Opinion: Martinez comments on Baines a step too far for beleaguered Everton manager

If you were to ask Evertonians for their opinion of Leighton Baines, you would be hard pressed to find anyone who would say a bad word about him.

The Everton left back has been a devote servant of the club for almost nine years, and has received widespread praise for his performances during that time.

The England international has also always come across as an honest, intelligent, salt-of-the-Earth individual when giving an interview.

Earlier this week, Baines was questioned over whether Everton’s first team stars were finding it tough to motivate themselves in the Premier League after progressing to the FA Cup semi-finals a few weeks ago.

“It is yeah, but the motivation should be in trying to get your name there for it, shouldn’t it?” Baines replied.


“It’s like (pause of several seconds), I just think, you know, I don’t know, I just don’t feel like the chemistry is quite there on the pitch within the team at the moment and it hasn’t been for a while.

“Obviously results have an impact on that because chemistry and confidence can go hand in hand in a way. You start winning games. I mean look at the teams who are having success this year. You would say they’ve got chemistry, you know?

“If I had to say one thing it would be, I don’t know if it’s there at the moment for whatever reason.”

A typically candid, forthright answer from Baines then.

Which makes manager Roberto Martinez’s comments on the 30-year-old defender today all the more unnecessary and, perhaps, insulting..

The Catalan was quizzed over this apparent lack of on-the-field chemsitry, and replied in less than glowing terms.

“I think there are two aspects of that,” he said.

“First, it’s very disappointing when you see a misinterpretation of certain words that a player says and really this has been taken out of context in the way that it’s come out.

“And the other aspect is that someone of the experience of Leighton Baines knows he has to take responsibility for those words – I have had a chat with him – those words have given the opportunity to be maybe attracting a meaning that is not right, not correct and obviously for that he has apologised and taken responsibility for that for leaving those words open.


“Those quotes have been taken out of context and that’s disappointing on one side.

“But on the other side, obviously Leighton takes responsibility for putting himself in a position which has given the wrong words and allowed the wrong interpretation and for that, as I said, he has apologised and is ready to move forward.”

If Baines’ words were indeed misrepresented – they weren’t – then why has he been made to apologise?

And if Martinez was justifiably concerned with one of his senior players being frank and upfront, when he did not believe Baines should have been, then why not keep all of this in-house instead of publically deriding him?

It is a very dangerous game to try and leverage yourself against any individual who has given a truthful, honest answer to a genuine question.

It is even more perilous to do so against a senior member of your first team squad, and a player for whom Evertonians across the globe have a lot of time and affection for.

Of course, this is nothing new, providing you believe the rumours of discontent from both past and present Everton players who have allegedly had run-ins with Martinez.


Samuel Eto’o, Sylvain Distin and Kevin Mirallas have all supposedly made it known that they have not agreed with the former Wigan Athletic manager’s tactics, opinions or management style – and all have paid the price to varying degrees.

But none of the above have been subjected to public embarrassment like Baines has, thanks to today’s comments.

Martinez was already walking a thin tightrope with Everton fans after another discouraging campaign; the upcoming FA Cup semi-final his only potential saving grace.

Now he has taken on a beloved servant and important first team member of his squad.

There is only one winner where Toffees supporters are concerned – and it certainly isn’t Martinez.

Opinion: Chris Brown comments symptomatic of mental health stigma


The world has come a long way over attempting to remove the stigma surrounding mental health.

Where once people were detained under the Mental Health Act and locked away in psychiatric hospitals, individuals are now given counselling, medication and support to overcome depression, anxiety, panic attacks, eating disorders and post-traumatic stress disorder, to name but a few.

Internationally-recognised names such as Stephen Fry, Catherine Zeta-Jones and the late Robin Williams have all helped to bring awareness over mental health issues into the mainstream media.

And, even in the past week, Coldplay frontman Chris Martin and Prison Break star Wentworth Miller have gone on record to talk about their own battles, particularly with depression.

But the shame about speaking out over these illnesses continues to persists in spite of the good work done thus far.

Comments such as those made by singer Chris Brown demonstrate that much more needs to be done on tackling this issue.

The less-than-popular singer took to Twitter on 29th March to slam fellow R&B star Kehlani for looking for sympathy after an apparent suicide attempt.

At the time of writing, the 26-year-old’s tweet has been retweeted 52,000 times, and has received over 60,000 likes.

Now, of course, a number of those could be ironic likes and retweets from fellow users to publically shame Brown for his insensitive thoughts and attitude towards the 20 year old’s suffering.

But, like it or not, Chris Brown is famous and adored by fans of his music – and his comments can, and most likely will, be taken as gospel by some who read it and those people in turn will close their minds to such plights.

It is remarks of the ilk of Brown’s that show just how much more we need to do to alter the perception over mental health.

Suicide attempts are not “a coward’s way out”; nor should they viewed as “looking for sympathy”.

They are genuine cries for help for a person who sees no other alternative than to take their own life.

That the only option they believe they have left is to commit such an act shows the dark depths that some people are stuck in, and that cause them to act in this manner.

But, thanks to comments like Brown’s, the stigma surrounding mental health will encourage these types of views, opinions and judgments.

We must continue to educate, inform and break down the social barriers and the taboo over mental health.

Only then will we, as a species, be more sympathetic, kind, nurturing and understanding towards anyone struck down by these invisible illnesses.

Review: Daredevil Season Two


It’s been 11 months since Netflix and Marvel brought us their joint collaboration of Daredevil Season One.

And such was the critical acclaim that the debut series received, it was a dead cert that a second season starring The Devil of Hell’s Kitchen would be green-lit.

Fast forward to March 2016, and it’s safe to say that the second installment of Daredevil‘s story not only holds up, but at times it surpasses season one’s impressive credentials.

Taking over from season one showrunner Steven DeKnight, Doug Petrie and Marco Ramirez had big shoes to fill – particularly concerning a new primary antagonist.

Note: Spoilers from both seasons can be found from this point on, so leave now unless you want everything spoiled for you!


With Vincent D’Onofrio’s Wilson Fisk finally jailed at the end of the first series, fans and critics were intrigued as to who would step into the role of big bad to take on Matt Murdock’s (Charlie Cox) alter-ego.

In Jon Bernthal’s Frank Castle/The Punisher, it appears that such a character is found.

Seeking vengeance after seeing his young family gunned down in cold blood during a gangland shooting, ex-marine Castle stops at nothing to lay waste to all of the criminal gangs that took part in the massacre on that fateful day.

It is this unrelenting slaughter that sees Daredevil lock horns (pun intended) with Castle throughout the early episodes of the season.

No more so is this evident than in episode three (New York’s Finest) where, after being captured by Castle, Murdock and his new apparent foe question each other’s moral code.


It is an early highlight, and is built upon in episode four (Penny and Dime) when Castle displays vulnerability as he recounts the story of returning home from war, to see his family, after he is rescued from the Irish mafia by none other than Daredevil himself.

It’s a heart-wrenching monologue delivered with emotional depth by Bernthal, and lends weight to his own vigilante motives.

Following his arrest at the end of the episode, the season could have begun to unravel as soon as it begun.

But in Elektra Natchios’ (Elodie Yung) arrival, the plot transitions into carefully orchestrated forked paths, as the cast are led down their own relevant mini-story arcs.


For Daredevil/Murdock, the arrival of his ex-girlfriend-cum-assassin sends both his personal life and vigilante persona into disarray, as he struggles to stop the villainous organisation known as The Hand and attempts to prevent his already-fractured relationships with Karen Page (Deborah Ann Woll) and Franklin ‘Foggy’ Nelson (Eldin Henson) from completely falling apart.

It is a role that Cox revels in, as the titular character becomes torn between his duty to “his city” and to the few friends he has in his life.

Yung’s Elektra, meanwhile, sparkles as the aptly-ironic devil in Murdock’s ear, as well as portraying the character’s complexity and tortured past with aplomb.

The twist surrounding her destiny in the penultimate episode leaves more questions than answers before she is given a supposedly heroic send-off, but it does little to detract from the excellent depiction that Yung brings to the table.

And it is not just Murdock and the new supporting cast that see their character’s stories fleshed out.

Page revels in the role of investigator-in-chief as she attempts to uncover the real story behind Castle’s rampage – a side to her that evokes memories of the departed Ben Urich – as her resourcefulness and bravery prove that she is more than a mere damsel in distress, despite her carelessness sometimes throwing her head first into trouble.


Nelson, too, receives much needed character development – his frienship with Murdock, already frayed after finding out Daredevil’s true identity in season one, is torn asunder as the pair clash over the falling apart of the People vs Frank Castle trial midway through the season.

And, like Page, he discovers his own courage during a visit to The Dogs of Hell gang’s turf, and throughout Castle’s trial – a court case he almost single handedly wins before allowing Murdock to completely ruin proceedings during his questioning of the defendant.

Rosario Dawson’s no-nonsense nurse Claire Temple provides a sense of morality and honesty that is sometimes lacking in other characters, Scott Glenn’s Stick, mentor to both Murdock and Elektra, offers up his usual self-rightousness and piety throughout, while Peter McRobbie’s Father Lantom is given a brief-yet-profound monologue in episode three in his only appearance of the series.

The surprise reveal of D’Onofrio’s Fisk in episode eight is a welcome one too – the calculating villain helping to move the story along with typical malice and cunning as he manipulates Castle into taking out a rival in his prison he now seemingly owns.


Action wise, the show builds impressively on the foundations laid by its first season.

An excellently filmed sequence involving Daredevil and the Dogs of Hell gang pays homage to season one’s fight with the Russian mob, as he dispatches a number of underlings with creativity and a whirlwind of force down a staircase.

Castle’s one-man stand during one prison scene is as brutal and barbaric as they come too – a welcome contrast to the acrobatic and ninja-esque style of Daredevil and Elektra themselves.

Brawls with The Hand in later episodes are choregraphed brilliantly as well, and are as ferocious as they are elegant.

The plot takes a turn for the mystical as it reaches its climax, as the gritty realism of Hell’s Kitchen is replaced with the supernatural revelation that The Hand have supposedly uncovered immortality.

It is a move that is somewhat of a let-down, such is the authentic feel of the show up until that point.

Given that the wider Marvel universe, both on the silver screen and in other TV shows such as Agents of S.H.I.E.L.D, it is perhaps not as superfluous as it is made out to be.


Question marks also remain over some story threads that are not cleared up.

An explanation of the gigantic hole that Daredevil and Elektra uncover is not provided; nor do we see the mysterious figure that Stick chats to at the end of episode seven of the first season.

Doubts remain over what happened to Page’s brother, given the newspaper clipping we see, whilst the fate of Elektra is left up to the imagination – for now.

It is probable that these queries are just set ups for later seasons of Daredevil, and aren’t just glossed over with the introduction of new plot strands and characters come season three.

Overall though, Daredevil season two lives up to its predecessor – shaking up the single villain formula in favour of introducing other complex characters and mulitple ‘bad guys’ opens up the world Marvel has created, and helps to continue the sterling work that the multinational company has produced over the past decade.

Verdict: Bold, emotional, complex and gory, Daredevil Season Two successfully implements a muliple-stranded story arc that succeeds in building upon its debut series. 8.5/10

Review: Valiant Hearts


Since its inception in March 1986, Ubisoft has had a knack for producing outstanding video games.

Triple A franchises such as Assassin’s Creed, Tony Clancy’s Rainbox Six, Far Cry, Rayman and Trials are just a few of the series that the Paris-based corporation has had recent success with.

It is their lesser-known, ‘indie’ titles that have garnered a wealth in interest since 2012, however.

Child of Light was charming, beautifully designed and a throwback to the era of RPGs; Grow Home was also a quaint compute game and showcased an interesting concept, puzzle wise.

Valiant Hearts: The Great War, developed by one of Ubisoft’s subsidiaries, Ubisoft Montpellier, was another game that somewhat flew under the radar upon release in 2014.

So what better time to dive into it, after it was featured as one of Xbox One’s Free Games with Gold titles back in October 2015.


Set during World War One, Valiant Hearts is a freely-based story telling of four different characters as they navigate the infamous ‘War To End All Wars’.

Players progress through the personally absorbing stories of Frenchman Emile Chaillon, German son-in-law Karl, American solider Freddie and Belgian nurse Anna as they cross paths with each other throughout the four-year long conflict.

The game itself is split into four chapters – each around two hours long – and players are tasked with steering past various obstacles and brain teasers as they progress through the course of the campaign.

Some puzzles are relatively straight forward, while others take a little more time to work out. Fortunately, if you ever do get stuck at a particular problem, the game does provide hints – spaced one to two minutes apart – so you don’t end up getting too frustrated.

Like 99% of all video games these days, Valiant Hearts also hides collectibles in each of its levels and, with over 100 to find, some players may think it a thankless task to locate them all.

Luckily, the vast majority can be found along either the linear route of the game itself (thanks to its 2D sidescrolling design) or just slightly off the beaten track.

Once each level has been completed, players are able to go back and play them in whatever order they choose to locate those elusive optional trinkets if they so wish.


Another interesting part of the game is its historical facts that players can view, at the beginning of each new section, by pressing the Y button (or triangle button on PS4).

These facts help to educate players about varying aspects or battles throughout The Great War and, though a little invasive and pushy about wanting you to read them, provide a fascinating insight into real life events.

Perhaps the most distinctive design about Valiant Hearts, though, despite its apparent setting, is that you do little in the way of fighting.

Soldiers, aircraft, tanks and cannons attack, shoot, traverse and die around you in both the foreground and background as the player progresses through each section but, save for two short periods of driving a tank while firing off shells and a brief quick-time punch up, there is hardly any combat for the player to partake in.

For a game based around war, it’s an intriguing take on the genre.

Aesthetically, Valiant Hearts is gorgeous – its cartoon-ish style contrasting nicely with the setting of the game and proving that Ubisoft’s art direction is up there with the best.


The sound direction, too, is superb – the game’s title screen music played on piano providing poignancy to a game set during The Great War, while another moment alongside a French marching band delivers one of a few humorous moments in the game.

Valiant Hearts is by no-means perfect, however.

In keeping with the realism of the setting, taking any damage results in the controlled character dying immediately, and causes the player to pick the game up from the last checkpoint.

It is a refreshing take compared to other games that use health bars or other ways to prevent instantaneous death, but it means one silly mistake can cost the player, particularly if you are engrossed in the unfolding story.

A word too on the boss fights that the game has.

The car chase ‘battles’ at certain points are a tad annoying, whilst another encounter sees you given mere minutes to rescue another character from the hands of a status-obsessed German commander.

Again, it is a welcome change from seeing an enemy’s animation continually fail to bash down a solitary door as you figure out how to stop them, but the time limit can lead to frustration if you need more time to work out just what the strategy, to win, is.

Valiant Hearts: The Great War_20140626183456

The game’s final chapter wraps up the over-arcing story nicely, and throws in a twist that will leave players shocked and, perhaps, slightly emotional.

It’s a move that demonstrates that, despite its cartoon-ish nature, events of this ilk did occur throughout The First World War, and reminds players of the horror of war.

It is this realism that sends out a message of just how traumatising real life events would have been for anyone involved in such a horrific period at the start of the 20th century.

Educating the next generation about past atrocities are of huge importance to prevent events like this happening again.

If Valiant Hearts strikes a chord with anyone and provides that tuition, even through the medium of a video game, then it has done its job.

Verdict: Valiant Hearts: The Great War is a cool eight-hour puzzle-adventure game that acts as a poignant reminder of the events of 1914-1918, and its educational tools add something extra to what could be considered just another 2D sidescrolling title. 8/10

Valiant Hearts: The Great War is available now on Xbox One, Xbox 360, Playstation 3, Playstation 4, PC, iOS and Android.

The Weekend Reflection: Fortress Goodison? Don’t Make Me Laugh!

Goodison Park used to be a bastion of hope for Evertonians.

It is a stadium filled with rich history that oozes charm and class, especially under the floodlights for an evening kick off.

And, when the opportunity arises, it bears witness to a vociferous, boisterous and unabating home crowd that has roared Everton to countless victories, struck fear into the hearts of opposing sides and bayed for blood when refereeing decisions have gone against the Toffees.

Of late, however, the Grand Old Lady is anything but a fortress.

It is merely a sandcastle, with the tide crashing ever closer, ready to sweep it out to sea.


It is not the Goodison faithful that is to blame, however – for 78 minutes during yesterday’s infuriating 3-2 home defeat to West Ham United, a crescendo of noise swirled around all four corners of the ground as the Blues, despite disadvantaged by Kevin Mirallas’ first half red card, found themselves 2-0 up over the Hammers.

Instead, it is yet again the fault of a manager who is clearly out of his depth at one of the most successful British clubs in the history of the game.

True, Roberto Martinez’s first season in charge of Everton was a joy to behold.

A record-points haul during a Premier League campaign and European football back at Goodison were reason enough to celebrate.

But a record of 13 wins, three draws and three defeats from 19 home matches was even sweeter.

It seemed Goodison Park would  become one of the toughest grounds for any side to travel to, thanks to a blend of defensive resilience and artistic, free-flowing attacking flair.

And yet, it is anything but.


Since the start of the 2014/15 season, Goodison has beared witness to just 11 wins from 34 home matches in the Premier League.

Perhaps more striking is that only four of those victories have come this season – even then they were routine triumphs over struggling Sunderland, Newcastle United, Aston Villa and, at the time, Chelsea.

Coupled with four home draws, Everton have amassed a paltry 16 points from 15 home clashes on home turf this campaign.

To make matters even worse, the Blues have been defeated on seven occasions on home soil – five of which have come since December 19th.

Manchester City, Manchester United, Leicester City, Stoke City, Swansea City, West Bromwich Albion and West Ham United have all left L4 with three points to leave Everton supporters bewildered, angry and forlorn.

It is, frankly, unforgivable that teams will travel to Goodison Park knowing that they can, and will, depart with a victory.

And Martinez is to blame for this slide in home fortunes.


Too open, too lax at the back, too gung-ho, no game management, conceding from set pieces, conceding from crosses, unable to hold a lead – these have all been levelled at the Spaniard in the past 18 months, and not one problem has been rectified.

It is simply not good enough from a man who has Everton’s best first team squad since the last time the Blues won a league title, back in 1987, at his disposal.

To add further insult to injury, the Toffees have now conceded more goals at home (26) than Aston Villa – a side who currently prop up the league standings and suffered a 6-0 home thrashing at the hands of Merseyside rivals Liverpool just a few weeks ago.

It is a sign of just how abject Everton have become at home, and the sense of apathy and despair that greeted Martinez and his players at full time yesterday was indicative of such facts.

With just four more home league encounters to come, in the shape of Arsenal, Southampton, Bournemouth and Norwich City, the Toffees are on course to register their worst ever points tally at home in a single league campaign.

Even if the Blues win those four remaining matches, they will only be three points better off than their all-time lowest haul of 25 points at home garnered during the 1996/97 season.

There was a time when Goodison Park was the last venue that teams loved to visit – now they lick their lips in anticipation.

Fortress Goodison? Don’t make me laugh.

Review: Daredevil Season One


In 2003, diehard fans of the comic book character Daredevil had been left disappointed and bemused.

A film adaptation of the Marvel character, starring Ben Affleck as the titular hero, had been received poorly – despite taking $179.2m at the box office – with many criticising the plot and direction that the movie had taken.

Even Stan Lee, creator of Dardevil, said that it had “got the whole thing wrong”.

Fast forward 12 years, and that disappointement is no longer etched on the faces of Daredevil fans.

A Netflix original series and produced by Marvel Television, ABC studios and DeKnight productions, the TV adaptation of Daredevil has been lauded by fans, critics and casual viewers alike for its dark, gritty and accurate depiction of the comic book lore.

Created for TV by Drew Goddard, who was in line to write and direct a Sinister Six film for Sony set in their Spiderman universe before it got cancelled, the show draws inspiration from Lee’s and Bill Everett’s long-running series and introduces viewers to a side of New York City, in Hell’s Kitchen, that is overlooked in Marvel’s flagship film franchises.

Beware: Spoilers for the comics and show appear from this point on, so turn back if you do not want anything ruined for you!

Daredevil tells the story of Matt Murdock, a lawyer who was blinded as a child by a radioactive substance that fell from a vehicle after he pushed a man to safety from said truck.

Despite being unable to see, Murdock’s other senses are significantly heightened by the substance and grants him a ‘radar sense’, not unlike Spiderman’s ‘spider sense’.

By day, Murdock works at Nelson & Murdock: Attorneys At Law – a fledgling law firm set up by Murdock and best friend and fellow lawyer, Franklin ‘Foggy’ Nelson.

By night, though, Murdock stalks the rooftops, streets and buildings as the Man in the Mask, thwarting criminals and saving lives.

And in 33-year-old actor Charlie Cox, both Murdock and his alter-ego are transferred from page to screen effortlessly.


Charming, intelligent and resourceful as Murdock, and gruff, physical and fearless as Daredevil, Cox’s portrayal as The Man Without Fear is superbly carried out.

Cox’s ability to depict Murdock’s blindness, too, is down to a tee – the English actor’s work with blind consultant Joe Strechay paying dividends to give a natural, accurate representation of a blind individual.

And, as with all superheroes, there is a complexity about the character of Murdock and Daredevil that Cox manages to convey throughout a series of stellar performances.

Having taken the oath when becoming a lawyer, Murdock knowingly breaks his own vow every night when acting as a vigilante in Hell’s Kitchen.

Coupled with his devout Catholic beliefs, questions of morality and grey areas come into stark contrast for Murdock – particularly as the season reaches its final few episodes.

Indeed, Murdock’s emotions get the better of him as he seeks revenge for the death of the innocent Elena Cardenas – a resident of an apartment block who stands up main villain Kingpin/Wilson Fisk’s plans to buyout her building, but who is killed off by one of Fisk’s henchmen.

After being seriously injured during a showdown with Nobu, a member of mysterious Japanese organisation The Hand and part of Fisk’s criminal gang, Murdock is almost left for dead when stupidly trying to take on Fisk after despatching of the former.

It is one of a few occasions throughout the series when Murdock’s desire to do the right thing gets the better of him, and allows viewers the opportunity to question his motives.


Murdock’s constant struggle between refusing to take someone’s life, in part to the Catholicism instilled in him and, as he eloquently puts it, battling the ‘devil inside of me’, is a key component of the complexity of the character, and one that proves how intriguing Dardevil as a personality is.

Strikingly, Fisk – who is expertly portrayed by Vincent D’Onofrio – isn’t too dissimilar from our titular hero in wanting to rebuild Hell’s Kitchen.

Fisk’s willingness to kill anyone who stands in his way, however, is the one key difference that keeps the two players at polar opposites of the spectrum.

As a 12-year-old boy, Fisk saves his mother from his cruel bully of a father, after years of abuse, by beating him to death with a hammer – a move that begins to sow the seeds of the man Fisk will eventually become.

And it is this disposition, to remove anyone who stands between him and lording over his city, that leads Fisk into believing his intentions are justifiable, in spite of his criminal activity.

Such actions become more severe as the series presses on, as Fisk takes out fellow partners in the Russian mafia, led by the Ranskahov brothers, and financial distributor Leland Owlsley – the latter of whom conspires with fellow criminal Madame Gow to assassinate Vanessa Marianna, Fisk’s love interest.

His masterplan further unravels following the death of right-hand man James Wesley, who is shot dead by Page after she is kidnapped by Wesley, and sees Fisk become erratic and emotional – a move that eventually proves his undoing.

Both Murdock and Fisk are flawed as individuals, and believe that they must save Hell’s Kitchen from the mediocrity it finds itself in – their ideals over how to do so, though, is what ultimately leads them to butting heads as the season’s climax looms closer.


It is not just Cox and D’Onofrio who stand out as part of an impressive cast either.

Deborah Ann Woll is wonderful as secretary-cum-investigator Karen Page; Elden Henson as ‘Foggy’ Nelson too, who brings humour and heart in equal measure, especially when finding out that Murdock is Daredevil himself.

Rosario Dawson’s performance as Claire Temple, who patches Murdock’s injuries up and acts as a potential love interest, is strong if fleeting, while Vondie Curtis-Hall excels as journalist Ben Urich before his death at the hands of Fisk in the penultimate episode of the season.

There are small nods to Marvel’s other franchises throughout Daredevil too, with small mentions of the events of Avengers Assemble just one such example of how Marvel is tying its cinematic universe into its TV story arcs.

The season finale finally sees the ‘Man in the Mask’ dubbed ‘Daredevil’ in the media – thanks in no small part to the unveiling of Murdock’s new, improved and protective costume – and ties season one’s storythreads together in a fitting manner.

The face-off between Daredevil and Fisk could possibly have been a little longer in length, given the events that had led up to that point, but it was enough to leave viewers wanting more – a duel that will no doubt be revisited when, not if, Fisk escapes from prison.

That fight and other action sequences are well choreographed and fluid throughout too, with various camera angles picking up a variety of stellar shots to exhibit the violence on show.


A couple of slight niggles with editing in one or two episodes show that there is slight room for improvement, in addition to a smattering of ponderous moments, particularly in the earlier chapters of the series, but these faults are minor and can easily be rectified now that the show has a sound footing on which to build.

Season two of Daredevil, due for release on March 18th, will introduce fan favourites such as Frank Castle/The Punisher (Jon Bernthal) and Elektra Natchios (Elodie Yung), but it will have to make do without season one showrunner Stephen DeKnight – a decision that will hopefully not cause too much concern going forward, such was the acclaim the first series garnered.

If Goddard and co. can produce another successful season that surpasses the first, fans will be in for a treat. It’ll be much deserved after years of being reminded of that 2003 film.

Verdict: A triumph for all concerned, Daredevil is a tactful interpretation of a beloved comic book superhero. Gritty, dark, intriguing and, at times, shocking, solid foundations have been laid for the show moving forward into season two, with much of the same expected for the next chapter in the franchise. 9/10

‘Imminent’ Everton takeover could prove to have been worth the wait

In November 2007, Everton chairman Bill Kenwright was asked if he would be willing to step aside and sell his beloved Blues after eight years of ownership.

“If the right person stands in front of me and wants to take this club forward then I will sell.”

Nine years on, it appears that that quote will, finally, come to fruition.

And, despite the publicity surrounding American duo John Jay Moores and Charles Noell, it is not set to be them.

Takeover talks went into overdrive late Friday night after a mystery buyer was said to be set to acquire the Toffees for £200m in the coming days.

Other supposedly interested parties linked to buying Everton have included a wealthy Jordanian, as well as two Chinese groups.

But it is the name of Farhad Moshiri that is now front and centre of every Evertonian’s mind.


The 60 year old is said to be looking to buy a majority stake of 75% in the Blues – a deal that all of Everton’s major shareholders are said to agree on.

But just who is Mr Moshiri, and what could the self-made billionaire do to quickly win over the Everton support?

According to Forbes, the dual Iranian-British national has a net worth of $1.79bn – a figure that made him the 26th wealthiest man in the UK in 2015.

That total was recently boosted by the sale of Moshiri’s shares in Red and White Holdings – Arsenal’s second largest shareholding – to business partner Alisher Usmanov after apparently becoming frustrated at a lack of influence at the Emirates Stadium.

A tidy sum of money, then.

And one which would certainly increase Everton’s standing within the British game.

The Toffees arguably boast their best first team squad since the glory days of the 1980s.

Bbut an underwhelming 18 months on the pitch has left sections of the Goodison faithful fearing that their starlets in Ross Barkley, Romelu Lukaku and John Stones could soon look for pastures new in their pursuit of silverware.

A takeover of this magnitude, coupled with the potential arrival of other star players and progress on the field over the course of the next few seasons, would likely see those players sticking around.

It is no surprise, either, that Everton are in dire need of a new stadium.


Goodison Park is still a magnificent, almost-magical venue, especially under the flood lights for an evening kick off.

But its position in L4 is well documented – landlocked by surrounding residential areas, it is nigh-on impossible for the ground to be expanded in any direction.

Unable to increase capacity and remove the obstructed views, Goodison’s attendance cannot be grown.

A possible solution? Buying up those houses around Goodison for a decent sum of money, and renovating the Old Lady that way.

Another would be to build a new ground elsewhere within the boundaries of Liverpool – with Moshiri’s wealth, this might not prove to be such a sticking point in terms of having to drum up sponsorship through naming rights, or moseying into a deal with another company.

The club has also seen its fair share of sizeable debt – reduced to a fraction of what it was in the past, but still saddled with a net debt of £31.3m as of the 2014/15 campaign, wiping away this negative equity would go some way to giving Everton a platform on which to build.

And, with Mr Moshiri’s background in chartered accounting, he would certainly have a sound understanding of every financial endeavour taken in L4.

Furthermore, a report in Saturday’s Daily Telegraph points out that Mr Moshiri would be willing to allow current chairman Kenwright to remain involved in the executive decision-making process within the club, perhaps temporarily,  which would aid the handing over the proverbial reins.


It would prove to be a shrewd move that would get current manager Roberto Martinez on side too, with the Spaniard recently saying: “I’ve always said what the chairman is for Everton and I wouldn’t want Bill Kenwright to lose his association with Everton, ever.

“I think it would be a loss if we do that. Whatever the investment or whatever the situation is in the future, in 10 or 15 years I would love to see Everton benefit from our chairman for the rest of his life.”

All of which makes the rumour surrounding Farhad Moshiri’s interest in purchasing the club all the more salivating.

Of course, it may be merely coincidental that Everton’s supposed new buyer is Mr Moshiri, given that he has just sold his shares in another Premier League club.

But the prospect of a wealthy individual, with business acumen that has seen him work for Deloitte Touch and Ernest & Young, as well as holding shares in Russian-based giants Metalloinvest and Megafon, would be seen as a huge coup for Everton Football Club.

If the rumours prove to be true, a new exciting era could be about to begin.

For Evertonians, it may well prove to have been worth the wait.

Throwback Thursday: RWBY Vol. 1


It’s been two and a half years since RWBY, Rooster Teeth’s anime-style web series, was unleashed upon the world.

Since then, the show has only grown exponentially.

Distribution of the series to Japan, the release of a video game based on the story, and fan adaptations have all come off the back of RWBY‘s success.

Go to any comic-con-esque event anywhere in the world, and you’re likely to come across someone cosplaying as one of the many characters from the world of Remnant also.

And it was the much-anticipated finale of Volume 3 which showcased just how much of a pull RWBY has on its own fanbase, with emotions toyed with and fan theories already cropping up as to where the show goes next.

But just how much has the show improved, in terms of animation, choreography, voice acting, script and soundtrack over the past 40 episodes?

Binge-watching the entire first volume on Netflix was the only solution to this conundrum.


For those unaware, RWBY is the story of a four girl team -Ruby Rose, Weiss Schnee, Blake Belladonna and Yang Xiao Long – as they embark on their journey to become Huntresses at Beacon Academy.

Along the way, viewers encounter other supporting characters such as fellow students Jaune Arc, Pyrrah Nikos, and Cardinal Winchester, and villains Roman Torchwick and Cinder Fall.

And it is the fleshing out of these human and humanoid characters that provides that fulcrum behind RWBY‘s success – making the viewer feel empathy towards these personalities.

Some battle their insecurities, others look to gain power and all look towards their own personal standing in the world of Remnant itself.

It’s nothing new, but the characters, particularly those of the students at Beacon, are relatable due to their teenage personalities, desires and fears – something that any person will understand.


Plot-wise, the story jumps between humorous moments, over-the-top action sequences and heartfelt scenes as the foundations are laid for the shape of events to come.

There are elements, though, where explanations are needed over certain scenes, or the pacing needs to be changed to aid certain episodes that were only five to six minutes long.

But the stage is merely being set for future volumes at this point and, having seen all three volumes to date, it would be harsh to criticise the plot when a plan has evidently been put together by writers Miles Luna and Kerry Shawcross, as well as director for seasons one and two, Monty Oum, who unfortunately passed away in February 2015.

Musically, volume 1 can do no wrong.

Jeff Williams’ soundtrack provides excellent backup to every scene in the first series, helping to set the stage and evoke the required emotion within the viewer.

Aided by Steve Goldshein and Alex Abraham, with vocals provided by Jeff’s daughter Casey Lee Williams, volume 1’s soundtrack fits each scene like a glove, ebbing and flowing with the story’s pace and adding to the plot as a whole.

From an animation standpoint, RWBY vol. 1 holds up pretty well.

Fight scenes are expertly choreographed, no doubt thanks to Oum’s own work on other projects such as Haloid, Afro Samurai and Rooster Teeth’s flagshi show Red vs Blue.

The characters of Remnant all move pretty freely too, due to the motion capture technology on hand, but there are often times when the viewer can be pulled out of the experience due to some abnormalities in the animation.

The free running of the characters at certain points feels off; so too does synchronisation between the voices and the movement of the animated character’s mouths – an issue that is smoothed out in volumes two and three, but here proves a tad gimmicky.

Like the plot, though, it is easy to look back and view these issues as teething problems in RWBY‘s debut season, having watched the volumes that follow.

But the issues are still there, no matter how minor some people may see them as.


Much like RWBY vol. 1’s music, the voice acting is superb.

Rooster Teeth employees Lindsay Jones and Barbara Dunkelman voice sisters Ruby and Yang respectively, while ex-employee Kara Eberle (Weiss) and voice actress Arryn Zech (Blake) make up the leading quartet, and all four do an excellent job of portraying their character’s individual personalities.

Other employees such as Ryan Haywood, Joel Heyman, Michael Jones and Gray Haddock, among others, provide the voices of supporting cast members and also excel at bringing life to each individual.

RWBY vol. 1 is a great start point as viewers are introduced to the world of Remnant, its inhabitants and provides more than enough entertainment to keep fans of anime glued to their screens.

Of course, the first series of Rooster Teeth’s maiden venture into the world of anime would not be perfect from day one – a point that is evident from issues with the plot and animation.

But, for the most part, RWBY vol. 1 still holds up in spite of this, and the team has certainly learned how to solve such problems in the following seasons, and paves the way for future volumes in the franchise.

Verdict: Funny, sincere and action-packed, RWBY vol. 1 is a solid start to what has become a much-loved show amongst the Rooster Teeth fanbase. A lack of polish on script and animation style sees it fall short of fantastic, but its popularity thankfully is not diminished by this. 7/10

Monday Musings: Everton can progress to FA Cup semi-finals

Cup match against Chelsea will be tough – but it is winnable

Yesterday evening’s Emirates FA Cup quarter-final draw was not exactly kind to Everton.

On any other occasion, a home tie against Chelsea could be viewed as one that the Toffees can win.

But, under Guus Hiddink, the Londoners are showing their quality in much the same vein as when the Dutchman was in charge in 2009.

It was Hiddink’s Chelsea that broke Evertonian hearts in that year’s FA Cup final, albeit with almost entirely different personnel.

Add in the fact that Everton are notably struggling at home – six home defeats in the league will attest to that – and you would be forgiven for thinking that the tie sees the reigning Premier League Champions as favourites to progress.

However, despite what was said on Match of the Day last night, Hiddink might not want to get his Wembley suit measured just yet.


Both league encounters this season have proved that Everton can match their opponents.

Scoring six times in those two meetings shows that Chelsea’s rearguard is not the sturdy force it once was, and the Toffees’ lightning quick attack can make easy work of a ponderous looking backline.

Add in being backed by a no doubt vociferous Goodison crowd, as well as the opportunity of being just 90 minutes away from another Wembley trip, Everton are more than capable of overcoming Chelsea.

There is no denying the clash with be a tough test – but it is one that Everton can pass.

Potential Howard departure should not detract from decade-long service

“I will always be very, very grateful and every fan should know what Tim Howard has been doing behind the scenes and when he is on the pitch.”

Manager Roberto Martinez’s choice of words after Everton’s 2-0 victory over Bournemouth could be viewed as more positive spin for a player who has been largely out of form all season.

There’s no denying, however that the Spaniard’s answer was tinged with a certain inevitability about it.

Howard, who has been on Everton’s permanent books for almost a decade, has been rumoured to be departing Merseyside to head back stateside at the end of the season.

But, despite a remarkably quick souring of his relationship with Evertonians alongside a notable dip in form, the American should still be given a rousing send off come the season’s end if his future lies away from Goodison Park.


The 36-year-old goalkeeper has never been viewed as world class – there have been mistakes during matches that will put paid to that.

Howard, though, has remained loyal to the Club who gave him a way out of Manchester United, and his affection for Everton is evident in the way he speaks about his second home.

Understudy Joel Robles, who has conceded just one goal in five matches during Howard’s time of the sidelines with a knee injury, deserves to continue his run in goal for the Toffees, that much is certain.

What has gone before, too, does not matter to many – it is the here and now that people, not just football fans, remember more often than not.

But, after over 400 appearances for Everton and 132 clean sheets, it is Howard’s service and dedication that ought to be remembered.

Life is Strange Review


It’s not often that a game makes me to sit and take stock of it on multiple occasions.

Telltale Games’ The Walking Dead, Remedy’s Alan Wake and Irrational Games’ Bioshock Infinite are just three that have done so in the past few years.

And now another has been added to the list in Life is Strange.

Dontnod Entertainment’s second bash at a video game, coming off the back of 2013’s Remember Me, Life is Strange is a sci-fi-teen-drama-murder-mystery crossbreed that picks up steam throughout, and constantly kicks you in the heart as the story plays out.

Warning: major spoilers occur from this point on so, if you are in the process of playing the game or you don’t want to see how the story plays out, turn back now.

You play as protagonist Max Caulfield, an 18-year-old photography student who returns to the coastal town of Arcadia Bay, Oregon, to study at Blackwell Academy after five years away from your childhood home.

In the middle of one of her photography lessons, taught by the renowned Mark Jefferson, Max blacks out and has a vision of an impending tornado that will destroy the entire town.

Then, taking a break in the girls’ bathroom between lessons, Max witnesses the murder of her childhood friend Chloe (unbeknownst to her at the time) at the hands of fellow Blackwell student Nathan Prescott.

It is here that Max uncovers her superpower – the ability to rewind time – and uses said power to prevent Chloe’s murder.

What occurs from that point on is a whole slew of time bending adventures as Max helps Chloe try to track down missing ex-Blackwell student and friend Rachel Amber, uncovering a plot by the Prescott family to take over Arcadia Bay and prevent the tornado wiping out the town itself within a five day period.

And every other teenager thought they had it bad.


Much like Telltale’s now famous in-game mechanic, Life is Strange sees you interact with fellow students, Blackwell staff and townsfolk, making choices about what to say, via the options presented to you, as you go along.

The beauty with Life is Strange, however, is that Max’s ability to rewind time allows you change your answers as you see fit.

Not happy with how someone just blew you off? Rewind and tell them what they want to hear, based on the previous interaction, and they’ll like you for it.

Need help with solving a particular puzzle? Work your way into a room, reverse the timeline and find that you’re now in said room without having to overcome any major obstacles.

It’s a mechanic that works extremely well, and gives the player the opportunity to find out what each response results in, before the player can decide on what actual action they want to take.

Of course, this power doesn’t always work and, like Telltale’s games, there are certain instances where you have to get by without it.

One such incident, at the end of episode two, sees Kate Marsh, a devote Christian and Blackwell student, attempt to commit suicide by jumping from a rooftop after a leaked video shows her partying and making out with a number of different guys at a Vortex Club party.

Yours – and Max’s – choice of words here decides Kate’s fate – make the right ones and she’ll come down, but choose incorrectly and she jumps to her death.

This is the first time that Max realises her powers cannot be relied upon, and that she cannot save everyone all of the time.

It is another clever plot point conjured up by Dontnod and shows the player that, despite what they’ve done up until that point, their powers cannot be relied on to get Max out of every terrible situation.

Decisions like this continue throughout the rest of the game, such as bringing Chloe’s dad back from the dead (a choice that ends up leaving Chlor wheelchair-bound), saving Chloe from certain death time and again, and trying to help Max escape being kidnapped and held hostage, among other such events.

Perhaps the most heartbreaking decision, though, is left until the final act of episode five.

As the tornado looms large over Arcadia Bay, Max is presented with an ultimatum – save the town, or save Chloe.


It is this gut-wrenching choice that you have no alternative but to carry out.

Are you selfish in deciding to save Chloe, the one constant throughout who you’ve repeatedly helped escape Death’s clutches?

Or do you help your childhood best friend in performing a selfless act, to save the many innocent lives that you’ve touched throughout the entire story?

It is a terrible choice to make, and perfectly encapsulates the game itself.

Up until this point, Max’s decisions can be viewed in much the same way as the microcosm put forward in as the final choice in the game’s finale.

On one hand, her actions can be conidered selfish; she keeps Chloe alive in spite of fate’s attempts to kill her off and despite this repeated action causing a gigantic tornado to descend on Arcadia Bay.

And, on the other, Max’s selfless acts that have brought hope, optimism and home truths to those the player encounters throughout the story’s arc.

It’s an excruciating choice to make, and one that took me a few minutes to go over in my head.

As devastating as it was, I made my decision – and sacrificed Chloe.

It seems I wasn’t the only one who took up this painful option, with the end-of-episode statistics showcasing that a fellow 53% of players doing likewise.

And it also appeared that this is what Dontnod wanted gamers to select, with a longer cutscene, showing Nathan Prescott and Mr Jefferson at the hands of the authorities, Chloe’s funeral and Max atop the cliff near the lighthouse at sunset, wrapping up proceedings as Foals’ Spanish Sahara plays out.

Compared to the ending where Chloe is saved – the town is destroyed, every other resident dies in the storm and Max and Chloe drive off into the sunset – it’s no small wonder that some players felt dissatisfied with the ending they received, given that every supporting character in the game is killed off without either Max or Chloe seeming to care one jot.

This isn’t the only complaint with Life is Strange, for me, either.


Much has been made of the animations since Life is Strange was released last year, particularly those concerning close ups of the characters speaking, with the synchronisation between mouth movement and voice acting looking lacklustre at best.

None more so was this evident for me than in episode five when Max’s mouth failed to even open during her conversations with those present in the Two Whales diner – the gormless look on her face as the subtitles and voice acting carried on as if nothing was wrong took me out of the moment entirely.

The animations of other movements too during conversations seemed to imply a lack of resources, with many characters having a select number of moves during talks with Max that were repeated over and over again.

For instance, the folding and unfolding of arms when Max and David spoke to each other on occasion made for a frustrating, if slightly amusing, battle of who would uncross their arms first.

The loading times when entering certain areas is another gripe, along with a couple of story threads that weren’t completely tied up (where does Max get her power from? And why does Mr Jefferson do the classic villain spiel of “Let me tell you my wicked scheme from start to finish”), but both are minor compared to the above issues

Life is Strange, however, isn’t supposed to be a game that relies heavily on its art style, animations or culmination.

It is a story that transports players back to their own teenage years, with those moments of uncertainty, insecurity and general wondering of their place in the world and universe, and how we all wished to be able to turn back time to rectify our own mistakes in spite of the problems it could cause.

It’s also a story about friendship, sticking up for your mates and savouring the memories that you create with those around you.

Max’s relationship with Chloe, in particular, is one that will resonate with anyone, and causes us all the reflect on our own relationships with our friends and family.

It is this emotional pull that makes Life is Strange what it is, and its story will leave a lasting mark on me for a long time.

Verdict: An emotional rollercoaster ride, Life is Strange provides a fitting alternative to Telltale Games’ narrative-led games. It could have used a tad more polish, but the sci-fi-murder-mystery-drama holds its own and offers up a thought provoking, nostalgic tale of friendship, life and fate. 8/10