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《小镇疑云》，BBC America，3月4日播出。大卫·田纳特(David Tennant)携第二季归来，在这部引人共鸣的英国推理剧中继续饰演亚力克·哈迪(Alec Hardy)探员（去年他在美国翻拍版的《小镇疑云》[Gracepoint]中饰演埃米特·卡弗探员）。这部剧将于周一在英国首映，制作人们已经开始谈起第二季的秘密情节了，编剧克里斯·齐布纳尔(Chris Chibnall)在接受英国杂志采访时说的话可能会让剧迷不爱听，“第二季不是讲罪案的。”奥莉薇娅·科尔曼(Olivia Colman)继续饰演艾丽·米勒(Ellie Miller)探员，夏洛特·兰普林(Charlotte Rampling)和玛丽安娜·琼-巴普迪斯特(Marianne Jean-Baptiste)也加入了演员阵容。
Remedy: The tricky aspect of this regret is that it’s typically rooted in hindsight. Only after you’ve left the job and have moved on to something better, do you start beating yourself up for not making the leap sooner, even if it hadn’t been practical or possible. What you can do is to identify the factors that kept you in your former position as red flags to be aware of in the future and work to line up supports that will allow you to more quickly capitalize on other opportunities as they may present themselves. This could include reviewing and updating your resume with new accomplishments on a monthly or quarterly basis, keeping your LinkedIn account current, building up a contingency fund to allow you to feel less tethered to your current pay check and staying in the loop on industry news and gossip to be aware of where your skills and experience could be of value.
My grandmother’s favorite poem was Invictus by William Ernest Henley. My father hung a copy of it on our kitchen wall, so I grew up reading it every day: “I am the master of my fate; I am the captain of my soul.” I think the best advice I can give anyone – especially someone just starting out in business – is to embrace your role as master of your own fate. Recognize opportunities when they arise and get comfortable saying “Yes.”
Real teenagers are no doubt approximately as inexperienced and unsure as they have always been, and many wisely avoid the emotional and physical dangers of early sex, but in the movies the kids make the adults look backward. Teenagers used to go to the movies to see adults making love. Now adults go to the movies to see teenagers making love. I get letters from readers complaining that Clint Eastwood or Sean Connery are too old for steamy scenes, but never a word from anyone who thinks the kids played by Christina Ricci or Reese Witherspoon are too young.
"American Pie" comes in the middle of a summer when moviegoers have been reeling at the level of sexuality, vulgarity, obscenity and gross depravity in movies aimed at teenagers (and despite their R ratings, these movies obviously have kids under 17 in their cross-hairs). Consider that until a few years ago semen and other secretions and extrusions dare not speak their names in the movies. Then "There's Something About Mary" came along with its hair-gel joke. Very funny. Then came "北京：进一步加强公租房转租转借管理政策," with its extra ingredient in the coffee. Then "South Park," an anthology of cheerful scatology. Now "American Pie," where semen has moved right onto the menu, not only as a drink additive but also as filling for a pie that is baked by the hero's mom. How long will it be before the money shot moves from porn to PG-13? I say this not because I am shocked, but because I am a sociological observer, and want to record that the summer of 1999 was the season when Hollywood's last standards of taste fell. Nothing is too gross for the new comedies. Grossness is the point. While newspapers and broadcast television continue to enforce certain standards of language and decorum, kids are going to movies that would make longshoremen blush. These movies don't merely contain terms I can't print in the paper--they contain terms I can't even describe in other words.
I rise to the challenge. I seek an underlying comic principle to apply. I find one. I discover that gross-out gags are not funny when their only purpose is to gross us out, but they can be funny when they emerge unwittingly from the action. It is not funny, for example, for a character to drink a beer that has something in it that is not beer. But it is funny in "There's Something About Mary" when the Ben Stiller character discovers he has the same substance dangling from his ear, and Cameron Diaz mistakes it for hair gel.
It is funny because the characters aren't in on the joke. They are embarrassed. We share their embarrassment and, being human, find it funny. If Stiller were to greet Diaz knowing what was on his ear, that would not be funny. Humor happens when characters are victims, not when they are perpetrators. Humor is generated not by content but by context, which is why "Big Daddy" isn't funny. It's not funny because the Adam Sandler characters knows what he is doing, and wants to be doing it.
James Bond Themes 1. "Goldfinger" by Shirley Bassey
When you are at work, you are supposed to be productive. Otherwise, it's a waste of your time and the company's money. If you are bored and surfing the web most of your work day, you may want to think about looking into job options where you'll get more stimulation and responsibilities.
The film is in the tradition of "Fast Times at Ridgemont High," "红木行业回暖 市场投资仍需谨慎," and all the more recent teen sex comedies. It is not inspired, but it's cheerful and hard-working and sometimes funny, and--here's the important thing--it's not mean. Its characters are sort of sweet and lovable. As I swim through the summer tide of vulgarity, I find that's what I'm looking for: Movies that at least feel affection for their characters. Raunchy is OK. Cruel is not.