re both up for Golden Globes next, so now is as good a time as any to see what all the fuss is about.Where to Watch: HBOGOCommitment: A little over 4.5 hoursPicked by: Ryan Fujitani, Sr. EditorBabylon Berlin What It Is: While investigating a pornography ring, Inspector Gereon Rath (Volker Bruch) discovers a web of conspiracies with huge implications for Germany as a whole.Why You Should Watch It: The idea of the Weimar Republic (the era of German history that spanned from the end of World War I until the rise of the Nazis) has exerted a powerful fascination to this day. It was a time that produced a flowering of artistic expression — from the Bauhaus Movement to The Threepenny Opera, not to mention such cinematic masterworks as The Cabinet of Dr. Caligari, Nosferatu, Metropolis, and The Blue Angel — and a moment of (relative) tolerance for LGBTQ people. It was also a time of political upheaval, during which a democratic government attempted to hold together a nation struggling with extreme economic insecurity, a time when communists and fascists brawled in the streets. Historians dispute some elements of this narrative as myth, but while Babylon Berlin may be imperfect history, it’s exhilarating entertainment. Its Berlin is all bright neon and dark shadows, decadent parties and sudden outbursts of violence, mysteries and underground plots. We all know the horrible ending to this story, but the characters in Babylon Berlin don’t, and seeing this tumultuous period through the lives of regular people living in the moment gives the whole thing an air of haunting pathos.Where to Watch: NetflixCommitment: Just shy of 16 hoursPicked By: Tim Ryan, Review Curation ManagerKilling Eve 89%What It Is: This badass British spy thriller follows two female leads — MI5 intelligence officer Eve (Sandra Oh) and international assassin Villanelle (Jodie Comer) — who become obsessed with tracking each other down.Why You Should Watch It: There’s a reason Oh is getting finally getting her long-deserved award recognition for this role: She’s phenomenal as a mild-mannered government employee who heads up a task force to find a female assassin (an also-phenomenal Comer), beginning a deadly cat-and-mouse game between the two women. The BBC America series is also frequently incredibly funny, thanks to sharp writing from creator Phoebe Waller-Bridge (Fleabag).Where to Watch: Hulu, Amazon Prime, YouTube, Google Play, iTunesCommitment: About 5.5 hoursPicked By: Jean Bentley, Assistant TV EditorPeaky Blinders 92%What It Is: A raw mob epic set in 1919 Birmingham, England. Tommy Shelby (Cillian Murphy), a World War I veteran and leader of the “Peaky Blinders” gang, has started the family business of running a bookie service as well as providing local muscle.Why You Should Watch It: This gritty crime drama will keep you glued to your screen as Tommy tries to build his empire and cement his legacy, all while facing the ever-changing landscape of the new century post-WWI. Guns, gambling, influence, politics, and the streets — this show has it all. Great costume and set design lure viewers into 1919 England to experience the region s post-war trauma. See how far Tommy will go to make a buck and gain power and the collateral damage his family must endure because of it. The series did not offer a new season to U.S. audiences in 2018, but with season 5 coming in 2019, now is a perfect time to binge it.Where to watch: NetflixCommitment: About 24 hoursPicked By: Shane Crocker, Motion Graphic DesignerChilling Adventures of Sabrina 81%What It Is: This comic book–adapted Netflix series from the creator of Riverdale is a dark reimagining of the Sabrina, the Teenage Witch story. Half-witch, half-mortal Sabrina (Kiernan Shipka) refuses to sacrifice her human relationships in order to keep her witchy powers and must navigate the boundaries between the mortal and supernatural worlds.Why You Should Watch It: If you’re the kind of witch who wishes Halloween could be a year-long holiday, look no further than Chilling Adventures of Sabrina. This show has plenty of campy magic and glamorous gore, but it’s more than flashy spells and Satanic references. Each of Sabrina’s allies — her aunts, cousin Ambrose, human friends, and demonic frenemies — has their own depth and intrigue, which makes their world colorful and worth a deep investment. It’s ultimately a coming-of-age story: Watching Sabrina come into her own, and change minds to do so, is exciting, empowering, and fun. She makes some big mistakes along the way, but who can blame her? She’s only just learning to play with hellfire.Where to Watch: NetflixCommitment: About 11 hoursPicked By: Sophie-Marie Prime, USC’s Rotten Tomatoes FellowForever 95%What It Is: Maya Rudolph and Fred Armisen star as an ordinary married couple tethered to routine until a freak accident changes everything they thought they knew about themselves and the world.Why You Should Watch It: Much has been written about how Better Call Saul is an ode to the everyday (crime and dubious legal practices notwithstanding). They couldn t be more different, but if you re a fan of BCS, 2018 s Forever will appeal just as well. Created by Alan Yang of Master of None and featuring prolific comedic actors Rudolph and Armisen (do they ever sleep?), the show poses big questions while simultaneously offering tiny details for viewers to chew on long after the final episode of this compact series ends. Avoid spoilers as much as possible before indulging in this series, which somehow marries banality and longing to great effect.Where to Watch: AmazonCommitment: 4 hoursPicked By: Sara Ataiiyan, Review CuratorSchitt's Creek 93%What It Is: Schitt’s Creek is an amalgam of everything that is good and holy about Canadian entertainment.Why You Should Watch It: Led by Eugene Levy, his gorgeous son Dan, and their beautifully thick eyebrows, Schitt’s Creek follows the Rose family, their fall from grace, and their new life in a tiny town surrounded by some of the most wonderful, eccentric, and underrated characters on TV. The series is a rare bird: both funny and heartwarming, while completely insane and totally relatable. In watching, I have laughed so hard I cried, but I have also cried so hard that I had to laugh (specifically, season 4, episode 6). The relationships, the chemistry, the number of wigs Moira owns, Alexis’ vocal fry, and so on — everything about this show is so perfectly curated that you would be hard pressed to find anything else like it on television.Where To Watch: Netflix, Amazon Prime, YouTube, Google Play, iTunes, VuduCommitment: About 20 hoursPicked By: Zoey Moore, Community ManagerManiac 84%What It Is: Loosely based on a Norwegian show of the same name, Cary Joji Fukunaga’s mindtrip of a miniseries delves into the depths of the human mind with humor, heart, and just the right amount of heady conversations to keep you thinking.Why You Should Watch It: It’s the kind of show that can delicately explore the fragile folds that are the human mind and mental health, while still provoking a fully belly laugh (usually followed by a cathartic cry). Between Emma Stone and Jonah Hill’s melancholy chemistry, the singular force of confidently neurotic nature that is Sonoya Mizuno, and Justin Theroux and Sally Field s “special” parent–child relationships (truly something to behold), you feel for each character you meet. For a show about anxiety and depression, it’s refreshingly present. There are no endless flashbacks or flash forwards, even with some of the more cerebral elements. You share moments with the characters as they have them, making for an engaging, emotional viewing experience. Oh, and there are elves, therapy robots, tons of wild accents, unexpected mammals, and a neat retro futuristic feel that’s at once nostalgic and current. It may sound kind of heady, but trust us, it’s worth the trip.Where to Watch: NetflixCommitment: 6.5 hoursPicked By: Haña Lucero-Colin, TV Curation LeadTerrace House: Boys & Girls in the City What It Is: A reality series documenting the real lives of six roommates in Japan.Why You Should Watch It: For those who hate traditional reality TV and want insight into Japanese culture, this is your show. Don’t worry, there’s plenty of love triangles and conflict, but it’s more civilized. It’s the ultimate comfort watch! When you catch up with this season, there’s previous Terrace House series (“Boys and Girls in the City” and “Aloha State”) to enjoy!Where to Watch: NetflixCommitment: There are 42 episodes available from the most recent season, all around 30 to 40 minutes each — and it runs through 52! The time commitment is A LOT, but SO worth it.Picked By: Eileen Rivera, Sr. Director of ProductionHappy! 84%What It Is: Based on the graphic novel of the same name, Nick (Christopher Meloni), a degenerate hit man and ex cop, gets beaten up by mobsters only to wake up in the hospital seeing a cheerful blue unicorn named Happy (Patton Oswalt). Nick learns Happy is the imaginary friend of a kidnapped little girl named Hailey, who is being held captive by a demented Santa Claus. Happy won’t stop bothering Nick until they find Hailey and bring her to safety. Nick’s harsh, aggressive behavior clashes with Happy’s childlike mentality, creating a blend of violent dark humor living in each episode.Why You Should Watch It: Happy! is a solid mix of dark humor and violence — all set in a Christmas-centric world. It is the true opposite of everything we usually watch during the holidays. Through the season Nick gets into trouble with the mob, his former police partner, and his previous romantic partners, but it’s the absurdity of all these scenarios that keep you hooked. One of the most rewarding aspects about the show is the deeper you get, the wilder it becomes, from murderous side characters to a Willy Wonka-type corporate overlord. Happy! is not for the faint of heart and is truly made for fans of antiheroes. The casting is also particularly fun, as Meloni is the polar opposite of his Law Order: SVU character. Think: the crazy cook in Wet Hot American Summer, but darker and more twisted.Where to Watch: Netflix, SyfyCommitment: About 6.5 hoursPicked By: Jason Blagman, AssistantElite 97%What It Is: Rich, sexy Spanish teens clash with working-class students at their elite private school, leading to murder.Why You Should Watch It: Gossip Girl meets Big Little Lies meets Skins meets Cruel Intentions meets The O.C. meets Veronica Mars meets well, basically every single other of the very best teen dramas for this Spanish-language soap-to-end-all-soaps. The eight-episode season features overachieving teens doing teen things like vying for a scholarship, having sex, doing drugs, blackmailing, and murder. The private-school uniforms evoke Gossip Girl, the class clashes evoke The O.C., and the murder-mystery at the center, featuring flash-forwards to the teens being interrogated by police, is very BLL. Elite is addictive and pulpy and will most certainly keep viewers up late trying to figure out who killed [spoiler]. Pro tip: If you don t speak Spanish, Netflix will usually default to the dubbed version. To avoid that travesty, and make sure you select the European Spanish audio track.Where to Watch: NetflixCommitment: About 8 hoursPicked By: BentleyHappy Valley 98%What It Is: A kind of Fargo for the South of England, Happy Valley focuses on policewoman Catherine Cawood’s (Sarah Lancashire) personal and professional lives in the struggling, drug-ridden town for which the series is named. Each season comes with a different mystery, extended across that season’s six episodes, and while they’re dark and twisted fun, the show’s true focus is Cawood’s past – particularly the rape and murder of her daughter by the convict Tommy Lee Royce (James Norton) – and its refusal to stay buried.Why You Should Watch It: There is a reason Lancashire was at one time Britain’s most highly paid TV actress: her Cawood is one of TV’s great creations. She’s tough as nails at work, and at home, and yet is only ever barely holding it together, and Lancashire’s performance is revelatory for those unfamiliar with her work. She’s as compelling a TV anti-hero as any of the guys you’d find on AMC or HBO. Lancashire is well matched by a supporting cast that includes Siobhan Finneran (Downton Abbey s sinister O’Brien) as her sister Clare, who is coping with sobriety, and James Norton as the menacing Royce, whom anglophiles might recall swooning over in Grantchester and War and Peace, and who is rumored to be in consideration to replace Daniel Craig as James Bond. It can be dour, nasty stuff, but series creator and writer Sally Wainwright infuses it with just enough heart, humor, and quirk – this is small-town-TV-England after all – to make it utterly bingeable. Happy Valley is another Netflix title that didn t release a new season in 2018, but will in 2019, making now a great time to binge.Where to Watch: Amazon, Google Play, iTunes, Netflix, YouTube, VuduCommitment: 12 hoursPicked by: Joel Meares, Editor-in-ChiefPose 98%What It Is: A look inside the underground ball scene in the 1980s, made famous by the documentary Paris Is Burning, in which competitors from various “houses” walk, dance, and/or perform in drag to win big trophies and bigger boosts social stature.Why You Should Watch It: That Pose is genuinely groundbreaking – it features a largely transgender cast, many of whom have not acted professionally before – was reason enough for many to tune in when the Ryan Murphy series premiered on FX in 2018. That it was genuinely thrilling, romantic, and ultimately moving was the reason most stayed on for all 10 episodes. Murphy’s series plays out like Fame at times, and like an episode of Drag Race at others. Which is to say there is as much new-to-New-York excitable pluckiness as there is shade being thrown around. The ball scenes are dynamically staged, with outrageous costumes (the pilot’s royalty-themed ball is a particular treat), and dangerous levels of fierceness. But what makes Pose something special are its softer moments, away from all that voguing. Moments like when Elektra, played by Dominque Jackson, who was a genuine house “mother” during the 1980s, grapples frankly with whether to undergo sexual reassignment surgery. Or when Billy Porter’s Pray, who hosts the ball nights, keeps bedside vigil for his ailing lover. Porter, nominated for a Golden Globe this year, is a series standout, along with Indya Moore, whose complex relationship with married boy from the ’burbs Stan (Evan Peters) will break your heart.Where to Watch: Amazon, Fandango Now, FX+, Google Play, iTunes, Vudu, YouTubeCommitment: 10 hoursPicked by: Meares
5. HD 画质与高品质音讯
Identity was a major theme in the Nov. 30 episode of Titans, Donna Troy. Kory (Anna Diop) was trying to recover her memory, Gar (Ryan Potter) was reconciling what it means to become a tiger, Rachel (Teagan Croft) was finally getting some time to know her mother, Angela (Rachel Nichols), and Dick Grayson (Brenton Thwaites) was facing his own shattered identity after a recent run-in with the new Robin (Curran Walters) and the terror he experienced at the Organization’s asylum. Who better to talk to about these issues than the former Wonder Girl and Dick s oldest friend, Donna Troy, a comic book character defined as much by the constant revisions made to her identity as her constant presence in the Teen Titans line of comic books?On the show, Donna seems to be a rock-solid ex-superhero sidekick, but her history in the comics is not exactly set in stone. Rotten Tomatoes spoke with Conor Leslie, the world’s first live-action Donna Troy, about her comic book counterpart s crazy past and just who the character is in the world of Titans.Who Is Wonder Girl?(Photo by DC Universe)The concept of Wonder Girl predates Donna Troy. In 1958’s Wonder Woman #105, Wonder Girl was introduced as a younger version of Diana for a flashback tale. By 1961, Wonder Woman comics featured stories in which the grown up Diana, Wonder Girl, and even a Wonder Tot appeared simultaneously in an attempt to give Wonder Woman more of a domestic home life — even if her family was composed of these younger versions of herself and her mother Hippolyta.This original intention changed as writer Bob Haney began to treat Wonder Girl as a separate character and included her as a founding member of the Teen Titans in 1965’s The Brave and the Bold #60. The Diana version of Wonder Girl made one last appearance that same year in Wonder Woman #158, where she and Wonder Tot were seemingly “killed” by Wonder Woman editor Robert Kanigher.Wonder Girl transferred into the Teen Titans cast, but her name and new origin remained a mystery until 1969’s Teen Titans #22, when writer Marv Wolfman gave Wonder Girl the name “Donna Troy” and a backstory: She was an orphan Diana rescued from a burning building and took to Themyscira to be raised as an Amazon. The group of warrior women later gave her abilities similar to Wonder Woman via a fanciful bit of science-fiction convenience.But because the Wonder Girl character is older than Donna Troy, the character’s origins, powers, and motivations have always been malleable. Those changes are a major point Leslie noted while researching her new TV character.“As soon as I [started reading], I got overwhelmed because her backstory changes so dramatically,” she told Rotten Tomatoes. “I paused early on and talked to [producer and showrunner] Greg Walker to see where he and Geoff Johns wanted to go with all of this. If I had continued to fill my head with more information, it would’ve made my mind implode.”The 1987 revision of Wonder Woman s origin turned Donna into an active character that existed before Wonder Woman debuted in the new history, ushering in a revolving door of concepts to explain how there was a Wonder Girl before a Wonder Woman. For a time, she was a duplicate of Diana created as a playmate who was later kidnapped and placed in suspended animation, an incomplete fusion of other Donna
A collection of muted victories is the best way to describe the box office over the Presidents’ Day weekend. Alita: Battle Angel might have won the top spot, but a surprising showing for Rebel Wilson rom-com Isn’t It Romantic? could be a victory in and of itself. Queen of the Crop: Alita Wins The Battle, But Could Lose The War (Photo by 20th Century Fox)The Robert Rodriguez/James Cameron collaboration Alita: Battle Angel (59% on the Tomatometer) had been gestating since the early 2000s and was in post-production for nearly two years before its release this weekend. Alita’s .3 million is good enough for 12th all-time over Presidents’ Day weekend, but with its Valentine’s Day opening it stands at million.The film wisely avoided the battle against Aquaman and Mary Poppins Returns over the end-of-2018 holiday, though a meager start is not going to calm the waters in the spending department. Clocking in at a reported 0 million budget (not counting distribution costs) means that eyes will be focused on its international output, where it currently stands with an additional million.That’s not a terrible start if its goal was 0 million domestic. It has already surpassed the final grosses of 2017’s Ghost in the Shell (.5 million) and Valerian and the City of a Thousand Planets. It would take 2.7 million for Alita to be Rodriguez’s highest-grossing film ever, but it could be at the cost of being his most expensive flop to date as well. Rotten Returns: Happy Death Day Sequel Well Behind Original’s Numbers (Photo by Universal Pictures)Coming in at a shocking low this weekend was Happy Death Day 2U. Blumhouse’s sequel to its million 2017 hit made just million over the four-day weekend, and .7 million since its opening on Wednesday. That is considerably less than the original’s three-day opening weekend of million. Critics were still generally on board with the franchise, as it stands at 67% on the Tomatometer (down from 71% the first time around) and the notoriously cost-efficient Blumhouse is not going to lose too much sleep even after ballooning the budget from .7 million to a whopping million. However, expectations ranging from -30 million for 2U’s first six days amounts to a bummer. The Top Ten And Beyond: Glass Reaches 0 Million, But The Upside Gains (Photo by Universal Pictures)The other new wide release of the week, Isn’t It Romantic?, has managed .8 million since its opening on Valentine’s Day. That’s nearly halfway to the total of star Rebel Wilson’s 2016 rom-com How To Be Single, which finished with .8 million after opening two days before the card-and-flowers holiday. Still, Isn’t It Romantic’s million production is going to need some help to turn a profit for Warner Bros.The studio’s Lego Movie 2: The Second Part grossed .3 million over the four-day weekend. Of films to open between -35 million, its three-day weekend of .2 million was less than Identity Thief, Ransom, and Lethal Weapon 4 — all R-rated films. Those three made between million and million after ten days, while Lego 2 sat at .6 million. The good news is that the animated sequel is not far behind the 0-137 million grosses of that adult fare, but it is still significantly less than both the original film and The Lego Batman Movie.It took 28 days, but M. Night Shyamalan’s Glass finally passed the 0 million mark — on Valentine’s Day. It will soon be joined by The Upside, the first big surprise hit of 2019, which could hit the benchmark by the end of next weekend. For the fifth straight weekend the Kevin Hart/Bryan Cranston remake has dropped less than 30 percent from the previous week, and that’s even with the film dropping 591 theaters this weekend. It’s a feat that Oscar nominee Green Book has pulled off for the ninth straight weekend, with that film’s total box office haul now standing at more than million. Meanwhile, Paramount’s What Men Want is in a position where million would be the lowball for its final gross. This Time Last Year: Black Panther Began Its Run At History (Photo by © Marvel Studios)Black Panther had the fifth-highest opening weekend of all time, with 2 million over the Presidents’ Day weekend. Including the Monday holiday, the Oscar-nominated comic book movie posted a grand total of 2.1 million and was well on its way to becoming the third-highest-grossing domestic title ever. On the lower end that weekend, Aardman Animation suffered a dud with Early Man making just .19 million. PureFlix’s biblical effort, Samson, did not have much strength either with just a .9 million start, but The Greatest Showman continued to flex its muscles by crossing the 0 million mark. Thanks to Ryan Coogler and Marvel the Top Ten films grossed 7.3 million over the weekend and more than 3 million during the four-day holiday. The films averaged 55.2% on the Tomatometer. This year’s Top Ten grossed 5.1 Million over the three-day weekend, 7 million over the four-day, and averaged 60.1% on the Tomatometer. On the Vine: Training Dragons and Wrestlers (Photo by Universal Pictures)Nearly nine years after the How to Train Your Dragon trilogy began, audiences get to see the story’s conclusion with How To Train Your Dragon: The Hidden World. Expect it to top the box office next weekend and add to an international total that currently sits at million. The first two films have grossed a worldwide total of .116 billion. Also expanding into wide release is Stephen Merchant’s Fighting with My Family, the story of WWE’s Paige that stars Florence Pugh. The film opened in just four theaters this weekend to 1,625, giving it the highest per-screen-average of the week (.906). Dwayne Johnson produced the film and has a two-scene cameo in the comedy/drama that stands at 88% on the Tomatometer after its “surprise screening” at Sundance in January.The Full Top 10: February 15-18Alita: Battle Angel (2019) 61% – .3 million ( million total)The LEGO Movie 2: The Second Part (2019) 84% – .3 million (.8 million total)Isn't It Romantic (2019) 70% – .6 million (.8 million total)What Men Want (2019) 41% – .3 million (.6 million total)Happy Death Day 2U (2019) 71% – million (.7 million total)Cold Pursuit (2019) 68% – million (.1 million total)The Upside (2017) 43% – .5 million (.1 million total)Glass (2019) 36% – .6 million (5.2 million total)The Prodigy (2019) 43% – .6 million (.5 million total)Green Book (2018) 77% – .5 million (.4 million total)
RT: This movie is pretty widely known as one of those projects most people thought would never be completed. How does it feel, now that it s finally done?Gilliam: Well, it s out of my life. I got rid of it. It was like a disease. That really is what it feels like. I m relieved that I like the film. That s what pleases me. It s nice that a few other people, or maybe a lot of people that depends like it as well, because the horrible thing about carrying it around that long was the growing fear that whatever I did would disappoint people, because if they had been waiting 20 years, their imagination is going to have plenty of time to grow. I just knew I m going to disappoint a lot of people. That was terrible. Luckily, I ve read a couple of reviews that proved that I was right. I disappointed. [laughs]That is just cheating. I think people who went to see the film should forget that it took 30 years to get made, because it s just a film that I finally got out. The film, the final film that s made, is a result of a couple years of work, and that s it. All the stuff that precedes that is kind of meaningless, to be quite honest. Once you ve finally got the cash, you can go off and shoot it, and then you survive shooting outside for almost the entire film without nature destroying you. It is what it is.For me, Quixote has never been one idea, one script that I had 30 years ago that I ve clung onto. It s constantly grown and changed and shifted, depending on circumstances and who s involved. That s what filmmaking is about. I m in no way a purist about anything. It s just something I managed to get done in the last couple of years, and I m really pleased with it.RT: Despite the hardships you endured bringing it to the screen, you must have been so excited to finally be shooting the thing. Am I completely off base about that?Gilliam: Completely. [laughs] The first couple weeks were horrible because this weight of expectations was killing me. It really limited what I was doing. I really was struggling to decide this, that, or the other thing. Luckily, after a couple of weeks, you re just in the rhythm of things. You re just dealing with a disaster that just occurred 10 minutes before, so you forget about all of that, but I just knew it s going to disappoint a lot of people. Whatever they thought it was going to be, it isn t. It is what it is, is all it is.All I know is, I think we ended up with a bit of script that we had way back when. We ended up with the best cast imaginable. It was the thing that actually carried me through most of the shoot, that whatever I felt my failings were, I just felt the cast is so brilliant that whatever happens, that will pull the audience through. I still feel that. I think Adam and Jonathan are spectacular, and Stella and Olga and Joanna and Jordi Mollà every one of them is crackers. It s just great.RT: I have to imagine that, throughout the process if filming this, part of you had to be wondering, OK, what s going to go wrong this time? When is this all going to fall apart? Gilliam: That is the constant fear, because I know I m getting away with murder. How much longer can I pull this off? Actually, here s the funny thing that happened. The weather was good for us, because we were outside. We were exposed the whole time. We didn t have weather cover most of the weeks, actually. We were right on the edge the whole time, and the weather held until we got to it, the biggest scene in the whole thing, which is at the end with the burning of Santa Cathartica, and the castle with all of those extras there was 350, all in costumes I mean, the most expensive part of the film, and of course, that night it rained. [laughs] We had to postpone, and we lost a day. But I thought, Nature has got a sense of humor, is all I know. It suckered me in, thinking it s going to be OK. Wait until you get the most difficult, expensive part, and now f k you, Gilliam. RT: When did you first realize this film was becoming your own personal windmill giant?Gilliam: I don t know. It must have been after 2000 when it all collapsed. I went off and did something else, and then it was more about the fact that Quixote wouldn t leave me. It was like every time I d finish another film, I would pause, and there would be that old fart waving, saying, Come on. Let s get to work. That s what happened. At a certain point, you ve expended so many years, and it just feels you ve got to finish it. Luckily, I had Orson Welles up there as my competitor, and I thought, He couldn t finish his, and I m going to f king finish mine. [laughs] I had to be better than him at one thing. Maybe my film was a fraction as good as his was going to be, but it doesn t matter. I beat him on one thing.No, it s a very funny thing. Tony Grisoni, we were talking about this, because we knew the comparison between Gilliam and Quixote would keep coming up. He said, Really? His feeling is the film is Quixote; Gilliam is Sancho Panza. I m the guy who kept plodding along to keep the lunacy alive somehow. I tend to think there is that, because by the time we re doing it, I m no longer a dreamer at all. I m not fantasizing about anything. I m just dealing with reality, and it s been like that for the last probably 10 years. That s what it s become.RT: I think it s probably easy for anyone who s familiar with your work to see why you might have been drawn to the story of Don Quixote, but my understanding is that you read the novel, I think, sometime around 1989, and then immediately wanted to turn it into a film. If that s true, what was it about the book that spoke to you so powerfully that you just felt that intense need to adapt it?Gilliam: It was actually slightly backward from that. I think I had finished Munchausen, and what am I going to do next? Quixote has always been in the zeitgeist there s Quixote, one of the great iconic figures, and I ve always been partial to madmen and fantasists. I literally just called up Jake Edwards, who was the executive producer of Munchausen and said, Jake, I got to two names for you. One is Gilliam, and the other is Quixote. I need million. He says, You got it. It was as simple as that. I had the guarantee of million before I read the book.Then I sat down and read it, and several weeks later, I realized, What the f k have I done? This is crazy. I don t know how to even begin here because it s such a massive work. But I started working with Charles McKeown, who had written Munchausen with me, and we started throwing it around. It was a very different idea back then. It was really basically about several old men sitting around in a plaza in some little village in Spain, and all they were saying to each other, If only I had done this here. If only I hadn t done that. It was the if only story, and one of them says, I ve had enough of this stuff. I m going to die soon, so before I die, I m going to go and do whatever it is if only, that we ll throw the if only out of the equation. That s how we started writing it. That s where it started.But then I realized the problem was going to be, how do you convince a modern audience that a guy from the 17th century is completely enthralled with stories from the 12th century? Because your period costumes, a modern audience wouldn t be able to distinguish between the two. That then led to the next step, which was, let s have a modern guy who becomes the Sancho Panza, the man who we can all identify with, who takes us through. Then I went into Connecticut Yankee in King Arthur s Court. End of story, bonk on the head, you end up in the 17th century. That s where we were with the Johnny Depp/Jean Rochefort version. I don t know how many years ago we made the leap to keep it modern, because that would be cheaper. Planes could fly over, and they wouldn t f k up the film for us. [laughs]Then it was this idea that we see what he was like before he d become a cynical, corrupted commercials director, when he was young and innocent, and he made a film, as we do in the movie. That seems to be a much more interesting way of approaching it, and then it also made the character of Toby more tied in with a sense of guilt, because he s created this monster in Quixote, and so they re trapped together. That helped. All of these things started developing.It was always just this balance game of trying to keep it fresh and be true to the heart of the book, the essence of the book. We d pick bits that we liked from the original stories and use them, and yet we weren t trapped in that. We didn t have to ever become pedantic about it. It freed us up, because you spend your time always trying to escape from those great authors, whether it s Hunter Thompson or Cervantes. It all was quite step by step. It makes sense when I look back on it. At the time, we were just trying to keep it fresh in our own minds and trying to solve enough problems.RT: You ve said that the way the narrative shifted over the years, it came to be about the way movies can damage people, and I m wondering if that was directly influenced at all by what you went through, trying to get the movie made.Gilliam: No, it wasn t. What it was about was our experience making Holy Grail in Scotland. Because we had come up to Scotland, and we were working in this little village called Doune, where they had a castle and all. We really f ked up a lot of people s lives, because girls trailed the crew back to London, marriages broke up, all sorts of things happened as a result of a film crew coming to a small village. So that s what was in my mind, not my own experiences necessarily.It was also the other idea of what films do, is that films replace those books that Quixote was reading, which were about knights and heroics and maidens and blah, blah, blah. That s what movies do now. I find I don t know how X-Men or Avengers are affecting young people s lives. Do they believe any of it? Do they want to be like that? I don t know.RT: This isn t the only film project of yours that ran into problems during the development process. What made you stick with this one more so than any of the others?Gilliam: Well, it was probably Orson Welles again. It s the idea that even Orson Welles couldn t finish his. [laughs] But I feel a bit more responsible when I take on a great book that somebody else has written, and I feel, Is there a way I can actually bring this to life again for a modern audience? I want to encourage people to read. When I think about Munchausen, it was the book. Fear and Loathing, it was the book. It s really what triggers me a lot, taking on something that I think is important, make a film about it, and maybe it ll lure a few people back to actually look at the original material to see what it does to them.RT: Does The Man Who Killed Don Quixote hold any sort of special significance to you?Gilliam: I don t think so, no. Now that I ve managed to pull it off, that seems to be enough. It s still too close to me, as well, because always the last film is your favorite film. It always works that way with me, and I can t wait to see it in theaters to see what I really think about it. But it really is like that. I don t watch my films because I really want to get to the point that I ve forgotten what they are or what happens, so I can be like a normal audience and judge them as somebody who knows nothing. I m waiting for that moment on Quixote. I m still too busy. My problem with Quixote is I have become that character in the scene where Jonathan is in the back of the truck with the dirty sheet, and the film is playing again and again and obviously having to retell the tale. That s what I ve become. You have to be very careful of what you write.The Man Who Killed Don Quixote opens for a one-night Fathom Event on April 10.
HBO)The Night King flies in on a high pressure storm front and, with a wave of his hand, commands his followers to create wight bridges over the trench fires, so that the others can climb over them. The zombies crawl up and over the walls World War Z style.Arya fighting on the wall is awe-inspiring and strikes Ser Davos silent. It also prompts The Hound to get his ass in gear to save her.7. “Not Today”(Photo by Helen Sloan/HBO)Arya plays a deadly game of hide-and-seek with the wights who have made it inside Winterfell.There are too many of them. So now we know what was obscured in the darkness of the trailer: dozens of wights chasing our petite hero.When Beric and The Hound later come to her rescue, it’s almost as if Arya had given up. She stares almost helplessly when wights attack Beric, which is very unlike her. The trio retreats to a room where Melisandre has been hiding/waiting for them, and Beric dies.“What do we say to the god of death?” Melisandre asks Arya, which immediately summons the ghost of Syrio Forel (not literally).Arya: “Not today.”(Photo by HBO)8. Dragon Fight!(Photo by HBO)The dragons in the moonlight above the storm clouds is a beautiful image – this-dragon-moment-is-brought-to-you-by-Hallmark beautiful. But the scene later turns deadly as Jon and Rhaegal lock together in dragon battle against the Night King and wight dragon Viserion, who tears at his brother’s flesh and snaps his jaws at snack-sized Jon on Rhaegal’s back. The Night King tries to be smooth and grabs for his ice spear, but falls off (not to his death, of course – because that would be too easy).The scene of Winterfell from the air at this point, by the way, looks like a nighttime Burning Man riot: a circle of fire and waves of bodies flowing this way and that.Rhaegal goes down and Jon tumbles off. Daenerys tries dragonfire on the Night King on the ground, but he does not burn (like a Targaryen). She retreats when he aims a spear her way, but Jon pursues him on foot with Longclaw. The Night King raises a new army from the freshly dead, including those inside Winterfell – including, they make a point to show, Lyanna, Qhono, and Edd. Was that Podrick standing behind the Night King before he pimp-walked away? OMG, where’s Podrick?Wights, meanwhile, swarm Drogon, and Daenerys falls off.9. Tales from the Crypt(Photo by Helen Sloan/HBO)Tyrion laments that he’s not out there. Sansa says he’d be dead. Then he suggests they should’ve stayed married. She rightly notes his divided loyalties (aka “You loooove her, you want to marry her…”) for Daenerys.The dead rise in the crypt of Winterfell even (thanks for the heads-up, Jared Harris), and dusty, ancient Starks start tearing at people.Next time, maybe freeze them in carbonite?10. Theon and Jorah(Photo by Helen Sloan/HBO)The Night King swaggers into the godswood with his court. Bran: “Theon, you’re a good man. Thank you.” Theon charges the Night King and gets a spear thrust into his side.Elsewhere, when a wight wave threatens to overcome Daenerys, Ser Jorah puts himself between them and her and is mortally (maybe, probably) wounded protecting her. He leans on Heartsbane in his final stand.11. “Arya Stark” Becomes a Verb(Photo by HBO)Holy sh ! Arya killed the Night King. She takes a flying leap and, despite being caught by the throat, still manages to thrust that ancient Valyrian-steel dagger into his belly. (To Arya Stark someone will forever refer to that move.) He explodes, his court explodes, Viserion (who Jon has been dodging all this time) collapses to the ground in a pile of loose bones and ragged flesh, as do all of the other wights.(We heard echos of Jon’s voice: “How did you sneak up on me?”)(Photo by Helen Sloan/HBO)There’s a roll call of who’s still alive: Arya, Bran, Daenerys, Jorah (until he s not), Drogon, Jon, Tormund, Gendry, Grey Worm, Brienne, Jaime, Podrick, Tyrion, Sansa, Varys, his new little crypt birds, Missandei, Gilly and Little Sam (did anyone see Samwell Tarly in the roll call?), The Hound, Melisandre (until she isn’t), and Ser Davos. Where s Ghost!? Did Rhaegal survive?I hit “replay.”What was your favorite moment of the episode? Tell us in the comments!Game of Thrones airs Sundays at 9 p.m. on HBO. Walking on Water (2018) : Bulgarian director Andrey Paounov s documentary about environmental artist Christo s attempts to complete his first major project after the death of his wife and long-time collaborator Jeanne-Claude: “The Floating Piers,” a floating yellow walkway on Italy s Lake Iseo. It’s Certified Fresh with a score of 100% on the Tomatometer. The Souvenir (2019) : Writer-director Joanna Hogg’s #MeToo-relevant story about a film student who finds her voice as an artist while embarking on an emotionally fraught relationship with an older man is 93% Fresh. All Creatures Here Below (2018) : David Dastmalchian and Karen Gillan star as impoverished Angelenos whose criminal act sends them on the lam. It’s at 86% on the Tomatometer. We Have Always Lived in the Castle (2018) : Taissa Farmiga stars as a young woman who is one of her few family members to survive an arsenic poisoning. She’s making do – until her controlling cousin Charlie (Sebastian Stan) arrives. Based on the Shirley Jackson novel, this film is 86% Fresh on the Tomatometer. Photograph (2019) : The Lunchbox’s Ritesh Batra directs this romance about a shy street photographer in Mumbai who asks a woman to pose as his fiancée in an effort to appease his grandmother. Amaurosis (2017) : In the Hands of the Gods’ Gary Sinyor writes and directs this mystery drama about a couple grieving the loss of their son. Trial by Fire (2018) : Jack O’Connell and Laura Dern star in director Edward Zwick’s adaptation of the true story of a death row inmate and the woman who fought to get him free. Aniara (2018) : This sci-fi fantasy film about humans who don’t cope well when they leave Earth for a resettlement on Mars falls mostly flat with a 47% Tomatometer score. Perfect (2018) : Steven Soderbergh executive produces this film about a troubled man who gets reprogrammed to help with his dark thoughts. Things don’t go as planned for the characters or for the film itself, which is at 29% currently. The Professor (2018) : Johnny Depp plays a college professor who lets loose when he finds out he has six months to live in this dark comedy. Critics give the film a failing grade of 0%.
With the imminent arrival of Star Wars: The Rise of Skywalker, the film series main narrative will come to a close. But the story will live on not just in the inevitable spinoff material, but in the memories of audiences affected by the films fantastical adventures, visuals, key lines, and ideas. Some of these moments are deeply ingrained in the culture, reshaping the very language, while others earned their power from infamy (oh, hey there, Jar-Jar) or, like Willrow Hood s escape from Cloud City, needed time and the Internet to acquire their status. But which moments rank supreme? We ve considered the eight Skywalker Saga films thus far and the two Star Wars Story films for a comprehensive look at the moments we expect to stand the test of time and end up as the best of Star Wars for decades to come.38. Yoda vs. Count Dooku – Attack of the Clones(Photo by 20th Century Fox Film Corp.)While co-opted for an unfortunate “Yo da man!” ad campaign for Attack of the Clones’ home video release, this fight was a genuinely unexpected thing when the film premiered, and an inkling of what might be possible for Yoda (Frank Oz) in Episode III. He takes on a Sith apprentice nearly three times his size by transforming into a lightsaber-wielding whirling dervish. It’s a strange scene, but also a demonstration of the Jedi master’s power in his prime.37. The Destruction of Jedha City – Rogue One: A Star Wars StoryThis is a moment built on the quality of the filmmaking. The composition of shots, editing, and music tell the tale of the Death Star s test-fire in a way far more sophisticated and affecting than one might guess from the previous scenes in the film. Even simple ideas like depicting the space station upside down gives it a unique and oddly contemplative mood just before the weapon fires and utterly annihilates the city below. The feeling quickly switches to dread as the film s heroes race to escape the wave of destruction.36. Rey Flies The Falcon Off Jakku – The Force AwakensIf The Force Awakens is a film about fans taking control of the Star Wars toy chest, then this scene is a visual representation of that transition of authority. Finding the Millennium Falcon in a junkyard, flying it through the carcass of a Star Destroyer, and defending it from TIE Fighters all feels like a fantasy a fan would’ve had in 1983 immediately upon exiting Return of the Jedi. It’s the kind of fan-film energy we can definitely appreciate.35. The Train Heist – Solo: A Star Wars Story(Photo by Walt Disney Studios)Unique in the live-action Star Wars canon, the train heist from Solo: A Star Wars Story should be its opening moments. From the notion of the gravity-defying fuel transports to Beckett’s (Woody Harrelson) plan, to all the ways it goes wrong, it feels like a proper introduction to these characters (even Thandie Newton s doomed Val). It also feels like such a natural part of Star Wars that we wonder how it went so long without a high-speed heist scene like this.34. “That’s Not How The Force Works!” – The Force AwakensHan’s (Harrison Ford) indignant response to Finn’s (John Boyega) wishful thinking is a refrain nearly every Star Wars fan has heard during some heated late-night discussion. While funny, it also reveals just how far Han himself has come since dismissing the way of the Jedi as a “hokey religion.” It’s a fact of life for him, but it’s not as magical to him as some would like to believe. His viewpoint has that lived-in quality the films always strive to find.33. Poe Takes On The First Order Fleet – The Last JediSome may find Poe Dameron’s (Oscar Isaac) radio chatter with General Hux (Domhnall Gleeson) a little too modern, but his actual assault on the First Order fleet is the sort of space warfare computer effects were created to deliver. There are good explosions, a spirited defense of the planet below, and even some emotion, thanks to Paige Tico’s (Veronica Ngo) sacrifice. Sure, the whole thing is a tragic waste of the Resistance’s limited resources in the end, but it’s a great way to open a Star Wars film.32. Lapti Nek (The Original Song In Jabba’s Palace) – Return of the Jedi(Photo by 20th Century Fox Film Corp.)Star Wars has yet to pull off a truly successful musical sequence unless you count The Star Wars Holiday Special s Goodnight, But Not Goodbye but “Lapti Nek” from the 1983 version of Return of the Jedi comes pretty close. Performed on screen by the surprisingly cuddly but mostly immobile Max Rebo Band, its hilarious 1980s vibe (“Lapti Nek” means “Work It Out” in Huttese) has aged better than the replacement “Jedi Rocks” from the