手游代理是目前网络游戏比较常见的一种运营模式，手游代理者通过让玩家在自己代理的游戏中玩游戏并充值来获得收益，简单的说就是游戏开发商在游戏运营过程中选择游戏运营商运营游戏的推广和维护工作的方式即为手游代理。 10. The Finale in Session 9 (2001) 64%A condemned asylum. Inside: clattering chains, disturbed wheelchairs, and crumbling wards. A group of people enter to clean up the place, some who harbor dark histories. Sound like a set up for classic dark and stormy Gothic tale? Not so with Session 9. What kind of clean up crew would work at night? Come on, this is a horror movie: Logic is king here. A slow atmospheric burn with minimal gore until its final minutes, but even when things go to hell, the blood is bathed in New England sun.9. Freddy s Coming For You in A Nightmare on Elm Street (1984) 95%Time for a victory lap: Hop into the convertible on this bright school morning having vanquished the tormentor of fatal dreams, turn around and wave goodbye to your mom standing on the porch. Suddenly, the top slams down and the car peels down the street, as mama is sucked through the front door window. The nightmare has only just begun. The original Friday the 13th s Jason Voorhees made the last-second jump scare a mandatory inclusion for 80s slashers and beyond. Freddy Krueger may have perfected it.8. Michael Myers Stalking in Halloween (1978) 96%John Carpenter s classic did a lot of things right. Gave us a classic creepy synth score. Destroyed suburbia s manicured image as a stronghold of safety and comfort. And it rolled out the red carpet to let masked killer Michael Myers to wander and stalk his prey in broad daylight. The shot of Myers staring up at you from among the billowing laundry sheets hung to dry in the yard remains an iconic and violating image.7. The Day After in The Hills Have Eyes (2006) 52%The Carter family is subjected to a litany of brutal terror over the course of 24 hours. During the initial day, they re led off-road and their car gets mangled in the desert. The family separates in search for help. A dog gets gutted. The gas station attendant commits suicide. And always mutants are watching them from afar in the brush and rocks, leading to a long night of crucifixions, immolation, rape, murder, and baby-snatching. And then the next day, the cannibals feast on sun-cooked flesh. It s a torturous chain of events that transforms the remaining Carters into out-for-blood hunters in a highly questionable, deeply satisfying revenge ending.6. Randy s Death in Scream 2 (1997) 81%You knew director Wes Craven wasn t fooling around when he killed off know-it-all cinebuff Randy, portrayed by Jamie Kennedy as someone as smart and cynical as the audience. How could he have fallen for the afternoon masked killer in the local news van with noisy nearby breakdancers? Oldest trick in the book! But it s also series most shocking homicide outside of Drew Barrymore s, the one that tells the oh-so-smart audience that no one was truly safe. The Arquettes, Courteney and David as Gale and Dewey, frantically search for the killer in the college square by accosting students with their new-fangled mobile phones, presenting on screen when awful taunting calls escaped the constraints of landlines and curly cords, and into a new world of free-roaming terror.5. The Ceremony in The Wicker Man (1973) 88%Midsommar owes a blood debt to this provincial classic: the unsettling tale of an uptight Christian cop investigating a young girl s disappearance on an island of decadent mystic pagans has thematic and visual parallels to Aster s film. Likewise, nearly the entire movie is set during the day among verdant nature and maypole celebrations and foreshadowing musical rhymes that seem to follow the officer everywhere he goes. It s far too late when he realizes the true nature of his work, leading to a fiery climax in the friscalating dusk light.4. The Premonition in Final Destination 2 (2003) 48%Some of the best horror wedges its way into the normal, degrading the routine and humdrum into a morass of paranoia and fear. Final Destination 2 does that with the daily morning commute, because what could be more humdrum than getting in our 1,000 lb. metal husks every day, navigating them manually down the road as cars careen towards us in the opposite direction separated only by capriciously painted lines on the ground? Suddenly, something as innocent as a flatbed of loose tree logs becomes a rolling thunder revue of broken windshield, splattered heads, and Michael Bay–style auto explosions.3. The Opening Chase in 28 Weeks Later (2007) 71%28 Days Later s famous opening features calm shots of the hero wandering an empty London metropolis depopulated by zombies moments we would consider eerie, almost beautiful, but not scary. 28 Weeks Later takes the opposite approach. It s set in the countryside, as a band of infected descend upon defenseless survivors. The camera is in your face, the footage choppy and frantically (but not confusingly) edited, save for a gliding crane shot as our new hero flees across the field and towards a waiting river boat. The fact that he just abandoned his wife to the zombies moments earlier contribute to the gut-punching bleakness of the situation. Now that we consider scary.2. Leatherface Appears in The Texas Chain Saw Massacre (1974) 89%Like a rusty chainsaw, Tobe Hooper s horror masterpiece takes a moment to rev up. But once it gets going, the movie is relentless, grinding down the viewer s endurance up until the famous ending of Leatherface cutting the rising sun light in boiling anger. It s a great final appearance, but his first introduction is even better. Hapless travelers, in search of gas for their thirsty boogie van, approach a piquant homestead, oblivious that its inhabitants are cannibal freaks who have no qualms doing their dirty deeds in daylight. Leatherface suddenly appears from out of a hallway, smashes his victim s head in with a hammer as the body crumples and twitches on the ground, and then slides the slaughterhouse door shut. Looks like meat s back on the menu, boys!1. The Beach Attack in Jaws (1975) 98%The scene that made a generation of filmgoers terrified of open water. It s immaculately crafted pop horror and it still works today. Steven Spielberg uses a collage of beach crowd noise and throngs of people innocently rising to disorient the viewer, telling us to be just as alert as Roy Scheider s police chief. Spielberg famously had to use every filmmaking tool he knew to overcome critical obstacles like a malfunctioning shark, and here heightens and stylizes reality as Jaws approaches the beach. A split diopter lens shot puts an obtrusive face and a possibly drowning distant swimmer in equal focus. A dog is discovered missing. We get that terrifying first-person viewpoint as Jaws picks his victim, and the incessant John Williams theme building on the soundtrack. Then a dolly zoom as terror dawns on Schieider s face. A geyser of blood erupts out in the ocean as pure pandemonium breaks out, and a frantic mother loses her son. It s a powerful scene in how powerless it makes a man of law feel against a force of nature.Like this? 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此外还有一个好消息是，一直都是安卓版本的DNF手游体验服，这次体验是首次推出了苹果版的测试服，这绝对是DNF手游即将公测的一大证据!而DNF手游的苹果端和安卓端的体验服，还是是两端合一，也就是说，只要在同一个大区，不管是苹果还是安卓，都可以一起游戏，组队刷图，PK，打团等;这样的设置，不知道会不会在正式服保留下来，希望公测也是这样，可以和朋友一起愉快玩DNF手游。亚博YABO网站(Photo by Courtesy of IFC Films. An IFC Films Release.)When the team behind Australian thriller The Dry – which includes its lead star and producer Eric Bana – decided to release the film into cinemas there on January 1, it was a risky call. While the country has been largely spared from the worst effects of the COVID-19 pandemic (one of the reasons so many Hollywood productions have set up shop there), audiences were still cautious about large indoor gatherings, and snap lockdowns to snuff out small COVID-19 outbreaks – even in the low single-digits – were a regular occurrence in major cities. But Bana, his fellow producers, and distributor Village Roadshow felt sure they had something special in their adaptation of Jane Harper s hugely popular book of the same name, the kind of Australian movie that might just bring Australian audiences back to cinemas in big numbers. And it turns out they were right.The Dry follows Bana s Melbourne-based detective, Aaron Falk, who returns to the rural town in which he was raised to attend the funeral of a childhood friend who appears to have killed his wife and child in a murder-suicide. Reconnecting with friends and sparring with enemies from his youth, Falk becomes sucked into the case which, it turns out, has links to another mystery from 20 years ago – one in which he may have played a part. These dual twisting threads, Bana s stoic and layered work as Falk, and an incredible look that splays the baked Australian landscape across the screen to stark and arresting effect, made The Dry a hit in Australia. In January and February, it became the movie to see there, a might-have-been-indie-thriller that tapped into the popular consciousness like a big-budget Hollywood action flick, and it now ranks as the 15th biggest Australian movie ever at the local box office. (Fun if unsurprising fact: Crocodile Dundee is number one.)Talking with Rotten Tomatoes, Bana is clearly chuffed with the film s success Down Under, and excited for American and international audiences now to be transported to Kiewarra, the fictional farming community in which The Dry s twin mysteries unfold. The movie opens in theaters here on May 21. From his home in Melbourne, the star of Troy, Munich, and Romulus, My Father – his last Aussie film before The Dry – opened up about the sudden popularity of Australian movies in Australian cinemas (The Dry was part of a high-earning crop of recent films including High Ground and Penguin Bloom), scouting the perfect locations to bring Kiewarra to life, and what he hopes will be the impact of so many overseas productions shooting in his backyard. Plus, he reacts to discovering that The Dry helped get this author s mother a date. Really.(Photo by Courtesy of IFC Films. An IFC Films Release.)Joel Meares for Rotten Tomatoes: I actually had a chance to see The Dry in theaters when I was back in Australia for two months over Christmas. It was a great experience and I have to let you know that you re actually responsible for getting my mother a date: we were in the lobby before the movie and I d gone to get popcorn and when I came back a man had come up to her with a notepad. She introduced me, and she said, This is John and he s giving me his number. Eric Bana: This might be my favorite theatrical story yet from The Dry.Rotten Tomatoes: She took the number and he walked away, but he also said, I had to say your mother was beautiful and I had to shoot my shot. And mom hadn t been to the movies in 10 years! There s not really a question there, but I guess: How do you feel making love happen?Bana: That is pretty spectacular. I love that story. It s in a lot of ways symbolic of, as you mentioned, so many people going back to the cinema for the first time. Not only I guess regular cinema goers, but we ve found that there are a lot of people who, for whatever reason, just really felt compelled to see this film on a big screen, which is so rewarding for us because it s exactly what our intention was. The way that that energy was picked up on by the Australian public was beyond what we had obviously expected, so it was amazing.Rotten Tomatoes: It was a very strange thing to be back in Australia and have the likes of network morning TV talking about this Australian film as a phenomenon. Our films sometimes struggle to cut through the clutter back home. And at the same time as The Dry, cinemas were filled with more Aussie films: Penguin Bloom and High Ground and Rams and all these other films were out. Was it a kind of exciting moment to see Australians going to the movies to see Australian films?Bana: Yeah, it was. It was exciting because it was a deliberate thing. We wanted the film to be commercial. We knew that it had the hallmarks of an indie – with dark themes. But on top of that, there was a potential to try and lure people in with a more commercial sell, which is why [distributor] Village Roadshow were such good partners for us.But you re right, it was the beginning. The release date was really scary when we got it, January 1. [Editor’s note: COVID-19 cases were down in low single and double-digits in Australia at the time, but cinemas were only newly operating at capacity and snap lockdowns were regular occurrences in Australian cities.] It was sink or swim. But we felt really confident in the film and that it helped set up this trend of people going, Yeah, we really want to get behind these Australian films. It has changed the language around theatrical releases for Australian films, which is the thing that I m most excited about and that all the producers are excited about: That we can start seeing the potential for Australian films and think about them differently.(Photo by Courtesy of IFC Films. An IFC Films Release.)Rotten Tomatoes: It s exciting to be here back in America now and seeing these films being released and embraced here. The Dry struck me, though, as quite particularly Australian in some ways – it deals with issues that we face, I think, more acutely than some other nations, like the drought and the problem of gambling; and it also gave me a lot of Wake In Fright vibes with the aggressive macho-ness that your character faces at the pub. But in what ways do you feel the movie is universal, and what are you hoping that international audiences are going to get from this film?Bana: Look, we were really lucky that Jane Harper chose to set the story in a fictitious Victorian town of Kiewarra. The key elements of the thriller/whodunit would have worked in any country, in any landscape, with her writing. But we felt like the worst thing we could have done was set this film in Texas, because the hyper-Australian-ess and the attention to detail of the characters and locations are what makes it so specific and is what makes it unique, and that s what made the book unique.That was playing to our strengths, because it was language we understood, it was characters we understood, it was locations and landscape that we understood. It enabled us, in terms of producers, directors, actors, crew, cinematography, to elevate our game to the highest possible level in a local landscape. By making it hyper-Australian in terms of its detail, I think it helps amp up all those other aspects of an already completely solid story and whodunit, which would have worked like I say in any landscape around the world, but fortunately for us it was set here.To answer your question, I hope the audience enjoys being transported. We re really excited about the idea that Americans will feel like they ve spent two hours in Kiewarra at the end of the film. I m really, really excited to see Americans reactions, because it s a depiction of – as you know – rural Australia that we don t always get in cinema. It s usually quite a caricature. It s usually the Outback. It s not usually these towns, which is how – I don t know about you – but how I identify with rural Australia is through these little country towns.Rotten Tomatoes: And they re towns that are changing, they re affected by a number of impacts. I found the choice for John Polson s character to live in that isolated McMansion/new monstrosity very interesting.Bana: Yeah.(Photo by Courtesy of IFC Films. An IFC Films Release.)Rotten Tomatoes: That said, we do also get these amazing vistas and we do get this beautiful – somewhat despairing if you think about the drought that underlies it – striking imagery. From what I understand, you were part of the location scouting for this film. What was that process like and visually what were you going for in terms of the locations?Bana: We really wanted to try and capture the essence of what Jane had written in the book. We knew that area, the Wheat Belt of Victoria, which is about five hours away from the city in which I am now, Melbourne. There was no one town that could do the job so we based ourselves in a place called Warracknabeal and then we had about an hour-and-a-half circle from there that we could cherry pick all these tiny little towns to stitch together our Kiewarra. So, we use the pub from Minyip, we ll use the main street from Beulah, we ll use the house from here, and so forth.It was a lot of different locations to get the greatest possible visual consistency with what was in the book. Stefan Duscio, our Director of Photography, did an amazing job. He is from the country and really understands that landscape. Because you had to believe that the dryness and the tension and the mental scarring that comes from people not only living through a severe drought, but also being dependent upon rainfall in order to survive financially and emotionally as well.We shot the beginning of 2019, at the peak of the drought and just as the bush fires were starting. It just felt, it did, it felt like it was never going to rain. It did rain after we left, which is traditional for film crews, of course, but it was very important to us.Rotten Tomatoes: You’ve spoken about what was important to you as the producer of this film. I m wondering, as you look at what you re going to produce next, and as you develop a body of work that you ve produced, is there a guiding principle or something you re looking to do with the projects that you want to shepherd now?Bana: They tend to be projects that I want to be very closely involved in myself. I don t want to be someone who just attaches their name to things for the sake of it. So, it will generally be stuff that I m intrinsically involved with. I was fortunate enough that in this case, Bruna Papandrea, the producer who acquired the rights some years ago, was someone that we knew well and wanted to get involved with. That was wonderful to learn from her and my co-producer, Robert Connolly, who is our director as well, who is just so experienced and fantastic.I guess, yeah, it s stuff that I really feel that I can have a solid contribution to and have a voice in. The Dry was a “gimme” because it was in my backyard. I knew the area; we were working out of our office and post-production was just a two-minute walk away, so it was fantastic in that sense.(Photo by Courtesy of IFC Films. An IFC Films Release.)Rotten Tomatoes: It s great to see Australian movies at the cinemas, but the other thing that s happening in Australia at the moment is that it feels like every American production in the world is currently based there on the Gold Coast or in Byron Bay – largely thanks to COVID being fully under control and some generous tax incentives. I m wondering, what do you hope the impact of all this activity that s happening now will be for the local industry? There is a fear I see when speaking to some people that everyone is going to pack up once the pandemic ends and things settle back to normal, and tax incentives won t be enough to keep this level of production in the country. Is there a hope you have or something you re thinking about in terms the impact of all this production happening right now?Bana: I think the volume is such that definitely there will be a slight legacy there – that more people will feel comfortable traveling to Australia to film. I m confident that there will be some kind of continual, residual value in people being comfortable with Australia as a shooting location, even when we lose our ultra-competitive edge due to COVID and the situation being back to normal. Obviously, the UK is a long way off being back online in that strong production sense. We will lose some production, eventually, so hopefully we can regain some of that.But it s really important that we strike the right balance and that we make the most of the theatrical energy that came out of this year with Australian cinema. We re starting to get government to really pay attention now, which is great, both on a state level here in Victoria and on a federal level with the offset remaining at 40% – which was super, super important.I hope that there is a long tail. I think we have to be prepared for that drop-off that you talk of, when the rest of the world goes back to normal and every other shooting location becomes available. But hopefully there will be a bit of a legacy here and people go, “Actually, it was great shooting down there. Studios were great in all the different cities. Australians made us feel welcome.”You d like to think it s not just a tax break that lures someone to a shooting location. And I ve been on the receiving end of that myself. I ve worked in a lot of international cinema that s shot in tax-break locations, so I get it and I ve benefited from that, so I can t criticize that process too much. But at the same time, what makes those locations something that you want to go back to are the crews and the conditions and how great those cities are to be in – it makes a really big difference.Hopefully, we can get our way into people s hearts and all these directors, producers, actors want to keep coming back here. That s what we have to try and concentrate on.(Photo by ©Dendy Films/Courtesy Everett Collection)Rotten Tomatoes: You hadn’t made an Australian film for quite some time before The Dry. Are you focused on staying there at the moment and working on Australian stories? Or are you still open to what tickles you, wherever it happens to be?Bana: It s not a driving principle for me. Since Romulus, My Father (pictured above), Rob [Connolly, who directed Romulus and The Dry] and I have been looking to find something to do at home because this is where we live and it s obviously hugely advantageous. I don t have to fly 24 hours to go to work; it was novel to shoot something at home!It has to compete with everything else on the pile. I don t feel like a patriotic sense of “I must do this many Australian films.” I d much rather do the greatest work I can possibly do here when it comes along. That, I think, is a more important contribution. I don t have a personal quota or anything like that. Obviously, if I found something else to do here that was of that quality, I d do it tomorrow.But the pool is much smaller here, obviously. The Australian pile is much smaller, and it s much harder for me to find films of that quality here at the same frequency as I do. So, there s no real priority given to it, but obviously it s hugely rewarding when it does come along.Rotten Tomatoes: And just finally, I know you said it s a very particularly Australian story and that s what elevates it. But also because of its interesting structure, this dual mystery, it has a hook where I can see it could be remade. They could take this idea and set it somewhere else as a remake. I m not saying that anyone s suggested that, but it did pop into my head. How would you feel about potentially having a remade version of this in another location or country?Bana: I m good with accents! [Laughs]. I ve had people ask me about a sequel; I haven t had people ask me about a version in another country. I ll just go play Aaron in Denmark or Germany! That s not something I ve heard, yet. Let s hope that the specific nature of this one means that people would rather experience the original and not have the accent subtitled even in English. Let s hope they can understand what the hell we re saying and enjoy. Enjoy our wonderful Australian accents for a change. It s not often Australians get to play Australians in international cinema. I m happy for them to get a real taste of Australia through this film.Rotten Tomatoes: My favorite accent moment in any film, by the way, happens to be Leslie Mann making fun of how you say No in Funny People.Bana: [Laughing] Yeah, it was pretty special. Gosh, she s funny.The Dry is in U.S. theaters May 21, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
4. 呼朋唤友 随心所欲
(Photo by Russ Martin/CBS)Intentionally or not, by the finale of its sophomore season, Star Trek: Discovery, along with actor Ethan Peck, who guest-starred as Spock, provided an argument for another prequel to the original series.At least two more live-action series are in the works: the first led by Michelle Yeoh as Philippa Georgiou about Starfleet s shadowy Section 31 division, and the other led by Patrick Stewart, revisiting his role as Jean-Luc Picard from The Next Generation. (Santiago Cabrera, Michelle Hurd, Alison Pill, Harry Treadaway, and Isa Briones will join Stewart in the new series.) The Short Treks program has already seen four episodes released, and Emmy Award–winner Mike McMahan (Rick And Morty) is developing Star Trek: Lower Decks, a half-hour animated comedy focused on the support crew of one of Starfleet’s least important ships.Even if the intention is to see Spock recur on Discovery, the case made for a series about a young and hungry Enterprise crew led by Anson Mount as Christopher Pike, Rebecca Romijn as Number One, and Peck as an up-and-coming version of the iconic sci-fi figure couldn’t be stronger.Discovery’s second season focused on universal themes of family, understanding, love, and loss — all well-trod storytelling paths with the inherent danger of an attack of saccharine. Under the guidance of Alex Kurtzman and his team, however, the result has been mysterious, thrilling, unpredictable, and, of course, very worthy of the series’ recent third season renewal.Both Discovery seasons are Certified Fresh: Season 2 currently has an 83% Tomatometer score, while season 1, which endured a lot of huff and bluster about what Star Trek is supposed to be, is just behind it at a healthy 82%.Ahead of season 2, some residual grousing turned up around the highly anticipated appearance of Spock, the brother of lead character Michael Burnham, played by Sonequa Martin-Green.As Sopan Deb of The New York Times wrote in a recap of the season premiere: “There is an elephant on the bridge. Spock … It’s always been a sore point that Burnham is supposed to be Spock’s foster [sister], whom apparently we never hear about in the history of all of Star Trek. In ‘Brother,’ we get hints about this. Burnham suggests that Spock didn’t accept her as a sibling — which seems, frankly, out of character for Spock, but it’s too early to determine that until we see how this story unfolds.”(Photo by Ben Mark Holzberg/CBS)Now the story has unfolded, and we’ve witnessed Michael and Spock push and pull against each other as if connected by rubber bands. Will they or won’t they be a family? In the finale that aired Thursday night, we found out that they will. The hate Michael perceived Spock had for her melted away over the course of the season — life lesson: bad feelings will escalate when fueled by a lack of communication. The finale showed just how deeply his love for his sister ran, with Spock choosing to accompany her into the unknown and their mutual dismay when it becomes apparent that their ever-after as loving siblings is not to be. Personal log: Stardate 1201.7, Spock says in voice-over of a scene of him embracing their mother in the finale. One hundred and twenty-four days have passed since your disappearance We’ve sworn never to speak your name in the presence of others. Yet, I feel you with me, always. We spoke to Peck ahead of the finale to find out how the season went for him and what it’s been like inhabiting such an beloved character in an enormous franchise, and, though he was understandably circumspect about whether we’ll see more Spock, one thing’s certain: He won’t be wearing a red shirt.(Photo by Ben Mark Holzberg/CBS)Debbie Day for Rotten Tomatoes: It’s been so exciting to watch your character develop over the season; the arc has been quite extreme for Spock. Fans have a very specific vision about what the character is, but they start in a very different place with you — can you talk a little bit about that?Ethan Peck: You re absolutely right. The season arc is hugely transformational for him. I consider it, I understand it to be sort of his genesis. He is in this place of uncertainty, and back in the beginning of his appearance on season 2 of Discovery, and he ends up much closer to the Mr. Spock we met at the beginning of the original series. It s just an incredible honor, not just to play Spock, but to play him in this moment in his life when he is full of doubts and he has these pieces of himself that aren t quite yet fitting together well.What makes Spock so special is that he is these polar opposites, but they live together in harmony and he creates something much more than either human or Vulcan, in my opinion. I think this is why he s so highly regarded and so respected and so compelling; because he makes the space in himself for the cold Vulcan logic and the warm hysterical human tendencies. That s an amazing character to play and to be, and to have found that, I think there was an effort on not just my side, but on the writer s side to make sure that it was clear he s not yet the Spock that we have known to come and love in the original series.We get glimpses along the way, and I think at the end we really come full bore with that mature Spock, or begin to.(Photo by Russ Martin/CBS)Did you know going into this that you were going to play this very special moment in the character s life? How much did you know about what this season would be for him?Peck: I didn t know all that much. I think they took, obviously a huge risk, casting me. Not necessarily — in my opinion — being proven as an actor. Who knows, because it is such a delicate balance in this character and the portrayal of this character of logic and emotion. But then I think that they saw I was extremely dedicated and passionate about doing it, about understanding it, and I was working on the edge of my abilities throughout the season, and I learned so much from doing it. Not just from the experience itself of creating and showing up every day on set and working, but from Spock himself.I think they gave me a little more responsibility as they went on, and I d like to think that what I did informed their decision to keep him on. I think in maybe some worlds, there was a possibility that I totally shat the bed, excuse my language, and they gave me less responsibilities, sorta phased me out, so I just feel incredibly grateful and honored. It s all very surreal to me, still. I just feel filled with those feelings of gratitude and honor.For fans of the franchise, it s been very exciting to have the character there. One of the highlights, of course, is when it s becoming apparent what Michael’s role is exactly with the angel: that she is responsible for some of the signals. But then Spock s shuttle is disabled, and he s not able to get back to Discovery to continue on the journey with her. How did you build that emotional moment for the character with his sister?Peck: To speak specifically to the good bye on the shuttle, I think all of the work that we ve all done with the Spock in the months that I ve been there prior to that moment was really priming me for that good bye. I think in that moment, we really see Spock take ownership of himself and of his constituents: of this Vulcan side, of this human side. It s an action that is deeply emotional and executed highly logically.In the beginning of part one of the finale, Spock decides that he will stay with Discovery. That s a very emotionally driven move. He wants to stay with his family, he wants to stay with his sister, with one of the, I think, few places that he can call home — if you can call a person a home — because, in a way, they have so much in common. Although she s not half human–half Vulcan, she is. She was this human that was raised on Vulcan, and in season 1 you really see her become more human and learn what it is to be human. In this second season, I think we see Spock become more human and more Vulcan together.In the beginning of part one, he thinks that he ll stay, but in the end, he knows that he can t and must say goodbye, and emotionally he would be driven to go with Michael Burnham with Discovery into the future, but logically it s not possible. I think maybe at that moment he discovers there s a responsibility he has to tie up his end of the journey, which is to remain.(Photo by John Medland/CBS)The relationship was a continuation from moments that we hadn t seen as viewers. I was really interested in your emotional build to that moment with a person with whom you ve supposedly had such a fraught relationship.Peck: Yeah. I think it s a great competition that exists between the two of them — as does exist between many siblings — and we really, I think, dug into the sibling rivalry of it all. Also, I think they re very similar; they re both hyper-intelligent, they re both, I think, perfect candidates for Starfleet, they have dedicated themselves to something larger than just who they are as single beings. So I think there s a great respect that lives between them that, in the beginning, I don t think is honored, but there s a lot of anger on both sides, but they realize that they probably understand each other more than anybody else understands them, in all the known universe.That feeling of being seen, of being understood, I think, is so essential to satisfying life. I think we all search for understanding and for similarities in one another. Because these are such unique characters, there aren t many like them, and so I think to have found, I guess, sort of an anchor point in reality, is crucial to them becoming something more than they were, to evolving.To quote Spock, This comfort is essential to evolution. I think that really encapsulates what s happening in the second season between Spock and Michael Burnham. In terms of the preparation for that last scene, I think the whole season was preparation for it. I don t think that I, at that point, needed to do that much work, but trust what I had built and what we had built, about Spock and about the crew on Discovery.At the very end when she s saying goodbye, she tells him, “There’s a whole galaxy out there full of people who will reach for you. You have to let them. Find that person who seems farthest from you and reach for them. Reach for them. Let them guide you.” Was that a nod to his future relationships with a personality like Captain Kirk?Peck: Absolutely. I m not sure who came up with that, but I think it was Alex Kurtzman, and I remember him just glittering while he was telling me this revelation that he d had about this moment and about this beacon he s setting for the future in himself that does end up becoming Kirk.Discovery and Burnham shot off through a wormhole into the future, Admiral Cornwell is dead, Georgiou is somewhere out there, Leland died in a puddle of nanites, and Ash Tyler becomes a permanent Commander in Section 31. Spock, meanwhile, rejoins Enterprise and — despite everyone lying to Starfleet and saying that Discovery and her crew, including Burnham, blew up — he recommends that a gag be placed on everyone s knowledge of what happened. What is his interest in making that recommendation?Peck: Because of the dangers of Control. To really completely bury the knowledge of this omnipotent and sinister entity, it should be completely eradicated from the books. Not just physically eradicated, but also conceptually eradicated because of the extraordinary danger that he poses to the universe, or it poses to the universe.(Photo by Russ Martin/CBS)I think I know, but what’s the significance of Spock shaving?Peck: I think it s an externalization of his alteration. I think the beard is an externalization of his inner turmoil and his unraveling. To shave is a settling back into a security of who he is and his comfort with himself. That s what it means to me. It s also a part of his goodbye to Michael. The self that he knew when he was learning from her and being with her, and to shave it is a part of that. What did you make of it?Just him transitioning — like a butterfly coming out of a cocoon — and becoming the man that he would be.Peck. Absolutely. Yeah.Is there any hope that we ll see the Enterprise and Spock again?Peck: Is there hope? Yes, I hope so.Are you signed up for season 3?Peck: I can t say. I know there s nothing out there on it either way.But you do hope so?Peck: Yeah, I hope so.Star Trek: Discovery seasons 1 and 2 are available to stream on CBS All Access.
5. HD 画质与高品质音讯
Wipe your eyes, despairing Spidey-fans: Sony and Disney have pushed through their financing impasse and reached an agreement on the future of Spider-Man.The two companies released a joint statement Friday in which it was announced they will co-produce a third movie in the current Spider-Man franchise – that s the one that kicked off with Homecoming and Far From Home, which has become Sony s highest-grossing movie ever – and Spider-Man would continue his involvement in the MCU.Which is great, given that Far From Home set him up as its future.The third standalone Spider-Man movie will be released July 15, 2021 – in line with the previous two films summer releases.You can read all about the impasse and what it might have meant here. But how did the two sides reach their agreement? According to Variety, the new deal was signed Thursday and negotiations involved all the studio big wigs: Marvel Studios Kevin Feige and Walt Disney Studios President Alan Horn, plus Sony Pictures Chief Tom Rothman. Disney will receive about 25% of the profits from the new film, Variety reports.Read: Your Full List of All Upcoming Marvel Movies – With Key Details!In a statement given to Variety, Feige said: “I am thrilled that Spidey’s journey in the MCU will continue, and I and all of us at Marvel Studios are very excited that we get to keep working on it. Spider-Man is a powerful icon and hero whose story crosses all ages and audiences around the globe. He also happens to be the only hero with the superpower to cross cinematic universes, so as Sony continues to develop their own Spidey-verse you never know what surprises the future might hold.”We Love You 3000 Tom Holland! pic.twitter.com/EeEyXoC3Pw Rotten Tomatoes (@RottenTomatoes) August 25, 2019Amy Pascal, whose Pascal Pictures will also produce the next Spider-Man film, said in a statement given to Variety: “This is terrific. Peter Parker’s story took a dramatic turn in Far From Home and I could not be happier we will all be working together as we see where his journey goes.”What does this all mean for fans? Well, given Feige s track record with the character – he not only co-produced the two recent Certified Fresh Tom Holland live-action films, but worked on Raimi s Spider-Man movies in the 2000s – the news could be cause for celebration.Though it s worth noting that Sony was also poised to do potentially interesting things with the character outside of the MCU: there was the chance of a Venom crossover, and Sony s Oscar-winning animated Into the Spider-Verse film – the best reviewed Spider-Man movie ever at 97% on the Tomatometer – opened up the doors to infinite possibilities.Tom Holland wants to play #SpiderMan for a very, very long time. pic.twitter.com/cKnQIM8BLD Rotten Tomatoes (@RottenTomatoes) July 8, 2019Either way, we re sure Tom Holland is feeling so good today. He told Rotten Tomatoes this year, I honestly would play Spider-Man until I can t walk anymore. Looks like he may just do that.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Our hearts are broken and our thoughts are with Chadwick Boseman’s family. Your legacy will live on forever. Rest In Peace. pic.twitter.com/DyibBLoBxz Marvel Studios (@MarvelStudios) August 29, 2020From Samuel L. Jackson:THANK YOU @chadwickboseman for all you gave us. We needed it will always cherish it! A talented giving artist brother who will be sorely missed🙏🏿 RIP Samuel L. Jackson (@SamuelLJackson) August 29, 2020From Brie Larson:💔 pic.twitter.com/Y8ZbFdpHCe Brie Larson (@brielarson) August 29, 2020From Zoe Saldana:I’m gonna have to tell Cy, Bowie and Zen that T’Challa has passed. What other king can I tell them about now? pic.twitter.com/AFEFxJOFd5 Zoe Saldana (@zoesaldana) August 29, 2020From Chris Evans:I’m absolutely devastated. This is beyond heartbreaking. Chadwick was special. A true original. He was a deeply committed and constantly curious artist. He had so much amazing work still left to create. I’m endlessly grateful for our friendship. Rest in power, King💙 pic.twitter.com/oBERXlw66Z Chris Evans (@ChrisEvans) August 29, 2020From Don Cheadle:i will miss you, birthday brother. you were always light and love to me. my god ✌🏿♥️✊🏿 🙅🏿♂️ forever and ever https://t.co/9pORaKZuQN pic.twitter.com/awX3DiTVwn Don Cheadle (@DonCheadle) August 29, 2020From Taika Waititi:Devastating news. We lost a great one. Takoto mai rā e Āriki. #chadwickboseman Taika Waititi (@TaikaWaititi) August 29, 2020From Simu LiuI want to be crystal clear: without Chadwick, and what he gave to his character, there is no Shang Chi. Period. My career rides on the coattails of a great man. I wish I would have had the opportunity to tell him in person but I ll fight for him always, my Eternal King. Simu Liu (@SimuLiu) August 29, 2020From Angela Bassett: View this post on Instagram “It was meant to be for Chadwick and me to be connected, for us to be family. But what many don’t know is our story began long before his historic turn as Black Panther. During the premiere party for Black Panther, Chadwick reminded me of something. He whispered that when I received my honorary degree from Howard University, his alma mater, he was the student assigned to escort me that day. And here we were, years later as friends and colleagues, enjoying the most glorious night ever! We’d spent weeks prepping, working, sitting next to each other every morning in makeup chairs, preparing for the day together as mother and son. I am honored that we enjoyed that full circle experience. This young man’s dedication was awe-inspiring, his smile contagious, his talent unreal. So I pay tribute to a beautiful spirit, a consummate artist, a soulful brother ”thou aren’t not dead but flown afar ”. All you possessed, Chadwick, you freely gave. Rest now, sweet prince.” #WakandaForeverA post shared by Angela Bassett (@im.angelabassett) on Aug 28, 2020 at 8:43pm PDT
Average Tomatometer Score/Rank: 81.25% (11th)Average Audience Score/Rank: 77% (15th)Average Domestic Box Office/Rank: 1,579,893.13 (7th)Films: Spider-Man, Spider-Man 2, Spider-Man 3, The Amazing Spider-Man, The Amazing Spider-Man 2, Spider-Man: Homecoming, Spider-Man: Into the Spider-Verse, Spider-Man: Far from HomeConsidering DC Comics characters Superman and Batman both had a number of blockbuster films to their names before the turn of the millennium, it s a little surprising that Marvel s own A-lister, Spider-Man, failed to make a successful transition to the big screen until 2002. When he did finally debut in theaters, under the guidance of Sam Raimi, he not only kicked off one of the most successful superhero franchises ever, but also helped lay the groundwork for the massive paradigm shift in Hollywood that would eventually bring us the Marvel Cinematic Universe and the DC Extended Universe, for starters. Of course, Sony Pictures efforts to retain the rights to the character have famously resulted in two reboots and a parallel animated series, but the results overall have been rather spectacular. Raimi s original trilogy starring Tobey Maguire as Peter Parker, the MCU-related films with Tom Holland in the role, and the animated Into the Spider-Verse have all largely been critically acclaimed money-makers, and even the first of Andrew Garfield s two outings as the famous wallcrawler is generally well regarded. Spidey may be a late bloomer compared to his DC counterparts, but he s been the most consistent solo hero of them all.5. Back to the Future(Photo by Universal Pictures)Average Tomatometer Score/Rank: 78% (12th)Average Audience Score/Rank: 85.7% (4th)Average Domestic Box Office/Rank: 8,209,623 (16th)Films: Back to the Future, Back to the Future Part II,
The Marvel Cinematic Universe s TV offerings expand into Wakanda. Plus, a fight for Buck Rogers, what s coming to PBS, Anne Hathaway and Jared Leto cast in WeWork drama for Apple TV+, and more of the week s top TV and streaming news.TOP STORYBlack Panther Director, Co-Writer Ryan Coogler Developing Wakanda Series for Disney+(Photo by Marvel Studios)Black Panther left everyone wanting to spend more time in Wakanda, and the movie’s director and co-writer is about to make that happen on a regular basis via a Wakanda-set TV series for Disney+.Ryan Coogler, via his Proximity Media company, has signed a multi-year deal with Disney that will also include other TV series. But for now the focus is a series set in the fictional African country, which is also the focus for the Black Panther sequel movie Coogler is currently at work on.The Wakanda series would be the latest in a long line of Marvel series coming to Disney+. Following the recent premiere of WandaVision, Disney+ will also release Falcon and Winter Soldier, Loki, Hawkeye, Moon Knight, She-Hulk, Ms. Marvel, a Nick Fury series starring Samuel L. Jackson, a War Machine series starring Don Cheadle, and an Ironheart series starring Dominique Thorne. (Variety)George Clooney May Star in Buck Rogers Reboot Series(Photo by Priscilla Grant/Everett Collection)George Clooney and his Smokehouse production company partner, Grant Heslov, have joined with Brian K. Vaughn for a reboot of the 1979-81 Gil Gerard and Erin Gray sci-fi drama series Buck Rogers in the 25th Century. All three will serve as executive producers on the project, and Clooney may star in the title role, if Legendary TV has its way, according to The Wrap. Meanwhile, if the series is a hit, Legendary could move forward with a Buck Rogers movie and an anime series spin-off, THR.com reports.There is a potential glitch in the plan to launch a new Buck Rogers universe. The trust that oversees the Buck Rogers estate sent a cease-and-desist letter to Legendary, Deadline reports, informing Legendary that the trust already has an agreement with Skydance Productions — home of Top Gun: Maverick, the most recent Star Trek films, Mission: Impossible Fallout, and Terminator: Dark Fate — to “exploit the property” of Buck Rogers.Related: Nominations for 2021 s Golden Globes, SAG AwardsPBS Preview: Hemingway, My Grandparents War, and The Black Church — Plus, More Miss Scarlet? (Photo by PBS)PBS presented previews of its upcoming 2021 programming for TV critics this week in a virtual Television Critics Association winter press tour, and there s plenty coming. For starters, Masterpiece executive producer Susanne Simpson teased that although she doesn t have any official announcements about a potential second season of the currently airing Miss Scarlet and the Duke, that fans should wait for it — we ll have something soon, I think. She also highlighted the eclectic nature of Masterpiece s 50th anniversary. One of the things we tried to do with our 50th anniversary was we tried very hard in January to really show off the different types of programs that we do. We felt it was a bit of a gift to our audience to do that on our 50th. So, we had [Elizabeth Is Missing with] Glenda Jackson, who obviously is one of the top actors of our time, so we wanted to tell everybody we re still showing off acting royalty in Masterpiece. We have All Creatures Great and Small — that s a very heartwarming show for a family audience. I think Miss Scarlet and the Duke is terrific, because it s a woman character that s very feisty for her time and kind of fighting off roadblocks. And then we have The Long Song, which is a really important show, very powerful, very moving. Other highlights from the public broadcaster s upcoming slate: Hemingway, the latest from Ken Burns and Lynn Novick featuring narration from Jeff Daniels as the famous writer and attempts to deconstruct Hemingway s hyper-masculine image: I think the persona of the wild man, the drunk, the bar guy, the big game hunter, the big sea fisherman is what we inherit, the baggage we carry. But almost immediately we began to see how thin and frail that was, not just for him but in fact, Burns said.The upcoming My Grandparents War features stars Helena Bonham Carter, Mark Rylance, Carey Mulligan, and Kristin Scott Thomas as they trace the journeys of their grandparents during World War II, and Bonham Carter, whose family history is traced in the season premiere, said the experience helped her learn about her grandparents in a more intimate way.“I had a vague approximation, myths almost, of both my grandparents that we followed. This just filled in a lot of the detail and bought them very vividly to me,” she said. “Violet, my grandmother, I would have been her age when the Second World War happened. So I met them almost as peers. It was really extraordinary. The two-part documentary The Black Church: This Is Our Story, This Is Our Song from Henry Louis Gates Jr. traces the history of the Black church in America through historical figures and contemporary celebrities including Oprah Winfrey, John Legend and Jennifer Hudson. Said Gates: We wanted to make a series about the sheer transcendent power of belief, and never has that message been more important than now. NEW TRAILERS: Maggie Returns to The Walking DeadIn the bonus episodes of The Walking Dead’s 10th and penultimate season, Maggie (Lauren Cohan) returns, which almost certainly means she’s going to have an issue with Negan’s (Jeffrey Dean Morgan) new role among her group of friends. Also stars Norman Reedus and Melissa McBride. Premieres Feb. 28 (AMC)More trailers and teasers released this week:• Amend: The Fight for America is a docuseries, hosted and executive produced by Will Smith with all-star guests, that examines what the 14th Amendment to the Constitution really means, and how it’s been used to perpetuate racism. Premieres Feb. 17. (Netflix)• Moxie, directed by Amy Poehler, is about a teen, inspired by her mom’s (Poehler) rebellious teenage past, decides to come out of her shyness shell and fight back about the most obnoxious students and behavior at her high school. Premieres March 3. (Netflix)• Punky Brewster (Soleil Moon Frye) is all grown up, with three kids, an ex-husband (Freddie Prinze Jr.), and an enduring friendship with her childhood BFF Cherie (Cherie Johnson). Premieres Feb. 25. (Peacock)• The Flash season 7 finds Barry/The Flash entering the Mirrorverse. Premieres March 2. (The CW)• The Nevers is a Joss Whedon-created sci-fi drama about a group of Victorian women who discover they have unusual abilities that they may use to fight their enemies and change the world. Stars Laura Donnelly, Olivia Williams, Ben Chaplin, James Norton, Rochelle Neil, Eleanor Tomlinson, Denis O’Hare, and Nick Frost. Premieres April. (HBO)• Allen v. Farrow — from HBO Documentary Films and investigative filmmakers Kirby Dick, Amy Ziering, and Amy Herdy — is a four-part documentary series that goes behind decades of sensational headlines to reveal the private story of one of Hollywood’s most notorious and public scandals. (HBO)• Mighty Ducks: Game Changers finds Lauren Graham and Emilio Estevez encouraging the latest generation of young hockey underdogs in the series sequel to the big-screen movie franchise. Premiere March 26. (Disney+)• Fauci is a documentary about the life and career of Dr. Anthony Fauci, who’s been the director of the National Institute of Allergy and Infectious Diseases since 1984, has been awarded the Presidential Medal of Freedom, and has kept many Americans informed and sane during public health emergencies, from the AIDS crisis to the COVID-19 pandemic. Coming soon. (Nat Geo)• Pelé chronicles the life of the Brazilian football player Edson Arantes do Nascimento, a.k.a. Pelé, the only player to win three World Cup titles, who went from life as a young soccer superstar in 1958 to a national hero, amidst a radical and turbulent era in Brazilian history. Premieres Feb. 23. (Netflix)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Anne Hathaway and Jared Leto Playing WeWork Founders in Apple TV+ Series (Photo by Apple TV+)Anne Hathaway and Jared Leto will star in Apple TV+’s limited series WeCrashed, about the rise and fall of WeWork, based on the Wondery podcast of the same name. They will be executive producers on the series, in which they’ll play WeWork founders and marrieds Adam and Rebekah Neumann.Hathaway will also star in Amazon’s Solo, an anthology series about characters in different times and settings who turn out to be connected by the human experience. The all-star cast also includes Anthony Mackie, Morgan Freeman, Uzo Aduba, and Helen Mirren.Speaking of Aduba, The Killing alum Joel Kinnaman has signed on for HBO’s In Treatment reboot, where he’ll play the boyfriend of Aduba s Dr. Brooke Taylor. (Variety)Nicole Kidman will star in and executive produce Hope, an Amazon series adaptation of the Norwegian movie of the same name, a blended family drama about the end of a marriage that falls apart during the family’s Christmas celebration.Tim Robbins is taking over for Rainn Wilson in Amazon’s The Power. The sci-fi drama is based on author Naomi Alderman’s book about the Republican governor of Washington (Robbins) and the Democratic mayor of Seattle (Leslie Mann), who butt heads while dealing with a world where teenage girls suddenly have the power to electrocute people. Wilson had to drop out of the project because of COVID-related delays. (Deadline)Neve Campbell and Becki Newton will star in Netflix’s series adaptation of The Lincoln Lawyer. Campbell will play the first ex-wife of Manuel Garcia-Rulfo’s titular attorney Mickey Haller, and Newton will play his second ex-wife, who are a deputy prosecutor and Haller’s office manager, respectively.Michelle Forbes (True Blood), Britt Robertson (Life Unexpected), Michael Raymond-James (Terriers), and Ryan Dorsey (Justified) are joining the cast of ABC’s David E. Kelley drama Big Sky, recurring as members of a dysfunctional and dangerous local ranching family. Ted Levine (Monk) will play the father of the family. Meanwhile, The Affair scene-stealer Omar Metwally will recur as an irreverent deputy U.S. Marshal whose investigative skills are put to the test with the local sex-trafficking ring. (Deadline)The Netflix thriller series Pieces of Her, starring Toni Collette, has five new cast members: Power star Omari Hardwick, Jessica Barden (End of the F**king World), Jacob Scipio (Bad Boys for Life), David Wenham (Lion), and Joe Dempsie (Game of Thrones). The story, based on Karin Slaughter’s crime book of the same name, follows a young woman who sets off on a dangerous trip to search for answers when a random act of violence sets off a chain of life-changing events for her and her mother (Collette). The eight-episode series will be produced by an all-female team, including Lesli Linka Glatter, Charlotte Stoudt, Bruna Papandrea, and Minkie Spiro, who will direct the whole season.The Conners’ Sara Gilbert, Leland Orser (ER), Rob Huebel (Transparent), Tate Donovan (The O.C.), and Kevin Dunn (Veep) will star opposite Chris Messina (The Mindy Project) in HBO Max’s pilot for the anthology series Verbatim, which will first cover the 2019 college admissions scandal. Based on The New York Times Op-Docs digital series, the drama will cover real-life events, with dialogue taken verbatim from the stories’ sources.Because The Masked Singer host Nick Cannon tested positive for COVID, Claws star Niecy Nash will fill in for at least the first few episodes of season 5, which begins production this week. (Variety)
here we come into a community, and they remove the indigenous people there, they deconstruct and destroy all the remnants of them and then rebuild and rename, so that the people are completely obliterated and their livelihoods, and the ability to live in that neighborhood. is no longer sustainable.(Photo by Universal Pictures)So that s the serious history of our country, redlining, and all of the things that are part of the history of the country that could only be potently told from the point of view of Black people. To tell the story authentically, in the way that Black Wall Street and all these new implications of stories, little-known history, that is the fabric of American history, so that we get to sneak that education into the entertainment genre of horror, is just slick and hip and happening, and would get to an audience that may not just sit down and watch “1619,” for instance.I also want to be sure to recommend that people utilize the website www.candymanmovie.com/impact, because there was a 20-minute panel discussion at our screening about the deeper meaning of Black horror and the impact of it. And so, it really opens up the discussion. It really delves into the imagery and what the story is saying and is a great companion to watching the movie. People make these kinds of reviews about all of Jordan Peele s films, and Monkey Paw s films, like the deeper meaning and stuff like that. But this is something also ready-made. So people have a very full experience of it.Rotten Tomatoes: Nice! You play Anthony s mother, and you yourself are a mother of two sons, right?Williams: Two sons who are artists, visual artists. So it was so wonderful to realize that, oh, Anthony s a visual artist, wait a minute, wait a minute, wait a minute. Art reflecting life. And so much to pull from, as I got into the character. There’s a certain kind of parenting that gets out of the way of your child to let them be what they come here to be. And so, it speaks to what Anne-Marie was able to do, from the ashes, literally of the traumatic experience from living in Cabrini, from having her child stolen, from having her child returned, to forgiving the woman who came in busy-bodying around and conjuring up this story we told her to be quiet about, and getting my baby all involved and my dog killed and all of the trauma of that. Anne-Marie been through some s t.And so, then she was able to level up. Now she works as a nurse assistant and has been able to create a life, to educate her child and give him the option, the freedom, to make his life as an artist. That s bold. That s not something you think of when you think of some typical idea of what happens to children who grew up in Cabrini-Green.(Photo by © Universal / courtesy Everett Collection)Rotten Tomatoes: When Anthony says the word Candyman, your reaction to it is already iconic. It s become a meme now. How does it feel to be a meme?Williams: It blew me away. I thought initially that because the fans are so smart and they put things together and they were really trying, the film company and the marketing was really trying to keep Anthony as a secret. So I didn t even initially think I was going to be in the trailer at all, because I knew that they wanted to hold that in.So then to see that trailer come out and then to become a meme, and then to get turned into so many memes, it just was so much fun. It was particularly fun because we were in lockdown. And so, it was amazing, amazing, amazing, and big fun, and just another thing to be proud of and just enjoy as a part of people s response to the work. I really felt very gratified in that.Candyman is in theaters now. On an Apple device? Follow Rotten Tomatoes on Apple News. 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.
亚博YABO网站 After experimenting with documentary-scripted hybrid drama Mars, which finished airing its second season in December, the network is trying its hand at comedy with a series chronicling the 1990s tech bubble in Silicon Valley, as told through scripted drama as well as documentary interviews with some of the real-life founders.Zahn has definitely never seen anything like it — he rarely watches television, in fact, choosing instead to immerse himself in news and politics while at home with his family on his Kentucky farm.He does have a soft spot for documentaries, which he discussed with Rotten Tomatoes when we talked to him about what he’s watching on TV, why he should be credited for Game of Thrones’ success, and breaking the fourth wall in the innovative Valley of the Boom.What’s appointment viewing for you?(Photo by Comedy Central)I am the worst person that you would want to feature on a “What to Watch” list in the history of history. I have literally become my dad where my kids make fun of me about how much news I watch. That s what I watch, but I can t help it. It s so f king crazy right now. I feel like I m going to miss out.I just envy my kids when they can just sit and turn everything off and watch. I ll literally sit there and watch with my son — he watches South Park religiously, he s 18 — and that s kind of the only time I actually pause and laugh. We stand there for like a half hour eating Frosted Mini Wheats, laughing, and then I go back to being neurotic about the end of times.Well, what’s in your son’s streaming queue?[Calls to son] Henry, what are you watching? [To Rotten Tomatoes] Eh, he said, “Shut up.” You know what we re watching right now? We have screeners. I have to watch screeners, so we re in screenerland.What shows are on your DVR? Do you watch Game of Thrones or anything?(Photo by Netflix)Well, I m not in to the fantasy stuff. I m a documentary guy. I ll watch, you know, [they’re] coming out with a new one. Remember the murderer? What s it called? The big one, the guy in Wisconsin. Making a Murderer. I was working at the time and had to get up at 5:30 in the morning, and I remember watching that ‘til like 3:00 in the morning going, F k it. I ll get two and a half hours sleep and I ll go to work.’ I was obsessed. I get obsessed with stuff like that.[As for Game of Thrones], I was working with Pete Dinklage. I was doing a movie with him up in Spokane, Washington, and I knew Peter from theater in New York, and we were hanging out during that movie — like, inseparable. He was offered that while we were doing this movie. He was like, I don t know, should I do it? It s in Ireland. I m like, Yeah, man. You have to do it. What, are you kidding me? It s going to be great. So I want to take credit for it. [Laughs]What’s coming soon that you can’t wait for?(Photo by Warner Bros. Pictures)I haven t seen that BBC World War I documentary [They Shall Not Grow Old] that Peter Jackson did.(Photo by National Geographic/Bettina Strauss)Jean Bentley for Rotten Tomatoes: As a news junkie who likes documentaries, what do you think of the documentary-scripted hybrid of Valley of the Boom?Zahn: Obviously, I m totally into documentaries and I thought, Oh, this would be challenging and different. When you read it, it s great because with this format you re able to take a lot of fat out of a script and just get to the good stuff. That s what s really intriguing about it. I think if you did just a drama about the birth of the internet, I don t know how fascinating that would be, or at least for how long, I don t know. But six hours? I doubt it.It really frees us up. There were really no rules, and [creator] Matthew Carnahan was just brilliant with that. He really let us play. It turned in to one of my favorite jobs by far, aside from my putting on a fat suit and a wig. It was like doing a play. It was insane. I was on board at page 10 when it said he does an interpretive dance in the sanctuary of the church. I was like, Wow, what? This is insane. Your character is definitely an interesting guy. How did you channel him?I was so intrigued and so excited to be offered it, number one, but then the fear sets in. Then you go, Wow, how am I going to do this? It s not like a play where you get four weeks of rehearsal. It sucked. You have to just do it. Matthew was so encouraging and so great. He just said, Man, you ve just got to dive in — which is literally like doing a film. You do any character, it s, like, the beauty of it: You jump off a cliff into the fog and hope that there s water below. That s what you do. Day one of filming has got to be as consistent, as good, as the last day.It s frightening, especially with somebody so broad as this guy. So I was constantly trying to find ways of making him less broad, basically, and more accessible to people and vulnerable and all those things that makes characters great, nutty. This guy was so smart. He s so intelligent, he s so assertive, and his faith is everything. There were a lot of qualities I felt were admirable.Some of your costars’ real-life counterparts were interviewed for the documentary parts of the show, but not your character. Did you approach playing him differently because of that?It gave me a little more room, actually. I was happy about that. They tried to get him, but it didn t work out. But in the end I was happy that was the case because then you re not reminded of the real guy. It s really odd that my character is somewhat kind of a fictional guy and yet he s not just because of that. All I saw was one interview that he did with Chris Cuomo like in 98. It was just a very strange short interview, like 15 minutes, but that s really all I needed. I was really intrigued and blown away by this guy that I assumed was this kind of boisterous dude, larger than life, and then I saw this interview and he was this really kind of meek, soft-spoken, high-pitched guy. Very intelligent. I was like, Wow. This is the guy? (Photo by National Geographic/Bettina Strauss)Going back to the interpretive dance, you frequently break the fourth wall on this show. What was that like?That was really fun. It was so theatrical, you know? If you just in two sentences explain this to somebody without explaining how we did it, it sounds boring. I mean, a six-hour show about the birth of the Internet is not really that exciting unless you re, like, an IT guy. When we addressed the camera, it was just quick and it wasn t like we were just breaking the rules to break the rules, so it was appropriate to the story.And I don t know, I haven t seen anything like this. I guess American Animals is a similar kind of storytelling, which I love, and yet it s totally different from that in a way. That was more of a film to me than it was a documentary. This is truly kind of split in two, a documentary and a film.I m trying to think of other things — like Touching the Void. Have you ever seen Touching the Void? About the climbers. Damn, that s a good movie. You ve got to watch that. And that s a drama. That s explaining a mountain-climbing expedition that goes awry and it s phenomenal, but it s done in the same kind of way where they are basically reenactments of what they re saying — they re done with high-quality and good people. It s not like the History Channel — no offense to the History Channel, but some of those Civil War documentaries [where] you have overweight guys from Ohio reenacting Pickett s Charge, and it just doesn t work.Speaking of documentaries and climbing, have you seen Free Solo?Dude. It was phenomenal. I m a big Alex Honnold fan. I ve been a fan of his for a long time, and I d go on his website and find out where he was climbing and stuff. I actually went to a screening of Free Solo in New York and met him and I m so blown away by that guy. That documentary is insane.I m pushing that to everybody, by the way. I m like, You have to see this. It s insane. And Won t You Be My Neighbor. What a great documentary.Valley of the Boom airs Sundays at 9 p.m. on Nat Geo.