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亚博在线官网采用百度引擎6(Baidu 1)The blanks, as it happens, also offer Heller a format steeped in DC Comics lore without masks and superpowers.“I love superheroes, [but] I don t really know how to write them,” he said. “Alfred is a real person. Him and Commissioner Gordon, they re kind of human beings in the canon.”Their humanity in the face of theatrical villains and masked vigilantes made them great anchors for television series set in wilder worlds. Although, the wildness of Pennyworth is based less in the superhero tradition and more in a British mode, which is fitting for the character.For fellow executive producer Danny Cannon – who also worked on Gotham – the blanks in Alfred’s story allowed him to try something different: a DC show set in 1960s London.“[It is] a place that both myself and Bruno knew rather well,” he explained. “[We] also had a vision on what that world should feel and sound like. Alfred was uniquely suited to open that world up.Their vision of a DC Comics London will be one of the things viewers will immediately note about the show, both in its style and the way it offers clues to the story under Alfred’s feet. Small anachronistic details creep into the margins and the sort of “nevertime” Gotham used starts to appear.“It s as if it s sort of a dream London where anything, any point in the history of the country, can be there, but anchored in the ’60s,” Heller said. And as Alfred finds himself pulled deeper into Thomas world, a very specific event in British history seems drawn into the setting.(Photo by Epix)But first, we need to talk about Bet Sykes. Played by Paloma Faith, the dedicated contract killer immediately takes possession of any scene she appears in. For Faith, the character as written by Heller reminded her of people she knew.“Growing up in London, there had been a couple of times in my early life where I ve actually met real gangsters, and their wives have this very distinctive, very nuanced way  usually, they re very glamorous and empowered, but majorly insecure at the same time,” she explained. “So, it was like kind of trying to channel that. They were always a bit threatening.”When viewers first meet Bet, that threatening edge will be immediately apparent, but they will soon discover a gentle side to the character as well.“She s got a very sort of distinct differentiation between when she s at work and when she s not at work,” Faith said. “Having had a career that s very public myself as a musician, I can really empathize with that idea of putting on your work face and putting on your home face. That played into the way that I played her.”And just as Gotham humanized the Riddler, Barbara Keen, and other seemingly manic foes, Bet quickly becomes a layered and interesting character.“She s still a human being,” Faith said. “[She] craves human touch, and connection, and to be understood.”(Photo by Epix)The show’s willingness to give Bet that depth makes her something of a mirror to Alfred – right down to their willingness to commit violence.“I think it s something that will always be with him,” Bannon said. “I think he s grown up, essentially, in the Army, his formative years anyway. And it s a little bit like a strange addiction. He knows it s bad for him, but he keeps being drawn back.”“I also think they re all quite desensitized in the world of this as well, because it is a violent world,” added Faith. “So, [it’s] their perception, and then we have to sort of shift ours when we view it.”And as Faith’s comments suggest, Pennyworth is more violent and graphic than most of its DC-inspired cousins (Swamp Thing comes close). To Heller, reaching for a new level of on-screen violence was an important evolution.“There’s an honesty when you portray violence, as shocking as it is, to make it shocking,” he explained. “That s what violence is really like.”As opposed to the comical sound effects of Batman ’66 or the relative bloodlessness of network shows, Heller said the violence and its implications were important to convey and establish early.“What happens is you bleed, you die,” he said. “It s not meant to be sensational. It s just meant to be true to both the sensibility of the myth and the reality of violence.”Despite the violence on display in the series, Pennyworth is filled with humor – from the absurd to the driest of quips worthy of Batman’s butler. It was an element of the show which surprised the cast once they began to see finished episodes.“I know the jokes were there,” Aldridge said, “but there were other moments I hadn t read as funny at all.”In the first episode, some of these moments involve a gun-toting granny, the owner of the club where Alfred and Thomas meet, and a very unusual torturer.“Alfred says at one point, ‘Life is either a tragedy or a comedy, and I prefer to have a laugh.’ And that s kind of true,” Heller said when asked about juggling the show’s grimmer moments and funnier elements. “There has to be light, because on one level it s a very bleak and dark view of the world. So without shafts of light, you ve just got darkness as opposed to shadows and light.”“For me, when I think about being British, the most proudest thing about it is the humor, for me,” Faith added. “So it s so important that it s in there.”(Photo by Epix)Which brings us back to the question – why make a series about Batman’s butler? Because he offers a uniquely British story to the DC Universe, one that also features an examination of British class struggles.“I feel like in America, you re kind of raised to believe that whichever class you come from, you can achieve anything,” Faith said. “I remember being sort of the 17-year-old literature student, being like, Oh, the American Dream — like, never heard of the possibility until then of being able to actually sort of contradict the class you were born into.”In the British tradition, social mobility is much harder. And into the 1960s, it was something parents actively discouraged their children from attempting.“The ’60s was the first time where people were starting to live their own lives and have their own ideas, and Alfred is the perfect guy to break away from the military and from their old-school way of thinking,” Cannon said. “He s filled with optimism and a new energy, and he s looking towards the future.”Nonetheless, Alfred will face obstacles in finding that future simply because of the station he was born into.“One of the things that you notice when looking at past portrayals of Alfred is that, to a degree, Michael Caine was the first guy who played the character as he would be in real life – which is working class,” Heller said. “And that servant class was always in a weird, anomalous position of serving the upper classes, but never being able to cross that line. Alfred is someone who has lived his own life and does not want to be servile, does not want to be dependent on the largess of the aristocracy. So that conflict is built into the character.”“It s a strong theme in our show, and a strong theme in British culture in general,” Faith added.The conflict will also be writ large in the series as tensions in the country lead to sectarian violence and the potential for a British Civil War, the event seemingly imported from history into the 1960s of Pennyworth.(Photo by Epix)At the same time, Bannon admitted that Alfred is “blown away by his new wealthy American associate, Thomas: He talks differently, he looks different — [Alfred has] never really seen anyone like that.”Thomas movie-star quality may offer some clue as to why Alfred will ultimately become a butler and work for the Waynes. Granted, it will take more than good looks and a seemingly endless supply of cash to bond Thomas and Alfred for all time — but then, that is the story the series is setting out to tell while also sowing the seeds of a class war.And as all moderns series consider their conclusion from day one, the cast and producers of Pennyworth jokingly suggested its natural endpoint will either be the birth of Bruce Wayne or his conception. Although, Faith suggested Bruce’s birth could come with a further revelation.“I d love to see Jack dressed as a baby coming out of Martha,” she joked. “Alfred s actually his dad, and you re [playing] the baby!”“That s very meta and crazy: Me in a little bonnet,” Bannon said.Pennyworth premieres July 28 at 9 p.m. on Epix. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

1. 亚博在线官网
传奇手游热推榜前20中,共有10款新投放手游上榜,传奇手游的玩家忠诚度较高,虽然是新手游但是画面风格及玩法跟旧版游戏相似度较高。 首先,就是他们家的手游有两个问题,这个咱们先来扒一扒,当然我不确定就一定是这么回事,但是有句老话说得好“无风不起浪”。

2. 公平游戏环境
奇迹MU:觉醒是由腾讯独家发行,韩国网禅正版授权、掌趣科技成员天马时空研发的全新官方正版授权奇迹手游。游戏用更加华丽的画面,完美重现了勇者大陆、亚特兰蒂斯、天空之城等玩家熟悉的地图,同时经典职业也将回归称霸勇者大陆。在基于延续传承的同时,游戏还带来了与时俱进的创新,玩法进一步升级,除了将端游恶魔广场、血色城堡、卡利玛神庙等玩法深度还原之外,还新增更多原创玩法,让玩家享受更多的冒险乐趣。亚博在线官网As we inch closer to the beginning of the summer movie season, we are starting to see a few more big-name properties show up on the release calendar, and March features not only a hotly anticipated sequel to a surprise horror hit, but also a new entry from Pixar and the latest live-action remake of an animated Disney classic. Beyond those titles, we also have a comic book adaptation starring Vin Diesel and a new interpretation of a Jane Austen novel just to round things out. See below for the most anticipated movies opening in March.1. A Quiet Place Part II (2021) 91%2,769 Want-to-See Votes#1 pick by our Facebook, Instagram, and Twitter fansOpens March 20Director John Krasinski had a hit on his hands with 2018 s A Quiet Place, in which he starred alongside his real-life wife Emily Blunt as a married couple with two children (after a tragic and horrifying opening scene) who live their lives in complete silence in an attempt to avoid detection by the bloodthirsty monsters who navigate by sound that have taken over the world. This month, we get the sequel, which finds Blunt s Evelyn Abbott traveling with son Marcus (Noah Jupe), daughter Regan (Millicent Simmonds), and her newborn infant until they come across other survivors and discover there s more to worry about than just the monsters. This film made it to the top of all of our social media polls and racked up the second-most Want-to-See votes among all March releases.2. Mulan (2020) 73%3,650 Want-to-See Votes#2 pick by our Facebook and Twitter fans, #3 pick by our Instagram fansOpens March 27Disney released three live-action remakes of their classic animated films in 2019 namely Dumbo, Aladdin, and The Lion King and while none of them exactly set critics hearts aflutter, the latter two especially made big splashes at the box office. With that context in mind, March brings us their latest effort, Mulan, starring Liu Yufei as the titular heroine who defies her father s wishes and joins the Imperial Chinese Army disguised as a man to represent her family. The supporting cast includes such renowned actors as Jet Li, Donnie Yen, and Gong Li, and fans on our social media accounts were excited enough about the movie to vote it into second place on Facebook and Twitter, and third place on Instagram. It also racked up the most Want-to-See votes of any March release on RT.3. Onward (2020) 88%1,252 Want-to-See Votes#2 pick by our Instagram fans, #4 pick by our Facebook and Twitter fansOpens March 6Part of Mulan s appeal is undeniably the nostalgia factor for adults who remember seeing the animated original more than 20 years ago, but Disney offshoot Pixar is also coming out with a new animated film that s ostensibly aimed at younger audiences but plays on some mature themes. MCU stars Chris Pratt and Tom Holland voice two elf brothers who live in a suburban fantasy world populated by trash unicorns and pet dragons where technology has pushed magic into obsolescence. When the two of them receive a magical gift from their deceased father that will allow them to resurrect him for 24 hours, and it only summons his lower half, they embark on a journey to find a way to bring back the rest of him before time runs out. This one made it into the top five of all of our social polls and garnered the third-most Want-to-See votes on RT, and on top of all that, it s already Certified Fresh.4. Bloodshot (2020) 30%1,099 Want-to-See Votes#3 pick by our Facebook and Twitter fansOpens March 13The vast majority of superhero movies made these days belong to either the MCU or the DCEU, but the landscape is slowly changing as other players join the fray. Enter Bloodshot, a murdered soldier who is resurrected by scientists and given superhuman abilities thanks to nanotechnology. The Valiant Comics anti-hero is played by Vin Diesel here, and reports have stated that the film is intended to be the first in its own cinematic universe. We ll have to wait and see how that goes after the film is released, but for now, moviegoers are looking forward to seeing the big-screen adaptation of the comic, as it ranked third in our Facebook and Twitter polls.5. EMMA. (2020) 87%1,391 Want-to-See Votes#5 pick by our Facebook fansOpens Wide March 6The last film on this month s list actually opened in limited release back on February 21, but it s expanding wide in the first week of March, thanks to a positive reception. Anya Taylor-Joy stars as Jane Austen s eponymous matchmaker, who discovers that maybe she s not as good at bringing people together as she thought she was, all while her own romance bubbles up and takes her by surprise. Director Autumn de Wilde s debut feature is already Certified Fresh, and critics say it s a whimsical adaptation that takes some time to get going but blossoms into a delightful treat. The film made it to fifth place in our Facebook poll and earned the fourth-most Want-to-See votes on RT.Thumnail image by Paramount PicturesLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

3. 激战团竞模式
to wait, but they should also “keep hope alive.”Man of Steel SequelRelease Date: TBDWhat We Know: In September of 2017, X-Men: First Class director Matthew Vaughn met with the studio in regards to a direct Man of Steel sequel. Three-ish years on, the return of Superman to the big screen seems like a distant possibility. Also, plans for an entirely new Superman project (more below) may end any hope.How It Fits in the DC Multiverse: Clark (Henry Cavill) has to reestablish himself at the Daily Planet at some point, right? Meanwhile, Superman could face any number of DCU villains from Lex Luthor (Jesse Eisenberg) to Black Adam (Dwayne Johnson).Release Date: TBDWhat We Know: The Main Man, a Czarnian with various superpowers and healing factors, has always been of interest to Warner Bros. Attempts to make a Lobo movie date back to 2009 with Guy Ritchie and Brad Peyton circling the director’s chair. As of February last year, screenwriter Jason Fuchs (Wonder Woman) was completing a new draft. Michael Bay was linked to the project, but it is unclear if he ever really signed on.How It Fits in the DC Multiverse: Lobo, like Green Lantern Corps, could introduce the cosmic elements of the DC Universe. The character’s irreverence and stark design also set him apart from the rest the DC characters audiences are familiar with. And considering the times his comic book counterpart and Superman have butted heads, he could become a worthy opponent for the Man of Steel in a subsequent film.Static ShockRelease Date: TBDWhat We Know: First revealed at August’s DC FanDome event, a film based on Milestone’s Static – and, of course, the Static Shock animated series – is in development at Warner Bros Pictures. Michael B. Jordan will join Reggie Hudlin as an executive producer on the project. Based on the character created by Milestone Media founders Dwayne McDuffie, Denys Cowan, Michael Davis, and Derek T. Dingle, the film will center on Virgil Hawkins, a teenager with electromagnetic powers who finds his way into a larger world while still keeping his local streets safe. Originally set in Milestone’s Dakotaverse, it is unclear if Virgil will start his adventures there or as a regular DC hero. As it happens, Static only transferred to the DC Universe in 2008 while his cartoon counterpart made cameo appearances in DC animated shows much earlier. In March, Randy McKinnon signed on to write the script.How It Fits in the DC Multiverse: Considering “multiverse” is now the buzzword of Warner’s DC initiative, it is entirely possible Static Shock won’t fit into the established DC film universe. But it’s also possible the Flash’s tinkering with time will make Virgil a key figure before production even starts on the film.Superman(Photo by © First Run Features /Courtesy Everett Collection)What We Know: Just a few days after the Blue Beetle news broke, word surfaced that J.J. Abrams’ production company, Bad Robot, would produce an entirely new Superman film with novelist and Captain America comic book writer Ta-Nehisi Coates (above in the documentary Moynihan) on scripting duties. Reportedly, the project will feature a Black actor in the lead – although it is unclear if it will be Clark Kent or one of the various Black Superman characters DC Comics has introduced over the years. In May of 2021, a shortlist of directors including Regina King, Shaka King, and J.D. Dillard emerged, but with Regina King ultimately signing on to adapt Image Comics’ Bitter Root, it seems the shortlist is just down to the latter two.Meanwhile, Michael B. Jordan is reportedly developing his own Superman project centering on Val-Zod, the Black Superman of Earth-2. According to Collider, an unnamed writer is working on a script. It is currently unclear if Jordan’s project is a film or a limited series, hence its inclusion here and not in a separate section.How It Fits Into The DC Multiverse: The infinite DC worlds will presumably allow for both this Superman and Cavill’s Man of Steel to co-exist. It also allows the two characters to meet. Reports seem to indicate the film will take place in a reality other than Barry’s, but it is always possible the film will introduce the Superman of the next decade.HourmanWhat We Know: In March of 2021, Chernin Entertainment signed on to produce a film featuring the 1940s comic character or one of his subsequent iterations. In most cases, Hourman obtains heightened strength and endurance via a pill called Miraclo. Unfortunately, its effects only last an hour and he can only use it once a day. Gavin James and Neil Widener are set to write the script.How It Fits Into The DC Multiverse: Again, we assume this will be set in Barry’s world. But with versions of the character ranging from a 1940s mystery man to a time traveling android from the 853rd Century, the possibilities for Hourman are endless.Black Canary(Photo by Claudette Barius/©Warner Bros.)Release Date: TBDWhat We Know: In June of 2021, news broke indicating a Black Canary film will join the HBO Max roster of DC feature films. Jurnee Smollet is reportedly set to reprise her role from Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) with Misha Green writing. Birds of Prey producer Sue Kroll will also produce Black Canary.How It Fits Into The DC Multiverse: Presumably, the film will continue Canary’s story from Birds of Prey – minus the other two members of the team, of course – but it is always possible Green will use the Multiverse to give her version of the character a fresh start.New Gods(Photo by Photo By: Priscilla Grant/Everett Collection)Release Date: ShelvedWhat We Know: A Wrinkle In Time’s Ava DuVernay was set to direct a film version Jack Kirby’s New Gods for Warner Bros., writing the script alongside Mr. Miracle writer Tom King. The film allegedly would have centered on escape artist Scott Free – aka Mr. Miracle – and his wife Barda. Both are refugees from the plant Apokolips; a miserable world under the grip of the tyrant god Darkseid. Scott was given to Darkseid as a baby by his own father to maintain a peace between Apokolips and the nearby world of New Genesis. Despite the detente, Darksied plots to control the universe and the battle of the New Gods rages on. DuVernay thrilled fans in early 2020 when she said she “may in fact be taking some notes” from the Twitter dream casting threads, which included names like Diego Luna for Mr. Miracle and Gina Carano for Big Barda.Unfortunately, Warner Bros. and DC announced on April 1, 2021 that two of their films in development one of them being New Gods will not be moving forward Their projects will remain in their skillful hands if they were to move forward in the future. As far as we can tell, this was not an elaborate April Fools prank. That said, DuVernay remains attached to the upcoming 2022 CW series Naomi, about a teen superhero, as both writer and executive producer, which keeps her in the DC family.The TrenchRelease Date: ShelvedWhat We Know: As part of an effort to keep Aquaman’s corner of the DC film universe alive, Warner Bros. hired screenwriters Noah Gardner and Aidan Fitzgerald to write a script centered on The Trench in February of 2019. As referenced in the film’s early moments, The Trench are the descendants of an Atlantean tribe who devolved into fish monsters after breaking away from the rest of the kingdoms. They can be seen attacking Arthur and Mera’s boat shortly before they make their way to the secret sea. Wan publicly discussed his adoration for the creatures and it seems the project would have develop quickly into an offshoot of Aquaman a la the Annabelle spin-offs from Wan’s The Conjuring series. The film was reportedly set to take place after the first Aquaman film and lean into some horror elements, which of course makes sense, considering Wan s résumé.As with Ava DuVernay s New Gods, however, development of The Trench was also halted indefinitely by Warner Bros. and DC, even though a script for the film had been completed by Gardner and Fitzgerald. The announcement did keep the door open just enough to allow for future developments, but as of now, The Trench is no longer a part of the studio s immediate plans. In the meantime, Wan will continue to focus his efforts on Aquaman 2.On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Warner Bros.

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 3.33.82022-01-26

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The day after Game of Thrones aired one of its longest episodes ever — the super-sized, near-feature-length epic “The Last of the Starks” — SundanceTV premiered a series with episodes that clock in at a tidy 10 minutes each.Ten-episode series State of the Union stars Rosamund Pike and Chris O’Dowd as a married couple going through a rough patch after a “spot of infidelity.” Each episode follows the pair in real-time as they meet in a pub before going across the street to marital counselling, discussing how they got to where they are and the events of the previous session every week. Director Stephen Frears captures these conversations, which go from heartfelt to hilarious at a moment’s notice.State of the Union, which is currently 100% Fresh with 15 reviews, is just one example of a growing trend of high-quality short-form programming, a format that was once the realm of viral YouTube videos and is now getting attention from mainstream studios and well-funded startups.Snapchat is making serious investments in original content, Netflix’s sketch comedy series I Think You Should Leave with Tim Robinson is being praised for its peppy 15-minute episodes, and former Disney and DreamWorks Animation bigwig Jeffrey Katzenberg is looking to jumpstart a whole new entertainment industry with short-form start-up, Quibi, led by CEO Meg Whitman.Nick Hornby’s Comedy Experiment — in Brief(Photo by Parisatag Hizadeh/Confession Films/SundanceTV)But State of the Union’s writer, High Fidelity and About a Boy scribe Nick Hornby, wasn’t looking to disrupt anything when he came up with the idea.“That was just something I wanted to try to see if I could have any fun with it or make it work,” Hornby told Rotten Tomatoes. “I had the idea of the setup, people talking immediately before therapy, sometime before.”The constraints of the short-form format were an unexpected source of creative freedom, the author and screenwriter added.“Even though I [only] had 10 pages, those 10 pages were actually very liberating,” he said. “Certainly with movies no one is going to let you write a scene with 10 minutes of dialogue in it.”The dialogue is, essentially, the whole show, although both O’Dowd and especially Pike speak volumes with just their facial expressions as the two sit down across a pub table and attempt to determine what they feel for one another. Hornby stressed that the short length of the series didn’t necessarily make things easier for the actors, because actors “never get parts where they have literally 50 percent of the script,” as is the case in this series.Even though State of the Union is primarily a comedy, the couple’s conversations have real emotional heft.“I think that State of the Union, although it can be consumed in bite-size chunks, actually demands a lot of attention,” executive producer Jamie Laurenson said. “It’s very funny and entertaining, but you have to concentrate. It’s not lightweight because it’s small in size.”Streamer Quibi Bets on MobileAlthough Katzenberg’s Quibi is yet to launch, the Hollywood veteran’s new venture is aiming to capture a similar sort of feeling — snackable, but filling. The name itself is short for quick bites. Katzenberg and Whitman announced some details this weekend at the Produced By conference on Saturday in Los Angeles, and Katzenberg revealed more on Sunday at the Banff World Media Festival. Some of the details that emerged:Quibi will launch in the U.S. on April 6, 2020There will be two pricing tiers at launch: the first, for .99, with one pre-roll ad before each video segment, including a 10-second ad if the video is less than 5 minutes, and a 15-second ad for 5- to 10-minute videos. 2. an ad-free option at .99Approximately 7,000 pieces of content will be available within the first yearThe company will spend  billion on contentThe service s core-demo is aged 25-35Videos to be 7-10 minutesSome of the announced content includes:An untitled horror series from Steven Spielberg, four episodes of which Spielberg will write himself.#Freerayshawn starring Stephen James and Laurence Fishburne about Iraq War veteran Rayshawn (James), who is on the run after being set up by New Orleans police on a drug deal. The million project is from Sony Pictures Television.An untitled Steven Soderbergh project.A non-scripted series from James Corden’s Fulwell 73 featuring Israeli mentalist Lior Suchard.Punk’d and Singled Out reboots from MTV Studios.Anna Kendrick comedy Dummy from Deadbeat co-creator Cody Heller and independent studio Wiip.In a keynote presentation at South by Southwest this March, Katzenberg explained that Quibi, in addition to creating content that is specifically created for the time and technical demands of mobile viewing — the shows will be full screen in landscape and portrait mode, for example — will borrow from both film and TV. So they’ll be feature length, but broken up into episodes that are easy to squeeze in or to binge, whatever the viewer’s circumstances demand.“We’re bringing those two creative, narrative forces together,” Katzenberg said at the time. “A series, for us, is a two- to two-and-a-half-hour story, told in act breaks that are eight to 10 minutes long.Katzenberg s vision has drawn top talent and top dollar, and he makes the case that the startup is an entertainment pioneer akin to HBO, which seemed like a risky venture when it first came on the scene. He and other players in the short-form game are trying to tap into an uncharted market: would-be viewers who want quality, narrative storytelling that’s broken into chunks that fit into their busy (and mobile) modern lives.Snackable Storytelling Treats to Take on the Go(Photo by Parisatag Hizadeh/Confession Films/SundanceTV)“I know Quibi has very specific ambitions for their version of short-form content, and I think Jeffrey Katzenberg has publicly stated that he thinks it’s the answer to capturing younger audiences,” Hakan Kousetta, COO of Television for State of the Union producer See Saw Films, told Rotten Tomatoes. “I’m not sure I quite agree with that, but I do think that giving people as much opportunity to watch programs when they want in a way that’s convenient to them will always be the answer to increasing demand.”If that’s a 10-minute episode on a bus ride while waiting for a dentist appointment, great. If it’s binging an entire series so that it essentially acts like a feature-length movie, also great. State of the Union, for instance, which premiered with all 10 episodes running back-to-back like a film at Sundance, still holds up in this format.“You can watch three episodes back-to-back and have a half-an-hour slot show, or you can watch 100 minutes back-to-back, and it all works,” Kousetta said. “It doesn’t shortchange you if you want to consume it in that way.”For his part, Hornby didn’t concern himself too much with the question of whether he was making a movie or if he was making a TV series.“I really didn’t know what it was,” he said. “It was a TV show because it was bought by people who wanted to make it into a TV show. I didn’t ever think of it as being a movie. I thought it might be something that people might snack on. You know, watch on their phones while they’re sitting on the bus, or whatever, but you could have a complete experience over quite a short period of time.”Put another way, Hornby said, it’s a great alternative to mindlessly scrolling on your phone.“I think if you watch one episode on your daily commute,” he said, “maybe it’s better than flicking through YouTube videos or Instagram.”State of the Union is available to watch in full at SundanceTV.

(Photo by Weinstein Company/Courtesy Everett Collection)All Kevin Smith Movies RankedThe story of Kevin Smith making his first movie starts out like the story of most indie filmmakers following a dream in the 80s and 90s: Maxing out credit cards, risking financial ruin all in sheer tyranny of belief that the majorly groundbreaking screenplay you wrote is your ticket into the business. Smith s story ends differently than most: He actually made it. Twas the right time, right place (unlike all those contractors on the Death Star) for Smith s Clerks. Audiences and studios alike were hungry for outsider voices, and the guy from New Jersey holding a scuzzy black-and-white comedy was as outsidery as you can get. Released the same October week in 1994 as Pulp Fiction, Clerks set a new high for those aiming low, and thus the American independent movement of the 90s was born.Smith s next movie, Mallrats, showed he was serious about giving voice to pop culture nerds, slackers, and stoners, throwing more references to movies and more reverence to comic books, to the point of roping in Stan Lee as a sage, secondary character. Smith had his most promising leap forward in writing and direction with Chasing Amy, and then took on a more aggressive front against the status quo with the iconoclastic Dogma. The organized religion send-up featured a growing cadre of stars willing to yuk it up in Smith s unified Askewniverse (like Matt Damon, Salma Hayek, Alan Rickman, and Chris Rock), with Jason Mewes and Smith himself as Jay and Silent Bob a consistent, comedy presence. (Check out our oral history of Jay and Silent bob with Smith.)The two characters were upgraded to lead status with Jay and Silent Bob Strike Back, before Smith returned to his roots in Jersey Girl and Clerks II. With the Judd Apatow style changing the comedy landscape, Smith stuck his own thumb into the pie, mixing extreme raunchiness and sweet sincerity in Zack and Miri Make a Porno.The 2010s began with Cop Out, a failed stab at Hollywood big-budget action filmmaking, and an experience Smith now openly derides. Red State just edged by with enough critics for a Fresh rating, and would begin a 3-movie string operating in horror. Tusk has its defenders. Yoga Hosers definitely does not. For his latest, Jay and Silent Bob Reboot, Smith hit the streets, doing roadshow screenings with Q As city by city. Not only did that bring together his fans in community, but also played up Smith s strengths as a world-class raconteur, whose gift of gab has helped him create an empire of podcasts and review shows, overshadowing his directing career in recent years. His next movie is horror-comedy Killroy Was Here, scheduled for a 2020 Fall release. Before then, take a look back on all Kevin Smith movies ranked by Tomatometer!
(Photo by © Warner Bros. )Space Jam: A New Legacy is no Jurassic World, but never underestimate the appeal of a film that has become a generational security blanket. Twenty-five years after the release of the original Space Jam movie, the sequel has topped the box office and given some hope to a family box office market struggling to bring kids ineligible for vaccinations back to the theaters. (Not to mention that other added barrier: the convenience of family films like Space Jam: A New Legacy being available to stream at home.) This week was a more than solid opening for A New Legacy, but is it just another front-loaded event picture that will leave its studio wishing for more?King of the Crop: A New Legacy Hopes to Go Strong For All Four Quarters After Blistering Opening First, let’s go to the charts. Space Jam: A New Legacy opened in first this weekend with .7 million. That is the fifth best opening of the year – just ahead of WB’s Godzilla vs. Kong’s .6 million, if the estimates hold (and GvK had a two-day head start). That is also the best family-oriented opening of 2021, surpassing even Cruella’s four-day Memorial Day opening of .5 million. LeBron James fans may even point out that it is better than the .5 million start that Michael Jordan’s Space Jam kicked off with back in 1996. Though with inflation that was about a .6 million opening and the movie went on to make more than 6 million. (At the time of its release, that was the fifth best opening of 1996, but the movie dropped to seventh in subsequent weeks when Star Trek: First Contact and the live-action 101 Dalmatians opened bigger.)GOAT debate aside, there was not a lot of chatter that Space Jam was going to dethrone Black Widow in its second weekend after a record-breaking pandemic opening. And yet here we are. But long term is the question now, with watchers wondering whether A New Legacy will join the exclusive company of 0 million films. So far it has taken at least a million opening to achieve the ranks of 0 million. By next week we will have three films in that bracket: A Quiet Place Part II, F9, and Black Widow. Godzilla vs. Kong is still a bit of an anomaly in that it had very little competition; it was in the top 5 for six weeks and the top 10 for 10 weeks, and it still stands at just 0.5 million.(Photo by ©2021 Disney Enterprises)The good news for Jam is that family films, while not breaking the bank, have been pretty consistent in bringing in audiences post-opening weekend. Raya and the Last Dragon had a disappointing .5 million start back in March, but is now up to over million (or 6.42 times its opening). Cruella and Peter Rabbit 2 were at 3.82x and 3.83x their openings entering this weekend and The Boss Baby: Family Business is approaching getting over the 3x hump. Cruella’s number, though a far cry from being a success against is budget, is interesting given its availability on Disney+ via Premier Access. The Boss Baby sequel may be a better gauge for A New Legacy, given it is also available as part of a streaming subscription (Peacock) with no extra cost. As of this weekend the film is at a 2.76 multiplier, but also opened to just a bit more than half of A New Legacy’s start. Can this be the second Warner Bros./HBO Max title to reach 0 million – after Godzilla vs. Kong? A new generation will tell.The Top 10 and Beyond: Black Widow Has Big Second-Weekend Drop, But Still Aims for 0 MillionMarvel’s Black Widow reached one high peak already during the pandemic box office, which means it had the furthest to fall too. Its 67.2% drop from its opening of million down to .3 million this weekend was the third-highest drop of the year for a wide release after Mortal Kombat fell 73.2% and Demon Slayer fell 69% in the same weekend. The positives still outweigh the setback, though, as the film managed to gross over 5 million in its first full week and will eventually be passing both F9 and A Quiet Place Part II to become the highest-grossing film (domestically) of the pandemic so far.But is a 0 million total now in jeopardy? The film has fallen behind the pace of Ant-Man and the Wasp already, which had 3 million after 10 days with a million second weekend – it finished with 6 million. Black Widow is at 2 million and could actually become the first July release to have over 0 million in its first 10 days and not reach the 0 million milestone. Disney also chose not to report its Premier Access numbers this week.(Photo by ©Universal Pictures)Checking in on the films that Widow is chasing for the top spot, we have F9 making .6 million this weekend, driving its total to 4.8 million after 24 days of release. Last week, we put the film in line with Pirates of the Caribbean: Dead Men Tell No Tales, which had 0.5 million in the bank after an .9 million fourth weekend. Somewhere around that film’s total haul of 2 million still looks right and F9 continues to lead the way internationally with over 1 million to date. A Quiet Place Part II just finished a seven-week stay in the top 5 and is still holding onto a narrow lead over F9 with 5 million. In many ways this is the truest success story of the pandemic so far. An exclusive theatrical run from Memorial Day weekend through last weekend and a consistent audience that is going to drive it to over 0 million: This is the film most deserving of the “theaters are back” title.The other sequel unleashed in theaters this week, Escape Room: Tournament of Champions, grossed just .8 million this weekend. That is down nearly million from the .2 million the first film did when it became a modest hit in January 2019, finishing with million. The critical consensus on the Escape Room sequel is not so far off from the original, with a Tomatometer of 42% compared to the first film s 51%. It s worth noting that franchise horror has been going lower and lower in terms of box office pull this summer since A Quiet Place Part II opened to .5 million. The Conjuring: The Devil Made Me Do It did .1 million the week after Quiet Place opened, then The Forever Purge started with .5 million a month later. Lest we not forget Spiral starting with just .7 million in mid-May. The third Conjuring film was the only one of the bunch not exclusive to theaters upon opening. An original horror film, M. Night Shyamalan s Old, will test the audience’s thirst this upcoming week and the genre could reclaim the number 1 slot.(Photo by © NEON)Opening in 927 theaters was the acclaimed but controversial documentary Roadrunner about Anthony Bourdain, which took in .9 million or about as much as Apollo 11 opened to in just 120 theaters in 2019. In only 552 theaters is Pig, with Nicolas Cage as a truffle hunter searching for his stolen companion. It scrounged up 5,000 for a ,712 per-screen-average compared to Roadrunner’s ,000. A24’s Zola is out of the top 10, but is up to .2 million with another 0,000 this weekend.On the Vine: M. Night Shyamalan Returns To Battle Henry Golding in Action ModeNext week, M. Night Shyamalan turns the Fountain of Youth – or its complete opposite – into the Beach in his latest thriller, Old. Its challenger for the week is the latest in the G.I. Joe series, an origin story for Snake Eyes with Henry Golding stepping into the role. It could make for an interesting box office battle, one that is rife with potential for both major surprise and crushing disappointment.Full List of Box Office Results: July 16-18, 2021
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(Photo by Liam Daniel/HBO)Chernobyl seemed to come out of nowhere. Hot on the heels of Game of Thrones final episodes, the five-part HBO miniseries from creator/writer Craig Mazin and director/co-executive producer Johan Renck goes deep into the multi-layered, almost unbelievable story of how the accident at Ukraine s now-infamous nuclear power plant became one of the worst man-made calamities the world has ever seen.The groundbreaking series which features stellar performances by Jared Harris, Stellan Skarsgård, and Emily Watson doesn t just explore the accident, it touches on the far-reaching ramifications that followed it, telling the stories of the many citizens who made unfathomable sacrifices, and gave their lives, in order to save the continent from imminent doom.To give further insight into the terrifying story being told, director Johan Renck spoke at length with Rotten Tomatoes about his creative vision for the project. During our chat, he explained the challenges in telling a Russian story with a large cast of British actors, the filmmaking importance of using sound and silence to convey the appropriate tone, and the enduring relevance of the Chernobyl disaster all these years later.(Photo by Liam Daniel/HBO)Aaron Pruner for Rotten Tomatoes: You directed all five episodes of Chernobyl, which sounds like a massive undertaking. What was your vision going into the production?Johan Renck: The first and foremost thing for me was that I wanted to make it experiential, rather than sort of on display, so to speak. This is not a diorama in which you get this world presented to you. To me, it was much more about finding within some kind of very long-gone authenticity, finding a way to shoot this and to deal with this so that you feel immersed. You almost feel like you were there. There s this sort of experiential side of it. So I think that was my agenda, so to speak, from the onset of this project.Has there been any pushback from viewers or complaints regarding accuracy in the story being told?Renck: There are some people who find it really hard to understand why this is in English and not Russian. And also some people who have difficulties with dealing with the British accents in there. On the other hand, I get tons of messages from people who live in Belarus, Ukraine, or Russia, saying like, this is so authentic, I sort of relate to every thought that goes into the apparel or in a suit or a trashcan or a whatever it is, everything is so minutely accurate. So then, you know, all we can do is try to be accurate and authentic.(Photo by Liam Daniel/HBO)Well, let s talk about working with the British cast. I can understand how some people may take issue with the accents or the fact that the actors you cast weren t Russian or Ukrainian, but, for me, it didn t take long for the Britishness of the cast to fall away. Were there any methods in trying to tamp down the variety of dialects featured in the show?Renck: Having a British actor portray a Russian character is almost like taking an Italian actor to do a Russian. The British are, you know, very expressive in their facial language, very sort of courteous and apologetic. Whereas the Russian and the Eastern European persona and again, I come from Sweden, I come from that part of the world is drastically different. It s much more of a sort of underhanded, almost stone-faced type of behavior. There is no willingness, there s no desire to appease somebody else or please somebody else by the way you communicate. It s very straightforward. And, added to that, you have this Slavic flamboyance that comes out in heated moments.In a dream world, we would have had a year of rehearsals with our 104 speaking roles, to try to shave off some of the local edges of the accents, you know? Because you have Scottish actors, Irish actors, Welsh actors, Southern England, Northern Ireland, and all those accents are drastically different from each other. The agenda was, originally, to kind of shave off all those edges to an extent that it became some weird form of neutral English. But that task was just unobtainable given the time and given the amount of cast we had.(Photo by Liam Daniel/HBO)You talked about coming from an experiential place with this. Let s talk about the end of Episode 2 where we are following the divers into the tunnels under the plant. That scene was darkly lit, had basically no dialogue and relied mostly on the stakes of their mission which was signified by the constant ticking of their radiation detectors. What are the challenges in presenting a story like this, in this scene and in the grander scheme of things, without going too far and exploiting the moment?Renck: You know, there is a bunch of challenges in there, but they re all good fun challenges. You mentioned the divers, and that to me was a very tricky scene on paper because you re dealing with three people in pitch darkness, who are cannot talk to each other and you can t see their faces because they re wearing masks. You can t really gather body behavior because of their outfits and all of that.To some extent, you go back to the founding principle of filmmaking, which is: we re translating psychology and behavior. We ve got to try with most of the tools that you would use normally there s no terrified eyes, there s not a gasp or sound or scream, or anything like that. That particular scene, during the shoot, it was clear this is a sound-driven thing. The one thing that will help us understand what these guys are feeling inside is the sound of the dosimeter increasing in intensity, the deeper this tremendously contaminated water gets. Of course, it s scary enough to just see a couple of guys fumble around in the dark. But that s just sort of superficially scary you have to find it find the profound scariness. And that was then channeled through sound design more than anything else.(Photo by Liam Daniel/HBO)And one of the most important aspects in telling the story here is the use of sound, the use of silence, and the organic nature of the score. Composer Hildur Guðnadóttir was recently interviewed and she talked about visiting the power plant in Lithuania where the series was shot and using the actual plant as a source of the show s music.Renck: She had this guy with her who used special equipment to record sound from things that you would never think even emit a sound. For instance, one of the recurring themes in there is something she always called the door. It s where they just put the microphone on a door and the weirdly intricate sounds coming from a static door, there s these little weird sounds of metal and tension and just buzzing that you would have no idea existed. Those are the types of sounds she recorded, as well as an atmospheric sound. And from those elements, she used those as her sounds for her instruments.Even further, though, the use of sound, and music, is starkly different here from most dramatic TV shows or movies. Usually, the audience would get a sweeping score or jarring music cue to let us know a big moment is happening, to tell us how to feel. But you didn t do that here.Renck: Both Hildur and I are firmly, firmly against underscoring, in which the music is there to guide you on what you re to feel. You know, somebody opens a door and there s something scary about to happen and then the music starts coming out to tell you it s scary. All of that is something that both Hildur and I deeply loathe. That s sort of underhanded, and also you don t need it. There s this permeating sub-current of dread and hopelessness and harrowingness in it already. You don t need to put another layer on that cake, it is at capacity now.(Photo by HBO)In HBO s Chernobyl podcast, show creator Craig Mazin talks about his visit to the infamous power plant before production on the show began. Have you visited Chernobyl?Renck: Well, here s the thing: When we were shooting in Ukraine, we planned a day off on the schedule so that I could go to Chernobyl, which was obviously what I wanted to do. On the day of my departure to Chernobyl, we get a phone call from The Exclusion Zone. Last summer was very, very hot, it was the hottest and driest summer in Europe for 300 years or something like that. So on the morning of my departure, we get a phone call from The Exclusion Zone saying we have seven or nine or whatever forest fires raging and you can t come. By now, I m some kind of nuclear expert because of everything that I ve sort of delved into, so I go, Oh, yes, I understand the burning trees obviously release contaminated organic material. Yeah, that seems not good. And they went like, Yeah, I don t know about that. It s just f king burning everywhere. So I couldn t go but I m going to go this summer and production, obviously, you know, they owe me that trip.(Photo by Liam Daniel/HBO)In the final episode, we finally get to a trial which finds Dyatlov, Bryukhanov, and Fomin being judged for their crimes. It s here that we learn of the truth that has been eating away at Legasov this whole time, he knew on some level that the power plant s fail-safe button was faulty and that, ultimately, it was the final lynchpin that caused the explosion. How important was it to get this scene right? And what, if any, were the dramatic liberties taken in depicting how the drama played out?Renck: The trial is, to some extent, not from a factual point of view. From the event s point of view, it s the least accurate thing. Legasov and Shcherbina weren t at that trial, they weren t even there in the real life thing. And that trial was a complete show trial in which nothing was revealed at all. It was just getting those three scapegoats Dyatlov, Bryukhanov, and Fomin to get their guilty sentences and for the Soviet state to wash their hands of the whole thing. In real life, this event took place over several instances. We first had this conference at Vienna, then we had the show trial, and then, you know, nothing came out until after Valery Legasov s suicide, and the tapes got sent out.This was just a way, from Craig s point of view, to sort of wrap this up. We can t make a six-hour episode out of this and we have to find a way to truncate things and turn them into what they were. A lot of it is based on court transcripts. A lot of what was said from the participants is absolutely real, of course. But the event is a little bit of an amalgamation of a few things happening. It s sort of a multi-layered thing. To the state, it s a grandstanding thing it s a staged show trial to start out with. They set that trial in Chernobyl town, which is not to be confused with Pripyat. The town is an old city that is located about 20 miles or so from the Chernobyl Power Plant. It was staged there because the state was clearly saying there s nothing dangerous here and everything s good, so we should have the trial right here.(Photo by Liam Daniel/HBO)It s filled with emotion and an intense scientific explanation of what caused the explosion. And that element of truth is what we ve been driving towards this whole time. Not to mention, with the whole set-up and placement of the judges and jury, the whole thing is quite odd.Renck: I love that court scene. I love shooting a lot of stuff. I love shooting dark harrowing stuff in the underbelly of the nuclear power plant, but I also love a good trial scene. And here we got to make a trial scene that does not in any way look like any trial scene we ve seen before. Or feel like it. It has to feel like a different type of dynamic in which the witnesses and the juries are all scripted, to some extent. And everything that s being said and done is just grandstanding no matter which way you look upon it. So we have to create a climax and a tonality in there that supports this. And that, I think, is mainly reflected through Khomyuk s defiance, and then Legasov s nervousness, because he doesn t know Should I go all the way here? Or should I not? Or should I tell the truth? All of that.(Photo by Liam Daniel/HBO)Now that the reviews are in and people are talking, I m curious what you are hoping people will take away from the show. Renck: The one thing I kept thinking that I want is that somebody like Lyudmilla Ignatenko, who is still alive to this day, would see this and feel that her voice has been heard, that she s been truthfully portrayed and that the sacrifice she and several hundred thousand other people went through, in order to sort of save the f king planet, or almost, is something that everybody understands, realizes and embraces. I don t want to sound melodramatic, but that s completely what it is, for me. Those stories, those people, what they went through and experienced, and are suffering the consequences of to this day.For instance, there is a hospital in Cuba, in which hundreds and hundreds of surviving children from Pripyat, and from the area around, were sent to because of the close ties between Cuba and the Soviet Union. That hospital is still up and running today and still dealing with the aftermath. This was not an overnight thing. This was not a catastrophe that happened and then ended. This is a story that will continue to spread and have ramifications. That is the main thing: to let those voices be heard and have those stories be shared and that, hopefully, everybody feels that.Chernobyl is available to watch, in its entirety, on HBO and its streaming platforms, HBO GO and HBO Now.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image by Liam Daniel/HBO


亚博在线官网 就射击游戏来说,应该很难有游戏能与《使命召唤》系列抗争,即使是老对头《战地》系列,也是在前段时间才正式公布了手游制作的决定。就目前而言,《使命召唤手游》在品质上已经远远超越市面上大部分的手游。

英雄联盟手游推出不删档测试的消息后一众网友们听到是不删档测试的消息,急忙下载了游戏,呼朋唤友一起征战峡谷,让这国庆尾声又热闹了起来。不得不说,英雄联盟端游的玩家数量实在是多,因此手游玩家的人数可想而知。 January 19 is fast approaching for the 30th annual PGA Awards, but there s no point in having in ceremony if nobody s nominated right? That changed this morning when the Producers Guild revealed their top picks for the year, with the film nominations ranging from superhero fare to revitalized rom-coms. Get the full list below!The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion PicturesBlack PantherProducer: Kevin FeigeBlacKkKlansmanProducers: Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, Spike LeeBohemian RhapsodyProducer: Graham KingCrazy Rich AsiansProducers: Nina Jacobson Brad Simpson, John PenottiThe FavouriteProducers: Ceci Dempsey, Ed Guiney, Lee Magiday, Yorgos LanthimosGreen BookProducers: Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly, Nick VallelongaA Quiet PlaceProducers: Michael Bay, Andrew Form, Brad FullerRomaProducers: Gabriela Rodríguez, Alfonso CuarónA Star Is BornProducers: Bill Gerber, Bradley Cooper, Lynette Howell TaylorViceProducers: Dede Gardner, Jeremy Kleiner, Kevin Messick, Adam McKayThe Award for Outstanding Producer of Documentary Motion PicturesThe Dawn WallProducers: Josh Lowell, Peter Mortimer, Philipp ManderlaFree SoloProducers: Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes, Shannon DillHalProducers: Christine Beebe, Jonathan Lynch, Brian MorrowInto the OkavangoProducer: Neil GelinasRBGProducers: Betsy West, Julie CohenThree Identical StrangersProducers: Becky Read, Grace Hughes-HallettWon’t You Be My Neighbor?Producers: Morgan Neville, Nicholas Ma, Caryn CapotostoThe Award for Outstanding Producer of Animated Theatrical Motion PicturesDr. Seuss’ The GrinchProducers: Chris Meledandri, Janet HealyIncredibles 2Producers: John Walker, Nicole GrindleIsle of DogsProducers: *Eligibility Determination Pending*Ralph Breaks the InternetProducer: Clark SpencerSpider-Man: Into the Spider-VerseProducers: Avi Arad, Phil Lord Christopher Miller, Amy Pascal, Christina SteinbergThe Norman Felton Award for Outstanding Producer of Episodic Television – DramaThe Americans (Season 6)Producers: Joe Weisberg, Joel Fields, Chris Long, Graham Yost, Justin Falvey, Darryl Frank, Stephen Schiff, Mary Rae Thewlis, Tracey Scott Wilson, Peter Ackerman, Joshua BrandBetter Call Saul (Season 4)Producers: Peter Gould, Vince Gilligan, Mark Johnson, Melissa Bernstein, Thomas Schnauz, Gennifer Hutchison, Nina Jack, Diane Mercer, Gordon Smith, Alison Tatlock, Ann Cherkis, Bob Odenkirk, Robin SweetThe Handmaid’s Tale (Season 2)Producers: Bruce Miller, Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Mike Barker, Sheila Hockin, Eric Tuchman, Kira Snyder, Yahlin Chang, Frank Siracusa, John Weber, Joseph Boccia, Dorothy Fortenberry, Margaret Atwood, Ron MilbauerOzark (Season 2)Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams, David Manson, Alyson Feltes, Ryan Farley, Patrick Markey, Matthew Spiegel, Erin MitchellThis Is Us (Season 3)Producers: Dan Fogelman, Isaac Aptaker, Elizabeth Berger, John Requa, Glenn Ficarra, Ken Olin, Charles Gogolak, Jess Rosenthal, Steve Beers, KJ Steinberg, Kevin Falls, Julia Brownell, Vera Herbert, Bekah Brunstetter, Shukree Hassan Tilghman, Cathy Mickel Gibson, Nick PavonettiThe Danny Thomas Award for Outstanding Producer of Episodic Television – ComedyAtlanta (Season 2)Producers: *Eligibility Determination Pending*Barry (Season 1)Producers: Alec Berg, Bill Hader, Aida Rodgers, Emily Heller, Liz SarnoffGLOW (Season 2)Producers: Jenji Kohan, Liz Flahive, Carly Mensch, Tara Herrmann, Mark A. Burley, Nick Jones, Kim Rosenstock, Sascha Rothchild, Leanne MooreThe Good Place (Season 3)Producers: Michael Schur, David Miner, Morgan Sackett, Drew Goddard, Josh Siegal, Dylan Morgan, Joe Mande, Megan Amram, David Hyman, Jen StatskyThe Marvelous Mrs. Maisel (Season 2)Producers: Amy Sherman‐Palladino, Daniel Palladino, Dhana Rivera Gilbert, Sheila LawrenceThe David L. Wolper Award for Outstanding Producer of Limited Series TelevisionThe Assassination of Gianni Versace: American Crime Story (Season 2)Producers: Ryan Murphy, Nina Jacobson, Brad Simpson, Alexis Martin Woodall, Tom Rob Smith, Daniel Minahan, Brad Falchuk, Scott Alexander, Larry Karaszewski, Chip Vucelich, Maggie Cohn, Eric Kovtun, Lou Eyrich, Eryn Krueger MekashEscape at DannemoraProducers: Ben Stiller, Nicholas Weinstock, Michael De Luca, Bryan Zuriff, Brett Johnson, Michael Tolkin, Bill Carraro, Adam Brightman, Lisa M. RoweManiacProducers: Patrick Somerville, Cary Joji Fukunaga, Michael Sugar, Doug Wald, Jonah Hill, Emma Stone, Pal Kristiansen, Anne Kolbjørnsen, Espen Huseby, Carol Cuddy, Mauricio Katz, Caroline Williams, Ashley Zalta, Jessica Levin, Jon MallardThe RomanoffsProducers: *Eligibility Determination Pending*Sharp ObjectsProducers: Marti Noxon, Jason Blum, Gillian Flynn, Amy Adams, Jean‐Marc Vallée, Nathan Ross, Gregg Fienberg, Jessica Rhoades, Vince Calandra, David AugeThe Award for Outstanding Producer of Streamed or Televised Motion PicturesFahrenheit 451Producers: Sarah Green, Ramin Bahrani, Michael B. Jordan, Alan Gasmer, Peter Jaysen, David CoatsworthKing LearProducers: *Eligibility Determination Pending*My Dinner with HervéProducers: *Eligibility Determination Pending*PaternoProducers: Barry Levinson, Jason Sosnoff, Tom Fontana, Edward R. Pressman, Rick Nicita, Lindsay Sloane, Amy HermanSense8: Together Until the EndProducers: *Eligibility Determination Pending*The Award for Outstanding Producer of Non-Fiction Television30 for 30 (Season 9)Producers: Connor Schell, John Dahl, Libby Geist, Erin Leyden, Adam Neuhaus, Jenna Anthony, Gentry Kirby, Marquis Daisy, Deirdre FentonAnthony Bourdain: Parts Unknown (Season 11, Season 12)Producers: Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandra ZweigLeah Remini: Scientology and the Aftermath (Season 3)Producers: *Eligibility Determination Pending*Queer Eye (Season 1, Season 2)Producers: David Collins, Michael Williams, Rob Eric, Jennifer Lane, Jordana Hochman, Mark Bracero, Rachelle MendezWild Wild Country (Season 1)Producers: Mark Duplass, Jay Duplass, Josh Braun, Dan Braun, Juliana LembiThe Award for Outstanding Producer of Live Entertainment Talk TelevisionThe Daily Show with Trevor Noah (Season 24)Producers: Trevor Noah, Steve Bodow, Jennifer Flanz, Jill Katz, Justin Melkmann, David Kibuuka, Zhubin Parang, Max Browning, Eric Davies, Pamela DePace, Ramin Hedayati, Elise Terrell, Dave Blog, Adam Chodikoff, Jimmy Donn, Jeff Gussow, Kira Klang Hopf, Allison MacDonald, Ryan MiddletonLast Week Tonight with John Oliver (Season 5)Producers: *Eligibility Determination Pending*The Late Show with Stephen Colbert (Season 4)Producers: Stephen Colbert, Chris Licht, Tom Purcell, Jon Stewart, Barry Julien, Denise Rehrig, Tanya Michnevich Bracco, Paul Dinello, Matt Lappin, Opus Moreschi, Emily Gertler, Aaron Cohen, Michael Brumm, Paige Kendig, Jake PlunkettReal Time with Bill Maher (Season 16)Producers: Bill Maher, Scott Carter, Sheila Griffiths, Marc Gurvitz, Billy Martin, Dean E. 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(Photo by Vera Anderson/WireImage)To know the works of Julian Fellowes, such as Gosford Park and Downton Abbey, is to believe that the worst thing that could happen to British aristocratic society of a certain era is a bored rich woman.Enter Susan Trenchard of the new Epix miniseries, Belgravia. Played by Alice Eve in Fellowes’ adaptation of his own novel, Susan is a ladder-climber who is able to suss out a situation with a twitching cat-like eye for how it will best benefit her. Married to the entitled and uninspiring Oliver Trenchard (Richard Goulding), Susan yearns for any kind of excitement or purpose and considers any slight – such as her mother-in-law Anne (Tamsin Greig) neglecting to make her a plus-one at the afternoon tea hosted by a lady of higher standing – to be the utmost form of disrespect.Her role in the lavish period-set series is a different sort for Eve, who is perhaps better known to U.S. audiences for Starter for 10, Men in Black III, Star Trek Into Darkness, and, most recently, Bombshell.Ahead of Belgravia’s premiere this Sunday on Epix, we chatted with the UK-based Eve about playing Susan and what programs she watches when she’s not causing trouble in 19th-century London.(Photo by Channel 4)What are you watching?So, you know this is a rocky time. I find that, to go to sleep, one likes to be soothed. And, fittingly or not, I find myself being soothed by two shows. One is The Windsors (pictured) on Netflix [in the U.S.] and the other is Upstart Crow, which is also on Netflix [in the U.S.]. They’re both highly British comedy spoof shows.(Photo by BBC / Courtesy: Everett Collection)What is on your DVR?I don t have a DVR. I have like Apple TV, Netflix, and kind of BBC … But the shows that I buy and have always bought include Keeping Up With the Kardashians and Fawlty Towers.(Photo by Amazon)What is in your streaming queue? I’m certainly a fan of Maisel, which is over on Amazon. I have to say, in terms of my viewing habits, I’m much more in tune with the Criterion Collection on iTunes and purchase Ingmar Bergman movies, so I don’t really spend too much time on repeating shows. But I do still enjoy Comedians in Cars Getting Coffee [on Netflix]. When it comes to shows, I like to lighten my tone. With movies, I like to be quite serious.(Photo by HBO)What is coming soon that you can’t wait to see? I was enjoying that Al Pacino show that he did on Amazon, Hunters. I’m really looking forward to my friend Zoe Kazan’s new HBO show, The Plot Against America, when it comes here.(Photo by Carnival Films)Whitney Friedlander for Rotten Tomatoes: How did you get cast in this project and were you a big fan of Julian Fellowes’ work before this?I got a letter from the producers and they said, Would you like to do it? That was it.I was a big fan of Gosford Park, so I knew Julian from his work on that. And when I read the book for this, Belgravia, when they offered it to me, I then was able to sit down and really enjoy Downton and enjoy the comfort that it gives as a show.So much of how you play Susan is in subtlety, like the way she scans a room at a party or makes a silent commentary about her in-laws. How did you decide how to do this?That s definitely an outside-in thing, and I definitely inhabited Susan from the inside-out. And I think that s just how she manifested. The thing about the 19th century was [that] everything was observed so intricately. Every movement and every glance and every gesture was meant so much was so loaded; for example, the etiquette teacher explained to us that when we were having dinner, you couldn t touch your hair, you couldn t touch your face, you couldn t do something with your napkin, you couldn t lift your forks too high or your knife too high, you couldn t put your elbow on the table because everything, kind of, was mannered and was a way of expressing something. And so there was very limited movement, and there was very limited gesture. So she kind of found her personality, I guess, as you noticed, in like a smaller space.(Photo by Carnival Films)How much of these mannerisms did you know already? Americans always think that all British people know these etiquette guidelines.Well, I think some of it is intrinsic. I think there is definitely like a cultural understanding of the history and the history of repression and the history of expression. And then I think a lot is learned. I mean, I really enjoyed exploring.I went to Oxford, but certainly people who go to RADA — to the Royal Academy — to study drama, they re really good. They go through like a course in what sound was like and of course in walking … and so there is a way to study it. But I learned it through the etiquette teachers and through reading.How much did you know about this time in British history anyway?I read a lot around it when I started the job, but also in my course at Oxford, we did from 1832 to the present day, which was modern literature. And so that s Queen Victoria s realm. She came to the throne in 1832 … so I certainly had an idea of her influence on literature of the time and the [Alfred] Tennyson, the [Robert] Browning the heavy, kind of elegiac. I had an understanding of the Gothic nature of the architecture, but, I think in terms of society, I learned that since I got the job.(Photo by Carnival Films)Susan has more depth than her meddling ways; for instance, she and Oliver don’t have children. She tells her mother-in-law at one point that she does want them. Is she lying? It’s hard to know if we want to trust her.I certainly trusted her when I played her, but I think that she wants a child. You could maybe judge her motivations for wanting a child, but I think she does want one. I think maybe she is bored. And I think that there s very little to do for her, because she s not allowed to integrate into society and, therefore, kind of conduct relationships. And she can t go anywhere without her husband, so she doesn t have entertainment.As Julian said, himself, to me, the only ways for women at the time to divert themselves were society and children. So, she had sort of access to neither, but I also think her biological clock was kind of ticking.(Photo by Epix/Carnival Films)Much like with Downton, a lot of what happens on Belgravia involves how much the elite can trust their support staff — even when it comes to getting dressed or undressed.This was a long conversation that we had running through the whole of the show: the reality of a woman getting dressed on her own … I mean, they couldn t use the restroom on their own. It was Selfridges, the department store, that had the first female restroom [around when] clothes started to change. Because you would need assistance to even pee. So, it’s a big one.I know you’ve appeared in a few adaptations like the Amazon miniseries Ordeal by Innocence, which is based on the Agatha Christie story. But you haven’t done a ton of period work on screen. Would you like to do more?Yes, it’s thrilling. I mean, the thrilling part of doing this was playing a character so kind of complex and well-imagined by Julian. I don t want to do roles for the sake of them … usually, I just want to play roles that give the woman her do and where her complexities and all her motivations are taken into account. Wherever that comes, I m thrilled to be able to take that on.Belgravia premieres on Sunday, April 12 at 9/8C on Epix.

亚博在线官网 想要成为火影劫,其实只要学会大白兔这个玩法就足够了,那么这个玩法到底是什么呢?在游戏中大白兔说,端游的时候,劫在释放大招技能的时候,四个技能都是黑的,所以也不方便。但是手游中就不一样了,不知道玩家们是不是也发现了这个技能的优势,那就是在释放大招的时候,还可以释放二技能,这也是非常棒的,直接提高了劫的伤害能力。

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