It feels as though the character Batwoman has been on TV for a while — what with her splashing around in summer 2018 headlines and making a special appearance in last year’s Arrowverse “Elseworlds” crossover — but the debut episode of The CW s Batwoman will be the real beginning of Kate Kane s (Ruby Rose) television journey.You may already know Batwoman is Bruce Wayne s only living relative, an accomplished fighter, and very out and proud. But that s only a sliver of who she is, what she s fighting for, and why she has a series all her own. And combined with her ties to the already-sprawling CW multiverse of superheroes, it might be helpful to get a primer on what to expect when you sit down to watch Batwoman. Here are a few things you should know about this hero as her series begins.1. It’s Set On Earth-1(Photo by Elizabeth Morris/The CW)Currently, The CW airs six superhero shows set on three different Earths. The Earth-1 of Arrow, The Flash, and DC’s Legends of Tomorrow, Supergirl’s Earth-38, and the undesignated Earth of Black Lightning. The latter two occur on different Earths because they were not developed as CW shows — Supergirl first aired on CBS and Black Lighting was developed for Fox — but their alternate universe homes also pay homage to DC Comics and its fascination with alternate realities.But as last year’s “Elseworlds” crossover made clear, Batwoman takes place on Earth-1. Which means it is possible for characters from The Flash and Arrow to make easy visits to Gotham City. Of course, that famous DC town was not always available to Arrowverse producer Greg Berlanti. Thanks in part to the way DC Entertainment handles film and television rights, the use of Gotham City icons had to be approved by several levels of management. Even a passing reference to Batman in an episode of Arrow a few years ago required executives at DC, Warner Bros, and Fox to sign off on it as Gotham was still on the air on Fox and Batman movies are always in development.Some of those barriers have been cleared to make Batwoman possible, but it means you may be waiting some time to see your favorite Gotham City villains on the show. Most of the marquee rogues are typically reserved or Batman feature films and, thanks to a deal made with 20th Century Fox in the 1960s, the Fox broadcast network always has first dibs to Batman characters on television. There are exceptions, though, like Tommy Elliot — the more recent villain known as Hush — who will appear in the form of actor Gabriel Mann in upcoming episodes and Magpie (Rachel Matthews), a fairly minor villain from the 1980s. Both appeared on Gotham, but are easier for the series to tap than, say, the Penguin.That said, Kate has her own rogues gallery, including the murderous and twisted Alice (Rachel Skarsten) and, if previews are anything to go by, the Crows private security firm run by her father Jacob (Dougray Scott).2. Gotham City Has Its Own Cast Of Characters(Photo by Kimberley French/The CW)Besides Kate, Jacob and Alice, the Gotham of Batwoman will be fairly populated from the first episode on. Other characters include Kate s stepmother Catherine Hamilton-Kane (Elizabeth Anweis), stepsister Mary Hamilton (Nicole Kang), Wayne Industries caretaker Luke Fox (Camrus Johnson), and Crow agent Sophie Moore (Meagan Tandy).Applying the old evil-stepmother trope, Kate and Catherine do not get along. Kate is a loner who left home after high school, while Catherine is a mover-and-shaker in the Wayne-less Gotham. She does have a vested interest in reversing the city s reputation as a crime-riddled hellhole, however, which is definitely compatible with Kate s new job ridding her city of bad guys. Med student Mary, meanwhile, may be on better terms with Kate, but her real challenge is keeping her off-the-books health clinic in the tough part of Gotham a secret.As for Luke (based on the DC Comics Batwing character) and Sophie, it s best you watch the debut episode without a great deal of background on either, as they are the people Kate ends up interacting with the most — and for very different reasons.And since we re talking about Gotham citizens, it might helpful to mention Gotham itself is more a grounded Dark Knight place than the sometimes cartoonish city of Gotham. Which is to say, people behave a little more like everyday folks instead of the mad, wonderful, and shouting denizens of the former Fox television show. It s an important contrast for a Gotham set on The CW s Earth-1.3. The First Few Episodes Take Place Prior To “Elseworlds”(Photo by JSquared Photography/The CW)While Kate has a distinctive look, as seen in “Elseworlds,” it may be an episode or two before Rose is actually wearing that particular Batwoman super-suit. As revealed at screenings during San Diego Comic-Con this summer (and one at NYCC this weekend), the first episode takes viewers back to the moment Kate returned to Gotham after a self-imposed exile and discovers her cousin Bruce’s secret identity. Consequently, the complete Batwoman costume may not be seen on screen for a few episodes.From a narrative standpoint, this is the right way to go as it means things like the Batwoman wig and red cape get to mean something to the audience. But for those watching the continuity between Batwoman and the other CW superhero shows, this means a good chunk of the first season occurred prior to last year’s “Elseworlds” crossover.And just to make things even more confusing, the timeline has to sync up before December’s “Crisis on Infinite Earths” crossover, since Kate will be featured in the story.In its own strange way, this also honors DC Comics and the way it tells stories, just without a helpful editorial caption to tell you these events are taking a place a year and a half ago. As you actually watch Batwoman, this may not matter too much in the short term — it has to tell its own story after all — but it may come up in December.4. It Is An Origin Story(Photo by Kimberley French/The CW)As mentioned above, a large part of the show s first season will form an origin story. It seemingly takes its cues from Batwoman: Elegy, a story by Greg Rucka and J.H. Williams III that really set the tone for Kate in the DC Comics universe. It reveals key details about Kate’s past — getting kidnapped with her twin sister at a young age, getting kicked out of the military when her same-sex relationship was exposed, etc. — and serving as a de facto origin tale even though Kate had been operating as Batwoman for a good year or two prior to Elegy’s publication in the pages of Detective Comics.On the show, some of these details are getting remixed, but it will depart from Elegy in a key way — it will spend far more time showing Kate becoming Batwoman. Back in the comics, the character was always fully formed. But for television, it is important to see Kate making certain choices, literally learning the ropes and cementing her identity.We have to admit that choice is dramatic satisfying for a series like this. And, as it happens, Berlanti pulled this off before on Arrow. Halfway through its second season it introduced Barry Allen (Grant Gustin), a visiting crime scene analyst who began a quasi-relationship with Felicity Smoak (Emily Bett Rickards). By the end of the season, he was struck by lightning and awarded with his own show. Thanks to the Arrow appearance, the audience had the chance to decide if they liked Barry while the first season of The Flash saw him discovering powers and hitting certain important milestones.And like Barry at the time of his debut, Kate is a person a lot of viewers only know through reputation or her brief appearance in the Arrowverse last year. Giving her a handful of episodes of self-discovery gives the new program — and the audience — plenty of time to obtain a clearer picture of Kate.5. It Is An Action Show(Photo by Robert Falconer/The CW)Thanks to the success of The Flash, the subsequent Arrowverse shows have been filled with metahumans and crazy super powers. Even the fairly grounded Black Lighting, which exists outside the Arrowverse framework, indulges in its super-power displays and, indeed, made the collection of metahumans a key part of its storyline. But Batwoman is a return to the pure action show roots of Arrow. Like that series early days, Kate, her associates, and her enemies will lack for big, bright powers.Granted, that’s baked right into the premise — members of the Batman family are generally conventional humans trained for peak performance — but it means the show will have a different feel than what you might expect. This is doubly true as Arrow finds itself dealing with alternate realities and a multiverse entity as part of its eighth and final season. Week-to-week, this means you should expect a lot more close-quarters fighting and, perhaps, a reliance on gadgets. Hopefully, the latter will set the program apart from Arrow, which avoided trick arrows for a long time.The return to action also means the show will be less tied to the campier elements of the DC Universe. That’s probably a good decision as Batwoman is paired on Sundays nights with Supergirl, a show filled with powered aliens and a generous helping of goofy camp to offset its often-serious stories. And considering the rumblings that a “World’s Finest” team-up between the two heroes may eventually happen, contrasting their worlds can only be a net positive. A similar difference in tone helped set The Flash apart from Arrow.But considering Batwoman’s comic book past includes some wild monsters, aliens, and prophecies, we wouldn’t put it past the production team to introduce something decidedly fantastical into the mix after “Crisis on Infinite Earths” or in the first season finale.Until that occurs, though, expect Batwoman to be a show about fighting for one s identity. Whether or not that s a meta-commentary on the show itself (and its place in the Arrowverse) remains to be seen.Batwoman airs Sundays at 8 p.m. on The CW.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Scorsese s Killers of the Flower Moon, Flash Gordon, and the Hunger Games prequel.This WEEK S TOP STORYTAIKA WAITITI S ANIMATED FLASH GORDON WILL BE LIVE ACTION INSTEAD(Photo by Rodin Eckenroth/Getty Images)In the summer of 2019, we first learned that Taika Waititi (Thor: Ragnarok, What We Do in the Shadows) had been hired to write and eventually direct an animated adaptation of the classic serial sci-fi hero Flash Gordon. This week, producer John Davis was doing the PR rounds to promote Jungle Cruise, and he gave a surprising Flash Gordon update that might actually raise the reboot s profile considerably: Instead of being an animated feature as originally planned, Taika Waititi s Flash Gordon will be live action. Although there were three Flash Gordon serials from 1936 to 1940, the character has only headlined one live-action feature film in the 80 years since, which was the 1980 Flash Gordon (Certified Fresh at 83%), starring Sam Jones with a soundtrack by Queen. We can probably expect to wait a few years for Waititi s film, however, as he also has Thor: Love and Thunder (5/6/2022), the soccer movie Next Goal Wins, We re Wolves (a mockumentary about werewolves), and his untitled Star Wars movie all currently in the works.Other Top Headlines1. BRENDAN FRASER JOINS MARTIN SCORSESE S KILLERS OF THE FLOWER MOON(Photo by ©Lionsgate)Brendan Fraser recently wrapped filming of Darren Aronofsky s The Whale, in which he will play a 600 lb. man seeking to reconnect with his estranged teenage daughter (played by Sadie Sink from Stranger Things). Now, Fraser is quickly moving from working with one acclaimed director to another, as he has joined the cast of Killers of the Flower Moon, the next film from Martin Scorsese. Fraser will play lawyer W.S. Hamilton in the Apple TV+ and Paramount Pictures feature film, which is based on the true crime story originally depicted in the nonfiction book of the same title by David Grann. Fraser joins a cast that includes Jesse Plemons (in a lead role) and frequent Scorsese collaborators (and Academy Award winners) Robert De Niro and Leonardo DiCaprio. Brendan Fraser has also joined the cast of Brothers, the next movie from director Max Barbakow (Palm Springs, Certified Fresh at 95%).2. JOHN WICK DIRECTOR CHAD STAHELSKI TAKING ON ASSASSIN NOVEL SHIBUMI (Photo by Isa Foltin/Getty Images)Authors nowadays just don t have cool pen names as often as they used to. Trevanian was the nom de plume of an American writer who specialized in airport novels, the most famous of which was probably The Eiger Sanction, which was adapted as the eponymous 1975 assassin movie (Fresh at 68%) starring Clint Eastwood. Chad Stahelski is the stuntman-turned-director behind the John Wick franchise, which is also about a deadly assassin, so you can probably guess where this is going. Even as he s about to begin filming John Wick 4, Stahelski has started developing an adaptation of the 1979 Trevanian novel Shibumi, about an assassin who is recruited to take on a conspiracy of energy companies that secretly controls much of the western world. It s worth noting that Stahelski is accruing a large development slate, of which Shibumi is just the latest, so it will have to wait its turn alongside such projects as Ghost of Tsushima, Classified, Kill or Be Killed, and the Highlander reboot.3. HUNGER GAMES PREQUEL TO START FILMING SOON (Photo by Murray Close/Lionsgate courtesy Everett Collection)The Young Adult (YA) novel-based movie fad came and went so quickly that it might seem odd to realize that the very first installment of The Hunger Games (Certified Fresh at 84%) came out as recently as nine years ago, and the last movie was only six years ago. That four-film franchise was a huge financial boon to Lionsgate, which grossed nearly billion worldwide from it, but when it ended in 2015, it also left a big, blockbuster-sized hole for them to fill in their production calendar. Luckily for them, author Suzanne Collins published a prequel novel called The Ballad of Songbirds and Snakes last year. During a quarterly earnings call this week, Lionsgate chairman Joe Drake confirmed that filming of The Ballad of Songbirds and Snakes is expected to start in the first half of 2022, aiming for a theatrical release in late 2023 or early 2024. The prequel will tell the story of the 18-year-old (future President) Coriolanus Snow as he gets his chance to be a mentor during the Tenth Hunger Games. Presumably, whoever lands the lead role will resemble a very young Donald Sutherland.4. NICHOLAS HOULT TO STAR AS CREEPY DRACULA HENCHMAN RENFIELD (Photo by Elizabeth Goodenough/Everett Collection)According to the Guinness Book of World Records, Bram Stoker s Dracula has the distinction of being the most frequently adapted literary character in film (Sherlock Holmes is the most adapted human literary character). With that many movie versions of Dracula, there have also been dozens of portrayals of his insane, bug-munching human henchman Renfield, but usually as a supporting character. Always looking to continue their Universal Classic Monsters franchise, Universal Pictures is now developing a solo movie for Renfield, with Nicholas Hoult (Mad Max: Fury Road, X-Men: First Class) attached to star. Chris McKay (The LEGO Batman Movie, The Tomorrow War) will direct Renfield from a screenplay by Rick and Morty writer Ryan Ridley, based on an original screenplay by Robert Kirkman (The Walking Dead, Invincible). Although no specific premise details have been revealed yet, the setting is believed to be in the modern day, not in the Victorian Era England of the original novel.5. SNL S COLIN JOST CO-WRITING A NEW TEENAGE MUTANT NINJA TURTLES REBOOT (Photo by Jason Smith/Everett Collection)The Teenage Mutant Ninja Turtles have a way more complicated history than the casual observer might expect (and it goes all the way back to their start as a grim and gritty Daredevil spoof indie comic book). Besides the first three live-action films, there was also an animated movie in 2007 and a pair of more recent live-action movies in 2014 and 2016 with the turtles as CGI characters (and that s without getting into all the TMNT movies that didn t happen). Last year, we first heard that Seth Rogen and his frequent collaborator Evan Goldberg were developing a CGI reboot feature film with Nickelodeon, but as it turns out, that is now just one of two reboots being developed concurrently. Saturday Night Live star Colin Jost and his brother Casey Jost will also write a second Teenage Mutant Ninja Turtles reboot for Paramount Pictures. The division between the two reboots seems to be that the Jost brothers are working on a version closer to the gritty comic book origins, while Seth Rogen s is more lighthearted like the 1980s animated TV series. The Jost brothers version will also probably come later than Seth Rogen s, which is currently scheduled for August 11, 2023.6. CHRONICLE SEQUEL FINALLY HAPPENING WITH A COMPLETELY DIFFERENT CAST (Photo by Alan Markfield/©20th Century Fox Film Corp.)Up above, we touched upon the came-and-went YA novel adaptation fad, and another trend that has largely fallen out of vogue is the found footage genre first popularized by The Blair Witch Project. For a while, found footage was a lucrative format that gave Hollywood a few surprise hits (such as the Paranormal Activity franchise) and the 2012 superhero drama Chronicle (Certified Fresh at 85%). There was talk for years about a Chronicle sequel, but the personal developments for some of the creatives involved seemed to decrease the chances of that happening, to the point where director Josh Trank said in 2020 that he actively worked to prevent it. As it turns out, however, Jungle Cruise producer John Davis does indeed plan on moving forward with a Chronicle sequel, although it may be a very different film than was originally planned. This sequel will be set about 10 years after the original Chronicle (suggesting filming in 2022?) and will revolve around a group of female college students who discover that they are the next generation with super powers. Davis also did not clarify whether the found footage technique would be used for the Chronicle sequel.7. POPULAR SQUISHMALLOWS PILLOWS TO EXPAND INTO FILM, TV, AND GAMES(Photo by The Washington Post/Getty Images)Some trends blow up simply by being the right idea at the right time. Consider, for example, the case of the Squishmallows, an expansive line (1,000+) of character-themed huggable pillows that first launched in 2017 as sort of a cross between pillows, anime influences, and the Beanie Baby craze of the 1990s. Squishmallows may have eventually become popular in any case, but their expansion may have been significantly impacted by the COVID-19 pandemic, with people seeking something adorable to hug while stuck at home for months. Jazwares, the company behind Squishmallows, is seeking to build upon their newfound success by partnering with the powerful Creative Artists Agency (CAA). CAA will work with Jazware to push the Squishmallows franchise into film, TV, video games, publishing, and live touring. So that doesn t mean that there is a Squishmallows movie project in development just yet, but it certainly sounds like it s just a matter of time.On an Apple device? Follow Rotten Tomatoes on Apple News.
Prequels are tough. From Indiana Jones and the Temple of Doom to Gotham, setting a story before the events of a well-known saga leaves a lot of fans wanting, while others embrace the unexpected choices creators make in telling the story before the story. But whenever a prequel movie or series is announced, you will hear one recurring (but fair) piece of criticism: Is this really necessary?And for the creators of Syfy’s Krypton, it was a question forever at the heart of its long development process. Originally intended to tell the tale of the world destroyed 40 minutes into 2013’s Man of Steel, the series changed direction when that film failed to become its own franchise. Without that anchor, the question of its necessity became even more apparent. When Rotten Tomatoes talked to executive producer and showrunner Cameron Welsh last year, he asked potential viewers to keep an open mind and teased a key aspect of the way forward for the series by mentioning the entire space/time continuum has actually changed. From the pilot, though, it was unclear if Welsh had discovered that change in the show s reality, but by the time the Voice of Rao was unmasked and Adam Strange (Shaun Sipos) jumped on a grenade to save his friends, the series had found a reason to exist in its own right. Like the World of Krypton comic book miniseries thatinspired it, it finally knew the story it wanted to tell.Now that season 2 is in full swing, there are plenty more reasons to jump back in and see how time travel and Superman’s grandfather make for fun TV. Here are five reasons why Krypton is the most surprising prequel series on television.1. The Characters(Photo by Steffan Hill/SYFY)Though the initial hook for the series was its introduction of Superman’s grandfather, Seg-El (Cameron Cuffe), Krypton quickly built an interesting cast of characters. Sometimes, they re even more interesting than Seg.In the halls of power, we met the scheming Daron-Vex (Elliot Cowan) and his daughter Nyssa (Wallis Day), whose loyalties seemed to change once she encountered Seg’s sense of justice. He also influenced the passions of Lyta-Zod (Georgina Campbell), who wanted to dutifully serve the House of Zod, succeed her mother Jayna (Ann Ogbomo) as Primus of the Kandor police force, and earn her mother s love. Jayna, meanwhile, fought an internal battle over her fondness for Lyta and the brutal rigor of the Zod philosophy, which also led to her leaving her brother to die in the wastes when they were adolescents. All of their lives are touched by the Voice of Rao, a religious potentate who managed to turned the Kryptonia city-state of Kandor into a theocracy just before the series began. His quiet menace eventually gives way to something far more unsettling.Seg, meanwhile, is equipped with that El sense of justice and a biting wit. Although initially pulled along by the forces around him, he eventually made a choice and turned into a heroic presence. He still has his doubtful moments, of course, but it makes him a far more interesting and rounded character than he initially seemed.And at some point, nearly all of the characters encountered the time-lost Adam Strange, a scoundrel of some ill-repute who is nonetheless obsessed with preserving the timeline from which he came. He may eventually become the hero of the planet Rann if he learns anything from Seg, but that remains to be seen.2. The Villains(Photo by Steffan Hill/SYFY)Throughout its first season, Brainiac (Blake Ritson) served as an inevitable menace even as Daron-Vex and Jayna-Zod tried to maintain order under the Voice of Rao’s dominance. At first, we only saw a glimpse of him before his avatar — a Kryptonian forced to do his bidding — began to appear around Kandor. Quickly, that person was identified with tragic results, setting up one of the series long-game ideas as Brainiac can literally be anybody.One great side benefit, though, was the revelation that Ritson was playing the Voice of Rao in addition to Brainiac. His initial cult leader performance was unnerving enough, but it was only amplified once Brainiac’s avatar discovered the Voice was the best person to inhabit while examining Kandor for collection.But as it happens, Brainiac was not the only villain from Superman’s rogues gallery to make his way to Krypton. While wandering the caves outside Kandor, Seg encountered members of the Black Zero terror organization and their seeming commander. Soon, he learned from Adam that the commander was none other than General Zod — yes, the Zod who wants everyone to kneel before him. Krypton slightly re-imagines him as Dru-Zod, Lyta’s son and Jor-El’s best friend.And thanks to a wonderful performance by Colin Salmon, Dru-Zod nearly steals the show from everyone else. Instead of the would-be dictator, Salmon presents him as an orphan looking to restore his home by preventing the first of a series in cascading tragedies. It leaves the viewer wondering if, perhaps, they had Zod all wrong — well, at least for a little while. A nature versus nurture question still remains to be solved with Zod in season 2 as he and his mother work out a way to co-exist.3. It Reinvents Itself(Photo by Steffan Hill/SYFY)Presenting new ideas, like the Zod family dynamic, is part of Krypton s need to reinvent itself at a constant rate. While set some 200 years before Superman’s debut on Earth, that concept falls away as conflicts develop.An example: when we first meet Adam, he tells Seg that he traveled through time to stop Superman’s “greatest enemy” from disrupting the timeline. Seg assumed this enemy was Brainiac, and the series operates from that directive for half of the first season. Then, with the introduction of Dru-Zod, Seg and Adam learn that this is the era in which Brainiac originally stole Kandor City from Krypton and disrupted the planet’s stability, leading to its destruction 200 years later. The series changes as Seg and Adam come into conflict over whether to stop Brainiac or to preserve history. Also, if you’re thinking General Zod is Superman’s greatest enemy, the series probably agrees with you, making Adam s original mission moot — even more so by the first season s finale.Beyond Brainiac, the first season of Krypton features a Game of Thrones–style plot of political coups and would-be kingmakers. Daron-Vex, from almost his first scene, hopes to topple the Voice of Rao and his theocracy. Down in the lowest parts of the city, the rankless masses toil in despair with Black Zero as one of their few options for hope. The tensions would have eventually shattered Kandor if Brainiac had passed Krypton by. And, surprisingly, Nyssa emerges as the viewpoint character of this struggle — well, at least until it all falls apart during Brainiac’s attack. In the fallout, Dru-Zod assumes control of Kandor, unties the planet’s other city states, and gives the rankless a position in his new order. The political intrigue that could ve fueled two or more seasons of a different show was satisfyingly swept away.Those upheavals reverberate back into the timestream, with Superman’s cape losing its S-shaped House of El shield in favor of the more intricate House of Zod emblem. Presumably, Kal-Zod grows up continuing Dru-Zod’s vision for a galaxy under Krypton’s boot, a reality Adam sees firsthand when that grenade explosion sends him back to a Detroit conquered both by Zod and, later, Brainiac.Even as the second season begins, it has a new of premise. Seg and Adam must make their way back to Krypton while escaping a notorious bounty hunter. And back on Krypton, Dru-Zod faces a rebellion led by Seg’s grandfather, Val-El (Ian McElhinney). Considering the speed at which the series eats story — Seg and Adam made it back to the Kryptonian wastes in episode 3 — we expect to the series to be in a very different place a few weeks from now.4. Deep Pulls From DC Comics MythologyThat bounty hunter we mentioned above? It’s Lobo, a.k.a. The Last Czarnian, a.k.a. “Da Main Man,” one of DC Comics most popular characters in the 1990s. Created by Keith Giffen in a 1980s issue of Omega Men (a team of alien dissidents we fully expect to show up on Krypton at some point), the character was re-imagined by writer Alan Grant and artist Simon Bisley as a parody of the decade s “grim-n-gritty” characters in 1991. The parody was such a success, though, that fans soon embraced Lobo for his outrageous antics. And thanks to actor Emmett J. Scanlan, the character is proving popular enough for Syfy to develop a spin-off centered on the meanest Bastich in the galaxy. He also gives the show a more humorous edge it desperately wants to embrace.But he is only one of the characters Krypton pulls from deep in the library of DC Comics. Characters like Dev-Em (Aaron Pierre) and even Seg-El appeared in comics like Legion of Superheroes, World of Krypton, and Starman. The latter titled even featured time-lost main character Jack Knight meeting Seg’s son Jor-El during a time when their relationship was rocky at best. Meanwhile, Val-El’s fellow resistance leader Jax-Ur (Hannah Waddingham) is another name steeped in DC lore as one of the Kryptonian criminals imprisoned in the Phantom Zone.The city states of Kandor, Argo, and even Kryptonopolis all derive from Krypton maps seen in comics over the years, while details like the Jewel Mountains and Krypton s moon Wegthor point to obscure stories published in 1960s issues of Action Comics and Superman.Even Doomsday, a character who is anything but obscure, hearkens to the lesser-known 1997 miniseries Superman/Doomsday: Hunter/Prey, in which Superman learns the creature is of Kryptonian origin. Although, on Krypton, the blame for the unstoppable menaces is shared by the Houses of El and Zod, who joined forces to create the killer. His full role in the program s tale has yet to be revealed, but looks remarkable.Unlike some of the other shows based on DC Comics characters, Krypton is uniquely suited to feature stranger, space-faring characters like Lobo. At one point in its development, Hawkwoman was meant to be featured before she proved to be one element too many. Perhaps with its wider scope in the second season, the characters will find their way to Thanagar and meet Shayera Hol at last.5. It Stepped Out of Superman’s Shadow(Photo by Steffan Hill/SYFY)Perhaps the most surprising element of the series is the way it escaped Superman’s shadow. Sure, the series used his cape as a countdown timer and the primary icon of the first season, but in altering the timeline to favor Zod, it also allowed the series to become its own thing. Instead of a tale of Superman’s grandpappy growing up on the mean streets of Kandor, it is a complex epic of competing philosophies for the soul of a planet. It is also the story of two buds trying to get home. We’re also going to assume from developments in Nyssa’s story that it is also about how Jor-El’s mother influenced her iconoclastic son — yeah, we think Kor-Vex is really Jor-El. And now that we’re talking about families, it is also the most deeply realized depiction of the House of Zod to ever grace the screen with three generations facing off and trying to define what they really stand for.All of it adds up to a series that is far more interesting than a mere Superman prequel. In order to get there, it had to let Superman go (at least a little bit) and, to be honest, the show is better for focusing on the characters and stories it can put on the screen. Now, we are invested in the characters and their immediate plights. Re-establishing the original timeline is nowhere near as interesting as watching Seg and Adam get one over on Lobo or Jayna’s journey back to Kandor.It all reflects a certain confidence as Krypton evolves away from a Superman prequel into a genuinely interesting science fiction tale that happens to feature DC Comics characters. The fact that it works is the best surprise of all.Krypton airs Wednesdays at 10 p.m. on Syfy.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.bob体育下注(Photo by Addison Wright)Addison Wright s Hiplet: Because We Can is part of the Scene In Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.Chicago filmmaker Addison Wright discovered the subjects of his short film, Hiplet, while browsing the Explore section of Instagram. When he learned that the “hiplet” dancers – who fuse traditional ballet with hip-hop and have become viral sensations – were also based in Chicago, he knew he had to make a film about them.The film he first had in mind was not the exact film he would end up making: Initially, Wright wanted to shoot the troupe dancing in a ballroom that had, at one point in its history, been a white-only space; but when he got to talking to the dancers, and learned about what hiplet meant to them, he realized he wanted to give them time in the film to tell their own stories.Wright, who has been inspired by ’90s music videos, as well as directors like Spike Lee, Hype Williams, Spike Jonze, and Chris Cunningham, says: “The project evolved from a music video that had a story behind it – placing them in this establishment that was white-only at one point – into a short film, a documentary where they break the fourth wall and express themselves and tell the world about the adversity that they face being hiplet ballerinas.”Hiplet is the first film for the director, a graduate of Delaware State University who’s been making films for more than seven years. And it’s been an auspicious debut: Hiplet was an Official Selection at the 2020 South by Southwest Film Festival.His next project will be a feature, a love story set in Chicago’s Bronzeville neighborhood. “I didn’t grow up seeing a lot of Black love stories like that,” Wright says. “One of my favorite movies is A Bronx Tale. I’ve just always been compelled by that, that movie is just really good. To be able to make a film like that, that people of color can watch and go, ‘That’s me, I say the same things, I do the same things’… I want to add to that genre.”See more shorts and meet more filmmakers from the Scene in Color Film Series.
4. 呼朋唤友 随心所欲
(Photo by HBO)Despite stirring speechifying by the Seven Kingdom s newly crowned despot, her death at the hands of the man she loved, and a dragon s moving lament, Game of Thrones went out with a whimper, according to critics. Season 8, Episode 6: "The Iron Throne" 47% is not the worst episode of the series, but it is in the bottom three based on the first reviews of the series finale.With this final entry, the season s current score is well below the 75% score needed to be Certified Fresh, marking the first season in the series history that will not receive the honor. The season is, in fact, now Rotten (updated May 23), which is just stunning given the series track record.Here s what critics had to say about the episode.It Was the Best of Finales (Photo by HBO) It s almost impossible to imagine it ending any other way. — Steve Greene, indieWire After showing us a nightmare for eight seasons, Game of Thrones finally dares to dream of spring. — Sean T. Collins, Rolling Stone A stupendous end that the series deserved. — Mikel Zorrilla, Espinof The series finale, proved largely satisfying after eight seasons of incredible drama. — Todd Gilchrist, Birth.Movies.Death. Read more: Game of Thrones’ Series Finale Best Moments: Breaking the Wheel and a Dragon’s ChoiceIt Was the Worst of Finales(Photo by HBO) As a fan of the TV show, I felt battered into submission. This season has been the same story over and over again: a lot of tin-eared writing trying to justify some of the most drastic story developments imaginable, as quickly as possible. — David Sims, The Atlantic Game of Thrones has lulled us into believing that its women would end up in charge. In the end, it s only Sansa, by sheer force of will, who wears a lesser crown. The wheel hasn t broken; the patriarchy is still alive and well in Westeros. — Anne Cohen, Refinery29 The kindest thing I can say about the Games of Thrones series finale is that it might have satisfied Plato. — Judy Berman, TIME Magazine Gotta say this episode felt more like a season finale than the series finale it was, if only because this last season seemed so isolated from what went before. — Glen Weldon, NPR It s hardly an exit cry of triumph. — Steve Johnson, Chicago TribuneHow Was the Writing and Pacing of the Final Episode?(Photo by HBO) The ending got rushed to the point of a fantasy even greater than the story told given all we had grown to know and love over six seasons (or seven, depending on your view) got torn asunder in the space of six episodes. — Carissa Pavlica, TV Fanatic I liked this episode, and at times I thought it was truly brilliant But the lords and ladies of Westeros picked a new king in five minutes, when we ve spent eight seasons fighting a bloody war over who would sit on the Iron Throne. — Erik Kain, Forbes It was hacky; it was cliched. Every character left standing received a saccharine coda. It was all too simple, too clean, even with a major death and a surprise contender for the Iron Throne. Closure is one thing, but pandering is entirely another. — Kelly Lawler, USA TodayOne second from every episode of Game of Thrones. pic.twitter.com/rFz2CFLwBx Andy Kelly (@ultrabrilliant) May 20, 2019 Like most of Season 8, it felt like a Wikipedia summary more than a full story being told, with only Arya, Sansa, Sam, and Brienne getting endings I can halfway believe. — Gina Carbone,CinemaBlend But the pacing and the hurry to get to the finish line are not the only issues. There are large, gaping holes in the fabric of logic that one just cannot ignore anymore. — Soumya Srivastava, Hindustan Times In dramatic terms, it may have resolved itself with something like indecent haste. But thematically, it made perfect sense. — Karl Quinn, The Age (Australia) In this last season there was too little surprise, too many high-dollar digital theatrics, and less drive to really drill down into the essence of what made Westeros a place where so many people wanted to spend their Sunday nights. — Hillary Kelly, New York Magazine/VultureRead more: Game of Thrones’ Final Season Is Officially Its Worst, According to the TomatometerWho Were the MVPs?(Photo by HBO) That finale was a mixed bag for me. I m not sure how much it made ACTUAL SENSE in terms of how we ve seen this world to work, but Jon ending up back at the Wall with Ghost actually felt to me like one of the best endings for his character. — Huw Fullerton, Radio Times Wow. Drogon understood more about the geopolitical power struggle and human weakness than I would ve thought he did. — Kimberly Roots, TV Line Bran was the king of least resistance, with the added bonus of some superpowers that definitely are real, but which are dubiously useful at best. — Kathryn VanArendonk, New York Magazine/VultureRead more: All Game of Thrones Episodes, Ranked by TomatometerFinal Verdict?(Photo by (Helen Sloan/HBO) This was a largely satisfying conclusion. One could quibble over a couple of plot points, and argue about the reassertion of the show s regressive gender politics. But a piece of entertainment as complex as this was always going to involve some compromise. — Nick Curtis, London Evening Standard Over all, though, it was a solid and largely satisfying wrap-up to one of the most exciting and enthralling TV series ever. — Richard Roeper, Chicago Sun-Times So, yeah, it all worked out in the end, really. Was it perfect? No, because it couldn t be. Was it enough to course-correct some of the more truncated story decisions from this season? Yes, I believe it was. — Tim Goodman, Hollywood Reporter(Photo by HBO) Because the Game of Thrones finale is really a bunch of different endings rolled into one. All the outcomes combined add up to a finale that s sort of bittersweet, just as author George R.R. Martin has been saying all these years. — James Hibberd, Entertainment Weekly After showing us a nightmare for eight seasons, Game of Thrones finally dares to dream of spring. — Sean T. Collins, Rolling Stone It s not quite the dream of spring we might ve hoped for, but it s not a disaster either. And now our watch has ended. — Laura Prudom, IGN MoviesDid you agree with the critics? Tell us in the comments!Game of Thrones season 8 is available to stream on demand, on HBO Go, and on HBO Now.
5. HD 画质与高品质音讯
If you were poking around RT a week and a half or so ago, you might have come across a little poll we were taking on the site to try and determine the Scariest Movie Ever. Based on other lists and suggestions from the RT staff, we pulled together 40 of the scariest movies ever made and asked you to vote for the one that terrified you the most. As it happens, a British broadband service comparison website decided to conduct a science experiment to determine the same thing, and their results were surprising, to say the least. Did Rotten Tomatoes readers agree with the findings? Read on to find out what our fans determined were the 10 Scariest Horror Movies Ever.1. The Exorcist (1973)(Photo by ©Warner Bros. courtesy Everett Collection)You may not agree that The Exorcist is the scariest movie ever, but it probably also isn t much of a surprise to see it at the top of our list with a whopping 19% of all the votes cast. William Friedkin s adaptation of the eponymous novel about a demon-possessed child and the attempts to banish said demon became the highest-grossing R-rated horror film ever and the first to be nominated for Best Picture at the Oscars (it earned nine other nominations and took home two trophies). But outside of its critical and commercial bona fides, the film is well-known for the mass hysteria it inspired across the country, from protests over its controversial subject matter to widespread reports of nausea and fainting in the audience. Its dramatic pacing and somewhat dated effects may seem quaint compared to some contemporary horror, but there s no denying the power the film continues to have over those who see it for the first time.2. Hereditary (2018)(Photo by ©A24)Writer-director Ari Aster made a huge splash with his feature directorial debut, a dark family drama about the nature of grief couched within a supernatural horror film. Toni Collette earned a spot in the pantheon of great Oscar snubs with her slowly-ratcheted-up-to-11 performance as bedeviled mother Annie, but the movie s biggest shock came courtesy of Well, we won t spoil that here. Suffice it to say Hereditary struck such a nerve with moviegoers that it instantly turned Aster into a director to watch and shot up to second place on our list.3. The Conjuring (2013)(Photo by Michael Tackett/©Warner Bros. Pictures)James Wan has staked out a place among the modern masters of horror, directing films like Saw, Dead Silence, Insidious, and this inspired-by-true-events chiller based on the experiences of real-life paranormal investigators Ed and Lorraine Warren. The Warrens, best known for their work on the strange case that inspired the Amityville Horror movies (which played a part in The Conjuring 2), were portrayed by Patrick Wilson and Vera Farmiga, who grounded the effective jump scares and freak-out moments with a believable world-weariness. Together, Wan and his co-leads found fresh terror in familiar genre tropes, and the end result is a sprawling cinematic universe that only continues to grow.4. The Shining (1980)(Photo by ©Warner Brothers)Literally dozens of Stephen King s novels and stories have been adapted for the big screen, and several of those films are considered classics today, like Carrie, Misery, and Pet Sematary (and that doesn t even account for non-horror stuff like The Shawshank Redemption and Stand By Me). But the mother of them all is easily Stanley Kubrick s adaptation of The Shining. A marvel of set and production design and a genuinely unnerving take on the traditional haunted house story, The Shining features a host of memorable images and an iconic Jack Nicholson performance. The film s relatively few jumps scares are still absolutely chilling, but its true power lies in the way it crawls under your skin and makes you experience Jack Torrance s slow descent into madness. It s rightfully considered one of the greatest horror films ever made, and it ranked fourth in our poll.5. The Texas Chainsaw Massacre (1974)(Photo by Everett Collection)While the top four movies on this list collectively garnered 42% of the total votes counted, they were followed by six films that all earned around 3% of the vote each. In other words, these last six films were separated by no more than 60 votes. The first of them is this low-budget slasher directed and co-written by Tobe Hooper, very loosely inspired by the crimes of Ed Gein. Texas Chainsaw s grimy aesthetic helped lend it an air of authenticity, which made it all the more frightening ( This could actually happen, you guys! ), and the massive, menacing presence of Gunnar Hansen s Leatherface paved the way for other brutes like Michael Myers and Jason Voorhees. Multiple attempts have been made to breathe new life into the franchise and we have another one on the way but none have equaled the original in sheer, over-the-top, power tool-inspired terror.6. The Ring (2002)(Photo by ©DreamWorks courtesy Everett Collection)It s always a tricky proposition to take something that works well for one culture and try to translate that formula successfully for another, but Gore Verbinski managed that with The Ring. A remake of Japanese director Hideo Nakata s acclaimed thriller about a cursed videotape, Verbinski s take kept the original film s striking visual imagery the ghost of a young girl in a white dress with long black hair covering her face and found that it scared the hell out of audiences no matter where they were from. While the film wasn t as well-regarded as its predecessor, it features a committed performance from a then up-and-coming Naomi Watts, and for many, it served as an introduction to East Asian horror cinema.7. Halloween (1978)(Photo by ©Compass International Pictures)Coming in at the seventh spot on our list is the film that introduced the world to all-time scream queen Jamie Lee Curtis and put John Carpenter on the map. Halloween is frequently cited as one of the earliest examples of the slasher genre as we know it today, and while it may not feature the same kind of realistic gore we ve come to expect of films in that category, it packs a lot of tension and some inventive thrills in a relatively small-scale package. The film s legacy is also fairly untouchable: Michael Myers mask has become the stuff of legend, and the giant, unstoppable killer and the final girl have become ingrained in the horror lexicon. There s a reason the franchise is still going after more than 40 years.8. Sinister (2012)(Photo by ©Summit Entertainment)For those who didn t read the scientific study mentioned at the top, we ve finally come to the film it crowned the scariest. Before he joined the MCU with 2016 s Doctor Strange, director Scott Derrickson had racked up a few horror films, a couple of which earned cult followings. One of them was this small-scale haunted house/possession story about a true-crime writer (Ethan Hawke) who moves his wife and kids into a house where a family was murdered, only to discover the new place might already have a rather evil tenant. Writer C. Robert Cargill was reportedly inspired to pen the script based on a nightmare he had after watching The Ring, and the story does share a minor similarity with that film, what with the creepy snuff film angle. But for many who saw it, the dramatic reveals and creepy set pieces far outweighed any recycled genre tropes that might have been present. Plus, there s at least one report out there that says it s the scariest movie ever made, so that must count for something.9. Insidious (2010)(Photo by ©FilmDistrict courtesy Everett Collection)James Wan has already shown up higher on the list, but before he and Patrick Wilson made The Conjuring, they worked together on this supernatural thriller about a young boy who falls into a coma and begins to channel a malevolent spirit. The bare bones of the story weren t the most groundbreaking, but frequent Wan collaborator Leigh Whannell infused it with a compelling enough mythology that it spawned three more installments. Wan also stated that Insidious was meant to be something of a corrective to the outright violence of Saw, which compelled him to craft something on a more spiritual level, and the end result is an effective chiller featuring what is frequently regarded one of the best jump scares ever put on screen.10. IT (2017)(Photo by Brooke Palmer/©Warner Bros.)The fear of clowns is a very real thing, even if it s become so commonplace to announce it that it feels disingenuous. If you needed any further evidence, we direct you to the box office haul of 2017 s IT, based on the Stephen King novel of the same name, which went on to beat The Exorcist s 44-year record as the highest-grossing horror film ever. Oh, and of course, its 10th-place finish on this list. Andy Muschietti s big-budget adaptation drew on nostalgia to tell its story of children scarred by trauma, while Bill Skarsgard s take on Pennywise the evil, shapeshifting clown was bizarre and unsettling in all the right ways. Add a healthy dose of jump scares, a handful of impressive set pieces, and some top-notch CGI, and you ve got a recipe for a horror film that s both fun and full of scares.Thumbnail image by ©FilmDistrict courtesy Everett CollectionOn an Apple device? Follow Rotten Tomatoes on Apple News.
The frontpage in 1998. One problem: Senh had left Design Reactor and taken Rotten Tomatoes with him. The site was still hosted on Design Reactor s servers, but the trio decided that Senh would leave the company to devote himself to his passion project, and be replaced by a new Creative Director. Senh left the Bay Area and went back to Sacramento, but the accumulative work burnt him out. Even Rotten Tomatoes – where everything was still manual and included treks to the library to copy review quotes from newspapers – had lost its luster. The site stopped being updated for several weeks. People wrote in asking what was happening. Perhaps, Senh thought, he’d take a crack at his original love: Filmmaking.Senh got in touch with two Sacramento high school friends: Bobby Ly, an accountant who clerked at his family s Chinese video store where Senh rented Hong Kong movies, and Binh Ngo, who at the time was working the night shift at a veterinarian clinic. Bobby would nominally update Rotten Tomatoes, while Senh and Binh set out to shoot a movie, using Robert Rodriguez’s Rebel Without a Crew – which chronicles the director’s early and frugal days in the industry – as a guide and bible. The plan was to adapt horror novelist Dean Koontz’s novel Fear Nothing, whose protagonist has xeroderma pigmentosum, a genetic disorder that causes severe sunburn and skin pigmentation after brief daylight exposure, something that would facilitate many night shoots. After a few weeks, they had enough footage to show to close friends and family, including Binh’s sister, whose response was blunt: “This is horrible.”“How did that feel?” I asked Senh.“Not good,” he says, laughing.Did negative reviews save Rotten Tomatoes? Maybe, but both Bobby and Binh had convinced Senh that Rotten Tomatoes was still worth pursuing. The three resumed work on the site. Fear Nothing remains un-adapted.Léolo, which inspired the Rotten Tomatoes name, and A Bug s Life, whose site traffic suggested RT was being making an impact in the industry. (Photo by Pixar/Courtesy Everett Collection)Cut to early 1999, with the dotcom bubble in full bloom. I could tell because I was in high school in San Jose, the heart of Silicon Valley, and traffic was getting worse every day. Modern life had evolved computers from luxury to necessity, and mass adoption of the Internet was connecting the world in an unfathomably exciting new way. And with that, new opportunities to get rich. An idea, presented well enough, was enough to get venture capitalists to rattle their bank accounts for cash to invest, as a billion dollars in frenzied speculation transformed the Bay Area.Design Reactor was growing, significantly helped along by a deal with Disney to create and maintain everything Disney Channel online. Things were going well enough that they hired a CFO, Lily Chi, and a Marketing Director, Paul Lee, who had actually been one of Design Reactor’s co-founders.Still, people weren’t exactly tripping over themselves to invest in a web design firm. It was the ’90s. They wanted edgy, extreme. Rotten Tomatoes was identified as the breakthrough Trojan horse. Senh accepted an offer from Patrick and Stephen to reunite, bringing Binh and Bobby with him. Patrick, who was the best of the group when it came to working with people and managing relationships, raised .2 million across 1999. Rotten Tomatoes aimed to be incorporated January 2000. Design Reactor and its business would be taken over by another company in San Jose at that point. All 25 of its current employees elected to make the jump over to Rotten Tomatoes the next year.Meanwhile, with Rotten Tomatoes back in the fold, Design Reactor’s Susan Nakasora was brought over to RT right away. She had an English degree, and her job was to copyedit everything on site, including the quotes from reviews that you see on a movie’s page. Binh, relatively along for the ride, was installed as Rotten Tomatoes’ first editor-in-chief, though most of the writing involved creating spotlight copy on the homepage pointing to movies around the site. This was the start of the editorial team at Rotten Tomatoes.Binh, jokingly reflecting on the job, told me: “I kept on thinking that I only wrote two sentences through all my time there: ‘Click here’ and ‘Read more. ”(It wouldn’t be until November 2004 that Rotten Tomatoes would expand into news coverage, with features, interviews, and more. The first article we posted reported on development rumors of a Halo movie. Some things never change.)During this time, publicists began inviting staff to early movie screenings. Binh and Senh recall showing up and being denied entry the first few times, as studio representatives believed their invites to be fake. Binh presumes this was because they were fresh-faced Asians in a white male-dominated field, though Senh takes a broader interpretation.“They were generally wary of online critics and treated them as second-class citizens,” Senh says. “That was one of the reasons why I wanted to feature online critics on the Tomatometer.”THE MARKET CRASHES, BUT AN OFFICE MOVE-IN, SHOWBIZ FRIENDS, AND DIABLO LATE-NIGHTS GO A LONG WAYPatrick Lee in 2017. (Photo by Maggie West)January 2000: Three months before the dotcom bubble burst. Time to incorporate Rotten Tomatoes. One investor who was part of the .2 million angel funding had gotten cold feet, but Disney paying up on accounts receivable as Design Reactor was spun off to independence netted the team another million. Early after incorporating (under the name Incfusion, because something called Rotten Tomatoes was not considered a legitimate business), Patrick brokered a deal to have mySimon.com, a price search engine, integrated onto the site. Though no one could know it at the time, the monthly income from the deal would be crucial to RT’s imminent survival.On April 14, the bubble officially burst as the Nasdaq dropped 9% in one day. By the end of the week, the loss would be 25%, and by the end of the year, .75 trillion in Internet stock will have evaporated. Traffic in the Bay Area returns to normal.A 13-digit loss in market valuation spooked investors and the money dried up from the landscape. As other startups started dying overnight, the Rotten Tomatoes team knew hard decisions would have to be made.“At the end of the day, you can’t really fight the numbers,” Paul says. “We had an all-hands meeting, where we were honest with everybody that we have to start reducing headcount. We wanted to make sure that everybody had a chance to find something else. Because everybody was doing something very important, we had to downsize in a way that wasn’t disruptive to the business.”“We had to do what we had to do to stay alive,” Patrick says. “I remember it was 25, 21, 17, 14, 11, and then seven employees.”This was Senh, Patrick, and Stephen, the founders of Rotten Tomatoes; editorial members Binh and Susan; and CFO Lily with Marketing Director Paul.Stephen Wang in 2016. (Photo by Getty Images: Bloomberg / Contributor)More drastic measures would be taken. mySimon.com was not spared its fate as a dotcom casualty, and when that monthly income went away in 2001, Patrick and Paul opted to take no salary for the next six months. Everyone else took a 30%-50% pay cut. Patrick himself decided to move into the office.“Patrick and I were living off our savings, and one day, he had this idea that rent was his biggest expense,” Paul told us in our original oral history. “Using the justification that he was a neat freak (believe me, Patrick is borderline obsessive-compulsive when it comes to cleanliness), he kind of wondered aloud whether he could just simply move out of his apartment and live in the office.”Patrick recalled: “It wasn’t bad. We had those pretty nice couches that could expand out. I had a little fold-out mattress and a sleeping bag, so I was pretty well hidden in case a security guard came through.”Weekdays, they would work expanding the site. Weekends often saw casino trips to play poker, even down to Vegas, and hitting up the buffet line because food was cheap. Jet Li invited everyone to his house and treated them to magnificent Mongolian BBQ. Stephen got to know Ebert, and would travel to Chicago at his invitation to meet at film events he organized. A former employee who landed at Pixar got them tours and screenings at their campus down the street. And those late encounters with security at the office were never hard to explain because Senh, who disliked showing up before noon, would tinker on Rotten Tomatoes deep into the night. Some would stick around to watch movies, as others set up for that great gathering of those dotcom days: LAN parties.In our oral history, Susan recalled: “For a while there was an RT guild in World of Warcraft, consisting of several current (for that time) and past employees, plus some friends. The guild’s tabard symbol was a shape that somewhat resembled a tomato splat. Binh was awesome – a gnome warrior who wore a deep sea diving helmet.”“We would all end up playing Diablo II, until like two in the morning,” Patrick tells me. “Either fall asleep in the office or go home, and then do it again. And then on the weekends, Friday night, we would play until six in the morning, until we’re literally falling asleep at our computers.”Dance Dance Revolution was another favorite party game, which Binh suspects didn t ingratiate the team with their office neighbor the floor below.The brand was on the brink, and times were rough, but everyone still believed in Rotten Tomatoes as a viable business. They were devoted to the site, but also to each other, working on this shared mission and developing a small, unique Asian-American community in this dingy Bay Area office.Patrick’s hunch to keep your friends close after graduating was right. That was the uniqueness I felt when I first arrived – a lingering philosophy of kindness and generosity. I asked if anyone considered leaving.“No, not really,” Stephen says. “I just really enjoyed working on the project during those years. I enjoyed working with Senh and Pat and Paul. Despite all of the business challenges, the site continued to grow, the user base continued to grow. It was a steady path upwards.”There was a sense of family at Rotten Tomatoes, and for some it would become literal: Senh ended up marrying Binh’s cousin, while Susan married Patrick’s brother, Bryan.BETTER LUCK TODAY: THE SITE RECOVERS AND STARTS GIVING BACK TO ASIAN-AMERICAN CREATIVES
(Photo by Courtesy the Everett Collection)It s estimated that between 75 and 90 percent of films made before 1929 are either lost or only exist in incomplete form. As part of our RT Archives project, we are collecting contemporaneous reviews for those films – see a full list here and read what critics said about them at the time – and shining a spotlight on the stories and people behind them. Learn more about the RT Archives project here. In the early 20th century, the name Annette Kellermann elicited an awe reserved for a select few. A screen siren in the most literal of terms, Kellermann (often credited as Kellerman, with a single n ) was a swimmer-turned-actress who arguably stands now as a precursor for the kind of crossover success that has marked the careers of the likes of fellow former athletes Dwayne ‘The Rock’ Johnson and Arnold Schwarzenegger. Indeed, like those two Hollywood stars, Kellermann’s physique was instrumental to her entry into and success in cinema, making her a pioneer of the jock film star that seems all too common today.Kellermann was first seen on the big screen in short films like Miss Annette Kellerman (1909), where she showed off her swimming technique and her then-famous high dives. But it would be her work on feature films like Neptune’s Daughter (1914) and A Daughter of the Gods (1916), the first ever million dollar picture, that cemented her as a marquee name in the budding film industry. Only a few of Kellermann’s 30-odd film appearances survive to this day – both Neptune s Daughter and A Daughter of the Gods have been lost – but they’re enough, along with her cultural impact as a health advocate, a one-piece swimsuit trailblazer, and an intrepid athlete, to have made her an indelible part of early film history.Born in 1886 in Sydney, Australia to a pair of musicians (her father was a violinist, her mother a pianist), Kellermann needed to wear steel braces on her legs as a child. Likely due to polio, this is what first pushed her to take up swimming at age 6, as a way of strengthening her legs. By the time she was 13 she’d completely rehabilitated those future money-earners and by the time she was 16 she’d taken up swimming in earnest, winning meets and breaking records in New South Wales state championships.(Photo by Hulton Archive / Stringer / Getty Images)Kellermann soon became a sensation in Australia, alternating between participating in swimming and diving exhibitions as well as breaking more records during competitions. In 1905, she and her father moved to England where her long-distance swims earned her plenty of press; she was even sponsored by The Daily Mirror to attempt to swim the English Channel, a feat she’d try two more times in those years without ever being wholly successful. Moving away and eventually retiring from long-distance swimming, Kellermann set her eyes on more lucrative ventures that still made great use of her talents.That’s how Kellermann ended up across the Atlantic. Oft-advertised as “The Perfect Woman” – posters for her appearances usually included measurements that showed her body metrics matched the Venus de Milo’s – Kellermann was a vaudeville sensation in the early 1910s. Her elaborate synchronized swimming performances attracted audiences in Chicago, Boston, New York, and eventually all over Europe and in her native Australia. It was during this time that Kellermann gained even more notoriety for an alleged 1907 arrest on a Boston beach. While contemporary women’s swimwear consisted of a rather bulky dress/pantaloon combination (often accompanied by long black stockings and bathing slippers), Kellermann had opted to wear a fitted one-piece costume that ended in shorts above her knees – the kind she wore during her exhibitions – which led to her being cited for indecency. (Photo by Courtesy the Everett Collection)The incident, which remains disputed, nevertheless speaks to Kellermann’s advocacy against such strictures on women’s bodies. Advocating for sleeker swimsuits that were less restricting, she led the way toward relaxing Victorian-era norms on what was appropriate beachwear, eventually selling her own branded “Annette Kellermann Sun-Kist’ swimsuits” in U.S. stores from around 1914 to the late 1930s, all but making her name synonymous with the one-piece swimsuit we know today. A savvy entertainer keyed into a rapidly changing audience, Kellermann knew she had the wherewithal to diversify into other potentially lucrative endeavors. While her first foray on the stage (in the short-lived London production of Undine) in 1912 wasn’t a good fit, her eventual move into feature-length films soon turned her into a bona fide movie star. Her first feature film, Neptune’s Daughter, was produced by Carl Laemmle of Universal Film Producing Company; based on an idea pitched by Kellermann herself, the Captain Leslie T. Peacock-scripted and Herbert Brenon-directed adventure film followed a young mermaid intent on avenging her sister, who died when caught by fishermen’s nets. With a fantastical background and even a romantic subplot that echoed a certain Hans Christian Anderson folk tale, Neptune’s Daughter was crafted around Kellermann’s talents. Not only were her swimming and diving skills front and center in elaborate underwater set pieces, but that same “perfect body” that had lured vaudeville audiences to her shows was here yet again presented as a selling point. As Variety noted in its review of the film, men were likely to watch the film several times, “if only for the purpose of having another flash at the divine form of Kellermann, in this instance draped only by her hair, as the mystic power of the Witch s shell transforms her from a mermaid into a regular girl.”(Photo by Courtesy the Everett Collection)Her second feature, A Daughter of the Gods – reportedly the first ever million-dollar film production – further established Kellermann as a performer whose sheer physicality could command the screen. Yet again playing a water-based creature, the Australian swimmer-turned-actress turned heads for what’s considered the very first nude scene by a major star. Still, critics at the time admired her acting as much as her physicality: “Miss Kellermann aside from her daring feats, acted with great skill and gave a most creditable impersonation,” Moving Picture World noted in its review of A Daughter of the Gods.Kellermann’s creative input on these early productions, as well as later films like Queen of the Sea (1918), What Women Love (1920), and Venus of the South Seas (1924), put her in a league of equally influential film screen stars like Charlie Chaplin and Mary Pickford. The many death-defying stunts she performed – including jumping into pools with live crocodiles and diving from rocky cliffs, often shooting on location in Jamaica and Bermuda – established her as an action star whose showmanship and athleticism always went hand in hand. It’s no surprise to find that, decades later, another swimmer-turned-actress (MGM’s Esther Williams) would star in a musical biopic on her life in 1952’s Million Dollar Mermaid. Kellermann was a legend in her own time, a true pioneer who managed to make a name for herself with her body but never let herself be reduced to it. While most of her films have been lost, her extraordinary stunts surviving only in film reviews and printed features, she remains a pivotal figure in early cinema that deserves to be better known and appreciated. What Critics Said About Kellermann s Lost Films When They Were Released: A revelation (Photo by Courtesy the Everett Collection)“In several of the scenes Miss Kellerman, in white, close-fitting tights, gives entertaining exhibitions of swimming and diving, her graceful form standing out against the brushwood like a marble statue as she poses before she dives.” – The Daily Telegraph (Sydney)“[Kellerman] proves herself an accomplished actress, a mistress of the terpsichorean art, and an expert swordswoman, well worthy to be wooed and won by the King of the country she lands in.” – The Age (Melbourne) “There is one scene that particularly will live in the memory. Annette, a mortal, feels the lure of the water. Behind a bush in the forest she discards her peasant dress. Out darts a white-tighted figure. From a vegetation-faced cliff over an inland bit of still water Annette performs the evolutions that have thrilled her audiences in settings far different.” – George Blaisdell, Moving Picture World “Miss Kellerman, in a recent interview, said she did not wish to go in for swimming and diving any longer. She wanted a play in which she could have a dramatic part so she might be judged for her histrionic merits. In this production she has proven her right to such consideration.” – A. Danson Michell, Motion Picture News“The usual spectacular dives Miss Kellermann has become famed for are performed during the picture, and she gives visual evidence also of her remarkable ability to swim and of endurance, always in the water with a fish-tail (as a mermaid) that prevents the employment of her feet for assistance, swimming only with her hands. As a picture actress, Miss Kellerman is a revelation.” – Variety(Photo by Courtesy the Everett Collection)“Some admirable light and shade effects are revealed in the photographed scenery during the progress of the story, which has been ingenious ly developed and produced, and the performance throughout of Miss Kellermann as the child of the seas is as skillful as it is graceful and refined.” – The Daily Telegraph (Sydney)“Miss Kellermann aside from her daring feats, acted with great skill and gave a most creditable impersonation.” – Moving Picture World“Herbert Brenon placed his confidence in the appeal of the mass scene and Miss Kellermann s physical charm and skill in diving and swimming to carry the fanciful story along to success. His confidence, it would seem, was well placed.” – Motography“The beautiful figure of Annette Kellermann and her matchless skill as an amphibienne are made the most of in A Daughter of the Gods, the elaborate, spectacular and somewhat monotonous photofable which was unfolded for the first time last evening at the Lyric Theatre.” – The New York TimesOn an Apple device? Follow Rotten Tomatoes on Apple News.
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.
并非无脑猎杀僵尸，这款手游侧重在于生存的选择，小伙伴需要仔细考虑好每一步的操作，否则可能一步错就真的over了，玻璃心的玩家慎重哈，这一块游戏可能不适合你 Nevertheless, Garland noted conversations moving from the possibility of a mulitverse where free will exists to a deterministic view where there is no choice elicits an equally strong emotional response.“If I have a conversation with people about free will, nobody likes the idea that they don t have it. And it is completely in contradiction with our own sense — ‘But I absolutely, definitely have free will. I can feel it now,’ [they say], which is again, it s what people feel, but it may not be supported by the data.”That view, as espoused by Forest, leads Devs’ main character, Lily Chan (Sonoya Mizuno), onto her collision course with the warm and melancholy Amaya CEO. And while discussing Lilly’s actions would lead to a level of spoilers we definitely cannot reveal in this or any other reality, it did lead to another question the show presents: Do ethics exist in a deterministic universe?“I don t personally think it takes ethics and morality out of the conversation, I just think it means you react differently to the state of affairs,” Garland said.(Photo by Miya Mizuno/FX)To illustrate morality in a deterministic universe, he used a 15-year-old boy mugging someone at knife point as an example. In a universe with free will, the boy’s punishment (provided he is caught) proceeds from the notion he is in absolute control of his choices.“If you take deterministic view, you might say, ‘Well, hang on a minute. Because this kid is a crystal meth addict, and both his parents were crystal meth addicts, and he was addicted by the time he was 12, and he was trapped in a world that had given him a very distorted sense of ethics, and, as well as that, a sense of desperation, and no home, that led ultimately to the mugging.’ Under those circumstances, punishing the kid makes much less sense. Rehabilitating a kid makes much more sense.”“What we do then is make sure that [the kid doesn’t] do it again, Garland suggested. So, that doesn t remove the ethics, because you still don t want the kid to mug anybody. It s just more that you re not punishing him for something that wasn t his own decision.”Of course, Garland was quick to point out that while his example leads to a morality with more empathy and compassion, it also suggests atrocities are also unavoidable in a deterministic universe. “I don t think anybody wants to let Adolf Hitler off the hook in the way that you might let a 15-year-old off the hook,” he quipped.Nonetheless, the morality of what Forest calls “tram lines” will no doubt feature in discussions of Devs when its full shape is revealed with the show s finale six weeks from now.
The HBO fantasy drama His Dark Materials, based on Philip Pullman s epic fantasy trilogy, is back for more bewitchment, magic, and mystical goodness. So whether you re just getting caught up with season 1, or need something to tide you over while you wait week to week, here are five more titles that will surely cast a spell on you in this week s Binge Guide.His Dark Materials airs at 9 p.m. on Mondays on HBO and HBO Max.