气功牛

气功牛

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气功牛采用百度引擎6(Baidu 0)Stranger Things returns to Netflix on July 4, and the streaming service has finally released a full trailer for the show s new season. We ve been tracking season 3 info all year, but the two minutes and 45 seconds of footage in the trailer are the clearest look we ve had yet — and provided eight new revelations about the upcoming season, whose tagline reads one summer can change everything. David Harbour, Winona Ryder, Millie Bobby Brown, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Dacre Montgomery and Joe Keery all return for season 3, and they ll be joined by new cast members Cary Elwes, Jake Busey, Maya Hawke, and Francesca Reale.While the few teases Netflix has released have — in true Stranger Things fashion —been vague, the new trailer revealed some telling information about the upcoming season. Here s everything we know about the mysteries set to unfold in Stranger Things season 3.1. DUSTIN IS HOME FROM CAMP(Photo by Netflix)Dustin (Matarazzo) spent part of his summer at Camp Know Where (which, judging by the icon, is a computer camp), complete with classic 80s uniform of khaki shorts and a green-and-yellow ringer T-shirt.The other kids surprise him upon his return home, and Eleven (Brown) controls his robot toys to make him follow them into the living room. There was probably an easier way to surprise Dustin without giving herself a bloody nose.2. THE KIDS HAVE A SUMMER PROJECT(Photo by Netflix)Phone home much? The kids’ summer project seems to be putting up a big antenna on the top of a hill. Given all the creatures the group has encountered without seeking them out, you’d think they d enjoy being off the grid, but we ll see what this antenna is all about.3. ELEVEN AND MAX ARE BONDING(Photo by Netflix)Eleven spent most of season 2 separated from the boys, so this summer is the first chance she’s had in a while to play with other kids. It looks like she’s getting really close to Max (Sink) as they play in her bedroom, then head to the mall food court — where Eleven looks like a kid going to Disneyland for the first time. They also slide in between the escalators. Don’t try this at home, kids.4. THE TOWN FAIR IS A DANGEROUS PLACEWe knew about the swimming pool featured prominently in the trailer, but not Hawkins town-wide Fun Fair (or, rather, Mayor Kline’s Fun Fair). Kline (Elwes) hosts a Fourth of July event at the fair in the trailer, and there’s a gunman stalking the hall of mirrors.5. HOPPER HAS A DATE(Photo by Netflix)We see Hopper (Harbour) all dressed up (in a nice Miami Vice–style light suit) at a table for two, but his date isn’t there yet. We hope he hasn’t been stood up. It s nice to see Hopper s casual summerwear, too, as he tells Nancy (Ryder), “I want you to feel like this can still be your home.”6. THERE S POLITICAL TURMOILThere’s a big protest outside the mayor’s office with homemade signs reading “Mayor Swine,” “Support Downtown,” and “Hawkins is Downtown.” If the 80s taught us anything, it s that small towns face an uphill battle.7. BILLY HARGROVE IS ON THE PROWL(Photo by Netflix)Summer at the Hawkins pool is a great chance for Billy (Montgomery) to show off his abs. He s making eyes at the lifeguard (Reale) in the trailer, so why is he macking on Karen Wheeler (Cara Buono) in the above photo?8. OF COURSE, MORE MONSTERSWe get one clear shot of a big new monster growling in the hallway — and it s not even the Shadow Monster, who’s still lurking around the Upside Down. And in one of the shorter, fast-paced clips at the end of the trailer, it looks like Billy has a nasty bite that’s getting infected.9. STARCOURT MALL IS OPENING IN HAWKINSNetflix previously released a trailer featuring Hawkins fictional Starcourt Mall, which includes such staple 80s stores as The Gap, Waldenbooks, and Sam Goody music. Only The Gap still exists here in 2018. In the food court, we got a glimpse of Steve Harrington (Keery) working at the fictional ice cream shop Scoops Ahoy, along with a new character Robin (Hawke). Hope there s no demogorgon in the Rocky Road.10. IT’S SUMMER(Photo by Charley Gallay/Getty Images for Netflix)Seasons 1 and 2 of Stranger Things both took place when the kids were in school, with season 2 even culminating at the winter ball. So it’s about time they enjoy a summer break.“It’s about the swimming pool and campfires and parades and Fourth of July and fireworks,” Shawn Levy told Variety at PaleyFest in March 2018. “So there’s kind of a poppy fun to season 3 that’s really enjoyable before things inevitably turn super dark.”On the red carpet for Netflix s annual FYSEE event in 2018, Brown was coy about Eleven’s appreciation of the summer: “Eleven has a great time with summer. That’s all I can say.”11. WE HAVE TO WAIT UNTIL SUMMER TO SEE ITStranger Things season 3 was supposed to return in 2018 (and was filmed and ready to go), but Netflix pushed the premiere to summer 2019. Netflix Vice President of Original Series Cindy Holland told the Television Critics Association that the production team needed more time to create bigger visual effects.“There are more special effects, and I think it’s going to be a really exciting season, but it just takes a little more time,” Holland said. “It’s a hand-crafted show. The Duffer Brothers and Shawn Levy have worked really hard, and they understand the stakes are high. They want to deliver something bigger and better than what they did last year. I think it’s going to be a fantastic season, worth the wait.”12. IT S 1985(Photo by Charley Gallay/Getty Images for Netflix)Jumping ahead to the summer sets season 3 firmly in 1985, Levy told The Hollywood Reporter in March 2018. For those of you who didn’t get to live through that glorious summer, it was the time when Back to the Future, The Goonies, and Pee-Wee’s Big Adventure came out. Stranger Things star Noah Schnapp suspects the boys have seen those movies.“Yeah, of course,” Schnapp told Rotten Tomatoes at FYSEE. “There are so many references from different things from the ’80s. They do such a good job of it.”13. THE POOL HAS A MYSTERIOUS NEW LIFEGUARD(Photo by Charley Gallay/Getty Images for Netflix)The show has cast Francesca Reale (Haters Back Off!) as the Hawkins Community Pool Lifeguard, Deadline reported. The lifeguard is said to “become a centerpiece of a dark mystery.”Other new casting includes Elwes as Mayor Kline and Jake Busey as a reporter for the Hawkins Post, whom we see glimpses of in the new trailer.14. MAYA HAWKE JOINS THE CAST(Photo by Charley Gallay/Getty Images for Netflix)Casting director Carmen Cuba said on a panel that Hawke (PBS s Little Women), whose character is being described as an “alternative girl,” is a true talent. (Plus, judging from both the teaser video and the trailer, she wears a Scoops Ahoy uniform well.)“What’s great about her, just like these kids and the other one, is that she’s just an individual,” Cuba said. “There is not another human on this Earth like Maya Hawke — her rhythm, her energy, her humor.”Whoever Hawke plays has scenes with Eleven too, Brown revealed during the panel.“She’s so good,” Brown said. “I remember the Duffers and I looked at each other and were like, ‘Wow, she’s really good.’ I want to say so much more, but I can’t.”15. SIBLINGS HAVE BIGGER ROLES(Photo by Netflix )Priah Ferguson has been made a series regular, so expect to see Lucas little sister Erica hassling the boys a lot more. Take that, nerds.Levy also told THR that Keery would have more to do as Steve Harrington. Even though he s not related to any of the boys, Steve protecting them as a father figure worked out so well that they’re going with that.“We’ll definitely get to see some more of Steve Harringon in season 3,” Levy said. “I’ll just say we won’t be abandoning the Dad Steve magic.”16. THE COUPLES FROM THE DANCE ARE STILL COUPLES(Photo by Netflix)The winter ball saw Eleven and Mike (Wolfhard) pair off and share a kiss, and Lucas (McLaughlin) and Max kiss too. Those couples are still together in the summer, Levy told THR. That does not include, however, Dustin and Nancy (Dyer), who was being nice at the ball, but promised Dustin the girls would appreciate him when they’re older. Brown also told Variety more recently that season 3 finds Eleven adjusting to her human side.“It’s really a coming of age for her and understanding what being a normal teenage girl is,” Brown said.17. THE SHADOW MONSTER HASN’T GONE ANYWHERE(Photo by Netflix)The kids may have vanquished the demogorgon in season 1 and demodog in season 2, but the big shadow monster is still waiting for them.“The shadow monster is still lurking up there out there in the Upside Down,” Levy told Variety. “He is determined to find a way to achieve his goals.”18. THEY’VE BEEN FILMING SINCE APRILNetflix released this video of the Stranger Things cast gathering for the first season 3 table read back in April of 2018, and confirmed that production began on April 20 of that year.19. EVERYONE’S GETTING PAID MORE(Photo by Charley Gallay/Getty Images for Netflix)The first bit of season 3 news ever reported concerned the pay raises given to the Stranger Things cast: The main young cast got bumps to between 0,000 and 0,000 an episode, while Ryder and Harbour could have gotten as much as 0,000, Deadline reported.They’ve earned it, making Stranger Things Netflix’s biggest original series hit. Even Dyer and Heaton joined the six-figures club, with between 0,000-150,000 per episode.Stranger Things seasons 1 and 2 are now streaming on Netflix.

1. 气功牛
We had actual priests there helping us out making sure that everything was in the right place, Linklater told Rotten Tomatoes. But if you re Catholic or Jewish or any religion, I think you understand guilt, perhaps. And an appetite, perhaps. I think we could all bring understandings to it, regardless of our denominational backgrounds. Flanagan grew up in the Catholic Church and was an altar boy for a good portion of his childhood, leaving many in the cast to acknowledge his deep knowledge of the Bible as an integral tool in telling this story. His relationship with the church may have evolved over the years, but Flanagan stands firm on his assurance that Midnight Mass does not vilify religion. We were very careful to make sure that this show has an open invitation to people of any belief system, Flanagan said. Its core values, in a sense, are very Christian: empathy, kindness, concern for your fellow man It celebrates our capacity for belief and our capacity for faith. 3. FANATICISM IS THE SHOW S BIG BAD(Photo by Eike Schroter / Netflix © 2021)Unlike Flanagan s Haunting series on Netflix, Midnight Mass isn t embedded in the ghost story aesthetics the writer-director is known for. There is a different sort of insidious nature to the threats here. Wherever faith and religion are, fundamentalism and fanaticism are not far behind. Fanaticism and aggressiveness — those things are baked into the DNA of the show, Flanagan explained, acknowledging a willingness in everyday people to have faith in something that can end up corrupted and weaponized. How do you take somebody who you think is a rational person, or a person of faith, or a person that you think is a little like you and walk them into this place where they would willingly kill themselves for an idea? In Midnight Mass, Flanagan does his best to make sense of this type of human horror.4. FLANAGAN S JOURNEY TO SOBRIETY WAS A BIG INSPIRATION(Photo by Eike Schroter / Netflix © 2021)Midnight Mass isn t the first project in which Flanagan explores the concept of addiction and recovery. It s a theme that is pervasive throughout his Doctor Sleep adaptation and bits of it pop up in The Haunting of Hill House. That said, his personal struggles with alcohol helped shed some necessary light on this project, which he says previously existed as a book, a screenplay for a movie, and multiple iterations of a TV show before Netflix picked up the idea.Admitting he had a problem with alcohol gave him the clarity needed to make this version of Midnight Mass, he said:  It s a very different show with three years of sobriety behind me than it would have been before that. I feel like it would have been an incomplete conversation. The internal monologues, debates, and discussions Flanagan had with himself throughout this drawn-out process all ended up going into the show. Those conversations were so inseparable in my head, that this show was always where they were just kind of dumped, he said. It s where they lived as a record of my perspective of sobriety through various points of my life — in the full grips of it, in the denial of it, and in the acceptance of it. 5. IT SUBVERTS THE EVIL PRIEST HORROR TROPE(Photo by Eike Schroter / Netflix © 2021)When it comes to seeing a priest in a horror story, the common audience expectation is that he is the villain. It s a common trope in horror. Flanagan chose a different road. When it became clear that Father Paul could still do all of the horrible things I needed him to for the story while being a good person with a pure motive, then I felt like we had a show that was about something, Flanagan said.From day one, Linklater set out to bring authenticity and truth to the role. One of my first conversations with Mike was, I m playing a priest in this genre. I just want to make sure you don t want me to be skewed, or sinister, or scary, or anything like that,' Linklater said. The guy is trying to do the right thing all the way through it, as far as his understanding of what the right thing is. 6. AND PUTS A UNIQUE SPIN ON THE TOWN SHERIFF (Photo by Netflix)It s a fair assessment to say we ve not seen many Muslim sheriffs in modern-day entertainment. Rahul Kohli s Sheriff Hassan is here to change that perspective. According to the Haunting of Bly Manor alum, it was the combination of two cultural polarities that really excited him to play the part. You ve got the quintessential American hero in cinema: the sheriff. John Wayne, he explained. He saves the day and he is the ultimate hero in America. Then, there s the Hassan bit. You ve got America s greatest villain post-911: the bearded brown man. The Muslim. Those two things get fused. And that was the first thing that was very apparent to me with the sheriff. And I loved that. I loved how confusing that image is. 7. A TRAGIC LOVE STORY LIES AT THE SHOW S CORE (Photo by Eike Schroter / Netflix © 2021)We could easily call the love story that centers Midnight Mass another subverted genre trope, but that would downplay the dynamic of the relationship that unfolds between Zach Gildord s Riley and Kate Siegel s Erin. The result of their subdued chemistry points to a lived-in notion of how love can change over time. One of the things you learn, I believe, is when you get a little bit older and you get into your late 30s, early 40s, is this feeling that if you went back to your high school sweetheart, maybe everything would be OK, Siegel said. No, that s gone You see the disappointment in both of them that the innocence of childhood is lost. That first love is lost. What remains, she says, is something deeper and more profound: The quiet understanding of someone who s actually seen who you are. 8. THE SERIES IS TIMELY AND RELEVANT (Photo by Eike Schroter / Netflix © 2021)Midnight Mass doesn t directly address our own society s polarization and political upheaval, but it doesn t take a lot of brainpower to connect the dots between the story Flanagan and his team are telling here and the current state of the world.The combination of fear, misinformation, and disenfranchisement reveals itself as a potent mix that can lead to unspeakable acts under the guise of religious ideology. It s a bleak idea that resonates with our present-day reality. But remember this is a Mike Flanagan joint: As dark and troubling as things get, he makes sure to imbue his characters with love and empathy, leaving traces of hope along the way. Midnight Mass is no different. There is a requirement for deep listening, and attention, Annabeth Gish said of the series. I think there s a real availability for understanding about what s happening in our world right now. It s very timely. So, I hope that people receive that. I think there s something very special about this project. Midnight Mass launches on Friday, September 24, on Netflix. Rotten Tomatoes Get To Know Your Nominees” series will provide an in-depth look at one nominee from each of the major awards categories – the four acting categories, and directing – diving into their highest-rated work from both fans and critics, essential titles from their filmography, and featuring thoughts on their nominated film drawn from an extended interview. The Nominee: Glenn CloseGlenn Close says she went into the Golden Globes ceremony earlier this month with low expectations, something she does “for my own emotional and psychological health.” So it was that when Gary Oldman read out her name as the winner of the Best Actress Drama award, Close was just as surprised as the viewers at home – many of whom had no idea that The Wife, the movie for which she won, even existed – and the pundits who had tipped Lady Gaga to take home the trophy.When she got to the stage to accept the Globe, tears in her eyes, she let out a few disbelieving gasps and eventually, an “Oh my gosh.” “When they called my name, it took [me] a few seconds,” Close told Rotten Tomatoes, a few days after the big night. “I think a lot of times, awards go to the flashy, buzzy person, and that s why I just say I m proud of the work I did and glad to be in the room.”In her acceptance speech – for many, the highlight of the night – Close paid tribute to her mother, who, like her character in The Wife, lived her life in the background. “In her eighties, she said to me, ‘I feel like I haven’t accomplished anything,’” Close told the crowd at the Beverly Hilton. “And it was so not right. And I feel like what I’ve learned from this whole experience is, women, we’re nurturers, that’s what’s expected of us… But we have to find personal fulfillment. We have to follow our dreams. We have to say, ‘I can do that, and I should be allowed to do that.’”On Tuesday morning, Close was nominated for a Best Actress Oscar for her portrayal of The Wife’s Joan Castleman, whose quiet life lived in the shadows of her celebrated writer husband (Jonathan Pryce) is upended when he wins a Nobel Prize for literature and the couple travel to Stockholm for the ceremony. It is her seventh Academy Award nomination, and many predict it will be her first win – finally! – if she can stave off fierce competition from Gaga and The Favourite’s Olivia Colman.What does it mean to be receiving such accolades at this stage of her career, 36 years after her first Oscar nomination for The World According to Garp? “In a way it even means more [now],” Close says, “because I m very proud to be a survivor in this business.”The Essentials: A Fresh Look at Every Man s Worst Nightmare Close with Michael Douglas in Fatal Attraction. (Photo by @ Paramount Pictures)Close was nominated for Best Supporting Actress for three consecutive years in the mid-1980s: First for Garp in 1983; then for The Big Chill in 1984; and then again for The Natural in 1985. It was an auspicious start to her film career; her performance as a radical feminist named Jenny Fields in Garp had marked her big-screen debut. Her first Oscar nomination for a lead role came in 1988 for her portrayal of Alex Forrest, cinema’s scariest “other woman,” in the thriller Fatal Attraction.“Well, she’s the Bunny Boiler,” Close says when asked to reflect on the character 30 years later. “She s like every man s nightmare.” At least that’s the place Forrest – who refuses to let go of Michael Douglas’s Dan as he tries to untangle himself from their affair – occupies in the popular culture. But that was never Close’s intention when playing her. “I was playing a very, very specific character, who is in crisis, really. A woman that needed help, but, because of her behavior, she’s become this terrifying figure, and is considered one of the best villains of the 20th Century.”“And, also, of course, the new ending made her into a psychopath,” Close adds, referring to the film’s finale, which was changed after test audiences demanded something more cathartic – and ultimately less sympathetic to Forrest.There were layers to the performance, and the plot, that the audience was not privy to that might have changed Forrest’s image in the popular mind. Close says Forrest had been abused as a child and was dealing with severe mental health issues that had never been diagnosed or addressed. She also shot a scene, which never made the final cut, that showed that Forrest was indeed pregnant with Dan’s child, putting to rest any ambiguity about whether she had invented the pregnancy.“I ve said before, that if you told the exact same story from her point of view, she would now, I think, become a tragic figure, rather than a villainous figure,” says Close. “If people could see the reasons for her behavior and what she s struggling with, it would be a whole different story.”Close in Albert Nobbs. (Photo by Patrick Redmond/©Roadside Attractions/Courtesy Everett Collection)After an early rush of Oscar nominations in the 1980s, Close would not be nominated again until 2012 for Albert Nobbs, the story of a 19th-century Irish Butler who is hiding the fact that he is secretly a woman. Close’s muted, deeply internalized performance was the highlight of a film that most critics dismissed as too staid (it has a Tomatometer score of 56%). Nobbs had been a passion project for Close, who played the role on stage in New York in the 1970s. Like Forrest, Albert was a damaged soul at a time when the help needed was out of touch.“Everybody brought their own baggage to that movie, and however they want to interpret it is okay with me,” says Close, “but I was playing a woman who wasn t trying to be a man. She was disguised as a man in order to survive. She never thought of herself as a man. She s not transgender, and she s not even lesbian, because she doesn t know what that is. She s never been touched by anyone. She s never been loved by anyone. She’s this invisible soul, who s surviving.”Fan Favorites: A Marvelous Time Remaking Disney
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2. 公平游戏环境
ame from, and where she actually fits into the world, found the young girl disobeying her father s orders and searching for her identity.As the episodes progressed, she learned who Erik really was: a former CIA agent who recruited pregnant women to sell their female babies to a secret government operation known as Utrax — an off-the-books outfit that conducted experiments on the girls with the goal of molding them into killing machines. He was the one who ultimately rescued Hanna from the facility when she was just an infant, and when Utrax agents under the command of Marissa Weigler (Mireille Enos) shot and killed Hanna s birth mother, Erik fled into the woods and raised Hanna as his daughter, teaching her to live off the land and stay out-of-sight.(Photo by Christopher Raphael/Amazon Prime Video)In season 2, Hanna is searching for freedom and family. With the tragic death of her father, and Marissa s surprise turn from villain to potential ally in the first season s final moments — the former Utrax officer decides to kill shady CIA operative Jerome Sawyer (Khalid Abdala), and help Hanna, Erik, and their new teenage super-soldier friend Clara (Yazmin Monet Prince) walk free from the Romanian facility — it s clear there s a bond between Hanna and Marissa. And in season 2, it continues to grow into a complex mother-daughter/partners-in-espionage team-up. I think that the dynamic that evolves between Marissa and Hanna is actually the most interesting thing about the series because it s so convoluted and tainted with the trauma of Hanna s past, and whether they can trust each other, Creed-Miles says. Whenever they are with each other or trusting each other with their lives, they both have the ability to kill each other in one way or another. And that s one of my favorite things about the season. (Photo by Christopher Raphael/Amazon Prime Video)Freedom, for Hanna, is a tougher goal to achieve. First, there s the ongoing trust issues she has with Marissa, especially considering the woman s awful past. (Marissa, after all, oversaw the incineration of the modified babies when the Utrax facility was originally shut down.) Season 1 also revealed that a new Utrax operation was up-and-running, and season 2 introduces Dermot Mulroney as CIA agent John Carmichael, who took over the duties of running the place. Hanna fixates on liberating Clara, which requires diving into the belly of the beast.This trip back to Utrax pivots the kinetic tone of the series, which found Hanna on the run throughout Europe in season 1, to a more grounded, though still tense, environment this time around. The organization s Meadows facility, which has this full-on Professor Xavier s School for Gifted Youngsters vibe, provides a lot of the conflict and nuance. The young women are trained in firearms and combat while being integrated into the world through government-assigned identities that are extensively documented in photo albums, each trainee s wardrobe, and carefully manufactured social media profiles. It s the control of Utrax over these young women; that ability to say, We ll give you this freedom, and, Look what we can offer you, look what we can give you, and still be totally in charge, Farr said, comparing this fictional power structure to the many real ones that have faced ridicule and engendered conflict in recent months. There s the idea that Hanna is, in some way, a true existential heroine who says, No. I ve looked it in the eye, and I know I don t want that. I m going to rebel. That, for me, gained the character a kind of prescience that I think it probably didn t have before. (Photo by Christopher Raphael/Amazon Prime Video)Hanna does see the appeal of the place. Once inside, she finds herself seduced by the allure of community. She may not have a physical family, but living among the other trainees, so like her, builds a feeling of belonging and connection, which is something Hanna has struggled to hold onto since the onset of the show. I think that the loss of not having any heritage, any family, any idea of her own history gives Hanna a huge insecurity that is exploited by the Utrax organization in terms of the girls, Creed-Miles said.Hanna s physical and intellectual prowess may be heightened, but Creed-Miles recognizes that the character is still a teenage human. And she s going through some of the relatable struggles with identity and acceptance most females her age grapple with. Despite the superficiality of [social media], it s still very emblematic of the way that young people are often engendered an identity that s created through, I guess, what s socially acceptable and what isn t, she said. I think that s changing, but social media is still definitely like the charging pools behind what people do and don t do and what they can and can t do. I think it s such an interesting element of the show and seeing the way that Hanna interacts with it highlights those differences. (Photo by Christopher Raphael/Amazon Prime Video)The series has become an unexpected mirror to some recent real-world issues, and as Farr noted, there s a history of the younger generation pushing back against the power structures that are no longer operating with the people s best interests in mind. What I find heartening about the politics of what s going on right now, in the world, literally right now — which I know, at the moment, is around race — is still fundamentally around identities and groups of identities that have been appallingly treated, Farr said. There is something hopeful of how the younger generation has gathered around that. And there s an energy, at the moment, around the youth. Enos agreed, adding:  Teenagers, at this moment, with all of the power of social media and their identities and self-worth being tethered to how many likes they get, it s a very complicated time. So, I hope for the teenage girls that watch this, that it helps them to consider why they identify with the things they do and what aspects of themselves they re putting as the most important. Hopefully, it isn t what other people around them are telling them. There s supposed to be some quiet inner voice that says, This is your path. This is your worth.' Hanna season 2 premieres on Amazon Prime Video on Friday, July 3.气功牛Disney s latest remake, Aladdin (2019) 57%, arrives in theaters on Friday riding a lava wave of hot-takes and head-scratching curiosity: the first images of Will Smith as a blue genie left some fans skeptical, and the choice of British director, Guy Ritchie, who got his start making kinetic gangster flicks, seemed either odd or inspired, depending on your bent. Could the team possibly pull off a live-action version of a tale that got so much of its verve from the possibilities of animation – and the performance of the late Robin Williams? The first word in from critics is that they have – mostly. Not everyone is enamored with this 2019 Aladdin, which infuses a hip-hop sensibility into some of the musical numbers and gives Jasmine a stronger arc, and there are signs of live-action-Disney-remake fatigue. But according to the critics, fears about the Smith Genie are misplaced – he makes it his own – and there is plenty of magic still to be found in Agrabah and the story of its parkour-loving street rat and independent-minded princess.Here’s what critics are saying about Aladdin:Wait, so it s actually pretty good?Call it “Aladdin and the Fresh Prince of Ababwa” — which could well have been Ritchie’s pitch for a still largely stereotype-driven project that seems to work best when it’s not directly emulating the cartoon that came before.  Peter Debruge, VarietyWhile early looks at the film — especially scenes that focused on Smith turning on the bravado with a vibrant song-and-dance — were received badly enough that both Ritchie and Smith were asked to respond to the critical jabs, within the context of Ritchie’s warmly silly film, they work. They really, really work.  Kate Erbland, IndieWire

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4. 呼朋唤友 随心所欲
2018 has been a banner year for Claire Foy thus far, having already starred in Unsane and First Man  both Certified Fresh and she s looking to keep it going with The Girl in the Spider s Web, due out on November 9. The former star of Netflix s acclaimed series The Crown takes over the role of vigilante hacker Lisbeth Salander in the new film, as she takes on cyber criminals in cahoots with corrupt government officials. Foy sat down with Rotten Tomatoes to offer her Five Favorite Films, gushing over Meg Ryan and Meryl Streep and describing how she would love to live in the world of a Hitchcock classic.The Girl in the Spider s Web opens everywhere on Friday, November 9.

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5.97.1 8月喜迎Apple TV+’s Servant may not have arrived in early 2020 with the fanfare and saturation marketing campaign of new streaming service tentpoles like The Morning Show or The Mandalorian, but it quickly earned a reputation among both genre fans and peak TV aficionados as a creepily effective slow burn. The series’ hook was brilliantly bonkers, and felt vintage M. Night Shyamalan, the horror director who serves as executive producer: When well-to-do Philadelphia couple the Turners (Lauren Ambrose and Toby Kebbell) tragically lose their baby, Dorothy turns to an uncannily realistic therapy doll to cope, losing herself in the idea that her son never died. When the doll appears one day to mysteriously come to life, well, s—t gets weird.And that’s not to mention mysterious young nanny, Leanne (Nell Tiger-Free), who arrives in the home armed with an unhealthy obsession with Jericho s increasingly unhinged mommy.This being a Shyamalan production, there were twists aplenty as the first season – entirely confined to the Turners’ lavishly and tastefully appointed Philly brownstone – unfolded, its world expanding and mystery deepening. And in season 2, the twists keep coming, as the focus moves from the mystery doll to a mystery cult, the search to find them and to understand why they seem so determined to destroy the Turners.Ahead of the series’ return to Apple TV+, we spoke to Shyamalan about this darker – and surprisingly funnier – new season, how he recruited an Avengers-style roster of international horror directors to steer the series, and what drew him to his next hugely anticipated theatrical release, Old. (Photo by © Apple TV+)Joel Meares for Rotten Tomatoes: Congratulations on the series. I ve seen the first seven episodes of the new season, and I think it s just as gripping as the first season. It struck me while watching that season 1 had this incredible hook and this great visual of Jericho, this doll, which was just inherently creepy. But with this season, we see less of Jericho, so you can’t rely on him to unnerve us. What was your approach to keeping the tension and the creepiness at the same level for season 2 when we had less of that baby?M. Night Shyamalan: Well, the first season was about what happened to Jericho and that was the mystery. And the second season is: What is this cult – and who are they? And when I m talking to the writers and the directors, I m trying to keep these movements in each season and this idea of the cult. There’s a kind of almost Strangers quality, of people outside the brownstone and coming in, [and that’s] the new threat. And it s definitely threatening.This brownstone is such a character. We don t ever really leave, but we do see a bit more of it, including the attic, which is a setting for a lot of the action, and it appears increasingly to rot and be dilapidated. Are we going to keep seeing more and more of this house as the seasons go on? And is it going to continue to decay as time goes by?Shyamalan: The answer is yes and yes, to both of those. This season, the idea was to keep expanding on the house. And in the second season, you get to see an area of the house that you never saw before. In the episode that I directed, episode four, Dorothy goes to a door that you didn t even know what it was [before]. She unlocks it, opens it up, and you go into an area of the house that you ve never seen before, [and which] becomes a very important part of the storytelling for the show.The aspiration is that with each season I ll keep expanding what we re calling “the home,” and even the idea of, like, I will allow you to go out the front door and on the block of Spruce Street, to the corner, even, but you can t lose sight of the house. I’ll have rules like that in my head, that you have to stay tethered to this location.(Photo by © Apple TV+)Are those instructions in the show bible, that you must stay connected to the house?Shyamalan: Yeah, absolutely; in fact, one of the directors had story-boarded some shots without [the non-house location] being on the iPhone and said, Hey, I m going to do this whole scene from the character s point of view in another location. And I was like, Can t do that. And they were like, What? And I was like, Can t do that. And they were like, What? Why? And I said, Can t be in another location. Only through the device. So, you have to redo it through the device. You get very clever with the devices in this season. I loved the ep with what I’ll call Pizzagate, or the pizza heist [episode 3, “Pizza”]. Are you looking forward to exploring technology even further? I think you described the approach you take in the series as seeing the world through a straw, getting us out a little bit more and sort of bringing in that outside world, but limiting our perspective. Shyamalan: Yeah. I mean, that episode, which my daughter directed, was one where we really went genre with the camera. And so, you kind of had, within this super-formalistic shooting of our brownstone, you had this kind of handheld horror movie inside the television. Besides that use of it, I try to encourage the directors to go to big vistas and shoot them through various this straw-like thing, so that the audience feels this kind of peeking quality of the world outside. And I m going to keep trying to encourage the directors and the writers to think of great cinematic places to go to that we can only see through these devices. Like stadiums and cemeteries and things like that.(Photo by © Apple TV+)That s exciting to think about what’s coming up. The episode you directed this season, episode 4, is the most bats t in many ways, because Dorothy goes up another level. You re watching it and you re sort of like, Oh, I see Wes Craven, and oh, I see Rosemary s Baby. It feels like you were having a lot of fun with all of these genre influences. What was it like to shoot that episode and what was informing your approach there?Shyamalan: Well, I knew I wanted to shoot one of the earlier episodes, because before COVID and everything, I was planning to go do the movie [Universal’s Old] right after the show, and I needed to prep for the movie. So I said, I can do one of the first four or five episodes. And then when we came up with this episode of kind of what I don t want to give it away, but this super-dark episode with Dorothy, and I was like, Well, I definitely want to do that one. That one s really shocking and dark and that ll be super-fun for me to do. The fun part is I m just cherry-picking the episodes with my schedule that I feel that I can do. And the first season, I mean, I was only supposed to do the pilot, but I ve just enjoyed this so much that I keep jumping in and saying, Can I direct another episode? I ll direct that episode. It’s been fun jumping in and Apple s been excited when I m like, You know what? I m dying. I want to do this other episode again. And in your episode, as mentioned, Dorothy comes more undone and Lauren gives an incredible performance, really takes it up another level. What was it like working with her in this season, where she got to explore an even more hysterical side of her character? Shyamalan: In the episodes that I ve directed I ve tried to be there for her when she s doing very, very challenging moments for her character. So, episode nine from first season and episode four from the second season, where they re very, very challenging performances. She s loves it, Lauren, you can ask her to do anything. I mean, Nell calls her the GOAT, because she s so amazing every time she performs. And we feel we can write anything for her, and she can do it with veracity and uniqueness. She s just an acrobat, so I love it. We were super-lucky to get her to be the lead.(Photo by © Apple TV+)One of the other great women you worked with this season is director Julia Ducournau, who made the acclaimed 2016 horror film Raw. Were you a big fan of Raw? Shyamalan: I saw Raw before it was released. Universal got me a print of it and said, You re going to love this. You should check this movie out. And I saw it, and I fell in love. And then when I went to France to promote whatever movie I was promoting that year, I called her and said, Come to the premiere. I want to talk to you. And she came, she was so sweet. And I said, Look, I m going to be doing the show. Would you come and direct an episode for me? And she was sweet, and she said no at first. She said, I have to do my movies” and this and that. And I came back again the following year, and I said, Please, can you come and do a few episodes? Please, please, please. And she finally said yes and came. And we were so lucky.It s been one of the great aspects of the show, for me, to go see movies around the world, bring international storytellers. It so happens that we have a lot of female directors on this show. Seven of the 10 episodes [in season 2] were directed by women, and that s not an agenda. It s just who I like, the storytelling. And so, it s been great. And there are such strong female characters on the show. I m glad they re represented by these storytellers. Lisa Brühlmann came and has directed for us multiple times in multiple seasons; I saw her movie, Blue My Mind. And then Isabella Eklöf, whose movie Holiday I saw. She’ done a few episodes. And right now, I m watching movies for season 3 and seeing what came out at this film festival, what came out of that film festival? And I ve just been really lucky.One aspect the series that gets a lot of attention is the food, and there s some great food in this season – fans won’t be disappointed. There s also some great wine. OK, a lot. What is the significance of everyone drinking so much and also drinking so well?Shyamalan: I think the decadence is part of the joy of the show, that this is a very wealthy, posh family who wear certain clothes and have parties and drink great wine, and have these extravagant meals. And they ll do anything but have the conversations that they should be having. They kind of hide in the decadence of everything, and it s beautiful for cinema. It helps with the mania. They re spinning and spinning and spinning in this world of materialism, but really, they re missing something, and they re not having the conversation about what they re missing.There’s a scene in which Sean, who’s a chef, would rather make some century eggs than talk things through.Shyamalan: Exactly.
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The first trailer for next summer’s Wonder Woman 1984 is finally here and, frankly, it’s about time. Originally scheduled for release last month, the movie was held to a summer 2020 release, indicating a great deal of confidence in the film. And judging from the trailer, we can see why. In the trailer we learn that Diana (Gal Gadot) comes to the United States in the early part of the 1980s, but that mogul Maxwell Lord (Pedro Pascal) and Barbara Minerva (Kristen Wiig) have other designs for Wonder Woman’s time there.And beyond the quality of filmmaking teased in the trailer – that moment with the bullet in the White House looks incredible! – we gleaned a few interesting takeaways from the trailer and what it means for the film. Let’s take a look at what we learned.1. Diana and Cheetah Begin As Friends But It Won t Last(Photo by © Warner Bros. )The pleasant conversation between Diana and Barbara overlooking the Washington D.C. skyline certainly sounds friendly. And it seems the film will open with Wonder Woman and her classic adversary, Cheetah, as friends. Although, it is possible this is a big ruse on Barbara’s part. In DC Comics’s lore, she was an archeologist pathologically obsessed with owning the Lasso of Truth. Her first attempt to obtain it was by becoming Diana’s friend. But the Lasso forced her to tell Diana the truth, which turned out to be a deeper wound than the Amazon had experienced before.At the same time, the glimpses of Wiig in the trailer recall earlier versions of the Cheetah, namely the Golden Age’s Priscilla Rich, a debutante with a split personality. She first became Cheetah after Diana upstaged her more self-important persona at a charity event. The Cheetah, a new person formed to process the rage, took control and vowed to end Diana’s life. Thanks to wacky comic-book hi-jinks, Barbara would end Rich’s life before Rich was completely eliminated from reality – the name remaining as one of Barbara’s aliases.From the dowdy Barbara glimpsed at the top of the tra

Nevertheless, Garland noted conversations moving from the possibility of a mulitverse where free will exists to a deterministic view where there is no choice elicits an equally strong emotional response.“If I have a conversation with people about free will, nobody likes the idea that they don t have it. And it is completely in contradiction with our own sense — ‘But I absolutely, definitely have free will. I can feel it now,’ [they say], which is again, it s what people feel, but it may not be supported by the data.”That view, as espoused by Forest, leads Devs’ main character, Lily Chan (Sonoya Mizuno), onto her collision course with the warm and melancholy Amaya CEO. And while discussing Lilly’s actions would lead to a level of spoilers we definitely cannot reveal in this or any other reality, it did lead to another question the show presents: Do ethics exist in a deterministic universe?“I don t personally think it takes ethics and morality out of the conversation, I just think it means you react differently to the state of affairs,” Garland said.(Photo by Miya Mizuno/FX)To illustrate morality in a deterministic universe, he used a 15-year-old boy mugging someone at knife point as an example. In a universe with free will, the boy’s punishment (provided he is caught) proceeds from the notion he is in absolute control of his choices.“If you take deterministic view, you might say, ‘Well, hang on a minute. Because this kid is a crystal meth addict, and both his parents were crystal meth addicts, and he was addicted by the time he was 12, and he was trapped in a world that had given him a very distorted sense of ethics, and, as well as that, a sense of desperation, and no home, that led ultimately to the mugging.’ Under those circumstances, punishing the kid makes much less sense. Rehabilitating a kid makes much more sense.”“What we do then is make sure that [the kid doesn’t] do it again, Garland suggested. So, that doesn t remove the ethics, because you still don t want the kid to mug anybody. It s just more that you re not punishing him for something that wasn t his own decision.”Of course, Garland was quick to point out that while his example leads to a morality with more empathy and compassion, it also suggests atrocities are also unavoidable in a deterministic universe. “I don t think anybody wants to let Adolf Hitler off the hook in the way that you might let a 15-year-old off the hook,” he quipped.Nonetheless, the morality of what Forest calls “tram lines” will no doubt feature in discussions of Devs when its full shape is revealed with the show s finale six weeks from now.
《镇魂街:天生为王》是经典国漫“镇魂街”IP正版授权改编的手游新作。游戏主打动作玩法,并加入了十几种策略组合技,以及子弹时间等众多动作元素设定。玩家可以体验到将灵双体共同协作的组合式战斗。玩家作为寄灵人,可以和自己的守护灵并肩作战。
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Notable films: Heavenly Creatures | The Frighteners | ContactDigital effects powerhouse Weta Digital is responsible for some of your favorite movie characters and worlds from the last 25 years. Trust us: Gollum, Caesar, Middle-earth, Pandora. Chances are if it blew your mind, it started at somewhere inside one of the thousands of computers at in Weta s Wellington, New Zealand headquarters. It s a mammoth operation, with the Weta Digital team currently working on post-production for the Avatar sequels, Jungle Cruise, and the final season of Game of Thrones, all as Universal releases Mortal Engines – a showcase for the company s newest and most innovative work – in theaters this December. And yet it all began very humbly in 1993 with Peter Jackson s Certified Fresh second film, Heavenly Creatures, for which the director wanted to tinker with digital effects almost for the sake of it. He founded the company with Richard Taylor and Jamie Serkik, got to work, and would eventually change moviemaking as we knew it.Here, Jackson – who co-wrote the screenplay for Mortal Engines with Philippa Boyens and Fran Walsh and is a producer on the film – walks us through the history of the company, from the moviegoing experience that turned him onto digital effects through to writing new programs for The Lord of the Rings and finally to the roaming predator cities that roam the Earth in Mortal Engines. In the early days, he admits, it was all about gnarly. What follows is a history of Weta Digital, drawn from an extended sit-down interview with Peter Jackson and Mortal Engines director Christian Rivers.SKIP TO: WETA MEETS TOLKIEN | MORTAL ENGINES“I really thought I was seeing a living, breathing, T-Rex.”  The one event that happened is… Jurassic Park happened. We were getting into Heavenly Creatures and I went to see Jurassic Park, and, you know, the Tyrannosaurus Rex – I really thought I was seeing a living, breathing T-Rex. I just thought, my god. Whatever the future of visual effects is, it s now gotta be computers. Jurassic Park (Photo by © Universal / courtesy Everett Collection)“We started on Heavenly Creatures with one computer – I think we still have it, it s a doorstop now.” We started on Heavenly Creatures with one computer, one single box. I think we actually still have it, and I think it s a doorstop now – we ve sort of got our memorial doorstop. But that was so bloody expensive and it took us forever to save up and buy. We ve got probably six or seven thousand computers [now]. Right up to Heavenly Creatures I d done some horror movies and things, and we d always done our own effects, which was all prosthetics and props and zombie stuff and all that. We had done it ourselves – I love effects, I d never wanna give them to somebody else to do, because they re part of the fun of filmmaking. “We did the effects really just for the sake of doing some CGI, so we d actually just start to figure it out.” To tell you the truth, we didn t really need any CGI in [Heavenly Creatures]. But, we used the film as an excuse to buy one computer, just to put our toe in the water. And we had a guy, one guy, who could figure out how to work it, and we got a couple of bits of software, and we did the effects in Heavenly Creatures really just for the sake of doing some CGI effects so we d actually just start to figure it out. And then on The Frighteners, which was the next movie we [did], we went from one computer to 30 computers. It was a pretty big jump. Heavenly Creatures “Cloth was one of the things that people hadn t managed to figure out yet – when you look at it today, it s pretty gnarly.” The big nightmare for us on that movie was to do CGI cloth, because one of our characters was a grim reaper-type guy with a flying black robes. So we had to do CGI cloth flowing. Cloth was one of the things that people hadn t managed to figure out yet, so, we had code-writers writing our code to do cloth for us. When you look at it today it s pretty crude, pretty gnarly – it looks like stretchy pasty vinyl, it doesn t really look like cloth. [You can] buy a piece of software for a [cheap] that can do far better cloth now. “It usually involves water or fire.”  First of all, [you’re] driven by what you have to do, you know? What is the result? We use a lot of readily available, not particularly expensive off-the-shelf programs [to create effects], but occasionally you do get something you would like to do – and it usually involves water, you know, splashing the water, or river water, or fire. That sort of thing that off-the-shelf software can t quite do. So at that point, you have to write your own software. Robert Zemeckis, Michael J. Fox, Peter Jackson, producer Steve Starkey for The Frighteners (Photo by © Universal Pictures)“The guys wanna do everything better than they did the last time It sort of drives me crazy.” Over the years, we’ve written about a hundred pieces of code for a wide variety of different things, and it drives me a little bit crazy because we keep writing code for the same things every time. Like, we do Avatar a few years ago, and we wrote software to create grass, and trees, leaves, that can blow with the wind, that sort of stuff. And then I come along with The Hobbit, and I want some grass or some shrubs or some trees, so I [ask], Why can t we use the stuff that we wrote [already]? I mean it was fine for the [prior] film, but we wanted to be better. I mean there was some kind of code, unspoken code – and it s not anything to do with the ownership of the software, because it belongs to us – but the guys themselves, wanna do everything better than they did the last time. So they don t want the Avatar grass, or the leaves; they want to do grass and leaves better than last time. They set about writing a whole new grass software, whole new leaf software, and it happens over and over again, all the time. It sort of drives me crazy. SKIP TO: WETA MEETS TOLKIEN | MORTAL ENGINES

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2022-01-26

气功牛 Best-Reviewed Animated TV 2019Want to play six degrees of BoJack Horseman? (Or two degrees?). The super-dark Netflix animated dramedy’s sixth season was lauded by critics, again, landing the series in the top five animated shows of the year; plus two of its major creatives’ other series also featured in the best of the year. BoJack production designer and producer Lisa Hanawalt’s first series as creator and executive producer, Netflix’s Tuca and Bertie, was heralded as a game-changing look at female friendship before being unceremoniously canceled – to great fan outrage – by the streaming giant, and BoJack creator Raphael Bob-Waksberg’s Amazon series, Undone, which is made using the rotoscoping technique, was the best-reviewed animated series of the year.The order of the rank below reflects the Adjusted Score as of December 31, 2019. Scores might change over time.« Previous Category Next Category »

撇开抄袭不说,《阿拉德之怒》这游戏整体做得不差的,对于它的停服也有不少玩家感到可惜。事到如今,只希望你腾讯后面做成的《NDF手游》能对得起玩家的等待吧! GLADD Hands Out New Honors(Photo by JoJo Whilden/FX)The second wave of winners of this year’s GLAAD Media Awards, which honor media for their fair, accurate, and inclusive representations of the lesbian, gay, bisexual, transgender, and queer (LGBTQ) community and the issues that affect their lives, were announced this week. The organization named Pose the year’s Outstanding Drama Series, and The Assassination of Gianni Versace: American Crime Story as Outstanding TV Movie or Limited Series. The “Trans Rights Under Attack” episode of Full Frontal With Samantha Bee won Outstanding Variety or Talk Show Episode, and Don Lemon of CNN won for Outstanding TV Journalism Segment while CBS Sunday Morning won for Outstanding TV Journalism—Newsmagazine for a segment on conversion therapy. Netflix’s Elite and Univision’s Mi marido tiene más familia tied for Outstanding Scripted Television Series (Spanish-Language). Bravo’s Andy Cohen won the Vito Russo Award (honoring an openly LGBTQ media professional working for LGBTQ acceptance). Vida and Queer Eye were previously honored at a ceremony in Los Angeles.Stranger Things Lawsuit Dropped(Photo by Netflix)A plagiarism lawsuit involving Stranger Things creators Matt and Ross Duffer was dropped just days before it was set to go to trial. Charles Kessler had sued the Duffers and Netflix, alleging they’d stolen an idea for a TV show he’d pitched them at a cocktail party in 2014, but withdrew his suit on May 5. The trial was scheduled to begin May 7.“After hearing the deposition testimony this week of the legal expert I hired, it is now apparent to me that, whatever I may have believed in the past, my work had nothing to do with the creation of Stranger Things,” Kessler said in a statement.A Spine-Tingling Bah Humbug, with Guy Pearce and Andy Serkis(Photo by Robert Viglasky/FX)Guy Pearce is set to headline an upcoming three-part adaptation of Charles Dickens’ A Christmas Carol as Ebenezer Scrooge. The joint production between FX and BBC One will also star Andy Serkis as the Ghost of Christmas Past, Stephen Graham as Jacob Marley, Charlotte Riley as Lottie, Joe Alwyn as Bob Cratchit, Vinette Robinson as Mary Cratchit, Rutger Hauer as the Ghost of Christmas Future, Kayvan Novak as Ali Baba, and Lenny Rush as Tim Cratchit. Per the official announcement, this will be a “unique and original” take on the classic and a “haunting, hallucinatory, spine-tingling immersion into Scrooge’s dark night of the soul. Steven Knight (Taboo, Peaky Blinders) will write and Nick Murphy (The Awakening) will direct, and the series will premiere in December on FX.CBS Has Censored This Content(Photo by Patrick Harbron/CBS)Last week’s episode of CBS All Access’ The Good Fight touched on censorship — so when, in the place where the show’s weekly animated musical segment would go (yes, that is a thing, and yes, it completely works in context), a black screen reading “CBS HAS CENSORED THIS CONTACT” was inserted instead, many viewers thought it was a joke relating to the overall theme of the episode.It wasn’t. According to The New Yorker, CBS really did censor the short, which was called “Banned In China” and dealt with “the way that media companies censor content.” The Good Fight showrunners threatened to quit in protest, but inserted the censorship chyron instead as a compromise.More Casting News(Photo by Daniel Power/The CW)Riverdale is losing a main cast member, but that’s actually a good thing. Ashleigh Murray, a.k.a. singer/songwriter Josie McCoy, is leaving the CW series to be a series regular on another CW series: the Riverdale spinoff Katy Keene. The new series follows the titular character (an aspiring fashion designer played by Pretty Little Liars’ Lucy Hale) and her new friend Josie (Murray, as her Riverdale character), who arrives in New York City to pursue a music career.Hilary Swank will executive produce and star in Netflix’s new space drama Away, about an astronaut who leads an international space exhibition on a treacherous mission. Former E.R. star Anthony Edwards will star alongside Kiefer Sutherland in the third season of Netflix’s resurrected Designated Survivor. Amandla Stenberg will costar alongside Andre Holland in Damien Chazelle’s Netflix series The Eddy. She’ll play Julie, the teenage daughter of Holland’s character “who suddenly shows up in Paris and forces him to face his past,” per Netflix. Also on Netflix, Kristin Scott Thomas will play Mrs. Danvers in the streaming service’s upcoming adaptation of Rebecca, joining Lily James and Armie Hammer in the project.Paget Brewster is set to headline a new animated Adult Swim series: She’ll play the titular character in Birdgirl, a Harvey Birdman spinoff that will feature Brewster’s character juggling work responsibilities as a CEO by day and superhero by night (and sometimes afternoon).The new season of anthology series Manhunt, which is moving from Discovery Channel to Spectrum, will chronicle the hunt for the man who bombed the 1996 Atlanta Olympics. Jack Huston is set to play the criminal mastermind who planned the deadly bombing, Eric Rudolph, while Cameron Britton will play Richard Jewell, who discovered the bomb and saved hundreds of people — and was falsely charged with planting the bomb. Season 2 is called Manhunt: Lone Wolf, while season 1 was titled Manhunt: Unabomber, and followed the hunt to find Ted Kaczynski.She’s Alive, Dammit!, And Interactive(Photo by Eric Liebowitz / Netflix)Season 4 of Unbreakable Kimmy Schmidt just wasn’t enough for Netflix. Tina Fey announced that the series, which ended in late 2018 after four seasons, will get its very own interactive special (a la Black Mirror’s Bandersnatch) set to debut in 2020.“Fans will be able to make choices on behalf of our characters, taking different story paths with, of course, different jokes,” the creator said in a statement. “I think it’s a great fit for our show and will be a great way to officially complete the series.”Development Update(Photo by HBO)ABC Studios has signed 2 Dope Queens star Phoebe Robinson to a multi-year deal in which the comedian and podcast host will write and star in projects for the studio. We’ve wanted to be in business with Phoebe since the very first time we heard the 2 Dope Queens podcast. Her humor, unique point of view and her incredibly fresh, authentic talent are huge assets for us; we couldn’t be more thrilled that she’s joining our studio,” studio president Patrick Moran said in a statement.Black-ish creator Kenya Barris has announced his first project under his new Netflix deal: Black Excellence, a comedy in which Barris will star alongside Rashida Jones. According to its official description, the series will “pull the curtain back and reboot the ‘family sitcom’ in a way we’ve never seen before.”Crazy Rich Asians director Jon M. Chu has signed a four-year deal to develop new projects with 20th Century Fox Television, the TV studio recently acquired by Disney after the Fox merger. According to Deadline, Chu will develop, executive produce, and possibly direct new projects for the studio. The deal is reportedly worth somewhere in the “mid-seven figures.”Move over, Marvel: The company behind Netflix’s The Umbrella Academy, Dark Horse Entertainment, has signed a new deal that gives the streaming service first crack at adapting the company’s comics and other properties.Comedy Central is starting its own studio. Comedy Central Productions will produce original content with some of the network’s top talent, including Broad City veterans Paul W. Downs and Lucia Aniello; Beetlejuice musical writer Anthony King; Klepper and Daily Show executive producer Stuart Miller; and the production company behind Inside Amy Schumer and I Think You Should Leave With Tim Robinson, Irony Point.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

2022-01-26
气功牛
气功牛
2022-01-26

(Photo by Netflix)After waiting almost two years for Mindhunter to return, Netflix dropped nine new episodes of the crime series on August 16, bringing viewers back into the bleak world of the FBI s Behavioral Science Unit. Series executive producer David Fincher directed three episodes of the new season that sees special agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) along with civilian consultant Dr. Wendy Carr (Anna Torv) continue their mission studying serial killers around the country with the goal of creating official protocols in identifying and profiling repeat murderers.Season 2 picks up where season 1 left off, with the gang continuing their killer research — and attempting to keep their personal lives from falling apart in the process. While it s clear they are better at one of those two things, it looks like the group gains some headway with the Bureau as their department profile rises within the FBI.Their main case revolves around the true-life Atlanta Child Murders, involving a serial killer who mainly targeted young black children in the 70s and 80s. As the team investigates an array of gruesome crimes, they visit new serial killers in hopes of gaining new insights into the minds of murderers. While the series is inspired by true events, season 2 introduces real-life figures including Charles Manson, the Son of Sam, the BTK Killer, Wayne Williams, and more.Find out the true story about each of those men in this rundown of the truth behind every killer portrayed in Mindhunter season 2.

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2022-01-26
详细资讯
Google Play
游戏官网 官网
語言
英文
目前版本 0.20.7
游戏大小 175 MB
更新时间 2022-01-26
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