bt游戏下载采用百度引擎6（Baidu 4）In 2017, It, the Certified Fresh adaptation of Stephen King’s 1986 bestselling 1,138 page epic, used every second of its 135-minute running time to make sure paper boats would never be played with again. The Andy Muschietti-directed horror film was a box office hit, pulling in 0 million worldwide, which made it the highest-grossing horror flick of all time and ensured a sequel would be green-lit. Now, in just a few days, the 169-minute It: Chapter Two – which adapts the sections of King’s book focused on the adult Losers Club – is looking to collect more critical accolades and gobble up money the way Pennywise gobbles up fear (and tiny children’s arms).Oh, and yes, you read that right: It: Chapter Two clocks in at 169 minutes, or 2 hours and 49 minutes. (That runtime may seem excessive, but, when compared to the 45 hours it takes to get through the It audiobook, we’re thinking it could have been a lot worse.)The movie opens just months after Quentin Tarantino’s epic Once Upon a Time in Hollywood (2 hours and 40 minutes), and just a week after the release of the Midsommar director’s cut (2 hours and 51 minutes).In October, Netflix will release The Irishman – it will run for 3 hours and 30 minutes.All these minutes – and anticipated bathroom breaks – got us thinking: How does the length of a film affect its quality? Are longer movies, on average, better or worse than shorter movies? To find out, we analyzed the running times of the 1,431 movies that received wide theatrical releases since 2010. (We classified wide releases as 500-plus screens; we didn’t include documentaries.) To break down the data, we divided the films into four categories: Movies less than 100 minutes; movies between 100 and 120 minutes; movies between 120 and 140 minutes; and those epic 140 minute-plus movies whose company It: Chapter Two is about to join.Ultimately, we wanted to know if movies were better off going the longer It: Chapter Two or Once Upon a Time in Hollywood route, or if shorter movies like Crawl, The Farewell, or Eighth Grade averaged higher Tomatometer scores with critics. You can find super Fresh movies in all four categories: The 63-minute Winnie the Pooh (2011) and 182-minute Avengers: Endgame (2019), which are the longest and shortest movies in the data set, both have Tomatometer scores above 90%. But there were clear trends and the results, at least for those who bemoan bloated runtimes, might be surprising.So let s get into the data Less than 100 minutes: The Most Likely to Be Rotten
I m very proud of my movie, Nebraska. I don t really know what a great film is. I don t know what the ingredients should be. But I certainly think Nebraska is a credit to the industry of filmmaking and it s done very, very well. And both he [director Alexander Payne] and Quentin [Tarantino, with whom Dern has worked three times] can make a f king movie, trust me. Alexander said to me the first morning, Do you see anything here, you ve never seen before? I went looking around – we were in Nebraska in some little town in the middle of October, cold, freezing – and I said, Yes I do. I said, It seems like everybody here is putting their oar in before 8am. And he said, Well hopefully, that s because we have 91 crew members here and 78 have worked every day on every film I ve ever made. He put his hand on my shoulder and he said, So you, sir, can go take a risk. And he said, This is Phedon Papamichael; he s your cameraman. I met him the day before. And he said, I wonder if you d do something for Phedon and I, that we re not sure you ever did in your career. I said, Well what s that? And he said, Never show us anything. Let us find it. And I knew for the first time in my life I had a partner.Al Pacino came up to me I d never met him at a party and said, You know, I ve not seen your movie yet, Nebraska. But everybody back at the Actors Studio – cause we re both members – is talking about your performance. So Brad Grey is at the party, and he ran Paramount then, and I said, You know, Al Pacino has not got a screener, cause it was Christmas time. So he said, Tell him he ll have one tomorrow morning with his newspaper. At noon the next day my phone rings and I pick it up and he says, Bruce, Al Pacino. I said, Oh wow. He said nothing for about 10 seconds, and then he said, How did you do that? I told him what Alexander told me about “let us find it.” And he said, I have tears in my eyes, because you knew you had a partner. I ve never had a partner. He said, Bruce, I never ever saw the work. You were just the character. And that s the greatest compliment to me I ever had. 开服仅一天的时间，很多和摩尔庄园手游有关的帖子里都开始出现了对摩尔庄园手游不满的声音，总结起来主要就是说超级拉姆的价格问题、画质一般优化一般，很多操作不跟手、地图大了但太空旷了少了很多融入感。这些问题在我自己体验之后发现确实多多少少存在，在问卷中也反应了这些问题，毕竟大家的批评也是不希望记忆中经典的好游戏被毁于一旦。
icked people into believing their authenticity, as well as those urban legend-like “cursed” films that earned sinister reputations because of the unfortunate, disturbing, and sometimes tragic events that were allegedly attributed to them.But they’re only movies, right?Antrum: The Deadliest Film Ever Made (2018) 75%(Photo by Else Films)What better way to kick things off than with a movie that is a perfect Venn diagram of both concepts – “found footage” faux-real horror and supposedly cursed films. Antrum purports to be a documentary about a lost 1970s film that was only screened twice, because everyone who watches it dies. The movie opens with an 8-minute documentary detailing the curse around the film, then shows you the “film” itself, which is about two young kids who attempt to dig a hole to Hell to save their recently deceased dog. The filmmakers do their best to make the movie-within-a-movie look authentically 70s to help sell the whole façade. The fact that Antrum’s release was preceded by rumors and word of mouth among hardcore horror fans (much like the way the controversial 2011 A Serbian Film grew a reputation well before it was ever screened publicly) lent the movie an air of real mystery. Some eager horror buffs even tried to track the “original” Antrum down, believing it to be real.Plausibility Score: 2 out of 5Antrum is a nice try, but in the age of advanced search engines, it’s hard to fully convince people that a film with a supposed body count of 60 could truly have been “lost.”Snuff (1976) The concept of a “snuff” film – a movie depicting an actual murder – basically started in 1971 when Ed Sanders, the author of a book about the Manson Family, asserted that Charles Manson and his followers had filmed their killing spree (no footage was ever found). Then, just a few years later in 1976, husband-and-wife directors Michael and Roberta Findlay made a cheap exploitation film called Slaughter about an actress and her director who are murdered by a Manson Family-esque clan in South America. Grindhouse film distributor Allan Shackleton bought the film, changed the title to Snuff, and released it under the pretense that it depicted the real murder of the main actress (the tagline was “Filmed in South America…Where Life is Cheap!”). This kickstarted an obsession with snuff films, although none have ever been conclusively unearthed.Plausibility Score: 4 out of 5The Manson Family connection and the fact that people still believe in the existence of snuff films even today and really sell this one.Poltergeist (1982) 86%Perhaps the most famous “cursed” movie of all time, the original 1982 Poltergeist, about a suburban family terrorized by a supernatural presence, climaxed with a scene in which the mom (JoBeth Williams) is dragged into a partially dug-out pool and is surrounded by skeletons – the reveal being that the housing development in which they live was unscrupulously built on top of a graveyard. The rumor was that the film crew had not only used real skeletons, but had desecrated graves themselves to get them. Mysterious and untimely deaths of some of the actors in the trilogy, including young Heather O’Rourke (who played the abducted little girl Carol Anne), who died at the age of 12 due to a congenital intestinal issue, and Dominique Dunne (who played oldest sibling Dana), who was murdered by a jealous boyfriend at the age of 22, led to the urban legend that the ghosts of the unwitting skeletal “co-stars” had cursed the films and everyone who worked on them. It’s flimsy, because clearly major players like Williams, Craig T. Nelson, director Tobe Hooper, and producer Steven Spielberg walked away unscathed.Plausibility Score: 1 out of 5Although it’s the movie everyone cites when talking about curses, a lot of the supposed connections are pretty thin. Plus, more of the actors and crew survived unhurt than didn’t, and a lot of the “deaths” beyond the two young leads were simply age and explainable illness.The Blair Witch Project (1999) 86%Horror is a great way for young talents to break into the business because, often, what you don’t see is scarier than what you do, so it’s a godsend for indie filmmakers with more creativity than budget. The Blair Witch Project came about at exactly the right time – exploiting the still nascent “world wide web,” it managed to cultivate its own urban legend of supposedly lost cam footage that was recovered after a group of young filmmakers went missing. The conceit of it being filmed on the fly covered over the fact that you don’t really see much of anything, and the clever use of sound effects and the overall naturalistic performances by the lead actors made you think, just for a second, that maybe this was the real deal. Of course, Book of Shadows: Blair Witch 2 came out around a year later to confirm that, yes, this was indeed just a cheesy horror franchise at its core.Plausibility Score: 3 out of 5It may have lost some luster since, but at the time? It really had people convinced. And the execution – from the early websites to the film itself – was nearly perfect.The Omen (1976) 86%Strap in for this one: Producer Harvey Bernhard claims that the initial idea for the seminal horror classic The Omen came from an advertising exec named Bob Munger. Munger suggested that a movie about the Antichrist would be cool, but that no one should actually make it because “the devil was at work and he didn’t want that film made.” He may have been right. Just a month before filming was to start, lead actor Gregory Peck’s son committed suicide. As he flew to the set, Peck’s plane was struck by lightning, and then executive producer Marc Neufeld’s plane was also struck by lightning on his way to the location. The hotel Neufeld and his wife were staying in then got bombed by the Irish Republican Army. The crew hired a small plane to do some aerial photography, but it was given to another client at the last minute; that plane crashed on takeoff and killed everyone on board. Filming a zoo sequence, the young boy playing the demonic Damien apparently upset the baboons so much they started freaking out, so an animal wrangler was called in to help; the next day, he was mauled by a tiger and killed. But perhaps the most chilling result of this “curse” was what happened to special effects supervisor John Richardson. One of his big FX sequences in The Omen was one in which a character is decapitated by a sheet of glass. While working on his next movie in the Netherlands, Richardson and his assistant were involved in a car accident, and his assistant was you guessed it decapitated. Legend has it the accident occurred near a street sign that read “Ommen, 66.6 km.” But it’s all coincidence, right?Plausibility Score: 4 out of 5It’s hard to write all of this off as coincidence. Even when people discount some of it – like the existence of the Dutch street sign – there’s a lot more that’s been verified.Cannibal Holocaust (1980) 65%(Photo by ©F.D. Cinematografica courtesy Everett Collection)Not long after Snuff, another film came under fire for allegedly depicting actual murders – and it was an early example of “found footage” horror, to boot. This Italian cult movie was built around the idea that it was footage discovered after an American film crew disappeared in the Amazon rainforest and were killed and eaten by indigenous cannibals. The gore was so intense and realistic that a few days after the movie’s premiere, Italian authorities confiscated the film, director Ruggero Deodato was charged with obscenity, and he was eventually slapped with a murder charge when it was suggested Cannibal Holocaust was, in fact, a snuff film. Although it was later proven that none of the actors were killed or harmed, the film does depict scenes of intense animal cruelty that were real. Fun fact: the fake documentary the crew was working on was called The Green Inferno, which would be the title adopted by director Eli Roth for his 2013 homage to Cannibal Holocaust.Plausibility Score: 3 out of 5The rough, grimy cheapness of the film and the addition of actual animal butchery make this feel almost like the real deal.The Crow (1994) 83%What’s unique about the “curse” of The Crow is that it isn’t so much about the film as it is an extension of a curse that is believed to have haunted martial arts icon Bruce Lee and his family for generations. Of course, the 1994 horror-tinged comic book adaptation is infamous due to the tragic death of star Brandon Lee, Bruce s son, who died after a prop gun misfired and a projectile struck him. The film was hampered by setbacks and accidents – the set was destroyed numerous times, most notably by a hurricane that struck its North Carolina filming location – but in general, the problems seem to have been caused mostly by the fact that it was low budget and behind schedule, and corners were cut a little too recklessly. Some even claim that the Chinese mafia assassinated Bruce and Brandon, which is eerie when you think about the fact that Bruce Lee’s last film, Game of Death, seems to predict this. In that movie, Bruce’s character is a martial arts actor who is shot by an assassin posing as one of the stunt crew. Also, the biopic Dragon: The Bruce Lee Story anthropomorphizes the supposed family curse as a physical demon that haunts Lee his whole life, and at one point in the film, the demon goes after a young Brandon. Dragon was released in 1993 – a year before The Crow.Plausibility Score: 2 out of 5The idea of a Lee Family Curse is compelling, and it fits in with the whole mystical aura surrounding Bruce. But dig deeper into the on-set events of The Crow, and it all appears to be more a case of negligence and unprofessionalism than a sinister hex.The Exorcist (1973) 83%If the Devil really does exist, he seems to spend an awful lot of time on film sets. Before The Omen tempted fate with each shooting day, William Friedkin’s The Exorcist experienced its own unnerving incidents. Telling the story of two priests battling a demonic presence that has taken hold of a young girl named Regan MacNeil (Linda Blair), the film is an undisputed classic of the horror genre, and some of that may have to do with the notion that the film itself was actually possessed. Things got off to a rocky start when the MacNeil family home set – where much of the action takes place – was destroyed by fire. The only room that was untouched by the blaze…was Regan’s. In addition, almost all of the actors suffered injuries during the filming, and televangelist Billy Graham even claimed that “there is a power of evil in that film, in the fabric of the film itself” and suggested that simply projecting it was like opening a door for demons. The movie held its premiere in Rome, during a violent thunderstorm. One attendee even passed out and broke her jaw, later attempting to sue the production because she blamed subliminal messages for her tumble.Plausibility Score: 3 out of 5Some of the spookiness experienced on set and at early screenings was likely psychosomatic, but the movie still carries a heavy creep factor regardless.Rosemary's Baby (1968) 96%Why not complete Satan’s own personal trilogy with a supposedly cursed movie that pre-dates both The Omen and The Exorcist? Rosemary’s Baby is rightly credited with redefining the horror genre by taking it away from the campy cobwebs and castles of the old Vincent Price days and legitimizing it as a “real” grown-up art form. Mia Farrow and John Cassavetes star in the story of a young mother-to-be who moves into a New York apartment building that also happens to house a Satanic cult. Producer William Castle – who was infamous in the 1950s and 1960s for promoting all sorts of gimmicks like floating skeletons and rumbling theater seats in an effort to sell the “reality” of his horror movies – believed that real witches had cursed the set. The film’s composer suffered a nasty fall shortly after the movie wrapped and died after being comatose for several days. Castle himself fell ill with painful gallstones that required surgery. And, of course, director Roman Polanski’s wife at the time, actress Sharon Tate, and their unborn child would fall victim to the Manson Family a year after the film’s release.Plausibility Score: 1 out of 5It’s easy to think of anything Satan-related as tempting fate when it comes to curses or bad mojo, but most of these incidents seem loosely connected at best.Faces of Death (1978) 25%Just as The Blair Witch Project came along at the perfect time to take advantage of early internet, the legend of Faces of Death is largely a product of the early 1980s VHS boom. Before Blockbuster, video stores were small (often seedy) mom-and-pop stores, and Faces of Death was one of those creepy little oddities you’d find on one of the dust-covered shelves. Allegedly depicting “real” deaths, it served as a badge of honor for anyone who was actually able to get ahold of a copy and watch it. Although the film does contain some real footage – like newsreel clips from an accident where you can see paramedics cleaning up the remains of a cyclist who had been struck and killed by a truck – it was almost entirely faked by writer and director John Alan Schwartz. Yes, even the infamous scene where a table full of diners appear to kill a trapped monkey and then eat its brains.Plausibility Score: 1 out of 5If you don’t catch on immediately when you’re introduced to the movie’s “medical professional” host, “Francis B. Gross,” you’ll catch on during sequences like the “real” shark attack that somehow has footage from the shark’s POV as it eats a diver. Did it get a cinematography credit?Twilight Zone: The Movie (1983) 58%(Photo by Courtesy Everett Collection)The film version of the classic horror and sci-fi television series let four different directors adapt a classic episode: “Kick the Can” by Steven Spielberg (Jaws, Raiders of the Lost Ark), “It’s a Good Life” by Joe Dante (Gremlins, Innerspace), “Nightmare at 20,000 Feet” by George Miller (The Road Warrior, Mad Max: Fury Road), and “Time Out” by John Landis (Trading Places, Animal House). Although some claim the movie is cursed, it’s really just that there’s a sense of morbidity around it because veteran actor Vic Morrow (father of Jennifer Jason Leigh) and two young actors playing Vietnamese children were killed in an on-set accident during Landis’ segment when a helicopter that was part of a sequence recreating the Vietnam War crash-landed on them. None of the other directors experienced any bizarre or unexplained incidents, and all continued to have successful careers. But the tragedy hung a dark shadow over Landis and lends the movie a creepy, all-too-real feel.Plausibility Score: 1 out of 5Again, this was one horrible, tragic accident caused by director negligence. The rest of the film (and filmmakers) got on fine with no curse-related incidents.GUINEA PIG: FLOWER OF FLESH AND BLOOD (1985)None of the images from this film are acceptable to show you, so here is a guinea pig pushing a tiny shopping cart. (Photo by Newspix/Getty Images)Created by artist Hideshi Hino based on his own manga series, the Guinea Pig movies feature the same kind of faux documentary feel as something like Faces of Death or Cannibal Holocaust, and they re legendary among hardcore horror fans. Without any real plot to speak of beyond “psycho kidnaps women and dismembers them in gruesome fashion while dressed as a samurai,” the movies do feel less like a story and more like some forbidden home video. That said, two incidents lend it a particular air of menace. One is that a copy of Flower of Flesh and Blood was sent to the FBI by Charlie Sheen – yes, Charlie Sheen – because he was convinced it was an actual snuff film (it was not, and all of the deaths and butchery were faked). The other is that a copy of the film was found in the home of a man named Tsutomu Miyazaki, a cannibalistic serial killer known as the Otaku Murderer who was behind the kidnapping and murder of four young girls between 1988 and 1989 in Japan. The film was believed to have inspired him.Plausibility Score: 3 out of 5All Hino had to do was not put a title card over the opening “stalking” sequence and it might have worked. The scene really looks and feels like something a creep would record as he follows women down the street. But no real serial killer goes into AfterEffects and adds cool titles and music cues to their murder footage. At least, not that we know of.(Photo by Universal Pictures, 20th Century Fox Film Corp., Universal Pictures, Sony Pictures Entertainment)Rounding out or list of horror is… not a horror film, but a movie that is believed to be so cursed it will never be made. A comedy based on a 1963 satirical novel called The Incomparable Atuk by Canadian author Mordecai Richler, the story is about an Inuit poet who travels to Toronto and has a series of fish-out-of-water experiences in the big city (the film version Americanized it by making Atuk a native of Alaska who travels to New York). Sounds pretty basic, right? It might well be, if the movie didn’t seem to kill every actor associated with the lead role. The curse of Atuk is particularly weird because the novel itself isn’t about anything sinister or paranormal. The first man up for the role was comedy legend John Belushi; after his untimely death from a drug overdose, the producers approached comedian Sam Kinison… who then died in a drunk driving accident. So they decided to offer the part to John Candy, who would die from a heart attack a few months after getting the script. Undaunted, the part was then dangled in front of another SNL vet – Chris Farley. He, too, would succumb to a drug overdose. Even stranger, Farley allegedly gave a copy of the script to a friend who he thought might also be interested in the role, namely fellow SNL alum Phil Hartman. Five months after Farley’s death, Hartman was shot and killed by his wife, who committed suicide hours later.Plausibility Score: 5 out of 5If this movie doesn t scream cursed, we don t know what does.Thumbnail image by Else Filmsbt游戏下载Oscars 2020 Red Carpet Arrivals It's Hollywood's biggest night: See the celebrities and artists who hit the red carpet at this year's Academy Awards! by RT Staff | February 9, 2020 | Comments
4. 呼朋唤友 随心所欲
(Photo by Kristian Dowling/Getty Images)Grab the popcorn and cozy into some stadium seating because the 2019-20 award season is now in full swing. And while some of the niche film critics awards dates are still TBD, we do know that it s time to set calendar reminders for the Golden Globes, Film Independent Spirit Awards, SAG Awards and, of course, the 2019 Academy Awards.You can keep track of these and others nomination announcements and awards ceremonies with the below schedule, which will be updated with more news and information as it happens. Good luck on your Oscar pool! (And your Gotham Independent Film Awards Nominations pool – if you re that hardcore.)September 2019Sunday, September 22 Emmy Awards (NBC, 8 p.m. ET / 5 p.m. PT)October 2019Monday, October 14 Critics Choice Documentary NominationsWednesday, October 23 International Documentary Association Awards NominationsThursday, October 24 Gotham Independent Film Awards NominationsWednesday, October 30 British Independent Film Awards NominationsNovember 2019November 3 Hollywood Film AwardsSunday, November 10 People s Choice AwardsSunday, November 10 Critics’ Choice Documentary AwardsMonday, November 11 Makeup and Hairstyling Guild NominationsTuesday, November 19 Producers Guild of America Documentary Nominations Wednesday, November 20 Grammy Awards NominationsThursday, November 21 Film Independent Spirit Awards NominationsThursday, November 28 – Satellite NominationsDecember 2019Sunday, December 1 British Independent Film AwardsMonday, December 2 Gotham Independent Film AwardsMonday, December 2 Annie Awards NominationsTuesday, December 3 National Board of Review Winners AnnouncedWednesday, December 4 New York Film Critics Circle AwardsWednesday, December 4 AACTA AwardsWednesday, December 4 AFI Awards Honorees AnnouncedThursday, December 5 Writers Guild of America TV NominationsSaturday, December 7 New York Film Critics Online AwardsSaturday, December 7 International Documentary Association AwardsSaturday, December 7 European Film AwardsSaturday, December 7 International Documentary Association AwardsSunday, December 8 Critics Choice Film + TV NominationsSunday, December 8 Los Angeles Film Critics Circle AwardsSunday, December 8 Black Film Critics Circle AwardsSunday, December 8 Washington DC Area Film Critics Association Awards (8 p.m. ET)Monday, December 9 Golden Globe Nominations (5 a.m. ET / 8 a.m. PT)Monday, December 9 Art Directors Guild NominationsMonday, December 9 Philadelphia Film Critics Circle AwardsMonday, December 9 Seattle Film Critics NominationsTuesday, December 10 African-American Film Critics Association AwardsTuesday, December 10 Costume Designers Guild Awards NominationsTuesday, December 10 Cinema Audio Society NominationsWednesday, December 11 Screen Actors Guild NominationsWednesday, December 11- Black Reel Awards NominationsWednesday, December 11 Association of Cinema Editors Eddie NominationsFriday, December 13 Las Vegas Film Critics Society AwardsFriday, December 13 Motion Picture Sound Editors Golden Reel NominationsSaturday, December 14 Chicago Critics AwardsSunday, December 15 Boston Society of Film Critics AwardsSunday, December 15 San Francisco Film Critics Circle AwardsMonday, December 16 Oscar Shortlists AnnouncedMonday, December 16 Seattle Film Critics AwardsMonday, December 16 Dallas-Fort Worth Film Critics AssociationTuesday, December 17 Phoenix Film Critics Society AwardsWednesday, December 18 USC Scripter NominationsFriday, December 20 Alliance of Women Film Journalists’ EDA Awards NominationsMonday, December 23 Online Film Critics Society NominationsFriday, December 27 North Carolina Film Critics Association NominationsJanuary 2020Thursday, January 2 American Society of Cinematographers NominationsThursday, January 2 Houston Film Critics AwardsFriday, January 3 AFI Awards 2019 LuncheonFriday, January 3 GALECA: The Society of LGBTQ Entertainment Critics Dorian Awards NominationsFriday, January 3 North Carolina Film Critics Association Winners AnnouncedSaturday, January 4 National Society of Film Critics AwardsSunday, January 5 Golden Globe AwardsMonday, January 6 Writers Guild of America Film NominationsMonday, January 6 Online Film Critics Society Winners AnnouncedMonday, January 6 Directors Guild of America TV + Documentary NominationsMonday, January 6 Visual Effects Society NominationsTuesday, January 7 BAFTAs NominationsTuesday, January 7 Producers Guild of America Award NominationsTuesday, January 7 New York Film Critics Circle AwardsTuesday, January 7 Directors Guild of America Film NominationsWednesday, January 8 National Board of Review AwardsWednesday, January 8 GALECA: The Society of LGBTQ Entertainment Critics Dorian AwardsWednesday, January 8 GLAAD Awards Nominations AnnouncedThursday, January 9 Los Angeles Online Film Critics SocietyFriday, January 10 Alliance of Women Film Journalists’ EDA AwardsSaturday, January 11 AARP Movies For GrownupsSaturday, January 11 Makeup and Hairstyling Guild AwardsSaturday, January 11 Los Angeles Film Critics Association AwardsSunday, January 12 Critics Choice Film + TV AwardsMonday, January 13 Academy Awards NominationsFriday, January 17 Association of Cinema Editors Eddie AwardsSaturday, January 18 Producers Guild of America AwardsSunday, January 19 Screen Actors Guild AwardsSunday, January 19 Online Film Television Association Film NominationsSunday, January 19 Motion Picture Sound Editors Golden Reel AwardsMonday, January 20 Latino Entertainment Journalists Association Winners AnnouncedSaturday, January 25 Directors Guild of America AwardsSaturday, January 25 Annie Awards NominationsSaturday, January 25 American Society of Cinematographers AwardsSaturday, January 25 Cinema Audio Society AwardsSaturday, January 25 USC Scripter AwardsSunday, January 26 Grammy AwardsTuesday, January 28 Costume Designers Guild AwardsWednesday, January 29 Visual Effects Society AwardsFebruary 2020Sunday, February 1 Writers Guild of America AwardsSaturday, February 1 Art Directors Guild AwardsSunday, February 2 BAFTAsSunday, February 2 Online Film Television Association Film Winners AnnouncedThursday, February 6 Black Reel AwardsFriday, February 7 – Satellite AwardsSaturday, February 8 Film Independent Spirit AwardsSaturday, February 8 Razzie Nominations AnnouncedSunday, February 9 92nd Academy AwardsTuesday, February 18 BRIT AwardsMarch 2020Saturday, March 28, 2020 NAACP Image Awards2020 TBDDATE TBD Ariel AwardsLike this? 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5. HD 画质与高品质音讯
7.33.3 2月喜迎cope.It Was a “Traditional” Disney Story in a Way No Other Pixar Movie Is(Photo by Buena Vista Pictures courtesy Everett Collection)These days, Pixar is celebrated for its truly innovative premises. What if the emotions in your head were personified, here to teach you a lesson about how sadness is good? What if humanity ruined the Earth and left a cute, largely silent robot behind to clean up? What if art deco superheroes fought against the struggles of marriage, and also maybe loved Ayn Rand? A Bug’s Life is not like that. In fact, it’s probably the most traditional Pixar movie when compared to Disney’s classic animated canon. The film, like so many of the classic Disney movies, was based on an old tale from the public domain — in this instance, the Aesop’s Fable about the ant and the grasshopper.Anybody who has watched The Little Mermaid and then gone and read the original Grimm’s Fairy Tale knows that Disney frequently makes major (and typically good) changes when adapting an old story. A Bug’s Life was no different, taking this fable of a lazy grasshopper and hardworking ant and spinning it into a new tale about individualism, make-believe actors becoming real-life heroes, and triumph over extortion. It was Pixar’s only real take on what had been Disney’s M.O. for decades, and while the studio’s creative ambitions would only grow greater, A Bug’s Life is worth remembering for being a singular Pixar reinterpretation.It Proved That Pixar Wasn’t a FlukeIf the worst thing A Bug’s Life has going for it is that it isn’t one of the greatest animated movies ever made from arguably the greatest animation studio of all time, then that’s a pretty good sophomore slump. After the success of Toy Story, Pixar, which had since become a public company, needed to deliver a success to keep the momentum going.“We felt the future of the studio was resting on it,” A Bug’s Life producer Darla K. Anderson recalled in that filmmaker’s roundtable. Had Pixar’s second movie been a total bust, Pixar might’ve been written-off as a one-hit wonder. Instead, A Bug’s Life was a critical and financial success — maybe not as good as Toy Story, but a sure sign that there were plenty more good things to come.Twenty years later, now that computer graphics have progressed so much, it’s easy to overlook the visual and technical leaps that A Bug’s Life Made. Compared to Toy Story, A Bug’s Life is much more complex. Animators needed to create entirely organic-looking worlds on a much bigger scale than Toy Story’s mostly bedroom settings. There were significantly more characters in A Bug’s Life than in the earlier film — heck, the ant colony alone dwarfs Toy Story’’s entire cast. Pixar also had to use or develop new animation techniques to handle light flickering through semi-transparent grass and the flickering flames of the finale. In other words, A Bug’s Life was no small feat, and that warrants a bit of celebration.A Bug s Life was released on November 25, 1998.
PRODUCTION DEVELOPMENT: Peacock To Debut Universal Titles No Later Than Four Months After Their 2022 Theatrical Premiere(Photo by Universal Pictures)Streaming service Peacock has signed a multi-year deal with Universal Filmed Entertainment Group that will have Peacock debuting Universal titles exclusively no more than four months after their theatrical releases in 2022. Among the films included on Universal’s 2022 slate: Jurassic World: Dominion, a new movie from Oscar-winner Jordan Peele, Puss in Boots: The Last Wish, and Minions: The Rise of Gru. Additionally, beginning in 2022, original films developed and produced exclusively for Peacock by Universal Pictures will also premiere on the service. (Note: Rotten Tomatoes is a division of NBCUniversal, like Peacock and Universal Filmed Entertainment.) In related news, Prime Video and IMDb TV have signed a multi-year licensing deal with Universal Filmed Entertainment Group. Prime Video will have an exclusive pay-one window for UFEG’s slate of live-action films in the U.S. starting with the 2022 release slate and will also receive rights to a package of UFEG’s library movies. IMDb TV, Amazon’s premium free streaming service, has also secured an exclusive network-window for films from UFEG’s 2020-2021 theatrical slate and rights to a package of animated titles.Meanwhile, Peacock also announced a new original series, Pride Prejudice: An Experiment in Romance, a reality dating series obviously inspired by the success of Netflix’s Bridgerton, in which “a heroine looking for her duke” and a group of dudes will be “transported to a Regency-style England” and housed in a castle in the countryside, where “the heroine and suitors will experience that with which dreams are made of. From carriage rides and boat rides on the lake to archery and handwritten letters to communicate, they will be immersed in a time-traveling quest for love. In the end, our heroine and her suitors will discover if the ultimate romantic experience will find them true love.” Wannabe contestants, er, “heroines and suitors,” can apply to be on the series in this lengthy document.Showtime Networks has extended a deal with Steven Spielberg’s Amblin Partners that will mean additional Amblin films will air across Showtime channels and streaming service. The upcoming Amblin movies included: Spielberg’s untitled film starring Michelle Williams and Seth Rogen; Distant, starring Anthony Ramos and Naomi Scott; Easter Sunday, starring comedian Jo Koy; and Last Voyage of the Demeter, starring Corey Hawkins.50 Cent’s G-Unit Film Television is developing Unrapped, an ABC reality series in which celebrity contestants are coached by iconic hip-hop mentors, and then compete in rap battles until a king or queen is crowned. (Deadline)(Photo by Angela Weiss/AFP via Getty Images)Greg Berlanti (pictured), who currently has 14 series produced by his company on the air, and Sarah Schechter, Berlanti Productions’ chairperson and partner, have formed Berlanti/Schechter Films, a collaboration that includes a first-look deal for feature films at Netflix. Among Berlanti’s current series include the Netflix drama You, soon to premiere its third season, and the recently concluded Chilling Adventures of Sabrina. (Deadline)TBS will air Wipeout: The Suicide Squad Special on Aug. 1, with Suicide Squad director James Gunn and cast members Nathan Fillion, Joel Kinnaman, David Dastmalchian, and Daniela Melchior joining their movie co-star, Wipeout co-host John Cena, in a special episode of the obstacle course series.CNN’s new eight-episode History of the Sitcom series premieres July 11 with back-to-back episodes “A Family Matter,” which examines how sitcoms have evolved to reflect the changing face of American families, and “Sex the Sitcom,” exploring the revolution of sex in sitcoms, including the integration of LGBTQ+ storylines in representing a more modern world.Rupert Murdoch is launching Fox Weather, a 24-hour streaming weather network later this year, while the Weather Channel will also launch a streaming service, Weather Channel Plus. (The New York Times)Robert and Michelle King (The Good Fight) have signed a new five-year overall producing deal with CBS under their King Size Productions banner, which gives the network exclusive rights to produce content created by the Kings across all platforms.Comic-Con@Home To Feature The Wheel of Time, The Walking Dead, Doctor Who, Rick and Morty, and More Panels(Photo by Adult Swim)Comic-Con International: San Diego will once again be virtual, and networks are beginning to announce details of their panels for the July 23-25 Comic-Con at Home. Some early highlights:AMC: The Walking Dead’s final SDCC panel, moderated by Chris Hardwick, and featuring Scott M. Gimple, showrunner Angela Kang, and cast members Norman Reedus, Melissa McBride, Jeffrey Dean Morgan, Lauren Cohan, Khary Payton, Christian Serratos, Josh McDermitt, Eleanor Matsuura, and Michael James Shaw. Hardiwck also hosts the panels for Fear The Walking Dead, with panelists Gimple, showrunners Andrew Chambliss and Ian Goldberg, and cast members Lennie James, Alycia Debnam- Carey, Colman Domingo, Danay Garcia, Jenna Elfman, Karen David, Mo Collins, and Christine Evangelista; and The Walking Dead: World Beyond with panelists Gimple, showrunner Matt Negrete, and cast members Aliyah Royale, Alexa Mansour, Nicolas Cantu, Hal Cumpston, Nico Tortorella, Annet Mahendru, Julia Ormond, Jelani Alladin, and Joe Holt. There will also be panels for BBC America’s Doctor Who, with 13th Doctor Jodie Whittaker on the panel; Shudder series V/H/S/94, Horror Noire, Creepshow, and Slasher: Flesh Blood; and the AMC+ series Ultra City Smiths, with panelists Jimmi Simpson, Debra Winger, and Luiz Guzmán.
Watch: Vin Diesel on the building-to-building jump in Furious 7 above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, actor Vin Diesel recalls the moment that for many has come to define the Fast and Furious franchise.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Furious 7 (2015) 82%When 2001 s The Fast and the Furious began with a trio of Honda Civics lifting a shipment of now-obsolete electronics from a delivery truck, there was no way to know that the film would eventually blossom into one of the most successful action-adventure franchises ever, still going strong 18 years later. Initially characterized by smaller-scale crime stories enlivened by elements of street-racing culture, the series has established a reputation for consistently one-upping its own breathtaking stunts and spectacular, over-the-top action scenes.By the time Furious 7 premiered in 2015, the franchise had already successfully transitioned into a globetrotting blockbuster adventure series, but its beating heart lay in the friendship between one-time criminal Dom Toretto (Vin Diesel) and former FBI agent Brian O Conner (Paul Walker). Just halfway through production on the film, however, Walker tragically suffered a fatal car accident, and his death loomed large over the proceedings. Diesel recalls his first interactions with Walker and how their relationship evolved over the course of the franchise.Vin Diesel and Paul Walker in 2001 s The Fast and the Furious. “We kind of embraced that he was this L.A. kid and I was this New York kid.” We got along from the start, and we kind of embraced that he was this L.A. kid and I was this New York kid. That was kind of the fun of building that brotherhood bond. We didn t know in the first film that we would be the poster child for brotherhood, but I guess it was beginning back then. He did something very interesting that was very flattering and also made me extremely uncomfortable.I d been acting since I was seven years old, and had gotten no lead roles, no lead movies, and then I went off and directed movies and went to Cannes and went to Sundance as a director. So, because of so many years of struggle, and then finally seeing the beginnings of success by doing it myself, I was very reliant on myself. I was very opinionated.And when we did a 50-person read-through for the first time at Universal with all the top executives, the marketing, and the directors and writers more people than I d ever seen in a production meeting. We were reading the script out loud. After every other line Paul was sitting on the opposite side of this big U-shaped table set-up he d look up and stop the read-through and say, Vin, what do you think of that line? And it kind of set the stage for what our relationship was gonna be, that he had a big brother in this. This was at the read-through when we didn t know each other. We had just met one second, and I guess I was so opinionated that Paul just wanted to hear truth. He didn t want any more Hollywood bulls t; he just wanted to know if the line was right or not. And he d stop and ask me, in front of everyone. Walker and Diesel s bond remained the center of the franchise. (Photo by Giles Keyte/Universal Pictures) I m proud of every moment of every frame and every player and everybody that s contributed. It s a big part of my life, both the happy times and the severe melancholy that comes with this whole saga for me. But I m proud of every moment of every frame and every player and everybody that s contributed. Of course, there s always faults and self doubt and, you know, a plague of being a perfectionist. You obviously have your highs and lows and your more confident moments and your less confident moments.And I just thought how grateful my children were born on these movies. Every one of my kids was born during a day I was filming with Paul. The irony is, I played the big brother in the saga, and one of the most influential people sending me off into fatherhood was Paul Walker. So, it s no mystery that these movies are very sacred to me. The Moment: Cars don t fly! There is perhaps no one sequence in the Fast and Furious franchise that quite captures its freewheeling, devil-may-care sensibility as acutely as the one that takes place in Abu Dhabi midway through Furious 7. In it, Dom and Brian pilot a supercar from one skyscraper to another, and then again to the next one, smashing through windows and defying gravity in a gleeful display of impossible physics. When Diesel first read it in the script, he was surprised, but flattered.Diesel as Dom, preparing for the leap. (Photo by Universal Pictures)“It was that moment where we realized that Fast and Furious didn t need to be restricted in any way.” The first thing I can think of is, I remember going to everyone and saying, Come on. Dom can t just lift up this car, and seeing their faces look at me like I was crazy, like, Of course he can. And I m thinking, Oh my God. The belief that you all have in Dom is profound. Because lifting up the car, it s technically possible. If anyone can do it, it s Dom! So I remember that was the theme of the day. It was one of those things that was so enticing because it was so much wish fulfillment. It was designed so well James Wan executed it brilliantly. Our second unit director, everyone just really knocked it out of the park.And it was that moment where we realized that Fast and Furious didn t need to be restricted in any way. That we were so thorough about story and character, and it s so much a tale of brotherhood and family, right, that we were allowed these kind of outrageous and fantasy-filled moments, and flying through the air was playing to that. Flying from building to building was playing to that. It was one of those solutions to the riddle, or answers to the riddle, How do we one-up the spectacle of each film? God, the things that we d been asked to do. Yeah, we were asked to fly. Obviously, CGI components to all of it. And traditionally, with Fast and Furious, we always try to take a practical approach first, so we ll take a practical run. But something as outrageous as that If you want to know if Paul and I drove from one building to the next, as much as I d like to say maybe, I mean, it s pretty obvious that that might not have been the thing for us to do. Cars can fly, with the help of CGI. (Photo by Universal Pictures) When you re sitting in that theater, and you see that scene, the first thing that reacts is the inner child in you. What s funny is that if you talked to us back then, we d be willing to do anything. What usually would happen was, in the first film, we went to, like, race car driving school. But then, as we continued making the films, it was more important for us to go to stunt-driving school. So, before every film, we would spend a couple of weeks in stunt-driving school and learn how to do stunts in cars. And you can learn as much as you want, but when it s actually shoot day, and the pyrotechnics are launching bombs and fireballs in the air and you re driving through smoke, and the steering goes out, it s always a dangerous thing. I don t think the world realizes how much risk one has to consider when doing some of those heavy action sequences with cars.Fortunately, we were safe. But it was always a running theme with Paul and I. We d do interviews, and we d talk about how we can t believe we re still OK, because of what we did and how committed we were to playing these roles. But yeah, without taking away the magic of movie making, thank God that that was in 2014 and
New Apple TV+ series For All Mankind portrays an alternate history in which the U.S. space program triumphs in defeat after the Russians land on the moon first. Executive producers and co-creators Ronald D. Moore, Matt Wolpert, and Ben Nedivi and executive producer Maril Davis provide insight into their new drama ahead of the November 8 premiere of episode four, Prime Crew, in which a training accident sparks a debate about women astronauts.About the show: For All Mankind presents an aspirational world where NASA astronauts, engineers and their families find themselves in the center of extraordinary events seen through the prism of an alternate history timeline — a world in which the USSR beats the U.S. to the moon. The series stars Joel Kinnaman, Michael Dorman, Sarah Jones, Shantel VanSanten, Wrenn Schmidt, Jodi Balfour. For All Mankind is directed by Seth Gordon.RELATED: The Best Apple TV+ Movies and TV Ranked
Daniel Radcliffe may never in his lifetime escape questions about his most-famous role: Harry Potter. Fortunately, the star doesn t mind fielding fan queries, including those from Potterhead colleagues and the occasional journalist.Radcliffe s Miracle Workers costar Karan Soni, who plays Sanjay, was the biggest Potterhead on the cast, Radcliffe revealed, and he was happy to indulge Soni.“I think there’s like an expectation that I will hate talking about it, which I really don’t particularly,” Radcliffe told Rotten Tomatoes.Radcliffe now stars in surreal TBS comedy Miracle Workers, which presents Heaven, Inc. as a regular office grind where employees try to answer prayers every day. God (Steve Buscemi) is over it and decides one day that he’s going to blow up the Earth.(Photo by Curtis Baker/TBS)Angels Craig (Radcliffe) and Eliza (Geraldine Viswanathan) convince God to give them a chance to prove humans are worth preserving. If they can perform one miracle in two weeks, God will let the Earth live. The prayer they’ve chosen to answer: Help Sam (Jon Bass) and Laura (Sasha Compere) fall in love.The angels can’t directly interfere with Sam and Laura. They can just set things up and hope they work. It’s like a game of Sims with real people.“They’re a lot more caring with them than I was with my Sims,” Radcliffe said. “I killed my Sims accidentally. I put the fridge the wrong way around and didn’t realize.”Viswanathan confessed to even more sadistic Sim abuse.“I used to take the ladder out of the pool and just watch them suffer,” she said of her Sims abuse, which shocked her costar.“That’s you killing them!” Radcliffe objected. “I accidentally made my guy die. That’s a murder.”(Photo by Curtis Baker/TBS)Heaven, Inc.’s interference on the show also has collateral damage. Obstacles they throw in Sam and Laura’s path may have deadlier impacts on completely innocent bystanders.“It does, but it is all for the goal of saving the entire world,” Radcliffe said in defense of the angels. “We’re in a world where virtually anything can be justified in order to save the existence of the species as a whole.”Miracle Workers is a dark comedy that way, but it’s ultimately optimistic.“There’s a through-line of hope even when it’s really messed up and extremely dark,” Viswanathan said. “They’re just sticking together and believing in something and going for it. That’s very much the ethos of the show.”(Photo by Curtis Baker/TBS)Miracle Workers showcases Radcliffe’s comedic side. He has had funny cameos in films like Trainwreck and shows like Bojack Horseman, and he even played a farting corpse in 2016 film Swiss Army Man opposite Paul Dano.“I’ve always loved doing comedy,” Radcliffe said. “I think I’ve done a fair amount that certain people have seen. Swiss Army Man is a fairly niche film. The stage shows I’ve done have actually mostly been comedy in some way. I love it. It’s a very lovely thing, particularly on a set like this where you just have to go to set and try and be stupid every day and make people laugh.”And Miracle Workers can be gloriously stupid. One joke is just about how to pronounce “gyro.” Most foodies know it sounds like “yee-ro,” not like a gyroscope.“I thought it was ‘gyro’ as well, but my girlfriend — near where Erin grew up is a huge Middle Eastern community — and she was like, ‘No, it’s yee-ro,” Radcliffe said.(Photo by Curtis Baker/TBS)If Miracle Workers is a hit, there will be a second season, but it won’t be about the same angels. Creator Simon Rich’s plan is to make Miracle Workers an anthology series.“The idea would be to reset it in a different time, place, characters — sort of to do for comedy what American Horror Story is for horror,” Radcliffe said. “Once you’ve saved the world, it’s hard to find where to go from there for the second series, I think.”Whether or not that means season 1 ends with a miracle or we all die, it will be a definitive ending.“The opportunity TBS gave him to do was to do a totally self-contained season so you didn’t have to, as a writer, write an open-ended ending which may or may not go onto something in season 2,” Radcliffe said of Rich s deal. “Essentially they let us make a three-hour film with commercials.”(Photo by Curtis Baker/TBS)Returning to our Potter obsession (and Radcliffe s patient accommodation), we related that when his Potter costar Rupert Grint spoke to us for Snatch season 2, he said it was weird for him to watch another actor play Ron Weasley in the play Harry Potter and the Cursed Child. Radcliffe hasn’t seen the play yet, but not because of another actor playing Harry.“I think I would find it weirder just sitting in the audience and know that people were probably looking at what my reaction to the thing was,” Radcliffe said. “That’s kind of the reason I haven’t gone.”It’s hard to believe that it has been eight years since Harry Potter and the Deathly Hallows Part 2. Radcliffe has had a whole career since then, but he’ll always be Harry Potter.“It’s still a big part of my life, but I’ve gotten to go on and do loads of other things,” Radcliffe said. “I’m very happy with how it’s all gone. If you told me at the time that I was going to be sitting here eight years later talking about this amazing, weird series that I love, I’d be very, very happy with that sort of thing.”Most actors don’t get one or the other. Radcliffe considers himself blessed to have both.“I don’t think the idea of me always being known as Harry Potter and the idea of me just being an actor who does lots of stuff are mutually exclusive,” Radcliffe said. “I think they can both be true. So far they have been so fingers crossed.”Miracle Workers premieres Tuesday, February 12 at 10:30 p.m. on TBS. The premiere is available for viewing now at TBS.com.
Mark your calendars for stardate 11020.23 (we think) — that is, January 23, 2020 — when the highly anticipated Star Trek: Picard finally launches, the cast and creators announced at New York Comic-Con on Saturday.The CBS All Access spin-off stars Patrick Stewart as the legendary Jean-Luc Picard and will include numerous familiar faces from Star Trek: The Next Generation, which first introduced the titular character. Data (Brent Spiner), William Riker (Jonathan Frakes), Deanna Troi (Marina Sirtis), Seven of Nine (Jeri Ryan), and Hugh (Jonathan Del Arco) all make their return in the new series.Revisiting Picard 20 years later felt like less of a job and more of a gift, executive producer Akiva Goldsman said at the top of the October 5 Star Trek Universe panel at Madison Square Garden’s Hulu Theater.“I think we’ve done pretty well,” Goldsman said of living up to The Next Generation’s formidable standard. “You’re surrounded by a lot of people who love Star Trek and a lot of people who love Captain Picard — and who actually love Patrick Stewart — so it very quickly went from ‘job’ to ‘opportunity.’ We’re pretty blessed, and I don’t throw that word around.”To learn all the details from the event, including what’s in store for some of the franchise’s new faces, read on for everything we know about Star Trek: Picard.It’s an All-New Adventure With the Captain We Love(Photo by Matt Kennedy/CBS)The new journey with Picard and co. takes place after the events of the feature film Nemesis in 2002 (the death of Data, for one) and the eventual defeat of the Romulans (as established in the Picard-less 2009 feature). Picard has disassociated himself from Star Fleet and is spending his old age in retirement and isolation at Château Picard, where he’s joined by a trusted pitbull companion, Number One (a knowing nod to his longtime second-in-command Riker, of course).“We wanted it to be a real-time follow-up to where last we saw Picard,” Goldsman explained of the jump in time. “We wanted to let the ensuing years that have passed for us also [to] have passed for Jean-Luc, so we all spent a lot of time collaboratively filling in those 20 years.”And while there is development in the Picard scripts and its narrative architecture of what has happened to the former captain in the ensuing years, the story here picks up with the unexpected arrival of Dahj (Isa Briones), a young woman who turns to Picard for help following an enormous trauma, in turn reigniting Picard s desire to return to the Starfleet.Sir Patrick Needed Some Wooing to Return to the Role(Photo by Trae Patton/CBS)While Picard is one of Stewart’s best-known and most-beloved roles over the course of his expansive career, it’s also one that the 79-year-old thespian had vowed to never return to again. So how did executive producer Alex Kurtzman and his team of Star Trek diehards persuade him? Through an admiring patience and persistence.“He was sure about saying no. He was positively negative about the whole thing,” Kurtzman teased of the first pitch meeting between himself, Stewart, Goldsman, and supervising producer Kirsten Beyer. “We pitched and he said, ‘It’s lovely — and no thank you.’ He said, ‘I couldn’t possibly, but I really appreciate it.’”The idea initially came together as Kurtzman was mapping out his new string of his short film series, Short Treks, and posited the idea of a Picard-focused outing.“Akiva and Kirsten and I were sort of thinking about what that would be, and then we went, ‘A Short Trek would be great, but what if we could bring him back?’ ” Kurtzman recalled. “So I called his agent and I said, ‘I know he’s probably never coming back, but would you do us the favor of trying to set up a meeting?’”And while Stewart’s initial response was a decisive no, he soon reconsidered, asking for a four-page mock-up of the plan for the 10-episode order. What writer, executive producer, and Star Trek superfan Michael Chabon ended up turning in, as Stewart remembers it, was a bit longer.“I seem to remember 35 [pages],” Stewart said, laughing about the attempt by the Pulitzer Prize–winning novelist (for The Amazing Adventures of Kavalier and Clay) to woo him.“It was an incredible document,” Kurtzman agreed. “And I can tell you that one of the greatest moments that we had was coming to see you [Stewart] after you had read the document not knowing what the response was going to be, and you walked into the room and you were smiling. That was the moment.”Picard Isn’t All About Being a TNG Reunion, Though(Photo by Trae Patton/CBS)While the response in the room to seeing the likes of Data and Riker pop up in the NYCC trailer for Picard was rapturous, to say the least, the creators on stage did emphasize that they didn’t want it to be just a shallow reunion show. When asked about how they negotiated bringing back fan-favorite franchise vets and serving the heart of the story, executive producer Heather Kadin explained that no one was brought back thoughtlessly or without the bigger picture in mind.“A big concern was we did not want it to be — and especially Patrick did not want it to be — a TNG reunion show,” she said. “And I think what you can even tell from the trailer and what you’ll definitely tell when you watch the series is we only brought people back if their story really mattered to the story we were telling. We didn’t want it to be, ‘And then over here is Riker!’ You know? I don’t think the fans would’ve appreciated that, either, and it was really important to Patrick, who obviously has longstanding, deep relationships with these people, that if we’re going to go to them and say, ‘Join a show that’s called Picard,’ that we give them something significant to do. You’ll see that each one of them has a pivotal, emotional story to tell in our 10 episodes.”New Heroes Will Run A-Plenty — Though What’s in Store Is Still Under Wraps(Photo by Trae Patton/CBS)Joining the Picard creatives and Stewart on the NYCC stage were series newcomers Briones, Santiago Cabrera (Cristobal “Chris” Rios), Michelle Hurd (Raffi Musiker), Alison Pill (Dr. Agnes Jurati), Harry Treadaway ( Narek), and Evan Evagora (Elnor). While the actors are contractually obligated to remain tight-lipped, we did learn some necessary backstory for what to expect going into the January premiere.When Dahj comes in search for Picard’s help, that help quickly becomes a two-way street, Briones said.“When Dahj and Picard first meet, it’s this really special moment of two lost souls colliding in a way in this crazy circumstance that is born out of tragedy. [It’s] two people helping each other. It starts with me asking for help, but I think we help each other, which is a really, really beautiful moment to have with Sir Patrick Stewart,” Briones said.Though she couldn t reveal too much, she said “‘complicated’ is a good word” to describe the predicament Dahj finds herself in.“I am seeking help from him because of a horrible tragedy that I have just gone through, and my gut is telling me to go to Picard, and that in itself is so complicated, just the feeling of me needing someone and going to this man saying, ‘I need help,’” Briones said.Kadin added that much like Tilly on Star Trek: Discovery, Dahj will be a point of entry for non-Star Trek fans to jump into the world of Picard.“In the way Tilly has been a representation of someone new to the world on Discovery, I think you’ll find that Isa’s character gives you that way into this show,” she said. “But I also think that Patrick has so many fans from so many things that I think that he’s going to bring that to this show, and I think people are going to be able to be welcomed into it without a problem.”As far as the other characters, “complicated” remained the word of the hour, whether it was used to describe the shared history of Raffi and Picard (per Hurd: “We have a past. We’ve worked together, and we had a falling out.”); of Rios’s return to Starfleet after he left “due to some traumatic events in his past in relation to Starfleet,” according to Cabrera; or of the introduction of “odd couple” Romulans Narek and Elnor, who are navigating a world in which they are no longer welcome.Pill’s Dr. Jurati comes into the mix after being swept up in Picard’s once-in-a-lifetime (and still-unnamed) intergalactic adventure.“Picard’s mission ends up being exactly what she’s spent her entire life reading about, so they have the same goal in mind, and the possibility of it invites this woman to want to go on an adventure unlike anything she’s ever [been] on,” Pill teased.Stewart later emphasized that it’s the series’ ongoing ensemble work that remains his top priority while being top of the call sheet.“I looked on every aspect of The Next Generation as being ensemble-based, and in fact, that has been very much an indicator of where I was in my career — that the ensembles that I’d worked with, whether they were in theater or film or television, have always been to me like another character,” he said. “And so when we first met and talked in those early discussions, it was, my use of that word, the ensemble, the uniting of a group, because here we sit, I can only speak personally, but in love with all of these people on my left, and of course the people on the right. And that’s where the ensemble element comes from, and it’s very important.”There’s a New (Adorable) Number One, and He Has a Personal Significance to Stewart(Photo by Matt Kennedy/CBS)For those who watched the trailer, we’re introduced to Picard’s pet pitbull, named Number One. While the dog has been featured prominently in promotion of the CBS All Access series, little is known thus far of what role, exactly, the pup will be playing. But it wasn’t lost on the NYCC audience that Stewart has a real-world connection to pitbulls, working tirelessly in nonprofit initiatives and fostering and adopting the oft-misunderstood breed himself.With that in mind, Stewart revealed that when it became clear that Kurtzman was going to include a dog for Picard in this 10-episode journey, he pushed for it to be a pitbull to further destigmatize the breed onscreen.“Once the dog issue had been agreed upon, I did campaign proliferously for it to be a pitbull,” he said, noting the prominence of the now-famous dog from Once Upon a Time in Hollywood. “But what I didn’t know at the time was that Brad Pitt had gotten in there ahead of me, and there’s another pitbull now that’s become very famous in the last few weeks.”Kurtzman Wants Picard to Continue Star Trek’s Social Legacy(Photo by Trae Patton/CBS)The turn of phrase that Kurtzman likes best when discussing his slate of new Star Trek iterations is that he wants it to be reflective of the social and political state of today’s world.“Star Trek is a mirror that holds itself up to society,” Kurtzman said. And specifically pointing out the ways in which Star Trek: Picard will deal with its treatment of the defeated and refuge-seeking Romulans, he said that the series dives right into the muck of it. “We’re in a massive immigration metaphor right now in the middle of a massive immigration conversation, and we are very proud, I think, to say that we are diving head-first into that and to using Trek as a way of exploring it from all points of view.”Star Trek: Picard premieres January 23, 2020, on CBS All AccessLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
With Sung Kang’s highly anticipated return to one of the world’s biggest franchises in F9, Fast and Furious fans may finally be getting #JusticeForHan. But what does the man who plays Fast favorite Han think of the fan campaign to bring him back and make things right? And how did he go about shaping the mysterious snack-happy drift king into one of the most beloved characters in one of Hollywood’s most beloved film series? We sat down with Kang to dig into just that.Recommended: Rotten Tomatoes Is Wrong About Tokyo Drift (podcast episode)In this exclusive and extended breakdown of Han’s journey in the films, Kang reveals how he worked with director Justin Lin to bring a standout character from Lin’s indie hit, Better Luck Tomorrow, into the Fast world; how the duo had to convince the studio it was the right move to make Han a bigger player in Tokyo Drift; what it means to play an Asian-American character that has inspired so many fans; and, yes, why Han snacks so damn much. Plus, Kang reflects on the #JusticeForHan campaign and the fans that revved it up, and the moment he realized that the impact of this character “is way bigger than me.”F9 is in theaters Friday June 25, 2021. On an Apple device? Follow Rotten Tomatoes on Apple News.
在游戏里体验生活的一百种打开方式，或许一直是大多数玩家所期待的。在《忘川风华录》手游的世界里，每个玩家可以给出自己不同的答案。 CASTING NEWS: WEST WING REUNION, ANYONE? (Photo by Mitch Haddad/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images)It’s a West Wing reunion: Josh Malina will guest star on Bradley Whitford’s NBC comedy Perfect Harmony. Malina will play an eccentric pageant judge named Torsten VanBlaricum, a former pageant winner who now hosts a podcast about his pageant past. (Deadline)Tony winner Andrew Garfield will star in Tony and Pulitzer winner Lin-Manuel Miranda’s Netflix adaptation of tick, tick … BOOM!, the autobiographical play Jonathan Larson wrote before he wrote Rent, the musical that went on to earn the playwright a Pulitzer and three Tonys. Larson won the awards posthumously; he died of an aortic dissection the day of Rent’s first Off Broadway preview performance. (Deadline)Monica Raymund will return to Chicago Fire for the series’ season 8 midseason finale on Nov. 20. Her character, Gabby Dawson, was last seen in season 7, when she left the Windy City and moved to Puerto Rico to work on hurricane relief projects.Peacock, NBC Universal’s upcoming streaming service, has cast its teen mystery pilot One of Us Is Lying. Barrett Carnahan (Grown-ish), Annalisa Cochrane (Cobra Kai), Marianly Tejada (The Purge), Cooper van Grootel (Go!), Chibuikem Uche (Ghost Draft), Jessica McLeod (You Me Her), and Melissa Collazo (Swamp Thing) will star in the story, based on Karen M. McManus’s bestselling YA novel, about five high schoolers who are ordered to serve detention together … but only four of them come out of it alive.Lynn Chen (The Affair) and Idara Victor (Rizzoli Isles) will be recurring cast members on season 10 of Shameless, which premieres on Showtime on Nov. 10. Chen will play Mimi, a new friend of V’s, while Victor will play Sarah, who runs an AA group of moms. (Deadline)DEVELOPMENT NEWS: HBO MAX ATTACKWarnerMedia announced price, launch month and lineup for its upcoming streaming service HBO Max. It will feature more than 10,000 hours of programming, including 88 original series by 2021. And here s another number HBO Max execs are hoping viewers will focus on: If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at firstname.lastname@example.org.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News. — that s how much extra HBO subscribers on AT T distribution platforms and HBO Now direct-billed users will have to pay for HBO Max, which will launch in May 2020. The monthly cost of the streaming service for most others will be .99.Read Everything We Know About HBO Max Streaming Service for a list of originals and library titles that are in the works and more information.The CW is developing Superman Lois, an Arrow spin-off that will find Tyler Hoechlin and Elizabeth Tulloch reprising their titular roles, which they’ve performed on Arrow and Supergirl (Tulloch will appear on Supergirl in a January 2020 episode). The potential drama will revolve around Clark Kent/Superman and Lois’s life as working parents.Kerry Washington and Larry Wilmore are producing Reasonable Doubt, a legal drama being developed at ABC. Another producer on the project: attorney Shawn Holley, a member of the “Dream Team” that defended O.J. Simpson in the “Trial of the Century.” Holley is at least part of the inspiration for the series, which revolves around Charlie Stewart, an attorney known for her “questionable ethics and wild interpretations of the law,” but also as “the most brilliant and fearless defense attorney in Los Angeles, who bucks the justice system at every chance she gets.” (Deadline)BoJack Horseman + Legos = our next reality competition series obsession. Will Arnett, the voice of Netflix’s anthropomorphic horse (and of LEGO Batman), is an executive producer of Fox’s LEGO Masters series, and he’ll also host the series, which pits LEGO builders against each other until the ultimate architect of the toy bricks is crowned champion. The series premieres on Feb. 5.The Big Short Oscar winner and Succession executive producer Adam McKay will produce a limited series about Jeffrey Epstein, as part of McKay’s new five-year deal with HBO. Under his new Hyperobject Industries umbrella, McKay will base his series about the late financier on the upcoming book by Miami Herald investigative reporter Julie K. Brown, whose reporting on the Epstein case helped bring about his arrest in July on sex trafficking charges. Brown will serve as an executive producer on the HBO series. (Deadline)Sons of Anarchy and The Village producer Mike Daniels is developing Adam Eva, a “modern-day Adam and Eve drama” based on a Dutch series, for NBC. Deadline describes the series as “a funny and heartfelt drama that chronicles the epic love and lives of two complete strangers whose multiple run-ins begin to defy coincidence and lead both to believe in fate.” (Deadline)ABC gave full-season orders to two freshmen series, the crime drama Stumptown and Black-ish prequel Mixed-ish, and ordered seven additional episodes for the second season of The Rookie.The CW gave full-season orders to its freshmen dramas Nancy Drew and Batwoman.CBS is developing We the Jury, a comedy about a sequestered jury that can’t come to an agreement about anything, even lunch. Friends writer and producer Dana Klein is a co-creator on the series. (Deadline)Saturday Night Live alum Bobby Moyniha