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潍坊恒信建设集团2023年上半年向宽大购房者高品质交付近300万平，硬核交付实力备受瞩目。

吴景辉： 2025-08-22 04:14:25

在 21年履历了大规模的芯片欠缺之后，差别终端市场的需求正；翱獯娴鹘饨谧啾４娌畋

廖材河： 2025-08-22 04:15:12

8月23日，古越龍山(7.670, -0.08, -1.03%)舉行2024年半年度業績說明會

钟芭·拉希莉： 2025-08-22 04:14:31

位元堂公司簡介：位元堂藥業控股有限公司是一家主要從事藥品生產及銷售業務的中國香港投資控股公司

吉德·玛尔。 2025-08-22 04:15:00

　　目今，君正集团仍是天弘基金第三大股东，持股15.6% ；蚂蚁集团为天弘基金第一大股东，持股51%

王昊男： 2025-08-22 04:14:28

Bryan Cranston brings his Tony interpretation of President Lyndon B. Johnson to television on Saturday night in an adaptation of the Robert Schenkkan play “All the Way,” and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Mr. Cranston to work the and liberating him from the confines of a theater set. In his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it. Mr. Schenkkan adapted his own play (which also won a Tony) for HBO, and he and the director, Jay Roach, have quickened the pace a bit. The slice of history, though, remains the same: Johnson’s pivotal first year in office, from his swearing in after John F. Kennedy’s assassination through his 1964 campaign for election to a full term. The first half of the film, its most compelling stretch, focuses on Johnson’s wheeling and dealing to get the Civil Rights Act of 1964 passed. Other prominent figures of the era are manipulated by this master of political hardball: senators like Hubert H. Humphrey (Bradley Whitford) and Richard B. Russell Jr. (Frank Langella) J. Edgar Hoover (Stephen Root) the Rev. Dr. Martin Luther King Jr. (Anthony Mackie). Some, especially King and other black leaders, are quite good at manipulation themselves. Given all we hear about the current climate in Washington, “All the Way” is enough to make you misty for the days when in the interest of securing significant achievements was what national politicians did. Not that the film gilds this era. We hear some of the actual arguments used to oppose civil rights legislation (sometimes via archival clips of George Wallace and others) and they’re mighty ugly. Is the verbiage today any different? The film invites us to make the comparison. Halfway through, Mr. Schenkkan turns his attention to the presidential campaign of 1964, with Johnson showing signs of paranoia about his Republican opponent, Barry Goldwater, and about the possibility of a challenge from Robert F. Kennedy. The details of the story grow a bit technical — a tussle over the seating of black delegates at the Democratic convention takes up a lot of time — but Mr. Cranston keeps it watchable with a performance that grows ever more fervent but never goes over the top. [See our NYT Watching picks for what else you should watch this weekend] The main obstacle in turning the play into TV fare is that “All the Way” has considerably more competition on television than in the theater. Muscular political drama is an entire genre on the small screen, whether it’s made up (“The West Wing” and all its thematic offspring) or based on historical events (“Game Change” and “Recount,” both of which Mr. Roach also directed for HBO). There’s a sameness to a lot of these offerings: the lurching from one crisis to the next the brusque, pithy exchanges that rarely last more than a few sentences the cursory attention to secondary characters. (Lady Bird Johnson, the first lady, played by Melissa Leo, is the most noticeable casualty in “All the Way. ”) Also sapping power from this film is that we’re only a few years removed from the orgy of coverage of the watershed events of 1963 and ’64. With those caveats, “All the Way” is still solid historical drama, and Mr. Cranston’s performance is a gem.