I once interviewed at a library where there was a homeless man who would come in, complain to the librarians about the CIA and their secret conspiracy against him and basically every conspiracy ever. Then he would sit down, and promptly start looking at porn.

Aaaaaand I just lost an hour to watching Mr. Show sketches again.

He got it through their rigorous online program.

I do think Superman still probably is white. A black boy growing up in the heart of Kansas is going to be treated VERY differently, and a black man being one of the most powerful figures in the world… well, look how that's turned out for Obama, then multiply it by a billion.

I could be persuaded, I just think it's a better idea to not change characters with strong ethnic identities in any direction… though I'll admit that, part of my reluctance with the Thing is the idea that it's okay to racebend the strong angry monster whose skin you never see, but not any of the other ones, which is a…

Some characters are a particular race - it's essential to their character. The Thing, for example. His name is the Ever-Lovin' Blue-Eyed Thing, his backstory is that he grew up a poor Jewish boy in the Bronx - he's rooted in a very particular ethnic identity, and changing that does change the character.

Juno was a solid film. A bit over-written at time, but generally good. Little Miss Sunshine was pretty bad, though. Disingenuous, dishonest, just… ugly.

No, not 'Don't act like a destructive prick.' 'Don't act contrary to the needs of the Network or we will murder you.' That's pretty different, as we saw from scenes with Basil and Reverend Green.

Oh, Gary is still pretty damaged, but I find it hard to argue that this is 'life as a party' for him. If anything, the final scenes are him continuing to fight to grow up. Earlier in the film, Ed says, "You remember the Friday nights. I remember the Monday mornings." Couldn't the apocalypse then be taken as Gary…

Tilda Swinton in drag! Tilda Swinton in drag!

I think the most important thing with those final scenes is this: For the first time, Gary didn't abandon his friends. Sure, they were hollow simulacra of his friends, but for the first time, he actually accepted responsibility and stuck by something. He caused this great big apocalypse, and he accepted that and…

I often do the same thing, and I'm similarly frustrated by people who mistake 'grim and gritty' for 'mature and adult'. I know plenty of 20 somethings (and 30, and 40) who confuse extremity and darkness for insight, so it's not an unreasonable assumption for you to make.

I know a lot of folks here hate Film Crit Hulk, but he did a pretty fantastic write-up on The World's End.

I wouldn't have a problem with the extremely lackluster action in Hot Fuzz if it hadn't been a third of the goddamn movie.

SUDDEN REVERSAL: I'm well aware of that, and that's not even remotely what I was implying, as I am not 12 years old. What's more, it seems weird to pull that element out, because it ignores that Shaun is similarly apocalyptic.

I mean, they were assholes, but the choice was (to their knowledge at the time) "Be a slave race" or "Don't be a slave race." I think they made the right call.

Counterpoint: The World's End is vastly superior to Hot Fuzz, and roughly equal to Shaun of the Dead. It's a more mature film than either of the other ones, too, for what that's worth.

I'm glad someone stood up for Kon, because, hell yeah.

But my question is, what does that mean in response to my comment. Someone made a factual statement. You doubted it. I backed that person's statement up with information found after roughly 15 seconds of Googling. All the sudden I have a shrine to Breaking Bad?

I don't have any idea what that means in this context. So, uh, just keep on doing what you're doing, I guess.