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On 30-7-1982 Yvonne Strahovski (nickname: Strahotski) was born in Werrington Downs, Australia. She made her 8 million dollar fortune with I, Frankenstein, Killer Elite. The actress is dating , her starsign is Leo and she is now 38 years of age. Yvonne Strahovski - Yvonne Strzechowski was born Yvonne Jaqueline Strzechowski on July 30, 1982 in Maroubra, Sydney, New South Wales, Australia. Her parents were Polish immigrants. She attended the Santa Sabina College for her high school education Tonight, Yvonne Strahovski has been nominated for an Emmy for Outstanding Supporting Actress in a Drama Series. The 36-year-old Australian actress has stunned audiences with her performance on The ... Strahovski married to her long-term boyfriend, Tim Loden who is an actor appeared in Chuck along with her. Yvonne Strahovski Early Life and Education . Yvonne was born as Yvonne Jaqueline Strzechowski on 30th July 1982 in Werrington Downs, New South Wales. While there may be information readily available about Yvonne Strahovski, not much is known about Tim Loden, the man who’s captured the diva’s heart. Thanks to her high-profile television roles, the Aussie actress is the more famous partner. Biography. Australian character actress and playwright Yvonne Strahovski attended the Theatre Nepean drama program at the University of Western Sydney before achieving fame as a small-screen star on series and telemovies in her native Australia. Yvonne Strahovski. Yvonne Jaqueline Strzechowski also known professionally as Yvonne Strahovski (born 30 July 1982) is an Australian actress.. She portrayed Hannah McKay a flower gardener and a serial killer, on Showtime's DEXTER.. For her role, she won the 2012 Saturn Award for Best Guest Starring Role on Television. Relationships. Yvonne Strahovski has been in relationships with Matt Doran (2006 - 2007) and Josh Schwartz.. About. Yvonne Strahovski is a 38 year old Australian Actress. Born Yvonne Jaqueline Strzechowski on 30th July, 1982 in Werrington Downs, New South Wales, Australia, she is famous for Chuck, Killer Elite. Yvonne Strahovski's Holding her New Born Son Source: Instagram @yvonnestrahovskiVerifiedFollow. Back in May, Strahovski revealed that she and her partner Loden are expecting their first child together. She made an announcement by sharing a baby bump picture on Instagram, saying, “I am very excited to finally be able to share my special news'. During last year, a personal story of Yvonne was rumored around media, that she got married to longtime partner. So these type of gossips raised a question that who is the boyfriend of Yvonne Strahovski, she is dating now in 2018? As per few of unauthentic sources, Zachary Levi has decided to back together with Yvonne.
PG-13 for "Violence, Terror, Some Language, sexual material, and Disturbing Images (Green Band Cut).
R for "strong bloody violence and gore, some sexual content, Sadistic Violence, and Pervasive language" (Red Band Cut)
Director: Matt Reeves Producer: Jason Onorad Writers: Jason Onorad , Matt Reeves Music by: Hildur Guðnadóttir
Trust No One …Ten years later after her Father and mother Henry and Tina Grey got murdered by the sinister Harley Quinn. Alexandra Grey has matured and tried to leave her past behind. But Alexandra knows that her past will follow her eventually. Alexandra and her foster father Luke Roberts Return to Gotham after a new string of murders takes place in Gotham with her being the main target for Harley Quinn. Meanwhile, The GCPD has to come face to face a series of horrifying murders that begin to expose the GCPD'S hypocrisies and secrets.
Kaya Scodelario as Alexandra Grey - The daughter of Henry and Tina Grey who were murdered by Harley Quinn back in 1962. And after a new string of murders start to appear. She decides to take action into her own hands and stand up to what's right for Gotham while trying to face her inner trauma and come face to face with the fact that she is LGBTQ. She doesn't see herself above other superheroes in comic books like superman and wonder woman she sees herself a someone who will never be recognized. Alexandra's characters is a Respectful, Quick-Witted, Fearless, Athletic, and will stop at nothing to avenge her dead parents. (American Accent)
Sandra Bullock as Monica Davis - A widowed single mother who lives in the building with her son Justin and everyone else. She thinks about moving away from Gotham and towards Metropolis because she describes Gotham as "a dumping ground for people who want Monica wants her son to continue what he wants to do and eventually graduate to college because he's so smart. Monica is Tough at times but in the end she will not stop to protect her son.
Betty Gilpin in as Detective Missy Johnson - a police detective investigating Harley's murder strings who is the partner of Lee Thomas who decides to help out Jamie early in the film to try not to make Gotham better for everyone but to also face the struggles with that she is LGBTQ and all the discrimination she has to fight against. Missy is Fearless, Intelligent, and is ready to take charge of any situation.
Samuel L. Jackson as Detective Lee Thomas - A police detective investigating Harley's murder strings and lives next door to Alexandra. Lee goes around Gotham investigating murders with a formed alliance with 3 other detectives in Gotham to learn more about the victims Harley Quinn has targeted Daniels characters is described as a Quick Witted thinkers who wants to be in charge of the CGPD. No matter what he has to do.
Angela Basset as Detective Jenn Thomas - Another detective of the GCPD who is also the wife of Lee Thomas who joins the GCPD so that she can put an end to the madness that Gotham has turned into. Jenn is usually the one who is able to search through the files to find out about the Harley Quinn victims history to see what they did that got them targeted. Jenn is quick-thinking and doesn't have take any orders from anyone else.
Elisabeth Moss as Julie Moore - One of the many residents in the building who had her entire family killed by home invaders in clown uniforms. When she was just 12 and has been running from death ever since. Julie tries to seek medical attention multiple times to cure her depression because she desperately wants to live a happy life and help others who need saving. That's why she is seen helping out multiple residents in the apartment building.
Ansel Elgort as Mitchell Grey - the son of Henry and Tina Grey who both were murdered 6 years ago and has been trying to cut ties with his sister ever since. He still loves his sister but he can't bear to look at her because it will just have him remembering the night that his parents were murdered. Mitchell Is another character who constantly visits Alexandra and her friends at The Therapy Group Session just so he can be able to socialize with more people to help with his depression.
Naomie Harris as Officer Sarah Rodgers - Another officer who works for the GCPD who investigates the series of murders committed by Harley Quinn. She wants to help out with Gotham's criminal problem because her Alice wants to have a baby with a another student at her school. She wants to let her do that but she cant because of the many criminals in Gotham that could endanger the baby's life.
Amanda Stenberg as Luna Rodgers - A crime photographer who gets spots some suspicious stuff Harley Quinn has been up to in Gotham. Later in the film she also decides to help Alexandra since her mom is a cop and she works for the press. Luna is a Outspoken girl who always says what’s on her mind and always wants to get the job done.
Saoirse Ronan as Andrea Madison - Alexandra’s best friend who she meets at every group therapy session. Andrea decided to become friends with Alexandra after hearing her story. Andrea’s mom is suffering from paranoia which she understands cause 2 years ago both experienced the bodies of Henry and Tina Grey and were actually the first ones to call the cops and investigate the Situation. Andrea is an athletic gymnast who never tries to question her moms paranoia because she knows she is one of the only people in Gotham who protects her 24/7.
Renée Zellweger as Detective Hailey Madison - Andrea's mother who works with the GCPD detective trio (Lee, Jenn, Missy) to solve the Harley Quinn killings. She suffers from paranoia and has a $100,000 home security system in her house to protect her and her daughter. She doesn't want to paranoia to be cured because it is a blessing to her and her mom had paranoia so if she doesn't have paranoia then she will forget her mom is 6 feet buried underground.
Oliver Stark as Luke Roberts - The foster father taking care of Alexandra after her parents got murdered in 1989. He doesn't want her to die because he wants to be a good father but because he was friends with Henry grey and he promised that he will never let Alexandra go no matter what. So he constantly decides to cheer her up by taking her hiking and doing activities with her to try to get her mind off of her trauma. Luke is very dedicated to protect Alexandra and would even try to fight the GCPD just to try to save Alexandra. (American Accent)
Jack Dylan Grazer as Justin Davis - The son of Monica Davis. Justin is also friends with Andrea, Alexandra, and Luna, because no one else wants to be his friends who he constantly meets at every Therapy Group Session after his home was invaded by home intruders with jack-o-lanterns heads on . Justin is always the one who is cracking jokes amongst the group and is always on the top of his classes and even makes his own weapons for Alexandra to use in combat against Harley Quinn. Justin is a smart quick kid who doesn’t want to get into any trouble of any kind.
Dylan Minette as Adam Fernard - Adam is Alexandra 23-year-old best friend. He’s sweet and kind. He also works as an Intern for Wayne Enterprises. Adam cares deeply for Sara and is “sensitive to her feelings”. Adam is also a virgin who thinks some day he will find the one girl who will accept him for who he is. Adam is also another character who visits Alexandra at every Therapy Group Session after he and his mom were caught in a terrible train crash that killed 45 passengers.
Peter Krause as Kyle Fernard - Adam's father and fellow member of the GCPD, whose loud mouth and drinking often got him into trouble with the police, and he is implied to have secret romantic feelings for Hailey Madison. Kyle is barley seen in the movie because it is implied that he is a workaholic father who is always going to work as a welder. When he is seen home, Kyle is so happy to see his son because he missis him so much and wants to spend more time with him but cant because of work.
Kym Whitley as Maria Burnside - Maria is Adam's Caretaker who is always looking after him while his father is away at work. Maria is a fun, caring, and comedic caretaker who always wants to put a little more fun into Adam's life. And it work's because Adam loves Maria and doesn't want her to go because she is so fun and offers great advice for helping him with his virginity and love life.
Chelsea Mike Schmitt as Harley Quinn - A former-certified psychiatrist, who became a crazed criminal and the Joker's accomplice/girlfriend. She decides to go after Alexandra because she wants to make sure no on else in Gotham will try to hurt or or The Joker because she thinks everyone is after her and Mistah J. Harley Quinn thinks The Joker is the only person who is able to protect her in this crazy world. This version of Harley Quinn is a Seductive, Intimidating, Fearless, Brutal, Quick-Witted, and is ready to finish what she started back in 1962. She doesn’t hold back on anything and will always do any thing to reach her goal.
David Spegal as Henry Grey
Hannah Davis as Tina Grey
Jeffrey Wright as Commissioner Gordon
Tobin Bell as Father Joseph
Gavin Stenhouse as Trauma Therapy Group Leader
Joaquin Phoenix as Arthur Fleck / Joker ( Post Credits Cameo)
Con O'Neill as Chief Mackenzie Bock
Barry Keoghan as Officer Stanley Merkel
Bill Murray as Commissioner Gillian Loeb
Yvonne Strahovski as Vicki Vale
John Goodman as Detective Harvey Bullock
This film released two different cuts of the film. PG-13 or Green Band Cut for more teenage or young adult audiences. R or Red Band Cut for more mature audiences that shows more gore and blood.
2019.10.26 01:19 The_Real_BawsThe final two seasons
I’ve had a lot of time on my hands so I’ve been binging Dexter without any knowledge of what happens. I’m here to share my thoughts on each season. 1&2 3&4 5&6 So we’re thrown into season 7 where Deb learns the truth about her brother. Or at least, most of the truth. I gotta say, I didn’t particularly enjoy the first few episodes of this season. Started off pretty slow. I expected the DexteDeb dynamic to be portrayed in a better way. And as much as I love Yvonne Strahovski (Sarah Walker!), Hannah McKay was not a well-written character. It didn’t make any sense why Dexter fell for her. She has no morals and would kill anyone if they became an inconvenience. My last gripe with the season, and probably the one that made me enjoy it less than most people, was Dexter himself. He really didn’t feel or act like Dexter anymore. Some people find the “FUUUCK!!! FUCK FUCK FUUUCCCKK!!” scene where Dexter kills Ray Speltzer funny for some reason. I didn’t laugh one bit. Unhinged Dexter was truly terrifying and I stopped sympathizing with him until we get the old Dexter back in the back half. I get that he’s having an identity crisis and all, but this plotline with Deb and Hannah just didn’t feel right. His son is and should be the driving force behind his decisions. Season 6 made that clear when Travis tried to kill Harrison. Hannah is the worst possible person to choose as a mother to your child. When she drugged Deb and Dexter turned her in I figured that was the last of her. But no, they had to bring her back in season 8 because Dexter needed an intimate partner? She was the least worthy out of all the other candidates except for maybe Lila. That being said, the back half of the season was amazing. It gave me season 2 vibes. There’s something about the cat-and-mouse game of Doakes/Laguerta Vs. Dexter. While Laguerta was never really my favorite character, it’s clear that her role in the season was pivotal in making it a good season. Then there’s Isaac Sirko and the Koshka brotherhood. Their storyline was much better than Travis’s from season 6. Overall, the season was a nice return to form. The back half was almost as intense as season 2’s back half and you could tell there were a lot of parallels being drawn. And now for the dreaded season 8. A lot of people have mixed opinions about the first 11 episodes, but this is about how it went for me: shitty beginning, great middle, disgustingly shitty end. The drug and alcohol abuse storyline they threw Deb into made me really uncomfortable. I liked the main plotline after Deb tried to kill Dexter and herself. That point was the tone shift the season needed to get back on track. We got a new protege in Zach (bad decision to kill him off imo, but it wasn’t as bad as the finale), we got a peek into a serial killer’s psyche through Vogel, and it looked like they were going to go the route of “when this is all over, let’s form a team of vigilantes.” It truly looked like the season was about to be like season 3 with the feel-good vibes and Dexter character study (my favorite season btw). And then Deb dies. It was literally the stupidest death. First of all, they had the Brain Surgeon dead to rights. Deb was even totally okay with Dexter killing him. But no, Dexter is a changed man! He must relinquish Saxon to Miami Metro! And in a brief moment of stupidity, Deb gets shot and hospitalized. They could have gone a million other routes where we get a tearful goodbye between Dexter and Deb. Instead we get a nearly emotionless interaction where Dexter cuts off her life support and tosses her into the bay with the rest of his victims. Now, I get why they wrote the season like this. They wanted three things to happen: for Deb to die, for Dexter to be the one to kill her, and for her to be his last victim. With better writing, these three goals could have been achieved and I wouldn’t have disliked the season so much. Finally, the finale. Not much to say here. You all have it etched into your brains, wishing you could just wash it away and forget it ever happened. From Hannah to the storm to the lumberjack, the finale was just so out of whack. Even Saxon’s death wasn’t satisfying. If Deb was meant to be his last kill, why would they write him to kill Saxon in the next episode? And if Deb wasn’t meant to be his last kill, why kill her off at all? In one fell swoop, Dexter loses everything and gains nothing by killing Saxon. He is even witnessed by Batista and Quinn, who have come to realize Dexter’s true nature. They both knew it wasn’t self-defense, but they looked the other way. Regardless of what Saxon did, it didn’t sit right with me that they would just let it slide like that. Idk, maybe it was in character for them and I’m being a bit facetious. I guess I understand what they were going for in the finale. Dexter is a tragic anti-hero so he doesn’t get a happy ending. Ok, that’s fine. But leaving his kid with a KNOWN serial killer, faking his own death, and becoming a fucking lumberjack?? C’mon, they could have gone so many other ways to give Dexter a tragic ending, but this was by far the worst way to go. I feel like I’ve gone on too long about the finale, when it really merits no analysis at all. I don’t think I need to say any more. Anyways, final thoughts. Dexter overall was phenomenal and I thoroughly enjoyed every season except the last one, which I still enjoyed somewhat. My final rankings after one watch-through: 3 > 2 > 1 > 4 > 5 > 7 > 6 >>> 8 It’s been a blast and I’m looking forward to rewatching it with the knowledge I now have. Thanks for indulging me! Edit: I’ve also seen a couple of these questions posted on this sub, so I’ll give my answers. Best primary antagonist? It’s really hard to say between ITK, Doakes, Miguel, and Trinity. I love them all for different reasons. If I had to rank them, it’d probably be Miguel > Trinity > Doakes > ITK. But they’re all very close.
The Bat/Pilot: Bruce Wayne, just returning to Gotham City, decides to begin his battle against the mob and the corrupt police force after the daughter of the newly appointed Captain James Gordon, Barbara Gordon, is kidnapped in an attempt to gain leverage over one of the few non-corrupt members of the police force.
Dark Disguise: While spying on the mob families, Batman is interrupted by a mischievous thief that may be closer to him than he thinks, leading them both into the underground world of human trafficking when her young teen friend Holly is taken by the mob, forcing them to work together to save her.
Not So Smart: When a string of intelligence testing based murders begin, Batman is forced to use his mind to overcome his latest conflict. Meanwhile James Gordon tracks a lead to a possible identity of the Batman: Bruce Wayne.
Enough Days In The Week: Batman hopes to gain a more steady acceptance from the police by tracking down a notorious serial killer called the Calendar Man.
Like Father, Like Son: The Sionis crime family ignites the beginnings of a mob war, as they target Oswald Cobblepot and hire the assassin Deadshot to kill him, forcing Batman to protect a criminal in order to keep the peace.
The Birdcage: Batman has been captured. Trapped as a prisoner in Oswald Cobblepot's underground fighting ring, if he wants to live he will have to fight the champion of the cage, a mutated humanoid nicknamed Killer Croc, to the death.
Inspiration: Batman must utilize the help of an eye witness to another in a long list of serial killings done by the psychopath Victor Zsazz.
The Sincerest Form Of Flattery: Now that Batman has gained at least the begrudged acceptance of James Gordon, that'll be tested when someone impersonating Batman begins to murder the stars of a movie being shot in Gotham.
Eco-Friendly: After a strange chemical plant explosion that crumbles the building, leaving trees and plants grown in it's place and effecting a security guard in a slower but similar way, Batman is in a race against the clock to stop the mysterious eco-terrorist nicknamed Poison Ivy, gather her chemical extract and use it to cure the guard before his body becomes a plant breeding ground.
A Really Bad Day: When the Red Hood kidnaps the heads of Gotham's biggest crime families, Batman must discover his location before he enacts his plan to amass enough power to shape Gotham to fit his twisted vision. Jim also enacts his own plan.
The Long Halloween Part One: After a year of being acclaimed as Gotham's hero, Bruce is just now getting used to his life as Batman, only to be hit with a wave unexpected changes in his life: the new craziness taking over Gotham. A criminal that leaves a smile on his victim's face. The murder of Carmine Falcone's nephew which threatens to reignite the war between the mobs. And his new ward, Dick Grayson.
The Man Who Laughs: On Thanksgiving, as Bruce struggles with keeping Dick from discovering his life as Batman, a maniac calling himself the Joker threatens to poison Gotham citizens.
Cold Blooded: As Bruce deals with Dick discovering his identity, an icy figure targets members of the Wayne enterprises board, freezing them, and Batman finds himself unprepared when the Wayne enterprises pre Christmas fundraiser is attacked by someone calling himself Mr. Freeze.
Solomon Grundy: When Batman investigates the disappearances of street kids, he comes across something unexpected. Meanwhile the Joker tries to enacts a scheme as a way to kill the Holiday Killer.
Lips Of Poison: Poison Ivy is back. More uncaring about human life than ever, the now human/plant hybrid has decided to initiate a one plant war against humanity, starting with the privileged of Gotham, who she most blames for the pollution of the environment, putting Bruce Wayne squarely in her sites.
Heads Or Tails: Harvey Dent is been kidnapped by Crime Boss Moroni who has rallied Black Mask and Penguin to his plan to lure Batman into a trap and kill him.
Batgirl: With Commissioner Gordon and Harvey Dent having disappeared, Batman tracks the mobsters he believes responsible, despite Barbara's insistence that it was someone else, forcing her to take matters into her own hands and find clues on her own.
A Mad Tea Party: A former disgraced scientist named Jervis Tetch uses mind controlling technology to bend the mob families to his will and impress the woman of his dreams to get her to love him.
Fan The Flames: As mysterious arsonist attacks plague Gotham's fire departments, Batman soon realizes that the vicious nature to the attacks points to a personal motivation and finds himself face to face with someone clad in advanced armor calling themself Firefly.
How To Catch A Bat: Edward Nygma sets up a sinister scheme to catch Batman and reveal his identity, proving that he is indeed the smarter out of the two of them, forcing Batman to confront his need for control.
Everything To Fear: When bullies and thugs start dying from extreme fear induced hallicinations, Batman is forced to face his fears by a psychopath trying to usurp his place of fear and respect in Gotham.
Holiday's End: With the Holiday Killer's identity having been discovered, Batman and Gordon enact a sting operation to catch the killer once and for all.
The Long Halloween Part Two: The Holiday Killer has been defeated. But the chessgame that he was a pawn of is coming to a head, with Batman's greatest weapon being used against him and Gotham: His mind.
End of season 1. Season 2: For this there's another another time jump between season 1 finale and the season 2 premiere of 1 year.
Targeted: Bruce Wayne has been targeted for assassination. But after a failed attempt, Bruce has been put under police protection. With him unable to investigate this situation as Batman, it's left to Robin and Batgirl to track the assassin.
Every Question Has An Answer: When Batman hits a wall in his quest to uncover the identity of his attacker, he uses the assistance of his old mentor the Question to seek it out.
Run The Asylum: When the Batfamily investigates a disturbance at Arkham, they find that the asylum has been taken over by the Joker and the inmates have been released, forcing them to split their attention between The Joker himself, Two-Face and the Riddler, as Harleen is trapped and psychologically and emotionally tortured by the Joker.
Joe Chill: What would you do if you faced your parents murderer? That's the question Bruce has asked himself his entire life. And now he's been given a chance to answer it.
A Harlequin: With Harleen slowly losing connection with reality, she forces herself to find focus on her tormentor in hopes of finding peace, only to lose herself even more, but her actions in doing so put her in direct conflict with the Batfamily.
Golem: Changed forever after having been the subject of experimentation by the government, allowing him to shapeshift, Preston Payne seeks revenge against those he holds responsible, in Gotham.
Court Of Owls: Bruce has discovered the truth behind the source of corruption and death in Gotham City, but with the amount of power amassed by them, he's realized that he can't do anything to stop them, leaving him only one other option: Join them.
Oracle: When Batman goes missing, Barbara takes a leadership role as her and Dick track him down.
Day And Knight: The fury of the Court is unleashed on the underprivileged of Gotham, using the Wayne Foundation's charity initiative to massacre those that Bruce has sought to help as punishment for his betrayal.
Does It Matter?: Bruce questions his impact on Gotham as Batman, while dealing with Joker and Harley and being approached by his old flame Talia Al Ghul.
The Demon's Head: Years ago a young Bruce Wayne sought out, by any means, a way to become the best fighter possible, leading him into the den of Ra's Al Ghul.
Puppeteer: Batman's faced with an unconventional opponent with the Ventriloquist and Scarface.
Laughing Fish: When Joker enacts a sick threat against Gotham's officials, Batman and Bullock are forced to partner up to find the source.
The Demons Within: Young Bruce allows himself to be pushed to his limit to gain the training of an assassin.
Crime & Punishment: On the 2nd anniversary of his "birth" Two-Face kidnaps his abusive dad and puts him on trial.
Last Laugh: Using a civilian as a pawn, Joker takes a ball honoring Commissioner Gordon hostage, with Bruce, Dick and Barbara trapped among them.
The Demon Rejected: Bruce is faced with the ultimate test of his loyalty to the league.
Robin's Reckoning: Bonds are broken and relationships are tested when Dick discovers the truth about his parent's killer.
Joker's Millions: As Bruce takes in Jason Todd after Dick's left Gotham, Batman is helpless as ever when faced against the Joker in a way he can't fight him: As a legitimate citizen.
A Broken Doll: As Harley Quinn holds Bruce hostage, he remembers a time when he was lost in his darkness.
The Demon's Bargain: Batman is given a choice by Ra's.
The Demon's Duel: Batman and Ra's battle for the fate of Gotham.
2018.09.14 13:52 IdgibIkirDMy Emmy's 2018 predictions in Drama categories (Long)
Hi guys, my few predictions about upcoming Emmy's. I think that there is a lot of value in betting on entertainment events because bookmakers don't have so much precise statistical models, which they use to predict sports events. Emmy's winners are choosing by Television Academy members, so we must include many factors to predict winners.
technical quality (craftsmanship) of the series - should be the most important factor when choosing THE BEST series, and probably it is. But there are much more factors which affect results.
Some of them:
with which TV stations are Academy members professionally connected. As far as I know, HBO has a majority in Academy, but this year Netflix's 'The Crown' is the most nominated series, with 20 nominations.
real popularity of the series - members are busy people, and many of them can't watch every good series because of lack of time. There's a bigger chance they will vote for a series which they really know.
Personal anecdote - I have a similar job, which requires a lot of watching and reading content. The more I watch, the better is quality of my job, but still, I just can't watch and read everything I want - I'm up-to-date with crucial things and watch 'extras' only when I have time.
the subject matter of the series - if a topic of the series is personally important/interesting for the member.
Emmy's campaigns - events about a series, sending e-mails to the Members etc.
So now it's time for my predictions, looking for a value in this year Emmy's betting. Odds are European and taken from European bookmaker's site. An easy method to convert odds to % by yourself: 100/odds = chances in percent Example (I don't know much about this year comedy series, so remember that's just an example to show how it works): Bookmakers think that Atlanta will be chosen as Best Comedy Series 62.50% of the time (European odds 1.6; we convert this to %: 100/1.6=62.5) and Glow has only 2% of winning with European odds 51 (100/51=~2%). For some reason we think that Atlanta has a chance of winning 62.5% indeed, but... Glow is so amazing that it will win 10% of the time! If we have right, it's profitable to bet some money in Glow. For those of you who aren't familiar with probabilities, my predictions aren't 'a sure thing'. I will explain the profitability of betting. If our predictions are correct, and we will bet 100$ in similar situations in one hundred Emmy's events, then we will make a nice profit: - 90 times we will lose $100 - 10 times we will win $5,100 ($100x51) Outstanding Drama Series The Handmaid's Tale - 1.25 Game of Thrones - 4.00 The Americans - 15 The Crown - 21 Westworld - 26 This Is Us - 34 Stranger Things - 51 The Handmaid's Tale is a huge favorite in this category (Bookmakers predictions: 80% chances of winning). Acting in THT is really great, also it's 'anti-Trump' and feminist manifest, so for sure it has a big ideological advantage. I still think that THT's odds in this category are much, much overvalued. I would reduce those chances, and redistribute %-points to other series. Also, I would not bet on GoT. There's a huge chance, that GoT will be the biggest loser of this year Primetime Emmy's. This season was just a prelude before a Great Finale, and we will see A LOT of Emmy's in important categories (outstanding series, acting) for GoT next year, but not this one. The Americans were always undervalued by the Academy, but this year we saw a finale. And it was great! So I see a little (A LITTLE) bit of value here, chances for winning are little bigger than ~7% predicted by books. It's a long shot bet basically. The Crown - great series, but in 'craftmanship categories' (visual effects, costumes). In most important categories (best tv series, best actors/actresses) not so much. I think that most undervalued series in this category is Westworld - 2nd season was maybe a little too complicated for a casual viewer (but Members are not casuals), but in the same time bring us much more philosophical subjects, and was even better technically than in the 1st season. Also, it's also a little bit of dystopia (like THT) and topics (AI) are very valid now. Chances of winning for WW are bigger than 4%, in my opinion. So I invest in Delos Corp. stocks in this category. Lead actors and actresses in drama series Outstanding Lead Actor in a Drama Series Sterling K Brown (This Is Us) - 1.75 Matthew Rhys (The Americans) - 2.2 Milo Ventimiglia (This Is Us) - 9.00 Jeffrey Wright (Westworld) - 21 Ed Harris (Westworld) - 26 Jason Bateman (Ozark) - 34 Outstanding Leading Actress in a Drama Series Elisabeth Moss (THT) - 1.33 Claire Foy (The Crown) - 5 Keri Russell (The Americans) - 7.5 Sandra Oh (Killing Eve) - 8.50 Evan Rachel Wood (Westworld) - 26 Tatiana Maslany (Orphan Black) - 34 Biggest value I see in a bet on Keri Russell in The Americans. Elisabeth Moss in THT is fantastic, and there's a huge chance that she will win, but it's not 75% chance. Keri Russell did a BRILLIANT, OUTSTANDING, AMAZING etc. job in last season of TA, especially in the last episode and bookmaker prediction is undervalued a lot. Without a spoiler: with Matthew Rhys, who is by the way Keri's life partner, in the last episode they both had many dramatic scenes in which they played great, including a phone scene in which they show a lot of emotions, only by their voices. But the most memorable was a 'one-shot' scene, without reshoot opportunity. A scene was heartbreaking and they both did a great job. This was extremely hard to shoot, so I'm guessing that producer used this info in promotion materials to the Members, and they should appreciate the craftsmanship skills of their colleagues. Also this episode is Matthew's submission to Emmy's, so we are sure that voters will see this performance. In Leading Actor category I would bet on Jeffrey Wright, even if I'm cheering Matthew Rhys (but odds aren't OK - I think that he has a little less chance of winning than books predict). Jeffrey performance in WW was very good, and if someone can beat actors from 'This Is Us' and Matthew Rhys, that person is Jeffrey - his chances in my opinion are bigger than 5%. Supporting Actors/Actresses in Drama Series Outstanding Supporting Actress in a Drama Series Ann Dowd (THT) - 2.2 Yvonne Strahovski (THT) - 2.7 Thandie Newton (Westworld) - 5.5 Lena Headey (GoT) - 8 Vanessa Kirby (The Crown) - 15 Alexis Bledel (THT) - 26 Millie Bobby Brown (Stranger Things) - 51 Outstanding Supporting Actor in a Drama Series David Harbour (Stranger things) - 1.4 Peter Dinklade (Game of Thrones) - 3.5 Joseph Fiennes (THT) - 7 Nikolaj Coster-Waldau (GoT) - 34 Matt Smith (The Crown) - 51 Mandy Patinkin (Homeland) - 51 In Actress category it's very hard to find some lady who really outstands the crowd... so this means that betting on underdogs should be profitable - favorites are overvalued (same as in Outstanding Drama Series category). But if I must choose the most profitable bets, I would say that Thandie Newton can have a much bigger chance of a win, that those predicted by books. Also young Millie Bobby Brown as a winner can be a huge (but pleasant) surprise - she has much bigger chance that 2%. Millie's performance in Stranger Things was memorable and her acting skills are fantastic, especially for a someone in her age. Bet on Millie - real longshot this time, and few bucks on Thandie as a backup. In Supporting Actors category I would bet my money on Joseph Fiennes (THT), this is my first choice. But also a few bucks (as a longshot backup) on Nikolaj Coster-Waldau (GoT). Yes - at the beginning I wrote that GoT can be the biggest loser of this year Emmy's but anyway, I think that Nikolaj has a bigger chance for an Emmy that those predicted 3%. Odds from other categories for those of you, who know more about different genres: Outstanding Comedy Series Atlanta - 1.6 The Marvelous Mrs. Maisel - 2.2 Barry - 15 Black-ish - 34 Curb your Enthusiasm - 34 Glow - 51 Silicon Valley - 51 Unbreakable Kimmy Schmidt - 51 Outstanding Lead Actor in a Comedy Series Donald Glover (Atlanta) - 1.25 Bill Hader (Barry) - 3.50 Ted Danson (The Good Place) - 21 Anthony Anderson (Black-ish) - 34 Larry David (curb Your Enthusiasm) - 34 William H. Macy (Shameless) - 34 Outstanding Lead Actress in a Comedy Series Rachel Brosnahan (The Marvelous Mrs. Maisel) - 1.1 Tracee Ellis Ross (Black-ish) - 7 Allison Janney (Mom) - 12 Issa Rae (Insecure) - 26 Pamela Adlon (Better Things) - 26 Lily Tomlin (Grace and Frankie) - 34 Outstanding Supporting Actress in a Comedy Series Kate McKinnon (SNL) - 2.2 Alex Borstein (The Marvelous Mrs. Maisel) - 2.50 Laurie Metcalf (ROseanne) - 5.00 Megan Mullally (Will & Grace) - 15 Betty Gilpin (Glow) - 34 Leslie Jones (SNL) - 34 Zazie Beetz (Atlanta) - 51 Aidy Bryant (SNL) - 51 Outstanding Supporting Actor in a Comedy Series Henry Winkler (Barry) - 1.45 Tony Shalhoub (The Marvelous Mrs. Maisel) - 4.5 Brian Tyree Henry (Atlanta) - 7.00 Tituss Burgess (Unbreakable Kimmy Schmidt) - 9 Alec Baldwin (SNL) - 11 Kenan Thompson (SNL) - 51 Louie ANderson (Baskets) - 51 Outstanding Limited Series The Assassination of Gianni Versace - 1.08 Godless - 8 Patrick Melrose - 21 The Alienist - 21 Genius: Picasso - 26 OK TV Series lovers, tell me what are your predictions in all those categories? Did I miss something in my predictions?
2018.07.18 17:58 authorbridgetchaseInside the Book: 1983 by Bridget Chase: A Science Fiction Short Story
'1983' by Bridget Chase
Sylvester Stallone finds himself burdened by the task of writing the screenplay, 'Stayin' Alive'. A dark figure appears that claims to be able to help him create a masterpiece. Sly questions his sanity, but something larger seems to be invested in the future of the movie. John Travolta, while waiting for the script to be finished, becomes infatuated with a women from his dreams. Every night while he sleeps, he sees her at a train station, but is unable to get close to her. During the day, to combat the growing heart ache, John loses himself to the pleasures of a Virtual Reality world. Yvonne Strahovski works as an actress. 'Neural Recorder's have left her feeling empty in her work. Worse off, she nightly dreams about a man at a train station that she can never quite reach. 'Stayin' Alive' premiered at American Theaters in 1983, but the real story behind its creation is 'one' hidden in the Hollywood shadows.
CLAKKKK-KKKK! SHIK-KA-BOOOOM! John Travolta tipped his head back with a laugh. Evil spilled from his lips in heavy breaths. He swiveled the heavy turret gun that pressed against his chest. A police car exploded in tight flames, flipped, and smashed into two police cars behind in pursuit. John squeezed the triggers. The huge gun pounded in deep reverberations. His arms shook. Rows of sparks came alive on the metal bodies of police cars chasing him. His heart sang in destructive glory. The modified military jeep drove the underground ‘Tulsa Superhighway’. The tunnel was lit-up by flashing sparks birthed from hot bullets eating metal. Passenger and commercial vehicles raced towards them at over one hundred and fifty miles per hour. The ‘self-driving AI program’ was being put to the test; having to quickly group and move cars away from the violence being dished out by Travolta. John’s crime partner Gabriel Shear, an AI digital program- fashioned after Travolta’s future role in the movie ‘Swordfish’, steered the jeep through the underground tunnel. Gabriel Shear didn’t need to worry about a wreck. With the automated programs, everything got out of their way. The other cars on the road were fixed to AI controlled sleds that governed their movements. John barred his teeth and fired. Police cars crashed together. Metal bent and windows shattered. The blaring horns cried for mercy at destruction’s grip on the world. A savvy police officer slipped past his comrades and tried to gain position at the side off the jeep. Travolta was having none of it. CLAKKK-KKKK! He shot the tires out. The police car swerved, smashing, BOOOM! Into the tunnel wall and flipped. Flames engulfed the wreckage. CRASH! It blocked the road. The coming police cars piled up. The AI program in charge of the underground superhighway, diverted vehicles back to the surface- avoiding a blockage. John climbed down into the cab from the jeep’s roof turret. The road was clear. Gabriel put a cigarette between his lips. He steered the car with one hand and sparked a lighter with the other. “Where to now?” John thought for a moment. Monday mornings were the worst. He needed something exciting. “Fuck it. Let’s get waisted.” “You got it boss,” Gabriel said. He removed the cigarette from his lips and blew dancing tendrils of overlapping quantum fields into the air. The highway’s lights played neon streaks across the jeep’s black glossy surface. Synthwave music played in its interior. Ahead, the sun shone down through regularly spaced rectangular segments where vehicles were lifted to the surface. ∞ He turned off the TV. Sylvester Stallone walked over to his desk that stood next to blacked out windows. An old school typewriter was on his desk. Just the kind of machine he liked using for typing screen plays. Sly’s eyes were bloodshot. The lack of sleep abused him. With the windows painted black, the noon sun was eliminated. Darkness crawled through his apartment. Stallone sat. He looked at the curled paper on the typewriter. ‘Stayin’ Alive by Sylvester Stallone’ was all he had written. With the cover page done, he pulled it out, and put in a fresh white sheet. The blank page taunted his creativity. Stallone got up and moved to his couch. A warm knitted blanket lay over its back. He wrapped the soft woven fabric around his shoulders and curled up. The perfect screen play- it was an elusive beast. Stallone wanted to make a movie that found new places in the human heart. Something that reflected the ‘true ember’ of humanity. He wanted it to burn in people’s souls- licked by the dancing flames of perfection. Books lay piled up on his coffee table. Shakespeare’s ‘Romeo and Juliet’ was at the top of the stack. It was a small book, but something inside himself said to pick it up. Sly lifted it and opened the cover. “Two households, both alike in dignity,” Stallone began to read. His cat, Kurt Wussels, walked casually across the back of the couch. It stepped on Stallone’s shoulder and rubbed its cheek against him. Kurt Wussels laid down and napped against Stallone’s neck. ∞ She looked down at herself. The blue dress floated ‘as if’ she were in water. Yvonne Strahovski had been here before. Almost nightly now she dreamt the same dream. She didn’t know why. Yvonne stood at the center of a moving mass of people in what felt like a train station. Colors slipped in languid threads. Her attention twisted to sudden oscillating planes of focus. Yvonne tried to stay asleep. She wanted to find answers to what this meant. Over the course of the past two weeks, she had come here nightly, and every night, there was a mysterious man. She never quite saw him but the narrative directing the dream made this man central to the dialog. People passed and pressed by her. Yvonne moved forward. Her eyes searched the crowd for him. She knew he would be here, and tonight she would finally get close to him. Her dream always ended in the same way- frustration. She would see the mysterious man in the distance. He would wave, and they would move towards one other. The ironic storyteller in all its subconscious perplexities, wove the dream so the closer she tried to get, the further she moved away. The blue dress slipped around Yvonne’s slim legs. Her blonde hair bounced, kissing her shoulders with each step. Magic of differentiated time moved the people in a chaotic, unstable maze. In the space between people’s murky profiles, she caught a glimpse of the man. His dark eyes found her. A smile stole his chiseled jaw. Following the next step, space became her enemy. With every movement towards him, the ‘rubix cube’ dream space became distorted and twisted. Now the man was further away. She turned. He was looking for her. They caught eyes and a train whistle sliced through the moment. Space was sheered and Yvonne saw him on the far side of the tracks. Shit, she could feel the covers draping her body in bed. The crowd of people weren’t people anymore but instead a light drifting sound. The murmurs and ‘whispered words’ melted down to a single slow breath. All the noise wove itself to a quiet snore. Yvonne awoke. Her dog lay in bed next to her. Its light breathing held all the pieces of the forgotten world.
John Travolta woke up. Lemon rays of the sun spilt across his white bed sheets. He sat up and stretched. Lean lines traced the contours of his muscles. He walked to the bathroom. John toyed with his disheveled black hair. Looking in the mirror, he thought about the woman in the blue dress. Why could he not stop dreaming of her? The memory of her flowery hair birthed sharp barbs of longing desire. After getting out of the shower, he decided it was silly to be so love struck over an imaginary woman. She wasn’t even real. Besides, he had a bank to rob today. John threw on his favorite robe. It was a little grungy from old food stains and sweat. He climbed into his favorite chair. With touch of the power button, a low hum emanated from the compact virtual reality platform. John slipped on the neural contacts, and then sat back, letting the sleep like paralysis take over. A soft wind stole the world away and replaced it with a bustling city. John took out his phone and called Gabriel. “Yeah Boss?” Gabriel picked up. “You ready for that bank robbery today?” John asked. He strutted down the 1970’s New York City sidewalk. “I’ve been ready since you were last here.” “Good,” John said, “And bring lots of guns. I’m feeling bad today.” ∞ The script became a growing irritation. Digesting festering emotions, Sylvester Stallone walked the streets of New York. His hands were buried in the tight pockets of his acid wash jeans. An oversized black leather jacket hid his shredded physique. Thus far, the script called for Tony Manero, the lead character from ‘Saturday Night Fever’, to be a drug addict, and for his girlfriend to be a prostitute. Sequels were a bitch to write. Sly didn’t like this angle. He loved disco and the club life. Dancing was an art that spun webs of sugary delights in his heart. Besides, this was Travolta playing Tony, he couldn’t be a loser drug addict. Maybe it was reading Romeo and Juliet that had hindered his creative writing talent. Sylvester Stallone entered Hanger National Bank. A rigid line stood before the tellers. He joined the other nondescript people waiting. Sly didn’t worried over how much money was left in his bank account. ‘Stayin’ Alive’ held the weight of Hollywood on its shoulders. Dear god, he just needed to write a good script. But how? Stallone closed his eyes and imagined the dance choreography. “I will help you,” a woman’s voice broke through his mind.
Since I am Canadian 🇨🇦🍁I was just able to watch the most recent episode. I have two things to say: 1) Yvonne Strahovski, Ann Dowd, and Elizabeth Moss all deserve Emmy’s for this episode. 2) That is EXACTLY how Canada would react. We’d be polite, give these totalitarian asshats the benefit of the doubt and try to work out differences through diplomacy. (Did you hear very faintly on the TV when Luke and Moira first noticed Waterford at the airport the news reporter on the TV is talking about how Canada’s economy has suffered from the loss of its biggest trading partner the USA since the change) But once irrefutable information makes its way to the populace we would kick their butts out so fast your head will spin. We may be the “polite northern neighbour” but as our PM Justin Trudeau recently mentioned we will not be pushed around or made to look ignorant. This was a REALLY accurate portrayal of Canadian diplomatic positioning.
2017.06.29 10:35 autotldrThe masterful TV adaptation of The Handmaid's Tale has a pressing urgency
This is the best tl;dr I could make, original reduced by 78%. (I'm a bot)
The Handmaid's Tale is one of the most eagerly anticipated drama series of the year. Australian actress Yvonne Strahovski plays the Commander's wife, Serena Joy. The tale of Offred, the handmaid of the title, unfolds in the former United States, which has become the Republic of Gilead. Once a mother with a loving partner, she's now a sex slave assigned to the Commander and she's been allocated a new name, a patronymic marking her as the possession of a powerful man: Of-Fred. In a key change, Serena is younger, not afflicted by arthritis and with a hint of Claire Underwood evident in her cool, blonde, ramrod-straight wife. "The series has also given Serena a back-story which suggests that, in spite of her status, she too has lost her voice and her power."I didn't want to be a character that you could easily hate," says Strahovski. "There were a lot of conversations with Bruce Miller about allowing Serena vulnerable moments, so that she's not just icy, even though she is icy a lot of the time. The notion of rejection kept coming up: she's no longer able to work, to read and write, or to connect to her husband intimately. That strips her of so much of her identity and, when you add infertility, it leaves her in a sad, bitter place."
I LOVED the ending. Here's the trick, though, I really consider the whole last 2/3 of ME3 to be the ending to the trilogy. I don't just consider the last "stage" to be the ending. I get why people were annoyed by the colors, but for me the deeper emotional connections far overshadowed any sacrifices made at the altar of the almighty budget (of course BioWare would've made 3 completely different endings if they could have...which quarter of the game would you cut to be able to afford it, though?).
The stuff that absolutely SLAYED me: - "Someone else would've gotten it wrong." - Grunt coming over the crest - "I bet you say that to all the guys that get you a homeworld." - "That's for Thane you son of a bitch." - "I just wish we had more time together." - The montage as Shepard falls.
I'm choking up just thinking about it. Could be because I'm so closely tied to the games, though...and that I've been up 30+ hours straight to get the campaign off the ground.
Re: things I'd change, I touched on that in this comment. Since you asked, though...hmmm...lemme think...
On Jacob's Loyalty mission in ME2, I managed to get the shuttle to fly directly between the sun and the camera, making for a cool silhouette moment. The skybox got shifted, though, and I lost the shot. Always wished we could've saved that (happened to late for us to be able to fix it). Is just a little thing, though.
It's funny how Mordin came out of nowhere. When I first saw him he just looked like another Scientist Salarian (;P). But as soon as we heard the voice work of the dialogue, and we decided on the direction for how we were going to introduce him, constantly moving around his lab with his attention drawn two ways at once, he instantly became a classic. Getting to put together that scene is definitely on top of my list. John Ebenger really brought him home, though, with the musical number and his ending.
I didn't work with Thane much at all. Think the only thing I did was the scene with his son. I am fond of the trick I made Shepard do; shooting the lamp next to his son to distract him enough to move in for a punch, and the shot of you kicking away the gun after. The idea for the lamp thing was so random. Gave me a smile.
Am proud of them all for different reasons, really. Mass Effect one because I survived my first game. ME2 because 96. Dragon Age because I got to do the endings. Star Wars cuz...Star Wars. Scribblenauts because it was my first foray into level and puzzle design. Halo 4 because I got to dig deeper into how Narrative Design works without cinematics.
ME2 for the combat and ME1 for exploring the uncharted worlds. I had some of my funnest moments searching for random stuff on all the different planets. Felt awesome when you'd barely make it up a complicated slope, round a corner, and find a big pyramid hiding behind the mountain. That sense that while you only had a general idea of where you were heading, that you'd eventually find something interesting is exactly what we're going for with Epoch: Return.
All game developers cringe to some degree when they see their final work. There's never as much time as you'd like to have had. So I've got a LOT of stuff I wish I'd done better. Examples in particular, though, would be your first conversations with the Illusive Man and Miranda on ME2. Illusive Man in particular had some pretty awesome shots (gawd, that art was fun to shoot, and hello, Martin Sheen) but those are the ones I feel I could've done so much more with if I'd known then what I know now. Failures are where you learn the most. I feel Illusive Man was pretty good, but should've been great, and the Miranda one just fell pretty flat. I had a good vision for the Miranda scene, but I just couldn't get it through the screen to the player.
That's the hard part is not just putting what's in your head on screen, but getting it into the player's head so they feel what you feel about the scene. I'm pretty proud of my work with her at the end of her Loyalty mission, though. I did the little part after the elevator, before she goes to talk to her sister, or decides to leave.
Sup Ryan. This is the Lead Artist for Epoch: Return, Ryan Gatts. I'll be peer-pressuring him into an AMA in the near future.
Morality/reputation meters, at least as far as my experience so far, is one of those damned if you do, damned if you don't situations. On the one hand you want to reward the player and give them clear feedback (if players don't get any sort of feedback from an action in a game, then there was no consequence to their action...which is one of the main points of games over other mediums is that you effect the world somehow), and on the other clear-cut and immediate moral outcomes aren't very realistic and thus can feel more gamey than genuine.
So what'ya do? I don't really know. I'm not sure it's been solved yet, at least not game-wide. If you got rid of the meters and immediate feedback, you'd need to find a way to be certain the player can make the connection between action and consequence. I have played games that forego the meters and let the consequences happen later on in the game, but they didn't clearly make the connection for the player to understand them.
I might take back the "no one's done it right" part, though. The Walking Dead: The Game has absolutely fantastic Narrative Design. "Still...not...bitten."
That right there is the problem. The consequences are very large. You choose who lives and who dies. How many people ever have to make a choice that consequential in real life? The problem is that gamers treat game assets as empty. Who cares whether person A or person B dies? A different dialogue isn't going to impress gamers. They want different levels, basically. As in Mass Effect 3. People complained the choices didn't mean anything. Are you kidding me? You could choose the fate of entire species'! But, the result is just some different dialogue so it doesn't mean anything. Now if you got some different level art, then they'd be satisfied. Problem is, it's not worth it to build art at the quality level a Mass Effect game demands if only 50% of the players are gonna see it. So those are some challenges you face in Narrative Design. I don't think BioWare can be blamed for not realizing ahead of time that part of the community would be so laisez-faire about choosing life or death for two entire species of life forms (Geth vs. Quarian, for example). That's not exactly common knowledge. Though it does support what I say about the plot not mattering. Kill off the Geth...meh /shrug. Kill off Tali...OH MY GOD!! Even fits real life. What's the addage about killing a few people, you're a murderer, but kill a few thousand you're a conquerer.
I like Jack a bit, but it's definitely different. Miranda intimidates with confidence and excellence, where as Jack threatens you with physical harm. I loved Jack's level in ME3, though. Felt like she'd really started to come around and become a positive member of society without losing her edge.
Ouch. One thing I have to say about Miranda: Yvonne Strahovski really impressed me with her VO. I'm sure she was hired to get a name with good looks, and my bias before working with the VO reflected that, but once I got to working with her stuff, I really dug it. I'm not quite sure her voice fit Miranda's profile of the "perfect" human as well as her looks did, as I might imagine someone with a bit more timbre, like Renee Russo, but she did great, acting-wise.
If I had a Needler to my head, I'd probably go with the jungle level. It definitely felt to me like they stepped the most outside the usual Halo level design. It felt very cramped and organic. Was a great example of how the level art supports the narrative of being a little bit lost. Plus you meet Commander Palmer (played by Jennifer Hale...who I've gotten to work with FIVE times!), drive a tank AND a mech. What else ya need?
Well my sci-fi geekiness started with Star Wars so that'd have to be one. Probably the first movie to show me that anything I imagine could be put to screen.
The game that made me a gamer was Metroid. The open exploration sucked me right in. I didn't even find any of the bosses for a very long time. I just liked exploring. Plus I've grew up around lots of strong women, so when Samus took her helmet off, it got me started off on the right foot. Yeah women are under-represented among heroes in games, but when only the second game I've really ever played (after Super Mario) has a heroine, now I'm a young kid who thinks bad-ass female protagonists is a normal thing.
I'm gonna cheat and do a double, but the original Ninja Gaiden, and then later the first trailer for Halo, both showed me just how much overlap there was between film, TV, and games when it came to how you can evoke emotion in the audience.
I'd say the combination of those three examples is what kept me so invested in gaming that I eventually ended up doing it as a career.
Honestly, I don't even remember that ever being discussed (that's far from proving it's not true. My job was to help tell the story, not help write it). I always remember it as being Cerberus. Maybe there's some details that just got cut because they were nothing more than backstory? I'm just guessing.
Nothing rang any bells. But things get cut all the time, so there could certainly be some missed connections or artifacts. A big part of making games is using what you're stuck with when you don't have the budget to fix things perfectly.
I spent a lot of time on Spartan Ops. I learned a lot. Multiplayer-based story progression almost never attempted (Star Wars: tOR and Defiance being the only ones that come to mind), and there's good reason for that. I would love to give it another shot someday, though. I think it can work. You've just gotta know exactly what you wanna do from the very start and immerse the narrative in all aspects of the design. No one's gotten to that point yet. Just gimme a few million bucks and I'll do it w/Epoch.
2) I'll re-iterate that I would love to do a Buffy-verse game with Volition. Other than that, though, I kind of enjoy playing my favorite franchises more than I want to work on them. Most the time, when I want to work on something it's because I want to fix it. My favorite franchises, though, are good just how they are. Sometimes I do pine for going back to the Mass Effect or Dragon Age universes, but I've got my own universe to worry about now. Plug time again
Well to tell the truth, other than with Return, I haven't really been very involved in the overall design of the games I've worked on. The design has been laid out before I get there, and it's my job to help immerse the players in the design, whatever that may be.
And I just try to learn from anything that does a great job. The Walking Dead game, Inception, Prince, Michael Jordan...whatever. If you observe the work of the very best people, you'll always learn something you can apply to your own, even if it's from a source you'd never think of being related.
The usual way. Basketball gets me into an east coast college. Start out in Economics. Switch to Chinese studies. Live in China a while. Say "screw it, I'm gonna go make movies" and move to NYC. There I got into machinima, which led to me getting brought on at BioWare. Basically, Ken Thain, a fellow machinima artist, gave me my first, of several, big breaks in the industry. I'm extremely lucky, though I also understand how one makes their own luck, as well.
And kudos for the first Dragon Age question. That's a lot of characters to try to remember. But for some reason Carroll came to mind. He could answer all three questions, really. He turned out better than planned, because he's just a travel button, basically, but the VO was so good I couldn't not put some extra time into him. But if I had had more time, he could've been even better. I probably would've put more work into timing all his little pose and facial switches better.
Epoch: Return is what I'm working on now. Some Seattle Indie devs and I are making a concept I've been working on for a while. The gameplay is built around exploration to find crashed ships to salvage parts and fuel from, and the narrative is built around your relationship with your pilot, who's also your business partner and wife. You're marooned on an alien planet, so you've got lots of time to talk and keep each other company. There's lots of game series and studios I'd love to work with. Picking one, I LOVE Saints Row 3 and 4. Those games' Cinematic Design is vastly underrated, and the gameplay is phenomenal. The whole design perfectly rides the line between not taking yourself seriously and treating yourself as a joke. If I had to pick something other than what I'm already working on right now, I'd probably make a game set in the Buffy-verse with Volition.
Hmmm. I've never really thought about that balance, but I think I know what you're getting at. You're right that they didn't turn out to be quite as big a problem as feared. Otherwise there wouldn't have been any battle, right? That's problem with building an omnipotent enemy. When you do eventually beat 'em, kinda deflates the victory. BUT, the thing that is right about their perhaps lack of spotlight is that the focus was maintained on the characters. Honestly I don't even remember any details that aren't tied directly to a character's arc. That's one thing BioWare does as well as anyone and better than most is that they know that character is king. How could a story about a blonde cheerleader that kills vampires possibly be one of the best TV shows ever? Because the characters were king. The silly high school and vampires thing was just the setting and rocks that got thrown at the characters' that they had to either dodge, catch, or take the hit and bounce back from. A common thread between what's considered "bad" stories are that they create a plot, and design the characters to fit the plot they want. It needs to be the other way around. You need to create your characters and make them real people that we can relate to (not necessarily human people), and then create a good plot to challenge them with.
I think I remember it bugging me, but I quickly adjusted. I never read or heard anything about any reasons. Maybe because they felt they had enough of a handle on the Unreal engine that they no longer needed to soften it? I'm totally guessing.
I think I'm so over-exposed to all the little quirks of the games' rendering engines that I often look right past that stuff.
Don't. Play games. Enjoy them. Game development is hard as shit. You're underpaid, over-worked, and you sit at a desk all day. And 90+% of them never get to work on a great game, much less several.
If you're only thinking about it, try modding. See if you like it, and it'd help you figure out what discipline you want to do. Or you could go to school for skills like programming and digital art that apply to all kinds of careers in addition to games, so that you've got options.
Working at BioWare gets you used to passionate fans...eventually - I'm living on Queen Anne in Seattle and making my own videogame...so life doesn't exactly suck - I've been up for a looong time and everything's just kinda bouncin' off me.
I have no idea, sorry. The only thing that comes to mind is that that could make for one incredibly expensive cinematic. The nice thing about holes like that is someday a writer that works on Halo is gonna determine the details and use them for a piece and get to be the one that makes people like you, that want all the details, happy.
Manufacturing physical copies of games is a whole level of production for which there is no real infrastructure available that is cost-effective for a game of this size and budget. T-shirts, soundtracks, etc., are much more do-able.
I'm sure the artists responsible for creating that sense of scale would say to thank you kindly. They really were awesome. I was most impressed by how they managed to make ME2 look better AND run better, just by applying what they learned in ME1 about optimization.
Well, H4 turned out pretty darn good. Was pretty shocked that could be pulled off with a new studio. There was a couple things I designed that didn't make the final game because I had to work on other parts of the game. A couple cool little "sound stories," as I called them. The advantage of them not making the game, though, is that now I get to use them in my game. I won't completely spoil it, but it has to do with the difference in speed of sound and radiowaves, and hearing the same sound from two sources. What kind of effect do you imagine that'd have? Hmmm...;P.
I'd add Blood Gulch. I'm a traditionalist when it comes to Halo.
Can't really comment on something as non-specific as "what went wrong?" I have no idea what you didn't like. Also, there's a 0.0001% chance I had anything to do with the decision you may be referring to. In my studio days, I dealt with the consequences of decisions more than I made them ;)
Last updated: 2014-03-17 08:48 UTC This post was generated by a robot! Send all complaints to epsy.
Synopsis Since geeky Chuck accidentally became the mental host of the Intersect, an unprecedentedly powerful computer mind containing all information available to the US government, he's a primordial national security asset and risk. So CIA and NSA each appoint a top agent to guard Chuck, and often get involved with him in spy adventures. Meanwhile his identity must be kept secret from Chuck's sister, her perfect partner Devon, both surgeons, and Chuck's goofy colleagues in Buy More, the Burbank mall where he works as a cover. Chuck isn’t actually a movie, it’s a television series that just recently ended. Why? Due to recent financial issues that have come up in my life, I was forced to temporarily suspend my television service through Dish Network. One of my best friends, co-workers, was nice enough to let me borrow the complete series so that I can at least emulate the whole sitting on the couch and watching TV feeling after a long day at the office. I just finished watching Season 1 and let me tell you, I am hooked on this show. Not only does it contain your suspense/action affiliated with various governmental agencies, but it includes pop cultural references, kick you in the face humor, and lovable characters. As you watch the series, you begin to understand what is going on with each of the characters and eventually become so enveloped in the story that (for me at least) when something goes wrong, you feel for that specific character. [WOW! That was broad, I’m trying to not post specifics because I actually want someone to watch this without me ruining it lol] Availability There are a total of 5 seasons to this series, available on both DVD and Blu-ray. Unfortunately there aren’t any Complete Box Sets released yet, but it is still a worthwhile pickup. Season 1 DVD Season 2 DVD Season 3 DVD Season 4 DVD Season 5 DVD Season 1 BD Season 2 BD Season 3 BD Season 4 BD Season 5 BD Cast/Main Characters Zachary Levi – Chuck Bartowski Yvonne Strahovski – Sarah Walker Joshua Gomez – Morgan Grimes Adam Baldwin – John Casey Promo/Advertisements NBC Full Promo
Yvonne Strahovski: NO+Zack and Josh imitate it :))
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