亚博在线登录入口采用百度引擎1（Baidu 3）owski years later. I think it all started when we hit on the name Elvis Presto. The rest kind of evolved from there. Verdict: RottenSuper Bowl XXIVPerformers: Super Bowl XXIV was held in New Orleans and coincided with the 40th anniversary of Charles Schulz s beloved Peanuts comics, so naturally, the league decided to put em both together for a halftime show that celebrated Charlie Brown and the gang, as well as the culture of New Orleans. Performers included singer Irma Thomas, fiddler Doug Kershaw, and clarinetist Pete Fountain plus Snoopy.Critical Response: A tribute to New Orleans, also to the 40th anniversary of the comic strip Peanuts, and maybe also to drugs, wrote Rolling Stone s Rob Sheffield. Because Charlie Brown has what exactly the hell to do with jambalaya and Mardi Gras again? Verdict: RottenSuper Bowl XXVPerformers: By the early 90s, the league — and more importantly, the networks trapped in an annual bidding war for the right to broadcast the show — recognized the need to safeguard against counter-programming luring viewers eyes away at halftime, particularly during a stretch of games that included a series of lopsided victories. Enter New Kids on the Block, who took the stage during Super Bowl XXV s halftime for a Disney-inspired celebration that included a performance of It s a Small World. It was preempted during the broadcast by a Gulf War speech from President George Bush, and overshadowed afterward by Whitney Houston s rendition of The Star-Spangled Banner — all of which was a relief to the New Kids, according to member Donnie Wahlberg.Critical Response: I don’t know how much pride I take in the actual performance, admitted Wahlberg. But I take pride in the fact that we were the first ones to do it. Verdict: Fresh. As Wahlberg noted, the New Kids were the first of-the-moment pop stars to perform during a Super Bowl halftime show even if no one outside the stadium saw it.Super Bowl XXVIPerformers: Held at the Metrodome in Minneapolis, the Super Bowl XXVI halftime show was themed around Winter Magic, featuring Gloria Estefan, Olympic figure skaters Dorothy Hamill and Brian Boitano, and backup from rapping kids, dancers, and members of the 1980 U.S. Olympics hockey team.Critical Response: It may have had its absurdly entertaining moments, but the show was embarrassed by Fox s In Living Color, which aired a Super Halftime Party episode that leeched roughly 22 million viewers away from the game.Verdict: RottenSuper Bowl XXVIIPerformers: Stung by the halftime ratings from the previous year, producers stepped up their game for Super Bowl XXVII, booking Michael Jackson — still out promoting his 1991 Dangerous LP — to perform a three-song set that s widely credited with redefining the league s approach to the show.Critical Response: As the New York Times put it, Michael Jackson’s legacy will forever include this title: King of Pigskin. Verdict: FreshSuper Bowl XXVIIIPerformers: No country artist was bigger in the 90s than Garth Brooks. He didn t play during the Super Bowl XXVIII halftime show, but producers lined up a multi-platinum quartet to bring sufficient star wattage to its Rockin Country Sunday spectacular, hiring Clint Black, Tanya Tucker, Travis Tritt, and the Judds to perform.Critical Response: Country music haters forced to watch this spectacle must have had their worst suspicion confirmed, wrote Entertainment Weekly s Ken Tucker. That country is just pop with with less sophistication. Verdict: RottenSuper Bowl XXIXPerformers: Clearly, this game s halftime show is no stranger to bizarre spectacle, but even in context, Super Bowl XXIX is something special. Designed to tie in with Disneyland s new Indiana Jones and the Temple of the Forbidden Eye attraction, it featured stand-ins for Harrison Ford and Karen Allen on a quest to rescue the stolen Lombardi Trophy (and musical numbers from Patti LaBelle, Tony Bennett, Arturo Sandoval, and the Miami Sound Machine).Critical Response: Words can t quite do it justice, but SB Nation might have summed it up best: Indiana Jones + singers parents will love + Disney music = a halftime show so 1990s it should be wearing spaghetti straps and feathered bangs. Verdict: RottenSuper Bowl XXXPerformers: There s no denying that Diana Ross was well past her hitmaking prime when she took the stage for the Super Bowl XXX halftime show but there s also no arguing that she came to show everyone else how it should be done. Classic songs? Check. A whopping four outfit changes? Check. Leaving the field in a helicopter? Check.Critical Response: A spectacular triumph, wrote Tom Shales for the Washington Post. Perhaps the best halftime show ever. Verdict: FreshSuper Bowl XXXIPerformers: As far as most of us are concerned, the Blues Brothers effectively ceased to exist after John Belushi s untimely passing in 1982. But surviving Brother Dan Aykroyd had other ideas, enlisting Belushi s brother Jim, John Goodman, and the members of ZZ Top for a Super Bowl Blues Brothers Bash that made up in attitude whatever it may have lacked in necessity.Critical Response: The event only served to remind everyone that John Belushi was still dead, wrote the San Francisco Chronicle s Peter Hartlaub, and that Jim Belushi should stick to straight-to-video K-9 sequels. Verdict: James Brown made an appearance, ergo the only possible verdict is Fresh.Super Bowl XXXIIPerformers: The league helped Motown celebrate its 40th anniversary with a halftime musical extravaganza featuring classic Hitsville acts (Smokey Robinson, the Temptations, Martha Reeves) alongside the label s new wave of chart-toppers (Boyz II Men, Queen Latifah). Also: the Grambling State University Marching Band.Critical Response: The set opens with the Temptations in what appear to be full denim suits, shrugged Vox, and only goes downhill from there. Verdict: The presentation might not have been perfect, but the songs are classics. Fresh.Super Bowl XXXIIIPerformers: Pundits chortled when Aerosmith played alongside ‘N Sync and Britney Spears in Super Bowl XXXV, but it was just part of a long tradition of halftime shows built out of wildly disparate ingredients. Case in point: Super Bowl XXXIII s halftime entertainment, which boasted a bill that included Stevie Wonder, Gloria Estefan, and briefly popular swing revivalists Big Bad Voodoo Daddy.Critical Response: Lamenting that Apparently someone thought Stevie Wonder didn’t pack enough star power to command the entire Super Bowl halftime stage, Idolator called the end result all over the place. Verdict: It s far from perfect, but Stevie performing Sir Duke in honor of Duke Ellington s 100th birthday? Fresh.Super Bowl XXXIVPerformers: Once again, Disney took the production reins for a Super Bowl halftime show, offering viewers a Tapestry of Nations that featured an intriguing-looking roster of performers — Phil Collins, Christina Aguilera, Enrique Iglesias, Toni Braxton, and Tina Turner — who were handed a set list that resolutely refused to play to any of their strengths. From Turner s lackluster rendition of Proud Mary to Collins performance of a ballad from the Tarzan soundtrack, this never really got out of second gear.Critical Response: Anything produced by Disney is expected to be corny and sentimental, enough to make you angry and not go to work the next day, wrote Yahoo! Music s Rob O Connor. It takes a full lineup of processed cheese to top the pack. Verdict: RottenSuper Bowl XXXVPerformers: As we ve seen, the Super Bowl has a tendency to toss unrelated acts together for its halftime shows, and as often as not, the results aren t as weirdly entertaining as they might seem on paper. But Super Bowl XXXV bucked that trend with a bill boasting Aerosmith, N Sync, Britney Spears, Mary J. Blige, and Nelly — a wild collision of pop, rock, and R B stars that worked in spite of itself.Critical Response: Adam Graham of the Detroit News called it The most fun halftime show the Super Bowl has ever produced, one whose sheer pop might won’t soon, if ever, be matched. Verdict: FreshSuper Bowl XXXVIPerformers: Understandably a little leery about embracing frivolity so soon after the September 11 attacks, Janet Jackson rebuffed the NFL s overtures for Super Bowl XXXVI — so they turned to U2, who delivered a heartfelt set that included scrolling the victims names on a big screen and culminated with frontman Bono opening his jacket to reveal the American flag.Critical Response: It was, decreed Sports Illustrated, arguably the best Super Bowl halftime show of all time. Verdict: FreshSuper Bowl XXXVIIPerformers: What does Sting have to do with No Doubt? As the Police co-founder told Howard Stern years later, he and frontwoman Gwen Stefani go way back — a bond that manifested itself when she inducted the band into the Rock and Roll Hall of Fame later that year. Stefani and Sting s duet on the Police hit Message in a Bottle stole the show from Shania Twain, who took a critical drubbing for her allegedly lip-synced performance.Critical Response: No thanks to Twain, wrote the Los Angeles Times, Stefani saved the play by doing what she does best, super-charging a Southern California crowd in a stadium setting through sheer force of ska-sonality. Verdict: FreshSuper Bowl XXXVIIIPerformers: You remember this one — even if you don t remember that Jessica Simpson, a University of Houston marching band, Kid Rock, Diddy, and Nelly also performed. Those Super Bowl XXXVIII halftime acts were bumped into the ashbin of history the moment Justin Timberlake caused the Janet Jackson wardrobe malfunction that prompted a record-setting number of TiVo rewinds (as well as a not-inconsiderable number of FCC complaints).Critical Response: For one flashing moment during her performance at Sunday’s game, Janet’s brother was no longer the most scandalous Jackson, quipped Entertainment Weekly.Verdict: RottenSuper Bowl XXXIXPerformers: Breaking with a stretch of combo-platter performances, the NFL lined up Paul McCartney for Super Bowl XXXIX — because if you ve got a former Beatle on the stage, do you really need anybody else? The answer, of course, turned out to be no, not at all. Critical Response: Who cares that football means something totally different in Macca’s hometown of Liverpool? asked Paste. His halftime set of Beatles and solo hits was simple, concise and nearly perfect. Verdict: FreshSuper Bowl XLPerformers: Perhaps only in the context of the Super Bowl could the Rolling Stones still seem somewhat dangerous in 2006. Months after releasing their A Bigger Bang LP, the band played the halftime show — and faced censorship for vaguely naughty lyrics in their classic hit Start Me Up and new single Rough Justice. Trigger-happy mute buttons notwithstanding, it was still the Stones, man.Critical Response: They may have joked about their age — with Mick Jagger introducing (I Can t Get No) Satisfaction by saying This one we could have done at Super Bowl I,' admitted Hitfix, but they didn t come off like a safe nostalgia act. Verdict: FreshSuper Bowl XLIPerformers: Long heralded as one of the most incendiary live performers of his generation, Prince didn t disappoint when the NFL hired him to play the halftime show at Super Bowl XLI. Instead of trotting out his greatest hits, he strolled out in the rain to deliver a fiery, finely calibrated assortment of originals and covers of well-known songs by other artists — all topped off with an unforgettable rendition of Purple Rain. For more than a few viewers, the Super Bowl has never been the same since.Critical Response: Prince, argued Christina Capatides for CBS, singlehandedly made it okay to be sexy, unpredictable and inventive at the Super Bowl again. Verdict: FreshSuper Bowl XLIIPerformers: Aside from a brief flirtation with making outré videos in the 80s, Tom Petty and the Heartbreakers have never been an image-driven band. To their credit, they held fast to that music-first identity at Super Bowl XLII, eschewing the event s traditional glamour in favor of a meat-and-potatoes rock n roll show.Critical Response: Petty wasn t a reason to keep watching at halftime, observed the Village Voice s Tom Breihan. He was a reason not to change the channel. Verdict: FreshSuper Bowl XLIIIPerformers: Telling reporters he d passed up on the chance to play the halftime show before, Bruce Springsteen openly admitted he changed his mind when invited to perform at Super Bowl XLIII because he had a new record (2009 s Working on a Dream) to promote. To a certain breed of rock fan, there s nothing quite like a Springsteen show, particularly with the E Street Band, and with a crowd of millions at their backs, they couldn t help but rock and roll — but maybe it wasn t quite the transcendent spectacle the Boss s fans were used to.Critical Response: While shilling does not carry the sting it once did, perhaps Springsteen let the weight of responsibility limit his imagination in his 12-minute set, Jon Caramanica of the New York Times suggested.Verdict: FreshSuper Bowl XLIVPerformers: They were decades removed from their creative and commercial peak and they hadn t released an album of new material in years, which made the Who something of an odd choice for Super Bowl XLIV. Of course, even if Roger Daltrey and Pete Townshend were the last surviving members of the original lineup, they still pack enough rock n roll punch to sell out stadiums; unfortunately, Townshend was struggling with health issues in the weeks leading up to the game, which contributed to their halftime show s altogether underwhelming air.Critical Response: All that was missing, wrote the New Orleans Times-Picayune s Keith Spera, was Austin Powers. Verdict: RottenSuper Bowl XLVPerformers: It seems fairly likely that the overlap between Black Eyed Peas and Guns N Roses fans is awfully slim, and yet for Super Bowl XLV, organizers lined up a halftime show that found Peas vocalist Fergie trying to wail her way through the GNR hit Sweet Child O Mine with exiled Guns co-founder Slash on guitar. Somewhat predictably, it compared unfavorably with the original.Critical Response: This is how far Slash has fallen, lamented SB Nation s Brian Floyd. Luckily nobody will remember his part as they rip everything else about the show. At least he s got that going for him. Verdict: RottenSuper Bowl XLVIPerformers: Like Bruce Springsteen, Madonna had a new record to promote when she was approached to perform at the Super Bowl halftime show — and she pulled out all the stops, enlisting Nicki Minaj, M.I.A., and stars-of-the-moment LMFAO to join her in a hits-laden set that naturally included her then-current single, Give Me All Your Luvin . The performance wasn t short on spectacle — she entered being pulled on a chariot! — but quite a few critics, while entertained, resented being so transparently sold a bill of goods.Critical Response: Despite its success and extravagance, this whole halftime package most of all was little more than an ingeniously well planned and shockingly transparent advertisement, wrote the Los Angeles Times Randall Roberts, and not much more. Verdict: FreshSuper Bowl XLVIIPerformers: Beyoncé was still months removed from releasing her self-titled fifth solo album when she took the stage during Super Bowl XLVII, but her disbanded girl group Destiny s Child had a new compilation to promote, so it surprised roughly no one that the trio staged a temporary reunion in the midst of Beyoncé s career-encompassing halftime show. Still, whatever it lacked in terms of shock value, it more than made up with stage presentation, choreography, and sheer bootylicious abandon.Critical Response: From the moment she appeared as a giant silhouette against a plume of smoke while the late Green Bay Packers coach Vince Lombardi’s legendary excellence must be pursued Super Bowl speech was heard, wrote the Hollywood Reporter s David Rooney, Beyoncé turned on a high-energy, sexually charged performance with exciting multimedia elements. Verdict: FreshSuper Bowl XLVIIIPerformers: Bruno Mars Unorthodox Jukebox LP was in the midst of its quadruple-platinum chart run when he performed at Super Bowl XLVIII, and although he was only on his second album, he already had more than enough hits under his belt to handle the halftime show on his own — but he still brought out the Red Hot Chili Peppers for a mid-set team-up on the band s 1991 hit Give It Away. The Peppers later admitted they d been miming their performance, but to the folks at home, it didn t matter much.Critical Response: Mars performance was near flawless, but the lift in crowd noise when the Chili Peppers played told a story: on this occasion spontaneous rock dynamism trumped slick soul pop, wrote the Sydney Morning Herald s Peter Vincent.Verdict: FreshSuper Bowl XLIXPerformers: The NFL continued its streak of selecting buzzy younger pop performers when putting together the bill for Super Bowl XLIX, hiring Katy Perry for the halftime show — and although Perry opened her set to include guest appearances from Lenny Kravitz and Missy Elliott, it was totally her show. Well, maybe hers and Left Shark s, but still.Critical Response: With the entertaining, hassle-free show, Perry proved the NFL correct in her selection as halftime, argued USA Today s Chris Chase, calling the show one of the few things the NFL got right this year. Verdict: FreshSuper Bowl 50Performers: For the Super Bowl s grand 50th anniversary celebration, the league lined up Coldplay to headline, with guest appearances from Beyoncé and Bruno Mars with Mark Ronson. Nothing against the guys in Coldplay, but their midtempo catalog isn t exactly suited for this type of event — all of which is to say it s no surprise that most pundits said Beyoncé s performance of Formation was the highlight of the set.Critical Response: By the time Bruno Mars challenged Bey to a dance-off, wrote Vox s Caroline Framke, she d stolen the show once and for all. Verdict: FreshSuper Bowl LIPerformers: The 51st edition of any long-running event is bound to feel a little anticlimactic after all the pageantry that goes along with hitting that half-century milestone, but whatever Lady Gaga s halftime show lacked in built-in anticipation, it more than made up in sheer showmanship. From patriotic opening numbers to jaw-dropping aerial work and a hits-studded set that ran the gamut from chart-topping favorites to newer material, she took command of the biggest audience of her multiplatinum career and never let go. We re here to make you feel good, she told the crowd at one point, and that goal was more than evident in her performance.Critical Response: Lady Gaga’s Super Bowl halftime show, wrote Time s Daniel D addario, stands as among the very best in the history of the form, racing ambitiously through the artist’s entire career and putting forward the qualities of the artist that just work. Verdict: FreshSuper Bowl LIIPerformers: Justin Timberlake returned to the halftime stage for the first time since his Nipplegate fiasco in 2004. And while he didn t bring Janet Jackson back with him for a repeat performance, he did pay tribute to the recently departed Minneapolis hometown hero Prince via what some expected to be a hologram, but was actually a projection of the purple one on a screen.Critical Response: The performance was decent, and Timberlake sounded good and danced even better. As far as half-time shows go, it was satisfactory, a fun but forgettable display of the singer’s substantial talents, wrote The Guardian s Jake Nevins. EW s Darren Franich summed it up: He played it too safe; he took Sexy away. Verdict: Fresh (barely)Super Bowl LIIIPerformers: Maroon 5 took on what promised to be a thankless task, headlining during a year in which controversy rampaged through the NFL over player Colin Kaepernick s kneeling during the National Anthem. (Rihanna and Cardi B reportedly said, Thanks, but no to the gig in solidarity with the former quarterback.) Rappers Travis Scott and Big Boi also performed.Critical Response: Yeesh. Not good. You d think Nickelback played based on the halftime show reviews. The New York Times Jon Caramanica seemed to be satisfying a personal vendetta in his review: Maroon 5 — a quasi-soul, quasi-rock, utterly funkless band likely the third or eighth or maybe 14th choice for a headliner Maroon 5 was a cynically apt choice as easy to forget as mild weather a performance that was dynamically flat, mushy at the edges, worthy of something much worse than derision: a shrug an inessential performance from a band that might have lost some moral authority if it had any moral authority to lose. Vox s headline: Maroon 5 was fine. Writer Alex Abad-Santos went on to elaborate: Maroon 5’s 2019 Super Bowl halftime show was aggressively fine. Some other adjectives round out the picture: basic, flavorless, painful, and tasted like fear. Verdict: RottenSuper Bowl LIVPerformers: Politics raged once more in the background of the Super Bowl in 2020 – which was one of the last major events held in that blissful period we might now call BC, or Before COVID. The national anthem kneeling protest remained a divisive issue and America was gearing up for a fraught election season, but if anyone could unite both sides of the aisle, and the country, it was Jennifer Lopez and Shakira, joined briefly by Bad Bunny and J. Balvin. After Shakira s six-minute set – in which she was the first Latinx artist to perform music in Spanish during a halftime show – J-Lo came in and wowed with a ferociously choreographed journey through her greatest hits, including Let s Get Loud and Waiting For Tonight. Critical Response: Much of the focus leading up to the halftime show was on the milestone being made by having two Latina performers take the stage, and Lopez staged a chills-on-the-back-of-your-neck moment when daughter Emmie Muñiz sang Bruce Springsteen s Born in the USA as mom waved around a cape featuring the Puerto Rican and American flags. After the show there was chatter about some of revealing costumes – come on, we haven t gotten past this?! – and who upstaged whom. [Lopez] pushed further with dance than Shakira did, at the cost of a good grip of singing, Craig Jenkins wrote for Vulture. Her intricate routines nodded to the Super Bowl’s marching-band past, and suggested that someone’s paying attention to the fearlessly vertical routines in Cheer and large-scale productions like Homecoming. But the overwhelming assessment was that this was a landmark halftime show, and one loaded with meaning for the game and the country. For Rolling Stone, Suzy Exposito wrote, as much as this game has further aggravated divisions in the United States — it’s impossible to play down the fact that for 15 fleeting minutes, hundreds of millions of eyes were on Latinas. And not just Latinas, but Latinas getting loud. Verdict: FrescaOn an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Walt Disney Studios)This month, Mary Poppins Returns has the Herculean task of recapturing the magic and music of the beloved original. Not possible, right? Well, according to many of the critics and industry folks who saw it at last week s premiere, it might just come close. Early social reactions saw the majority of critics praising the film and Emily Blunt in particular, for her turn in the iconic blue coat. Germain Lussier of i09 was typical of the praise thrown her way and the movie s way when he tweeted: Mary Poppins Returns is an exquisitely made film with delightful music, excellent performances (especially by Emily Blunt) contagious optimism. But, could the movie – like its predecessor – be an Oscar contender?There is no Tomatometer score as of yet – reviews will release soon on December 12th, and as you know, anything can happen – but reading the tea leaves, Mary Poppins Returns looks to be a perfectly timed holiday hit, and one that has shot to the top of many Oscar prognosticators lists. And not just for Blunt. Variety s awards editor Kristopher Tapley set the tone a few weeks back following a very early screening, going as far as to say, Mary Poppins Returns will be a massive hit, which will drive the point home all the more: Audiences want a movie like this right now. Critics, even the most cynical of them (whether they admit it or not), want a movie like this right now. Surely, Oscar voters want a movie like this right now. As we enter December, with Golden Globe nominations just days away and Oscar ballots almost on their way to voters, let’s take a look at the competitive awards categories for Mary Poppins Returns and why this unlikely late-season entry could just shake things up.It s the Film We Need Right Now(Photo by Walt Disney Studios)We hate the thing we need right now hot-take framing as much as you do, but in this case, there s some truth to it. Like a high-flying kite – scratch that: a balloon – Mary Poppins Returns has brought a huge dollop of joy to a pretty dour awards-season field. Of all the major contenders – think Roma, If Beale Street Could Talk, Vice, The Favourite, or Green Book – Poppins is the most unapologetically joyful film, which might be exactly what audiences and voters are drawn to in the dying days of 2018. Despairing at the state of the world? Then perhaps you want to see Emily Blunt and Lin-Manuel Miranda singing and dancing around London more than another dark examination of the nature of humankind. Just saying. Director Rob Marshall seems to have tapped into something that s hard to quantify yet wholly disarming, especially for adults. As Dame Angela Lansbury says towards the end of the film, most grownups forget what it s like to be a child. Don t think that s enough to convince voters? It s the same kind of infectious optimism that La La Land inspired in Academy voters back in 2016.Below the Line, Poppins is TopsRyan FujitaniLooking for nomination sure bets? Look straight to below-the-line categories like costumes, make-up, visual effects, and production design. But you already knew that from the trailers. Having seen the film, we would add Best Editing and the sound categories to that list. One sequence that takes place on the surface of a porcelain bowl highlights the best elements of all of the aforementioned trades: careful sound mixing and effects seamlessly integrate the characters into a delicate ceramic and animated world, while Sandy Powell s costumes for the sequence are a mix of materials and appear as a blend of soft fabrics and watercolor paints that would crumple upon touching. Powell could go up against her contemporary rival Colleen Atwood for Fantastic Beasts: The Crimes of Grindelwald, Black Panther costume designer Ruth E. Carter, and, in an interesting wrinkle, herself; Powell has a second bite at the Oscar apple with her equally impressive work on Yorgos Lanthimos The Favourite.To achieve the vivid 2-D animation sequences that are a particular highlight of the porcelain bowl scene, Marshall went to painstaking lengths. These days, Disney animators work primarily in the digital format the studio s last hand-drawn animation was back in 2004, long before most of the current crop of animators joined the company. It required calling former animators out of retirement to achieve the signature mix of live action and 2-D animation, while implementing innovations for both formats. Marshall had to merge two animation mediums that were never intended to coexist; the results could earn the movie consideration in the effects categories. Shallow May No Longer Be a Lock for Best Original Song(Photo by Walt Disney Studios)Lady Gaga and Bradley Cooper’s Shallow from A Star is Born has seemingly been a lock for the Best Original Song Oscar for months. A bona fide chart-topper that has been streamed over 10 million times since its September 27th release, it has long looked unstoppable. But last week The Place Where Lost Things Go, sung by Blunt, and Trip a Little Light Fantastic, sung by Miranda, were released, marking them as the two songs Disney seems to be backing for the category – and they may just cause an upset.As in recent years, the “hit” may not prove to be the eventual winner come ceremony time. Back when Sam Smith won for Spectre s Writing s on the Wall, he beat The Weeknd’s “Earned It” from Fifty Shades of Grey – which people had actually, you know, heard of. Everyone remembers La La Land being favored with “City of Stars,” but do you remember that in the same year it beat out Trolls infectious four-time platinum smash Can’t Stop The Feeling by Justin Timberlake? Keeping with the trend, last year the quiet and sentimental “Remember Me” from Coco won over The Greatest Showman’s This is Me, a song that is still charting as part of the film s soundtrack more than a year after the movie exited cinemas. So don’t be surprised if Blunt’s “The Place Where Lost Things Go” topples the Gaga-liath Shallow. Acting Nods and (Maybe) A Best Picture Chance (Photo by Walt Disney Studios)For acting, it s all down to Miranda and Blunt. They get the lion s share of screen time and perform the narrative heavy lifting. At the Globes, Miranda has more than a decent shot of a nomination, with the categories being split between Comedy and Drama, but it s unlikely he will prove a challenge to Christian Bale and Viggo Mortensen. Blunt fares slightly better in the Best Actress – Musical or Comedy race. It will likely be a three-way race between Blunt, Constance Wu for Crazy Rich Asians, and Olivia Colman for The Favourite, and while most think Colman is a shoo-in, Blunt has a history with the Hollywood Foreign Press Association that shouldn t be dismissed (she is a five-time nominee and one-time winner). Even Mary Poppins herself would have a hard time magicking an Oscar nomination for Miranda, but Blunt has the pedigree and delivers a performance that may squeeze her into contention before the Academy announces its nominees.For Best Picture, things will likely come down to how many nominees we get. At least five percent of first-place votes must go to a particular film in order for it to contend for Best Picture as one of the final nominees. With the race still wide open, it s not unreasonable to think the Academy could have a strong preference for more than five films; Mary Poppins Returns will stand a strong chance if the Best Picture field stretches to eight or ten nominees.亚博在线登录入口至尊超变，这是一款带有经典复古三职业玩法的热血神途传奇手游，游戏内每个职业优化的都十分完美，玩家不管玩什么职业都能体验刀刀暴击的真实打击感，离线挂机更能自动升级获得额外奖励。
4. 呼朋唤友 随心所欲
(Photo by Ewurakua Dawson-Amoah)To the Girl That Looks Like Me is part of the Scene in Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.Ewurakua Dawson-Amoah’s lyrical short film To the Girl That Looks Like Me is an adaptation of one of the filmmaker’s poems – a piece of writing that had an unlikely inspiration: a picture of Kim Kardashian in “boxer braids” as part of an article about hot new looks.“I remember being so angry, because that was the exact hair style that I wore when I was going into school,” Dawson-Amoah says. “I would get teased for [it], people would call it ‘corn rows,’ like, ‘you have rows of corn, why does your hair look so weird?’ And now because a celebrity has it, it’s suddenly something that’s really cool.”The poem, and the film she would go onto make, takes that anger and creates something breathtakingly beautiful from it – and joyful: a celebration of Black women’s bodies, minds, and spirits. As Dawson-Amoah reads lines from her poem, we see Black women dancing, laughing, and moving confidently through striking spaces – a church, the woods – many of which have personal connections to the filmmaker.It is a singular viewing experience, a visual poem that’s both moving and incredibly insightful. “I wanted to combine my history, my culture, and my upbringing in this space to try to create a film that let other Black girls who might have had a similar experience growing up know that there’s a space for them in the industry – but also in the world,” Dawson-Amoah says. “Because a lot of us grow up thinking there’s not a space for us at the table.”See more shorts and meet more filmmakers from the Scene in Color Film Series.
5. HD 画质与高品质音讯
The Holiday Movie Season is here (hooray!), and it s not off to a good start (boo!). But save your panic, because this is still the season when The Rise of Skywalker, Frozen II, and a new Jumanji are going to make about a billion-and-a-half alone domestically. This weekend, despite four new releases, gives us a Top Ten that isn t even going to cross 0 million. Three of those releases weren t expected to set the box office on fire, but the numbers that the new Terminator film put up is likely to make Paramount a little nervous as they stare down their second big-budget sci-fi misfire in a row.King of the Crop: Terminator: Dark Fate is Tops, but the Bar is Low(Photo by Paramount Pictures)The Terminator series has, without question, been waning in popularity over the years. James Cameron and Linda Hamilton left after the second film. Arnold Schwarzenegger left after the third. The global sensation that was Terminator 2: Judgment Day remains one of the great action films of all-time. 12 years later, Arnold gave it another spin with Rise of the Machines, which opened to a healthy million and grossed over 0 million domestically. (T2 would amount to about 6 million in ticket sales today.) The reboot of Terminator: Salvation in 2009 with Christian Bale and Sam Worthington opened to .5 million and finished with 5 million. Then, in 2015, Terminator: Genisys opened to .1 million from Weds-to-Fri or million from Fri-to-Sun and then failed to reach million stateside.Now, 35 years after Cameron’s The Terminator premiered and four years since Cameron endorsed Genisys as the “real” Terminator 3, we now have Terminator: Dark Fate being sold to audiences as the “real” Terminator 3. And audiences are not buying. A million opening is well below the low-40s projections we’ve been hearing for weeks, and it comes out to only a ,097 per-theater-average. (T3 T4 were each over ,000.) Critically, the film is holding steady at 69% on the Tomatometer (the same number for the real “real” Terminator 3; the last positively-scored film in the series.) But nobody at Paramount can be thrilled with the dollar figure, given a 5 million budget, especially coming right after the failure of Ang Lee’s Gemini Man, which has grossed just 5 million worldwide to date on a 8 million budget.Consider that only four films have ever opened in November to a PTA under ,500 and grossed over 0 million, and all four were animated – The Polar Express (2.77 million), Bolt (4.05), The Princess and the Frog (4.04), and Rise of the Guardians (3.41). That is bad news for a film that is in the same boat as Maleficent: Mistress of Evil and needs over a half-billion dollars before we come even close to talking profit. Disney’s film only just crossed 0 million worldwide on Thursday. Genisys, the highest-grossing international Terminator to date, made 0 million and squeaked out a tiny profit. But Dark Fate may be living up to its name as it has grossed just million total overseas so far.Fresh Surprise: Focus Features Earns Another Solid Debut with HarrietRyan FujitaniSpeaking of per-theater averages, Focus Features is having a bit of a moment. Downton Abbey has grossed over million and has become their highest-grossing domestic title ever. This weekend, Kasi Lemmons’ Harriet opened to million and notches another top ten finish in Focus’ record books. While not a giant number, Harriet’s ,828 per-theater-average is the sixth best ever for Focus when they launch a film in over 2,000 theaters. It ranks behind The Strangers, Insidious: Chapter 3, Coraline, Burn After Reading, and London Has Fallen, and is now ahead of Atomic Blonde, The Forest, and The Boxtrolls. A pair of Jet Li films (Unleashed and Fearless) represent the low bar of Focus’ films opening to million or higher, as each grossed .53 and .63 million, respectively. The Forest is their only release to open over million and fail to gross at least million.Rotten Returns: Motherless Brooklyn and Arctic Dogs Flop Spectacularly(Photo by Entertainment Studios Motion Pictures)The two remaining new releases are downright Goldfinchian. Edward Norton’s Motherless Brooklyn, also released by Warner Bros., cost million and grossed just .6 million. That is just a ,682 per-theater-average in 1,342 venues. That is comparable to STX’s The Best of Enemies from April, which had a ,608 average in 1,705 theaters and finished with just .2 million. Norton said that he cashed in every favor in Hollywood to get this film made, so there may be a lot of Italian Jobs in his future.Then on the animated front, Missing Link can rest easy that it no longer has the weakest opening of the year. That now belongs to the -million budgeted Arctic Dogs from Entertainment Studios. Its .1 million start is the lowest for an animated film released in over 2,000 theaters since Disney’s Teacher’s Pet (.46 million) back in 2004. That start is also the lowest ever for one released in over 3,000 theaters, replacing 2015’s Strange Magic, which opened to .5 million and finished with just .4 million. Arctic Dogs is now destined to join a list of animated films in 2,000+ theaters to gross less than million that includes Ratchet Clank, Legends of Oz: Dorothy’s Return, Rock Dog, Doogal, The Wild Life, Early Man, and Teacher’s Pet.The Top 10 And Beyond: Joker and Maleficent Hang on to Second and Third(Photo by Niko Tavernise/© 2019 Warner Bros. Entertainment Inc.)Joker fell back to second place this week and is now just shy of 0 million domestic. It has become the 59th film in history to cross the 0 million line and is approaching the list of the 50 highest-grossing films of all time. At 9 million, Joker is ahead of where DC’s Suicide Squad was on Day 31 (7.32 million) and beat its fifth weekend .90-to-.91 million. That should fill in at least another -30 million as Todd Phillips film is headed past 5 million. At 4 million worldwide, even without another international dollar, Joker is going to join this list of the Top 50 grossers of all-time.The aforementioned Maleficent: Mistress of Evil earned another .1 million this weekend for a total of million domestic. That may be the 15th best total for an October release after 17 days and the 14th best third weekend, but it is still well in the red. It has a chance to reach 0 million domestic but even with another 8 million worldwide (which it has now) it is still about 0 million away from talking profit. United Artists Releasing’s The Addams Family, however, is headed exactly there. With another .4 million, the movie has passed 0 million globally and it is all IHOP gravy from there.Neon continues to make the most out of Bong Joon-ho’s Parasite (Certified Fresh at 99%). They expanded the film into 461 theaters and it grossed .6 million. That puts it in the vicinity of The Favourite, which moved into 441 theaters in weekend four and grossed .605 million, as well as Birdman, which was in 460 theaters and made .31 million. Both films from Fox Searchlight went on to become Best Picture nominees and grossed .36 and .34 million, respectively. Parasite’s total stands at .5 million.(Photo by Fox Searchlight Pictures)Speaking of which, the Fox specialty division now under Disney has Jojo Rabbit. Taika Waititi’s film was expanded in 256 theaters this weekend and grossed .4 million. That is also in the vicinity of Birdman’s third weekend (.39 million in 231 theaters) but also a little behind Searchlight’s (500) Days of Summer (.77 million in 266 theaters) and A24’s Lady Bird (.51 million in 244 theaters.) Those three films grossed between -49 million with a pair bolstered by their Oscar campaign. Still, if they can keep up interest and get the film to around million, that will be a solid victory. Its total is currently .2 million.Finally there is The Lighthouse (Certified Fresh at 92%) which A24 expanded again into 978 theaters, but fell back from last week’s Top Ten gross of .02 million back to million. That’s a gross on par with 2017’s The Beguiled (.06 million in 941 theaters) just as it was last week suggesting a final total around that film’s .7 million is in the cards for Robert Eggers’ follow-up to The Witch.This Time Last Year: Bohemian Rhapsody Destroys the CompetitionThree new films led the box office but only one turned into a phenomenon. Bohemian Rhapsody began its run towards the Oscars and history with a million opening, more than the next three films combined. They included the Disney bust, The Nutcracker and the Four Realms (.35 million), Tyler Perry’s Nobody’s Fool (.74 million) and Bradley Cooper’s A Star Is Born ( million) which passed 5 million this weekend. David Gordon Green’s Halloween also passed 0 million in fifth place. The biggest per-theater-average of the week went to Joel Edgerton’s Boy Erased (,411 in 5 theaters). The Top Ten films grossed 9.38 million and averaged 57.2% on the Tomatometer, while this year’s Top Ten grossed an estimated .3 Million and averaged 51.5% with critics.On the Vine: Heeeere s Ewan!The Holiday Movie Season is undeniably frontloaded this year, with everyone trying to get their piece of the pie before Frozen II and The Rise of Skywalker dominate. The favorite going into next week is Mike Flanagan’s two-and-a-half-hour adaptation of Stephen King’s sequel to The Shining, Doctor Sleep, with Ewan McGregor. Roland Emmerich is back to blow things up with a real-life war story in Midway. For the romance fans out there, Paul Feig is teaming up Emilia Clarke and Henry Golding in Last Christmas and for families looking for an amuse-bouche before Anna Elsa, John Cena plays a babysitting fireman in Playing with Fire. Also in limited release is Shia LaBeouf’s acclaimed autobiographical story of his relationship with his troubled father in Honey Boy.The Full Top 10: November 1-3Terminator: Dark Fate (2019) 70% – million ( million total)Joker (2019) 68% – .9 million (9.6 million total)Maleficent: Mistress of Evil (2019) 39% – .18 million (.3 million total)Harriet (2019) 73% – million ( million total)The Addams Family (2019) 45% – .5 million (.3 million total)Zombieland: Double Tap (2019) 68% – .35 million (.3 million total)Countdown (2019) 26% – .85 million (.77 million total)Black and Blue (2019) 52% – .1 million (.44 million total)Motherless Brooklyn (2019) 64% – .65 million (.65 million total)Arctic Dogs (2019) 12% – .1 million (.1 million total)
We ve made it to the last month of 2019, and as such, the theatrical calendar is filled with titles hoping to earn big stacks of holiday cash or contend for end-of-year awards, or both. With that in mind, it shouldn t surprise anyone that the most anticipated release of December is set a long time ago in a galaxy far, far away, or that the sequel to a wildly popular fantasy adventure also made the cut. What might surprise a few folks is that the list is also populated by a war epic, a based-on-current-events drama, and perhaps most unexpectedly, a thriller starring none other than Adam Sandler. Read on to see what movies RT site users and our fans across social media are looking forward to the most in December.1. Star Wars: The Rise of Skywalker (2019) 52%10,236 Want-to-See Votes#1 pick by our Instagram and Twitter fans, #2 pick by our Facebook fansOpens December 20After Rian Johnson impressed the critics and divided the fans with his penultimate installment of the Skywalker Saga, J.J. Abrams settles back into the director s chair for the final chapter, cryptically subtitled The Rise of Skywalker. Set just one year after the events of The Last Jedi, the story follows up with Rey and Kylo Ren as they struggle to understand the dual nature of the Force, while the remnants of the Resistance contend with the First Order in hopes of establishing galactic peace. The core cast is joined by newcomers played by Keri Russell, Richard E. Grant, and Naomi Ackie, while Billy Dee Williams and Ian McDiarmid return to reprise their iconic characters Lando Calrissian and Emperor Palpatine. This film netted the most Want-to-See votes by a wide margin and topped both our Instagram and Twitter polls.2. 1917 (2019) 89%#1 pick by our Facebook fans, #2 pick by our Instagram fans, #3 pick by our Twitter fansOpens December 25Ever since we got our first look at Sam Mendes war epic 1917 a few months ago, the film has quickly and quietly gathered steam to become one of the most anticipated awards season contenders. Reportedly based on a real life account relayed to Mendes by his grandfather, the story follows two British soldiers on the front lines of World War I tasked with delivering a message across enemy territory to warn another battalion of an impending ambush. Its grandiose scale and technical flourishes have already earned the praise of most critics, and it ranked high in all of our social polls for the month.3. Uncut Gems (2019) 91%1,096 Want-t0-See Votes#2 pick by our Twitter fans, #3 pick by our Facebook fans, #4 pick by our Instagram fansOpens December 13It s 2019, and the man who once starred in movies like Little Nicky, Grown Ups, and The Ridiculous 6 is looking at a potential Best Actor Oscar nomination. In movies like P.T. Anderson s Punch-Drunk Love and Noah Baumbach s The Meyerowitz Stories, Adam Sandler has proven he can carry meatier roles if he s paired with directors who are looking to deliver more than fart jokes. The same appears to be true of his latest project, which sees him doing arguably his best work ever under the guidance of the Safdie brothers, who pulled a similarly impressive performance from Robert Pattinson in last year s Good Time. Here, Sandler plays a jeweler with a bad gambling habit who finds himself in deep with the wrong people and must figure out a way to pay off his debts quickly. Uncut Gems has already earned rave reviews from critics, and our social fans responded by voting it into the third spot this month.4. Jumanji: The Next Level (2019) 71%2,965 Want-to-See Votes#3 pick by our Instagram fans, #4 pick by our Facebook fans, #5 pick by our Twitter fansOpens December 13Back in 2017, Jumanji: Welcome to the Jungle surprised everyone by being more than just halfway decent far more, in fact, as it earned a Certified Fresh 76% on the Tomatometer and made close to billion at the global box office. Director Jake Kasdan managed to turn what could have been a mere nostalgia cash-grab into a legitimately entertaining adventure, helped by a game cast who were all clearly having fun in their roles. Jumanji: The Next Level may not end up feeling quite as fresh, but audiences are clearly on board for another ride, this time with new additions Dannys Glover and DeVito and Awkafina along for the journey. It racked up the second most Want-to-See votes on RT and ranked in the top five across all of our social platforms.5. Bombshell (2019) 68%1,003 Want-to-See Votes#4 pick by our Twitter fansOpens on December 13Lastly, we have a based-on-true-events drama centered on the scandal that brought down Fox News chief Roger Ailes. Director Jay Roach has taken on timely material before in films like Recount and Game Change with pretty consistent results, and he s aided in Bombshell by a trio of powerhouse actors, namely Charlize Theron, Nicole Kidman, and Margot Robbie. The film charts the sexual misconduct allegations leveled at Ailes (played by John Lithgow) by Gretchen Carlson (Kidman), Megyn Kelly (Theron), and several other women whose experiences were rolled into Robbie s fictional character Kayla Pospisil. It came in at #4 in our Twitter poll and garnered the fourth most Want-to-See votes on RT.Are you as obsessed with awards as we are? Check out our Awards Leaderboard for 2019/2020.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
亚博在线登录入口 (Photo by FX)Since its debut three years ago, FX’s Legion has been one of the most compelling, mind-bending, and uniquely heartfelt series to spin out of a comic book. That it focused on a relatively minor character from the X-Men lore is even more remarkable. But by lifting David Haller from the pages of various X-Men titles into a weird and timeless television reality, show creator Noah Hawley was able to examine topics like mental illness, sexual assault, and the end of the world in a unique way.Often, it chose not to connect the dots, leaving that mutant ability for the viewer to use. In its place, it offered musical numbers, a couple of fantastic dance numbers, and David – as played by Dan Stevens – unraveling at least some of the secrets buried in his head. And it all led to a pivotal figure in X-Men history, Charles Xavier (Harry Lloyd), and a somewhat obscure, but vitally important background character, Amahl Farouk (Navid Negahban).Spoiler alert: This article includes plot details from the series finale of Legion. Stop here if you have not watched the final episode.Considering Charles and Amahl s fight in the comics led to the formation of the X-Men, it would seem the end of Legion contains a beginning — or maybe it really ended with David destroying the world. Let’s take a look at what the ending has to offer. Negahban was kind enough to talk to Rotten Tomatoes about one of the ways the future could change — well, provided there is a future, of course.Why did Everyone Think David Would Destroy the World?(Photo by Pari Dukovic/FX)He s done it before.There is a certain ambiguity in the show’s final shot — or limitless potential as it is a baby s smiling face. But David’s role in bringing about an apocalypse is probably the third line on his Official Handbook to the Marvel Universe page after “Professor X’s son” and “Suffers from a mental illness.” Despite being a presence in the comic books for a number of years, Legion’s big moment came in 1995’s Legion Quest story line. The character – waking from a long coma – made a key decision: he was going to travel back to the 1960s and kill Magneto before he formed his Brotherhood. If successful, then only his father’s non-violent philosophy would hold sway and prevent much of the strife done by Erik Magnus Lehnsherr and his followers.Unfortunately, it all went badly and Legion ended up killing Charles Xavier instead of Magneto, unleashing a reality in which the world learned about Mutants decades too soon and Apocalypse, a powerful, ancient, and immortal mutant took control of the planet. Eventually, a team of familiar faces (led by the time-lost mutant Bishop) managed to travel back in time to prevent David s error.Curiously enough, Bishop was able to show David the damage he caused. The troubled mutant apologized and apparently died.The Age of Apocalypse was undone and things went back to normal. Well, mostly, anyway. Blink, a fan favorite from the AoA timeline, eventually found herself crossing the multiverse with a group known as The Exiles, while Dark Beast, a mad-scientist version of founding X-Man Hank McCoy, and a few other characters found their way to the familiar Earth-616.(Photo by Suzanne Tenner/FX)Legion eventually reappeared (as no one stays dead in comics), but his most famous misadventure was always in Hawley’s mind, and a version of Legion Quest was the direction of the series from the first moment David flashed his wicked smile into camera.As Stevens put it when we talked to him on the set back in March, the show is not directly adapting frame by frame any particular Legion story line. But I hope what we re retaining is the playfulness. Changing reality, if not destroying it, is always an aspect of the playfulness.Did David End the World?In a manner of speaking, yes. As his addition to Lessons in Time Travel indicated, the traveler is annihilated in the attempt to change his or her past. The David, Syd (Rachel Keller), Cary and Kerry Loudermilk (Bill Irwin and Amber Midthunder), and Amahl Farouk of the program’s “present” timeline all ceased to exist, as did anyone left there while the Time Eaters munched away. From their perspectives, David ended the world by traveling 33 years into the past — à la Legion Quest. Now, had a fourth season occurred, it is entirely possible we would’ve seen new versions of these characters grappling with echoes from the world before. Much like the way the omnipresent baseline at David’s cult compound invaded the minds of his parents, an image or song (likely from The Who) might have offered Syd or David some clue to the old timeline – much as Bishop survived in the Age of Apocalypse to form his own strike team. Maybe this is why the mainframe version of Ptonomy (Jeremie Harris) remained in stasis back in the present.But with Chapter 27 serving as the conclusion, we’re left with a blank slate. It is easy to consider what it might look like. We will even be charitable and assume the timeline we witnessed on Legion was a darker world where mutants mostly ran scared and had no unifying groups to help them with their powers.Will Charles Form the X-Men?Almost certainly. Upon his return from Morocco, Charles tells Gabrielle (Stephanie Corneliussen) that he always wanted to be a teacher. The implication is clear. Even their home has a certain X-Mansion flare to it. And that change is key in appreciating the series end-state. In the personal sense, Charles and Stephanie will be there to raise David — and help him cope with the mental health issues he inherited from Gabrielle. But in the larger sense, Charles came away from his journey with a new perspective. As Lloyd noted when we talked to him in March, “[Charles] is actually quite lost when he arrives at the Shadow King s palace. But having returned from a trip that saw him disappear entirely in the old timeline, he is now free to fulfill a destiny he never knew he had.Back in the comics, Professor X’s battle with the Shadow King led him to found the X-Men as a safe-guard against mutants who use their abilities for evil. But in Legion s history, the battle seemingly left Charles dead or utterly incapacitated. Altering this outcome may be more significant than David could imagine. Besides giving Charles the opportunity to be part of the a family unit with Gabrielle and David, he will also be able to teach others how to harness their gifts — no doubt after training David — leading to a very different world.(Photo by Suzanne Tenner/FX)We’re also going to note the total absence of Magneto from Legion’s structure as it means TV show David achieved what comic book Legion sought to accomplish: a world in which Charles made things better.Sure, Division 3 will likely observe the Xavier school, perhaps even come into conflict with a group of X-Men, just as they hunted people at Summerland. Nonetheless, Charles will offer something better than the Birds sought to create. Although, if you ve read an X-Men comic or seen one of the movies, you know the tension between mutant and humans will always lead to fighting and giant robots. But at least Charles s attempts with the school and the X-Men offer people like Syd and the Loudermilks something they may not have otherwise: family from an early age.Who Will the Shadow King Be in the New Future?When we spoke with Negahban recently, his thoughts turned toward the key moment in the finale: a handshake between David and the Shadow King. It evolved on set, but reflected the overall tone of the final moments. That is to say, a non-violent resolution after all the pain and trauma.“[Noah] was addressing how people are struggling to see each other, to understand each other, to find themselves, Negahban explained, adding that some of Amahl s apparent villainy in Chapter 26 may have been an expression of an extreme loneliness. Even in his most evil moments, he is feeling very lonely being the most evil person. But as Negahban saw it, the Shadow King s future self gave him something key — an external awareness of his actions. The way that I looked at it is that we can change the future by paying attention to our present or paying attention to what we are doing, how we are responding to other people, the actor said.(Photo by Matthias Clamer/FX)For Amahl, that change came courtesy of the future Shadow King s stylish glasses and the history they contained: When [he] hands the glasses to Amahl — just by seeing what kind of impact we have on our future, we might change our behavior today. Negahban imagines the Amahl who emerges in the new reality will be less lonely and offer his powers to a life of service.“Sometimes we are becoming so full of ourselves, we are becoming so arrogant that we think that we are controlling everything, that we are controlling the situation,” he said of Amahl up until the events of Chapter 27. I think Amahl sees the effect that he s going to have on the future. And at the end when he is thanking [David, Charles, and his future self] for allowing him to see the outcome of his actions, he is getting a second chance to change. That apology echoes David s back in Age of Apocalypse. And while it is easy to imagine a kinder Amahl Farouk finding peace in a new future, did David also earn a second chance?Was David Deserving of His Redemption?When we visited the set, we asked the cast if David deserved redemption. Midthunder, on the eve of shooting the final episode, still felt conflicted about David. Everybody has a story and everybody has a side, she said. Everybody has reasons for doing what they do, but then everybody has the way that it affects them. Meanwhile, she thought Kerry had a clearer point of view on the matter: he deserved to pay for his actions.Irwin, on the other hand, thought that his service to the world — keeping the world going — is something we can all be grateful to him for even if his actions left him as a dubious sort of hero.Lauren Tsai, whose character, Switch, allowed David the opportunity to change his past, thought the overall story of season 3 created enough ambiguity for viewers to question his redemption long after the finale. I think that throughout the story you can believe that David is redeemable, she said. David deserves love and a normal life. But at the same time you can also feel like, Well, he did these horrible things. (Photo by Pari Dukovic/FX)In Switch s case, David s exploitation of her powers led to a beneficial transformation. But David s violation of Syd may be the greatest reason to deny him redemption. Even before he erased her memories of his darkest actions, he was causing her psychic damage. So much of her life since she s met this man has been in service to him, Keller said during our set visit. So many young women go through taking on egotistical and stupid and sick men, trying to right their wrongs or fix them. This seemed to be an involuntary course of action for Syd up until the end. In March, Keller expressed a hope that Syd would be able to leave him in peace. But it seems time travel allowed her something better: the chance to protect a David brimming with potential. The David she knew deserved only oblivion, even if he did fix the world. That baby, though, definitely deserved better.And, hopefully, the end of the world (as Legion viewers knew it) will give him that chance.
To kick off a new football season, Rotten Tomatoes asked former NFL quarterback Chris Simms to tell us which five football films made the biggest impression on him. The NBC Sports NFL and college football analyst surprised us with some unexpected titles.The 2019 NFL season kicks off when the Packers face the Bears on Thursday, September 5 at 7:30 ET on NBC.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. Movies Leaving Netflix at the End of September 2020 The original Jurassic Park trilogy, Starship Troopers, Mortal Kombat among movies leaving Netflix soon. by RT Staff | September 25, 2020 | Comments
Star of upcoming Apple TV+ series The Morning Show Jennifer Aniston shut down Instagram when she joined the social media site on Tuesday by posting a selfie of herself with her Friends costars. In a followup post featuring a video from her new series, she wrote, I swear I didn’t mean to break it Thank you guys for the kind, glitchy welcome. She also broke the record for the fastest time to reach one million followers on the site — in just 5 hours and 16 minutes — Guiness World Records reported in a post congratulating the actress.Casting News: Patton Oswalt Joins The Boys Season 2 in Secret RoleThank you @pattonoswalt, that was AMAZING! #TheBoysTV #Season2 #SecretRole@TheBoysTV #TheBoys @PrimeVideo #SPNFamiIy pic.twitter.com/y47quxLCgR Eric Kripke (@therealKripke) October 17, 2019Supernatural creator Eric Kripke took to Twitter to announce the latest addition to The Boys season 2 cast, Patton Oswalt.Aidan Turner (Poldark) will play Leonardo da Vinci in a new Frank Spotnitz series that will focus on the artist and inventor s many achievements. (via Variety)Postapocalyptic saga Station Eleven has cast Mackenzie Davis (Halt and Catch Fire) and Himesh Patel (Yesterday) as its leads. The 10-episode drama about survivors of a pandemic flu is based on the international bestseller by Emily St. John Mandel. (via Deadline)USA anthology series Dirty John has added Missi Pyle (Impulse) and Holley Fain (The Frontier) to season 2, The Betty Broderick Story. Amanda Peet and Christian Slater star. (via Deadline)Tony Award–winner Renée Elise Goldsberry will appear in a multi-episode arc on CBS Evil as a Catholic Church attorney with a personal connection to David (Mike Colter). (via Deadline)Austin Abrams and Midori Francis will lead the cast of Netflix holiday romantic comedy series Dash Lily based on young adult book series.Natalie Morales will join season 2 of Netflix series Dead to Me, which stars Linda Cardellini and Christina Applegate. Morales Michelle will befriend Cardellini s Judy. (via Variety)CBS All Access series The Stand has added Greg Kinnear to the latest Stephen King adaptation. Alexander Skarsgard, James Marsden, Amber Heard, and Whoopi Goldberg also star. (via Variety)Shameless actor Richard Flood has joined Grey s Anatomy as key new character, Dr. Cormac Hayes, the new head of Pediatric Surgery at Grey Sloan. (via Deadline)Las Culturistas podcast co-host Matt Rogers and stand-up comedian Dave Mizzoni will host Gayme Show on Quibi. (via Deadline)Development News: Clueless Reboot in the Works(Photo by Paramount courtesy Everett Collection)CBS Television Studios will reboot Clueless for 2020 with a series that focuses on Dionne instead of Cher an