亚博网址进入

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亚博网址进入采用百度引擎9(Baidu 5)因为端游和手游的相似度极高,对于皮肤爱好者来说,手游的专属皮肤看起来就很香,官方的这种搞专属皮肤的做法,其目的肯定是为了吸引更多的玩家打手游。

1. 亚博网址进入
自从拳头官方在《英雄联盟》手游正式上线的消息,并且在2020年10月29日就开启了日服、台服之后,众多LOL玩家就一直期待着这款游戏国服的到来。尤其是那些已经在日服、台服体验了LOL手游的众多国内玩家,对这款经典作品在移动端的复刻,更是期待不已。 作为一款首次测试的魔幻RPG手游,《战神遗迹》的部分玩法设计还有待于优化和打磨。但就目前素质来看,这款游戏新颖独特的多元宇宙冒险题材,主机级画面品质,很好的将玩家们,带入到一场制霸宇宙的奇幻征程。此外值得一提的是,该作跳出了量产爽游的玩法框架,借助“机甲装备”等创新内容,将游戏华丽酷炫的体验感拉满,让我们更为畅快的收获到炫战成神的“养成乐趣”。
全球在地化体验,支援12种语言:英语、西班牙语、葡萄牙语、俄语、土耳其语、印尼语、泰语、简中、繁中、阿拉伯语、德语、法语。

2. 公平游戏环境
2020狂暴单职业是一款送会员刀刀爆光柱的激战传奇手游这是一款2020最新推出的传奇,打造最强神途,体验最新的传奇竞技传奇,喜欢的玩家一起来下载感受全新传奇竞技玩法吧。亚博网址进入The stand-out episode of Netflix s latest horror hit The Haunting of Bly Manor draws inspiration from a Henry James short story that, according to series creator Mike Flanagan, had not previously been adapted.A follow-up to The Haunting of Hill House, the new series explores several tragic love stories as it follows American au pair Dani Clayton (Victoria Pedretti), who accepts a job in England looking after orphaned siblings Miles (Benjamin Evan Ainsworth) and Flora (Amelie Bea Smith) while supernatural phenomena swirl around her. If the scenario sounds familiar, the season was primarily inspired by James much-adapted classic novella The Turn of the Screw.But other works by the iconic author add to the story layers that unfold at Bly.(Photo by EIKE SCHROTER/NETFLIX © 2020)Episode 8 takes the same name as the previously overlooked James tale, The Romance of Certain Old Clothes,  and acts mostly as a standalone episode that detours to the 18th century to reveal the origin of Bly Manor s ghost story. Flanagan called it more aggressive and vicious than anything else Henry James ever wrote, during a virtual press conference for the series.Unlike his work with Hill House, Flanagan made a concerted effort to remove himself as the sole creative force behind every episode of Bly Manor. But for the season s penultimate episode of, he admits he did everything in his power to be on set every day. I was never more anxious to get to set just to sit at the monitor and watch than I was during episode 8, because it was so cool. It was the kind of episode I just wanted to see as a fan, Flanagan said. The Romance of Certain Old Clothes is a brooding gothic romance and tragic love song to the genre, with visual storytelling to make fans of classic horror cinema rejoice. The episode is the most haunting hour of TV you ll see this year. Here s why.SPOILER ALERT: THIS ARTICLE CONTAINS DETAILS ABOUT EPISODE 8 OF THE HAUNTING OF BLY MANOR. STOP HERE IF YOU HAVE NOT WATCHED THE EPISODE.It Gives a Heartbreaking Backstory to Bly Manor s Curse(Photo by EIKE SCHROTER/NETFLIX © 2020)Flanagan said he had planned to explore the origins of Hill House’s hauntings, but that production didn t have the budget or time to see its backstory brought to life. After the series remarkable reception on Netflix, however, Flanagan clearly had more flexibility for his next The Haunting series.Episode 8 throws us way back in time to recount the lives of Viola (Kate Siegel) and Perdita (Katie Parker), sisters left with an uncertain future in the manor after their father passes away. Practical Viola marries her distant cousin Arthur, heir to the manor (since it was illegal for women to inherit property).A true romance blossoms between the two, and soon their daughter Isabel is born. But, as with most gothic romances, the story takes a tragic turn, and Viola falls ill with tuberculosis. While Viola is locked away in a room, coughing up blood, romance between Arthur and Perdita develops and tensions rise between the sisters. One day, it all comes to a head, and Perdita murders Viola in her bed.(Photo by EIKE SCHROTER/NETFLIX © 2020)Perdita marries Arthur, of course, and the two raise Isabel, but financial struggles leave the couple s relationship strained. Perdita wants to sell Viola s fine jewelry and clothes that are locked away in a chest in the attic, but Arthur refuses. He made a promise to Viola that Isabel would receive those treasures once she was of age. But Perdita goes against his wishes and opens the truck, and Viola s enraged spirit chokes her sister to death.After Arthur finds Perdita dead, he deduces that the trunk is cursed and throws it into the lake, before taking Isabel and moving far away from Bly Manor. The sisters ghosts remain stuck to the property, however, to form the haunting foundation that the rest of the season s unfortunate events are built upon.Like Episode 6 of The Haunting of Hill House, This One Is a Standout(Photo by Steve Dietl/Netflix (The Haunting of Hill House)) The Romance of Certain Old Clothes holds just as much importance to the Haunting franchise as Hill House s sixth episode, Two Storms, did two years ago.This episode doesn t come with all the bells and whistles that made Two Storms such a milestone — you won t find any 18-minute-long tracking shots here and that episode focused on the generational trauma that permeated the Crain family, both in their present and in their past. It was a poignant exploration of grief that relied on some dazzling camera work and blocking to tie everything together.(Photo by EIKE SCHROTER/NETFLIX © 2020)Bly Manor is a different beast — at its core, even more of a ghost story than Hill House’s exploration of family trauma. Carla Gugino s narrator figures prominently in this episode, and her comforting diction, along with the detailed set dressing, intricate costume design, and the guidance of up-and-coming director Axelle Carolyn — who Flanagan calls a student of black-and-white horror cinema — The Romance of Certain Old Clothes delivers the context that connects the past and present of the series. Everybody was always looking at episode 8 as our chance to do what we love the most, Flanagan admits. It s what made us want to do The Haunting and to look back at [director] Robert Wise and [director of The Innocents] Jack Clayton. These incredibly influential movies from the early ’60s, which were done so perfectly, they ve rendered it pointless to try to do a faithful feature adaptation of these texts. So it was one of those episodes, much like episode 6 in season 1, that we were preparing for and building up to the entire time. We shot it last. Kate Siegel s Lady of the Lake Is the Terrifying Key to Bly Manor s Mysteries(Photo by Netflix)The episode s timeline charges forward once Viola dies, showing the manor succumbing to decay and plague victims taking shelter under its roof. Throughout, Viola s ghost is anchored to that chest underwater, her afterlife focused on reunification with her daughter.Viola emerges from the water nightly to roam the grounds, eventually losing her face as the memory of who she was fades. When she disappears entirely, the monstrous Lady of the Lake emerges. The faceless being we see earlier in the season kills without remorse, taking out anyone who gets in her path as she makes her way up to the manor s bedroom, looking for young Isabel.

3. 激战团竞模式
(Photo by © Warner Bros. )While the comic-book superheroes made the leap to filmed entertainment very quickly – Superman appeared in animated shorts within three years of his first appearance in Action Comics #1 and precursor pulp heroes were already in Saturday morning movie serials by 1938 – it took decades for the superhero movie to truly coalesce into a genre. After the Superman cartoons, characters like Batman, the original Captain Marvel, and Captain America joined the pulp heroes as movie serial stars, and Superman himself would finally be featured in his own serial in 1948. But more often than not, these films followed the established serial format with the 1948 Superman innovating only enough to use a piece of animation to denote the character s flying ability. After the serials went extinct, the superheroes returned to comic books.In 1966, Batman: The Movie and its parent television show defined for generations what comics on screen should be: campy. And while that film is great on its own merits (and 77% Fresh on the Tomatometer), it made it difficult for movie producers to ever take a costumed superhero seriously until the mid 70s.At that point, producer Ilya Salkind and his father Alexander optioned the rights to Superman from DC Comics. The plan was to make a lavish two-part film in the vein of their recent successes, The Three Musketeers and The Four Musketeers, with The Godfather author Mario Puzo writing a 500-page script comprising Superman and Superman II. The intent was to engage Goldfinger director Guy Hamilton and shoot both films concurrently in Italy. DC Comics had suggested stars like Steve McQueen and Dustin Hoffman for the title role. When writers Robert Benton, David Newman, and Leslie Newman came in to revise Puzo s script, the project’s tongue was firmly in its cheek as scenes called for super-puns and a cameo by Telly Savalas in his then-famous television role as Kojak.But as fate would have it, forces intervened and the irreverent tone were dismissed when Richard Donner, fresh from his success on The Omen, took over as director after the production moved to England. Little did anyone know at the time, but Donner and his collaborators would go on to define the superhero genre as it exists today in ways both large and sublime. Here is a look at just five of the ways Superman: The Movie – released December 15, 1978 – laid out the superhero film blueprint.1. By Emphasizing The Origin(Photo by © Warner Bros. )While Superman’s origin story is one of the most fascinating elements about the character, productions like the 1948 Superman serial and the 1950s The Adventures of Superman television series rushed through the Krypton and Smallville aspects of the story to get mild-mannered Clark Kent into his Superman persona. Clearly, that’s where the action is and the kids want to see Superman rough up some crooks or bend a gun with his bare hands.But Donner and creative consultant Tom Mankiewicz – who wrote an uncredited draft of the film for the director – saw the value in examining Superman’s early life. The resulting film has a three-part structure featuring the most realized presentation of Krypton seen by audiences up to that point. Where the earlier productions presented a very generic sci-fi world of silver shoulder pads and headbands, Donner and production designer John Barry reframed Krypton as a world where humanoids lived in crystalline structures more grown than built. Costume designer Yvonne Blake fabricated the robes worn by Marlon Brando and the other performers which would glow when exposed to a lightsource perched on cinematographer Geoffrey Unsworth s camera.The lavish details of Krypton served a number of purposes. As the Salkinds paid Brando a then-absurd .7 million and 11.75% of the gross for just 12 days of shooting, Donner devised additional material for Brando to perform just in case. Secondly, the early Krypton scenes would also establish the conflict of Superman 2, necessitating Krypton make a last impression on the viewer.And as the Smallville material was also thematically important, Donner and his team embraced those scenes with equal passion. In doing so, Superman does not appear in his costume until minute 47 of the movie s 142 runtime. It was a script decision which would have a lasting impact on the superhero genre as it emerged. Today, holding back the scene in which the hero first gets his or her costume until minute 47 (or thereabouts) is a standard plotting convention. Tony Stark (Robert Downey Jr.) is not seen in the Mark I Iron Man suit for a good 40 minutes in the first Iron Man – and it is nearly an hour before the more familiar Mark III suit debuts. Same goes for Bruce Wayne (Christian Bale) in Batman Begins and Clark Kent (Henry Cavill) in Man of Steel. While not yet a screenwriting convention when Batman was released in 1989, 21st Century superhero films relish the origin story and hold back the character’s completed costume identity for a long time, a technique first realized in Superman.2. By Honoring The Spirit Of The Character(Photo by © Warner Bros. )As mentioned before, the conventional wisdom about superheroes, such as it was, was to treat the characters as figures of camp. Batman 66 was fondly remembered for that tone. Donner, who idealized Superman as a core pillar of Americana, refused to treat the character that way in favor of honoring the spirit of Superman comics.To be fair to the Salkinds and the producers of Batman ’66, both characters went through a campy phase in which the characters colors were brighter than ever before and their stories saw them face goofy sci-fi threats instead of intense street thugs. Those tales were also light on characterization, with Batman, Superman, and their associated casts resetting back to their established status quo at the end of every story. But by 1975, a younger crop of writers was treating the DC superheroes with a greater sense of gravitas and emotional fidelity. Though not an avid reader of Superman comics at any point in his life, Donner decided Superman needed a similar emotional truth to be credible on screen.That sense of emotional truth led to the single most important decision made in the entire production: casting Christopher Reeve in the title role. He wowed casting director Lynn Stalmaster, who kept suggesting him to Donner and the producers until the offered him an audition opposite The Omen’s Holly Palance. Though clearly perspiring at the armpits of an early Superman costume, Reeve instantly transformed into the stalwart servant of justice. The scene – the interview with Lois Lane seen in the finished film – also reveals a playful side, and Reeve perfectly embodied the way Superman has fun with his persona. He proved capable of the sort of intensity the comic-book Superman was facing at the time with equal precision.Though he looked the part, the Reeve Superman is not a 1:1 interpretation of any one creative direction of the character – from the comics to George Reeve’s portrayal on The Adventures of Superman – but it is the idealized personification of him as Donner sought to put on screen. Modern superhero films continue to choose spirit over exacting recreation, leading to performances like Gal Gadot in Wonder Woman and Chris Evans in his appearances as Captain America. Neither may look as exactly right as Reeve does, but they create a version of the characters which are still faithful.3. By Embracing the Real World (Verisimilitude! )(Photo by © Warner Bros. )Much like his choice to imbue Superman with an honest emotional range, Donner s decision to give the film’s world verisimilitude was key to making the film work. While Batman: The Movie before it and Batman after it featured heightened realities of pop art madness or expressionist extremes, the bulk of Superman takes place in a Metropolis not so much designed as borrowed from New York in the late 1970s. While Batman’s lack of powers make him easier to believe in a cartoon world, Superman’s fanciful abilities almost require the world around him to be more mundane. And so the Daily Planet’s famous ornamental globe ends up relocated to the lobby as the New York Daily News s entrance doubles for the great metropolitan newspaper. The newsroom set was also inspired by the look of the Daily News’s offices. The grime and grit of New York at the time gives Metropolis an authenticity it would never have again, as subsequent Superman movies used backlots to realize city streets. A DC Comics city would not feel this lived in again until Chicago played Gotham City in Christopher Nolan’s Dark Knight cycle.By grounding the world Superman inhabits in the reality of late 1970s New York, the film’s more fanciful aspects feel closer to our world. To paraphrase the poster s tagline, the film must make you believe that a man can fly. Selling that illusion was not just a feat of special-effects wizardry, but also the responsibility of the world to make it seem as natural as possible.As it happens, Richard Donner has a plaque of Superman flying a banner in his office. It reads “verisimilitude!” It is the philosophy which makes his better films work and the thing other filmmakers strive for when they say they want to make a “grounded” superhero movie. The Marvel Cinematic Universe, for example, has more outlandish concepts like Asgard and the worlds of Guardians of the Galaxy, but in films like Ant-Man and Captain America: The Winter Soldier, the setting retains the verisimilitude of the years in which they were made. Or, at least, verisimilitude is their starting point, making later scenes like the crash of the Helicarriers or the implosion of a San Francisco building seem more plausible.4. By Giving it a Poppy Sense Of Fun(Photo by © Warner Bros. )Once Clark Kent (Reeve) arrives in Metropolis, both the measured, articulate dialogue of the Krypton sequence and the bucolic feel of the Smallville section give way to the rapid-fire verbal sparring of the Daily Planet newsroom. Conducting that orchestra is Jackie Cooper as editor Perry White. The man would be at home in a movie like His Girl Friday with the sly quips coming at six-or-seven per minute. Characters talk over each other, confuse one another, and build to comedic crescendos. In a word, the whole thing pops. Consider Lex Luthor’s (Gene Hackman) initial scene in which he and Miss Teschmacher (Valerie Perrine) trade insults. The snappy dialogue comes from an older tradition, but it fits so well with the characters that it seems like the most natural way for people in Metropolis to relate to one another.That poppy sense of fun would be borrowed wholesale by the MCU, with Robert Downey Jr’s facility for quippy ad-libbing setting the pace. But you also see it in films like Spider-Man: Homecoming and Thor: Ragnarok. Both are so comfortable with their realities that they can poke fun at the self-seriousness that superheroes attained after The Dark Knight Returns and Watchmen were released in the mid-1980s.Curiously, that tension between seriousness and comedic agility forms some of the conflict between Superman and Lex. In their first encounter, when Superman pushes the door to Lex’s bunker off its hinges, he responds with a wry “It’s open, come in,” and orders Otis (Ned Beatty) to “take the gentleman’s cape.” Though capable of having fun with his own Boy Scout persona in earlier scenes, Superman is having none of it and refuses to spar with Lex. The greatest criminal mind of the age, though, continues to try to engage him in that style of patter. It lasts until the moment Lex finally puts the kryptonite medallion around Superman’s neck, proving that the quipster is a legitimate threat to the Man of Steel and California.5. By Getting Romantic(Photo by © Warner Bros. )Sure, Lois Lane’s (Margot Kidder) interior monologue during the “Can You Read My Mind?” flying sequence may be one of the most cornball things every committed to film, but the romance between Lois and Superman – a thing de-emphasized in the serials and The Adventures of Superman – makes such a stunning return in Superman that just about every subsequent superhero movie felt honor-bound to include the character’s original romantic entanglement for good (Captain America: The First Avenger) or ill (Thor: The Dark World, Green Lantern). There are exceptions, of course: Batman paramour Julie Madison predated Vicki Vale in the comics by almost 10 years, but would not be seen on film until Batman Robin. But even in cases where the romance is not the one true pairing, most comic-book movies emphasize a romantic plot as key to the movie.In Superman’s case, Donner and Mankiewicz felt it was more central to the piece than any exterior foe Superman would face. Mankiewicz, in particular, wanted to make sure filmgoers “wanted to see these two kids get together.” It s a will-they-or-won t they chemistry. As Kidder later put it, Lois was as immune to most men as Superman is to bullets; therefore she treats Clark with a dismissive authority. But Superman literally sweeps her offer her feet and all of her sarcasm and bravado falls away. On screen, it leads to a powerful chemistry subsequent films desperately hoped to emulate, even in stories where a romance may not actually serve the movie. We re looking at you, Batman Begins.Of course, there as so many more things to consider, like the iconic Superman theme by John Williams. Then there are the little moments which will always stand out: the man on the street who calls Superman’s costume a “bad outfit”; Lois’s stunned “You’ve got me? Whose got you?” when he rescues her from plummeting to her death a few moments later; and Lex’s angered scream of “Miss Teschmacher!” In building such a genuinely grounded platform from which Superman could soar, Donner and his partners designed the format from which all big budget superhero movies derive. Sure, they can react against the formula (Blade, Hellboy, The Dark Knight) or embrace it, but Superman will always serve as the baseline from which to examine how successfully they bring beloved comic-book superheroes to the screen.Superman: The Movie was released December 15, 1978

4. 呼朋唤友 随心所欲
Alita: Battle Angel (2019) 61% The Japanese cyberpunk manga Battle Angel Alita began publication back in 1990, and when James Cameron got wind of it (via Guillermo del Toro, no less), he became instantly fascinated by it and began development on it as a passion project. Ultimately, after years of delays, Cameron found himself occupied by Avatar and its sequels, so he handed the reins over to Robert Rodriguez. The film centers on a scientist (Christoph Waltz) who discovers a deactivated cyborg (played in motion-capture by Rosa Salazar) in a junkyard and gives her a new body, only to realize her previous function was much more lethal. Alita: Battle Angel has impressed critics with its groundbreaking, immersive special effects par for the course with any film produced by James Cameron but it takes some of its narrative cues from better films that have come before. It s an eye-popping theater experience, to be sure, and if that s what you re looking for, Alita delivers enough entertainment value to keep you in your seat. Just don t expect to be blown away or even particularly engaged by its story.

5. HD 画质与高品质音讯
使用強大的百度引擎9建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

6. 团队合作
邀请您的好友共赴战场,透过队内语音商定策略,设下完美埋伏,在对手措手不及时给予迎头痛击。您可以在好友需要协助时回应其召唤,也可以为您的公会贡献一己之力。

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1.82.2 7月喜迎有过这类良性联动的也不止叠纸一家,二次元手游的后起之秀《明日方舟》在2020年夏季时就曾经在游戏外联动过上海公安,利用游戏内的六星干员老陈(陈、陈sir)形象,专门进行过关于网络诈骗的防范知识科普。当然,除了这两家还有许多手游也有着同类型的联动,效果均非常不错,受到好评的同时进一步扩大的手游的知名度。
完美的世界手游是与鹅厂合作推出的仙侠魔幻手游。因为可以捏脸,画风优美,所以也很受欢迎,受到很多年轻玩家的追捧。
(Photo by Amazon Studios)Celebrated director Steve McQueen has already proven he s a man of many talents. After all, his varied career has given us the heralded Hunger, about Bobby Sands and the 1981 Irish hunger strike; the provocative sex-addiction drama Shame; visceral Best Picture winner 12 Years a Slave; and, more recently, Widows, a thrilling heist flick with social justice on its mind. It s hard to imagine him hitting a new register, not because artists do not grow, but because the breadth of the work that came prior has already delivered so many thrills with such different flavors. Yet with the help of brand new faces – among them cinematographer Shabier Kirchner and co-writers Courttia Newland and Alastair Siddons – McQueen has given us, with his new five-film anthology Small Axe, a set of dazzling new works that show he s capable of things beyond our imagination.What Small Axe actually is has been the subject of debate – is it a set of TV episodes or an anthology series? – but the clearest way to think of the collection is as five thematically linked films, all set in the West Indian community of London between the late 60s and the mid 80s. In Lovers Rock, we experience a freeing blues party among West Indians shunned from white nightclubs; Mangrove unfolds as a stirring courtroom drama based on a true story and a dark day for the British justice system; the inspiring life of Alex Wheatle, the British novelist who rose from prison to literary acclaim, backbones a fiery eponymous biopic about cultural identity; the fraught relationship between Leroy Logan, a Black cop tasked with reforming London’s racist police force, and his distraught father propels Red, White and Blue; and in the tender coming-of-age story, Education, a determined Black mother saves her son from a prejudiced school system.The stories are the documented experiences of a community rarely seen on the big screen, one that includes McQueen s family, his friends, and himself. With sumptuous shots of women swaying their hips at a steamy blues party, close-ups of simmering mutton curry, and invigorating needle drops, Small Axe is specific to its West Indian subjects. At the same time, in explicating histories from the Black Caribbean diaspora in the UK – delving into ceaseless police harassment, brutal racism, a pernicious justice system, and beyond – Small Axe is familiar to all oppressed people, no matter their origin.Robert Daniels for Rotten Tomatoes: When Red, White and Blue premiered at New York Film Festival a lot of critics were under the impression it was the final film in the anthology, rather than Education. Those are obviously two wildly different tones to conclude with. How did you decide the final order?Steve McQueen: I m a person who grew up with albums. And for me, I had to evaluate how I wanted to end the album, as such. I thought Education was the key in the sense that it’s all about the possibilities, rather than the things people prevent you from achieving. All the way through Small Axe, it was all about how people took it upon themselves to liberate themselves – to emancipate themselves from the environment they were in. So I definitely wanted to end on the infinite possibilities that are achievable in the world. Hence, the ending images.With regards to reception, Small Axe very much feels like an assemblage of Black-specific stories concerning music, food, and politics. Do you consider these Black-specific, though?McQueen: It s like watching a Korean film or a Taiwanese film, or a film from Italy. These are human stories which are universal. That s what it s about. It doesn t matter where you re from or what background you re from. I think you can identify with these as human stories. It s about people overcoming adversity through their own force of will. I think it s very common to anyone, wherever they come from in the world.(Photo by Amazon Studios)Some have described Lovers Rock, especially the dancing, as Black joy and Black love, but it could also be seen as Black lust.McQueen: It’s not lust. It’s a sexual sensuality, but it s not maddening. There’s etiquette.Yes – there are the close-ups of men asking women for a dance by touching their elbow.McQueen: Or even squeezing someone s bottom. It doesn t matter. Sexual sensuality is beautiful. It s wonderful. I remember someone saying about blues parties, “Oh, my mother said that blues parties weren t like that. What actually happened was that people danced as close as possible, but without touching.” I wanted to ask her what party her mother went to. [Laughs] I imagine a lot of people have been embarrassed about what they did when they were younger, and they told their children something else. But there s no shame in it. It s just a celebration of us as fully formed human beings. And it s just beautiful.There are so many new faces in these films. Your collaboration with Michael Fassbender is well known; was it a conscious decision to find new faces for this project?McQueen: Yes, because I wanted to give people a break. I wanted to see people who had never been given an opportunity to fully exercise their talent. And it was amazing. There were a lot of newcomers like Amarah [-Jae St. Aubyn] and Kenyah [Sandy]. And with [cinematographer] Shabier [Kirchner], when you have the opportunity to do what we did with those five feature films – different film stocks and digital cameras – no one s had the opportunity to do that. It s very rare. So the fact that he came on board and took his opportunity, it was great.As a band leader, I would call myself, you just want to play with people who can actually play. Or when you see potential which hasn’t been fully exercised, you try to help them in their development. It s about me choosing who I want to work with and getting the best out of them. Helping people fulfill their potential. And I want to focus particularly on Black artists, regardless of what field they’re working in.And that s what I find so special about this series. We ve seen Letitia Wright and John Boyega in big projects, but not utilized by other filmmakers in the way they are here.McQueen: I look at Star Wars, as far as John is concerned, and you know he s got so much potential. That s a particular genre of film where it s not about acting but reacting. And [Small Axe] was the point where he had to bring his A-game and dig deep for the potential that was there. My job as a director is to help him achieve that. Cause when I first saw him on Attack the Block, I thought this guy has something. He s grown, of course, since Attack the Block. He has a lot more baggage as a human being. And now was his time.Boyega previously described, in the press notes for RWB, taking an interest in Leroy Logan’s favorite music in order to prepare for the role. Are there situations where you’ll give an actor supplementary material as prep?McQueen: Myself, John, and Courttia [Newland] – our co-writer – we talked about our fathers, because that s the thing that brought me into Red, White and Blue and connected me with Leroy Logan. And Leroy talked about his father a lot. When we were interviewing him, I was digging into who he was as a person. That was the seed, and we had to go deep to unravel him. It wasn t just a case of the music. We had to find out the terrain for what we were going to cover. All of our fathers, these West Indian men, were very cautious and very dominant, but at the same time, very caring. They weren’t forthcoming in their emotions, but they were very forthcoming in how we were to conduct ourselves or what they believed we could achieve.(Photo by Amazon Studios)With Leroy Logan s story, it basically ends with his appeal to his father. Alex Wheatle’s story is very self-contained, too. How did you decide what parts of their lives you wanted to recount?McQueen: The first bump in the road for Leroy is the most important bump. The fact of the matter is you could go on, and on, and on, and on, but I needed the initial impact. Leroy’s aspirations had crumbled. He thought he could change the world. His father felt very hurt when he suddenly joined the police. When Leroy realized what the actual situation was, when he realized the actual weight of the institution, and its surroundings were against him – that s the first impact. That s when they sit down at the table and have that conversation about the state of the world.I could’ve done a story about how he [later] left the Metropolitan Police force. But it was about the first impact. It was about the loss of innocence. That was the important thing. Because before your first bump in the road, does it matter what your parents tell you? They can tell you, “You’ve got to be careful.” And maybe you’ve seen stuff on TV. Maybe you’re aware of it. But when it happens to you personally, for the first time, that s when you have a very deep realization [of], Can I still change the world? Do I still feel invincible? You’re sitting down with your father, and he’s been around, and what does Leroy say: “Maybe we should just scorch the Earth and hopefully something good will come again. For me, as a filmmaker, that was the heart. And any Black person, wherever they are in the world, will understand that.(Photo by Amazon Studios)My father grew up in Mississippi, during Segregation. That made an impact on him for his whole life. I had to deal with that impact and figure out what it meant.McQueen: Exactly, exactly. When he s sitting down with his father, and they’re drinking rum together, he s not a boy anymore. He s a man talking to a man. And when his father says, Let me tell you what my mother said to me, it’s a generational thing. The father s talking about his mother. The father is talking to his son. It’s like a circle. So it’s very important where you begin a story. It’s very important where you end a story. This is art. It s not about having a situation where you repeat it again and again. It s a craft. It s as simple as that.And, finally, what are your thoughts on whether Small Axe is a film or television conversation?McQueen: It was always meant to be for television. These are five films, but it s all about the accessibility of these films. I had to go to where people were at. That was always my idea. I said very early on that I wanted my mother to see it, that it could be in every home in the UK, as well as, of course, with Amazon. And as far as these critics groups, I m just very grateful, and very humbled that they’ve recognized it in any capacity. Because it s not always the case that you get any kind of praise. So I m very grateful because all it does is let other people be curious to see them. So it s fantastic. We re all very grateful.Small Axe is now available on Amazon Prime Video. On an Apple device? Follow Rotten Tomatoes on Apple News.

(Photo by @ Warner Bros. )We are so quick to brand something as “bad” based on cursory contexts. Take, for example, prisoners: as far as society goes, these are the undesirables among us. The baddest of seeds. They are irredeemable, and should be treated thusly.Not so, says Paddington the bear, the star of the year s best reviewed movie, Paddington 2 (still Certified Fresh at 100%, all these months later). And in a time when so much hate is being bandied about the world, a children’s film decided to forget all that and take a different route, becoming a better movie for it. Because of all the things to love about Paddington Brown and his adventures around Londontown in his successful sequel, the ripple effect of radical kindness is perhaps most profound of all. Because, really, Paddington 2 is a story about the re-humanization of Knuckles McGinty.Sure, yes, okay: Paddington 2 is also about everyone’s favorite bear from Darkest Peru, finding himself in quite an unjust pickle after trying to buy his Aunt Lucy a 100th birthday present, but that’s just the premise in which we meet our hero’s journeyman, Knuckles. A bearded wall of a man played with gruff, curmudgeon-y excellence by Brendan Gleeson, Knuckles—or Nuckel’s, as his tattoos suggest—is in charge of the prison’s kitchen, much to the fearful chagrin of its residents. You see, he serves a sort of gloopy mess for every meal, and isn’t all that kindly about it, either. He’s got a short fuse, and he “doesn’t do nothing for no one for nothing,” likely after years of neglect from the world outside and around him. He distrusts everyone, even sweet and naïve little Paddington. “After you,” the polite bear insists before entering the kitchen. “Why, so you can stab me in the back?!” Knuckles has utilized his distrust as a shield, allowing his insecurity to reign terror upon the other inmates. And so the cycle continues.(Photo by @ Warner Bros. )But Paddington finds a way to cut through: with empowerment and love. Sure, Knuckles resists at first, calling Paddington B. Brown “gullible and mushy-brained,” but by being shown kindness and compassion in spite of it, our hero not only gains a new friend and life skill, he is given the capacity to show kindness to others. And that begets so much more for himself and the other prisoners. “There’s a strange, warm tingling in my tum-tum,” Knuckles admits to Paddington at one point. I think that s called pride,” the bear responds, as we watch the prison become less inhospitable – and the tension, in spite of their circumstances, evaporates. True to hero’s journey form, Knuckles does fall back on hold habits for a slip. They plan to break out Paddington and clear his name…only to have it all be a ruse. An escape! Time to flee the country, leave the rule of law behind! Paddington, feeling betrayed, stays behind as he watches Knuckles and his other friends take flight, determined to do what’s right.(Photo by @ Warner Bros. )But Knuckles is now a man changed. And when faced with the reality that his friend Paddington was in real danger, a change of heart appears. Knowing that assisting would surely mean they would be caught, Knuckles turns that plane around and – in the nick of time – saves Paddington’s life. There are plenty of down-on-their-luck, jaded people out there like Knuckles, because the world never showed them much kindness – let alone gave them an opportunity – and they assumed their lot was already assigned in life. When you’re repeatedly beat down, who can really blame some mistakes? But when shown compassion and selflessness, when given an opportunity to surprise even himself, Knuckles was able to do that himself. And what was the result? A commuted sentence and a second chance – with some very good marmalade-making skills to move forward with. It’s like the warden’s bedtime story said: And it turned out the monster wasn t such a monster after all.”
现如今手机游戏已经是大家休闲娱乐的主要途径之一了,上至几十岁的工作者下至几岁的孩子,大家都喜欢玩游戏。所以手游市场不断升温,越来越多的人都开始代理手游的创业之路。
(Photo by Jesse Grant/Getty Images)Every casting in the MCU has made headlines, from the inspired albeit unconventional casting of Robert Downey Jr. in Iron Man to the moments-before-San-Diego-Comic-Con casting of Simu Liu in Shang-Chi. Just about everyone has had an opinion on who should play these iconic comic book characters on screen, and they ve been debated, scrutinized, and celebrated in every corner of the internet. But it may surprise some to learn these difficult choices have all rested in the hands of one woman. Over the course of 12 years, 24 films, and hundreds of roles, casting director Sarah Halley Finn has been the unseen force pumping the lifeblood directly into the heart of the MCU. Today, it may seem like a no-brainer now to cast RDJ as Tony Stark or Chris Pratt as Star-Lord, but in the early days, neither name was at the top of the Marvel wish list. It was thanks to Halley Finn s foresight and persistence that both actors were paired with their roles, but the MCU s lead casting director insists her efforts are a collaborative process.  Casting over 1,000 roles has allowed Finn to accumulate a few stories of near-castings and tales of actors who took a little more convincing to say yes, some of which she shared with us when we chatted with her a few weeks ago. Read on for our extended conversation with Sarah Halley Finn, in which she chats about casting not only RDJ and Pratt, but also some yet-to-be-cast actors she hopes to add to the ever-growing universe. Iron Man: He wasn t exactly known as an action hero. (Photo by Marvel Studios) The casting is always this collaborative process with the director and the writers and the producers, each trying to find the absolutely perfect embodiment of this character. And as we were working on Iron Man for a couple of months, we were really talking about a lot of different people that could play the part. But we kept coming back to Downey. Of course, everything you see onscreen is the reason why we kept thinking about him. And ultimately, because it wasn t a slam dunk at the time he tested for it. He had been known for Oscar-nominated work. He was an incredible actor. He wasn t exactly known as an action hero. This was a very different kind of role, and he hadn t been doing the same work for a few years, so he was willing to screen test. And that was the proposal that we made to our people as a way to just find out if it was really the way to go for the character. So because he agreed to screen test, we worked on it fast, and really, he came onto the soundstage in high spirits. I remember walking him in and I remember it so crystal clear   he came in high spirits. He knew what he wanted to do. I think he felt good, and I think as soon as he said the words, we all knew we had arrived. Captain America: No one else could play Steve Rogers except him. (Photo by Marvel Studios) After Chris Evans turned us down, I think it was the creatives who made that happen. It s Kevin Feige, it s Joe [Johnston]. It was really about helping him understand that there is an exciting character to play. It was not just an idea. He might have had a thought of what this means in the comic book universe but not what ideas it was about. But I know he also considered what this represented for his life and all those kinds of considerations you re aware of that and what he was weighing at the time. But it was really the creative engagement detailing about how he was the perfect person to bring this character to life, how no one else could play Steve Rogers except him and why, and what qualities he had that were perfect for it. And then they got creatively engaged to the point where it s harder to say no. Hulk: I had worked with Mark off-Broadway in New York, and it was really exciting when he jumped in. (Photo by Marvel Studios) Hulk was already in production when I came onto Iron Man, so I was not involved in casting [Edward Norton], and I think for whatever reasons, [Norton] was not involved when I was doing Avengers. So again, it was talking to Joss [Whedon], talking to Kevin, my team. How do we see this character now? What are his qualities? What are we looking for? Who is the best person to bring him to life? I had worked with Mark forever ago, off-Broadway in New York, and I had known him for a long, long time. And it was really exciting when he jumped in, and jumped in quickly. He was cast right before San Diego Comic-Con correct?  Yes, but there are hours and hours of stories for every single person, and that happens with more people than you might think, because one of the things is these actors aren t just sent a script. It s not like they re just sent a script that they can say yes or no to it. The scripts are secret. They re confidential. They get hand-delivered with a security guard and they re waiting in the car while you read. It s really sometimes a long process and of engagement with the creatives, with the director, and with Kevin [Feige], to help people understand the world. Maybe there s some artwork, maybe there are some examples of things that can get them to understand what they re going to be playing, but it s not always as easy as it might seem. Thor: Yes, both Liam and Chris Hemsworth read and were the loveliest guys. (Photo by Marvel Studios) It took months. In truth, I have not slept in 10 years. Are you kidding? [Laughs] Yes, both [Liam and Chris Hemsworth] read and were the loveliest guys. But for Thor, Liam was young. He was so young at the time, and it was a long process, and hopefully, we ve gotten it right. But we ve got Liam in our sights. We ll find something for him. [Laughs] It seems like there was no one else to play that part now, but when we were approaching Thor with Kenneth Branagh, we knew this guy had to be part Shakespearean. Asgard had to exist in a complete otherworld and yet be utterly relatable and human. And that was a very difficult combination. And the material we were using for auditions, was a Shakespeare scene. So it took some callbacks, and some work, to really feel like we had arrived there. And then Thor changed entirely with Thor: Ragnorok. Yeah, it s amazing and it s really gratifying for me, because I think another hope when we re casting these roles is that we re going to find actors who have the range to go a really long distance. And I think when Chris Hemsworth broke, we knew he was a movie star, but I don t think people saw in him the performance he just gave in Thor: Ragnarok and Endgame. To see him make that leap to comedy and the way the audiences responded to him, it was so exciting. It s like an actor you know, and yet, you re discovering him in completely a new way, and really fun to be able to surround him with interesting characters like Korg and all the other characters that you see him interact with. Star-Lord: We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms. (Photo by Marvel Studios) Actually [Chris Pratt] came up after he read because there were a lot of things we were trying to accomplish. We really want this to be perfect. We wanted it to be perfect for us, and a movie for the fans, and it was a long search on Guardians of the Galaxy. It doesn t seem like a difficult role, but it s a difficult role. He s heroic, but he s a bit childish. He comes into his own. He s very funny, and he also has this deep issue that he struggles with abandonment from his father and his childhood so there s a lot of layers that go in. We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms; and could bring all of the dimensions of the character to life. Chris was known for comedy; he wasn t necessarily known as heroic. He also wasn t known as an action guy. Chris had done another audition for me for another Marvel film, and I had seen those kinds of heroic noble qualities in him, and I knew he had the comedy. And I had seen Zero Dark Thirty and Moneyball, so I knew he could bring the action element to the role.And so, I kept bringing it up to James, to the point where James I read in a print [magazine] called me annoying and didn t really see him for the role. He claims that I tricked him. I don t really remember it that way. [Laughs]  It just so happened that Pratt was coming to read and James was there at the same time. So, yeah. [Laughs] Well, the one thing I will say, what s great about James is that he was very public on the press tour to be like, No, this is Sarah. I didn t see it, but I m so glad she made me do it. That s also great about working with him. It was very generous of him to be as open as he was about the process. And frankly, we had a lot of humor and that kind of camaraderie throughout the casting process. It really helped, and it helped him work with Chris. It helped Dave Bautista, who hadn t had a lot of acting roles, feel comfortable. And I think that his energy, his humor, his compassion, as an artist and as a director, was infused throughout the whole production. I think you can feel that in all the performances. The Guardians: Ensemble casting takes a lot of thought and a lot of work, and we test things out. (Photo by Marvel Studios) By the way, ensemble casting takes a lot of thought and a lot of work, and we test things out, you know? Once we cast Chris [Pratt], we were able to think about the qualities that he brought to the role, and then how to juxtapose that and how to support that in different ways to make the film interesting. So with [Dave Bautista], we knew that their chemistry was going to be really important, for Drax and Star-Lord to have something. And again, we did some mix and matches. We tried different ideas, but Dave and Chris really clicked. And so, it was being able to see that. And then, conversely, with Zoe [Saldana], we knew we really wanted somebody strong who was going to go up against him and give him a run for his money in a certain way, and she really brought that. And that s the process with any group casting. Rocket: You need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. (Photo by Marvel Studios) I approach voice actors the same exact way I approach the onscreen characters. I think that you need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. There s incredible pathos he brings, and he s damaged and wounded. And yet, you want to care for him, and you want to love him, and you want to laugh with him. And I think the audience got completely behind him. Basically, when we started thinking about the character, we re looking for the essential qualities. Who do we want to convey this emotion? How does the director want that character to come to life? So with Rocket, we had a very good idea of what James wanted, but we went through over a hundred voices, probably more. And that s my team, which is amazing, and taking James thoughts and notes. And we asked the other departments to give us any visual aids we could start pairing and mixing and matching a wide range of vocal qualities, of temperaments, of cadence, to try to see what would and all that comes together for how we could best personify that role. Spider-Man: The search went on for over a year just to cast that one role. (Photo by Chuck Zlotnick/Columbia Pictures) Can I talk about that? [Laughs] Those guys Asa Butterfield, Timothée Chalamet, and even Tom Holland have been really open about discussing it. Yeah, well they re all amazingly talented actors. I can say that much. They re all amazingly talented actors, but again, it was a role that we were trying to combine very specific elements and a range of qualities. So, for various reasons, I think the search went on for over a year just to cast that one role. And I think they ve all gone on and done great, and I think Tom has really done right by the character. The Villains: Michael B. Jordan s role was so poignant. (Photo by Matt Kennedy /© Marvel / © Walt Disney Studios Motion Pictures) I don t think we necessarily approached casting a villain in a different way from casting anybody else. You re still going, What are the essential qualities we re looking for and who s the best person to bring that to life? And in Black Panther, Michael B. Jordan s role was so poignant. It captured everything we hoped to do, which is create a multi-dimensional character who is not one-sided and who audiences can understand even if they re doing bad things. New Faces in the MCU: We can look anywhere. Marvel is so open. (Photo by Courtesy @DisneyStudios Twitter) It gives me so much energy to see more [diversity] in the MCU, and I m so excited to go into work every day, because I feel like there are no limits. We can look anywhere. Marvel is so open. It s a new day, and really, we are going to try anything. We have a deaf actress, Lauren Ridloff, who joined The Eternals, and right now we re looking for an 18-year-old Muslim-Pakistani female. It is beyond exciting. Casting Disney+: We re really approaching the streaming shows like movies. Yeah, it s very early but we re really approaching the streaming shows like movies. They re going to be very satisfying, I hope. We re really not looking at them any differently. They re incredible storytelling. We have incredible writers. We re putting together incredible casts, incredible directors. Very ambitious visions for these shows and the present a lot of new challenges but I m really excited. Casting Oscar Winners: They re able to stretch and do something that might be completely different. (Photo by Chuck Zlotnick ©Marvel Studios 2019) When I first came to the MCU and I was working on Iron Man, I was walking down the hall and somebody was making fun of me and saying, Oh, what, are we just going to have all Academy Award winners and nominees in the film? And I had a moment of panic thinking, Oh, my God, I m going to make the most boring superhero ever. What s it going to be? Nobody s going to relate to it. But [knocks wood] it s worked out well, and I think for these actors, there s a lot to play. There s a huge range to a lot of these characters, and sometimes it s just something really different. Look at what Cate Blanchett did in Thor: Ragnarok. It was fantastic. But Kevin and the mindset at Marvel is very collaborative. It s collaborative with the directors, it s collaborating with the actors. Creatively, they re all able to play in the sandbox. They re able to stretch and do something that might be completely different. So for someone like Brie Larson, yes, it s a leap to go from Room to Captain Marvel, but the way she embraced that character was complete, you know? She did the physical training. She researched it, she dug in with the directors and wanted to find out how to create this character in the way that I think actors approach in a role. So yeah, it was the whole process for her and for every actor to who takes on one of these roles. A Wish List for The Female Avengers? I don t know. I don t know if I can give you a few? I ve got a hundred. But I don t feel like I can No, I can t. I can t say. It s like asking me to pick my favorite kid. I can t do it. But hit me back after [Phase Five], maybe. Then I can tell you. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
天心神途是一款全新的传奇手游,感受真正的神途玩法,体验游戏的精髓,丰富的任务,完成即可获取全套神装,剧情跌宕起伏,NPC众多,超多支线任务,玩家打怪速度快,爆装超给力,技能多样,需要玩家自行配置,进行走位与操作。
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7 天前

游戏时长 32分钟

Stranger Things returns July 4 to a warm reception from critics for its new season. The first reviews out propelled the season 3 to Certified Fresh status within the day on Sunday, in one of the fastest designations in Rotten Tomatoes history.The series sets its third season in the summer, starting out all warm breezes, sunny skies, baking skin, splashing pools, and young romance. But this is Hawkins, Indiana, and stranger things lurk beneath that veneer of 80s suburban normalcy.Cue the Netflix series Goonies-like crew: supernatural Eleven (Millie Bobby Brown), Mike (Finn Wolfhard), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin), Will (Noah Schnapp), Max (Sadie Sink), Nancy (Natalia Dyer), Jonathan (Charlie Heaton), and Steve (Joe Keery).Parents and other siblings also return, including scene-stealing Priah Ferguson as Lucas sister Erica, Dacre Montgomery as Max s bully brother Billy, and, of course, Winona Ryder as Will and Jonathan s mom Joyce and David Harbour as police chief Jim Hopper, who last season adopted the role as Eleven s father in attachment if not legally. In season 3, their bond is stronger than ever.See what critics had to say about Stranger Things: Season 3 (2019) 89% below.Something Old(Photo by Netflix) Reliable, durable and comfortable, ST3 is what you d expect and certainly what you want, if what you want is seasons 1 and 2, with a few big twists along the way. — Verne Gay, NewsdaySomething New(Photo by Netflix) Our heroes are not the goofy young kids they used to be. The third series realigns and reconfigures them in new combinations and allegiances. — Suzi Feay, Financial TimesSomething Borrowed Though there are signs that Stranger Things is on the verge of slowing down (one-note villains, the missing feeling of an unearthed 80s treasure), that s not happening yet in Season 3. — Tim Surette, TV Guide Stranger Things finally becomes the sort of extravagant, exceedingly ambitious adventure spectacle that would have ruled the theaters during the 80s, instead of a TV series merely obsessed with films from that decade. — Kevin Yeoman, ScreenRantSomething True?(Photo by Netflix) On the evidence of this plodding and predictable third season, the Duffers can t skip town soon enough. — Ed Power, Daily Telegraph (UK) It harnesses a Big Summer Mood, a healthy heap of nostalgia and has plenty of fun references. But its story is also convoluted and far too scattered. — Allison Keene, Paste Magazine It s a thin imitation of what we used to have, who could blame anyone for clinging to it? — Judy Berman, TIME MagazineFinal Verdict? (Photo by Netflix) Season 3 balances good-natured laughs with charming nostalgia through likable characters doing battle against looming horrors. Yet it feels like it s propping up its past to justify its present. — Brandon Katz, Observer Despite its rocky start, the creators and performers find a way to pull off the impossible and deliver the best season yet, all while honoring their loyal fan base and challenging them to want more from a series known for playing it safe. — Patrick Cavanaugh, ComicBook.com By doubling down on relationship stories, Season 3 of Stranger Things delivers an oft-charming, deeper-than-expected, and ultimately enjoyable new chapter. — Ben Travers, indieWireLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

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亚博网址进入 icki, an Army vet and former cop. (Variety)The Originals alum Charles Michael Davis will join the cast of NCIS: New Orleans, playing new agent Quentin Carter, who transfers to the Big Easy office at Special Agent in Charge Pride’s (Scott Bakula) request. Davis will debut in the March 8 episode. (TVLine)Sanaa Lathan and Lior Raz will star in the Netflix thriller Hit and Run, about an ex-special forces soldier who hunts down his wife’s killers. Raz is also a co-creator on the series. The cast also includes Gregg Henry, Kaelen Ohm, Moran Rosenblatt, and Gal Toren.Jennifer Esposito has signed on to play lifestyle brand mogul Talia Mallay in Shonda Rhimes’ upcoming Netflix series Inventing Anna. The 10-episode drama, based on a New York magazine article about Anna Delvey, a German heiress accused of being a con woman, also stars Julia Garner as the titular Anna, Laverne Cox, Anna Deavere Smith, Jeff Perry, and Terry Kinney. (Dateline)(Photo by Kevin Winter/Getty Images)Jon Bernthal, Vincent D’Onofrio, and Richard Thomas are joining Viola Davis and Sandra Bullock in the untitled Netflix drama adapted by Christopher McQuarrie from the British miniseries Unforgiven. Bullock plays a woman who gets out of prison after serving a sentence for a violent crime, and tries to reunite with her younger sister.The twin sons of Superman and Lois Lane have been cast for The CW’s upcoming Superman Lois drama. Jordan Elsass (Tell Me Your Secrets) will play the kind-hearted Jonathan, while Alexander Garfin (The Peanuts Movie) will play the more temperamental Jordan. Tyler Hoechlin and Elizabeth Tulloch will play the legendary parents. (Dateline)Jeanne Tripplehorn has joined the cast of The Gilded Age, Julian Fellowes’ upcoming HBO period drama. She’ll play an art expert who is snubbed by high society because of rumors about her past.West Duchovny, the daughter of Tea Leoni and David Duchovny, will co-star with Jordana Spiro and Josh Andres Rivera in HBO Max’s coming-of-age drama pilot Vegas High, about a woman caught between her Mormon faith and the flashy Vegas lifestyle. Duchovny plays Paige, a young woman who is the president of the Mormon Church’s youth group. (Deadline)O’Shea Jackson has replaced an injured Winston Duke in the Kevin Durant–produced Apple TV+ basketball drama Swagger. Jackson will play a former star player who’s now a youth coach. (Variety)Emmy-winner Billy Porter has taped a guest appearance on Sesame Street, wearing his instantly iconic tuxedo dress.Real-life couple Cobie Smulders (Stumptown, The Avengers) and Taran Killam (Single Parents) will play a pair of movie superheroes who hope Bart won’t spoil the plot of their new film on the March 1 episode of The Simpsons. (TVLine)DEVELOPMENT NEWS: IMDB WILL HOST FREE STREAMS OF CLASSIC TV SHOWS LIKE LOST, ST. ELSEWHERE, AND MALCOLM IN THE MIDDLE(Photo by Reisig & Taylor/© ABC/Courtesy: Everett Collection)Good news: a slew of classic TV shows will stream for free on IMDB TV. Bad news: there will be ads. Still, it’s an interesting lineup for the Amazon-owned service, whose new licensing deal with Disney means access to shows including Desperate Housewives, White Collar, The Glades, and My So-Called Life, which are available now, and, in the comings months, Lost (May 1), Malcolm in the Middle (June 1), Ally McBeal (April 1), Army Wives, Boston Legal, L.A. Law, St. Elsewhere, Roswell (the original series), Revenge, and Ugly Betty. (THR)Warner Bros. Pictures and HBO Max have formed a new film production company that will focus on creating eight to 10 movies per year, to stream on HBO Max. Most of the movies will be original, with a few acquisitions, and the first one is expected to premiere on HBO Max this year.After her Golden Globe- and SAG-nominated performance in the Netflix drama Unbelievable, Toni Collette will return to Netflix for Pieces of Her, an adaptation of a novel by Karin Slaughter. The eight-episode thriller revolves around Laura (Collette), whose past comes back to haunt her and her daughter when a trip to the mall results in a terrifying violent event that puts Laura’s freedom at risk.Fleabag creator and star Phoebe Waller-Bridge is an executive producer and will guest star on Run, an HBO comedy series starring Merrit Wever. Wever’s Ruby sees her boring life upended when she receives a text from her college boyfriend (Domhnall Gleeson), who asks her to meet him in New York City and take off on a cross-country adventure. The series premieres April 12.Adam Sandler has signed a deal with Netflix to make four more movies for the streamer via his Happy Madison Productions, including an animated movie Sandler will star in, write, and produce.HBO Max has picked up the documentary On the Record, after executive producer Oprah Winfrey and Apple TV+ stepped away from the project, which features several women sharing their accusations of sexual harassment and assault by Def Jam music executive Russell Simmons. The Sundance doc, which was originally set to premiere on Apple TV+, is the first documentary acquisition by HBO Max.Among The CW’s pilots for next season: a TV version of Lost Boys, the 1987 Kiefer Sutherland–Jason Patric movie, created by Veronica Mars creator Rob Thomas, and Maverick, a political drama from producers Josh Schwartz and Stephanie Savage (The O.C.). (THR)Disney+ announced season 2 of High School Musical: The Musical: The Series will revolve around the East High School drama students’ production of Beauty and the Beast. Season 2 is scheduled to premiere in the last quarter of 2020.Tyler Perry is rebooting his series House of Payne for BET, with original stars LaVan Davis, Cassi Davis Patton, Lance Gross, Demetria McKinney, China Anne McClain, Larramie “Doc” Shaw, Keshia Knight Pulliam, and Allen Payne all set to return. BET will also be the home of a new Perry comedy, Tyler Perry’s Assisted Living, about a man who moves his family to a small Georgia town to help his grandfather operate a run-down home for senior citizens. Both shows will debut this summer. (Deadline)(Photo by courtesy of HBO Max)Megan Thee Stallion and The Good Place star Jameela Jamil will be judges on HBO Max’s voguing reality series Legendary, in which teams (called “Houses”) will compete in fashion and dancing battles to win cash and trophies.Hulu has acquired the worldwide rights for the Sundance horror film Bad Hair, the second movie directed by Justin Simien (Dear White People), while Amazon Studios bought Sylvie’s Love, a Sundance love story film starring Tessa Thompson, Nnamdi Asomugha, Eva Longoria, Aja Naomi King, Wendi Mclendon-Covey and Jemima Kirke. (THR)The Lena Waithe–produced Sundance flick The 40-Year-Old Version has been picked up by Netflix. The comedy stars Radha Black (Empire) – who won the Sundance Film Festival Directing Award for the movie – as a 40-year-old struggling artist. Netflix will stream the movie later this year, after its theatrical release.The Bachelor’s hometown dates may be coming to your hometown. The Bachelor Live on Stage tour will launch on Feb. 13 in Mesa, Arizona and visit 65 cities with a two-and-a-half-hour show that will find 10 female contestants trying to impress a pre-selected local bachelor at each stop. Hosted by former TV contestants Ben Higgins and Becca Kufrin, the stage show will feature elements from the TV series, including group dates and, of course, rose ceremonies.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

神偷奶爸电影火了之后,这款小黄人快跑的跑酷手游也深受玩家喜爱,超过9亿玩家加入这款游戏。神偷奶爸小黄人快跑玩法很简单,通过简单的跳跃、翻滚和左右摇摆来躲避障碍物,途中要吃掉香蕉,还可以解锁一系列小黄人的服装。 After enduring setbacks as large as a studio merger and a worldwide pandemic, Free Guy is finally here, and according to the reviews, it s absolutely worth the wait. Ryan Reynolds stars in this meta action-comedy as Guy, an everyman bank teller in a video game called Free City who is content to respawn every day as an NPC (non-player character). Unbeknownst to him, a couple of rogue programmers (Jodie Comer, Joe Keery) in the real world are in open rebellion against the game s new corporate owner (Taika Waititi), and the extra code they implement in the game makes Guy self-aware; thus begins his journey from regular dude to world-saving hero. It s probably safe to say that few people expected this film to be anything more than a mild diversion, but Free Guy has become the surprise of the summer, with critics calling it a relentlessly optimistic, laugh-out-loud funny comedy that lovingly pokes fun at gamer culture but offers enough entertainment value for video game agnostics. It may not hit all of its targets, but it s goofy, earnest, action-packed, and hilarious, which feels pretty spot-on for a summer movie success.

2021-12-07

More Highlights from Fox and CBS s TCA Presentations Last Week: 24 Could Be Coming Back Again, and More(Photo by Daniel Smith / © Fox / Courtesy: Everett Collection) This Is Us star Justin Hartley already has his next job lined up: he’ll star in the CBS drama pilot The Never Game, an adaptation of author Jeffrey Dever’s thriller about survivalist Colton Shaw, who travels around the United States, using his tracking skills to help solve mysteries. Hartley is teaming with This Is Us producer and director Ken Olin to develop the project. A third season of Big Brother: Celebrity Edition will premiere in February 2022, and after the pandemic delay, The Amazing Race will return this season. Fox’s midseason country music drama Monarch will star Susan Sarandon as country music queen Dottie Cantrell Roman, with country star Trace Adkins as her husband, Albie Roman. They’re the biggest stars in the industry, but they’ve got secrets, and a potential rival in their own daughter, Nicky (Anna Friel). Singer and songwriter Beth Ditto will play another Roman daughter, Gigi. Fox Entertainment president Michael Thorn confirmed the network is considering a revival of 24, but did not elaborate on the premise or whether Kiefer Sutherland would return. The series celebrates its 20th anniversary in November. Emmy-nominated Ted Lasso star Hannah Waddingham will star in the network’s 2022 animated comedy Krapopolis, from Rick and Morty creator Dan Harmon. The show is set in ancient Greece, in one of the first cities in the world, which is run by a family of humans, monsters, and gods. Waddingham plays goddess Deliria, who is married to King Shlub (What We Do in the Shadows’ Matt Berry), a manitaur – half centaur, half manticore. Their son, Tyrannis, is voiced by The IT Crowd’s Richard Ayoade. Fox-owned Tubi, the free streaming service, will premiere its first original movie, Corrective Measures, next year. The sci-fi action movie will star Bruce Willis and Michael Rooker.Ted Lasso Leads 2021 Television Critics Association Awards Winners With Three Honors(Photo by Apple TV+)Is this a sign of things to come for Ted Lasso at this weekend’s Emmys? The Apple TV+ comedy earned three awards from the Television Critics Association, including Program of the Year, Outstanding Achievement in Comedy, and Outstanding New Program for its first season.The complete lineup of winners, as voted on by the more than 200 professional TV critics and journalists from across the United States and Canada who make up TCA:Individual Achievement In Drama: Michaela Coel (I May Destroy You, HBO)Individual Achievement In Comedy: Jean Smart (Hacks, HBO Max)Outstanding Achievement In News and Information: Framing Britney Spears (FX/FX On Hulu)Outstanding Achievement In Reality Programming: TIE: Couples Therapy (Showtime), Deaf U (Netflix)Outstanding Achievement In Youth Programming: The Baby-Sitters Club (Netflix)Outstanding Achievement In Variety, Talk Or Sketch: Last Week Tonight With John Oliver (HBO, 2018  2019 Winner in Category)Outstanding New Program: Ted Lasso (Apple TV+)Outstanding Achievement In Movies, Miniseries, Or Specials: Mare Of Easttown (HBO)Outstanding Achievement In Drama: The Crown (Netflix)Outstanding Achievement In Comedy: Ted Lasso (Apple TV+)Program of the Year: Ted Lasso (Apple TV+)Career Achievement Honoree: Jean SmartHeritage Award: The Golden Girls (NBC)At the Creative Arts Emmys, which were handed out in three ceremonies last weekend, the biggest winners were Netflix’s Queen’s Gambit with nine, Disney+’s The Mandalorian with seven, and Saturday Night Live (NBC) and RuPaul’s Drag Race (VH1) with five each.(Photo by Netflix)Individual highlight winners at the Creative Arts ceremonies include Dave Chappelle and Maya Rudolph as Outstanding Guest Actor and Actress in a comedy for hosting SNL, while guest actor and actress in drama went to Courtney B. Vance for Lovecraft Country, and Claire Foy for The Crown. RuPaul won his sixth consecutive Emmy as Outstanding Host for a Reality or Competition Program (and 10th overall statue), while Stanley Tucci won his fourth overall, for Outstanding Hosted Nonfiction Series or Special, and This Is Us star Sterling K. Brown won his third overall, this one for Outstanding Narrator for Lincoln: Divided We Stand. Comedian Bo Burnham won three Emmys (directing, music direction, and writing for a variety special) for his Netflix comedy special Bo Burnham: Inside, part of the streaming network’s 34-Emmy haul going into Sunday night’s ceremony on CBS.For a complete list of winners for each of the Creative Arts Emmys, click here for group one, group two, and group three.And in other TV accolades this week, Time magazine announced its annual Time100 most influential people of the year list, and TV types included are Ted Lasso star and co-creator Jason Sudeikis, Blackish star Tracee Ellis Ross, Mare of Easttown star Kate Winslet, Lupin star Omar Sy, SNL star Bowen Yang, The Walking Dead alum and Oscar nominee Steven Yeun, Grey’s Anatomy and Bridgerton creator Shonda Rhimes, and Fox News star Tucker Carlson.NEW TRAILERS: Succession Season 3: Logan Roy Is Going “Full Beast” on His Rivals, Including His FamilySuccession, Season 3, promises to be worth the wait, as the Roy family continues its dysfunctional, but endlessly entertaining, civil war, each in hopes of being the one to wrestle control of the fam’s media conglomerate from papa Logan (Brian Cox). Don’t eat that mint, Cousin Greg! Also stars Jeremy Strong, Kieran Culkin, Sarah Snook, Alan Ruck, Nicholas Braun, Matthew Macfayden, Hiam Abbass, and new Season 3 cast Alexander Skarsgård, Sanaa Lathan, Hope Davis, and Adrien Brody. Premieres Oct. 17 (HBO)More trailers and teasers released this week:• In one of the most fun trailers of the year, Hawkeye, a.k.a. Clint Barton (Jeremy Renner) is just trying to enjoy the NYC holiday season with his family but some of the enemies he’s made in the past come back to haunt him. Good thing he has super archer Kate Bishop (Hailee Steinfeld) to help him! Also stars Vera Farmiga, Brian d’Arcy James, and Tony Dalton. Premieres Nov. 24 (Disney+)• Maid is the adaptation of Stephanie Land’s bestselling book about a young single mother who tries to work her way out of poverty by cleaning houses. Stars Margaret Qualley, her real-life mother Andie MacDowell, Anika Noni Rose, and Nick Robinson. Premieres Oct. 1 (Netflix)• Dopesick is the adaptation, developed by Danny Strong, of Beth Macy’s book Dopesick: Dealers, Doctors and the Drug Company that Addicted America, the story of the devastation caused by Purdue Pharma’s marketing of Oxycontin. Stars Michael Keaton, Kaitlyn Dever, Michael Stuhlbarg, Peter Sarsgaard, Will Poulter, Rosario Dawson, Ray McKinnon, and Jake McDorman. Premieres Oct. 13 (Hulu)• Dexter: New Blood brings serial killer Dexter Morgan back into our orbit, and shows us his new life in a small town where he is the happy everyguy … to his unsuspecting neighbors, anyway. He’s even got a new love interest, but some evildoers, and the arrival of his son, is going to pull him in a lot of different directions. Stars Michael C. Hall. Premieres Nov. 7 (Showtime)• I Know What You Did Last Summer, Season 1, is the series adaptation of Lois Duncan’s classic YA book about a group of friends who find out they’re being stalked a year after a car accident in which they killed someone. Stars Madison Iseman, Brianne Tju, Ezekiel Goodman, and Sebastian Amoruso. Premieres Oct. 15 (Amazon Prime Video)• There’s Someone Inside Your House is a slasher film about a high school student who moves from Hawaii to a small Nebraska town, and finds herself and her friends in the middle of a murder spree. Stars Sydney Park. Premieres Oct. 6 (Netflix)• Fear the Walking Dead, Season 7: What’s the one thing the zombie apocalypse was missing? A nuclear explosion, of course. And a Strand (Colman Domingo) who’s declared war on Morgan’s (Lennie James) leadership. Also stars Rubén Blades and Maggie Grace. Premieres Oct. 17 (AMC)• Power Book II: Ghost sees Tariq (Michael Rainey Jr.) getting deeper and deeper into the business with Monet (Mary J. Blige), while the bench of talent in the cast gets deeper with the addition of Daniel Sunjata and Redman. Premieres Nov. 21 (Starz)• Narcos: Mexico will end with this third and final season of the drug cartel drama, so savor all 10 episodes, which revolve around DEA agent Walt Breslin (Scott McNairy) in the aftermath of Felix Gallardo’s (Diego Luna) departure. Premieres Nov. 5 (Netflix)• Colin in Black White is the six-episode drama about the teenage years of future NFL star and activist Colin Kaepernick, with Kaepernick himself narrating, Jaden Michael portraying young Colin, and Mary-Louise Parker and Nick Offerman playing Colin’s adoptive parents. Premieres Oct. 29 (Netflix)• Bright: Samurai Soul is based in the same world as the live-action Bright, with the animated spin-off set in Japan during the end of the Shogunate and the beginning of the Meiji period, and exploring a new setting, era, and characters. Kim’s Convenience and Shang-Chi and the Legend of the Ten Rings star Simu Liu voices Izou, a one-eyed wandering samurai and the protagonist of the movie. Premieres Oct. 12 (Netflix)• TUDUM: A Netflix Global Fan Event is the streaming service’s virtual all-star showcase, with 145 of its biggest stars and creators from around the world — representing over 70 series, films and specials. Premieres Sept. 25 (Netflix)• Locke Key, Season 2, may veer heavily from the Joe Hill and Gabriel Rodriguez s source material, but in the hands of showrunners Carlton Cuse and Meredith Averill, the fantasy horror series promises a thrilling sophomore run. Premieres Oct. 22 (Netflix)For all the latest TV and streaming trailers subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Oscar Winners Hilary Swank and Tom McCarthy Team Up for Newspaper Drama for ABC

亚博网址进入 LOL手游新手玩家需要注意什么?LOL手游新手玩家适合玩什么英雄?在本该今天公测的LOL手游,却因为一些原因,又是推迟了公测的时间,既然是推迟,那么肯定是会上线的。那么LOL手游新手玩家应该注意些什么呢?本期内容,笔者给大家说一说LOL手游需要注意的点。

2021-12-07
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更新时间 2021-12-07
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