7 : Episode 7
DOWNLOAD ::: https://shoxet.com/2tElVY
Thus this episode brings every character from disparate storylines together for a funeral where emotions are running high; bashes them against each other in ways that invariably result in sex and/or violence; then sends everyone back to their separate corners, reeling from the experience.
I admire the show's trust in its actors' ability to convey what we need to know through expression and gesture, instead of through thick, wordy clots of exposition. That said, this episode kicks off by giving every freaking character listed above a long moment to gaze meaningfully at another character, and with a cast this huge, this process takes a hell of a long time. We are burning serious daylight with all these pained expressions getting exchanged; it's really just "Janet!" "Dr. Scott!" "Janet!" "Brad!" "Rocky!" but stretched out over 12 minutes.
Daemon and Rhaenyra walk the same beach that young Laenor and Rhaenyra walked back in episode five, but in the opposite direction, and at night. They start making love at midnight, in the dunes on the Cape, like they're a coupla Pina Colada-guzzlin' yuppies in a number one Billboard Hot 100 hit of 1979.
It's the dagger Viserys showed to young Rhaenyra back in episode one. It belonged to Aegon the Conqueror, and it's inscribed with the prophecy of The Prince That Was Promised. Many years in the future, it will be used by an assassin hired by Littlefinger in an attempt to kill Bran Stark. It will be used by Arya to kill Littlefinger, and again, finally, to shatter the Night King into pellet ice. It's the Forrest Gump of Westeros, this dagger.
In one of the most relentless and physically intense episodes of Arrow ever, Oliver Queen finally conquers Ricardo Diaz and gets free of Slabside prison. Flashforwards and life outside of prison were wisely held for the week, instead dedicating the episode to what felt more like a short action movie that was all climax. Oh, and then there was that Olicity reunion.
This episode of Stranger Things season 4 picks up right where the last one started with Steve being eaten alive by some vulture, bat-like monsters. Eventually, Nancy, Robin, and Eddie arrive and free him.
All of that played into Gemma's increasing confusion and paranoia over what Jax knows, or how he might find out. As she begins to really break down, though, others are taking notice. Unser and Wendy both know there is more to Gemma's saving of Juice than she has been letting on, and even Chucky has noticed that Gemma needs to unload her burdens. The setup for Gemma being taken to the cabin was an excellent source of extreme tension throughout the episode, too -- we knew that it had to do with Jax needing Gemma to detox the mother Jax is using against Marks, but from Gemma's perspective, the vague but firm order signaled the worst. So she unburdened to Thomas the extent of her guilt, as Abel overhears.
-- Some beautiful shots in this episode. Some might point to the action shots, but I preferred the quieter frames, like Jax waiting for Bobby by JT's memorial, as well as the color splash of Nero's car parked in front of Teller Morrow.
"Episode 7", also known as "The Last Evening",[nb 1] is the eighth and final episode of the first season of the American mystery television series Twin Peaks. Series co-creator Mark Frost wrote and directed the episode. It features series regulars Kyle MacLachlan, Piper Laurie and Eric Da Re, with guest appearances by Chris Mulkey and Walter Olkewicz.
"Episode 7" was written and directed by Mark Frost, who created Twin Peaks along with David Lynch. Frost had previously penned "Pilot", "Episode 1" and "Episode 2" with Lynch; "Episode 5" was his first solo writing credit. Frost would pen a further six episodes during the second season. This was Frost's first and only time directing an episode of the series.[6]
In my mind ... Frost seemed the partner most responsible for the series' story architecture while Lynch brought the atmosphere and mythology. Again, that's just my theory, but the fact that this episode chugs along like a well-oiled machine certainly supports it.
"Episode 7" was first broadcast on the ABC Network on May 23, 1990. In its initial airing, it was viewed by 12.6 percent of US households, representing 22 percent of the available audience; it was the most-viewed broadcast in its time-slot.[16] These ratings marked an increase from the previous episode, which had attracted 10.6 percent of the population and 17 percent of the available audience.[17]
Writing for The A.V. Club, Keith Phipps rated the episode an "A", finding that the multiple cliffhanger plot threads worked well and did not seem over the top or self-parodying. Phipps felt that the first season was "a near-perfect run of television", further describing it as "a stretch of greatness that, for one reason or another, couldn't be sustained. But it was terrific while it lasted".[15] AllRovi's Andrea LeVasseur awarded the episode four stars out of five, adding that "with several characters meeting their fate in this episode, including the two main suspects (Jacques and Leo), the mystery of Laura Palmer's murder is even more puzzling".[18] Writing for Entertainment Weekly, Ken Tucker rated the episode an A+, finding that its lack of plot resolution offered "a good kind of annoyance", showing the level of interest and commitment the series had inspired in its viewers.[19]
Editor's Note: The following contains spoilers from Episode 7 of The Last of Us.Who's calling Episode 7 of The Last of Us entitled, "Left Behind" a filler? Not us! It is a gripping and essential part of Ellie's backstory and the reveal of a new character, Riley (Storm Reid). The episode picks up with a wounded Joel (Pedro Pascal) desperately telling Ellie to go on and leave him behind to die, and she begrudgingly does. But then we get to see what Ellie (Bella Ramsey) was doing prior to being introduced in the show's first episode where she is being held captive at the Boston Q.Z. by Marlene (Merle Dandridge) and the rest of the Fireflies. She is in a FEDRA training school for girls where she is already showing signs of being a bit of a troublemaker and free spirit. After getting into a disagreement with the class bully, Bethany (Ruby Lybbert), she gets in a fight and subsequently ends up in the FEDRA Captain Kwong's (Terry Chen) office where she is reprimanded yet again, but when offered a choice moving forward by Kwong, Ellie chooses the path of least resistance to achieve her goals. It also establishes that Riley is her quasi-bodyguard/protector, an interesting turn in that it uncovers a pattern of Ellie being protected even while in the relative safe haven of a FEDRA training facility (Although she looks pretty capable of handing out her own form of punishment judging from the haymaker she lands on Bethany's jaw.)
That night, however, as she lay in her bed, her missing roommate, Riley scales the wall and enters her room through the second-floor window. Thought to be missing and possibly dead, Ellie is relieved to see her best friend and roomy back after several weeks of running away from the FEDRA training site. In the time that Riley has spent out alone in the dangerous quarantined zone, she has seen a lot and has opened her eyes to both sides of the war being waged between the military dictatorship of the ad hoc FEDRA government and the Firefly rebel forces. The two head out for a night of playing hooky from school, and the episode does a wonderful job of introducing us to not only a new character in Riley, but also Ellie as the impetuous and abrasive kid she was before we got to know her in the very beginning. This is also very close to where the downloadable content (DLC) begins in the game as the two head for the mall.
The episode may not have some of the more dramatic, action-packed sequences as some episodes The Last of Us entries, but it delivers in much the same way that Episode 3, "Long, Long Time" did in that it is a bit of a standalone story that is relatively isolated from the greater overarching storyline of Joel (Pedro Pascal) and Ellie getting to their destinations out west. It also delivers a terrific entry with a run time of well over an hour that examines some of the things that have been taken away from not just mankind as a result of the catastrophic fungal infection, but also the things that a generation of young people have missed out on.
It paints a stark portrait of what things might have looked like if things hadn't gone so tragically and horrifically awry. Can you picture Ellie as a freshman in high school or Riley as a senior? Would they have even known that the other existed? It is a poignant case study of both innocence and youth lost. It may be the most harrowing episode of the show to date because over the course of time that these two girls spend with each other, you begin to understand all the intangible things they've missed out on. Rites of passage that they have had snatched away like getting your driver's license, that first romantic relationship, or even walking across that stage for graduation. It is a compelling glimpse of what the end of the world has done to its most recent and possibly final generation.
Ellie doesn't know she's immune at this point, and as a young girl who has never felt the cold, hard reality of loss or seen what goes on outside the walls of a FEDRA training camp, lashes out, smashing glass display cases and screaming out like a wounded banshee. Riley is quiet, resigned to her fate having accepted that they are part of a race on the verge of extinction, and these are the things that come with no longer being the apex predator in a broken world. It is a bittersweet ending to a fine entry into the first season of the spectacular new HBO drama, and one that should in no way be considered a "filler episode." 781b155fdc