Oh, the intrigue!

I think the tragedy of the Manhunter-Silence-Hannibal arc is how, as the film adaptations progress, they becomes less about the protagonists' internal conflicts and correspondingly more about Lec(k)tor and his menace. What starts as a more relatable, human story about the difficulty of facing evil every day becomes…

Upvoting the choice of a fellow old.

I've long supposed that the inevitable, climactic conflict between Rey & Ren in Ep IX would solely involve Rey being the one to bring Ren back from the dark side.

Cassian also "pulled a Solo" by shooting first - or, at least shooting his informant - in his first scene.

He hadn't heard of it, but he agreed with the following quote from a blog about The Battle of Algiers (after I swapped out "Empire" for "France" and "Rebel" for "Algerian"):

I saw three Star Wars movies this week: Rogue One, the original movie, and The Force Awakens.

Fair enough. I was content with the emotional layers the film presented - largely because it was a world quite foreign to a straight white dude born in the Midwest - but I could see where others would want more.

I didn't see him as a blank slate. I could tell he was struggling with his identity and where he belonged in the world throughout: First with who his family was, given his terrible home life; then what his sexuality was, as a teen coming of age; then how to be an adult, where he feels like he needs to act hard but in…

I couldn't disagree more with D'Angelo's critique of Moonlight as being "thin" and "contrived". I thought it was very much a film about being in the moment - that the content was the emotion the actors brought to their performances, and man, did they bring it.

As someone with Irish ancestors, I hesitate to type: in defense of the British Empire, it at least paid lip service to liberal ideals, sometimes (as in its campaign against the slave trade) investing blood and treasure in their pursuit. Other European great powers or would-be great powers were more chauvinistic and…

I think the ugliness of Rogue One makes the series as a whole more powerful.

Like the Golden Stool, the Okomfo Ankoye sword is a symbol of the Ashanti nation. Placed in the ground by its namesake, the founder of the Ashanti Empire, it is supposedly immovable (like the Arthurian "sword in the stone").

Not selfish - humanizing.

And throughout the interview, he sounds so grateful for the career he's had, describing so many experiences and costars as "terrific." Each answer seemed like it ended with: "Can you believe it?"

I think we'll have to see. I was pretty pumped for the first 30 seconds, got a bit deflated over the next two minutes when I realized it was like a more conventional remake of a track off of Relationship of Command, but then got a little more excited when the song started to grow on me.

I love the duel in Empire, but I think the duel in Phantom Menace might be the best in the series.

I'm actually going to take a measure of pride in *not* knowing the prequels (outside of Revenge of the Sith) all that well.

Holy crap - you (and the AV Club) are correct.

Prequel pedantry: that scene showing the plans of the original Death Star is from Episode III: Revenge of the Sith; its first appearance is when the secessionists are freaking out about the Republic finding out what they've been planning.