#will i deny that s2 is better quality in just about every respect? certainly not | Explore Tumblr posts and blogs

markantonys · 1 year ago

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i already made a joke post about it but genuinely, the whole "wot s1 sucked, which was 100% the show's fault and not the source material's, but now s2 is so much better! shocking! who could've seen that coming!" narrative is SO annoying

like, the eye of the world is boring as shit! it's generic as shit! of COURSE an entire season based on it is not going to be the most groundbreaking or thrilling fantasy television you've ever seen in your life! how on EARTH can the readers who've been saying for decades that the books don't start to hit their stride until book 2 or 3 or 4 fail to grasp the correlation with season 2 being better than season 1? but even so, s1 alone IS more groundbreaking and thrilling than book 1 alone, because the showrunners knew that book 1 is boring and generic as shit and did their absolute damnedest to pull in as many unique elements from later books as they could conceivably fit in this early on.

second, s1 had to do a HUGE amount of heavy lifting in terms of setting up characters, relationships, lore, and worldbuilding. s1 did all this groundwork so that s2 could have the payoff you're enjoying so much, s1 constructed the basic building blocks so that s2 could explore the more advanced concepts you're gushing over. s1 ran so that s2 could soar! put some respect on its name!

third, stakes tend to get higher, characters to get deeper, and plotlines to get more exciting as you go along in a story. this is how stories work. why are you shocked that s1 only built the basic foundation of the story and s2 has the space to grow and deepen that story? that's how stories work, that's how TV works, and that's most certainly how the WOT books work.

fourth, practical constraints s1 had that s2 had less of

budget: s1 was starting from scratch, whereas s2 had more budget to spare since some things could be reused from s1 AND it got a bigger budget than s1 in the first place.

experience: second seasons almost universally tend to be better than pilot seasons, simply because everyone involved in making the show has gotten into the groove and solidified how they want to do this thing. this is how television works.

covid: it should go without saying that s1 would have been One Million Times more difficult and expensive to make than s2 due to covid stuff. whatever effect we may think covid had on s1, the true effect was probably astronomically higher than what we imagine. the majority of "looks too cheap" "looks too empty" complaints likely come down to this (notice that most of those complaints are about episodes 6-8 and not the early episodes; 6 was filmed pre-covid, yes, but i wouldn't be surprised if some covid-related restrictions were starting to rear their heads before production was officially shut down).

the worst part is the people who end their above-mentioned take with "they must have listened to audience criticism of s1 and made changes accordingly." [moiraine voice] the arrogance. s2 had already been written and filming was WELL underway (if not finished or close to finished?) by the time s1 even started airing. if you're impressed by what a great season they've delivered, the credit for that lies entirely with the people who made the show, not your stupid ass.

#justice for s1!! 'every single viewer found it boring and a disappointment' your experiences are not universal!!!#will i deny that s2 is better quality in just about every respect? certainly not #but s1 did a damn good job with the job it was supposed to do even if that job is not as ~exciting~ as s2's job #and THE big difference is that THE SOURCE MATERIAL FOR S2 IS BETTER!!!!!#WHY are any readers shocked that a TGH&TDR-based season is better than an EOTW-based season. make it make sense #wot

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usehd-love · 4 years ago

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Four fathers are dealing with the difficulty of parenthood.

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THE STORY After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 22927, was sentenced to die for the notorious murder of an 27-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him.

THE GOOD / THE BAD Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 2020’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Helstrom Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice. Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 2020) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects. Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 2020, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences. Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story. Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson. In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes. There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there. This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary. What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch. The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 2020 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal. The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 9 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative.

FINAL THOUGHTS It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!

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totaldramadaycarehd · 4 years ago

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Total Drama Daycare Season 2 Episode 31 Cartoon Realism On Cartoon Network

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The series will re-introduce some of the original Total Drama characters in an alternate universe where they will be aged down from teenagers to toddlers. It will feature imaginary/dream sequences, cutaways, visual jokes, confessionals and flashbacks.

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findingjoyhd · 4 years ago

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Joy is perfectly happy with her life. It's neat and tidy and just how she likes it. Sure, her long-term boyfriend, Aidan, has left her, but Joy is fine with it. She's certainly not suffering from heartbreak and stress-induced incontinence like canine Aidan. Things are totally fine the way they are - That is until Joy unwittingly lands herself a new job filling in for Ireland's most-beloved vlogger, Flora the Happy Hunter. This unwanted promotion throws Joy firmly out of her OCD level of control and forces her to deal with a world she has put great effort into avoiding; one full of oversharing, boundary breaking, messy housemates, one-night stands, and full-contact wrestling; all in the name of learning about the crazy, uncomfortable and new-age methods people use to find - well joy.

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killersiblings · 4 years ago

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Killer Siblings tells the twisted stories of some of the most maniacal siblings in history. Through exclusive interviews and firsthand accounts, the series will delve into the evil minds of siblings who partnered together to commit some of the most heinous and sophisticated homicides. From teen brothers with a perverse dream to become prolific mass murderers, to a Sheriff's deputy who killed his wife's lover by employing his brothers, who were on the FBI's most wanted list, to do his dirty work, Killer Siblings will take viewers into the minds of family members committed to carrying out evil acts, no matter the cost.

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tvserienstream · 4 years ago

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Maverick paranormal explorer Dakota Laden takes his sister, Chelsea, and best friend, Tanner, across the country in an RV to spend the night in the most haunted locations in America, testing the limits of human fear.

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tvserie2 · 4 years ago

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As part of the networks year-round AMC Visionaries documentary series, Eli Roth's History of Horror brings together the masters of horror - icons and stars who define the genre - to explore its biggest themes and reveal the inspirations and struggles behind its past and present. Each one-hour episode will take viewers on a chilling exploration of how horror has evolved through the eras and impacted society, as well as why loyal fans remain addicted to fear. The series features A-list storytellers including Stephen King, Quentin Tarantino, Jordan Peele, Jason Blum, Robert Englund, Linda Blair, Tippi Hedren, Rob Zombie, Haley Joel Osment, Jack Black, John Landis and Jamie Lee Curtis, among many others.

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gadgetsrevv · 5 years ago

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Man United’s summer wasn’t good enough for a club of their size and ambition

Faith begins when reason ends. You get to the outer limits of your rational tether and then you take that big leap. It’s not necessarily a bad thing: Belief is central to sports. History is filled with stories of those who believed in themselves, thereby achieving great things. There’s also a rich trove of “outside-the-box” thinkers who are rewarded when they defy conventional wisdom and mainstream opinion to do things differently, whether in terms of tactical innovation or recruitment approach.

Then again, relying on faith more than reason can also amount to a whole lot of smoke and mirrors. And Manchester United’s summer transfer campaign requires a leap of faith, because reason and evidence won’t get you far enough. Certainly not if you want to divine some kind of path forward progress in the medium term.

But first, let’s deal with the aspects of United’s summer that were not leaps of faith.

Aaron Wan-Bissaka may have just one Premier League season as a starter under his belt, but he showed more than enough and has shown more than enough in the past year to suggest he belongs at this level. Add the fact that he’s 21, which means you’ll either amortize the fee over a decade of service or, if he comes up short, still get a fair chunk of your money back thanks to the Premier League mid-tier’s insatiable hunger for competent English footballers.

– Ogden: Another good start for Man United? – Premier League 2019-20: Best-case, worst-case scenarios – Team page: All Man United news, fixtures and results

Extending Marcus Rashford‘s contract also falls into the no-brainer category. It’s true that a reported £200,000 a week is a hefty pay package, but a striker of comparable quality and age (21) probably would have cost close to that in wages, plus a massive transfer fee. What’s more, he’s Mancunian, he’s likeable, he’s a good professional and he’s homegrown, all of which tick marketing and “club values” boxes as well.

Harry Maguire, at £80 million, is a bit more of a stretch but still no more than a calculated risk for a club of Manchester United’s financial might. There’s enough of a body of work there to suggest that, at worst, he’ll be an upgrade over the guys he’s replacing. He turns 27 this season, so you probably won’t get much resale but at best, he’ll be one of the top central defenders in the league for six or so years.

Move along the reason-to-faith continuum and the needle moves a little further into the “faith” category.

Daniel James has excited many and he too seems like a thoroughly likable guy. At £15 million (plus potential bonuses), he wasn’t overly expensive to poach from Swansea, either. But he turns 22 in November and made his league debut only a year ago. Compare him to another Welsh winger, Liverpool’s Ben Woodburn, and you’ll note that he has four international caps to Woodburn’s 10. Note that Woodburn is nearly two years younger and plays his league football in League One this season.

Maybe the Welsh FA are fools. Maybe James is a late bloomer. Maybe coaches and scouts just missed out on him. Maybe United spotted something beyond his absurdly good goal that went viral last year, but there’s no denying that it’s rare for players at that fee and with that résumé to have a lasting impact at Old Trafford. Again, it takes a leap of faith, in both James and United’s scouting, that he won’t turn into the Welsh David Bellion.

David De Gea’s new contract — agreed to but apparently not yet signed — is a leap of faith either way. If the club signs off on paying him £110 million over the next six years, the leap of faith is that they believe the real De Gea is the one from two years ago, not the one from last season (who was humdrum, by his standards). Any way you slice it, that’s an enormous wage, particularly since it’s not as if Europe’s other big boys were beating a path to his door: most are already well-served between the sticks.

(Of course, if there’s a more sinister reason why he has reportedly yet to sign, like holding out for even more money or running down his contract, then that’s even more worrying, though truth be told, the mishandling of De Gea’s deal in letting it go this far predates the summer.)

Paul Pogba, left, and Harry Maguire, second from left, will help anchor this Man United side moving forward but the summer transfer window was largely frustrating for the club.

Cycle backwards and there was the appointment of the manager.

As an interim boss to muck out Jose Mourinho’s mess, Ole Gunnar Solskjaer was just fine. But giving him a permanent deal (three years, no less) in April when they could have spent another two months evaluating him (and deciding if there were better options out there) was another massive leap of faith.

How about the striking department and the decision to let Romelu Lukaku go without replacing him, and to do it at the very end of the English transfer window? United have five forwards on their books, which sounds ample until you remember that one of them (Rashford) has never started more than 36 games in all competitions or scored more than 13 goals. Another (Anthony Martial) does double duty as a winger and has started fewer than half of United’s league games over the past three seasons. Then there’s Alexis Sanchez, who is coming off a Copa America, scored only twice in all competitions last year and has generally been a bust since moving to Old Trafford.

United’s other two forward options, Tahith Chong and Mason Greenwood, are 19 and 17 respectively and had eight appearances, one start and no goals between them heading into this season.

There are many leaps of faith in there. You need to believe that Rashford and/or Martial can double their productivity, just like that. You need to be confident that Sanchez can regain his mojo (a seriously long shot), and you need to believe that Greenwood and/or Chong can step up.

(Greenwood, especially, is a highly rated prospect but he turns only 18 this season. Reason and history suggests 18-year-olds don’t generally contribute greatly even when we’re talking GOAT candidates. Lionel Messi had 25 appearances and eight goals the year he turned 18. Cristiano Ronaldo clocked in at 31 and five. Sure, there are players who blossomed at a tender age — Michael Owen, Kylian Mbappe, Neymar — but they’re the exception. Are you sure you want to take that leap of faith with Greenwood?

Maybe the biggest leap of faith of all is in midfield.

Compared to a year ago, United lost Marouane Fellaini and Ander Herrera this summer and neither was replaced. Instead, your leap of faith is that Scott McTominay — who is 22 and started only nine league games last season on a pretty average team by United standards — will blossom or, if that doesn’t happen, that 31-year-old Nemanja Matic, whose output declined sharply last season, will turn back the clock. Or that Fred, who struggled in his first season at Old Trafford and started only 10 of 29 games with Solskjaer in charge, will go back to being the player he was in Ukraine. Or that Andreas Pereira, now in his sixth season at the club (he has seven league starts to show for it) will suddenly, at 23, go to the next level.

– Ames: Man United the big losers in transfer window? – Borden: Christian Pulisic is not your wonderboy anymore – 30 Under 21: The best young players in men’s soccer

(You’ll note at this point that I haven’t mentioned the club’s most expensive player, one Paul Pogba. I have faith, as does the club, that he won’t leave between now and the end of the Spanish transfer window and that he’ll have a strong, productive season. Many do not.)

There’s nothing wrong with faith. It comes down to trust. The people making the decisions at the club, from Ed Woodward to Solskjaer to assistant coach Mike Phelan, to the gaggle of scouts and coaches on the payroll, see these guys every day and do this job for a living. If you trust them enough to take that leap of faith, then great. Maybe they’ll be vindicated.

But when it comes to reason, that’s another matter. Reason, when you have the sort of resources United have, would have suggested a different path, one with fewer leaps of faith and a couple more reasonable certainties. Provided, of course, the conspiracy theories being peddled in the darkest corners of the internet aren’t true and Man United’s goal is to genuinely restore the club to a status befitting its history and achievements over most of the past three decades and not simply to milk it further commercially while making the balance sheet look better in case a prospective buyer turns up.

Either way, it could be a long season at Old Trafford.

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#Premier League #man united Man United’s summer wasn’t good enough for a club of their size and ambit

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