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Also Read: Trump Tweeted About Changing Libel Laws Right After Saying They Don't Apply to Him. We’ll be honest, it’s hard to pick the best moment. Watch full episodes of The Office and read episode recaps on NBC.com. Bubble Watch: Latest Status Report On ![]() Club tells you what to watch in 2. Club. With the winter and spring TV premieres looking to match their fall counterparts in scope and anticipation, we’ll all be hard- pressed to narrow down our viewing resolutions, let alone stick to them. Even if you narrow it to just star- studded dramas, there’s still not enough time in the day to watch them all. That’s why we’ve sifted through all the upcoming television to bring you a preview of 2. Get ready to commit to a binge- watch or weekly broadcast, and clear some space in your DVR. Sunny fans know there’s no more underrated physical comedian on TV than Kaitlin Olson, especially when it comes to giving and receiving comic abuse, and her “free- spirited” (meaning drunk, crude, and irresponsible) aunt in The Mick looks prepared to herd her spoiled charges into some very Sweet Dee- style shenanigans after she’s stuck as their guardian when their fraudster parents go on the lam. With her other series coming back at the same time (Sunny premieres January 4)—and with Olson teaming with longtime Sunny writer- producers John and Dave Chernin—The Mick seems ready to double down on the “Kaitlin Olson behaving very badly” programming strategy Sunny fans have enjoyed all these years. Instead, CBS’s first new show of the year, created by Combat Hospital’s David Vainola, focuses on a crisis and hostage negotiation team that—as is the norm on television—is brought in when no other team can get the job done. The team is helmed by Black Sails’ Luke Roberts and made up of. Watch The Office Season 3 The Negotiation Movie
Penny Dreadful’s Sarah Greene,Heroes Reborn’s Nazneen Contractor, and Graceland’s Brandon Jay Mc. Laren. A regular time slot on Saturday nights doesn’t look like the network has much confidence in the final product, but all signs point to it being another crime procedural from the reliable- if- unremarkable CBS machine. Hopefully if things get slow, someone will decide to channel the other project with the same name and scream “Give me back my son!” at the right moment. But here’s one we’re actually excited about: Norman Lear has remade his groundbreaking sitcom One Day At A Time. The prolific producer is sticking to his multi- camera format, but there is a twist—the series features a predominantly Latino cast. The ever- charming Justina Machado, who gave such a soulful performance on Six Feet Under, has assumed Bonnie Franklin’s single- mom duties as Penelope, an Army vet turned nurse who’s also trying to do right by her kids. Rita Moreno also stars as Penelope’s vivacious Cuban mother, while Isabella Gomez and Marcel Ruiz play her adorable teen and tween. There’s also Todd Grinnell as the modern- day Schneider, the building super whose previous penchant for popping in at all hours will probably be curbed in this new iteration. The series looks poised to be as timely and aspirational as the original, but while certain political themes can’t help but arise, the focus remains on the multigenerational family. Frank Baum’s The Wizard Of Oz and its accompanying universe and dismissively sneer, “It’s been done,” but the creative team behind Emerald City—which stars Adria Arjona as Dorothy Gale and Vincent D’Onofrio as the Wizard—provides at least two good reasons to consider giving it a shot. First of all, it’s executive- produced by Shaun Cassidy, who has a history of delivering dark, quirky network television (see American Gothic, Roar, and Invasion for proof), but on the visual side of things, the entire production is directed by Tarsem Singh (The Cell), so viewers should at the very least be able to count on everything looking great. Whether or not it’ll manage to forge enough of its own path to keep viewers entertained over the course of multiple weeks, however, is going to be a far tougher prediction to lock in. Hardy plays James Delaney, an 1. East India Company to hold onto his family’s shipping company and avenge his father’s death. Much of the show will rest on Hardy’s broad shoulders, and the terse and brooding star of Mad Max: Fury Roadand. The Revenantis a natural fit for FX’s brutal style of dramas. Early glimpses of the show support that while the exact nature of Delaney’s war remains vague, the imagery is full of the same arcane horror and brutality that’s distinguished various incarnations of. American Horror Story, and there’s some promising appearances by Michael Kelly and Jonathan Pryce as oily antagonists to Hardy’s subdued menace. If the story is solid enough, Taboo could be the gripping and violent period drama FX audiences had hoped to get out of The Bastard Executioner. In a time of binge- watching and the overwhelming concept of “peak TV,” A Series Of Unfortunate Events is the type of story that makes complete sense in the form of a Netflix series. After the somewhat off- the- mark feature film attempted to cover the first three novels in 2. In fact, this Netflix series could be considered “A Series Of Sensical Decision- Making,” especially as grim twists on nostalgia- based material are all the rage these days; since A Series Of Unfortunate Events’ basic existence cuts out the middleman by already being a grim source material, it truly is a no- brainer. Or you could just follow Lemony Snicket’s advice and watch something more pleasant. A quickly paced (for PBS) series that follows young Queen Victoria as she rises to power, finds love, and learns her place in the world, Victoria thrives on both its intricate look at history and its spectacular sets. Inspired by Victoria’s diaries—all 6. Victoria aims to be equal parts drama and fact, something that the show does seem to achieve. Doctor Who’s Jenna Coleman makes an aptly coy Victoria, and Dancing On The Edge’s Tom Hughes is a broodingly handsome Prince Albert. If you’re a fan of historical dramas, sappy romances, or charming twentysomething actors playing troubled white people of privilege, you’ll probably fall for Victoria. But with director Paolo Sorrentino at the helm, you can also be sure that you’re in for a surreal ride into a dream- and/or nightmare- scape. Jude Law plays Lenny Belardo, the first American pontiff and a thoroughly inscrutable character. From the outset, it’s unclear whether he’s a complete zealot or a radical; whether he believes he’s divine or doesn’t ascribe to any high power at all. He brings to the Vatican a wealth of personal baggage and his trusted advisor Sister Mary (Diane Keaton), the woman who raised him. With the series, Law and Keaton have two of their meatiest roles in years, following the questions of who this young pope is and what his intentions are. Meanwhile, Sorrentino—of the Oscar- winning. The Great Beauty—builds a visual world as lush as art that hangs in the Vatican, steeped in symbolism. Jason Momoa brings his signature broodiness to the role of Declan Harp, a trader resisting the efforts of the Hudson’s Bay Company to dominate the fur trade. The show has the requisite British character actors and enough blood and guts to satisfy anyone who likes their historical fiction violent, and presents fur trading as the cutthroat, betrayal- filled world you always suspected it to be. The Wall Street Of Wolves, if you will. The show comes to America on Netflix, which has already renewed it for a second season, suggesting that Momoa may have slightly better luck on this show than he did as Khal Drogo. The series comes from the creators of the Newfoundland- set mystery series Republic Of Doyle, and features directing efforts from Brad Peyton, best- known for his work steering Dwayne Johnson through the various earthquake- related disasters of San Andreas. He’s back, in moody, self- aware CW teen drama form! Riverdale continues the thoroughly modern overhaul that Archie Comics has undergone in the 2. Life With Archie or the zombie apocalypse of Afterlife With Archie for a small- town saga that picks up after a tragic death injects a dose of reality (albeit a soapy type of reality) into the titular setting’s malt- shop- and- drive- in- movie time capsule. Riverdale is a winking remix of the past 3. YA media, in which Archie and Miss Grundy make like Pacey and Miss Jacobs, and Veronica speaks like a Heather but thinks like Blair Waldorf and cares like Cady Heron—and the whole thing is bound together by a murderous conspiracy right out of Veronica Mars or Pretty Little Liars. This schlocky fun is overseen by Afterlife With Archie creator Roberto Aguirre- Sacasa, who weaves a story about kids straining against the roles that 7. Archie comics have set for them—the girl next door, the raven- haired ice queen, the asexual hamburger fiend in the goofy hat—and a town trying to keep its true nature under wraps. But with all its camp and quips, its weekly plot twists, and younger, sexualized renditions of characters who usually look like this, the biggest mystery of all might be “Is Riverdale for real?” . That talent should serve her well in Z: The Beginning Of Everything, Amazon’s effort to turn the story of Zelda Fitzgerald into an ongoing series. In literary history, Zelda is an iconic figure, as mythic and tragic in her real- life odyssey as one of her husband’s fictional muses. The show will trace Zelda Sayre through her life as she meets F. Scott Fitzgerald, the two fall in love, and begin a tempestuous and passionate romance that will consume the remaining years of their sadly ill- fated lives. 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The All- TIME 1. 00 Movies feature—compiled by Richard Schickel and me, and handsomely packaged by Josh Macht, Mark Coatney and all the smart folks at TIME. May 2. 3rd, its opening daym, in time for Father’s Day. Thousands of readers have written in to cheer or challenge our selections, and thousands more have voted for their own favorites. The response simply underscores Richard’s and my long- held belief that everybody has two jobs: his own and movie critic. The idea was to assemble 1. TIME began, with the March 3, 1. Later, each of us was asked to contribute five items in sidebars called Great Performances (acting), Guilty Pleasures (trash treasures) and Top Scores (soundtracks). Essentially, though, a century of movies from 8. That shouldn’t be hard: pick a picture for each year, with 1. Not so simple, in fact, for we faced a couple of complications. The first was that two of us were to agree on the selections; and, though my admiration for Schickel is hardly bounded, and he probably doesn’t mind me, no two critics will agree on all, or even most, great films. The other is the onus of the list- making process. Empire magazine's definitive list of the best movies of all time. Have you seen them all? We give our picks for the 16 best Western movies of all time. As you can guess, John Wayne makes a few appearances. Tons of well organized stream XXX videos are waiting for you! Our porn videos are updated daily so please come back. A lot of categorized Best Pornstar, Black+porn. Sex and violence are inextricably intertwined in horror movies; it’s only a slight exaggeration to say that in most slasher films, being disemboweled by a hockey. It’s a truism that a list like this takes either an hour (go with your initial inspirations) or a month (weigh every film with Solomonic probity). Our effort clocked in at about four months, off and on. And the clock is still running. Why do the list? I guess Josh and Mark and Jim Kelly, our peerless leader, hoped to sharpen the profile of the website, and indirectly the magazine. Not I, of course. As a TIME staff member, I write for the website pro bono, or rather pro ego. ![]() ![]() Detailed recommendation lists of the top fantasy books, best fantasy novels discussions, fantasy book reviews and a blog about all things fantasy. Richard Brody’s list of the best movies of 2014, as well as his selections for best actress, best actor, and best cinematography. Or, honestly, for the fun of it. That’s how this TIME 1. LISTOMANIAI feel one of my grand gender generalizations coming on, and I can’t resist it, so here goes. Guys love to make lists. The assembling and codifying of useless information speaks to our inner math nerd, our rampant nostalgiast. Girls can play Little League baseball now, but the kid in the stands keeping the box score, and tallying individual achievements into season slugging percentages, is very likely to be a boy. Turning our pastimes into numbers is a way not only of quantifying but also of justifying them. They acquire an atomic weight; to rank them is to give them solidity, meaning. As a kid I would study the major league batting averages in the Sunday paper more assiduously than any school subject, and I kept box scores of the games our neighborhood team played. Sometimes I devised imaginary box scores too. I know what you’re thinking: he must have been a lonely child. Actually, I wasn’t; I had a loving, indulgent family. But around the nation, countless other kids, more talented or preoccupied than I, were doing the same thing, bending the MLB numbers, reconfiguring the figures. Eventually they would form a group, the Society for American Baseball Research, SABR for short. One of their group, Bill James, coined the term SABRmetrics to describe the grown- up, boy- like study of those numbers. The statistics they produced, and the inferences they made from those stats, would enrich the game and change the way it was played. So there. As with baseball, so with favorite movies, TV shows, comics. One of my youthful heroes was Fred Von Bernewitz, a Maryland boy not much older than I was. He created, mimeographed and published the E. C. Checklist, a compilation of every story in each of the dozen or so “New Trend” comic books (Vault of Horror, Weird Science, Mad, etc.) that EC published from 1. Bless his innocent obsession. His list was a signal to hundreds of other E. C. I mean, how could it be, if so many other shared it? A half- century later, with the hardcover, much- expanded edition of the Checklist still in print (under the title Tales of Terror! The EC Companion), Von Bernewitz’s labor of adolescent love is easy to celebrate as trash- art pedantry. Back then, though, applying the rudimentary scholarship of list- making to comics was as radical as Brando’s first movie mumble, or the scream of Little Richard on “Long Tall Sally.”I too was a teenage listmaker. I saw a lot of movies and, at year’s end, picked my favorites. I recently dug up my Top Five of 1. The Seventh Seal, Some Like It Hot, North By Northwest, Rio Bravo and Imitation of Life. Looking at this quintet, I marvel at the maturity of my youthful tastes—or do I curse my lifelong adolescence?—since, 4. I nominated all five for the TIME 1. The point is that listmaking is a first step to an informed enthusiasm. Juggling, sifting, thinking about the best films leads to measured judgments, the plundering of film histories, a nascent critical acuity. That’s how a hobby becomes a craft, sometimes a career. Just add verbs and thoughts. Can the choices Schickel and I made have the shelf life of the Von Bernewitz checklist? Probably not; this is just one of what must be a hundred 1. Does film criticism have an equivalent to SABRmetrics—cinemetrics? You can’t calibrate genius. There are no Win Scores, no Favorite Toy, for movies and their makers. Many readers would say that Schickel and I have no greater claim than anyone else to impose our crotchets on you. Doesn’t everyone see a lot of movies and, gradually, amass some all- time preferences? Sure. But, pardon me, we’re better. Our claims to expertise: 1. Our employment is our diploma. Still and all, list of favorites like the All- TIME 1. Movies is just that: a banquet, a groaning board of our fondest prejudices. You’re all invited to devour the food, or throw it at us. ONCE, TWICE, THREE TIMES 1. There are 1. 01 ways to choose 1. But I participated only in this century selection, so I’ll tell you what I did. First it’s like a game: I’m throwing a party—who should be on the guest list? My idea was to invite different sorts for a richer mix. Highbrows and no- brows, the solemn and the frivolous, embracing many genres (musical, western) and forms (short films, experimental, documentaries). I want the Marx Brothers to co- exist with a Robert Bresson nano- drama. And Indian family melodramas to rub shoulders with 7. An eight- decade, international melange. Then it’s research. I re- viewed many of the films under consideration. I looked at the IMDb’s list of the top 2. I dipped once more into Roger Ebert’s two volumes called The Great Movies, which contain some very thoughtful journalism on the subject. I also took a long browse through the stacks of that moldy old library of film trivia, my brain. The result was about 1. Richard the First (Schickel) had already compiled a list of 1. Neither of us knew the other’s preferences until we’d finished this initial round. After this double- blind taste test, the serious work began on the All- TIME 1. Movies. Finally, then, it’s like a marriage—the intimate exchange of opinions and passions, the business of collating, collaborating and compromising. Once, twice, three times 1. Schickel’s list, my list, our list. For movie critics, deciding which films are best is an anecdotal way of debating first principles. It’s theoretical and, toward the end of the process, it’s personal. Schickel and I were the co- captains of a lifeboat, with some of our favorites clinging to the sides, and we had to determine whose stiff fingers to pry off, which noble films to send into the sea of anonymity. One of the great, not guilty, pleasures of this exercise was to spend lots of quality schmoozing time—on the phone, through e- mail and frequently in person—with my colleague on the other coast. I live and work in Manhattan, Schickel is based in L. A. But whereas I do all my work for TIME, the magazine and website, he is a busy- busy freelance: writing books, contributing a book review column to the Los Angeles Times and cobbling up feature- length documentaries on top auteurs, most recently Woody Allen, Charles Chaplin and Martin Scorsese. He snorted at some of my selections (notably, The Fly); I yawned at some of his. He thought I was too much the China hand and Bolly- woosiast; I rankled at the inclusion of nearly every film noir melodrama ever made. I argued that, with A Streetcar Named Desire representing Marlon Brando and director Elia Kazan, the presence of the Kazan- Brando On the Waterfront was redundant; he trumped my nagging by citing Waterfront in the Great Performances and Top Scores sections. Schickel and I knew we were playing a game; we did our research; and we’re still married. CUTTING ROOM FLOOR: Here are the films from our original lists that were dropped: Schickel’s Cuts. Corliss’s Cuts. INSIDE THE LISTSA scanning of both lists shows that Schickel and Corliss agreed on 3. Sherlock Jr., Sunrise, City Lights, King Kong, Bride of Frankenstein, His Girl Friday, Pinocchio, The Lady Eve, Citizen Kane, Casablanca, Double Indemnity, Children of Paradise, Detour, White Heat, Kind Hearts and Coronets, A Streetcar Named Desire, Singin’ in the Rain, Ikiru, Ugetsu, Smiles of a Summer Night, Sweet Smell of Success, Yojimbo, The Manchurian Candidate, 8- 1/2, Persona, The Godfather and The Godfather Part II, Aguirre the Wrath of God, Chinatown, Taxi Driver, E. T. Note that, as we approach the present day, agreement gets rarer. We had 1. 0 coincidental selections in the 1. That mirrors a consensus on classic films, especially classics from Hollywood, and a fragmenting of taste ever since. There were also five movies on both early lists that didn’t make the final selection: Potemkin, Scarface, The Miracle of Morgan’s Creek, Raise the Red Lantern and All About My Mother. All worthy films. What happened? I guess we came to think of Potemkin an “official” great film that lodged in our memories more than in our guts. Raise the Red Lantern I reluctantly dumped in favor of another Gong Li- starring Chinese film, Farewell My Concubine, with its explicit approach to Chinese politics and a great performance by Leslie Cheung. |