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The Color Purple December 19, 2023 By: Button Hunter Friesen The Color Purple is not a musical, it’s a MUSICAL. Unlike other movie musicals slated to release soon (looking at you Wonka and Mean Girls ), this one is unabashed in its traits and always threatening to leap off the screen and break out into song in the aisles. Director Blitz Bazawule opens the film with the camera swirling down from the sky, eventually careening its way to two sisters sitting on a tree. The girls make their way into town where they’re greeted by the townsfolk singing about how the Lord works in mysterious ways. It’s an uplifting, high-energy tune filled with athletic choreography and a restless spirit, a tone-setter for the rest of the set pieces. These joyous moments do not replace the darkness that is within this story. Even at a young age Celie (Phylicia Pearl Mpasi) and Netti (Halle Bailey) face incredible hardships. Celie is pregnant with her second child from her father Alfonso, the first having been “given to God” immediately after it was born. The second shares the same fate, with the cruelty of the father only growing exponentially. A wolf in sheep’s clothing comes in the form of “Mister” (Colman Domingo), who reluctantly buys Celie to be his bride after being told that Nettie is not for sale. Years go by in the blink of an eye as a grown-up Celie (Fantasia Barrino, reprising her role from Broadway) must live a secluded life raising Mister’s unruly kids from his previous marriage and is forbidden from contacting Nettie. Her first smile does not come until almost an hour into the film. By then it’s a foreign concept, something she forgot was able to exist in her life. Barrino is quite remarkable as Celie, never feeling like an imitation of Whoopi Goldberg from the 1985 Steven Spielberg film. She has the incredibly difficult job of being beaten down to utter silence while also displaying perseverance through loud musical numbers. Along with her in many of those set pieces is Danielle Brooks (also returning from Broadway) as Sofia and Taraji P. Henson as Shug Avery. Each of these women delivers a movie star performance on the grandest stage, with Brooks being the notable standout with her rendition of “Hell No!” But while the cast is all game for the balancing act of light and dark, Bazawule and screenwriter Marcus Gardley are not. A distinct tonal imbalance hangs over everything, making it all feel like it's stuck in neutral. For a movie that belts its emotions for 140 minutes on a giant screen, you ought to feel something, anything . I don’t want to cop out and say this movie just doesn’t have “it,” but there’s no better way to describe it. The words “occasionally monotonous” are not what I predicted to use to describe this beforehand. Neither would I think Gardley would sand down Alice Walker’s novel even further than the 1985 film did, with Celie and Shug’s original passion for each other being reduced to little more than a slightly sexualized friendship. Bazawule does display an admirable amount of command over the entire production. His experience with Beyoncé's Black Is King is apparent, with the music and visuals popping off the screen. It’s an interesting middle ground between a film adaptation and a recorded stage production, sometimes feeling like several visual albums awkwardly stitched together to make a cohesive narrative. Dan Laustsen’s cinematography features heavenly lights beaming through every window and Paul D. Austerberry’s sets are beautiful, yet artificial. The Color Purple has a giant heart that it loudly shares with the world, yet there always seems to be a gap in the translation. A puzzling transition here, a missed emotional beat there; it all adds up to something being a little less than the sum of its parts. Luckily, this epic journey ends on a superior number, both lyrically and visually. I walked away with a half-smile, which definitely counts for something. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

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Darkest Hour January 12, 2018 By: Button Hunter Friesen Every year there is bound to be a biopic that is released in the middle of awards season. Films like The Social Network, The King’s Speech , and A Beautiful Mind have come along and won major awards telling the story of famous men. Darkest Hour perfectly fits this description and will certainly be an active member of this year's awards race. An outstanding and unrecognizable performance from Gary Oldman along with great direction from Joe Wright. While it falls into some conventional trappings, the overall quality is still good and makes for an interesting character of one of history’s greatest leaders. The setting of the film is during the month of May 1940. We witness Churchill at his most vulnerable as he has just been given a huge amount of power in a time of looming terror. He has enemies on the opposing side of the war, but also enemies within Parliament as they take problems with his leadership. A large part of the film covers Churchill's decision on how to deal with the battle of Dunkirk, which, like the title, was one of Britain's darkest hours. From here we follow Churchill along as tries to find a solution to a momentous problem that could spell disaster for England and the rest of Europe. The film can get slow and repetitive at some points since it carries a 125-minute runtime and is mainly about Churchill’s decision over Dunkirk and the Nazis. Specific arguments and facts are over-explained to the point where the film becomes somewhat predictable as to what the characters are going to say. There is a small storyline about Churchill’s objectors within Parliament, led by the ousted Neville Chamberlain, but that plot wears thin quickly and doesn’t come to a very satisfactory end. There are also some overly cinematic moments that are distractingly over the top and take away from smaller scenes that carry more weight to the story. Apart from its small problems, Darkest Hour has a very good script that gives Oldman many opportunities to shine. The dialogue between Churchill and other politicians is almost Sorkin-like in its way to move at a very quick pace but also gives you the information you need. The moments between Churchill and his wife are also touchingly done, as both find solace in each other's company in troubled times. Darkest Hour is a perfect companion piece to Christopher Nolan’s Dunkirk , the other brilliant film that came out this year featuring the titular battle. While Dunkirk showcases the real fight on the beaches, Darkest Hour lets the audience witness how Britain’s leaders reacted to such a major battle. Seeing both together allows the viewer to see both a first and secondhand account of one of the biggest points of conflict in human history. With experience in period-piece films such as Atonement and Pride & Prejudice , director Joe Wright expertly knows how to stage and execute a film with lots of dialogue and grand sets. Most times we are literally following behind Churchill as the camera travels with him. We see his journey from his home, Parliament, and Buckingham Palace. It is all impressively done and superbly showcases the grandness of London in such dreary times. There is also a wonderful score from Dario Marianelli that mixes both booming and soft orchestral music. The music usually hides in the background until just the right moment to grab your attention. A highlight is at the very end of the film when Churchill makes his famous speech. Even though he is in practically every scene of the film, Gary Oldman as Winston Churchill is so good I wish there was more of him. He perfectly captures Churchill's brutish tone and attitude but also shows his softer side when he is away from the public. Oldman also plays excellently off all his supporting cast members, most notably Kristin Scott Thomas as his wife and Ben Mendelsohn as King George VI. We also get a larger supporting role from Lily James as Churchill's assistant. When we are not following Churchill we are focused on her character and the journey she went through being a witness t to one of history's most powerful figures. While Oldman takes command and gives us an inside look at Churchill, James holds her own by letting us see how others saw him on the outside. Any actor who wishes to play Churchill in the future will now have to live up to the unrealistically high bar Oldman has just raised. Awards will surely, and deservedly, go to him, but also should go to Bruno Delbonnel for his cinematography and Marianelli for his score. Not since Lincoln has a film done such an incredible job examining a historical figure and making us feel like we are right in the middle of history. 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Ticket to Paradise October 19, 2022 By: Button Hunter Friesen Over the past decade, writer/director Ol Parker has crafted his own genre of “vacation cinema,” where he takes A-list stars (generally white and older) and whisks them away to exotic places that teach them about what truly matters in life. The two The Best Exotic Marigold Hotel films and Mamma Mia! Here We Go Again are some recent examples of this, all of which made a killing at the pre-pandemic box office. And with nearly $70 million to its name after launching overseas this past month before it finally reaches stateside, Ticket to Paradise looks likely to join that money-making club. The beautiful A-listers at the center of this film are George Clooney and Julia Roberts, marking their fifth collaboration together and first since 2016’s Money Monster (anyone remember that?). The stars play divorcées David and Georgia, who are unable to stand each other for more than a few minutes each time they briefly meet. Fortunately for them, those moments of contact only occur when it comes to their daughter, Lily (Kaitlyn Dever), who is just graduating from law school. After an awkward ceremony where the two feuding parents attempt to one-up each other with their displays of affection, Lily is off to Bali for the summer with her fun-loving roommate Wren (Billie Lourd in a Booksmart reunion with Dever, although she’s given a fraction of the material). Within only a few weeks, Lily is swiftly engaged to a handsome local by the name of Gede. David and Georgia disapprove as they think she is making the same mistake they did by marrying too young. They embark on the wedding location, deciding to team up to take down their mutual enemy of young love. Of course, you already know where this story is going before you’ve even finished the trailer. In their attempts to break up their daughter’s relationship, the two lovelorn adults will rekindle that passion that brought them together all those years ago. Before those romantic sparks start to fly, much of the humor between the pair is just them bickering back and forth with bitchy one-liners, which gets quite tiring after a while. But Clooney and Roberts make it work thanks to their undeniable chemistry. They get to be full-on movie stars here, something we all needed a reminder of as Clooney continues his fledgling directorial career and Roberts pivots towards television. There’s a hilarious scene (featured in the trailer) where the older couple team up in a game of beer pong that gets them drunk enough to lead a dance-off featuring “Jump Around.” The rest of the movie may be a bit one-note and forgettable, but a moment like that is worth the price of admission. If you miss the days of movies playing bloopers during the credits, which they do here, Ticket to Paradise will be right up your wheelhouse. There’s no shortage of shoreline, sun, and stars in this romantic comedy. So, grab your mom and aunts for some escapist fun, because you know they deserve that from time to time. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

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Gemini Man October 17, 2019 By: Button Hunter Friesen Henry Brogan (Will Smith) is the most elite assassin the U.S. government has ever had. He has 72 confirmed kills and is even able to hit a target on a moving train from over two kilometers away. Disillusioned and fatigued from years of killing, Henry decides to put it all away for a quiet retirement. Unfortunately for him, the life he’s lived the past few decades doesn’t just go away. After figuring out some dark secrets about his last job, Henry is betrayed by his government and made an enemy of the state. Knowing that Brogan is the best there ever was, the government decides to send their most valuable asset, Gemini; a direct clone of Brogan that “possesses all his strengths without his pain.”Pitted against a seemingly perfect version of himself, Henry must go on the run and fight to clear his name. Directed by two-time Academy Award winner Ang Lee, Gemini Man is both a marvel and a tragedy on a technical level. Repeating the technique he used in his previous feature Billy Lyn’s Long Halftime Walk , Lee uses a frame rate of 120 frames per second, five times more than the traditional 24. This results in a give-and-take situation where the technology grants unparalleled picture quality at the expense of your eyeballs. The glorious images become physically hard to watch and induce headaches, especially when paired with 3D. Another technical innovation that Lee incorporates is the use of de-aging on 51-year-old Will Smith to allow him to play the 23-year-old clone. Just like the frame rate, this technique has its ups and downs. During the early and darker-lit scenes, the effects look great and don’t cause any distraction. Near the end of the film is when things start to slide downhill. Scenes taking place in the daylight show off the imperfections in facial movements. The final scene is the most guilty as the effects are laughably atrocious and make the clone look more like a character from “The Polar Express” than an actual living human. And even with these technical innovations, Lee still isn’t able to make full use of them in the action set pieces. The larger shootouts are handled pretty well as they flow together with steady camerawork and tight blocking. The hand-to-hand combat sequences are when Lee loses focus, leaning heavily on the Jason Bourne style of choppy editing and shaky cam. It becomes hard to tell what’s going on and who’s winning a fight, especially since the two Will Smith characters look and dress exactly alike. With three credited screenwriters and countless that have come and gone over the years, the script for Gemini Man is a mess that feels like it was ripped straight from the 1990s. That feeling is fitting since the screenplay was first written in 1997 and seems to have never been updated. It is heavily laden with cliches and hammy dialogue that are impossible to recover from despite the cast’s best efforts. The plot is pretty simple on paper, but on film, it's a confusing mess. It’s a strain to keep all the facts straight and follow the reasoning for anything to happen. There’s also a lack of humanity and character development. Will Smith does his best in his dual roles, but the writing gives him nothing to work with. By the end, most characters are just shells of a person. As noted before, Will Smith turns in one of his better performances and does a great job in his dueling roles. As Henry, Smith is closed off and mature. When playing the clone, he’s more vulnerable. Even with writing’s severe limitations on what he can do, Smith can sell you on the idea that these are two separate characters. Mary Elizabeth Winstead stars as Dani, Henry’s sidekick who’s forced to join him on the run. Winstead does a nice job as a companion to Smith. Unfortunately, she also falls prey to the writing and gets saddled with a cliched backstory and overly expository dialogue. Lastly, Clive Owen plays Verris, the leader of the Gemini Project and the supposed villain of the film. I say supposed because the film never really figured out if he is a bad guy or not. Owen does fine, but mostly because it's a role he’s been playing the last decade in subsequently worse films. Gemini Man is neither a good nor a bad film. Mainly it’s a tech demo that may lead to better films using these innovations in the future. It also teaches a valuable filmmaking lesson: all the bells and whistles money can afford are no match for a good story, which is something this film sorely lacks. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

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Raymond & Ray September 13, 2022 By: Button Hunter Friesen Raymond & Ray had its World Premiere at the 2022 Toronto International Film Festival. Apple TV+ will release it on its streaming platform on October 21. You’d have to be a real son of a bitch to give your kids the same name. Such is the case for half-brothers Raymond (Ewan McGregor) and Ray (Ethan Hawke), who have had to endure their father’s physical and emotional cruelty long after they grew up and left him to rot away in the personal hell they think he belongs in. And now that he’s finally dead, they don’t know what to feel. Should they be sad, just like any normal son would for their father? But how can they after all they’ve been through? It’s a troubling question that the pair must navigate as they venture back to their home to bury the patriarch, which leads to some revelations about the past and the impending future. Based on outward appearances, Raymond is the more responsible and well-adjusted one. He dresses appropriately and is clean-shaven, resembling someone who’s always trying to give off the impression that he’s made it. Ray, on the other hand, is more of the “go with the flow” type, always flirting around and keeping his shirts unbuttoned. He’s also rejected his jazz musician past and is a recovering addict, two things he doesn’t like to talk about. Raymond also has his personal demons, including two divorces (and a third impending one), and a rocky relationship with his son who’s off in the army. While neither of them is as bad as their forbearer, it seems the apples haven’t fallen too far from the tree. As you could imagine, these two flawed characters will often be seen having conversations about their past and how it isn’t their fault they ended up this way. It’s all very tiring and drawn-out material, something that writer/director Rodrigo García is becoming accustomed to with the equally clichéd Four Good Days just this past year (whose only claim to fame was a tiringly predictable Best Original Song nomination for Diane Warren). Not much about it rings true, with most of the story beats being visible from a mile away. And if they are mildly surprising, the dramatic blocks haven’t been built up enough to make the toppling over that exciting. That constant sense of “been there, done this” also extended towards the actors, who, try as they must, can’t find a way to make this bird sing. Ewan McGregor, reteaming with García for similar material after portraying a fatherly tortured version of Jesus Christ in 2015’s Last Days in the Desert , is the weaker of the central pair. There’s a sort of artifice to his performance, almost as if he hasn’t fully shed the chutzpah he needed to bring to the table for his recent work in Birds of Prey or in Ryan Murphy’s Halston series (which did earn him an Emmy award, so you can’t entirely blame him). Hawke, on the other hand, seems to be stuck in neutral, playing a similar archetype that he can do in his sleep at this point. Fortunately, there is the presence of Maribel Verdú and Sophie Okonedo to lighten things up and make it somewhat interesting from time to time. Each gets to share some time with one of the brothers, with Okonedo and Hawke being the better pair as they offer some introspective scenes about grief and reckoning with the past. Raymond & Ray is the type of movie that seems to evaporate from your brain the moment you step out of the theater. And while that’s a fine thing for mindless blockbusters, it’s not for movies like this that try to aim for something much weightier. And it’s doubly concerning when it wastes the talents of those involved, who easily could have been doing something more substantial. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

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The Worst Cannes Premieres Ever June 30, 2023 By: Hunter Friesen What do Michelangelo Antonioni, Federico Fellini, Martin Scorsese, and Terrence Malick all have in common? Well, along with all being considered some of the greatest filmmakers of all time, they’ve each had one of their movies on the receiving end of some nasty booing at the Cannes Film Festival. The audiences (and critics) on the French Riviera are famous for being extremely vocal about their adoration or hatred of a movie, with some being showered with physically taxing standing ovations ( Pan’s Labyrinth holds the record at 22 minutes), or a deafening amount of boos and whistling. But not every movie that gets booed is created equal. In the case of Martin Scorsese, his 1976 masterpiece Taxi Driver was the victim of a large contingent of vocal detractors. That didn’t stop the jury from awarding the film the Palme d’Or, nor Scorsese from returning to the festival years later (he’ll be back again this year with Killers of the Flower Moon ). This article isn’t going to be an inspiring story about the movies that overcame the negativity. No, the nine movies listed here all received their death sentence within the Grand Théâtre Lumière, either because of the weight of expectations or being of poor quality, or both. The Brown Bunny (2003) Credited as the writer/director/producer/star/cinematographer/editor (as well as about every other craft position), Vincent Gallo solely faced all the backlash in 2003 when he unveiled his much-anticipated follow-up to the indie sensation Buffalo ‘66 . The highly-experimental film caught flack for its glacial pacing and pretentiousness, with particular ire aimed at the unsimulated blowjob scene between Gallo and Chloë Sevigny. Audiences booed and ironically cheered each time Gallo’s name appeared on screen, with Roger Ebert calling it “the worst movie in the history of the Cannes Film Festival.” Gallo didn’t take kindly to Ebert’s words, calling the critic a “fat pig with the physique of a slave trader.” Ebert responded by saying “It is true that I am fat, but one day I will be thin, and he will still be the director of The Brown Bunny .” Surprisingly, the two sides would reconcile, with an edited-down version of the film screening at that year’s Toronto International Film Festival, which Ebert reviewed positively. Southland Tales (2006) Donnie Darko writer/director Richard Kelly thought he was entering the lottery when he submitted a rough cut of his sophomore feature, Southland Tales , for the 2006 festival. To his (and pretty much everyone else's) surprise, the selection committee liked it and invited him into the Official Competition. Kelly leaped at the opportunity, even if it meant he had to rush through the post-production process. That decision backfired badly, as critics lambasted the 160-minute film for being too broad and unfinished. The boos and whistles rattled throughout the Lumière Theater, with Roger Ebert calling the screening “The most disastrous since, yes, The Brown Bunny ." Kelly shared the same sentiments: "It was painful. I just thought, 'Please let it be over.” He went back to the editing room, getting more money from Sony to fix the visual effects in exchange for a reduced runtime. The film wasn’t seen again for another sixteen months, when it got an extremely limited theatrical release, grossing a little over $275,000 (the film was budgeted nearly $25 million). Burnt by the Sun 2 (2010) As the most expensive film in Russian history with a budget of $55 million, Nikita Mikhalkov's long-delayed sequel to his Oscar-winning film had enormous expectations. Cannes even circumvented their “world premieres only” rule by allowing the film into the Official Competition after it was first screened at the Kremlin. But by the time it reached the Lumière Theatre, the World War II film had already been panned by critics from both Russia, who claimed it was inaccurate and revisionist, and the West, who saw it as poorly-made Soviet propaganda. Mikhalkov's supportive stance of Vladimir Putin didn’t make things any better, with the film becoming one of the biggest bombs in the country’s history. Only God Forgives (2013) Between his films and overall demeanor, everything about Nicolas Winding Refn is divisive. So it’s not surprising that 2011’s Drive received one of the lengthiest standing ovations in festival history at 15 minutes, while also receiving a small handful of booing. That same dichotomy happened when Refn returned two years later with Only God Forgives , only this time the roles were reversed, with the boos overwhelming any positivity. Many critics described it as a beautiful painting without any substance, with Refn reaching even further into his pretentiousness. Rumors began to spread that the film was originally supposed to be screened as part of the Midnight Madness sidebar, where it would have potentially benefited from the lessened expectations. But the producers wanted to repeat the success of Drive and demanded a slot in the Official Competition. The negative outcome from that decision crushed any audience anticipation for the film, as it grossed a paltry sum when released a few months later. The Captive (2014) Several eyebrows were raised when it was announced that Ryan Reynolds would be starring in Atom Egoyan’s newest film. But Egoyan’s films ( Exotica, The Sweet Hereafter ) had always been praised for their offbeat nature, so there was still some optimism. But the pairing of one of Canada’s biggest stars and filmmakers went south quickly, as critics panned their film for its confusing nonlinear narrative and exploitative subject matter. American distributor A24, still in their early stages before they would become the festival darlings they are today, released the film on DirecTV’s VOD platform that winter to no fanfare. Even in Canada, where the film was given a theatrical release, the film was quickly buried and forgotten. The Search (2014) While Michel Hazanavicius didn’t become a household name after winning Best Director and Best Picture with The Artist in 2011, you’d still be surprised to know that his follow-up to that movie has still never been released within the United States. Much of the reasoning behind the film’s disappearance comes from its abysmal premiere at Cannes, which had launched The Artist after it was promoted to the competition at the last minute. But now that the lights were brighter, Hazanavicius crumbled, with his preachy and ultra-dreary retelling of the 1999 Chechnya civil war being perceived as exploitative. Hazanavicius has been back to the festival since, but he’s been demoted to just a regular player instead of the star that he seemed destined to become. Grace of Monaco (2014) Cannes has never had much luck when it comes to selecting its opening night film, with 2014’s Grace of Monaco being the biggest of all the offenders. Even by January 2013, Grace Kelly’s family disowned the film and claimed it was inaccurate. Harvey Weinstein, known for his frequent battles with directors among various other unspeakable things, had issues with director Olivier Dahan’s cut of the movie. The movie was pushed from the Fall of 2013 to the next spring so Weinstein could recut it. It was delayed again for a premiere at Cannes in May, where critics claimed it was of lower quality than a Lifetime Original Movie. Both Weinstein and the film’s writer Arash Amel were absent at the press conference after the disastrous screening. Coincidentally, the film bypassed a theatrical release in favor of a television debut on Lifetime a year later. Despite all the overwhelmingly negative reactions, star Nicole Kidman controversially received a SAG nomination, and the film received an Emmy nomination for Outstanding Television Movie. The Last Face (2016) Audiences tend to wait until a movie is over before they give out their signature applause and/or boos. But the critics seeing Sean Penn’s refugee drama needed only one minute before letting out the hoots and hollers. The “call to action” love story starring Charlize Theron and Javier Bardem was savaged pretty much the whole way through, with the awful dialogue and white savior narrative being perceived as an insult to those that watched it. Many critics dubbed it as the worst film they’d ever seen at the festival. To make matters worse, the press screening took place in the morning, with the public premiere that night, meaning all those scathing reviews and tweets were out into the world before the cast had even walked the red carpet. The embarrassment from that situation caused the festival to implement embargoes in future years, holding all press reactions until after the evening gala screenings had finished. Mektoub, My Love: Intermezzo Fresh after winning the Palme d’Or for Blue is the Warmest Color , writer/director Abdellatif Kechiche premiered Canto Uno , the supposed first part in his new Mektoub, My Love trilogy, at the Venice Film Festival in 2017. The film received mixed reviews, with most critics complaining about the egregious 180-minute runtime and over-sexualization of the lead actors. Instead of listening to the detractors, Kechiche went in the opposite direction with the sequel, extending the runtime by almost an hour and featuring lengthy unsimulated sex scenes. The large majority of the audience walked out before the film finished, with one person claiming that “if the shots of butts were taken out, I think the film lasts 20 minutes.” Many of the actors claimed that Kechiche got them intoxicated so they would be less resistant to filming the sexually explicit scenes and that he wouldn’t screen the film for them before the premiere. The film has never been seen since that night, with Kechiche having to sell his Palme d’Or to raise funds for post-production after the financiers backed out. As further insult to injury, the final movie in the trilogy, Canto Due , was filmed before Intermezzo premiered, but no editing work has been done due to a lack of funds. Considering the allegations against Kechiche and the vitriolic response to the second part, it’s unlikely either of the final two parts will see the light of day. 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