It's from a Sega Mega Drive game called Zero Wing, which was famous for having an opening sequence which was notoriously badly translated from Japanese.  Being a huge Monty Python fan as well as professionally interested in language, I just can't get enough of stuff like that.

Ah, fair enough then.  Yeah, I mean it seems like it could be fun in a mindless sort of way (and I don't mean that as a criticism), but it probably will fall into that paradox for me of "not fun enough to watch at home (where the lack of super loud explosions and vision-filling screen will draw attention to the plot, writing, etc.), but not fun enough to spend ungodly amounts of money to see at the theater". 

I've just realized this:  you know what this country (the UK) needs?  More dollar theaters.  Maybe those fancy folks down south in London Town with their fine hats and streets paved with gold have 'em, but there certainly aren't any 'round my way.

Ouch!  That's rough.  Must be a genetic thing.  My wife was my mother-in-law's second and they barely made it to the hospital.

Awwwwwww.  Soooooo cute!  Yeah, second children come quicker apparently.  (We made it to the hospital with a shade over 30 minutes to spare.)  You'll probably think you've forgotten how all this stuff works, but it all comes back to you!

A couple of advice reminders (in your case, since you've done this before) from the thread about Dave's recent child:

Yeah, I can see where you might be coming from if you think the Potter angle will change your demographic.  And certainly agree that the preview and the actual stream should be consistent, whether that's doing nothing or like putting the live feed on a 30-second delay or something so that you can bleep stuff.  But given that this is going to be a marathon, I'm not sure I would rely on yourselves to consistently self-censor.  Over here on TV, the continuity announcer usually says something like "This program contains strong language and adult situations from the outset and throughout."  That's the signal for all kids staying up late to start paying attention.  But it's (presumably) not going to be like Archer or anything.

I guess in these kinds of situations I tend to think of Picard's quote from the TNG pilot:  "If we're going to be damned, let's be damned for what we really are."

If you shift the stuffed peppers here, you could have stuffed red, orange and yellow peppers, getting kind of a fire/phoenix motif going.  That's also going to be the middle of the night, and you could make something like that in advance and thereby minimize cooking at a bad time, give yourself a bit of a break, etc.

Well, with the "potions" theme the obvious way to go here would be drinks, but at 4 in the morning and the 16-hour mark, alcohol might not be the way to go.  Some kind of exotic coffee?  And maybe scones (playing the role of chemical nuggets)?  (Not like they'd be rocks or anything, I hasten to add!!)

Something else just to put out there, in terms of the time/money/effort theme.  You have a slow cooker, I assume?  If you have some kind of stew, goulash, etc., you can prep it in advance and use cheaper cuts of meat, etc.  Just a thought.

Actually, I'll go for 50 First Dates as being a sweet and largely winning film (as long as you don't think too much about how their lives are actually probably going to work after 10 or 20 years time). 

I first saw it on DVD, and immediately after said only slightly facetiously "you know, this feels like these characters were originally bohemian 20-something's in New York or whatever, but then when Adam Sandler came on board they decided to change his character to a wacky aquatic animal trainer in Hawaii".  And then in the EPK, they all but say that that's exactly what happened.

One Flew Over the Cuckoo's Nest didn't have David Attenborough in it anywhere. 

Clint Eastwood ends up with almost half a million adjusted for inflation at the end of For A Few Dollars More. 

Who's Afraid of Virgina Woolf? wasn't a slasher film about the Bloomsbury Group. 

I couldn't find any S&M scenes in Tim Minear's screenplay for The Moon Is A Harsh Mistress.

Not to get into a grammar-swinging contest or anything, but the Oxford English Dictionary actually gives precisely Dorkman's intended sense "without interest or concern; not interested, unconcerned" as the first definition, with verified usages of the word with this meaning going back to John Donne in the 17th century.  It's behind a paywall, alas, but many modern dictionaries will also give something like this as a definition in addition to 'impartial', as usage is swinging towards it. 

Here's a quick test for any wannabe grammar nazis, brought to you by the Department of People Who Live In Glass Houses Shouldn't Throw Stones:

(1)  What does "begging the question" mean?

...still on TV (man, this is liberating!)

1.  There's absolutely no decrease in quality between Seasons 1 and 2 of Heroes.  They're both appalling.

2.  The Battlestar Galactica reboot miniseries and first half of Season 1 are excellent and then after that, with the exception of a couple of upward ticks, it's straight downhill into a Speed Racer car-crash of undergraduate cod-philosophizing, badly-written relationship problems that we don't give a toss about (because of what the writers decided to do at the end of Season 2), and general half-assedness in virtually every respect (the near-constant use of the "24 hours earlier" structure, the few interesting side characters are squandered by clichéd resolutions to their arcs, nothing anyone says or does during the trial of Baltar makes any sense at all, etc. etc. etc.)

3.  Dollhouse is a terrific show whose critical reappraisal is already overdue.  Just about the only major gripe that's out there that I'll accept is that Season 2 is kind of rushed, and the time spent on various people/arcs doesn't feel quite allocated correctly.  (Too much at the beginning of the season, not enough at the end.)

I think the "Doll of the Week" stuff at the beginning of Season 1 works, because it allows you to get comfortable with the universe, and parcels out bits of information (including hints of the gradual "awakening" of Echo) that then start coming together as the season progresses.  People who say that Eliza Dushku is weak or that early on you can't establish a rapport with the main character because she's changing personalities are missing the point.  It's more at the early stage of having a rapport with or empathy for the situation, for precisely that reason, and I think Eliza Dushku actually does a really good job with the little moments that she has to work with.

I'm thinking of like that bit in one of the first episodes where she's coming back from a "romantic engagement" and talking about it with her handler -- how she normally doesn't go for XYZ type of guy (I think she says he's fat), but this guy was really sweet and she really likes him and wants to tell him how she feels, but she's nervous, etc. On the one hand, of course she's been 'programmed' to feel that way, but Eliza Dushku does a really good job of making it feel real. And so, when you hear the line "Are you ready for your treatment", it's kind of sad in a Roy Batty "all these moments will be lost in time" sort of way. It doesn't matter that on one level it was 'engineered'. It's a happy moment in her life and it's going to be taken away from her.

The rest of the acting is uniformly excellent, the twists and turns are generally great, and it actually makes an effort to be about something.  If this were shot in black-and-white, and in French, and shown in art-house theaters in the mid 1960's, people would be all over it.

If we're talking about TV, here's one:

I consider myself a big Joss Whedon fan, and a solid fan of Buffy, and I can't stand the "Once More With Feeling" episode - the musical from Season 6.

I guess I gotta give him props for trying it, and for not using it on a throwaway episode (it's an absolutely key episode in that season's arc), but, as a writer of musicals, he's an excellent television director.  Actually, the stuff is not bad, just horribly, horribly unnecessary.  Bland, journeyman-level writing that sounds like it came from whichever hack wrote the latest high-concept Broadway show. 

And it's doubly infuriating, because, in my opinion (though not everyone's, as we've seen), he's an excellent writer.  Earlier on in the season, Buffy makes a key revelation to Spike, and makes him swear not to tell the others, and it's an almost unbearably moving scene.  So, I'm thinking, "man, when the rest of the gang find out, this is going to be one of the greatest TV moments ever", and it turns out that the rest of the gang find out via a number that sounds like it was dropped from "Alzheimer's: The Musical". 

Unbelievably disappointing (and a large part of what's still keeping me from seeing Dr Horrible).