Danielle

FSM: Most likely Patton / Flight of the Phoenix. Regular Varese: Aliens ... Club: Project X. Intrada: The Last Starfighter. LLL: Spaceballs.

The score just before that part is barely audible in the film underneath the sound effects, so I doubt it would have made much difference if it had been included. You're right though, it is brilliant. No way it's going into an "alternates" section on my edit.

Most of the tracks on the OSTs have something not on the CRs, even if it's just a few seconds here and there with/without choir, etc. As I recall, Jim Ware already did a pretty thorough breakdown of all the OST cues. Just some examples: The Prophecy - not on CR at all Concerning Hobbits - Incomplete theatrical version - not on CR The Shadow of the Past - Alternate intro The Treason of Isengard - More choir The Black Rider - Has an alternate section At the Sign of the Prancing Pony - Has unused music not on the CR (but is included in the rarities archive)

Robocop makes a lot of sense, despite having tracked/edited credits. The original release was not only as far from chronological order as you can get, but also accidentally repeated a track - The track listing for the disc was also a mess because of this. The expanded release fixed the duplication error and track listing, but maintained the original intended album sequence, and only chucked 5 mins of new cues onto the end of the album. Both discs do end abruptly, something which is solved by adding the end credits. They'd be a worthwhile inclusion for that reason alone. If it is a resequenced and complete Robocop, I'll quite happily buy this score for the third time.

The theatrical Last Debate can be found on Battle for Middle Earth 2.

Camp Widmore? Or the losties from 1977 perhaps, seeing as several of them are candidates. It's the Others whispering to each other as they observe the Losties. This was already confirmed in an interview with one of the writers a while back. The exact source escapes me. Basically, they knew back in season one already that the whispers were the Others, although at that time they had no larger picture for what the Others exactly were.

answered. Perhaps Darlton revealed it would be addressed during comic con last year, but have since backtracked and said that it probably won't be answered within the series itself.

Ouch. I had no idea there were quite so many film edits in the set. Regarding "A Shortcut to Mushrooms"... I always figured that the differences between the CR version and the OST were down to the OST being an alternate.

That's hard to understand, it's not exactly difficult to hear. There are a few unused pieces included in the FotR CR as well though, so it must be something more than that. Yep, TTT and RotK are pretty much perfect releases, but FotR did have a few problems. I can't even begin to understand the reasoning behind including Ian Holm's singing, it's not like it has anything remotely to do with what the orchestra is playing, and is just there because "it's music that was in the film". Really distracting.

Compare the CR Disc 2, track 14, 7:44-7:50 to the OST, track 13, 0:17-0:29 - The CR uses a film edit. Probably just a slip up.

... And there'd be no Ben Linus. Babylon 5 comes to mind - A series that spent 5 years continually swerving all over the road to make the master plan fit in with the realities of actors getting fed up and leaving, studio interference, threatened cancellation, etc.

Almost. Tracks 2 and 3 should be switched round for chronological order. The way they're represented on album is a better listening experience though, 'Escape from the Tavern' nicely breaks up some similar material between the others. There's something like 30 mins missing from the first half of the film. The second half is included in it's entirety on album - Tracks 4, 5, 7 and 8 play almost uninterrupted in the film.

Rumour mill says Caprica will almost certainly be getting a second season, despite the less than stellar ratings. SyFi seem to believe in this series in a big way, and the positive critical reaction can't be hurting matters. Are you paying attention, Fox?

I do like the various Cylon experiments with individuality throughout the series, it was one aspect of The Plan that I enjoyed (specifically the Simon model who airlocks himself rather than being party to the death of his family). It's also interesting to consider the Cylons' efforts to mimic human behaviour from their more collective standpoint, especially in 'Downloaded', where their attempts to rebuild Caprica aren't anything more than a shallow mockery. They don't understand individuality at all, which is probably how Cavill managed to get them to go along with the attack in the first place - from their ordered perspective, humans must have seemed barbaric, chaotic creatures who really didn't deserve to survive. Considering that when they do eventually adopt more individual traits it ends up leading to civil war, maybe they had a point to begin with.

That one never bothered me really... As I recall Lee even brings the pardon up in the trial when he's making his speech about Baltar being a dumping ground for everyone's sins. I do think it's fairly believable that everyone would quite willingly have a blank spot when it comes to Baltar. (plus technically, Baltar wasn't actually in the fleet when the fleet-wide pardon was issued.) I think the comparison only fits as long as you can view the Cylons as an incomprehensible, unstoppable enemy who could come out of the shadows and attack at any time. It fits perfectly for the relentless pursuit in seasons 1 & 2, but New Caprica did away with much of it. By season 4, all the blame is being shifted onto Cavill, a man with very recognisable, petty, and human motives. This is much of the reason why I personally think that the first 2 seasons work so well. Episodes like '33' highlight the tension in the fleet, never knowing how long they can keep going, never knowing if they'll ever see a day free of the Cylon threat... Or 'The Hand of God', where the crew actually gets a chance to turn around and give the Cylons a bloody nose - the sense of overwhelming joy at being able to fight back for a moment and gain a victory is wonderful considering the brave new world these characters wake up to every day. Once Boomer and Caprica 6 take control and decide to play nice with the humans, that constant tension evaporates, and the relentless pace dies with it. It seems Moore was only too happy to take a knife to the pacing of his show and completely gut it, and all for a "OMG 1 year later!" shock moment.

That's the right answer. You should check out the one she wrote on Daybreak. It's vicious, but sadly, I find myself agreeing with so much of it, which annoys me because I tried so hard to like it. It's more interesting than it sounds. Totally different tone to BSG though. I've no idea if the series got picked up or not, but it would be interesting to see how far the concept can be spun out before it becomes too tiresome/soapy/silly.

Acceptable to the characters, but not necessarily trumpeted as something moral. At heart, BSG is a 9/11 allegory, and that includes all of the bush-era reactionary politics that goes along with it. Display of such things doesn't equal approval. A lot of pro-choicers seemed to have been offended by that episode, but I'm not sure why. I didn't really think that it was about abortion anyway, more about a character being faced with a dilemma that eventually forces them to go against a deeply held belief. Replace abortion with some other issue and the episode could play out just the same way. (Incidentally though, an argument could be made that outlawing abortion wasn't necessary at all, since birth rates tend to skyrocket on their own after massive population depletions, like after WW2. Plus, prohibiting something doesn't make it disappear, it just pushes it into back alleys.) No, just his disability. True, science fiction tends to be about asking "what if?" and then having a go at answering. Every major plot mystery being answered with "God did it" is kind of the opposite of that. BSG quite often seemed allergic to explaining anything, apparently due to Ron Moore wishing to avoid any and all uses of technobabble. It's a shame that this approach was taken, I'd have loved to find out why Ellen Tigh recovered her memories within seconds of resurrecting, yet Boomer never did. Here's a pretty good write-up on some of the aspects of BSG's approach to allegory, especially concerning the suicide bombings.

No I quite liked it too, a lot more than Razor anyway.

Groundwork had already been laid for the Adama's change of heart. Did you really expect nothing to change during the missing year, that all the characters would be exactly the same as when we left them? Nope... But that's kind of the point. One year later and whoosh! Look how everyone's changed! And we didn't even have to lift a finger, development wise! I mean, it was obvious from the moment that Athena set foot on Galactica, she would eventually be accepted, but that leaves us with the journey of getting there, of having her win everyone's trust and see everyone gradually softening to her. Nope, one year later is much easier than actually doing some real work. Don't get me wrong, I still think there's a lot to like, and even love, about this series. But if a little more forethought had been put into the plan*, a little more work done on believable character development, a little more effort into the making the show truly complex instead of just "edgy" and "gritty"**, it could have been a masterpiece (as I think both season 1 and most of season 2 are) instead of a good but flawed effort. *I'm rewatching the series now, but every time one of those **Ever notice how, despite the show's reputation for complexity and guts, when a conflict arises, the sides usually resolve into good vs bad, even if it means completely twisting the characters out of shape and ignoring any good points the 'villains' might actually have?

She is able to walk though "doggsville" without being attacked. I'd say that constitutes a radical change surrounding the fleets opinion of her. I'd say that constitutes the inability of the writers to convincingly develop a character. As much as I love(/hate) BSG, it really gets to me how the characters just change from one episode to the next depending on whatever bright idea or "issue" the show wants to examine this time around. Remember Lee's pregnant girlfriend from 'Black Market'? He didn't, until the writers decided he needed to, and then it promptly got forgotten again. Or Baltar becoming the rebel spokesman for the underclasses? Yeah, that one was well foreshadowed before it was just launched on us. Using the "1 year later" trick to skip over critically important character development between Adama and Athena was criminally lazy. That's because "they have a plan" which nobody bothered to tell the writers about in advance. I'd love to read a murder mystery novel written by Ron Moore, I can just picture him not bothering to figure out who the killer is until it's time to write the final chapter.

I agree 100%. It was somewhat slow in parts but always interesting, and extremely thought-provoking - certainly moreso than the BSG finale. Both Eric Stoltz and Esai Morales put in fantastic efforts, with the latter especially pulling off a great performance as Bill Adama's father. His performance was very reminiscent of Edward James Olmos in many scenes, but in an almost subliminal way, not in the overt Razor-flashbacks way. Loved the use of the Adama family theme right at the end. It also managed to answer one of BSG's loose ends: I'll be very interested in seeing where this story goes, but unfortunately, with it being a character study without any flashy space battles, it'll probably go the way of so many promising series and get axed before it can really spread its wings.

It's called "Dread Rock" by Paul Oakenfold.

I don't think I'll ever be able to figure out what your reasoning is for this! The credits are just that - credits. It's like complaining that the Star Wars Main Title is too bombastic to accompany a bunch of writing scrolling up the screen. Second point... The music for the rocks falling is by no means happy and largely dialed out in the film, and if anything, it's the way the the music is very clumsily dialed back in as the rock fall stops that makes it seem inappropriate. Again, I just can't fault Horner for anything he did with Krull, he knocked it out of the ballpark. Why would I hate you for attacking the film anyway? It's a turkey, but I'm fond of it. Much like you are for 1941.

Not all the record companies agree.

Give or take, 1:28 sounds about right.