Sometimes, a TV show is so jarring and takes you so far downward to the worst of humanity that you can’t help searching for levity. It’s an irresistible prospect when you’re a) a fan of femslash and b) watching The Fall, which is essentially a dual character study of a serial killer and the lead detective assigned to his case.
This is what nuclear wasteland fashion should be - classic, stunning, thoughtful. The muted palette is practical without being dull, and incorporates a pop of color on that gorgeous weapon belt. The athletic shoulders and breastplate have a vicious, metallic-studded twist.
One of the very best parts about writing this column over the last three years has been the questions and comments from readers. Along the way I’ve usually incorporated questions into future columns, but now that the end is nigh, I thought it would be fun to dedicate a whole column to answering the backlog of questions I’ve gotten. So, without further delay, the AMA version of Watching Downton Abbey with an Historian!…
Cars are sexy, beautiful creations that promise a world of speed and freedom. They are also symbols of risk and danger. By the episode’s end, neither Mary nor Edith is entirely ready to embrace the risks of a new relationship. But, as Tom says, "Being hurt is part of being alive."
The men and women who queued up to see Downton were expected to be envious and larcenous. Instead, they were serious-minded and inquisitive. In a series of quick vignettes, we see Cora, Edith, and Mary all stumped by basic questions about art, architecture, and history. Only Molesley, standing in the background, seems to know who painted the paintings, but he is silenced by his position in the hierarchy.