bob综合vip采用百度引擎2（Baidu 8）The NYFCC announced the winners of their 2018 Awards this morning on Twitter. Roma led all winnners with three; Best Film, Best Director, and Best Cinametography. Paul Schrader s First Reformed followed with two wins for Best Screenplay and Best Actor. This sets up quite well for Curarón s black and white semi-autobiographical story of his adolescence in 1970s Mexico, as told through the eyes of the woman who raised him. A strong showing with critics groups early will help propel some good will with Academy voters. This morning s announcement also bodes well for Schrader, the writer of Taxi Driver Raging Bull, to secure his ever-elusive first Oscar.The NYFCC Awards are chosen by a group of critics from daily newspapers, weekly newspapers, magazines, and qualifying online general interest publications. Last year, Lady Bird won the award for Best Picture while The Florida Project won for Best Director (Sean Baker).Read through for the full list below, and make sure to check out the complete Awards Leaderboard to keep up to date on the accolades bestowed on the best movies of 2018/2019 from the press, fans, and members of the film industry.Best Film: Roma (2018) 96%Best Director: Alfonso Cuarón — Roma (2018) 96%Best Screenplay: Paul Schrader — First Reformed (2017) 93%Best Actress: Regina Hall — Support the Girls (2018) 91%Best Actor: Ethan Hawke — First Reformed (2017) 93%Best Supporting Actress: Regina King — If Beale Street Could Talk (2018) 95%Best Supporting Actor: Richard E. Grant — Can You Ever Forgive Me? (2018) 98%Best Cinematographer: Alfonso Cuarón — Roma (2018) 96%Best Animated Film: Bob Persichetti, Peter Ramsey, Rodney Rothman — Spider-Man: Into the Spider-Verse (2018) 97%Best Non-Fiction Film (Documentary): Bing Liu — Minding the Gap (2018) 100%Best Foreign Film: Pawel Pawlikowski — Cold War (2018) 92%Best First Film: Bo Burnham — Eighth Grade (2018) 99%Special Award For Career Achievement: David Schwartz Kino Classics Box Set Pioneers: First Women Filmmakers
我们网友也发现了这一点，这些英雄刚刚出一经出现就会扰乱LOL手游固有的生态链，就例如最近刚刚在LOL手游上线的凯南。胜率也是直接登顶，英雄机制在对抗任何上单的时候都不会落于下风。bob综合vip(Photo by © NEON)The Los Angeles Film Critics Association announced the winners of the 2019 LAFCA Awards on their Twitter page this weekend. Parasite was named the Best Picture of 2019, while director Bong Joon-ho was named Best Director, and in a welcome surprise, Parasite star Kang-Ho Song was named Best Supporting Actor. This marks LAFCA as the first major voting group to recognize his performance – could he sneak into the Golden Globes nominations on Monday?Read through for the full list of winners below.Best Picture: Parasite (2019) 98%Best Director: Bong Joon-ho —Parasite (2019) 98%Best Actor: Antonio Banderas —Pain and Glory (2019) 96%Best Actress: Mary Kay Place —Diane (2018) 93%Best Supporting Actor: Kang-Ho Song —Parasite (2019) 98%Best Supporting Actress: Jennifer Lopez —Hustlers (2019) 87%Best Screenplay: Noah Baumbach—Marriage Story (2019) 94%Best Production Design: Barbara Ling—Once Upon a Time... In Hollywood (2019) 85%Best Editing: Todd Douglas Miller —Apollo 11 (2019) 99%Best Cinematography: Claire Mathon—Portrait of a Lady on Fire (2019) 98% Atlantics (2019) 95%Best Music Score: Dan Levy—I Lost My Body (2019) 96%Best Foreign Language Film: Pain and Glory (2019) 96%Best Non-Fiction Film (Documentary): American Factory (2019) 96%Best Animated Film: I Lost My Body (2019) 96%Douglas Edwards Independent/ Experimental Film/ Video Award: The Giverny DocumentAre you as obsessed with awards as we are? Check out our Awards Leaderboard for 2019/2020.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
“I will show you terror in a handful of dust” was the tagline DC Comics used to introduce its readers to The Sandman in 1988. Like Swamp Thing before it, it was a reinvention of a relatively obscure DC character by an up-and-coming British talent – in this case, writer Neil Gaiman. Also like Swamp Thing, it was pitched as a horror title, but grew into so much more. The series became a massive success with readers outside the comic book marketplace and proved arty comics could work right alongside the superheroes.Its ideas, scope, and characters are also perfect for television adaptation, but it took a long time for the rights-holders to make that realization. As Gaiman recalls, he was first asked about adapting The Sandman into a film in 1991 and – barring a long extension of the worldwide pandemic – a Sandman television series will finally debut on Netflix 30 years later.Why did it take so long? Let’s consider everything we know about The Sandman television series and unravel the story of its long gestation.[Updated on 9/25/21]The Story Basics: Meet Morpheus and the Gang (Photo by DC Comics)The Sandman tells the tale of Morpheus – a.k.a. Dream of the Endless – an impossibly old being who is also the living personification of dreams. He lives in a realm called, appropriately enough, The Dreaming, where he tends to the REM state of being all over the universe; of course, this means he spends a lot of time near Earth, courting gods, inspiring fools to become authors, and occasionally arousing waking terrors. As the series begins, in 1916, an exhausted Morpheus is captured by an immortality-seeking magus. He eventually escapes in 1989 and sets out to put his broken kingdom back in order.From there, the series expands into a group of novels detailing Morpheus s long-term plan to make up for past misdeeds and escape from his other confinement – which we won’t spoil as it is a key element of the series. In each major story, we also meet characters like Rose Walker, the immortal Hob Gadling, the Dreaming s wisecracking janitor Mervyn Pumpkinhead, Matthew the Raven, the crafty Thessaly, and Lucifer Morningstar – all of whom are as fascinating as Morpheus himself.We also learn about the troubles within Morpheus family, the Endless. Each is the personification of some essential concept – Destiny, Death, Destruction, Desire, Despair, and Delirium (formerly Delight) – with personalities to match. Well, except for Death and maybe one other, but that is another of the series great surprises. Though designed as a horror title at launch, the series ends as a grand exploration of myths, storytelling, and being true to oneself, beautifully rendered by artists like Sam Keith, Jill Thompson, P. Craig Russell, Charles Vess, and Mike Allred.Naturally, it has been almost impossible for Hollywood to adapt it.False Starts: From Harry Potter–like Franchise to HBO Series(Photo by Mike Marsland/WireImage)After Gaiman resisted the 1991 inquiry about a film, Warner Bros. would begin developing a Sandman feature four or five years later. The first attempt boasted director Roger Avary (The Rules of Attraction) and writers Ted Elliot and Terry Rossio (Pirates of the Caribbean). Reportedly, the script reworked elements from the first two major storylines, Preludes Nocturnes and The Doll s House, into one plot. In subsequent years, Gaiman was complimentary about the script, but Superman Returns producer Jon Peters fired Avary after the two could not find a common creative vision.Peters continued to develop the project with other writers. A 1998 draft by William Farmer (who received story credit on Jonah Hex) was leaked to Ain’t It Cool News – one of the site s earliest big scoops. As AICN reported, the script reworked Morpheus into a slasher movie villain, set up a new protagonist, and recast Lucifer as Morpheus’ brother. The action-heavy plot also involved the then-upcoming turn of the millennium, which would’ve immediately dated the project had it gone forward. To read about it now, it sounds oddly similar to the eventual Constantine feature starring Keanu Reeves and the liberties it took with its source material. (Which many of us didn t mind at all.)Gaiman would remember it as “not only the worst Sandman script I ve ever seen, but quite easily the worst script I ve ever read,” and told fans at a San Diego Comic-Con 2007 event that he would “rather see no Sandman movie made than a bad Sandman movie.” Reality seemed to take Gaiman s advice as Peters project came to naught.In 2014, a new version of the project emerged with producer David S. Goyer (The Dark Knight), actor-director-producer Joseph Gordon-Levitt, Gaiman, and writer Jack Thorne (His Dark Materials). Intended to be separate from the emerging universe of the DC films, The Sandman was to be released by New Line Cinema under the Vertigo label seen at the start of V for Vendetta. It was hoped the film would inspire several sequels and, perhaps, a Harry Potter–sized franchise. In March 2016, Eric Heisserer (Arrival) signed on to rewrite Thorne’s draft, but soon after, Gordon-Levitt left the project citing creative differences – granted, it was never clear if he was going to play the title role or just serve as a producer. Heisserer turned in his script in November of that year, but also left the production, suggesting The Sandman should be an HBO series.As it happens, an attempt to do just that also occurred.Logan’s James Mangold pitched a Sandman series to HBO sometime in 2010. It was not successful, obviously, but it led to Warner Bros. Television developing a Sandman TV show concurrently with the film. Supernatural’s Eric Kripke pitched a concept, but Gaiman later revealed it wasn’t quite right. And with the Goyer production looking like it was going to happen, WBTV backed off the show.Which only goes to show how much timing matters. The Sandman could never be a film series, and television was simply not prepared for it until the streaming age, when things finally came together.Netflix Steps In With an 11-Episode Commitment and Wonder Woman Talent(Photo by Priscilla Grant/Everett Collection)In June 2019, Netflix announced it was developing The Sandman as a television series. Wonder Woman screenwriter Allan Heinberg (pictured above with The Catch actress Sonya Walger) will serve as the showrunner and Gaiman as a producer. When asked on Twitter about his level of involvement in the series, the whimsical author said, “Much more than American Gods. Less than Good Omens. The former is the troubled Starz adaptation of his 2001 novel – known more for drama behind the scenes than what s going on onscreen – the latter is the Amazon series based on the novel he co-wrote with the late Terry Pratchett. Gaiman ultimately served as that program’s showrunner and is apparently in no hurry to take on that amount of responsibility again. Goyer is still on board as a producer and all three worked on the pilot script. Also, unlike previous attempts to bring The Sandman to the screen, the show has an 11-episode commitment.Who Is in the Cast? (Photo by Netflix)Like most of the various would-be Sandman adaptations, the first season will adapt “Preludes Nocturnes,” and, according to Gaiman, “a little bit more.” We assume this means at least one episode will directly adapt issue #8, “The Sound of Her Wings,” which introduced Morpheus’ sister, Death, into the story. But since the comic delighted in non-linear storytelling, it is possible other episodes in the season will feature (seemingly) standalone tales of people coming into contact with Morpheus or one of his subjects. An entirely animated episode based on issue #18, “A Dream of A Thousand Cats,” would be an amazing thing to watch. We also imagine Gaiman s little bit more will include the introduction of The Corinthian; a wayward and murderous dream who becomes the series first major antagonist, but does not appear until the comic book s second storyline.In January 2021, Netflix announced the first of the cast and their roles:• TOM STURRIDGE is DREAM, Lord of the Dreaming• GWENDOLINE CHRISTIE is LUCIFER, Ruler of Hell• VIVIENNE ACHEAMPONG is LUCIENNE, chief librarian and trusted guardian of Dream’s realm• BOYD HOLBROOK is THE CORINTHIAN, an escaped nightmare who wishes to taste all that the world has in store• CHARLES DANCE is RODERICK BURGESS, Charlatan, blackmailer and magician• ASIM CHAUDHRY is ABEL and SANJEEV BHASKAR is CAIN, the first victim and the first predator, residents and loyal subjects of the Dream Realm.(Photo by Netflix)In May 2021, Netflix announced a new batch of cast members, including Jenna Coleman, Stephen Fry, Patton Oswalt, David Thewlis, and
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Ready for another great Bill Murray performance? Because if early reviews are anything to go by, he delivers just that in writer-director Sofia Coppola s new dramedy, On the Rocks. In the film – which will screen in select theaters October 2 before releasing to Apple TV+ – Murray is Felix, the sometime-absent playboy father to Rashida Jones Laura, who suspects her husband of having an affair and enlists dad to help her get to the bottom of things.Critics so far are lauding the film from A24 and Apple Original Films as a charmer, with rich character work, plenty of wit, and a loving look at a New York City that will make fans of the Big Apple nostalgic for the pre-pandemic days of cocktail bars and curbside connection. In this exclusive clip, though, we re off the streets and inside for an intimate moment between Felix and his grandkids, in which he reveals that he might be a bit lax with the rules when he s playing sitter.On the Rocks is in select theaters October 2, 2020, and available to stream on Apple TV+ from October 23.On an Apple device? Follow Rotten Tomatoes on Apple News.
From Ava Duvernay, Rian Johnson, and Ryan Coogler to Nicole Holofcener, Quentin Tarantino, and Robert Rodriguez, dozens of filmmakers have burst out of the Sundance Film Festival and chased their Hollywood dreams. Some directors, like Cathy Yan, made the leap from small budget indies like Dead Pigs to big budget studio movies like her next project, Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn). Others, like Steven Soderbergh, have continued to blaze an unconventional path since his debut with Sex, Lies and Videotape over 30 years ago. This year’s group of first-time filmmakers are no less talented, many of them already earning praise from audiences and critics alike. There’s a good chance we may see many more movies from them in the years to come.I Carry You With Me (2020) 97%(Photo by Alejandro López courtesy of Sundance Institute)Distributor: Sony Pictures ClassicsTechnically speaking, I Carry You With Me isn t a true debut for Heidi Ewing, who has been crafting acclaimed feature documentaries for a decade and a half (2006 s Jesus Camp was even nominated for an Oscar). That said, Ewing makes her first foray into narrative filmmaking with this touching drama, which follows two men in Mexico, Iván and Gerardo, as they meet, fall in love and decide to try their luck in the United States. The film moves back and forth through the men’s lives, revisiting different moments from their childhood up to the present day, where they now live in New York and are unable to reunite with their families south of the border because they left without immigration papers. I Carry You with Me won Sundance’s NEXT Innovator Award and the audience award for its category. Carlos Aguilar wrote for Remezcla, “Ravishing and unshakable, Ewing s authentic film feels like the crossbreed between a painful memory and a hopeful dream about a place, a relationship and a fight for acceptance that s not political but entirely humanistic.”Crip Camp (2020) 100%(Photo by Steve Honigsbaum courtesy of Sundance Institute)Distributor: NetflixNicole Newnham and Jim LeBrecht teamed up to revisit a chapter of nearly forgotten history and trace its influence on attendees. In the early ‘70s, not far from Woodstock, an inclusive camp gave unprecedented training and opportunities to people with disabilities. Empowered by their experiences, LeBrecht and his fellow campers and counselors would go on to accomplish many things – including advocating for the Americans with Disabilities Act. Crip Camp won the audience award for its U.S. Documentary category. Esther Zuckerman wrote for Thrillist, “Through incredible archival footage, the documentary shows how campers at Jened were given the freedom they so often lacked in the outside world. There s smoking, sex, partying, and a sense of pure community.”The Forty-Year-Old Version (2020) 98%(Photo by Jeong Park courtesy of Sundance Institute)Distributor: NetflixWritten, directed by, and starring Radha Blank, this dramedy is a loosely autobiographical riff filtered through a classic-looking black-and-white lens. Blank plays a version of herself who’s nervous about approaching 40 as a single woman and struggling artist. Luckily, she rediscovers her love of hip-hop and finds a new source of inspiration for her material. Blank, a playwright and comedian off-screen, brings her sharp wit to the experience of a woman on the edge of a career breaking point, winning the Directing Award in the U.S. Dramatic category at Sundance in the process. Aramide Tinubu wrote in Shadow and Act, “Vulnerable but vibrant in all of it s black, white and grey-hued glory, The 40-Year-Old Version is an ode to BLACK Harlem, fearlessness and the art of putting yourself on.”Some Kind of Heaven (2020) 93%(Photo by Becca Haydu courtesy of Sundance Institute)Distributor: N/ALance Oppenheim’s quirky documentary takes audiences to a picture-perfect retirement community in Florida known as The Villages. Despite dozens of clubs, activities and smiling faces, his camera finds subjects who aren’t so pleased with paradise but are trying to make the best of their remaining years. Writing for Variety, Dennis Harvey said, “Those nostalgic for the fond portraits of eccentric Americana in Errol Morris early work and pretty much everyone else will be delighted by Some Kind of Heaven. This Is Not a Burial, It's a Resurrection (2019) 100%(Photo by Pierrede Villiers courtesy of Sundance Institute)Distributor: N/ALemohang Jeremiah Mosese’s debut opens in the mountains of Lesotho, where an 80-year-old woman loses her son and takes up a new cause in life: to protect her village from bureaucratic plans that would wipe it off the face of the earth. The film won the World Cinema Dramatic Special Jury Award for Visionary Filmmaking at Sundance. Allan Hunter of Screen International said, “This Is Not A Burial, It s A Resurrection offers a vivid, beautifully crafted reflection on identity, community and the tension between respecting age-old traditions and accepting the seemingly unstoppable march of progress.”Save Yourselves! (2020) 89%(Photo by Matt Clegg courtesy of Sundance Institute)Distributor: N/AIt’s the ultimate sci-fi nightmare: in an effort to disconnect from their addictions to smartphones, a Brooklyn couple, Jack (John Reynolds) and Su (Sunita Mani), go off the grid for some peace and quiet. Unfortunately, they picked the wrong time to swear off the internet, as the planet falls under attack by aliens. Amy Nicholson of Variety wrote about Alex Huston Fischer and Eleanor Wilson’s comedy, “There s only one joke in Save Yourselves! this hapless generation is doomed! but the survival comedy is delightful from start to apocalypse.”Palm Springs (2020) 95%(Photo by Chris Willard courtesy of Sundance Institute)Distributor: Hulu, NeonMax Barbakow’s time-traveling romantic comedy follows Sarah (Cristin Milioti) and Nyles (Andy Samberg) on the day of Sarah’s little sister’s wedding. When Sarah looks reluctant to give a toast at the party, Nyles steps in to help, and the two strike up a rapport that eventually leads them both into a type of time warp that causes the hellish wedding day to start anew. Kevin Fallon of The Daily Beast said, “There s a massive, Groundhog Day-evoking twist that instantly transports this from cute rom-com to high-concept deconstruction of a rom-com that illuminates our need for connection of course, filtered through the wily charms of Lonely Island.”Promising Young Woman (2020) 90%(Photo by Focus Features)Distributor: Focus FeaturesTurning the revenge narrative upside down, Emerald Fennell’s clever Promising Young Woman follows Cassie (Carey Mulligan) as an old school friend Ryan (Bo Burnham) reenters her life and reminds her of the terrible incident that caused her to drop out of med school. Forever affected by this event, Cassie decides to turn her grief into a teaching moment for those who betrayed her years ago. Joi Childs wrote in Teen Vogue, “A stellar performance from Mulligan paired with an ambitious vision from Fennell comes together to create a story that s a bold takedown of rape culture and those that defend it.”Miss Juneteenth (2020) 99%(Photo by Rambo Elliott courtesy of Sundance Institute)Distributor: N/AChanning Godfrey Peoples’ debut feature follows a mother-daughter story deep in the heart of Texas. Turquoise (Nicole Beharie), the winner of her town’s beauty pageant title of Miss Juneteenth, lives a very different life than the one she once imagined as a reigning champion. She’s just scraping by as a single mom, trying her hardest to stay above the bills and convince her daughter Kai (Alexis Chikaeze) to go after the crown to finish what she started – even if Kai isn’t too keen on following through. Valerie Complex wrote in AwardsWatch, “Miss Juneteenth is written with hope in mind, and the audience will root for Turquoise. Not a tropey caricature that Hollywood likes to box Black actresses into.”Nine Days (2020) 88%(Photo by Wyatt Garfield courtesy of Sundance Institute)Distributor: N/AAlthough divisive among some critics, many supported Edson Oda’s vision for his feature debut, Nine Days. Starring Winston Duke, Zazie Beetz, Benedict Wong, Bill Skarsgård, Tony Hale and David Rysdahl, Nine Days takes place outside the realm of this reality for a mind-bending look at birth, existence, and life. Nine Days also won the Waldo Salt Screenwriting Award in the U.S. Dramatic category. Brian Tallerico wrote in RogerEbert.com that the film was “one of the most unexpected experiences I ve had in almost a decade of going to Sundance.”Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Join us weekly as Rotten Tomatoes reports on what s opening, expanding, and coming to the specialty box office. From promising releases from new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week in Fresh Indie Finds. This week the specialty box office provides us with a host of Pride-ful documentaries featuring iconic drag performers, along with some inspiring female-focused cinema. Plus, we re looking ahead to August with the just-dropped trailer for Peanut Butter Falcon, which looks to be hilarious and heartfelt, and is currently at 100% on the Tomatometer.Opening This Weekend
bob综合vip "Rotten Tomatoes Is Wrong" About... Home Alone 2: Lost In New York Was moving the action to Manhattan and upping the "ow"-factor enough to justify a second Home Alone movie? We're tossing bricks and taking names in the latest ep of our podcast. by RT Staff | December 10, 2020 | Comments
There have been dozens of Vietnam War films, but none like Da 5 Bloods, Spike Lee’s follow-up to his Oscar-winning hit BlacKkKlansman. Its distinction comes down to who the movie is about – four Black friends who travel back to Vietnam as older men to retrieve the remains of a fellow soldier who died there during the war – and who’s telling the story. Bookending the film with historical footage and the words of vehemently anti-war activists Muhammad Ali and Dr. Martin Luther King Jr., Lee was determined to examine the immorality and folly of America’s Indochina excursion through a Black perspective – something his cast says has never been done before. Ahead of the movie’s release on Netflix, Rotten Tomatoes Editor Jacqueline Coley spoke with Lee about his ambitions for and approach to the story, and with cast members Delroy Lindo, Jonathan Majors, Norm Lewis, Clarke Peters, and Isiah Whitlock Jr. about cinema’s ongoing fascination with Vietnam, working with Lee, and what they hope audiences will take away from his unique and audacious new film.Da 5 Bloods premieres on Netflix on June 12, 2020. 如上图所市场怎么样示，神器系热血沙城手真实性游代理统在玩家达到12手游0级时开启的，在火王手游有哪些代理主界面点击法宝图标威狐商是真的再点击神器升级即可手游代理商反馈进入神器手游系统界面。
hat show’s producers is running the Dirty John series.“There’s this fun, twisted fairy-tale aspect to the story,” Alexandra Cunningham tells Rotten Tomatoes, explaining that her adaptation doesn’t just add visuals, but is actually able to expand on the emotions of the story by dramatizing it. “A lot of things we’ve maintained — the spine and the scaffolding of the story — because they are so compelling and true and heart-wrenching. We put a lot more flesh on some bones.”For instance, Cunningham says she was able to address a concern people who listened to the podcast or read the Los Angeles Times articles had raised: Many listeners thought Debra Newell was “an incredibly stupid woman” for falling for Meehan’s exploitative schtick in the first place.Casting Britton as Newell certainly helped Cunningham combat this perception, and she framed the events in ways that should make viewers more empathetic towards the main character. She was also able to add some more depth to Meehan, who was not a participant in the podcast for reasons that are obvious to anybody who listened to the end. The show can follow Meehan as he goes about whatever dodgy business he was involved in, whereas the non-fiction podcast had to keep the speculation at a distance.“It gives you an even more complete picture of this man and commits you more emotionally than [you would have been] just [reading] the descriptions of what he did in the podcast, since you’re sort of watching them along with him,” Cunningham says. “It’s a point-of-view perspective that the podcast couldn’t do.”Up and Vanished Continues the InvestigationTrue crime might be podcasting’s leading genre, but don’t forget that it’s also been a TV mainstay for decades, dramatized or not. The recent Up and Vanished special, about Tara Grinstead, a teacher and former beauty queen who went missing in Georgia three years ago, is as much a sequel to host Payne Lindsey’s original podcast as it is an adaptation.“Both mediums rely on good storytelling,” Lindsey says of the difference between podcasts and TV. “Even though a podcast is strictly audio, listeners develop their own visuals for the story. It’s kind of a more intimate experience, and sometimes I think it actually makes the audience feel closer to the people involved.”The podcast medium offered Lindsey one thing that TV doesn’t. Because podcasts are typically cheaper and faster to make than TV shows, Up and Vanished was able to generate renewed interest in the case that led to a crucial break in real time.“That would have been a lot harder to do with a television crew on the ground, following a production schedule, along with all of the other elements that make a TV show,” he says.The Future(Photo by Syed family/HBO)The three November podcast-inspired shows are quite different from another, revealing the fundamental wrinkle in any discussion about the future of podcasts on TV: It’s a medium, not single genre.“There’s a spread of genre that makes this a little hard to talk about efficiently,” journalist Quah says.The scripted drama–turned–prestige TV Homecoming is a very different beast than the two true-crime podcasts, even if Dirty John turned from non-fiction to scripted when Bravo dramatized it. There are also improvisational comedy podcasts like Comedy Bang Bang and My Brother My Brother and Me, both of which did their audio counterparts proud on TV (and both of which continue in podcast form, though not on television). Then there are the talk shows-with-a-twist, like Desus Mero and even Bill Simmons’ Any Given Wednesday (to a certain extent), which launched as a result of the hosts’ popular podcasts.There are even more TV adaptations in the works: Crimetown, a non-fiction podcast about corruption in Providence, Rhode Island, is coming to FX, as is the spooky Welcome to the Night Vale. Fantastically popular podcast Serial is getting an HBO documentary, The Case Against Adnan Syed (pictured above), but a scripted television adaptation of the murder-mystery by The LEGO Movie’s Chris Lord and Phil Miller has been in development hell since 2015. Limetown, a scripted horror podcast, will hit Facebook Watch and star Jessica Biel.Some of these shows will be good certainly. Others, maybe not so much. That they began their lives as podcasts doesn’t give them an inherent advantage or disadvantage over any other type of adaptation, aside from maybe being more buzzworthy than other series.“Isn’t it the story that’s more crucial? You wouldn’t say books make good movies — it depends on the book,” Homecoming’s Bloomberg says.Podcasts have a lot of things going for them: They’re cheap to make, generally flexible productions to undertake, and can connect with large audiences in an intimate way. They’re not a guarantee for success on TV, but the right podcast with the right creative team can, ideally, become something new — something that’s more than just a podcast with pictures.“The fundamental thing,” Quah says, “is to create something native to the experience.”