Read the following passage and questions, then choose the right answer from options, the answer should be one of A, B, C, D.

<passage>:
Those poor souls who've been camping out in front of theaters for six weeks: Who can blame them for saying, "To hell with the critics, we know it will be great!"? The doors will open, and they'll race to grab the best seats and feel a surge of triumph as their butts sink down. We've made it: Yeeehaww!! They'll cheer when the familiar John Williams fanfare erupts and the title-- Star Wars Episode 1: The Phantom Menace --rises out of the screen and the backward-slanted opening "crawl" begins: "A long time ago in a galaxy far, far away ..." Yaaahhhhhhh!!! Then, their hearts pounding, they'll settle back to read the rest of the titles: "Turmoil has engulfed the Galactic Republic. The taxation of trade routes to outlying star systems is in dispute." Taxation of trade routes: Waaahoooo!!!! Phantom Menace so much--because they have so much emotional energy invested in loving it, and in buying the books, magazines, dolls, cards, clothes, soap, fast food, etc.--that the realization will never sink in. In successful hypnosis, the subject works to enter a state of heightened susceptibility, to surrender to a higher power. Maybe they'll conclude that common sense is the enemy of the Force and fight it to the death. Look, I wanted to love The Phantom Menace , too. I was an adolescent boy and would enjoy being one again for a couple of hours. But the movie has a way of deflating all but the most delusional of hopes. If someone had given Ed Wood $115 million to remake Plan Nine From Outer Space it might have looked like this, although Wood's dialogue would surely have been more memorable. The first thing that will strike you is that George Lucas, who wrote and directed the movie, has forgotten how to write and direct a movie. Having spent the two decades since the original Star Wars (1977) concocting skeletons of screenplays that other people flesh out, and overseeing productions that other people storyboard and stage, he has come to lack what one might Michelangelistically term "the spark of life." If the first Star Wars was a box of Cracker Jacks that was all prizes, The Phantom Menace is a box of Cracker Jacks that's all diagrams of prizes. It's there on paper, but it's waiting to be filled in and jazzed up. A hologram of Darth Sidious, Dark Lord of the "Sith," commands the Federation to sic its battle droids on the Jedi ambassadors before they can apprise Queen Amidala (Portman) of the imminent invasion of the peaceful planet of Naboo. In come the battle droids and out come the light sabers, which still hum like faulty fluorescents. Clack, clack, clack. Lucas can't edit fight scenes so that they're fluid--he cuts on the clack. You get the gist, though. The Jedi make their getaway, but with gas and tolls and droid destroyers, it takes them over an hour to land on Naboo, by which time the queen and the Galactic Senate have already got the grim message. For one thing, communications have been disrupted: "A communications disruption can mean only one thing," says someone. "Invasion." The Phantom Menace didn't need to be barren of feeling, but it took a real writer, Lawrence Kasdan ( The Big Chill , 1983), to draft the best and most inspiring of the Star Wars movies, The Empire Strikes Back (1980), and a real director, Irvin Kershner, to breathe Wagnerian grandeur into Lucas' cartoonish fantasies. Having lived with the saga for so many years, the audience was prepared to set aside some of its narrative expectations here to plumb the origins of Lucas' universe. In The Phantom Menace , however, the Jedi already exist and the Force is taken for granted--we're still in the middle of the damn story. The only dramatic interest comes from a young Tatooine slave named Anakin Skywalker (Jake Lloyd), whom we know will grow up to father Luke Skywalker (Mark Hamill) and Princess Leia (Carrie Fisher) and then surrender to the dark side of the Force and become Darth Vader. But that transformation won't happen until the third episode Later in the film, when Anakin goes before something called the Jedi Council and meets Yoda and Samuel L. Jackson (together again!), Lucas dramatizes the interrogation so ineptly that you either have to take Yoda's word that there's something wrong with the boy ("Clouded this boy's future is") or to conclude that Yoda, like us, is moving backward through time and has already seen Episodes 4 through 6. Anakin, he says smugly, has fear in him, and fear leads to anger and anger to the dark side--which would mean, as I interpret it, that only people without fear (i.e., people who don't exist) are suitable candidates for Jedi knighthood (perhaps Yoda will enlarge his definition of fear in subsequent episodes). There's also some quasireligious, quasiscientific blather to the effect that the boy was conceived without a father by "metachorians"--symbiont, microscopic life forms that will speak to you if you "quiet your mind." In other words, the Force. So, it's not nebulous, after all! It can be measured. It can be quantified. It can even, perhaps, be merchandised. Still, it's worth reprinting a blistering e-mail sent to my wife by a relative, after she'd let him know that I hated The Phantom Menace : Surprise, Surprise. Star Wars was never reviewed well by critics. Sometimes a basic story that rests on great special effects and stupid dialogue can be very entertaining--it's called a cult movie, and no critic can have an effect on the obvious outcome that this is going to be the highest grossing movie ever. I myself stood in line for five hours and already have tickets to see it three times, and I know I'll enjoy it. Why? Because it plays on my childhood imagination. And I'm sure it's not as bad as Return of the Jedi , which was the weakest one--but I still liked it and saw it a dozen times. I get tired of being told I'm not going to like it because it doesn't adhere to certain basic critic criteria. I say bpthhhh (sticking my tongue out to review)--don't be sending me anything dissing my movie:):):) I'll be curious to know whether he sees The Phantom Menace a dozen times, or even the three for which he has paid. (I could imagine seeing it three times only if they sold adrenaline shots at the concession stand.) Or maybe he'll come out of the movie and say: "No, you didn't get it, Mr. Snot-Nosed-Criteria Critic Person. It's not supposed to be exciting. It's laying the foundation for the next chapter, when Anakin and Obi-Wan defeat the Mandalorian warriors in the Clone Wars and Anakin marries Queen Amidala. And listen, I'm getting in line even earlier for tickets to Episode 2 . The Force is with me, butt-head."

<question>:
Why does the person responding to the author feel that the Phantom Menace will do well regardless of critics.

<options>:
A The overblown advertisement for the movie
B People buying multiple tickets to see the movie
C The next movie in the series has already announced
D The franchise being a "cult classic"

<answer>:

D