(Photo by © NEON)It s sometimes easy to forget in the blur of manic performances that have defined Nicolas Cage s work in the last decade – the chainsaw-wielding Red in Mandy, his wide-eyed murderous father in Mom and Dad, and other very Nic Cage roles that seem to come around every few months – that his is a career of chapters, each of which might singularly define a lesser performer, and that Wild Nic is just the latest. The star emerged in the 1980s as an edgy standout in zeitgest-capturing favorites (Rumble Fish, Peggy Sue Got Married), blossomed into romantic lead (Moonstruck) and A-list Oscar winner (Leaving Las Vegas), and crushed the box office a few times as an unlikely action hero in a string of Bruckheimer-produced 90s favorites.Then he went and recovered the Declaration of Independence as an Indiana Jones type in the National Treasure movies.Even within these Nic Cage eras, though, he always managed a few surprises. Consider his vanity-be-damned dual-role as the Kaufman brothers in Adaptation, for which he was nominated for an Oscar during a seeming career slump; or his delightfully unhinged performance in Bad Lieutenant: Port of New Orleans, a turn that would set the tone for our current Nic Cage chapter but which, at the time, was a shock to the system and a turn of the page, even if it was some time coming.Still, nothing in Cage s career is as surprising, perhaps, as the new Certified Fresh drama, Pig. Here, Cage plays Rob, a onetime big-name chef who now lives as a recluse in the wilds of Oregon with his best friend, a foraging pig who scouts for the truffles that are his owner/buddy s sole source of income. When the pig is stolen during a violent break-in at Rob s cabin, expectations are set for a John Wick-style revenge tale – and another very Nic Cage performance – but writer/director Michael Sarnoski has other things on his mind. And so does Cage. What follows is a somber, moving, and at times wryly funny tale about a man who descends into Portland s seedy underground foodie world (surprisingly violent), single-mindedly focused on retrieving the one thing in life he deeply loves. It is anchored by a quiet and deeply affecting performance from Cage, one that critics are calling a revelation and among the best work of his career.The movie is a marker for Cage, too, who told Rotten Tomatoes that Pig came around at just the right time, both in terms of getting back to his roots in more dramatic, soberer fare – though he does get to utter the line I don t f k my pig! – and in reflecting events and developments in his real life. I was feeling lost, Cage told us. I was feeling the need for isolation. I was feeling, Oh, I m no longer invited in Hollywood. Nor do I want to be invited in Hollywood. I have no interest in going back. I like making quiet little dramas. This is what I m interested in. Ahead of the movie s release in theaters, Cage spoke to us about this step away from his wild-man roles, what Pablo Picasso has to do with it, and a passion he shares with his latest character: good food and bold flavors.Joel Meares for Rotten Tomatoes: This movie has a bit of a strange conceit – the log line for this film is about a revenge-seeking truffle hunter! What was the pitch to you for the project when they were trying to get you on board? What was the thing that sold you on this story?Nicolas Cage: Well, I can tell you “revenge” never came into the equation for me. I read the script, Michael [Sarnoski]’s script, and I immediately responded to it more as a kind of cinematic haiku, a poem, really, a meditation on loss and a character analysis of a person who had lost great love. I also felt that I was at a point in my own life experience, aggregate collection of memories and dreams and experiences, that enabled me to respond to Rob in such a way where I felt that nothing had to be forced, that I felt I understood Rob.In fact, I told Michael over lunch that when I read his script I had a very evocative dream of my cat and something horrible happening to my cat, Merlin, who is one of my best friends. The relationship that you can have with our animal brothers and sisters, it s so much closer in some ways, so much more profound, because it s not corrupted by the noise of people and what that can harbor in terms of jealousies and angers. It s just unconditional love.So, I felt that those relationships – my relationship with my cat, my dog, who s no longer with us – those are things that I could put into this performance and it s a perfect time for it. When we all agreed to make the movie, we hadn t been hit by the pandemic yet, but I think we ve all gotten closer, even still, to our animal family, because we relied on them so heavily to get through that.(Photo by © NEON)Rotten Tomatoes: How old is Merlin, by the way? And was he helpful during the pandemic?Cage: Merlin is two years old. Very, yeah. I relied on him quite a bit. He s very affectionate, a Maine Coon cat. Really kind of like another son in some ways.Rotten Tomatoes: What was your relationship like with the pig, or pigs, you were working with in this film? How was it working with them?Cage: There was one pig. Her name was Brandy. Like many of us, she was very payment-oriented. She wasn t really interested in people. If they wanted to get a soulful look in her eyes, they would show her a bit of carrot off camera; or if they needed her to go to a certain mark, they would put some food down. But I think that relationship was really developed with the eye of Michael Sarnoski and our director of photography. They figured out ways of photographing Brandy and Rob so that the relationship never lapsed into schmaltz or Hallmark-card sappiness. It was just a quiet witnessing of these two in the wilderness. I think that made it more heartfelt in some ways, but it was a lot to do with getting her in the right position with the food, and also photographing it in the right manner.Rotten Tomatoes: You mentioned “soulful” and that I think is a very great word for this film and for your performance, and a lot of people have been saying this is a different Nicolas cCage than we ve seen in a while. The last film I saw of you in was Prisoners of Ghostland and then I was re-watching Mandy last night. They’re very different from Pig, but it does feel, to me at least as a viewer, that there is a connection between Robin as a character and someone like Red [Cage’s character in Mandy], who also has tried to escape the world and has that peace disrupted. Do you think that Robin really is so different from some of the characters you ve been playing lately? Or is there a connection?Cage: I mean, he s certainly different in the regard that he s not motivated by revenge, but I do share that observation, that he s similar to Red in that he s dealing with tremendous loss, and loss of love, and the feelings that can evoke. I think what people in the media may be struggling with is that I have made it almost a mission of sorts to go into what I sometimes call a Western Kabuki style of film performance, almost an operatic style of film performance – by design. I mean, this was always very carefully and methodically choreographed and though-out, both vocally and dance-wise in terms of movement. I wanted to do that because I felt that we had gotten caught in a trap of naturalism as a style.Not that I m Picasso, I m not saying that, but I remember one conversation that I had with my father, where I was very tripped out by Picasso s portraits that seemed so abstract with people having eyes on the same side of their face. Like, what is this? I said, Well, can he also do photo realistic drawing? and dad said, Absolutely. He broke free. I always thought that what you can do in one art form, maybe you can do in another, and why not take a chance and attempt some sort of breaking-free with film performance? But somewhere along the way, I think I needed to remind myself – and, in fact, I think I needed to remind certain folks in critical response – that it wasn t the only brush I painted with. I mean, I think Joe is a movie that I made not long ago that was as close to my true self as I could get in terms of what was important to him.(Photo by © NEON)Certainly, with Rob in Pig, I wanted to get back to a kind of a quiet, meditative, internalized performance. It was not difficult. It was something that I felt I had the life experience for and the memories and the dreams, if you will, to portray without forcing it. So when I read Michael s script, it was exactly the right material at the right time for what I was trying to convey. I was feeling lost. I was feeling the need for isolation. I was feeling, Oh, I m no longer invited in Hollywood. Nor do I want to be invited in Hollywood. I have no interest in going back. I like making quiet little dramas. This is what I m interested in. But I can see where it would be shocking to the folks that remember me making five Jerry Bruckheimer movies back-to-back, which at that time was the challenge, in my opinion – no one thought I should do an adventure film or that I even had the wherewithal to do an adventure film, but I had grown up on Bronson and Eastwood and Connery, and I thought, Well, that would be fun to at least try. It s kind of a situation of wanting to stay interested and also stay challenged. At this moment, what interests me is getting back to my roots, which is quiet dramas.Rotten Tomatoes: The film has a lot to say about food, different philosophies towards food, Robin s passion, and everything just looks beautiful that we get to see you cook – or your stand-in cooks make – in the movie. Are you a cook in your own time? And do you have a specialty?Cage: I want to go on record: I didn t have any stand-in cooks. I can t replace my hands. If I see someone else s hand in front of my hand, I go, No, no, no. That takes me out of the movie. I had two excellent teachers, Chef Chris and Chef Rucker from Le Pigeon. Chef Chris taught me the mushroom tart, or pie, and then I learned the squab blueberry dish from Le Pigeon.Food has always been important to me. Food is what I like to spend my money on. Food, to me, comes first. I think that the chefs today can do amazing things in the world of art, because without food, then nothing else really matters: Food, and then I can enjoy music and then I can enjoy painting and then I can enjoy a great cinema and then I can meditate or then I can write a poem. Whatever it is, food comes first.I have tremendous respect for these people and I also understand the pressures that go into the world, the epicurean world. Because if you think about this art form – and it is an art – that s the only one where they re actually ingesting it physically into their body as an audience, or as a client, or as a foodie, or whatever you want to call it. There s tremendous pressure and risk with that. You don t want them to get sick. You want them to have a good experience. Everything matters. The ambience matters, the bread matters, everything. So it s a high-pressure job and I wanted to convey the regard and the reverence that I have for what they do.(Photo by © NEON)Rotten Tomatoes: When you re home, are you someone who has a go-to dish that you can whip up in five minutes?Cage: If you re asking me, am I a chef, I wouldn t put myself at that level, but I can cook. I make a pretty good seafood arrabbiata pasta. I am passionate about putting different tastes together. I like Japanese food, I like Italian, and Chinese is probably the most complex. I think the continent of Asia, probably, in my opinion, has the greatest and most complex foods of the world. But I remember I once imagined a sweet shrimp or an ebi and I went to my sushi chef and I said, Could you slice the sweet shrimp open and then could you put the uni inside the ebi and then can you put it on less rice, please, and then wrap it with the seaweed? I had that taste in my mind and it was so beautiful when I got it.So, I do like to put tastes together. I remember Joel Robuchon had something that was a Wow. He put coffee grinds with uni frappe. I mean, who thinks to do that? Who thinks to put coffee and sea urchin together? It was one of the most amazing taste sensations I ve ever had. So, yeah, I m very interested in that world and I do like to play around.I do Eggs Diablo – I really spice up my fried eggs over easy and I just kick in a lot of chili and red chili pepper flakes and some tomato paste. It s a beautiful little dish that I like to make for breakfast, but yeah, I enjoy it.The secret to great cooking for me is that you have to have respect for the actual ingredients. Sometimes these chefs get lost in overdoing it with the complexity of the sauce, because they re trying to mask what s wrong with the actual source, what s wrong with the fish. But if you get a great piece of fish, treat it with respect. Just light olive oil, some garlic, some sea salt, bingo. Trip to the moon, man.Rotten Tomatoes: I need to come to your place. Just finally, they re giving me the wrap, but for your upcoming Joe Exotic series, are we going to get the Kabuki-style performance? How extreme are we going there?Cage: That s not going to be happening, I m not playing Joe Exotic. We had two really excellent scripts, but I think I don t know. I think somewhere along the way, the studio felt that that was a fad that had come and gone and that it was a thing of the past. Frankly, I for one am okay with it because I have other things I want to explore and other characters I want to play.I was a bit trepidatious about going into the television universe, too. One of the things I really love about independent filmmaking is that I can get in and I can get out. If there s one problem in the chain of filmmakers, I know I ve got just four more weeks to go; but a TV character, if there s a problem and you re stuck on location for six months, that does seem a little terrifying to me.Pig is in theaters from Friday July 16, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.99单机游戏下载Got a ghost problem? A rogue vampire keeping you up at night? A spawn of Satan disturbing your peace? If so, there are two teams you can rely on to crack the case: The Winchester Brothers of TV’s Supernatural or the Scooby Gang and its hilarious namesake, Scooby-Doo. But which is better suited to solve your supernatural issues? In our latest episode of Vs., we’re pitting the long-running series Supernatural against everything Scooby-Doo – the original cartoon, its spin-offs, and the live-action movies. Which mystery-solvers are more popular with the people and the critics? Which franchise features the richest characters? And which team has faced off against the most dastardly villains? Find out as Rotten Tomatoes Contributing Editor Mark Ellis breaks it down to decide whether you should hop in the Mystery Van or the Winchesters’ Chevy when the ghouls come a-calling.As ever, if you don t agree with our choice of winner, let us have it in the comments.Scoob! will be released digitally May 15, 2020. Supernatural airs on the CW, next air dates are unknown.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
1.10.5 2月喜迎With studios and distributors loading up on a pre-launch campaign against Disney’s dominance at the box office – something that will be amplified with next week’s release of The Lion King – there were not a lot of alternatives for moviegoers to get behind this weekend. Marvel and Pixar both led the way again and the two newcomers could barely combine to beat the film in second place. For those in a Chicken Little panic over supposed dwindling ticket sales this year, this weekend certainly gave fuel to that fire with the top 10 films adding up to the lowest July weekend total since 2009.King of the Crop: Spider-Man Not Far From the Billion Club (Photo by © Columbia Pictures / © Marvel Studios/ Courtesy Everett Collection)Spider-Man: Far From Home took the lead again to no surprise for a second straight week. With 9.2 million on Thursday, it ranked as the 32nd highest-grossing film ever after 10 days in theaters. However, the drop to .3 million this weekend has put its numbers closer to Sam Raimi’s Spider-Man 2 than many of the top-tier MCU films. Raimi’s film had 5.1 million after 10 days and a .1 million second weekend. It finished its run with 3.5 million. Spider-Man: Homecoming made .2 million in its second weekend. Just remember that Far From Home also had a Tuesday opening (and the biggest one of all-time). Amongst the 35 films to have reached 5 million domestic, only Transformers: Revenge of the Fallen, Titanic, and Frozen made less in their second weekends than Far From Home. (Titanic’s .4 million in 1997 would be about .5 million today.) Worldwide the film has grossed over 7 million and will soon become the ninth film of the MCU to gross over a billion dollars.Rotten Returns: Stuber Disappoints with Million Start(Photo by Mark Hill/ © TM & copyright © Twentieth Century Fox Film Corp.)Stuber may not be a mega-budgeted production at million, but unless you are a true indie or working under the Blumhouse margin, an million opening is just not going to cut it. Thirty six films in 2019 have opened in 3,000 theaters or more and only Missing Link (.9 million) and Fox’s The Kid Who Would Be King (.1 million) – both Certified Fresh at 89% on the Tomatometer, incidentally – grossed less in their opening weekends. (A Dog’s Journey made .03 million.) Stuber, with a Tomatometer score of 46% currently, joins Winnie the Pooh, Ramona and Beezus, Monte Carlo, and Katy Perry: Part of Me as the films this past decade to open between million and million in July. They all posted final tallies between .1 million and .7 million. None of those films were rated “R” though.Top 10 and Beyond: Crawl Takes Small Bite as Disney Offerings Show LegsToy Story 4 crossed the 0 million line worldwide this weekend. Plus, the once-dubbed “disappointment” from burned analysts is only the 23rd highest-grossing film ever after 24 days with over 6 million at the domestic box office. Though the film is right in line with Toy Story 3’s fourth weekend of million, it did slip slightly behind during the week from being million ahead of the third film’s pace to just around million. No worries, however, as it is still on pace for a 0 million haul in North America. The fim is over 1 million worldwide.To finish up the Disney dominance news this week, their live-action version of Aladdin has officially become one of the 50th highest-grossing films of all-time in the world with over 0 million. The Lion King is already gearing up to join that list having grossed .7 million in China this weekend. Then, of course, Avengers: Endgame grabbed an additional .8 million across the globe and is now less than million away from capturing Avatar’s all-time record with .780 billion.(Photo by © Paramount Pictures / courtesy Everett Collection)Over to the horror side of the top 10, Paramount chose not to screen Alexandre Aja’s alligator horror film, Crawl, for critics this week. Nevertheless those that reviewed it gifted it with an 88% on the Tomatometer and it s already Certified Fresh. It may have bested Stuber for the newcomer crown this weekend, but its million start is not entirely a cause for celebration, even with just a .5 million budget. That is more than the .9 million that another mid-July alligator film called Lake Placid opened to back in 1999. That film would have opened to about .7 million in today’s dollars and finished with .7 million. The smart money is on Crawl finishing with less, unless word-of-mouth – which again, is good – pushes it further.Ari Aster’s Midsommar has .4 million after 12 days, which puts it between fellow Wednesday openers No Escape, the 2015 terrorist thriller, and the 2004 remake of Around the World in 80 Days. That may suggest a finish in the - million range. Except Midsommar’s .5 million weekend was less than either of theirs. The film would need .2 million to pass A24’s first wide opener, The Witch, for fifth place on their all-time chart. Midsommar is nevertheless going to finish no worse than right behind it in sixth place with more than The Disaster Artist’s .1 million. Annabelle Comes Home is now over million, placing the film firmly between the third weekend grosses and totals of The First Purge (.10 million, .48 million) and Rocky Balboa (.01 million, .27 million), so figure a final tally in there while it currently stands at over 3 million worldwide – far less than either of the previous films but more than enough to turn a profit.Coincidences in box office are always fun to find and this week’s example comes with Danny Boyle’s Yesterday, which has become the director’s second highest-grossing film ever. That has nothing to do with coincidence though. Actually the .75 million it grossed this weekend and a total at .3 million puts the film in league with another tale of a singer from the U.K. that opened in June and was released by Universal some nine years ago. That film was Get Him To The Greek. It grossed .1 million in its third weekend and had .8 million after 17 days on its way to .9 million.On the Specialty Box Office: The Farewell Shows Signs of Being a Breakout HitFinally, in limited release news, Bleecker Street’s The Art of Self-Defense (Certified Fresh at 92%) grossed 1,000 in seven theaters. That per-theater-average of ,285 is just a bit less than Late Night’s ,593 average in 14 theaters when it first opened. Amazon expanded that film into over 2,200 theaters in weekend two and it has grossed more than million to date. Bleecker will expand Art into over 500 theaters next weekend and it is the ninth film in Bleecker’s history (out of 32 releases) to score 90% or higher on the Tomatometer.But the developing story may be that of Lulu Wang’s The Farewell, with Awkwafina. One of the most beloved films out of Sundance this year grossed 1,330 this weekend in just four theaters. That is the 15th best opening ever for a film launched in just four venues and the third best for A24. Moonlight (2,075) and Lady Bird (4,437) opened just a bit stronger and they, respectively, rank third and first amongst all A24 releases. The Farewell also maintains a perfect Certified Fresh score of 100% on the Tomatometer. It is the 28th A24 film to score 90% or higher out the distributor s 77 releases.This Time Last Year: Hotel Transylvania 3 Bests Skyscraper(Photo by © Sony Pictures Releasing)Adam Sandler’s ghoulish animated series showed no signs of wavering as Hotel Transylvania 3: Summer Vacation got its first taste of the box office outside of September and opened at number 1 with million. Ant-Man and the Wasp dropped 61% to second place, but that was still good enough to keep back Dwayne Johnson’s attempt at Die Hard in Skyscraper, which opened to just .9 million. In limited release, Bo Burnham’s Eighth Grade opened to 3,797 in just four theaters. The Top 10 films grossed 4.03 million and averaged 67.7% on the Tomatometer. This year’s Top 10 did an estimated 3.04 million and averaged 66.9%. It was actually the lowest Top 10 total for a weekend in July since the July 31-August 2, 2009 weekend when Funny People led the way with .65 million and a top 10 total of 7.14 million.
Mowgli: Legend of the Jungle (2018) 53% In 2016, Disney released a live action/CGI hybrid remake of The Jungle Book, a musical adventure based on the Rudyard Kipling book of the same name, and it was a runaway success. Even before that film went into production, however, Warner Bros. had already begun development on their own adaptation of Kipling s book, with Christian Bale, Cate Blanchett, Benedict Cumberbatch, and Naomie Harris lending their voices to the animal characters and Andy Serkis, who voices Mowgli s bear friend Baloo, at the helm as director. The end result is Mowgli: Legend of the Jungle, a decidedly darker take on the source material that follows a young boy raised by wolves who must decide whether to remain in the jungle or return to civilization. The film opens in a handful of theaters this week, with an eventual release on Netflix next Friday, and according to critics, its move to the streaming platform may have been a strategic one by Warner Bros. While Serkis passion for the project is clear and the A-list cast is reliably effective, critics say Mowgli suffers from comparisons to the Disney film, both in the quality of its special effects and in the consistency of its tone, and the final product is a messy if ambitious misfire.
The first appearance of DC Comics Doom Patrol advertised the ragtag group as the world s strangest heroes. More than half a century later, those misfits have their own series on the DC Universe streaming service, Doom Patrol.Premiering February 15, the series follows a group of very unusual characters — a human brain contained in a robot body, a former actress with the ability to stretch her body into impossible shapes, a horribly burned pilot containing an electromagnetic force, and a paraplegic genius who brings them together — as they begrudgingly embark on a mission to stop the supervillain Mr. Nobody from plunging the world into a fit of absurd madness. They re all weird, confirmed Timothy Dalton, who plays the group s de facto leader, Dr. Niles Caulder. Also known as The Chief, Caulder is an avid collector of odd personalities.“He s obviously got a very particular kind of personality; it s a rich and complex personality,” Dalton told Rotten Tomatoes. “But he might be the sanest one of the lot — or the most normal at times.”(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc.)While the Doom Patrol cast was previously introduced in an episode of DC Universe s first live-action series, Titans, the characters made their first appearance in the DC Comics anthology My Greatest Adventure in 1963. The low-selling series was in danger of cancellation when writer Arnold Drake was tasked with creating a new lead feature that could potentially save the title. Drake, fellow writer Bob Haney, and artist Bruno Premiani assembled the group of very unusual characters he dubbed collectively the Doom Patrol, which were advertised on the cover of My Greatest Adventure #80 as the world s strangest heroes. Now, 56 years later, their creations are leading their own TV series, which is based on Drake, Haney, and Premiani s work and later comic book stories by Grant Morrison, Richard Case, and a number of other artists.Robotman, Negative Man, Elasti-Woman, Crazy Jane, and new recruit Cyborg are led by the Chief, whose keen analytical mind and mechanical prowess was able to save the brain of Cliff Steele (Brendan Fraser), a race car driver from the 1980s who survived a terrible accident only through The Chief’s intervention. While Cliff is still alive, the fact that he is trapped in a mechanical body means he s without his five senses or full range of emotions — and without his full identity.“Hubris got the best of this narcissistic daredevil race car driver who cheated in more than one way,” Fraser told RT.But in cheating death, Cliff also became Robotman, a person only partially aware of Cliff’s life as the series begins. According to Fraser, there is a clear delineation between Cliff and Robotman that will be explored as the series progresses.“He needs to learn to be a better human being than he ever was in a human body,” Fraser explained. “And he can only do that by being trapped in this mechanical creature.”(Photo by Quantrell D. Colbert / 2018 Warner Bros. Entertainment Inc.)The nature of Cliff s confinement, and that of fellow Doom Patrol member Larry Trainor (Matt Bomer), is obvious from their lack of human faces — Cliff’s robot face cannot mimic expression; while Larry, the former test pilot, hides his badly burned visage behind bandages — but another longtime resident of The Chief’s home uses a very different mask to hide her internal prison. The third member of the group, Rita Farr (April Bowlby), was an actress in the Hollywood studios of the 1950s. But an on-set accident turned her into a blob of stretchy gelatinous flesh that she struggles to keep in lockstep with the celluloid memory of her more glamorous appearance. While it may seem narcissistic on its surface, Bowlby said the underlying nature of her character s identity crisis makes her all the stranger.“I think she pushes people away, but all she really wants is people to love her,” Bowlby said. “She s surrounded by old memorabilia of herself, obsessed with herself, and then doesn t understand why other people aren t.”Also strange for Bowlby was creating two different versions of Rita. One appeared in an episode of DC Universe’s Titans last October, but the other is the one audiences meet on Doom Patrol.“Rita [on Titans] was, I felt, very loving and kind, almost like a 50s housewife,” Bowlby said. But when Jeremy Carver came on board to develop Doom Patrol into its own television show, he decided to rethink the characters and set it apart from Titans entirely. Bowlby abandoned the motherly Rita in favor of the one she read in Carver’s first script.“She s crippled emotionally,” she said of the revised character. “And she likes to protect herself from people and being outside in the world.”(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc.)The sense that she must protect herself from the world and protect the world from her abilities left Bowlby with the sense that Rita is not a hero.“I imagine that eventually we ll see Rita own her power, but right now it is not a power. It s a threat to her. She doesn t like it. She doesn t know how to control it,” she explained. “It s almost like she s working against even what [the Doom Patrol is] trying to do.”In fact, Fraser and Dalton both feel their characters are far from the hero archetype. Although Dalton joked that the Chief is somewhat heroic in giving the group a place to live, he added that the viewer should be “left in two minds about him” and his motivations. And as Fraser put it, Cliff is “not out to fight crime and make the world a better place like the Justice League.”But there is one character on Doom Patrol is looking to be a hero: Victor Stone, also known as Cyborg (Joivan Wade). The character may be the best known of Doom Patrol’s cast thanks to his appearances on Teen Titans, Teen Titans GO!, and in the Justice League feature film. The series honors that rich media history by envisioning him as a young man anxious to get on a big superteam like the Justice League. The survivor of a horrific accident that took the life of a close family member, Vic was rebuilt with cybernetic limbs and neural implants that offer him greatly enhanced speed, endurance and a few other abilities. With his promising football career ended by the accident, Vic is dedicated “to being that superhero and protecting people and essentially giving back,” Wade explained.“Being with the Doom Patrol is a great opportunity for him to do that and to learn,” he continued. “He gets to test out being a leader within the group and train to function within a team, which are skills he’ll need.”But even Justice League candidates can have some strangeness to them, and Wade teased a potential oddity for the Vic.“He s a computer as much as he is a human, Wade said, so having this piece of software and the cybernetics which made his body up, there is this question of, ‘Well, it s programming, isn t it?’ So based on that, how does he know what s real and what s not real?”While that leads to a question of identity, Wade is certain Vic’s desire to be a hero is genuine to the man and not his program.When it comes to identities, though, Crazy Jane (Diane Guerrero) has the market cornered. Created by Grant Morrison and Richard Case in the author s seminal 1980s run on the Doom Patrol comic book, Jane is a metahuman dealing with Dissociative Identity Disorder — and each of her 64 personalities has a superpower of its own. Jane s struggle leads to plenty of trouble at the Caulder mansion and plenty of strange happenings in the town nearby. But Guerrero said there is a very mundane and relatable aspect to Jane that viewers will connect with right away.“Her brain s never off,” she said. “That s part of the reason why some people drink or take on hobbies. It’s just to quiet the mind. Something s always constantly battling to surface.”For Jane, the battle is containing those personalities – all with their own scruples in addition to their powers.“Her job is to be steady and to be neutral and not to feel.” Guerrero said. It makes the character a hero in her eyes just be trying to manage it all.(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc.)Nonetheless, less heroic personas do emerge, like Hammerhead, a super strong and extremely angry person who manifests despite Jane’s best efforts to keep the anger contained.“[Jane is] the person who has all these feelings, but doesn t want to feel too much, and Hammerhead is just is totally OK being in that space and unapologetic, Guerrero said. While the personality often makes life in the mansion worse, There are situations that present themselves where you need Hammerhead’s force and anger to sort of help you through it.”Though Hammerhead s strength can be advantageous, it may be no match for the group s principle antagonist in the the first season: Mr. Nobody. Played by Alan Tudyk, the character is an old foe of The Chief and someone against whom the five main characters must unite. While several members of the Doom Patrol cast question their status as heroes, Tudyk said Nobody is “embracing his villainy” as the series begins.“He wants to hurt Niles, so he uses everything at his disposal — and so much of the world is at his disposal — to hurt him.” Unlike the others, Nobody chose his strangeness. That decision led him to a power and an understanding of the absurdity behind the world, which means he might be able to see himself as a therapist to the group but would take “too much joy in the pain it causes.” As Tudyk explained, “He would use the information you gave him as a therapist against you.”Though Nobody s intentions may be malicious or even heroic in some absurd way, they will change the Doom Patrol forever. As Guerrero put it, “I love how these people are forced to look at themselves — to really, really look at themselves — because they ve all pretty much given up.”Said Dalton, “Their potential strengths are their downfall. They don t know how to use them in any other way than in this self-destruction, really.”In the comics, the group eventually found a way to become heroes, as the cover blurb promised. Perhaps all their television counterparts need to do is find a way to care again, embrace their strangeness, and curb their self-destructive tendencies. It would be heroic enough of an act — at least for one season.Doom Patrol launches on Friday, February 15, with new episodes released on subsequent Fridays on DC Universe.
(Photo by HBO)Chernobyl leads nominations for the 2020 British Academy of Film and Television Arts awards for television with 14 nods. BAFTA announced the full list of the Virgin Media British Academy Television Awards and British Academy Television Craft Awards nominations on Wednesday.Other top nominees included The Crown with seven, Fleabag, and Giri/Haji with six, His Dark Materials and The Virtues with five, and four nominations each for Killing Eve, Sex Education, and Top Boy.U.K. residents can vote on the Virgin Media Must-See Moment at virginmedia.com/bafta. The category nominees include:Coronation Street: The Death of Sinead OsbourneFleabag: Confessional sceneGame of Thrones: Arya kills the Night KingGavin and Stacey: Nessa proposes to SmithyLine of Duty: John Corbett’s DeathLove Island: Michael recouples after Casa AmorWinners of the Television Craft Awards will be revealed Friday, July 17 and the Television Awards on Friday, July 31.COMEDY ENTERTAINMENT PROGRAMMETHE GRAHAM NORTON SHOW Graham Norton, Graham Stuart, Jon Magnusson, Steve Smith – So Television/BBC OneTHE LAST LEG Production Team – Open Mike Productions/Channel 4THE RANGANATION Production Team – Zeppotron/BBC TwoTASKMASTER Alex Horne, Andy Devonshire, Andy Cartwright, James Taylor – Avalon Television/DaveCURRENT AFFAIRSGROWING UP POOR: BRITAIN’S BREADLINE KIDS (DISPATCHES) Production Team – True Vision East/Channel 4THE HUNT FOR JIHADI JOHN Anthony Wonke, Richard Kerbaj, Peter Lovering, Jane Root – Nutopia, Livedrop Media, HBO/Channel 4IS LABOUR ANTI-SEMITIC? (PANORAMA) Leo Telling, John Ware, Neil Grant, Rachel Jupp – BBC/BBC OneUNDERCOVER: INSIDE CHINA’S DIGITAL GULAG (EXPOSURE) Robin Barnwell, David Henshaw, Guy Creasey, Gesbeen Mohammad – Hardcash Productions/ITVDRAMA SERIESTHE CROWN Peter Morgan, Suzanne Mackie, Benjamin Caron, Michael Casey – Left Bank Pictures, Sony Pictures Television/NetflixTHE END OF THE F***ING WORLD Production Team – Clerkenwell Films, Dominic Buchanan Productions/Channel 4/NetflixGENTLEMAN JACK Sally Wainwright, Faith Penhale, Laura Lankester, Phil Collinson – Lookout Point, HBO/BBC OneGIRI/HAJI Production Team – Sister Pictures/BBC TwoENTERTAINMENT PERFORMANCEFRANKIE BOYLE Frankie Boyle’s New World Order – Zeppotron/BBC TwoGRAHAM NORTON The Graham Norton Show – So Television/BBC OneLEE MACK Would I Lie to You – Zeppotron/BBC OneMO GILLIGAN The Lateish Show with Mo Gilligan – Expectation, Momo G/Channel 4ENTERTAINMENT PROGRAMMETHE GREATEST DANCER Amelia Brown, Phil Harris, Nigel Hall, Louise Hutchinson – Thames, Syco Entertainment/BBC OneTHE RAP GAME UK Tom O Brien, Simon Andreae, Tom Whitrow – Naked TV/BBC ThreeSTRICTLY COME DANCING Production Team – BBC Studios/BBC OneTHE VOICE UK Production Team – ITV Studios, Talpa/ITVFACTUAL SERIESCRIME AND PUNISHMENT Emily Lawson, Bruce Fletcher, Jemma Chisnall, Mark Raphael – 72 Films/Channel 4DON’T F**K WITH CATS: HUNTING AN INTERNET KILLER Mark Lewis, Felicity Morris, Michael Harte, Dimitris Doganis –Raw TV/NetflixLEAVING NEVERLAND Dan Reed – Amos Pictures/Channel 4OUR DEMENTIA CHOIR WITH VICKY MCCLURE Production Team – Curve Media/BBC OneFEATURESJOE LYCETT’S GOT YOUR BACK Production Team Rumpus Media, My Options Were Limited/Channel 4THE MISADVENTURES OF ROMESH RANGANATHAN Emily Hudd, Morgan Roberts, Christopher Cottam Rumpus Media/BBC TwoMORTIMER WHITEHOUSE: GONE FISHING Bob Mortimer, Paul Whitehouse, Lisa Clark, Will Yapp Owl Power/BBC TwoSNACKMASTERS Production Team Optomen/Channel 4FEMALE PERFORMANCE IN A COMEDY PROGRAMMEGBEMISOLA IKUMELO Famalam BBC Studios/BBC ThreePHOEBE WALLER-BRIDGE Fleabag Two Brothers Pictures/BBC ThreeSARAH KENDALL Frayed Merman Television Ltd, Guesswork Television/Sky OneSIAN CLIFFORD Fleabag – Two Brothers Pictures/BBC ThreeINTERNATIONALEUPHORIA Sam Levinson, Ravi Nandan, Kevin Turen, Drake The Reasonable Bunch, A24, Little Lamb, DreamCrew, Tedy Productions, HBO/Sky AtlanticSUCCESSION Production Team HBO Entertainment in association with Project Zeus, Hyperobject Industries and Gary Sanchez Productions/Sky AtlanticUNBELIEVABLE Production Team CBS Television Studios, Timberman-Beverly Productions, Katie Couric Media, Escapist Fare, Sage Lane Productions/NetflixWHEN THEY SEE US Production Team Participant Media, Tribeca Productions, Harpo Films, Array Filmworks/NetflixLEADING ACTORCALLUM TURNER The Capture Heyday Television, NBC Universal/BBC OneJARED HARRIS Chernobyl – Sister Pictures, The Mighty Mint, Word Games, HBO/Sky AtlanticSTEPHEN GRAHAM The Virtues Warp Films, Big Arty Productions/Channel 4TAKEHIRO HIRA Giri/Haji – Sister Pictures/BBC TwoLEADING ACTRESSGLENDA JACKSON Elizabeth Is Missing – STV Productions/BBC OneJODIE COMER Killing Eve – Sid Gentle Films/BBC OneSAMANTHA MORTON I Am Kirsty – Me and You Productions/Channel 4SURANNE JONES Gentleman Jack – Lookout Point, HBO/BBC OneLIVE EVENTBLUE PLANET LIVE Production Team – BBC Studios Natural History Unit, Open University, BBC Learning/BBC OneELECTION 2019 LIVE: THE RESULTS Production Team – ITV News, ITN/ITVGLASTONBURY 2019 Production Team – BBC Studios/BBC TwoOPERATION LIVE Production Team – The Garden Productions/Channel 5MALE PERFORMANCE IN A COMEDY PROGRAMMEGUZ KHAN Man Like Mobeen – Tiger Aspect Productions, Cave Bear Productions/BBC ThreeJAMIE DEMETRIOU Stath Lets Flats – Roughcut TV/Channel 4NCUTI GATWA Sex Education – Eleven Film/NetflixYOUSSEF KERKOUR Home – Jantaculum, Channel X/Channel 4MINI-SERIESA CONFESSION Jeff Pope, Paul Andrew Williams, Tom Dunbar, Johnny Capps ITV Studios, Urban Myth Films/ITVCHERNOBYL Production Team – Sister Pictures, The Mighty Mint, Word Games, HBO/Sky AtlanticTHE VICTIM Rob Williams, Niall MacCormick, Sarah Brown, Jenny Frayn – STV Productions/BBC OneTHE VIRTUES Shane Meadows, Jack Thorne, Mark Herbert, Nickie Sault Warp Films, Big Arty Productions/Channel 4NEWS COVERAGEHONG KONG PROTESTS Production Team – Sky News/Sky NewsITV NEWS AT TEN: ELECTION RESULTS Production Team – ITV News, ITN/ITVPRINCE ANDREW THE EPSTEIN SCANDAL (NEWSNIGHT) Production Team – BBC News/BBC TwoVICTORIA DERBYSHIRE: MEN WHO LOST LOVED ONES TO KNIFE CRIME – BBC News/BBC TwoREALITY CONSTRUCTED FACTUALCELEBRITY GOGGLEBOX Tania Alexander, Leon Campbell, Stephen Lambert, Chris Hooker – Studio Lambert/Channel 4HARRY’S HEROES: THE FULL ENGLISH Production Team – Talkback/ITVRACE ACROSS THE WORLD Production Team – Studio Lambert/BBC TwoRUPAUL’S DRAG RACE UK Production Team – World of Wonder Productions/BBC ThreeSCRIPTED COMEDYCATASTROPHE Sharon Horgan, Rob Delaney, Jim O’Hanlon, Toby Welch Avalon Television, Birdbath, Merman/Channel 4DERRY GIRLS Lisa McGee, Michael Lennox, Sam Pinnell – Hat Trick Productions/Channel 4FLEABAG Production Team – Two Brothers Pictures/BBC ThreeSTATH LETS FLATS Jamie Demetriou, Tom Kingsley, Seb Barwell, Ash Atalla Roughcut TV/Channel 4SHORT FORM PROGRAMMEANYWHERE BUT WESTMINSTER John Domokos, John Harris – The Guardian/The GuardianBRAIN IN GEAR Gbemisola Ikumelo, Fergal Costello, Inez Gordon – BBC Studios/BBC iPlayerSOON GONE: A WINDRUSH CHRONICLE Roy Williams, Tinge Krishnan, Carol Harding – Douglas Road Productions, The Young Vic/BBC FourTONI_WITH_AN_I (BORN DIGITAL: FIRST CUTS) Marco Alessi, Ksenia Harwood, Mary Antony Plimsoll Productions, BFI/BBC FourSINGLE DOCUMENTARYTHE ABUSED Barbie MacLaurin, Napoleon Stratogiannakis, Malcolm Brinkworth, Benedict Adams Brinkworth Productions/Channel 5DAVID HAREWOOD: PSYCHOSIS AND ME Emma Hindley, Wendie Ottewill, Olivia Isaacs, David Harewood – Films of Record, Open University/BBC TwoTHE FAMILY SECRET Anna Hall, Sally Ogden, Luke Rothery, Brian Woods – True Vision Yorkshire/Channel 4THE LAST SURVIVORS Arthur Cary, Morgan Matthews, Katherine Anstey, Joby Gee – Minnow Films/BBC TwoSINGLE DRAMABREXIT: THE UNCIVIL WAR Production Team – House Productions, Baffin Media/Channel 4ELIZABETH IS MISSING Andrea Gibb, Aisling Walsh, Sarah Brown, Chrissy Skinns – STV Productions/BBC OneTHE LEFT BEHIND Alan Harris, Joseph Bullman, Aysha Rafaele, Tracie Simpson – BBC Studios/BBC ThreeRESPONSIBLE CHILD Karen Wilson, Elinor Day, Sean Buckley, Nick Holt – Kudos, 72 Films/BBC TwoSOAP CONTINUING DRAMACASUALTY Production Team BBC Studios/BBC OneCORONATION STREET Production Team – ITV Studios/ITVEMMERDALE Production Team – ITV Studios/ITVHOLBY CITY Production Team – BBC Studios/BBC OneSPECIALIST FACTUAL***8 DAYS: TO THE MOON AND BACK Production Team – BBC Studios, PBS/BBC TwoSEVEN WORLDS, ONE PLANET Production Team – BBC Studios Natural History Unit, BBC America, Tencent Penguin Pictures, ZDF, France Télévisions, CCTV9/BBC OneTHATCHER: A VERY BRITISH REVOLUTION Production Team – BBC Studios: The Documentary Unit/BBC TwoYORKSHIRE RIPPER FILES: A VERY BRITISH CRIME STORY Liza Williams, Jasmine McNabb, Nancy Bornat, Leanne Klein – Wall to Wall Media/BBC FourSPORT2019 RUGBY WORLD CUP FINAL: ENGLAND V SOUTH AFRICA Phil Heslop, David Francis, Mark Demuth, Paul McNamara – ITV Sport/ITVICC CRICKET WORLD CUP FINAL Production Team – Sky Sports, Sunset+Vine, ICC TV/Sky Sports CricketFIFA WOMEN’S WORLD CUP 2019 SEMI FINAL: ENGLAND V USA Frank Callaghan, Stu Hutchinson, Pete Burton – Input Media/BBC OneWIMBLEDON 2019 MEN’S FINAL Production Team – BBC Sport/BBC OneSUPPORTING ACTORJOE ABSOLOM A Confession ITV Studios, Urban Myth Films/ITVJOSH O’CONNOR The Crown Left Bank Pictures, Sony Pictures Television/NetflixSTELLAN SKARSGARD Chernobyl – Sister Pictures, The Mighty Mint, Word Games, HBO/Sky AtlanticWILL SHARPE Giri/Haji – Sister Pictures/BBC TwoSUPPORTING ACTRESSHELEN BEHAN The Virtues Warp Films, Big Arty Productions/Channel 4HELENA BONHAM CARTER The Crown Left Bank Pictures Sony Pictures/NetflixJASMINE JOBSON Top Boy Cowboy Films, Easter Partisan Films, DreamCrew, SpringHill Entertainment/NetflixNAOMI ACKIE The End of the F***ing World Clerkenwell Films, Dominic Buchanan Productions/Channel 4VIRGIN MEDIA’S MUST-SEE MOMENT (voted for by the public)CORONATION STREET The Death of Sinead Osbourne – ITV Studios/ITVFLEABAG Confessional Scene Two Brothers Pictures/BBC ThreeGAME OF THRONES Arya Kills the Night King – Bighead, Littlehead, Television 360, Startling Television, HBO/Sky AtlanticGAVIN AND STACEY Nessa Proposes to Smithy – Fulwell 73, Tidy Productions and Baby Cow Production for BBC OneLINE OF DUTY John Corbett’s Death – World Productions/BBC OneLOVE ISLAND Michael recouples after Casa Amor – ITV Studios, Motion Content Group ITV2* Entertainment Programme is given in honour of Lew Grade** Single Documentary is given in honour of Robert Flaherty*** Specialist Factual is given in honour of Huw WheldonBritish Academy Television Craft Awards Nominations (winners to be revealed Friday 17 July)BREAKTHROUGH TALENT sponsored by Sara Putt AssociatesAISLING BEA (Writer) This Way Up Merman TV/Channel 4ANEIL KARIA (Director) Pure (ep 3) Drama Republic/Channel 4 Top Boy (ep 10) Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/NetflixLAURIE NUNN (Writer) Sex Education Eleven Film/NetflixSEAN BUCKLEY (Writer) Responsible Child – Kudos, 72 Films/BBC TwoCOSTUME DESIGNCAROLINE MCCALL His Dark Materials Bad Wolf/BBC OneJOANNA EATWELL Beecham House – Bend It TV/ITVMICHELE CLAPTON Game of Thrones Bighead, Littlehead, Television 360, Startling Television/HBO/Sky AtlanticODILE DICKS-MIREAUX Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticDIRECTOR: FACTUALARTHUR CARY The Last Survivors Minnow Films/BBC TwoDAN REED Leaving Neverland AMOS Pictures/Channel 4MARK LEWIS Don’t F**k with Cats: Hunting an Internet Killer Raw TV/NetflixROBIN BARNWELL Undercover: Inside China’s Digital Gulag (Exposure) Hardcash Productions/ITVDIRECTOR: FICTION sponsored by 3 Mills StudiosHARRY BRADBEER Fleabag – Two Brothers Pictures/BBC ThreeJOHAN RENCK Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticSHANE MEADOWS The Virtues – Warp Films, Big Arty Productions/Channel 4TOBY HAYNES Brexit: The Uncivil War – House Productions/Channel 4DIRECTOR: MULTI-CAMERA sponsored by JackshootBRIDGET CALDWELL The Royal British Legion Festival of Remembrance BBC Studios/BBC OneJANET FRASER CROOK Glastonbury 2019 BBC Studios/BBC TwoMATTHEW GRIFFITHS Six Nations 2019 Wales v England BBC Sport/BBC OnePAUL MCNAMARA ITV Racing: Cheltenham Festival ITV Sport/ITVEDITING: FACTUALANDY R. WORBOYS Untouchable: The Rise and Fall of Harvey Weinstein – Lightbox/BBC TwoJULES CORNELL Leaving Neverland AMOS Pictures/Channel 4KIM HORTON 63 Up MultiStory Media/ITVMICHAEL HARTE Don’t F**k With Cats: Hunting an Internet Killer Raw TV/NetflixEDITING: FICTIONDAN CRINNION Killing Eve (Episode 4) Sid Gentle Films/BBC OneELEN PIERCE LEWIS Giri/Haji – Sister Pictures/BBC TwoGARY DOLLNER Fleabag Two Brothers Pictures/BBC ThreeJINX GODFREY, SIMON SMITH Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticENTERTAINMENT CRAFT TEAM sponsored by HotcamAMBER RIMELL, BRONSKI, MISTY BUCKLEY, TIM ROUTLEDGE Glastonbury 2019 (Stormzy) – BBC Studios, Tawbox/BBC TwoDAVID BISHOP, VICKY GILL, ANDY TAPLEY, PATRICK DOHERTY Strictly Come Dancing BBC Studios/BBC OneMARK BUSK-COWLEY, STEVE KRUGER, IAIN STIRLING, JAMES TINSLEY Love Island ITV Studios, Motion Content Group/ITV 2NIGEL CATMUR, PATRICK DOHERTY, KEVIN DUFF, ANDREW STOKES The Royal British Legion Festival of Remembrance BBC Studios/BBC OneMAKE UP HAIR DESIGN sponsored by MAC CosmeticsDANIEL PARKER, BARRIE GOWER Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticINMA AZORIN The Trial of Christine Keeler Ecosse Films, Great Meadow Productions/BBC OneKIRSTIN CHALMERS Catherine the Great New Pictures, Origin Pictures/Sky AtlanticLOZ SCHIAVO Peaky Blinders Caryn Mandabach Productions, Tiger Aspect/BBC OneORIGINAL MUSICADRIAN JOHNSTON Giri/Haji – Sister Pictures/BBC TwoANDREW PHILLIPS War in the Blood – Minnow Films/BBC TwoDAVID HOLMES, KEEFUS CIANCIA Killing Eve – Sid Gentle Films/BBC OneHILDUR GUDNADOTTIR Chernobyl- Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticPHOTOGRAPHY: FACTUAL sponsored by The FarmBERTIE GREGORY, HOWARD BOURNE, JOHN SHIER Seven Worlds, One Planet BBC Studios/BBC OneDOUG ANDERSON, ROGER HORROCKS, GAVIN THURSTON Our Planet (Coastal Seas) Silverback Films/NetflixJAMIE MCPHERSON, HECTOR SKEVINGTON-POSTLES, BARRIE BRITTON Our Planet (Frozen Worlds) Silverback Films/NetflixPATRICK SMITH, NEIL HARVEY Untouchable: The Rise and Fall of Harvey Weinstein – Lightbox/BBC TwoPHOTOGRAPHY LIGHTING: FICTION sponsored by ScreenSkillsADRIANO GOLDMAN The Crown Left Bank Pictures, Sony Pictures Television/NetflixJAKOB IHRE Chernobyl Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticJOE ANDERSON Top Boy Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/NetflixSUZIE LAVELLE His Dark Materials (Episode 3) – Bad Wolf, BBC Studios, HBO/BBC OnePRODUCTION DESIGN sponsored by MicrosoftLAURENCE DORMAN, LINDA WILSON Killing Eve Sid Gentle Films/BBC OneLUKE HULL, CLAIRE LEVINSON-GENDLER Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticMARTIN CHILDS, ALISON HARVEY The Crown – Left Bank Pictures, Sony Pictures Television/NetflixSAMANTHA HARLEY, MIRI KATZ Sex Education – Eleven Film/NetflixSCRIPTED CASTING sponsored by SpotlightDES HAMILTON Top Boy – Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/NetflixLAUREN EVANS Sex Education – Eleven Film/NetflixNINA GOLD, ROBERT STERNE Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticYOKO NARAHASHI, SHAHEEN BAIG, LAYLA MERRICK-WOLF Giri/Haji – Sister/BBC TwoSOUND: FACTUAL sponsored by ShureGRAHAM WILD, KATE HOPKINS Seven Worlds, One Planet – BBC Studios/BBC OneGRAHAM WILD, KATE HOPKINS, TIM OWENS Our Planet (One Planet) – Silverback Films Production/NetflixNICK FRY, STEVE SPEED, JAMES EVANS, NICK ADAMS Formula 1: Drive to Survive – Box to Box Films/NetflixSOUND TEAM Battle of the Brass Bands – Two Four/Sky ArtsSOUND: FICTIONDILLON BENNETT, JON THOMAS, GARETH BULL, JAMES RIDGEWAY His Dark Materials – Bad Wolf, BBC Studios, HBO/BBC OneIAN WILKINSON, LEE WALPOLE, FRASER BARBER, STUART HILLIKER A Christmas Carol – FX Productions in association with the BBC, Minim UK Productions, Scott Free, and Hardy Son Baker/BBC OneSOUND TEAM Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticSOUND TEAM The Crown – Left Bank Pictures, Sony Pictures Television/NetflixSPECIAL, VISUAL GRAPHIC EFFECTSBEN TURNER, CHRIS REYNOLDS, ASA SHOUL The Crown – Left Bank Pictures, Sony Pictures Television/NetflixFRAMESTORE, PAINTING PRACTICE, REAL SFX, RUSSELL DODGSON His Dark Materials – Bad Wolf, BBC Studios/HBO/BBC OneLINDSAY MCFARLANE, CLAUDIUS CHRISTIAN RAUCH, JEAN-CLÉMENT SORET, DNEG Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticMILK VISUAL EFFECTS, GARETH SPENSLEY, REAL SFX Good Omens – Amazon Studios, BBC Studios, Narrativia, The Blank Corporation/Amazon Prime VideoTITLES GRAPHIC IDENTITYALEX MACLEAN The Durrells – Sid Gentle Films/ITVELASTIC Catherine the Great – New Pictures, Origin Pictures/Sky AtlanticELASTIC, PAINTING PRACTICE His Dark Materials – Bad Wolf, BBC Studios, HBO/BBC OneLIGHT CREATIVE Ghosts – Monumental Television, Them There/BBC OneWRITER: COMEDYDANNY BROCKLEHURST Brassic – Calamity Films/Sky 1JAMIE DEMETRIOU Stath Lets Flats – Roughcut TV/Channel 4PHOEBE WALLER-BRIDGE Fleabag – Two Brothers Pictures/BBC ThreeSAM LEIFER, TOM BASDEN Plebs – Rise Films/ITV2WRITER: DRAMACHARLIE COVELL The End of the F***ing World – Clerkenwell Films, Dominic Buchanan Productions/Channel 4CRAIG MAZIN Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticJESSE ARMSTRONG Succession – HBO Entertainment, Project Zeus, Hyperobject Industries, Gary Sanchez Productions/Sky AtlanticSHANE MEADOWS, JACK THORNE The Virtues – Warp Films, Big Arty Productions/Channel 4
99单机游戏下载 (Photo by Marvel Studios)After so much speculation, actor-endorsed blind alleys, and examinations of the kitchen sets, WandaVision drew to a close the only way it could. And while that may leave some hoping for certain cameos disappointed, the lingering questions will continue to fuel our speculation about the overall Phase 4 story for sometime. WandaVision may have seen its series finale, but the Marvel Cinematic Universe continues. Let s take a look at the program s contributions to the MCU s ongoing tale.Spoiler Alert: This article reveals details from WandaVision episode 9 “The Series Finale.” Stop here if you have not watched the episode.The Scarlet Witch Was Foretold in The Darkhold — or Was The Darkhold Waiting for a Victim?(Photo by Suzanne Tenner/Marvel Studios)Suggesting the book in Agatha s (Kathryn Hahn) basement was The Darkhold may be our only correct guess during the series, but we ll take it. The book is an immensely powerful tome, as we previously discussed, and a key object for any of Marvel s magic users to obtain. But Agatha added an interesting wrinkle by telling Wanda (Elizabeth Olsen) the Scarlet Witch has a whole page devoted to her. It declares she will end the world.The series seems to agree with The Darkhold as Wanda s powers grew exponentially this week and looked quite destructive. Then there s Wanda s style as the Scarlet Witch. While we re sure fans are happy to finally see her with a costume inspired by the late, great Jack Kirby — seriously, we love Kirby s penchant for thrilling headgear — it looks far more like a villain s get-up than that of an Avenger.But, perhaps, that is the point. If Wanda s abilities are as dangerous as The Darkhold suggests, then Wanda still has quite a struggle ahead of her to combat the more impulsive and destructive aspects of her soul. Look at the way she initially strangled the Westview residents when they confronted her. That was instinct. And though Wanda released them and removed the Hex, the final shot of her reading The Darkhold sure feels like a clear indication that she will be Doctor Strange s (Benedict Cumberbatch) opponent in Doctor Strange in the Multiverse of Madness. Or, at least, he ll have to battle the Scarlet Witch even as Wanda fights against her from inside.Maybe we ll even get a recreation of The Patty Duke Show during the film.Now that The Darkhold is an artifact in the MCU, it still leaves us wondering about Agents of S.H.I.E.L.D. and its role in that series. Considering that series firmly established the book corrupts all who read it, will it be the true source of the Scarlet Witch s desire to end all things?Was It Ralph All Along?(Photo by Marvel Studios - episode 105)Though WandaVision s plot, and Wanda s powerset, always seemed like a great opportunity to introduce the Mutants into the MCU — Wanda s ties to the X-Men are almost as strong as her association with the Avengers — the hoped for moment was dispelled once Monica (Teyonah Parris) looked at a Water and Power statement addressed to one Ralph Boehner (Evan Peters) and one of his headshots. The fake Pietro was an actor all along! He was also Agnes s never-seen husband Ralph. Honestly, it s a nice tying of the bow as any other explanation for the guy (short of another reality s Pietro Maximoff) would require a lot of screentime.But, of course, it means no X-Men related revelations occurred in the series as a whole. And in the last month, speculation about certain cameos ran rampant. We participated, of course, and until we saw Wanda s father, Olek (Daniyar), last week we started to wonder if, perhaps, Ian McKellan would appear as Magneto at the last second just for Wanda to ask Papa? as the screen turned to black.Such a scene is still possible in some other project, of course.Unfortunately, much of the cameo game turned out to be a joke on the part of Paul Bettany, who admitted earlier this week that he was referring to himself as The Vision (more on that in moment) and not some truly earth-shattering special appearance.(Photo by Marvel Studios)Which leads to a question: Is WandaVision lesser for not having that shocking cameo? We ve striven to let the show s text guide us in our ponderings — even when it led us away from the Agatha Harkness fan theory. And while we always suggested Wanda s powers could give us the X-Men — and used the Kick-Ass joke as evidence — we re not exactly sad they didn t appear. The one thing we ve definitely held onto was Wanda s grief as the reason for the Westview Anomaly. And though the show ended on a more melancholy note than we expected, we re satisfied with the resolution to the mystery presented in the first three episodes.Those expecting Mephisto may not be so satisfied. But hope for the Devil springs eternal and Billy (Julian Hilliard) and Tommy (Jett Klyne) shouts in the last moments of the end-credit stinger should fuel the further possibility of his eventual arrival. With The Darkhold, the Dark Dimension, and a Mutliverse of madness in play, he is — like Thanos — inevitable. But he may, ultimately, have nothing to do with the twins continued existence.Vision vs. The Vision: Which Is Which?(Photo by Marvel Studios)As in the comics, the use of the definite article in regard to Vision (Bettany) is inconsistent. To be sure, he is often addressed as The Vision on comic book covers and in stories, but characters just as often drop the as he becomes more than a title — an interchangeability he shares with the Batman, oddly enough. But in the program s final cast list, it credits Bettany as both both Vision and The Vision, using that grammatical option as a way to differentiate the Vis we grew to love over the course of the series and the reanimated corpse of the original synthezoid.And we re here for it because it also speaks to the underlying conflict in their battle: the authenticity of Visions.Indeed, after their thrilling fight, they have an equally thrilling conversation about who is The Vision really is — leading to, we suspect, the proper resurrection of the true Vision. The Vision s mention of having been J.A.R.V.I.S., the AI in Tony Stark s early Iron Man suits, seems to indicate his memories, self-awareness, and autonomy are again intact. But the fact their argument ends with them both truly being Vision and not The Vision (or is that vice versa?) also indicates The Vision will need to continue soul-searching before he can obtain his true colors.Or, perhaps, that piece of the Mind Stone residing in Wanda will someday lead to The Vision becoming whole. In the meantime, we definitely love the elegant wordplay in differentiating Vision from The Vision. It s definitely better than our pitch from last week: New Vision and Vision s Corpse.All that said, we love for both versions of the character to merge some day. Well, presuming Vis didn t download his memories into The Vision already.Will Monica Rambeau Become Director of S.W.O.R.D. or Agent of S.H.I.E.L.D.?(Photo by Suzanne Tenner/Marvel Studios - episode 105)While it may have been the briefest resolution in the series, we were glad to see Dr. Darcy Lewis (Kat Dennings) trap S.W.O.R.D. director Hayward (Josh Stamberg) so he could be taken into FBI custody. Although, we admit it would ve been nice to see him get a more just dessert — a la Agatha becoming Agnes again.Nevertheless, it puts Monica in a prime position to become director of S.W.O.R.D. But considering all that she s learned about the organization in the last week, would she want the job? The fact she s still wearing a S.W.O.R.D. shirt is a visual clue that it is indeed possible and, clearly, she could do good work there. But there is another tempting offer on the table.(Photo by Marvel Studios - Captain Marvel)In what has to be our first glimpse of Secret Invasion, a Skrull operative spirits Monica away from the scene of Hayward s crime to tell her an old friend of her mother wants to talk. In space. Now, there are two people who could be Maria Rambeau s old friend: Carol Danvers (Brie Larson) and Nicholas J. Fury (Samuel L. Jackson). In terms of Marvel Studios production chronology, we ll next see Monica in the Captain Marvel sequel, but we re going to assume Fury has invited Monica to the orbital staging platform glimpsed at the end of Spider-Man: Far From Home. Which, of course, only leads to more questions about Fury.For one thing: How long has that platform been there? Considering he was erased during the Blip, he could not have put this thing together in just a few weeks. That suggests it s been there for a while and, perhaps, what he was working on before he turned to dust in 2019. But the Skrull operative leads to a new possibility — is the outpost even his? Perhaps the Skrulls put it there as part of their decades-long secret invasion.Or, possibly, the platform is a next generation S.H.I.E.L.D. helicarrier capable of trans-atmospheric travel. Although Fury seemingly washed his hands of the agency at the end of Captain America: The Winter Solider — or left it in Agent Coulson s (Clark Gregg) capable hands if you accept Agents of S.H.I.E.L.D. as canon — we doubt he d truly let it wither away no matter how disgraced Hydra left it or how many of its secrets Natasha Romanoff (Scarlett Johansson) exposed.If that is the case, it leaves Monica with an intriguing choice: lead S.W.O.R.D or join S.H.I.E.L.D. Granted, we re presuming a lot about both organizations — like Fury having no stake in S.W.O.R.D. — and Monica s interest in them. One thing is clear though from what we know of her so far: an invitation into space is something she cannot refuse. And while her powers are still mysterious — is she a being of pure light now? — we have no doubt the next time we see her, it will be out among the stars.What s Next? Will Doctor Strange in the Multiverse of Madness Provide Answers?(Photo by Marvel Studios)The 20th century television sitcoms Wanda loved and emulated within the Hex took great pains to restore the status quo at the end of any given episode. On Bewtiched, Sam s magic remained hidden and Darren stayed employed. The Bradys always found family unity and their housekeeper, Alice, always found the right quip. But WandaVision eschews that tendency — and, perhaps, Wanda s greatest wish — for such tidy resolutions.Although we now know Agatha s main objective was to steal Wanda s powers because she was undeserving, she is now imprisoned as nosey neighbor Agnes. It is unclear if she will continue to live in Westview with poor Ralph or in some sort of stasis near Wanda s Sokovian cabin. And though it feels like a fitting punishment, is it really Wanda s to dole out? She evaded any accounting for her own transgressions, after all. And while she did apologize to Monica, it feels incomplete without one of the townspeople offering some sort of absolution.Then consider what Westview becomes without the Hex: dilapidated houses and a nearly abandoned downtown. It was on the brink of economic collapse before Wanda got there. And yet, the obvious pain its citizens were in, compounded by Wanda inadvertently forcing them to experience her own, means her cosmetic enhancements came at a terrible cost and further cement her as a villain. Nevertheless, Wanda is also the protagonist and by the grammar of the shows she idolized, she should be able to at least restore Westview to some prosperity as reparation. The fact she cannot is an interesting counter to the world she tried to make for herself. And in removing the Hex, she sacrificed the handful of things which brought her some joy in the weeks since the battle with Thanos.(Photo by Marvel Studios)Of course, trying to weigh that out leads back to the question of authenticity Vision and The Vision confronted. Does the pain she unleashed to create a false reality negate the grief she was in? Whose pain is the pain?That ambiguity, and the haunting foreshadowing of the Scarlet Witch as an extinction-level event, is something we ll have to live with until Doctor Strange in the Multiverse of Madness picks up the thread. But as we were always sympathetic to Wanda s grief, we hope the character finds the help she needs and comes back from the brink.In the meantime, we ll congratulate WandaVision for using the grammar of television and the language of sitcoms to present these ideas to us. Also, we ll thank them for eight weeks of wild theories, endless possibility, and one of Marvel Studios most emotionally resonant stories.Read Also: How WandaVision Recreated the Sitcoms of the Scarlet Witch’s Childhood On an Apple device? Follow Rotten Tomatoes on Apple News.
事情是这样的，其实在此前，有很多玩家已经通过“内测”、“翻墙去下载其他英雄联盟手游服务器”，来游玩这款游戏了。只不过当时在游玩过程中，玩家总觉得相对于端游来说，无论是操作流畅度还是游戏进程的快慢等等，都有很大的差距，于是玩家们对英雄联盟手游国服，并没有抱特别大的希望。 (Photo by ©AVCO Embassy Pictures courtesy Everett Collection)In 1978, director John Carpenter released the seminal horror film Halloween and it flopped. Or at least he thought it had. The truth was, it opened in such limited release that it took a long time for word of mouth to build momentum. Once it had, he found himself with a million gross (on a 5,000 budget making it the highest grossing indie film ever until The Blair Witch Project in 1999) and mounting expectations for a killer follow-up. We didn t want to make another knife picture, explained producer Debra Hill in the DVD documentary Tales from the Mist: Inside the Fog. While on vacation in England, she and Carpenter visited Stonehenge and took note of an eerie fog bank surrounding the mystical structure. What do you think is in that fog? asked Carpenter. And just like that, they had their follow-up.The Fog was released on February 8, 1980, and although Carpenter would have slightly more money than he did on Halloween, it was still paltry even by early 80s standards. He and Hill set out to craft an old-fashioned ghost story about the fictional seaside California town of Antonio Bay, and how its 100-year anniversary is marred by the arrival of a mysterious rolling fog masking dark and deadly secrets. To get it done, they d have to get crafty.To honor the 40th birthday of The Fog, let s take a peak inside the Carpenter-Hill playbook to learn how to make million dollar scares out of a coupons and a dream budget.Lesson 1: Set Yourself Up For Success(Photo by ©Embassy courtesy Everett Collection)No one wants to tell an artist to dream smaller, but there is something to be said for keeping your vision manageable. The conceit of hidden ghosts in a dense fog gave Carpenter a huge break on his FX budget right from the get-go. The killers are mostly seen in silhouette (if they re seen at all), which nicely works both thematically and as a cost-saving measure. No need to blow your wad on CGI ghouls when you can suggest more than you show.Lesson 2: Location, Location, Location(Photo by Lionsgate)Similar to the unseen threat idea, Carpenter wisely kept Antonio Bay nicely and cheaply small town. He secured two main locations, an actual lighthouse (located in Point Reyes Beach, California) and an old church (the Episcopal Church of the Ascension in Sierra Madre, California), and made the most of them. The movie didn t require sprawling locales or elaborate sets, because the sense of isolation and claustrophobia served the overall story so well.Lesson 3: If You Shoot Big, It ll Look Big(Photo by Lionsgate)Carpenter and his frequent collaborator, cinematographer Dean Cundey, understood that the best way to mask The Fog s lack of budget muscle was to shoot its small ideas in the biggest way possible. The duo chose to shoot in widescreen Panavision, which made the most of the vast seaside locations witness the scene when the son of local radio DJ Stevie Wayne (Adrienne Barbeau) discovers the driftwood on the beach, or when Elizabeth and Nick (Jamie Lee Curtis and Tom Atkins) take a stroll along a dock. These scenes give you big, spacious backgrounds and a real sense of scale, even though there isn t any real action taking place in them. It s subtle, but it works. A lot of cheap movies involve tight close-ups in nondescript cafes and they feel cheap. The Fog, meanwhile, feels more expansive than that. Shooting in wide-open Panavision, according to Hill, made it look like you have a bigger-than-life movie. Lesson 4: Multitask and Call In Favors(Photo by Lionsgate)Low budget filmmaking means you make the most of what you have within figurative arm s length. Father Malone s (Hal Holbrook) assistant Bennet doesn t have a lot of screen time and even fewer lines, so Carpenter himself stepped in to play the role (he would admit in the audio commentary that his own performance was “terrible” and that he’d never act again except as “helicopter pilots and walk-ons”). Not only did the shadowy figures in dense fog help the FX budget, it also helped with keeping the stunt department lean. Whenever you see a ghost arm smashing through doors and windows, it was usually the same arm (even though it was often edited to seem like dozens) that of Carpenter s childhood friend Tommy Lee Wallace, who also served as the movie s editor and production designer. Carpenter cast his then-wife, Barbeau, in the lead much to the chagrin of Hill, his ex-girlfriend and called in a favor to get his Halloween star Curtis into the mix. Including Curtis also helped convince her mom, screen legend Janet Leigh, to sign on as Antonio Bay s mayor. This had unexpected benefits, too: Carpenter wasn t shy when forced to use the Psycho actress star power to convince a local restaurant owner to stay open later so they could finish shooting.Lesson 5: Suggestive, Not Bombastic (Photo by Lionsgate) It didn t rely on the usual scares was how Cundey described The Fog in the Tales from the Mist doc, which is a euphemistic way of admitting they were under pretty tight constraints. But he and Carpenter built a sense of mounting dread and creeping unease through careful and inexpensive means. First, there was the score (done by Carpenter himself see Lesson 4), and then there were a series of simple but dramatic little moments like rattling bottles, honking car horns, dripping salt water, and sliding furniture that startled and creeped out the audience without having to rely on big, elaborate scares. There s also very little blood in the movie; the deaths are quick, brutal, and often off-screen. But the impact remains.Lesson 6: Pad If You Have To(Photo by Lionsgate)Carpenter s original cut of The Fog was a less-than-cinematic 85 minutes, so while keeping it lean and tight was good for the budget, it didn t help the finished product as much. He realized he needed to beef things up ever so slightly without stretching his already thin resources, so at the 11th hour he added the opening sequence of venerable actor John Houseman recounting the legend of Spivey Point over a campfire. The beach was faked on a soundstage, and the expository dialogue-disguised-as-local legend not only helped nudge the movie to a more respectable running time (alongside some additional shots of stabbings and a new sequence where a dead character appears to awaken in a hospital morgue to address concerns the producers had that the original cut wasn t scary enough), but it helped reinforce the overall ghost story feel without having to add much more than a simple fireside chat.Lesson 7: Compromise When You Must(Photo by Lionsgate)The character of KAB Radio DJ Stevie Wayne was modeled after legendary 60s and 70s DJ Alison Steele, known as The Nightbird. But where Steele played progressive counterculture rock and became a groundbreaking legend, Wayne rocks Antonio Bay with lounge music? Carpenter no doubt would have liked to have peppered his movie with cool rock tracks like Quentin Tarantino, but he had to program KAB with generic smooth jazz because, well, it was much, much cheaper. The only band Stevie mentions directly while giving an on-air shoutout to the crew of the Seagrass is The Coupe De Villes, which is Carpenter s side band (they performed the title track and even made a music video! for Big Trouble in Little China).The Fog first opened in wide release on February 8, 1980.