#safe and happy. He’s a villain but he’s letting her hang out with the prime defenders because he knows they’re good for her! He became a

[valeovalairs]

You can pry girl dad Mark Winters out of my cold dead hands.

[zdbztumble]

Penultima Raving (KH III Spoilers)

No, I haven’t finished the game yet.

I must be near the end, as I’ve ended up in the crazy windmill world from the opening sequence, but as there was quite a bit that happened in the short span of story progress I made today, I decided against waiting ‘til the finale to do another write-up.

Where I left off last time was Sora piecing himself together - literally - and then proceeding to rescue everyone but Kairi in the various Disney worlds. That Kairi didn’t need rescuing, but was in fact keeping Sora from fading away, and was there to guide him back to the realm of light, was a great idea. The line “you’re safe with me” was wonderful, and a good start to a pay-off on her promise to be the one to keep Sora safe this time. But a great sequence in isolation can’t achieve its full potential impact when the character arc that it’s a part of is so neglected prior to that point. And as for the follow-up to that moment...well, let’s come back to that.

I feel torn here, because there’s quite a bit in this section of the game that’s brilliant in concept and beautiful to look at. If the execution weren’t so spotty, then this post would be much shorter, and much more of a SQUEE! in text form.

Going point by point:

- The cutscene when you enter the Keyblade Graveyard the second time, opening in the same way as the first, was a bit confusing but not a bad idea. But having Terra defend his friends against Terranort was. If I’m just starting to get the hang of how the Xehanort Horcruxes and Sora’s “host to three hearts” business all work, I still can’t figure out how Terra’s heart relates to his possessed body. More importantly - after Sora goes through the hard work of rescuing everyone and turning the clock back, having another character rush in to claim the Hero Moment leaves him feeling like a bystander in his own story. This isn’t a new problem in this level; Sora was a glorified bystander in the two Disney fairy tale worlds. Other characters pointing out how special and important Sora is throughout the game, besides being annoying and actually undermining Sora’s special qualities, make it all the more obvious when he gets left out of important action.

- Surfing the Keyblade stream is fun, but it’d be more fun if the combat didn’t just amount to hitting a single button in rapid succession, and if it wasn’t made confusing as hell with a random shout-out to the mobile game.

- The multiple Demon Towers surrounding all our heroes made for a very dramatic visual and a formidable sense of menace. It’s a shame I never got a chance to see how challenging they actually were, because this entire sequence is left as a cutscene. I imagine there are serious technical challenges to putting together a battle where Mickey, Riku, Aqua, Ven, Kairi, and Axel are all battle partners to you along with Donald and Goofy, but this just makes me think again that a toggling system that let you battle as members of various parties would be a great solution.

On the other hand, this sequence gave us Master Yen Sid casting his Fantasia magic all over the place, and that was a truly unexpected pleasure. I don’t care much for him being a Keyblade Master on top of being a wizard, but seeing him be a wizard was amazing. Now all we need is a Sword in the Stone world where Merlin can cut loose.

- Splitting the party up and leaving Sora to find them in a maze is a great idea, as is pairing enemies that were formidable bosses in their own right together to face him. I didn’t find any of them that much of a challenge, but I think I’m overleveled (spent a bit too much time having fun with the ship battles in the Caribbean, I think.) The bigger problem with these battles was the pacing, with cutscenes interrupting the gameplay entirely too often. Each of the villains is given an almost-identical death sequence, and with pretty much none of them being likable (or even memorable in some cases), the efforts at giving these moments some pathos, and the attempts to create moments between the dying and Sora, all fall flat.

- Did I miss something about there being two Replikus? I have been so confused about this ever since the Big Hero 6 level. The one running around being an evil Organizer was confusing enough, but another one living inside Riku? And being able to spontaneously emerge from his body to neutralize the evil one and leave behind an empty replica for Namine, who is also in this game by the way? The fuck?

- This whole sequence serves as a great illustration of the problems that come with having too big a cast. Terra gets his Hero Moment back in the Graveyard (and virtually the same one in the maze), but he gets written out of the action pretty quick. Aqua and Ven do too, as do Axel, Mickey, Riku, Kairi (still not back to her yet); all the Keyblade Wielders of Light get shoved out of the way rather unceremoniously unless the time for their one brief flash of brilliance (if they even get one), while the bulk of the story is driven by the antagonists. But as I said, the members of Organization XIII are still not very interesting, and there are too many of them for any one to stand out.

- What the fuck is Xion doing back here? She barely made sense as a character in 358/2 Days, but her death was one of the very last to have any sense of permanence, and to give the concept any meaning in this world. That’s now undermined even worse than it already was. On top of that, it seems obvious to me now that all those conversations between Ansem and “Ansem” that I thought might be alluding to Kairi’s part were actually about this blank slate of a character.

- And now we’re back to Kairi.

Xehanort cutting her down didn’t surprise me. I’ve been expecting something like this to happen from early on in the game, though I wasn’t sure whether it would be Sora or Kairi who was killed. In part, this is because I stumbled on some sad fan art that, though lacking any description or anything to tell me that it was a moment from the actual game, was tagged “spoilers” and made me nervous. A bigger tell for me was the fact that most of the Disney movies used have a moment of sacrifice for a loved one. Meg shoves Hercules aside, and Herc in turn offers his life for Meg’s; Eugene gives up his chance to be healed to free Rapunzel from Mother Gothel; Anna rushes forward to take a blow for Elsa; and Tadashi and Baymax both sacrifice themselves in Big Hero 6. At World’s End also sees the lovers Will and Elizabeth cruelly separated by Will’s death, with Jack sacrificing his chance of immortality to give them some measure of happiness.

Between that, and all the taunting by Organization XIII, there was a sense of foreboding early on in my play-through that something was going to happen to Sora and/or Kairi, and for all the missteps in the handling of their relationship over the years, those kids are still cute as hell, so I was emotionally invested. But then, in each of the worlds where a death or sacrifice happens, no connection was made by Sora, or any other character, to him and his bond with Kairi. In previous games, moments of much less importance would set him or someone else off, but not here. In some cases, that makes sense (Sora wouldn’t even be aware of the sacrifices in Big Hero 6) but for those moments that he literally bares witness to, it seemed very strange. While that was something of a relief, as it made any potential death seem less likely, it was also annoying, as I’d given the game credit for selecting worlds with the same thematic idea as a neat bit of foreshadowing that seemed destined to be an unfulfilled coincidence.

Then, when Kairi leads Sora back to the realm of light, Sora has a brief flash of Eugene and Anna’s sacrifices, and the connection was finally made. (Will’s death gets left out of the count for some reason.) It was very little, very late in the game, but it was something, and I started expecting a death again. But this was after the neglect of Kairi’s character and of her relationship with Sora became apparent, and the emotional investment did not return - at least not in full force.

It is rather cliche, killing the heroine (or letting her die) to motivate the hero, but that’s not a reason not to do it if it can serve the story and be executed effectively. Given how important Sora and Kairi are to each other, it’s the ultimate extreme that you can take with their arc. So I can’t object to the idea out of hand. And had Kairi been kept a prominent presence throughout the game and her training as a Keyblade Wielder made apparent and meaningful, her being cut down after demonstrating skill and bravery would have made for an extremely powerful moment.

That’s not what we got.

What we got was everything I objected to in my last post about Kairi, with a vengeance, in this entire section of the game. While I didn’t have the same experience of her being an incompetent battle partner that others have (she even pulled off a quick heal in a pivotal moment), she (and Axel) could have been removed and I wouldn’t have had any more trouble with those bosses. Of all the Seven Lights, Kairi’s consistently the one with the least screen time and the least to do in the cutscenes. The way Xemnas and Xehanort handle her, she’s reduced to a prop, a passive object. And when the moment of slaying comes, it lacks the dramatic flare and emphasis that was given to the deaths of literally every single member of Organization XIII, or to the revivals of Terra and Xion. This - the death of our supposed tritagonist, who is the prime motivating force for our hero and who plays a vital role within this fictional universe as a Princess of Light - is quickly tossed out and moved past.

I’ve said it before and I’ll say it again; this is not about Kairi being a favorite character of mine (until she’s developed more, I can’t call her that.) This is a character who is supposed to be important. Not just important, but central. You can’t maintain the credibility of that idea if you leave this character sidelined for game after game after game, and only ever trot her out for when the plot requires something to happen to her. Again, the moment where Kairi tells Sora “you’re safe with me” is a good moment. Sora’s cry of “why her?” is striking; the implication is, basically, “out of all my friends that you could have killed, she was the one I would choose to save,” and that is a powerful moment. But moments can’t cut it on an arc this important, not after three games disregarded it and this one spent nearly all its time on the convoluted mess of the villains’ scheming.

That no one in the development process of KH III (to say nothing of the games between it and II) ever realized this, or recognized the problems that it would cause at the climax of this, the culmination of the entire series up to this point, is truly baffling, and I can’t imagine that there’s any way that the story can dig itself out of this mess in the short time remaining on the game.

[stevenuniversallyreviews]

Episode 50*: Full Disclosure

“I want to be a part of your universe.”

Steven Universe is a hero, but is he a superhero? Sure, his powers are magical, and his enemies tend to be more monstrous than villainous, but the same could be said of fellow Steve-with-unusual-surname Stephen Strange. Steven certainly evokes your typical sidekick, and the Crystal Gems have a cool team name that sounds more like the Justice League than the Jedi Order or the Fellowship of the Ring. Most importantly, Steven lives in contemporary times despite his sci-fi/fantasy adventures, and lives a dual life between the weird and the mundane.

He doesn’t fill quite enough tropes for me to firmly put him in that category, but I bring it up because Full Disclosure uses a plot straight out of superhero lore: keeping a secret to keep a loved one safe. This secret tends to be the character’s identity as a hero, which has frankly been done to death; great shows like The Flash (well, its first season is great at least) grind to a halt as our lead continually lies for no actual reason (why would your friend let villains know that they’re prime kidnapping material?), and the plot point has been brilliantly deconstructed by the likes of Brian Michael Bendis’s Ultimate Spider-Man and Mark Waid’s Irredeemable. Steven Universe similarly subverts this story, thankfully in the span of a single episode, to show us just how childish this self-distancing really is.

Not that Steven’s reticence isn’t understandable: Greg, who we’ve seen worry about his son plenty of times before, has a massive freakout after hearing what Steven went through in The Return and Jailbreak, and any kid could make the logical leap that their friend might have a similar reaction. Greg’s message of support through his hyperventilation is everything to this scene; Tom Scharpling really can dad with the best of ‘em.

From here, we have a rare stretch of Steven alone and introspective. This isn’t Samurai Jack we’re talking about, so Zach Callison is either talking to a hypothetical Connie or singing about his feelings. Regardless, we have poignant moments of silence as his rambling falters to the physical aftermath of Homeworld’s attack. 

Ronaldo makes his way into the plot, and does exactly what Ronaldo should do: act pompous and give lousy advice. Scenes like his are why I can never be too hard on the guy, because he has a role to play that no other character can, and he plays it well. His speech is a nice dose of comedy in what could be a bleak sequence, but nonetheless captures Steven’s internal struggle. Most importantly, he doesn’t overstay his welcome!

It’s unfortunate that the song that follows has to come on the heels of Stronger Than You, because it’s one of the show’s finest but it sorta gets lost in the fray:

Integrating the ringtone we’ve been hearing since the end of Jailbreak into an actual song is unspeakably clever. While the workmanlike lyrics aren’t too special compared to other Steven Universe numbers, it’s a welcome return to Steven singing; we may have gotten a taste in On the Run and The Message, but he hasn’t gotten a full-length solo song since all the way back in Island Adventure. Steven may just be singing what he’s obviously thinking, but between Zach Callison, the visuals, and the instrumentation, I’m good.

The sequence has two flashback montages of sorts: Steven looking through past pictures of hanging out with Connie to reestablish their history, and actual events we’ve seen in the past two episodes. Even if these episodes are fresh in our minds, Steven’s specific memories highlight just how much he’s witnessed: Garnet’s destruction, Lapis’s imprisonment, the menace of Peridot and Jasper, the crash, and the formation of Malachite. Note that the headbutt that gave him his black eye is omitted, because Steven is most upset about bad things happening to other people, which fits right into his concern about Connie and his dad.

After some fun with the Gems, we immediately see how childish Steven’s behavior is, first using exaggerated vocabulary and then sloppily avoiding Connie rather than confront his feelings. Episodes like this are the reason Connie is so surprised to learn that Steven is older than her in Steven’s Birthday, because her maturity saves their friendship; Grace Rolek even incorporates a little Doctor Maheswaran as she admonishes Steven for making her worry. But not before this perfect little moment:

Full Disclosure’s insistence on letting destruction speak for itself is wonderful, considering we just got a song that spells out Steven’s exact thoughts. After seeing Steven shocked into silence a few times earlier in the episode, Connie’s wordless run through the hall of the ship as she chases Steven hammers in just how big of a deal Jailbreak was. Moreover, the visual storytelling reinforces her character: this alien stuff is confusing and a little scary, but she’s more focused on her friend than sating her curiosity.

The staging of their confrontation builds enough suspense that it made me a little worried in my first watch, which is pretty impressive considering Steven and Connie obviously aren’t going to stop being friends. I love that we don’t see Steven explain what happened, not only because we saw it and got his summary already when he told Greg about it, but because it allows for one of Full Disclosure’s departure from the show’s signature style. Beyond the reverse star wipe opening, we get not one but two fade-out transitions—one after Steven’s song, and the other during this implied conversation—and both enhance the pensive tone of this aftermath episode.

All this worry makes the conclusion that much more satisfying. On the micro level we see that Greg has calmed down, and on the macro we see the whole town coming back together. It’s not Ocean Gem’s three-cheers-for-Steven ending, but what he needs after such a life-changing finale is a little relief.

And yet.

Act I of Steven Universe is over, with Steven having a major victory that marks a turning point in his growth. Considering the shape of things to come, it’s fascinating that his first adventure post-Jailbreak involves him keeping the truth from loved ones in the exact way his mother did. And it’s fascinating that he’s so concerned about others that he's willing to put his own happiness on the line for their sake, because that’s the self-destructive martyr complex that drives his actions after the story of Rose shattering Pink is revealed. And it’s fascinating that Connie debunks both of these notions well before they become major themes in the show’s third and final act (not counting the movie and epilogue series). We’re playing the long game, and the seeds of the angst that consumes Steven after Back to the Moon are planted right here, but Connie has already revealed the solution to Steven’s eventual problems: trust is the antidote to Rose’s legacy of secrecy, and love is the antidote to Steven’s sacrificial mindset.

Future Vision

Steven gets a taste of his own medicine in the aftermath of Wanted, where Connie ignores his calls and texts. Both incidents are sparked by Steven going to space without her, but her differing reactions speak volumes about her character development: here she’s worried because she’s out of the loop, but by the time he goes to Homeworld she’s furious and hurt that he let her go through it again. Ignoring how far their partnership has come to take on danger by himself betrays how hard Connie’s worked to be a part of his universe, and I’m thrilled that the show addresses this. 

See below.

I guess you could read it that way…

If you watch Full Disclosure first, the knowledge of the Temple’s fence is foreshadowing. If you watch Story for Steven first, it’s a callback. I gotta go with the foreshadowing on this one.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

As the unofficial third act of a two-parter, Full Disclosure suffers a bit compared to individual episodes. But tone is still king for me, and I welcome any portrayal of the immediate aftermath of major episodes. Characters in serials tend to be unrealistically resilient when it comes to episode after episode of drama and trauma, and a big part of Steven Universe’s second season is establishing just how much these past events we’ve seen (versus the first season’s focus on past events in a character’s history) affect our leads.

While Full Disclosure itself doesn’t make the cut, now that we’re fifty episodes in I’m expanding the Top Ten to a Top Fifteen. Congratulations to On the Run, Warp Tour, Maximum Capacity, The Test, and Ocean Gem for getting out of the runners-up slot!

Top Fifteen

Steven and the Stevens

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

Rose’s Scabbard

Coach Steven

Giant Woman

Winter Forecast

On the Run

Warp Tour

Maximum Capacity

The Test

Ocean Gem

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Space Race

Garnet’s Universe

Future Vision

Marble Madness

Political Power

Full Disclosure

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

No Thanks!

     4. Horror Club      3. Fusion Cuisine      2. House Guest      1. Island Adventure

[one-of-us-blog]

The Commitments (TGG, Season 7, Episode 16)

Today Eli is forced to watch and recap The Commitments, Episode 16 of the final season of The Golden Girls.  Dorothy embarks on a hot and sweaty rock and roll romance, while the object of Blanche’s affection keeps his hands entirely to himself.  What strange alternate reality have we entered, and will the girls be able to safely return to Miami Prime?  Keep reading to find out…

Drew, I can’t tell you how much I loved your recap of The Man with the Golden Gun!  It was a truly emotional ride following your journey, and I wouldn’t have blamed you for disliking this crazy film, but I’m glad that in the end you came away with a positive overall experience!  Readers, you owe it to yourself to check out his post in full, and I have also pestered Drew to update his ongoing list of franchise favorites, which now stands as follows:

Best Bond: Roger Moore (Live and Let Die) Best Villain: Ernest Stavro Blofeld (On Her Majesty’s Secret Service) Best Henchman: Oddjob (Goldfinger) Best Bond Girl: Solitaire (Live and Let Die) Best Gadget: Magnetic Watch (Live and Let Die) Best Opening Scene: The Man with the Golden Gun Best Song: Live and Let Die Best Title Sequence: Live and Let Die

Now that we have that out of the way, I have a hot date with a recap of my own, so I’d better get started.  Let’s head to Miami!

Buttocks tight!

Episode written by Tracy Gamble and Richard Vaczy, directed by Lex Passaris

As the episode opens, Dorothy announces that she has something to ask of Blanche, but she is afraid that Blanche will laugh at her.  Blanche promises that she will not, and so Dorothy announces that she has a blind date, but she wants Blanche to go out with the guy instead.  Sitting nearby, Rose and Sophia crack up at the very idea of Dorothy having a date to hand off, and Blanche eventually joins in.  Pressed for more details, Dorothy reveals that she needs to skip out on the date for other plans.  Specifically, she is going to a Beatlemania dinner theater, which surprises everyone.  Dorothy says that The Beatles were the first and only band she ever truly loved, and that she has had a lifetime of regret after missing their Shea Stadium concert because of a stupid baby.  This cover band is the closest she will ever get to making up for that tragedy, and she wants to seize the opportunity.  Blanche agrees to take the man out, and then she, Rose, and Sophia share a laugh at prospect of the guy actually being cute.

The blind date, Jerry, shows up at the house, and surprise, surprise, he’s a hottie!  Or at least that’s the impression we’re intended to come away with based on the salivating reactions of Blanche, Rose, and Sophia.  Jerry says that he is there to see Dorothy, and both Rose and Sophia attempt to slide into the role to bag this hunk.  Eventually, Blanche fulfills her obligation to her friend by announcing that she will be filling in for Dorothy, who is dead.  She and Jerry leave.

The next day, Blanche is feeling dissatisfied after waking up alone.  The date didn’t go well; Jerry didn’t hold the door, she had to pay for half of their dinner, and he probably didn’t even walk ahead of her on the street scouting for potential ruffians.  On the other hand, Dorothy had a great night, and is loudly singing the most mundane Beatles lyrics possible (“She loves you, yeah, yeah, yeah”) to demonstrate what a fab time she had.  It was so fab, in fact, that one of the “Beatles” emerges from her bedroom, wearing her nightgown.  This is Don, who portrays George (or sometimes Paul if another guy is sick).  Sophia questions why she’s sinning with this mop-topped loser, but Dorothy declares that the two of them have a deep connection, and they prance off to the kitchen together.

Jerry shows up to talk to Blanche, and wants a chance to explain why he was such a bad date.  You see, Jerry’s wife died two years prior (perhaps after being assaulted by a passing ruffian, or drowning in a deep puddle that her husband refused to cover with his coat), and he has been out of the dating game for a while.  He recently read up on what modern women want out of a date (probably in a book written by a dude), and he reigned in his gentlemanly impulses so that Blanche could feel more independent.  Blanche tells him that his game is wack, and that what she really wants is to be treated like a goddess.  She does, however, agree to see him again, and the two of them briefly bond as they are forced to endure Dorothy and Don singing together as they pass through the room on their ongoing sexual escapade.

Some time passes, and Dorothy has apparently convinced Don to leave Beatlemania to focus on his own songs.  Wait, this sounds familiar.  Sophia says that she’s a real Yoko Zbornak, but Dorothy (not really helping her case) claims to be his muse, or at least his “old lady.”  This is all about art and love, darn it!  Blanche enters, and very seriously asks her friends if she is ugly; Sophia immediately confirms that she is.  Blanche silences the “old worm woman,” and then mentions that she is worried that something is changing about her.  Much to her surprise, she has found herself desperately in love with Jerry, who has awoken feelings she has not felt since she was with her late husband.  She hates it, however, because Jerry won’t even kiss her and she cries at the thought that she has lost her sex appeal.

We soon find Blanche searching frantically for batteries (get your mind out of the gutter, Sophia) to power her Walkman so she can listen to a subliminal self-esteem boosting cassette.  Meanwhile, Dorothy is still on Could Nine, and Blanche hates her for gloating about her personal British invasion while Blanche is experiencing a major sex drought.  Blanche has no desire for a platonic relationship, she wants that D!  She asks her friends to share stories of their own romantic woes to comfort her, but we only get brief teasers from Rose, about the time she was radioactive, and Sophia, about the time Warren Beatty missed his chance with her.

Next, we cut to a hotel that was furnished from the set of Gilligan’s Island, and Blanche greets Jerry at the door to the suite.  She has lured him into a den of premarital sin, and Jerry is clearly nervous about the situation.  She employs some very subtle tactics to help set the mood, with mood lighting, chilled champagne, and a vibrating bed.  As soon as her trap is sprung, she leaps atop Jerry, tipping him off to the mirrored ceiling and accidentally triggering a sex swing.  Jerry, who is vigorously guarding his Special Purpose, gets angry and storms out of the room.

Back at the house, Dorothy looks utterly shaken.  She attended Don’s solo musical debut, and it was a total disaster.  Believe it or not, this guy who makes his living performing work written by others is not a musical genius himself.  He was so awful that she had to flee, and now she feels silly and shallow for falling in love with a persona.  Sophia can’t help but taunt her with some improvised lyrics.  Oh, and Blanche enters the kitchen after returning from the hotel and announces to all present that she’s a cheap slut.

Jerry comes back to the house at Blanche’s request, and she apologizes for her behavior.  She says they can just be friends, but she wants to know why he doesn’t find her attractive.  He says that he thinks she is stunning, but he is very old-fashioned.  He was a virgin on his wedding night, and he still wants to take things slowly.  He believes in romance, and saving small moments to make them special.  During his explanation, he leaves her hanging as she waits for a kiss.  Blanche says she wants to start over, and he agrees.  He begins to leave, but returns and finally gives her the kiss she’s been waiting for in a touching (but not touching) scene.  Jerry leaves, and Rose enters to ask how she’s feeling.  For once, Blanche feels like a lady.

Oh, and during the credits, Don comes back to the house to ask Rose out on a date.  She says no until he mentions that he’s playing the role of Paul this week, and then caves.

The End.

I liked this episode, but it was a somewhat mixed bag for me.  I enjoyed Blanche’s storyline with Jerry for the most part, even if I was waiting for the dude to give up the goods right along with her.  I liked how touching the ending scene was, with Blanche’s happiness on full display, but I also can’t help but feel like it was a bit out of character for her.  After all, it’s important that people be compatible physically as well as emotionally, and I can’t imagine it will be long until Blanche is feeling the unrelenting flames of passion once more.  We’ll see if Jerry makes it to the next episode, but I feel like he didn’t make nearly enough of an impression for me to be happy with him being declared her greatest romance since her husband passed.  The Dorothy relationship was another story, and while there were some jokes I enjoyed, I had a hard time seeing her as a die-hard Beatles fan, and a harder time seeing her shack up with a celebrity impersonator.  If I could have heard the performance of Don’s ode to Dorothy I might have bumped my rating up a bit, but as it stand I’m giving The Commitments a rating of 3 poofy hairdos out of 5.

Drew still has some time off before his review of The Spy Who Loved Me, Roger Moore’s third outing as Agent 007, but I’ll be back soon with my take on Questions and Answers, the next episode of The Golden Girls.  Until then, as always, thank you for being a friend, and for being One of Us!