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三目童子无敌版采用百度引擎3(Baidu 8)With Star Wars: The Rise of Skywalker touted as the conclusion of the Skywalker Saga, it has more to do than typical trilogy-wrapping films like The Lord of the Rings: The Return of the King, The Matrix Revolutions, or, indeed, Return of the Jedi. It is designed to be the culmination of a nine-part saga told across 40+ years and has a lot to accomplish in less than 180 minutes. Even LOTR author J.R.R. Tolkien would sweat at this writing prompt.Nonetheless, there are questions the film definitely needs to answer, even if only in a glib way, before the curtain falls on the Skywalkers and their role in galactic affairs. The following are the 10 questions we think the The Rise of Skywalker must answer.Who Are Rey’s Parents?(Photo by Walt Disney Studios)We’ll be honest, we really like the idea that Rey (Daisy Ridley) comes from nowhere. The Star Wars galaxy gets a little too small sometimes and you need an outlier to shake things up. That was the solution seemingly given to us by Kylo Ren (Adam Driver) and Rey in Star Wars: The Last Jedi, and it is perfectly satisfactory. Unless, of course, you consider the way Rise of Skywalker director J.J. Abrams set up the issue of her parents in Star Wars: The Force Awakens. It requires some sort of resolution, even if it s just an independent confirmation that her parents were, in fact, dirt farmers who sold her to Unkar Plutt (Simon Pegg) for beer money.Did Palpatine Will Anakin Into Existence?(Photo by TM and ©copyright Twentieth Century-Fox Film Corporation. All rights reserved courtesy Everett Collection)In one of Star Wars: Episode III – Revenge of the Sith’s best scenes, Sheev Palpatine (Ian McDiarmid) suggests to the audience that he learned a way to force the midichlorians to create life. By implication, he is Anakin Skywalker’s (Hayden Christensen) father. Well, from a certain point of view, anyway. Was he really that skilled in Sith powers? Or was it all a happy accident he used to his advantage? Considering Anakin was central to his scheme, greater clarity about his birth may be in the offing. Granted, answering this question means confronting the existence of midichlorians, something a lot of Star Wars fans would rather avoid.Who are Finn’s Kin?(Photo by Walt Disney Studios)Perhaps more interesting than Rey’s parents is the lost heritage of former First Order stormtrooper FN-2187 (John Boyega), A.K.A. Finn. Press-ganged into service as a child, there is a lot of unacknowledged terror in Finn’s past, but there’s also a lost world he might call home and a family he has never known. Considering The Force Awakens and The Last Jedi saw him running from things, maybe The Rise of Skywalker will offer him the chance to run toward something – the kin the First Order stole from him. And like our preferred answer for Rey s ancestry, we d like Finn to derive from a world and bloodline heretofore unseen.Was This Palpatine’s Plan All Along?As Emperor, Palpatine reached his zenith with the completion of the first Death Star, even if that apex of power was short lived. But even into his arrival in the Endor system during Return of the Jedi, he believed everything was proceeding as he had foreseen. We’re disinclined to believe his powers of prognostication were that absolute. For one thing: would he really allow himself to appear defeated for 30 years and allow a New Republic to establish itself? One imagines he will have the chance to explain his long absence in The Rise of Skywalker, and the true shape of his plan is something he might finally reveal.Will Leia Survive?(Photo by Walt Disney Studios)Because of Carrie Fisher’s untimely death in 2016, this question is more of a minefield than it would otherwise be. Had she lived, Episode IX was to be her movie, much the same way The Force Awakens was Han s (Harrison Ford) film and The Last Jedi was about Luke (Mark Hamill). And in that paradigm, we would expect her to sacrifice herself for the good of the next generation like her brother and her child’s father. But now, it’s all different. There are pros and cons to both killing Leia off and letting her survive into the last iris-out. Hopefully, it will be satisfying either way.Can The Republic Ever Be Restored?(Photo by Walt Disney Studios)This is one of the bigger-level questions Star Wars movies may not be equipped to answer. The sequels showed us a Republic so corrupt that Palpatine could use a meaningless trade dispute to slip into power. The sequel trilogy has revealed a New Republic so tolerant of wannabe Imperials that it led to the Republic s destruction. Both were wiped away by more aggressive forces. Can the Resistance prove to be better at restoring government than the Rebel Alliance? This may be a question for tie-in novels after the film’s release, but it has to give us some inkling Poe (Oscar Isaac), Rose (Kelly Marie Tran), and the others can do better.What The Poodoo Was The Real Prophecy?(Photo by TM and ©copyright Twentieth Century-Fox Film Corporation. All rights reserved courtesy Everett Collection)In our recent rewatch of the prequels, we were struck by how ill-defined the prophecy really is. When it is confronted directly, we’re only told a chosen one will emerge to bring balance to the Force but the actual wording of this prophecy is nowhere to be found in the films. Now, there is something poetic about the Jedi failing to see it as a warning, but it is never framed as such in Episodes I-III. Was it a textual hand grenade left in the Jedi library by an older Sith Lord, or was it something Palpatine himself planted? He was fond of using the truth as a weapon and skilled at obscuring his presence from the Jedi.Who Was Snoke?(Photo by Walt Disney Studios)The two halves of his corpse may still be rotting aboard his broken and abandoned Star Destroyer, but Snoke’s (Andy Serkis) identity finally matters now that Palpatine is back in the picture. Was he the last surviving Inquisitor? A cover identity for the disembodied Palpatine? Or just a hapless Force-sensitive seduced by the Dark Side? Like some of the other questions we need answered, this one just needs a brief word from Darth Sidious about his role in the formation of the First Order, but even in that brevity, he needs to slot into place.Are The Jedi Worth Saving?(Photo by Walt Disney Studios)This is another philosophical question the movie may not have the bandwidth to address, but considering the scenes of Rey training in the Jedi arts featured in trailers and commercials, we have to ask if the Jedi are worth saving. True, The Last Jedi ultimately makes a case for their restoration, but it was the rigidity of their philosophy that led the galaxy to Sith rule. Players of the Star Wars: Knights of the Old Republic games will recognize this question, as it lurks at the heart of its narrative, but it also seems to matter here, as Rey holds the future of Force-wielding in the Galaxy. Like the others in the Resistance, can she do better?Outside of the film, there are big financial reasons for the Jedi to be restored past the Skywalker Saga at least a few people have not made their own saber at Star Wars: Galaxy s Edge but the soul of the order is as important to the overall saga as Anakin s soul. And for that reason, Rey must make a definitive choice.When Will We See Episode X?(Photo by TM and ©copyright Twentieth Century-Fox Film Corporation. All rights reserved courtesy Everett Collection)Long, long ago, Star Wars creator George Lucas let slip an initial plan for the series to be 12 parts. At the time, it was envisioned as more of a James Bond-style serial with fewer overarching plots. When the ongoing plot became important, he revised this number to nine (and then to six during the prequel era). We fully expect this original plan to be Lucasfilm’s excuse when Episodes X-XII inevitably happen.  But how long will we have to wait? It’s a question The Rise of Skywalker can actually answer if it gives the audiences an authentic and complete ending.And the chances of that happening are about as good as Palpatine meeting his true, final fate.Star Wars: The Rise of Skywalker opens on December 20.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

1. 三目童子无敌版
据悉,英雄联盟手游8号将推出中文版本,但游戏版号是否会如期发放尚未可知,如果仅仅是以目前的状况来看,即便国服上线也很难掀起大的波澜,所以拳头口中的2.0版本真的不能再拖了! 疯狂涌入关服补偿的玩家,却发现企鹅和动视早已找好了后路,cod手游已经进行的如火如荼,熟悉的良心设定,良心活动,没有特殊属性的枪,没有格子限制的装备,似乎又梦回codol开服。

2. 公平游戏环境

3. 激战团竞模式
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.”

4. 呼朋唤友 随心所欲
While Marvel fans await Chloé Zhao’s delayed superhero blockbuster Eternals, the filmmaker has delivered a drama that many critics are calling the best film of the year. Nomadland and its lead performance from Frances McDormand are receiving rave reviews and awards recognition following its simultaneous debut at the Venice and Toronto Film Festivals. The movie, adapted from a nonfiction book about the growing post-recession culture of wandering, RV-driving “house-less” folks, mixes real people in with McDormand’s lead character for a special snapshot of the current American landscape.Here’s what critics are saying about Nomadland:Is this one of the year s best?One of the best films of the year.  Jo-Ann Titmarsh, HeyUGuysOne of the best films you ll see this year.  Norman Wilner, NOW TorontoOne of 2020’s best and a reminder of why I love films.  Carey-Ann Pawsey, Orca SoundPerhaps the only film that’s come out in 2020 (so far) that could legitimately be called a masterpiece.  Chris Bumbray, JoBloA movie that will be hard to top for the title of best film of the year.  Andrew Parker, The GateIt would be an absolute shock if it isn’t somehow nominated for Best Picture.  Mike Ryan, UproxxHow is Frances McDormand in it?It’s one of her greatest performances. Justin Chang, Los Angeles TimesThis quiet, self-effacing performance may be the best of her career so far. Peter Bradshaw, GuardianOne of the best career performances from one of our best actresses. It’s just breathtaking. Brian Tallerico, RogerEbert.comMcDormand is a joy. Her unmade-up, no-vanity appearance quietly redefines what a cinematic face is supposed to look like. Jessica Kiang, The PlaylistThere is no end to her talent or versatility. It’s an understated performance of the utmost tenderness and care. Hannah Woodhead, Little White LiesRyan FujitaniHow important is McDormand specifically to this movie?McDormand is the perfect actress for this story. Matt Goldberg, ColliderMcDormand provides a blend of toughness and vulnerability that’s a perfect fit for the material. A.A. Dowd, AV ClubIt’s hard to imagine any other movie star whose presence would not compromise the purity of Zhao’s approach. Jessica Kiang, The PlaylistIt s hard to picture any actress other than McDormand (who also has a producer credit) in the part. She doesn t just become Fern, she creates her. Leah Greenblatt, Entertainment WeeklyHow well does Nomadland mix the real aspects with the fictional ones?The documentary conventions being employed here give Zhao’s latest a uniquely lived in quality. Andrew Parker, The GateIronically enough, what the film does best is what brings it closest to criticism: Zhao’s brand of docu-realism suggests something soberly true. Richard Lawson, Vanity FairWhen an actor of McDormand’s calibre can react to the authentic, pure, and raw emotion of the confessionals laid bare by the workampers, the hybrid effect draws the best from both worlds. Pat Mullen, POV Magazine(Photo by ©Searchlight Pictures)How are these people and their lifestyles depicted?The filmmaker doesn’t quite romanticize the migratory way, but she does seem to selectively privilege its sagest salt-of-the-Earth proponents. A.A. Dowd, AV ClubNomadland never feels like a brochure for being a nomad (although it does paint a beguiling picture), but rather a deeply empathetic look at people who have chosen to find a new life away from what society dictates. Matt Goldberg, ColliderThe key to its success is the way director Chloe Zhao refuses to sensationalize the unfolding drama. Even calling this a drama undermines the spirit of the film, as it is simply a look at life. Aaron Neuwirth, We Live EntertainmentNomadland is the type of gorgeous capturing of the forgotten and downtrodden that could easily fit inside a modern Woody Guthrie track. Robert Daniels, 812filmreviewsWhat about the story?There’s not, ultimately, much going on within Nomadland in terms of plot, and yet the movie remains absolutely compelling for the duration of its leisurely-paced yet spellbinding 107 minutes. David Nusair, Reel Film ReviewsWhile episodic by design, the film is utterly compelling from the first frame to the last. Chris Bumbray, JoBloNot directionally shaped by narrative… it is more of a group portrait and a portrait of the times, brought off with exceptional intelligence and style. Peter Bradshaw, GuardianWith its episodic narrative, Nomadland is a character study that builds convincingly and incrementally. James Mottram, South China Morning PostIf road movies have an intrinsic weakness, it’s the episodic nature of their narratives, but Nomadland solves that beautifully, creating a pattern in which the path is more circular than linear, and impactful characters come back around to more deeply enrich Fern’s journey. Peter Debruge, Variety(Photo by ©Searchlight Pictures)How does the film look?The cinematography by Joshua James Richards is exquisite. Gary M. Kramer, SalonThere’s a kind of postcard aesthetic… that evokes a travelogue, which is particularly apt for Nomadland. Joe Lipsett, Consequence of SoundShe frames her subjects against majestic landscapes and gorgeous watercolor sunsets but never aestheticizes nature for postcard effect. David Rooney, Hollywood Reporter[Zhao’s] rapport with the natural world and the American landscape penetrates the film, becoming a central protagonist in the story. Jo-Ann Titmarsh, HeyUGuysIt’s honestly hard to figure out how Zhao has made a film that’s this beautiful in its compositions and somehow still feels like it has dirt under its fingernails. Brian Tallerico, RogerEbert.comWhat else is the film reminiscent of?Scenes of the fellow nomads reminded me of Debra Granik’s Leave No Trace. Jo-Ann Titmarsh, HeyUGuysNomadland also calls to mind Ken Loach’s kitchen-sink realism… not to mention Kelly [Reichardt s] visions of wayfaring loners (imagine Michelle Williams’ wanderer from Wendy and Lucy, all grown up and still no place to go). Eric Kohn, IndieWireZhao’s instinctive curiosity and identification with outsiders, reminiscent of French filmmaker Agnès Varda… Zhao is clearly influenced by Terrence Malick as well. Peter Debruge, VarietyThere’s a scene in Nomadland so beautiful I gasped as it whisked my brain to some of Terrence Malick’s early work, Badlands and Days of Heaven. Mike Ryan, UproxxSettles into a cinematic atmosphere that calls to mind Days of Heaven and other dreamlike scenery out of a Malick film. Aaron Neuwirth, We Live EntertainmentNomadland might recall the work of Terrance Malick and Kelly Reichardt, but Zhao is not “the next” anyone – she’s the first Chloé Zhao. Hannah Woodhead, Little White Lies(Photo by ©Searchlight Pictures)So fans of Zhao s other movies should love it?It continues in a similar vein to Zhao s earlier work, and could almost be considered part of an informal trilogy of small, intimately observed stories set against inversely expansive backdrops. David Rooney, Hollywood ReporterNomadland firmly establishes Chloé Zhao as one of the best directors working today. Not that this declaration couldn’t be seen coming with her last film… But Nomadland is just one of those types of movies that announces a director’s presence with authority. Mike Ryan, UproxxHow is the score?A moving score by Ludovico Einaudi that’s easily my favorite of

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 6.88.22022-01-24

0.78.9 2月喜迎(Photo by FUNimation, Walt Disney Studios Motion Pictures, Warner Bros., DreamWorks, Focus Features, Fox Searchlight/courtesy Everett Collection)The 50 Best Anim

How does the movie compare to Jackie?“Like Larraín’s earlier film Jackie, in which Natalie Portman starred as JFK’s grieving wife, this is a self-consciously poetic and elegiac affair.” Geoffrey Macnab, Independent (UK)“Spencer is a movie made very much in the spirit of Larraín’s Jackie…every bit as good; it may be even better.” Owen Gleiberman, Variety“As in Larraín’s equally brilliant, surprising Jackie, to which Spencer is an intricately attuned companion piece, the director thrills in presenting a public icon freed of her public, unsure how to act around herself.” Guy Lodge, Film of the Week“Spencer is something else indeed…a more accessible approach in some ways, but also more ambitious.” Pete Hammond, Deadline Hollywood Daily“Unlike the maelstrom of emotions in Larain’s previous, and similarly-calibrated celebrity portrait pic, Jackie, this one is slower, linear and more austere, better to fit the genteel and regimented-to-death context of a Yuletide with Her Majesty.” David Jenkins, Little White LiesIs Spencer better than past Princess Diana biopics?“A considerable upgrade on the ill-fated 2014 biopic in which Naomi Watts played Diana.” Geoffrey Macnab, Independent (UK)“Far from the laughable disaster of Oliver Hirshbiegel’s 2013 Diana starring Naomi Watts, Larrain’s Spencer will cause a sensation…it’s certainly a royal biopic like no other.” Jason Solomons, The Wrap“We have seen many takes on Diana…but Larrain has something very different, very intimate, and very revealing in mind here.” Pete Hammond, Deadline Hollywood Daily Will it please fans of The Crown?“This is a long way from the more decorous treatment of Netflix’s The Crown.” David Rooney, Hollywood Reporter“This isn’t The Crown, it is far more insular, an intimate portrait of a woman trying to save herself.” Pete Hammond, Deadline Hollywood Daily“A more daring alternative to Netflix’s popular show The Crown, Spencer tries, and largely succeeds, to get under Diana’s skin.” James Mottram, South China Morning Post“Larrain, working from Steven Knight’s script, is clearly going for something more classical here than can be found in an episode of the giant Netflix series The Crown.” Jason Solomons, The Wrap“Spencer, the eerie, witty and quite extraordinary film that has resulted from their persistence, isn’t necessarily for fans of The Crown, or fetishists of royal ritual and ceremony.” Guy Lodge, Film of the Week“Unlike The Crown, there is no risk whatsoever of Pablo Larraín’s resplendently mad, sad and beautiful Spencer…being mistaken for historical fact.” Robbie Collin, Daily Telegrap
(Photo by Justin Bettman )Writer and producer Tarell Alvin McCraney is clear that he is no activist. Despite a body of work that often grapples with topics of belonging and community, codeswitching and survival, and freedom and healing, the Oscar-winning scribe of the Barry Jenkins–directed Moonlight is just committed to reflecting the world as it is, particularly for those poor, Black, and queer. Therein lies the importance of his television drama David Makes Man, which returns for its second season on the Oprah Winfrey Network this Tuesday. Focused on the struggle to survive in a world that would rather see Black people snuffed out by systematic and systemic oppression, the series is perhaps the realest and most liberating show on TV making plain a vision for the future, and the present, that holds, like a grandmother’s embrace, all of its people.“As an artist who definitely wants to learn and be affected by all of the activism in the world, I try to allow that to make me brave enough to at least bring up the questions that I don t have answers to,” McCraney says of creating work in this moment of ongoing social unrest. That means not “rehashing anything that we know is right or wrong in this work, like the prison industrial complex,” he says. It’s about more nuanced questions, says the writer and series executive producer. “How does [the prison industrial complex] harm our communities, and whom does it harm? And in what ways? And are there other possibilities, like whose voices can be lifted or not in these moments? I was like, ‘I m scared of that question, but at the same time, I m going to talk about it.’” (Photo by Rod Millington / ©2018 Warner Bros. Entertainment Inc. )The first season of David Makes Man centered on a 14-year-old prodigy named David (played exquisitely by Akili McDowell), who lives in the projects of Miami and who is haunted by the death of a father figure and mentor. Bussed out of his community to a mostly white school, David is forced to embody two personas: one to navigate the streets that raised him, and another to succeed in the education system that may offer him a way out. With a strong ensemble cast including Alana Arenas, Isaiah Johnson, Travis Coles, and icon Phylicia Rashad, the series was a critical darling — season 1 is Certified Fresh at 100% on the Tomatometer — and nabbed a Peabody.In season 2 of the series executive produced by Michael B. Jordan, Oprah Winfrey, and showrunner Dee Harris-Lawrence, David is now a rising businessman in his 30s (played by Kwame Patterson) who must choose between the instincts that helped him survive adolescence or finding a new way to live. Ahead of the season’s premiere, Rotten Tomatoes spoke with McCraney about the decision to jump 15 years in the narrative, how the 2020 social uprising and pandemic impacted the show’s storytelling, and the subtle and overt ways queerness shows up in the show.Tre’vell Anderson for Rotten Tomatoes: At the end of season 1, David is still a teenager in school; we start season 2 almost two decades later. Talk to me about the motivation behind that choice. Tarell Alvin McCraney: The decision was in the making of the show. One of the initial passes at the last episode of season 1 was to do a little fast-forward, so you would see David dealing with the issues he had experienced in season 1. So even in the initial pitch, when I spoke to Ms. Winfrey and MBJ, my thought was: I want to show how we pick up these skills. I want to show how the Kobes of the world, the LeBrons, the Ryan Cooglers, how these very particular genius-folk get from being where they are in the communities that they grow up in to navigating mostly white society in these various different ways.In order to do that, I want us to look at how trauma can sort of take a snapshot of who you are in that moment, that moment when the bear attacks, the look on your face and your reaction, and how you keep replicating that moment throughout time, and how you are still that 13-year-old, that 14-year-old, that 15-year-old, even as you re an adult now dealing with your own child, or dealing with your spouse, or dealing with your boss. You re now dealing with them as if it s that moment of collision all because you ve been triggered and haven t found a way to let go of that, or work through it, or find another way. That was always the aim.And rather than make it clinical, you will see David seemingly successful with the trappings of success all around, surviving [but] still not living fully, still thinking everything is a life-or-death situation, still thinking that they ve got to be the best at everything and not taking the time to learn, to be wrong, to be still. There s that meme that s been going around just last week of like, “The best thing we can do for ourselves is to find what triggers us, so that we don t enact those traumas onto other people.” Well, I couldn t have said it better myself for good ol’ David: he has yet to take that time to, as my grandma would say, look back over his life and think things over. That was always the purpose and now we re here, in this chapter of David s life, doing just that. (Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: The last time I spoke with you was in the lead up to the series premiere and we talked about the masks we, as Black people, sometimes learn to wear to navigate various spaces. In what ways does that concept manifest for David now?McCraney: In the same way. That s the problem, right? There are moments that you ll see 15-year-old David bring grown self and not really living through grown self, but just wearing it. Same kid, same terrified, same insecure, same childlike imagination. And in some ways, that s great. I mean, who is that friend that can be like, Hey Tre vell, and in the way that they say it, a part of you fully [transports back to that time, even as] it may not be able to in the flesh because we ve grown or changed or shifted our hair or now we got a different eyeliner than we used to wear when we were 15.But as Missy Elliott says, Same teeth, same hoop earrings. Within us, there is a person that is connected to that part of our lives, and that is in there sometimes popping up and not. The masks we put on to go out and be, Oh, I m grown, but that kid s still in there somewhere. And is he OK? Or is he running around terrified? And if you don t stop him from being terrified, if we are not comforting that part of ourselves, I think some real stress and some real damage can happen. It s been thrilling actually doing all of this cause, I swear, it s like affirming to me some of the work I needed to do with myself, but also talking about the ways in which our society, our communities, don t allow this kind of inward looking.Rotten Tomatoes: Production resumed in October after the social uprisings of last summer. Did any of that, or the pandemic, impact the storytelling and ideas you all decided to surface?McCraney: We don t write directly about those times, but a lot of those issues come up, be it care, be it closeness, be it community, be it gentrification. Police reform comes up. One of the things that we kept talking about was, “Who are we at this moment?” and someone asked me earlier today, “Am I an activist?” and I was like, I can t claim that. I feel like activists are superheroes. That s like asking me if I m an Avenger. You’ve got to have a certain skill set and the ones who are out there saving our lives and making space, they have a certain skill set and their analysis is on point.(Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: But you have spoken before about purposefully making a show that will stoke very necessary conversations that we as Black people need to have. You and the team seem to have perfected the ability to reflect the specificity of Black trauma in a way that doesn’t feel harmful, and I can see how people might see that as activism. McCraney: Well, how do I talk about the fact that every time I wanted to make a show about a 30-year-old Black man, people were like, Well, Black men don t watch TV. OK, I recognize that the world thinks that; however, if they did, if for some reason a whole bunch of Black people sat around and watched this, what would I want us to be doing? Certainly not just crying the entire time, or certainly not just bemoaning a lot of the pain that we ve been through. Do I want to be in the reality of it? Sure. But I also want to be pointing at a path towards healing. I want to be a part of families being able to come together and watch together and engage together and have dialogue together in a way that may be uncomfortable, but it s not suffering.Where s the line of uncomfortability, but not suffering? bell hooks talks about that in All About Love, that that s love. The intention is that I can make myself uncomfortable in order for you or somebody I love to grow and to be nurtured, but the moment I’m suffering in order for you to be growing or be nurtured, that s not love. So, I don t want anybody to be suffering or having to suffer through what I m doing. Uncomfortability I can take. Uncomfortability is where the growth happens anyway.(Photo by Rod Millington / 2018 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: One of the many beautiful things about this show is its creativity and imagination, its extremely cinematic in approach. What are the conversations you have with the writers room about ensuring that?McCraney: Well, that s the job. That’s the agreement of our show that s different from other shows. There are plenty of shows about people who grew up in the hood. There are plenty of shows about police officers who used to be in the hood. There are plenty of shows about architects who are developing the neighborhoods in which they grew up. We have those shows, but we don t have shows about when the young person who may or may not become a part of the drug operation is trying to do their homework and starts imagining their lineage through water and earth. We don t have those moments, and not because they re not there. I thought, this is where I d love for us to see it and feel it, and remember it. And even though we don t experience the world exactly like David, I am sure that the corner boys have imaginations. I m sure that the corner boys imagined different things than what they re seeing right in front of them. I m sure of it because some of them ended up writing dope rhymes that we listen to. I m sure that the little girls who are playing double dutch one minute and dodging bullets in another, imagine things different and feel things different and wish they could say something like this in their head, but can t in real life. I m sure the mothers who may have been addicted to drugs and are trying to get past that obstacle for the benefit of their children and themselves, sometimes imagine a world that is completely different than the obstacles that they face. And that s our remit, that s our job to explore the interiority of those folks and how their resilience to get through those things can be so compelling, amazing, but also exhausting, tiring. And that maybe there are other things, and other ways and other tools that we need, once we have survived those things, to live. (Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: I find that the way queerness is incorporated to the show, in both subtle and overt ways, to also be something special. It feels intentional.McCraney: I m glad you brought that up. In full transparency, one of the things that we did early in the first season is engage with consultants on the show. I was like, Yeah, I m queer and I m here, but I want another opinion. I don t want to be the only person refracting back. There were queer people in our writers room, but I also asked Hari [Ziyad] to be a consultant. And so in the way you re talking about it, in the writers room, in the creative process, we had queer reflections in many ways, some that were visible and some [that weren’t]. That was really important to me that it would be reflected in the show because it, again, reminded me of growing up. There were just so many ways that queerness was around me all the time. Sometimes it was talked about. Sometimes it was admonished. Sometimes it was celebrated. But it was just always there.Again, that s why I always say I’m not an activist. Activism takes a great deal of intentionality – and so does art, but also sometimes it s just the way you see it. Sometimes you just go, I see it this way and I m going to paint it that way cause it s easier. How do I be as truthful to this as possible and make sure that I can maintain it with all the respect and love that I can? I feel really honored that [people] think I m some super genius that is figuring this stuff out, but queerness finds a way to be in the picture anyway.David Makes Man season 2 premieres on OWN on Tuesday June 22, 2021. On an Apple device? Follow Rotten Tomatoes on Apple News.
With Stranger Things returning this week for season 3, Rotten Tomatoes sat down with stars Natalia Dyer, Charlie Heaton, Joe Keery, Dacre Montgomery, and newcomer Maya Hawke to talk about the series’ best moments, what fans can expect from the latest chapter, and – in a tribute to Hawkins new Starcourt Mall, which features prominently – their first ever summer jobs. Plus, Montgomery instructs us on how to celebrate Australia Day, which happens in January.Stranger Things 3 launches July 4, 2019, on Netflix.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week
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三目童子无敌版 If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at rtiswrong@rottentomatoes.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.

相信不少朋友是FPS游戏类的粉丝,以前希望CF、绝地求生,但是由于现在工作较忙了,根本没时间碰电脑,所以只能将玩FPS游戏的希望寄托在手游上面。为了满足广大FPS玩家的需求,《使命召唤手游》闪亮登场,据说这款游戏制作长达两年,非常精良。不过从第一批玩家的实际体验来看,使命召唤手游其实也是有不少缺点的,下面就和大家讲一讲。 General Magic (2017) : This highly praised documentary tells the backstory of the secretive Silicon Valley start-up that, among other things, shipped the first smartphone way back in 1994. It’s Certified Fresh at 100% on the Tomatometer. The Biggest Little Farm (2018) : Emmy-winning director John Chester’s documentary about a couple who leave their Los Angeles apartment for the farm life is Certified Fresh with 93%. All Is True (2018) : Director-star Kenneth Branagh returns to his love of the Bard in this biopic about William Shakespeare’s final days. It is getting mostly favorable reviews, with 76% on the Tomatometer. Pasolini (2014) : Willem Dafoe stars in this biopic about the final days of Italian writer, director, and poet Pier Paolo Pasolini, which is Certified Fresh at 71%. Asako I & II (2018) : Director and co-writer Ryusuke Hamaguchi’s romantic drama is about a woman caught in a love triangle with two men who look the same but have different personalities. It is at 68% on the Tomatometer. My Son (2017) : Guillaume Canet and Melanie Laurent star in this drama about a man searching for details after his child mysteriously disappears. It is at 58% on the Tomatometer. Charlie Says (2018) : Director Mary Harron’s largely panned drama about the three women sentenced to death for the Manson murders – Matt Smith plays the cult leader – is at 41%. The Professor and the Madman (2019) : Mel Gibson and Sean Penn star in this biopic about the two men who created the Oxford English Dictionary. Critics are shrugging; it’s at 33%.

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