“That was the challenge, to create this final chapter [”No Time to Die”]. The key to it really was in bringing Léa Seydoux [Dr. Madeleine Swann] back. This woman is such an incredible actress. She is so truthful, and so real. That’s what made the relationship between them [Swann and Bond] really work, that you really believe this woman. And it’s so moving, her whole portrayal of this character. From the moment she’s in the car and she says ‘I have something to tell you’. And Daniel [Craig] is in his mindset and he shuts her up, ‘I bet you do’. To the last few moments, which are just heartbreaking, when she says ‘But everything’s good now.’ I really think that Léa was so key to making the emotional stakes of this movie so high...was brilliant in creating the opening of this movie when you realize that you’re seeing the backstory of the woman who is the most important woman in the Bond series.”

- James Bond series producer Barbara Broccoli on Léa Seydoux in No Time to Die

First Man

First Man is a 2018 drama film directed by Damien Chazelle. It stars Ryan Gosling, Claire Foy and Jason Clarke. The film is about the true story of Neil Armstrong and his struggles to eventually become the first man on the moon.

Damien Chazelle is one of the best directors working today. In just two films, he has shown a sense of auteurship, style and magic that is really hard to find nowadays. I really, really loved Whiplash and I adored La La Land, so it was both exciting and peculiar at the same time to see Chazelle do something not related to music or from an original script. Nonetheless, he was teaming up with most of his old crew from La La Land and this film is strategically released around Oscar season. So, is First Man worthy of all the praise and pedigree? It’s a good film, with some moments of greatness. Meaning this in the best way I can, First Man is Chazelle’s least impressive film. It’s still very well-made and enjoyable though. First Man proves to be strange territory for director Damien Chazelle, who usually chooses a more ambitious and original project. Nonetheless, he copes very well and gives us a good, but not particularly great film. The film is too long for it’s own good and some of the drama doesn’t work as well as it should. Still, the masterful moon sequence alone is worth the price of admission and the cinematography as well as the score by Justin Hurwitz were beautiful.

Let’s begin with the positives.

Firstly, music. Chazelle teams with his best buddy Justin Hurwitz once again in this film. The two go together better than cookies and cream, and his score here is worthy of an Oscar nomination. The way he crafts each piece to center around a key scene is nothing short of masterful, and his track during the moon landing is easily one of the best I’ve ever heard. Grand, epic and deserving of all the praise in the world.

Also, direction. Linus Sandgren, who won an Oscar for La La Land, makes use of what he can and gives us the most beautiful shots you can hope to achieve if you’re using extreme close ups or shaky cam. However, his work on the space sequence was reminiscent of Interstellar and Gravity. That is also thanks to Chazelle, who chose to create such a realistic spaceship experience for the viewers. The moon sequence is one of the best scenes of the entire year.

However, the film is far from perfect. Here are it’s issues.

Mainly, duration. This film is honestly too long for it’s own good. It could have been at least thirty minutes shorter, and far more concise and entertaining. It makes a few strange decision pacing wise here and there as well, which resulted in some of it’s dramatic and emotional impact being buffered from the audience. It wasn’t as close to home as it should have been.

To conclude, despite some issues with duration and pacing, this film is nonetheless a passable one for Chazelle. It isn’t usually up to his high standards, and that might largely be because his script and material weren’t original. However, the film’s moments of greatness save it from falling flat and show that it still has some technically gifted members of crew beneath it’s wings. I woulnd’t mind it being up for a few awards, particularly ones in Sound Mixing, Score, and Editing. First Man receives an 7.1/10.

The Nutcracker and the Four Realms

“The Nutcracker and the Four Realms” is a weirdly hideous hodgepodge of images and ideas, as convoluted as its confusing title would suggest. It’s at once familiar and bizarre, overstuffed yet half-baked. And while it boasts impressive individual elements, the overall result remains far from the magic it seeks.

Disney’s take on the holiday classic is kinda the story you know, and it’s kinda Tim Burton’s “Alice in Wonderland,” which is not exactly a recommendation. It’s got pieces of Tchaikovsky’s music and some ballet, courtesy of superstars Misty Copeland and Sergei Polunin, but not nearly enough. (Come to think of it, 99 minutes of these powerhouse dancers merely rehearsing their performance would have been more than satisfying compared to this misguided extravaganza.) And while the film’s mythology is dense, it’s also extremely dull.

In an unusual move, this “Nutcracker” is credited to two veteran directors, Lasse Hallstrom and Joe Johnston—although they didn’t work on the film at the same time. Hallstrom (“The Cider House Rules,” “What’s Eating Gilbert Grape?”) was the original director, but then Johnston (“Jumanji,” “Captain America: The First Avenger”) was brought in to helm significant reshoots with extensive visual effects when Hallstrom had a scheduling conflict. Maybe that’s why the film feels so unfocused, so herky-jerky tonally. It’s easy to speculate from the outside. What’s clear, though, is that there is simultaneously too much going on here in the script from first-time Ashleigh Powell, and yet not enough.

Allow me to try to explain. Mackenzie Foy stars as Clara, a girl who’s understandably struggling to enjoy Christmas following the death of her beloved mother. (Foy, who played offspring Renesmee Cullen in the “Twilight” finale and a young Jessica Chastain in “Interstellar,” has an engaging presence, but her British accent is iffy.) Nevertheless, she must trudge to the elaborate holiday soiree she attends annually with her father (Matthew Macfadyen) and her siblings (Ellie Bamber and Tom Sweet) at the palatial home of her godfather, Drosselmeyer (Morgan Freeman). An inventor who shares the engineering-minded Clara’s fascination with machinery, Drosselmeyer has arranged an extra-special Christmas gift for her this year: an ornate, egg-shaped box, which she can only open using a key that awaits her in a magical, parallel world.

When she follows a long, golden thread through a tree trunk and finally arrives there, she finds it’s actually composed of four realms—hence the title. They are the Land of Flowers, the Land of Snowflakes, the Land of Sweets and the Land of Amusements—the last of which is a fearsome, abandoned place where the cruel Mother Ginger (Helen Mirren) reigns with the help of her army of mice. Early on in the film, Clara and her nutcracker friend and guide, Phillip (newcomer Jayden Fowora-Knight), are attacked by a giant mouse made out of mice, reminiscent of what the Minions do when they climb on top of each other in a feeble attempt at being helpful. It’s one of many CGI set pieces that are awkward, unclear and not nearly as thrilling as they aim to be. (The gifted cinematographer Linus Sandgren, an Oscar-winner for “La La Land,” shot this, which you’d only know from the visually striking dance sequence that plays during the closing credits. The rest is garish kitsch.)

Anyway, turns out that Clara’s mom was the queen of the Four Realms, and Clara, as the princess, must stay and restore the place to its former peace and harmony. Because it wouldn’t be a Disney movie without a deceased parent and/or a princess, or at least some sort of princess merchandise to sell. Having said that, the gorgeous and ornate dresses from veteran costume designer Jenny Beavan, a two-time Oscar winner and 10-time nominee (“Mad Max: Fury Road,” “A Room With a View”), are among the film’s few highlights.

Clara gets some guidance from the head of the flower realm (a flamboyant Eugenio Derbez) and the ruler of the snowflake realm (a mute Richard E. Grant, covered in icicles). But her new BFF is Sugar Plum, the perky leader of the Land of Sweets, played by a nearly unrecognizable Keira Knightley. “The Nutcracker” gives Knightley a rare chance to ham it up for broad, comic effect under tiers of sparkly purple and a pink cotton candy swoop of a bouffant. Her voice is a perky, girlish wisp as she makes a variety of naughty double entendres, and it’s entertaining as a marked departure for this celebrated actress.

But her character and Mirren’s suffer the most from how truncated the script for “The Nutcraker” feels. A major twist occurs out of nowhere about halfway through, which prompted my nine-year-old son to turn to me during the screening and ask: “Who knew?” Not me. The film does indeed make an abrupt tonal shift from which it never recovers, one that strangely turns this magical fairy tale into an indictment of war. ‘Cause kids love that at Christmas. “The Nutcracker and the Four Realms” is an enormous and expensive lump of coal.

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'La La Land' wins big at Baftas 2017 with some politics

It's just two weeks before the Oscars hit, but the BAFTA's took center stage (well right before the Grammy's) Sunday night with "La La Land" winning five awards. Not bad as it had eleven nominations and won for Best film, best actress and best director. "Manchester By the Sea" continued its winning streak for Casey Affleck as best actor and Ken Loach won the best British film award for "I, Daniel Blake." Emma Stone, who won for Best Leading Actress in "La La Land" took her acceptance speech as a moment for her political statement. It was obvious how emotional this was for her as she stumbled slightly giving her message. “It feels like the world is going through a bit of a time right now… “Sorry, I’m losing my words, this always happens… “I don’t know if you’ve realized this, but right now this country and the U.S. and the world seems to be going through a bit of a time. Just a bit,” she said. “In a time that’s so divisive, I think it’s really special that we are all able to come together tonight thanks to BAFTA to celebrate the positive effect of creativity and how we can transcend borders and how we can help people to feel a little less alone.” Emma also acknowledged the BAFTA community for voting for her, telling them: “Thank you so much for this, this is an unbelievable honor.” Viola Davis, who won best supporting actress for "Fences" had a message supporting Meryl Street, whose impassioned speech at the Golden Globes resulted in a nasty Donald Trump tweet tantrum. “Anyone who labels Meryl Streep an overrated actress obviously doesn’t know anything about acting. That’s just the way it is. And that’s not even just directed towards Donald Trump. That’s directed towards anyone,” she told reporters in the press room following her win. “This is someone who is the master at her skill and she has lasted for 40 years — in a very difficult profession might I add. She continued: “I have never met anyone who has been in her presence who she has not made feel like a star in their own lives. That is a rock. Very humble, very gracious human being.”

2017 BAFTAs Winners List (winners are bolded):

BEST FILM ARRIVAL Dan Levine, Shawn Levy, David Linde, Aaron Ryder I, DANIEL BLAKE Rebecca O’Brien LA LA LAND Fred Berger, Jordan Horowitz, Marc Platt – WINNER MANCHESTER BY THE SEA Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, Kevin J. Walsh MOONLIGHT Dede Gardner, Jeremy Kleiner, Adele Romanski OUTSTANDING BRITISH FILM I, DANIEL BLAKE Ken Loach, Rebecca O’Brien, Paul Laverty – WINNER AMERICAN HONEY Andrea Arnold, Lars Knudsen, Pouya Shahbazian, Jay Van Hoy DENIAL Mick Jackson, Gary Foster, Russ Krasnoff, David Hare FANTASTIC BEASTS AND WHERE TO FIND THEM David Yates, J.K. Rowling, David Heyman, Steve Kloves, Lionel Wigram NOTES ON BLINDNESS Peter Middleton, James Spinney, Mike Brett, Jo-Jo Ellison, Steve Jamison UNDER THE SHADOW Babak Anvari, Emily Leo, Oliver Roskill, Lucan Toh OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER The Girl With All the Gifts: MIKE CAREY (Writer), CAMILLE GATIN (Producer) The Hard Stop: GEORGE AMPONSAH (Writer/Director/Producer), DIONNE WALKER (Writer/Producer) Notes on Blindness: PETER MIDDLETON (Writer/Director/Producer), JAMES SPINNEY (Writer/Director), JO-JO ELLISON (Producer) The Pass: JOHN DONNELLY (Writer), BEN A. WILLIAMS (Director) Under the Shadow: BABAK ANVARI (Writer/Director), EMILY LEO, OLIVER ROSKILL, LUCAN TOH (Producers) – WINNER FILM NOT IN THE ENGLISH LANGUAGE DHEEPAN Jacques Audiard, Pascal Caucheteux JULIETA Pedro Almodóvar MUSTANG Deniz Gamze Ergüven, Charles Gillibert SON OF SAUL László Nemes, Gábor Sipos – WINNER TONI ERDMANN Maren Ade, Janine Jackowski DOCUMENTARY 13th Ava DuVernay – WINNER THE BEATLES: EIGHT DAYS A WEEK- THE TOURING YEARS Ron Howard THE EAGLE HUNTRESS Otto Bell, Stacey Reiss NOTES ON BLINDNESS Peter Middleton, James Spinney WEINER Josh Kriegman, Elyse Steinberg ANIMATED FILM FINDING DORY Andrew Stanton KUBO AND THE TWO STRINGS Travis Knight – WINNER MOANA Ron Clements, John Musker ZOOTROPOLIS Byron Howard, Rich Moore DIRECTOR ARRIVAL Denis Villeneuve I, DANIEL BLAKE Ken Loach LA LA LAND Damien Chazelle – WINNER MANCHESTER BY THE SEA Kenneth Lonergan NOCTURNAL ANIMALS Tom Ford ORIGINAL SCREENPLAY HELL OR HIGH WATER Taylor Sheridan I, DANIEL BLAKE Paul Laverty LA LA LAND Damien Chazelle MANCHESTER BY THE SEA Kenneth Lonergan – WINNER MOONLIGHT Barry Jenkins ADAPTED SCREENPLAY ARRIVAL Eric Heisserer HACKSAW RIDGE Robert Schenkkan, Andrew Knight HIDDEN FIGURES Theodore Melfi, Allison Schroeder LION Luke Davies – WINNER NOCTURNAL ANIMALS Tom Ford LEADING ACTOR ANDREW GARFIELD Hacksaw Ridge CASEY AFFLECK Manchester by the Sea – WINNER JAKE GYLLENHAAL Nocturnal Animals RYAN GOSLING La La Land VIGGO MORTENSEN Captain Fantastic LEADING ACTRESS AMY ADAMS Arrival EMILY BLUNT The Girl on the Train EMMA STONE La La Land – WINNER MERYL STREEP Florence Foster Jenkins NATALIE PORTMAN Jackie SUPPORTING ACTOR AARON TAYLOR-JOHNSON Nocturnal Animals DEV PATEL Lion – WINNER HUGH GRANT Florence Foster Jenkins JEFF BRIDGES Hell or High Water MAHERSHALA ALI Moonlight SUPPORTING ACTRESS HAYLEY SQUIRES I, Daniel Blake MICHELLE WILLIAMS Manchester by the Sea NAOMIE HARRIS Moonlight NICOLE KIDMAN Lion VIOLA DAVIS Fences – WINNER ORIGINAL MUSIC ARRIVAL Jóhann Jóhannsson JACKIE Mica Levi LA LA LAND Justin Hurwitz – WINNER LION Dustin O’Halloran, Hauschka NOCTURNAL ANIMALS Abel Korzeniowski CINEMATOGRAPHY ARRIVAL Bradford Young HELL OR HIGH WATER Giles Nuttgens LA LA LAND Linus Sandgren – WINNER LION Greig Fraser NOCTURNAL ANIMALS Seamus McGarvey EDITING ARRIVAL Joe Walker HACKSAW RIDGE John Gilbert – WINNER LA LA LAND Tom Cross MANCHESTER BY THE SEA Jennifer Lame NOCTURNAL ANIMALS Joan Sobel PRODUCTION DESIGN DOCTOR STRANGE John Bush, Charles Wood FANTASTIC BEASTS AND WHERE TO FIND THEM Stuart Craig, Anna Pinnock – WINNER HAIL, CAESAR! Jess Gonchor, Nancy Haigh LA LA LAND Sandy Reynolds-Wasco, David Wasco NOCTURNAL ANIMALS Shane Valentino, Meg Everist COSTUME DESIGN ALLIED Joanna Johnston FANTASTIC BEASTS AND WHERE TO FIND THEM Colleen Atwood FLORENCE FOSTER JENKINS Consolata Boyle JACKIE Madeline Fontaine – WINNER LA LA LAND Mary Zophres MAKE UP & HAIR DOCTOR STRANGE Jeremy Woodhead FLORENCE FOSTER JENKINS J. Roy Helland, Daniel Phillips – WINNER HACKSAW RIDGE Shane Thomas NOCTURNAL ANIMALS Donald Mowat, Yolanda Toussieng ROGUE ONE: A STAR WARS STORY Nominees tbc SOUND ARRIVAL Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare – WINNER DEEPWATER HORIZON Mike Prestwood Smith, Dror Mohar, Wylie Stateman, David Wyman FANTASTIC BEASTS AND WHERE TO FIND THEM Niv Adiri, Glenn Freemantle, Simon Hayes, Andy Nelson, Ian Tapp HACKSAW RIDGE Peter Grace, Robert Mackenzie, Kevin O’Connell, Andy Wright LA LA LAND Mildred Iatrou Morgan, Ai-Ling Lee, Steve A. Morrow, Andy Nelson SPECIAL VISUAL EFFECTS ARRIVAL Louis Morin DOCTOR STRANGE Richard Bluff, Stephane Ceretti, Paul Corbould, Jonathan Fawkner FANTASTIC BEASTS AND WHERE TO FIND THEM Tim Burke, Pablo Grillo, Christian Manz, David Watkins THE JUNGLE BOOK Robert Legato, Dan Lemmon, Andrew R. Jones, Adam Valdez – WINNER ROGUE ONE: A STAR WARS STORY Neil Corbould, Hal Hickel, Mohen Leo, John Knoll, Nigel Sumner BRITISH SHORT ANIMATION  THE ALAN DIMENSION Jac Clinch, Jonathan Harbottle, Millie Marsh A LOVE STORY Khaled Gad, Anushka Kishani Naanayakkara, Elena Ruscombe-King – WINNER TOUGH Jennifer Zheng BRITISH SHORT FILM CONSUMED Richard John Seymour HOME Shpat Deda, Afolabi Kuti, Daniel Mulloy, Scott O’Donnell- WINNER MOUTH OF HELL Bart Gavigan, Samir Mehanovic, Ailie Smith, Michael Wilson THE PARTY Farah Abushwesha, Emmet Fleming, Andrea Harkin, Conor MacNeill STANDBY Charlotte Regan, Jack Hannon EE RISING STAR AWARD (voted for by the public) TOM HOLLAND – WINNER ANYA TAYLOR-JOY LAIA COSTA LUCAS HEDGES RUTH NEGGA

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La La Land - 12A

So it's all doom and gloom. The Trumpster has been officially sworn in, the world has been in uproar and we're all going to die! Or are we?! Well, they say hope and Cinema are dead (especially musicals). They say love and romance are for losers. They say magic doesn't exist anymore- but fear not, my dear Movie Lover readers, for there is a cure to this madness: La La Land has released and successfully whisked us all away to a place (perhaps in time, as much as in location), where hope, dreams, magic, and love still do exist! Don't believe me? Follow me to La La Land! 

This is a tale of dreamers, made by dreamers, for dreamers! A tale so perfectly suited to the musical backdrop, La La Land centres on two dreamers lost in the City of Stars- or Los Angeles (LA) to you and me! She (Emma Stone), is a hopeful actress with posters of Ingrid Bergman on her walls, struggling to keep her dream alive and he (Ryan Gosling), is an aspiring Jazz pianist that seems forced to play 'elevator music'-style Jazz instead of the chaotic, intense and liberating kind that runs through his veins. Their paths persistently cross until love blossoms (because HELLO?! It is Ryan Gosling and Emma Stone we're talking about- and their chemistry is always on fire!) and, just as their individual hopes and dreams have to navigate their way through LA's, equally as inspiring as they are stifling, backdrops- their love story must navigate the quirks, ups and downs of the magical realism of La La Land in the most expertly choreographed and beautiful way! 

I'm not sure if La La Land will win the Oscar for Best Picture in next month's Academy Awards- but it absolutely should! It's been a while since I've left a cinema truly, genuinely, believing that I've been transported to a beautiful place. Hugely nostalgic, but in a way that pays pure, gorgeous, homage to the Golden Age of Musical Cinema. I just couldn't stop smiling, throughout! From the euphoria of the opening number, set on an LA freeway, to its final wistful moments inside a Jazz club; there is not a single moment, not a single beat, a single sparkle in the eye, a single smile or a swish of cocktail dress that doesn’t completely envelope and steal you with its irresistible charm. It’ll sweep you off your feet, much like the duo, themselves in a certain scene- and for 2 hours, it’ll make you fall in love with the movies again! This may not be the movie to save the Musical Film genre, but my gosh, if musical films are on their way out, having danced their final waltzes, then at least La La Land will ensure that the genre be respected, forevermore- bowing out with a final flourish of the hand and a curtsy that rouses the audience to a standing ovation as the final curtains fall. 

And that's not even touching on the sheer delight of the Gosling-Stone reunion! La La Land is the actors' third film together and they will, most certainly, go down in history as the Kate and Leo of this new generation, or even one of the most iconic romantic couples in Hollywood to have ever graced the silver screen, just like Humphrey Bogart and Lauren Bacall, or keeping with the musical theme: Fred Astaire and Ginger Rogers; there is even a dance in homage to the duo's famous 1935 number: Cheek To Cheek, from the film: Top Hat.

There truly is something utterly enchanting about Ryan Gosling's face, right? It can't just be me that thinks so. Bathed in the sun-drenched lighting of LA's gorgeous sunsets, the neons of the Jazz bars and the twinkly twilight of the Moon, I don't think it's possible to doubt his brilliance anymore. Sure there are those that choose to view Gosling as nothing more than 'that guy that starred in The Notebook' (which, by the way, is also a pretty amazing romance!) and there are those that believe he doesn't ever talk...you know, because of that ONE film where he barely talks: Drive, but Gosling is SO much more than that. Here is an actor that started his career with a searing performance as a xenophobic, arrogant and rude bigot in The Believer, to an endearing oddball who falls in love with a blow-up doll in Lars and The Real Girl; from the comedic heights of the brilliantly funny The Nice Guys last year to the devastating beauty and realism of Blue Valentine in 2010. He has done it all and he really is an incredible actor. 

For any other fans of his out there: you will most likely already know this, but for those who don't, Ryan Gosling has a band and they are hauntingly good, ethereal and magnificent. The band is called Dead Man's Bones and Gosling is the lead singer and pianist. Here is a man with MANY talents and so, to see his fingers blithely work the keys on the piano in La La Land, is a treat, even more so when his gorgeous voice accompanies! Yes, with more classics under his belt than most actors can manage in five-decade-long careers, can there really be any doubt that Gosling is a star in the leagues of Brando, DeNiro, Eastwood, Jimmy Stewart or Carey Grant? Even Gene Kelly after this film! It's not just Gosling, Emma Stone is sheer perfection in her role, too! Lighting the screen on fire with her deft musical and dance skill that I really didn't know she had. Having always been a fan of hers, too, it's even more amazing to be surprised at just how impressive she really is! She is every part awkward and relatable, beautiful and timeless, quirky and modern and carries the role off with such authenticity that you feel as if this could be her real life story (if only, Ms Stone, if only)! Indeed, I challenge anyone to not be wowed by these two magnificent leads and to not be swept up by their romance. 

Shot by Linus Sandgren in Cinemascope and on film, the visuals of La La Land are so stunningly beautiful that literally, any frame of the film would make a gorgeous piece of wall-mounted art! At times, it even feels like the sets and scenery are actually dancing with the camera! I have been to LA and visited a lot of the locations used in this film, but I have never seen a more vibrantly colourful, alive, hopeful and alluring LA than in La La Land! Iconic destinations such as the Griffith Observatory, Angel's Flight and Chateau Marmont are now venerable movie characters in their own right and it was a pleasure to see them in this enchanting light.

But it's Director, Damien Chazelle, who has given us all reason to flock to the cinemas, even during this particularly cold month when we'd all rather be hibernating at home (hiding away from the cold, or just the Trump situation- in my case it's a bit of both)! Chazelle, our champion of cinema, has found a way to bring the magic back! I can tell you that during the particular screening that I went to, there were irrepressible smiles, everywhere, there was laughter, there were tears and there was a lot of head-bopping and toe-tapping! Yep, the songs are wonderfully infectious and have such tender hooks and perfect lyrics that you'll be hard pressed to not be humming the melodies the whole way home (and for the next few days, if you're anything like me)! There is no doubt about it that Chazelle is trying to preserve the magic of film in all its visceral glory; his 2014 hit, Whiplash, is a brilliantly bold and fantastically executed film, one of my favourites of that year and now La La Land, I think, is one of my favourite films of all time! Depending on how kind and gentle life has been with you up until now, La La Land's final moments will be either heartbreaking or irrecoverably shattering. It is absolutely one of the finest, most stunning, sequences ever put on film.

Yes, it might be quite a wait for the next film that is anywhere close to this in cinematic gold and beauty. There is so much mediocrity that perhaps we will have to wait a year, maybe 5, or maybe we'll have to wait indefinitely, but at least we now know that magic really does exist and that Cinema is alive. WE are alive! And isn't knowing that a gift in itself? There isn't one thing I would change about La La Land, not one thing, I just cannot remember the last time I really felt like I'd been transferred to a different time and different place and I really didn't want to come back! Can we all just move to La La Land? ....We can make that happen, right? 

5/5