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The writing on that one is exceptional. There is something so natural and effortless in the way the stories unfold. That and the phenomenal performances in that series have kept me hooked since the 1st episode.

I'm not these types of things either, Stefan. But then I also find some of the Game of Thrones repulsive and unnecessary. Which doesn't change the fact that both this and BB are superb pieces of television. Can't find this kind of depth, characterization in cinema these days. And moral degradation is very much a major theme in it, no matter how "cool" these things tend to look like. But... of course, The Wire is still the best. Now that is a masterclass in writing - feels more like a 19th Century Dickens-like novel rather than a cop show. Or any television genre series, for that matter. It helps that it has been written not by screenwriters, but novelists. And yet, while critically acclaimed, it proved to be too difficult and dense for mainstream audiences, or any awarding bodies. A shame, really. Karol

Fantastic review!

Jaws as if reviewed by Alex Cremmers Curiously I saw a recent summer film called Jaws. To the common man it is a tale of man vs. monster, akin to King Kong. Yes the common man enjoys the film on that level unaware that there is more here than meets the eye. A Renaissance man however views the film on a completely different level. I’m of course speaking of the psychological and sociological aspects of the film. There is a fascinating class struggle going on here. Chief Brody, a transplanted New Yorker, and every man, plus his wife, are unsure how they fit within the community. It’s more than just class or money, they do not fit financially or socially within this community. Ellen Brody longs for acceptance but she can never be an islander, a permanent outcast from the inner circle. In the meantime natures accident has left a girl dead at the hands of a shark. A specialist is called in. Matt Hooper is a shark expert, an elasmobranchologist as it were. Clearly Hooper is aware of how he fits the island community of Amity. He’s old money to be sure. He’s got little time for inept local government bickering. He knows the source of the danger both from within and without. Again as before natures accident has left a child dead at the hands(proverbially) of the shark. This time the child’s mother offers a reward and we are introduced to another protagonist in the form of local fisherman Quint. As he says you all know me, know how I earn a living. The town folks of Amity view Quint with a slanted eye. He’s a tolerated member of the town best not spoken of. He offers the town a solution and is promptly ignored. A towns lifeblood based on tourism is a fragile thing, and when on the Fourth of July holiday natures accident strikes again taking another of the towns own the town's cash source is in serous jeopardy. All this forces the three males types together into a social and psychological hodgepodge. The three agree, reluctantly, to work together. Quint would prefer to work alone. Hooper wants to go as a chance to research a rouge killer great white. Brody just wants to end what has become a nightmare that has affected his work, his town, and his own family. Quint antagonizes Hopper based on his social status and manliness, while he torments Brody with his almost suicidal approach to defeating the shark. The three men remain at odds until finally confronted by the shark which does not react as expected. Only then do the trio act as one. By then it is too late and all thoughts of social status and class warfare end and the struggle to survive begins. Quint, clearly damage from events of World War II, admits he is at a loss as to what to do and yields to Hooper. Hooper attempts to remedy the situation but is unable and is apparently lost to the shark. Quint and Brody attempt to save him in vain and it is Quint whose most hidden fear is realized and is taken by the shark which sinks the boat. Only by sheer Providence Brody survives as the everyman often does. The common man of the bunch becomes the hero. Almost as an afterthought Hooper reappears. He barely escaped the shark. The two socially miscast members of the doom expedition swim to shore as credits role. A tale of man vs. monster, but who is the monster? Clearly in the intervening years since Jaws 38 years ago it was man.

Nah, it's still funny. Improvisational comedy will never die

I miss the collage banners. But keeping the site fresh can't be a bad thing.

Well no point commenting before the changes are all finished.

There is a slight Rózsaesque source cue called APPROACHING NABOO PALACE that is wonderful. I wish JW could have had more space to compose more of those little flourishes. It's much more interesting than the action music.

My complete edit for Attack Of The Clones. I still say this score is very under-rated especially with all the new music from the games, especially from The Old Republic. I've grown to appreciate this score more and more every time I listen to it. For those who say this score still "sucks" well you need to listen to it in complete form in order to appreciate it more.

The best renditions are when they escape from Hoth, the carbon freeze sequence and then when they escape from cloud city

Fixed.

Yeah, "top of his game" is the wrong phrase. The very fact that John's composing every day at the piano; got several huge projects in the not-too-distant future; not suffering from Alzheimer's, cancer or heart disease; and seems more buoyant and alive than ever - is remarkable.

You also need Taras Bulba. An absolutely stunning music and album. Karol