Monster Hunter Wilds, Sinister Cloth, Monster Hunter armor, unique materials, cool armor designs, Monster Hunter series, crafting armor, hunting monsters, gaming gear ## Introduction: The Quest for the Ultimate Armor Ah, Monster Hunter Wilds, a game where you can spend countless hours chasing down gigantic beasts, only to discover that your real enemy isn’t the monster lurking in the bushes,...

The desert that surrounds Taliesin West, Frank Lloyd Wright’s winter home and studio, is no stranger to camping. Which is perhaps why it is the perfect place to unveil the Airstream Frank Lloyd Wright Usonian Limited Edition Travel Trailer, a new collaboration between the architect’s eponymous foundation and the American travel trailer brand.When Wright arrived in the Sonoran Desert in December of 1937, he made two purchases. First, 600 acres of land, on which Taliesin West would eventually sit. Then, shortly after, a handful of tents for his apprentices to sleep in while they helped build the new property. Even once construction finished, it became a tradition that his disciples would build temporary shelters among the cacti, bushes, and sandy soil. “This was a camp, and Wright was moved by the way canvas from the tents diffused light. That’s what inspired the canvas roofs on Taliesin West today,” Sally Russel, the director of licensing at the Frank Lloyd Wright Foundation, said at a press briefing at Taliesin West about the trailer.You might also like: What Was It Like Living at Frank Lloyd Wright’s Taliesin West?The trailer door features a pattern called the Gordon Leaf motif, which was created by Taliesin apprentice Eugene Masselink. Photo: Andrew PielageCoincidentally, Airstream’s founder, Wally Byam, began designing trailers for people who didn’t like sleeping on the ground in tents—a sect his first wife belonged to. Nearly 100 years later, the Usonian trailer lets owners enjoy the desert (or any part of the world) Wright-style, while still taking advantage of modern comforts like a bed, shower, and kitchen. “I’ve been dropping the idea of a Frank Lloyd Wright trailer into the thought mill at Airstream for about 20 years,” Bob Wheeler, the president and CEO of Airstream, said at the briefing.The kitchen includes under cabinet lighting and warm, wood-toned cabinets. Photo: Andrew PielageInside the Frank Lloyd Wright AirstreamAt just over 28 feet long, the trailer is among the larger of Airstream’s offerings, which range from 16 to 33 feet. From the outside, the company’s instantly recognizable aluminum shell offers little evidence of the idiosyncrasy that’s on full display inside. But from the moment the door opens—which is printed with a leaf motif designed by a Taliesin apprentice—Wright’s influence is all encompassing.You might also like: 7 Stylish Mobile Homes Owned by Celebrities

The Victorian era brought us many things—floral motifs, linen trimmed in lace, and some of the best ruffled bedding history has ever witnessed. Two centuries later, frills and flounces are back in style on the heels of the cottagecore bedding scene, allowing your bedscape to embrace its softer side.The beauty of frills lies in its delicate silhouette that pairs equally well with gingham bedding as it does with florals or simple solid colors. In fact, an all-white ruffled bedding set or a frilly decorative pillow is all you need to lighten the mood in a room. Extra pomp doesn’t have to skew antiquated, either, as several modern variations from upscale brands like Sferra and Annie Selke illustrate. Below, some of the finest ruffled bedding around the web for creating the frothy bedscape of your daydreams.Our Top Picks for the Best Ruffled BeddingBest Ruffled Duvet: Lulu and Georgia Charlie Linen Duvet by Pom Pom at Home, $701, $561Best Ruffled Bed Sheets: West Elm European Flax Linen Ruffle Sheet Set, $279Best Ruffled Bedroom Decor: Lulu and Georgia Westmont Platform Bed, $1,798 $1,438Best Ruffled Quilt Set: Serena & Lily Nantucket Stripe Linen Quilt,$478 $358Best Ruffle Duvet Cover: GreenRow Linen Ruffle Crochet Duvet Cover, $319Pom Pom at Home Charlie Linen DuvetThe Lulu and Georgia Charlie duvet cover is 100% linen with a shell-button closure that wraps up your comforter in a layer of light, frothy goodness. A four-inch ruffle adds inconspicuous detail to an otherwise, uh, no-frills design. While it only comes in flax and white colorways, muted simplicity is actually the goal here.West Elm European Flax Linen Ruffle Sheet SetEmploying the teeniest of ruffles, this West Elm sheet set features just a hint of twee detailing, almost like a playful coquette. The bedding is all-linen, lending it an even softer, lived-in feel. The brick colorway is especially dreamy, a mix of terracotta and mocha that feels both moody and soothing at the same time.Lulu and Georgia Westmont Platform BedIt doesn’t get much more charming than this ruffled Lulu and Georgia Westmont platform bed with the lushest of velveteen frills. The gingham print seen here screams “cottagecore” for a B&B in the woods feel. It even comes with a matching headboard that continues the storybook style above your head as you snooze.Serena & Lily Nantucket Stripe Linen QuiltSeersucker is officially in season, whether you’re heading to the Nantucket coast or not this year. You can certainly embody the same coastal vibe anywhere around the country with one of Serena & Lily’s quintessentially beachy linens, like this quilt with a four-inch ruffle flange that calls to mind sea air, hydrangea bushes, and lively tennis matches. It’s made in Portugal, and the linen itself is woven from premium flax sourced from Belgium and France. The diamond pattern lends the quilt some structure and you can even make it an entire set with matching shams and sheets.GreenRow Linen Ruffle Crochet Duvet CoverIf you’re leaning into period piece vibes in your bedroom, start with this romantic GreenRow duvet cover that’s both Oeko-Tex– and Fair Trade–certified. The European flax bedding comes embellished with a crocheted seam just above the ruffled edge and looks like it was plucked right out of a Victorian trousseau. In an all-white set, it reads as clean and unfettered. Other colorways such as dusty rose, pale blue, and marigold yellow embody the same vintage style but with more saturation involved.Other Ruffled Bedding We LikeUrban Outfitters Cleo Ruffle Skirt Rohini Daybed CushionTransform a regular bench into a dreamy daybed seat with an Urban Outfitters ruffle skirt cushion. It comes in olive green and striped cream colorways—both highly adaptable to any bedroom decor. The top is tufted, and the slightly pleated skirt gives it just enough charm without treading into childish territory.Sferra Giotto Bed SkirtLeave it up to Sferra to render the traditional ruffled bedskirt in a rich, luxurious way. In the Giotto bed skirt, folds don’t just ripple so much as elegantly undulate, glistening with the kind of delicate sheen that only sateen and silk can accomplish. Consider it for the kind of evergreen upgrade that will subtly transform your bedroom for years and years to come.Biselina Linen Ruffled Duvet Cover SetFor those looking for extra color choices—rust, purple, and green—consider Biselina’s ruffle duvet cover and shams. Unlike other more flouncy options, the ruffle detail here is shrunken down for some elegant, but not over-the-top character. The Oeko-Tex certified linen set includes shams, all for less than $150.Piglet In Bed Gingham Linen Bed SkirtFor all things gingham and linen, make a pit stop at Piglet in Bed, which specializes in both. Their gingham bed skirt features a 15-inch drop and lightly drapes to cover up dust bunnies and other unmentionables you’ve stuffed under the bed. In a breathable cotton blend made of 55% European linen, the splashy dust ruffle has an overall youthful, laid-back effect.Peri Home Rene Ruffle Duvet Cover and Shams SetIf you’re piling on the charm, top off those ruffles with some scalloped trim. Peri Home’s Rene bedding set tows the line between cottagecore and antique aesthetics with this quilted texture that feels like an heirloom passed down from a wiser relative. Pair it with similarly palate-cleansing pastels or employ some pattern clashing with stripes and prints for a more artful bedscape.Taylor Linens Farmhouse Stripe Bed SkirtTight pinstripes give your bedding a more buttoned-up feel, like you’ve dressed your bed in office-friendly attire, especially when they appear on a bedskirt like this one from Taylor Linens. The subtle pleat pattern gives the ruffle a refined character that pairs exceptionally well with quilts and starchy white duvet covers.Maeve Cotton Striped Ruffle Printed Duvet CoverCandy stripers are a relic of the past, but the same retro red-and-white wardrobe has a different appeal when seen in a bedding setting. This Maeve organic cotton piece looks like something Dorothy Draper would select, and comes in a wide range of sizing (from twin to California King beds) so everyone can add this bold bedding to their cart.Annie Selke Wilton BedspreadOf all the bedding on this list, this gathered bedspread has the longest drop (30 inches!) for a flowing waterfall effect. The cotton-blend fabric, a hybrid that contains some linen for added breathability and texture, has just the right weight to feel structured but relaxed.Lush Decor Garden of Flowers Ruffle Sheet SetLush Decor specializes in the kind of posies you’re likely to find in a spring garden: Take this sheet set that would feel right at home in a nursery or romantic guest bedroom. The four-inch ruffled edge supersizes the romantic detailing, but won’t interfere with dressing your bed.GreenRow Lillian Velvet Ruffle Standard ShamAnd if you want to leave the ruffles to your bedding accents, GreenRow makes just the sort of velvet ruffle shams to round out your search. The heavy plush poly-velvet cover is finished off with a lightweight Tencel ruffle that drapes beautifully, like butterflies aflutter on your bed.

A voyage to Awaji (Ubisoft) A new leak has shed light on the release date for Assassin’s Creed Shadows first DLC, along with a rumoured co-op mode. Assassin’s Creed Shadows may have fallen short of sales for Assassin’s Creed Valhalla, but it’s still been a major hit for Ubisoft. Set in feudal Japan, the new instalment scored the second highest day one sales in the franchise’s history. In the US, meanwhile, Assassin’s Creed Shadows is the second best-selling game of the year so far, behind Monster Hunter Wilds. Ubisoft has already announced the game’s first DLC, Claws Of Awaji, will release later this year, but a new report has narrowed down the release date. According to Insider Gaming, Ubisoft is ‘targeting September 2025’ for the Claws Of Awaji DLC, citing sources familiar with the game’s development. However, it’s claimed the DLC could be pushed back to October this year, depending on Ubisoft’s release strategy for other titles. Elsewhere in the report, the previously rumoured co-op mode for Assassin’s Creed Shadows, codenamed League, is said to still be in development and will launch ‘sometime next year’. While this co-op mode was originally assumed to revolve around the game’s two protagonists, Naoe and Yasuke, a source suggests it might include other characters too. ‘While they’re obviously central characters, there’s a deeper narrative tied into the co-op that will expand the experience beyond just the two of them,’ a source states. Assassin’s Creed has some history with multiplayer, with the Paris-based Assassin’s Creed Unity featuring dedicated co-op missions. Other games in the series have had multiplayer modes as well, like Assassin’s Creed 3’s wolfpack mode, but this was only really a minor distraction. More Trending As for Assassin’s Creed Shadows first DLC, Claws Of Awaji takes place on the island of Awaji, where you will ‘reclaim a lost treasure while avoiding the traps and ambushes of deadly new foes’, according to a synopsis. It will feature a new bō weapon type for Naoe, along with new skills, gear, and abilities over the course of 10 hours. Beyond Assassin’s Creed Shadows, Ubisoft is reportedly developing a multiplayer spin-off codenamed Invictus and a remake of Assassin’s Creed Black Flag. Ports of both Assassin’s Creed Mirage and Shadows are also apparently on the way for the Switch 2. A Switch 2 version is apparently on the way (Ubisoft) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

There’s a fresh wave of co-operative action-slash-shooters on the horizon, all vying for your squad’s attention and all looking decent, for the most part: ARC Raiders, FBC: Firebreak, Marathon, amongst others. It feels like we’re on the cusp of a new golden age in online co-op, so to pitch Elden Ring Nightreign as the cream of the crop, as one of 2025’s biggest games, we must be confident it has both the magic to entice players into its world and the power to make them stay.  We’ve between now and Nightreign’s worldwide release on 30th May to convince you this is the one to plump for if you’re on the fence as to which of 2025’s upcoming blockbuster co-ops to funnel your hours into. Straight off the bat, first thing to state with Elden Ring Nightreign is this is a standalone adventure. Not only do players require zero prior knowledge of Elden Ring’s expansive narrative and lore to get the best out of Nightreign but, unlike last year’s Shadow of the Erdtree expansion, players don’t even need to own the original title. This is a one-time purchase, not live service, no seasons, or battle passes – at least, there’s nothing officially announced at time of this feature’s creation. Instead, squads of three can jump right in and start battling away in a reimagined version of Elden Ring starting area Limgrave, rebranded here as Limveld. The premise is straightforward enough: Elden Ring Nightreign is an action survival adventure with roguelike structure. Three warriors find themselves castaway in a hostile realm, an environment lulling them in with its lush pastures and golden canopies, yet bandits, soldiers, and monsters – some cameoing out of Elden Ring, some brand-new creations cooked up by FromSoftware – stalk the landscape. The task is to kill and pillage, to scavenge the loot of your slain foe to level up during each run. Runs last three days, and this scavenging phase takes place during daytime. An ever-shrinking battle royale-style perimeter – confusingly dubbed the Night Rain, as in rain shower – channels players to the map’s centre where an end-of-day boss awaits. The clock is ticking, and as a result exploration is much less cerebral than FromSoft’s usual Souls style. Exploration is still critical mind, just done at a ramped-up pace. Supporting all the bandit slaying are subterranean caves dotted with treasure, guarded bastions harbouring documents, short environmental puzzles, and middling bosses. Should squads survive two nights in Lemveld then they’ll be transported to an arena known as the Spirit Shelter where they can put all their skills and upgrades to the test and take on one of eight pre-chosen mega bosses, known as Nightlords. If Elden Ring’s boss battles are anything to go by, these climactic showdowns at the end of a couple of days’ toil are sure to be a spectacle. Each run begins with players at level one but Nightreign’s upgrades, via discoverable runes, come quickly. In fact, levelling up in this Elden Ring spin-off is extremely fast, and to demonstrate Nightreign’s pick-up-and-play ethos adding XP to your character isn’t as arduous a task as it is in FromSoftware’s other titles. Spending runes here levels up your character whilst boosting their overall stats. There’s no time to labour over which ability to upgrade. Furthermore, each of the game’s playable heroes can wield just about every weapon; it’s their unique skills and abilities which distinguish them from each other. So, build customisation is a shade more limited compared to traditional RPG levelling up, but it is possible in the form of randomised loot which, of course, is dropped by downed enemies. Some of this loot functions passively – weapon stat buffs, elemental and physical affinities, and numerous other effects – and some is housed in breakable chests that usually contain some sort of consumable to upgrade weapon damage or similar. Progression outside of the action exists too in the form of advancing character stories. See, in between runs players return to an alternative version of the Roundtable Hold from Elden Ring and here, alongside affixing permanent runic upgrades, they’ll be able to experience a form of narrative progression for each of the game’s eight hero characters. Before we get into describing these characters in-depth, it’s worth pointing out that FromSoftware have stated that as each character’s story advances then the world of Limveld will re-shape and react in tandem. It’s incarnation upon starting the game is a mix of fixed structures and landmarks, but – to alleviate any staleness – there’ll be elements of variation in where enemies spawn and the like. As an aside, dramatic, unexpected changes can occur too: crashing meteorites, boss ambushes, and… uhm, sudden volcanoes. So, onto Elden Ring Nightreign’s cast of heroes and, yes, we’re calling them heroes as FromSoftware have clearly gone down the route that’s well established by Apex Legends and Overwatch, et cetera. Each hero in Elden Ring Nightreign is uniquely skilled, with their own abilities and combat style. Together with collectable loot and upgrades, this blend of skills across three-player teams is sure to create innumerably powerful synergies. Unlike FromSoft’s usual fayre, there isn’t ability to create or customise these characters beyond permanent upgrades and collectable outfits. As you’d expect, there’s breadth to the cast though. All info on their uniqueness is available on Bandai Namco’s website, but just know that each playable hero possesses distinct passive ability, character skill, and ultimate art, the latter being a powerful signature move. Wylder is an easy to learn tough to master hero who’s attacking and defensive capabilities are evenly balanced. Their passive ability – Sixth Sense – allows them one free respawn, presumably retaining runes that’d be dropped in any other death. Raider is tough as old boots, a powerful, armour-clad sea farer who wields humungous weapons. Ironeye is an archer with pinpoint accuracy, Recluse is the mage able to conjure powerful spells and cursed magic. Guardian is defensive, with a solid shield that can withstand the most ferocious attacks. Finally, Duchess is like the spy, nimble, swift, and evasive, with an ultimate art capable of making herself and the rest of the squad invisible. At face value, without considering any runic powerups, there’re clear strategies that Nightreign players can pursue. For example: Ironeye’s character skill marks enemy weakpoints, Raider’s retaliate skill pummels the marked enemy until they recoil, before Wylder unleashes their powerful character art onslaught stake to finish the stunned foe off. The fact that these situations will occur at breakneck speed is enticing. FromSoftware, as per reports of early demo players, haven’t reinvented the wheel when it comes to Elden Ring’s combat. Veterans of The Lands Between will feel right at home when the skirmishes commence. With scalable difficulties – another first in FromSoftware’s Souls canon – there’s the hope here that players with less finely-tuned reflexes will finally be able to enjoy the ravishing combat upon which FromSoft have made their name. Players cannot expect this to perform like a multi-player Soulslike though, no. Elden Ring Nightreign is very much its own thing, taking the macabre universe already established in its single player guises and translating it into an experience more akin to Apex Predators or – sacrilegiously perhaps – Fortnite. It’s a sure-fire winning combination, and one that has potential to elevate Elden Ring Nightreign above the pile of co-op games coming out before the end of the year.  Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

In the new version 2.0.0 you can notice the number 2 at the very beginning, which means that those who played the old version will have to play again. But this is not bad at all, because now the game does not cause frustration! And that's the most important thing! Don't believe me? Try it yourself (On Google Play or Itch). Gameplay has been added with additional mechanics so that from now on it will be unfair to think that the level passed in the old version in 5 minutes will be fair for the new version. After all, in the new version at least, the ammo is no longer infinite. However, now the gun can still be infinitely charged with the help of special terminals, which we, quickly thinking, decided to visualize as electric balls... Why not? And now you have to shoot not only enemies, but also various obstacles like dry bushes, boxes with possible first aid kits, weights or keys. So, it is better to spend ammo wisely. What are these keys, you ask? Well, they are keys to terminals that can control force fields that will sometimes need to be switched. The fields will also be switched by special sensors. And actually, they can switch more than just force fields. In general, it's long to tell, so it's easier for you to see once by downloading the game. We have also added text logs, which we hope will be fun for you to read. But besides the fact that they are full of humor, from them you will be able to find out what happened on this planet. Challenge yourself, turn on your deduction and try to predict the true cause of the incident from the storylines you can read in the logs of different scientists... Bet you can't guess? ;) By the way! Our musician composed two additional soundtracks, which emphasized the protagonist's descent underground especially well. And the most important addition, dictated by the very nature of the game - on the inventory screen there are hints about the weights already found, and those that need to be matched to open the next door. The found weights are sorted in ascending order, and it's not for nothing! Finding the right values is not always an easy task, so it will definitely not be a spoiler if I tell you the algorithm of their selection. On the contrary, this knowledge will help you play the game with even more joy! For example, level 4. You need to put 36 on the plate: * All found shipments in descending order:30, 26, 18, 14, 11, 9, 9, 5* We count by iteration:1) 36 (target weight) - 30 (heaviest) = 6. Therefore, we can't use the minimum nearest weight 5. So weight 30 is discarded.2) 36 - 26 = 10... Again, the ones under 10 (9, 9 and 5) won't fit in any way. So we're throwing out 26.3) 36 - 18 = 18...- resulting 18 - 14 = 4 (14 doesn't fit)- 18 - 11 = 7 (11 doesn't fit)- 18 - 9 = 9 (that just leaves the other 9).Therefore, we put on the plate 18 + 9 + 9 = 36.Just arithmetic without multiplication and division. I'm sure you'll quickly master it with this approach. It sounds more complicated than it really is. And one more hint! To avoid running around in circles for the right weights, just move them all to one place. But I think you would have figured out this management without me ;) Well. The game probably won't undergo any more of these major game-changing additions. So the next step we see is just to finish its development. In the meantime, you can download episode 1 (or Itch) and give it a try.

Look, y’all, I try to start these recaps with lighthearted jokes and gags that all of us, both lovers and haters of The Last of Us season two, can enjoy, to set a welcoming and pleasant tone before I start unleashing my critiques of a given episode. However, I don’t think I have it in me this week. I’ve been dreading writing a recap for the sixth episode of this season because it is exactly the kind of sentimental, dramatic episode of television that often captivates audiences and gets award show buzz, but it is also one of the most nauseating adaptations of the original work the show has given us yet. This is where all of showrunner Craig Mazin’s odd creative choices collide like the gnarliest 10-car pileup you’ve ever witnessed, and the result is the absolute bastardization of the most important scene in all of The Last of Us Part II.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 HigherDoing betterAlmost all of this episode is told in flashbacks that, in the game, were sprinkled throughout Ellie’s bloody quest for revenge in Seattle (and after, but we’ll get to that), but here are condensed into a single hour of television. But before we get to that, we start out with a brand new scene of a young Joel (Andrew Diaz) and Tommy (David Miranda) in their home, long before the cordyceps fungus was a concern. It’s 1983, and the younger brother tearfully tells his brother that he’s scared of their father, and that he’s going to get “the belt” whenever dad gets home from work. Joel assures Tommy that he will take the fall for whatever it was his brother did, and sends him up to his room to wait for their father alone.When J. Miller Sr. (Tony Dalton) arrives, it’s in a cop car. He walks into the kitchen and doesn’t so much as say hello to Joel, instead telling him to “talk fast” about what happened. Joel tells him he got into a fight with a pot dealer, but his father already talked to the witnesses and knows Tommy was the one buying the drugs. Joel stands firm and tells his dad he’s not going to hurt his little brother. Rather than getting the belt, Officer Miller grabs two beers out of the fridge and hands one to his son. He then tells a story about a time he shoplifted as a kid, and his father, Joel’s grandfather, broke his jaw for it.“If you know what it feels like, then why?” Joel asks. He then proceeds to justify his own abuse by saying his was “never like that,” never as bad as what his father inflicted upon him. He says he might go too far at times, but he’s doing a little better than his father did. “When it’s your turn, I hope you do a little better than me,” he says as he heads back out on patrol without having laid a hand on his son, this time.So, I hate this. Depending on how cynical or charitable I’m feeling, I read this as both an uninspired explanation for Joel’s misguided, violent act of “love” at the end of season one, when he “saved” Ellie from her death at the hands of Abby’s father, the Firefly surgeon, and then lied to her about it, and a tragic reason for why he’s so hellbent on giving Ellie a better childhood, even in the apocalypse. Last of Us fans will likely run with both interpretations, but in the broader scope of the series, this previously undisclosed bit of backstory is the exact kind of shit that lets people excuse Joel’s actions and place the blame on something or someone else. This sympathetic backstory is the kind of out the show has been oddly fixated on giving viewers since season one as it tries to soften the world’s views of Joel and Ellie, even as they do horrific things to those around them. First, it was players and viewers creating their own justifications, telling themselves that the Fireflies wouldn’t have been able to distribute a vaccine anyway, or that they couldn’t be trusted with such a world-shifting resource, though Joel clearly doesn’t give a fuck about the prospect if it means Ellie’s life. Now, it will be “Joel was just perpetuating the same violence his father put on him and his brother, but at least he didn’t hurt Ellie. He’s doing better, and Ellie will in turn do better as well, and this cycle of generational trauma will eventually be broken.” What is with this show’s inability to confidently lay blame at its leads’ feet without cushioning it with endless justifications and explanations?The maddening part of this addition is that it’s much harder to just call this another overwrought Mazin embellishment because this episode is co-written by Last of Us director Neil Druckmann (who also directs the episode) and Part II narrative lead Halley Gross, alongside Mazin. I’ll never know how some of these scenes came to be, but I’ve seen what this story looks like when Mazin’s not in the room, and many of his worst tendencies are still on display, even with Druckmann and Gross writing on this episode. But I’ll be real, if I had been rewriting what is essentially my magnum opus for television, I would have fought to keep the kid gloves off. But I’m getting ahead of myself. Giving Joel even more tragic backstory to justify his actions is hardly the worst crime this episode commits.We jump forward a couple decades to the small town of Jackson, just two months after Joel (Pedro Pascal) and Ellie (Bella Ramsey) settled in following season one. Joel’s putting his old smuggling skills to use to make deals with local bigot Seth (Robert John Burke). He found a bag of Legos for Seth’s grandkids, and he wants something in return. Whatever it is, he needs it by tomorrow, and he needs it in vanilla flavor. Before he goes, however, he says there’s one more thing he needs, but Seth has plenty of it, so it shouldn’t be a problem.Image: HBOJoel sneaks through his house and verifies Ellie isn’t in her room, then takes his prize out from his coat pocket: a bone. He takes it to his workshop and starts carving it into the shapes he needs to finish a woodworking project he’s been saving for this day: a refurbished tobacco sunburst acoustic guitar with a moth decal on the fretboard. The guitar’s origin is more or less the same as the game, but with a few added details like Joel carving in the moth based on one of Ellie’s sketches. It inverts the origins of Ellie’s moth tattoo, which was originally implied to have been designed based on the guitar Joel found rather than the other way around, but it’s a cute personal touch for the show to add.Joel gives the guitar a quick once-over before his work is interrupted by Tommy (Gabriel Luna) and Ellie arriving with the latter loopy on painkillers. While working in town, Ellie intentionally burned off the bite mark that kicked off this whole series. She apologizes before finally passing out in her bed. As we saw in Seattle, Ellie justified this as wanting to wear long sleeves again without an infected bite mark scaring the hoes, but I still prefer the interpretation that she did this because being constantly reminded of the cure she never got to be was more painful than a chemical burn. When she wakes up, the pain has mostly subsided, which is good, because today’s not a day for pain: It’s Eli’s 15th birthday. At least, that’s what the vanilla cake Seth baked says on top. An illiterate bigot ex-cop who can’t spell “Ellie”? This is who survives in the post-apocalypse?Ellie, still a bit doped up, is unfazed, shoves a fistful of the cake into her mouth and says it’s good. Sure, queen. It’s your day, and silverware is for people who aren’t the birthday girl. One of the surprises Joel has is not edible, though. He brings the guitar into the kitchen and reminds Ellie that he promised to teach her how to play last season. Ellie wants to hear something and insists that Joel sing. He protests, but Ellie reminds him that it’s her birthday. So Joel huffs and puffs, then sits down and finally sings Pearl Jam’s “Future Days.” Well, I mean, I guess it’s a Pearl Jam song? As we went over last week, this song should not exist in the show’s timeline because the album it came from wasn’t released until 2013, and the apocalypse began 10 years earlier in the show for no real discernible reason beyond some weird Bush-era anti-terrorism hoopla in the pilot. So maybe “Future Days” is a Joel Miller original in The Last of Us? Eddie Vedder, who?Pascal’s performance, like Troy Baker’s in the game, is very understated and sweet, and sounds like a person who can’t really sing doing his best. Ellie says the impromptu song didn’t suck, and he hands her the gee-tar. She holds it in her lap and accidentally touches her bandaged arm with it. Joel tells her he understands why she burned the bite mark off, and they’re not gonna let that ruin her birthday.Sweet 16Next, we jump to one year later for Ellie’s 16th birthday. The duo is walking through a forest as Ellie tries to guess what Joel’s surprise is for her big day. He says he found whatever they’re traveling to see while on patrol, which prompts Ellie to bring up that she’s tired of working inside Jackson when she could be fighting infected alongside Joel and others. She says Jesse told her he’d train her to help expedite the process, but Joel changes the subject by asking if something is going on between the teens. Our funky little lesbian chuckles at the notion, and Joel insists he has an eye for these things. “I don’t think you do,” Ellie laughs.This interaction is pulled from The Last of Us Part II, and I love it because it says a lot about the two’s relationship. Most queer kids have stories of their parents assuming that any person of the opposite gender you’re standing near must be a potential romantic flame, and in the best case scenarios this comes from a place of ignorance rather than malice. I had always attributed Joel’s extremely off-base theory to a growing distance between the two after they made their way to Jackson, and a sort of southern dad obliviousness that’s incredibly real and also endearing. Yes, yes, Joel did terrible things, but he is also Ellie’s surrogate peepaw who wants to be part of her life, and when he’s not being a violent bastard, he has a softer side which Naughty Dog developed brilliantly, and it’s a huge part of why millions of players still stand by him after all the mass murder and deception. HBO’s show? Well...put a pin in this, we’ll get back to it.Image: HBOWe finally arrive at our destination, and it’s an abandoned museum. Right out front, Ellie finds an overgrown T-Rex statue. Immediately, she climbs up to the top, which just about gives Joel a heart attack. Standing on top of its head, she sees the museum in the distance, and Joel tells her that’s the main attraction, if she doesn’t break her neck falling off the dinosaur. Once inside, we see what Joel wanted Ellie to see: a huge exhibit dedicated to space travel. So far, Ellie has only really fueled her passion for astronomy through textbooks and sci-fi comics, so getting to see a full diorama of the solar system is a dream come true. But her real dream is to go to space. In another life, one in which a fungal infection hadn’t leveled the world, she would’ve been an astronaut going on intergalactic adventures.Joel can’t take her to space, but he can give her a chance to imagine what it was like. He walks her a bit further into the exhibit and shows her the remains of the Apollo 15 Command Module, which went to space and back in 1971. Ellie is speechless as she excitedly climbs inside, but before she gets in, Joel points out that any astronaut worthy of the title needs a helmet. He hands her a rock to break into one of the suit displays, and she picks her favorite helmet of the bunch.“How’s it smell in there?” Joel asks.“Like space...and dust,” Ellie replies.The two get inside, and Ellie starts flipping switches and narrating her space trip. However, Joel has a better idea. He pulls out an old cassette tape, and Ellie asks what’s on it. He says it took a great deal of effort to find in this fucked up world, but doesn’t answer. When Ellie puts the tape in her Walkman, Joel tells her to close her eyes as she listens. When she presses play, she doesn’t get some old world music Joel liked as a teen; instead she hears the countdown of a real orbital launch. She closes her eyes and imagines herself flying up into space. We see the spacecraft shake, the lighting change as it passes through the atmosphere, and then finally, the sun shine over her helmet as she comes back down to Earth. Joel asks if he did okay, and Ellie just lets out a flabbergasted “Are you kidding me?”Alright, yeah. This scene is still incredible, and I imagine it’ll hit even harder for newcomers who haven’t played the games because they didn’t get a similar scene in season one in which Ellie imagines playing a fighting game. Even before Joel or her first love, Riley (Storm Reid), died, Ellie was a girl in a constant state of grief. She mourns a life she never got to have as she gets nostalgic for a world whose remains she gets to rummage through while scavenging, but that she will never truly experience. Joel can’t give her the world, but he can give her the chance to imagine it, just for a little bit. Joel’s love languages are obviously acts of service and gift giving, and my guy knows how to make a grand gesture even in the apocalypse. God, I know there’s someone out there wagging their fingers about the war crimes but leave me alone, that’s fucking ohana. He’s just a baby girl trying to do nice things for his baby girl.As the two head back to Jackson, Joel says they should do trips like this more often. Ellie agrees, but then briefly stops as something catches her eye: a group of fireflies gathering in the woods. For a show that loves to just say things to the camera, it’s a nice bit of unspoken storytelling. Ellie stares at them long enough to convey that what happened at Salt Lake City still haunts her, but it’s subtle enough that a viewer who isn’t paying close attention might not catch it.Dear diary, my teen angst bullshit has a body countNow it’s time for the 17th birthday. Joel comes home with another cake, but this one spells Ellie’s name right. He heads upstairs to give it to Ellie, but hears giggling inside her bedroom and barges in without so much as a warning. He finds Ellie on her bed with Kat (Noah Lamanna), freshly tattooed, smoking weed and fooling around. Joel goes into full-blown angry dad mode and tells Kat to get out.“So all the teenage shit all at once,” he barks. “Drugs, tattoos, and sex...experimenting with girls?”Ellie says it wasn’t sex, and it certainly wasn’t an “experiment.” Joel says she doesn’t know what she’s saying and storms out.Well, homophobic Joel Miller was not on my bingo card for this show, but it’s done almost nothing but disappoint me, so maybe it should have been. As I wrote when we learned about Dina’s bigoted mother in episode four, the way The Last of Us weaves old-school homophobia into its world has far more long-standing consequences to the series’ worldbuilding than I think Mazin, and now Druckmann and Gross, considered. The more people who are shown to have carried bigotry into the apocalypse, the more it makes it odd that Dina and Ellie have no idea what Pride flags are. The more that queerness is othered in this world, the more its indiscriminate, post-apocalyptic loss of culture instead reads like a targeted one for queer people specifically. I already wrote about that enough for episode four, though, so I want to focus on what it means for Joel to dabble in active bigotry rather than exude the passive ignorance he did in The Last of Us Part II.There’s an argument to be made that adding this layer of disconnect between Joel and Ellie helps add weight to their reconciliation. If your dad has had homophobic outbursts most of his life, then starts wearing an “I love my lesbian daughter” t-shirt, that’s a feel-good story of redemption worth celebrating. However, was it necessary? Did we need Joel to become a late-in-life homophobe on top of all the other questionable things he’s done? The reason I love him asking if Ellie is interested in Jesse is that it’s a silly, light-hearted interaction. In Part II, the fact that he hasn’t picked up on her being a raging lesbian when he asks about Jesse speaks to how distant the two have become by the time she’s turned 17, and ultimately underlines that he’s a clueless dad at heart. This change for the show, however, replaces ignorance with malice, and the dynamic is entirely different. Yeah, homophobia is inherently ignorant, but Joel asking about Jesse isn’t malicious, it’s just dumb. My man is not reading the room. Here, Joel is reading the room and doesn’t like what he sees.It’s another example of the show not being willing to leave well enough alone. HBO can’t be content with all the subtle shades of grey the game provided, so it has to expound on everything, no matter how unnecessary or damaging it is for the characters. Joel is no longer just a well-meaning (albeit overbearing and violent) dad to TV viewers, he’s a well-meaning (albeit overbearing and violent) dad who also was secretly a bigot the whole time. Fuck this.Image: HBOEllie heads out to the shed in the backyard to get away for a bit. It’s dusty and full of tools, but Ellie’s got a vision and starts to move her mattress out of her room. Joel wakes up and asks what’s going on, and he says Ellie can’t move into the shed overnight because there’s no heat or running water. Ellie says she’s not sorry she smoked weed, got a tattoo, or fooled around with Kat. Rather than admit that homophobia is so 2003, Joel agrees that she should have her own space and says that he’ll spend a few days making it livable. As they put the mattress back on the bed, Joel asks to see the tattoo. It’s not quite finished, but the moth illustration is already inked over the mostly healed burn mark. He asks why she’s so fixated on moths, and she says she read they’re symbolic in dreams. Joel asks if it represents change, and Ellie, clearly not wanting to dig into what it actually means, just says it’s late to get him to leave.Ah, crap, I forgot about Gail. Hello Catherine O’Hara, I wish you were playing a less frustrating character. Joel ambushes the doctor at the local diner and asks what moths mean in dreams. Gail says moths usually symbolize death “if you believe in that shit.” When Joel seems paralyzed by the answer, Gail, annoyed, asks why he wants to know. He doesn’t answer and heads home.Ellie has wasted no time getting her shit together to start moving out. The camera lingers over some of her moth sketches, including one that reads “You have a greater purpose” in between the drawings. She grabs them and puts them in a box, but it’s clear the purpose she thought she had weighs on her mind when we see her next.All the promises at sundownThe show jumps forward two years, almost bringing us to the “present” of the show. A 19-year-old Ellie sits in her hut and rehearses a speech she wants to give Joel. She’s been thinking about his Salt Lake City story and some of the odd inconsistencies with what he told her four years ago. How were the Fireflies surprised by a group of raiders when they saw the pair from a mile away in the city? How did Joel get away from the raiders while carrying her when she was unconscious? Why haven’t they heard from any of the other supposed immune people besides her? Before she can finish her spiel, Joel knocks on her door and says her birthday present this year is that she’s finally getting to go on a patrol. All the animosity melts off of Ellie’s face and is replaced by a childlike glee. She grabs her coat and a gun, and they head out.The pair head onto what Joel describes as the safest route they’ve got so she can learn the ropes. Ellie’s clearly dissatisfied with wearing training wheels, but the two banter and scout out the area until Joel says it would be nice if they could spend more time together. Ellie hesitantly agrees, clearly once again thinking about Salt Lake City. Joel asks if she’s alright, but the conversation is derailed by a radio call informing them that Gail’s husband Eugene (Joe Pantoliano) spotted some infected and needs backup. Joel tells Ellie to head back to Jackson but she protests, reminding him that she’s not his kid, but his scouting partner. Joel realizes he’s losing time arguing, so they head out.Image: HBOAs the two scale down the side of the Jackson mountainside, they hear gunfire and infected screeches in the distance. They follow the noise and see the corpse of Eugene’s patrol partner, Adam, being dragged by his horse, but Gail’s husband is nowhere to be found. Joel leads them down the path the horse came from, and they soon find the aftermath of the scrap, and Eugene leaning up against a tree. Joel asks if he got bit, and while it seems like he considers hiding it for a moment, he shows a bite mark on his side. Joel keeps his gun trained on Eugene, who asks if he can go back to the Jackson gate to say goodbye to his wife before he turns. While Joel isn’t entertaining it, Ellie asks Eugene to hold out his hand and count to 10, and verifies that the infection hasn’t spread to his brain yet. There’s time for him to see Gail. They just need to tie him up and bring him back. Joel hesitates, then tells Ellie to go get the horses, and they’ll meet up. She starts to leave but then stops and turns to Joel with an expectant look. He sends her off with a promise that they’ll be there soon. But he’s promised her plenty of things before.Joel directs Eugene to a clearing next to a gorgeous lake. But the awe is short-lived as he realizes that Joel never had any intention of taking him back to the town to see Gail. Joel says if he has any last words for his wife, he’ll pass them along. But Eugene didn’t have anything to tell her; he just wanted to hear her last words for him.“I’m dying!” he shouts. “I’m terrified. I don’t need a view. I need Gail. To see her face, please. Please let that be the last thing I see.”Joel doesn’t relent and says that if you love someone, you can always see their face. Eugene gives in and stares off into the distance until he dissociates. Then, finally, he tells Joel that he sees her. We never hear the gun go off, but we see a flock of birds fly away from the scene.Image: HBOEllie finally arrives with the horses, and Joel merely apologizes as she stares in horror at what he’s done. He ties Eugene to one of the horses and says he’ll tell Gail just what she needs to know. Ellie is dead silent. She tearfully realizes that Joel’s promises mean nothing as they slowly make their way back to Jackson.Inside the Jackson wall, Gail cries as she stands over Eugene’s body. Joel tells her that he wanted to see her, but didn’t want to put her in danger as the cordyceps overtook him.“He wasn’t scared,” Joel says. “He was brave, and he ended it himself.”Gail hugs Joel both for her own comfort and as thanks for his kind words. But it’s all bullshit. If there’s one thing Joel is good at other than gift giving and torture, it’s lying. But Ellie is here and knows this better than she ever has, and she’s not about to let him get away with it.“That’s not what happened,” she says. “He begged to see you. He had time. Joel promised to take him to you. He promised us both. And then Joel shot him in the head.”Joel is stunned, then turns to Gail to try to explain himself, but she slaps him right across the face and tells him to get away from her.“You swore,” Ellie growls at him before walking away.For the uninitiated, this entire side story with Eugene is new for the show, and I have mixed feelings on it. It’s well acted, with Pantoliano giving us one of the season’s best performances in just a few minutes of screentime, but it’s also a very roundabout way for the show to finally create what seems like an unmendable rift between Joel and Ellie without them, you know, actually talking about what happened between them. Yes, it’s an extension of that conflict, as Ellie realizes that Joel is a liar who will do what he wants, when he wants, and anyone who feels differently will find themselves on the wrong side of a rifle or with a bogus story to justify it. But we’re not directly reckoning with what happened in Salt Lake City here. As illustrated in the first episode, Joel doesn’t even realize that Ellie’s anger is rooted in what he did to her, and he chalks the distance between them up to teen angst. If I didn’t know any better, I would also be confused as to why Ellie didn’t talk to him for nine months. My guy doesn’t even know that Ellie is on to the fact that he committed the greatest betrayal she’s ever suffered. Which makes the show’s actual unpacking of it all the more oddly paced, and dare I say, nonsensical?With one more leap forward, we finally reach something familiar from episode one. It’s New Year’s Eve, and Dina (Isabela Merced) is the life of the town’s celebration. Joel is sitting with Tommy and his family and watching Ellie from an acceptable distance. Tommy’s wife, Maria (Rutina Wesley), says that her calling him a “refugee” five episodes ago was out of line, and that he’s still family and has done a lot for Jackson in the years since he and Ellie moved to the town. The sentimental moment is interrupted by Seth calling Ellie and Dina a slur for kissing in the middle of the crowd, and Joel remembers that homophobia is not it and shoves the illiterate, cake-baking, bigoted ex-cop to the ground. He quickly leaves after Ellie shouts at him for interfering, but hey, at least you decided to remember not to be a bigot yourself in your final 24 hours.Oh my god, I’m bracing myself. I have spent weeks trying to gather the words for talking about this next scene. I work with words for a living, and they usually come naturally to me. But when I first watched this scene recreated in live action, all I could do was fire off expletives as my skin crawled off my body. The tragic part is, this scene is my favorite in all of the Last of Us games. It is the foundation of everything that happens in Part II, and originally, it is only shown to you in the last five minutes, after hours of violent conquest for which the game refuses to provide neat, softening explanations. Troy Baker and Ashley Johnson’s version of this interaction is everything that makes The Last of Us Part II work, condensed into a stunning five-minute scene of career-defining performances, sublime writing that says everything it has to without having to explain it to the viewer like they’re talking down to a child, and a devastating reveal that explains every painful thing you’ve witnessed and done in this game with heartbreaking, bittersweet clarity. I’m talking about Joel and Ellie’s final conversation before his death, and y’all, I cannot believe how badly the show tarnished this scene, and that Druckmann and Gross let it happen.Part of the issue is that the show’s version of what has become colloquially known as “The Porch Scene” not only has to bear the weight of what was originally Joel and Ellie’s final conversation, but also that it mashes the original scene together with another in such a condensed fashion that it kinda undermines the entire point of Joel and Ellie’s year of no contact. In Part II, there was an entire playable flashback dedicated to Ellie traveling back to the Salt Lake City hospital and discovering the remnants of the Firefly’s base to confirm her worst fears about what Joel had done. It’s much more straightforward than the game’s approach to driving a wedge between the characters, but maybe Mazin and co. thought it was too implausible for show audiences to buy, or they didn’t have the Salt Lake City base set to use anymore. Who’s to say? Instead, we got the Eugene subplot to serve a similar purpose, and Ellie lives with mostly certain but never confirmed suspicions that Joel lied to her about what happened at the hospital. So, on top of the two talking out the Eugene stuff, they also have to lay out the entire foundational conflict between them at once. The result is an extremely rushed revelation and reconciliation, while the show is also juggling Mazin’s overwrought annotated explainer-style writing. So the once-perfect scene is now a structural mess on top of being the show’s usual brand of patronizing.At first, Ellie walks past the back porch where Joel is playing her guitar, as we saw in episode one. Long-time fans were worried this brief moment might mean the show was going to skip this scene entirely, but it turns out that was just a bit of structural misdirection. The two stand side-by-side at the edge of the porch with their hands on the railing. They occasionally look at each other, but never outright face each other as they talk. Neither of them is quite ready to look the other in the eye just yet.Ellie asks what’s in the mug Joel’s sipping on, and he says he managed to get some coffee from some people passing through the settlement last week. My king, it is past midnight. We all have our vices, but do you think you need to be wide awake at this hour? Anyway, Ellie’s not here to scold him for his coffee habits; she’s here to set some boundaries. She says she had Seth under control, and tells Joel that she better not hear about him telling Jesse to take her off patrols again. Joel agrees to the terms, and there’s a brief, awkward silence before he asks if Dina and Ellie are girlfriends now. Ellie, clearly embarrassed, rambles about how it was only one kiss and how Dina is a notorious flirt when intoxicated, and asserts that it didn’t mean anything. Joel hears all this self-doubt and asks a new question: “But you do like her?” Ellie once again gets self-deprecating and says she’s “so stupid.” Then Joel goes into sweet dad mode.“Look, I don’t know what Dina’s intentions are, but, well, she’d be lucky to have you,” Joel says.Naughty Dog / HotoP GaminGThen Ellie says he’s “such an asshole” and gets to what she actually wants to talk about. He lied to her about Eugene and had “the same fucking look” on his face that he had when she asked about the Fireflies all those years ago. But she says she always knew, so she’s giving him one last chance to come clean. “If you lie to me again, we’re done,” she says.Then Ellie asks every question she wanted to ask on the morning Eugene died. Were there other immune people? Did raiders actually hit the Firefly base? Could they have made a cure? Did he kill the Fireflies and Marlene? For the first time, Joel gives honest answers to all of her questions, and says that making a cure would have killed Ellie, to which she says that she should have died in that hospital then. It was the purpose she felt she was missing in this fucked up world, and he took that from her. He took it from everyone.All right, so here we go. Most of what’s happened up to this point is, bar for bar, the original script. And then Pascal just...keeps talking, prattling off embellishments and clarifications in keeping with Mazin’s writing style, massacring what was once an excellent example of natural, restrained writing and conflict resolution, all so there’s no danger that the audience watching could possibly misinterpret it. Incredibly complicated characters who once spoke directly to each other without poetic flair are now spoonfeeding all the nuances to viewers like they’re in an after-school special about how to talk to your estranged family members.I’m going to type up a transcript of this interaction, bolding the dialogue that is new for the show. Take my hand, follow me.Joel: I’ll pay the price because you’re gonna turn away from me. But if somehow I had a second chance at that moment, I would do it all over again.Ellie: Because you’re selfish.Joel: Because I love you in a way you can’t understand. Maybe you never will, but if that should come, if you should ever have one of your own, well then, I hope you do a little better than me.Ellie: I don’t think I can forgive you for this...But I would like to try.Welp, glad that’s resolved. Ellie learned about the greatest betrayal of her life and is ready to try moving past it in all of five minutes, rather than taking a full year to sit with that pain before even considering talking to Joel again. Yeah, maybe at this point Ellie is just trying to resolve things with her surrogate father, and that’s less about one thing that transpired than it is everything they’ve been through, but it still feels like the show is rushing through the biggest point of tension these two face in favor of a secondary conflict.Besties, there are bars on my apartment windows put there by the building owners, and if they hadn’t been there, I cannot guarantee I would not have thrown myself out of my second-story home and suffered an inconvenient leg sprain watching this scene. In just a few additional lines, The Last of Us manages to turn the game’s best scene into one of the most weirdly condescending ones in the show, spelling out every nuance of Joel’s motivations, and explaining his distorted view of what love is with all the subtlety of a Disney Channel Original Movie. It’s not enough for Joel to boldly say he’s seen the fallout of what he’s done and would still have saved Ellie’s life, the show has to make sure you understand that he did it not because he’s a selfish bastard trying to replace one daughter with another like all the meanies who hate him say online, but because he loves her…while also quoting his newly-revealed abusive father. God, I can already hear Ellie likely quoting this “doing better” line when she makes a big decision at the end of Part II’s story in a hokey attempt to bring all of this full circle. I already hate it, HBO. It’s not too late to not have her quote an abusive cop when talking about her as-of-yet unborn child.Watching this scene feels like having an English teacher’s hand violently gripping my shoulder, hammering down every detail, and making sure I grasp how important the scene is. It’s somehow both lacking confidence in the moment to speak for itself while also feeling somewhat self-important, echoing how The Last of Us as a whole has been publicly presented in the past five years. Sony and HBO’s messaging around the franchise has been exhaustingly self-aggrandizing in recent years, as they’ve constantly marketed it as a cultural moment too important to be missed. That’s why it’s been remastered and repackaged more times than I care to count, and why we’ve reached peak Last of Us fatigue.The Last of Us has reached a point of self-important oversaturation that even I, a diehard fan, can’t justify. But while Sony’s marketing has often felt overbearingly self-important, that quality never felt reflected in the actual text. Here, however, the Last of Us show insists upon driving home the lessons it wants to teach so blatantly and clumsily that I once again find myself feeling that this adaptation was shaped by discourse, reacting to potential bad-faith (or just plain bad) responses in advance rather than blazing trails on its own. It knows this moment is important to fans who spent a whole game fearing Joel and Ellie parted on bad terms before his death, so it’s gotta make sure viewers, who only had to wait halfway through the story, know how significant it is, too, by laying the schmaltzy theatrics on real thick when understated sentimentality would’ve sufficed. Even the best moment in the game isn’t immune to the show’s worst tendencies.I’ve spent the whole season racking my brain about why Mazin chose to rewrite The Last of Us Part II’s dialogue this way, because the only explanations I can come up with are that he believes this to be an improvement on the source material or that he thinks the audience couldn’t follow the nuances of this story if they weren’t written out for them like in a middle school book report. But after seeing how the show butchers Joel and Ellie’s final talk, I don’t think his motivations matter anymore. The end result is the same. Even though HBO is stretching Part II’s story out for at least one or two more seasons, I don’t think there’s any coming back from this haughty dumbing down of the game’s dialogue. The Last of Us has already fumbled the landing before the story’s even halfway over. The show will continue, but as far as I’m concerned, it’s a failed experiment, and it’s fucking over.Now, we’re back in the present day. As Ellie walks through a rainy Seattle back to the theater where Dina and Jesse are waiting, and we’re back in the midst of her revenge tour, I have whiplash. HBO has already shown its hand. We’re at least another season away from seeing the resolution to this entire conflict, but we already know…almost everything? We know Abby killed Joel as revenge for him killing her father. We know Ellie is so hellbent on revenge (well, that’s debatable, considering the show has drained her of that drive and given it to Dina instead) because she was denied the opportunity to truly reconcile with Joel. The show has demolished so much of its narrative runway that I don’t know what the tension is supposed to be anymore. Wondering who lives and dies? Well, fucking fine. I’ll watch the show aimlessly and artlessly recount the events of the game, knowing its ending, which feels more predictable than ever, is coming in a few years.

Casa La Paz / Ludwig Godefroy ArchitectureSave this picture!© Cesar BelioHouses•La Paz, Mexico Architects: Ludwig Godefroy Architecture Area Area of this architecture project Area:  200 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Cesar Belio Lead Architects: Ludwig Godefroy More SpecsLess Specs Save this picture! The Casa La Paz project proposes to invert the traditional house model, flipping its common scheme of a house with a garden in order to create a garden with its house. By making the external element an integral part of the living space, the house and its garden cease to be two distinct entities and merge into a single, unified element. The fusion of interior and exterior generates a sense of expansiveness in the habitable space of the house.Save this picture!Save this picture!This new permeability between the garden and the house erases the classic hermetic border between inside and outside, leading to the creation of a unique, habitable garden. To realize this idea of a garden/house, the key was to preserve and work with the original essence of the land and its topography, ensuring its identity would be maintained and transferred to the house itself.But how can the land's identity be transferred to the house without destroying it during construction?Save this picture!Save this picture!There was a subtle preexisting relationship between the land and a dry creek on the south side, where both were merging. The challenge of the project was to integrate the house into the topography of the land without disrupting this preexisting connection between the land and its creek.It is precisely at this point that the balance between destruction and preservation had to be found. The house had to allow the land to enter—the project had to become permeable, never interrupting the topography. In this way, the land could continue to express itself and evolve, moving from its relationship with the creek into a new relationship that includes the house—placing the house between those two original elements without trying to tame either the land or the creek.Save this picture!Save this picture!The Casa La Paz project, by embracing the topography and allowing it to remain, seeks to preserve the feeling that existed when walking the untouched land for the first time. It is designed like a walk through the land and, by extension, through the house. The house isn't static; it invites people to move, to explore, and to enjoy the land as it changes throughout the day, under the action of successive lights.Save this picture!The house appears as a collection of pavilions, creating multiple corners and, thus, multiple atmospheres. It's a small house, but composed of multiple spaces where people can coexist in the same place without always being aware of each other's presence.The project encourages living outdoors; therefore, it eliminates the fundamental architectural element of the façade. It proposes a house organized around a large void—without a façade—that does not create an enclosure. The house is permanently open and ventilated, yet it still meets the basic needs for protection and privacy of its inhabitants.Save this picture!Casa La Paz is a house conceived from its negative space. Let me explain: rather than starting from the design of the built living spaces—the positive space of the house—the project was conceived in reverse, beginning with this void that defines the garden. This garden space is the crucial element that protects the house and all of its interior spaces, serving as a buffer between the house, the street, and its surroundings.Save this picture!This large void controls the views from neighboring properties, allows the house to open up, and generates a strong sense of interiority in the garden. A sense of well-being envelops each space of the house, which is nestled among tall organ pipe cacti, thick elephant trees, and twisted desert bushes.Save this picture!Save this picture!By responding in this way to the reality of the land, the conventional idea of what would normally be a living room has been redefined. The entire ground floor, its garden, and every single tree become one large open living area. There is no longer any distinction between interior and exterior. The garden becomes the living room, kitchen, and dining room in their entirety.Save this picture!Casa La Paz inverts the traditional scheme of a house with its garden to create a garden with its house.Save this picture! Project gallerySee allShow less About this office MaterialsStoneConcreteMaterials and TagsPublished on May 17, 2025Cite: "Casa La Paz / Ludwig Godefroy Architecture" 17 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030047/casa-lapaz-ludwig-godefroy-architecture&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

In 2017, interior designer Lisa Koch, who had recently finished decorating The Faena in Miami, met hotelier Jeff Klein at the Sunset Tower in Los Angeles. He hired her on the spot to freshen up the Art Deco landmark: “I was extremely drawn to Lisa because she wanted to respect the soul and listen to the history and bones of the building,” says Klein, who also owns notable properties like the San Vicente Bungalows and The Jane Hotel. Two years later, Klein and his husband, producer John Goldwyn, purchased a nearby 1937 property built in the style of a 19th-century French manor—and knew Koch could transform the interiors into an inviting and transporting oasis inspired by its original architectural blueprints.Interior designer Lisa Koch sits in the curved breakfast room. “I found this French 1960s chandelier at Carlos de la Puente in New York and sent a picture of it to Jeff,” she says. “He replies yes, go ahead—so I brought it back to Los Angeles.” The house project took her almost five years to perfect. “Jeff and I are quite aesthetically aligned,” Koch says. “We didn’t come into each room with a distinct vision but rather it unfolded very naturally.” With the help of architect Ward Jewell, nearly every inch of the house was overhauled, from the climbing rose-covered stucco exterior walls and dove gray shutters to intricate arched foyers and a walk-in walnut bar. A guest house was removed to maximize space for the gardens by landscape designer Lisa Zeger, and a large swimming pool was replaced with a smaller one at the rear of the property. Unstained French oak floors sourced from an old English country estate cover every room except the kitchen and gym, with each plank laid with uneven spacing to exude the sense they’ve settled, like the house, with time. “Our intention was to respect the integrity of the property so it didn’t feel like a 1970s house Halston could have lived in,” Klein says.In the living room, pigmented plaster done by hand and applied paneling on the walls were inspired by the late-1930s architectural appeal of the original house. “We added thickness to the walls to allow for paneled casing around the French door and windows,” Koch says. Above the fireplace encased in an Italian marble mantle from Jamb hangs an inset brass-trimmed antique mirror that reflects light from the gardens. The painting on the far wall is by Jean Dubuffet, while the sofas are from Roman Thomas. In the living room, dentil crown molding, pigmented plaster, and decorative paneling were added to convey the original 1930s architecture, while the walls were thickened to include detailed casings around the French doors. An inset brass-trimmed antique mirror sits above the Italian marble mantle by Jamb, while a Jean Dubuffet painting hangs beside the grand piano. Pocket doors lead into the library, where a chandelier that belonged to Lord Mountbatten vies with Rosie Uniacke periwinkle armchairs. “We had planned on making the walnut paneling dark and bought dozens of stain samples but in order to remove the cathedral wood grain patterns we had to bleach it out multiple times,” Koch explains. “But after we lightened it, it looked much better, so it was a happy accident.” Above the fireplace, a projector unfurls from the ceiling, allowing it to double as a screening room. A 1958 pen and ink watercolor by Jean Cocteau—the first piece the couple ever bought together—stands between shelves lined with antiquarian and art books. “John is a voracious reader and very particular about organizing his books,” Klein muses.Glass pendants from Gordiola hang above a 19th-century French table in the kitchen that had once been a small room with a fireplace and two sofas. Koch completely reconfigured the space to accommodate large prep stations, two Miele dishwashers on either side of a double integrated marble sink, and a walnut paneled pantry with sawtooth adjustable shelves. It connects to a butler’s pantry equipped with open shelving and a second Subzero refrigerator. A skylight and the pitched ceiling was installed to allow natural light to pour in throughout the day. A proper corridor bar was built into a hallway next to the pantry to replace the original smaller one in the library. Paneled in walnut, the interior glass shelving sits in front of an antique mirror illuminated by backlighting. Salmon marble countertops on the sink and bar mix with colorful Murano glassware on shelves along the window. A grid of antique European maps framed in burlwood on the walls nods to Klein and Goldwyn’s love of travel and history. The kitchen was completely reconfigured with a high-pitched ceiling and a skylight, where sea green pendants from Barcelona hang above a 19th-century French table and a pantry displays Goldwyn’s collection of copper pots and pans he found in the Cotswolds, Paris, and the Hamptons. A dark hallway off the kitchen became a breakfast room with curved floor-to-ceiling windows overlooking the lily pond and a 1960s candelabra. “We didn’t stick to any formula, but rather purposefully chose furnishings from various centuries and provenances,” Koch says. Pieces found during their travels range from chandeliers and busts bought at Flair in Florence to antique Irish dining room chairs and 17th-century Four Seasons goddess statues salvaged from a torn down European count’s palazzo which now line the pool.Alongside the curved windowed walls of the breakfast room, Lisa Zeder installed a circular pond with floating Egyptian lotuses, lily pads, and a bubbling fountain. Climbing vines, rosemary, jasmine, and lush varieties of flowering perennials in planting beds border the Belgian antique cobblestone terrace. “We wanted every room to have views of the gardens, so the original staircase was moved and reduced into a spiral shape with a banister I found in France,” she explains. An oval ceiling oculus was added above, as well as a proper foyer where Robert Polidori’s 1986 photograph of Versailles’s interiors hangs beside an antique table with carved lion’s paw feet. Leading into the primary sitting room (which had been an office), a nook with a George Smith sofa is surrounded by prints by English artist Rose Wylie. “They were cut out of an art auction catalogue and framed in burlwood—I’m not too grand to admit that,” Klein says with a laugh. In the primary bedroom, a four-poster by Rose Tarlow flanks a Francis Bacon lithograph and working marble fireplace. Three sets of French doors lead out to a balcony with aerial views of the gardens, terraces, and round lily pond.A loggia with four arches was installed to allow views of the terrace and gardens below, and the exterior walls are clad in stucco. Old Belgian pavers cover the floor while a wooden ceiling gives the space both texture and intimacy. Liza Zeder Design Group designed the arrangements of plants, ferns, and trees in antique pots. The furniture is a mix of custom and vintage Baker upholstered in Pierre Frey fabric. “The loggia truly connects the interior to the exterior,” Koch says. “We didn’t want anything in here to feel like it belonged strictly inside or outside.” A sense of quiet serenity radiates from a rectangular lily pond directly across from the front entrance to the house, setting the tranquil tone of the property. Verdant hedges, vines, and lush flowering bushes of white rain lilies surround its borders. An outdoor fireplace and seating area on the south side of the house adorns the upper terrace, where grass pavers reclaimed from Belgium imbue a geometric motif. The exterior furniture is Formations and McKinnon Harris. The much-frequented spot has become a calming respite for Klein and Goldwyn and often used whenever they’re hosting friends or having parties. Goldwyn, an avid gardener who can often be found with pruning shears in his pockets, and Klein collected all of the art together by trawling through flea markets, antique stores, or auction houses. Meanwhile, in a former concrete open box with irregular walls, a loggia with four classical arches and Belgian antique pavers was built in the downstairs entry hall with lush potted plants and succulents selected by Liza Zeder. “Every night, we sit in the loggia, turn on music, and have a drink while watching the sunset,” Klein says. “The light dapples across the gardens and the smell of jasmine wafts into the house—I look forward to it everyday.”The façade of the house remains largely unchanged since it was built back in 1937. The steel troweled, unpainted stucco exterior wall finishes were designed to patina and crack with age, French ardoise slate covers the roof, and three dormers inspired by the original architectural plans were refabricated. Climbing white, orange, and pink French roses from Rose Story Farm in Carpinteria cover virtually all of the exterior walls, blooming four to five times a year. Limestone steps and dove gray wooden shutters were added while the French copper lantern hanging above the door is circa 1880. Floor to ceiling shelves and cabinetry were installed in the primary sitting room to accommodate books and photographs. Chairs and a sofa from George Smith create a cozy reading nook underneath artist Rose Wylie’s framed prints, and French doors lead to a terrace that looks out to the back gardens. Goldwyn, a producer, reads at least two books a week—from novels to European histories—as well as countless Hollywood scripts. The sitting room also includes a hidden midnight kitchen. In the dining room, curved walls cladded in linen juxtapose a late-19th-century French dining table surrounded by antique Irish chairs upholstered in burgundy leather from Hawker. Klein and Goldywn found the chandelier at Flair during a trip to Florence, while the mauve silk rug was custom designed. “We open the French doors leading to the upper terrace surrounded by flowers during dinner parties—and you can hear the peaceful murmur of the fountain in the lily pond,” Klein says. Cased in light walnut wood paneling, the library features blue armchairs by Rose Uniacke, a 19th-century Italian card table that seats four, and a sofa and coffee table from Roman Thomas. In addition to the two tall bookcases, low shelves line the side walls to accommodate the hanging of art. Perched upon the Jamb fireplace mantel is a Jean Cocteau pen and ink watercolor from 1958. On the right, three sets of French doors provide direct access to the back garden. In the primary bedroom that adjoins the sitting room, an intricately paneled octagonal coved ceiling was built to add height and scale. A very pale pink plaster was applied to the walls while the furniture is a mix of Rose Tarlow and bespoke pieces all upholstered in cream velvet fabric by Nobilis. The doors flanking the bed lead to matching closets and bathrooms, while French doors on the south wall open out to a balcony. The lithograph is by Francis Bacon and a pop-up lift for a television comes out of the custom curved desk. One of the two identical primary suite bathrooms, which connect to the walk-in closet and the primary bedroom, features walls clad in full slabs of Calacatta viola. Unstained antique French oak sourced from an old country home in England used throughout the majority of the house covers the floors. “We added a pitched ceiling for additional height along with a Jamb hanging globe,” Koch adds. All the plumbing fixtures are Waterworks while the vanity was custom made. Painted in an obsidian dark green high gloss lacquer from Fine Paints of Europe, the downstairs powder room opens into a floor-to-ceiling mirrored alcove. Koch added traditional crosshead basin taps from Lefroy Brooks to the custom-made marble and bronze vanity with an integrated marble sink. The room looks out to the front garden while full marble slabs cover the lower walls and floors, imbuing a seamless visual high impact. The sconces were found on 1stDibs. The breakfast room off the kitchen furnishes a generous view of the garden due to the installation of a curved window. “The Paul McCobb dining chairs, which originally belonged to my clients, were restored and reupholstered in ultra suede,” Koch says. A French 1960s bronze chandelier hangs above the limestone dining table and, on the opposite wall, Koch designed floor-to-ceiling cabinets to accommodate a collection of 19th-century silver and crystal glassware. A view of the back exterior of the house, which now features a loggia leading out to a rolling lawn and lush leafy gardens. To maximize the space of the gardens, a guest suite that had been added in the 1990s was removed from the north side of the house. All the landscaping and plantings were designed by Lisa Zeder Design Group. Below the terraces, Zeder set twelve linear Platanus x Acerifolia trees into beds teeming with green and white plantings—creating an homage to the style of old estate gardens in France and Italy.

It’s been a long wait for Ghost of Yōtei, the sequel to Sucker Punch’s critically acclaimed and commercially successful Ghost of Tsushima. Set over 300 years later, this time in Ezo (later known as Hokkaido), the narrative is about Atsu, who seeks revenge after the Yōtei Six slaughter her family. As with Ghost of Tsushima, Sucker Punch is aiming to “deliver a feeling of authenticity and believability to our fictional story.” On the PlayStation Blog, game director Nate Fox reveals that the team settled on Hokkaido because it’s “unbelievably beautiful.” “In 1603, it was the edge of the Japanese empire. Back then, it was called Ezo, a mysterious island to the north, sparsely populated by Wajin (Japanese) people bold enough to build a life for themselves in the cold wilderness. This combination of beauty and danger spoke to us.” Fox believes it’s the “perfect place to tell Atsu’s tale; a warrior so driven by revenge that locals start to believe she’s an onryō walking the land. If you’re going to tell a ghost story, do it in a dramatic location.” The development team undertook two trips to gather references, one to Shiretoko National Park, where the “natural beauty” of the ocean and cliffs coexist with predators like bears. “Suddenly we had to split our attention between gazing up at the beautiful snowcapped mountains and looking down at the nearby bushes in case there was a predator nearby. “That experience was magic! A perfect marriage of beauty and danger, that was the exact feeling we wanted for our game.” It’s ultimately what made Fox believe that the location was “the right choice” for the game. The second trip saw the team encounter the titular Mt. Yōtei or the “Female Mountain” as the Ainu called it. Fox felt that it was a “symbol of Hokkaido” and for Atsu, “It’s a symbol of home and of the family she lost. This process of being there, talking about the game with locales and then synthesizing new ideas is what made the trip so fulfilling.” Fox teased that the developer spoke to a “wealth of knowledgeable individuals and visited important cultural sites” to learn more about Japanese culture but that more will be revealed later. Stay tuned for updates in the coming weeks. Ghost of Yōtei launches on October 2nd for PS5, with pre-orders now available. Check out the latest trailer or learn more about how it’s Sucker Punch’s biggest map yet.