It's time for the girls to go overseas, without even the fanfare of a "Pack your bags, y'all." They travel from Venice Beach to Venice, Italy, where there are many gondolas, churches and pigeons who like to poop on Jane and Liz. Bella! After boozing it up a little, they head right into a high-fashion period shoot near the Rialto Bridge. The girls pose in teams of three with, you guessed it, a swarthy Italian male model. He's playing the part of Casanova, with the ladies vying for his affection whilst lounging across a gondola. They are corseted and bedecked in a mixture of ornate fabric and cone boobs. Liz, Chris and Kayla pose together and Liz and Chris in particular are bothered by the fact that it's hot as hell. They have a hard time getting it together at first, but Kayla finds her comfort zone immediately. She's soft, feminine, and the most believable even though she has no actual chemistry with the male model. For her part, she's determined not to let her issues with men get in the way of the shoot, and they don't. Chris gets excessively awkward, while it will come as no surprise that Liz complains a lot. Ann, Chelsey and Jane pose together, and stressed-out Ann looks completely petrified and uncomfortable the whole time. However, Chelsey and Jane work it harem-style until rain cuts the shoot short.
The girls learn they're moving to Milan, home of Vogue Italia and IMG. They're not so impressed by their lodging, which is humble compared to foreign location pads of yore and doesn't seem to have enough beds for everyone. Tyra visits and tells them that she wanted them to have the experience of living in a model apartment, and that Top Model typically isn't a realistic portrayal of model housing. OR ANYTHING. But that is an issue for another time. After discovering the magic of rollaway beds, the girls head to Missoni, where they meet Miss J., creative director Angela Missoni, and her daughter Margherita, who is heir to the Missoni empire. They are outfitted in pieces from the winter collection and asked to walk. The stuff is gorgeous, though composed primarily of knitwear and clearly tortuous in muggy summer weather. The girls walk for Angela, and then are forced to wear their gorgeous, oppressive knitwear to panel. This is clearly some sort of a ploy to get one of the girls to pass out, which almost happens as Chelsey and Liz both seem on the verge of fainting. Tyra lets everyone sit down, but they still can't take off their giant knitted ponchos. Chelsey and Kayla get the most praise from the judges, and Ann gets secondary kudos. There are mixed reviews for the rest of the girls, and ALT goes so far as to say that Chris looks like she's afraid of a giant crow in her photo. She lands in the bottom two, but it's constantly complaining Liz and her déclassé stance that get the final boot.
Previously on Top Model: The girls got a visit from impish top designer Zac Posen, and then got to walk in his fashion show. While a commercial shoot on roller skates brought back some painful memories for Kayla, Ann bit it on the pavement repeatedly. Ann's lack of balance and confidence landed her in the bottom two, but it was a sparkless Esther who was sent home. Six bitches remain!
The top six girls celebrate their status in the happy bus home from panel. Liz tells us that her commercial was god-awful. WE KNOW. When she's nervous or feels like she's doing bad, she says, she tries to laugh or make a joke. As you may remember, this is not the crowd for those types of shenanigans. It looks like Liz doesn't care, and the only thing Tyra hates worse than someone who doesn't care is someone who constantly complains. So, basically Liz is screwed. She says that this competition can change not only her life but her daughter's, and so she has to show Tyra that she's going to be there, be present, and do what she has to do. "Being present" doesn't sound particularly like a strategy designed to impress, does it?
When the girls arrive home, they see Chris's commercial displayed as digital art. She's psyched, and says she's damn proud of herself. Chris isn't the best model, but she feels like she has an extra oomph that some of the other girls don't carry. Cut to oomphless Ann. She tells us that her commercial was also bad, and that her shyness and awkwardness is really becoming a problem. It's kind of an awesome problem if you're a viewer, but for poor Ann it must be disheartening. Ann started off very strong in the competition and got five consecutive best photos, but she hasn't been doing quite so well in the past two panels. She tells us that she has to step it up and act like she's sure of herself, even if she isn't. Fake it till you make it! It's truly the best strategy for a whole host of things. We see Ann curled up on the floor, and the distance between the top of her head and her pre-osteoporitic hump is really something spectacular.
Chris sings that it smells like butt in the kitchen, which is prescient, since Miss J. is about to enter. When he comes in he also says that it smells like ass in the kitchen, which I think is deflection, like when you fart and you look around as if you're appalled by the smell and are trying to figure out whose butt emitted such a foul odor. Don't tell me you don't do it. Miss J. says this is the first season that's had a cast house on the beach, so he wants to take the girls to see some of Venice. On bikes! He leads the girl in a row, just like ducks, through the streets of Venice. They wind up by a canal of some sort, and get off of their bikes to walk up on a bridge. J. tells them that this is the location of their photo shoot, and that they'll be diving from the bridge into the water. He asks if anyone has problems swimming. Ann isn't a strong swimmer and is getting nervous.
But wait! Before the girls can reason out the implausibility of diving into this obviously shallow body of water, Tyra comes floating up. On a gondola. Steered by a gondolier. She yells at him, saying that she told him to take her to Venice. She then explains to the models that she's requested a trip to Venice, but her gondolier keeps getting it wrong. He's taken her to Venice, California, when she really wants to be in Venice, ITALY! Pack your bags, y'all! Ciao bella! There is much screaming and merriment. The girls rush home to pack. Ann tells us that she's only been out of Texas three times, and so to be able to go overseas and experience something totally new is so frigging awesome. She then gives the most stifled and adorable, "Yes!" That's the height of Ann's display of happiness, and you have to love her for it. Kayla packs her heels first, and tells us how glad she is to have made it since her commercial wasn't so hot. She had a hard time interacting with the male model, if you'll recall. Kayla is ready to step up her game one-hundred-million percent in Italy, a figure which must have something to do with the exchange rate. One error will send you home, she reminds us. The girls and their bags run out of the house, leaving the butt smelling kitchen in California, where it belongs.
We see the girls' animated headshots in the windows of an animated plane, which is the universal reality show symbol for traveling. And then we're in Italy! The girls arrive in Venice and step onto a boat that will take them to their new abode. Ann tells us that the enormity of her current situation is finally hitting her, and that this has been both a dream and a wild ride. Princeton Jane wants to go to the "tour center" and get lots of pamphlets and information. She tells us that she's a history major, and absolutely loves European history. Going to Princeton was one dream for her, and deciding to pursue modeling has given her a new sense of confidence. Those two things have nothing to do with one another, so were likely spliced together from different quotes. But I think the general picture is: Jane is being annoying.
The girls make it to land and are afraid of being attacked by pigeons. It's a legitimate fear, I think. Chelsey tells us that she's almost 23 and has been modeling for a long time. This might be her last chance to make it big. She says with pride, "I'm going to be a model, in Italy." I don't know if this actually counts as "being a model," but if believing that helps her to sleep at night, so be it. The girls head to a pizzeria for lunch and enjoy a glass of vino. Ann says that she's gotten to know some of the girls and is feeling more comfortable with them. As everyone talks about how excited they are, she jokes that she's bored, then cracks up at herself. Kayla tells us that Ann was quiet and shy when she first entered the competition, but has gotten a lot more confident. She's interacting with everyone, and even has comebacks to their jokes. She's growing not only in modeling, but as a person. Well, hopefully not literally growing or she'll never be able to find a center of gravity on skates. Ann throws bits of bread to the birds. Tuppence a bag!
The girls head to Hotel Danieli, which is lovely and luxurious and old-school. Their suite has a balcony that looks over Venice. Kayla says that she could definitely get used to living a fabulous life before adding, "I mean, I'm gay, that's what we're used to." Yes, gay people are used to their hypothetical future. It's why they're all so stylish. Liz opens champagne on the balcony. The only person not there is Chris, who is totally looking to see which way the water flushes in the toilet! Before she can join them, a bird of doom flies overhead and poops on Liz's arm, and Jane's head. To quote Chris, "Yeah, that's right. A bird came and pooped on the girls while they was cheerin'. A-ha!" Ann has her second truly adorable moment of the episode as she cracks up in an interview. It's almost as funny as watching someone fall down on roller skates!
Inside the hotel room, Liz says that it's a horrible entrance to come in and have a bird just shit on you. Chelsey's reaction (not to Liz's face) is, "Seriously, Liz? Get over it." She tells us that Liz constantly complains about everything, which has been quite the seasonal subplot. Jane has heard that getting shat upon by a bird is good luck, which is true. I mean, I don't know if it's actually true that it's good luck, but that's definitely a saying, likely coined by someone who was laughed at by his friends when a bird shat on him as he was cheering. Liz isn't buying the luck story, and Chelsey yells out in exasperation. She tells us that it's wah wah wah, and bitch bitch bitch, and she's ready for Liz to hit the highway, or the canal, or whichever piece of infrastructure that will get her the hell out of Chelsey's life. Commercials.
The morning, the girls lounge in their luxurious beds, in some cases three to a bed like little bears. Liz is Goldilocks, except she never finds the bed that's "just right." There is early morning Tyra Mail! "Don't be seduced by your surroundings or you might fall overboard. Love, Tyra." Chelsey gasps with excitement and then says, "It's gonna be in a c..c..con..gondola?" And here I thought she was one of the smart ones. Apparently we're down to just Jane. Chris tells us she's got to get it together because she's not trying to go home. Whereas Liz: actively trying to go home, or so it will seem in a few moments.
The girls do indeed head to a canal, where Jay greets them with a big, "Bongiorno!" from a gondola. He introduces them to photographer Simone Falcetta, then announces that they're steps away from the Rialto Bridge, which is famous and oft-photographed. They're going to be doing a "really cool high fashion period editorial." White pants, then? Seriously, this one sounds a little weird. Jay asks if the girls have heard of Casanova, then says that Cas epitomizes the decadence of 18th century Venice. I don't know about you guys, but I ain't much on Casanova. I imagine Kayla won't be either. The scene that will be created today is three girls at once vying for Casanova's attention while lounging across a gondola AND while sporting corsets and the like. Jay tells the girls that it's very hot today, but part of being a couture girl is pushing beyond being super uncomfortable owning the garments. This is a lesson that will be taught to the girls until they nearly pass out.
The girls head to hair and makeup, where they are attended to by make-up artist Lidia Permunian and hairstylist Fabio D'Onofrio. People are really named Fabio in Italy! And they're not even hawking fake butter! Crazy. Kayla tells us what a big freaking surprise it is that this shoot is going to entail romance with a male model yet again. She says that this competition means everything to her, and she's completely focused. She knows she has to work on improving her interactions with the opposite sex, and seems determined to use all the force of her will to get through it without freaking out this time. Male model Mario D'Amico, the swarthy Casanova himself, enters the room, and there are beaming smiles and giggles galore. Chris tells us that Mario is a handsome, big-nosed Italian man before emphatically stating -- twice! -- that he is HANDSOME. When a guy can inspire this kind of lust while wearing short pants and a ruffled shirt, you know he's got the goods. Liz asks who Mario models for, and he lists off a who's who of Italian designers -- Armani, Versace, Dolce and Gabbana. Chris becomes RuPaul for a minute as she interviews, "Ooh! I wouldn't mind bringing him home, honey!" Everybody say love!
Designer and stylist Alessandro Possati cinches the girls up in their corsets. Jane says that she probably has a leg up in this competition because she's more familiar with European history than the other girls. Nice try, brainiac, but no. If this show has taught us anything, it's that the gray matter is usually a hindrance. Ann gets a big structured hoop skirt cage type thing which she thinks is awesome, while Chelsey looks ridiculous with structured cage cone boobs worn on the outside of her shirt. She's also been made up to look like an 18th century syphilitic whore. Chelsey tells us that she has a focus on the prize more than anyone else. Some girls -- like Ann -- are becoming a little shaky. Chelsey thinks that she's going downhill, and that the judges are going to send her home eventually if she doesn't step it up. Chelsey's jealousy of Ann is so evident every time she talks about her. I'm sure it must be annoying to have worked hard for years and still not be able to garner the accolades that this girl gets for just standing there. Ann is the most frustrating of all types to her competition -- a natural.
Kayla has a see-through skirt, much like an 18th century version of Gretchen on the Project Runway finale. Alessandro tells her she should not be afraid to seduce with her legs. She says she feels pressure, and her strategy is to focus wholly on Casanova since the whole concept of the shoot is that she's vying for his attention. Kayla is in the first group along with Chris and Liz. They climb into the gondola with Mario, and the first thing we see is Liz complaining that she has sweat running down her eyes. In all fairness, she is wearing a leather jacket in what appears to be oppressive heat. That one might be a set-up. Chris interviews that it's hot as hell, and the sun is unbearable. Then, somehow, Liz's necklace gets caught in Chris's glove. Those two are a mess. Jay agrees that they were awkward at first, and Simone was trying to direct them into a feeling of luxuriousness. Kayla, however, is killing it. She found her comfort zone right off the top, and was particularly soft and feminine. Jay notes that, though she doesn't have any legitimate sexual chemistry with the male model, Kayla made it most believable. That red hair is really working for her now, too.
Chris still struggles. She says that Kayla was outshining the rest of them and getting her pose on, which motivated Chris further. Well, allegedly. She still looks kind of crazy. Liz, meanwhile, has to keep patting her sweaty face with a paper towel. She says that her back was on fire through the black leather jacket, and she was about to explode. Liz then has to move to the back of the boat and kneel on hard, black wood. Her knees are burning, and she's in pain, and if she'd finally get a good shot maybe they'd put her out of her misery. Chelsey notes that Liz is the champion of complaining, and that's not tolerated in the industry. Simone tries to direct her into a good shot, while Jay tells her that her hand looks like a catcher's mitt. Also in bad news, Jay tells us that Chris actually got more awkward as the shoot progressed. That seems impossible, but it happened. Meanwhile, Kayla continues to kill it. Once the shoot is complete, Jay gives the three girls a few pointers, one being for Chris not to put her tongue completely in Mario's ear. Chris denies it, but Mario points out that it's still a little wet in there. Kayla tells us that she thinks Chris did a mediocre job on the photo shoot and adds, "Chris is not high fashion." That's a little bitchy but also, I think, true.
, it's time for Ann, Chelsey and Jane to do their shoot. Ann tells us that vying for Casanova's attention was stressful. She sure does have a hard time getting a good body position, even though she's in the front of the boat, which is the exact same location where Kayla rocked it. Maybe Ann is too tall for boats? She tells us that her shyness is a big hurdle to get over, and adds that she's been in the bottom two. Tearfully, she says she doesn't want to screw up in such a high-stakes competition. When Ann is sad and stressed-out, it really makes me sad, too. I may be without pity, but I am certainly not made of steel. Jay tells the girls to get into character before noting that Ann looks petrified. Chelsey really plays up the role of syphilitic whore, to kudos from Jay. She reminds us yet again that she has more drive than anybody else, and it's frustrating not to have gotten best photo yet. A big part of this might be how whack she actually looks in her photos. I think she does have some modeling skills, but even her pretty photos never look pretty. Jay loves what Jane is doing. She had a difficult positioning, kneeling behind all the others, but she had her own little moment back there and made it believable. He felt with Jane like he was looking back in time. I will reiterate that this has more to do with her face than her Ivy League coursework.
As the girls poke around in the kitchen, Tyra "sneaks up" on them. Like, I'm so sure. I wonder how many takes it took to get a realistic amount of screaming. Liz sarcastically interviews that she almost died and had a heart attack right on the spot. Tyra asks for a tour of the palace that she picked for them. When they're in the bedroom, Tyra shows them a second mattress that comes out from the bottom of one of the beds, and a futon rolled up in the corner. She says that although this place is not glamorous, everybody has a place to sleep. Tyra then asks if they can figure out why she chose this place for them, and Chelsey pipes in that it's a model's apartment. This is true, and Tyra says that they're not typically glamorous although the apartment they're in is very nice. Tyra then tells tales of horror of her first model's apartment in Italy. It cost $30 a night, and the bathroom was -- wait for it -- DOWN THE HALL! Shared by the ENTIRE FLOOR! How did she ever survive? She says that when a model gets a call to go to Paris or Milan or London, it's not like the glamour and fun that they've seen on Top Model in the past. She adds, "That's not reality," as if anything about this show has ever been realistic. She wanted these girls to experience what it's really like. And what it's really like is apparently getting to visit the House of Missoni the day, despite their lack of experience or skill. Jane interviews that though she understands why they have such a small house, she still wishes they had a bigger one.
Meanwhile, Liz talks on the phone with her daughter and cries. Her daughter, who sounds quite adorable, asks Liz if she's going to go potty. Ooh! I think my left ovary just twitched. Liz explains that she already went potty, and my ovary clicks right back into place. Liz tells us that it's a lot of pressure to be there, and she's stressed out. At the same time, she thinks it's going to be so worth it. Liz cries and tells Chelsey that her daughter is talking really well, and said, "I miss you." That really must kill if you actually like spending time with your child.
The girls head to the House of Missoni, or, as Chris says, "The place where all the fashion takes place." There are clothes and textiles and sketches all around, and it must be a pretty cool thing to see. Miss J. meets the girls, and introduces them to creative director Angela Missoni. He explains that Missoni is one of the most established names in the world of Italian fashion. Angela welcomes the girls to their headquarters and invites them to try on some of the winter collection and walk a bit. The winter collection, as you may expect, is heavy on the knitwear. With the exception of a hideous giant cloak that Ann is forced to wear, it's really gorgeous. Jane tells us that she's never worn anything this expensive, and the quality is apparent right away. Kayla interviews that the Missoni clothes were nice, but it's very uncomfortable to wear knits in the middle of summer. These girls are hot. Heatstroke hot. However, Kayla says that when you model you're put in all sorts of uncomfortable positions, and it's not as easy as people make it seem. I suspect it's not always as tortuous as this show makes it seem, either.
Miss J. then introduces the brand ambassador and accessory designer -- Margherita Missoni. She apparently was also a model, and is indeed gorgeous. Margherita is Angela's daughter and the heir to the Missoni empire. She tells the girls that she'll be seeing them again, because she'll be a judge in their elimination tonight. Also, they'll be wearing the Missoni knitwear all through judging, I'm assuming for no other reason than to make somebody pass out from heatstroke. The girls then walk in their Missoni duds. Ann is first, and looks crazy. Part of that is the fault of the giant cloak, though. Chelsey is , and tells us that she has the whole package of looks and personality. You know who she doesn't think has that package? That's right, Ann. Angela tells Chelsey not to bounce so much in her walk, and then instructs Jane not to cross her legs. Chris walks and Miss J. says, "That must be jelly because jam don't shake like that." And he is not, apparently, ready for that jelly. Liz walks , and tells us that this is the stepping stone for a career of a lifetime. She doesn't want to go home as a failure, but rather wants to be able to tell her family that their lives are about to change. Angela notes that all of the girls are different, which is good, and that personality makes a girl special. Chris tells us that they have no idea who's going home, but whoever it is, they're not ready for high fashion. With this foreboding thought, we head to commercials.
When we return, we're treated to a view of the holding room pre-panel. The girls are all complaining about how hot it is. Chelsey tells the others that she's had a problem with passing out her whole life. Her mom wouldn't even let her play sports because she gets overheated so easily. As funny as it is to see models fall on roller skates or on treadmill-runways, inducing heatstroke is just not cool. Chelsey interviews that you'd think everything in Italy would be air-conditioned. Yeah, you'd think. Liz strips down to her bra and holds an ornate fan, which seems to be an appropriate strategy for dealing with the heat.
The girls appear before Tyra, who I don't have to tell you is not wearing knitwear. She's gone with a teeny strapless dress. Nigel is in a full suit, though, and ALT is wearing his traditional judging cloak, so I'd imagine they're pretty hot too. The judging room is very red, like a womb from which Tyra will birth a real-live model. There are prizes, there are judges. Margherita Missoni is the guest judge. Tyra seems especially boozy, or maybe her meds are a little edgy with the time change and heat.
Jane, Ann and Chelsey are up first for judging. They all say that it was fun to shoot with a sexy, swarthy Italian man. Their photo is really good. Nigel says that as a wide shot it works amazingly well, and they all have real chemistry. Chelsey is stunning, and Nigel says that this is one of the most beautiful pictures he's seen of her, despite the fact that he can't see her eyes. Tyra points out that this is a big deal given Nigel's predisposition for eye contact. It's true that even though Chelsey's eyes are turned away from the camera, you can tell that they're slightly crossed. Tyra agrees that Chelsey looks lovely, and like she's whispering something into Casanova's ear. She seems like she's in control, and the other girls don't matter because this is her man. ALT says that she "has a volcanic sultriness under the iceberg of cold, frozen incandescent beauty." Yes, that's a quote. She's hot, but she's cold. Margherita is the one quasi-dissenting voice, and says that though Chelsey looks great she doesn't appear to be the lead character in the picture.
Ann's photo is very simple. It's not in heat, Nigel says, but Ann has the magical ability to look almost lifeless in a shot, but at the same time full of life. Yes, Ann is a paradox. Keep doing what you're doing, honey, which is absolutely nothing. ALT says that Ann conveys "incandescent aristocrat." Margherita loves Ann, and says that there's a decadence to her look which is very appropriate. Tyra thinks that Ann is displaying a confidence that she used to have Casanova, but she lost him and wants him back. However, she notes that Ann was very stiff in her film, and kept getting lost in her shoulders. Tyra asks Ann what was going on in her head, and Ann replies that she was very uncomfortable in this shoot at first, but got used to it after a while. At this point, totally unrelated to Ann, Chelsey says, "I'm gonna pass out." Somebody crank up the heat a few degrees!
we look at Jane's close-up. Nigel says that she's overdoing it a bit, and pushing the shot too far. Margherita agrees and says that her piece of it doesn't really go with the rest of the shot. ALT, however, thinks that Jane looks wonderful. She's very glamorous, very romantic, and very Venetian. Tyra agrees with ALT, and says that Jane is blowing the other two away. It's the type of high fashion sexuality that Tyra extols, and she doesn't feel that it's too much. Suddenly there is some hubbub among the girls as Liz plays with the scarf around her neck and a few of the other girls move closer to Chelsey to catch her if she faints. Tyra tells the girls that they're allowed to sit down. But only if they sit fiercely! I don't know how she manages not to give a lecture about how being a model means living in discomfort. I'd like to think that she's finally realized what a dick move it is to have these girls wear giant sweaters in oppressive heat, but that seems unlikely.
Liz, Kayla and Chris get their evaluation. Nigel thinks that Chris looks amazing, and not at all like she's in Teen Vogue. She doesn't work in the picture, but he loves her as a solo. In the group generally, Nigel thinks that there needs to be more angst, passion, or love. ALT, however, thinks that Chris looks like she's afraid that a huge crow is coming into the gondola. Huge crows were the scourge of 18th century Venice, you know. Margherita agrees that Chris looks a little scared, but she likes it. Tyra likes Chris's picture in the wide. It has a sexuality that looks slightly hoochie, but Chris didn't get off on the hoochie stop. Probably because the giant crow was there waiting. She stayed on the train. Up close, however, she doesn't think that Chris's face has any interesting angles.
Liz is out of focus, and Tyra says it's on purpose. Out of focus or no, Nigel thinks that this is the right way for her to go in terms of attitude and look. However, he doesn't think that she's committed enough. This is a trend with her, which is one of Nigel's problems with her. ALT is not excited by Liz or her slutty stance. Liz starts to say that it was really hard to balance, and ALT cuts off her backtalking ass by saying that it's very déclassé. He thinks that her face is lovely, but the déclassé stance takes away from her strengths. Margherita loves the confidence and "strong woman thing" that Liz is showing, but she says that it doesn't look like the right time -- it looks more like Venice carnival. I think she's saying that Liz looks like a drag queen. Tyra likes Liz's strength in the photo, but says that generally she struggled in the shoot and seemed a bit lost. This somewhat good photo was a rare moment.
Finally, there's Kayla. Nigel says that his eyes went straight for her in the photo, because she's radiating. She has strength, power, and eye contact with the camera. She's mistress number one -- the mistress who says, "I've had him and I'll have him again." There's a real story in the photo. Margherita says that it's all about Kayla's eyes, and ALT adds that Kayla is definitely the star of the photograph.
The judges deliberate. Jane was the star of her photograph, according to ALT. Nigel agrees that there's a definite energy with Jane, and Tyra basically loves everything about her shot. Chelsey looked good, according to Margherita, but she doesn't capture the viewer's attention. Tyra agrees that she's like a background singer. ALT says that Chelsey was the most stunning girl in the Missoni clothes, despite the fact that she almost passed out. Nigel says that Chelsey is smizing despite the fact that you can't see her eyes, and it was almost talking through her eyelids. Giant crows and communication through the eyelids. 18th century Venice was a heady time. Ann is an incandescent, luminescent aristocratic woman between the legs of Casanova, according to Andre. He adds, "Not sure she's going there." Tyra says it's like they plucked Ann out of this era and stuck her in the photo. Unfortunately, she wasn't consistent in her film. Nigel says that Ann looks amazing in the photo, but she seems a bit lost generally. She's uncomfortable, and the giant cloak she had on today was wearing her.
Nigel thinks Chris's shot is great, but it's not the best shot in the picture. ALT doesn't like that Chris is afraid of giant crows. Tyra doesn't know about it, and ALT adds that he doesn't get it. ALT says that Liz isn't connected to the scene, but Tyra argues that she's cussing out Casanova with her eyes. ALT still can't get over the déclassé stance, and Margherita agrees that she finds it a bit vulgar. Nigel says that Liz's pose has the potential to be vulgar, but it also has the potential to be high fashion if you commit. Liz, unfortunately, doesn't really know what to do. This is Kayla's best photo yet, according to ALT, who says that she has confidence. Nigel notes that it was tough directing Kayla in the commercial shoot last week because she was very uncomfortable with the male model. In this photo she's almost ignoring him, and is making it work. Margherita says that Kayla is the only model who delivers something in the photo. Kayla has her vote. As Margherita says this, Tyra reveals that she has a total girl crush on Margherita, or at least her voice. It's pretty hard not to, frankly.
The girls return. There are six of them standing in front of Tyra, but she only has five photos in her hands. And those photos represent the five who are still in the running towards becoming America's Top Model. And the first model called is...Kayla! Chelsey looks pissed, or maybe she feels like she might pass out again. Jane is called , followed by Chelsey and Ann. This leaves Chris and Liz in the bottom two. Chris has an effervescent, contagious personality. She lights up a room when she walks in, but her photos aren't shining and sparkling as much as the others. Then there's beautiful Liz with her gorgeous bone structure, and strong androgyny that's beloved by the judges. Her photos are usually good, and sometimes amazing, but the judges say that she makes too many excuses. So who stays? It's Chris. As she takes her photo, Tyra tells her that personality is important, but it's time for her to kick some ass with actual modeling ability.
Tyra hugs Liz, and tells her that she doesn't have to win this competition to be a good influence on her daughter, that her life as a model is not over because she's going home right now, and that she's amazingly fierce and gorgeous with her current look and had better not put a weave in it. Chris smiles through the tears. She says that she's very proud to have made it this far, and to have made it abroad. She hopes she's successful after this. She's going to take what she's learned and go forward. However, the only person who could make her happy right now is her daughter. Liz can't wait to see her. I imagine it will be a relief to talk about going potty instead of giant crows.
week: Go-sees! The girls remain directionally challenged as ever. And Jane has a meltdown in a photo shoot that entails being made up like statues.
Potes is having the opposite of heatstroke. She will gladly take some Missoni knits to weather the Northeastern winter. You can reach her at potesypotes@gmail.com.
Discuss this episode in our forums, see who we think will win, then see what our vloggers think of this season's bug-eyed skeletons, below!
Want to immediately access TWoP content no matter where you are online? Download the free TWoP toolbar for your web browser. Already have a customized toolbar? Then just add our free toolbar app to get updated on our content as soon it's published.