雅思阅读成绩的需要同学们从平日一点一滴做起，大量的阅读就会培养你答题的感觉、读的感觉。要想在考场有限的时间内取得较高的分数，就需要在平时的复习过程中进行大量的阅读，进而自己的做题速度。以下是北京新航道雅思小编为大家搜集的雅思阅读材料，同学们快来跟着我们每天一起坚持阅读吧!

　　北京时间8月26日，第66届美国黄金时段电视艾美奖逐一颁出。《绝命毒师》再度发威，剧情类男主角由布莱恩·科兰斯顿获得，而视后则是《傲骨贤妻》朱丽安娜·玛格丽丝。《绝命毒师》（Breaking Bad）至今共获得58项艾美提名，今年获得16项，也拿下了含金量最重的五个大奖。《绝命毒师》依旧威力不减，最终视帝仍被布莱恩·科兰斯顿夺得。而有“好媳妇”美名的朱丽安娜·玛格丽丝获得剧情类视后。部分获奖名单：剧情类剧集 《绝命毒师》、剧情类女主角 朱丽安娜·玛格丽丝《傲骨贤妻》、剧情类男主角 布莱恩·科兰斯顿《绝命毒师》、剧情类女配角 安娜·古恩《绝命毒师》、剧情类男配角 亚伦·保罗《绝命毒师》、喜剧类男主角 吉姆·帕森斯《生活大爆炸》、喜剧类男配角 泰·布利尔《摩登家庭》、喜剧类导演 盖尔·曼库索《摩登家庭》、迷你剧 《冰血暴》、迷你剧男主角 “卷福”《神探夏洛克》、迷你剧男配角 “潮爷”《神探夏洛克》........

　　以下北京新航道雅思小编为大家带来华盛顿邮报（The Washington Post）关于此次艾美奖的新闻评论，供大家进行阅读练习

　　The Washington Post：By Hank Stuever TV critic August 25 at 11:52 PM

　　2014 Emmy Awards: ‘Breaking Bad’ rules on a night that felt stuck in the not-right-now

　　If you believe everything written lately about television by its critics and outspoken fans, the shows have never been better — especially the newer ones. But if you watched Monday night’s 66th Primetime Emmy Awards, you saw that the medium is stuck in a loop where it’s always the late-middle of 2011. TV viewers are moving forward at a voracious pace — this year’s Emmys, not so much.

　　As “True Detective’s” cosmically attuned sleuth Rust Cohle put it: “Someone once told me time is a flat circle. Everything we’ve ever done or will do, we’re gonna do over and over and over again.”

　　To wit, it was still very much the era of “Breaking Bad,” which ended its run (fabulously, nearly everyone agrees) nearly a year ago and which took home five awards Monday night, including Emmys for outstanding drama — as well as for its lead actor, Bryan Cranston, supporting actress Anna Gunn and supporting actor Aaron Paul. That meant there was very little left for “True Detective,” which took home an award for director Cary Joji Fukunaga.

　　All night long, it also was still the era of “The Good Wife,” “Modern Family” and “The Colbert Report” — and David Caruso/“CSI” sunglasses jokes! And tired “Billy on the Street” shtick!

　　It was still the era of “The Big Bang Theory’s” Jim Parsons, who won his fourth consecutive Emmy for his work on the CBS sitcom that’s now in perpetual reruns. (And at one point in his acceptance speech, he acknowledged that “there’s no accounting for taste,” which you can translate however you like.)

　　The always-deserving Julia Louis-Dreyfus won yet again for HBO’s “Veep,” but did she have to? CBS’s “The Amazing Race” must surely have a hundred Emmys by now. (Perhaps fewer.) Jessica Lange picked up another Emmy for FX’s “American Horror Story” miniseries. Even the three awards for PBS’s American broadcast of the British drama “Sherlock” — including acting prizes for Benedict Cumberbatch and Martin Freeman — felt like holdovers from a while back.

　　It only felt like the 2014 Emmys once “Weird Al” Yankovic (a throwback himself, who has nevertheless happened to release one of the year’s best albums) took the stage to supply lyrics to some of the top nominees’ instrumental theme songs, including the manic jazz riff of Showtime’s “Homeland” intro and the thrumming anthem of HBO’s “Game of Thrones.”

　　“Don’t get too attached to a certain guy/He might drink some poison wine,” Yankovic sang, while a chorus implored novelist George R.R. Martin (who was in the audience) to hurry up and finish the book series on which the show is based.

　　That routine seemed, in some psychic sense, to shake loose a few nods for television’s recent triumphs — including a win for FX’s pitch-perfect “Fargo” for outstanding miniseries and HBO’s adaptation of Larry Kramer’s play “The Normal Heart” for outstanding TV movie. (Emmy voters seemed a tad frosty to the rest of “Normal Heart’s” nominations, including its actors, director Ryan Murphy and Kramer himself, who was nominated for his screenplay.)

　　The members of the Academy of Television Arts and Sciences just don’t seem to be caught up on the buzziest, binge-iest viewing that holds the rest of us in thrall. This made it harder for NBC’s telecast to keep things spinning along, but, on the whole, host Seth Meyers and assorted friends did a pleasant job of trying to be funny.

　　Meyers’s hosting skills were, as one would expect, much like his work so far as host of NBC’s “Late Night” — reliable but not wild, funny but not hilarious.

　　That’s probably better than someone who tries too hard. In the past several weeks, Meyers presented himself as the host who knows how to tell a few jokes and get out of the way — which he did, allowing for funnier bits from Louis-Dreyfus and Cranston, as well as “questions from the audience,” in which Melissa McCarthy asked whether her car was going to be towed from the spot where she left it.

　　Robin Williams died two weeks ago, and Billy Crystal’s heartfelt and surprisingly brief tribute to him made it seem somehow longer ago. But that’s how it goes in the modern grief cycle, where all mourning takes place mainly on Twitter and Facebook. Crystal compared Williams’s energy and humor to something permanent, like the light from the stars above. Anymore, it’s hard to be sure.

　　One thing Emmy night could use a whole lot less of is jokes about platform and delivery — cable vs. streaming, big screens, tiny screens, hashtags, cord-cutting, ratings and all that. (Even if you put Sofia Vergara on a rotating platform to make a point about TV’s future, we get it already: Everything’s changed, and that’s terrifying.)

　　It is, of course, the very subject that preoccupies not only the people who make television but also those of us who are addicted to it. How will we receive it? Share it? Absorb it into our culture? One way we’ll know we’ve moved on is that we’ll stop making nervous, self-deprecating, even tired references to the uncertain future of TV. We’ll know the future has truly arrived when we shut up about all that and just watch for pure pleasure.