r4赛车游戏采用百度引擎1（Baidu 7）This October, Tom Hardy returns to the big screen as Eddie Brock in Venom: Let There Be Carnage, a sequel to the smash hit film in which we first met the dogged journalist and his foul-mouthed (and very hungry) symbiote. The new film is directed by Andy Serkis and co-stars Woody Harrelson as Carnage, the fan-favorite villain teased at the end of the original film.Ahead of the movie’s release, Rotten Tomatoes correspondent Erik Davis spoke with Serkis, Hardy, Harrelson, and Naomie Harris (who plays another villain, Shriek) about what’s in store for audiences in the “lean and mean” sequel, the developing bromance between Brock and Venom, and what finally drew Harrelson to the Marvel family.Plus, Hardy – as star and producer – reveals he’s “100%” in on crossover movies and the multi-verse… Hear that, Mr. Holland?Venom: Let There Be Carnage is in theaters from Friday October 1, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
我来跳一跳赚钱版是一款玩法轻松的休闲手游，玩家在闯关时需要躲避台阶上的钉子哦，开始乐趣的闯关大冒险，采用微信上经典的跳一跳玩法，更精准。是一款又好玩又能赚钱的小游戏，喜欢的朋友就来下载我来跳一跳赚钱版试试吧！r4赛车游戏What it is: Based on the Coen brothers film of the same name, FX’s anthology miniseries explores new characters, new crimes, and new eras tangentially related to the film each season, deftly adapting the trademark Coen brothers mix of violence, dark humor, and compelling characters for the small screen. Season 4 shifts gears to 1950s Kansas City, Missouri, as two crime syndicates (one a group of Black Americans fleeing the Jim Crow south (led by Chris Rock as Loy Cannon), the other the city’s resident mafia) duke it out for power.Why you should watch it: What do Chris Rock, Jason Schwartzman, Ben Whishaw, Timothy Olyphant, Kirsten Dunst, Billy Bob Thornton, Ewan McGregor, Jesse Plemons, Carrie Coon, Jean Smart, Bob Odenkirk, Martin Freeman, Patrick Wilson, and (phew) Jim Gaffigan all have in common? They’ve all starred (or come season 4, will star) in the small-screen adaptation of Fargo, and that impressive cast alone makes it worth watching. FX and Noah Hawley’s Fargo, which debuted all the way back in 2014, is at least in part to blame for the rise and saturation of prestige miniseries and limited series, and for good reason. An ingenious blend of humor — both silly and gallows — and enrapturing crime mystery, the series succeeds in translating its Oscar-winning source material into Emmy-winning must-see TV. After a three-year break (and a delay due to the novel coronavirus pandemic), Fargo finally returns with its fourth season Sept. 27 on FX.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: About 27 hours (for the first three seasons)
In the latest episode of ‘Vs’ two of the greatest actors of their generation go head-to-head for ultimate thespian supremacy. Will it be Tom Hanks, the man who has been to the moon, survived on a desert island, and conducted the Polar Express? Or Denzel Washington, on whom King Kong has absolutely nothing? Our host Mark Ellis is keeping score across rounds that include box office performance, Tomatometer and Audience Score, the characters they’ve played, plus a wild-card category that could decide the ultimate winner. Don’t agree with the verdict? Come at us like a Hurricane in the comments.Thumbnail image: ParamountOn an Apple device? Follow Rotten Tomatoes on Apple News.
4. 呼朋唤友 随心所欲
New Trailers: HBO s Perry Mason Limited Series Reboot Starring Matthew Rhys, John Lithgow, and Tatiana Maslany Debuts June 21More trailers:The Eddy, a limited series music drama starring André Holland with music written by Glen Ballard (Netflix)Solar Opposites, an animated series from Rick and Morty co-creator Justin Roiland about four aliens who flee their planet and land in the ‘burbs on Earth (Hulu)Never Have I Ever, teen romantic comedy series created by Mindy Kaling (Netflix)Dead to Me, season 2, starring Christina Applegate and Linda Cardellini (Netflix)Hightown, starring Monica Raymund and James Badge Dale in a Jerry Bruckheimer–produced crime drama (Starz)Jimmy O. Yang: Good Deal, comedy special (Amazon Video)Labor of Love, a reality series, hosted by Sex and the City alum Kristin Davis, in which former Bachelor contestant Kristy Katzman, 41, will meet a group of men who, like her, are ready to start a family. She will evaluate and possibly choose one of them to start a family with, or decide to start a family as a single mother (Fox)Gold Digger, a thriller starring Julia Ormond and Ben Barnes (Acorn TV)Dangerous Lies, a thriller movie starring Camila Mendes and Elliott Gould (Netflix)Circus of Books, a documentary about the heterosexual couple who owned the titular LGBT+ book store in Los Angeles (Netflix)In the Dark, season 2, starring Perry Mattfeld (The CW)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: More Tom Hardy Bedtime Stories on the Way(Photo by BBC)BBC kids channel CBeebies has tapped Venom star Tom Hardy to read a selection of six new stories for U.K. children (and no doubt their mums) who tune in to watch Bedtime Stories from Monday, April 27 through Friday, May 1. Having first appeared in 2016, Hardy is the program s most popular Bedtime Stories reader, with one million requests on BBC iPlayer. Hardy, joined by his French bulldog Blue, first will read Hug Me by Simone Ciraolo, then Under The Same Sky by Robert Vescio and Nicky Johnston, There’s a Tiger in the Garden by Lizzy Stewart, Don’t Worry, Little Crab by Chris Haughton, and finally, on Friday, The Problem With Problems by Rachel Rooney and Zehra Hicks. With luck, CBeebies will put the videos on its YouTube channel for everyone to enjoy.Anthony Michael Hall and Better Call Saul and Breaking Bad star Mark Margolis will guest star on The Blacklist. Margolis will debut in the May 1 episode, while Hall will play the estranged brother of Diego Klattenhoff’s Ressler in a multi-episode arc that kicks off on April 24. (ET.com)Saturday Night Live star Bowen Yang will star opposite Sunnyside star Joel Kim Booster in the Quibi series Trip, a romantic comedy set on Fire Island in New York and inspired by Jane Austen’s Pride and Prejudice. (Deadline)Development News: Better Call Saul Star Bob Odenkirk Signs Development Deal with Sony(Photo by Jon Kopaloff/WireImage)With the finale of the penultimate season of Better Call Saul on tap for April 20, Saul star Bob Odenkirk has launched a production company, Sal-Gold Pictures, and signed a first-look deal with Sony. Here’s hoping this won’t eliminate the possibility that BCS will be followed by a sequel about Cinnabon manager Gene.Before Zoom, there was Zoom, the beloved PBS kids show from the ’70s and a ’90s revival that is having another comeback. Thanks to ’90s Zoom-er Pablo Velez, who now works for WGBH in Boston, Project #ZOOMIntoAction has gathered nearly two dozen alums from the shows who will make new content for Zoom fans, including, of course, an intro, or re-intro, to the trademark Zoom language, Ubbi Dubbi. (Slate)Jeopardy host Alex Trebek, who’s been battling stage four pancreatic cancer since last year, will release a memoir – The Answer Is …: Reflections on My Life – on July 21, the day before his 80th birthday. “I want people to know a little more about the person they have been cheering in for the past year,” Trebek says.American Idol will continue, live, despite social distancing. The top 20 contestants will perform from remote locations, while judges Lionel Richie, Katy Perry, and Luke Bryan weigh in with their assessments from their homes. (Variety)TVLine reports that Grey’s Anatomy’s season 16 finale, or rather the finale that would have aired if drama’s season hadn’t been shorted because of the pandemic, was going to include an event that would have led to the death of a “major” character.Rashida Jones will executive produce and star in Filthy Animals, a Quibi animated series about Sunny Day, a smart 12-year-old girl who befriends Cruz, a “selfish, renegade, messy, suave” cat. The ‘toon will come from Robot Chicken producers Stoopid Buddy Stoodios. (THR)Jersey Shore stars DJ Pauly D and Vinny Guadagnini will host Revenge Prank with DJ Pauly D and Vinny, an MTV series in which the subjects of Internet pranks get revenge on those who got them. (Deadline)When ESPN televises the first remote NFL Draft April 23-25, the network will be using more than 180 feeds to share the action with ABC and the NFL Network. (The Washington Post)Netflix is developing All of Us Are Dead, an adaptation of an animated Korean Web series called Now at Our School, about a group of students who get trapped inside their school when a zombie apocalypse breaks out.Ron Howard and Brian Grazer’s Imagine Documentaries is partnering with National Geographic Documentary Films to produce an upcoming documentary about chef and humanitarian José Andrés and his World Central Kitchen. As a food-focused first responder in times of global emergencies, Andrés and his org has dished up an incredible 16 million meals, including during the coronavirus pandemic.Riverdale showrunner Roberto Aguirre-Sacasa and series writer Greg Murray are creating a high school drama at Quibi. Based on the 2008 play Good Boys and True, the series is a “suspenseful drama about class, sexuality and identity which explores the dark side of privilege … (following) six people drawn together by a disturbing videotape that surfaces on the campus of the elite preparatory academy St. Joe’s School for Boys in the fall of 1988.” (Variety)Guy Fieri will host a three-episode, quarantine edition of his Food Network series Diner, Drive-Ins and Dives beginning on April 24. Diner, Drive-Ins and Dives: Takeout will find Fieri virtually connecting with several chefs from his past DDD adventures, as they walk him through making dishes like tamales, chicken Parmesan, and dumplings.Netflix has released a teaser for its interactive special Unbreakable Kimmy Schmidt: Kimmy Vs. The Reverend, which will premiere on May 12. Daniel Radcliffe, Amy Sedaris, Fred Armisen, Chris Parnell, Jack McBrayer, and Johnny Knoxville are among the guest stars who will help Kimmy thwart an evil plan by Jon Hamm’s Reverend, while viewers will help decide who she helps once again take down the man who kidnapped her amongst his many misdeeds.Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend — an all-new interactive special premieres May 12Ellie Kemper, Tituss Burgess, Jane Krakowski, Carol Kane, and Jon Hamm return — plus Daniel Radcliffe joins in on the fun as you get to decide how the story ends! pic.twitter.com/HU2tjF8xY2 See What s Next (@seewhatsnext) April 15, 2020
5. HD 画质与高品质音讯
We’re one week away from the release of John Wick: Chapter 3: Parabellum, and the reactions have been very promising. Now the first crop of reviews have arrived online, and the third installment of the Keanu Reeves-led action franchise is being called the best one yet, coming out of the gate with an even higher Tomatometer score of 96%! Even if you question all the violence, you have to admire the technical quality of the action filmmaking involved. And by the end, you won’t just be wanting more John Wick but also spinoffs of the other characters.Here’s what the critics are saying about John Wick: Chapter 3 Parabellum:How does Chapter 3 compare to the first two?It’s the best film of the franchise so far, even surpassing the first film. Mike Ryan, UproxxHands down, the most giddily brutal and bananas film in the series to date. Chris Nashawaty, Entertainment WeeklyEverything about John Wick: Chapter 3 is better than Chapter 2, from the fantastic cinematography to the editing and the score. Edward Douglas, The BeatThe choreography by far surpasses anything done in JW1 and it will make you forget JW2 altogether. Karen Han, PolygonParabellum also has the distinction of being the silliest of the John Wick movies; it’s like watching the live-action adaptation of a cartoon. Peter Debruge, VarietyMisses the greatness of Chapter 2 because of a convoluted last act and underdeveloped supporting characters. Brian Truitt, USA TodayDoes the praise go even further than the John Wick series?The year’s best action film, and if anything comes along and surpasses it I shall kneel before the filmmakers and pledge my fealty. Sean Mulvihill, fanboynation.comIf you were to ask someone what the greatest action movie ever made was, and they said ‘the first thirty minutes of John Wick: Chapter 3 – Parabellum,” they’d have a point. William Bibbiani, Bloody DisgustingWith John Wick 3, Reeves has finally made another action movie on par with The Matrix. Edward Douglas, The Beat(Photo by Summit Entertainment / courtesy Everett Collection)So, the action scenes are good, then?Every fight scene here is a sumptuous martial arts infused treat, in which we get a taste of fight-styles from all over the planet, executed by masters of those styles. Sherin Nicole, idobi.com
Originally planned for one 24-hour period in August, DC FanDome wisely split into two events. August s Hall of Heroes focused on DC film efforts (with a few video game and TV presentations mixed in), while this past weekend s Explore The Multiverse centered on television, cosplay, fan interaction, and even a comic book or two. Despite switching to an on-demand system to deliver videos to the DC faithful, the September FanDome still offered an overwhelming amount of content.Luckily, we re here to parse through all of the television presentations as DC and Warner Bros. Television offered a surprising number of videos to watch. A few shows, like Black Lightning and Titans, mainly celebrated their existing seasons while other programs, like Batwoman and the upcoming Superman Lois, were better positioned to tease their 2021 seasons. So let s take a look at a few of the key takeaways from the weekend to get a sense of how we ll be spending next year in the DC Multiverse.1. Superman Lois Will Be A Family Drama With SuperheroicsFulfilling the idea Lois Clark: The New Adventures of Superman teased just before it was cancelled, The CW s upcoming Superman Lois will be something no other Superman TV could be: a family drama. Clark and Lois are married. They re not only married, they have two teenage boys, executive producer and showrunner Todd Helbing explained. The mission is, in part, to tell a story that is as grounded as it can be and still have Superman. The show will explore what it means to have children when the parents have demanding jobs like an investigative journalist and the world s most famous superhero.The show will also explore the sort of children people like Lois Lane (Elizabeth Tulloch) and Clark Kent (Tyler Hoechlin) would produce. Thanks to last year s Crisis on Infinite Earths, the couple now have a teenage son Jonathan (who appeared as an infant at the start of Crisis ) and his fraternal twin brother. According to Helbing, the writers used the universe-altering effects of the Crisis to age the kids up (and bring Jon s brother into existence) because teenagers create more conflict on family shows. Additionally, we wanted to present two kids with wildly different skill sets. Their skills, and the Kent family bond, will be tested in a somewhat familiar backdrop: Smallville. For reasons that will become clear, the family moves back to Clark s hometown —not that it s the idyllic place Clark remembers. I came from a small town in the Midwest. Helbing said. We had a business leave and the town started to dry up. Despite Smallville s upcoming economic trouble, Helbing said Clark and Lois will still find it easier to raise children [there] than it is in Metropolis. The storyline with the sons is really compelling, Tulloch said, also noting that though Lois s dedication to her work remains, the reporter wonders how much it alienates her children.Hoechlin suggested Clark will also face a similar internal conflict: When is it OK to turn off the world? he asked in regards to Superman making family time. The actor s father was a doctor and he recalled all the times he was called away to attend to his practice. It s a perspective shift for me to look back on how he accomplished that and wore both hats.
Taylor (cont.): The scale of the scene was big for me, at the time, because I hadn t really done anything big and epic yet. That came later, and the show hadn t gotten its big budget boost until later. So, by the terms of the time, it was a bigger deal, and we didn t have much money, and we didn t have enough extras, and we couldn t afford the visual effects that we had planned, so it was all very sort of getting by by the seat of our pants. But I remember talking to my DP, Alik Sakharov, and both of us agreeing that the core, it was really a story about a father and his two daughters, and sticking to that dynamic guided us through how we handled the scene.In fact, the most emotional moments for me were some of the stuff between the way we crosscut between Ned and his daughters and, certainly, between Ned and Arya, who sort of inherits the narrative at the end of that episode. We hand off from Ned and take it to her in a way that I was happy with, because of course, her character, like all characters, has a long road ahead of them, and we re going to grow with them. But I remember being very conscious about saying, OK, we re finishing Ned, but the story continues and we re passing the narrative, passing the consciousness, passing the subjectivity to this young girl. So, we did that with pictures and with sound, and I was happy with how it turned out.(Photo by HBO)Can you also talk a little bit about the performances of your actors, in that moment?Taylor: Yeah. Again, it hung mostly on the three. Ned Stark was the linchpin, the centerpiece of the whole thing, and his performance I still think is just heartbreaking and beautiful. It s partly because I have daughters, and I sort of know what it d be like. I can t know, but I think I identify with him up there: a combination of anguish and shame and despair. His performance was perfect.Our two actresses were so young and were going to develop and build and grow so much, but I think they did amazing work, both of them, in that scene. Joffrey also is great as the consummate villain, with his pettiness and naiveté on display. I did watch it recently and was impressed with everyone, and when you go to a wide shot, everyone is absolutely in character. Cersei and Sansa, and even Varys and everyone is really playing their relationship to this moment, intensely. I was very happy.All anybody really wants to know is what Ned Stark was whispering when he was about to get his head chopped off, and that s the question I get a million times. I know I spoke to him about what would be going through his head and what he would be doing, and we agreed that he d be praying to his own gods and trying to make peace and trying to accept. So I know he came up with a prayer, probably talking to our language guy and our writers, but it was nothing scripted. It was really his invention, but it was to do with the prayers to his gods.(Photo by HBO)The series would have been so different if he had survived, and it seems obvious, but can you talk a little bit about how essential that moment is in the series overall?Taylor: I think it s true that it is the turning point. Some friends and I have talked about the show and one of the things we have come to believe is that it s an epic show that has a kind of the pilot episode is the first season. It s not like the first episode sets you up. It s such a scale of storytelling that really the whole first season is the pilot. It s the turning point of Ned being destroyed and the dragons being born. The stakes rise and chaos is initiated.The Starks and everyone is sort of scattered to the winds, and all the seasons that follow are about the slow reconnection of those people that were scattered. In that way, it really does launch the story forward and shape what s to come. [In] the eighth season, the culmination is everyone coming back together, everyone finding their place in the battle that will finish things, and much of that comes from what happened that day.What was your first experience watching Ned s beheading with people who weren t involved with the production and didn t know what was coming?Taylor: That was a revelation, partly because of that scene, and also because we didn t know when we were doing it the scale of the audience response to the series as a whole, so we had no idea that we would find this audience. I was most stunned by the way that Ned connected to every demographic and to every economic level. It was such effective storytelling and such a great performance on his part and doing what fantasy can do, which sort of transposes to an environment where everybody, I think, can relate.I was really taken aback and impressed that the people who seemed torn up by it really took Ned as their character. As I said, I was struck by [how] it cut across all categories, and frequently we re aware of how our society and our time is fractured along any number of measurable lines, and in that moment I was struck by how much everybody had taken that character into their hearts and identified with them and felt the loss of him, which was inspiring.I think that was the first moment that people started posting video reactions on the internet, right? Taylor: Yeah. I remember seeing something on YouTube, and one young man was watching and he was just beside himself. It was just devastating. He was so upset with us and stuff. It was the best audience response you could find.Going back, would you do anything differently with that moment?Taylor: Yes. Of course. I mean, I look at it now and I see the crudeness of some of it. Some I can blame on budget and time and stuff. But also I think I ve gotten better at handling scenes of that scale, so I think I might have done a better job with the camera. But I can t think of anything to change in terms of the performance the actors gave, and I can t argue with the emotional impact that it has, so in that way I m not trying to redo it in my head.Moment: Mother of Dragons(Photo by HBO)Next is the Mother of Dragons scene. Viewers watched Daenerys walk into the fire and everyone thinks she s sacrificing herself. She thinks she might be, too. Can you tell us about building that moment with your actors?Taylor: A lot was going on there, obviously. It s a tragedy, it s a funeral, it s the end of things, and as we discovered, it s the beginning of everything, too. I know — I ve heard this, and we spoke about it — that Emilia did not think her character expected to die in the flames. She didn t know what was coming, but whatever came she felt was right. So there s a wonderful look she gives to Iain Glen when he s all torn up. When she s about to walk in she looks at him, and it s such a forgiving, letting go look from such a place of wisdom. I thought it was really beautiful, and that, for me, was the attitude that Emilia had Daenerys take into the flames — that she knew the rightness of what she was doing.Partly it s a culture where when the King dies, the Queen goes with him, but she s a Targaryen. I think in her mind she knew flames were not going to be the problem, that something was going to happen, or that she was going to a place, that it wasn t necessarily her death that she was walking to. Certainly nobody, including her, expected the birth that happened with her three sidekicks.But that was the beginning of the new dawn. One detail that I was happy with and proud of was that I believe, in the book, that scene plays at night, and the dragons are born in the night. I remember pushing for the transition to be to dawn, so that when the dragons are born they re born into the dawn of a new day. It was partly a storytelling thing, to say that this has ended and now this is beginning, but it was also because we had that amazing location. I wanted to make sure that we saw it, and that we could back off and hear the dragons voices scaled. If it was night we couldn t have afforded to light it because we didn t have any money back then. I remembering being very happy with [it]. One of my favorite moments is the transition to dawn when Iain Glen s character walks in and we follow his feet and his sword in to discover her for the first time, and that transition to dawn meant a lot to me.(Photo by HBO)It was beautiful.Taylor: That location was in Malta and it s beautiful, right by the coast. It s all ocean on the right side of frame and desert on the left, but we had to erase the ocean and replace it with desert to make it look like we were in the right setting. It was funny to take such a beautiful image with this glistening sea and erase it all and put more sand in.I was going to ask about some of the effects in that moment, because obviously, the dragons. Can you just talk a little bit about coordinating to get the exact right baby dragon experience?Taylor: On the day Emilia did a great job of having nothing to work with, and none of us had seen the dragons yet. [Showrunners] David [Benioff] and Dan [Weiss] kept talking about [how] they wanted them to be absolutely biologically believable. In all the research they d done with dragons, they threw away anything that had four feet and wings. They wanted to go off physiognomy and physiology that was real, so they looked at bats and creatures where the forelimbs are the wings. That became a big part of the design of the creatures.Just the fact that these awesome beings would enter the story as tiny, fragile, squeaky dependent creatures was a hint, or a gesture toward the scale of where we were going — that eventually they were going to be the size of jumbo jets. But at this point they were nothing.That relates to another question I had about when you re building these moments to film, taking into consideration what s to come for the character. How much of that is part of your filmmaking process?Taylor: You always want to know, because a lot of it, the way you would weight a certain moment comes from knowing where you re headed and playing against that, sometimes, or being true to it but playing against it. Certainly Daenerys has one of the strongest arcs in television. She was basically chattel — she s an object being sold off at the beginning, and she rises to become the most powerful person in that world.I think we were all guided by a dim awareness of her overall arc, but I had no grasp of the details, certainly, of where we were going. I m sure she had had talks with David and Dan. They probably gave her a lot more insight to where her character was going than I was privy to at the time. I just knew that this was the beginning of something very, very big.In fact, I think even when we did that scene I was naive about the scale of the storytelling. I thought that in season 2 the dragons would be something substantial to contend with, but they were not even preteen by season 2. I ve always been impressed with how they were taking their time to build layer on layer of things, and the dragons are one case where David and Dan had a very clear idea of the long game they were playing.Moment: Viserion Becomes an Ice DragonSpeaking of dragons, that brings me to the third big twist. We lose one of those baby dragons. Well, he gets adopted.Taylor: He s co-opted, appropriated. Yeah. I remember when I had been away from the show and I was coming back to do one episode, because it worked out schedule-wise. I saw that I was getting the second-to-last episode, which usually, in HBO terms, means you re getting a big one because there s a season structure where the second-to-last episode pulls out all the stops, and frequently the last episode is kind of a denouement.I thought, Oh, that s great. But then I started seeing the other scripts and realizing that in that season, every episode was huge. Every episode had a major huge event or battle or something, so I realized that that was just the nature of the show that had grown so much since I had been away. But then, when I read my script, I got to that moment with the dragon and I knew the power of what is was, because partly [in] killing off any longstanding character, the incredible upheaval it means for the balance of power is major.But also the fact that you re basically killing a puppy. You know it s going to have a very strong resonance with the audience, so I was really grateful to be able to handle that moment. The reveal of the turn at the end, of course, was one of the yummiest episode-enders I d ever been given — when we see the blue eye open and know what that means. Mostly it was just gratitude being able to do it. I remember designing all the sequences with the dragon, and it was great to be able to work at the scale of storytelling that so much of the show has driven you to this point.
Audiences were not done with the winners of the box office last week – including Joker and Maleficent – though they certainly did flip the script on a few of them. The DC villain overtook the Disney villain to reclaim his weekly crown, while Joker also celebrates an all-new crown as the highest-grossing R-rated film of all-time. The final weekend of October was certainly calm for the newcomers but the storm is coming soon as the Holiday movie season kicks off in earnest next week. Until then, the winners and losers of the Autumn season look pretty clear.King of the Crop: Joker Sets October And R-Rated Record(Photo by © Warner Bros. )Joker is the King in more ways than one. It is the first movie to regain the number 1 spot at the box office after being dethroned since A Quiet Place did it in April 2018. With over 7 million on Sunday, it surpasses Gravity to become the highest-grossing film ever released in October and, as mentioned, it has also passed Deadpool 2 as the top R-rated grosser worldwide with over 0 million. The .7 million that Joker made in weekend four is higher than both Thor: Ragnarok (.86 million) and Iron Man 2 (.45 million), as well as Deadpool 2 (.41 million). That suggests Joker is headed for somewhere over 0 million domestic and on its way to over 0 million worldwide. Joker is going to have the biggest profit of the Autumn season by over three times more than Warner Brothers other big hit of the season, It: Chapter Two. Other winners include Focus Features Downton Abbey and STX’s Hustlers.Rotten Returns: Maleficent Sequel Trailing Well Behind Original, But Some Signs of Hope(Photo by © Walt Disney Studios Motion Pictures)Maleficent: Mistress of Evil is in the running for an altogether different crown at the other end of the spectrum: that of one of the biggest bombs of the year. The international dollar is going to ultimately decide its final placement, but as of this weekend it has grossed just million domestically and is in danger of not even crossing the 0 million line. (Its predecessor cleared 0 million.) The sequel is just a bit behind the 10-day grosses of Paranormal Activity 2 and Red Dragon, though it did gross a little more in weekend two than either of them. Those films, nevertheless, finished with only .75 million and .14 million, respectively.Good news for the Mistress of Evil is that family films are in short supply until Frozen 2 opens on November 22; neither Arctic Dogs nor Playing with Fire is likely to draw much business away from it. But even if Maleficent can reach nine digits here, it is still going to need to reach about 0 million internationally to break even. Currently it has made 8 million outside of its North American total. Still, Mistress of Evil looks like its red in the ledger will still be less than that of Paramount’s Gemini Man, which remains about 0 million away from the black. That would make it the clear loser in an Autumn season in which it has had plenty of company, including The Goldfinch, Ad Astra, and Rambo: Last Blood.The Top 10 And Beyond: Newcomers Make a Dull Impact as The Lighthouse Shines(Photo by © STX Entertainment)Neither of this weekend’s new releases posted noteworthy grosses, but neither were heavily budgeted either. Sony’s Black and Blue was the more expensive of the two, costing million, so an .3 million start means it is likely headed at best for - million total, if that. The horror film Countdown cost about half as much at .5 million and at least passed that figure with million. It is also likely to take a small loss if it is forgotten by audiences once Halloween comes and goes.Two films still looking to get out of the red for the Autumn season remained in the top four and could see a decent showing leading up to Halloween next Thursday. Last week’s newcomer Zombieland: Double Tap is now up to nearly million. The original film had .6 million after 10 days and grossed .8 million in its second weekend; the sequel dropped 57% and grossed just .6 million, so it appears it is headed to somewhere below the first film’s .59 million. The Addams Family is also having a nice little run and looks headed for over million with an outside shot at reaching 0 million which, globally, is the number it needs to start turning a profit. Its total stands worldwide at million.In other direct battles this weekend, we had one between musicians Kanye West and Bruce Springsteen. Kanye’s 31-minute short, Jesus Is King, grossed 0,000 in 372 IMAX theaters, which charge a bit extra no matter what the length, for a per-theater-average of ,231. The Boss’ full-length music doc, Western Stars, was in 345 non-IMAX theaters and grossed just 0,000 for a ,623 PTA. Then there was the battle between Thomas Edison and George Westinghouse in The Current War, labeled with “Director’s Cut” after the film spent two years on the shelf after premiering at the Toronto Film Festival in 2017 to mediocre reviews in the midst of the Harvey Weinstein scandal. It made just .73 million.And that wasn t all. There was also the showdown between Robert Pattinson and Willem Dafoe in The Lighthouse. Robert Eggers’ follow-up to The Witch expanded to 586 theaters and made the top 10 with a gross of .08 million. That is a better per-theater-average (,257) than the expansion of Sofia Coppola’s remake of The Beguiled in 2017, which started with 9,229 in four theaters and then grossed .16 million in 674 theaters. That film jumped up to its widest release the following week into 941 theaters and ultimately finished with .7 million. A24’s very first opening weekend wide launch was The Witch, which grossed .8 million in 2,046 theaters and finished with .13 million.In other limited news, Bong Joon-Ho’s Parasite (Certified Fresh at 99%) continued to stay strong as it expanded into 129 theaters with .81 million. Comparing to similar platforming strategies, it is certainly in some great company. Boogie Nights went from 30-to-124 theaters in weekend three and grossed .8 million. Here are others in Parasite’s realm:There Will Be Blood (51-to-129 screens): .86 millionBoyhood (34-to-107 screens): .76 millionThank You For Smoking (54-to-126 screens): .60 millionThe Farewell (35-to-135 screens): .51 millionThe Theory of Everything (44-to-140 screens): .51 millionAn Inconvenient Truth (77-to-122 screens): .5 millionRevolutionary Road (38-to-135 screens): .42 millionInto the Wild (33-to-135 screens): .27 millionThe lowest-grossing film on that list overall was The Farewell with .67 million.Finally, we re looking at the second weekend of Taika Waititi’s Jojo Rabbit, which added another 50 theaters to last week’s launch of just five and grossed .04 million. That is right in line with Jason Reitman’s Thank You For Smoking, which Fox Searchlight saw gross ,003,911 in 54 theaters after a 2,923 launch in five theaters. Other Fox Searchlight releases along these lines include Three Billboards Outside Ebbing, Missouri, which made ,102,166 in 53 theaters after a 2,168 start in four theaters, and Birdman, which made .37 million (50 theaters) after 4,397 (four theaters). Jojo Rabbit is up to .5 million after 10 days of release.This Time Last Year: Halloween Wins Halloween WeekendThe pre-Halloween weekend in 2018 was won by (what else?) David Gordon Green’s Halloween, which earned .4 million in its second weekend, crossing the 5 million line. A Star is Born was second with .03 million and Venom finished third with .65 million. The only newcomer to enter the top 10 was the Gerard Butler submarine thriller, Hunter Killer, which opened to just .65 million. Johnny English Strikes Again and the faith-based Indivisible opened in less than 1,000 theaters and grossed just .63 million and .50 million, respectively; Jonah Hill’s mid90s was expanded into 1,206 theaters and held the number 10 spot with .98 million. The top 10 films grossed a total of .99 million and averaged an even 65% on the Tomatometer; this year’s top 10 grossed .88 million and averaged 55%.On the Vine: He Said He d Be BackThe holiday movie season officially begins and one film should have no problem ruling them all: Terminator: Dark Fate is primed to lead the way with both Arnold Schwarzenegger and Linda Hamilton returning to the franchise. The movie is already earning solid reviews, particularly when compared to the previous sequels; its current Tomatometer score is 65%. Dark Fate started with .8 million overseas in 10 territories this weekend. The holiday season also means it is awards season and a couple of Oscar wannabes begin their runs next week: Edward Norton’s Motherless Brooklyn and Harriet with Cynthia Erivo as Harriet Tubman. Finally there is Entertainment Studios’ first animated release, Arctic Dogs, featuring the voice work of Jeremy Renner, James Franco, and Alec Baldwin, which is expected to be on the low end of animated openings.The Full Top 10: October 25-27Joker (2019) 68% – .9 million (7.58 million total)Maleficent: Mistress of Evil (2019) 39% – .54 million (.41 million total)The Addams Family (2019) 45% – .71 million (.8 million total)Zombieland: Double Tap (2019) 68% – .6 million ( million total)Countdown (2019) 26% – .01 million (.01 million total)Black and Blue (2019) 52% – .33 million (.33 million total)Gemini Man (2019) 26% – million (.34 million total)The Lighthouse (2019) 90% – .08 million (.66 million total)The Current War: Director's Cut (2019) 61% – .73 million (.73 million total)Abominable (2019) 82% – million (.82 million total)
(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)If the footage from the Avengers: Endgame trailers is to be believed, the original Avengers will be reunited to avenge the loss of their friends, and well, half of the universe. To do this, they’ll need a clean shave (lookin’ at you Cap), new haircuts (Hello Hawkeye), and superheroes from every Phase of the Marvel Cinematic Universe (MCU) to help them. We don’t know what will happen after the dust settles (or reforms into our favorite superheroes), but we do know it will be a colossal conclusion to the successful 10-film third phase of the MCU.In honor of the grand finale to Phase 3, and in preparation for a new wave of heroes taking over, we’ve done a Tomatometer deep dive into the 21 films that make up the three phases of the MCU so far. The result? Eighteen fascinating – we hope! – stats about the MCU, covering every one of the Marvel Studios films released since 2008. Dig in below, and let us know in the comments whether you agree or disagree with the Tomatometer s findings.1. THE AVERAGE TOMATOMETER AND AUDIENCE SCORES FOR THE ENTIRE MCU ARE ALMOST IDENTICAL — JUST 1.7% APART.(Photo by Zade Rosenthal/©Walt Disney Studios Motion Pictures)Average Audience Score: 82.1% | Average Tomatometer Score: 83.8% The average Audience Score for every film in the MCU is 82.1%, while the average Tomatometer score is 83.8% — so much for pretentious critics! A 1.7% split is almost unheard of with single films at Rotten Tomatoes, let alone when averaging out scores across 21 movies. Critics and fans: Assemble!2. THE IRON MAN, THOR, AND CAPTAIN AMERICA TRILOGIES EACH HAD DIFFERENT TOMATOMETER TRAJECTORIESIron Man (93%) | Iron Man 3 (79%) | Iron Man 2 (73%)Thor: Ragnarok (92%) | Thor (77%) | Thor: The Dark World (67%)Captain America: Civil War (91%) | Captain America: Winter Soldier (90%) | Captain America: The First Avenger (80%)It’s fitting that franchises featuring playboy billionaires, Asgardian gods, and a clean-cut super soldier would have Tomatometer trajectories as distinct as their titular heroes. The Iron Man trilogy started super Fresh (93%) and its sequels couldn’t recapture the first installment s glory, whereas Thor and Captain America finished very strong (91%, 92%) with the highest Tomatometer-rated movies in their trilogies. Only Captain America avoided a sophomore slump with Captain America: Winter Soldier (90%), while Thor: Ragnarok (92%) totally redeemed its franchise by making a 25% improvement after the near-Rotten Thor: The Dark World (67%).3. BLACK PANTHER IS THE TOMATOMETER KING.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)When looking at the Tomatometer averages for superheroes who have been in at least three MCU movies, they don’t get any better than T’Challa’s 91% Tomatometer average. He has appeared in Captain America: Civil War (91%), Black Panther (97%), and Avengers: Infinity War (85%). Also, the 97% Tomatometer score for Black Panther is the best in the MCU.4. Iron Man has the highest Tomatometer and Audience Score combined average: 92%.Talk about strong beginnings: 2008’s Iron Man comes out on top when you average out each film’s Tomatometer and Audience Score. The Tomatometer score for Iron Man is 93% and the Audience Score is 91%, making for an average between the two of 92%. We know a certain “genius, billionaire, playboy philanthropist” who would be very happy to hear this.5. THE BEST TOMATOMETER STREAK HAPPENED BETWEEN 2017 and 2018. Phase 3’s Spider-Man: Homecoming (92%), Thor: Ragnarok (92%), Black Panther (97%), Avengers: Infinity War (85%), and Ant-Man and the Wasp (88%) all have above-average Tomatometer scores for the MCU (the MCU average being 83.8%) and average a stellar 90.8% on the Tomatometer. It’s a Pixar-level run that was capped off by Black Panther receiving an Academy Award nomination for Best Picture.6. THE WORST TOMATOMETER RUN HAPPENED BETWEEN 2008 and 2012.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Nowadays, after all of the Tomatometer success the MCU has enjoyed, it’s hard to believe that The Incredible Hulk (67%), Iron Man 2 (73%), and Thor (77%) couldn t muster Tomatometer scores above 80%. Those scores aren’t bad at all, but by modern MCU standards, they’re a little lacking. We can’t be too rough on these films though, because the MCU was still in Phase 1, and the next films released were Captain American at 80% and the 92% Tomatometer-rated The Avengers.7. Guardians of the Galaxy is the most loved brand in the MCU, according to the average Audience Scores for their movies (89.5%).Other brands — heroes with one sequel or more — still don’t fare too badly: Captain America (85%), Ant-Man (81%), Iron Man (80%), and Thor (79.6%).Turns out people love A-holes who save the galaxy while listening to awesome music. The James Gunn-directed movies have a totally different vibe to their MCU counterparts (OK, Thor: Ragnarok gives us some GOTG feels), and audiences have latched onto it. You have to admire how Gunn, the maestro behind Super and Slither, has managed to bring some of his trademark oddness — a severed toe, Jackson Pollock paintings, and a villain who named himself “Taserface” — into the mainstream superhero movie domain.8. Captain America is on the best roll: Tomatometer scores have improved for each successive Cap’ movie (80%, 90%, 91%). (Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)It is the only series in the MCU (and among other superhero trilogies) to see this trend.The Captain America series reigns over all MCU trilogies (Iron Man, Thor) when it comes to Tomatometer scores — its three-film average of 87% bests the rest. Also, it is the only superhero trilogy ever to start Fresh and get better with each installment. This is something Thor, Iron Man, Batman, Spider-Man, Blade, Wolverine, and the X-Men can’t claim.9. THE TOMATOMETER AVERAGES DROP WHEN DIRECTORS COME BACK TO DIRECT A SECOND OR THIRD FILM (89% first 82.5% second or third)Joss Whedon (Marvel’s The Avengers, Avengers: Age of Ultron), James Gunn (Guardians of the Galaxy, Guardians of the Galaxy Vol. 2), Jon Favreau (Iron Man, Iron Man 2), Peyton Reed (Ant-Man, Ant-Man and the Wasp), and the Russo Brothers (Captain America: Winter Soldier, Captain America: Civil War, Avengers: Infinity War) have directed 11 of the 21 released MCU films. The average for their first features is an excellent 89%; however, the average for the second or third films is 82.5%. All of their follow-up films were Fresh, mind you. And we re excited to see if Black Panther director Ryan Coogler can give the 82.5% average a boost when he returns to direct the sequel.10. THIRD MOVIES IN FRANCHISES HAVE THE BEST TOMATOMETER AVERAGE.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Captain America: Civil War (91%), Thor: Ragnarok (92%), Iron Man 3 (79%), and Avengers: Infinity War (85%) have an excellent 86.75% Tomatometer average. On its own, the 86.75% average would be impressive, but when compared to the 85% and 79% averages for first and second franchise films in the MCU, it proves that the third time s a charm — according to the Tomatometer.11. Critics and audiences prefer MCU films that are over two hours.More is more in the MCU: The 15 movies in the collection that run longer than 2 hours have a much higher Tomatometer average than their five under-120-minute counterparts (86.7% compared to 76.6%). It’s a coincidence, but it’s worth noting that The Incredible Hulk (67%) and Thor: The Dark World (67%) are the lowest Tomatometer-rated movies and both have 112-minute running times. Good omen: Avengers: Endgame is apparently 182 minutes.12. MCU movies featuring human villains have a higher Tomatometer average.(Photo by © Marvel / © Walt Disney Studios Motion Pictures)Human Villains: 88.75% | Enhanced Humans: 80.8% | Non-Humans: 80.8%Unlike MCU movies involving villainous gods or bad guys who turn themselves into wild creatures, Iron Man, Iron Man 2, Captain America: The Winter Soldier, Ant-Man, Captain America: Civil War, Spider-Man: Homecoming, and Black Panther all feature human villains who don’t have special powers (to begin with) and work on the fringes in order to implement their plans. Critics seem to like this approach. Perhaps these villains connect because of their relatable, human motivations — Erik Killmonger wants to right worldly wrongs, Zemo seeks revenge, Michael Keaton s Vulture is after his version of the American Dream, and no one is getting in his way. Hela, on the other hand, wants to rule the universe — something only a couple of critics we know could relate to.13. FEWER DEATHS = BETTER TOMATOMETER SCORES.Of the 21 films in the MCU, only Spider-Man: Homecoming (92%) and Ant-Man and the Wasp (88%) feature fewer than 10 deaths perpetrated by the heroes or villains, and their Tomatometer average is 90%. On the flip side, the Tomatometer average for the six most carnage-heavy MCU movies – among them, Avengers: Infinity War, Guardians of the Galaxy, and Thor: The Dark World – is 84.8%. That s dragged down by The Dark World, but still, maybe Thanos should’ve only killed an eighth of the population.14. PHASE 3 CURRENTLY HAS THE HIGHEST TOMATOMETER AVERAGE OF THE MCU PHASES, WITH AN AWESOME 88.3%.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)It’s kinda crazy that the first nine films of the eventual 10 films that will make up Phase Three of the MCU have an average Tomatometer score of 88.3%. The creative team at Marvel has been able to fine-tune its formula to the point where the lowest score of the Phase 3 movies belongs to the Certified Fresh Captain Marvel, at 78%. The highest score belongs to the wildly popular Black Panther (97%). Phase 1 has an average Tomatometer of 80.3%, and Phase 2’s average is 80.6%. If the pattern of phase-on-phase growth were to continue, look for Phase 4 to pull off the near-impossible and collect an average of close to 100%. (Unless they break the Tomatometer, it ain’t gonna happen).15. COMEDY-HEAVY MCU MOVIES HAVE A HIGHER TOMATOMETER AVERAGE THAN MORE SERIOUS MCU FILMS (87.1% 82.2%).The main reason we wanted to drop this statistic is so we could discuss the greatness of Luis in the Ant-Man franchise. Sure, we love Korg (Thor: Ragnarok), Ned (Spider-Man: Homecoming), and Mantis (Guardians of the Galaxy Vol. 2), but they don’t have the storytelling chops that Luis has. Michael Peña’s portrayal of the ex-con who becomes a security consultant is pitch perfect and we can’t get enough of his truth-serum arguments and one-punch knockouts. It won’t happen, but we hope Luis pops up in Avengers: Endgame and saves the day — or at least drops some funny one-liners.16. MCU movies featuring female superheroes have higher Tomatometer (85%) and Audience Score averages (83.5%) than the MCU movies that don’t (80.8%, 78.6%).(Photo by © Walt Disney Studios Motion Pictures)Captain Marvel is the only female-led superhero film in the MCU and won’t have any company in that tier until Scarlett Johansson s Black Widow hits theaters in 2020. However, movies featuring Black Widow (Scarlett Johansson), the Ancient One (Tilda Swinton), Okoye (Danai Gurira), Valkyrie (Tessa Thompson), Scarlet Witch (Elizabeth Olsen), Hope Van Dyne (Evangeline Lilly), Lady Sif (Jaimie Alexander), and/or Gamora (Zoe Saldana) have higher Tomatometer and Audience Scores on average than their more male-dominated counterparts.17. MCU movies featuring at least five superheroes teaming up have a higher Tomatometer average (87.3%) than their lone-wolf counterparts (82.1%).MCU movies that feature at least five superheroes teaming up to form a supergroup have a solid 87.3% Tomatometer average. These films include The Avengers, Avengers: Age of Ultron, Guardians of the Galaxy, Guardians of the Galaxy: Vol. 2, Captain America: Civil War, Thor: Ragnarok (yep, we’re considering Heimdall in our count), and Avengers: Infinity War. It’s hardly a surprise these movies score so well. The best moments of the MCU often come from the camaraderie of super crews as they battle various hordes, or each other, and the universe’s big “wow” moments are usually big team-ups — think of the “gang’s all here” slow-motion shot at the beginning of Avengers: Age of Ultron, or seeing Ant-Man steal Captain America’s shield from Spider-Man in Captain America: Civil War.18. Tony Stark = Box office gold.(Photo by Industrial Light & Magic/©Paramount/Courtesy Everett Collection)So, this isn t a Tomatometer stat, but it s damn impressive. The Iron Man trilogy may not have the highest Tomatometer average, but it is the highest grossing trilogy with a massive .7 billion worldwide haul (counting inflation). Seems that audiences love Robert Downey Jr.’s take on Tony Stark, and his appearances in non-Iron Man specific movies always guarantee success. He appears in five of the six highest-grossing Marvel movies (The Avengers, Avengers: Age of Ultron, Iron Man 3, Captain America: Civil War, Spider-Man: Homecoming, Avengers: Infinity War), and, with Avengers: Endgame coming up, his worldwide tally will easily pass billion. If Avengers: Endgame is Robert Downey Jr.’s Marvel swan song, no one can say the team at the big M didn’t get their money’s worth from him.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Note: Calculations based on Tomatometer and Audience Scores as of April 17, 2019.Avengers: Endgame is in theaters April 26. 2019. This may be the month of Christmas specials galore, but for those looking for less holiday-related fare, a bunch of beloved shows are coming back – and there is plenty to catch up on before these series return. The fan-favorite Vikings are back on History, for one, along with the equally fearsome Midge Maisel of The Marvelous Mrs. Maisel on Amazon Prime. Or if the Great Unknown is more your speed, you’ll be set with Lost in Space on Netflix and The Expanse on Syfy. For more, you’ll have to keep reading for this month’s full offering of binge-worthy returnees. Vikings 93% (History)What it is: In the mood for a meaty, generations-spanning period drama that has violence, politics, sex, and true-to-history recreations to spare? Look no further than Vikings, Michael Hirst’s brilliant follow-up to The Tudors. The heart of the series begins with the rags-to-riches tale of legendary Viking Ragnar Lothbrok (Travis Fimmel) and his rise to power before passing the narrative baton to his children.Why you should watch it: Vikings is complex, calculated storytelling. Gorgeous, lush sets and production design, committed and gritty performances all around — it is a wonder that the program doesn’t garner awards acclaim on par with Game of Thrones (though it certainly has drawn comparisons). Season 6 premieres Dec. 4 on History.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 58 hours (for the first five seasons)The Marvelous Mrs. Maisel 88% (Amazon Prime)What it is: In 1950s New York City, Midge Maisel’s (Rachel Brosnahan) husband, Joel (Michael Zegen), admits to having an affair and leaves her. Rather than getting back, she gets even, and decides to pursue his dream of becoming a stand-up comedian— which makes sense, because she was the funny one writing his jokes all along.Why you should watch it: A runaway comedy hit upon its debut, Maisel won top honors at both the Emmys and Golden Globes for its first season — and only bowed this year to Amazon’s other awards-sweeper, Fleabag. But Brosnahan’s star-making performance (and her scene-stealing costars like Tony Shalhoub and Alex Borstein) continue to anchor a series that is smart, funny, and full of heart while also being absolutely timely. Season 3 premieres Dec. 6 on Amazon Prime.Where to watch: AmazonCommitment: Approx. 18 hours (for the first two seasons)The L Word 57% (Showtime)What it is: From creators Michele Abbott, Ilene Chaiken, and Kathy Greenberg, this Emmy-nominated series (decorated elsewhere by GLAAD for its landmark lesbian, bisexual, and transgender characters) charts the intersecting friendships and love lives of a group of queer women living in Los Angeles. Why you should watch it: As heralded today as it is maligned, there’s no denying that The L Word made leaps for LGBTQ representation onscreen upon its 2004 premiere, even if it didn’t always hit its mark. While its first season was Certified Fresh for all its bombastic soapiness and memorable characters, critics didn’t follow it into its subsequent seasons, resulting in years without Tomatometer scores — and its sixth and final season was ravaged with a measly 8%. But the show still has its fans and its merits. Plus, its reboot is sure to revisit the components that first made us fall in love with these ladies while expanding and bettering itself where there is room to grow. Season 7, retitled The L Word: Generation Q, premieres Dec. 8 with returning stars Katherine Moennig and Jennifer Beals on Showtime.Where to watch: Amazon, Google Play, Hulu, Microsoft, Netflix, VuduCommitment: Approx. 70 hours (for the first six seasons)The Expanse 94% (Amazon Prime)What it is: Based on the series of novels by James S. A. Corey (the pen name of collaborators Daniel Abraham and T Franck), this space-hopping science-fiction series follows Earth-bound United Nations executive Chrisjen Avasarala (Shohreh Aghdashloo), asteroid belt-dwelling police detective Josephus Miller (Thomas Jane), and officer of an ice freighter Jim Holden (Steven Strait) as they uncover a conspiracy that risks intergalactic peace within disparate colonies and the survival of humanity as they know it. Why you should watch it: We see enough social and political turmoil here on Earth to know that if and when we expand our humanly horizons to other planets in the solar system, tension is likely to continue. Here, it just makes for great TV with timely allegorical themes to spare. Season 4 premieres Dec 13 on Amazon Prime.Where to watch: Amazon, Google Play, Microsoft, VuduCommitment: Approx. 26.5 hours (for the first three seasons)Marvel's Runaways 84% (Hulu)What it is: Creators Josh Schwartz and Stephanie Savage leave their mark on the Marvel Cinematic Universe with this hit Hulu series based on the comic of the same name, which follows a motley group of super-powered teens who unite to stop their supervillian parents.Why you should watch it: By this point, you know what you’re getting with an MCU project, but Runaways still manages to have a few surprises up its sleeve. Led by a cast of a excellent young actors and featuring a unique spin on the hero-villain narrative (and exploring relationships between friends and family in the process), the streaming series is a welcome addition to the already well-trod Marvel empire. Its third and final season premieres Dec. 13 on Hulu.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 20 hours (for the first two seasons)Lost in Space 76% (Netflix)What it is: A classic story of the sci-fi genre, 2018’s Lost in Space reboot finds new ways to tell the tale of the Robinson family, a clan of space colonists who must adapt to survive after their ship gets flung off course (living up to the series’ title) and crash lands on an alien planet.Why you should watch it: The original Lost in Space is one of those series that every sci-fi lover should watch simply because of the influence it wielded over future series in the genre. But this new reboot — bolstered by state-of-the-art visuals, new characters, and uncharted territories — is an upgraded entrant to the canon that deserves a binge all its own. Part Swiss Family Robinson, part Star Trek, Lost in Space has something for everyone. We vote you make it your unlikely family binge this holiday season. Season 2 returns Dec. 24 on Netflix.Where to watch: Amazon, FandangoNow, Google Play, Microsoft, NetflixCommitment: Approx. 8.5 hours (for the first season)You 91% (Netflix)What it is: You’ll find yourself yelling at your television in equal parts frustration and enchantment with this Penn Badgley–starring hit. The former Gossip Girl actor plays Joe Goldberg, an unassuming (albeit attractive) bookseller who moonlights as the psychotically obsessive stalker of NYU student and aspiring writer Guinevere Beck (Elizabeth Lail). Why you should watch it: You is just the latest example of a cancelled series finding second life on Netflix. While the thriller series cornered a niche audience upon its premiere on Lifetime, it was cancelled after one season. Then it hit Netflix late last year, became a word-of-mouth water-cooler hit, and was picked up for a second round, which should be intriguing enough to get you to at least hate-binge this soap-drenched stalker drama. Season 2 premieres Dec. 26 on Netflix.Where to watch: Amazon, FandangoNOW, Google Play, Netflix, VuduCommitment: Approx. 8.5 hours (for the first season)Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image courtesy of © Netflix, © Amazon Prime Video