Last week on Project Runway, designers busk and craft for funds to make fashion. People actually buy the ugliest tee shirts in the world (crafted for you by Elena!), to the tune of hundreds of dollars. Sonjia wins with a jacket I want to snatch off the model before she can get it off the runway and out of my clutches while Alicia is sent home for failing to make something successful to go under Elena’s worst coat yet. Oh, and we learn that Ven can’t sew anything that doesn’t involve his alien roses.
Look out below to see what happened this week.
Morning at Atlas. Ven throws a pillow at Christopher to wake him up. Oh sweet merciful kumquats! The lad wears a sleep mask to bed. Dmitry prays not to have to work with Elena again. The women muse on the burning question of whether Dmitry can make anything other than little sleek dresses. Don’t worry ladies, we’re about to find out (SPOILER!). And we’re off to see what fresh hell awaits.
Heidi, in a dress apparently composed of an innertube, reminds the designers that they need to step things up. Gunnar interviews that he wants to win so he can get a new pair of boots and a boob job for his mother. This gives me intensely burpy feelings. I don’t want to contemplate Gunnar’s mother’s bustline, and I frankly worry about a son who would put that much thought into his mother’s bustline. Heidi says the designers will be working with individual inspirations this week and sends them off to get the details from Tim.
My heart is all a-flutter when I realize that standing next to my imaginary gay celebrity boyfriend, Tim, is one of the two former designers next in line for that particular throne, Mondo Guerra! Mondo waggles his eyebrows and I fall yet further in love with him.
At every work table, there is an HP touch screen computer for the HP product placement print design challenge. The print must reflect in some way the designer’s cultural heritage. Later each designer will receive a dossier containing information about their heritage from an individual delivery person.
As Tim reminds the room that Mondo won this challenge back in season eight, we flash back to the moment he came out as HIV+ on national television in order to explain the print that all the judges had been praising for being so joyful. The funny thing is, the instant I saw that print arrive in the workroom, I had a feeling I knew what those plus signs were talking about.
Mondo reminds the designers to go deep, get personal, and don’t get too literal lest they get sent home for making a national costume rather than a piece of fashion.
As the designers start playing with their computers, the door opens and people start coming in. Sonjia sotto yells “Oh my God! Mommeeeeeeee!” and runs over to give her a hug. Gunnar, Melissa, Christopher, and Elena run for their moms, too. Dmitry’s best friend of fifteen years, Irina, is there. So is Ven’s sister who looks a lot like him only with hair. Fabio gets a visitation from his boyfriend. For the record, they are freaking adorable together. There’s a lot of raw emotion in the room. Pretty much everyone is wiping away tears and laughing at the same time. Even Ven manages a couple tear drops.
Each visitor has come equipped with an HP laptop loaded with pictures of their designer’s history up to now. Some of these pictures are beyond awesome. Dmitry’s dossier includes a video message from his father in Belarus which hits him like a ton of bricks. His father and grandfather are both artists and he decides he needs to draw on that for inspiration.
Looking back, what hits Gunnar the hardest is the memory of being badly bullied as a child in school. This is something I can definitely relate to. From the third to the ninth grade, I was the school punching bag. After that, well, the punching stopped, anyway. It’s a horrible dark place that’s difficult to climb out of. I think I understand Gunnar a little better now.
Elena sobs as she talks about her happy childhood in the Ukraine. Anton Chekov arrives to write a play about her.
Sonjia doesn’t want to delve too deeply. She’s worried it will distract her from what she’s trying to accomplish.
Dmitry is creating a fabulous print based on a combination of traditional patterns used in folk decoration and his grandfather’s aesthetics. It’s taking on a cool Art Deco edge while still retaining an Eastern European flair. I kind of love it. Elena’s print so far involves cobalt blue, grey, carnation pink, and a frankly lurid yellow. Out of the cacophony, I can see onion domes and Eastern Orthodox crosses. I like the inspiration, but loathe the execution. Imagining it on clothes, the only thing I can think of is the world’s ugliest scrubs.
Sonjia goes literal. She’s decided the background color of her print will be black because she’s black. Isn’t that what Mondo just told you not to do?
Melissa asks her mother what she thinks of when she thinks of their Polish background. Red vests and big skirts, it would seem. Melissa is playing with red and white and semi-vinous shapes. I’m not sure how it’s going to turn out, but at this point I think it looks cool.
Ven has decided to do huge pink hibiscus flowers on a white background, due to their religious significance for him as a person of Indian extraction. It’s a good start, but that seems to be where he stops, too. Also? They’re not particularly well drawn. Crude enough not to be realistic, but not imaginative enough to look like that’s deliberate.
Christopher seems completely lost. He looks at what he’s been doing and decides it looks like lungs. His mother tells him to make it work. Fabio wants movement and ‘conflict’ in his print, but doesn’t reveal at this point what the print means. It looks like a bunch of angular squiggles so far.
What’s coming out of Gunnar’s heritage of being bullied is… claw-like hands menacing a bird. He talks about the bird breaking free, but it’s feeling a bit Alfred Hitchcock to me. In my brain I see those birds converging on the jungle gym and shudder.
Tim comes and herds the family members out of the room with a hint that everyone can see their loved ones later on. It’s time to go to MOOD for notions and whatever textiles they need to complete their designs. They have $100 to shop with. I have a good giggle watching Elena chasse down the aisles of MOOD. For once I’m actually laughing with her.
Back in the workroom, everyone gets to work. Gunnar plans to make an equestrian jacket and a long black skirt. Sonjia thinks her print would be perfect in a pair of pants.
We finally see Christopher’s print and… yeah, it’s sort of ladybugs morphing into hearts because there were a lot of ladybugs at his grandmother’s funeral and so they took on a sort of totemistic vibe with his family. I love me a good ladybug, but this is not looking like something you’d see in the Lord&Taylor window. This is something that would make good quilt squares. Christopher doesn’t know what to do now. He doesn’t think he can start until his fabric arrives.
Ven decides he’s going to use the print to embellish his dress rather than ‘using it in an expected way.’ Dmitry is making separates. He heard the judges when they told him ‘no more dresses on pain of auffment.’ He’s making a jacket with narrow cut outs that could be kind of spectacular if his idea works out the way I think he’s hoping it will.
Tim arrives and tells the designers that their loved ones are making dinner for them back at Atlas, so it’s time to go see them. When they get to the apartments, Melissa’s father is there, too. So is Christopher’s father. And Christopher has found a new excuse for his lack of focus on this challenge: mommy and daddy are here distracting him. I think it has more to do with his lack of inspiration going in and inability to create a really fabulous print on the fly. It’s all becoming a self-fulfilling prophecy.
In the morning, the designers discover that Santa and his elves have left gifts in the night: bolts of their prints. Hands down, the worst prints in the room were created by Christopher and Ven… though Elena does get the Crafty Manolo Seared Eyeball Award for sheer garishness.
Christopher, however, thinks everyone did horrible, hideous prints. He thinks Dmitry’s looks like bandanas and Melissa’s is too tropical. He can’t even figure out what Fabio’s design is meant to be. It seems that Fabio comes from the land of Sex Ed 101A. That’s the only reason I can imagine why his cultural heritage consists of ‘fallopian tubes, penises, and vaginas.’ Dmitry thinks it looks cool. Christopher needs smelling salts. Fabio thinks there’s copulation going on in his print. Fabio, what does this ink blot remind you of? Never mind… I don’t want to know.
Sonjia asks Gunnar the backstory on his print. He explains about the bullying and across the room, Christopher realizes he and Gunnar have something in common. He and Sonjia both praise Gunnar’s print… but I have to say I think the back story is better than the print.
As Tim walks in to consult, Elena gives a cry from the heart of “Where have you been? We need you!” Tim admits to having had separation anxiety. Aw. Have a scone, Tim. It’ll make you feel better.
Christopher tells Tim he still hasn’t decided what to make, though he has things draped on two different mannequins. In both cases, though, he’s draped black organza over his ladybug print. Tim asks him if there’s one that he feels more strongly about than the other. Christopher points to the strapless cocktail dress and says he loves it. Tim thinks that’s a good word and feels the other look is ‘too expected.’ Okay, Christopher, you’ve been pointed in a direction. Now go make it work! He feels better having decided which way to go.
Sonjia’s print has turned out with an unexpected Northwest Coast Native American vibe that I’m attracted to. Tim tells her to be very careful with the fit of her pants.
I’m more and more intrigued with Dmitry’s jacket. He’s taken shapes from his print and cut them out in the black suiting fabric to make floating panels attached with very fine black netting, allowing the print to pop out in the negative space. If he can pull this off, I think it will be pure genius. Tim tells him it’s a great idea, but it’s looking prim. He says to use the blouse to ‘sex it up.’ Dmitry agrees that’s the best idea.
Ven has made a white strapless sheath dress with a sweetheart neckline and an undulating layer of pieces of his print pleated into fans meandering from the right breast to the left knee. Tim takes one look and says he’ll be blunt: “I see an homage to a menstrual cycle.” With those padded white bits and the blotches of bright pink carefully centered, he feels it looks, well, a bit graphic. And you know what? When a middle aged gay man looks at your dress and the first thing to pop into his brain is menstruation, I do think it’s probably time to reconsider the design.
Ven actually cries in an interview and gets up and walks out because he can’t take what Tim said about his dress.
Fabio has turned his print into a vest over an all black outfit that is either a sleeveless top and pants or a jumpsuit. I’m not quite sure which. He’s put a layer of very fine black organza over the top of his print to make the textures go together better. It does slightly tone down the print, but you can still see it clearly. Luckily enough, Tim doesn’t ask for the inspiration. I don’t think he wants to consider human plumbing in the workroom anymore. He thinks Fabio is on solid ground.
Despite the fact that Melissa tells Tim her print is about veins and arteries, he thinks it’s beautiful and is excited to see her working in bright color. He tells her to get more ambitious with the dress. As it stands it’s not going to wow the judges, even with the gorgeous print.
As Tim comes over to talk to Elena, she says she knows her boxy little jacket/blouse looks like scrubs right now (Did I call it, or what?). He grabs her hand and exclaims he’s happy she said that. Now he doesn’t have to. She asks him if it will be better when she adds a high collar. He thinks it will work since she’s ‘working a kind of Marlo Thomas That Girl thing.’ Crickets chirp. Nobody in the room gets the reference. I do, but Elena wasn’t watching a lot of American television made twenty-five years before she was a gleam in her daddy’s eye, and That Girl isn’t one of those shows that has become a staple in syndication. Sorry, Tim, but even I knew that one was going over like a lead zeppelin… only without so much Stairway to Heaven.
Ironically enough, Tim’s take on Gunnar’s jacket is that it comes off ‘very don’t bully me, suit of armor.’ I think he’s right. It’s extremely closed off and severe. Add to that, there’s a black yoke all the way down to the shoulders that’s positively forbidding. Gunnar is going to rework things.
Speaking of reworking, Ven is starting over from scratch. He’s decided to make the bodice of the dress in the print and on the white skirt put – you guessed it! – another freaking alien rose bursting out of the model’s thigh.
Models arrive for fittings. Gunnar and Ven can only show their models the fabric because they don’t have enough clothing finished to try on them. Sonjia and Fabio share a moment over the perfect fit of the crotch of her pants. Truly these are words I never imagined typing before and pray I never have to type again.
The day ends with a lot of exhausted, dejected designers. Gunnar says he’s feeling defeated, but at least he’s gotten rid of that scary black yoke on his jacket.
Morning dawns, designers arrive at Parsons, and Tim fabulously enters the room to tell them they have two hours to get their models ready for the runway. There’s a lot of panic and unfinished garments in the room.
But wait! There’s another twist! The family members will get to watch the runway show! I know this is great for the moms etc. of the designers who wind up on top, but I can’t imagine how painful this is going to be for the ones who are facing auffing. Christopher, for one, knows in his heart of hearts that he’s in for an uncomfortable runway experience. I’m sure he’s really thrilled this is the one his mom is going to watch. Gunnar decides to take comfort in the fact his mother likes his design, no matter what the judges are going to say about it. Sonjia’s mom helps her out with last minute handwork.
Tim calls time and we’re off!
On the runway, Heidi introduces us to our guest judges. Yes, two of them! Mondo is back, and so is season nine winner Anya Ayoung-Chee! Since both are articulate and thoughtful, I predict some intelligent judging and critiques designers can use to get better.
We start the show with Sonjia’s funky red, white, blue, and black print used to make a rather spectacular pair of palazzo pants. I’m not generally that big a fan of printed pants, but I think she’s made a smart use of this pattern. The pants fit perfectly, and the pattern really does work for them. There’s a narrow black stripe down the outside of each leg. On top, the model wears a black jersey top with three-quarter sleeves and a bateau neckline that falls into a deeply draped cowl in back. There’s some piecing going on in front that adds visual depth, too, and echoes the shape of the print. I’m impressed with the pants and I want that top in five different colors. I have no fear for Sonjia. She’ll be here next week, at minimum.
Elena… well, she’s definitely overcome her fear of color for this one. The boxy scrubs top, in addition to the eyeball melting print, has deep edgings of bright violet down the front, through the hem, at the ends of both elbow-length sleeves, and forming a Mandarin collar. There’s a grey zipper featured down the front. Oddly, there are mauve epaulettes running from the shoulders to the edging on the sleeves. I guess it wouldn’t be Elena without shoulder detailing. It looks slightly less scrubsy than it did before, but I still don’t see a lot of people clamoring to wear this garment, let alone the print. The top is worn over a little grey throwaway miniskirt. About the best thing I can say about the entire outfit is that it looks impeccably made. Elena is delighted with her work. So is her mom. The harder I look at it, though, the more I think the worst thing about it is the print. I do like the fact that there are shallow pockets in the deep edging in front.
Looking at Christopher’s dress, I think to myself that Elena is probably safe. He’s made a ho-hum little strapless cocktail dress with a huge fabric goiter knot just under the model’s left breast and completely covered his not-so-fashionable print with black organza. It’s kind of half prom dress, half cringing embarrassment. When the model turns around, there’s the damn exposed zipper again, and it’s kind of wobbly back there. At least Christopher knows he’s laid an egg. He interviews that he knows the judges are going to eat him alive. I can only add ‘with mustard’ to that observation.
Still, he should feel a little less nervous when he sees Ven’s dress next. The bodice is made of the hibiscus print. It’s got one heavily draped shoulder while the other side has a little fan ruffle over the breast. The white skirt is the annoying alien rose again. There’s literally nothing of interest going on in the back. The whole thing looks confused yet stubborn, in a way. There are too many ideas going on in front, but they’re all the same ideas we’ve seen from Ven week after week. The judges have already told him he needs to stop using them. The more I look at Ven, the more I think he has literally nothing to offer beyond this. I’m ready for him to go away and not be heard from again.
Fabio’s look is next, and I do like it. The print vest snaps up the front from just above the navel to a spot where a touch of cleavage might show, but isn’t actually emphasized. It’s got a bit of a hoodie feel to it even though there isn’t a hood. It’s worn over a simple but beautifully constructed jumpsuit with very full pant legs. I don’t think he’s particularly shown off the print, but I like the slouchy elegance of the look overall. It’s not a showstopper, but it’s something a woman would reach for again and again if it lived in her closet. When the model turns around, I love that the vest no longer has that hoodie air. In fact, there’s some subtle fitting to the seams and the bottom becomes short, rounded tuxedo tails over the posterior. The more I look at it, the more genius I think it is. And that’s what I love about Fabio as a designer.
There’s a show stopping element to Melissa’s dress, and frankly, it’s the print. I really do like how it’s turned out. The dress is nice, but it’s a little dress in a fabulous print. The skirt skims the bottom of the knee and is straight. There’s a high square neckline that wouldn’t be out of place in any boardroom. There are tiny cap sleeves. The line of the dress skims the body prettily. The thing is, when you’ve said that… you’ve said what you can say. It’s a great way to show off the print, and there’s certainly nothing at all wrong with it. It’s just I tend to expect more than safe from Melissa. I’m a tiny bit disappointed. When the model turns, we see that there’s a narrow vee neckline down to about the halfway point of her back. I like that detail.
Gunnar decides he’s happy with his look as it comes down the runway. I do have to admit I’m not hating it as much as I did before. Unfortunately, I’m not loving it, either. The equestrian jacket now looks more motocross to me. There are long, straight sleeves, a funnel neckline, abalone buttons down the front, and narrow black piping on the yoke and down the front of the garment. It’s worn over a navy blue little dress with a mock turtleneck that falls halfway down her thighs. The piping is reprised down the back and the skirt has a nice little flip to it. Unfortunately, I don’t see anything about this look that stands out in particular and Gunnar has created a couple looks that don’t stand out or say anything much before. I fear for his future on this show.
Dmitry, on the other hand, has really stepped things up this week. He’s got a little vee necked shell in his print worn with a black jacket and skirt suit that really rock. The skirt hits about mid-thigh and has a bit of a sarong construction to it. The real showstopper is the jacket. It has long, straight sleeves and a jewel neckline, and features no front closure. Instead he has the floating panels that are used to showcase the print in a really imaginative way. The print and the jacket cannot be divided from one another because they have a symbiotic relationship. I was getting bored with Dmitry’s style after seeing five little nearly identical dresses in a row, but now I can’t wait to see what else he can make. This relates to his perfect little dresses, but steps it up several notches.
Elena and Fabio are declared safe and leave the runway.
On the top, we have Melissa, Sonjia, and Dmitry. On the bottom we have… yeah, pretty much who I expected we would have on the bottom. Gunnar, Christopher, and Ven all kind of lost the plot this week.
Michael Kors praises Melissa for going ‘uptown’ with her design. He likes the print and the construction of the dress. Heidi, however, does wish she hadn’t gone quite so far outside her box. She misses the ‘edginess’ and ‘coolness’ of Melissa’s more typical work. Nina – as is so often the case – agrees with Michael. Mondo likes the print and the dress, but isn’t wild about how Melissa styled the look. Anya thinks the look could have been pushed ‘just a little bit’ further. Yeah, I see that. All in all it’s a fair estimation of a nice but not spectacular design.
Ven explains about being of Indian heritage but from Guyana. Heidi takes one look at this mess and goes Michael Kors on Ven’s posterior. She calls it a Hawaiian airline hostess. She tells Ven the obvious, that the rose and the hibiscus print are at war with one another. The whole look ‘doesn’t flow.’ She asks if nobody has ever told him it’s time to move on from the roses. Michael Kors joins in to call him a ‘fabric florist’ which makes me giggle. Heidi presses the point. Has Tim never told Ven it’s time to ditch the roses? Ven says no. Funny, I heard Heidi tell you this on the last runway, right around the time she told Dmitry to stop making little dresses. I know Tim wouldn’t let all those roses go down the runway without taking Ven aside and telling him he needs a new signature. Leaving that aside, Nina tells Ven it’s clear he didn’t know what to do with a print. Anya says the print is simplistic and the dress feels like it’s ‘three dresses in one.’ Mondo tells Ven he knows Ven has skills and talent. But – and this is a big but – he agrees with Anya that there are too many different ideas in one garment. It’s confusing him. I’m not confused: it’s an ugly dress that throws away the throwaway print he made, continues to incorporate details the judges have already told him they don’t want to see again, and makes no sense in any closet in the world.
Michael Kors heaps praise on Dmitry. He thinks Dmitry not only stepped out of his comfort zone, but he did it while creating something both artistically exciting and completely wearable. Mondo, on the other hand, feels the print has been lost and this being a print challenge, well, you can see where he’s going. He finds the look over designed. I see where he’s coming from, but I do – this once – disagree with him. Heidi is blown away by the floating panels. She loves this look. She says she would buy it and calls it ‘crazy good.’ Anya thinks Dmitry took the print challenge in a great direction and calls the look ‘powerful.’ Nina actually reads my mind when she says that what makes the jacket so phenomenal is the print. I wonder if the world is coming to an end when I disagree with Mondo and agree with Nina so vehemently. This just doesn’t happen. Then Nina tells Dmitry that he needs to work on his styling. All the other judges agree with that. Mondo tells him that his work is so strong, he needs to remember that less is more.
Heidi calls Gunnar’s outfit bizarre. She finds it neither edgy nor cool. Michael Kors thinks the print looks like postage stamps. He thinks the outfit looks like a baton twirler missing her baton. He does appreciate the back story, but doesn’t find the execution successful. Nina says she doesn’t get the freedom he was talking about from the print. Gunnar agrees that it’s more the struggle. Heidi asks ‘but is that something we want to buy?’ with a hilarious scrunch of her face. I bleed for Gunnar even as I agree with everything the judges are saying. Getting away from the question of the print and back to the outfit, Anya considers it ‘non-fashion.’ Mondo says the print is ‘chaotic’ and pronounces the look ‘crafty.’ Poor Gunnar.
On to happier thoughts, we move to Sonjia. Heidi says the pants are pefect. Anya agrees that it’s difficult to make a big print work on pants, but it’s placed so well that it looks great. She’s also excited about the top. Nina says the look is ‘young, cool, and chic.’ Mondo says this is a very successful design. And in that moment I realize it’s also got a lot of Mondoesque touches, which I hadn’t considered before. But the way the top is pieced and the bold choice of the print for the pants… yeah, I could see Mondo doing an outfit very like this. Michael Kors says that if the pants hadn’t been so beautifully made it would look “like Pacman is eating her crotch.” Luckily, this is not the case. He loves Sonjia’s attention to detail.
Christopher just happens to have some uncovered ladybug print with him to show the judges. I think they can now see why he covered it up. Heidi tells Christopher that his dress is ‘fine’ “but you’re not going to win a challenge with a ‘fine’ dress.” Anya thinks it was a mistake to cover up the print and finds the dress very prommy. Christopher agrees that it’s a prom dress. Nina calls the execution ‘disappointing.’ She wants to know what happened. Mondo says that in the print challenge it’s a mistake to completely cover your print. He finds the look overdesigned. Michael Kors gets why the print was covered. He thinks it reads upholstery. He also thinks ladybugs could have made a far more sophisticated print. I think he’s right. On the other hand, while he thinks Christopher didn’t push himself much, he doesn’t see shock, horror, and a What Was She Thinking page for the wearer over the dress.
The judges confab, and in the process something very interesting happens: Heidi calls for Tim to come over and tell them whether or not he’s ever told Ven to stop already with the roses. Tim tells them he has, though not in this challenge. He then gives the saga of the Homage to a Menstrual Cycle with five part harmony and feeling. He tells the judges (who are all pretty much convulsed with laughter at this point) how frustrated he is with Ven. You go, Tim!
The designers are brought back to the runway. Melissa is declared safe and leaves the runway. Dmitry wins!
I’m delighted at what I consider a very well deserved win. I wouldn’t have any problem had it gone to Sonjia, but I think Dmitry’s jacket was the sort of garment that deserves the win.
As Dmitry leaves the runway, he wishes Gunnar – who is standing next to him – luck. When Dmitry gets backstage, Melissa and Fabio both congratulate him. Even his nemesis, Elena, has a huge smile for him.
Sonjia is released from the runway. Christopher is released from the runway.
It’s down to Ven and Gunnar. With every fiber of my being, I’m willing Heidi to hand Ven his hindquarters.
Alas, he gets another pass. It’s Gunnar who’s going home.
It’s not even so much that I wanted Gunnar to stay, though I did feel like I was just starting to get to know who he is as a person. And it’s not like I thought Gunnar was in any way ready to win all the marbles. I think he has a lot of maturing to do, both personally and artistically before that can happen. It’s more that I think Gunnar is trying a lot harder, and can learn from the process if he managed to make it though a couple more challenges. I don’t think Ven will learn anything or mature at all because he’s not interested in moving forward. He seems to think it’s up to the world to hand him everything for having some talent which he’s developed to a particular spot.
Besides, even when Gunnar is annoying (which he certainly can be!) he’s at least usually a bit entertaining (and sometimes embarrassingly so) while he’s doing it. Ven is just not bringing anything to the table other than what he showed us in week one. Ven can’t even be honest enough to admit that everyone has told him to stop doing the roses. Gunnar is sometimes honest to the point of cruelty, but at least you know he hears what people say.
Oh, wait a minute: Ven says he’s going to listen to this critique and not play it safe! As he’s leaving the runway, Heidi tells him she wants action this time, not just lip service. Because you know what? He’s said this before when he was on the bottom and then the next challenge he does the same damn thing. Heidi flat out tells him one more rose will get him eliminated. We’ll see. He gives Gunnar one of the most awkward hugs in Project Runway history as he heads backstage.
Gunnar, meanwhile, refuses to be dismayed or show any unhappiness at this. In fact, he’s almost relentlessly perky about his elimination. As soon as he gets to the greenroom, Elena mournfully cries ‘Gunnsiepoo!’ But he says it’s all good, everything happens for a reason, and he knew in his bones that this was going to be his swan song. He and Christopher have a nice moment where they can both say they’re glad they got to the point where the hatchets were buried somewhere other than in each other’s backs. Their hug looks sincere. In fact, Gunnar interviews: “Christopher and I made up! The world’s gonna come to an end!” But this is exactly what I mean about growth. They both had to do it to get there… though both still have a lot of percolating to do before they’re truly grown up.
Tim looks a bit verklempt at having to send Gunnar up to the workroom. How much of it is that he’s going to miss Gunnar and how much of it is that he’s still stuck with Ven is anyone’s guess. I know the answer to my own verklemptness.
Next week: Heidi appears with the Rockettes! The new favorite word in the workroom refers to female dogs! Michael Kors says someone’s outfit looks like a Las Vegas cheerleader like that’s a bad thing!
Tune in at the same Bat Channel at the same Bat Time to see my take on it all!