[S3E1] Look Out Below
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Lady Boom Boom went above and beyond with her design challenge runway look to show she is both a seamstress and a designer. Her garment was not only completely finished, but high fashion. Going from concept sketch to construction to execution on those massive shoulders in a day is no small feat.
Her design challenge runway might have been the best of the week, edged out only by the level of surprise that the top three queens brought to their looks. I loved the lace-up front dress with massive arms and a skirt that seemed to be levitating in mid-air in the middle of a being blown up a la Marilyn Monroe in 7 Year Itch.
I think her couchy entrance look was higher fashion than her Streetwear overalls jumpsuit. I liked the watermelon color story more than I liked the execution of the garment. It could have benefited from hip cutouts or another pop of pink somewhere at the bottom to unify the entire look.
I was more impressed with her runway look. It was a pretty, flattering, fashionable dress. Lining a glittering black fabric with a pop of lime green is brilliant, as is styling the skirt with just enough of a flair to show that off.
The confirmation of my pre-season thoughts was that her drag is simply too low-key casual for the Drag Race stage. After the most causal entrance look in the modern era of Drag Race, a low-key streetwear look that used even more sweatpants material, and a plain black dress for her runway, Chelazon Leroux escaped the bottom three this week purely because there was better story in putting Fiercalicious there in her place to give her a scare.
It sees the main TNG cast returning for one last adventure, which ends up being far deadlier than anyone could have expected. Early reviews, as well as audience reactions to the first episodes of Star Trek Picard season 3 have been largely positive (you can take a look at our own Star Trek Picard season 3 review for a dissenting opinion), which stands in stark contrast to the reactions to the Star Trek Picard season 1 and 2.
For more, check out our comprehensive guide on how to watch Star Trek Picard season 3, as well as our Star Trek Picard season 3 episode 2 recap. Or, take a look at our guide to the best Star Trek captains and the best Star Trek characters, and learn more about the USS Titan and Captain Shaw.
We cut to Wilson Fisk cooking one of his trademark omelettes (are we ever going to get a recipe for that) in a setting that turns out to be a flashback to better times. The setting cleverly changes from a luxurious kitchen to a prison with paper plates when we join Fisk in his current predicament. He yells at his prison mates to be quiet and pushes the omelette to the side as his attorneys enter. They let him know that his appeal is proceeding according to plan, but that his beloved Vanessa is facing criminal charges if she is located, or if she returns to the U.S. Fisk asks them to leave and takes a long hard look at the grey-white wall.
Many people talk about his fighting chops, and rightly so, but portaying Matt Murdock in any scene always requires constant attention to what his body is doing. How is his posture What is his head doing Where are his eyes looking You get what I mean. For an excellent example of this, look no further than the boxing scene, and observe the change that happens when his bad ear blanks out on him again. He embodies this completely.
Generally though, we do have to look at Matt as someone who is, to some extent delusional. Not in the sense that he is psychotic, but that he is trapped in a kind twisted mindset that is not uncommon in someone who is suffering from a deep depression. There are legitimate reasons for his grief, but his despair takes him a few steps beyond that.
The guys are forced to look for love in all the wrong places at a singles' event, and then phone it in making embarrassing calls on strangers' cells. And there's no happily-ever-after for tonight's big loser when his storybook ending becomes a humiliating sob story.
That wild card Palmerston suggests that the Old Bill (the police) eliminate the Chartists by manufacturing evidence against them. And just like that, the new recruit Patrick Fitzgerald turns up at a Chartist meeting and, wait, did he just plant evidence (a case of rifles) while no one was looking It all sounds like a recipe for something to go boom!
Anyway, like Malia, I need to move on from Adam. Proving his evolution, Adam intentionally refuses to see the new stews as women, only amorphous people with whom he must share microscopic living quarters. He will imagine raw fish on a rock every time he looks at Kasey Cohen.
At 10pm Adam is placing up tuna, and toasted cheese sandwich with truffle, and then, finally, more pasta on plates. It all looks like Applebees entrees, but the guests finally seem impressed. Mostly with their ability to order the crew around like trained monkeys that jump when they say jump. I personally think, as someone mentioned on twitter, these guests were looking for excuses to be outraged to avoid paying a tip.
Ah, a graveyard. It's good to be home. A newly-risen vampire struggles to climb out of his grave. As he's almost free, he looks up, and the camera pans back through a pair of legs standing in front of him. Psych. It's Willow, sporting a new haircut and a sly smile.
In the morning, Buffy, in pigtails and a checkered uniform, waits on a young couple who are canoodling. The girl is ex-vampire groupie \"Chantarelle\" (from \"Lie to Me\"), only looking much more like a Street Urchin. The lovers have matching tattoos that, when placed together, form a heart with their names on them: \"Rickie\" and \"Lily.\" After reading Buffy's name tag, which says \"ANNE,\" Lily wonders if they've met someplace before.
Cut to Ken preparing Lily, who's now wearing a smock, for a ceremony called a \"Cleansing.\" Ken instructs Lily to kneel in front of an ink-black, rectangular pool. He explains that the pool is to \"wash away the past.\" With motor oil At the front door, Buffy's asking some goon if she can join up (\"...I woke up, and I looked in the mirror and I thought, 'Hey! What's with all the sin'\"). When that doesn't work, she kicks the door open and finds Ken in the cleansing room...just in time for the tar to suck Lily into the pool.
Buffy tries to follow, but Ken tangles her up and they both fall in, right through the black pool and into a hellish-looking forge. Young men and women, all dressed in the same style of smock as Lily, working as slaves. Some are being whipped by demon guards. Ken reveals himself as a demon of some sort with a human face glued on, and sends his guards after the girls. The two are quickly caught and told that they will be living there for as long as they can serve as useful slaves. Time moves much more quickly in their current reality, which is why Rickie aged so many years while no time had passed on Earth.
The on-looking Mandalorians snap into fighting mode and try and defeat the beast. This giant creature is too much, until a silver ship appears and takes out the monster before it lands, revealing to be Din Djarin and Grogu who are the ones to save the day.
Din Djarin refuses to believe this and tells his helmet-less Mandalorian acquaintance that he will return to Mandalore, bathe in the Living Waters, and fix his perception in the eyes of his leaders. Bo Katan regards Din as a fool but looks on with intrigue as Mando leaves her castle.
Roughly two years earlier, Sherlock is standing on the rooftop of St. Bart's Hospital, John on the pavement below. As Sherlock speaks to John over the phone, Moriarty's body is dragged away and his face is covered with a mask of Sherlock's face. Sherlock falls off the roof, and as John is looking up he is hit by a bicyclist. Molly Hooper is shown looking out the window when this happens and looks surprised when she sees Sherlock go past it. It is shown that there is a bungee rope attached to Sherlock's back, which bounces him upwards before he can hit the ground. Sherlock crashes through a window to meet Molly. He then kisses her and walks away. Meanwhile, on the ground, Moriarty's body is dragged onto the pavement and decorated with fake blood. As John stands up slowly, Derren Brown intervenes by hypnotising John, convincing him to sleep for a short time, and gives the people with Moriarty's corpse more time.
John looks at 221B for the first time in a long time and John announces to Mrs Hudson that he is moving on with life now and is going to propose to his girlfriend. John has to insist that he is not gay after Mrs Hudson implies multiple times that Sherlock was his boyfriend.
The only one that wasn't expected was Moriarty shooting himself. After that, Sherlock had texted the word 'LAZARUS' to Mycroft, and the homeless network bystanders moved into position. A group of men deployed a giant air cushion directly below Sherlock's position on the rooftop, and the street had been closed off to the public. Since John was behind the shorter ambulance station below, he could not see the air cushion. As Anderson had speculated, Molly Hooper was involved in the plan. Sherlock points out that Moriarty had found a way to traumatise one of the kidnapped children, from Sherlock's last case, into thinking that Sherlock was the kidnapper, which allowed Sherlock to realise that perhaps Moriarty had achieved this by using an accomplice who happened to bear a unique resemblance to Sherlock, and this accomplice was killed as soon as he had exceeded his usefulness. This meant that the morgue had a body on hand to pass for Sherlock, with the real Sherlock supplying the necessary coat.
Back in the Tube car, Sherlock and John prepare for their final moments. Sherlock begins to cry but suddenly starts laughing, and John looks down and sees that the timer has been stopped since one minute and twenty-nine seconds. Sherlock had stopped the bomb, and he says that there had been an off switch. Soon after, they see people with torches coming down the tunnel towards them, and John realises that Sherlock had called the police as well. This has all been a trick by Sherlock to get John to admit how much he'd missed Sherlock. 59ce067264