drinking a latte + reading define magazine at heritage. checking out the new chicago le labo + picking up fragrance samples. lunch at cafe robey. buying an issue of drift magazine + the newest cereal mag. getting a haircut + blowout.
We hear nothing of their conversation, before they’re interrupted by a blundering minor character who recognises Therese. By the end, once we’ve retraced the history of their relationship up to this encounter, you more or less want this guy killed: the moment he intrudes on is so intimate, pivotal and moving that getting in the way is a capital offence.
The BBC’s devilishly enjoyable adaptation of John le Carré’s The Night Manager premiered last Sunday and immediately announced itself as event television. Take the credits sequence – all morphing Martini glasses and crashing chandeliers, it was a mere Shirley Bassey solo away from stealing James Bond’s tux and making off with his audience.
Tom Hiddleston, in the title role of soldier-turned-hotelier-turned-spy Jonathan Pine, certainly scrubbed up impeccably, giving us a smoother (and younger) hero than the one who slinked through the pages of Le Carré’s 1993 novel.
It wasn’t just a matter of cutting a dash, though. The 35-year-old Englishman, a Shakespeare veteran best known to global film fans for his role as Loki in the Marvel comics franchise, hasn’t skimped on his homework either. He never does. Every close-up shows him thinking his way carefully into this part, turning the whole enterprise into a cunning chess game.