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Episode 8

''Episode 8'' may refer to the eighth episode of a television series or the eighth installment of a film franchise. These include: == Science fiction and fantasy ==
  • ''[[Star Wars: Episode VIII – The Last Jedi]]'', a 2017 film in the ''Star Wars'' franchise
  • "Part 8" (''[[Twin Peaks]]''), an episode of the 2017 revival series
  • "When We Are in Need" (''[[The Last of Us (TV series)]]''), the eighth episode of the 2023 HBO series
== Drama series ==

Science fiction and fantasy

Star Wars: Episode VIII – The Last Jedi

Star Wars: Episode VIII – The Last Jedi is a 2017 American epic space opera film written and directed by Rian Johnson, serving as the middle chapter of the Star Wars sequel trilogy. Produced by Lucasfilm and distributed by Walt Disney Studios Motion Pictures, it was released on December 15, 2017. The film continues the story immediately after The Force Awakens, focusing on the Resistance's desperate struggle against the First Order, with key plot elements including the evacuation from the base on D'Qar, Rey's Force connection with Kylo Ren, Luke Skywalker's reluctant confrontation with his past failures, the mutiny aboard the Resistance cruiser Raddus led by Poe Dameron against Vice Admiral Holdo, and the final battle on the salt planet Crait. Starring Daisy Ridley as Rey, Adam Driver as Kylo Ren, Mark Hamill as Luke Skywalker, and featuring Carrie Fisher's final performance as General Leia Organa, the movie explores themes of failure as the greatest teacher and the possibility of redemption amid moral ambiguity. Production began in 2015, with principal photography occurring across locations such as in Ireland for the Ahch-To sequences, in for Canto Bight, and Bolivia's salt flats for Crait. Visual effects were handled by , contributing to the film's immersive space battles and creature designs, including a practical for Yoda's appearance. The project had a reported of $317 million and achieved a worldwide gross of over $1.33 billion, making it one of the highest-grossing films of 2017. Critically acclaimed with a 91% approval rating on based on 483 reviews, The Last Jedi was praised for its bold narrative choices and visual spectacle but sparked controversies among fans for subverting expectations around legacy characters and established lore. It received Academy Award nominations for Best Original Score (), Best Visual Effects, Best Sound Editing, and Best Sound Mixing, highlighting its technical achievements and role in expanding Star Wars themes of failure, redemption, and the cyclical nature of hope in the galaxy far, far away.

Part 8 (Twin Peaks)

"Part 8", subtitled "Gotta Light?", is the eighth episode of the third season of the American surrealist mystery-horror drama television series Twin Peaks: The Return. It originally premiered on Showtime on June 25, 2017, with a runtime of 62 minutes. Written by creators Mark Frost and David Lynch, and directed by Lynch, the episode stars Kyle MacLachlan in dual roles as FBI Special Agent Dale Cooper and his evil doppelganger, Mr. C. As part of the limited series revival 25 years after the original run, it delves into the show's mythology through abstract, non-linear storytelling. The episode begins with Mr. C's encounter at a remote farm, where he is ambushed and shot by associate Ray Monroe but mysteriously survives to exact revenge. It then transitions into a extended, black-and-white historical flashback to the 1945 Trinity atomic bomb detonation at White Sands, , portrayed with stark, slowed-down visuals and underscored by classical music like a distorted recording of Beethoven's Moonlight Sonata. This cataclysmic event unleashes otherworldly forces, including the emergence of the enigmatic entity Judy and the eerie, soot-covered Woodsmen who chant cryptic phrases like "This is the water, and this is the well." The atomic test site sequences emphasize experimental , blending industrial noise, orchestral swells by composers such as and , and minimal dialogue over a 26-minute stretch. The narrative culminates at the Roadhouse bar with a live performance by industrial rock band , playing their song "She's Gone Away" amid rising tension. Key cast members include as both Agent Cooper (in archival footage) and , with supporting roles by actors like George Griffith as Ray Monroe and historical allusions featuring figures such as rocket engineer and occultist , depicted in ritualistic scenes tied to the bomb's origins. Musical guests , led by , provide the episode's haunting Roadhouse set, enhancing its atmospheric dread. Production took place primarily in Washington state, including North Bend for rural farm scenes, and New Mexico to evoke the White Sands test site. The show incorporated a stylized recreation using visual effects and practical elements for the 1945 Trinity test and supernatural manifestations, creating a monochromatic, film-noir aesthetic. Lynch's direction prioritizes nonlinear time jumps and dream logic, using the nuclear event as an allegory for collective trauma and the birth of evil in the Twin Peaks universe, with sound mixing by Dean Hurley playing a pivotal role in its immersive horror. Critics hailed "Part 8" as a pinnacle of television artistry, earning a perfect 100% score on Rotten Tomatoes based on 29 reviews, with praise for its bold surrealism and audiovisual innovation. It received multiple Primetime Emmy nominations, including for Outstanding Sound Editing for a Limited Series, Movie, or Special, as well as cinematography and picture editing. The episode's influence extends to experimental television and horror genres, redefining episodic storytelling through its operatic exploration of atomic-age dread and supernatural horror.

When We Are in Need (The Last of Us)

"" is the eighth episode of the series , which aired on March 5, 2023. Directed by Ali Abbasi and written by , the episode runs for 51 minutes and serves as the emotional climax of the first season, centering on themes of loss, revenge, and found family amid a post-apocalyptic world. It follows Joel's gradual recovery in , under the care of his brother , while faces a harrowing confrontation with a group of cannibals led by the manipulative in the snowy wilds of . The narrative builds tension through 's traumatic escape, highlighting her resourcefulness and the psychological toll of survival, setting the stage for Joel's pivotal decision to protect her at any cost. The episode features standout performances from leads as Joel, portraying a vulnerable yet determined , and as Ellie, delivering a raw depiction of adolescent trauma and resilience. Guest star Scott Shepherd embodies as a chilling whose predatory nature amplifies the elements. While earlier episodes included flashbacks with as Tess, this installment focuses on present-day stakes without such sequences. Production took place primarily in , , utilizing practical sets in locations like to capture the harsh, snowy apocalypse, enhancing the realism of the survival sequences. The series' per-episode budget hovered around $10 million, allowing for detailed environmental storytelling and intense action choreography. Adaptation choices from Naughty Dog's original include expanded interactions between Ellie and David, providing deeper insight into the villain's psyche to heighten emotional stakes for television audiences. Critically acclaimed, the episode holds a 97% approval rating on based on 29 reviews, praised for its masterful blend of horror, character development, and exploration of post-traumatic stress and moral ambiguity. It drew a series-high 8.1 million viewers across and HBO Max on premiere night, marking a 74% increase from the season debut and underscoring the show's growing impact. Building on the series' success, including Emmy wins for guest actors and in earlier episodes, "" solidifies as a landmark adaptation tackling ethical dilemmas in a collapsed society.

Drama series

The Lord of the Tides (House of the Dragon)

"" is the eighth episode of the first season of the HBO fantasy drama series , which serves as a prequel to . It originally aired on October 9, 2022, and was directed by Geeta Vasant Patel and written by Eileen Shim, with a runtime of 67 minutes. The episode advances the central conflict over the Iron Throne succession within House Targaryen, focusing on the ailing King Viserys I and the rival claims of his daughter Rhaenyra and her half-brother Aegon II. It opens with Prince Daemon Targaryen completing his conquest of the Stepstones, securing dragon eggs and returning to Dragonstone. Six years after the events of the previous episode, news reaches King's Landing that Lord Corlys Velaryon, the Sea Snake, has been gravely wounded in battle, prompting a dispute over the succession to Driftmark and House Velaryon. Rhaenyra and Daemon arrive with their young sons to petition Viserys to affirm Lucerys Velaryon—Rhaenyra's second son by Laenor Velaryon—as Corlys's heir, countering a challenge from Corlys's brother, Ser Vaemond Velaryon, who argues Lucerys is illegitimate. During the throne room hearing, Viserys, in deteriorating health, upholds Rhaenyra's claim, but Daemon impulsively beheads Vaemond for insulting Rhaenyra's children. That evening, a family feast sees Viserys briefly reconcile the divided court, sharing tales of Aegon the Conqueror and unknowingly fueling misunderstandings about the "Song of Ice and Fire" prophecy. Viserys dies that night, leading Queen Alicent Hightower to misinterpret his final words as support for her son Aegon becoming king, while Rhaenyra returns to Dragonstone believing her claim is secure and dispatches Lucerys to Storm's End to gain Lord Borros Baratheon's allegiance. Key performances include as the determined Rhaenyra Targaryen, as the volatile Daemon Targaryen, and as the scheming Hand of the King, Otto Hightower. The episode also features young Lucerys Velaryon, played by Elliot Grihault, and Ser Vaemond Velaryon, portrayed by in his final appearance. delivers a poignant portrayal of the dying Viserys, emphasizing themes of grief, legacy, and familial betrayal. Filming for the episode took place primarily in the , including for exterior shots like quarries and valleys evoking Westeros landscapes, as well as Leavesden Studios in for interiors, and additional locations in and . Extensive was employed for dragon sequences and the Stepstones battles, contributing to the season's visual spectacle. Adapted from George R.R. Martin's 2018 novel Fire & Blood, the episode's production formed part of the first season's overall budget, which totaled under $20 million per episode. Critics praised the episode for heightening dynastic tensions and Considine's emotional performance, with a 91% approval rating on based on 34 reviews. It is noted for igniting the "Dance of the Dragons" civil war through Viserys's death and the ensuing miscommunications. The series as a whole received a Golden Globe Award for Best Television Series – Drama in 2023, recognizing the ensemble's impact. Themes of succession disputes and personal loss underscore the episode's role in exploring the Targaryen dynasty's fractures.

Last Kiss (The Summer I Turned Pretty)

"Last Kiss" is the eighth episode of the third and final season of the series . It originally aired on August 27, 2025, with a runtime of 59 minutes. Directed by Katina Medina Mora and written by Sarah Kucserka, with story contributions from series creator , the episode centers on escalating tensions in the central amid preparations. Adapted from Han's novel , it emphasizes themes of self-discovery, breaking toxic patterns in relationships, and the passage from to adulthood. The episode unfolds on Belly and 's wedding day, marked by escalating chaos as long-suppressed feelings resurface. Conrad arrives with a late-night to Belly, declaring his and disrupting the impending nuptials. Belly, torn between her commitment to and her unresolved emotions for Conrad, confides in her fiancé, leading to a heated confrontation where calls off the wedding, unwilling to compete for her heart. confronts Conrad about his co-dependent interference in Belly's life, urging him to step back and allow her friend independence, while Steven defends the complexities of past relationships during family tensions, highlighting his own growth. The day ends with Belly at the airport, facing a pivotal decision between the brothers as Conrad appears, symbolizing potential reconciliation and her choice to prioritize personal healing. Lola Tung stars as Belly Fisher, delivering a standout performance noted for its emotional depth in navigating heartbreak and agency. portrays Conrad Fisher, capturing the quiet intensity of his confession, while plays Jeremiah Fisher, embodying the raw betrayal and maturity in his response. Supporting roles include as Laurel Park, providing maternal guidance amid the family turmoil, and Rain Spencer as Taylor Jewel, whose confrontational scene underscores themes of friendship and boundaries. Sean Kaufman appears as Steven Conklin, contributing to the ensemble dynamics with reflections on relational patterns. Production took place primarily in , standing in for the Massachusetts coastal setting of Cousins Beach, with the season's budget allocated to evocative seaside visuals and intimate, character-driven scenes. The episode features emotional callbacks to previous summers, such as Susannah's lingering influence through letters and memories, tying the narrative arcs across the trilogy. The episode was praised for its handling of the love triangle and strong performances. The episode sparked fan debates online regarding the love triangle's outcome, with discussions centering on whether Belly's choice promotes healthy self-discovery or perpetuates romantic idealization. The third season as a whole drove a viewership surge, amassing 70 million global viewers within 70 days, a 65% increase from season 2, underscoring the series' impact on teen representation and coming-of-age storytelling.

Episode #1.8 (Secret Diary of a Call Girl)

"Episode #1.8" served as the season one finale of the British television series Secret Diary of a Call Girl, airing on ITV2 on 15 November 2007 in the United Kingdom. Directed by Susan Tully and written by Lucy Prebble, the episode runs for approximately 22 minutes. It follows the protagonist Hannah Baxter, who leads a double life as high-class escort Belle de Jour, as she navigates personal relationships and professional ambitions in London's sex work industry. The episode concludes the season's arc by resolving tensions from earlier revelations about Belle's identity while introducing new dilemmas that blend comedy and emotional depth. In the plot, Belle is encouraged by client Mitchell, a wealthy American film producer, to pursue a role as a courtesan within an elite international network, leading to a trip to Scotland that tests her aspirations and highlights the isolating aspects of the lifestyle. Meanwhile, Hannah attends a date with Alex, sparking jealousy from her on-again, off-again partner Ben, who then sleeps with Hannah's visiting sister, prompting a confrontation and eventual reconciliation between Hannah and Ben. After the Scotland experience proves unfulfilling, Belle decides to leave her agency and operate independently, affirming her commitment to sex work on her own terms while seeking balance with her personal life; the episode features comedic encounters, such as awkward client interactions, underscoring the series' satirical take on the profession. These elements reflect ongoing fallout from earlier episodes where Belle's anonymous blog is exposed, forcing her to confront the risks of her dual identity. The episode stars in the of Hannah and Belle, delivering a performance noted for its blend of wit and vulnerability. portrays , Hannah's conflicted love interest, while recurring members include as agency head Stephanie and ensemble players depicting fellow escorts and clients. Guest appearances feature as Mitchell and as Fiona, adding layers to Belle's professional world. Production took place primarily in , capturing the city's urban settings to ground the story in a contemporary context. Adapted from the anonymous blog by , writing under the pseudonym Belle de Jour, the series maintains a light, humorous tone through Piper's narration, which provides candid insights into Belle's thoughts. The episode's visuals emphasize stylish urban sets and modern attire, contributing to its accessible, glossy aesthetic without relying on period elements. Upon release, the episode drew 0.99 million viewers overnight, marking the first in the series to dip below one million, though it retained a solid audience for the late-night slot. It holds a 7.0/10 rating on from user votes, reflecting appreciation for its resolution of romantic tensions. Critics and viewers praised the finale for balancing humor with , particularly in its exploration of personal dilemmas amid comedic client scenarios. The series as a whole, including this episode, sparked broader discussions on sex work stigma by humanizing the protagonist's experiences, though some noted it idealized the profession. Piper's portrayal earned acclaim, contributing to the show's four-season run from 2007 to 2011.

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    Jul 9, 2016 · The closest we ever got to sex worker-centric programming was ITV2's Secret Diary of a Call Girl, which ran between 2007 and 2011. Based on ...