My two big choking-up moments: Maria’s speech - duh! - and the montage of Carol falling/being knocked down at various times in her life... and then the same montage of her always getting back up! That was just like, oh, you guys have no idea who you’re messing with - I get gersberms again just thinking about it :)

How did you guys know I’m right in the middle of re-watching ST and chuffing about how great it looks (you know, among other things that are great about it)? Can... can you hear me talking at the screen...?

Also, the soundtrack to “Maximum Overdrive” is the AC/DC album “Who Made Who” - not kidding, it even says so on the record sleeve (for you kids, a “record” was something us ole folks listened to music on before CDs, which were things we listened to music on before streaming...). 

Well, I actually like this show. Still not very Star Trek’y to me - the sullen cello theme alone grates on me every time; the ST-verse is one that needs to be introduced with a fanfare, dammit! - and it also doesn’t help it any that “The Expanse”’s second season came out not too long ago, but it’s well made,…

Was that a gravity gun/whip combo? Sweet!

Yup - I, for example, watched the entire first season of “Helix” except the final episode, to find out that it sucked. In Hastings’ book, I’m evidence that it’s great.

Hmm. I don’t agree very much - my take on this: https://jwofnorthbridge.kinja.com/the-thing-about-ai-the-singularity-and-machine-smarts-1571798358 

Apparently you missed the part where “Suicide Squad” received an Academy Award...

OK, but that’s not much of an observation, considering that it’s right there in the trilogy: - the prophecy of The One, in Neo’s own words, is just another machine lie, another system of control.

Point of order: Luke doesn’t die “tragically” - he dies peacefully; he chooses to go into the force, with open eyes and a very clear sense of purpose.

I’ve said it elsewhere - and will again - but this thread feels like the kind of place for reiterating: I absolutely f**king loved TLJ, as a film and as a Star Wars story continuation. And so did my kid, of the new generation of fans (she’s 18).

For the record, I stand corrected on admiral Holdo’s decision - per Vanity Fair: https://www.vanityfair.com/hollywood/2017/12/star-wars-last-jedi-laura-dern-admiral-holdo-listen-to-women

So here’s my take: If you think that the death of Snoke, or the reveal that Rey’s parents were nobody, or that Luke refuses the call and then dies, is disappointing, then I’ve got some news that you may want to sit down for: This movie wasn’t made for you.

This was, in fact, the only real plot hole - or character error - in the film. A piece of manufactured tension that threw serious doubt on the alleged great military prowess of the admiral. She could have broadcast the plan to the entire ship; they were in a closed loop, nobody was getting in our out for the…

You are, of course, very much entitled to your opinion - I would say, though, that given your misgivings, this movie wasn’t made for you.

No Cable? May I direct your attention to the lovely painting?

So, like that dude from “Snow Crash” in his ultimate powered wheelchair, i.e. an armored truck, then...

Ackshuly.... *pushes up glasses* - I knew about the windshield thing but I never really noticed it.

Exactly - as opposed to, say, a Superman story turning what is canonically just such a super-human (it’s almost like it’s in his name) into a mopey dick who angsts like a teenager about being powerful enough to change the world for the better. Or a certain, brooding, also-angsty Bat-themed fellah.

The scene is wonderful and truly badass - but the lead-in to it is part of why it’s so important. If we talk about that it’s even more baffling why anyone might fail to understand its significance.