Marian Schedenig

Well, songs aren't Williams' strong suit. You should play his film scores and concert works instead.

If you did that to me, I wouldn't know quality either.

Strauss would have to say something about that (or did, in Capriccio). Incidentally, my favourite opera is Ariadne of Naxos - both the music (by Strauss) and the libretto (by Hofmannsthal).

It's also very well directed. You can usually trust Zemeckis to do a high profile job, even if it's just a run of the mill script (though I like the film for what it is). Excellent use of CGI as well: The bridge in the climax is entirely artificial, but you'd never even begin to think of that.

I'm just waiting for Black Friday.

Better get used to it, soon you'll have to pay customs charges for everything.

I usually listen to full albums (or at least condensed versions if I don't have the time or mood for the whole thing) and I haven't had a single track on straight repeat for years. But sometimes I'll squeeze in some favourite tracks repeatedly during a listening session, and most recently, the new ASM Princess Leia's Theme has gotten a LOT of playtime. I've come to the conclusion that it's not just probably the best version of the theme, but the climax is a standout moment in Williams' entire career.

Anne-Sophie Mutter says yes.

It's not you. It's Goldsmith.

Not if George Fenton scores them.

Make sure to always bring a decent pen when getting something signed.

And Billy West (Fry, Farnsworth, etc.) is Sorcerio, and some others. It's nowhere near the brilliance of Futurama. But it has its funny moments, and I just find the world and characters very likable. It could be great with some more focused writing. Basically, it's still a bunch of loosely related episodes, with more serialised story lines only creeping in occasionally (mostly at the end of each season).

I actually like it surprisingly well on album, when I'm in the mood for that kind of thing.

They've probably never heard of Jerrald King.

I think it's just a Hitchcock reference.