(Photo by David Lee / © Netflix)Rotten Tomatoes’ “Essentials series will provide an in-depth look at one nominee or potential nominee from each of the major awards categories – the four acting categories, and directing – diving into their highest-rated work from both fans and critics, essential titles from their filmography, and featuring thoughts on their nominated film drawn from an extended interview. THE ACTOR: DELROY LINDOWhat more does Delroy Lindo have to do? Often underutilized, sometimes misunderstood, and frequently underappreciated (in our opinion), Lindo has built a formidable career marked by standout turns as intimidating gangsters, forceful authority and father figures, and, lately, a silver-tongued lawyer. His imposing frame, deep and instantly distinctive voice, have imbued intemperate characters with refined strength, and he s worked with some of the greatest filmmakers of our time. In other words: His is an almost textbook Hollywood heavyweight career, one you would expect to be punctuated with Oscar noms and hardware on the mantel. And yet Even the basic facts of his career have been misconstrued. Following his first two film roles, the 1975 John Candy comedy Find the Lady and the sequel to American Graffiti — More American Graffiti — he returned to the stage for a decade, shining in productions of Macbeth and A Raisin in the Sun; it was a move away from film that many misinterpreted as a conscious choice. “That s not a decision that I made,” he says, laughing, while he shakes his head in disbelief. Elsewhere, reports have claimed that Lindo played West Indian Archie in Spike Lee s Malcolm X as manically depressed: “Which is completely inaccurate, he told Rotten Tomatoes, chuckling. The moral of the story is don t listen to the internet. After a stellar 55-year career during which he s brought solemnity to stage, television, and film, an Oscar nomination has eluded Lindo. It’s a gap in his biography that could change after his searing turn as Paul, a Vietnam War vet devastatingly gripped by his past ghosts, in Lee’s 2020 epic Da 5 Bloods. Concerning four Black war veterans returning to Vietnam to recover the remains of Stormin’ Norman (Chadwick Boseman), their fallen commander, and the C.I.A. gold they left buried, Da 5 Bloods not only plays host to arguably the best performance of Lindo’s career, but once more highlights the veteran actor’s distinct ability to bring pathos to complicated, tough-seeming men.Lindo performances may look effortless, but they are wrought from his dedication to craft and his hard work. Through careful research, practicing the hobbies of his subjects, and learning their psychologies, he builds his characters from the floor up. “I m a man of the theater, Lindo says. It involves doing everything that I can to stay as connected as I can to the material. THE DELROY LINDO ESSENTIALS: SPIKE LEE AND THE CIDER HOUSE RULES(Photo by © Warner Bros./courtesy Everett Collection)The stars first aligned for Delroy Lindo while auditioning to be debonair Harlem ‘numbers’ gangster West Indian Archie in Lee’s Malcolm X almost 30 years ago. “The actors had been waiting a long time, he says. I remember Sam[uel L. Jackson] was there in the waiting area. Avery Brooks was there waiting. Denzel Washington, who starred as X, and Lindo earned their acting stripes together as classmates at the American Conservatory Theater in 1977. “Denzel saw the very first scene I ever did in acting school, and I saw the very first scene he ever did,” he says. Washington read opposite Lindo for his Malcolm X audition, a pairing he believes proved advantageous: “It helped that we knew each other. Not from the standpoint of Denzel helping me get the part. I don t mean that at all. But we were both familiar with each other as actors.”Malcolm X inspired a trusting relationship between Lindo and Lee that extended to future collaborations on 1994’s Crooklyn and 1995’s Clockers. In the former, he depicted a father and struggling musician, Woody, barely holding together a destitute Brooklyn family after his wife’s untimely death; for the Brooklyn-set cut-throat gangster flick, Clockers, wherein he portrayed a Fagin-inspired drug lord to a group of young dealers, Lindo suggested impromptu additions to Lee’s script.(Photo by © Universal/courtesy Everett Collection)To show that his Rodney cared for his teenage drug dealers, Lindo requested a scene in which the kingpin helped a pusher with their homework. He suggested another scene, inspired by Richard Price’s original novel, involving the teens racing after Rodney and a rival cop Andre (Keith David). While neither made the film, Lee shot the scenes. “If you come to Spike with a thought or an idea that is not in the script that you feel will enhance the narrative, if there s time and space and money, he ll film it,” Lindo notes.His trio of seminal performances with Lee showed Lindo’s unique ability to humanize morally questionable characters. It was an instrumental skill targeted with devastating accuracy as the frustratingly complicated apple picker Mr. Rose in Lasse Hallström’s moving coming-of-age story, The Cider House Rules. It was a role Lindo initially turned down. “I had lunch with Hallström, and at the end of the lunch, he said something like, ‘Well, you know, the part is the part.’ And I remember saying, ‘God bless you. But this part is not for me.' (Photo by Courtesy the Everett Collection)He changed his mind when the filmmaker granted him further latitude to alter the character. Once attached to the project, a familiar inkling seized him: “I did feel the work was going well in that film. I had a similar feeling on Malcolm X and on Da 5 Bloods. It s a feeling of ‘this feels right.’ There s a rhythm, there s a groove that we re in.”Still, Mr. Rose was a deeply flawed and challenging character to play. A warm friend to the orphaned Homer (Tobey Maguire) during World War II, he’s revealed as a pedophile who rapes and impregnates his own daughter Rose Rose (Erykah Badu). “In preparing to play that part I spoke with two doctors, he says. They both said to me, separately from each other, that in sexually predatory childhood trauma, invariably, the victims protect the perpetrators. Because – not all the time, but frequently – the victims tend to misinterpret the attention of the perpetrators as real love. So I then took that information and I focused on the love point. That was really the only way that I could play that part.”FAN FAVORITES: FAST CARS, GANGSTERS, AND THE IMPACT OF FAME(Photo by ©Buena Vista Pictures/Courtesy Everett Collection)Lindo brought the same laser focus to crafting his characters in big-budget action flicks as he had in prestige dramas and on the stage. On Dominic Sena’s high-octane thriller Gone in Sixty Seconds, in which he plays a detective tracking a gang of Nicolas Cage-led car thieves, Lindo took stunt driving lessons for the film’s exhilarating and hairpin-turn–filled car chases.For Romeo Must Die, Jet Li’s martial arts action vehicle, he dabbled in golf to develop Isaak, underworld father to Aaliyah s Trish. “Everybody says, ‘Oh my God, when you pick up a golf club, you re hooked’ – Courtney Vance said it to me, Lindo tells us, smirking as he recalls his brief dalliance with the sport. “One time I was on a range in Los Angeles. I hit the ball and it was really true. It sailed elegantly, majestically through the air. I said to myself, This must be what causes golfers to become golf addicts. Because you re forever chasing that sensation of watching the ball fly through the air.”He proudly hasn’t picked up a golf club since.(Photo by © Warner Brothers/courtesy Everett Collection)That should come as no surprise. While the actor has plenty of blockbusters to his name, he remains comfortably grounded. Sudden fame, on occasions, can obscure an actor’s prior hard-fought work. Lindo remembers first collaborating with James Gandolfini in 1995 on Barry Sonnenfeld’s Get Shorty, a gangster comedy about a Miami mobster and shyster embroiling themselves in the movie biz, and then re-teaming with The Sopranos actor years later on the Robert Redford-helmed military prison drama, The Last Castle.“It was really fascinating for me to watch how others reacted to him in the context of this major stardom. I remember the director referring to Gandolfini as, and I m paraphrasing right now, ‘One of the most brilliant actors he had ever seen, ” Lindo says. “It was instructive, in terms of what happens when you get that one part that just elevates you into this other sphere. Essentially, you re the same guy, except you ve done this extraordinary work, and now people look at you completely differently.”FRESHEST WORK: A RENAISSANCE BY WAY OF STREAMING AND GETTING BACK WITH SPIKE(Photo by ©Walt Disney Co./courtesy Everett Collection)By way of The Simpsons and Robot Chicken, Lindo periodically explored voice acting, but his most well-known animated appearance, which came with a distinct challenge, can be found in Pixar’s Up. In the beloved Pete Docter film he plays a derpy rottweiler companion to the villainous explorer Charles Muntz (Christopher Plummer), who s hunting the grieving and cynical Carl and a vibrant flightless bird.“That was a completely different experience, because there was no material. There literally were drawings: This is what your character looks like, this is what this scene is,” he says. “To their credit, the director and the producers on Up were assuring me that what I was doing was right on. But in terms of the internal process, it felt slightly disconnected. It involves much more of putting oneself at the mercy of other people. That s hard.”(Photo by © CBS All Access)While speaking to the University of Michigan’s School of Music, Theater Dance, in 2016, Lindo made mention of a screenplay he has written about his mother’s life as part of the Windrush generation – the people who arrived in the UK from the Caribbean from the late 1940s to the early 1970s. “I have every intention of continuing to work on it and finishing that story because it s a really important story. But I haven t had a chance to actually sit down at the computer recently and actually work on the script,” he says. “If the stars line up, knock on wood, I ll be directing a film at the end of this year. Also my intention is to direct my screenplay.”The ever-busy Lindo experienced a career resurgence in the late 2010s with a Critics’ Choice-nominated performance in the Certified Fresh first season of legal drama, The Good Fight, one of the first series to launch on CBS All Access (now Paramount+). His four-year run as the sober, dignified managing partner Adrian Boseman reminded audiences of Lindo’s gravitas. Then, in 2020, re-teaming with Spike Lee on Da 5 Bloods, Lindo’s distinct ability to give voice to psychologically intricate characters once more came to the surface.(Photo by David Lee / © Netflix)While Lindo’s blistering jungle monologue in the film has rightfully garnered widespread acclaim, his final scene — wherein Paul’s estranged son David (Jonathan Majors) reads a letter from him, eloquently narrated by Lindo – adds a heartfelt layer to Paul’s tangled fatherly love. He compared the sequence to West Indian Archie’s final scene in Malcolm X, wherein the enfeebled former gangster is cared for by his former pupil, X. “Similarly, in Bloods that scene completes Paul’s arc in a beautiful, tender, and also revelatory way. I get to reveal in no uncertain terms, clearly, my love for David, my acknowledgement that all of the crap that has happened in our relationship was not his fault. An already iconic scene set in an Apocalypse Now-themed club, in which Lindo and co-stars perform the Soul Train line dance, has introduced Lindo to a new generation – via GIFs and memes. “My son, a few months ago, said, ‘Man, dad, you re blowing up the internet. Look, look,’” he says, clearly amused. “[The scene] was totally impromptu. We had shot the scenes of us being at the table with the Vietnamese guys staring at us. And then all of a sudden Spike just said, ‘Let s do this.’ Lindo was game.Focus and study, total commitment, and a let’s-do-this attitude have propelled the actor along an enviable career path for almost 60 years – and maybe, just maybe, to the Oscars, too.Da 5 Bloods is available now on Netflix.On an Apple device? 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(Photo by A24 Films)Is there an actor or director or a screenwriter whose work you always love? Regardless of what they make, you know you re going to watch it.Barry Jenkins has just consistently done such gorgeous work. Wong Kar-Wai has such a lovely aesthetic… And then when I even think about it one step further, I m like actually, and then Barry Jenkins was really influenced by Wong Kar-Wai. I m sensing a theme here.Do you binge watch TV?I definitely do. And ever since coronavirus, I ve been watching a lot of Asian dramas and things.What have you been watching lately?I just finished Triad Princess on Netflix.Do you do most of your screenings from your couch or in theaters?Definitely not in theaters now. In general, I do things from home anyways, other than film festivals. It s film festivals or home and lately, of course, it s just been home.What about a favorite screening snack?I m pretty boring with this one. Popcorn s good!(Photo by Miramax)What’s a Rotten thing that you love?The Rotten movie I love echoes the one I watched repeatedly, which is Velvet Goldmine. Because it s so experimental and unabashedly queer, I think it gets a bad rap from the everyday moviegoer looking for something more conventional.Do you go in cold when you re reviewing or do you try to learn as much as you can, spoilers be damned?I definitely do more research, especially because a Mediaversity review is different than other ones, which might be coming out earlier and summarize a plot and let people know about a movie. On my end, we dive pretty deep and a lot of our reviews have spoilers. I do a lot of research.How does that influence your perspective on how the story is told? Do you think that it does?Yeah, it definitely affects it. An example might be the movie Waves. If you re just looking at the trailer, it definitely looks like it s a Black movie – predominantly people of color in the cast. And then if you find out that, oh, the director is white, then there s more of a story there and it makes you wonder maybe like why this was the chosen subject matter. And then that just usually will lead to some interesting answers.Do you read other reviews before you write your own?Probably three quarters of the time, I ll read other reviews. It helps me understand what the general conversation is. And then that way, again, because my reviews come out later, I like to add something new to the conversation. I try to make sure I m not just repeating what everybody has already said.欧宝体育最新登录【新创业人生游戏】可玩性特别地高，逼真的模拟系统在这里等待着你来挑战，多个不同的经营玩法在这里等待着你来选择。长时间玩新创业人生手游完全不会让你感到无聊，在这里你还可以招募员工帮助你更快速地完成挑战哦。
4. 呼朋唤友 随心所欲
2. PAUL RUDD JOINS GHOSTBUSTERS 2020 (Photo by Universal Pictures)For a while now, we ve had to awkwardly refer to the next Ghostbusters (7/10/2020) as Ghostbusters 3, despite it being the fourth Ghostbusters (after the 2016 reboot), with the 3 being a reference to the fact that it s a direct sequel to the first two movies. Ant-Man star Paul Rudd joined the sequel this week, which he himself confirmed through a Twitter video. In their story about Rudd s casting, Variety also revealed that the film is now called Ghostbusters 2020. Rudd will reportedly be playing a teacher in Ghostbusters 2020, but the context for that role is still unknown, such as whether he ll be the teacher of the new characters played by Finn Wolfhard (Stranger Things) or Mckenna Grace (Annabelle Comes Home), or perhaps is related to Carrie Coon s mother character. These new characters are expected to be joined by original 1980s stars Dan Aykroyd, Ernie Hudson, Bill Murray, Annie Potts, and Sigourney Weaver.3. HENRY CAVILL CAST AS SHERLOCK IN ENOLA HOLMES (Photo by David James /©Paramount)The Enola Holmes Mysteries were a series of six young adult novels published from 2006 to 2010 that followed the adventures of Sherlock Holmes younger sister. Stranger Things star Millie Bobby Brown signed on in early 2018 to star as Enola Holmes, but it wasn t until this week that we found out who s going to be joining her as her older brother. Henry Cavill, former Superman of the DCEU, will co-star as detective Sherlock Holmes in the upcoming film, with Helena Bonham Carter also co-starring as her mother. (It s unclear if that means that Carter s also playing Sherlock s mom.) Henry Cavill will also soon appear in Netflix s series adaptation of the popular video game franchise The Witcher.4. MERYL STREEP, NICOLE KIDMAN, AWKWAFINA, AND ARIANA GRANDE WILL ATTEND NETFLIX S THE PROM (Photo by Dee Cercone/Everett Collection)Netflix scored really well at the Academy Awards this year with Alfonso Cuaron s Roma, and the streaming service isn t slowing down. Last year, Netflix began a five year deal with TV showrunner Ryan Murphy (American Horror Story, American Crime Story, Feud), and this week, his first major project at Netflix was revealed with an impressive cast attached. Murphy is going to adapt the Tony-nominated Broadway musical The Prom, which he will direct in addition to producing. Murphy s cast for The Prom will include Awkwafina, James Corden, Ariana Grande, Keegan-Michael Key, Nicole Kidman, Meryl Streep, and Andrew Rannells, who received a Tony nomination for his lead role in The Book of Mormon. Ryan Murphy is expected to start filming this December, aiming for an awards season release in late 2020.5. CONSTANCE WU SAYS GOODBYE, VITAMIN (Photo by Warner Bros.)Last month, Crazy Rich Asians star Constance Wu found herself at the center of a Twitter controversy after a Tweet interpreted by many as apparent displeasure about ABC renewing her sitcom Fresh Off the Boat for another season. In her apology, Constance Wu explained that her response was because the renewal meant I had to give up another project that I was really passionate about. We still don t know what that mystery project was, but there is a possibility that might have been this week s news, a novel adaptation called Goodbye, Vitamin. Wu is now attached to star in the dramedy for Universal Pictures as a daughter who fakes a class so that her history professor can continue to teach after being diagnosed with Alzheimer s.6. SHAZAM! STAR ZACHARY LEVI JOINS THE LONELY ISLAND S SPY GUYS (Photo by Warner Bros. Pictures)Over a decade before starring in this year s superhero comedy Shazam! (Certified Fresh at 91%), Zachary Levi first shot to fame as the star of NBC s Chuck, in which he played a regular guy who becomes embroiled in the secret world of international espionage. This week s news therefore finds him coming full circle, as he will play a spy who has to recruit the assistance of his regular guy friends from college in the action comedy Spy Guys. The New Line Cinema comedy is being produced by Andy Samberg and his Lonely Island collaborators Jorma Taccone and Akiva Schaffer, who all originally started work on Spy Guys with the intent of it being a starring vehicle for Samberg (with Zachary Levi apparently taking that role instead). Spy Guys will be the second feature film from director Jeff Tomsic, who made his debut last year with the thematically similar old friends reunion comedy, Tag (Rotten at 56%).7. REMAKE OF THE CRAFT MOVES FORWARD WITH FIRST CASTING Fairuza Balk, Neve Campbell, Rachel True, and Robin Tunney starred in the 1996 supernatural thriller The Craft (Rotten at 57%) as four teen girls who start practicing witchcraft. Now, some 23 years later, Blumhouse is developing a reboot of The Craft that will tell a new, contemporary version of the same story. The first young actress to join the reboot of The Craft is 21-year-old Cailee Spaeny, who is still relatively unknown despite featured roles in Bad Times at the El Royale and the giant robot sequel Pacific Rim: Uprising. This new version of The Craft will be directed by Zoe Lister-Jones, who made her directorial debut in 2017 with the indie rock musical Band Aid (Certified Fresh at 85%).8. TERENCE STAMP AND DIANA RIGG JOIN EDGAR WRIGHT S THRILLER(Photo by ©Outsider Pictures)Director Edgar Wright (Hot Fuzz, Shaun of the Dead) reportedly still wants to direct a sequel to Baby Driver someday, but until that project gets going, his next film will instead be a psychological thriller called Last Night in Soho. The premise is still being kept secret, but we do know that the stars will include Anya Taylor-Joy (The Witch, Split), Matt Smith (TV s Doctor Who), and Thomasin Harcourt-McKenzie (Leave No Trace). This week, Wright further filled out the cast with three veteran English actors: Terence Stamp (The Limey, General Zod in Superman II); Diana Rigg (Olenna Tyrell from Game of Thrones); and Rita Tushingham (Doctor Zhivago). The other thing we know about Last Night in Soho is that it reportedly is set in two different timelines, so it s possible that some of the older actors might be playing the same roles as the younger ones (but that s just speculation).Rotten Idea1. TRANSFORMERS: THE LAST KNIGHT SCREENWRITER TAPPED FOR HELLO KITTY MOVIE (Photo by Saban International courtesy Everett Collection)Last month s Pokémon Detective Pikachu isn t quite a massive blockbuster (5 million to date on a budget of 0 million), but as the first video game adaptation to maintain a Fresh Tomatometer rating in wide release (67% to date), it s not an embarrassment, either. Much like The LEGO Movie did in 2014, Pokémon Detective Pikachu may have established a template for how similar concepts, especially from Japan, could be adapted in the near future. Sanrio s Hello Kitty is not exactly a video game character, as it represents a brand in anime, games, manga, clothing, and accessories. New Line Cinema has the movie rights to Hello Kitty, and to get things going, the studio this week hired screenwriter Lindsey Beer, who doesn t yet have a WGA feature film credit, but did work on Transformers: The Last Knight and the upcoming Masters of the Universe (3/5/2021).Like this? 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5. HD 画质与高品质音讯
5.70.5 3月喜迎For All Mankind introduced a devastating tragedy with its eighth episode, “Rupture.” It was not the first of the freshman Apple TV+ series – and surely won’t be the last.Spoiler Alert: The following contains plot points from For All Mankind season 1, episode 8. The alternate-reality sci-fi series poses the question: “What might have happened if Russia had won the race to the moon?” It stars Joel Kinnaman as NASA astronaut Edward Baldwin and Shantel VanSanten as his homemaker wife Karen Baldwin. An accident strands Ed on the moon, worrying Karen to distraction and leaving his preteen son Shane (Tait Blum) lonely, eager for attention, and rebellious. In one defiant act, Shane disobeys his mother, who has grounded him, and takes off on his bike to play in a basketball game. Karen later finds out that Shane was hit by a car during that ride and must deal with the life-threatening injury without her husband.The series also stars Michael Dorman as Gordo Stevens, Sarah Jones as Tracy Stevens, Wrenn Schmidt as Margo Madison, Jodi Balfour as Ellen Waverly, Krys Marshall as Danielle Poole, Sonya Walger as Molly Cobb, Chris Bauer as Deke Slayton, Arturo Del Puerto as Octavio Rosales, and Olivia Trujillo as Aleida Rosales.The death of a child is a particularly heartrending moment in a TV show, so we caught up with series co-creator and executive producer Ronald D. Moore (Outlander, Battlestar Galactica) to hear about Shane’s death and how it folds into his plans for series, which has two more episodes left in its first season, starting with Friday’s “Dangerous Liaisons.”(Photo by Apple TV+)Debbie Day for Rotten Tomatoes: “Rupture” was a very emotional episode, and it occurred to me that in your work, you feature extraordinary people in ordinary circumstances. It flips that screenwriting convention – “an ordinary person in extraordinary circumstances” – on its head.Ron Moore: Ed Baldwin is doing this extraordinary thing … He s on the moon and he s by himself and he s in this situation and the Soviets are out there and he has no one else to deal with. And what would be the consequences of something very common a car accident killing his son back on Earth, and how that would rock his world In that sense, we were just interested in the human quality of it, that he s on another planet or he s on a moon, he s 200,000 miles away from home, and yet this very pedestrian accident happens and that it would devastate him. And that the entire sort of massive team would have to come together to figure out what to do, and do they tell him and do they not? We just really liked the idea that at the heart of it was something that just happens to people every day, that it s such an everyday occurrence. And yet to put it in this extraordinary context would be kind of unique and interesting.I like that the flight director comes up with the brilliant idea of asking his wife whether or not they should tell him.Moore: Yeah. It says something about the time, and it said something also I think even about our own kind of bias in terms of just watching it. Because you kind of assume all these official people should make that call and you kind of forget the human component of, Well what about his wife or his spouse? What about his family? How did they feel about it? Cause they re the ones going through the tragedy. And then it s not just about official NASA policy, it s about these people. And then there s an underlying current of there were three men standing in that office looking at Margo and not one of the three of them even occurred to them to talk to the wife first. And that was sort of an interesting comment on gender and roles at that time and notions that persist today as well.(Photo by Apple TV+)Margo, for me, is a really interesting character. Maybe I just identify with her being kind of a workaholic, but she s a character out of time in the opportunities that she s made for herself in that environment. And I was just wondering if you could talk a little bit about building those female characters that flout the conventions of that period?Moore: It goes back to the original concept of the show, which was, We re going to do an alternate history, and we re going to change things. And we re going to say that by losing the race to the moon, ironically good things happen to the United States and the world, and let s make it not just technological progress, let s make it societal change and cultural change and what does that mean? And he said, All right, let s tell the story of this young woman that you meet as a version of Wernher von Braun, and let s see her climb the ladder in a way that wasn t possible in that era. Who would that be? What would the qualities that you would need to thrive in the 1960s and into the ’70s and make that kind of climb? And especially if she was tutored by someone like Wernher von Braun. And we kind of said, well, She would have to literally be a workaholic. Margo said, I think in episode 8 says, You ve got to be better than the boys in order to advance the society at the time. You kind of start with that premise and then you carve out the particular character and you just say, “Who is Margo and where she s from and what are her values and what are the things that matter to her?” And this program is very important to Margo and she invests a lot of herself and self-worth into the success or failure of the space program. In her opening scene, she s sleeping in her office, and she s not just crashing on the couch; she has built an entire structure in that office that allows her to sleep. Mirrors that turn into plaques, and she s got all her things figured out in a way that they vanish and no one even knows.And she s given a lot of thought and time and energy to creating that structure for herself. And that was just an interesting comment to sort of, that s how we introduce her. And it kind of says almost everything you need to know about Margo in season 1. That s sort of where it all began.(Photo by Apple TV+)There are many extraordinary female characters in the show. Even the journey that Karen Baldwin takes. At the beginning, she embodies that ’50s/’60s housewife model. Can you talk about what showing her path means when you ve got all these extraordinary, accomplished women around her?Moore: It was an interesting question we talked about a lot in the room. If you take the stereotypical astronaut wife that we ve come to know, right? And books and television, even the magazine articles — Time certainly painted a portrait of who that person was. And now we re going to say, The world changes radically and it s going down this other path, and people like Tracy Stevens are going to become astronauts, and Margo Madison is going to ascend the ranks. OK, what happens to Karen Baldwin? What would she do and what does she hang on to? And you know, how was she forced to change? And you ll see as we get into the last couple of episodes how the death of Shane really does dynamite that whole world. At first, she was just trying to hold on to what she knew back when at the very beginning Ed’s career’s in trouble, because of what he said to the magazine.And then Karen clicks into Karen-planning-mode. Well then, you re going to go back to the Navy and this and this and this and this, because that s how Karen copes and deals with things. Then when her friend Tracy enters the program, that kind of is the fi
Horror movie fans will be familiar with the concept of the Final Girl. The term was originally conceived in 1992 by Carol J. Clover as a way to describe the traits of the sole female victim who remains alive to tell the story of a film’s violent crime – or many violent crimes. Clover’s central idea was that, in the films where the trope is evident, the viewer initially sees the Final Girl through the killer’s perspective, but that partway through the movie, they begin to identify directly with her instead.Final Girls illustrated the moral split between the chaste and the virtuous. You know the deal – the hard-drinking, promiscuous girl dies first, and the demure, virginal girl survives to take down the murderer. She s the final one standing. Pop culture is replete with characters that fit the bill – Jess Bradford in the original Black Christmas, Sally Hardesty in The Texas Chainsaw Massacre, Nancy Thompson in The Nightmare on Elm Street – and their existence has become as integral to the slasher genre as the killers themselves.(Photo by Lionsgate/Courtesy Everett Collection)But that was then and this is now. The original Final Girl is slowly but surely being crowded out by a newer, more progressive iteration that acknowledges the restrictive ideas that initially gave birth to her. Over the last couple of decades, and particularly in the last 10 years, the last girl standing has looked a lot different from the final girls of the past. Progressively, in films like Scream, The Cabin In The Woods and It Follows, final girls have complicated the existing frame of the trope by pushing against its restrictions. Whether it’s by having sex, refusing to be constricted by archaic ideas of femininity, or simply by teaming up to fight together, these women now survive despite leading lives the genre used to consider wholly immoral and in need of corrective punishment – they’re a new kind of Final Girl. The Final Girls who were introduced in the 1970s and 1980s have become more nuanced over time, and that progress paved the way for the Finals Girls of Ready or Not and 2019’s Black Christmas who directly confront issues of misogyny and sex negativity.In some ways, the New Final Girl is almost the original Final Girl’s polar opposite. Rather than surviving because of her innocence, naïveté or virginity, the New Final Girl is the woman who makes it to the end of the film alive specifically because of her rejection of the old norms about what makes a woman morally deserving. The New Final Girl embraces drink, drugs, and sex and defends her engagement in each of them. She insists on being seen as a full human being and actively, often violently defends her right to do so. Most of all, the New Final Girl is still an active participant in her own survival – she knows the original Final Girl shouldn’t have had to sand off her edges to stay alive. The New Final Girl is not a virginal survivor but an intentional fighter who asserts her right to exist despite perceived moral flaws.(Photo by © Universal /Courtesy Everett Collection)In the 2019 sequel slasher Happy Death Day 2U, Tree Gelbman (Jessica Rothe) finds herself once again stuck in the murderous time loop of the first film. Over and over, she relives the same day, and it ends when she is brutally murdered by a serial killer known as Babyface. In the first film, the culprit is Tree’s sorority sister and roommate Lori (Ruby Modine). The two women are both having an affair with the same married professor, and Lori’s jealousy puts Tree in her crosshairs. In the sequel, Babyface is none other than the philandering professor himself, trying to eliminate any evidence of his transgressions.What makes Tree’s Final Girl status so interesting is that she begins the story as one of the “immoral women” who would usually die in a thriller. Tree is, by all accounts, a typical sorority mean girl. When we meet her, she is recovering from a night of partying and on her way to meet the professor she’s carrying on with. And in fact, she does die, over and over again, punished for her ruthlessness, immorality, and general misbehavior. But through the mechanics of the film itself, she evolves into a New Final Girl through sheer determination. (Photo by © Universal /Courtesy Everett Collection)In both films, Tree breaks her loop and returns to her life not by becoming more virtuous, but by becoming a more compassionate and considerate person. She improves and grows as a character – including ending her affair – not because those things make her unworthy of redemption, but because they are not the best choices for her as a person. She undergoes significant character growth without ever placing a moral frame on her sexuality or femininity. And through each of the infinite deaths it takes her to get there, she plots and schemes to find her killer and thwart them, determined to prevent her eventual death and save herself. Tree is a novel subversion of the trope because it’s her death itself that furthers her character growth. Several times, she intentionally kills herself in service of a larger goal; sometimes to gather more information about her situation and sometimes to undo the murders of other characters. As a result, her deaths then become an intentional sacrifice that signals her increasing virtue, instead of confirming its absence. It’s a large departure from the way the original Final Girls functioned in films like these.Cate YoungSimilarly, the evolution of Halloween’s Laurie Strode (Jamie Lee Curtis) into a New Final Girl in the film’s 2018 sequel of the same name is particularly notable because the character’s first iteration was in many ways the definitive final girl – most other examples are direct descendants of her legacy. In the first film, Strode is left as the sole survivor of the serial killer Michael Myers murder spree – the only young woman in the film who chose to abstain from the usual vices. Her survival largely conformed to expectations for women in horror at the time, and helped to cement the trope in the genre.But in the film’s most recent sequel – which retcons several that had come before –Laurie is now an older woman, driven to extremes by her fixation on stopping Myers return. In the 40 years since the events of the first film, Laurie has grown into an obsessive, battle-worn veteran of the war in her own mind. She may not be having sex or doing drugs, but she s far from the pure, likable babysitter we met decades earlier. She is convinced that Myers will return and has devoted her life to preparing for that eventuality. In the process she has lost custody of her daughter and become estranged from her daughter’s family. She is perceived as a lonely old woman too traumatized by her past to move on. Cate YoungOf course, Myers does eventually return. But this time Laurie is ready for him, having rigged her entire house to trap and kill him. Whereas in 1978 she was permitted to survive by virtue of her moral purity, in 2018 she fights like hell for that survival, taking active steps to make sure that Myers can no longer victimize her. She takes the lead in tracking Myers down and trapping him on her home turf. After spending years contemplating and preparing for the return of his torment, Laurie has transformed herself into the Ultimate Final Girl through sheer force of will. She has no intention of being defeated yet again.Critically, Laurie must also protect her daughter Karen (Judy Greer) and granddaughter Allyson (Virginia Gardener) this time around, folding them into a generational legacy of victimization and defense. When the threat they have dismissed for so long reveals itself to be real, they join forces with Laurie to fight and eliminate it – Myers is now a specter that haunts them all, the source of their estrangement and the origin of their familial trauma. Defeating Myers together connects the women as Final Girls of a new generation, forcing them all to overlook their own and each other s flaws in order to face the embodiment of their fractured relationships. Laurie leads the charge, but her family takes up her mantle. This isn’t to say that the old trope never survives. In fact, Allyson’s best friend Vicky is killed during a babysitting job soon after letting her wayward boyfriend into the house. It wouldn’t be a stretch to interpret her death as the same kind of stark moral judgement that historically happened in slasher films. This is especially true given the contrast with Allyson’s own encounter with Myers. After her boyfriend’s best friend inappropriately propositions her, he is immediately murdered while she survives. His overeager instinct to breach her consent should absolutely have been corrected, but death is a disproportionate response. The message couldn t be clearer: all sexual impulses exist along the same punishable continuum, regardless of how welcome they might be to the participants involved.(Photo by © Neon /Courtesy Everett Collection)One of the starkest examples of this shift in recent years is 2018’s Assassination Nation, which explored the trope in thrilling style. Set in conservative Salem, the movie focuses on a group of teen girls who find themselves at the center of a small-town lynch mob when they are blamed for the release of the community s private information. The girls are not guilty of the mass doxing, but their reputations as “loose women” make them ideal targets for the ire and anger of the town’s men and boys. The girls — Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra) – are known at their high school for their skimpy outfits, their questionable choices in boys, and their perceived promiscuity. They are open about and proud of their burgeoning sexuality and enjoy exploring their relationships to the men in their lives. Lily is dating an abusive high school boy and carrying on an illicit affair with a married neighbor. Bex is trans and keeping her relationship with the popular football player a secret at his request. Sarah and Em are living with their mother Nance, who is implied to be operating a brothel out of her home. When the community devolves into ultraviolence, the citizens hunt the girls across the town, determined to punish them for being forced to confront their own once-private sexual shames. As the balance of power shifts, the horror genre tropes follow in quick succession. From a coordinated home invasion to a horde of masked killers to the use of guns and baseballs bats — the most American of weapons — the girls suddenly find themselves in the middle of their very own slasher film.(Photo by © Neon /Courtesy Everett Collection)At another time, all four of these women would be fated to die before the credits rolled. Their proximity to vice marks them as fallen women, and only the morally pure survive the transformative power of abject terror. But as New Final Girls, all four of them not only survive but continue on to restore order to the town. The girls rescue each other from the outsized violence the men are trying to inflict on them (including an attempted rape and hanging) and take up arms to defend themselves both literally and in abstract. The film ends as they deliver a call to action to the town’s girls, surrounded by bodies and covered in glitter, both claiming the righteousness of their femininity and rejecting the ubiquity of patriarchal terror. Through female solidarity they all survive and mete out the violence necessary to do so. Assassination Nation is unique in that the girls are explicitly targeted because of their sexuality – usually, this aspect of the genre is left as subtext. But here, the trope is almost deconstructed by bringing both the reasons for their attack and subsequent defense to the surface. They become New Final Girls because, given the plot constraints, their only options are to transform themselves or die. (Photo by © Universal Pictures / courtesy Everett Collection)The New Final Girl is a natural evolution of the original trope. Stories are becoming more egalitarian, and with that comes a necessary examination of the moral dimension of the traditional way women are depicted on film. But in the end, all these Final Girls aren’t as different from each other as we might think. The virtuous distinction that we make between them is largely based on an old patriarchal frame that divides women into Madonnas and Whores, then kills the whores. Part of making the genre more progressive – or dare I say feminist – is rejecting that binary entirely.Teenaged Laurie Strode and college-aged Tree Gelbman might have led different lives and made different choices, but when it came down to it, they both survived because they resolved to fight and refused to die. The haunting specter of violent masculinity came for all the women mentioned here, and they all triumphed, even under the restrictive gaze of a society that expects feminine perfection. But no matter how stark the contrast may be, these changes are progressive strides that honor the history of the slasher genre in inventive ways while bringing them into the contemporary moment. The Final Girl survived, but the New Final Girl thrives, and she’s ready to fight again another day.Follow Catherine Young on Twitter @battymamzelle
5. DANIEL CRAIG CONFIRMS THAT NO TIME TO DIE WILL BE HIS LAST FILM AS JAMES BOND (Photo by Francois Duhamel/©Columbia Pictures)After the four James Bond movies starring Daniel Craig all received Fresh Tomatometer scores (ranging from 63% for Spectre to a Certified Fresh 95% for Casino Royale), it might be easy to forget how the franchise was often received before 2006. Three of the four Pierce Bronsan Bonds (all but GoldenEye) received Rotten scores, and three of Roger Moore s films also received Rotten scores (Octopussy, A View to a Kill, and The Man with the Golden Gun). It s for that reason that we re a little sad but only a little, since it wasn t exactly a surprise about the confirmation this week from Daniel Craig that next year s No Time to Die (4/8/2020) will be his last Bond film. Although we hope that Craig s successor will continue Bond s Fresh streak, the history of the franchise also tells us that such an outcome is far from certain.6. HARRISON FORD S RUNAWAY HIT THE FUGITIVE IS GETTING REMADE(Photo by Warner Bros. Pictures)As we remarked in our coverage above of Channing Tatum revisiting The Maxx, we are entering an era when the lens of nostalgia is increasingly now focused on the 1990s. In film development news, nostalgia is most often a factor when we re talking about remakes (or reboots, revamps, reimaginings, etc), and Hollywood is definitely far from stopping their remake frenzy anytime soon. That brings us to the #3 box office hit of 1993 after Jurassic Park and Mrs. Doubtfire, which was the Harrison Ford thriller The Fugitive (an adaptation of the 1960s TV show). In 1998, Warner Bros. attempted to replicate that film s success with the spinoff U.S. Marshals, starring Tommy Lee Jones, but that film was a box office disappointment. We re now just under four years from the 20th anniversary of The Fugitive (8/6/1993), which might be why the studio is starting development on a reboot project being described as a new spin on the premise. Warner Bros. has hired director Albert Hughes to work on their reboot of The Fugitive, but Hughes brings a bit of a mixed bag of Tomatometers to the project, with only two (Menace II Society and Alpha) of his six films as director earning Fresh ratings.
ttle in the way of unforgettable moments, they re always intriguing enough to keep curiosity burning about what will happen next (or, for those who know the book, how the series will stage or reshape it). — Keith Phipps, TV GuideIs Now the Right Time for Another Apocalyptic TV Series?(Photo by Photo Cr: Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.) Whether the world needed another TV adaptation of The Stand (there was a 1994 version with Gary Sinise and Molly Ringwald) is a fair question, particularly when the COVID-19 pandemic continues to rage around us. If it was just a reminder of the world around us, the answer might be no. But approached as an intriguing diversion, it works. — Bill Goodykontz, Arizona Republic The apocalypse isn t the point – it s simply the backdrop for what is unabashedly an epic modern fantasy. — Joshua Sargent, San Francisco Chronicle In a year ravaged by a far different virus, The Stand carries a different significance as it closes out a year terrifyingly similar to the story on screen. Told over nine episodes, including an all-new ending written by Stephen King and his son Owen, this new version of The Stand is a very uncomfortable story to watch while the world is mired in a real pandemic but still manages to be a faithful adaptation of King s masterpiece with timely updates that more or less work. — Alex Maidy, Jo Blo s Movie NetworkAny Final Thoughts?(Photo by Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.) This adaptation of one of Stephen King’s most dense, sprawling works never quite reaches the epic scope illustrated so clearly in the 1978 novel. — Roxana Hadadi, Variety It s a sometimes overstuffed, sometimes overly simple book, but also one whose vision of a fantastic America whose potential for greatness and moral clarity is always at war with its self-destructive impulses. Even if many missed it at the time, King found a way to express an underlying truth about the place he calls home. The best parts of this adaptation channel that well. — Keith Phipps, TV Guide The performances are strong, the set pieces are cinematic, and, most importantly, the commitment to King’s prose is stonier than a man’s heart. — Michael Roffman, Consequence of SoundThe Stand premieres on Thursday, December 17 to CBS All Access.On an Apple device? Follow Rotten Tomatoes on Apple News.
如今CODM单是在海外的数据就足以达成了""历史级别""的成就了。国内玩家自然早就翘首以盼了，尤其是那些真正热爱FPS的玩家早就忍耐不住使用各种方法优先体会到了CODM的优秀。虽说我的脸被打的很痛，但还是很开心的。毕竟，咱们国内的游戏能够达到这样高度的游戏是凤毛麟角，而在FPS手游这一方面，使命召唤手游可以算是独树一帜了。 The 140 Essential 2000s MoviesNew millennium, new technology. Film cameras were the standard way to shoot a movie for over a century, and now they to had to make space for upstart digital. Without digital cameras, zombies would ve stayed dead; 28 Days Later was only possible with how quick and easy it is to set up with them. Sofia Coppola (Lost in Translation) and Neill Blomkamp (District 9) certainly benefited from the new technology.Movies were also used to absorb our collective trauma. We escaped into magic and wonder in the months after 9/11 with Harry Potter and The Lord of the Rings, while we celebrated the end of the Great Recession by getting the hell off this planet with Avatar. And speaking of those series, we didn t want their installments taking up all the spots on this list, so one movie representing the whole franchise was chosen for those worthy.And your vast comic-book trivia knowledge became a social asset, not a bullseye for beatings. Iron Man, The Dark Knight, and Spider-Man 2 opened up new ways of connected storytelling (and money making). And it wasn t just superheroes making the leap to the mainstream. Fanboy culture, the internet, and sites like the one you re reading now helped bring genre movies to the cultural forefront: zombies (28 Days Later, Shaun of the Dead), sci-fi (Avatar, Serenity), horror (The Descent, Saw), and fantasy (Pan s Labyrinth).Meanwhile, under-served voices started to make some noise in the mainstream with films led by females (Mean Girls, Whale Rider, Bend It Like Beckham, Twilight), made African-American filmmakers (Love Basketball, Barbershop), and featuring Asian-American stars (Harold Kumar Go to White Castle, Better Luck Tomorrow). And that s not including the increasingly easy access to international material like City of God and Let the Right One In.And we still haven t touched upon Pixar s golden age (WALL-E, Finding Nemo), Hollywood finding the formula for comedies perfectly balanced between smart and dumb (The Hangover, The 40-Year Old Virgin), or that the Fast Furious series got its humble beginnings here. A lot happened in this decade: Discover it all with the 140 Essential Movies of the 2000s!More Essential Movies By Decade1970s | 1980s | 1990s
欧宝体育最新登录 (Photo by Clay Enos/©2020 Warner Bros. Entertainment Inc.)During the summer of the pandemic, Warner Bros. was holding true to the optimism that a partial movie season could be salvaged. They had two of the season s most-anticipated films under their belt – Tenet and Wonder Woman 1984 – and even leaned into the branding that the former s release could be the thing that saved movie theaters from months of shutdown. Though America saw some hope in major cities flattening the curve, it was short-lived and caution continued to influence policy and re-openings. As a result, Disney moved scheduled summer release Mulan to streaming and WB was forced to inch back its releases of Tenet and Wonder Woman 1984.Ultimately, Tenet was released theatrically in August and did as well as one possibly could – especially internationally – when faced with limited venues, scared moviegoers, and a final product that some felt didn t live up to everyone’s lofty expectations. After a few more shifts, WB finally decided to release Wonder Woman 1984 on Christmas Day – but then decided to do so both in theaters (where safe) and on its affiliated streaming platform, HBO Max. The announcement of the dual release strategy was a volcanic moment for a debate that has raged since March about whether studios would, could, or should sacrifice potential hundreds of millions of dollars in theatrical revenue for their guaranteed blockbusters by going straight to streaming.Then, two weeks later, WB went one further: It announced it would release its entire 2021 slate simultaneously on HBO Max and in theaters – a slate that includes blockbusters like The Suicide Squad, Dune, and In the Heights. Many began to wonder: Was this going to be the way of the future? Were the days of theatrical releasing over? There are still many questions to consider before calling the time for the patient on the table, we think, and here are some of the most pertinent – and what you should know about them.Will Other Studios Follow In Warner Bros Footsteps?(Photo by Chiabella James/Warner Bros. Entertainment)Others studios have been exploring different release models since this mess officially kicked into gear nine months ago. Universal got the ball rolling with a temp fix, helping to ease a little parental stress by sticking with its Trolls World Tour release date, only to move it to streaming services for a price. After initial pushback from AMC Theatres about the movie, they eventually worked out a longer-term deal where the length of commitment of Universal’s films in their locations would be determined on immediate box office success. So, lower-grossing films would be moved to streaming after three weeks, at which time a lower split-profit model with the theaters would kick in; higher-grossing movies would stay.Disney, too, experimented in changing the game with Mulan, but the title s price tag (comparable to a small family trip to a matinee) on top of the subscription price did not translate into the kind of headline-grabbing total that business and box office analysts would salivate over.So now what? Is Paramount+ going to expand the revamped CBS All Access from television into their feature library? Can Lionsgate Play’s recent soft launch from India make its way over to the States? Would Sony be able to bring “Let’s Crackle and Chill” into the lexicon? Disney’s acquisition of Fox already reduced the number of these questions by one, but so far they have been skittish to move their blue chip titles over to immediate home viewing. Sending Artemis Fowl and The One and Only Ivan to Disney+ felt more like acceptable sacrifices rather than trailblazing.However, the numbers on Pixar’s Soul (now directly competing with Wonder Woman 1984 on HBO Max over Christmas) could begin to shift Disney’s thinking. Universal’s Peacock service may be the one to watch in the near future. Trolls kicked off the conversation and any commitment from another franchise-heavy studio to simultaneous theatrical/streaming releases would send speculation into overdrive – and there may be officially no way back to the old model. On the other hand…Is a Less-Crowded Marketplace A Great Incentive for Others To Stay in the Theatrical Game?(Photo by © Marvel Studios, © Walt Disney Studios Motion Pictures)Warner Bros. is continuing to utilize theaters for its 2021 slate. But when a single ticket in certain areas will cost more than a monthly subscription to an entire library of content, the incentive to head out – in a still-new (presumably) post-vaccine landscape – may be reduced to the kind of purists who still buy albums. Socially-distanced or streaming-distanced, those who still like getting out and about could still have major event options in their local theater, which may not want to give up more than a single screen for the movies playing at home. A few shifts to the schedule and studios could take advantage of the voids left by The Suicide Squad in the August kickoff slot and Dune in October, the period that WB has recently taken up a bunch of space in with Joker, Gravity, and A Star is Born. The HBO Max partnership may have sent three potential 0 million grossers (Godzilla vs. Kong, The Conjuring: The Devil Made Me Do It, In the Heights) from May-to-July next year, but Universal and Disney still have scheduled Black Widow, Fast Furious 9, Minions: The Rise of Gru, and Jungle Cruise in that frame, which could see double or triple those numbers. Again, this is all dependent on the success of the vaccines and the comfort-level of our society. WB bet on this and lost last summer and clearly did not want to again.Will There Be Pushback From Filmmakers?(Photo by © Warner Bros. / Courtesy Everett Collection)Someone who has definitely benefited from the seemingly unlimited pocketbook of the leader in streaming is Martin Scorsese. A three-and-a-half epic such as The Irishman, costing anywhere from 0 million to 0 million, likely would not have gone forward anywhere else but Netflix, and now Apple is backing his latest, Killers of the Flower Moon. Paramount is still slated to distribute the film theatrically, but that is another 0-0 million price tag just as of today. Artists like Scorsese are not nearly as interested in bottom lines as the studios are, especially if he gets to keep working regardless. Will supporters of the theatrical experience as an integral component of cinema be so ready to give it up, though?One cannot imagine Christopher Nolan is on board with Warner Bros. 2021 distribution model. (The studio has distributed seven of his 11 movies.) Many feel the filmmaker s insistence on releasing his work on the biggest screen possible was one of the many reasons the studio felt it had no choice but to put Tenet in theaters (regular and IMAX) first. If WB does stand alone on this for the time being, is that going to hurt their standing with those filmmakers with the power to insist their movies play on something larger than a 55-inch screen? It is highly doubtful that James Cameron has spent 86 years working on the Avatar sequels only to watch Disney potentially shift gears on their event pictures.Can Theaters Offer New Incentives to Get Us In the Door?(Photo by Macall Polay / © Warner Bros. / Courtesy Everett Collection)3-D engaged moviegoers in the 1950s, got a brief, largely lame revival in the 80s. and then generated extra box office in the late 90s and beyond; super-wide Cinemascope was utilized to dazzle home viewers away from their newly-bought television screens into a much grander experience. Today, theaters may have exhausted their technological innovations – and no one is making a special trip to have their seats vibrate with the noise. So they may be down to the best possible innovation of all in a post-pandemic world: savings. Depending on the theater chain, a trip to the movies for a family these days can feel like one to a professional ball game. MoviePass was a fun, if financially irrational, experiment that benefited weekly attendees. Would local theaters be able to manifest something comparable that would encourage movie fans to offer a bigger, traditional night out that will not have them weighing the savings versus a monthly subscription cost? More importantly, can they do it without being subjected to the ire of studios who feels themselves losing out on the scraps they may still be providing to the theaters if discounts, punch cards, and 2-for-1 specials become necessary.Could Sneak Previews Make a Big Comeback?(Photo by © Warner Bros. )You may be revealing your age if you do not remember the practice of sneak previews. It actually was not that long ago and many faces would light up at the prospect of seeing a commercial or newspaper ad revealing that the movie they could not wait to see would not make me wait any longer with a one-time showing on Saturday night. Imagine you are just a week away from seeing Dune or Matrix 4, and WB announces that you can see them in theaters – for one night only – before the official launch. Would there be a flock comparable to recent Amazon sneak preview events like Jumanji: Welcome to the Jungle and Aquaman, which netted around million each, or Fandango s high-selling Early Access screening series? Films good enough to generate ecstatic word-of-mouth could certainly encourage more fans to rally around the big screens for their first viewing – and potentially discover the incentives theaters may develop to bring them back.Finally, Could Warner Bros. Reverse Course?(Photo by © Warner Bros. )The streaming of Universal s Trolls World Tour was a big success early in our pandemic times; six weeks later, Scoob! failed to replicate it. Tenet tried to correct the blockbuster drought in theaters, but did not live up to Warner Bros.’ hopes, and eventually Wonder Woman 1984 comes home without the restraint of a separate Mulan surcharge. The world is not out of the woods yet and while vaccines provide optimism, there are still so many unanswered questions. Who knows what the future will hold between now and the still-scheduled summer movie season slated to kickoff in May with Marvel’s Black Widow? If Disney holds course and we see a 0 million box office report on May 9, will WB consider delaying premieres of The Suicide Squad and Dune on HBO Max? It seems unlikely that the entire strategy would be abandoned in 2021 after all the headlines it has generated. That may also depend on how quickly other studios jump at the chance to make some of their own. Everything is an experimentation at this point, with various parties considering and even rooting for success or failure. Jumping right to a half-empty conclusion is premature though there is no reason not to prepare for all possibilities.Erik Childress can be heard each week evaluating box office on WGN Radio with Nick Digilio as well as on Business First AM with Angela Miles and his Movie Madness Podcast.On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Chiabella James for © Warner Bros.