The Terminal

I re-watched The Terminal again last week (it's become something of a tradition for me to watch it in mid-January), and I realized that the title has a sort of dual application.  Since the movie takes place almost entirely in an airport, the word terminal is intended primarily as the noun, but to some degree, the adjective terminal (in the sense "relating to the end") also applies since the end of the war in Krakozhia is what Viktor Navorski must wait for before he can enter the United States.

Years ago, I realized that the movie's tagline ("Life is waiting") also contains an ambiguity.  The phrase "is waiting" could be either a copulative verb and a gerund functioning as a predicate nominative (so that the whole clause could be rendered as "life = waiting") or a present progressive verb (emphasizing the durative nature more than the simple form "waits" does).

Star Wars: Rebels - S3E16 - "Legacy of Mandalore"

A couple weeks ago, I re-watched the Star Wars: Rebels episode "Legacy of Mandalore" (S3E16) and noticed some significance in a few design elements.  The episode starts with Sabine returning to her family home on Krownest where she doesn't receive a warm welcome.  Her ship is shot down, and her mother's first words upon seeing her are, "So, it's true, then.  Put her in a cell; she'll be held for trial."

The environment of Krownest is predominately black and white:

Consequently, Sabine's brightly colored hair and armor really stand out:

This contrast mirrors the characters' relationship.  Sabine doesn't fit in with the palette of Krownest in the same way that she's not fully accepted by her family.