In my Episode III, Palpatine’s temptation of Anakin is mirrored by Count Dooku’s struggle with his own desire for redemption. As Palpatine is to young Anakin, so Yoda is to his best student, Count Dooku. Count Dooku is the man he pretended to be in Episode II. The movie has a tighter focus: Obi-Wan and Anakin pursuing Dooku against the backdrop of the Clone Wars. (None of this nigh-instantaneous transport between star systems.) This, too, is a mirror: this time we’re reflecting the pursuit of Luke and Leia. Dooku moves from system to system, just ahead of the Jedi, directing his grand strategy from behind the scenes. He is still Palpatine’s creature; the Clone Wars are still orchestrated. But he has potential. ...

Take one on a possible Fantasia schedule. Times are rough and not completely accurate. The 5:20 Sunday slot is probably a rest slot, since my tolerance for goofy doesn’t necessarily extend to bad Turkish movies… although damn. Tempting. Note that I’m also assuming a Thursday arrival, since I’m thinking about that, but the two Thursday movies aren’t essential. 7/21 7:30 El Lobo (original) 9:30 Ghost House 7/22 5:00 All Babes Want To Kill Me (original) ...

[The following is a note to myself. Really.] The telegram says this: Telluric ectoplasm projector discovered STOP Located in San Francisco STOP Controls still mysterious STOP Daring agents needed STOP Come at once STOP The Zatarin Agency is located in the basement of a townhouse in San Francisco’s Noe Valley. Above it is the Zatarin Floral Service, and above that is Paul Zatarin’s residence. Mr. Zatarin is a moral man and a first generation immigrant who is immensely proud of his adopted country. As such, when he discovered the telluric ectoplasm projector in the basement, he immediately wired Max Mercer for advice. ...

Charlie Stross’ new novel slash collection of short stories is about to be out in stores in the US. It’s also available as a free download (original). Why wait? But do buy as well if you like it.

Mark Cuban isn’t the only guy experimenting with releasing DVDs on the day the movie hits theaters (original). I betcha none of the exhibitors are going to threaten not to show this movie, though.

Blah. To my infinite annoyance (and resigned acceptance), I find that I am unable to attend FanTasia this year in the manner I had hoped. We have a product launch the second week of the festival, and I can neither be out the week before that launch or the week after. I may be able to make a long weekend of it again. I’m a touch dejected just now. We’ll see what the schedule looks like.

One of the annoying things about being a wrestling fan is the difficulty of watching the classics. Wrestling is meant to be entertainment, right? What kind of entertainment makes it so difficult to see the old stuff? (Well, comics, but that’s another rant.) There are just insane amounts of really good footage locked up in Vince McMahon’s vaults, and most of it never emerges. Here and there a Ric Flair match, here and there some old Hogan stuff, but never any classic wrestling for the sake of classic wrestling. ...

Hey, look, A Feast for Crows is done (original). By which we mean that the massively huge tome Martin was writing has been split into two parts, geographically, due to the physical limits of book side. The first part is complete and going into production. Well, hey, I’ll take that.

Announcement: C. E. Murphy Fans (original) is now open for business. C. E. Murphy is a dear, dear friend of mine who has just broken into publishing in a fairly big way, with six books sold over the course of the last year or so. Her first book, Urban Shaman, just hit the shelves. I’m running her unofficial forums.

Closer is the movie that Sympathy for Mr. Vengeance wanted to be: it’s a story about the pain humans cause one another. It succeeds where Sympathy for Mr. Vengeance failed, because the characters are people and not caricatures and because Mike Nichols recognizes that pain arises from the cruelties we deal one another. It’s very close to being a great movie. The only flaw in the ointment is Julia Roberts, but let’s leave that for a moment. It’s the best Jude Law performance of the year, edging out his executive in I ♥ Huckabees. He’s still got that surface gloss which detracts a little from his performance, but like his executive, this is a role that fits that gloss. And his body language is a thing of beauty. Particularly during his scenes with Natalie Portman: the pair of them express themselves in exactly the way lovers interact. Not when they’re first meeting — that’s not so hard — but when they’re parting badly, and one of them wants to taste the other’s mouth, and there’s the moment of wanting to give in, to comfort, but no, you can’t — ...