A Modern Day Treasure Hunt

I remember back a quarter century ago when my high school friends would organize "scavenger hunts." We'd get a list and drive around Omaha looking for the disparate items.

It was fun. We had no means of communication, but we'd meet up later to see how everyone did, and find out whether or not we'd procured the assigned loot.

Fast forward to 2017.

My brother-in-law turned us onto a Twitter account called @NBFindersKeeper. It just popped up recently, and sends curious seekers (basically teens and college students) on a "treasure hunt" in the Omaha-metro area. The excursions happen on weekend evenings.

The Twitter account will tweet out a general destination. Then, additional clues will roll out until someone finds the prize (generally money hidden in a clever place). The individual who finds the prize shouts it out, and tweets a selfie holding their loot.

So, our nieces wanted to play last night.

We were just coming off a depressing UNO Hockey loss at Baxter Arena, and headed home from the game. Bridget received a Twitter notification that the game was afoot. 

The area will be around 144th and center. Details to come in about 15 minutes.

— Finders Keepers (@nbfinderskeeper) February 11, 2017

I declared, "adventure!"

We veered off course, hopped on the interstate, and journeyed out to Millard.

We learned the "gift" (as the account calls it) would be near 144th and Center. So we drove to AMC Oakview 24 and waited for the next clue.

Lo said, "I've never played this game before..."

Vic's Corn Popper was tweeted as the specific destination where the loot was hidden -- nearby, not on the building itself.

"GO, GO, GO!" Lo shouted, doing her best "action-movie-chase-sequence" impression. 

There is a @Vicspopcorn store in the strip mall on NW corner of 144th and center. It's in the lot in front of Vic's. Retweet when found.

— Finders Keepers (@nbfinderskeeper) February 11, 2017

As cars descended on the location, and participants scurried about, it reminded me of the movie "Cannonball Run." 

We hit the parking lot by the popcorn place. Julia flipped forward the seat I was sitting in and squeezed her way out of the back of the car. Lo and Bridge did the same thing on the other side, and set about hunting the money (in this instance, a $20 bill) down.

The Andrew Jackson was hidden on a tree. 

This is where the previous one was hidden. pic.twitter.com/i6ZeqW5Th7

— Finders Keepers (@nbfinderskeeper) February 11, 2017

After the winner was identified, and the players dispersed, we soon got a clue about another hidden prize. The initial clue proved to be a red herring, and took us away from the resting place of the next $20 bill.

But we were soon back on the scent, and found out the prize was located behind the Red Lobster near Oakview Mall. 

There's a store for gamers called @TradepostEnt behind red lobster on center street. It's in that parking lot. Not on buildings!!!!!!!

— Finders Keepers (@nbfinderskeeper) February 11, 2017

Julia, Lo and Bridge ran around the parking lot with the other crazies. Before we knew it, a picture of the bus bench up on West Center was tweeted, and someone found the $20 bill.

Lauren climbed a tree, and managed to break a nail. 

We decided to get some sustenance after the second bout of mayhem, and stopped at the Winchell's Donuts by 120th and Center. We ate our treats, laughed about the night's activities, and tried to gear down. 

As fate would have it, users voted on the @NBFindersKeeper account to have two more treasure hunts. We had given up by then, and we're headed back home in midtown.

But, just as we were moving east along I-80 near 72nd Street, a notification popped up on our iPhones that the next prize would be in Aksarben Village. 

We couldn't give up then! Not only was the destination close to home, it is a locale we know all too well.

So we drove to the village. I decided to brave the cold, get out of the car, and search for the treasure this time.

We learned the money was hidden near Eat Fit Go. We parked along the street and started rooting around every bench, lamppost and planting bed in the area. 

There is a store in Aksarben called @EatFitGo it will be in that area. Not on the buildings or businesses. Retweet and will give specifics.

— Finders Keepers (@nbfinderskeeper) February 11, 2017

The four of us initially dispersed in our search. Then, after a few minutes, Julia and I met up. As we pondered our next move, a black truck slowly rolled north on 67th, and the driver poked his head out the window and said, "Hey...you wanna know where the money is hidden?"

He proceeded to tell the two of us that it was on top of one of the orange construction cones across the street from Eat Fit Go.

Julia and I were kinda freaked out at that point, but we headed across the street anyway. She soon found the $20 bill -- on the aforementioned construction cone -- and the hunt was over for the evening (it was 12:30 at that point, and the Twitter account was calling it a night). 

It has been found. https://t.co/0sSmB5fKD6

— Finders Keepers (@nbfinderskeeper) February 11, 2017

It was a peculiar experience. It kind of reminded us of a simpler version of the social media game played in the movie "Nerve" (if you haven't seen that movie, check it out.)

The concept itself is pretty retro, but with the hyper-connected world we live creates interesting implications and opportunities for something like this.

"Victoria": Is This Brit Import Worthy of "Downton Abbey's" Timeslot?

I had been looking forward to this show the past few months...

PBS's "Masterpiece" label has debuted its latest co-production with British broadcaster ITV ("Downton Abbey," "Mr. Selfridge") -- the period costume drama "Victoria."

"Victoria" focuses on the rise of the 19th century British queen, and the swirling political and familial drama surrounding the young monarch's life.

As is often the case with dramas on "Masterpiece," they appear on PBS a few months after being telecast by their British television counterparts (notable exception being "Sherlock" in recent years, which has aired concurrently). Those episodes then appear following their Sunday broadcasts on the PBS Masterpiece website and PBS app (for mobile and set-top devices).

PBS did something interesting time out and put the entire first season of "Victoria" up to stream after its debut on Jan. 15. The additional episodes are locked and only available to PBS Passport members (read my previous post on Passport) until a particular episode has aired on "Masterpiece." 

A nice perk for subscribers, and it gave me the ability to binge watch the entire first season for this review.

"Victoria" comes to the states on the heels of Netflix's lavish "The Crown" (which recently won the Golden Globe for Best Dramatic Series (read my review here).

Both shows feature plots about the rigid inner-workings of monarchical life, and both feature lovely costumes and set design -- making the largely "interior" shows feel epic in scope.

Both shows are different in terms of timeframe ("Victoria" is set in the 1800s, "The Crown" is set in the 1950s), and the look, feel and societal norms are vastly different.

The diminutive Jenna Coleman (fresh off her tenure on "Doctor Who") plays the titular queen in "Victoria." Her teenage character is at times seems brash, stubborn and petulant, but as the first season wears on those traits start to fade, and her plucky charm comes to the fore.

Victoria, born Alexandrina, ascends to the thrown after her uncle passes away. The naive royal exudes confidence, but still plays will dolls (which she "numbers" instead of names) and her loyal dog Dash.

What follows is a soapy mix of political machinations, family maneuverings, and societal drama in 1830s England.

The show was written and created by Daisy Goodwin.

Those around Victoria question her ability to rule, her mental well-being, and the fact that she is a German descendant. She also has a rather distant relationship with her mother, the Duchess of Kent (Catherine Flemming).

Her biggest ally is Prime Minister Melbourne (Rufus Sewell). The calm and cool "Lord M" (as Victoria dubs him) serves as a mentor, advisor and friend to the queen.

To go much further would be to spoil the experience for those watching "Victoria" for the first time.

Those who have viewed "The Crown" on Netflix (about the rise of Queen Elizabeth II), will notice certain similarities and plot devices in the two series. Some reviewers have suggested "The Crown" of lacks heart. That aspect certainly isn't missing in "Victoria."

"Victoria" spends part of its narrative focusing on the "downstairs staff" (which worked to great effect in "Downton Abbey"), and it adds an additional depth and texture to the affairs at Buckingham Palace -- it also features some of the most touching moments in the first season.

One of the lovely aspects of "Victoria" is its musical score. The music by Martin Phipps and Ruth Barrett (with vocals by Mediaeval Baebes) strikes the perfect chord, and is a beautiful webbing holding the show's theatrics together.

Here is the music from the "opening titles" sequence: 

 

Inevitably, the question will arise, "which is the best of the new queen-centric television properties?"

Both programs show a tremendous amount of promise, and deliver a meal worthy of the seemingly vast appetite of Anglophiles in the U.S.

Both shows feature equally strong performances.

A bit of trivia... actor Alex Jennings plays King Leopold in "Victoria," and he also plays the Duke of Windsor in "The Crown."

"The Crown" might be more relatable to audiences since Elizabeth still rules Britain, and the 1950s setting is more familiar. But "Victoria" might be the more well-rounded drama as its ancillary characters get their own fully-developed plotlines.

Whichever monarch you prefer, you can't go wrong with either of these wonderful series.

"Victoria" fits nicely into PBS's Sunday night "Masterpiece" lineup.

Where to watch?
- Sunday evenings, 10/9 Central, PBS
- Also available on PBS.org, the PBS app, and for purchase from iTunes and Amazon

Check out my previous post: "Sherlock Returns… Plus: What is PBS Passport?"

"Sherlock" Returns... Plus: What Is PBS Passport?

Did You Miss Me?

Those of you who haven't been hooked by the compelling, charming and highly-stylized "Sherlock" (a co-production of the BBC and PBS's "Masterpiece" label) need to delve into this modern take on the popular Arthur Conan Doyle character. 

Tonight marks the debut episode of the show's fourth season (each season includes three ~90-minute episodes), and the only taste of "Sherlock" fans have had since the third season finale in 2014 was last year's holiday special "The Abominable Bride." 

The show has catapulted the careers of Benedict Cumberbatch (playing the titular character) and Martin Freeman (who tags along as John Watson). Due to scheduling conflicts with the in-demand actors, fans have been left hanging for three years waiting to get answers to the season three cliffhanger.

I own the first three seasons of "Sherlock" -- as well as "The Abominable Bride" -- on Blu-Ray. The show is also available to stream on Netflix.

It is well worth your time, and stands as one of the smartest series on television. 

What is PBS Passport?

The Public Broadcasting Service (PBS) has seen something of a resurgence in recent years with well-received dramatic series like the aforementioned "Sherlock" and the stylish period drama "Downton Abbey" -- co-productions with the BBC and ITV. 

As a result, the broadcaster has improved overall ratings, and has delved into its own original scripted programming with new offerings like "Mercy Street" (a gritty Civil War drama focused on a war-time hospital). 

Since PBS subsists on taxpayer funding -- and annual pledge drives -- they are now offering a new "hook" to get people to commit to making an annual donation. 

"PBS Passport" is a new service being offered with a minimum pledge to your local PBS affiliate. Here in Nebraska, NET offers "Passport" starting with its "Sustaining Star" pledge level ($5 per month, or $60 annually).

"PBS Passport" gives you access to a variety of shows that otherwise would be "locked" on the PBS app (on devices like Apple TV and Roku, as well as various mobile devices) and the PBS website. They show a symbol like this in the upper left hand corner:

This allows members to access additional episodes, specials, and seasons of shows not normally available. 

The other benefit it provides is that during current seasons of shows -- like the upcoming "Victoria" starring Jenna Coleman -- all episodes of the season will be available to stream on demand. Non-Passport members only get the two most recent episodes "unlocked" as the season airs. 

(Note: The PBS app on Apple TV is one of my favorites. The wealth of free content is substantial and includes nationally broadcast programming, as well as original content from local PBS affilinates around the country.)

The benefit for "Passport" members is that all seasons of select shows like "Downton Abbey" are available to watch on demand. 

I've been a fan of the app since I purchased my first Apple TV unit in 2013. I was impressed by the catalog of content offered -- in particular, the documentaries available -- and quickly found it to be one of my "mission critical" apps as a cord cutter. 

Bridget and I have enjoyed series like "Downton Abbey," "Sherlock," "Poldark," and "Mr. Selfridge" on PBS's "Masterpiece," and the PBS app is handy to have when you aren't able to watch an episode live (new episodes generally show up the day after they air). 

I also wanted to support the efforts of our local PBS affiliate (they do terrific broadcasts of local college and high school sports) and get "Passport" as an adjunct to the other streaming services we subscribe to on Apple TV. 

Read my previous post: "Manchester By The Sea": Melancholy in Massachusetts 

"Manchester By The Sea": Melancholy in Massachusetts

First off, writer/director Kenneth Lonergan's "Manchester By The Sea" has all the qualities any typical "Oscar bait" has -- solid writing, adept direction, lovely cinematography, and honed performances. 

The story focuses on world-weary janitor Lee Chandler (Casey Affleck). 

Lee is puttering along in life, following a lonely routine as an apartment custodian, when he receives a call informing him that his older brother Joe (Kyle Chandler) has unexpectedly passed away.

He heads to Manchester, MA, to see the body, make "arrangements," and tell his nephew Patrick (Lucas Hedges) that his father has died.

We learn through a series of flashbacks that Joe had a heart condition. We also learn that Lee had previously lived in Manchester, with a wife (Michelle Williams) and kids.

A visit to Joe's attorney leads to the revelation that Lee has been left in charge of the estate, and that he is to be guardian of his nephew. Not only is Lee surprised by this news, he is visibly agitated at the notion.

Lee and Patrick have a familiar, if uncomfortable, bond. It isn't quite that of father and son, but it works in the short term.

Lee is set on returning to his spartan existence in Quincy, while Patrick wants to stay in Manchester at his school, with his friends, and on his hockey team.

The story then veers into both familiar and unfamiliar territory. We learn that Lee has skeletons in his closet, and a problem with alcohol. Patrick is a decent teenager, but his father had been raising him alone (his mother -- played by Gretchen Mol -- left during his formative years). The boy's interpersonal relationships suggest he could benefit from a strong parental influence.

To say the film is "heavy" is an understatement.

That's not surprising given the subject matter, but the narrative -- in all its brooding glory -- is not a neatly wrapped story of redemption that audiences might desire.

Some will argue Lee's journey in the film is truer to real life.

One of the stars of the film is the picture-postcard cinematography by Jody Lee Lipes. Some attractive views of the small coastal town are strewn throughout, adding depth to the story.

I do think the story could have benefited from some judicious editing. The 2 hour, 17 minute runtime was too long for the narrative it encompassed -- you can only take so many shots of a listless Casey Affleck staring off into space.

I also felt the musical stylings in the film left something to be desired.

How you react to "Manchester By The Sea" will ultimately depend on your expectations going in.

The Affleck brothers have a penchant for doing projects that show the existential crisis of blue collar Massachusetts ("The Town," "Gone Baby Gone," "Good Will Hunting").

This film is no exception to that rule, and captures their home state in all its dreary New England glory.

Rated R, Runtime: 2 hrs, 17 min

Read my previous post: "A Tiny House Transition" 

A Tiny House Transition

The Mike family (from left):
Darren, Joey, Carter, McKenzie, Trinity, and Melody

Photo courtesy of The Big Family Tiny Life blog

Tonight, on Lifetime at 9 p.m. Central, the television series "Tiny House Nation" will feature a local family who has a tiny house dream.

In October, I mentioned the Mike family in "A 'Minimal' Blog Post" and promised to tell their story. With the help of Bridget's notes from that night, here it is.

Darren and Melody Mike have four kids – Carter, 14, McKenzie, 6, Trinity, 4, and Joey, 2. Them, and their large dog, makes a family of seven.

"I used to be that Dad who loved to shower the kids with presents at Christmastime," said Darren. "If the tree wasn't full up to the second level of branches, I felt my kids would be emotionally scarred because they didn't get enough stuff."

Melody had a different idea of the holiday: "Maybe just give three gifts."

"Are you kidding me? How can I only give three gifts?" Darren responded. He said Melody was adamant that it was important. So they tried her way and he admits he was "amazed that our kids did not suffer any emotional trauma" as a result. "They enjoyed the gifts, instead of playing with the boxes the gifts came in."

The experience got him thinking that "maybe stuff isn't what it's all about."

Melody and Darren said they eventually changed their focus to "if we give less (fewer) gifts, we can spend more money on experiences."

For Carter's birthday last year, they gave him a camping trip with just him and Darren. They purchased MREs ("Meals Ready to Eat") and did some "primitive camping." It was a memorable experience. Especially for Carter, who said, "I can't remember what I got the year before."

The Mikes determined that "stuff isn't really what matters." They said they were never "television people" - they didn't watch TV very often. But Darren is a Husker football fan and he "had to have cable since they (the Huskers) moved to the Big 10." One day, they were working on a project and turned on the TV and landed on a show called "Unplugged Nation," about families that were living off the grid. After that, they also began to watch "Tiny House Nation."

Darren had already learned about the tiny house phenomenon after seeing them on Facebook. He thought they were fascinating -- the idea of building something that was "complete, but really tiny." They watched one episode of "Tiny House Nation" and decided to DVR every episode, which they ended up binge watching.

"Melody started showing some signs of being into it," Darren said. After a few episodes, he started researching tiny houses online. He told Melody, "I think we should do this." She agreed. From that point, they started planning their tiny house transition.

At the time they participated in the Green Omaha Coalition event at Aksarben Cinema, their tiny houses were about a week from being completed, and they were a few weeks away from moving into their tiny houses. (They ended up building two independent-but-connected tiny houses.)

Darren told the story of their journey to that point. After deciding that they wanted to live in a tiny house, they sold their 2300 square foot home and moved into a 270 square foot RV, where they planned to live while they built the tiny houses. That journey is detailed in an Omaha World-Herald story from July. (An interesting aside: That story was the 12th most-viewed article on the OWH website in 2016, with more than 113,000 views.)

That didn't end up working out. Officials in the city of Valley (where the RV was parked) told them they couldn't live in the RV. So they moved into their church's building, and stayed in a two-room office. Darren said, "It was never our intention to live in the RV (permanently)." They had a plan to move out to a family farm and live in their barn while they built the tiny houses on the property. The day after they sold their house, that plan also fell through.

Melody picked up the story. "This has been a tough transition for us, for sure. We are all in. We feel called to do it. The coolest part for us is...all this stuff doesn’t mean anything. For us, relationships are a big deal. We don’t care about stuff. Life is about experiences, not stuff. You’re missing the whole part of our story. The point is that life isn’t about stuff, and it’s not about experiences. It’s about people. For Darren and I and our children, we love Jesus with all our heart. We want to spend time with people. Life is about people and relationships and not how much stuff we have."

The episode of "Tiny House Nation" was filmed a few weeks before the Mike family's appearance at the Aksarben Cinema Reel-to-Real event.

Darren said there's a scene that is always featured in the show -- the "pare down," where the family is shown getting rid of their stuff. He said he told his wife, "Okay, Melody. We are missing something, because you said you don’t care about this stuff" when she started to get frustrated. 

She replied, "Really, I don’t care about any of this stuff. There is nothing here that I couldn’t get rid off, except three items." The producers kept drilling her. Darren was like, "Really, she doesn’t care about that stuff. It was just extra stuff, and we didn’t know what we needed."

“Getting to that point was really painful. We had worked really hard to fill this 2300 square foot house. We were putting things out there that we really loved and really wanted but they just didn’t fit our dreams anymore. There was no more room,” Darren added. Even thought they didn't value "stuff" anymore, there were still things that it was painful to get rid of.

The hardest to get rid of for Darren was his guitar-building tools. Melody at the time was a personal trainer. "Our basement was a legit gym," Darren said. "We worked really hard to build it so we could have kids and (Melody could) stay home with them and pursue a career in training people," which she loved.

That was the hardest part for Melody, Darren said. Getting rid of her gym. Darren asked her about it at the time, and she said she couldn't talk about it for two days. "I'll get over it, and I'll be okay," she told him. "I worked really hard on this ... from going back to school to building the gym so I could stay home with the kids. It all comes down to what we value, so we have had to give up a lot of stuff. But if you look at it, we lived most of our life on one floor of four floors of our house. Stuff doesn’t make our kids happy." 

Melody added, "We wanted to spend more time with them -- and after that, we wanted to spend time with people and be available and make time available for relationships."

The audience at the Reel-to-Real event got the opportunity to ask the Mikes questions.

Audience question: "Do you face any issues with zoning?"

Darren: "Through random chance, we met a wonderful couple who is allowing us to put our houses on their land. We sort of got permission. We told one of the local zoning fellows what we’re doing. We refer to it (the land where the houses are parked) as 'The Meadow.'" (However, the Mikes never disclosed the specific location.)

He added, "When the TV shows come and go, you see the happy ending. The reality is, it’s not entirely legal to live in a tiny house in the U.S. It’s kind of a little scary. Some folks up in Portland, Ore. wrote an addition to the international residential code and were able to petition to have that entered into the actual international residential code this past weekend in Kansas City. The code council voted on it, and they voted to accept it. It doesn’t directly affect zoning yet, but the fact that there will be an official provision in the code allows that conversation to happen."

Darren described their setup: "We have two tiny houses — 300 square each — a mirror image of each other, except the main house has the kitchen in it and the laundry. The kids house has full size bathroom with tub and Carter’s room and a triple bunk bed for the girls. There's a home school room above it. McKenzie is in first grade; Trinity is in kindergarten. (Joey) does everything they do. They have a bathroom in their house. They have rock climbing walls, jungle gym, swings, and monkey bars. It’s like their recess."

An audience member asked about utilities. Darren responded that they have mini splits installed on both of the houses. Electric heat is not the most efficient way to heat, but they are insulated to R-22 value, so it doesn’t take much to heat it. As an additional level of redundancy, they have a gas fireplace in their house that runs off propane. They also have electricity through solar panels and batteries.

Near the end of the Q&A, Darren said the houses are on wheels, so they're "able to move them with their family." He added, "We never have to go through the painful process of moving and selling again." They designed them to what they need for their family, and what they want. But the completed houses are incredibly heavy. "We can't just hook them up to the back of the minivan." When they moved them to The Meadow, they needed a 1-ton pickup truck.

In hindsight, it's ironic that the discussion ended with the thought that once the Mikes moved into their tiny houses, they'd never have to move again.

Bridget became friends with Melody on Facebook after the event, and has been following their tiny house transition. It hasn't been smooth sailing. At all.

As yesterday's article in the Omaha World-Herald detailed, the Mikes aren't currently living in their tiny houses. They were asked to leave "The Meadow" because their generator was scaring deer away. The tiny houses are stored on a friend's land, vacant for now. Melody had put out a plea a few weeks ago for temporary housing, and they are staying in a four-bedroom house in Omaha for now.

You can read more about Darren and Melody's tiny house transition on their blog, "The Big Family Tiny Life":
http://bigfamtinylife.com

Darren had posted a blog post on Dec. 6 detailing their struggles since moving into the tiny houses:
http://bigfamtinylife.com/2016/12/06/breaking-the-silence/

As a follow-up, Bridget asked Melody to detail specifically how people could help. The result was this blog post on Dec. 8:
http://bigfamtinylife.com/2016/12/08/urgent-needs/

And a GoFundMe campaign to help them with their tiny house transition (Bridget donated):
https://www.gofundme.com/mikesgotiny

Watch the preview of tonight's episode, "It Takes Six to Tiny":

Read my latest blog post: "Rogue One": Is it the Best "Star Wars" Film Released Since "The Empire Strikes Back"...?

"Rogue One": Is it the Best "Star Wars" Film Released Since "The Empire Strikes Back"...?

SPOILERS AHEAD!!

I went to see "Rogue One: A Star Wars Story" for the second time today at Aksarben Cinema. I enjoyed the movie the first time out, and had planned to take in multiple viewings. 

(You can read my recent review of "Rogue One" here). 

A number of my friends consider it to be stronger than 2016's "The Force Awakens," and some have argued it is the best "Star Wars" film since "The Empire Strikes Back."  

High praise, indeed.  

I loved "The Force Awakens," and thought J.J. Abrams did a fantastic job creating a jumping-off point for a new trilogy -- and casting a group of compelling new characters. 

But many folks I know believe "Rogue One" is the superior movie. 

They feel the writing is stronger, characters more appealing, visuals truer-to-canon, and the grittier tone more compelling.  

My friend Scott felt that Felicity Jones's Jyn Erso was a far more compelling British-brunette "Mary Sue" than Daisy Ridley's Rey in "The Force Awakens."  

It's incredible when you think about it. Especially considering that this movie featured last-minute rewrites, well-documented reshoots (at the request of Disney), and a change of composer (Michael Giacchino only had "weeks" to compose the score).  

(I outline various production aspects and foibles in my "Rogue One" preview post here). 

A number of my friends even thought my initial skepticism about resurrecting actor Peter Cushing as Grand Moff Tarkin via CG was too nitpicky, and suggested it was fairly effective (if not perfect). Recreating 1977 Carrie Fisher, on the other hand...  

So...did a second viewing of the movie convince me that "Rogue One" is superior to "The Force Awakens," and the best of the films behind "Star Wars" and "The Empire Strikes Back"...? 

First things first -- I enjoyed "Rogue One" even more the second time around, and noticed a number of subtle things I didn't the first time -- like the fact that the X-Wing pilot with the call sign "Red Five" died in the movie's final battle sequence, which explains Luke Skywalker getting the designation in Episode IV.  

You'll also notice more subtle things, such as actors sporting mustaches (a nod to the look and feel of 1970s and 80s movies), and the fact that Cassian Andor's blue parka in the early part of the movie looks similar to Han Solo's on Hoth in "The Empire Strikes Back."  

People have remarked how much Mon Mothma in "Rogue One" looks like the actress who portrayed the character in "Return of the Jedi." Genevieve O'Reilly isn't the same actress, but she did portray Mon Mothma in 2005's "Revenge of the Sith."  

Thanks to "Rogue One," the Force now has its own "Hail Mary, Full of Grace..." mantra with "I am one with the Force, the Force is with me"...

Because "Rogue One" is a secondary story in the saga, Lucasfilm chose not to give it a crawl, but it did include the blue text that read "a long time ago, in a galaxy far, far away..." 

I understand the rationale for not including an opening crawl with John Williams's iconic theme, but I still missed it... 

The movie really follows a "less is more" style. I don't know if that was by design, or if the Disney brass wanted it to fit within a particular runtime.  

(If you watch the various pre-release trailers, there are numerous scenes/clips that didn't make the final cut of "Rogue One").  

There is part of me that has wondered if the filmmakers ever planned to have Jyn Erso and Cassian Andor escape the battle on Scarif. 

According to this article on "The Verge," director Gareth Edwards suggests that the main characters were set to survive in the original script (he had assumed that Disney wouldn't be sympatico with them dying), but that they never filmed such an ending.  

http://www.theverge.com/2016/12/20/14022380/rogue-one-ending-original-different-gareth-edwards

Honestly, the film was probably more effective with the core group becoming martyrs to the cause.  

Edwards has managed to make a movie that many fans find to be incredibly compelling -- and at the zenith of what this franchise has to offer.  

As to whether or not this film is the best since "The Empire Strikes Back"... 

I don't know if I can quite pull the trigger on that sentiment. I think "Rogue One" benefits from less pre-release hype, and I think production news over the summer might have tempered expectations to a more realistic level.  

I will say that "Rogue One" is incredibly good, and shows how compelling the prequel trilogy could have been in the hands of a better writer/director (sorry, George).  

Is it better than "The Force Awakens"...? 

Both are very different movies, with different goals. I liked each film a lot, but for different reasons.  

What I can say is that this "new generation" of "Star Wars" movies appears to be in good hands... 

..and the fact that I'm having this debate with myself is a good sign (and need to see it again).  

Read my previous post: "Rogue One": The Prequel "Star Wars" Deserved

"Rogue One": The Prequel "Star Wars" Deserved

First and foremost, "Rogue One: A Star Wars Story" is a fast-paced adjunct to 1977's "Star Wars" -- a visually handsome movie that focuses on action and keeps needless exposition to a minimum.

It is not a "reboot of the past" like J.J. Abrams "The Force Awakens." 

Rather, it is its own concoction and serves as more of a tribute, careening its way around the galaxy, adding depth and texture to the franchise.

It is the movie equivalent of a kid's adventure created with Kenner "Star Wars" action figures back in the 1970s and 80s. 

Those of you who have seen various World War II "men on a mission" movies (like "Force 10 From Navarone," "The Dirty Dozen," and "Where Eagles Dare") will recognize the direction "Rogue One" is headed. 

The story focuses on Jyn Erso (Felicity Jones), a girl whose father Galen (Mads Mikkelsen) is the scientific mind behind the Death Star. She is forced to fend for herself as a small girl when her father is forcibly taken by Imperial Director Orson Krennic (Ben Mendelsohn) to complete work on the planet-killing weapon (Jyn's mother is killed in the process). 

Jyn ends up being raised by a band of revolutionaries, led by Saw Gerrera (Forest Whitaker). 

Fast forward 15 years. Jyn is being held captive by Imperial forces. She is freed from captivity by the Rebel Alliance with the hope that she can track down her father, so they can put a stop to work on the Death Star. 

She is teamed up with rebel Cassian Andor (Diego Luna) and a reprogrammed Imperial droid called K-2SO (voiced by "Firefly's" Alan Tudyk) for the mission. 

I won't give you a blow-by-blow rundown of what transpires next, but you can see where the story is going -- tracking down clues and bits of information in an attempt to find Galen Erso in order to thwart the Death Star from wreaking havoc on the galaxy...

"Star Wars" aficionados will find a number of "Easter eggs" strewn throughout the film. Casual observers likely won't notice, and generally won't have the "depth of knowledge" to see all the trinkets that tie into the next movie. 

"Kyber Crystals" are also referenced in the movie (Jyn has one on a necklace). I first read about them in Alan Dean Foster's 1978 SW novel "Splinter of the Mind's Eye" (although they were spelled differently). 

Some of the other attempts at continuity between movies are less than effective. 

For example, there is a CG version of a long-deceased actor who appeared in "A New Hope." We've seen that technique employed in movies like "Tron: Legacy" (to create a young Jeff Bridges) and "Captain America: Civil War" (to create a young Robert Downey Jr.). 

The tech behind such additions is better than it used to be, but is still not quite lifelike. 

Darth Vader also appears in a couple juicy scenes (as shown in pre-release trailers). The moments with Vader worked well, and filmmakers even included red-tinted eye lens on his mask, as they did in 1977's "Star Wars." 

The challenge with any prequel -- especially one bookended on both sides by other movies -- is the fact that there is little wiggle room for filmmakers to tell a story. 

To be honest, part of what made 2015's "The Force Awakens" so intriguing was the fact that it presented mysteries for viewers to chew on -- something that was done to great effect in 1980's "The Empire Strikes Back." 

Disney/Lucasfilm is set to start filming a story focusing on the early life of Han Solo in 2017 -- which has the potential for a bit more space to breathe in terms of plot/character development. 

Overall, "Rogue One: A Star Wars Story" is an entertaining entry in the "Star Wars" saga. While it might not be the best film of the franchise, it is the best prequel story, and has a pounding pulse that should please ardent fans and casual holiday moviegoers alike. 

Rated PG-13, Runtime: 2 hrs, 14 min

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