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发布时间:2020-02-17 03:21:03
Serial: Maryland Court of Appeals to Rule on Adnan Syed Appeal TodayCorrection appended Serial may have ended in December, but the appeals process for Adnan Syed, the man at the center of the popular podcast, continues. A Maryland appeals court is considering whether Syed should be given permission to move forward his bid to overturn his murder conviction, and has asked the state to re

spond to the application by Wednesday. The Maryland Court of Special Appeals will decide whether Syed can appeal the denial, by Baltimores circuit court, of his request for post-conviction relief, which might allow new evidence to be introduced. The appeals court will decide on his application after it reviews the states response, it said on Tuesday. Syed was convicted for the murder of his ex-girlfriend Hae Min Lee when the two were in high school. He has spent the last 15 years in prison serving a life sentence. The Seri

al podcast that explored whether there had been enough evidence to convict Syed had a popular following and even inspired the Innocence Project to take on his case. Related Stories 

Entertainment The 50 Best Podcasts to Listen to Right Now      Entertainment The 10 Best Podcasts of 2019 Marylands appellate courts will rule on whether the judge in Adnans bid for post-conviction relief properly followed the law and legal precedent, according to a press release. No oral arguments will be heard before the court makes its decision. Regardless of todays outcome, Deirdre Enright from the Innocence Project told TIME that she plans to file a motion for DNA testing for never-tested physical evidence in the case. Depending on the results, the DNA evidence could be exculpatory. Correction: The article originally misstated when the Maryland Court of Special Appeals court was likely to decide on Syeds application. The court has not issued a timeline for the review process. Read next: The Innocence Project Tells Serial Fans What Might Happen Next Get The Brief. Sign up to receive the top stories you need to know right now.   Thank you! For your security, we've sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don't get the confirmation within 10 minutes, please check your spam folder. Listen to the most important stories of the day. The Most Controversial Films of All Time The Interview, 2014 The James Franco-Seth Rogen movie hadn’t even been released when it made its greatest impact. The Interview, about two Americans on a mission to kill Kim Jong-un, has sparked conversations about the tastefulness -- or not -- of depicting the killing of a foreign head of state. But it also is widely seen as having sparked the Sony hacking scandal, as the hackers, known as the Guardians of Peace, have urged Sony not to release the film. The ripple effect of the email hack saw off-color remarks about Angelina Jolie, Aaron Sorkin, and President Obama between Sony executives go public. Columbia

Birth of a Nation, 1915 Birth of a Nation is held in high esteem as one of the most ambitious and innovative early films. It has also, in the near-century since its release, been derided for its use of blackface to depict black men as sexually rapacious and its characterization of the KKK as heroes. Is it possible to admire a film’s technical excellence while acknowledging that its content is deeply offensive? Many film scholars, who point to Birth of a Nation as part of the foundation of modern film, believe so. Hulton Archive/Getty Images

The Great Dictator, 1940 Charlie Chaplin’s lampooning of Hitler came before the U.S. was necessarily ready to hear it -- the country hadn’t yet entered World War II yet. The Great Dictator was controversial both for its advancement of anti-Hitler rhetoric and, at the same time, its turning Hitler into a figure of comedy.  United Artists/Getty Images The Lost Weekend, 1945 Billy Wilder’s frank depiction of alcoholism, anchored with a

tragic performance from Ray Milland, wa

s startling for its time. Though it won several Oscars and the Palme d’Or, it had been, before its release, far from a sure thing. The success of The Lost Weekend allowed for fuller depictions of social issues on film, even though it could be uncomfortable. Paramount/Getty Images  

Lolita, 1962 This film was perhaps the first of director Stanley Kubrick’s to directly court controversy; the poster famously asked “How did they ever make a movie of Lolita?” and the question was very much worth asking. Lolita, the novel, is a strange and surreal look at an older man’s obsession with “nymphets,” or young girls; the film manages to carry across the same subject matter, though Lolita herself was aged up to avoid outright banning. MGM/Getty Images Bonnie and Clyde, 1967 Arthur Penn’s depiction of the short, glamorous lives of two bank robbers kicked off the New Hollywood era and scandalized audiences with its over-the-top violence. Bonnie and Clyde made its subjects look like, well, movie stars -- and then killed them in a brutal, seemingly endless hail of gunfire. Silver Screen Collection/Getty Images  

A Clockwork Orange, 1971 Stanley Kubrick’s adaptation of Anthony Burgess’s dystopian drama features shocking sex and violence, to the degree that the film was restricted within the U.K. for decades. Its central notion, of behavioral therapy as a force for evil, has also provoked debate since the film’s release. Michael Ochs Archives/Getty Images Kramer vs. Kramer, 1979 This domestic drama, starring Dustin Hoffman and Meryl Streep as a couple whose marriage ends, was upfront about the challenges of raising children and the degree to which married life could be fundamentally unsatisfying. Columbia/Getty Images  Basic Instinct, 1992 This film made Sharon Stone, for a brief time, one of the most compelling movie stars on Earth. Her role as the voracious novelist and serial killer Catherine Tramell outraged gay audiences who viewed her as a homophobic stereotype, and spooked some men who were unaccustomed to Stone’s forthright sexuality. Either way, no one could stop talking about Catherine, or about Stone. TriStar/Getty Images

 Eyes Wide Shut, 1999 Stanley Kubrick’s final film was perfectly in keeping with his careerlon

g interest in provocation. Eyes Wide Shut depicts a seamy New York underworld in which just about everyone is looking for sex, power, or both. Though the film’s graphic sexuality (including a scene at an orgy) was shocking, it was its depiction of the act of love as a transaction that really unsettled audiences. Warner Brothers/Getty Images 

Requiem for a Dream, 2000 Darren Aronofsky’s breakthrough film, based on the work of Hubert Selby, Jr., was unabashed in its depiction of drugs’ effects. Each of the four principal characters suffers, brutally, for his or her addiction, culminating in one character’s psychotic break, another’s amputated arm, and a third’s descent into prostitution. The film’s miserabilist outlook, graphic sex, and body-horror imagery are as effective an antidrug campaign as exists. Artisan Entertainment  Fahrenheit 9/11, 2004 The 2004 presidential election was ugly to an unprecedented degree, with attacks on John Kerry’s service from the right’s Swift Boat Veterans for truth and this documentary-length Molotov cocktail tossed at George W. Bush from director Michael Moore. Moore, who’d previously been booed at the 2003 Oscars

for an anti-Bush speech, mixed together insinuations about voter fraud in Florida and ties between the Bush and bin Laden families into an antiwar statement. In its sheer provocation and palpable anger, it was the perfect film for its polarized time; the fact that it was received very differently by audiences of different political persuasions seemed somehow apt. Lionsgate  The Passion of the Christ, 2004 This film, depicting the torture and eventual death of Jesus, was one of the biggest hits of all time. But it hadn’t necessarily had a clear path to acclaim; pre-release, the film was pilloried for perceived anti-Semitism. As audiences flocked over the weeks preceding Easter, some criticized director Mel Gibson for an excessively violent and sadistic vision of Jesus’s death. Newmarket  Borat, 2006 Sacha Baron Cohen’s depiction of a Kazakh immigrant interacting with real people stateside showed America in a terrible light; it was hilarious, painful viewing. But for months after the film’s release, questions over just how fair Borat had been to its participants persist

ed. And Baron Cohen’s career continued to push boundaries of taste, with subsequent movies lampooning gay men (Bruno) and Sub-Saharan African heads of state (The Dictator). 20th Century Fox  1 of 14 Advertisement Write to Eliana Dockterman at eliana.dockterman@time.com.