英雄三国公测时间采用百度引擎6（Baidu 4）(Photo by © MGM / Courtesy Everett Collection)It is slightly bizarre to even contemplate predictions right now as everything about awards season is up in the air: release dates, likely competitors, how festivals will play out. Still, it seems not even a pandemic can stop Hollywood s efforts to reward itself, with the Oscars, Golden Globes, and others determined that the shows – albeit delayed – will go on. And so, continuing our series of “Ridiculously Early Oscar Predictions,” we arrive at our Best Actress predictions. Yes, it s early given how little is known for sure, but this isn’t exactly a normal Oscar year.As with our Best Actor predictions, our Best Actress picks are basically educated guesswork. Several films have yet to be screened and there is still plenty of time for Oscar submissions. No matter what happens, the upcoming season will make history as the first in which films will not have to screen in theaters to contend for Hollywood’s top prizes, which sets up some intriguing possibilities for which films could break through and snag nominations. The Academy of Motion Picture Arts and Sciences (AMPAS) announced earlier this summer that the Oscars would be postponed by two months to April 25, 2021, and extended release-date eligibility rules to February 28, 2021, in addition to allowing streaming-only submissions and making all eligible films available on the Academy screening library, forgoing the typical member screenings.A number of films likely to be in the conversation have actually already screened and earned Tomatometer scores, and pundits are already singling out the major standout performances in them. Our list does include some performances yet to be seen, but for which pre-release buzz and expectations are high. With that said, some on this list may end up in the Supporting Actress category.Whether we like it or not, the campaigns are quietly underway, the conversation has started, and we’re now ready to join it. If history and basic math tell us anything, it is that most of these names won’t make it to Oscar night, but we’re pretty confident many of them will be right up there in the awards chatter. So please read on as we break down our ridiculously early picks for 2020 s Best Actress contenders.Don t agree with our picks? Have at us in the comments.Julia Garner
(Photo by Netflix)In their initial meetings, the executive talked about the sensation of jeopardy the old cartoon conveyed to younger viewers despite being outwardly silly. To his mind at the time, it was possible for Skeletor to win. Only with as he grew older did he come to understand why that would never be the case on the Filmation show. Nevertheless, the experience of that potential jeopardy stayed in his mind.“The dude kind of charged us with recreating a memory, if you will, of [that] feeling,” Smith said. And as viewers will see, jeopardy is definitely part of Masters of the Universe: Revelation. There are big shake-ups and, indeed, revelations that will surprise fans of the old show: from the selection of featured characters to the way it incorporates ideas from other MOTU projects.(Photo by Netflix)Another of the program’s interesting twists is its focus on Teela (Sarah Michelle Gelllar), a member of He-Man’s inner circle despite being denied key secrets about the world around her. When she learns about one of them at the beginning of Revelation, it sets her on a new path. According to Smith, giving her a bigger role in the series was part of a desire on both Biaselli’s and Mattel’s part to give the other characters more of their own individual stories. Or, as Smith phrased their request: “Look, we love that He-Man sells, but we got a bunch of f ing toys. So use all the characters.” As it happens, a lot of Teela’s story was already suggested by ideas in the toys and the 1980s series. But the format of both meant she could never find resolution – something which is possible in Revelation.“We started diving into the Teela of it all, man, and then realizing like, ‘oh, s , this is a story of betrayal,’” Smith said.Fans of the Filmation cartoon may remember two secrets withheld from her by He-Man, Man-at-Arms, and the Sorceress. One is definitely more important to the events of Revelation’s first batch of episodes while the other is … not forgotten.“That created rich situations for drama,” Smith said. “To me, [He-Man and Masters of the Universe] has always been family melodrama. You go back and look at all the shows, and it s all about like, ‘We got a problem. We re going to get through it together’ and stuff like that. All the characters like and respect one another on each side and whatnot.”The old show was also famous for recapping its moral quandaries at the end of each episode. “So for us, the same thing is going in here,” Smith continued. “The idea is like all the relationships are the absolute same [from the old show]. They just have to deal with death and consequences for the first time.”(Photo by Netflix)That sense of consequences extends out to other relationships like Evil-Lyn’s (Lena Heady) and Beast Man’s (Kevin Michael Richardson) devotion to Skeletor. It also changes the way Teela regards her adoptive father Duncan — aka Man-at-Arms — especially after the events of the first episode, which really alter the Eternian battlefield after nearly 40 years.The overall effect is not a bleaker Master of the Universe, but a more serious version in which even joke characters like Orko (Griffin Newman) can carry dramatic content. As it turns out, giving the character a chance to shine was something Smith and the other writers seriously debated.“Some people swear by him, and other people [were like,] ‘He ruined the show for me. I hate the stupid magic jokes and [things] like that,’” Smith said of the writing room conversations.(Photo by Netflix)The floating and legless magician of questionable skill was a favorite of Filmation co-founder Lou Scheimer, who also voiced the character in the ’80s. He was popular enough to get a toy of his own in the classic MOTU line, but his presence made the old series feel more, well, childish. Watching episodes of the show now — or clips from He-Man She-Ra: A Christmas Special — will definitely illustrate why he can be a divisive character for anyone over the age of 9.But that debate led to a mission statement: “How do we make Orko tattoo-worthy?”“We knew that Orko was a kid’s way into the show, right? Every kid who watched the show, they re going to dream about being He-Man. They can aspire to that, but who do they identify with? The dude who is always shoved to the side and not as good as the adults and can t be counted on to do the right thing. And he s little as well, so that s their way in,” Smith explained. “In this iteration, it s telling the kids like, ‘From little acorns, great oaks grow.’ The smallest can, at the end of the day, become the biggest under the right circumstances. So we thought so much about Orko. We wanted to make him bulletproof, so much so, that if anyone was like, ‘Orko sucks,’ it s like, all right, we failed.”Smith also credited Newman, who actively lobbied for the role on Twitter, for bringing an extra level of pathos to the part: “That f ing speech … I’d give Griffin Newman a f ing Emmy right now for his performance, where he s just like, Take me on an adventure. I promise I won t mess up like the old days.’” (Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)In the short term, Black Widow is set to appear in her own feature film within the next few years. And just about every line between Nat and Clint (Jeremy Renner) in Endgame suggests Hawkeye will be along for that ride. Consequently, our early guess that the film will be a prequel focusing on her recruitment by S.H.I.E.L.D. seems more and more likely. Unless, in some bizarre twist, it will also feature Clint trying to rescue her from her fate. As it will be a Phase 4 film, it has to tie to something in the present-day story. Nat’s Endgame death makes Black Widow all the more exciting because we now have this question: how does it fit into the post-Infinity Saga tapestry?Similarly, the continued end states for Vision and Loki would seemingly impact their upcoming Disney+ limited series. Will they be set in the Infinity Saga era or define new places for them in Phase 4? Considering Elizabeth Olsen’s recent tease that WandaVision will see the characters in a “1950s” setting, it is easy to image the program will take its cue from Tom King and Gabriel Hernandez Walta s phenomenal 2017 Vision series and see Wanda (Olsen) recreate the android for an anachronistic, domestic life. But considering that series ends with all of Vision s dreams broken or on fire, we imagine Wanda’s dream life will end in similar flames.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Loki, on the other hand, presents a more interesting case. While the MCU version we met in the first Thor picture is still dead, the one who escaped with the Tesseract in the middle of Endgame is presumably out in the wild and is the one we will see in the forthcoming Loki series, which is reportedly set to feature the the God of Mischief creating trouble across history. This version of the character is still a villain lacking the emotional growth of the character we saw in Thor: Ragnarok and Infinity War. If he does prove to be the focus of the limited series, it will certainly be more interesting. And considering audiences forgive him for a lot of heinous acts, the program could even attempt to test their gracious attitudes toward the charming trickster.And while not a death, we imagine Steve Rogers (Chris Evans) ultimate Endgame state will precipitate a title change for Disney+ s Falcon and the Winter Solider to something more succinct, like Captain America.Oh, and Tony? Let’s just assume we’ll see him again in 2028 for the 20th Anniversary Marvel Studios film, resurrected to counter whatever threat the collective heroes are facing in that moment.Time Is Immutable, Except When It Isn’t: Time Travel Just Changed EverythingWith all its joking criticism of Back to the Future, Endgame seemingly sides with the notion that time is an immutable series of events, and changes to the past will create a new timeline while the time-traveler causing those changes returns to their original, unchanged present.OK, yeah, that’s confusing. To simplify: Loki’s Endgame escape does not change Thor’s experiences with him in Thor: The Dark World, Ragnarok, or Infinity War because time cannot be altered. The escaped Loki in Endgame is part of one of those tangent realities the Ancient One (Tilda Swinton) warned Hulk about. This is why Tony could unmake the Thanos from 2014 without erasing the events of Guardians of the Galaxy or any of the subsequent films. All of it still happened. This is also why Nebula could shoot her past self without it affecting her present-day form.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)If you can wrap your head around the notion of an unchangeable past, Endgame s rules about time travel are simple enough. Certainly simpler than the temporal mechanics of film and television series like The Terminator, The Flash, DC’s Legends of Tomorrow, Doctor Who, or even various X-Men stories across comics, television, and film.And then we get to Endgame’s closing moments, with an aged Steve Rogers, who clearly took the slow path back to his friends after dropping off the Infinity Stones in their original places in time. If time is immutable, then he gets to live his life with Peggy (Hayley Atwell) without altering the timeline. Like Loki, he creates another tangent reality. But his very appearance to hand off his shield and identity to Sam Wilson (Anthony Mackie) means the timeline is not as secure as Hulk, Tony, or even the Ancient One assumed it to be. Unless, of course, he found a way to use Loki s Tesseract (in combination with the Time Stone) to cross timelines.But it seems more likely that Scott Lang (Paul Rudd) was right all along and the rules from Back to the Future are in play (it s no accident the team breaks all of them across the plot of Endgame). Back in Marvel Comics, time travel only ever delays the inevitable. The dark reality from “Days of Future Past” always threatens to reappear in the X-Men s future while Cable’s many attempts to prevent Apocalypse’s reign some centuries from now only leads to some other character taking the External’s place in that grim future. But in almost all cases, time travel does indeed alter the timeline.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)The older Steve’s presence in Endgame indicates that time in the MCU is also malleable. To borrow a line from The Flash, the timeline can be changed and that may prove to be as big of a threat as the Infinity Stones themselves – especially as all you need is some Pym Particles and a little know-how to invade the past and alter history. And even if time is solid, those tangent realities the Ancient One feared could pose some threat in Phase 4.No Stinger Scenes? Like, Forever?Now this one was a big shock for anyone who was ready for just a little bit more MCU after 183 minutes: Endgame features no mid-credit or post-credit stinger scenes, a first for a Marvel Studios picture. Considering the stinger scene’s proliferation across other studios, it is possible Marvel will drop them entirely from here on out. It would be a bold move and make all our Phase 4 speculations wilder, because Marvel would not be teasing the Next Big Thing as soon as its current release ends. Imagine an Ant-Man without that Captain America: Civil War moment or Thor: Ragnarok without the cut to Thanos’s massive ship. And even without the Next Big Thing to tease, post-credit stingers offer a nice final thought – like the shawarma scene at the end of Marvel’s Avengers or Captain America’s speech about patience after the Spider-Man: Homecoming’s credits.In some ways, it’s fitting, then, that Spider-Man: Far From Home will answer this meta-cliffhanger. If it features a stinger, then we know the practice is here to stay in Phase 4. And, presumably, that stinger will itself be the first few moments of that new phase.Avengers: Endgame is in theaters everywhere (but you already knew that)
(Photo by 20th Century Fox)Blockbuster movies cost a bunch of money to make – jaw-dropping special effects and big-name actors don t come cheap. In order to make the expense worth it, movie studios need to pull out all the stops to get moviegoers to buy tickets once the film premieres, and that typically involves a killer marketing campaign. These days, slick trailers, along with all sorts of unique real-world stunts and marketing gimmicks, can be as much of a production as the final movie itself.These memorable marketing campaigns take different forms — sometimes it just takes a really well-done trailer and a memorable use of a song, as seen and heard in the trailer for Jordan Peele’s Us, which retools Luniz’s “I’ve Got 5 on It” in a deliciously creepy way. Other times movie marketers will stage mysterious real-world stunts to get excited fans involved. Whatever the method, a well-done marketing campaign for a well-done movie often means box office success.Here are 10 of the most memorable movie marketing campaigns we ve seen.Jaws 2 (1978) 61% and Alien (1979) 98%(Photo by Universal Pictures/20th Century Fox Film Corp.)Studio: Universal Pictures / 20th Century FoxWhy you remember it: Because of two incredible taglines.Let’s kick things off with a tie, as both films are shining examples of an older era of promotion, before viral marketing was a thing. Jaws was the first blockbuster, but Jaws 2 was briefly the highest-grossing sequel of all time until Rocky II bested it the following year. Part of the film’s success likely has to do with one of the greatest taglines of all time — “Just when you thought it was safe to get back in the water” — the work of famed and innovative producer Andrew J. Kuehn.The following year, Alien came around with one of the other great taglines in movie history, “In space, no one can hear you scream.” Neither of these movies had real-world promotional activations, but they were united in memorable taglines that, thanks to their use of the second-person, made would-be viewers feel part of the cinematic horrors to come.Did it work? As mentioned, Jaws 2 was a huge success, pulling in 8 million. Alien’s box office figure is a little disputed, as some creative Hollywood accounting originally recorded the film as a loss for Fox, but it went on to spawn an iconic, acclaimed sci-fi horror series. And, of course, those two taglines are now forever seared into the public consciousness.Deadpool (2016) 85% Studio: 20th Century FoxWhy you remember it: Because Ryan Reynolds is Deadpool.Deadpool is known as the Merc with a Mouth, and the film’s promotional team sure did have a lot to say about the film. There was so much marketing, and all of it projected an irreverent, slightly naughty sense of fun. There were parody posters, custom emojis, a feud with Wolverine (and Hugh Jackman), a costume reveal via faux-nude spread, and a flaming bag of poop yule log, to name just a few campaign highlights. Then there was Reynolds, who, as the person most responsible for making Deadpool happen, projected his passion for the wise-cracking hero and modeled his own social presence after the Merc.Two years after Deadpool was released, Reynolds and the Fox marketing team went even harder with the promotion of Deadpool 2, taking over the DVD covers of other popular movies at Walmart and handling Stephen Colbert s late-night monologue duties, before going further yet for in its meta promotion of Once Upon a Deadpool. The marketing behind the franchise is now officially one of the reasons we look forward to another Deadpool movie.Did it work? Deadpool made 5 million at the box office and became the highest-grossing R-rated film ever. Not bad for a superhero movie.The Social Network (2010) 96% Studio: Columbia PicturesWhy you remember it: Because “you don’t get to 500 million friends without making a few enemies.”David Fincher’s moody bio-pic about Facebook founder Mark Zuckerberg is really an exceptional villain origin story, and the marketing for the film made that clear. The first trailer is scored to a haunting cover of Radiohead’s “Creep” as sung by a children’s choir, illustrating how there was something unsettling behind all this “friending.” Then there’s the poster, which features Mark Zuckerberg (Jesse Eisenberg) looking at the viewer from the shadows, his face obscured by the memorable and ominous tagline in a crisp Futura font. Both the “choral cover of pop song” and “poster with words on a face” would go on to be often-imitated promotional tropes, but they were just the Google Plus to The Social Network’s Facebook.Did it work? The Social Network made 4.9 million and was nominated for or won a host of major awards. Plus, Zuckerberg had some qualms with the movie – so that s a success.Psycho (1960) 96% Studio: Paramount PicturesWhy you remember it: Because of the secrecy and Alfred Hitchcock’s suspenseful set tour.Modern moviegoers who were too young to remember seeing Psycho in theaters probably remember Hitchcock’s iconic slasher for the famous shower scene. Hitchcock knew that would be the case. Movie trailers weren’t what they were back then — the idea of multi-level movie marketing as we know it today didn’t really emerge until the late 90s. But, Hitchcock was the master of suspense, and he knew how to get an audience shaking with curiosity and anticipation. The trailer for Psycho featured Hitchcock giving a tour of the Bates Motel, offering gory hints of what horrors might have happened there but stopping just short of giving anything away. That, along with a campaign to keep the shocking twist in the movie a secret – which went so far as preventing Paramount Studio execs from reading the script – had audiences eager to see what happened.Did it work? Psycho cost about 0,000 to make and made more than million during its initial release — and this is in 1960s dollars! It was a huge hit, went on to enjoy multiple theatrical reissues, and is generally regarded as a landmark horror movie. So, yeah, Hitchcock’s a great tour guide.Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) 91% (Photo by @ 20th Century Fox)Studio: 20th Century FoxWhy you remember it: Because of Sacha Baron Cohen’s in-character interviews as Borat.It’s fitting that a movie that blurred the lines between comedy and documentary (not to mention acting and reality) would have a similarly meta promotional campaign. Borat wasn’t a new creation, as Cohen’s character had been on the Da Ali G Show for years, but he wasn’t widely known. That let Cohen dupe the movie’s subjects — as well as many would-be ticket-buyers – into thinking that this kooky Borat character might be on the level.Did it work? Borat made 2 million at the box office, much to Kazakhstan’s chagrin.Cloverfield (2008) 78% Studio: Paramount PicturesWhy you remember it: Because of all the rampant speculation about the top-secret mystery plot.A good marketing campaign doesn’t give everything away, it just teases some of the best stuff so that moviegoers are excited to see the rest. Cloverfield’s marketing was so memorable because it gave, well, essentially nothing away. The first trailer, which came by surprise ahead of Transformers screenings, didn’t even include the movie’s title or any plot details. This, along with some innovative virtual tie-ins (shout-out to MySpace), had fans wondering what it might be. A Lost movie? A Godzilla film? An anime adaptation? Something new?Did it work? Like The Blair Witch Project, which pioneered this type of hype-building mystery promotion, Cloverfield was a hit. The film made 0.8 million against a budget of million, and spawned a whole franchise/ universe of sci-fi films united mostly by viral marketing, though none were as successful as the original.Inception (2010) 87% (Photo by @ Warner Bros. Pictures)Studio: Warner Bros. PicturesWhy you remember it: Because of the spinning top mind-game (and the “BWWAAHHHH” sound).Warner Bros. spent 0 million to market Inception, an increasingly rare blockbuster that was wholly original, not a sequel nor an adaptation. To get people excited about an unknown quantity, the studio banked on Christopher Nolan’s post-Dark Knight appeal and made an online viral game involving the spinning top that diehard fans tried to solve. The game unlocked the official trailer, and that was a great piece of advertising too, in no small part because of the booming Inception sound that rightfully became a meme.Did it work? The marketing certainly planted the idea of going to see this movie in a lot of people s’ heads, because Inception made 8.3 million at the box office.The Dark Knight (2008) 94% (Photo by @ 20th Century Fox)Studio: Warner Bros. PicturesWhy you remember it: Because you solved an interactive mystery across a virtual Gotham City, and Heath Ledger’s untimely death.The heroes of DC Comics save the day in fictional cities, like Metropolis. But, to promote the second (and best) of Christopher Nolan’s three Batman movies, the alternate reality game company 42 Entertainment made Gotham City real. Using websites like WhySoSerious.com, fake Gothamite newspapers, and Harvey Dent campaign materials, 42 Entertainment sent fans on a scavenger hunt all over the web and the physical United States — starting with San Diego’s Comic-Con, where one reward was the first image of the movie s Joker. It gave fans a tantalizing glimpse of the drama to come, and let them feel like the Batman, the World’s Greatest Detective, himself. Add to that the tragedy of Heath Ledger’s untimely death ahead of the premiere of his incredible performance as the Joker, and you’ve got a super-powered level of expectations.Did it work? The Dark Knight made over billion at the box office and was popular enough to change the way the Academy Awards work.Paranormal Activity (2007) 83% Studio: Paramount PicturesWhy you remember it: Because you had to demand it.Paranormal Activity was an extremely inexpensive movie, one that seemed destined for a modest indie release and perhaps a chance at becoming a cult classic. But, the marketing team at Paramount had the bright idea of democratizing horror. Trailers were released featuring night-vision footage of shocked and delighted viewing audiences and promising a scary theater experience; would-be moviegoers had to vote on a website, hoping that there would be enough fan demand for Paramount to bring the film to their city or town. The website, which was made with the user-driven event calendar company Eventful’s help, added a sense of urgency and participation in what otherwise might have just been an overlooked found-footage flick.Did it work? Paranormal Activity cost just ,000 to make, and it made more than 3 million at the box office. It is, by most accounts, the most profitable movie ever made.The Blair Witch Project (1999) 86% Studio: Artisan EntertainmentWhy you remember it: Because you thought it was real.Without The Blair Witch Project’s marketing, there would be no Cloverfield, no Inception, and essentially no viral movie marketing as we know it today. In the early days of the internet, Artisan Entertainment’s scrappy online team created a website and surrounding hype campaign that claimed the story of the Blair Witch was true. There were interviews with the “missing” characters’ parents and backstories from investigators trying to solve this “true” story. In the real world, missing posters went up around colleges and at film festivals. Because of all the marketing, The Blair Witch Project wasn’t just a low-budget indie horror flick — it was a real, ongoing mystery. Moviegoers and internet users have gotten more media-savvy, so this feat likely won’t be equaled, but The Blair Witch Project was the perfect storm, a way to use technology, advertising, and psychology to turn “based upon a true story” into box office gold.Did it work? The Blair Witch Project made 8,639,099, which is more than 4,000 times what it cost to make the movie. Also, admit it — you thought, for a second, that it was a documentary.What were some of your favorite movie marketing campaigns? Let us know in the comments!Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.英雄三国公测时间Parasite director Bong Joon-ho s path to Oscar glory began at the Cannes Film Festival last year. (Photo by Dominique Charriau/WireImage)At this stage, the Cannes International Film Festival has been postponed, while Venice and Toronto have yet to make any official call.The unpredictability Fear references makes it all the more challenging for freelancers to determine which films to cater their pitches to for the rest of the year.IndieWire’s Kohn echoed those concerns: “The festival usually would create buzz around a film in part because of the live event of a screening, hearing a crowd react to something, and seeing a Q A. And the kind of word-of-mouth in that very specific environment is something you can t replicate online. For certain films, it s just not going to have the same kind of impact.”At the same time, he sees online festivals as an opportunity for critics to jump on coverage for smaller movies that may have otherwise fallen under the radar at a major festival. “If you re a journalist and you re interested in writing about a movie that was supposed to have a premiere, that coverage has so much more currency than it used to,” Kohn says. “It s actually a real opportunity for people who are looking to cover films.”As President of the Chicago Film Critics Association, Tallerico has first-hand experience of making the call to cancel or delay a festival. “I actually produce a film festival in Chicago called the Chicago Critics Film Festival every May, and [this year] we had to pull the plug, of course,” Tallerico says. “Festivals feed the industry, they feed both industries, the film industry and the journalism industry. It definitely hurts that they re gone.”Today s production shutdowns will impact tomorrow s opportunities for critics and writersWhile film releases have been delayed theatrically or pushed to VOD, the television industry continues to churn out content at the moment. Physical production is universally halted, but episodes and/or seasons produced in advance of COVID-19–related shutdowns are rolling out on broadcast and streaming platforms. (Post-production continues remotely in many cases.)Several editors told us that critics well-versed in film coverage should attempt to exercise their TV-reviewing muscles for the time being. But even the TV and streaming content will slow down at some point.In addition to being an editor at RogerEbert.com, Tallerico freelances and is well-versed in television coverage. He predicts that, come summertime, the content drought will be even more deeply felt. “I think places like Netflix and Hulu and all them are going to empty the hopper and then have nothing to put in there because nothing has been produced,” Tallerico says.In short, some critics anticipate dry spells in content, depending upon how long the need for social distancing persists.Production for The CW s Riverdale was shut down in March after a crew member tested positive for the virus. Later that month, several major networks and upcoming blockbusters also halted production. (Photo by Katie Yu/The CW -- © 2020)Jean Bentley is a freelance television reporter for The Hollywood Reporter and InStyle, and former Assistant TV Editor for Rotten Tomatoes. According to Bentley, it’s “business as usual” for television reporters and critics – right now. “I have not really been impacted as much as reporters who cover film because all of those theatrical releases that have been pushed has not happened with TV,” she says.However, she predicts that, when things go back to normal, production scheduling will present major challenges to creatives who may newly be double-booked.“If someone was supposed to be shooting something now and then, say, production resumes in three months – they were already supposed to be doing something else, so now there s a conflict there that they didn t have before,” Bentley says. “I think it s going to result in more [shows] being canceled or just not picked up. Pilot season essentially got canceled and it doesn t seem like a smart proposition to me personally to do it at all, to be quite honest.”Rolling Stone’s Fear foresees similar challenges for film scheduling, as films whose production was shut down will not be finished in time for their original release deadlines. “There are going to be a bunch of holes that are going to be filled, too, because a film that was supposed to be done with its post-production in April, and then be ready for an August or November or a February slot, is not done,” Fear says.The challenge of tone when circumstances keep changingThere are also more nuanced adjustments required during a global pandemic. It’s not only that schedules are in flux and content is unpredictable, both of which impact print publications acutely because of the rigidness of press deadlines. But there’s also an interpersonal and emotional awareness of the ways that people are coping with the new “normal” in the wake of COVID-19, shelter-in-place, and stay-at-home orders.Bilge Ebiri is a movie critic at Vulture. In addition to producing online content, from reviews to feature stories and essays, Ebiri is involved in the print production for New York Magazine, which operates vulture.com. He spoke to the challenges of preparing print content weeks in advance, when global circumstances are changing by the day.“If you re doing it for online, that s one thing, but a lot of what I try to do is work with the print issue,” Ebiri says. “There is this question, when you re in a situation where every day is worse than the previous day: Where are we going to be two weeks from now? Trying to imagine what life is going to be like two weeks from now is already daunting…. If we have some kind of fun, frivolous, inane kind of thing to take people s minds off, in two weeks, this is going to look totally tone deaf.”Inkoo Kang, TV critic at The Hollywood Reporter, described a similar recognition when speaking of an article that she’d pitched before things really took a turn. “There was a review that I was passionate about, but also knew it was sort of this weird, more personal work – a trends piece, essentially, that I think was something that I knew was a little bit more on the frivolous side,” Kang says. “Then suddenly, it seems so incredibly stupid, because it just did not feel like it mattered, compared to everything else that was happening.”She adds: “It was just one of those things where, I don t know, 48 weeks out of the year, this could have been a viable thing to do a commentary piece about. Now people are dying, and the economy is in the toilet. It just did not feel like it mattered on any level.”
4. 呼朋唤友 随心所欲
1. Hallelujah As anyone who has ever watched a televised talent competition will tell you, Leonard Cohen’s “Hallelujah” has been subjected to its fair share of abuse over the years. Nowhere, though, has the song been more thoroughly beaten up than in this scene from Zack Snyder’s Watchmen, an otherwise fascinating superhero flick that has its hardcore defenders. What was a powerful moment in the graphic novel is laughable here, as Nite Owl (Patrick Wilson) and Silk Spectre (Malin Akerman) trade grunty-faces in their steampunk binoculars-looking sex pod all while the booming voice of Cohen… booms. Just when you think it can’t get any worse, the pod shoots flames at the moment of climax. Disagree, passionately? Let us know in the comments, and share your favorite so-bad-they re-good movie sex scenes.
5. HD 画质与高品质音讯
Sophie-Marie Prime for Rotten Tomatoes: How did you become involved with Wayne, and what made you want to be a part of it?Reese: Sean [Simmons] created this show. He grew up in Brockton, Massachusetts, which is sort of an “other side of the tracks” kind of place. He was inspired to write a spec pilot based on a little bit of his background and watching kids in Brockton who were real tough who would get beat up by groups of bigger kids, but not back down.Wernick: You know, scripts end up on our desks quite often. This one really jumped off the page. Sean had such a distinctive voice, and that s really what you look for. There s so much out there that kind of feels the same, and it feels predictable, and this one you just — it was a page turner. It was kind of a perfect mix of tones for us, and fit into “brand,” if we were to have one, Rhett and I. We jumped at the chance to be involved.(Photo by YouTube Premium)RT: How would you describe the tone of the show, in comparison to your other projects, like Deadpool and Zombieland?Wernick: I think it s very similar. It s in and out of different tones, and it s a delicate dance. But real life, it bounces in and out of different tones; sometimes you re laughing, and sometimes you re crying, and sometimes you re getting your ass kicked, and sometimes you re kicking ass. That s real life.Heart is a big thing with all our projects. I think it s something that we try and mine because if you can get people to feel — if you can ideally get people to cry in the same episode that they re laughing — it s a pretty great accomplishment. And we think Sean, as brilliant as he is, has kind of captured that in a way that s really difficult to capture.
英雄三国公测时间 Roald Dahl s stories have entertained children for decades, and now the British author s creations will see new life for a new generation thanks to Netflix. The streaming service announced an entire slate of original animated event series based on Dahl s iconic characters, including The BFG, Matilda, Willy Wonka, and many more.Dahl s stories have been brought to life on stage and in films, and now the author s entire library — including Charlie and the Chocolate Factory, Matilda, The BFG, The Twits, and other beloved titles — will get their very own premium animated event series and specials, per Netflix, which has teamed up with The Roald Dahl Story Company for the venture. Netflix intends to remain faithful to the quintessential spirit and tone of Dahl while also building out an imaginative story universe that expands far beyond the pages of the books themselves, the press release reads.Dahl s widow, Felicity Dahl, is also on board for the project.“Our mission, which is purposefully lofty, is for as many children as possible around the world to experience the unique magic and positive message of Roald Dahl’s stories,” she said in a statement. “This partnership with Netflix marks a significant move toward making that possible and is an incredibly exciting new chapter for the Roald Dahl Story Company. Roald would, I know, be thrilled.”(Photo by Warner Brothers/Courtesy Everett Collection)Additional stories set for adaptation are Charlie and the Great Glass Elevator, George’s Marvellous Medicine, Boy – Tales of Childhood, Going Solo, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Esio Trot, Dirty Beasts, and Rhyme Stew. Production on the first series will begin in 2019 with the highest quality creative, visual, and writing teams, though there s no word on which story is up first.Dahl s work has been brought to life on the big screen beginning with 1965 s 36 Hours, though the first (and perhaps best-known) family film was 1971 s Willy Wonka and the Chocolate Factory. Other notable adaptations include 2005 s Charlie and the Chocolate Factory, two versions of The BFG (in 1989 and 2016), 1990 s The Witches, 1996 s Matilda and James and the Giant Peach, and 2009 s Fantastic Mr. Fox.
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