Hulu’s Black Twitter documentary is a vital cultural chronicle

They say "Twitter isn't real life," but Black Twitter proved otherwise. For years, that phrase has been a way to ignore the real-world impact of social media conversations, especially when they spark radically new ideas. But that's clearly not true when you look at Black Twitter, an unofficial community made up of the site's black users, which inspired culturally significant movements with hashtags like #BlackLivesMatter and #OscarsSoWhite. Hulu's new documentary, "Black Lives Matter: A People's History," adapted from Jason Parham's Wired article, explores the rise and global influence of the community. Over the course of three engaging and often hilarious episodes, the series cements itself as an essential cultural document.

"The way I would define Black Twitter is a space where Black culture specifically was hanging out in a digital way," said Prentice Penny, the series director and former show-runner of HBO's Insecure, in an interview on the Engadget Podcast. "And even though it was a public space — clearly, it's Twitter, anybody can get on it — it still felt like you were having conversations with your friends that are like on the back of the bus. Or like on the stoop, or in the lunchroom. I mean, that's the energy of it."

In particular, Penny says that Twitter felt special because there was no real hierarchy, especially in the early days. That meant that even celebrities weren't immune to being mocked, or acting out on their own social media profiles (like Rihanna's notorious early Twitter presence). Twitter in its heyday felt like a place where money or class didn't really matter.

"This was kind of an equalization of a lot of things, that somebody in Kentucky who nobody knows could have the same strong opinion as someone who you revere, right?" Penny said. "And I think that's what made the space so fresh, because we don't really have spaces that are kind of a level playing ground in this country."

Twitter also felt genuinely different from the other social networks in the late 2000s. At the time, Facebook was mostly focused on connecting you with schoolmates and family members — it wasn't really a place for simply hanging out and joking around. Prentice notes that the forced brevity on Twitter also made it unique, since you had to really focus on what you were trying to say in 140 characters. 

"Each of the creators [in the series] had a different idea of what Twitter should be," Penny added. "Some thought it should be a town square, some people thought it should be a news information thing... I think like with Black culture, the one thing we do really well is, because we're often given the scraps of things, we have to repurpose something, like taking the worst of the pig and making soul food... I think we are really good at taking things that could kind of be different things and make it be pliable for us."

The documentary recounts the many ways Black Twitter leveraged the platform, both for fun and for kicking off serious social movements. The community helped make live-tweeting TV shows a common occurrence, and it's one reason Scandal became a hit TV show. But Black users also helped raise the profile around Trayvon Martin's killing by George Zimmerman. His eventual acquittal led to the creation of the #BlackLivesMatter hashtag, a movement which sparked national protests in 2020 following the killing of George Floyd and other Black Americans.

If you've been online and following the Black Twitter community for years, the Hulu documentary may not seem particularly revelatory. But there's value in charting the impact of cultural movements, especially given how quickly social media and the tech world moves.  

This article originally appeared on Engadget at https://www.engadget.com/hulus-black-twitter-documentary-is-a-vital-cultural-chronicle-161557720.html?src=rss

The Rogue Prince of Persia is delayed because Hades II is a juggernaut

A Prince of Persia game from the studio behind Dead Cells was supposed to hit early access on PC on May 14. That’s no longer the case. Evil Empire says The Rogue Prince of Persia’s debut is delayed until later this month, and it’s because of a little game called Hades II.

Soon after a technical test wrapped up, Supergiant Games released Hades II into early access on Monday. It skyrocketed up the Steam charts and quickly reached a peak of 102,000 concurrent players. Evil Empire suggested that “everyone and their mom” is playing Hades II, including its own team, so it’s getting out of that game’s way. 

“While we have every confidence in The Rogue Prince of Persia, it’s not every day that a game in the same genre as you, which is one of the most anticipated upcoming games of 2024, will release into early access a week before you plan to do the same,” Evil Empire wrote on X. “We are not prideful enough to ignore the implications of that, and we truly believe that this short delay is the best decision for us and our early access journey.“

As it happens, the delay will also give Evil Empire some extra time to polish up The Rogue Prince of Persia. While the whole point of releasing a game in early access is to get feedback from players on a project that’s far from the finished article, developers still want their games to be in as good a shape as possible when the public goes hands on with them for the first time.

Evil Empire says it can “add even more cool things” and try to squish some bugs before the game’s debut. The team also has a bit more time to test and refine the “hefty” day one patch.

The new early access date for The Rogue Prince of Persia, which will cost $20, is May 27. However, Evil Empire somewhat jokingly suggested the release date may shift again if Hollow Knight: Silksong suddenly arrives in the meantime.

Getting out of Hades II’s way is a smart idea given the two games are both roguelikes. It’s nice to see Evil Empire being transparent about the reasons for the delay too. But there are a bunch of other indies that were released this week that reviewed well and have been overshadowed at least to some degree by that blockbuster sequel.

Another Crab’s Treasure (a cute spin on From Software's Soulslike format), PS1-style survival horror Crow Country, sci-fi title 1000xResist and adorable-looking adventure Little Kitty, Big City all debuted to strong reviews this week. So too did Animal Well, a Metroidvania about which the word “masterpiece” has been invoked by some reviewers (though that’s actually the number one best-selling game on Steam at the time of writing, just above Hades II).

The train doesn’t stop there as some other buzzed-about indies are arriving over the next couple of weeks, including Lorelei and The Laser Eyes (we’re very excited about that one) and Paper Trail. There’s another one coming next week that I’ve been playing and is worth checking out, though I can’t talk about it just yet.

Although there might not be too many AAA games from the likes of Sony, Microsoft and EA dropping at the minute, there’s a lot of fascinating stuff going on in the indie scene. So maybe go check some of those games out if you haven't already.

Update 5/13 11:42AM ET: Added pricing and the new early access release date for The Rogue Prince of Persia.

This article originally appeared on Engadget at https://www.engadget.com/the-rogue-prince-of-persia-is-delayed-because-hades-ii-is-a-juggernaut-144229150.html?src=rss

Asteroids and Resident Evil join the World Video Game Hall of Fame

The Strong National Museum of Play has revealed this year's inductees into the World Video Game Hall of Fame. Asteroids, Myst, Resident Evil, SimCity and Ultima have made the cut. While that means the likes of Guitar Hero, Metroid and Tony Hawk’s Pro Skater miss out from the slate of finalists, it would be hard to make a case against any of the five inductees.

Games are selected for the hall of fame based on a number of criteria, including cultural impact and their influence on the industry. Asteroids absolutely fits the bill. The 1979 game was an enormous hit. Atari sold more than 70,000 arcade units, making Asteroids its best-selling coin-op machine. The home version on the Atari 2600 was very popular too. While the vector graphics were rudimentary, that didn't take away from the immensely satisfying gameplay loop of blowing up a ton of space rocks.

Slow-paced puzzle game Myst was also a big hit in the '90s, selling more than 6 million copies. Resident Evil is probably the most relevant name on the list for modern audiences. The series is still going strong nearly three decades after the original 1996 game popularized the survival horror genre.

Back in 1989, Maxis released a city builder game called SimCity. Its intricate systems of urban design and problem management spurred a bunch of sequels and inspired the creators of other real-time strategy games, such as Command & Conquer and Age of Empires. As for Ultima: The First Age of Darkness, that 1981 game is one of the foundations of the role-playing genre. The developers of Dragon Quest and Final Fantasy are among those who've cited it as an influence, as GamesBeat notes.

These five games are joining a whole bunch of other notable names in the World Video Game Hall of Fame, including last year's inductees The Last of Us, Wii Sports, Barbie Fashion Designer and Computer Space. The inductees are on permanent display at The Strong in Rochester, New York.

This article originally appeared on Engadget at https://www.engadget.com/asteroids-and-resident-evil-join-the-world-video-game-hall-of-fame-154647663.html?src=rss

A new Lord of the Rings film, The Hunt for Gollum, will hit theaters in 2026

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

This article originally appeared on Engadget at https://www.engadget.com/a-new-lord-of-the-rings-film-the-hunt-for-gollum-will-hit-theaters-in-2026-140141386.html?src=rss

Sonic Mania Plus and Braid come to Netflix’s gaming library

Netflix has added Sonic Mania Plus to its roster of games subscribers can access for free on mobile without ads or in-app purchases. The company first announced that it was going to add the title to its lineup, along with Game Dev Tycoon, back in December 2023. Sonic Mania Plus was developed for the franchise's 25th anniversary by fans known for their Sonic fangame creations and for their work in the ROM hacking community. It is frequently cited as one of the best Sonic games of all time ever since the original version was released in 2017. Sonic Mania Plus, which came out in 2018, includes additional content. Netflix says the version in its library will come with new levels and bosses, as well. 

On May 14th, Netflix is also adding the anniversary edition of Braid to its gaming lineup. Braid is a time-manipulation platformer, where players control a character called Tim who has to explore old memories across interconnected worlds to find and rescue a princess. Its anniversary edition features upgraded audio, new animation sequences, fully repainted graphics and more puzzles to solve, along with 15 hours of audio commentary discussing the game's development. 

In addition to those two titles, Netflix's gaming library is also getting top-down puzzle adventure Paper Trail on May 21 and a Stories game based on the series Virgin River on May 29. The 2019 platformer Katana Zero, which features a katana-wielding assassin in a dystopian setting, will also make its way to Netflix games, though the company doesn't have a date for its arrival yet. 

This article originally appeared on Engadget at https://www.engadget.com/sonic-mania-plus-and-braid-come-to-netflixs-gaming-library-085458126.html?src=rss

A Disney+, Hulu and Max streaming bundle will soon be available in the US

Disney has expanded its partnership with Warner Bros. Discovery to offer a streaming bundle sometime this summer. The companies have announced that they'll soon give people the option to pay for Disney+, Hulu and Max subscriptions together in the US. Hulu on Disney+ recently came out of beta, a few months after Disney took full ownership of the former late last year. An ad-free bundle with the two services costs $20, while a Max subscription without ads costs $16 a month. An offering with all three will most likely be cheaper than $36, and viewers will have the option to get their ad-supported versions if they want to pay even less. 

Disney's ESPN is also working with Warner Bros. Discovery, as well as Fox Sports, to launch a streaming sports service, the companies announced back in February. The joint service will stream sporting events from all the networks the companies own, including games from the NFL, MLB, NHL and NBA.

"This new offering delivers for consumers the greatest collection of entertainment for the best value in streaming, and will help drive incremental subscribers and much stronger retention," said JB Perrette, the CEO and President for Warner Bros. Discovery's Global Streaming and Games. Indeed, subscribers might be less inclined to give up a bundle of three if ever they decide to cull the services they're paying for. As The New York Times notes, Disney has seen good results from its Disney+, Hulu and ESPN+ bundle, so we can probably expect it to come up with more offerings like it. 

The companies have yet to reveal pricing and an exact release date for their new product, but they said it will be available for purchase on any of the streaming platforms' websites. Subscribers might also get notifications to get the bundle for an additional payment if they already have any of the services, similar to how Disney+ members get asked if they want to pay $2 more for Hulu content. 

This article originally appeared on Engadget at https://www.engadget.com/a-disney-hulu-and-max-streaming-bundle-will-soon-be-available-in-the-us-033155312.html?src=rss

Marvel’s making an ‘interactive story’ based on the What If…? show for Apple Vision Pro

As a bona-fide hater of actual reality, virtual reality is very appealing to me. However, I’m not that into 100 hour AAA games like Asgard’s Wrath 2 or Half Life: Alyx. I’m into short interactive experiences that can’t be had anywhere else. Good news for me? The Apple Vision Pro is getting a pretty nifty mixed-reality “interactive story” that could herald the evolution of a new type of entertainment that puts people directly in their favorite shows or movies.

Marvel and Industrial Light & Magic, the company George Lucas built, just announced a forthcoming Apple Vision Pro title based on What If…?, the current Disney+ show that just completed its second season. It’ll be an hour-long experience that uses all of the technology embedded within Apple’s pricey headset, including that stellar passthrough.

The story is being kept under wraps, but you won’t play as The Watcher, that much is clear. The promotional copy says players will “learn the mystic arts”, which recalls Dr. Strange to me. The companies also promise that “fans will step into breathtaking environments that place them in new and iconic MCU locations.” Does this mean we’ll be able to virtually order shawarma with Tony Stark and the gang?

Now, I haven’t played a demo of this, but I have played the Vader Immortal series and plenty of similar titles and absolutely love them. It just seems like such a natural evolution of both games and TV to merge them together. Give the player the illusion of freedom but keep it mostly on rails and call it a day.

Director Dave Bushore agrees, calling this title “the next evolution in how we tell our stories” and that it's a “glimpse of what I’ve been waiting for my whole life.” Bushore doesn’t have a lot of directing credits, but was the interactive marketing executive for Iron Man 3, Captain America: The Winter Soldier and Shang-Chi and the Legend of the Ten Rings, among other MCU films. It’s being written by David Dong and Phil McCarty, a duo best known for a short film adaptation of a David Sedaris essay. There are some heavy hitters on the EP side of things, with people who were involved with The Marvels and X-Men ‘97 signing on for the mixed-reality project.

Marvel hasn’t announced any actors returning to reprise their roles, but Jeffrey Wright as The Watcher seems like a given. For the uninitiated, What If…? is an anthology series that examines parallel universes and how things could have shaken out in the MCU if something happened a bit differently. The game/experience will be exclusive to Apple Vision Pro and is coming “soon.”

This isn’t enough to get me to part with $3,500, but come on, it’s a cool sign of things to come. Who wouldn’t want to “play” an episode of The Mandalorian or something like that?

This article originally appeared on Engadget at https://www.engadget.com/marvels-making-an-interactive-story-based-on-the-what-if-show-for-apple-vision-pro-183958714.html?src=rss

OpenAI partners with People publisher Dotdash Meredith

OpenAI is partnering with another publisher as it moves towards a licensed approach to training materials. Dotdash Meredith, the owner of brands like People and Better Homes & Gardens, will license its content for OpenAI to train ChatGPT while the publisher will use the AI company’s models to boost its in-house ad-targeting tool.

As part of the arrangement, ChatGPT will display content and links attributed to Dotdash Meredith’s publications. It also provides OpenAI with fully licensed training material from trusted publications.

That’s a welcome change after the company got in hot water for allegedly using content for training purposes without permission. The New York Times and Alden Capital Group (owner of The Chicago Tribune, New York Daily News and the Orlando Sentinel) have sued the ChatGPT maker, accusing it of using its content without permission. Comedian Sarah Silverman and a conspiracy-mongering car salesman (the latter for different reasons) have, too.

“We have not been shy about the fact that AI platforms should pay publishers for their content and that content must be appropriately attributed,” Neil Vogel, Dotdash Meredith CEO, wrote in a press release. “This deal is a testament to the great work OpenAI is doing on both fronts to partner with creators and publishers and ensure a healthy Internet for the future.”

Before the Dotdash Meredith deal, OpenAI struck an agreement with The Financial Times. “It is right, of course, that AI platforms pay publishers for the use of their material,” the paper’s CEO, John Ridding, said in a statement last month.

Dotdash Meredith, which also owns Investopedia, Food & Wine, InStyle and Verywell, will use OpenAI’s models to supercharge its D/Cipher ad-targeting tool. The publisher says its advertising system “connects advertisers directly to consumers based on the context of content being consumed, without using personal identifiers like cookies.” That’s an industry-wide shift on the horizon, as Google is moving to a cookie-less future — albeit later than initially advertised.

This article originally appeared on Engadget at https://www.engadget.com/openai-partners-with-people-publisher-dotdash-meredith-212832821.html?src=rss

Michelle Yeoh just got cast to lead Amazon’s Blade Runner show

It’s been a while since we’ve had an update on Blade Runner 2099, the sequel series heading to Amazon Prime Video. The cast list is starting to take shape, as Oscar-winner and all-around icon Michelle Yeoh is set to play a lead role, as reported by Variety.

Plot details are being kept under wraps, but Variety has a source that says Yeoh will play a character named Olwen, who has been described as a replicant near the end of her life. That’s pretty much all we know about the story, aside from the fact that it's set 50 years after Denis Villeneuve’s critically acclaimed Blade Runner 2049. This is likely due to the fact that we’ll be nowhere near the level of tech shown in that film when we actually hit the year 2049. The original Blade Runner, after all, was set in 2019.

Franchise creator Ridley Scott is involved in some capacity, but not as showrunner. That duty falls to TV writer Silka Luisa, who recently ran the Apple TV+ adaptation of the book Shining Girls. The show was great, so color me optimistic.

As for Yeoh, what more can be said? She won a long-deserved Oscar for her work in Everything, Everywhere, All at Once and has been involved with classic films like Crouching Tiger, Hidden Dragon, Sunshine and Tomorrow Never Dies, among many others. She spent a few seasons hamming it up on Star Trek: Discovery, and her character is getting a spinoff film that will likely release later this year. The actress also just received the Presidential Medal of Freedom, the nation's highest civilian honor, so this has been a big month. 

This article originally appeared on Engadget at https://www.engadget.com/michelle-yeoh-just-got-cast-to-lead-amazons-blade-runner-show-180312046.html?src=rss

I guess I learned how to appreciate The Phantom Menace

More than anything, Star Wars: Episode 1 - The Phantom Menace is a fascinating cultural object. It's been 25 years since I saw the film in theaters, and over a decade since I last rewatched it (in a vain attempt to help my Trekkie wife catch up to the prequels). I've had enough time to process the initial disappointment and embarrassment of introducing my wife to Jar Jar Binks. So when Disney announced it was bringing the prequel trilogy back to theaters, I was practically giddy about revisiting them to see how George Lucas's final films compared to the onslaught of Star Wars media we've experienced over the past decade. Was The Phantom Menace as bad as I'd remembered? Well, yes and no.

Star Wars: Episode 1 - The Phantom Menace
Disney/Lucasfilm

In 1999, I knew Episode 1 would be a bit of a slog as soon as we hit the second line of the opening crawl: "The taxation of trade routes to outlying star systems is in dispute." Really, George? This was what Star Wars fans were waiting for since 1983's Return of the Jedi? During this rewatch, I was more tickled than annoyed by the many baffling narrative choices: The empty drama of a trade blockade; the confusing decision to establish a romance between a literal child and an older teenager; and throwing in Jar Jar Binks to appease kids amid the hideously dull dialog.

It's as if The Phantom Menace was written and directed by an alien who hadn't actually seen a movie, or engaged in any aspect of pop culture, since the early '80s. At the same time, that near-outsider perspective is part of the film's charm. Seeing a society slowly lose control of an idealistic democracy to a power-hungry dictator is a lot for a PG-rated fantasy film. Yet that also sets up the first two prequels to feel eerily-prescient beside the global response to 9/11.

By the time we reached 2005's Revenge of the Sith, the allusions to George W. Bush's Patriot Act and Global War on Terror were hard to miss. "This is how liberty dies, with thunderous applause," Padme says as her fellow Senators hand over emergency powers to Palpatine, turning Supreme Chancellor Palpatine into the Emperor, and transforming the Galactic Republic into the Galactic Empire.

Star Wars: Episode 1 - The Phantom Menace
Disney/Lucasfilm

Beyond political machinations, The Phantom Menace is filled with loads of gorgeous imagery: Naboo's lush palace and aquatic Gungan city; the designs of new ships and weapons; and, of course, every single outfit worn by Princess Amidala. It would have been nice if these visuals cohered into the narrative better, but their presence makes it clear that Lucas was surrounded by world-class talent, like renowned costume designer Trisha Biggar.

The Phantom Menace also leaps to life in its handful of action set-pieces. Sure, maybe the pod-race goes on a bit too long, but the sense of speed, scale and bombastic sound throughout is still absolutely thrilling. (The film's sound team — Gary Rydstrom, Tom Johnson, Shawn Murphy and John Midgley — was nominated for an Oscar, but lost out to The Matrix.)

And yes, the entire Duel of the Fates fight is still an absolute banger. There's no doubt that The Phantom Menace would have been a stronger film with less-clunky dialog and more character development shown through action. At one point in the fight, all of the participants are separated by laser barriers. Qui-Gon Jinn meditates, almost completely at peace. Darth Maul prowls like a caged lion. And Obi-Wan Kenobi is simply eager to get on with the fight, like a hot-shot student who just wants to show off. That sequence tells you more about those characters than the remaining two hours of the film.

Star Wars: Episode 1 - The Phantom Menace
Disney/Lucasfilm

While I didn't come around to loving Jar Jar Binks during this rewatch, his very existence as a fully-CG character felt more significant than ever. Voiced by the actor and comedian Ahmed Best, Jar Jar was roundly trashed upon release and his implementation was far from seamless. But it was also the first time we saw a motion-captured performance be transformed into a fully-realized character. Now that technology is so common in movies we practically take it for granted.

"You can’t have Gollum without Jar Jar," Best said in a recent interview for The New York Times. "You can’t have the Na’vi in ‘Avatar’ without Jar Jar. You can’t have Thanos or the Hulk without Jar Jar. I was the signal for the rest of this art form, and I’m proud of Jar Jar for that, and I’m proud to be a part of that. I’m in there!”

In 2017, Best offered an expanded version of his thoughts in a Twitter thread (via ScreenRant): "Jar Jar helped create the workflow, iteration process and litmus test for all CGI characters to this day. On some days the code was being written in real time as I was moving. To deny Jar Jar's place in film history is to deny the hundreds of VFX technicians, animators, code writers and producers their respect. People like John Knoll, Rob Coleman and scores of others who I worked with for two years after principal photography was ended to bring these movies to you."

Star Wars: Episode 1 - The Phantom Menace
Disney/Lucasfilm

A great story stuck in a bad film

I've learned the best way to watch The Phantom Menace is to take in the aspects that I like and replace Lucas's many baffling choices with my own head canon. The story of Anakin Skywalker being born through the sheer power of the Force and becoming the Jedi's Chosen One? That's interesting! Inventing Midi-chlorians to give people a literal Jedi power score? That's bad, to hell with you! (Midi-chlorians are still technically canon, but they've been largely ignored in recent Star Wars media.)

This time around, I couldn't help but imagine how a more natural and energetic storyteller would have tackled The Phantom Menace. Surely they wouldn't front-load trade disputes and taxation. A more skilled writer, like Andor's Tony Gilroy, could thoughtfully weave together the Republic's potential downfall. And I'd bet most people wouldn't waste Ewan McGregor's Obi-Wan by keeping him off-screen for an hour, while everyone else goes on a pod-racing adventure. (It sure would be nice to have him spend more time with Anakin!)

Star Wars: Episode 1 - The Phantom Menace
Disney/Lucasfilm

I still haven't seen Topher Grace's fabled 85-minute edit of the Star Wars prequels, but his decision to start in the middle of Phantom Menace's climactic lightsaber battle makes sense. So much of Episode 1 feels entirely superfluous when the real story of Anakin Skywalker is about falling in love, being tempted by the Dark Side and ultimately betraying his master.

This article originally appeared on Engadget at https://www.engadget.com/i-guess-i-learned-how-to-appreciate-the-phantom-menace-173010855.html?src=rss