the Rue Saint-Nicaise, Napoleon is seen travelling alongside his wife, but in reality Joséphine was riding in a separate carriage. In the third episode, Napoleon and Tsar Alexander are shown in 1808 at the Congress of Erfurt listening to a performance of Nicolo Paganini's Caprice No. 24. In reality the piece was composed in 1817. As shown in episode three, the dressing down of Talleyrand during which Napoleon claimed that he was "shit in a silk stocking" occurred in front of Napoleon's marshals rather than in private chambers. By this time, Talleyrand had also already resigned his office, rather than being fired. In the fourth episode, Talleyrand warns King Louis XVIII that Napoleon and his army are advancing on Paris. In reality, Talleyrand was at the Congress of Vienna at the time. In another scene, Murat is seen offering his services to Napoleon once more for the upcoming Waterloo campaign, but in real life, Murat had actually done so through a dispatch and not in person, as the last time the two actually saw each other was in Germany in 1813 following Napoleon's defeat at the Battle of Leipzig. Cambronne is seen saying the infamous word of Cambronne and later a variation of his famous response about the Guard during the Battle of Waterloo. The accuracy of these words is disputed, though they are popularly attributed to him. Reception The series premiered at a time when many other books and films about Napoleon had recently come out or were in production, including a stage production called C'était Bonaparte, which opened days before the miniseries premiered. Upon its release, it was the first television series to be broadcast simultaneously in all the participating European countries. However, when originally broadcast in the United States, it was edited down to a running time of three hours, as opposed to the original six hours. When it first aired in France it drew in seven million nightly viewers. Critical reviews have been mixed. Some reviewers were uneasy at the casting of Christian Clavier, an actor known mostly for his work in comedy films, in the title role. French critics generally found Clavier to be "a good Napoleon but a poor Bonaparte." That is, striking an imposing figure but failing to give insight into the man. In terms of the dispute over whether Napoleon was a visionary, a tyrant, or an imposter, historian Jean Tulard considers