Well, riddled with something….

That happens after the Star War, when they beat their lightsabres into ploughshares, and those stupid padawan hair braids into pruning hooks.

Why not have THAT for a cinematic universe? All the doctors, together at last. Octopus! Strange! No! Von Doom!

As I suggested above, Julie Taymor and Zach Snyder did get substantial financial backing AND creative freedom. So apparently there's a will somewhere in the producers' boardroom.

*sigh* Are there directors who have the clout, competence, and willingness to make genuinely challenging, artistic, genre-subverting superhero productions?

I assumed it was a polite euphemism, ideological implications notwithstanding.

So, does this suggest I legally can or can't discuss the J.D. Salinger manuscripts I… somehow… came into possession of?

An element the article doesn't get into is that copyright once had a strong 'consumer protection' element to it: it enabled a definitive version of the work to reach the presses and the masses without being diluted. My, how times have changed…

I literally just played through Tower of Doom and Shadow Over Mystara last night!

America is opposed to 'doing anything but work' quite generally. It's also why two weeks vacation per year is the norm at a lot of jobs.

It's almost like a system that uses petty power displays to train people to commit acts of violence without question might produce a few anti-social graduates!

Would those be the same types of death squads that the US and its politicians have historically supported?

Yes, but I think we're missing another, obvious interpretation of what happened: convincing Leto to 'research' the mentally ill was the only way his co-stars could get him to a psychiatrist.

….[sigh]…. can we just all agree a wizard did it?

Hennessy, Lincoln, and Gucci IS halfway to a product placement slate….

The "Safe Space" discussion is about expanding the sort of protective institutional superstructure that metal and grunge (at varying levels) express disillusionment with, enmeshed as they are within their own conventions and structures.

I'd extend that to its treatment of musical artistry in general. It had this sort of dada-ist trash vibe, but rather than wielding its anti-aesthetics as a tool to support the dispossessed or puncture the pretensions of 'high art' (or in this case, 'basically competent radio pop'), Bizkit came off as the dumbest…

I've seen Going Clear and Enron, and I sort of agree on your assessment of his strengths/weaknesses. He covers a lot of ground (held together by tried-and-true Errol Morris-ian 'talking heads, archive footage, and semi-abstract recreations') and its interesting enough to watch, but he also lacks an interesting-enough…

Her logic is an all-encompassing 'integrity'. I would have gone for 'do you think an artist as obsessive as my father would have pulled off the greatest hoax of the century… and not claimed credit?'

Dead Alive 2: Weekend at Bernie's 3