關於 second home hollywood ，我們在網路上蒐集到這些相關的討論、資訊與評價

Singapore’s leading media entertainment and content company MM2 Entertainment Singapore is delighted to announce the release dates for a slate of Singapore films for 2020 and 2021.

“We are extremely excited to share this slate of Singapore-made movies, including the first local film to release in 2020. It has not been a good year for Singapore moviegoers, with the pandemic causing havoc to the releases to Hollywood and Asian movies. Every year there is a steady stream of new Singapore movies released in cinemas. This year, however, due to the pandemic and the circuit breaker, there has not been any local releases to date. We are therefore proud to be releasing this slate of Singapore films, for Singaporeans,” says Mr Ng Say Yong, Chief Content Officer of mm2 Asia.

“These films are uplifting stories that are certain to entertain moviegoers, and very relevant to our times. It is especially important in this time when we need to be socially distant, that we are still able to connect with the community through the shared cinematic experience. Laughing together, crying together - the group effect of watching a film together in a theatre: that is what cannot be replicated at home or on a mobile screen,” he continues.

Number 1 will be the first Singapore film to be released in 2020. The film portrays a man who gets retrenched and must take on an unorthodox job as a means of survival. The movie will resonate with moviegoers, in this current climate where the local jobless rate is the highest in more than a decade. Local funnyman Mark Lee delivers a career-defining performance in the challenging role of the film’s lead; and has been nominated for top acting honours at this year’s Golden Horse Awards in November.

Additionally, mm2 has announced an exciting slate of local films scheduled for release up to June 2021. The list of films includes comedies, dramas, horrors and thrillers - offering a wide variety of cinematic options guaranteed to please even the most discerning movie lover. Included in the list are Jack Neo’s The Diam Diam Era 1 & 2 slated for the year-end school holidays and Chinese New Year respectively, as well as Mark Lee’s directorial debut Running Ghost.

mm2 Entertainment October 2020 – June 2021 SG Film Releases

Number 1《男儿王》
Release Date 22nd October 2020
*2 Golden Horse Awards nominations*
Best Actor (Mark LEE)
Best Makeup and Costume Design (Raymond KUEK, Azni SAMDIN)
Number 1 is a heart-warming musical family comedy that follows the story of Chow Chee Beng, a middle-aged white collar manager retrenched by his company. After many failed interviews, Chee Beng unwillingly takes a job as a manager at ‘Number One’, a popular drag club. Soon, Chee Beng is roped into dressing up to join the drag queens on stage. And to everyone’s surprise, Chee Beng is a natural drag queen and his performance wows the audiences!
Starring Mark LEE, Henry THIA, Jasper LAI |
Directed by ONG Kuo Sin
Distributed by mm2 and Cathay Cineplexes


The Diam Diam Era《我们的故事之沉默的年代》
Release Date End November 2020 (TBC)
The story of the Lim family from Long Long Time Ago 《我们的故事》continues in this two-part film series. Conflict grows between Ah Kun and his nephew Shun Fa. Themes of a generation gap between those born in the 1950s and the following generation are explored in their varying reactions to nation-building policies implemented from the 1980s to the present day.
Starring Mark LEE, Henry THIA, Suhaimi YUSOF |
Directed by Jack NEO
Distributed by Golden Village Pictures, Shaw Organisation, J Team, mm2, and Cathay Cineplexes


Precious Is The Night《今宵多珍重》
Release Date 10th December 2020
*2 Golden Horse Awards nominations*
Best Cinematography (Wayne PENG)
Best Makeup and Costume Design (LIM Sau-hoong)
Precious Is The Night is a thriller set in 1960’s Singapore. The film stars internet sensation model-photographer Chuando Tan 陈传多 as a 30-something doctor caught in a web of deceit, sex and lies. The murder drama revolves around the doctor who is engaged to make house calls to a mysterious wealthy family.
Starring Chuando TAN, Nanyeli, CHANG Tzulei, XIANG Yun, CHEN Yixin, TAY Ping Hui
Directed by Wayne PENG 彭文淳
Distributed by mm2 and Cathay Cineplexes


The Diam Diam Era Too《我们的故事之沉默的年代2》
Release Date CNY 2021 (TBC)
Following events in The Diam Diam Era, the story of the Lim family continues…
Starring Mark LEE, Henry THIA, Suhaimi YUSOF |
Directed by Jack NEO
Distributed by Golden Village Pictures, Shaw Organisation, J Team, mm2, and Cathay Cineplexes

Running Ghost 《翻身争霸战》
Releases Q1 2021
A timid man finds himself in the afterlife. To win a second chance at life, he must be the winner in the underworld’s reality game show: Running Ghost.
Starring WONG You-nam, Cecilia SO |
Directed by Mark LEE.


Hell Hole《鬼地方》
Releases Q1 2021
A loving mother makes a death pact with a spirit by sacrificing her life to save her child. Years later, he grows up and is bullied whilst studying in medical school, resulting in his death. Reunited in death as vengeful spirits, mother and son open up a hell hole to those who had wronged them.
Starring Justin Cheung, Jennifer Yu |
Directed by Sam LOH

Ibu
Releases Q1 2021
A woman who loses her husband in a tragic accident tries to bond with her teenaged stepdaughter to no avail. Eventually her stepdaughter’s loneliness and longing for a motherly figure attracts the attention of a deadly Pontianak, the spirit of a woman who died in childbirth. Now she must show what it takes to be a mother and protector before she loses her stepdaughter forever.
Starring Alicia Amin, Nur Sabrina |
Directed by Raihan Halim.

Shadows 《残影空间》
Releases Q2 2021
A psychiatrist who possesses the ability to enter the subconscious mind must look into her traumatic past and overcome her inner demons in order to stop a serial killer on the loose.
Starring Stephy Tang, Tse Kwan-ho, Philip Keung |
Directed by Glenn Chan


Fatekeepers 《风水灵灵灵》
Releases Q2 2021
5 chosen individuals holding the secret to Singapore’s mysterious Feng Shui formation must unite and fulfil their destiny of defending it with their lives
Starring Richie KOH, Julie TAN, Noah YAP, Andie CHEN | Directed by Daniel Yam.


Circle Line《生死环线》
Releases Q2 2021
Trapped in the underground train tunnel system, a single mother’s resolve to protect her son is tested to the extreme as both of them are the few remaining survivors of an attack by a monster. Meanwhile in the control room, duty engineers fight desperately to rescue the trapped survivors.
Starring Jessica LIU, Peter YU, Andie CHEN |
Directed by JD CHUA

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

Just gotten my second master degree transcript =)
Just one more post master degree to go for this year =)
Well is worth it to let go everything back home n to start from the bottom as a student again in overseas to build my international music career !
It's scary n hard but it's worth it esp to be able to get into the Hollywood Top 1 Music School @berkleecollege and to receive scholarship to continue my Post Master Degree Fellowship ! Most importantly I am surrounded with top talented and high educated students , Grammy & Latin Grammy award winning teachers & Staff ! This is #myberkleestory
& #InwinccibleJourney !

#berklee

(You can view original content in English from : https://www.archdaily.com/928819/second-home-hollywood-office-selgascano)

++ Ep. 43 พาไปดูกลุ่มก้อนวงรีสีเหลืองๆ กว่า 60 วงนี้ที่อยู่ใน Los Angeles
ลองเดากันดูว่ามันคืออะไร พิพิธภัณฑ์ไดโนเสาร์ ห้องสมุด สวนสนุก ร้านอาหาร ฯลฯ
ที่นี่มีชื่อว่า Second Home Hollywood ออกแบบโดยสถาปนิก Selgascano จากสเปน ... อ่ะ กดไปดูเฉลยกันเลยละกัน ++

แอบบอก-ออกแบบ รายการที่เราจะอัพเดทเรื่องราวของงานออกแบบ ทุกรูปแบบ แบบไม่มีรูปแบบ โดยจะมาแบบสั้นๆ แต่จัดเต็ม เล่าให้ฟังแบบหนุกๆ ...

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#gapthanavate #แอบบอกออกแบบ #secondhomehollywood #selgascano #officecampus #coworkingspace #architecture #losangeles

Phê Phim News: AQUAMAN VƯỢT 1 TỶ ĐÔ | Trailer SPIDER-MAN FAR FROM HOME | PHIM BLACK WIDOW mác R?

Chào mừng các bạn đến với Phê Phim News, nơi mà mình nói về những tin tức thú vị nhất trong thế giới điện ảnh tuần vừa rồi. Video hôm nay ngày 15/01 sẽ có những nội dung chính như sau:
______

1. Cô gái bí ẩn photobomb sao Hollywood tại Quả Cầu Vàng
-https://edition.cnn.com/2019/01/07/entertainment/fiji-water-golden-globe-scli-intl/index.html-https://twitter.com/enews/status/1082065444834426880?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1082065444834426880&ref_url=http%3A%2F%2Ffortune.com%2F2019%2F01%2F07%2Fgolden-globes-fiji-water-girl%2F
-https://twitter.com/MeaganHarrell/status/1082094975444271110
-https://www.instagram.com/kellethcuthbert/?hl=en
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2. Update về SAH
-Black Widow: https://twitter.com/CharlesMurphTHS/status/1084154932419272704?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1084154932419272704&ref_url=https%3A%2F%2Fwww.cinemablend.com%2Fnews%2F2465044%2Fcould-black-widow-be-rated-r-marvel-rumored-to-be-considering-it
-Spider-Man: Far From Home: https://superbromovies.com/2019/01/12/exclusive-date-for-spider-man-far-from-home-trailer-revealed/
-The Lego Movie 2: https://www.flickeringmyth.com/2019/01/gal-gadot-to-voice-wonder-woman-in-the-lego-movie-2-the-second-part/
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Điểm tin
-Hobbs & Shaw tung ảnh mới lộ 3 diễn viên chính
https://www.instagram.com/p/Bsj5NIXhTJq/
-Đạo diễn “3 Idiots” dính cáo buộc xâm hại tình dục
https://variety.com/2019/film/asia/3-idiots-director-rajkumar-hirani-sexual-harassment-accusation-1203106619/
-Final Destination được reboot
https://www.hollywoodreporter.com/heat-vision/final-destination-reboot-works-saw-writers-1175489
-Thử thách Bird Box gây tai nạn ô tô
https://twitter.com/laytonpolice/status/1083767946814447616?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1083767946814447616&ref_url=https%3A%2F%2Fwww.cbsnews.com%2Fnews%2Fbird-box-challange-utah-who-crashed-car-while-driving-blindfolded-was-doing-challenge-netflix-movie%2F
-Game of thrones season 8 - Teaser Trailer
https://www.youtube.com/watch?v=wA38GCX4Tb0
______

3. Aquaman vượt 1 tỷ đô doanh thu toàn cầu
-https://www.boxofficemojo.com/movies/?id=dcfilm0617.htm
-https://www.forbes.com/sites/scottmendelson/2019/01/12/aquaman-jason-momoa-amber-heard-james-wan-dc-films-box-office-avengers-dark-knight/

Bảng xếp hạng phim
-Bắc Mỹ: https://www.boxofficemojo.com/weekend/chart/?yr=2019&wknd=02&p=.htm
-Việt Nam: https://boxofficevietnam.com/#1543824640456-16ae0ab0-64e8

Kịch bản: Trang, Vũ Samus, Hoài Xoài, Linh Snake
Editor: Nhân

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