Zack Snyder confesses that he’d still be working on Zack Snyder’s Justice League if HBO Max’s release date didn’t put a hard deadline on the project – he’s a perfectionist! – but when he did finally put “pens down” on the film and characters that have been with him for so many years, it was a moment of catharsis. (And a time to open a few bottles of wine.) In an extended interview with Rotten Tomatoes Editor-in-Chief Joel Meares, Snyder went deep on his journey to Zack Snyder’s Justice League, recalling the most moving moments of the #ReleaseTheSnyderCut campaign, why it was so important to put Ray Fisher’s Cyborg at the center of his story, the joy writing and directing Jared Leto and Ben Affleck for a new Joker/Batman scene, and what he wants the world to know about the passionate DC and Snyder fans who made the #SnyderCut a reality.Watch the interview above and read it below.(Photo by HBO Max)Joel Meares for Rotten Tomatoes: You ve been with this project for so long, in so many different ways, and with these characters for even longer than that. And I m wondering, with that in mind, what was the “pens down” moment where you were like, Okay, this is it. This is the finished product. And how did you feel in that moment?Zack Snyder: We all had a glass of wine and toasted each other, the whole group – Debbie and I, and my visual effects team and my editorial team. I called a bunch of my friends who have worked on it, and we all just kind of had this cathartic moment where we said, Okay, it s done. It was funny because it was kind of a schedule [thing] – the schedule made it happen, thank God. If the pandemic… or if this movie was due to release in another month or two, we d still be working on it, I m sure. Thank God because they put us up against the clock; it was cool, it was a nice way to stop.Rotten Tomatoes: So you were tempted to keep going and tinkering?Snyder: Oh my god. I don t think we ever would ve stopped if we [didn’t have that deadline].(Photo by HBO Max)Rotten Tomatoes: I want to take you back to another moment – when you got the call from Toby Emmerich and the studio said, It s a go. We re going to do this. Can you talk a little bit about that call and what the feeling was to know that it was finally going to happen?Snyder: There was an initial call that said, Do you want to release the movie right off of your laptop, just as it is? I was like, Yeah, I don t think I want to do that. That doesn t really seem like it s going to be good for anybody. And then I said, Hey, let me just come into the studio and tell you what I would do. I went in and I just told them about the scope and scale and what I thought I could achieve. And then they all came over to the house and watched the movie that I had, down in my theater. And they were like, Okay, let s do it. First of all, it was a huge undertaking – it was a moment of dread and a moment of adulation. We had definitely reached a kind of cathartic tipping point where we felt like healing could start for all of us.(Photo by HBO Max)Rotten Tomatoes: “Scope and scale” – it s huge. What was it like to paint on this size of canvas and with this length to give the room to tell these stories as fully as you wanted to, and have – I don t know about complete artistic freedom – but to really stretch that muscle?Snyder: I mean, not to say we didn t have any oversight – we had the budget, we had these other things, constraints of COVID, there s a lot of things that did kind of keep us in the box, thank God. But as far as just me doing what I thought was cool, it s a hundred percent that. This is the cut that I completed in January of 2017 – give or take a little bit of squishing, but essentially that s it. So, to come back to it and sort of re-experience it was also quite a sort of reunion, if you will. And to see how it was going to – with all the visual facts and the design and everything – really be realized.(Photo by HBO Max)Rotten Tomatoes: You’ve said that Cyborg is really the heart of the movie, and you do absolutely get that sense watching it – to the extent that the title lands on this beautiful shot of Ray. And you get so much of this story about this man. Why was it important for you to really center Ray s character, Victor, in your story?Snyder: Chris Terrio and I, we had long conversations about it when we were getting ready to write the script for Justice League. When we were banging out the story, we felt like Cyborg as a character was really the one we wanted to focus on. We felt like he s an incredible character in the DC universe, he s an important character in the DC universe, and he just really needed his story told in a way that – in context of these other Gods – that established him in that pantheon. And that was really a thing we just, we really focused on from the beginning, and then it s really fun to see it realized because Ray does an incredible job.Rotten Tomatoes: Have you spoken to Ray and the others? I assume some of them have seen the film in its complete form – what s the reaction been like to seeing this vision?Snyder: Ray hasn t seen it yet, he s seeing it hopefully the next couple of days. But yeah, they ve been really supportive and incredibly enthusiastic about the film and about me being able to get it finished.(Photo by HBO Max)Rotten Tomatoes: So, we wouldn t be here without the fans and the huge campaign that brought us to this point. There are so many amazing stories of what happened during that campaign, and I m wondering, is there a moment, an interaction – I don t know if it s the retweets or it s the billboard or what it is – that really stands out to you as the thing that you ll take with you from this #ReleaseTheSnyderCut campaign?Snyder: Yeah. So many memories really, to be honest. I remember when there was the Comic-Con bus stops, that kind of started it. And then there was that big, gigantic billboard in Times Square. I think that made me really start to go, Wow, I don t know what these guys are up to, but this is legitimate caring. And whether it be the airplanes flying around Warner Bros. towing banners, or the million fruit baskets delivered to Ann Sarnoff when she became president of Warner – I think it was a combination of all those things really.But I really think in the end, it s just how supportive they ve been of the American Foundation for Suicide Prevention and mental health awareness. Really that is the jewel in the crown of what they ve accomplished. For me, it s better than any movie – the persistent campaign that these guys have mounted in regard to suicide prevention and mental health awareness. That s really it. I mean, they ve saved lives with their campaign and that s the bottom line. It’s fun to make a movie, but that s really cool stuff.(Photo by HBO Max)Rotten Tomatoes: Yeah. And that probably bleeds into what I assume you might say about the next question. But a lot of the discourse around fandom does, recently at least, tend to focus on “toxic” or negative fandom. And I m talking to you from Rotten Tomatoes, and we are part of the story in some ways – some fans don t like the scores on some of the films, etc. But for those who only focus on the negative side of fandom, what do you want people to know about fans of DC and fans of yours and what they ve been doing?Snyder: Listen, I think the fans… and, of course, you can t throw a blanket over the entire thing because this is a bunch of individuals. These people aren t professionals they re not paid to do anything they re just fans of the movies and, in my case, they just want the movie out there that I had designed and created originally. Then, along the way, they got involved in my cause for whatever reason; they had some sort of empathy or they had an experience themselves. And it s a combination of those things that I think has made the fans, this community that I interact with, what they are.Are there occasions of fandom where it gets out of control? Absolutely. We all know that. But the reality is that these fans used their voices to change the course of a giant corporation and to basically get a movie released that [might never have been released]. Someone would say, Oh, are you ever going to make a sequel? I m like, Well, there s no plan and Warner Bros. really has no interest in making a sequel with me. But is it more likely that a sequel to this movie would have been made than what happened? And the answer to that is yes. It just speaks to their actual power and I m proud to be associated with them.(Photo by HBO Max)Rotten Tomatoes: One of the scenes that s going to really impress fans, I think, is one at the end, towards the end… but I don’t know are we allowed to talk about this in context at this point, or…Snyder: I don t know. You tell me.Rotten Tomatoes: Okay, so you bring together two iconic characters. You ve obviously dropped the hints of what s happening. As a fan and as somebody who s worked on this for a long time, what was it like to put them together and write that script and shoot something new for this film?Snyder: The scene was important to me because I felt like, if this is the last gasp of Zack Snyder s DC universe, which is fine –Rotten Tomatoes: It s more than a gasp. It s a booming shout!Snyder: The last “booming shout,” then, fair enough. I really wanted to say, I have a little bit of unfinished business and that is to bring these two characters together. And also I m a fan of, and very excited by, the Knightmare post-Darkseid world and love it. I have always loved the concept and was working my way here as best I could with these movies. It’s always fun to sort of dabble in that world – really fun to get to write and do a little scene setting.(Photo by HBO Max)Rotten Tomatoes: I want to talk to you about director s cuts in general and how important you feel it is for directors in your position to be able to get their vision out into the world. You ve had a few instances where you ve been able to give us alternative cuts and things, and there are rumors of other cuts of DC movies and other movies flying around. For you, who has a fandom that’s really interested in your vision, why is it important they get to see get to see a film as intended?I ve made director’s cuts of almost every movie I ve ever made, except for, I think, Legend of the Guardians: The Owls of Ga’Hoole and Man of Steel. And I would argue that the Sucker Punch director s cut isn t really the full movie – that s the one movie I would say, Oh yeah, there s a cut of that movie that no one s ever seen. But otherwise… Watchmen director s cut, I prefer the BvS Ultimate Edition, which is the director’s cut; I prefer it because I just feel like it s less encumbered by the studio and by the notes and just by the constraints of what they think a movie has to be and its length. “Nobody wants to see a three-hour movie” – I don t agree with that a hundred percent.As far as other filmmakers go and their experience with director s cuts, I can t say exactly. It s personal to me, the way I ve dealt with it, it s a way I kind of justified making changes to the movies that I worked on – it’s knowing that I can always just release a director’s cut and at least these feel like, Okay, well, there s the real movie. (Photo by HBO Max)And I understand the balance between art and commerce – that you do have to strike a balance sometimes. The theatrical cut of Watchmen is based entirely on the maximum running length of film in IMAX. The film could be no longer than two hours and 20 minutes, or it would have fallen off the spool. That s where you see the sort of two things coming together, and you have to accept that if you want the movie that way [in IMAX]. And I did, so I m fine. My point is only that it is a business and so, “What will the market bear?” is a real question.Is it my hope that this movement might generate a little bit more power for some directors that are in a situation where they re not sure if they re going to get their movie completed? That d be great. But this is a very particular situation, I think, in that the breadcrumbs lead directly to a narrative that the fans were able to put together and turn into a rallying cry. It was a perfect storm of all those things. And the charities and their cause and the whole thing has a kind of blended reality that I think would be hard to duplicate. But would I hope that someone benefits from this? Absolutely, that would be great.Rotten Tomatoes: Finally, will you be going to Rotten Tomatoes when the reviews are posted?Snyder: I m only human.Zack Snyder s Justice League is available on HBO Max from Thursday, March 18, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News. 月灵单职业传奇手游这里就可以直接找到哦，免费福利开局就送，散人必备打金传奇，福利满满的高人气传奇玩法，极品装备快速回收，最新模式，最新单职业，还有多个地图等你来冒险哦，新人玩家可以挑战更多的区服哦！
(Photo by ©2021 Disney Enterprises Inc.)Cruella, which opens May 28 in theaters and on Disney+ Premier Access, is Disney’s latest attempt to raid its archives and create a backstory for one of its most notorious villains.But unlike, say, 2014’s Maleficent, which kept the medieval aesthetic as source material Sleeping Beauty, this film explores an era that makes Emma Stone’s eponymous lead narrator stand apart from versions of the black-and-white loving fashionista Cruella de Vil associated with Disney’s 1961 animated film, One Hundred and One Dalmatians, and its 1996 live-action version, 101 Dalmatians.How did they do this? By setting Cruella amid London’s 1970s punk scene.But since the word “Disney” doesn’t naturally conjure images of leather pants, spiked hair, and all the black eyeliner one could find at Boots, we asked the film’s production designer Fiona Crombie, costume designer Jenny Beavan, and hair and makeup designer Nadia Stacey to explain how to do a Mickey Mouse-approved version of punk rock.[Warning: Mild spoilers below.]Born for This Job(Photo by Laurie Sparham/©2021 Disney Enterprises)At the beginning of the film, a tween Cruella – originally known as Estella and played by Tipper Seifert-Cleveland – has a knack for clothing design. She even finds ways to add personality to her school uniform, be it accessorizing it with an oversized hat, bedazzling the blazer, or wearing the necktie as a bow – things that would match the personality of a girl born to get attention thanks to her half white and half black hair.Costume designer Beavan says that these designs weren’t meant to be perfect; Estella is just learning her craft, but it’s meant to be obvious that “she’s creative with clothing.” As Estella gets older and finds a job working for Emma Thompson’s well-regarded fashion designer, Baroness von Hellman, Beavan says the character “slowly hems and refines that look.”A Formidable Flat(Photo by ©2021 Disney Enterprises)Estella spends most of her childhood and young adulthood in a London squat with best friends and fellow con artists Jasper (Joel Fry) and Horace (Paul Walter Hauser). They also have two very cute dogs, neither of which are white with black spots.“There was a time when you had these enormous buildings that are quite derelict that were still the scars of the Second World War; there were big empty sections of now what s known as completely prime real estate,” production designer Fiona Crombie says of London during the film’s period.She says it was important to the story of three kids living without parental supervision that “there s an ingenuity to how they operate… This was their home that they were making; they knew how to survive and operate in this city.”Crombie says director Craig Gillespie also stressed how important it was “that the lair can’t be frightening” and that “it has to be a place that if you were a child, it has wonder.”The group’s squatter’s flat is made from two buildings mashed together after the wall that separates them was broken down. Horace and Jasper live in a more industrial section while Estella lives near the kitchen. Since Gillespie and cinematographer Nicolas Karakatsanis would be filming in what Crombie describes as a “very fluid” motion, she made sure that every inch of the space held something of interest.Her favorite part? “I love the fact that we have a big hole in the ground,” she laughs.Baroness Beauty(Photo by Laurie Sparham/©2021 Disney Enterprises)Hair and makeup artist Naomi Donne handled the designs for Thompson’s cutting, fame-obsessed Baroness von Hellman, developing the look off of hair and makeup designer Nadia Stacey’s inspiration of Elizabeth Taylor in the 1950s. There’s also some subtle white highlights in the Baroness’ hair, which Stacey says are a nod to just how similar she and Cruella are.Vintage Vantages(Photo by Laurie Sparham/©2021 Disney Enterprises)Estella also makes friend with Artie (John McCrea), the owner of an extremely well curated vintage clothing shop. This set was actually a gift shop on Portobello Road in London’s Notting Hill neighborhood, which Crombie and her crew emptied out and repurposed with new wallpaper and painting. They didn’t have to look far to fill the shelves though; they bought a lot of clothes from the real shops that are in the neighborhood.“With Artie’s shop, it was always going to be visually chaotic,” Crombie says, “because you have racks of clothes. And that s the intention: that you feel kind of all these possibility that in that space. It feels very authentic to what’s on that street.”The Scoop on the Ace Reporter(Photo by ©2021 Disney Enterprises)Estella’s former school chum Anita (Kirby Howell-Baptiste) grows up to be a society reporter with exclusive access to a certain up-and-coming designer. Beavan and her team found modern fabric that still gave Anita a ‘70s look and reminds that, back then, more people made their own clothes with patterns and that “we were all much cleverer at making things then.”Production designer Crombie says Anita’s drab, colorless newsroom is one of the few sets where she says “we are nailing this ‘70s vibe” with evenly spaced desks and little artwork on the walls “so that you’ve got this run of uniformity.”Making the Panther De Ville Purr(Photo by Walt Disney Studios)Cruella gets her hands on a Panther De Ville luxury car that’s similar to the one the character drives in the Disney’s live-action 101 Dalmatians. The one in the new movie looks slightly different, as Crombie says they made tweaks to make it better suit her film’s aesthetic. They even altered the plot of the movie to have Cruella and her friends change the color of the car to black because it originally arrived in such a unique tone that they had to make use of it.Although she wasn’t a car person before she worked on Cruella, Crombie says she grew to love this and other vehicles in the movie because “I think they have real wit … [T]hey have real personal personality and presence in the film.”Eye See You(Photo by ©2021 Disney Enterprises)Hair and makeup designer Stacey posted pictures of Siouxsie Sioux around her workspace as inspiration for Stone’s lead, saying now that she liked that the The Banshees lead singer’s “eye makeup had this very distinct, very square eyebrow shape.” However, her goal was to “bring in those punk elements and then blend it out, to soften it to give a beauty edge to it.”Stacey says she also “looked at any of those fashion shows that I feel do something different,” such as the ones by fashion houses Alexander McQueen, Vivienne Westwood, or John Galliano. Her goal, she says, was to “look at all these references from the past because we are a period film but then change it and to mix it up, to add something a bit more fresh and modern to it.”Pucker Up(Photo by Laurie Sparham/©2021 Disney Enterprises)Red is used a lot in Cruella, particularly in the clothing and makeup. However, it’s also a color that is notoriously hard to accurately capture on screen. Stacey says it was a lot of trial and error with MAC products, coupled with the fact that star Emma Stone’s skin can take heavy coloring. (Incidentally, MAC also launched a capsule makeup collection inspired by the looks in Cruella). Stacey says she knew it was essential to get it right because “we did want a kind of killer red.”Seeing Red(Photo by ©2021 Disney Enterprises Inc.)Although Beavan researched this period in fashion to gain inspiration, all of the gowns were bespoke and were not all direct replicas of vintage designs. An example of one that was the red gown Cruella wears to crash the Baroness’ ball, which is rooted in the Charles James Tree dress from the 1950s, famous for its corseted silhouette that’s encircled with winding tulle.(Photo by ©2021 Disney Enterprises)For the film’s take on the Tree dress, dress designer Ian Wallace had the dual task of making one version of the gown that the Baroness would have designed years ago but that, Beavan notes, “would have to have enough fabric to do something Cruella-ish,” because the younger designer reimagines the gown when she crashes the ball.Stacey says she also knew she had to make a statement with this scene because it signals the end of the era of Estella, the orphan and petty thief, to welcome in the not-to-be-deterred (and frequently criminal) mastermind, Cruella. She says she created Cruella’s mask of feathers and jewels to have a beauty element and serve the purpose of hiding her alter ego.Leather Rip(Photo by Laurie Sparham/©2021 Disney Enterprises)As Cruella continues to taunt the Baroness with more elaborate stunts and designs, she also brings in more of the street fashion and counter-culture of the 1970s. In one scene, she crashes a red carpet in leather pants with gold sequins, a fitted motorcycle jacket with pointed shoulder pads and the words “The Future” spray painted over her eyes.“It s the first red-carpet moment and it needed to be a real punch,” Stacey says. “I had the Sex Pistols album cover [Nevermind the Bollocks] on the wall near me, and the font of the writing for the Sex Pistols is the same font that I use on the on The Future, and I just thought maybe I ll just run it across the face but to airbrush it as well, almost like it s been spray painted across their face so it s harsh and graphic.”(Photo by Laurie Sparham/©2021 Disney Enterprises)Beavan says the exaggerated shoulders on the motorcycle jacket were because Cruella “wasn t about doing anything normal” and “by this time, she’s really learned to make [designs] well.”It’s here, Beavan says, that there begins to be a push toward the way costume designer Anthony Powell made the character look when Close played her in 1996’s 101 Dalmatians.Spotted on the Catwalk(Photo by ©2021 Disney Enterprises Inc.)No actual Dalmatians were harmed in the making of Cruella’s dresses – in fact, Beavan didn’t use fur of any kind. But the script did call for the nefarious lead to make her mentor-turned-enemy, the Baroness, worry that she’d murdered her dogs. So Wallace designed a black and white-patterned gown that Beavan’s textile team printed on a velvet-like fabric.“A lot of these things come out of the story; what you need and how it s got to work,” says Beavan. “She’s obviously going to dance in it and it needed movement. And it’s really got to be spectacular and obviously, very clearly Dalmatian, because the Baroness thinks she’s killed her Dalmatians to make it.”Since the Baroness now knows that Cruella and Estella are the same person, Stacey says there was no need to hide her antiheroine behind another mask or face paint. Instead, she says she wanted to return to the “very strong punk elements” of Estella’s original eye makeup look while adding “these silver hues inside that just punch up the light in certain moments.”Not As Simple As Black and White(Photo by ©2021 Disney Enterprises)Using so much black and white can be overbearing from a design perspective because the colors contrast each other. Crombie says the trick is balancing “how dense the color is.”She says filming at the Baroness’ home, Hellman Hall, meant creating a palette that was “quite muted” and where “the level of contrast is softened out … it’s cold, but it’s not stark. So then everything can sit on top of that.”Whereas, she says designing the film’s crucial set piece of a black and white ball required “the use of gold [to] sort of diffuse it and stop it from being too stark and hard.”No Joke(r)Ryan FujitaniThe designers know there are Internet pundits comparing Cruella’s designs to that of Batman villains The Joker and Harley Quinn. All enjoy making an entrance, sometimes while wearing white face makeup, dark eye makeup, and a menacing smirk.Stacey understands why there are the comparisons, but says those characters never came up in her research.“The whole thing about punk is that it s just such a mismatch of things,” says the hair and makeup designer. “There s no kind of fluidity to it. It s kind of crazy. The references are borrowed from so many different places that I didn t really think that I was ever going to cross into anything too much.”Beavan reminds that Cruella, in one iteration or another, has “always had half and half. You know, I would say The Joker followed Cruella.”Cruella is in theaters and available on Disney+ with Premium Access on May 28, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
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That’s it, free folks: “The Iron Throne” (55% on the Tomatometer as of publication) has closed the book on the Game of Thrones world, and completed the saga of why people with the last name of “Stark” should avoid the South at all costs. In honor of the 73 episodes that have been released since 2011, we decided to do a Tomatometer deep dive into all eight seasons.The following statistics cover all 73 episodes of the series, and are accurate as of noon on Monday, May 20, 2019.SPOILER WARNING! WE LOVE DATA AND WE SPOIL THINGS. This article contains spoilers from the entire series of Game of Thrones.THE TOMATOMETER AVERAGE FOR THE SERIES IS 91%(Photo by Helen Sloan/HBO)The 91% Tomatometer average for the 73 episodes does an excellent job of summarizing the series has a whole. A little more than 5 percent of the episodes have been Rotten — four in total, including season 5 s “Unbowed, Unbent, Unbroken” (54%) and season 8 s The Last of the Starks (episode 4, 58%), “The Bells” (episode 5, 47%), and The Iron Throne (episode 6, 55%). The majority of the show, however, has been brilliantly executed and its given us classic episodes like “Baelor” (season 1, episode 9, 100%), “Blackwater” (season 2, episode 9, 100%), and “The Door” (season 6, episode 5, 98%), which are genuinely thrilling and made us feel so many feels. (We miss you, Hodor.)SEASON 8 IS THE LOWEST-RATED SEASON, BUT IT’S STILL FRESH(Photo by Helen Sloan/HBO)Critics have chilled on the GoT world since season 8 brought winter with it. However, the 69% Tomatometer average for the six episodes is still Fresh. The Fresh average can be attributed to the first two episodes, “Winterfell” (92%) and “A Knight of the Seven Kingdoms” (88%), which kicked things off by reuniting the core characters so they could battle a seemingly unstoppable force of ice zombies. It’s too bad that the Tomatometer scores for “The Long Night” (75%), “The Last of the Starks” (58%), “The Bells” (47%), and “The Iron Throne” (55%) plunged to record low scores.THE FIRST IS THE BEST, ACCORDING TO THE TOMATOMETERForget saving the best for last: GoT kicked off its 10-episode first season with the 100% Tomatometer rated “Winter Is Coming,” and it ended with the 100% rated “Fire and Blood.” Not only was the season bookended by perfect episodes, it had a total of eight 100% episodes that critics lost their heads over (sorry, Ned). Only “Lord Snow” (86%) and “The Wolf and the Lion” (95%) failed to achieve perfection.IT’S WAY HARDER TO HIT 100% NOW(Photo by Helen Sloan/HBO)After season 1 kicked things off with eight 100% episodes, the subsequent seasons have had a hard time matching its Tomatometer dominance. Season 2 had five 100% episodes and season 3 had four, whereas seasons 4, 5, 6, 7, and 8 could only manage six perfectly rated episodes between them. (Watch season 5’s “Hardhome” now. It’s amazing!) In fact, the last episode to receive a 100% Tomatometer score was 2016’s “Book of the Stranger” (season 6, episode 4), which is the highest-rated of all the GoT episodes owing to the massive number of reviews it received compared to the rest of the 100% episodes.THE “ON-BOOK” SEASONS SCORE HIGHER THAN THE “OFF-BOOK” SEASONS(Photo by Helen Sloan/HBO)An explanation for the show’s Tomatometer dip in seasons 6, 7, and 8 can be partly attributed to the show going “off-book.” By the end of season 5, showrunners David Benioff and D.B. Weiss couldn’t rely on writer George R.R. Martin’s A Song of Ice and Fire source material any longer. They forged a new path, and the results were still super Fresh — at first. The 86% Tomatometer average for the episodes featured in seasons 6-8 is very good, but when compared to the 95% average for seasons 1-5 it starts looking like the Dothraki army after battling the Night King.ONLY FOUR EPISODES TOTAL ARE ROTTEN(Photo by Helen Sloan/HBO)With season 8 receiving uncharacteristically low Tomatometer scores, it might be easy to forget how stellar the show has been for 8 seasons. The majority of episodes — 69 of 73, or 94.5 percent — have Fresh scores. As for the four Rotten episodes, the first came in season 5 “Unbowed, Unbent, Unbroken” (54%), featuring the controversial wedding and rape scene between Sansa Stark and Ramsay Bolton. The other three are season 8’s “The Last of the Starks” (58%), “The Bells” (47%), and “The Iron Throne” (57%).CRITICS AREN’T BIG FANS OF DAENERYS AND HER DRAGONS DYING(Photo by Helen Sloan/HBO)Critics loved when Daenerys Targaryen’s three dragons were born during the 100% Tomatometer rated season 1 finale, “Fire and Blood”; however, critics weren’t as hot (pun intended) for the four episodes featuring them getting killed (or killed again). Season 7’s “Beyond the Wall” (84%) and season 8’s “The Long Night” (75%) and “The Last of the Starks” (58%) killed off Rhaegal and Viserion, respectively (twice for Viserion). The series finale, “The Iron Throne” (55%), featured the death of their mother. The result for all four episodes is a 68% Tomatometer average, which is well below the 92% overall Tomatometer score for the 73 episodes.Quick Tomatometer Fact: Episodes featuring a direwolf being killed have a 96.25% Tomatometer average. We still strongly dislike the Freys for killing Grey Wind, though.CRITICS LOVE BIG WEDDINGS, BUT THE LANNISTERS AND STARKS PROBABLY DON’T(Photo by Helen Sloan/HBO)The five GoT episodes featuring very expensive weddings that take place in front of large crowds have 100% Tomatometer scores. Episodes including “The Rains of Castamere” (season 3, episode 9), “The Lion and the Rose” (season 4, episode 2), and “Winter Is Coming” (season 1, episode 1) go BIG with their weddings and occasionally end horribly for beloved (or hated) characters. All of these episodes have 100% scores, and have provided some of the most murderous moments (the Red Wedding), awkward moments (Tyrion and Sansa), and violent moments (Joffrey being poisoned at The Purple Wedding) of the series.Quick Tomatometer Fact: The GoT episodes featuring smaller weddings have an 84% Tomatometer average.LESS DEATH IS BETTER, ACCORDING TO THE TOMATOMETER(Photo by Helen Sloan/HBO)It turns out that more is less when it comes to death in the GoT world. The 53 episodes featuring fewer than 25 people dying have a Tomatometer average of 93.2%, whereas the 19 deadly episodes (more than 25 kills) have an 89.2% average. While several episodes featuring mass mayhem like “Hardhome” (season 5, episode 8), “The Battle of the Bastards” (season 6, episode 9), and “Blackwater”’ (season 2, episode 9) are excellent, they are outweighed by less deadly episodes, such as the No. 2 ranked “Mockingbird” (season 4, episode 7), that don’t relish in killing too many of our favorite (or least favorite) characters.Quick Tomatometer Facts:Episodes featuring night battles (four episodes averaging 91.25%) Episodes featuring daytime battles (seven episodes averaging 85.8%)Episodes featuring shorter battles (six episodes averaging 92%) Episodes featuring episode long battles (five episodes averaging 82.8%)Episodes featuring a Stark being killed (four episodes averaging 95.5%) Episodes featuring a Lannister(s) being killed (six episodes averaging 89.3%)
a woman s breast it feels like a bag of sand?’”“I was producing Anchorman, and Steve Carell was just so insanely funny every day, improvising the craziest, most hilarious stuff ever. I walked up to him one day and I said, ‘It seems like you should be the star of a movie. Do you have any ideas?’ And then a couple of days later he walked up to me and told me a couple of ideas. And the last one was: What if I made a movie where I played a 40-year-old virgin? And he said he had worked on a sketch at Second City, where he played a 40-year-old virgin at a poker game, and everyone was talking about sex and telling dirty stories, and it became very clear that he was making his up. And I think that the pitch he had was, ‘You know how when you touch a woman s breast it feels like a bag of sand?’ And oddly, instantly, I understood what he was talking about, and we started writing a movie together. (Photo by @ Universal)“We would always leave time to shoot the script – but then also to really play.” I ve always been a big fan of improvisation ever since I saw Ben Stiller do it when we did the Ben Stiller Show. I definitely encouraged it when Adam McKay was directing Anchorman. With The Forty-Year-Old Virgin, Steve is such a master at it that whatever scene we were doing we would always leave time to shoot the script but then also to really play. And that s how we did the chest-waxing scene. It basically was an extended improvisation. The Scene: Andy Gets His Chest WaxedOne moment, one line really – “Kelly Clarkson!” – remains the most cherished among a series of wonderful moments in this landmark comedy (though the final musical number, a post-coital “Age of Aquarius,” comes close). In this unique makeover scene, Andy (Carell) gets his chest waxed, and in order to capture the moment in its visceral, wince-inducing glory, Apatow simply let his four cameras roll.“Someone came in and said, ‘I act and I wax!’”“We wanted to do some version of a makeover sequence, but we knew that had been done a ton of times. So we were trying to think of original scenes for a makeover montage. Then one day Steve said, ‘What if you waxed me but you did it for real?’ Now at the time, I thought Steve made it up and had never been waxed, but since then I realized that he had been waxed many times in his life and was pretending that he had never been waxed before. I know that by the shape of his chest hair. But at the time, I thought, wow, what a crazy idea. Who ever gets waxed? So we hired a woman who was a professional chest-waxer to do it in the movie. Someone came in and said, ‘I act and I wax!’”(Photo by @ Universal)“We knew that we had to get Steve s real reactions, so we shot it like a documentary.”“I basically set up four cameras and we had some basic beats we wanted to hit. We knew that we had to get Steve s real reactions, so we shot it like a documentary. We wrote out tons of curses, because we did plan the main joke to be that he would just curse right into her face. And we also made lists of words that weren t real curses that sounded like curses. That s how we got to Steve screaming ‘Kelly Clarkson!’ Off to the side, Seth Rogen had made this enormous list of curses, and I would just yell them out to Steve, and each time they ripped the hair off of something he would scream out one of the curses.”“You re supposed to put Vaseline over the nipples, so you don t accidentally rip them off. Apparently that was a step she forgot about.”“The woman who waxed Steve – she may not have been that good at it. I think you re supposed to put Vaseline over the nipples, so you don t accidentally rip them off. And apparently that was a step she forgot about. He was definitely bleeding for real. In fact, we had to CGI out the fact that there was a lot more blood than you see in the movie.”(Photo by @ Universal)“I don t think I ve ever laughed harder than at Jackass movies.”“It is of the Jackass mode of comedy. I don t remember if it came out before or after the craze of pranks and painful violent stunts, things like that. But people always love that. I don t think there s anything funnier than Jackass. I don t think I ve ever laughed harder than at Jackass movies. And I also think it works the same way a horror movie works, which is: you think something s gonna happen, then it finally does, but not at the moment you think it will – and it makes you scream and hide your face. It has a little horror to it as well.”THE IMPACT: A New Kind of Comedy Virgin was a box office success – it’s currently the 16th highest-earning R-rated comedy of all time – but more than that, it reshaped our idea of movie comedies, particularly those with a romantic bent. Gross-out laughs could be followed by moments of genuine sweetness. Romantic leads could be dorkish, a little schlubby, and, at least for much of the film – very hairy. Silliness could be whip-smart. As long as it was all grounded in reality. Apatow would go on to direct landmark comedies like Knocked Up and Trainwreck, and produce the likes of Bridesmaids and HBO’s Girls, all of which bear some of the markings of what made Virgin such a smash: characters you love and moments you will never forget, because they make you cringe, gag, and leave the room, but also make you swoon and cry.“I m sure it seemed very self-involved. But it was why the movie worked.”“A lot of our crew didn t get what we were doing. That was at a time when there weren t a lot of movies that were shot the way we were, with all of this improvisation, and a lot of the crew just seemed annoyed we were doing so many takes. We had a lot of Clint Eastwood s crew, and they were used to doing one or two takes. And we d do tons of takes and tons of improv. I m sure it seemed very self-involved. But it was why the movie worked, because everyone had the ability to experiment.”(Photo by @ Universal)“I hadn t directed a movie before. He hadn t been the lead in a movie before.”“It was a big moment for me and [Steve]. I hadn t directed a movie before. He hadn t been the lead in a movie before. You know, we both weren t sure we knew what we were doing. We had an instinct, we liked the script, we hoped we weren t crazy. But I remember Steve kept saying, ‘I m trying to be nice to our casting director because if this movie bombs I want her to still use me.’ That was some of the energy we had – we re going for a big swing here, and we hope we re right, but we ll see. It was very exciting, and we laughed our asses off the whole time.”“You know, it gave us all our careers.”“I look back at it as sort of a high point in my career. I got to work with so many of my friends – my wife Leslie Mann was so hilarious as Nicky the drunk girl. It was fun that we all had the courage to try something crazy, and it happened to work out. You know, it gave us all our careers.”The 40-Year-Old Virgin was released on August 19, 2005. Buy or rent it at FandangNOW.
亚博网页 (Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)The season 2 finale of The Mandalorian left fans with plenty of questions, but none were more pressing than a surprise announcement about something called “The Book of Boba Fett” would arrive in December 2021. Was it the next season of The Mandalorian, switching its focus from Din Djarin (Pedro Pascal) to the infamous Star Wars bounty hunter? Or was it its own standalone series? Without a clarifying word from executive producer Jon Favreau or Lucasfilm, speculation ran high across the weekend of December 19, 2020 on the nature of Fett’s new story.Thankfully, Favreau appeared on Good Morning America during its Monday, December 21 airing to dispel some of the confusion regarding The Book. So let’s take a look at everything we know so far.[Updated on 9/29/21]It Is a Standalone Series(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)In our look at the Season 2 finale, we assumed The Book of Boba Fett was the next phase of The Mandalorian. No Boba Fett series was mentioned at Lucasfilm’s exhaustive Investor Day presentation of December 10 and the no logo appeared during the finale’s stinger scene indicating a new series. But as Favreau explained on GMA, the series was kept out of the presentation to maintain the surprise.Temuera Morrison stars as Boba Fett, the cloned son of Jango Fett (also Morrison), who may have a strong claim to being Mandalorian even if the heir apparent to that planet’s throne refuses to accept him. As seen in the Mandalorian stinger scene, it will focus on Fett taking over the criminal empire of Jabba the Hutt. And as Disney+ press release later clarified, he will use those assets to navigate the Galaxy’s underworld. (Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)Joining him on this new journey will be Fennec Shand (Ming-Na Wen), the mercenary he rescued in The Mandalorian’s first season. Seemingly indebted to him, if even by just her own code of ethics, the pair will continue on as Fett plans his next move.And if we might indulge in some speculation, we imagine the other bounty hunters from The Empire Strikes Back — Dengar, IG-88, Bossk, Zuckuss, and 4-LOM — may appear at some point. Also, there may be room to do an episode on Jodo Kast, the imposter Boba Fett who appeared in the Expanded Universe while Fett himself recuperated from his encounter with the Sarlaac.Come to think of it, revealing how he actually survived his seeming death scene in Return of the Jedi would make for a strong chapter as well. Also, you have to wonder how long before Fett’s actions in Jabba’s palace attracts the attention of Cobb Vanth (Timothy Olyphant), other elements on Tatooine, or even the other Hutts.On the production side, Robert Rodriguez — who directed the episode re-introducing Boba Fett to The Mandalorian’s sector of space — will serve as executive producer with Favreau and stalwart Star Wars creative Dave Filoni. Lucasfilm president Kathleen Kennedy will also serve as an executive producer with long-time Star Wars veterans Karen Gilchrist and Carrie Beck taking co-executive producer roles. John Bartnicki will produce and John Hampian serves as co-producer.It Is Not a Replacement for The MandalorianAs Favreau clarified during his GMA appearance, The Book of Fett will come before the third season of The Mandalorian, but not replace it; in fact, Favreau said the third season will “pretty soon follow” The Book of Fett in terms of production. Whether or not this means the new season will immediately follow Fett in airing is anyone’s guess. It is rather clear, however, that there will be no Mandalorian in 2021.The year 2022 appears to be the big one for Star Wars on Disney+ with Obi-Wan Kenobi and Andor debuting alongside the third season of The Mandalorian. There is also the potential for at least one other live-action Star Wars project to join that group as well.It Is Part of the Post–Return of the Jedi Timeline(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)Alongside the Ahsoka series, The Book of Boba Fett will take place in the era five or so years after Return of the Jedi. For lack of an official name, we’ll call it the New Republic era. In an echo to the early Expanded Universe novels, games, and comics, it is a time when the newly established Republic faces a lot of backlash from Imperial enclaves and plenty of internal tensions the Rebel Alliance set aside to combat the Empire.That issue will likely be covered more closely in Ahsoka or the third season of The Mandalorian, but it will also factor into Fett as organized crime is constant in the Star Wars galaxy, as is the central government s inability (or apathy) to police it. We’ll hazard a guess that a show more focused on scum and villainy made a standalone Fett series attractive to Favreau and Filoni as they devised the Mandalorian spinoffs — well, assuming the series is just about Fett becoming the godfather of space. As we’ve already seen, he is a man of his word, and it is possible the resources of the Hutt criminal enterprise could be utilized in some other goal.
Best Miniseries Anthology TV 2018 January 10, 2019 作为一款以魔幻作为题材的沙盒手游，《黑暗与光明手游》秉承最经典的沙盒玩法，玩家在游戏中不仅有着非常硬核的生存难度，在游戏中还可以非常自由地进行建造，在这个非常宽广的世界上，每一处地方都能建造属于自己的房子，有的玩家甚至将自己的房子建在火山等一些极地上了。
亚博网页 What it is: Victor is a teen who doesn’t quite know himself yet, as so many teens are: a high schooler in a new district whose family unit seems to be dissolving while he’s coming to terms with his sexuality, he’s got a lot on his plate! Love, Victor, from creators Isaac Aptaker and Elizabeth Berger, is his story.Why you should watch it: What’s not to love about Love, Victor? A welcome expansion — and in some instances, a subtle course-correct — on Greg Berlanti’s boundary-pushing studio feature Love, Simon, the series is a funny, touching, awkward, and at-times sexy ode to modern-day teendom in all its shades, featuring a standout, grounding performance from newcomer Michael Cimino. Season 2 premieres June 11 on Hulu.Where to watch it: HuluCommitment: Approx. 5 hours (for the first season)