沙巴体育365注册采用百度引擎2（Baidu 4）Of course, any happiness they do find is going to come sprinkled between a lot more suffering and loss, and that continues in the premiere. The Alexandrians are not only forced to rebuild much of the community after that destructive showdown with the Whisperers, but they’re frighteningly low on food supplies, with more mouths to feed.Some, like Aaron (Ross Marquand), think they need to push through and get the crucial repairs to the walls completed, while others think they need to go on a massive food hunt so they can provide sustenance for that hard physical labor. Maggie (Lauren Cohan) even knows the exact place they can find all the food they’ll need for the near future, but, like with anything in their world, it’s going to require a dangerous mission to retrieve it.Which brings up the question of how, after all they’ve been through, all the tragic losses, all the times they’ve had to start over and rebuild, how do Maggie and company find the gumption, the physical, mental, and emotional energy to keep going after all these years?(Photo by Josh Stringer/AMC)“I think for our people, they have just been struggling and struggling to survive, [but] they remember that there have been times that are good,” Kang said. “So they re reaching for that. I think all of those folks who are parents, all the characters that just, regardless of whether they have people who are related by blood, they are all bonded together as friends and as people who ve traveled a long, hard road together. And I think even for characters that don t feel the gumption in themselves, I do think a lot of them feel the drive to help those that they love. And that s, in some ways, what s keeping them growing during a time when it feels like so much hope is lost.“After everything they ve been through, to have it fall apart after this long, it is really quite crushing for many of the characters. But I think a lot of them find themselves asking the question, ‘Can we actually rebuild from this when it s just worse? We ve been brought so low.’ So that s just one of the things that they re all grappling with as the season goes on,” she said.(Photo by Josh Stringer/AMC)Maggie, in particular has a lot, and then some, on her plate. When she tells her friends about this source of food she can take them to, it requires finally sharing with them her most recent trauma, and, without spoiling specifics, let’s just say that particular trauma may not be in her past.And speaking of bad things not in her rearview mirror, Negan (Jeffrey Dean Morgan) is very much still on Maggie’s mind, since she’s now living in the same community with the man who brutally murdered her husband right in front of her. Negan’s redemption was easier to buy since Maggie was out the picture, but as much as his friendship with Judith (Cailey Fleming) has helped us see him in a different light, seeing him through Maggie’s eyes, reminded of what he took from her and little Hershel Rhee (Kien Michael Spiller), has made it easy to understand why all she wants to do avenge Glenn’s death every time Negan enters her path.And, again, no spoilers, but when they’re thrown together in the premiere, there are murderous thoughts all around. She wants him dead. He knows it (not like she’s trying to hide it). He knows the only way he’s going to survive is to change her mind about him, or make sure she dies first. Bottom line, it’s tough to see how both of them are still standing by series’ end.(Photo by Josh Stringer/AMC)Which brings us to the goals for this final season of the original series — the spin-offs, including the upcoming Kang-led sequel featuring Daryl (Norman Reedus) and Carol (Melissa McBride), will go on. What do the writers hope to wrap up? Where do they hope to leave the group in general?“The thing that s interesting is, when we started work on the season, we didn t know that we were starting work on what was going to wind up being the last season of the show,” Kang said of the supersized season, which will consist of 24 episodes, released in batches of eight each, through 2022.“But hopefully whenever we re writing, we re always writing with the viewpoint in mind of like, ‘We have to tell a story that feels really, really cool. We hope it leaves people wanting more,’ she said.“As we get further into the season, there are definitely places that we want to land people at the end of the series. But plotting that out is not even entirely different from what we try to do every year, which is think about, ‘Where are our characters at? Where do we want to leave them when we end the season?’ It s just that, obviously, it takes on a different level of importance, so we really spent a lot of time talking about each person and what their journey might be,” she said.(Photo by Josh Stringer/AMC)And how did Kang and the other writers and producers think about the season, and how it would end, in terms of Walking Dead fan expectations?“I find that our fandom, it stretches across different people with different taste, so depending on the person you ask, I really think you re going to get a very different answer,” said Kang, who’s worked on TWD since she was hired as a story editor in season 2. “I think the core of what holds the fans together is that they care about the characters and want to feel that they re watching a story about them that allows them to understand more about what they re thinking and what they re working through and how hard they re fighting to survive. And I think obviously they do like that there s a sense of adventure stakes, like the scares, and, yet, feeling like people can overcome when they need to by standing together.“Those of us that work on the show, all of us love the show, we love the comics, we love the genre. So I think we lean toward our internal sense as fans ourselves of what s entertaining for us and what we find moving or scary. Hopefully, those feelings are aligned with the audience, but we don t always know, and we can t always control that. We hope that people have a good time and get something out of it, even if certain fans go, ‘You know what? I didn t really resonate with that particular episode, but then the next one I really love.’ And a lot of that is us realizing we re writing for a variety of people. Even within our own writer s room, there are certain stories or certain characters that people are really drawn to, or they go like, ‘Ah, that s OK for me, but I really, really like this other thing.’”(Photo by Josh Stringer/AMC)The first two episodes of the season, “Acheron: Part I and II,” feel like one feature-length story, and should include something for every fan’s taste, from an opening reminiscent of a certain iconic Tom Cruise movie scene and all the Maggie/Negan drama to a sweet reunion (Daryl hugs!) and that aforementioned ending for episode two.“We definitely have a sense of ongoing story that also carries through some of this,” Kang said. “But as with every season we do, the show kind of reinvents itself every so many episodes. So we have some arcs that are more contained. And then within that, we sometimes have episodes that feel almost like their own little movie, and then we have some stories that are running (across) many episodes. So it s a mix of all of that, over 24 episodes.”The Walking Dead season 11 premiere is now streaming on AMC+ and airs at 9/8C on Sunday, August 22 on AMC.
(Photo by Gramercy Pictures/courtesy Everett Collection. Thumbnail image: Columbia Pictures / courtesy Everett Collection; Universal/courtesy Everett Collection.)25 Essential Stoner Movies RankedIf your movie nights could take a few more hits, check out our guide to the best stoner movies! These are essential movies to the marijuana experience, ranging from counterculture classics (Up in Smoke, Easy Rider), top-shelf mainstream films (Pineapple Express, Friday), and cult comedies (Grandma s Boy, Super Troopers), all featuring icons like Jeff Spicoli and The Dude. Then we took all the movies and sorted them by Tomatometer, lowest to highest.If you re seeking a trip guide, something to pair with whatever state you re in, check out the 25 Essential Stoner Movies! (And don t forget the 20 best movies to watch high.)沙巴体育365注册这款游戏中，玩家前期最重要就学会如何生存，很多玩家在这个原始世界中需要不断的开荒探索来提高自己的等级，在游戏后期玩家不断的研习学识，这时生存难度会逐渐降低，随之而来的就是更多有趣的游戏玩法，玩家可以制作十多种不同类型的武器，冷兵器，弓箭类型武器，甚至是魔法武器，玩家通过改造武器发射各种火球跟冰霜攻击，在后期甚至还能用武器的魔法技能给自己的庄稼浇水，十分有趣，如果你也喜欢《黑暗与光明手游》的游戏玩法，可以去官网获取最新的游戏资讯。
Another adaptation of Little Women? Louisa May Alcott’s classic novel has been made into a number of movies, and most of them have been highly regarded — by critics, fans, and awards organizations alike. Greta Gerwig’s new version, which just received a standing ovation at a guild screening, is no different. Well, it is apparently different in that it’s a unique take on the material, mostly for the better, according to the first wave of critics’ social reactions to the movie. Still, we can expect the usual Oscar-worthy performances and a generally enjoyable adaptation.Here’s what critics are saying about Little Women on social media:Have we gotten another great adaptation?It’s lovely. Hannah Woodhead, Little White LiesIt’s inventive and wonderful. Sean Fennessey, The RingerWonderful. A loving, meticulously-crafted adaptation that exceeded my expectations. Heartfelt, moving and a terrific showcase for its extremely talented cast and beloved source material. Kara Warner, People MagazineLittle Women is charming just like the novel/prior versions…Rousing score. Timely as ever. Hard not to cheer. Scott Feinberg, Hollywood ReporterSomeone, please, invent a word stronger than “masterpiece” so I can amply describe Greta Gerwig’s Little Women. More-than-a-masterpiece? Masterpiece 2.0? David Jenkins, Little White LiesIt rules. David Sims, The AtlanticDoes it elicit particularly personal reactions?Jo s lines in Little Women resonate with me completely differently now as a 33 year old single writer. Wanting to remain independent but wanting to be loved. Greta s take on the story made me connect with Jo in a way I never had. As a girl, I just thought she was crazy to reject Laurie. Amy Kaufman, Los Angeles TimesI ve seen Little Women twice now and it s one of my very favorite movies of the year. David Canfield, Entertainment WeeklyOne of the most pleasurable cinema experiences of my life. David Jenkins, Little White Lies(Photo by Sony Pictures)How is this one different from past adaptations?Greta Gerwig takes the straightforward story of Little Women and boldly scrambles it, starting two-thirds of the way through and retelling most of what you remember via flashbacks and cross-cutting. Call it Louisa May Alcott meets 21 Grams. Kyle Buchanan, New York TimesLittle Women has a very strong last third… and a modern interpretation of the novel that shines brightly. I liked her take on it even when it is hard to follow regarding flashbacks. Sasha Stone, Awards DailyWill fans of the book appreciate it?Greta Gerwig delivers a both passionately faithful and gorgeously original take. David Canfield, Entertainment WeeklyThere’s nothing to disparage and many reasons to be pleased with Little Women. Especially, I’m thinking, for those who know the book and have a profound affection for this 19th Century saga about choices, tough terms, romance, heartbreak, love, struggle and artistic aspiration. Jeffrey Wells, Hollywood ElsewhereHow is the ensemble cast?Each role [is] perfectly cast. Scott Feinberg, Hollywood ReporterSaoirse is a fierce Jo, Chalamet/Dern/Streep especially are great in support, and Florence Pugh is astonishing. David Canfield, Entertainment WeeklySaoirse Ronan and Florence Pugh are the standout performances. Gregory Ellwood, The PlaylistExcellent performances from Saoirse Ronan and Florence Pugh. Jeffrey Wells, Hollywood ElsewhereFlo Pugh and Streep are standouts. Sasha Stone, Awards DailyFor my money, the MVP in Little Women is Florence Pugh…She’s hilarious and winning as Amy, the character best served by Gerwig’s structural gambits. Kyle Buchanan, New York TimesFlorence gets a lot of great notes to play as Amy March and she plays each one pretty much perfectly. As we’re seeing over and over again, she has a screen presence and performing instincts that are pretty god damn incredible. Jordan Crucchiola, Vulture(Photo by Sony Pictures)What about the men?Timothee Chalamet is the best thing about Little Women. He lights up the screen in every scene he’s in. Jazz Tangcay, Awards DailyBest part of Greta Gerwig’s Little Women is the idea that Louis Garrel as a heartthrob will soon be implanted in mainstream American brains. As he should be. Ryan Lattanzio, IndieWireWhat about the contributions behind the camera?Greta Gerwig, writer/director of the new version of Little Women [got] a standing ovation. And it was well deserved! Pete Hammond, Deadline HollywoodFervent, top-notch direction by Greta Gerwig; superb lensing and set design. Jeffrey Wells, Hollywood ElsewhereAre there any problems?Little Women is charming if not a wee bit long…for such a pretty score it’s overscored? There are moments you just want to hear the girls banter but… nope. Gregory Ellwood, The PlaylistAt best, it’s a fresh approach that makes you rethink familiar material. But it can also make simple plot and character developments a bit harder to locate. Kyle Buchanan, New York TimesI have to say that it didn’t quite grab me as I’d hoped. Flashbacks, curious dream sequences, confusing here and there. Handsome and lusciously authentic, but feels in-and-outish. Jeffrey Wells, Hollywood Elsewhere(Photo by Sony Pictures)Is it an awards contender?Best Picture nominee… maybe? Gregory Ellwood, The PlaylsitThe last three Best Picture winners end happily and portrayed the world as ultimately hopeful. Greta Gerwig’s Little Women is the first movie of the year that does just that. So front runner? Sean Fennessey, The RingerWe’ll see as far as Oscars — nice to have an upbeat option. The 36-year-old actress turned auteur could become the first female two-time best director Oscar nominee. Scott Feinberg, Hollywood ReporterI’m not saying Jo March is Saoirse’s Oscar, but truly her only issue as an actress is that she’s so good makes her roles look so effortless and genuine and complete that she might fall into the Amy Adams camp of being so simply good it’s like Academy voters take her for granted. Jordan Crucchiola, VultureAn award-season cherry. Jeffrey Wells, Hollywood ElsewhereLittle Women is in theaters December 25.
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(Photo by Showtime, HBO, MTV, Syfy)15 Werewolf TV Shows, Ranked by TomatometerWhile there are plenty of TV series about easy-to-film supernatural creatures like witches and vampires, it s much harder to make a fantastical lupine transformation happen on a TV budget and shooting schedule. But there are still plenty of series dedicated to werewolves, some with their names in the title — Teen Wolf, for one — and some with other creatures in their names — Buffy the Vampire Slayer (don t forget that Oz was a werewolf).Then again, special effects in television have improved dramatically over the past 20 years (and gotten much cheaper to produce), which means the transitions seen in recent series like The Vampire Diaries, True Blood, and yes, Teen Wolf, look pretty darn impressive compared to the decades before. Still, The Munsters had a werewolf in its cast of spooky creatures — though, like the hybrids on The Originals, he was half vampire too.Rotten Tomatoes has compiled a list of the best and worst werewolf-related television shows. While the series don t have to solely focus on werewolves to be included, the do have to include significant werewolf characters or storylines (hence the inclusion of so many vampire shows). The series are ranked by Tomatometer score, and shows without series-level scores were omitted — sorry, Bitten!Don t see your top dog here? Tell us about it in the comments.
(Photo by Jesse Grant/Getty Images)Every casting in the MCU has made headlines, from the inspired albeit unconventional casting of Robert Downey Jr. in Iron Man to the moments-before-San-Diego-Comic-Con casting of Simu Liu in Shang-Chi. Just about everyone has had an opinion on who should play these iconic comic book characters on screen, and they ve been debated, scrutinized, and celebrated in every corner of the internet. But it may surprise some to learn these difficult choices have all rested in the hands of one woman. Over the course of 12 years, 24 films, and hundreds of roles, casting director Sarah Halley Finn has been the unseen force pumping the lifeblood directly into the heart of the MCU. Today, it may seem like a no-brainer now to cast RDJ as Tony Stark or Chris Pratt as Star-Lord, but in the early days, neither name was at the top of the Marvel wish list. It was thanks to Halley Finn s foresight and persistence that both actors were paired with their roles, but the MCU s lead casting director insists her efforts are a collaborative process. Casting over 1,000 roles has allowed Finn to accumulate a few stories of near-castings and tales of actors who took a little more convincing to say yes, some of which she shared with us when we chatted with her a few weeks ago. Read on for our extended conversation with Sarah Halley Finn, in which she chats about casting not only RDJ and Pratt, but also some yet-to-be-cast actors she hopes to add to the ever-growing universe. Iron Man: He wasn t exactly known as an action hero. (Photo by Marvel Studios) The casting is always this collaborative process with the director and the writers and the producers, each trying to find the absolutely perfect embodiment of this character. And as we were working on Iron Man for a couple of months, we were really talking about a lot of different people that could play the part. But we kept coming back to Downey. Of course, everything you see onscreen is the reason why we kept thinking about him. And ultimately, because it wasn t a slam dunk at the time he tested for it. He had been known for Oscar-nominated work. He was an incredible actor. He wasn t exactly known as an action hero. This was a very different kind of role, and he hadn t been doing the same work for a few years, so he was willing to screen test. And that was the proposal that we made to our people as a way to just find out if it was really the way to go for the character. So because he agreed to screen test, we worked on it fast, and really, he came onto the soundstage in high spirits. I remember walking him in and I remember it so crystal clear he came in high spirits. He knew what he wanted to do. I think he felt good, and I think as soon as he said the words, we all knew we had arrived. Captain America: No one else could play Steve Rogers except him. (Photo by Marvel Studios) After Chris Evans turned us down, I think it was the creatives who made that happen. It s Kevin Feige, it s Joe [Johnston]. It was really about helping him understand that there is an exciting character to play. It was not just an idea. He might have had a thought of what this means in the comic book universe but not what ideas it was about. But I know he also considered what this represented for his life and all those kinds of considerations you re aware of that and what he was weighing at the time. But it was really the creative engagement detailing about how he was the perfect person to bring this character to life, how no one else could play Steve Rogers except him and why, and what qualities he had that were perfect for it. And then they got creatively engaged to the point where it s harder to say no. Hulk: I had worked with Mark off-Broadway in New York, and it was really exciting when he jumped in. (Photo by Marvel Studios) Hulk was already in production when I came onto Iron Man, so I was not involved in casting [Edward Norton], and I think for whatever reasons, [Norton] was not involved when I was doing Avengers. So again, it was talking to Joss [Whedon], talking to Kevin, my team. How do we see this character now? What are his qualities? What are we looking for? Who is the best person to bring him to life? I had worked with Mark forever ago, off-Broadway in New York, and I had known him for a long, long time. And it was really exciting when he jumped in, and jumped in quickly. He was cast right before San Diego Comic-Con correct? Yes, but there are hours and hours of stories for every single person, and that happens with more people than you might think, because one of the things is these actors aren t just sent a script. It s not like they re just sent a script that they can say yes or no to it. The scripts are secret. They re confidential. They get hand-delivered with a security guard and they re waiting in the car while you read. It s really sometimes a long process and of engagement with the creatives, with the director, and with Kevin [Feige], to help people understand the world. Maybe there s some artwork, maybe there are some examples of things that can get them to understand what they re going to be playing, but it s not always as easy as it might seem. Thor: Yes, both Liam and Chris Hemsworth read and were the loveliest guys. (Photo by Marvel Studios) It took months. In truth, I have not slept in 10 years. Are you kidding? [Laughs] Yes, both [Liam and Chris Hemsworth] read and were the loveliest guys. But for Thor, Liam was young. He was so young at the time, and it was a long process, and hopefully, we ve gotten it right. But we ve got Liam in our sights. We ll find something for him. [Laughs] It seems like there was no one else to play that part now, but when we were approaching Thor with Kenneth Branagh, we knew this guy had to be part Shakespearean. Asgard had to exist in a complete otherworld and yet be utterly relatable and human. And that was a very difficult combination. And the material we were using for auditions, was a Shakespeare scene. So it took some callbacks, and some work, to really feel like we had arrived there. And then Thor changed entirely with Thor: Ragnorok. Yeah, it s amazing and it s really gratifying for me, because I think another hope when we re casting these roles is that we re going to find actors who have the range to go a really long distance. And I think when Chris Hemsworth broke, we knew he was a movie star, but I don t think people saw in him the performance he just gave in Thor: Ragnarok and Endgame. To see him make that leap to comedy and the way the audiences responded to him, it was so exciting. It s like an actor you know, and yet, you re discovering him in completely a new way, and really fun to be able to surround him with interesting characters like Korg and all the other characters that you see him interact with. Star-Lord: We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms. (Photo by Marvel Studios) Actually [Chris Pratt] came up after he read because there were a lot of things we were trying to accomplish. We really want this to be perfect. We wanted it to be perfect for us, and a movie for the fans, and it was a long search on Guardians of the Galaxy. It doesn t seem like a difficult role, but it s a difficult role. He s heroic, but he s a bit childish. He comes into his own. He s very funny, and he also has this deep issue that he struggles with abandonment from his father and his childhood so there s a lot of layers that go in. We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms; and could bring all of the dimensions of the character to life. Chris was known for comedy; he wasn t necessarily known as heroic. He also wasn t known as an action guy. Chris had done another audition for me for another Marvel film, and I had seen those kinds of heroic noble qualities in him, and I knew he had the comedy. And I had seen Zero Dark Thirty and Moneyball, so I knew he could bring the action element to the role.And so, I kept bringing it up to James, to the point where James I read in a print [magazine] called me annoying and didn t really see him for the role. He claims that I tricked him. I don t really remember it that way. [Laughs] It just so happened that Pratt was coming to read and James was there at the same time. So, yeah. [Laughs] Well, the one thing I will say, what s great about James is that he was very public on the press tour to be like, No, this is Sarah. I didn t see it, but I m so glad she made me do it. That s also great about working with him. It was very generous of him to be as open as he was about the process. And frankly, we had a lot of humor and that kind of camaraderie throughout the casting process. It really helped, and it helped him work with Chris. It helped Dave Bautista, who hadn t had a lot of acting roles, feel comfortable. And I think that his energy, his humor, his compassion, as an artist and as a director, was infused throughout the whole production. I think you can feel that in all the performances. The Guardians: Ensemble casting takes a lot of thought and a lot of work, and we test things out. (Photo by Marvel Studios) By the way, ensemble casting takes a lot of thought and a lot of work, and we test things out, you know? Once we cast Chris [Pratt], we were able to think about the qualities that he brought to the role, and then how to juxtapose that and how to support that in different ways to make the film interesting. So with [Dave Bautista], we knew that their chemistry was going to be really important, for Drax and Star-Lord to have something. And again, we did some mix and matches. We tried different ideas, but Dave and Chris really clicked. And so, it was being able to see that. And then, conversely, with Zoe [Saldana], we knew we really wanted somebody strong who was going to go up against him and give him a run for his money in a certain way, and she really brought that. And that s the process with any group casting. Rocket: You need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. (Photo by Marvel Studios) I approach voice actors the same exact way I approach the onscreen characters. I think that you need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. There s incredible pathos he brings, and he s damaged and wounded. And yet, you want to care for him, and you want to love him, and you want to laugh with him. And I think the audience got completely behind him. Basically, when we started thinking about the character, we re looking for the essential qualities. Who do we want to convey this emotion? How does the director want that character to come to life? So with Rocket, we had a very good idea of what James wanted, but we went through over a hundred voices, probably more. And that s my team, which is amazing, and taking James thoughts and notes. And we asked the other departments to give us any visual aids we could start pairing and mixing and matching a wide range of vocal qualities, of temperaments, of cadence, to try to see what would and all that comes together for how we could best personify that role. Spider-Man: The search went on for over a year just to cast that one role. (Photo by Chuck Zlotnick/Columbia Pictures) Can I talk about that? [Laughs] Those guys Asa Butterfield, Timothée Chalamet, and even Tom Holland have been really open about discussing it. Yeah, well they re all amazingly talented actors. I can say that much. They re all amazingly talented actors, but again, it was a role that we were trying to combine very specific elements and a range of qualities. So, for various reasons, I think the search went on for over a year just to cast that one role. And I think they ve all gone on and done great, and I think Tom has really done right by the character. The Villains: Michael B. Jordan s role was so poignant. (Photo by Matt Kennedy /© Marvel / © Walt Disney Studios Motion Pictures) I don t think we necessarily approached casting a villain in a different way from casting anybody else. You re still going, What are the essential qualities we re looking for and who s the best person to bring that to life? And in Black Panther, Michael B. Jordan s role was so poignant. It captured everything we hoped to do, which is create a multi-dimensional character who is not one-sided and who audiences can understand even if they re doing bad things. New Faces in the MCU: We can look anywhere. Marvel is so open. (Photo by Courtesy @DisneyStudios Twitter) It gives me so much energy to see more [diversity] in the MCU, and I m so excited to go into work every day, because I feel like there are no limits. We can look anywhere. Marvel is so open. It s a new day, and really, we are going to try anything. We have a deaf actress, Lauren Ridloff, who joined The Eternals, and right now we re looking for an 18-year-old Muslim-Pakistani female. It is beyond exciting. Casting Disney+: We re really approaching the streaming shows like movies. Yeah, it s very early but we re really approaching the streaming shows like movies. They re going to be very satisfying, I hope. We re really not looking at them any differently. They re incredible storytelling. We have incredible writers. We re putting together incredible casts, incredible directors. Very ambitious visions for these shows and the present a lot of new challenges but I m really excited. Casting Oscar Winners: They re able to stretch and do something that might be completely different. (Photo by Chuck Zlotnick ©Marvel Studios 2019) When I first came to the MCU and I was working on Iron Man, I was walking down the hall and somebody was making fun of me and saying, Oh, what, are we just going to have all Academy Award winners and nominees in the film? And I had a moment of panic thinking, Oh, my God, I m going to make the most boring superhero ever. What s it going to be? Nobody s going to relate to it. But [knocks wood] it s worked out well, and I think for these actors, there s a lot to play. There s a huge range to a lot of these characters, and sometimes it s just something really different. Look at what Cate Blanchett did in Thor: Ragnarok. It was fantastic. But Kevin and the mindset at Marvel is very collaborative. It s collaborative with the directors, it s collaborating with the actors. Creatively, they re all able to play in the sandbox. They re able to stretch and do something that might be completely different. So for someone like Brie Larson, yes, it s a leap to go from Room to Captain Marvel, but the way she embraced that character was complete, you know? She did the physical training. She researched it, she dug in with the directors and wanted to find out how to create this character in the way that I think actors approach in a role. So yeah, it was the whole process for her and for every actor to who takes on one of these roles. A Wish List for The Female Avengers? I don t know. I don t know if I can give you a few? I ve got a hundred. But I don t feel like I can No, I can t. I can t say. It s like asking me to pick my favorite kid. I can t do it. But hit me back after [Phase Five], maybe. Then I can tell you. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
沙巴体育365注册 Recently, Rotten Tomatoes expanded our list of the best-reviewed LGBTQ movies of all time to 200 films. We dive deeper into one of the best movies on that list, The Birdcage, which is celebrating its 25th anniversary.As the kind of sissy boy whom my schoolmates scolded for my lack of soccer skills and my predilection for choir practice (I was a soprano, naturally), I spent much of my childhood wrestling with my own seemingly insufficient masculinity. Despite how obviously I failed at performing manliness, I was wracked with anxiety about how I knew I should act. This is not as uncommon an experience as I felt it was. Whether you grew up in Colombia, as I did, or in the South of France or in Miami, the pressures of acting like a man were as soul-crushing as they were laughable. This is what one of my favorite movies growing up taught me, though not until I revisited it decades later.The Birdcage is, above all, a farce about masculinity. About its frailty and its attendant anxieties. Based on Édouard Molinaro’s La Cage aux Folles, Mike Nichols’s broad comedy stars Robin Williams (in khakis and a Selleck-ish mustache) and Nathan Lane (in linen pants and the occasional wig) as Armand and Albert Goldman. The couple run the The Birdcage, a drag club in South Beach where Albert (as “Starina”) is its greatest star. When Armand s son Val (Dan Futterman) informs him that he’s going to marry his girlfriend Barbara (Calista Flockhart) he caveats the good news with a request: might he go along with the white lie Barbara told her ultra-conservative parents, Senator Kevin Keeley (Gene Hackman) and his wife Louise (Dianne Wiest), that Armand is a straight cultural attaché?(Photo by MGM Home Entertainment / Everett Collection)The comedy stems from the failed attempts at keeping the charade of a heterosexual (and heteronormative) Goldman family. If Albert cannot present himself to the Keeleys as Armand’s partner, by god he’ll do it as Val’s definitely-not-gay uncle, a scenario that gives Lane every delicious comic beat he could ever hope to play. In one of the scenes that I could probably still perform from memory, Albert tries to butch himself up. He practices spreading some mustard on some toast only to be scolded by his frustrated lover: “Don’t use the spoon! And don’t dribble little dots of mustard: men smear! Smear!”The film was a staple of my teenage years. Whenever it was on cable we’d watch it as a family. We’d laugh in unison as we saw Lane’s flailing attempts to walk straight, only to end up deciding to pass himself off as Val’s mother in surprisingly convincing Old Lady drag. My laughter was, during those family viewings, comforting and discomfiting in equal measure. I laughed at Lane’s femininity in a way that I hoped inoculated my own. What a laughable stereotype, I thought. Thank god I’m not that gay, I reassured myself, still in the closet. I may be called a ‘marica’ in school, but surely I pass more easily than this out-of-drag drag queen. I loved the film precisely because it gave me room for such distance.(Photo by MGM Home Entertainment / Getty Collection)By the time I got to college, that kind of thinking led me to a revisionist understanding of the film that felt all the more insidious: it’s films like these – big broad comedies trafficking in caricature – that fuel the homophobia around me. Couldn’t we do better? Couldn’t we be more than punchlines? Did we have to be effeminate gay men with high-pitched voices who couldn’t hold their pinkies in check when “smearing” our toast?It’s only slowly dawned on me how much I came to project onto The Birdcage which, Hank Azaria’s lisping “Guatemalanness” aside, is a wholly assured satire about homophobia a
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 firstname.lastname@example.org.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. we got the one where it was like, ‘It actually looks like it s going to hit million.’ I was like, ‘Oh my God.’ By the time it went up to 26 we all just went like, ‘We got to get to the theater.’ So we all four of us just jumped in the car and drove to the ArcLight in Hollywood and ran in and found a packed theater just absolutely rocking with laughter. That was the moment you just go like, ‘Oh thank God.’ Mumolo and Wiig at the 2012 Academy Awards (Photo by Matt Brown/ABC via Getty Images) If you are to be nominated for an Oscar tomorrow, what number should we call you at?’ Mumolo: They give you a phone call the night before and they say, ‘If you are to be nominated for an Oscar tomorrow, what number should we call you at?’ You give them your number. You re like, ‘Haha that s really funny, that s hilarious, OK, good night.’ I think I felt as though, maybe intentionally, psychologically, I couldn t wrap my head around that. So something just shut off and I went to bed. And then they called. My husband was in the other room and he started [screaming], ‘Hey look! Get up!’ And so that s how I found out. “The industry was going to wait and see how we did at the box office before they could even consider green-lighting other movies starring women.”Feig: The biggest thing that changed is that the studios saw they can make money off of female-driven comedies. Hollywood is not an altruistic town. We are, as far as our politics and all that, but when it comes to the business, money talks, and you can pitch people all day that they should do a movie because it s the right thing to do and we need representation and we need this and that, but if it doesn t make money, then they don t care, basically. That was the thing that was kind of held over our head the whole [time] through production and even up until the day we got it released. It was looked at as being this sort of oddity, this risky thing that we were doing. The whole industry was going to have to wait and see how we did at the box office before they could even consider development and green-lighting other movies starring women. Which was crazy. So much pressure was on it that if it didn t do well, the town was going to go, ‘Well, see, movies starring women don t work.’ Which is insane, because nobody ever says that when a movie starring a bunch of men doesn t do well. They just go, ‘OK, the movie didn t work.’ I had female friends who were writers who had pitched ideas, and they were being told around town, We have to wait and see how Bridesmaids does. ”The reviews were raves and the marketers leant into the idea of a smart, R-rated female-led comedy (Photo by @ Universal Pictures)“It s like birthing a baby. And it went on for such a long time.”Mumolo: The movie for all of us in the beginning was like having a baby. It s like birthing a baby. And it went on for such a long time. And there are wonderful, joyful moments. There are moments of despair, there are moments of anxiety, there are moments of relief. I mean it’s such a tremendous experience. There were so many things that changed me as a person. When it comes to that one scene, it was a blip in a six-year experience. But I m very grateful that it makes people laugh. And that s what we set out to do. That part of it makes me happy. Bridesmaids was released on May 13, 2011. Buy or rent it at FandangNOW.