Sigourney weaver

The Tempest is Shakespeare’s farewell, his final masterpiece or, if you’re being cynical, the play that made him jack it all in. Some actors admit that it can be hard to stage and dull to perform. What is it exactly? A children’s fairy tale and a soppy romance with snatches of drunken farce and political intrigue. Quite a muddle. The setting is famously eccentric. Shakespeare whisks the audience away from reality and drops them in a magical kingdom where a sanctimonious wizard rules over a population of goblins and fairies. The overbearing soundtrack keeps coming up with new ways to irritate your eardrums Some directors try to correct the Bard

For the past few weeks I have been binge-watching the Netflix series Call My Agent! (or Dix pour cent, as it is more satisfyingly known in France). Though it’s not quite as exquisite, multilayered and beguiling as my all-time favourite French drama Le Bureau, it has a similar appeal: strong, well-drawn characters in a distinctive setting in another country (France, obvs) where they do things differently because everyone is just so damned French. This time it’s not about foreign intelligence services but a movie talent agency which, though perpetually on its uppers (for the purposes of that TV concept known as ‘jeopardy’, I suppose), nevertheless seems to have on its