Transplant episode 3 sees Bashir contend with a father who is an anti-vaxxer, resulting in his son catching a rare and deadly disease that could have been prevented.
In Transplant episode 3, Bashir is assigned to the less-interesting, supposedly less-high stakes cases by his attending, Wendy Atwater. She’s not thrilled with his risk-taking practices and wants to ensure he is able to follow the hospital’s protocols before letting him handle the serious incidences in the trauma bay again.
He is given a young boy with a fever, but as is always the case with these medical shows, Bashir’s patient has something more serious than the staff could have predicted. We find out that the boy, Tristan (Ever Taylor-Day), and his brother Max (Percy Hynes White), were raised in a strict holistic, anti-vax household by their stubborn father Jared Abbott (Matthew Alan Taylor). As a result, poor Tristan is diagnosed with dysentery.
The entire hospital wing has to wear masks and protective gear when handling the child since cases of dysentery are exceeding rare — as they should be since there is a vaccine that takes care of it. Because of the vaccine, the hospital isn’t even fully equipped with the right treatment straight away, putting Tristan’s life further at risk as he’s forced to wait longer to get the right antibiotics.
None of this convinces Jared that his fear of vaccines is foolish and ignorant. It started when Max was a boy and received a vaccine that results in partial paralysis. But as Claire points out, those side effects are very rare and usually don’t last long — as was the case with Max, who is perfectly healthy now. Jared prides himself and his wife on being able to get their sons through illnesses like measles. But his view of that situation is much different from Max’s, who actually had to live with it.
He privately tells Bashir that while his father might think him surviving measles was positive, it caused Max a lot of needless suffering. When he turned 16, he got vaccinated and kept it secret from his dad. The main reason Jared has become so fearful and overprotective is because his wife and the boys’ mother died suddenly in a car accident.
But when the doctors need to deliver a crike to Tristan to open his airway so he can breathe, Max is determined to be by his brother’s side. Since he is vaccinated, he’s allowed to enter the room, forcing him to tell his dad the truth and stand up to him for the first time. Ultimately, Jared begins to understand why he was wrong and is relieved when the doctors manage to save his son.
Bashir personal troubles grow in Transplant episode 3
In last week’s episode, we learned that Khaled is wanted by immigration and likely going to be deported if he’s found. That doesn’t stop him from getting forged medical transcripts for Bashir, despite him telling Khaled to find out more information. Bashir also lets Khaled stay overnight at his apartment while he’s at work and Amira is staying at a neighbor’s house.
Normally, he would be happy to keep Khaled at his place, but he does have his sister to worry about, so he can only afford to let him stay for one night. Bashir’s landlord notices Khaled there and it motivates him to send a warning notice to him regarding his overdue rent. While I’m sure the hospital will pay decently, it takes a while for new staff members to get onto the payroll. Plus, there’s also the issue of the medical transcripts.
Bishop warns Bashir that legal is growing increasingly antsy about the lack of a paper trail confirming Bashir’s credentials. They set up a meeting and while Bashir brings the forged papers, he ultimately chooses not to hand them over. Instead, he tells the legal team member that he is technically an enemy of the state in Syria because he smuggled vaccines into the country.
That’s why he was targeted and why it’s so difficult for him to get his real medical papers sent over. Bishop also defends Bashir’s character, but it’s not enough and his admission about Syria basically causes the guy from legal to freak out. Before he can return and say, “Well, Bashir is an enemy of Syria,” Bishop says that they’re going to think through that admission and the transcript dilemma a little longer. For now, it remains unresolved, but Bishop is now out on a limb alongside his new hire.
Transplant episode 3: June deals with frat guys while Mags tries to help a patient remember who he is
Beyond the episode’s main medical cases, June and Mags have their own patients, including a frat guy who comes in with a bloody, gaping head wound and a patient who doesn’t remember who he is or why he came to the hospital.
In the case of the frat boys, Ethan (Dale Whibley), a scholarship student and a pledge who is devoted to getting into the fraternity so he has a chance at getting a lucrative financial job after college, comes in alongside Brett (Stephen Kalyn), the guy with the head wound. June is instantly irritated by their idiotic behavior. Brett’s wound resulted from him taking a lacrosse stick to the head.
They get him stitched up and ready to go home but then Ethan suddenly faints and goes into cardiac arrest. Unfortunately, neither boy told the whole truth about the pledging incident. Ethan drank an entire bottle of soy sauce to avoid getting hit with the lacrosse stick and the high amount of sodium resulted in hypernatremia, a metabolic condition in which there is a salt imbalance in the bodily fluids.
We also get to see a hint of June’s softer side as she seems to have a little flirtation going on with hospital security guard, Lou (Eddie G.).
The doctors aren’t able to save him despite their best efforts and Brett watches helplessly as his friend flatlines. June is forced to tell his parents that he died and even Bashir’s words of comfort to make her feel better about a young adult dying because he wanted to get accepted into a frat. By the way, if you’re wondering if overdosing on soy sauce is a real thing — according to ABC News, it is and has resulted in at least one instance of a teen going into a coma.
Mags is the one who gets the weird storyline this week. She tries to help a John Doe (Danny Blanco Hall) patient get his memory back and comes up with a way to do it. She notices a big scar on his forearm and realizes it must be from a UCL surgery which is typically given to professional baseball players. On her day off, she comes to the hospital to tell Atwarter this but she’s already checked her patient out. He remembered who he was and his wife came to get him. That’s it. No resolution.
Either it was just a really poorly written storyline or that guy is going to be back later in the season. There is also the possibility that the show just wanted us to feel similar frustration to Mags, but if so, the writing wasn’t strong enough to back it up. We learned a little more about her as a character this week, too. Mags apparently enjoys chilling in her car near the hospital. She’s definitely the workaholic type who can’t seem to go home even when she’s off the clock.
What did you think of Transplant episode 3? Do you think Khaled will be okay at the shelter? How will Bishop and Bashir deal with legal? Let us know your thoughts in the comments below.
New episodes of Transplant air Tuesday nights at 10 p.m. ET/PT on NBC.
Every XP Coin Location for Week 3 (Season 4)
During Week 4 of Fortnite Season 4, players can collect XP Coins for extra XP toward their Battle Pass. There are 10 XP Coins around the map.
Each week during Fortnite Season 4, players can expect to earn XP in a variety of ways, from completing Weekly Challenges to filling out punch cards, to simply playing the game as normal. However, to get a little extra XP, players may want to seek out and collect the XP Coins added each week. Grabbing this XP will help players climb the Battle Pass Tiers more quickly and earn all the Marvel-themed rewards for doing so. In Week 4, players can expect to find ten XP Coins in various colors, including another Gold XP Coin.
This week, there are 2 Purple XP Coins worth 10,300 XP each, three Blue XP Coins, worth 6,500 XP each, and four Green XP Coins, worth 5,000 XP each. This is also the second week in a row during which players can find a Gold XP Coin, worth 15,000 XP. As usual, these are scattered around the map, with the player needing to break some items to get to a few of them. Here’s the location of every XP Coin in Fortnite Season 4 Week 4.
Click the button below to start this article in quick view.
Every XP Coin Location in Fortnite Season 4 Week 4
The map shows the numbered location of all 10 Week 4 XP Coins. Many of these are located near the map locations for other Week 4 Weekly Challenges, meaning players can knock out a few tasks in a single match.
- Hovering over a rock northwest of Sweaty Sands.
- Hovering over a lamp on an island south of Slurpy Swamp.
- Inside Lockie’s Lighthouse northeast of Coral Castle, only accessible by breaking the shelf holding the potted plants
- In a room near the top of The Authority, only accessible by breaking the metal rack.
- Southwest of Dirty Docks and northwest of Retail Row, inside the building at Lake Canoe, only accessible by breaking the canoes.
- At the western part of Coral Castle, inside a tower.
- On the small island northeast of Steamy Stacks, behind two large rocks.
- On the peak of the mountain east of Catty Corner.
- By a tree on a cliff near the coastline southwest of Misty Meadows.
- In the elevator shaft on the top floor of the building at the south end of Stark Industries, accessible only by breaking down the metal door.
As usual, to avoid losing any Purple XP Coin fragments, players should be sure to build around the larger Coin to keep the fragments concentrated to one place.
For the past few weeks, some players have been experiencing a bug where the punch cards will refuse to populate if the player collects more than one of each color Coin in a match. If players notice this bug persist, the easiest workaround is to only collect one of each color XP Coin in a single match.
Next: Fortnite Comes To PS5 On Launch Day With Cross-Progression
Fortnite is available for Nintendo Switch, PC, PlayStation 4, and Xbox One.
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‘Watchmen’ and ‘The Mandalorian’ Split the Emmy Craft Awards with Bold, Innovative Work
The shows each earned seven Creative Arts Emmys, thanks to “Watchmen’s” experimental surrealism and “Mandalorian’s” Baby Yoda and game-changing LED-wall tech.
Regina King’s Angela/Sister Night and Baby Yoda were the two pillars of success this Emmy season. So it was no surprise that “Watchmen” and “The Mandalorian” were the biggest craft winners at the Creative Arts Emmys, splitting seven awards apiece — and deservedly so, considering their bold and innovative work, which transcended their superhero and sci-fi trappings.
Damon Lindelof’s zeitgeist-grabbing “Watchmen” was a powerful “remix” of the famed ’80s graphic novel using the Tulsa massacre as a catalyst for excavating the generational sweep of racism and police brutality. HBO’s limited series award winner scored for Gregory Middleton’s cinematography, Sharen Davis and Valerie Zielonka’s fantasy/sci-fi costumes, Henk Van Eeghen’s editing, Trent Reznor and Atticus Ross’ original limited series score, and sound editing, sound mixing, and casting.
“The Mandalorian,” Jon Favreau’s breakout “Star Wars” hit for Disney+, cleverly melded the samurai and western, propelled by the game-changing LED-wall tech from Industrial Light & Magic (StageCraft). As expected, the half-hour series won for visual effects (the virtual production work and Baby Yoda proved an unbeatable combination), bolstered by Greig Fraser and Baz Idoine’s cinematography and the production design of Andrew L. Jones, Jeff Wisniewski, and Amanda Serino. In addition, “The Mandalorian” took home Emmys for Ludwig Göransson’s original series score, sound editing, sound mixing, and stunt coordination.
While several of “Watchmen’s” wins spanned different episodes, including King’s badass Sister Night costume in the opener (“It’s Summer And We’re Running Out Of Ice”), and the editing of Doctor Manhattan’s subplot (“A God Walks into Abar”), the most experimental episode, “The Extraordinary Being,” stands apart for its surreal aesthetic (listen to Chris O’Falt’s “Deep Dive” podcast for the complete collaborative story).
It’s about the origin of the Hooded Justice superhero and how his traumatic memories infiltrate granddaughter Angela under the influence of the dangerous Nostalgia drug. The episode serves as a horrifying mindscape — shot in black-and-white, with long takes, and floating in and out of her and young Will’s (Jovan Adepo) perspective. The sights and sounds were effective in tying together the past and present.
As for “The Mandalorian,” the popularity of Baby Yoda alone — a brilliant hybrid of puppetry and CG animation — was enough to secure the VFX win. Legacy Effects produced the effective hero puppet that established the fundamental movement and emotion of The Child. ILM took its cues from that and then handled the rest (walking, crawling, spitting out frogs, and using The Force) without us noticing it.
However, ILM’s launch of the StageCraft volume set at Manhattan Beach Studios was an enormous virtual production accomplishment with industry-wide ramifications. It offered a new paradigm shift for real-time onset shooting (in collaboration with Epic’s Unreal engine), with the actors performing in front of massive LED walls, where the exotic and dystopian worlds were projected. StageCraft eliminated the need for costly and time-consuming location shoots, which looms even larger for future productions. Yet the big breakthrough of this video wall tech was the accurate camera tracking and perspective-correct 3D imagery pulled together seamlessly and believably. (Season 2 of “The Mandalorian” begins streaming October 30.)
Indeed, StageCraft has been so successful that ILM will soon open a second permanent stage in Manhattan Beach, along with a third in Pinewood Studios in London, and a fourth in Fox Studios Australia. This will initially be devoted to Marvel’s “Thor: Love and Thunder,” directed by Taika Waititi. Meanwhile, both Weta Digital and Pinewood Atlanta Studios recently launched their own virtual production LED studios.
The other two standouts, of course, were the continued undefeated runs of “The Crown” and “The Handmaid’s Tale” for costume and production design, respectively. This just proves how defining wardrobes and world building are to the dramatic success of these two shows.
In Season 3 of “The Crown,” costume designer Amy Roberts came onboard to handle the arrival of Olivia Colman’s Queen Elizabeth and Helena Bonham Carter’s Princess Margaret in the ’60s and ’70s. That brought a lot more color. Roberts dressed the queen in pretty, clear colors to convey her steady, unwavering leadership, while making the unhappy princess more flamboyantly stylish.
And, in Season 3 of “The Handmaid’s Tale,” three-time Emmy-winning production designer Elisabeth Williams transformed Washington D.C. into a nightmarish “Gilead on steroids.” For a gloomy aesthetic of propaganda symbols, she turned the Lincoln Memorial into a headless shambles, the Washington Monument into a white cross, and The National Mall into a sea of red for 200 obedient Handmaids. It was a sign of the times, underscored by the crafty use of iconic landmarks.
Emmys 2020 Fashion: See Which Stars Went Glam vs. Casual (PHOTOS)
The 2020 Emmy Awards are different for many reasons, one being the lack of a live red carpet featuring the nominees in some fabulous fashions.
Despite these hurdles, it didn’t stop celebrities from celebrating in their own special way and thankfully they’re sharing their at-home ensembles via social media. Whether they went full-out with their fashions or kept it casual, the stars made some serious statements with their outfits.
Scroll below to see which stars went glam while others went casual for the annual awards ceremony (and stay tuned for more as we add the looks throughout the night).
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