Beyoncé - The Mrs Carter Tour ~ The Phones4U Arena, Manchester

Now, if you're suddenly thinking to yourself that my writing, postulating, and waffling so far has not suggested that I am the pop music, massive arena gig, concert-type; then you would be right. However, I suppose occasional exceptions are made to most rules, and therefore I found myself yesterday evening at the MEN Arena (recently re-dubbed the Phones4U Arena but I prefer the latter) in Manchester, waiting for one of the biggest names in music today, and perhaps of all time, to appear.
As I say, I am not one for these types of things. Nor am I for avidly and/or obsessively following popular music, unlike the thousands upon thousands who were there with me (and who presumably are also in each venue around the world when it comes to this sort of thing). Nevertheless, music I do like (including some of Beyoncés) as well as the theatricality and spectacle that is pretty much expected nowadays with these musical mega-stars and their colossal tours. So, there I was with an open mind and an eager sense of anticipation.

Once it all got going it was fairly spectacular. Let me reiterate...once it got going. I don't know who's responsible for these things organisationally, but not having a specific time for the star to begin their act, just having a "doors opening" time (which incidentally was at least three hours before Beyoncé took to the stage) and having the audience guessing en mass as to when it will crack on is not ideal. What is also not ideal, is an apparently rather lame, egotistical and incredibly anti-climactic man/DJ, self-titled as 'Monsieur Adi' as a supporting act, who seemed only to be interested in the reaction of the first three rows of his audience (not good in an arena some 21,000 strong). But then, that's just me; I easily confess I'm not that attuned to what the modern generation aspire to and admire really.


When Beyoncé did arrive however, it was rather epic to say the least. Again, I found some of the Arena-style issues were present; as I was seated side-on from the stage, very high up, and did have to rely on the screens to get any detailed view of what was going on.
However, the atmosphere was there, the noise certainly was (my ears were ringing for hours after! Again, possibly the musings of an out-of-touch  twit) and the spectacle created was great to behold. The effects, the dancers, the lighting, the video/movie interim pieces, and of course the music. Slightly overpowering, and possibly a tad distorted due to the volume and magnitude of the venue, but Beyoncé and her team certainly delivered nonetheless. New tracks teamed with well loved classics, teamed with a woman whose abundantly clear love for what she does and the fans who got her where she is today was great to see. Beyoncé is of course reputed to be a true entertainer in pretty much every sense of the word, and from what I saw of her Mrs Carter tour, I see no reason to dispute that reputation at all.

After Earth

As promised, here are my thoughts on After Earth (the main feature of this week on Sky Movies Premier). All in all, I feel it wasn't a bad film at all. Not in the slightest. Not bad at all...And that's about it really.
No I'm being unfair there. It's just that broadly speaking, After Earth did not really blow me away. As well as Sky, I did see this one at the cinema, and I remember the build up was huge. M.Night Shyamalan directing, big sci-fi epic, Will Smith starring, and he even brought his son Jaden along too. Yet I do wonder again whether this is a case of an over-hyped release, and whether or not it truly deserved it.

There are aspects of this film I greatly enjoyed each time I've seen it. The visuals are pretty stunning, there are some good lines in there, James Newton Howard's score is powerful enough to be noticed greatly, and the concept for the film is an incredibly interesting one. Quickly, in essence - In the distant future, a father and son are stranded upon an Earth that was abandoned by humanity 1000 years ago, and must survive aliens, adversity, and a planet that has evolved to kill them. Not boring by any means, I think you'll agree. And they even have some imagery, fictionalized technology, and gadgets that sci-fi buffs will love.

But a lot of the core of this film, a core that it was greatly sold upon, is sadly lacking for me. In essence, this is a tale of a father and son, played by Will and Jaden Smith respectively. Now make no mistake, I think Will Smith is a brilliant actor, musician, star and entertainer, who has had a career that has lasted decades, and is one of, if not the most bankable star in Hollywood. And in my view, he deserves all the praise he gets. His character is that of a General of legendary ability and reputation, who has to to help his rebellious and ambitious young son to come into his own when he is incapacitated. I can't help but feel life imitates art a little here. A lot of critics have panned this film, many stating apparent casting nepotism as a key reason. They say that while Will Smith does his very best from his high and deserved position to support and boost the career of his son (which of course, no one can really blame him for; they would be right to admire him for it) he sadly cannot help to boost Jaden Smith's performance which for many is severely lacking. I'm afraid I cannot help but agree mostly. Yes Will Smith is a main star of this film (how could he not be?) but his character is mostly sat in a chair for most of the time, communicating to his son through a comm unit (or some other such thing). Of course, you might say this does not matter, as this is Will Smith, and usually you'd be right. Yet a film filled with a tad too many predictable cliches, a questionable accent for the two characters (which for me Will Smith only just pulls off but Jaden does not) and a poor co-star performance to bounce back off and from, and even Will Smith couldn't totally save this one.

The fact is I feel that Jaden Smith, whilst not being overly bad by any means, is just a tad too wooden, carrying not nearly enough charisma or watch-ability, especially in a film which centers upon him so much, even with his father to back him up. Ah, I may hear you cry! But what about the Pursuit of Happiness (the pair's first outing together in film, which was met with wide acclaim) surely they worked well together then? Well yes, but: a) Jaden was little more than a toddler then, thus his performance may have been good, but it would not involve so much riding on it I think. Also b) Will Smith was very much the center and driving force of that film and the family pairing, and he was great in it. After Earth very much feels like Will Smith is remaining a presence, but is also trying to relinquish and pass on a lot of that driving force, that main hero, star quality to his son. And unfortunately, I think it's failed. Even without Smith Senior in the picture, I don't believe Smith Junior's performance would have been enough to carry this film through to it's full potential, which I feel is a great shame.

Other casting? Well it was nice to see Brit Sophie Okonedo, and the beguiling Zoe Kravitz (though the latter only being in flashback and/or dream mode). Again, these two are prime examples of actress and character potential that I for one would have liked to see develop in the film. But also again, the Will Smith/Jaden Smith story and relationship that this film was seen and promoted as thriving and hinging on, overshadowed even other cast members, which again, given the outcome I feel is a shame.

As I say, the potential for After Earth is all there. I felt with just a few tweaks, a few more subtleties and the odd change in direction here and there, and After Earth could have been a great film, maybe a future sci-fi classic who knows? This is just my view, maybe many have opposing ones, but I do feel that whilst After Earth is a good watch, in terms of a sci-fi/action & adventure film, it is sadly not much more.

Bernie

Sky customers are probably aware that every week, Sky Movies premiers several relatively recent releases for their viewers on their Premier channel. Every week there is always a very commercially successful blockbuster (this week in question it was sci-fi flick After Earth, which I have seen and enjoyed and may potentially write about here at a later date). Yet there are also a couple of less known films, independent films or "indie films". Now I like a good mainstream film don't get me wrong, but I feel that it is important to keep an open mind with these things, and thus I was rewarded this week with the self confessed "black comedy" Bernie.

I feel it is also important to state right now that, broadly speaking, I do not really go for American comedy on our screens, both TV and Film. Often I don't really understand why it's supposed to be funny, I don't engage with it and I don't follow it, more often than not preferring British humour and comedy. There are a few exceptions I freely admit; most notably in the realms of TV sitcom the successful show The Big Bang Theory, which I am now a firm fan of, along with a couple of films. I enjoyed Bernie immensely and did find it funny in places, but that is only one facet of it's greatly layered charm in my view.

In quick summary, Bernie follows the story of how the titular character Bernie Tiede, who is a Texas mortician and also an incredibly giving, and caring man, is gradually engulfed by tough and aggressive widow Mrs Nugent, resulting in a community tragedy which shakes Bernie, and all those involved within his life and community.

Jack Black plays the titular character, and in my view he is utterly brilliant. His voice (speaking and singing!), his mannerisms, his speech, his charisma, and just the entire way he embodies Bernie, throughout every single scene he features in, is done masterfully. Bernie and Black's performance garnered acclaim from audiences and critics, but in my view not nearly enough. I would gladly go as far as to say that Jack Black should have been nominated for an Oscar.
The domineering, even evil, Mrs Nugent, is played by screen legend Shirley MacLaine. Again another great performance. Yet here I feel here it is slightly one-dimensional. Without wishing to give too much away, Mrs Nugent's story is integral to Bernie's, and whilst the relationship between the two is incredibly watchable, you do get the feeling that their is more to give from one side of it. Indeed, as well as acclaim, there are some (who I shall reveal slightly later) who say Mrs Nugent's side of the story is not fully told at all; an opinion which I do think is valid. Also, whilst it is true MacLaine's reputation is legendary, and indeed her performance is good here, it is almost...what's the word? Expected? Cliched? Again this is where I feel they have gone slightly wrong in not going deep enough with her character development. If a few more layers were added to Mrs Nugent's persona, which I truly don't think would have been difficult to do, then this character, like Bernie, would have been much more interesting to watch too.
The other star turn is that of Matthew McConaughey, who in recent years has tried to shake off thoroughly his romcom routes, and he definitely does it here, in a performance that whilst comedic, is far from light entertainment.

As for the rest of the characters, director Richard Linklater (who has collaborated successfully with Jack Black previously with films such as School of Rock) decided to have the Texan townsfolk of small town Carthage, play themselves. That's right, not immediately apparent to me when starting with this film, it turns out that it is based upon a true story. For me this was quite a revelation. To have watched a film that is so remarkable (again without wanting to divulge too much) and then to find out that it was a series of real events that happened to real people, many of whom appeared in the film themselves. Whilst on some levels this struck me as genius, it did present some issues. Firstly, as mentioned earlier, the people upon the film is based are naturally going to have input into it, and are going to have an opinion about the finished product. This was apparently mixed, the general consensus either being a hopeful aspiration for tourism boosts, or else a healthy dislike for the film. This does not bode well, in terms of authenticity. I stand by what I say when I declare Bernie a great film in my view, but in terms of knowing it is actually based on true events, the roots of this film seem slightly suspect to me. Then there is also the manner in which the people of Carthage are portrayed, and used toward the story, in Bernie. In many ways it means an incredibly authentic, true-to-life film. But at the back of my mind upon reflection, it also smacks slightly of artfully twisted exploitation, and dramatically I feel there are moments when the film is let down by too much of the "every day", in essence losing it's way briefly through the narrative. That is why I suspect stars such as Jack Black, Shirley MacLaine and Matthew McConaughey play the three lead characters (otherwise we would have a docu-drama, or even just a Hollywood documentary) and it certainly does help. What also gets me, is that right at the end, in the credits no less, we get a shot of the real life Bernie, in the same position we see the fictional Bernie in at the film's end (again really trying to resist spoilers!) opposite Jack Black in discussion. Again I feel this is a genius, touching, master stroke in many ways, but I also feel that it could be construed as a bit callous. Watch the film, you'll get what I mean.

Indeed, watch the film. For whatever faults Bernie has, I enjoyed it thoroughly, and I defy anyone not to watch it and feel the same. That is due a lot to Jack Black's wonderful portrayal of Bernie himself, but if that is a dominant feature, it doesn't matter surely? The end result of a truly and greatly individual film is what counts, which in my view, Bernie surely is.

The Rosy Lee Tea Rooms, Manchester

Just a quick piece here about my lunch experience at the Rosy Lee Tea Rooms in Manchester. Short and sweet you might say, and broadly speaking it certainly was. I think I should first make it plain that I am by no means at all an authority on the culinary experiences of Manchester, of which I am sure there are many and varied. I know of a couple of staples and that's about it. In my experience, a city is either synchronized intrinsically with a wonderful, ever-moving, flowing atmosphere that welcomes you effortlessly, or an oppressive, angry, vast grey place that threatens you somehow at every turn.To this day I do not know which niche Manchester fits in, if at all, and therefore I haven't really experienced a vast array of it's culture, including it's culinary culture.

Yet when I was invited to lunch at the Rosy Lee tearooms I joyfully approached it with an open mind, and I was thus rewarded with a lunch experience that, whilst only lasting a couple of hours, was nevertheless pleasantly memorable. Yes the service was perhaps a bit stunted, and the dining space itself could perhaps be better arranged, but that's about it for niggles. The feel of the place was sufficiently modern and different, the staff were welcoming, the atmosphere steadily built to bustling, and the food itself was immaculately presented and tasted marvelous. Their version of a Sunday roast was both sufficiently classic, with a few nice flavour twists subtly added in, and my crumble of a pudding was quite delectable. 

All in all, a thoroughly enjoyable time, and one I would highly recommend and be pleased to repeat.

Punt & Dennis: Ploughing on Regardless ~ The Lowry Theatre, Salford

You may remember, a month or so ago I told you about my experience watching Miles Jupp at the Lowry in Salford. Now, I have joyfully returned to that hallowed venue once again, to again see a comedy act I first encountered live during my time at university, namely Punt and Dennis.

Steve Punt and Hugh Dennis, to give them their full and deserved titles, have had a cemented comedy partnership, on-and-off, for the past quarter of a century. Throughout all that time, they have been national radio staples, keen comedic writers and performers, and of course Hugh Dennis has stepped out on his own slightly in successful sitcom Outnumbered, and being a staple panelist on BBC2's staple show Mock the Week (which apparently Steve Punt writes for regularly also). They had me in stitches three years ago, I have loved their TV and radio work, so of course I jumped at the chance to go along to see the sold out Salford edition of their brand new comedy tour: Ploughing on Regardless.

The tour name obviously has meteorological inferences, but it can also relate to the way they delivered their own unique brand of comedy. Flowing, unstoppable yet adaptable, and wonderfully hilarious. Among the list of iconic comedy double acts (such as Morecambe and Wise, the Two Ronnies, Lucas and Walliams, Armstrong and Miller) Punt and Dennis don't often feature, yet I think they surely should. At the Lowry, they presented a formula that was clearly practiced, honed and crafted over years and years; displaying the benefits of a partnership that has been shaped by time and masses of laughs. 

Some have criticized, indeed some did on the night in question, the need for Steve Punt who, often as the definite straight man, seems to be dithering along trying to make witty set-ups for Hugh Dennis' perfectly timed and performed punch-lines, sketches, and impersonations. So much so that, on the odd occasion Punt does try to go off on his own and make us laugh (which he often does, make know mistake) it seems sort of strained and unnecessary, compared to Hugh Dennis' seemingly never-ending tirade of hilarity. I would not blame anyone for taking this view, in some ways it is sort of correct I feel, but I also feel that these two are integral to each other and their material. If it was just Hugh Dennis stood alone, yes it would be funny (you only have to watch things like Mock the Week to know he is a great solo comedian too) but the build ups, scenarios, and eventual climaxes would not be as effective I think. Steve Punt adds many new complexions and possibilities to what Hugh Dennis does. And, in turn Hugh Dennis supports and bounces of Steve Punt with such ease and fluidity (despite occasionally yet hilariously going off on his own tangent) that the result is truly, and breath-takingly (literally) and wonderfully funny.

As stand up comedy goes, I don't think Hugh Dennis and Steve Punt are as recognised as they should be, for their wonderful on-stage relationship, their clear talent, and the brilliant results that are produced. However I do feel they are always relied upon as comic staples of the circuit. They are always busy with other things too so tours do not occur as often as other comedians', yet when they do come they are always worth a watch. They are fully deserving of their popularity, as comedians on stage or otherwise, and in my opinion are deserving of so much more than they get. I know this may be taken lightly and is probably venturing into the cliche, but I truly do feel that Hugh Dennis and Steve Punt together, are two of the best comic minds and comedians I know of and have ever seen.

Stella - A stellar return with Series 3!

This is becoming a bit of a running theme isn't it? Again, three episodes in and I'm already waxing lyrical. This time however it is a case of me jumping for joy that Stella is back on our screens. Yep, after a barn-storming series one and two (which I urge you to watch if you haven't already) the incomparable Ruth Jones is back with her true Valleys creation, and it could not have come too soon.

A lot of the core formula is still there, with some crucial differences, changes and novelties being introduced to carry Stella from strength to strength in its third series. Stella is still the lovable core of a multitude of larger than life characters. Some are lovingly the same as ever (my personal favourites being figures such as the great Steve Spiers' Big Alan, and Howell Evans' genius as Daddy Simpson) and some are noticeably absent (in this case I miss the incredibly individual married couple of Dai and Paula Kosh, though I reckon they'll be back). As always though with Stella, we have a few new faces, most notably Patrick Baladi who plays contentious lawyer and neighbor Michael Jackson. Of course I'm not making too many assumptions as we're only 3 episodes in, but I like what I see already in terms of character plot and development across the board in Stella (both new and old) and I feel it can only get better.

So yes, really this is just a celebration and show of support from me for the lovely-in-every-way Ruth Jones, for the lovely Stella (both the show and the character) and everyone else involved with this true modern gem found on Sky One. As I say, if Stella is new to you, trust me few will find nothing to please them with this one. What's more I am thrilled that a third series is back, especially as it apparently comes with a Christmas special which we haven't seen before, and long may Stella thrive and continue!

Classic Comedy - YES, MINISTER/YES, PRIME MINISTER

I think it's high time we had another dose of Classic Comedy. This time, it's a bit of a left field entry, not because it is unpopular or unfunny, quite the contrary, but because this time things get a bit political. However, it is political done in the best possible way. Yes it is that bastion of comedy - Yes, Minister, which later became Yes, Prime Minister.
1980 to 1984 saw audiences react wonderfully to an insanely witty, sharp, chaotic and hilarious comedy, set around the political life of a newly elected minister, his suave and manipulative Permanent Secretary, and his good-natured Principle Private Secretary. Though portrayed in a fictitious department of the government (the Department of Administrative Affairs) that more often than not are seen to be dealing with ridiculously trivial matters that quickly escalate, the hilarity comes thick and fast. It is a cliche with this show now, but what's more it is still utterly recognizable today, it is still just as funny, and just as great to watch.

I do go on about casting, but here I think it is especially key, as I shall explain later. We see Paul Eddington (also of The Good Life fame) as Jim Hacker MP, the well-meaning but often clueless man trying to struggle through all the trials and tribulations of British politics. "Assisting" him through it all is Civil Servant Sir Humphrey Appleby, played by the brilliant Sir Nigel Hawthorne. Seriously, just watching his "big speeches" is a brilliant treat!  On their own these two are utterly peerless actors playing two greatly crafted characters, but when you put them together, prepare to sit back and enjoy. And shake with laughter. Each episode brings oodles of chemistry and resulting comic genius flowing from them. Also adding to that is a third party, the affable Bernard Wooley, a marvelous and integral character to this great trio, played by Derek Fowlds.

After a glorious 4 year career in politics and comedy, in 1986 the team came back and were transcended to the top at number 10. Hacker became Prime Minister, Humphrey was promoted to his Cabinet Secretary, and Bernard was...Bernard. Different sets, different titles for the characters, bigger political "situations" to get into and out of; same glorious comedy gold.
The only reason I am not totally and unabashedly gushing about Yes (Prime) Minister, is that in 2013, they remade it. It aroused similar issues to that which I shared with you about Open All Hours a while ago. I was afraid they would sully the legacy of this great 80's series. In a way they did, but it wasn't entirely their fault. Same characters, same brilliant writers, but 21st century set up. This would have been fine, yet tragically both Eddington and Hawthorne passed away many years beforehand, and Derek Fowlds didn't come back, so a new crop of actors were brought in to fill such iconic boots. Many of them had received good practice in the stage show (again based on the original which is to this day enjoying good receptions in the West End) but I think the shadow of their original forbears was too great. The 2013 Yes, Prime Minister was good don't get me wrong, and there were still funny moments. But compared to the originals (which is unavoidable in this case) it fell quite short of the mark sadly.

Regardless, the original Yes, Minister and Yes, Prime Minister remain, for me, a sitcom triumph. I urge you to watch it, even if you have no interest in politics which I don't particularly, it is still a comic master stroke, and will be referred to as a comedy classic for some time to come.

The Musketeers - What's going on here then?

Right, another day, another new BBC drama series. This time - it's a revamp of those age old heroes of Dumas, The Musketeers! We're three episodes in now of this new Sunday prime time series, so I thought I would offer up another on-going review of things so far, and share my thoughts. I had to think hard about this one, not least how I would initially rate it (because I KNOW you readers live and die by my sophisticated star system!). I think in essence, whilst I'm currently sticking with it because I have not yet lost all faith, The Musketeers for me is quite a mishmash of a let down.

Before we even get into who or what's in it, I get the impression that those who conceived this show were not very clear about what they wanted it to be, something I've brought up before on this blog but I think you'll agree it is essential. This uncertainty has just translated into the feeling of the show as the audience sees it, and if anything it has gotten steadily worse as we have gone on. Yes I know, only three episodes have gone out, and I could forgive an initial shaky start (which I think episode 1 was) but by now most people would have given up, as The Musketeers has failed to deliver a solid seat-grabber yet. It hasn't even delivered a conceivably good episode really, and the viewers abandoning ship each week seem to be of this view too. BBC One has been renowned in recent years for producing great, consistent, new and more mature, drama series and wowing audiences again and again, sometimes for years. I feel The Musketeers was trying way too hard to be the next in line for this coveted position, following things such as Atlantis ending a successful initial season at Christmas, and of course to fill the seemingly cavernous void in between series of Doctor Who. It also strikes me that, there was an air of arrogance here too. This is a show no one had ever seen before, had no idea what to expect, and they gave them 10 episodes from the off! 10!!! Am I the only one who believes in the old fashioned Pilot? Or at least a limited number of 3 or so? I admit it has worked for things like Merlin, and broadly speaking the more recent Atlantis, but come on! 

Anywho, The Musketeers was not I feel, clearly worked out at conception, and is no nearer finding it's feet in it's early time of life. Closer in content to the perhaps more innocent Merlin, yet it has a 9PM slot, so we get a bit of sex, a bit of violence, and attempted drama, but not a lot too hard hitting; like I said - mishmash. We have cliched plot and characters, highly suspect acting in too many places, and time and again those fabled Musketeers seem to be missing the mark.

OK, initial slandering over, lets get into content. It says something that for me, the most interesting actors/characters have been the guest stars of weeks 2 and 3. The men in question are James Callis and Jason Flemyng; two very fine actors who played two very watchable characters, but only for a fleeting hour each. That's all very well, but without a good core cast (who are supposedly introduced then developed throughout the series) it's still a no no. That's like investing heavily in a brand new car, and just lifting the bonnet up for an hour a day to stare at the engine; it's interesting yet without ever actually getting to the essential, idiosyncratic and brilliant bits.

So, the core cast, the driving force some might say, of this whole shebang. Wanting, severely wanting. If I had to pick a favourite Musketeer, I would say Aramis, played by Santiago Cabrera (who Merlin fans will undoubtedly recognize!) for he to me pulls off the combination of dramatic moments, comedy, and swashbuckling charm the best. Yet if I'm honest, he's the best of a bad bunch. Howard Charles' Porthos is OK to watch because his character seems fairly simple, and you know pretty much what you're getting, but after that it quickly becomes boring. Tom Burke's Athos is such a dissapointment to me because he had the potential to be a great dark horse, but bad writing, predictable reaction, and cold acting leaves a lot to be desired. Finally D'Artagnan, played by Luke Pasqualino, who I'm sure in his mind was doing his utmost to provide a character full of youthful charm, devilish dramatic ability, reactionary prowess, watchable magnatism, and a whole other host of actor/character plus points. In essence, 9 times out of 10 the result is a character wafting around either trying to look pretty or confused.

Of course, the Musketeers are not the be all and end all, oh no. There are more regular characters to invest in heavily. Maimie McCoy's Milady is supposedly the mysterious yet beautiful villainess of the piece. Whilst the latter may be true, the former definitely fails to hit home. Milady does generate some chemistry with her fellow characters, but nowhere near enough to generate enough audience interest really. Also, it might have been an idea, if one wanted to keep intrigue up, to not reveal this character's big yet predictable plot mystery in the third episode in. Just saying. 

The regal overlord of proceedings is supposed to be Ryan Gage's King Louis XIII. But honestly. This guy couldn't look like he was trying way too hard to be way too subtle in being feebly foppish if he tried.

Happily however, there are a few glimmering jewels of hope in the regular cast. The pretty, charming and measured Tamla Kari is easily the most watchable female lead as Constance. Let us hope we get to see more of her developing character. Easily the most recognizable (due I'm sure in no small part to his recent outing as the next Doctor) and easily one of the most talented cast members, is Peter Capaldi as the villainous Cardinal Armand. I kind of feel like The Musketeers is diminishing Capaldi's talent as an actor, which trust me is formidable. Bad plot and poor fellow actors make even his scenes a bit of a struggle, yet thus far he has saved them. The producers have said that, following his announcement as the latest Time Lord aboard the TARDIS, a prospective second series (hmmmm) will have to be done without his character in it; shoot yourself in the already lame foot why don't you?  

It may seem like I'm being mean and having too much of a go at The Musketeers (not linking up with even a hallowed 3 stars!). I maintain all I have said, both good and bad, don't get me wrong, yet I am reminded that we are only on episode 3, and that I may be yet proven horribly wrong. Who knows? Maybe the team behind The Musketeers did work their absolute socks off on it. And who knows? Maybe at some stage they'll let it show, and prove to us all that it was at any point worth it.

RIP Philip Seymour Hoffman

1967~2014