The Christmas special let him off the hook, which I'm not sure it really earned. Even the Tim and Dawn resolution feels a little mawkish to me. I like to think the series ended the way it would in real life.

Right. I won't even look at the images because I know I won't sleep for a week. But I'm not in command of a nuclear arsenal. And I shouldn't be.

And he was motivated by fucking PICTURES. As if he didn't know infants died until someone showed him a photograph. He sees a dead infant and presses the button. It's terrifying.

Even when he was TK, he looked TL.

Doesn't surprise me. It's the reason he could do his whole thing. That kind of shtick isn't funny coming from an ostensible asshole. (I'm looking at you, Jeff Ross.)

According to Google, Baldwin is an inch shorter than Ford.

@avclub-e5e75678d9346d88878b7c95b97eac68:disqus makes outrageously offensive comment like this. Rickles made outrageously offensive comment like this.

bullshit

It's breaking news at CNN

It's a direct quote from the movie. Norman tells Arbogast that he changes the linens once a week whether they've been used or not because he can't stand the smell.

Is the show's Norman different? I'd argue that one of the show's strengths is that it has worked so hard to restore the movie's identification-swap wallop. The narrative needs the audience's sympathy to shift from Marion to Norman after the shower scene—you're supposed to feel bad for him. That's not so easy after…

I've always read the movie as an exercise in empathy manipulation. First we identify with Marion, the embezzler. (Is she the "psycho?") Then we identify with Norman, the good son. In the movie's back half, we're caught between Norman and Sam. (Do we want to see Norman caught?) The actors' physical resemblance…

"An alien broadway actor at a medical facility meets aliens but his hubris leads to his death."

Common misconception. Saul Bass actually storyboarded, designed, directed, edited, wrote, scored, and starred in the shower scene.

Totally understood. I've only seen it on a big screen once, and that was a blown-up DVD. Even then, the scope had a enormous, fundamental effect. The Lawrence of Arabia comparison is dead on.

Does entry-level Kant count as hard sci-fi? Seriously. Does any of the movie's philosophizing hold up to scrutiny?

Even in '99, did the appeal of THE MATRIX have anything to do with its narrative? I was in middle school at the time and a friend, angry that I'd spoiled CITIZEN KANE and PSYCHO for him, eagerly yelled the entire plot at me. I remember thinking that it didn't sound especially clever, something like a fusion of HACKERS…

Sorry to interrupt here, but just wanted to point out that Nashville is, if not the Great American Movie, then the Great Movie about America.

I'd actually pay to see a self-serious, fans-only reboot of "Genisys." I'm imagining a digitally de-aged Jai Courtnay playing an all-CGI Arnold.

The gender swap was a clever touch.