• Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals

    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals
    She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access

    Stephanie Rudig

    - Freelance Writer

    June 11, 2025

    Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987
    Andrea Legge / © NYPL

    Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story.
    One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots.

    Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957

    Martha Swope / © NYPL

    At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School.
    Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’”
    Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library.

    An ensemble of dancers in rehearsal for the stage production Cats in 1982

    Martha Swope / © NYPL

    “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.”
    According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older,was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.”
    Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar.

    Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986

    Martha Swope / © NYPL

    It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.”
    Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.”
    Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space.

    From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988

    Martha Swope / © NYPL

    Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera.
    Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.”

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    #meet #martha #swope #legendary #broadway
    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals
    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older,was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox. #meet #martha #swope #legendary #broadway
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    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals
    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older, [Swope] was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox.
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  • Excel for Microsoft 365 cheat sheet

    Windows may get all the attention, but when you want to get real work done, you turn to the applications that run on it. And if you use spreadsheets, that generally means Excel.

    Excel is, of course, part of Microsoft’s Office suite of productivity tools. Microsoft sells Office under two models: Individuals and businesses can pay for the software license up front and own it forever, or they can purchase a Microsoft 365 subscription, which means they have access to the software for only as long as they keep paying the subscription fee.

    When you purchase a perpetual version of the suite — say, Office 2021 or Office 2024 — its applications will never get new features, whereas Microsoft 365 apps are continually updated with new features. For more details, see our in-depth comparison of the two Office models.

    This cheat sheet gets you up to speed on the features that have been introduced or changed in Microsoft 365’s Excel for Windows desktop client over the past few years.We’ll periodically update this story as new features roll out.

    In this article

    Use the Ribbon

    Search to get tasks done quickly

    Explore Excel’s advanced chart types

    Collaborate in real time

    Take advantage of linked data

    Make your own custom views of a worksheet

    Create dynamic arrays and charts

    Use AutoSave to provide a safety net as you work

    Review or restore earlier versions of a spreadsheet

    Try out Microsoft 365 Copilot in Excel — but don’t expect too much

    Other new features to check out

    Use keyboard shortcuts

    Use the Ribbon

    The Ribbon interface, which puts commonly used commands in a tabbed toolbar running across the top of the application window, is alive and well in the current version of Excel. Microsoft has tweaked the Ribbon’s looks numerous times over the years, but it still works the same way it always has: just click one of the Ribbon’s tabs to see related commands on the toolbar. For example, click Insert to find buttons for inserting tables, PivotTables, charts, and more.

    Through the years, Excel’s Ribbon has gotten a variety of cosmetic changes, but it still works largely the way it always has.
    Preston Gralla / Foundry

    Just as in previous versions of Excel, if you want the Ribbon commands to go away, press Ctrl-F1 or click the name of the tab you’re currently on.To make the commands reappear, press Ctrl-F1 again or click any tab name.

    You’ve got other options for displaying the Ribbon as well. To get to them, click the Ribbon display options iconon the bottom of the Ribbon at the far right, just below the Share button. A drop-down menu appears with these four options:

    Full-screen mode: This makes Excel take up your entire screen and hides the Ribbon. To get out of full-screen mode, click the three-dot icon at the upper right of the screen.

    Show tabs only: This shows the tabs but hides the commands underneath them. It’s the same as pressing Ctrl-F1. To display the commands underneath the tabs when they’re hidden, press Ctrl-F1, click a tab, or click the Ribbon display options down arrow and select Always show Ribbon.

    Always show Ribbon: This displays the entire Ribbon, both the tabs and commands underneath them.

    Show/Hide Quick Access toolbar: This displays or hides the Quick Access toolbar, which gives you fast access to Excel commands you want to have available no matter which tab you’re on. When you enable the toolbar, it starts off empty. To populate it, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, choose which features to put on it. If you don’t see a command you want, click More Commands. Find the command you want on the left and click Add.

    You can have the toolbar appear either at the top of the screen, just to the right of the AutoSave button, or just underneath the Ribbon. To move it from one place to another, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, select either Show below the Ribbon or Show above the Ribbon. 

    Microsoft has for many years teased a simplified version of the Ribbon that hides most of the commands to reduce clutter. That simplified Ribbon is available in the Excel web app, but there’s currently no sign that it will appear in the Excel desktop app.

    There’s a useful feature in what Microsoft calls the backstage area that appears when you click the File tab on the Ribbon. If you click Open or a Copy from the menu on the left, you can see the cloud-based services you’ve connected to your Office account, such as SharePoint and OneDrive. Each location displays its associated email address underneath it. This is quite helpful if you use a cloud service with more than one account, such as if you have one OneDrive account for personal use and another one for business. You’ll be able to see at a glance which is which.

    Click the Add a service dropdown to add another cloud storage account.
    Preston Gralla / Foundry

    Search to get tasks done quickly

    Excel has never been the most user-friendly of applications, and it has so many powerful features it can be tough to keep track of them all. That’s where the handy Search feature comes in.

    To use it, click in the Search box — it’s above the Ribbon in the green title area.Then type in a task you want to do. If you want to summarize your spreadsheet data using a PivotTable, for example, type in something like summarize with pivot table. You’ll get a menu showing potential matches for the task. In this instance, the top result is a direct link to the form for summarizing with a PivotTable — select it and you’ll start your task right away, without having to go to the Ribbon’s Insert tab first.

    The search box makes it easy to perform just about any task in Excel.
    Preston Gralla / Foundry

    If you’d like more information about your task, the final items that appear in the menu let you select from related Help topics.

    Even if you consider yourself a spreadsheet jockey, it’s worth your while to try out the enhanced search function. It’s a big time-saver, and far more efficient than hunting through the Ribbon to find a command.

    Also useful is that it remembers the features you’ve previously clicked on in the box, so when you click in it, you first see a list of previous tasks you’ve searched for. That makes sure that tasks that you frequently perform are always within easy reach. And it puts tasks you rarely do within easy reach as well.

    Users of enterprise and education editions of Microsoft 365 can also use the Search box to find people in their organization, SharePoint resources, and other personalized results from within Excel.Explore Excel’s advanced chart types

    Charts are great for visualizing and presenting spreadsheet data, and for gaining insights from it. To that end, Microsoft has introduced a number of advanced chart types over the past several years, including most notably a histogram, a “waterfall” that’s effective at showing running financial totals, and a hierarchical treemap that helps you find patterns in data.

    Note that the new charts are available only if you’re working in an .xlsx document. If you use the older .xls format, you won’t find them.

    To see all the charts, put your cursor in a cell or group of cells that contains data, select Insert > Recommended Charts and click the All Charts tab. You’ll find the newer charts, mixed in with the older ones. Select any to create the chart.Excel includes several advanced chart types, including waterfall.
    Preston Gralla / Foundry

    These are the new chart types:

    Treemap. This chart type creates a hierarchical view of your data, with top-level categoriesshown as rectangles, and with subcategoriesshown as smaller rectangles grouped inside the larger ones. Thus, you can easily compare the sizes of top-level categories and subcategories in a single view. For instance, a bookstore can see at a glance that it brings in more revenue from 1st Readers, a subcategory of Children’s Books, than for the entire Non-fiction top-level category.

    srcset=" 830w, 300w, 768w, 264w, 132w, 753w, 565w, 392w" width="830" height="529" sizes="100vw, 830px">A treemap chart lets you easily compare top-level categories and subcategories in a single view.
    Preston Gralla / Foundry

    Sunburst. This chart type also displays hierarchical data, but in a multi-level pie chart. Each level of the hierarchy is represented by a circle. The innermost circle contains the top-level categories, the next circle out shows subcategories, the circle after that subsubcategories and so on.

    Sunbursts are best for showing the relationships among categories and subcategories, while treemaps are better at showing the relative sizes of categories and subcategories.

    A sunburst chart shows hierarchical data such as book categories and subcategories as a multi-level pie chart.
    Preston Gralla / Foundry

    Waterfall. This chart type is well-suited for visualizing financial statements. It displays a running total of the positive and negative contributions toward a final net value.

    A waterfall chart shows a running total of positive and negative contributions, such as revenue and expenses, toward a final net value.
    Preston Gralla / Foundry

    Histogram. This kind of chart shows frequencies within a data set. It could, for example, show the number of books sold in specific price ranges in a bookstore.

    Histograms are good for showing frequencies, such as number of books sold at various price points.
    Preston Gralla / Foundry

    Pareto. This chart, also known as a sorted histogram, contains bars as well as a line graph. Values are represented in descending order by bars. The cumulative total percentage of each bar is represented by a rising line. In the bookstore example, each bar could show a reason for a book being returned. The chart would show, at a glance, the primary reasons for returns, so a bookstore owner could focus on those issues.

    Note that the Pareto chart does not show up when you select Insert > Recommended Charts > All Charts. To use it, first select the data you want to chart, then select Insert > Insert Statistic Chart, and under Histogram, choose Pareto.

    In a Pareto chart, or sorted histogram, a rising line represents the cumulative total percentage of the items being measured. In this example, it’s easy to see that more than 80% of a bookstore’s returns are attributable to three problems.
    Preston Gralla / Foundry

    Box & Whisker. This chart, like a histogram, shows frequencies within a data set but provides for a deeper analysis than a histogram. For example, in a bookstore it could show the distribution of prices of different genres of books. In the example shown here, each “box” represents the first to third quartile of prices for books in that genre, while the “whiskers”show the upper and lower range of prices. Outliers that are priced outside the whiskers are shown as dots, the median price for each genre is shown with a horizontal line across the box, and the mean price is shown with an x.

    Box & Whisker charts can show details about data ranges such as the first to third quartile in the “boxes,” median and mean inside the boxes, upper and lower range with the “whiskers,” and outliers with dots.Preston Gralla / Foundry

    Funnel. This chart type is useful when you want to display values at multiple stages in a process. A funnel chart can show the number of sales prospects at every stage of a sales process, for example, with prospects at the top for the first stage, qualified prospects underneath it for the second stage, and so on, until you get to the final stage, closed sales. Generally, the values in funnel charts decrease with each stage, so the bars in the chart look like a funnel.

    Funnel charts let you display values at multiple stages in a process.
    Preston Gralla / Foundry

    When creating the data for a funnel chart, use one column for the stages in the process you’re charting, and a second column for the values for each stage. Once you’ve done that, to create the chart, select the data, then select Insert > Recommended Charts > All Charts > Funnel.

    Map. Map charts do exactly what you think they should: They let you compare data across different geographical regions, such as countries, regions, states, counties, or postal codes. Excel will automatically recognize the regions and create a map that visualizes the data.

    You can compare data across different locations with a map chart.
    Preston Gralla / Foundry

    To create a map chart, select the data you want to chart, then select Insert > Maps, then select the map chart. Note that in some instances, Excel might have a problem creating the map — for example, if there are multiple locations with the same name as one that you’re mapping. If that occurs, you’ll have to add one or more columns with details about the locations. If, say, you’re charting towns in the United Kingdom, you would have to include columns for the county and country each town is located in.

    Collaborate in real time

    For those who frequently collaborate with others, a welcome feature in Excel for Microsoft 365 is real-time collaboration that lets people work on spreadsheets together from anywhere in the world with an internet connection. Microsoft calls this “co-authoring.”

    Note that in order to use co-authoring, the spreadsheet must be stored in OneDrive, OneDrive for Business, or SharePoint Online, and you must be logged into your Microsoft 365 account. Also, co-authoring works in Excel only if you have AutoSave turned on. To do it, choose the On option on the AutoSave slider at the top left of the screen.

    To share a spreadsheet so you can collaborate on it with others: first open it, then click the Share button on the upper-right of the Excel screen. The “Send link” window pops up. Here you can send an email with a link where others can access the spreadsheet.

    Use the “Send link” pane to share a document and the “Link settings” pane to fine-tune its access permissions.
    Preston Gralla / Foundry

    Enter the email address of the person with whom you want to share in the text box. Enter multiple addresses, separated by commas, if you want to share the workbook with multiple people.

    One feature I found particularly useful when adding email addresses: As you type, Excel looks through your corporate or personal address book and lists the names and addresses of contacts who match the text you’ve input. Click the address you want to add. This not only saves you a bit of time but helps make sure you don’t incorrectly type in addresses.

    Next, decide whether anyone with the link can access the file, or only those whose email addresses you enter. If you see the text “Anyone with the link can edit” near the top of the pane, you can change that by clicking it, then choosing Specific people on the screen that appears. Similarly, if “Specific people” appears above the email addresses, you can change that by clicking it, then choosing Anyone with the link can edit from the screen that appears.On this second screen you can also set the document to read-only for everybody, or allow everybody to edit it. In the “Other settings” section, click the down arrow and choose either Can edit, which allows full editing, or Can view, which is read-only. If you want to give certain people editing privileges and others view-only privileges, you can send two separate invitations with different rights selected.

    On this screen you can also set an expiration date after which people won’t be able to access the file, and you can set a password so that only people who have the password can access it. When you’ve made your selections, click Apply.

    Back in the main “Send link” screen, you can send a message along with the link by typing it into the Message box. Then click Send. An email is sent to all the recipients with a link they can click to open the document.

    Your collaborators will get an email like this when you share a spreadsheet.
    Preston Gralla / FoundryThere’s another way to share a file stored in a personal OneDrive for collaboration: In the “Copy link” area at the bottom of the “Send link” pane, click Copy. When you do that, you can copy the link and send it to someone yourself via email. Note that you have the same options for setting access and editing permissions as you do if you have Excel send the link directly for you. Just click Anyone with the link can edit or Specific people below “Copy link,” and follow the instructions above.

    To begin collaborating: When your recipients receive the email and click to open the spreadsheet, they’ll open it in the web version of Excel in a browser, not in the desktop version of Excel. If you’ve granted them edit permissions, they can begin editing immediately in the browser or else click Editing > Open in Desktop App on the upper right of the screen to work in the Excel desktop client. Excel for the web is less powerful and polished than the desktop client, but it works well enough for real-time collaboration.

    As soon as any collaborators open the file, you’ll see a colored cursor that indicates their presence in the file. Each person collaborating gets a different color. Hover your cursor over a colored cell that indicates someone’s presence, and you’ll see their name. Once they begin editing the workbook, such as entering data or a formula into a cell, creating a chart, and so on, you see the changes they make in real time. Your cursor also shows up on their screen as a color, and they see the changes you make.

    You can easily see where collaborators are working in a shared worksheet.
    Preston Gralla / Foundry

    Collaboration includes the ability to make comments in a file, inside individual cells, without actually changing the contents of the cell. To do it, right-click a cell, select New Comment and type in your comment. Everyone collaborating can see that a cell has a comment in it — it’s indicated by a small colored notch appearing in the upper right of the cell. The color matches the person’s collaboration color.

    To see someone’s comment in a cell, hover your cursor over the cell or put your cursor in the cell and you’ll see the comment, the name of the person who made the comment, and a Reply box you can use to send a reply. You can also click the Comments button on the upper right of the screen to open the Comments pane, which lists every comment by every person. Click any comment to jump to the cell it’s in. You can also reply when you click a comment in the pane.

    You can make see comments that other people make, and make comments yourself.
    Preston Gralla / Foundry

    Take advantage of linked data

    Excel for Microsoft 365 has a feature that Microsoft calls “linked data types.” Essentially, they’re cells that are connected to an online sourcethat automatically updates their information — for example, a company’s current stock price. As I write this, there are nearly approximately 100 linked data types, including not just obvious data types such as stocks, geography, and currencies, but many others, including chemistry, cities, anatomy, food, yoga, and more.

    To use them, type the items you want to track into cells in a single column. For stocks, for example, you can type in a series of stock ticker symbols, company names, fund names, etc. After that, select the cells, then on the Ribbon’s Data tab, select Stocks in the Data Types section in the middle.Excel automatically converts the text in each cell into the matching data source — in our example, into the company name and stock ticker.

    Excel also adds a small icon to the left edge of each cell identifying it as a linked cell. Click any icon and a data card will pop up showing all sorts of information about the kind of information you’ve typed in.  For instance, a stock data card shows stock-related information such as current price, today’s high and low, and 52-week high and low, as well as general company information including industry and number of employees. A location card shows the location’s population, capital, GDP, and so on.

    You can build out a table using data from the data card. To do so, select the cells again, and an Insert Data button appears. Click the button, then select the information you want to appear, such as Price for the current stock price, or Population for the population of a geographic region.

    srcset=" 620w, 300w, 172w, 86w, 491w, 368w, 256w" width="620" height="606" sizes="100vw, 620px">Linked data types let you insert information, such as a company’s high and low stock prices, that is continually updated.
    Preston Gralla / Foundry

    Excel will automatically add a column to the right populated with the latest information for each item you’re tracking, and will keep it updated. You can click the Insert Data button multiple times to keep adding columns to the right for different types of data from the item’s data card.  It’s helpful to add column headers so you know what each column is showing.

    Make your own custom views of a worksheet

    Sheet Views let you make a copy of a sheet and then apply filtered or sorted views of the data to the new sheet. It’s useful when you’re working with other people on a spreadsheet, and someone wants to create a customized view without altering the original sheet. You can all create multiple custom-filtered/sorted views for a sheet. Once you’ve saved a sheet view, anyone with access to the spreadsheet can see it.

    Note: To use this feature, your spreadsheet must be stored in OneDrive.

    Sheet views work best when your data is in table format. Select the data, then go to the Ribbon toolbar and click the Insert tab. Near the left end of the Insert toolbar, click the Table button and then OK.

    To create a new sheet view, click the Ribbon’s View tab, then click the New button in the Sheet View area at the far left. The row numbers and column letters at the left and top of your spreadsheet turn black to let you know you’re in a new sheet view. In the Sheet View area of the Ribbon, it says Temporary View, the default name given to a new sheet view before you’ve saved it.

    Here’s a sheet view with data sorted from highest to lowest costs.
    Preston Gralla / Foundry

    Now apply whatever sorting and filtering you like to the data.To save this view, click the Keep button in the Sheet View area of the Ribbon. When you do that, it is saved as “View1” by default. You can click View1 and type in a more meaningful name for the view. When you click Exit on this toolbar, you return to your spreadsheet, and the row numbers and columns on the left and top of the spreadsheet are no longer black.

    To switch from one sheet view to another, click the View tab. At the left of the Ribbon toolbar, click the down arrow next to the name of the current viewto open a dropdown list of the sheet views created for the spreadsheet. Click the name of a sheet view to switch to it. Whenever you’re looking at a sheet view, the row numbers and column letters framing your spreadsheet remain black to indicate that you’re in a sheet view, not the original spreadsheet.

    Create dynamic arrays and charts

    Dynamic arrays let you write formulas that return multiple values based on your data. When data on the spreadsheet is updated, the dynamic arrays automatically update and resize themselves.

    To create a dynamic array, first create a table as outlined in the previous tip. Make sure to include a column that lists categories. Also put in at least one column to its right that lists corresponding values. Put a header at the top of each column.

    So, for example, if you’re creating a spreadsheet for a business trip budget, Column A might list expenses, such as plane tickets, meals, hotel, etc., and Column B could list each item’s cost on the same row.

    Once you’ve set up the table, use a dynamic array function on it, such as FILTER, SORT, or UNIQUE to create a dynamic array next to the table. Here’s an example of a formula for using the FILTER function:

    =FILTERThis tells Excel to show only the items that cost less than in the array.

    The FILTER function created a data array showing only the items with costs below Preston Gralla / Foundry

    Now, whenever the data in your source table changes, the dynamic array updates and resizes itself to accommodate the changes. That means the dynamic array is always up to date. So in our example, if you add new items with values under to the table, the dynamic array will enlarge itself and include those new items.

    In the same way, you can use the SORT function to sort data and the UNIQUE function to remove duplicate data.You create a dynamic chart from the dynamic array in the same way you do any other Excel chart. Select the cells from the dynamic array that you want to chart, then select the Insert tab and select the type of chart you want to add. When the source data changes in a way that affects the dynamic array that the chart is based on, both the dynamic array and the chart will be updated.

    Use AutoSave to provide a safety net as you work

    If you’re worried that you’ll lose your work on a worksheet because you don’t constantly save it, you’ll welcome the AutoSave feature. It automatically saves your files for you, so you won’t have to worry about system crashes, power outages, Excel crashes and similar problems. It only works only on documents stored in OneDrive, OneDrive for Business, or SharePoint Online. It won’t work with files saved in the older .xls format or files you save to your hard drive.

    AutoSave is a vast improvement over the previous AutoRecover feature built into Excel. AutoRecover doesn’t save your files in real time; instead, every several minutes it saves an AutoRecover file that you can try to recover after a crash. It doesn’t always work, though — for example, if you don’t properly open Excel after the crash, or if the crash doesn’t meet Microsoft’s definition of a crash. In addition, Microsoft notes, “AutoRecover is only effective for unplanned disruptions, such as a power outage or a crash. AutoRecover files are not designed to be saved when a logoff is scheduled or an orderly shutdown occurs.” And the files aren’t saved in real time, so you’ll likely lose several minutes of work even if all goes as planned.

    AutoSave is turned on by default in Excel for Microsoft 365 .xlsx workbooks stored in OneDrive, OneDrive for Business, or SharePoint Online. To turn it offfor a workbook, use the AutoSave slider on the top left of the screen. If you want AutoSave to be off for all files by default, select File > Options > and uncheck the box marked AutoSave files stored in the Cloud by default on Excel.

    Using AutoSave may require some rethinking of your workflow. Many people are used to creating new worksheets based on existing ones by opening the existing file, making changes to it, and then using As to save the new version under a different name, leaving the original file intact. Be warned that doing this with AutoSave enabled will save your changes in the original file. Instead, Microsoft suggests opening the original file and immediately selecting File > a Copyto create a new version.

    If AutoSave does save unwanted changes to a file, you can always use the Version History feature described below to roll back to an earlier version.

    Review or restore earlier versions of a spreadsheet

    There’s an extremely useful feature hiding in the title bar in Excel for Microsoft 365: You can use Version History to go back to previous versions of a file, review them, compare them side-by-side with your existing version, and copy and paste from an older file to your existing one. You can also restore an entire old version.

    To do it, click the file name at the top of the screen in an open file. A drop-down menu appears. Click Version History, and the Version History pane appears on the right side of the screen with a list of the previous versions of the file, including the time and date they were saved.Use Version History to see all previous versions of a spreadsheet, copy and paste from an older file to your existing one, or restore an entire old version.
    Preston Gralla / Foundry

    In the Version History pane, click Open version under any older version, and that version appears as a read-only version in a new window. Scroll through the version and copy any content you want, then paste it into the latest version of the file. To restore the old version, overwriting the current one, click the Restore button.

    Try out Microsoft 365 Copilot in Excel — but don’t expect too much

    For an additional subscription fee, business users of Excel can use Microsoft’s genAI add-in, Microsoft 365 Copilot. You can have Copilot suggest and create charts, create formulas, mine spreadsheets for data insights you might have missed, and more. If you have a Microsoft 365 Personal or Family subscription, many of those features are now bundled with your core subscription.

    To start using Copilot in Excel, open a spreadsheet and click the Copilot button at the right of the Ribbon’s Home tab. The Copilot panel will appear on the right, offering suggestions for actions it can perform, such as summarizing your data with a chart, adding formulas to the spreadsheet, or applying conditional formatting to the sheet. You can also chat with Copilot in the panel, asking questions about your data or how to perform an action yourself.

    Note that these suggestions are generic and won’t always make sense. For example, when you start with a blank worksheet and click the Copilot button, its suggestions include summarizing data using pivot tables or charts, even though there’s no data to chart or put into a table.

    Microsoft 365 Copilot can help you in multiple ways in Excel, including creating formulas and charts, mining spreadsheets for insights, and more.
    Preston Gralla / Foundry

    In my testing, I found that Copilot wasn’t particularly helpful. For example, when I asked it to summarize data using a PivotTable or chart, several times it responded, “Something went wrong. Please try again in a moment.” Then it said that I first needed to reformat parts of my spreadsheet by using the Transformfunction, and gave confusing advice on how I could do it — it wouldn’t do the task itself.When I asked it to suggest conditional formatting for my spreadsheet, which would highlight important data, it told me which data I should highlight but didn’t explain why the data was important. It also didn’t do the highlighting for me or tell me how to do it.

    I gave it one more try and asked it to perform an advanced analysis, which it would use Python to do. It certainly did something, although it was unclear what it was. It overwrote my original spreadsheet and added a section that claimed to show annual growth rates for revenue streams. But the data seemed to be incorrect.

    Perhaps advanced spreadsheet jockeys might be able to make sense of what Copilot is up to whenever they ask it for help. But mere mortal businesspeople may find it of no help at all.

    In my testing, I found Copilot not at all helpful, although spreadsheet jockeys may be able to make some sense of what it does.
    Preston Gralla / Foundry

    What’s more, Microsoft’s focus on Copilot in M365 has reduced the usefulness of Excel in some ways. For example, there used to be a handy feature called Smart Lookup that let you conduct targeted web searches from inside Excel. But at the beginning of 2025, Microsoft removed Smart Lookup from Excel, saying that the feature has been deprecated.

    Now the only way to search the web from inside Excel is via Copilot, which lacks some features of Smart Lookup — notably the ability to highlight words or phrases in a document and trigger an automatic web search. And M365 Copilot isn’t available to business customers unless they pay the additional subscription fee.

    Other features to check out

    Spreadsheet pros will be pleased with several other features and tools that have been added to Excel for Microsoft 365 over the past few years, from a quick data analysis tool to an advanced 3D mapping platform.

    Get an instant data analysis

    If you’re looking to analyze data in a spreadsheet, the Quick Analysis tool will help. Highlight the cells you want to analyze, then move your cursor to the lower right-hand corner of what you’ve highlighted. A small icon of a spreadsheet with a lightning bolt on it appears. Click it and you’ll get a variety of tools for performing instant analysis of your data. For example, you can use the tool to highlight the cells with a value greater than a specific number, get the numerical average for the selected cells, or create a chart on the fly.

    The Quick Analysis feature gives you a variety of tools for analyzing your data instantly.
    Preston Gralla / Foundry

    Translate text

    You can translate text from right within Excel. Highlight the cell whose text you want translated, then select Review > Translate. A Translator pane opens on the right. Excel will detect the words’ language at the top of the pane; you then select the language you want it translated to below. If Excel can’t detect the language of the text you chose or detects it incorrectly, you can override it.

    Easily find worksheets that have been shared with you

    It’s easy to forget which worksheets others have shared with you. In Excel for Microsoft 365 there’s an easy way to find them: Select File > Open > Shared with Me to see a list of them all. Note that this only works with OneDriveand SharePoint Online. You’ll also need to be signed into you Microsoft or work or school account.

    Predict the future with Forecast Sheet

    Using the Forecast Sheet function, you can generate forecasts built on historical data. If, for example, you have a worksheet showing past book sales by date, Forecast Sheet can predict future sales based on past ones.

    To use the feature, you must be working in a worksheet that has time-based historical data. Put your cursor in one of the data cells, go to the Data tab on the Ribbon and select Forecast Sheet from the Forecast group toward the right. On the screen that appears, you can select various options such as whether to create a line or bar chart and what date the forecast should end. Click the Create button, and a new worksheet will appear showing your historical and predicted data and the forecast chart.The Forecast Sheet feature can predict future results based on historical data.
    Preston Gralla / Foundry

    Manage data for analysis with Get & Transform

    This feature is not entirely new to Excel. Formerly known as Power Query, it was made available as a free add-in to Excel 2013 and worked only with the PowerPivot features in Excel Professional Plus. Microsoft’s Power BI business intelligence software offers similar functionality.

    Now called Get & Transform, it’s a business intelligence tool that lets you pull in, combine, and shape data from wide variety of local and cloud sources. These include Excel workbooks, CSV files, SQL Server and other databases, Azure, Active Directory, and many others. You can also use data from public sources including Wikipedia.

    Get & Transform helps you pull in and shape data from a wide variety of sources.
    Preston Gralla / Foundry

    You’ll find the Get & Transform tools together in a group on the Data tab in the Ribbon. For more about using these tools, see Microsoft’s “Getting Started with Get & Transform in Excel.”

    Make a 3D map

    Before Excel 2016, Power Map was a popular free 3D geospatial visualization add-in for Excel. Now it’s free, built into Excel for Microsoft 365, and has been renamed 3D Maps. With it, you can plot geographic and other information on a 3D globe or map. You’ll need to first have data suitable for mapping, and then prepare that data for 3D Maps.

    Those steps are beyond the scope of this article, but here’s advice from Microsoft about how to get and prepare data for 3D Maps. Once you have properly prepared data, open the spreadsheet and select Insert > 3D Map > Open 3D Maps. Then click Enable from the box that appears. That turns on the 3D Maps feature. For details on how to work with your data and customize your map, head to the Microsoft tutorial “Get started with 3D Maps.”

    If you don’t have data for mapping but just want to see firsthand what a 3D map is like, you can download sample data created by Microsoft. The screenshot shown here is from Microsoft’s Dallas Utilities Seasonal Electricity Consumption Simulation demo. When you’ve downloaded the workbook, open it up, select Insert > 3D Map > Open 3D Maps and click the map to launch it.

    With 3D Maps you can plot geospatial data in an interactive 3D map.
    Preston Gralla / Foundry

    Automate tasks

    If you have OneDrive for Business and use Excel with a commercial or educational Microsoft 365 license, you can automate tasks with the Automate tab. You’ll be able to create and edit scripts with the Code Editor, run automated tasks with a button click, and share the script with co-workers. See Microsoft’s “Office Scripts in Excel” documentation for details.

    Insert data from a picture into Excel

    There are times you may find data inside an image file that you’d like to get into Excel. Typically, you’ll have to input the data from it manually. There’s now a way to have Excel convert the information on the image into data for a worksheet.

    In the Get & Transform Data group on the Data tab, click the From Picture dropdown and select Picture From File to choose the image you want to grab data from, or Picture from Clipboard to take a screenshot of an image on your PC and then import the data. For more details, see Microsoft’s “Insert data from picture” support page.  

    Use keyboard shortcuts

    Here’s one last productivity tip: If you memorize a handful of keyboard shortcuts for common tasks in Excel, you can save a great deal of time over hunting for the right command to click on. See “Handy Excel keyboard shortcuts for Windows and Mac” for our favorites.

    This article was originally published in August 2019 and most recently updated in May 2025.

    More Excel tutorials:

    Excel basics: Get started with tables

    Excel basics: Get started with charts and sparklines

    How to use PivotTables and PivotCharts in Excel

    How to use slicers in Excel

    How to use Excel formulas and functions

    Howto use conditional formatting in Excel

    How to use Excel macros to save time and automate your work
    #excel #microsoft #cheat #sheet
    Excel for Microsoft 365 cheat sheet
    Windows may get all the attention, but when you want to get real work done, you turn to the applications that run on it. And if you use spreadsheets, that generally means Excel. Excel is, of course, part of Microsoft’s Office suite of productivity tools. Microsoft sells Office under two models: Individuals and businesses can pay for the software license up front and own it forever, or they can purchase a Microsoft 365 subscription, which means they have access to the software for only as long as they keep paying the subscription fee. When you purchase a perpetual version of the suite — say, Office 2021 or Office 2024 — its applications will never get new features, whereas Microsoft 365 apps are continually updated with new features. For more details, see our in-depth comparison of the two Office models. This cheat sheet gets you up to speed on the features that have been introduced or changed in Microsoft 365’s Excel for Windows desktop client over the past few years.We’ll periodically update this story as new features roll out. In this article Use the Ribbon Search to get tasks done quickly Explore Excel’s advanced chart types Collaborate in real time Take advantage of linked data Make your own custom views of a worksheet Create dynamic arrays and charts Use AutoSave to provide a safety net as you work Review or restore earlier versions of a spreadsheet Try out Microsoft 365 Copilot in Excel — but don’t expect too much Other new features to check out Use keyboard shortcuts Use the Ribbon The Ribbon interface, which puts commonly used commands in a tabbed toolbar running across the top of the application window, is alive and well in the current version of Excel. Microsoft has tweaked the Ribbon’s looks numerous times over the years, but it still works the same way it always has: just click one of the Ribbon’s tabs to see related commands on the toolbar. For example, click Insert to find buttons for inserting tables, PivotTables, charts, and more. Through the years, Excel’s Ribbon has gotten a variety of cosmetic changes, but it still works largely the way it always has. Preston Gralla / Foundry Just as in previous versions of Excel, if you want the Ribbon commands to go away, press Ctrl-F1 or click the name of the tab you’re currently on.To make the commands reappear, press Ctrl-F1 again or click any tab name. You’ve got other options for displaying the Ribbon as well. To get to them, click the Ribbon display options iconon the bottom of the Ribbon at the far right, just below the Share button. A drop-down menu appears with these four options: Full-screen mode: This makes Excel take up your entire screen and hides the Ribbon. To get out of full-screen mode, click the three-dot icon at the upper right of the screen. Show tabs only: This shows the tabs but hides the commands underneath them. It’s the same as pressing Ctrl-F1. To display the commands underneath the tabs when they’re hidden, press Ctrl-F1, click a tab, or click the Ribbon display options down arrow and select Always show Ribbon. Always show Ribbon: This displays the entire Ribbon, both the tabs and commands underneath them. Show/Hide Quick Access toolbar: This displays or hides the Quick Access toolbar, which gives you fast access to Excel commands you want to have available no matter which tab you’re on. When you enable the toolbar, it starts off empty. To populate it, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, choose which features to put on it. If you don’t see a command you want, click More Commands. Find the command you want on the left and click Add. You can have the toolbar appear either at the top of the screen, just to the right of the AutoSave button, or just underneath the Ribbon. To move it from one place to another, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, select either Show below the Ribbon or Show above the Ribbon.  Microsoft has for many years teased a simplified version of the Ribbon that hides most of the commands to reduce clutter. That simplified Ribbon is available in the Excel web app, but there’s currently no sign that it will appear in the Excel desktop app. There’s a useful feature in what Microsoft calls the backstage area that appears when you click the File tab on the Ribbon. If you click Open or a Copy from the menu on the left, you can see the cloud-based services you’ve connected to your Office account, such as SharePoint and OneDrive. Each location displays its associated email address underneath it. This is quite helpful if you use a cloud service with more than one account, such as if you have one OneDrive account for personal use and another one for business. You’ll be able to see at a glance which is which. Click the Add a service dropdown to add another cloud storage account. Preston Gralla / Foundry Search to get tasks done quickly Excel has never been the most user-friendly of applications, and it has so many powerful features it can be tough to keep track of them all. That’s where the handy Search feature comes in. To use it, click in the Search box — it’s above the Ribbon in the green title area.Then type in a task you want to do. If you want to summarize your spreadsheet data using a PivotTable, for example, type in something like summarize with pivot table. You’ll get a menu showing potential matches for the task. In this instance, the top result is a direct link to the form for summarizing with a PivotTable — select it and you’ll start your task right away, without having to go to the Ribbon’s Insert tab first. The search box makes it easy to perform just about any task in Excel. Preston Gralla / Foundry If you’d like more information about your task, the final items that appear in the menu let you select from related Help topics. Even if you consider yourself a spreadsheet jockey, it’s worth your while to try out the enhanced search function. It’s a big time-saver, and far more efficient than hunting through the Ribbon to find a command. Also useful is that it remembers the features you’ve previously clicked on in the box, so when you click in it, you first see a list of previous tasks you’ve searched for. That makes sure that tasks that you frequently perform are always within easy reach. And it puts tasks you rarely do within easy reach as well. Users of enterprise and education editions of Microsoft 365 can also use the Search box to find people in their organization, SharePoint resources, and other personalized results from within Excel.Explore Excel’s advanced chart types Charts are great for visualizing and presenting spreadsheet data, and for gaining insights from it. To that end, Microsoft has introduced a number of advanced chart types over the past several years, including most notably a histogram, a “waterfall” that’s effective at showing running financial totals, and a hierarchical treemap that helps you find patterns in data. Note that the new charts are available only if you’re working in an .xlsx document. If you use the older .xls format, you won’t find them. To see all the charts, put your cursor in a cell or group of cells that contains data, select Insert > Recommended Charts and click the All Charts tab. You’ll find the newer charts, mixed in with the older ones. Select any to create the chart.Excel includes several advanced chart types, including waterfall. Preston Gralla / Foundry These are the new chart types: Treemap. This chart type creates a hierarchical view of your data, with top-level categoriesshown as rectangles, and with subcategoriesshown as smaller rectangles grouped inside the larger ones. Thus, you can easily compare the sizes of top-level categories and subcategories in a single view. For instance, a bookstore can see at a glance that it brings in more revenue from 1st Readers, a subcategory of Children’s Books, than for the entire Non-fiction top-level category. srcset=" 830w, 300w, 768w, 264w, 132w, 753w, 565w, 392w" width="830" height="529" sizes="100vw, 830px">A treemap chart lets you easily compare top-level categories and subcategories in a single view. Preston Gralla / Foundry Sunburst. This chart type also displays hierarchical data, but in a multi-level pie chart. Each level of the hierarchy is represented by a circle. The innermost circle contains the top-level categories, the next circle out shows subcategories, the circle after that subsubcategories and so on. Sunbursts are best for showing the relationships among categories and subcategories, while treemaps are better at showing the relative sizes of categories and subcategories. A sunburst chart shows hierarchical data such as book categories and subcategories as a multi-level pie chart. Preston Gralla / Foundry Waterfall. This chart type is well-suited for visualizing financial statements. It displays a running total of the positive and negative contributions toward a final net value. A waterfall chart shows a running total of positive and negative contributions, such as revenue and expenses, toward a final net value. Preston Gralla / Foundry Histogram. This kind of chart shows frequencies within a data set. It could, for example, show the number of books sold in specific price ranges in a bookstore. Histograms are good for showing frequencies, such as number of books sold at various price points. Preston Gralla / Foundry Pareto. This chart, also known as a sorted histogram, contains bars as well as a line graph. Values are represented in descending order by bars. The cumulative total percentage of each bar is represented by a rising line. In the bookstore example, each bar could show a reason for a book being returned. The chart would show, at a glance, the primary reasons for returns, so a bookstore owner could focus on those issues. Note that the Pareto chart does not show up when you select Insert > Recommended Charts > All Charts. To use it, first select the data you want to chart, then select Insert > Insert Statistic Chart, and under Histogram, choose Pareto. In a Pareto chart, or sorted histogram, a rising line represents the cumulative total percentage of the items being measured. In this example, it’s easy to see that more than 80% of a bookstore’s returns are attributable to three problems. Preston Gralla / Foundry Box & Whisker. This chart, like a histogram, shows frequencies within a data set but provides for a deeper analysis than a histogram. For example, in a bookstore it could show the distribution of prices of different genres of books. In the example shown here, each “box” represents the first to third quartile of prices for books in that genre, while the “whiskers”show the upper and lower range of prices. Outliers that are priced outside the whiskers are shown as dots, the median price for each genre is shown with a horizontal line across the box, and the mean price is shown with an x. Box & Whisker charts can show details about data ranges such as the first to third quartile in the “boxes,” median and mean inside the boxes, upper and lower range with the “whiskers,” and outliers with dots.Preston Gralla / Foundry Funnel. This chart type is useful when you want to display values at multiple stages in a process. A funnel chart can show the number of sales prospects at every stage of a sales process, for example, with prospects at the top for the first stage, qualified prospects underneath it for the second stage, and so on, until you get to the final stage, closed sales. Generally, the values in funnel charts decrease with each stage, so the bars in the chart look like a funnel. Funnel charts let you display values at multiple stages in a process. Preston Gralla / Foundry When creating the data for a funnel chart, use one column for the stages in the process you’re charting, and a second column for the values for each stage. Once you’ve done that, to create the chart, select the data, then select Insert > Recommended Charts > All Charts > Funnel. Map. Map charts do exactly what you think they should: They let you compare data across different geographical regions, such as countries, regions, states, counties, or postal codes. Excel will automatically recognize the regions and create a map that visualizes the data. You can compare data across different locations with a map chart. Preston Gralla / Foundry To create a map chart, select the data you want to chart, then select Insert > Maps, then select the map chart. Note that in some instances, Excel might have a problem creating the map — for example, if there are multiple locations with the same name as one that you’re mapping. If that occurs, you’ll have to add one or more columns with details about the locations. If, say, you’re charting towns in the United Kingdom, you would have to include columns for the county and country each town is located in. Collaborate in real time For those who frequently collaborate with others, a welcome feature in Excel for Microsoft 365 is real-time collaboration that lets people work on spreadsheets together from anywhere in the world with an internet connection. Microsoft calls this “co-authoring.” Note that in order to use co-authoring, the spreadsheet must be stored in OneDrive, OneDrive for Business, or SharePoint Online, and you must be logged into your Microsoft 365 account. Also, co-authoring works in Excel only if you have AutoSave turned on. To do it, choose the On option on the AutoSave slider at the top left of the screen. To share a spreadsheet so you can collaborate on it with others: first open it, then click the Share button on the upper-right of the Excel screen. The “Send link” window pops up. Here you can send an email with a link where others can access the spreadsheet. Use the “Send link” pane to share a document and the “Link settings” pane to fine-tune its access permissions. Preston Gralla / Foundry Enter the email address of the person with whom you want to share in the text box. Enter multiple addresses, separated by commas, if you want to share the workbook with multiple people. One feature I found particularly useful when adding email addresses: As you type, Excel looks through your corporate or personal address book and lists the names and addresses of contacts who match the text you’ve input. Click the address you want to add. This not only saves you a bit of time but helps make sure you don’t incorrectly type in addresses. Next, decide whether anyone with the link can access the file, or only those whose email addresses you enter. If you see the text “Anyone with the link can edit” near the top of the pane, you can change that by clicking it, then choosing Specific people on the screen that appears. Similarly, if “Specific people” appears above the email addresses, you can change that by clicking it, then choosing Anyone with the link can edit from the screen that appears.On this second screen you can also set the document to read-only for everybody, or allow everybody to edit it. In the “Other settings” section, click the down arrow and choose either Can edit, which allows full editing, or Can view, which is read-only. If you want to give certain people editing privileges and others view-only privileges, you can send two separate invitations with different rights selected. On this screen you can also set an expiration date after which people won’t be able to access the file, and you can set a password so that only people who have the password can access it. When you’ve made your selections, click Apply. Back in the main “Send link” screen, you can send a message along with the link by typing it into the Message box. Then click Send. An email is sent to all the recipients with a link they can click to open the document. Your collaborators will get an email like this when you share a spreadsheet. Preston Gralla / FoundryThere’s another way to share a file stored in a personal OneDrive for collaboration: In the “Copy link” area at the bottom of the “Send link” pane, click Copy. When you do that, you can copy the link and send it to someone yourself via email. Note that you have the same options for setting access and editing permissions as you do if you have Excel send the link directly for you. Just click Anyone with the link can edit or Specific people below “Copy link,” and follow the instructions above. To begin collaborating: When your recipients receive the email and click to open the spreadsheet, they’ll open it in the web version of Excel in a browser, not in the desktop version of Excel. If you’ve granted them edit permissions, they can begin editing immediately in the browser or else click Editing > Open in Desktop App on the upper right of the screen to work in the Excel desktop client. Excel for the web is less powerful and polished than the desktop client, but it works well enough for real-time collaboration. As soon as any collaborators open the file, you’ll see a colored cursor that indicates their presence in the file. Each person collaborating gets a different color. Hover your cursor over a colored cell that indicates someone’s presence, and you’ll see their name. Once they begin editing the workbook, such as entering data or a formula into a cell, creating a chart, and so on, you see the changes they make in real time. Your cursor also shows up on their screen as a color, and they see the changes you make. You can easily see where collaborators are working in a shared worksheet. Preston Gralla / Foundry Collaboration includes the ability to make comments in a file, inside individual cells, without actually changing the contents of the cell. To do it, right-click a cell, select New Comment and type in your comment. Everyone collaborating can see that a cell has a comment in it — it’s indicated by a small colored notch appearing in the upper right of the cell. The color matches the person’s collaboration color. To see someone’s comment in a cell, hover your cursor over the cell or put your cursor in the cell and you’ll see the comment, the name of the person who made the comment, and a Reply box you can use to send a reply. You can also click the Comments button on the upper right of the screen to open the Comments pane, which lists every comment by every person. Click any comment to jump to the cell it’s in. You can also reply when you click a comment in the pane. You can make see comments that other people make, and make comments yourself. Preston Gralla / Foundry Take advantage of linked data Excel for Microsoft 365 has a feature that Microsoft calls “linked data types.” Essentially, they’re cells that are connected to an online sourcethat automatically updates their information — for example, a company’s current stock price. As I write this, there are nearly approximately 100 linked data types, including not just obvious data types such as stocks, geography, and currencies, but many others, including chemistry, cities, anatomy, food, yoga, and more. To use them, type the items you want to track into cells in a single column. For stocks, for example, you can type in a series of stock ticker symbols, company names, fund names, etc. After that, select the cells, then on the Ribbon’s Data tab, select Stocks in the Data Types section in the middle.Excel automatically converts the text in each cell into the matching data source — in our example, into the company name and stock ticker. Excel also adds a small icon to the left edge of each cell identifying it as a linked cell. Click any icon and a data card will pop up showing all sorts of information about the kind of information you’ve typed in.  For instance, a stock data card shows stock-related information such as current price, today’s high and low, and 52-week high and low, as well as general company information including industry and number of employees. A location card shows the location’s population, capital, GDP, and so on. You can build out a table using data from the data card. To do so, select the cells again, and an Insert Data button appears. Click the button, then select the information you want to appear, such as Price for the current stock price, or Population for the population of a geographic region. srcset=" 620w, 300w, 172w, 86w, 491w, 368w, 256w" width="620" height="606" sizes="100vw, 620px">Linked data types let you insert information, such as a company’s high and low stock prices, that is continually updated. Preston Gralla / Foundry Excel will automatically add a column to the right populated with the latest information for each item you’re tracking, and will keep it updated. You can click the Insert Data button multiple times to keep adding columns to the right for different types of data from the item’s data card.  It’s helpful to add column headers so you know what each column is showing. Make your own custom views of a worksheet Sheet Views let you make a copy of a sheet and then apply filtered or sorted views of the data to the new sheet. It’s useful when you’re working with other people on a spreadsheet, and someone wants to create a customized view without altering the original sheet. You can all create multiple custom-filtered/sorted views for a sheet. Once you’ve saved a sheet view, anyone with access to the spreadsheet can see it. Note: To use this feature, your spreadsheet must be stored in OneDrive. Sheet views work best when your data is in table format. Select the data, then go to the Ribbon toolbar and click the Insert tab. Near the left end of the Insert toolbar, click the Table button and then OK. To create a new sheet view, click the Ribbon’s View tab, then click the New button in the Sheet View area at the far left. The row numbers and column letters at the left and top of your spreadsheet turn black to let you know you’re in a new sheet view. In the Sheet View area of the Ribbon, it says Temporary View, the default name given to a new sheet view before you’ve saved it. Here’s a sheet view with data sorted from highest to lowest costs. Preston Gralla / Foundry Now apply whatever sorting and filtering you like to the data.To save this view, click the Keep button in the Sheet View area of the Ribbon. When you do that, it is saved as “View1” by default. You can click View1 and type in a more meaningful name for the view. When you click Exit on this toolbar, you return to your spreadsheet, and the row numbers and columns on the left and top of the spreadsheet are no longer black. To switch from one sheet view to another, click the View tab. At the left of the Ribbon toolbar, click the down arrow next to the name of the current viewto open a dropdown list of the sheet views created for the spreadsheet. Click the name of a sheet view to switch to it. Whenever you’re looking at a sheet view, the row numbers and column letters framing your spreadsheet remain black to indicate that you’re in a sheet view, not the original spreadsheet. Create dynamic arrays and charts Dynamic arrays let you write formulas that return multiple values based on your data. When data on the spreadsheet is updated, the dynamic arrays automatically update and resize themselves. To create a dynamic array, first create a table as outlined in the previous tip. Make sure to include a column that lists categories. Also put in at least one column to its right that lists corresponding values. Put a header at the top of each column. So, for example, if you’re creating a spreadsheet for a business trip budget, Column A might list expenses, such as plane tickets, meals, hotel, etc., and Column B could list each item’s cost on the same row. Once you’ve set up the table, use a dynamic array function on it, such as FILTER, SORT, or UNIQUE to create a dynamic array next to the table. Here’s an example of a formula for using the FILTER function: =FILTERThis tells Excel to show only the items that cost less than in the array. The FILTER function created a data array showing only the items with costs below Preston Gralla / Foundry Now, whenever the data in your source table changes, the dynamic array updates and resizes itself to accommodate the changes. That means the dynamic array is always up to date. So in our example, if you add new items with values under to the table, the dynamic array will enlarge itself and include those new items. In the same way, you can use the SORT function to sort data and the UNIQUE function to remove duplicate data.You create a dynamic chart from the dynamic array in the same way you do any other Excel chart. Select the cells from the dynamic array that you want to chart, then select the Insert tab and select the type of chart you want to add. When the source data changes in a way that affects the dynamic array that the chart is based on, both the dynamic array and the chart will be updated. Use AutoSave to provide a safety net as you work If you’re worried that you’ll lose your work on a worksheet because you don’t constantly save it, you’ll welcome the AutoSave feature. It automatically saves your files for you, so you won’t have to worry about system crashes, power outages, Excel crashes and similar problems. It only works only on documents stored in OneDrive, OneDrive for Business, or SharePoint Online. It won’t work with files saved in the older .xls format or files you save to your hard drive. AutoSave is a vast improvement over the previous AutoRecover feature built into Excel. AutoRecover doesn’t save your files in real time; instead, every several minutes it saves an AutoRecover file that you can try to recover after a crash. It doesn’t always work, though — for example, if you don’t properly open Excel after the crash, or if the crash doesn’t meet Microsoft’s definition of a crash. In addition, Microsoft notes, “AutoRecover is only effective for unplanned disruptions, such as a power outage or a crash. AutoRecover files are not designed to be saved when a logoff is scheduled or an orderly shutdown occurs.” And the files aren’t saved in real time, so you’ll likely lose several minutes of work even if all goes as planned. AutoSave is turned on by default in Excel for Microsoft 365 .xlsx workbooks stored in OneDrive, OneDrive for Business, or SharePoint Online. To turn it offfor a workbook, use the AutoSave slider on the top left of the screen. If you want AutoSave to be off for all files by default, select File > Options > and uncheck the box marked AutoSave files stored in the Cloud by default on Excel. Using AutoSave may require some rethinking of your workflow. Many people are used to creating new worksheets based on existing ones by opening the existing file, making changes to it, and then using As to save the new version under a different name, leaving the original file intact. Be warned that doing this with AutoSave enabled will save your changes in the original file. Instead, Microsoft suggests opening the original file and immediately selecting File > a Copyto create a new version. If AutoSave does save unwanted changes to a file, you can always use the Version History feature described below to roll back to an earlier version. Review or restore earlier versions of a spreadsheet There’s an extremely useful feature hiding in the title bar in Excel for Microsoft 365: You can use Version History to go back to previous versions of a file, review them, compare them side-by-side with your existing version, and copy and paste from an older file to your existing one. You can also restore an entire old version. To do it, click the file name at the top of the screen in an open file. A drop-down menu appears. Click Version History, and the Version History pane appears on the right side of the screen with a list of the previous versions of the file, including the time and date they were saved.Use Version History to see all previous versions of a spreadsheet, copy and paste from an older file to your existing one, or restore an entire old version. Preston Gralla / Foundry In the Version History pane, click Open version under any older version, and that version appears as a read-only version in a new window. Scroll through the version and copy any content you want, then paste it into the latest version of the file. To restore the old version, overwriting the current one, click the Restore button. Try out Microsoft 365 Copilot in Excel — but don’t expect too much For an additional subscription fee, business users of Excel can use Microsoft’s genAI add-in, Microsoft 365 Copilot. You can have Copilot suggest and create charts, create formulas, mine spreadsheets for data insights you might have missed, and more. If you have a Microsoft 365 Personal or Family subscription, many of those features are now bundled with your core subscription. To start using Copilot in Excel, open a spreadsheet and click the Copilot button at the right of the Ribbon’s Home tab. The Copilot panel will appear on the right, offering suggestions for actions it can perform, such as summarizing your data with a chart, adding formulas to the spreadsheet, or applying conditional formatting to the sheet. You can also chat with Copilot in the panel, asking questions about your data or how to perform an action yourself. Note that these suggestions are generic and won’t always make sense. For example, when you start with a blank worksheet and click the Copilot button, its suggestions include summarizing data using pivot tables or charts, even though there’s no data to chart or put into a table. Microsoft 365 Copilot can help you in multiple ways in Excel, including creating formulas and charts, mining spreadsheets for insights, and more. Preston Gralla / Foundry In my testing, I found that Copilot wasn’t particularly helpful. For example, when I asked it to summarize data using a PivotTable or chart, several times it responded, “Something went wrong. Please try again in a moment.” Then it said that I first needed to reformat parts of my spreadsheet by using the Transformfunction, and gave confusing advice on how I could do it — it wouldn’t do the task itself.When I asked it to suggest conditional formatting for my spreadsheet, which would highlight important data, it told me which data I should highlight but didn’t explain why the data was important. It also didn’t do the highlighting for me or tell me how to do it. I gave it one more try and asked it to perform an advanced analysis, which it would use Python to do. It certainly did something, although it was unclear what it was. It overwrote my original spreadsheet and added a section that claimed to show annual growth rates for revenue streams. But the data seemed to be incorrect. Perhaps advanced spreadsheet jockeys might be able to make sense of what Copilot is up to whenever they ask it for help. But mere mortal businesspeople may find it of no help at all. In my testing, I found Copilot not at all helpful, although spreadsheet jockeys may be able to make some sense of what it does. Preston Gralla / Foundry What’s more, Microsoft’s focus on Copilot in M365 has reduced the usefulness of Excel in some ways. For example, there used to be a handy feature called Smart Lookup that let you conduct targeted web searches from inside Excel. But at the beginning of 2025, Microsoft removed Smart Lookup from Excel, saying that the feature has been deprecated. Now the only way to search the web from inside Excel is via Copilot, which lacks some features of Smart Lookup — notably the ability to highlight words or phrases in a document and trigger an automatic web search. And M365 Copilot isn’t available to business customers unless they pay the additional subscription fee. Other features to check out Spreadsheet pros will be pleased with several other features and tools that have been added to Excel for Microsoft 365 over the past few years, from a quick data analysis tool to an advanced 3D mapping platform. Get an instant data analysis If you’re looking to analyze data in a spreadsheet, the Quick Analysis tool will help. Highlight the cells you want to analyze, then move your cursor to the lower right-hand corner of what you’ve highlighted. A small icon of a spreadsheet with a lightning bolt on it appears. Click it and you’ll get a variety of tools for performing instant analysis of your data. For example, you can use the tool to highlight the cells with a value greater than a specific number, get the numerical average for the selected cells, or create a chart on the fly. The Quick Analysis feature gives you a variety of tools for analyzing your data instantly. Preston Gralla / Foundry Translate text You can translate text from right within Excel. Highlight the cell whose text you want translated, then select Review > Translate. A Translator pane opens on the right. Excel will detect the words’ language at the top of the pane; you then select the language you want it translated to below. If Excel can’t detect the language of the text you chose or detects it incorrectly, you can override it. Easily find worksheets that have been shared with you It’s easy to forget which worksheets others have shared with you. In Excel for Microsoft 365 there’s an easy way to find them: Select File > Open > Shared with Me to see a list of them all. Note that this only works with OneDriveand SharePoint Online. You’ll also need to be signed into you Microsoft or work or school account. Predict the future with Forecast Sheet Using the Forecast Sheet function, you can generate forecasts built on historical data. If, for example, you have a worksheet showing past book sales by date, Forecast Sheet can predict future sales based on past ones. To use the feature, you must be working in a worksheet that has time-based historical data. Put your cursor in one of the data cells, go to the Data tab on the Ribbon and select Forecast Sheet from the Forecast group toward the right. On the screen that appears, you can select various options such as whether to create a line or bar chart and what date the forecast should end. Click the Create button, and a new worksheet will appear showing your historical and predicted data and the forecast chart.The Forecast Sheet feature can predict future results based on historical data. Preston Gralla / Foundry Manage data for analysis with Get & Transform This feature is not entirely new to Excel. Formerly known as Power Query, it was made available as a free add-in to Excel 2013 and worked only with the PowerPivot features in Excel Professional Plus. Microsoft’s Power BI business intelligence software offers similar functionality. Now called Get & Transform, it’s a business intelligence tool that lets you pull in, combine, and shape data from wide variety of local and cloud sources. These include Excel workbooks, CSV files, SQL Server and other databases, Azure, Active Directory, and many others. You can also use data from public sources including Wikipedia. Get & Transform helps you pull in and shape data from a wide variety of sources. Preston Gralla / Foundry You’ll find the Get & Transform tools together in a group on the Data tab in the Ribbon. For more about using these tools, see Microsoft’s “Getting Started with Get & Transform in Excel.” Make a 3D map Before Excel 2016, Power Map was a popular free 3D geospatial visualization add-in for Excel. Now it’s free, built into Excel for Microsoft 365, and has been renamed 3D Maps. With it, you can plot geographic and other information on a 3D globe or map. You’ll need to first have data suitable for mapping, and then prepare that data for 3D Maps. Those steps are beyond the scope of this article, but here’s advice from Microsoft about how to get and prepare data for 3D Maps. Once you have properly prepared data, open the spreadsheet and select Insert > 3D Map > Open 3D Maps. Then click Enable from the box that appears. That turns on the 3D Maps feature. For details on how to work with your data and customize your map, head to the Microsoft tutorial “Get started with 3D Maps.” If you don’t have data for mapping but just want to see firsthand what a 3D map is like, you can download sample data created by Microsoft. The screenshot shown here is from Microsoft’s Dallas Utilities Seasonal Electricity Consumption Simulation demo. When you’ve downloaded the workbook, open it up, select Insert > 3D Map > Open 3D Maps and click the map to launch it. With 3D Maps you can plot geospatial data in an interactive 3D map. Preston Gralla / Foundry Automate tasks If you have OneDrive for Business and use Excel with a commercial or educational Microsoft 365 license, you can automate tasks with the Automate tab. You’ll be able to create and edit scripts with the Code Editor, run automated tasks with a button click, and share the script with co-workers. See Microsoft’s “Office Scripts in Excel” documentation for details. Insert data from a picture into Excel There are times you may find data inside an image file that you’d like to get into Excel. Typically, you’ll have to input the data from it manually. There’s now a way to have Excel convert the information on the image into data for a worksheet. In the Get & Transform Data group on the Data tab, click the From Picture dropdown and select Picture From File to choose the image you want to grab data from, or Picture from Clipboard to take a screenshot of an image on your PC and then import the data. For more details, see Microsoft’s “Insert data from picture” support page.   Use keyboard shortcuts Here’s one last productivity tip: If you memorize a handful of keyboard shortcuts for common tasks in Excel, you can save a great deal of time over hunting for the right command to click on. See “Handy Excel keyboard shortcuts for Windows and Mac” for our favorites. This article was originally published in August 2019 and most recently updated in May 2025. More Excel tutorials: Excel basics: Get started with tables Excel basics: Get started with charts and sparklines How to use PivotTables and PivotCharts in Excel How to use slicers in Excel How to use Excel formulas and functions Howto use conditional formatting in Excel How to use Excel macros to save time and automate your work #excel #microsoft #cheat #sheet
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    Excel for Microsoft 365 cheat sheet
    Windows may get all the attention, but when you want to get real work done, you turn to the applications that run on it. And if you use spreadsheets, that generally means Excel. Excel is, of course, part of Microsoft’s Office suite of productivity tools. Microsoft sells Office under two models: Individuals and businesses can pay for the software license up front and own it forever (what the company calls the “perpetual” version of the suite), or they can purchase a Microsoft 365 subscription, which means they have access to the software for only as long as they keep paying the subscription fee. When you purchase a perpetual version of the suite — say, Office 2021 or Office 2024 — its applications will never get new features, whereas Microsoft 365 apps are continually updated with new features. For more details, see our in-depth comparison of the two Office models. This cheat sheet gets you up to speed on the features that have been introduced or changed in Microsoft 365’s Excel for Windows desktop client over the past few years. (If you’re looking for Excel tips for the perpetual-license Office suite, see our Office 2021 and 2024 cheat sheet.) We’ll periodically update this story as new features roll out. In this article Use the Ribbon Search to get tasks done quickly Explore Excel’s advanced chart types Collaborate in real time Take advantage of linked data Make your own custom views of a worksheet Create dynamic arrays and charts Use AutoSave to provide a safety net as you work Review or restore earlier versions of a spreadsheet Try out Microsoft 365 Copilot in Excel — but don’t expect too much Other new features to check out Use keyboard shortcuts Use the Ribbon The Ribbon interface, which puts commonly used commands in a tabbed toolbar running across the top of the application window, is alive and well in the current version of Excel. Microsoft has tweaked the Ribbon’s looks numerous times over the years, but it still works the same way it always has: just click one of the Ribbon’s tabs to see related commands on the toolbar. For example, click Insert to find buttons for inserting tables, PivotTables, charts, and more. Through the years, Excel’s Ribbon has gotten a variety of cosmetic changes, but it still works largely the way it always has. Preston Gralla / Foundry Just as in previous versions of Excel, if you want the Ribbon commands to go away, press Ctrl-F1 or click the name of the tab you’re currently on. (The tabs above the Ribbon — File, Home, Insert, and so on — stay visible.) To make the commands reappear, press Ctrl-F1 again or click any tab name. You’ve got other options for displaying the Ribbon as well. To get to them, click the Ribbon display options icon (a down arrow) on the bottom of the Ribbon at the far right, just below the Share button. A drop-down menu appears with these four options: Full-screen mode: This makes Excel take up your entire screen and hides the Ribbon. To get out of full-screen mode, click the three-dot icon at the upper right of the screen. Show tabs only: This shows the tabs but hides the commands underneath them. It’s the same as pressing Ctrl-F1. To display the commands underneath the tabs when they’re hidden, press Ctrl-F1, click a tab, or click the Ribbon display options down arrow and select Always show Ribbon. Always show Ribbon: This displays the entire Ribbon, both the tabs and commands underneath them. Show/Hide Quick Access toolbar: This displays or hides the Quick Access toolbar, which gives you fast access to Excel commands you want to have available no matter which tab you’re on. When you enable the toolbar, it starts off empty. To populate it, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, choose which features to put on it. If you don’t see a command you want, click More Commands. Find the command you want on the left and click Add. You can have the toolbar appear either at the top of the screen, just to the right of the AutoSave button, or just underneath the Ribbon. To move it from one place to another, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, select either Show below the Ribbon or Show above the Ribbon.  Microsoft has for many years teased a simplified version of the Ribbon that hides most of the commands to reduce clutter. That simplified Ribbon is available in the Excel web app, but there’s currently no sign that it will appear in the Excel desktop app. There’s a useful feature in what Microsoft calls the backstage area that appears when you click the File tab on the Ribbon. If you click Open or Save a Copy from the menu on the left, you can see the cloud-based services you’ve connected to your Office account, such as SharePoint and OneDrive. Each location displays its associated email address underneath it. This is quite helpful if you use a cloud service with more than one account, such as if you have one OneDrive account for personal use and another one for business. You’ll be able to see at a glance which is which. Click the Add a service dropdown to add another cloud storage account. Preston Gralla / Foundry Search to get tasks done quickly Excel has never been the most user-friendly of applications, and it has so many powerful features it can be tough to keep track of them all. That’s where the handy Search feature comes in. To use it, click in the Search box — it’s above the Ribbon in the green title area. (Keyboard fans can instead press Alt-Q.) Then type in a task you want to do. If you want to summarize your spreadsheet data using a PivotTable, for example, type in something like summarize with pivot table. You’ll get a menu showing potential matches for the task. In this instance, the top result is a direct link to the form for summarizing with a PivotTable — select it and you’ll start your task right away, without having to go to the Ribbon’s Insert tab first. The search box makes it easy to perform just about any task in Excel. Preston Gralla / Foundry If you’d like more information about your task, the final items that appear in the menu let you select from related Help topics. Even if you consider yourself a spreadsheet jockey, it’s worth your while to try out the enhanced search function. It’s a big time-saver, and far more efficient than hunting through the Ribbon to find a command. Also useful is that it remembers the features you’ve previously clicked on in the box, so when you click in it, you first see a list of previous tasks you’ve searched for. That makes sure that tasks that you frequently perform are always within easy reach. And it puts tasks you rarely do within easy reach as well. Users of enterprise and education editions of Microsoft 365 can also use the Search box to find people in their organization, SharePoint resources, and other personalized results from within Excel. (See the Microsoft Search support page for more details about all it can do.) Explore Excel’s advanced chart types Charts are great for visualizing and presenting spreadsheet data, and for gaining insights from it. To that end, Microsoft has introduced a number of advanced chart types over the past several years, including most notably a histogram (frequently used in statistics), a “waterfall” that’s effective at showing running financial totals, and a hierarchical treemap that helps you find patterns in data. Note that the new charts are available only if you’re working in an .xlsx document. If you use the older .xls format, you won’t find them. To see all the charts, put your cursor in a cell or group of cells that contains data, select Insert > Recommended Charts and click the All Charts tab. You’ll find the newer charts, mixed in with the older ones. Select any to create the chart. (For help using charts, see our guide to charts and sparklines in Excel.) Excel includes several advanced chart types, including waterfall. Preston Gralla / Foundry These are the new chart types: Treemap. This chart type creates a hierarchical view of your data, with top-level categories (or tree branches) shown as rectangles, and with subcategories (or sub-branches) shown as smaller rectangles grouped inside the larger ones. Thus, you can easily compare the sizes of top-level categories and subcategories in a single view. For instance, a bookstore can see at a glance that it brings in more revenue from 1st Readers, a subcategory of Children’s Books, than for the entire Non-fiction top-level category. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?quality=50&strip=all 830w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=300%2C191&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=768%2C489&quality=50&strip=all 768w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=264%2C168&quality=50&strip=all 264w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=132%2C84&quality=50&strip=all 132w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=753%2C480&quality=50&strip=all 753w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=565%2C360&quality=50&strip=all 565w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=392%2C250&quality=50&strip=all 392w" width="830" height="529" sizes="(max-width: 830px) 100vw, 830px">A treemap chart lets you easily compare top-level categories and subcategories in a single view. Preston Gralla / Foundry Sunburst. This chart type also displays hierarchical data, but in a multi-level pie chart. Each level of the hierarchy is represented by a circle. The innermost circle contains the top-level categories, the next circle out shows subcategories, the circle after that subsubcategories and so on. Sunbursts are best for showing the relationships among categories and subcategories, while treemaps are better at showing the relative sizes of categories and subcategories. A sunburst chart shows hierarchical data such as book categories and subcategories as a multi-level pie chart. Preston Gralla / Foundry Waterfall. This chart type is well-suited for visualizing financial statements. It displays a running total of the positive and negative contributions toward a final net value. A waterfall chart shows a running total of positive and negative contributions, such as revenue and expenses, toward a final net value. Preston Gralla / Foundry Histogram. This kind of chart shows frequencies within a data set. It could, for example, show the number of books sold in specific price ranges in a bookstore. Histograms are good for showing frequencies, such as number of books sold at various price points. Preston Gralla / Foundry Pareto. This chart, also known as a sorted histogram, contains bars as well as a line graph. Values are represented in descending order by bars. The cumulative total percentage of each bar is represented by a rising line. In the bookstore example, each bar could show a reason for a book being returned (defective, priced incorrectly, and so on). The chart would show, at a glance, the primary reasons for returns, so a bookstore owner could focus on those issues. Note that the Pareto chart does not show up when you select Insert > Recommended Charts > All Charts. To use it, first select the data you want to chart, then select Insert > Insert Statistic Chart, and under Histogram, choose Pareto. In a Pareto chart, or sorted histogram, a rising line represents the cumulative total percentage of the items being measured. In this example, it’s easy to see that more than 80% of a bookstore’s returns are attributable to three problems. Preston Gralla / Foundry Box & Whisker. This chart, like a histogram, shows frequencies within a data set but provides for a deeper analysis than a histogram. For example, in a bookstore it could show the distribution of prices of different genres of books. In the example shown here, each “box” represents the first to third quartile of prices for books in that genre, while the “whiskers” (the lines extending up and down from the box) show the upper and lower range of prices. Outliers that are priced outside the whiskers are shown as dots, the median price for each genre is shown with a horizontal line across the box, and the mean price is shown with an x. Box & Whisker charts can show details about data ranges such as the first to third quartile in the “boxes,” median and mean inside the boxes, upper and lower range with the “whiskers,” and outliers with dots.Preston Gralla / Foundry Funnel. This chart type is useful when you want to display values at multiple stages in a process. A funnel chart can show the number of sales prospects at every stage of a sales process, for example, with prospects at the top for the first stage, qualified prospects underneath it for the second stage, and so on, until you get to the final stage, closed sales. Generally, the values in funnel charts decrease with each stage, so the bars in the chart look like a funnel. Funnel charts let you display values at multiple stages in a process. Preston Gralla / Foundry When creating the data for a funnel chart, use one column for the stages in the process you’re charting, and a second column for the values for each stage. Once you’ve done that, to create the chart, select the data, then select Insert > Recommended Charts > All Charts > Funnel. Map. Map charts do exactly what you think they should: They let you compare data across different geographical regions, such as countries, regions, states, counties, or postal codes. Excel will automatically recognize the regions and create a map that visualizes the data. You can compare data across different locations with a map chart. Preston Gralla / Foundry To create a map chart, select the data you want to chart, then select Insert > Maps, then select the map chart. Note that in some instances, Excel might have a problem creating the map — for example, if there are multiple locations with the same name as one that you’re mapping. If that occurs, you’ll have to add one or more columns with details about the locations. If, say, you’re charting towns in the United Kingdom, you would have to include columns for the county and country each town is located in. Collaborate in real time For those who frequently collaborate with others, a welcome feature in Excel for Microsoft 365 is real-time collaboration that lets people work on spreadsheets together from anywhere in the world with an internet connection. Microsoft calls this “co-authoring.” Note that in order to use co-authoring, the spreadsheet must be stored in OneDrive, OneDrive for Business, or SharePoint Online, and you must be logged into your Microsoft 365 account. Also, co-authoring works in Excel only if you have AutoSave turned on. To do it, choose the On option on the AutoSave slider at the top left of the screen. To share a spreadsheet so you can collaborate on it with others: first open it, then click the Share button on the upper-right of the Excel screen. The “Send link” window pops up. Here you can send an email with a link where others can access the spreadsheet. Use the “Send link” pane to share a document and the “Link settings” pane to fine-tune its access permissions. Preston Gralla / Foundry Enter the email address of the person with whom you want to share in the text box. Enter multiple addresses, separated by commas, if you want to share the workbook with multiple people. One feature I found particularly useful when adding email addresses: As you type, Excel looks through your corporate or personal address book and lists the names and addresses of contacts who match the text you’ve input. Click the address you want to add. This not only saves you a bit of time but helps make sure you don’t incorrectly type in addresses. Next, decide whether anyone with the link can access the file, or only those whose email addresses you enter. If you see the text “Anyone with the link can edit” near the top of the pane, you can change that by clicking it, then choosing Specific people on the screen that appears. Similarly, if “Specific people” appears above the email addresses, you can change that by clicking it, then choosing Anyone with the link can edit from the screen that appears. (If you use a business, enterprise, or education edition of Office, your IT department may have set up different sharing permissions on these two screens, such as an option to allow anyone within your organization to edit the document. You may also need to click a Link settings button — a gear icon — to access the “Link settings” pane.) On this second screen you can also set the document to read-only for everybody, or allow everybody to edit it. In the “Other settings” section, click the down arrow and choose either Can edit, which allows full editing, or Can view, which is read-only. If you want to give certain people editing privileges and others view-only privileges, you can send two separate invitations with different rights selected. On this screen you can also set an expiration date after which people won’t be able to access the file, and you can set a password so that only people who have the password can access it. When you’ve made your selections, click Apply. Back in the main “Send link” screen, you can send a message along with the link by typing it into the Message box. Then click Send. An email is sent to all the recipients with a link they can click to open the document. Your collaborators will get an email like this when you share a spreadsheet. Preston Gralla / Foundry (If you’d rather send recipients a copy of the file as an Excel file instead of a link, and thus not allow real-time collaboration, click Send a copy at the bottom of the “Send link” screen.) There’s another way to share a file stored in a personal OneDrive for collaboration: In the “Copy link” area at the bottom of the “Send link” pane, click Copy. When you do that, you can copy the link and send it to someone yourself via email. Note that you have the same options for setting access and editing permissions as you do if you have Excel send the link directly for you. Just click Anyone with the link can edit or Specific people below “Copy link,” and follow the instructions above. To begin collaborating: When your recipients receive the email and click to open the spreadsheet, they’ll open it in the web version of Excel in a browser, not in the desktop version of Excel. If you’ve granted them edit permissions, they can begin editing immediately in the browser or else click Editing > Open in Desktop App on the upper right of the screen to work in the Excel desktop client. Excel for the web is less powerful and polished than the desktop client, but it works well enough for real-time collaboration. As soon as any collaborators open the file, you’ll see a colored cursor that indicates their presence in the file. Each person collaborating gets a different color. Hover your cursor over a colored cell that indicates someone’s presence, and you’ll see their name. Once they begin editing the workbook, such as entering data or a formula into a cell, creating a chart, and so on, you see the changes they make in real time. Your cursor also shows up on their screen as a color, and they see the changes you make. You can easily see where collaborators are working in a shared worksheet. Preston Gralla / Foundry Collaboration includes the ability to make comments in a file, inside individual cells, without actually changing the contents of the cell. To do it, right-click a cell, select New Comment and type in your comment. Everyone collaborating can see that a cell has a comment in it — it’s indicated by a small colored notch appearing in the upper right of the cell. The color matches the person’s collaboration color. To see someone’s comment in a cell, hover your cursor over the cell or put your cursor in the cell and you’ll see the comment, the name of the person who made the comment, and a Reply box you can use to send a reply. You can also click the Comments button on the upper right of the screen to open the Comments pane, which lists every comment by every person. Click any comment to jump to the cell it’s in. You can also reply when you click a comment in the pane. You can make see comments that other people make, and make comments yourself. Preston Gralla / Foundry Take advantage of linked data Excel for Microsoft 365 has a feature that Microsoft calls “linked data types.” Essentially, they’re cells that are connected to an online source (Bing) that automatically updates their information — for example, a company’s current stock price. As I write this, there are nearly approximately 100 linked data types, including not just obvious data types such as stocks, geography, and currencies, but many others, including chemistry, cities, anatomy, food, yoga, and more. To use them, type the items you want to track into cells in a single column. For stocks, for example, you can type in a series of stock ticker symbols, company names, fund names, etc. After that, select the cells, then on the Ribbon’s Data tab, select Stocks in the Data Types section in the middle. (If you had typed in geographic names such as countries, states, or cities, you would instead select Geography.) Excel automatically converts the text in each cell into the matching data source — in our example, into the company name and stock ticker. Excel also adds a small icon to the left edge of each cell identifying it as a linked cell. Click any icon and a data card will pop up showing all sorts of information about the kind of information you’ve typed in.  For instance, a stock data card shows stock-related information such as current price, today’s high and low, and 52-week high and low, as well as general company information including industry and number of employees. A location card shows the location’s population, capital, GDP, and so on. You can build out a table using data from the data card. To do so, select the cells again, and an Insert Data button appears. Click the button, then select the information you want to appear, such as Price for the current stock price, or Population for the population of a geographic region. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?quality=50&strip=all 620w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=300%2C293&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=172%2C168&quality=50&strip=all 172w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=86%2C84&quality=50&strip=all 86w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=491%2C480&quality=50&strip=all 491w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=368%2C360&quality=50&strip=all 368w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=256%2C250&quality=50&strip=all 256w" width="620" height="606" sizes="(max-width: 620px) 100vw, 620px">Linked data types let you insert information, such as a company’s high and low stock prices, that is continually updated. Preston Gralla / Foundry Excel will automatically add a column to the right populated with the latest information for each item you’re tracking, and will keep it updated. You can click the Insert Data button multiple times to keep adding columns to the right for different types of data from the item’s data card.  It’s helpful to add column headers so you know what each column is showing. Make your own custom views of a worksheet Sheet Views let you make a copy of a sheet and then apply filtered or sorted views of the data to the new sheet. It’s useful when you’re working with other people on a spreadsheet, and someone wants to create a customized view without altering the original sheet. You can all create multiple custom-filtered/sorted views for a sheet. Once you’ve saved a sheet view, anyone with access to the spreadsheet can see it. Note: To use this feature, your spreadsheet must be stored in OneDrive. Sheet views work best when your data is in table format. Select the data, then go to the Ribbon toolbar and click the Insert tab. Near the left end of the Insert toolbar, click the Table button and then OK. To create a new sheet view, click the Ribbon’s View tab, then click the New button in the Sheet View area at the far left. The row numbers and column letters at the left and top of your spreadsheet turn black to let you know you’re in a new sheet view. In the Sheet View area of the Ribbon, it says Temporary View, the default name given to a new sheet view before you’ve saved it. Here’s a sheet view with data sorted from highest to lowest costs. Preston Gralla / Foundry Now apply whatever sorting and filtering you like to the data. (If you need help, see the “How to sort and filter data” section of our Excel tables guide.) To save this view, click the Keep button in the Sheet View area of the Ribbon. When you do that, it is saved as “View1” by default. You can click View1 and type in a more meaningful name for the view. When you click Exit on this toolbar, you return to your spreadsheet, and the row numbers and columns on the left and top of the spreadsheet are no longer black. To switch from one sheet view to another, click the View tab. At the left of the Ribbon toolbar, click the down arrow next to the name of the current view (it will say Default if you’re viewing the spreadsheet without a sheet view applied) to open a dropdown list of the sheet views created for the spreadsheet. Click the name of a sheet view to switch to it. Whenever you’re looking at a sheet view, the row numbers and column letters framing your spreadsheet remain black to indicate that you’re in a sheet view, not the original spreadsheet. Create dynamic arrays and charts Dynamic arrays let you write formulas that return multiple values based on your data. When data on the spreadsheet is updated, the dynamic arrays automatically update and resize themselves. To create a dynamic array, first create a table as outlined in the previous tip. Make sure to include a column that lists categories. Also put in at least one column to its right that lists corresponding values. Put a header at the top of each column. So, for example, if you’re creating a spreadsheet for a business trip budget, Column A might list expenses, such as plane tickets, meals, hotel, etc., and Column B could list each item’s cost on the same row. Once you’ve set up the table, use a dynamic array function on it, such as FILTER, SORT, or UNIQUE to create a dynamic array next to the table. Here’s an example of a formula for using the FILTER function: =FILTER(A2:B9, B2:B9 < 2000) This tells Excel to show only the items that cost less than $2,000 in the array. The FILTER function created a data array showing only the items with costs below $2,000. Preston Gralla / Foundry Now, whenever the data in your source table changes, the dynamic array updates and resizes itself to accommodate the changes. That means the dynamic array is always up to date. So in our example, if you add new items with values under $2,000 to the table, the dynamic array will enlarge itself and include those new items. In the same way, you can use the SORT function to sort data and the UNIQUE function to remove duplicate data. (Read about more ways to use the FILTER, SORT, and UNIQUE functions from Microsoft support.) You create a dynamic chart from the dynamic array in the same way you do any other Excel chart. Select the cells from the dynamic array that you want to chart, then select the Insert tab and select the type of chart you want to add. When the source data changes in a way that affects the dynamic array that the chart is based on, both the dynamic array and the chart will be updated. Use AutoSave to provide a safety net as you work If you’re worried that you’ll lose your work on a worksheet because you don’t constantly save it, you’ll welcome the AutoSave feature. It automatically saves your files for you, so you won’t have to worry about system crashes, power outages, Excel crashes and similar problems. It only works only on documents stored in OneDrive, OneDrive for Business, or SharePoint Online. It won’t work with files saved in the older .xls format or files you save to your hard drive. AutoSave is a vast improvement over the previous AutoRecover feature built into Excel. AutoRecover doesn’t save your files in real time; instead, every several minutes it saves an AutoRecover file that you can try to recover after a crash. It doesn’t always work, though — for example, if you don’t properly open Excel after the crash, or if the crash doesn’t meet Microsoft’s definition of a crash. In addition, Microsoft notes, “AutoRecover is only effective for unplanned disruptions, such as a power outage or a crash. AutoRecover files are not designed to be saved when a logoff is scheduled or an orderly shutdown occurs.” And the files aren’t saved in real time, so you’ll likely lose several minutes of work even if all goes as planned. AutoSave is turned on by default in Excel for Microsoft 365 .xlsx workbooks stored in OneDrive, OneDrive for Business, or SharePoint Online. To turn it off (or back on again) for a workbook, use the AutoSave slider on the top left of the screen. If you want AutoSave to be off for all files by default, select File > Options > Save and uncheck the box marked AutoSave files stored in the Cloud by default on Excel. Using AutoSave may require some rethinking of your workflow. Many people are used to creating new worksheets based on existing ones by opening the existing file, making changes to it, and then using Save As to save the new version under a different name, leaving the original file intact. Be warned that doing this with AutoSave enabled will save your changes in the original file. Instead, Microsoft suggests opening the original file and immediately selecting File > Save a Copy (which replaces Save As when AutoSave is enabled) to create a new version. If AutoSave does save unwanted changes to a file, you can always use the Version History feature described below to roll back to an earlier version. Review or restore earlier versions of a spreadsheet There’s an extremely useful feature hiding in the title bar in Excel for Microsoft 365: You can use Version History to go back to previous versions of a file, review them, compare them side-by-side with your existing version, and copy and paste from an older file to your existing one. You can also restore an entire old version. To do it, click the file name at the top of the screen in an open file. A drop-down menu appears. Click Version History, and the Version History pane appears on the right side of the screen with a list of the previous versions of the file, including the time and date they were saved. (Alternatively, you can select the File tab on the Ribbon, click Info from the menu on the left, and then click the Version History button.) Use Version History to see all previous versions of a spreadsheet, copy and paste from an older file to your existing one, or restore an entire old version. Preston Gralla / Foundry In the Version History pane, click Open version under any older version, and that version appears as a read-only version in a new window. Scroll through the version and copy any content you want, then paste it into the latest version of the file. To restore the old version, overwriting the current one, click the Restore button. Try out Microsoft 365 Copilot in Excel — but don’t expect too much For an additional subscription fee, business users of Excel can use Microsoft’s genAI add-in, Microsoft 365 Copilot. You can have Copilot suggest and create charts, create formulas, mine spreadsheets for data insights you might have missed, and more. If you have a Microsoft 365 Personal or Family subscription, many of those features are now bundled with your core subscription. To start using Copilot in Excel, open a spreadsheet and click the Copilot button at the right of the Ribbon’s Home tab. The Copilot panel will appear on the right, offering suggestions for actions it can perform, such as summarizing your data with a chart, adding formulas to the spreadsheet, or applying conditional formatting to the sheet. You can also chat with Copilot in the panel, asking questions about your data or how to perform an action yourself. Note that these suggestions are generic and won’t always make sense. For example, when you start with a blank worksheet and click the Copilot button, its suggestions include summarizing data using pivot tables or charts, even though there’s no data to chart or put into a table. Microsoft 365 Copilot can help you in multiple ways in Excel, including creating formulas and charts, mining spreadsheets for insights, and more. Preston Gralla / Foundry In my testing, I found that Copilot wasn’t particularly helpful. For example, when I asked it to summarize data using a PivotTable or chart, several times it responded, “Something went wrong. Please try again in a moment.” Then it said that I first needed to reformat parts of my spreadsheet by using the Transform() function, and gave confusing advice on how I could do it — it wouldn’t do the task itself. (Eventually, I gave up.) When I asked it to suggest conditional formatting for my spreadsheet, which would highlight important data, it told me which data I should highlight but didn’t explain why the data was important. It also didn’t do the highlighting for me or tell me how to do it. I gave it one more try and asked it to perform an advanced analysis, which it would use Python to do. It certainly did something, although it was unclear what it was. It overwrote my original spreadsheet and added a section that claimed to show annual growth rates for revenue streams. But the data seemed to be incorrect. Perhaps advanced spreadsheet jockeys might be able to make sense of what Copilot is up to whenever they ask it for help. But mere mortal businesspeople may find it of no help at all. In my testing, I found Copilot not at all helpful, although spreadsheet jockeys may be able to make some sense of what it does. Preston Gralla / Foundry What’s more, Microsoft’s focus on Copilot in M365 has reduced the usefulness of Excel in some ways. For example, there used to be a handy feature called Smart Lookup that let you conduct targeted web searches from inside Excel. But at the beginning of 2025, Microsoft removed Smart Lookup from Excel, saying that the feature has been deprecated. Now the only way to search the web from inside Excel is via Copilot, which lacks some features of Smart Lookup — notably the ability to highlight words or phrases in a document and trigger an automatic web search. And M365 Copilot isn’t available to business customers unless they pay the additional subscription fee. Other features to check out Spreadsheet pros will be pleased with several other features and tools that have been added to Excel for Microsoft 365 over the past few years, from a quick data analysis tool to an advanced 3D mapping platform. Get an instant data analysis If you’re looking to analyze data in a spreadsheet, the Quick Analysis tool will help. Highlight the cells you want to analyze, then move your cursor to the lower right-hand corner of what you’ve highlighted. A small icon of a spreadsheet with a lightning bolt on it appears. Click it and you’ll get a variety of tools for performing instant analysis of your data. For example, you can use the tool to highlight the cells with a value greater than a specific number, get the numerical average for the selected cells, or create a chart on the fly. The Quick Analysis feature gives you a variety of tools for analyzing your data instantly. Preston Gralla / Foundry Translate text You can translate text from right within Excel. Highlight the cell whose text you want translated, then select Review > Translate. A Translator pane opens on the right. Excel will detect the words’ language at the top of the pane; you then select the language you want it translated to below. If Excel can’t detect the language of the text you chose or detects it incorrectly, you can override it. Easily find worksheets that have been shared with you It’s easy to forget which worksheets others have shared with you. In Excel for Microsoft 365 there’s an easy way to find them: Select File > Open > Shared with Me to see a list of them all. Note that this only works with OneDrive (both Personal and Business) and SharePoint Online. You’ll also need to be signed into you Microsoft or work or school account. Predict the future with Forecast Sheet Using the Forecast Sheet function, you can generate forecasts built on historical data. If, for example, you have a worksheet showing past book sales by date, Forecast Sheet can predict future sales based on past ones. To use the feature, you must be working in a worksheet that has time-based historical data. Put your cursor in one of the data cells, go to the Data tab on the Ribbon and select Forecast Sheet from the Forecast group toward the right. On the screen that appears, you can select various options such as whether to create a line or bar chart and what date the forecast should end. Click the Create button, and a new worksheet will appear showing your historical and predicted data and the forecast chart. (Your original worksheet will be unchanged.) The Forecast Sheet feature can predict future results based on historical data. Preston Gralla / Foundry Manage data for analysis with Get & Transform This feature is not entirely new to Excel. Formerly known as Power Query, it was made available as a free add-in to Excel 2013 and worked only with the PowerPivot features in Excel Professional Plus. Microsoft’s Power BI business intelligence software offers similar functionality. Now called Get & Transform, it’s a business intelligence tool that lets you pull in, combine, and shape data from wide variety of local and cloud sources. These include Excel workbooks, CSV files, SQL Server and other databases, Azure, Active Directory, and many others. You can also use data from public sources including Wikipedia. Get & Transform helps you pull in and shape data from a wide variety of sources. Preston Gralla / Foundry You’ll find the Get & Transform tools together in a group on the Data tab in the Ribbon. For more about using these tools, see Microsoft’s “Getting Started with Get & Transform in Excel.” Make a 3D map Before Excel 2016, Power Map was a popular free 3D geospatial visualization add-in for Excel. Now it’s free, built into Excel for Microsoft 365, and has been renamed 3D Maps. With it, you can plot geographic and other information on a 3D globe or map. You’ll need to first have data suitable for mapping, and then prepare that data for 3D Maps. Those steps are beyond the scope of this article, but here’s advice from Microsoft about how to get and prepare data for 3D Maps. Once you have properly prepared data, open the spreadsheet and select Insert > 3D Map > Open 3D Maps. Then click Enable from the box that appears. That turns on the 3D Maps feature. For details on how to work with your data and customize your map, head to the Microsoft tutorial “Get started with 3D Maps.” If you don’t have data for mapping but just want to see firsthand what a 3D map is like, you can download sample data created by Microsoft. The screenshot shown here is from Microsoft’s Dallas Utilities Seasonal Electricity Consumption Simulation demo. When you’ve downloaded the workbook, open it up, select Insert > 3D Map > Open 3D Maps and click the map to launch it. With 3D Maps you can plot geospatial data in an interactive 3D map. Preston Gralla / Foundry Automate tasks If you have OneDrive for Business and use Excel with a commercial or educational Microsoft 365 license, you can automate tasks with the Automate tab. You’ll be able to create and edit scripts with the Code Editor, run automated tasks with a button click, and share the script with co-workers. See Microsoft’s “Office Scripts in Excel” documentation for details. Insert data from a picture into Excel There are times you may find data inside an image file that you’d like to get into Excel. Typically, you’ll have to input the data from it manually. There’s now a way to have Excel convert the information on the image into data for a worksheet. In the Get & Transform Data group on the Data tab, click the From Picture dropdown and select Picture From File to choose the image you want to grab data from, or Picture from Clipboard to take a screenshot of an image on your PC and then import the data. For more details, see Microsoft’s “Insert data from picture” support page.   Use keyboard shortcuts Here’s one last productivity tip: If you memorize a handful of keyboard shortcuts for common tasks in Excel, you can save a great deal of time over hunting for the right command to click on. See “Handy Excel keyboard shortcuts for Windows and Mac” for our favorites. This article was originally published in August 2019 and most recently updated in May 2025. More Excel tutorials: Excel basics: Get started with tables Excel basics: Get started with charts and sparklines How to use PivotTables and PivotCharts in Excel How to use slicers in Excel How to use Excel formulas and functions How (and why) to use conditional formatting in Excel How to use Excel macros to save time and automate your work
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  • The Last Of Us Season Two, Episode Seven Recap: Abby Road

    We made it, everybody. We’ve reached the end of HBO’s The Last of Us. Wait, sorry, I’m getting word in my earpiece that…we’re only halfway done with it because this show’s going for four seasons. At this point, I’m mostly feeling deflated. Last week’s episode was such a catastrophic bummer that it cemented for me that the show fundamentally misunderstands The Last of Us Part II, the game this season and those that are still yet to come are adapting. But you know how your mother would tell you not to play ball in the house because you might accidentally break the priceless vase on display in the living room? Well, if you’ve already broken the vase, you might as well keep playing ball, so we’ll probably be doing this song and dance into 2029. For now, we’re on the season two finale, which essentially wraps up Ellie’s side of this condensed revenge story and reveals the premise of season three. Most game fans probably assumed this was where the season would end and, if nothing else, it’s still a bold cliffhanger to leave off on.Suggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher

    Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher

    Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jessetending to wounds the Seraphites have inflicted on Dina, which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Elliefinally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora, and she knew where Abbywas, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommysomewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his exgive Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and hisgirlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these peopleshooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac, who we haven’t seen in a few episodes. Sergeant Parkupdates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea.As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owenand Mel. The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with.” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allenwould often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorientingthing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue, but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Mannyloudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time.
    #last #season #two #episode #seven
    The Last Of Us Season Two, Episode Seven Recap: Abby Road
    We made it, everybody. We’ve reached the end of HBO’s The Last of Us. Wait, sorry, I’m getting word in my earpiece that…we’re only halfway done with it because this show’s going for four seasons. At this point, I’m mostly feeling deflated. Last week’s episode was such a catastrophic bummer that it cemented for me that the show fundamentally misunderstands The Last of Us Part II, the game this season and those that are still yet to come are adapting. But you know how your mother would tell you not to play ball in the house because you might accidentally break the priceless vase on display in the living room? Well, if you’ve already broken the vase, you might as well keep playing ball, so we’ll probably be doing this song and dance into 2029. For now, we’re on the season two finale, which essentially wraps up Ellie’s side of this condensed revenge story and reveals the premise of season three. Most game fans probably assumed this was where the season would end and, if nothing else, it’s still a bold cliffhanger to leave off on.Suggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jessetending to wounds the Seraphites have inflicted on Dina, which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Elliefinally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora, and she knew where Abbywas, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommysomewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his exgive Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and hisgirlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these peopleshooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac, who we haven’t seen in a few episodes. Sergeant Parkupdates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea.As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owenand Mel. The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with.” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allenwould often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorientingthing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue, but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Mannyloudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time. #last #season #two #episode #seven
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    The Last Of Us Season Two, Episode Seven Recap: Abby Road
    We made it, everybody. We’ve reached the end of HBO’s The Last of Us. Wait, sorry, I’m getting word in my earpiece that…we’re only halfway done with it because this show’s going for four seasons. At this point, I’m mostly feeling deflated. Last week’s episode was such a catastrophic bummer that it cemented for me that the show fundamentally misunderstands The Last of Us Part II, the game this season and those that are still yet to come are adapting. But you know how your mother would tell you not to play ball in the house because you might accidentally break the priceless vase on display in the living room? Well, if you’ve already broken the vase, you might as well keep playing ball, so we’ll probably be doing this song and dance into 2029. For now, we’re on the season two finale, which essentially wraps up Ellie’s side of this condensed revenge story and reveals the premise of season three. Most game fans probably assumed this was where the season would end and, if nothing else, it’s still a bold cliffhanger to leave off on.Suggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at $450 for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jesse (Young Mazino) tending to wounds the Seraphites have inflicted on Dina (Isabela Merced), which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Ellie (Bella Ramsey) finally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora (Tati Gabrielle), and she knew where Abby (Kaitlyn Dever) was, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommy (Gabriel Luna) somewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his ex (or are they technically still together now? I’m not sure) give Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and his (now ex?) girlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these people [are] shooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac (Jeffrey Wright), who we haven’t seen in a few episodes. Sergeant Park (Hettienne Park) updates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea. (Good thing you learned how to swim, queen.) As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owen (Spencer Lord) and Mel (Ariela Barer). The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with [them].” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max (or whatever it’s called by then)? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allen (co-host of the Axe of the Blood God podcast) would often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorienting (complimentary) thing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will Save You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue (or in this show’s case, the most literal, unpoetic dialogue a person can fathom), but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Manny (Danny Ramirez) loudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time.
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  • AI Pace Layers: a framework for resilient product design

    Designing human-centered AI products can be arduous.Keeping up with the overall pace of change isn’t easy. But here’s a bigger challenge:The wildly different paces of change attached to the key elements of AI product strategy, design, and development can make managing those elements — and even thinking about them — overwhelming.Yesterday’s design processes and frameworks offer priceless guidance that still holds. But in many spots, they just don’t fit today’s environment.For instance, designers used to map out and user-test precise, predictable end-to-end screen flows. But flows are no longer precisely predictable. AI generates dynamic dialogues and custom-tailored flows on the fly, rendering much of the old practice unhelpful and infeasible.It’s easy for product teams to feel adrift nowadays — we can hoist the sails, but we’re missing a map and a rudder. We need frameworks tailored to the traits that fundamentally set AI apart from traditional software, including:its capabilities for autonomy and collaboration,its probabilistic nature,its early need for quality data, andits predictable unpredictability. Humans tend to be perpetually surprised by its abilities — and its inabilities.AI pace layers: design for resilienceHere’s a framework to address these challenges.Building on Stewart Brand’s “Shearing Layers” framework, AI Pace Layers helps teams grow thriving AI products by framing them as layered systems with components that function and evolve at different timescales.It helps anticipate points of friction and create resilient and humane products.Each layer represents a specific domain of activity and responsibility, with a distinct pace of change.* Unlike the other layers, Services cuts across multiple layers rather than sitting between them, and its pace of change fluctuates erratically.Boundaries between layers call for special attention and care — friction at these points can produce destructive shearing and constructive turbulence.I’ll dive deeper into this framework with some practical examples showing how it works. But first, a brief review of the precursors that inspired this framework will help you put it to good use.The foundationsThis model builds on the insights of several influential design frameworks from the professions of building architecture and traditional software design.Shearing layersIn his 1994 book How Buildings Learn, Stewart Brand expanded on architect Frank Duffy’s concept of shearing layers. The core insight: buildings consist of components that change at different rates.Shell, Services, Scenery, and Sets..“…there isn’t any such thing as a building. A building properly conceived is several layers of longevity of built components.” — Frank DuffyShearing Layers of Change, from How Buildings Learn: What Happens after they’re built.Expanding on Duffy’s work, Brand identified six layers, from the slow-changing “Site” to the rapidly evolving “Stuff.”As the layers move at different speeds, friction forms where they meet. Buildings designed without mindful consideration of these different velocities tear themselves apart at these “shearing” points. Before long, they tend to be demolished and replaced.Buildings designed for resiliency allow for “slippage” between the moving layers — flexibility for the different rates of change to unfold with minimal conflict. Such buildings can thrive and remain useful for hundreds of years.Pace layers In 1999, Brand drew insights from ecologists to expand this concept beyond buildings and encompass human society. In The Clock Of The Long Now: Time And Responsibility, he proposed “Pace Layers” — six levels ranging from rapid fashion to glacially-slow nature.Brand’s Pace Layersas sketched by Jono Hey.Brand again pointed out the boundaries, where the most intriguing and consequential changes emerge. Friction at the tension points can tear a building apart — or spur a civilization’s collapse–when we try to bind the layers too tightly together. But with mindful design and planning for slippage, activity along these boundary zones can also generate “constructive turbulence” that keeps systems balanced and resilient.The most successful systems survive and thrive through times of change through resiliency, by absorbing and incorporating shocks.“…a few scientistshave been probing the same issue in ecological systems: how do they manage change, how do they absorb and incorporate shocks? The answer appears to lie in the relationship between components in a system that have different change-rates and different scales of size. Instead of breaking under stress like something brittle, these systems yield as if they were soft. Some parts respond quickly to the shock, allowing slower parts to ignore the shock and maintain their steady duties of system continuity.” — Stewart BrandRoles and tendencies of the fastand slowlayers. .Slower layers provide constraints and underpinnings for the faster layers, while faster layers induce adaptations in the slower layers that evolve the system.Elements of UXJesse James Garrett’s classic The Elements of User Experiencepresents a five-layer model for digital design:SurfaceSkeletonStructureScopeStrategyStructure, Scope, and Strategy. Each layer answers a different set of questions, with the questions answered at each level setting constraints for the levels above. Lower layers set boundaries and underpinnings that help define the more concrete layers.Jesse James Garrett’s 5 layers from The Elements of User Experience Design This framework doesn’t focus on time, or on tension points resulting from conflicting velocities. But it provides a comprehensive structure for shaping different aspects of digital product design, from abstract strategy to concrete surface elements.AI Pace Layers: diving deeperBuilding on these foundations, the AI Pace Layers framework adapts these concepts specifically for AI systems design.Let’s explore each layer and understand how design expertise contributes across the framework.SessionsPace of change: Very fastFocus: Performance of real-time interactions.This layer encompasses real-time dialogue, reasoning, and processing. These interplays happen between the user and AI, and between AI agents and other services and people, on behalf of the user. Sessions draw on lower-layer capabilities and components to deliver the “moments of truth” where product experiences succeed or fail. Feedback from the Sessions layer is crucial for improving and evolving the lower layers.Key contributors: Users and AI agents — usually with zero direct human involvement backstage.Example actions/decisions/artifacts: User/AI dialogue. Audio, video, text, images, and widgets are rendered on the fly. Real-time adaptations to context.SkinPace of change: Moderately fastFocus: Design patterns, guidelines, and assetsSkin encompasses visual, interaction, and content design.Key contributors: Designers, content strategists, front-end developers, and user researchers.Design’s role: This is where designers’ traditional expertise shines. They craft the interface elements, establish visual language, define interaction patterns, and create the design systems that represent the product’s capabilities to users.Example actions/decisions/artifacts: UI component libraries, brand guidelines, prompt templates, tone of voice guidelines, navigation systems, visual design systems, patterns, content style guides.ServicesPace of change: Wildly variableFocus: AI computation capabilities, data systems orchestration, and operational intelligenceThe Services layer provides probabilistic AI capabilities that sometimes feel like superpowers — and like superpowers, they can be difficult to manage. It encompasses foundation models, algorithms, data pipelines, evaluation frameworks, business logic, and computing resources.Services is an outlier that behaves differently from the other layers:• It’s more prone to “shocks” and surprises that can ripple across the rest of the system.• It varies wildly in pace of change.• It cuts across multiple layers rather than sitting between two of them. That produces more cross-layer boundaries, more tension points, more risks of destructive friction, and more opportunities for constructive turbulence.Key contributors: Data scientists, engineers, service designers, ethicists, product teamsDesign’s role: Designers partner with technical teams on evaluation frameworks, helping define what “good” looks like from a human experience perspective. They contribute to guardrails, monitoring systems, and multi-agent collaboration patterns, ensuring technical capabilities translate to meaningful human experiences. Service design expertise helps orchestrate complex, multi-touchpoint AI capabilities.Example actions/decisions/artifacts: Foundation model selection, changes, and fine-tuning. Evals, monitoring systems, guardrails, performance metrics. Business rules, workflow orchestration. Multiagent collaboration and use of external toolsContinual appraisal and adoption of new tools, protocols, and capabilities.SkeletonPace of change: Moderately slowFocus: Fundamental structure and organizationThis layer establishes the foundational architecture — the core interaction models, information architecture and organizing principles.Key contributors: Information architects, information designers, user researchers, system architects, engineersDesign’s role: Designers with information architecture expertise are important in this layer. They design taxonomies, knowledge graphs, and classification systems that make complex AI capabilities comprehensible and usable. UX researchers help ensure these structures fit the audience’s mental models, contexts, and expectations.Example actions/decisions/artifacts: Taxonomies, knowledge graphs, data models, system architecture, classification systems.ScopePace of change: SlowFocus: Product requirementsThis layer defines core functional, content, and data requirements, accounting for the probabilistic nature of AI and defining acceptable levels of performance and variance.Key contributors: Product managers, design strategists, design researchers, business stakeholders, data scientists, trust & safety specialistsDesign’s role: Design researchers and strategists contribute to requirements through generative and exploratory research. They help define error taxonomies and acceptable failure modes from a user perspective, informing metrics that capture technical performance and human experience quality. Design strategists balance technical possibilities with human needs and ethical considerations.Example actions/decisions/artifacts: Product requirements documents specifying reliability thresholds, data requirements, error taxonomies and acceptable failure modes, performance metrics frameworks, responsible AI requirements, risk assessment, core user stories and journeys, documentation of expected model variance and handling approaches.StrategyPace of change: Very slowFocus: Long-term vision and business goalsThis foundation layer defines audience needs, core problems to solve, and business goals. In AI products, data strategy is central.Key contributors: Executive leadership, design leaders, product leadership, business strategists, ethics boardsDesign’s role: Design leaders define problem spaces, identify opportunities, and plan roadmaps. They deliver a balance of business needs with human values in strategy development. Designers with expertise in responsible AI help establish ethical frameworks and guiding principles that shape all other layers.Example actions/decisions/artifacts: Problem space and opportunity assessments, market positioning documents, long-term product roadmaps, comprehensive data strategy planning, user research findings on core needs, ethical frameworks and guiding principles, business model documentation, competitive/cooperative AI ecosystem mapping.Practical examples: tension points between layersTension point example 1: Bookmuse’s timeline troublesBookmuse is a promising new AI tool for novelists. Samantha, a writer, tries it out while hashing out the underpinnings of her latest time-travel historical fiction thriller. The Bookmuse team planned for plenty of Samantha’s needs. At first, she considers Bookmuse a handy assistant. It supplements chats with tailored interactive visualizations that efficiently track character personalities, histories, relationships, and dramatic arcs.But Samantha is writing a story about time travelers interfering with World War I events, so she’s constantly juggling dates and timelines. Bookmuse falls short. It’s a tiny startup, and Luke, the harried cofounder who serves as a combination designer/researcher/product manager, hasn’t carved out any date-specific timeline tools or date calculators. He forgot to provide even a basic date picker in the design system.Problem: Bookmuse does its best to help Samantha with her story timeline. But it lacks effective tools for the job. Its date and time interactions feel confusing, clumsy, and out of step with the rest of its tone, look, and feel. Whenever Samantha consults the timeline, it breaks her out of her creative flow.Constructive turbulence opportunities:a) Present feedback mechanisms that ensure this sort of “missing piece” event results in the product team learning about the type of interaction pothole that appeared — without revealing details or content that compromise Samantha’ privacy and her work.b) Improve timeline/date UI and interaction patterns. Table stakes: Standard industry-best-practice date picker components that suit Bookmuse’s style, tone, and voice. Game changers: Widgets, visualizations, and patterns tailored to the special time-tracking/exploration challenges that fiction writers often wrestle with.c) Update the core usability heuristics and universal interaction design patterns baked into the evaluation frameworks, as part of regular eval reviews and updates. Result: When the team learns about a friction moment like this, they can prevent a host of future similar issues before they emerge.These improvements will make Bookmuse more resilient and useful.Tension point example 2: MedicalMind’s diagnostic dilemmaThousands of healthcare providers use MedicalMind, an AI-powered clinical decision support tool. Dr. Rina Patel, an internal medicine physician at a busy community hospital, relies on it to stay current with rapidly evolving medical research while managing her patient load.Thanks to a groundbreaking update, a MedicalMind AI modelis familiar with new medical research data and can recognize newly discovered connections between previously unrelated symptoms across different medical specialties. For example, it identified patterns linking certain dermatological symptoms to early indicators of cardiovascular issues — connections not yet widely recognized in standard medical taxonomies.But MedicalMind’s information architecturewas tailored to traditional medical classification systems, so it’s organized by body system, conditions by specialty, and treatments by mechanism of action. The MedicalMind team constructed this structure based on how doctors were traditionally trained to approach medical knowledge.Problem: When Dr. Patel enters a patient’s constellation of symptoms, MedicalMind’s AI can recognize potentially valuable cross-specialty patterns. But these insights can’t be optimally organized and presented because the underlying information architecturedoesn’t easily accommodate the new findings and relationships. The AI either forces the insights into ill-fitting categories or presents them as disconnected “additional notes” that tend to be overlooked. That reduces their clinical utility and Dr. Patel’s trust in the system.Constructive turbulence opportunities:a) Create an “emerging patterns” framework within the information architecturethat can accommodate new AI-identified patterns in ways that augment, rather than disrupt, the familiar classification systems that doctors rely on.b) Design flexible visualization components and interaction patterns and stylesspecifically for exploring, discussing, and documenting cross-category relationships. Let doctors toggle between traditional taxonomies and newer, AI-generated knowledge maps depending on their needs and comfort level.c) Implement a clinician feedback loop where specialists can validate and discuss new AI-surfaced relationships, gradually promoting validated patterns into the main classification system.These improvements will make MedicalMind more adaptive to emerging medical knowledge while maintaining the structural integrity that healthcare professionals rely on for critical decisions. This provides more efficient assistants for clinicians and better health for patients.Tension point example 3: ScienceSeeker’s hypothesis bottleneckScienceSeeker is an AI research assistant used by scientists worldwide. Dr. Elena Rodriguez, a molecular biologist, uses it to investigate protein interactions for targeted cancer drug delivery.The AI enginerecently gained the ability to generate sophisticated hypothesis trees with multiple competing explanations, track confidence levels for each branch, and identify which experiments would most efficiently disambiguate between theories. It can reason across scientific domains, connecting molecular biology with physics, chemistry, and computational modeling.But the interfaceremains locked in a traditional chatbot paradigm — a single-threaded exchange with responses appearing sequentially in a scrolling window.Problem: The AI engine and the problem space are natively multithreaded and multimodal, but the UI is limited to single-threaded conversation. When Dr. Rodriguez inputs her experimental results, the AI generates a rich, multidimensional analysis, but must flatten this complex reasoning into linear text. Critical relationships between hypotheses become buried in paragraphs, probability comparisons are difficult, and the holistic picture of how variables influence multiple hypotheses is lost. Dr. Rodriguez resorts to taking screenshots and manually drawing diagrams to reconstruct the reasoning that the AI possesses but cannot visually express.Constructive turbulence opportunities:a) Develop an expandable, interactive, infinite-canvas “hypothesis tree” visualizationthat helps the AI dynamically represent multiple competing explanations and their relationships. Scientists can interact with this to explore different branches spatially rather than sequentially.b) Create a dual-pane interface that maintains the chat for simple queries but provides the infinite canvas for complex reasoning, transitioning seamlessly based on response complexity.c) Implement collaborative, interactive node-based diagrams for multi-contributor experiment planning, where potential experiments appear as nodes showing how they would affect confidence in different hypothesis branches.This would transform ScienceSeeker’s limited text assistant into a scientific reasoning partner. It would help researchers visualize and interact with complex possibilities in ways that better fit how they tackle multidimensional problems.Navigating the future with AI Pace LayersAI Pace Layers offers product teams a new framework for seeing and shaping the bewildering structures and dynamics that power AI products.By recognizing the evolving layers and heeding and designing for their boundaries, AI design teams can:Transform tension points into constructive innovationAnticipate friction before it damages the product experienceGrow resilient and humane AI systems that absorb and integrate rapid technological change without losing sight of human needs.The framework’s value isn’t in rigid categorization, but in recognizing how components interact across timescales. For AI product teams, this awareness enables more thoughtful design choices that prevent destructive shearing that can tear apart an AI system.This framework is a work in progress, evolving alongside the AI landscape it describes.I’d love to hear from you, especially if you’ve built successful AI products and have insights on how this model could better reflect your experience. Please drop me a line or add a comment. Let’s develop more effective approaches to creating AI systems that enhance human potential while respecting human agency.Part of the Mindful AI Design series. Also see:The effort paradox in AI design: Why making things too easy can backfireBlack Mirror: “Override”. Dystopian storytelling for humane AI designStay updatedSubscribe to be notified when new articles in the series are published. Join our community of designers, product managers, founders and ethicists as we shape the future of mindful AI design.AI Pace Layers: a framework for resilient product design was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.
    #pace #layers #framework #resilient #product
    AI Pace Layers: a framework for resilient product design
    Designing human-centered AI products can be arduous.Keeping up with the overall pace of change isn’t easy. But here’s a bigger challenge:The wildly different paces of change attached to the key elements of AI product strategy, design, and development can make managing those elements — and even thinking about them — overwhelming.Yesterday’s design processes and frameworks offer priceless guidance that still holds. But in many spots, they just don’t fit today’s environment.For instance, designers used to map out and user-test precise, predictable end-to-end screen flows. But flows are no longer precisely predictable. AI generates dynamic dialogues and custom-tailored flows on the fly, rendering much of the old practice unhelpful and infeasible.It’s easy for product teams to feel adrift nowadays — we can hoist the sails, but we’re missing a map and a rudder. We need frameworks tailored to the traits that fundamentally set AI apart from traditional software, including:its capabilities for autonomy and collaboration,its probabilistic nature,its early need for quality data, andits predictable unpredictability. Humans tend to be perpetually surprised by its abilities — and its inabilities.AI pace layers: design for resilienceHere’s a framework to address these challenges.Building on Stewart Brand’s “Shearing Layers” framework, AI Pace Layers helps teams grow thriving AI products by framing them as layered systems with components that function and evolve at different timescales.It helps anticipate points of friction and create resilient and humane products.Each layer represents a specific domain of activity and responsibility, with a distinct pace of change.* Unlike the other layers, Services cuts across multiple layers rather than sitting between them, and its pace of change fluctuates erratically.Boundaries between layers call for special attention and care — friction at these points can produce destructive shearing and constructive turbulence.I’ll dive deeper into this framework with some practical examples showing how it works. But first, a brief review of the precursors that inspired this framework will help you put it to good use.The foundationsThis model builds on the insights of several influential design frameworks from the professions of building architecture and traditional software design.Shearing layersIn his 1994 book How Buildings Learn, Stewart Brand expanded on architect Frank Duffy’s concept of shearing layers. The core insight: buildings consist of components that change at different rates.Shell, Services, Scenery, and Sets..“…there isn’t any such thing as a building. A building properly conceived is several layers of longevity of built components.” — Frank DuffyShearing Layers of Change, from How Buildings Learn: What Happens after they’re built.Expanding on Duffy’s work, Brand identified six layers, from the slow-changing “Site” to the rapidly evolving “Stuff.”As the layers move at different speeds, friction forms where they meet. Buildings designed without mindful consideration of these different velocities tear themselves apart at these “shearing” points. Before long, they tend to be demolished and replaced.Buildings designed for resiliency allow for “slippage” between the moving layers — flexibility for the different rates of change to unfold with minimal conflict. Such buildings can thrive and remain useful for hundreds of years.Pace layers In 1999, Brand drew insights from ecologists to expand this concept beyond buildings and encompass human society. In The Clock Of The Long Now: Time And Responsibility, he proposed “Pace Layers” — six levels ranging from rapid fashion to glacially-slow nature.Brand’s Pace Layersas sketched by Jono Hey.Brand again pointed out the boundaries, where the most intriguing and consequential changes emerge. Friction at the tension points can tear a building apart — or spur a civilization’s collapse–when we try to bind the layers too tightly together. But with mindful design and planning for slippage, activity along these boundary zones can also generate “constructive turbulence” that keeps systems balanced and resilient.The most successful systems survive and thrive through times of change through resiliency, by absorbing and incorporating shocks.“…a few scientistshave been probing the same issue in ecological systems: how do they manage change, how do they absorb and incorporate shocks? The answer appears to lie in the relationship between components in a system that have different change-rates and different scales of size. Instead of breaking under stress like something brittle, these systems yield as if they were soft. Some parts respond quickly to the shock, allowing slower parts to ignore the shock and maintain their steady duties of system continuity.” — Stewart BrandRoles and tendencies of the fastand slowlayers. .Slower layers provide constraints and underpinnings for the faster layers, while faster layers induce adaptations in the slower layers that evolve the system.Elements of UXJesse James Garrett’s classic The Elements of User Experiencepresents a five-layer model for digital design:SurfaceSkeletonStructureScopeStrategyStructure, Scope, and Strategy. Each layer answers a different set of questions, with the questions answered at each level setting constraints for the levels above. Lower layers set boundaries and underpinnings that help define the more concrete layers.Jesse James Garrett’s 5 layers from The Elements of User Experience Design This framework doesn’t focus on time, or on tension points resulting from conflicting velocities. But it provides a comprehensive structure for shaping different aspects of digital product design, from abstract strategy to concrete surface elements.AI Pace Layers: diving deeperBuilding on these foundations, the AI Pace Layers framework adapts these concepts specifically for AI systems design.Let’s explore each layer and understand how design expertise contributes across the framework.SessionsPace of change: Very fastFocus: Performance of real-time interactions.This layer encompasses real-time dialogue, reasoning, and processing. These interplays happen between the user and AI, and between AI agents and other services and people, on behalf of the user. Sessions draw on lower-layer capabilities and components to deliver the “moments of truth” where product experiences succeed or fail. Feedback from the Sessions layer is crucial for improving and evolving the lower layers.Key contributors: Users and AI agents — usually with zero direct human involvement backstage.Example actions/decisions/artifacts: User/AI dialogue. Audio, video, text, images, and widgets are rendered on the fly. Real-time adaptations to context.SkinPace of change: Moderately fastFocus: Design patterns, guidelines, and assetsSkin encompasses visual, interaction, and content design.Key contributors: Designers, content strategists, front-end developers, and user researchers.Design’s role: This is where designers’ traditional expertise shines. They craft the interface elements, establish visual language, define interaction patterns, and create the design systems that represent the product’s capabilities to users.Example actions/decisions/artifacts: UI component libraries, brand guidelines, prompt templates, tone of voice guidelines, navigation systems, visual design systems, patterns, content style guides.ServicesPace of change: Wildly variableFocus: AI computation capabilities, data systems orchestration, and operational intelligenceThe Services layer provides probabilistic AI capabilities that sometimes feel like superpowers — and like superpowers, they can be difficult to manage. It encompasses foundation models, algorithms, data pipelines, evaluation frameworks, business logic, and computing resources.Services is an outlier that behaves differently from the other layers:• It’s more prone to “shocks” and surprises that can ripple across the rest of the system.• It varies wildly in pace of change.• It cuts across multiple layers rather than sitting between two of them. That produces more cross-layer boundaries, more tension points, more risks of destructive friction, and more opportunities for constructive turbulence.Key contributors: Data scientists, engineers, service designers, ethicists, product teamsDesign’s role: Designers partner with technical teams on evaluation frameworks, helping define what “good” looks like from a human experience perspective. They contribute to guardrails, monitoring systems, and multi-agent collaboration patterns, ensuring technical capabilities translate to meaningful human experiences. Service design expertise helps orchestrate complex, multi-touchpoint AI capabilities.Example actions/decisions/artifacts: Foundation model selection, changes, and fine-tuning. Evals, monitoring systems, guardrails, performance metrics. Business rules, workflow orchestration. Multiagent collaboration and use of external toolsContinual appraisal and adoption of new tools, protocols, and capabilities.SkeletonPace of change: Moderately slowFocus: Fundamental structure and organizationThis layer establishes the foundational architecture — the core interaction models, information architecture and organizing principles.Key contributors: Information architects, information designers, user researchers, system architects, engineersDesign’s role: Designers with information architecture expertise are important in this layer. They design taxonomies, knowledge graphs, and classification systems that make complex AI capabilities comprehensible and usable. UX researchers help ensure these structures fit the audience’s mental models, contexts, and expectations.Example actions/decisions/artifacts: Taxonomies, knowledge graphs, data models, system architecture, classification systems.ScopePace of change: SlowFocus: Product requirementsThis layer defines core functional, content, and data requirements, accounting for the probabilistic nature of AI and defining acceptable levels of performance and variance.Key contributors: Product managers, design strategists, design researchers, business stakeholders, data scientists, trust & safety specialistsDesign’s role: Design researchers and strategists contribute to requirements through generative and exploratory research. They help define error taxonomies and acceptable failure modes from a user perspective, informing metrics that capture technical performance and human experience quality. Design strategists balance technical possibilities with human needs and ethical considerations.Example actions/decisions/artifacts: Product requirements documents specifying reliability thresholds, data requirements, error taxonomies and acceptable failure modes, performance metrics frameworks, responsible AI requirements, risk assessment, core user stories and journeys, documentation of expected model variance and handling approaches.StrategyPace of change: Very slowFocus: Long-term vision and business goalsThis foundation layer defines audience needs, core problems to solve, and business goals. In AI products, data strategy is central.Key contributors: Executive leadership, design leaders, product leadership, business strategists, ethics boardsDesign’s role: Design leaders define problem spaces, identify opportunities, and plan roadmaps. They deliver a balance of business needs with human values in strategy development. Designers with expertise in responsible AI help establish ethical frameworks and guiding principles that shape all other layers.Example actions/decisions/artifacts: Problem space and opportunity assessments, market positioning documents, long-term product roadmaps, comprehensive data strategy planning, user research findings on core needs, ethical frameworks and guiding principles, business model documentation, competitive/cooperative AI ecosystem mapping.Practical examples: tension points between layersTension point example 1: Bookmuse’s timeline troublesBookmuse is a promising new AI tool for novelists. Samantha, a writer, tries it out while hashing out the underpinnings of her latest time-travel historical fiction thriller. The Bookmuse team planned for plenty of Samantha’s needs. At first, she considers Bookmuse a handy assistant. It supplements chats with tailored interactive visualizations that efficiently track character personalities, histories, relationships, and dramatic arcs.But Samantha is writing a story about time travelers interfering with World War I events, so she’s constantly juggling dates and timelines. Bookmuse falls short. It’s a tiny startup, and Luke, the harried cofounder who serves as a combination designer/researcher/product manager, hasn’t carved out any date-specific timeline tools or date calculators. He forgot to provide even a basic date picker in the design system.Problem: Bookmuse does its best to help Samantha with her story timeline. But it lacks effective tools for the job. Its date and time interactions feel confusing, clumsy, and out of step with the rest of its tone, look, and feel. Whenever Samantha consults the timeline, it breaks her out of her creative flow.Constructive turbulence opportunities:a) Present feedback mechanisms that ensure this sort of “missing piece” event results in the product team learning about the type of interaction pothole that appeared — without revealing details or content that compromise Samantha’ privacy and her work.b) Improve timeline/date UI and interaction patterns. Table stakes: Standard industry-best-practice date picker components that suit Bookmuse’s style, tone, and voice. Game changers: Widgets, visualizations, and patterns tailored to the special time-tracking/exploration challenges that fiction writers often wrestle with.c) Update the core usability heuristics and universal interaction design patterns baked into the evaluation frameworks, as part of regular eval reviews and updates. Result: When the team learns about a friction moment like this, they can prevent a host of future similar issues before they emerge.These improvements will make Bookmuse more resilient and useful.Tension point example 2: MedicalMind’s diagnostic dilemmaThousands of healthcare providers use MedicalMind, an AI-powered clinical decision support tool. Dr. Rina Patel, an internal medicine physician at a busy community hospital, relies on it to stay current with rapidly evolving medical research while managing her patient load.Thanks to a groundbreaking update, a MedicalMind AI modelis familiar with new medical research data and can recognize newly discovered connections between previously unrelated symptoms across different medical specialties. For example, it identified patterns linking certain dermatological symptoms to early indicators of cardiovascular issues — connections not yet widely recognized in standard medical taxonomies.But MedicalMind’s information architecturewas tailored to traditional medical classification systems, so it’s organized by body system, conditions by specialty, and treatments by mechanism of action. The MedicalMind team constructed this structure based on how doctors were traditionally trained to approach medical knowledge.Problem: When Dr. Patel enters a patient’s constellation of symptoms, MedicalMind’s AI can recognize potentially valuable cross-specialty patterns. But these insights can’t be optimally organized and presented because the underlying information architecturedoesn’t easily accommodate the new findings and relationships. The AI either forces the insights into ill-fitting categories or presents them as disconnected “additional notes” that tend to be overlooked. That reduces their clinical utility and Dr. Patel’s trust in the system.Constructive turbulence opportunities:a) Create an “emerging patterns” framework within the information architecturethat can accommodate new AI-identified patterns in ways that augment, rather than disrupt, the familiar classification systems that doctors rely on.b) Design flexible visualization components and interaction patterns and stylesspecifically for exploring, discussing, and documenting cross-category relationships. Let doctors toggle between traditional taxonomies and newer, AI-generated knowledge maps depending on their needs and comfort level.c) Implement a clinician feedback loop where specialists can validate and discuss new AI-surfaced relationships, gradually promoting validated patterns into the main classification system.These improvements will make MedicalMind more adaptive to emerging medical knowledge while maintaining the structural integrity that healthcare professionals rely on for critical decisions. This provides more efficient assistants for clinicians and better health for patients.Tension point example 3: ScienceSeeker’s hypothesis bottleneckScienceSeeker is an AI research assistant used by scientists worldwide. Dr. Elena Rodriguez, a molecular biologist, uses it to investigate protein interactions for targeted cancer drug delivery.The AI enginerecently gained the ability to generate sophisticated hypothesis trees with multiple competing explanations, track confidence levels for each branch, and identify which experiments would most efficiently disambiguate between theories. It can reason across scientific domains, connecting molecular biology with physics, chemistry, and computational modeling.But the interfaceremains locked in a traditional chatbot paradigm — a single-threaded exchange with responses appearing sequentially in a scrolling window.Problem: The AI engine and the problem space are natively multithreaded and multimodal, but the UI is limited to single-threaded conversation. When Dr. Rodriguez inputs her experimental results, the AI generates a rich, multidimensional analysis, but must flatten this complex reasoning into linear text. Critical relationships between hypotheses become buried in paragraphs, probability comparisons are difficult, and the holistic picture of how variables influence multiple hypotheses is lost. Dr. Rodriguez resorts to taking screenshots and manually drawing diagrams to reconstruct the reasoning that the AI possesses but cannot visually express.Constructive turbulence opportunities:a) Develop an expandable, interactive, infinite-canvas “hypothesis tree” visualizationthat helps the AI dynamically represent multiple competing explanations and their relationships. Scientists can interact with this to explore different branches spatially rather than sequentially.b) Create a dual-pane interface that maintains the chat for simple queries but provides the infinite canvas for complex reasoning, transitioning seamlessly based on response complexity.c) Implement collaborative, interactive node-based diagrams for multi-contributor experiment planning, where potential experiments appear as nodes showing how they would affect confidence in different hypothesis branches.This would transform ScienceSeeker’s limited text assistant into a scientific reasoning partner. It would help researchers visualize and interact with complex possibilities in ways that better fit how they tackle multidimensional problems.Navigating the future with AI Pace LayersAI Pace Layers offers product teams a new framework for seeing and shaping the bewildering structures and dynamics that power AI products.By recognizing the evolving layers and heeding and designing for their boundaries, AI design teams can:Transform tension points into constructive innovationAnticipate friction before it damages the product experienceGrow resilient and humane AI systems that absorb and integrate rapid technological change without losing sight of human needs.The framework’s value isn’t in rigid categorization, but in recognizing how components interact across timescales. For AI product teams, this awareness enables more thoughtful design choices that prevent destructive shearing that can tear apart an AI system.This framework is a work in progress, evolving alongside the AI landscape it describes.I’d love to hear from you, especially if you’ve built successful AI products and have insights on how this model could better reflect your experience. Please drop me a line or add a comment. Let’s develop more effective approaches to creating AI systems that enhance human potential while respecting human agency.Part of the Mindful AI Design series. Also see:The effort paradox in AI design: Why making things too easy can backfireBlack Mirror: “Override”. Dystopian storytelling for humane AI designStay updatedSubscribe to be notified when new articles in the series are published. Join our community of designers, product managers, founders and ethicists as we shape the future of mindful AI design.AI Pace Layers: a framework for resilient product design was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story. #pace #layers #framework #resilient #product
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    AI Pace Layers: a framework for resilient product design
    Designing human-centered AI products can be arduous.Keeping up with the overall pace of change isn’t easy. But here’s a bigger challenge:The wildly different paces of change attached to the key elements of AI product strategy, design, and development can make managing those elements — and even thinking about them — overwhelming.Yesterday’s design processes and frameworks offer priceless guidance that still holds. But in many spots, they just don’t fit today’s environment.For instance, designers used to map out and user-test precise, predictable end-to-end screen flows. But flows are no longer precisely predictable. AI generates dynamic dialogues and custom-tailored flows on the fly, rendering much of the old practice unhelpful and infeasible.It’s easy for product teams to feel adrift nowadays — we can hoist the sails, but we’re missing a map and a rudder. We need frameworks tailored to the traits that fundamentally set AI apart from traditional software, including:its capabilities for autonomy and collaboration,its probabilistic nature,its early need for quality data, andits predictable unpredictability. Humans tend to be perpetually surprised by its abilities — and its inabilities.AI pace layers: design for resilienceHere’s a framework to address these challenges.Building on Stewart Brand’s “Shearing Layers” framework, AI Pace Layers helps teams grow thriving AI products by framing them as layered systems with components that function and evolve at different timescales.It helps anticipate points of friction and create resilient and humane products.Each layer represents a specific domain of activity and responsibility, with a distinct pace of change.* Unlike the other layers, Services cuts across multiple layers rather than sitting between them, and its pace of change fluctuates erratically.Boundaries between layers call for special attention and care — friction at these points can produce destructive shearing and constructive turbulence.I’ll dive deeper into this framework with some practical examples showing how it works. But first, a brief review of the precursors that inspired this framework will help you put it to good use.The foundationsThis model builds on the insights of several influential design frameworks from the professions of building architecture and traditional software design.Shearing layers (Duffy and Brand)In his 1994 book How Buildings Learn, Stewart Brand expanded on architect Frank Duffy’s concept of shearing layers. The core insight: buildings consist of components that change at different rates.Shell, Services, Scenery, and Sets. (Frank Duffy, 1992).“…there isn’t any such thing as a building. A building properly conceived is several layers of longevity of built components.” — Frank DuffyShearing Layers of Change, from How Buildings Learn: What Happens after they’re built (Stewart Brand, 1994).Expanding on Duffy’s work, Brand identified six layers, from the slow-changing “Site” to the rapidly evolving “Stuff.”As the layers move at different speeds, friction forms where they meet. Buildings designed without mindful consideration of these different velocities tear themselves apart at these “shearing” points. Before long, they tend to be demolished and replaced.Buildings designed for resiliency allow for “slippage” between the moving layers — flexibility for the different rates of change to unfold with minimal conflict. Such buildings can thrive and remain useful for hundreds of years.Pace layers (Brand)In 1999, Brand drew insights from ecologists to expand this concept beyond buildings and encompass human society. In The Clock Of The Long Now: Time And Responsibility, he proposed “Pace Layers” — six levels ranging from rapid fashion to glacially-slow nature.Brand’s Pace Layers (1999) as sketched by Jono Hey.Brand again pointed out the boundaries, where the most intriguing and consequential changes emerge. Friction at the tension points can tear a building apart — or spur a civilization’s collapse–when we try to bind the layers too tightly together. But with mindful design and planning for slippage, activity along these boundary zones can also generate “constructive turbulence” that keeps systems balanced and resilient.The most successful systems survive and thrive through times of change through resiliency, by absorbing and incorporating shocks.“…a few scientists (such as R. V. O’Neill and C. S. Holling) have been probing the same issue in ecological systems: how do they manage change, how do they absorb and incorporate shocks? The answer appears to lie in the relationship between components in a system that have different change-rates and different scales of size. Instead of breaking under stress like something brittle, these systems yield as if they were soft. Some parts respond quickly to the shock, allowing slower parts to ignore the shock and maintain their steady duties of system continuity.” — Stewart BrandRoles and tendencies of the fast (upper) and slow (lower) layers. (Brand).Slower layers provide constraints and underpinnings for the faster layers, while faster layers induce adaptations in the slower layers that evolve the system.Elements of UX (Garrett)Jesse James Garrett’s classic The Elements of User Experience (2002) presents a five-layer model for digital design:Surface (visual design)Skeleton (interface design, navigation design, information design)Structure (interaction design, information architecture)Scope (functional specs, content requirements)Strategy (user needs, site objectives)Structure, Scope, and Strategy. Each layer answers a different set of questions, with the questions answered at each level setting constraints for the levels above. Lower layers set boundaries and underpinnings that help define the more concrete layers.Jesse James Garrett’s 5 layers from The Elements of User Experience Design (2002)This framework doesn’t focus on time, or on tension points resulting from conflicting velocities. But it provides a comprehensive structure for shaping different aspects of digital product design, from abstract strategy to concrete surface elements.AI Pace Layers: diving deeperBuilding on these foundations, the AI Pace Layers framework adapts these concepts specifically for AI systems design.Let’s explore each layer and understand how design expertise contributes across the framework.SessionsPace of change: Very fast (milliseconds to minutes)Focus: Performance of real-time interactions.This layer encompasses real-time dialogue, reasoning, and processing. These interplays happen between the user and AI, and between AI agents and other services and people, on behalf of the user. Sessions draw on lower-layer capabilities and components to deliver the “moments of truth” where product experiences succeed or fail. Feedback from the Sessions layer is crucial for improving and evolving the lower layers.Key contributors: Users and AI agents — usually with zero direct human involvement backstage.Example actions/decisions/artifacts: User/AI dialogue. Audio, video, text, images, and widgets are rendered on the fly (using building blocks provided by lower levels). Real-time adaptations to context.SkinPace of change: Moderately fast (days to months)Focus: Design patterns, guidelines, and assetsSkin encompasses visual, interaction, and content design.Key contributors: Designers, content strategists, front-end developers, and user researchers.Design’s role: This is where designers’ traditional expertise shines. They craft the interface elements, establish visual language, define interaction patterns, and create the design systems that represent the product’s capabilities to users.Example actions/decisions/artifacts: UI component libraries, brand guidelines, prompt templates, tone of voice guidelines, navigation systems, visual design systems, patterns (UI, interaction, and conversation), content style guides.ServicesPace of change: Wildly variable (slow to moderately fast)Focus: AI computation capabilities, data systems orchestration, and operational intelligenceThe Services layer provides probabilistic AI capabilities that sometimes feel like superpowers — and like superpowers, they can be difficult to manage. It encompasses foundation models, algorithms, data pipelines, evaluation frameworks, business logic, and computing resources.Services is an outlier that behaves differently from the other layers:• It’s more prone to “shocks” and surprises that can ripple across the rest of the system.• It varies wildly in pace of change. (But its components rarely change faster than Skin, or slower than Skeleton.)• It cuts across multiple layers rather than sitting between two of them. That produces more cross-layer boundaries, more tension points, more risks of destructive friction, and more opportunities for constructive turbulence.Key contributors: Data scientists, engineers, service designers, ethicists, product teamsDesign’s role: Designers partner with technical teams on evaluation frameworks, helping define what “good” looks like from a human experience perspective. They contribute to guardrails, monitoring systems, and multi-agent collaboration patterns, ensuring technical capabilities translate to meaningful human experiences. Service design expertise helps orchestrate complex, multi-touchpoint AI capabilities.Example actions/decisions/artifacts: Foundation model selection, changes, and fine-tuning. Evals, monitoring systems, guardrails, performance metrics. Business rules, workflow orchestration. Multiagent collaboration and use of external tools (APIs, A2A, MCP, etc.) Continual appraisal and adoption of new tools, protocols, and capabilities.SkeletonPace of change: Moderately slow (months) Focus: Fundamental structure and organizationThis layer establishes the foundational architecture — the core interaction models, information architecture and organizing principles.Key contributors: Information architects, information designers, user researchers, system architects, engineersDesign’s role: Designers with information architecture expertise are important in this layer. They design taxonomies, knowledge graphs, and classification systems that make complex AI capabilities comprehensible and usable. UX researchers help ensure these structures fit the audience’s mental models, contexts, and expectations.Example actions/decisions/artifacts: Taxonomies, knowledge graphs, data models, system architecture, classification systems.ScopePace of change: Slow (months to years)Focus: Product requirementsThis layer defines core functional, content, and data requirements, accounting for the probabilistic nature of AI and defining acceptable levels of performance and variance.Key contributors: Product managers, design strategists, design researchers, business stakeholders, data scientists, trust & safety specialistsDesign’s role: Design researchers and strategists contribute to requirements through generative and exploratory research. They help define error taxonomies and acceptable failure modes from a user perspective, informing metrics that capture technical performance and human experience quality. Design strategists balance technical possibilities with human needs and ethical considerations.Example actions/decisions/artifacts: Product requirements documents specifying reliability thresholds, data requirements (volume, diversity, quality standards), error taxonomies and acceptable failure modes, performance metrics frameworks, responsible AI requirements, risk assessment, core user stories and journeys, documentation of expected model variance and handling approaches.StrategyPace of change: Very slow (years)Focus: Long-term vision and business goalsThis foundation layer defines audience needs, core problems to solve, and business goals. In AI products, data strategy is central.Key contributors: Executive leadership, design leaders, product leadership, business strategists, ethics boardsDesign’s role: Design leaders define problem spaces, identify opportunities, and plan roadmaps. They deliver a balance of business needs with human values in strategy development. Designers with expertise in responsible AI help establish ethical frameworks and guiding principles that shape all other layers.Example actions/decisions/artifacts: Problem space and opportunity assessments, market positioning documents, long-term product roadmaps, comprehensive data strategy planning, user research findings on core needs, ethical frameworks and guiding principles, business model documentation, competitive/cooperative AI ecosystem mapping.Practical examples: tension points between layersTension point example 1: Bookmuse’s timeline troubles(Friction between Sessions and Skin)Bookmuse is a promising new AI tool for novelists. Samantha, a writer, tries it out while hashing out the underpinnings of her latest time-travel historical fiction thriller. The Bookmuse team planned for plenty of Samantha’s needs. At first, she considers Bookmuse a handy assistant. It supplements chats with tailored interactive visualizations that efficiently track character personalities, histories, relationships, and dramatic arcs.But Samantha is writing a story about time travelers interfering with World War I events, so she’s constantly juggling dates and timelines. Bookmuse falls short. It’s a tiny startup, and Luke, the harried cofounder who serves as a combination designer/researcher/product manager, hasn’t carved out any date-specific timeline tools or date calculators. He forgot to provide even a basic date picker in the design system.Problem: Bookmuse does its best to help Samantha with her story timeline (Sessions layer). But it lacks effective tools for the job (Skin layer). Its date and time interactions feel confusing, clumsy, and out of step with the rest of its tone, look, and feel. Whenever Samantha consults the timeline, it breaks her out of her creative flow.Constructive turbulence opportunities:a) Present feedback mechanisms that ensure this sort of “missing piece” event results in the product team learning about the type of interaction pothole that appeared — without revealing details or content that compromise Samantha’ privacy and her work. (For instance, a session tagging system can flag all interaction dead-ends during date choice interactions.)b) Improve timeline/date UI and interaction patterns. Table stakes: Standard industry-best-practice date picker components that suit Bookmuse’s style, tone, and voice. Game changers: Widgets, visualizations, and patterns tailored to the special time-tracking/exploration challenges that fiction writers often wrestle with.c) Update the core usability heuristics and universal interaction design patterns baked into the evaluation frameworks (in the Services layer), as part of regular eval reviews and updates. Result: When the team learns about a friction moment like this, they can prevent a host of future similar issues before they emerge.These improvements will make Bookmuse more resilient and useful.Tension point example 2: MedicalMind’s diagnostic dilemma(Friction between Services and Skeleton)Thousands of healthcare providers use MedicalMind, an AI-powered clinical decision support tool. Dr. Rina Patel, an internal medicine physician at a busy community hospital, relies on it to stay current with rapidly evolving medical research while managing her patient load.Thanks to a groundbreaking update, a MedicalMind AI model (Services layer) is familiar with new medical research data and can recognize newly discovered connections between previously unrelated symptoms across different medical specialties. For example, it identified patterns linking certain dermatological symptoms to early indicators of cardiovascular issues — connections not yet widely recognized in standard medical taxonomies.But MedicalMind’s information architecture (Skeleton layer) was tailored to traditional medical classification systems, so it’s organized by body system, conditions by specialty, and treatments by mechanism of action. The MedicalMind team constructed this structure based on how doctors were traditionally trained to approach medical knowledge.Problem: When Dr. Patel enters a patient’s constellation of symptoms (Sessions layer), MedicalMind’s AI can recognize potentially valuable cross-specialty patterns (Services layer). But these insights can’t be optimally organized and presented because the underlying information architecture (Skeleton layer) doesn’t easily accommodate the new findings and relationships. The AI either forces the insights into ill-fitting categories or presents them as disconnected “additional notes” that tend to be overlooked. That reduces their clinical utility and Dr. Patel’s trust in the system.Constructive turbulence opportunities:a) Create an “emerging patterns” framework within the information architecture (Skeleton layer) that can accommodate new AI-identified patterns in ways that augment, rather than disrupt, the familiar classification systems that doctors rely on.b) Design flexible visualization components and interaction patterns and styles (in the Skin layer) specifically for exploring, discussing, and documenting cross-category relationships. Let doctors toggle between traditional taxonomies and newer, AI-generated knowledge maps depending on their needs and comfort level.c) Implement a clinician feedback loop where specialists can validate and discuss new AI-surfaced relationships, gradually promoting validated patterns into the main classification system.These improvements will make MedicalMind more adaptive to emerging medical knowledge while maintaining the structural integrity that healthcare professionals rely on for critical decisions. This provides more efficient assistants for clinicians and better health for patients.Tension point example 3: ScienceSeeker’s hypothesis bottleneck(Friction between Skin and Services)ScienceSeeker is an AI research assistant used by scientists worldwide. Dr. Elena Rodriguez, a molecular biologist, uses it to investigate protein interactions for targeted cancer drug delivery.The AI engine (Services layer) recently gained the ability to generate sophisticated hypothesis trees with multiple competing explanations, track confidence levels for each branch, and identify which experiments would most efficiently disambiguate between theories. It can reason across scientific domains, connecting molecular biology with physics, chemistry, and computational modeling.But the interface (Skin layer) remains locked in a traditional chatbot paradigm — a single-threaded exchange with responses appearing sequentially in a scrolling window.Problem: The AI engine and the problem space are natively multithreaded and multimodal, but the UI is limited to single-threaded conversation. When Dr. Rodriguez inputs her experimental results (Sessions layer), the AI generates a rich, multidimensional analysis (Services layer), but must flatten this complex reasoning into linear text (Skin layer). Critical relationships between hypotheses become buried in paragraphs, probability comparisons are difficult, and the holistic picture of how variables influence multiple hypotheses is lost. Dr. Rodriguez resorts to taking screenshots and manually drawing diagrams to reconstruct the reasoning that the AI possesses but cannot visually express.Constructive turbulence opportunities:a) Develop an expandable, interactive, infinite-canvas “hypothesis tree” visualization (Skin) that helps the AI dynamically represent multiple competing explanations and their relationships. Scientists can interact with this to explore different branches spatially rather than sequentially.b) Create a dual-pane interface that maintains the chat for simple queries but provides the infinite canvas for complex reasoning, transitioning seamlessly based on response complexity.c) Implement collaborative, interactive node-based diagrams for multi-contributor experiment planning, where potential experiments appear as nodes showing how they would affect confidence in different hypothesis branches.This would transform ScienceSeeker’s limited text assistant into a scientific reasoning partner. It would help researchers visualize and interact with complex possibilities in ways that better fit how they tackle multidimensional problems.Navigating the future with AI Pace LayersAI Pace Layers offers product teams a new framework for seeing and shaping the bewildering structures and dynamics that power AI products.By recognizing the evolving layers and heeding and designing for their boundaries, AI design teams can:Transform tension points into constructive innovationAnticipate friction before it damages the product experienceGrow resilient and humane AI systems that absorb and integrate rapid technological change without losing sight of human needs.The framework’s value isn’t in rigid categorization, but in recognizing how components interact across timescales. For AI product teams, this awareness enables more thoughtful design choices that prevent destructive shearing that can tear apart an AI system.This framework is a work in progress, evolving alongside the AI landscape it describes.I’d love to hear from you, especially if you’ve built successful AI products and have insights on how this model could better reflect your experience. Please drop me a line or add a comment. Let’s develop more effective approaches to creating AI systems that enhance human potential while respecting human agency.Part of the Mindful AI Design series. Also see:The effort paradox in AI design: Why making things too easy can backfireBlack Mirror: “Override”. Dystopian storytelling for humane AI designStay updatedSubscribe to be notified when new articles in the series are published. Join our community of designers, product managers, founders and ethicists as we shape the future of mindful AI design.AI Pace Layers: a framework for resilient product design was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.
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  • ADEPT selected to transform former Karstadt warehouse into a cultural hub in Braunschweig

    Submitted by WA Contents
    ADEPT selected to transform former Karstadt warehouse into a cultural hub in Braunschweig

    Germany Architecture News - May 22, 2025 - 14:57  

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    Copenhagen and Hamburg-based architecture office ADEPT has won an international competition to transform a former Karstadt warehouse in a historic area of Braunschweiginto the "Haus der Musik". Called Haus der Musik, the 18,000-square-metre cultural hub will house a new concert hall, a public music school, and other community-oriented programs.The winning project is founded on adaptive reuse principles rather than demolishing the current structure. The old building's architectural rhythm and load-bearing structure are preserved and reactivated. On top of the existing volume is a brand-new, precisely calibrated performance hall, and street level provides direct access to music school activities. From a commercial hub to a cultural hub, the design embodies a daring urban metamorphosis grounded on continuity."The Haus der Musik is a dream project – not just because of its scale, but because it allows us to bring together everything we care about: transformation, sustainability, as well as social and urban social value," said Martin Krogh, founding partner at ADEPT. "This is the largest project in our studio’s history, and undoubtedly one of the most meaningful," Krogh added.The "Third Place"—that vague, largely unplanned area between activities that creates a vast possibility for a new identity emerging from the neighborhood—is the focal point of the transformation. Arrival, music school, and concert hall are all connected by this multi-layered social landscape of performance, instruction, and gathering. Because the music school is integrated into the existing framework, it fosters a vibrant, all-day rhythm of instruction, practice, and casual conversation. Below it, the Klangkeller provides an unpolished and adaptable platform for underground scenes and experimental music. With meticulous consideration for acoustic clarity and spatial intimacy, the new music hall is built as a traditional shoebox typology and is situated in the top levels of the building to retain as much of the old structure as possible. Adjustable ceiling components enable custom tuning based on the performance situation, including organ music and amplified events, while sound-reflective wall and ceiling panels distribute sound uniformly around the room. Both the main floor and the upper balconies provide direct sightlines and engulfing sound to the audience. Rehearsal rooms and backstage areas flank the hall, facilitating a smooth transition between rehearsal and performance. The music hall is further reinforced as a municipal venue by the 270-degree panoramic terrace that encircles the foyer and provides public views of the city."With equal measures of caution and courage, the winning proposal transforms the existing building through adaptive reuse into an important component for Braunschweig's city centre, as well as for the city’s musical landscape," the jury stated."The difficult balancing act between preservation, transformation and innovation has been convincingly achieved." "Even if the interpretation and conceptual reuse may seem surprising at first glance, the contextual integration is comprehensible, sensitive and convincing," the jury added.Site planUrban Presence: A Cultural Link Within the Historic CityThe Haus der Musik acts as an essential urban connection between Altstadtmarkt and Kohlmarkt, two important public squares in Braunschweig, and is located along one of the city's main pedestrian thoroughfares. The project creates a new cultural hub in the urban fabric by reactivating the ground floor with a completely transparent façade and opening up to the city through spacious patios and foyers. It extends beyond its plot to create sightlines, pathways, and gathering spots across the city. The design adds a new public vitality that enhances the old town's civic life while honoring the scale and rhythm of its historic surroundings. Ground floor planThe building's articulated façade and stepped form blend in with Braunschweig's urban profile while quietly indicating its new function as a gathering place for people to enjoy music and social interaction.First floor planUsing a Modern Language to Interpret the PastRedesigning the facade as a reinterpretation of the current building while honoring the historic setting and its distinctive buildings to create a new identity is a crucial architectural gesture. The new facade reworks the original's modular rhythm to create a tactile, sculptured enclosure. Views into the activity within the building are made possible by the dynamic interplay of light and shadow created by the cascading pieces. The ground floor's transparency invites the public in by blurring the lines between the interior and the city.Second floor planWarm timber interiors frame the building's social center, while the structured facade echoes Braunschweig's medieval roofscapes. Materiality is crucial in defining atmosphere and character. In order to preserve important sightlines and blend in with the surrounding urban fabric, the new volume gently recedes from the original cornice lines.Third floor planBuilding on What Already ExistsIn this initiative, sustainability starts with what currently exists. By preserving and reusing the Karstadt building's structural grid and core, demolition and the resulting carbon effect are avoided. With little alteration to the existing foundations, a lightweight music hall made of steel and wood is constructed above. Cross-laminated woodcomponents that are prefabricated enable low-emission and rapid installation.Fifth floor planBy incorporating rooftop photovoltaics and utilizing Braunschweig's low-emission district heating network, the building runs with exceptional energy efficiency. Comfort is maintained while energy consumption is reduced through the use of passive cooling techniques and intelligent ventilation. Demand is further decreased by localized heating systems and water-saving devices.Basement floor planThe result is not merely a monument for music and culture – but a showcase of how architecture can be both ambitious and responsible, rooted in the past and ready for the future.Elevation BrabandstraßeElevation JakobstraßeElevation PoststraßeFacade section existingFacade section ADEPTSection AASection BBSection CCAxonometric drawingConcept, existing as starting pointConcept, community functions as connectorsConcept, concert hall in new constructionConcept, concert hall constructionADEPT and LYTT Architecture completed visitor points reframing largest landscape park in Copenhagen, Denmark. In  addition, ADEPT and Karres en Brands revealed plans for a new masterplan, called WoodHood – Garden City 2.0, in Köln, Germany. Project factsProject name: Haus der MusikArchitect: ADEPTClient: Friedrich Georg Knapp w. Stadt BraunschweigEngineers: Assmann Beraten und Planen, Corall Ingenieure, AvissplanAddress: Poststraße Braunschweig, DESize: 15,000m2 + 3,000 under groundAll images © Aesthetica Studio.All drawings © ADEPT. > via ADEPT
    #adept #selected #transform #former #karstadt
    ADEPT selected to transform former Karstadt warehouse into a cultural hub in Braunschweig
    Submitted by WA Contents ADEPT selected to transform former Karstadt warehouse into a cultural hub in Braunschweig Germany Architecture News - May 22, 2025 - 14:57   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; Copenhagen and Hamburg-based architecture office ADEPT has won an international competition to transform a former Karstadt warehouse in a historic area of Braunschweiginto the "Haus der Musik". Called Haus der Musik, the 18,000-square-metre cultural hub will house a new concert hall, a public music school, and other community-oriented programs.The winning project is founded on adaptive reuse principles rather than demolishing the current structure. The old building's architectural rhythm and load-bearing structure are preserved and reactivated. On top of the existing volume is a brand-new, precisely calibrated performance hall, and street level provides direct access to music school activities. From a commercial hub to a cultural hub, the design embodies a daring urban metamorphosis grounded on continuity."The Haus der Musik is a dream project – not just because of its scale, but because it allows us to bring together everything we care about: transformation, sustainability, as well as social and urban social value," said Martin Krogh, founding partner at ADEPT. "This is the largest project in our studio’s history, and undoubtedly one of the most meaningful," Krogh added.The "Third Place"—that vague, largely unplanned area between activities that creates a vast possibility for a new identity emerging from the neighborhood—is the focal point of the transformation. Arrival, music school, and concert hall are all connected by this multi-layered social landscape of performance, instruction, and gathering. Because the music school is integrated into the existing framework, it fosters a vibrant, all-day rhythm of instruction, practice, and casual conversation. Below it, the Klangkeller provides an unpolished and adaptable platform for underground scenes and experimental music. With meticulous consideration for acoustic clarity and spatial intimacy, the new music hall is built as a traditional shoebox typology and is situated in the top levels of the building to retain as much of the old structure as possible. Adjustable ceiling components enable custom tuning based on the performance situation, including organ music and amplified events, while sound-reflective wall and ceiling panels distribute sound uniformly around the room. Both the main floor and the upper balconies provide direct sightlines and engulfing sound to the audience. Rehearsal rooms and backstage areas flank the hall, facilitating a smooth transition between rehearsal and performance. The music hall is further reinforced as a municipal venue by the 270-degree panoramic terrace that encircles the foyer and provides public views of the city."With equal measures of caution and courage, the winning proposal transforms the existing building through adaptive reuse into an important component for Braunschweig's city centre, as well as for the city’s musical landscape," the jury stated."The difficult balancing act between preservation, transformation and innovation has been convincingly achieved." "Even if the interpretation and conceptual reuse may seem surprising at first glance, the contextual integration is comprehensible, sensitive and convincing," the jury added.Site planUrban Presence: A Cultural Link Within the Historic CityThe Haus der Musik acts as an essential urban connection between Altstadtmarkt and Kohlmarkt, two important public squares in Braunschweig, and is located along one of the city's main pedestrian thoroughfares. The project creates a new cultural hub in the urban fabric by reactivating the ground floor with a completely transparent façade and opening up to the city through spacious patios and foyers. It extends beyond its plot to create sightlines, pathways, and gathering spots across the city. The design adds a new public vitality that enhances the old town's civic life while honoring the scale and rhythm of its historic surroundings. Ground floor planThe building's articulated façade and stepped form blend in with Braunschweig's urban profile while quietly indicating its new function as a gathering place for people to enjoy music and social interaction.First floor planUsing a Modern Language to Interpret the PastRedesigning the facade as a reinterpretation of the current building while honoring the historic setting and its distinctive buildings to create a new identity is a crucial architectural gesture. The new facade reworks the original's modular rhythm to create a tactile, sculptured enclosure. Views into the activity within the building are made possible by the dynamic interplay of light and shadow created by the cascading pieces. The ground floor's transparency invites the public in by blurring the lines between the interior and the city.Second floor planWarm timber interiors frame the building's social center, while the structured facade echoes Braunschweig's medieval roofscapes. Materiality is crucial in defining atmosphere and character. In order to preserve important sightlines and blend in with the surrounding urban fabric, the new volume gently recedes from the original cornice lines.Third floor planBuilding on What Already ExistsIn this initiative, sustainability starts with what currently exists. By preserving and reusing the Karstadt building's structural grid and core, demolition and the resulting carbon effect are avoided. With little alteration to the existing foundations, a lightweight music hall made of steel and wood is constructed above. Cross-laminated woodcomponents that are prefabricated enable low-emission and rapid installation.Fifth floor planBy incorporating rooftop photovoltaics and utilizing Braunschweig's low-emission district heating network, the building runs with exceptional energy efficiency. Comfort is maintained while energy consumption is reduced through the use of passive cooling techniques and intelligent ventilation. Demand is further decreased by localized heating systems and water-saving devices.Basement floor planThe result is not merely a monument for music and culture – but a showcase of how architecture can be both ambitious and responsible, rooted in the past and ready for the future.Elevation BrabandstraßeElevation JakobstraßeElevation PoststraßeFacade section existingFacade section ADEPTSection AASection BBSection CCAxonometric drawingConcept, existing as starting pointConcept, community functions as connectorsConcept, concert hall in new constructionConcept, concert hall constructionADEPT and LYTT Architecture completed visitor points reframing largest landscape park in Copenhagen, Denmark. In  addition, ADEPT and Karres en Brands revealed plans for a new masterplan, called WoodHood – Garden City 2.0, in Köln, Germany. Project factsProject name: Haus der MusikArchitect: ADEPTClient: Friedrich Georg Knapp w. Stadt BraunschweigEngineers: Assmann Beraten und Planen, Corall Ingenieure, AvissplanAddress: Poststraße Braunschweig, DESize: 15,000m2 + 3,000 under groundAll images © Aesthetica Studio.All drawings © ADEPT. > via ADEPT #adept #selected #transform #former #karstadt
    WORLDARCHITECTURE.ORG
    ADEPT selected to transform former Karstadt warehouse into a cultural hub in Braunschweig
    Submitted by WA Contents ADEPT selected to transform former Karstadt warehouse into a cultural hub in Braunschweig Germany Architecture News - May 22, 2025 - 14:57   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Copenhagen and Hamburg-based architecture office ADEPT has won an international competition to transform a former Karstadt warehouse in a historic area of Braunschweig (DE) into the "Haus der Musik". Called Haus der Musik, the 18,000-square-metre cultural hub will house a new concert hall, a public music school, and other community-oriented programs.The winning project is founded on adaptive reuse principles rather than demolishing the current structure. The old building's architectural rhythm and load-bearing structure are preserved and reactivated. On top of the existing volume is a brand-new, precisely calibrated performance hall, and street level provides direct access to music school activities. From a commercial hub to a cultural hub, the design embodies a daring urban metamorphosis grounded on continuity."The Haus der Musik is a dream project – not just because of its scale, but because it allows us to bring together everything we care about: transformation, sustainability, as well as social and urban social value," said Martin Krogh, founding partner at ADEPT. "This is the largest project in our studio’s history, and undoubtedly one of the most meaningful," Krogh added.The "Third Place"—that vague, largely unplanned area between activities that creates a vast possibility for a new identity emerging from the neighborhood—is the focal point of the transformation. Arrival, music school, and concert hall are all connected by this multi-layered social landscape of performance, instruction, and gathering. Because the music school is integrated into the existing framework, it fosters a vibrant, all-day rhythm of instruction, practice, and casual conversation. Below it, the Klangkeller provides an unpolished and adaptable platform for underground scenes and experimental music. With meticulous consideration for acoustic clarity and spatial intimacy, the new music hall is built as a traditional shoebox typology and is situated in the top levels of the building to retain as much of the old structure as possible. Adjustable ceiling components enable custom tuning based on the performance situation, including organ music and amplified events, while sound-reflective wall and ceiling panels distribute sound uniformly around the room. Both the main floor and the upper balconies provide direct sightlines and engulfing sound to the audience. Rehearsal rooms and backstage areas flank the hall, facilitating a smooth transition between rehearsal and performance. The music hall is further reinforced as a municipal venue by the 270-degree panoramic terrace that encircles the foyer and provides public views of the city."With equal measures of caution and courage, the winning proposal transforms the existing building through adaptive reuse into an important component for Braunschweig's city centre, as well as for the city’s musical landscape," the jury stated."The difficult balancing act between preservation, transformation and innovation has been convincingly achieved." "Even if the interpretation and conceptual reuse may seem surprising at first glance, the contextual integration is comprehensible, sensitive and convincing," the jury added.Site planUrban Presence: A Cultural Link Within the Historic CityThe Haus der Musik acts as an essential urban connection between Altstadtmarkt and Kohlmarkt, two important public squares in Braunschweig, and is located along one of the city's main pedestrian thoroughfares. The project creates a new cultural hub in the urban fabric by reactivating the ground floor with a completely transparent façade and opening up to the city through spacious patios and foyers. It extends beyond its plot to create sightlines, pathways, and gathering spots across the city. The design adds a new public vitality that enhances the old town's civic life while honoring the scale and rhythm of its historic surroundings. Ground floor planThe building's articulated façade and stepped form blend in with Braunschweig's urban profile while quietly indicating its new function as a gathering place for people to enjoy music and social interaction.First floor planUsing a Modern Language to Interpret the PastRedesigning the facade as a reinterpretation of the current building while honoring the historic setting and its distinctive buildings to create a new identity is a crucial architectural gesture. The new facade reworks the original's modular rhythm to create a tactile, sculptured enclosure. Views into the activity within the building are made possible by the dynamic interplay of light and shadow created by the cascading pieces. The ground floor's transparency invites the public in by blurring the lines between the interior and the city.Second floor planWarm timber interiors frame the building's social center, while the structured facade echoes Braunschweig's medieval roofscapes. Materiality is crucial in defining atmosphere and character. In order to preserve important sightlines and blend in with the surrounding urban fabric, the new volume gently recedes from the original cornice lines.Third floor planBuilding on What Already ExistsIn this initiative, sustainability starts with what currently exists. By preserving and reusing the Karstadt building's structural grid and core, demolition and the resulting carbon effect are avoided. With little alteration to the existing foundations, a lightweight music hall made of steel and wood is constructed above. Cross-laminated wood (CLT) components that are prefabricated enable low-emission and rapid installation.Fifth floor planBy incorporating rooftop photovoltaics and utilizing Braunschweig's low-emission district heating network, the building runs with exceptional energy efficiency. Comfort is maintained while energy consumption is reduced through the use of passive cooling techniques and intelligent ventilation. Demand is further decreased by localized heating systems and water-saving devices.Basement floor planThe result is not merely a monument for music and culture – but a showcase of how architecture can be both ambitious and responsible, rooted in the past and ready for the future.Elevation BrabandstraßeElevation JakobstraßeElevation PoststraßeFacade section existingFacade section ADEPTSection AASection BBSection CCAxonometric drawingConcept, existing as starting pointConcept, community functions as connectorsConcept, concert hall in new constructionConcept, concert hall constructionADEPT and LYTT Architecture completed visitor points reframing largest landscape park in Copenhagen, Denmark. In  addition, ADEPT and Karres en Brands revealed plans for a new masterplan, called WoodHood – Garden City 2.0, in Köln, Germany. Project factsProject name: Haus der MusikArchitect: ADEPTClient: Friedrich Georg Knapp w. Stadt BraunschweigEngineers: Assmann Beraten und Planen, Corall Ingenieure, AvissplanAddress: Poststraße Braunschweig, DESize: 15,000m2 + 3,000 under groundAll images © Aesthetica Studio.All drawings © ADEPT. > via ADEPT
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  • TNW Backstage dives into the mind-bending world of brain-computer interfaces

    TNW Backstage returns this week to explore one of tech’s most fascinating frontiers: brain-computer interfaces.
    The capabilities of these neural devices are rapidly expanding. They’ve been implanted in skulls and worn as headbands. They’ve measured focus, treated Parkinson’s disease, and enabled paralysed people to control computers with their minds.
    A range of research labs and tech firms are developing BCIs. Yet the spotlight has been dominated by one company: Elon Musk’s Neuralink. The startup has put brain implants in monkeys so they can play Pong with their minds. Musk also has big plans for humans, from giving us “superpowers” to downloading our memories.
    But shockingly, not everyone is keen on the idea of Elon controlling their brains. Thankfully, there are other options. One of them comes from Dutch healthtech company MindAffect.
    The company uses BCIs primarily for hearing and visual tests. Worn as headbands, the devices analyse the brain’s responses to stimulation, which reveals what the user saw or heard. It’s completely non-invasive, affordable, and requires little staff support.
    MindAffect’s CEO, Jennifer Goodall, discusses the system on this week’s episode of TNW Backstage.
    We revisit her session from TNW Conference 2024 and discuss the healthtech trends shaping this year’s event. You can listen to the show on Spotify, at our dedicated website, or via the media player at the bottom of this article.
    Once you’re done, check out our previous episodes of the podcast, which goes behind the scenes of TNW Conference and the tech shaping our world.
    In our debut show, we explored the data security landscape — and Meta’s controversial “pay or consent” model — with Ron de Jesus, the world’s first Field Chief Privacy Officer. In our second episode, comedy content creator Derek Mitchell and TNW co-founder Boris discussed the value of humour in tech businesses.
    To celebrate the podcast’s launch, we’re also offering an exclusive discount on tickets for TNW Conference, which takes place in Amsterdam on June 19 and 20. You’ll find the offer hidden in each episode of TNW Backstage.
    Thanks for reading — and now, for listening too.

    Story by

    Thomas Macaulay

    Managing editor

    Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he eThomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chessand the guitar.

    Get the TNW newsletter
    Get the most important tech news in your inbox each week.

    Also tagged with
    #tnw #backstage #dives #into #mindbending
    TNW Backstage dives into the mind-bending world of brain-computer interfaces
    TNW Backstage returns this week to explore one of tech’s most fascinating frontiers: brain-computer interfaces. The capabilities of these neural devices are rapidly expanding. They’ve been implanted in skulls and worn as headbands. They’ve measured focus, treated Parkinson’s disease, and enabled paralysed people to control computers with their minds. A range of research labs and tech firms are developing BCIs. Yet the spotlight has been dominated by one company: Elon Musk’s Neuralink. The startup has put brain implants in monkeys so they can play Pong with their minds. Musk also has big plans for humans, from giving us “superpowers” to downloading our memories. But shockingly, not everyone is keen on the idea of Elon controlling their brains. Thankfully, there are other options. One of them comes from Dutch healthtech company MindAffect. The company uses BCIs primarily for hearing and visual tests. Worn as headbands, the devices analyse the brain’s responses to stimulation, which reveals what the user saw or heard. It’s completely non-invasive, affordable, and requires little staff support. MindAffect’s CEO, Jennifer Goodall, discusses the system on this week’s episode of TNW Backstage. We revisit her session from TNW Conference 2024 and discuss the healthtech trends shaping this year’s event. You can listen to the show on Spotify, at our dedicated website, or via the media player at the bottom of this article. Once you’re done, check out our previous episodes of the podcast, which goes behind the scenes of TNW Conference and the tech shaping our world. In our debut show, we explored the data security landscape — and Meta’s controversial “pay or consent” model — with Ron de Jesus, the world’s first Field Chief Privacy Officer. In our second episode, comedy content creator Derek Mitchell and TNW co-founder Boris discussed the value of humour in tech businesses. To celebrate the podcast’s launch, we’re also offering an exclusive discount on tickets for TNW Conference, which takes place in Amsterdam on June 19 and 20. You’ll find the offer hidden in each episode of TNW Backstage. Thanks for reading — and now, for listening too. Story by Thomas Macaulay Managing editor Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he eThomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chessand the guitar. Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with #tnw #backstage #dives #into #mindbending
    THENEXTWEB.COM
    TNW Backstage dives into the mind-bending world of brain-computer interfaces
    TNW Backstage returns this week to explore one of tech’s most fascinating frontiers: brain-computer interfaces (BCIs). The capabilities of these neural devices are rapidly expanding. They’ve been implanted in skulls and worn as headbands. They’ve measured focus, treated Parkinson’s disease, and enabled paralysed people to control computers with their minds. A range of research labs and tech firms are developing BCIs. Yet the spotlight has been dominated by one company: Elon Musk’s Neuralink. The startup has put brain implants in monkeys so they can play Pong with their minds. Musk also has big plans for humans, from giving us “superpowers” to downloading our memories. But shockingly, not everyone is keen on the idea of Elon controlling their brains. Thankfully, there are other options. One of them comes from Dutch healthtech company MindAffect. The company uses BCIs primarily for hearing and visual tests. Worn as headbands, the devices analyse the brain’s responses to stimulation, which reveals what the user saw or heard. It’s completely non-invasive, affordable, and requires little staff support. MindAffect’s CEO, Jennifer Goodall, discusses the system on this week’s episode of TNW Backstage. We revisit her session from TNW Conference 2024 and discuss the healthtech trends shaping this year’s event. You can listen to the show on Spotify, at our dedicated website, or via the media player at the bottom of this article. Once you’re done, check out our previous episodes of the podcast, which goes behind the scenes of TNW Conference and the tech shaping our world. In our debut show, we explored the data security landscape — and Meta’s controversial “pay or consent” model — with Ron de Jesus, the world’s first Field Chief Privacy Officer. In our second episode, comedy content creator Derek Mitchell and TNW co-founder Boris discussed the value of humour in tech businesses. To celebrate the podcast’s launch, we’re also offering an exclusive discount on tickets for TNW Conference, which takes place in Amsterdam on June 19 and 20. You’ll find the offer hidden in each episode of TNW Backstage. Thanks for reading — and now, for listening too. Story by Thomas Macaulay Managing editor Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he e (show all) Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chess (badly) and the guitar (even worse). Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with
    0 Yorumlar 0 hisse senetleri
  • TNW Backstage goes Double Dutch on tech humour

    TNW Backstage is going Double Dutch this week — in more ways than one.
    In the second episode of our new podcast, which goes behind the scenes of TNW Conference and the tech shaping our world, we’re joined by two special guests.
    Both of them are based in — you guessed it — the Netherlands. Together, they brew a distinctively orange blend of tech and humour, which has become a TNW trademark.
    One of them is content creator Derek Mitchell, the mind behind comedy brand Let’s Double Dutch. Mitchell’s viral videos exploring culture and identity in the Netherlands have earned global acclaim. His wildly popular sketches have now racked up over 250 million views.
    The of EU techThe latest rumblings from the EU tech scene, a story from our wise ol' founder Boris, and some questionable AI art. It's free, every week, in your inbox. Sign up now!In TNW Backstage, we revisit his appearance at last year’s conference. During the talk, Mitchell reveals how he found his voice online — and how you can too.
    Now, you may be wondering why a comedian was appearing at a tech conference. Well, there’s no one better to explain than this week’s second guest: Boris, the co-founder of TNW.
    Boris drops by TNW Towers to explain how humour fuels startup ideas — and lightens the load of tech work.
    He also looks back at memorable moments from TNW Conference. Among his favourites are a risky rib ’s CTO, wakeboarding through Amsterdam canals, and, um, cow poop bingo.Our terrifically talented head of content, Oliviana Bailey, then gives a sneak peek at the fun and games at this year’s events.
    It’s a distinct break from the debut episode of the podcast, which explored the evolving data security landscape — and Meta’s controversial “pay or consent” model — with Ron de Jesus, the world’s first Field Chief Privacy Officer. But the contrast encapsulates the two sides of TNW Conference: serious business and festival vibes.
    You can check out both episodes of the podcast here. To celebrate its launch, we’re also offering an exclusive discount on tickets for TNW Conference, which takes place on June 19 and 20. You’ll find the offer hidden in each episode of TNW Backstage.
    Thanks for reading — and now, for listening too.

    Story by

    Thomas Macaulay

    Managing editor

    Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he eThomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chessand the guitar.

    Get the TNW newsletter
    Get the most important tech news in your inbox each week.

    Also tagged with
    #tnw #backstage #goes #double #dutch
    TNW Backstage goes Double Dutch on tech humour
    TNW Backstage is going Double Dutch this week — in more ways than one. In the second episode of our new podcast, which goes behind the scenes of TNW Conference and the tech shaping our world, we’re joined by two special guests. Both of them are based in — you guessed it — the Netherlands. Together, they brew a distinctively orange blend of tech and humour, which has become a TNW trademark. One of them is content creator Derek Mitchell, the mind behind comedy brand Let’s Double Dutch. Mitchell’s viral videos exploring culture and identity in the Netherlands have earned global acclaim. His wildly popular sketches have now racked up over 250 million views. The 💜 of EU techThe latest rumblings from the EU tech scene, a story from our wise ol' founder Boris, and some questionable AI art. It's free, every week, in your inbox. Sign up now!In TNW Backstage, we revisit his appearance at last year’s conference. During the talk, Mitchell reveals how he found his voice online — and how you can too. Now, you may be wondering why a comedian was appearing at a tech conference. Well, there’s no one better to explain than this week’s second guest: Boris, the co-founder of TNW. Boris drops by TNW Towers to explain how humour fuels startup ideas — and lightens the load of tech work. He also looks back at memorable moments from TNW Conference. Among his favourites are a risky rib ’s CTO, wakeboarding through Amsterdam canals, and, um, cow poop bingo.Our terrifically talented head of content, Oliviana Bailey, then gives a sneak peek at the fun and games at this year’s events. It’s a distinct break from the debut episode of the podcast, which explored the evolving data security landscape — and Meta’s controversial “pay or consent” model — with Ron de Jesus, the world’s first Field Chief Privacy Officer. But the contrast encapsulates the two sides of TNW Conference: serious business and festival vibes. You can check out both episodes of the podcast here. To celebrate its launch, we’re also offering an exclusive discount on tickets for TNW Conference, which takes place on June 19 and 20. You’ll find the offer hidden in each episode of TNW Backstage. Thanks for reading — and now, for listening too. Story by Thomas Macaulay Managing editor Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he eThomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chessand the guitar. Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with #tnw #backstage #goes #double #dutch
    THENEXTWEB.COM
    TNW Backstage goes Double Dutch on tech humour
    TNW Backstage is going Double Dutch this week — in more ways than one. In the second episode of our new podcast, which goes behind the scenes of TNW Conference and the tech shaping our world, we’re joined by two special guests. Both of them are based in — you guessed it — the Netherlands. Together, they brew a distinctively orange blend of tech and humour, which has become a TNW trademark. One of them is content creator Derek Mitchell, the mind behind comedy brand Let’s Double Dutch. Mitchell’s viral videos exploring culture and identity in the Netherlands have earned global acclaim. His wildly popular sketches have now racked up over 250 million views. The 💜 of EU techThe latest rumblings from the EU tech scene, a story from our wise ol' founder Boris, and some questionable AI art. It's free, every week, in your inbox. Sign up now!In TNW Backstage, we revisit his appearance at last year’s conference. During the talk, Mitchell reveals how he found his voice online — and how you can too. Now, you may be wondering why a comedian was appearing at a tech conference. Well, there’s no one better to explain than this week’s second guest: Boris, the co-founder of TNW. Boris drops by TNW Towers to explain how humour fuels startup ideas — and lightens the load of tech work. He also looks back at memorable moments from TNW Conference. Among his favourites are a risky rib at Amazon’s CTO, wakeboarding through Amsterdam canals, and, um, cow poop bingo. (It’s another Dutch thing, apparently.) Our terrifically talented head of content, Oliviana Bailey, then gives a sneak peek at the fun and games at this year’s events. It’s a distinct break from the debut episode of the podcast, which explored the evolving data security landscape — and Meta’s controversial “pay or consent” model — with Ron de Jesus, the world’s first Field Chief Privacy Officer. But the contrast encapsulates the two sides of TNW Conference: serious business and festival vibes. You can check out both episodes of the podcast here. To celebrate its launch, we’re also offering an exclusive discount on tickets for TNW Conference, which takes place on June 19 and 20. You’ll find the offer hidden in each episode of TNW Backstage. Thanks for reading — and now, for listening too. Story by Thomas Macaulay Managing editor Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he e (show all) Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chess (badly) and the guitar (even worse). Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with
    0 Yorumlar 0 hisse senetleri