top of page

Grupo de Estudantes

Público·7 membros

From Season 1 - Episode 7 HOT!

It shouldn't surprise us that anything can happen more than halfway through the season. We've seen many deaths thus far and a clear shift in the town, but even so, the closing moments of FROM Season 1 Episode 7 are a complete shock to the system.

From Season 1 - Episode 7

1923's penultimate season 1 episode picks up at the Dutton ranch, where it seems Jacob (Harrison Ford) and Jack (Darren Man) are preparing for a fight. They say goodbye to their concerned wives, grab their rifles, and join six more cowboys outside. The full posse of eight then cut through town on horseback, passing the sheriff (Robert Patrick) and his men on the way.

This leads to her sitting in his lap and the pair enjoying a passionate kiss. But like so many of the couple's episode-capping moments, this one ends on a bit of a cliffhanger. While the two are still attached at the mouth, someone calls out Alexandra's name. She comes up for air, turns her head, and sees the fiancé she abruptly abandoned way back in episode two.

Funding for MASTERPIECE is provided by Viking and Raymond James, with additional support from public television viewers and contributors to The Masterpiece Trust, created to help ensure the series' future.

Folgers Brother drunkenly ambles up and lets Tom know that Lady D has pulled a Lazarus and returned from death's door. Tom, a normal person, is happy to hear this. Folgers Brother, a Certified Jerk, continues his drunken disaster tour of the regatta, moving on to Babs.

Diana is super jazzed because the Parker boat is now in the lead, but Stringbean and the boys are pulling ahead. Stringbean wasn't playing around when he said he wasn't going to lose to Sidney: the worker boat takes the day! Stringbean collects a hug from his papa, a trophy from Susan, and a congratulations from Sidney. Stringbean continues to not play around, and lets Sidney know that he's really hoping to win Charlotte's heart, but will settle for the crew trophy or whatever.

"Episode 7" is the seventh episode of the first series of Humans, a show based on Real Humans and co-produced by Channel 4 and AMC. In the penultimate episode of the first series, a secret about Karen is revealed, attempts are made to repair Max and police arrest every synth in the Hawkins' house.

The episode aired in the UK on 26 July 2015 to an audience of 4.83 million viewers; it aired on 9 August 2015 in the U.S., where 1.13 million households watched the show. The episode received positive reviews, with several critics highlighting the exchanges between Niska and Sophie as particularly humorous.

In the UK, the episode aired on 26 July 2015; it was watched live by 4.127 million viewers on Channel 4, and viewed by 4.830 million people including people who watched Channel 4 +1.[1] 1.13 million viewers watched "Episode 7" in the U.S. when it first aired on 9 August 2015, with 0.4% of adults 18-49 in the country watching the show.[2]

Brandon Nowalk from The A.V. Club gave a rating of B+ to this episode, summarising that "most of the episode is about pairing up the different humans with the different conscious synths, each to great effect", particularly complimenting the "crackerjack comic duo" of Niska and Sophie.[3] Matt Fowler of IGN scored the episode 7.4 out of 10. Fowler "really liked Odi and George's final moments together", described the "Beatrice reveal" as "a good twist" and complimented the scenes between Niska and Sophie. However, he said that the episode contained "too much dopey family drama for a penultimate episode" and "really pushed the limits of how many times characters could change their mind within the course of forty some odd minutes".[4] Paul Dailly from TV Fanatic gave the seventh episode a score of 4.5 out of 5. Dailly opined that it was "another solid episode" of Humans, which was "continuing to improve by the week".[5]

Neela Debnath of Express gave the episode a very positive review, saying "Humans continues to compel us and keep us wanting more. Even detractors of sci-fi will be hooked onto the show pretty quickly."[6] Kyle Fowle of Entertainment Weekly described the episode as "essentially one long meditation on the implications of synth consciousness" and summarised the plot as "the synths and the Hawkins family hurry to save Max while Karen and Hobb form an unlikely partnership."[7] According to Hannah Verdier in The Guardian, "this episode had the sharpest lines of the series" and "Sophie teaching Niska to play with dolls was beautifully done."[8]

Star Trek: Strange New Worlds Season 1 Episode 7, "The Serene Squall," delivers a thrilling hour of television filled with surprises, action, intimacy, and secrets. Guest-starring Queer as Folk actress Jesse James Keitel, this episode uses Spock's (Ethan Peck) identity as half-human half-Vulcan to explore the queer experience and where we can go when we move beyond the binary. The episode also delivers on a full range of comedic and romantic elements, making for a superb viewing experience.

Strange New Worlds continues to flesh out Spock's beloved fiancée T'Pring (Gia Sandhu), as the episode opens with her balancing her work duties with her relationship, striving to better understand her partner by researching human sex. She mentions a handful of books from different perspectives over the last hundred years including Tropic of Cancer by Henry Miller for a masculine point of view, Fear of Flying by Erica Jong for a feminine point of view, and Maggie Nelson's The Argonauts. Nelson's book is a mix of memoir and philosophy through which she explores many things, including her love for her partner, Harry Dodge, who happens to be trans-masculine. The title of the book refers to the constantly changing and evolving parts of ourselves that still all fall under who we are. It's a remarkably fitting choice for T'Pring to study in order to understand Spock, who still holds a lot of internal conflict about the two most prominent parts of his identity.

At dinner in Captain Pike's (Anson Mount) quarters, we meet an ex-Federation counselor who has reached out to the Enterprise for an aid mission to rescue innocent people who've been captured by pirates. As Starfleet's boy scout, Pike has no choice but to take the Enterprise into non-Federation space in the hopes that he might save a group of people from being sold. When the captured colonists turn out to be a ruse, Pike and most of the senior bridge crew are detained aboard the pirate's ship while Spock and Nurse Chapel must sneak around within the ship to keep it from falling into the hands of the enemy.

On the Serene Squall, Pike leads carefully and charmingly sows seeds of dissent among the crew of pirates. This storyline really leans into the comedy of the episode, as Pike's wordless communication with Una (Rebecca Romijn) leads to the whole crew getting in on inciting a mutiny. It goes quite well, and they return just in time to rescue the Enterprise. Elsewhere, Nurse Chapel also has a couple of very subtle moments of humor that reference Majel Roddenberry, who originated the role on Star Trek: The Original Series and would go on to play several other characters in the franchise, including the voice of the computer. On Star Trek: The Next Generation she played Lwaxana Troi, who was notoriously awkward with the computer as a running gag since Roddenberry played both roles. In Strange New Worlds, Chapel gets frustrated with the computer while attempting to send out an SOS and later struggles to re-route command to engineering.

Strange New Worlds also presents the fact that Dr. Aspen is non-binary in a very subtle way. Star Trek: Discovery introduced both a trans character and a non-binary character in Season 3, both of whom had lovely textual conversations about those identities. However, in this episode, we don't have the time, or more importantly, the necessity to have that conversation about Aspen/Angel. The characters on the Enterprise simply use they/them pronouns when referring to the counselor turned captain. Both of these representations of queer people are so important, and it's incredibly encouraging to watch a queer person simply existing on Star Trek. And even though her character gets there through subterfuge, it's so exciting to see a trans woman sitting in the captain's chair.

Warning! This article contains spoilers for The Last of Us episode 7 and the original game.As The Last of Us episode 7 tells a flashback-heavy story, many could be wondering whether the episode's events are taken from the original game or not. Thus far in HBO's The Last of Us, the show has majoritively followed the events of the game with great fidelity. While some changes have been made here and there, such as Frank and Bill's ending, the story has mostly been taken from the original The Last of Us game, with most of the changes found simply adding to or improving on the game's story, world, and characters.

That being said, The Last of Us episode 7 tells a similar story to that of The Last of Us episode 3 of HBO's TV video game adaptation through flashbacks. The Last of Us episode 7 tells the backstory of Ellie and Riley, something hinted at throughout The Last of Us episodes 1 and 2 especially. Due to the flashback-heavy nature of the story of The Last of Us episode 7, the question of whether the story is taken from the original game could be raised due to the gaming medium's tendency towards linear storytelling.

While not part of the base game upon its initial release in 2013, the story of Ellie and Riley featured in The Last of Us episode 7 was released as downloadable content (DLC) in 2014. The DLC was titled The Last of Us: Left Behind. With The Last of Us episode 7 title being confirmed as "Left Behind" shortly before the series premiere aired, many familiar with the game expected this episode to show the story that shares its name. 041b061a72


Bem-vindo ao grupo! Você pode se conectar com outros membros...
bottom of page