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Episode 02: Please

Please Like Me is an Australian television comedy-drama series created by and starring Josh Thomas. Thomas also serves as a writer for most episodes. The series premiered on 28 February 2013 on ABC2 in Australia and is now available on Netflix The show explores realistic issues with humorous tones; the executive producer, Todd Abbott, had pitched the show as a drama rather than a sitcom. The show aired later on the United States network Pivot, which then helped to develop the show from its second season onwards. Four seasons of the show have been broadcast, and creator Thomas has stated that he has no plans to make any further episodes.[1] The show has attracted praise from critics and has garnered numerous nominations, winning a number of awards.

Episode 02: Please


Please Like Me was chiefly written by Josh Thomas, who also played the main character, Josh. Most episodes were directed by Matthew Saville.[2] Thomas and producer Todd Abbott developed the series together for four years. They held a series of consultation meetings with the Australian Broadcasting Corporation. Abbott was careful to pitch the series as a drama rather than a sitcom. It portrays a set of circumstances that could happen to a young person but has humorous themes.[2] Thomas envisioned an original show, something he had not seen on television before. The actor, also a known comedian in Australia, wanted honesty in the script and wrote the comedy with that in mind. He also wanted the actors to not intentionally react to the scripted jokes.[2]

It was announced in July 2013 that the series would air in the United States as part of the launch programming of Pivot, a new digital cable and satellite television channel which released the first episode of the series online prior to its screening on the channel.[5] It will also offer the series as part of its video on demand service.[5] Pivot also launched a social media website "" for viewers to share personal experiences about breaking stigma and fear of being unliked, in relation to the series.[6]

On 26 July 2013, it was announced that ABC and Pivot had commissioned a second season of the show consisting of ten episodes.[7] The season debuted in its American territory first from 8 August 2014.[8] Producers also added a host of new regular characters to the cast.[9] On 12 July 2014, it was announced that the networking partnership had renewed Please Like Me for a third series also comprising ten episodes.[10] On 7 July 2016, the series was renewed for a fourth season consisting of six episodes.[11] On 2 February 2017, it was announced that season 4 was the final season for the series.

Fortunately, the first episode in a series usually performed well. The video got a decent number of views, so logically, it made sense to continue the series using numbered titles. But as time passed, the opposite effect took place. Every subsequent episode seemed to earn fewer views than the last.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much loved coffee brewing and heart-to-heart talking simulator; Coffee Talk Episode 2: Hibiscus & Butterfly.

It might sound like I'm being reductive, but this is literally what happened (though obviously I'm paraphrasing): Ser Davos went to see Melisandre and was like: 'Can you make him not dead please?' She was all: 'Nah, I don't reckon, but I'll give it a shot.'

Swift cut to her being by Jon's deathbed, a couple of spell utterances and a hair trim later - along with a cut to his direwolf Ghost springing up (more on that later) - and Jon opens his eyes and gasps for breath. For one of the most-debated cliffhangers in TV history, it was remedied pretty damn perfunctorily. Seriously, why did Melisandre spend the last episode staring at her breasts in the mirror when she could have been saving the Lord Commander of the Night's Watch? Priorities.

Fade Out, Fade In, Part 2, was the 124th episode of the M*A*S*H TV series and the second episode of Season 6. The episode, which the second of a two-part hour-long episode arc, was written by Everett Greenbaum and Jim Fritzell, and directed by Hy Averback. It originally aired on September 20, 1977, and rerun as two separate half-hour episodes on March 13 and 20, 1978.

Following last week's introduction to Pedro Pascal's Joel and Bella Ramsey's Ellie, this episode of The Last of Us continues on from the revelation Ellie is immune to the cordyceps infection that has ravaged humanity.

As with last week, the second episode of The Last of Us begins with a cold open that leans into the appliance of science. It takes us to Jakarta in 2003 (you may recall that Jakarta was mentioned on the radio when Joel was having breakfast with Sarah and Tommy in last week's episode).

Fully suited and booted for the occasion, Ibu creates an incision through the cadaver's bite wound - a wound she is informed came from another human - and sees the fungus within. She then uses surgical scissors to further investigate inside the deceased's mouth. Here she discovers the fungal tendrils we first saw coming from Nana's mouth in episode one - and they are still writhing.

I described episode one's cold open as 'bonus content' for those who have played the game, and I would do the same here. The time spent in Jakarta with Ibu brings a richer narrative to this world and, once again, introduces a sense of discomfort and foreboding that will sit with viewers for the rest of the episode.

Ellie awakens in the sunlight (just as Sarah did in episode one), as a butterfly flits overhead. However tranquil this moment may seem at first, it is soon interrupted by the realisation that both Joel and Tess have been watching Ellie sleep, Joel with a gun in his hands.

They are distrusting of Ellie, and interrogate her about what Marlene was doing with her. Ellie explains she was locked up with the Fireflies then "testing" her every day (we saw these tests in episode one, with Ellie counting to 10). However, Ellie points out that what really impressed them was the fact she "didn't turn into a fucking monster" despite being bitten.

As someone who knows the games, as well as Ellie and Joel's arc, I appreciate the extra character groundwork being laid out in these earlier episodes. As I said earlier, it adds more layers to Joel and the like, for both those familiar with the series already and those experiencing it for the first time. This should mean the finale will have a more profound impact on the viewer, regardless of their previous knowledge of the story.

Joel wants to find a different way to get the car battery he and Tess were first after in last week's episode, in order to find Tommy, his younger brother, who has been missing for several weeks. I would like to point out here that Joel is very much a man driven by love, but I do not mean that as a good thing. Let's be honest, Joel is a bit of a dick, and doesn't care if people know it. When Tess points out that Ellie will be shot if anyone in the QZ notices her arm, Joel does not seem to mind. His priority is getting to Tommy, no matter the consequences to others. A love like this can be very dangerous.

As with the games, Ellie is left in awe of the scale of everything outside of the QZ. She comments on the bomb crators throughout the city, remarking that it looks like a "fucked up moon". Tess explains that the military bombed all the big cities in an attempt to slow the spread (a reference not just to Ibu's words earlier in the episode, but also a similar statement from Tess in the game: "They bombed the hell out of the surrounding areas to the quarantine zones, hoping to kill as much of the infected as possible").

As with certain moments in last week's episode, these responses from Ellie are clearly setting The Last of Us viewers up for some flashback scenes in upcoming episodes. Those familiar with the game and its DLC will already know what I am talking about.

Looking at Joel, Tess' reaction gives us an ominous feeling for things to come. At this point, the only infected we have seen - bar the initial runners from the outbreak scenes - are the lone clicker you could easily miss at episode one's conclusion (see below), and the one that had expired and fused with the wall under the Boston QZ.

As the way they intended to go is blocked by this swarm of infected, Joel suggests they go through the museum, and we are back in territory that is taken from the game. And, oddly, this bit is actually the part of this episode I enjoyed the least.

This rather emotional scene is interrupted by one of the bodies on the floor. It is not, as we all thought, dead, and it is infected. Joel shoots the infected in the head, and we now see how the tendrils Tess described earlier in the episode work.

As I mentioned before, I found some of the pacing of this episode a little slow, but these final moments with Tess were done brilliantly. In this moment, unlike in the game, we stay with Tess as Joel and Ellie leave the building (Ellie very begrudgingly) and the scene.

Try stopping moving immediately when she points the gun at you, and only try moving when she aims the gun elsewhere. If you are experiencing any low framerate or lag in this scene, please try inching up to her slowly.

Then 10 episode drama aimed to centre Dahmer's victims, the majority of whom were Black men. Whether it succeeds or fails has been widely debated since the series was released. One thing that's certain, however, is the quality of the production and its soundtrack.

An original score by Nick Cave and Warren Ellis is aided by hits from the likes of Crystal Waters, KC and the Sunshine Band, and Sade. Want to know which songs feature in each episode? Read on for the full DAHMER soundtrack.

Our second Language Talk: KWLA podcast features host Laura Roché Youngworth discussing the Kentucky World Language Program Review with Jacque Van Houten, Jefferson County Public Schools World Language Consultant, and Alfonso de Torres Nunez, World Language Consultant for the KY Department of Education. They talk about the overall premise of the Program Review including its history, models of implementation, embedded concepts of global competency and 21st century skills, and the concept of Program Review as a tool for building capacity. If you have an event or idea to share on the Outreach Clearinghouse, please contact Laura Roche or Jeanmarie Rouhier-Willoughby ( 041b061a72

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