Key Takeaways on Ant PoopDo ants poop? Yes. Any creature that eats will poop and ants are no exception. Because ants live in close quarters, they need to protect the colony from their feces so bacteria and fungus doesn't infect their health. This is why they use toilet chambers. Whether they isolate it in a toilet chamber or kick it to the curb, ants don’t keep their waste around. But some ants find a use for that stuff. One such species is the leafcutter ant that takes little clippings of leaves and uses these leaves to grow a very particular fungus that they then eat.Like urban humans, ants live in close quarters. Ant colonies can be home to thousands, even tens of thousands of individuals, depending on the species. And like any creature that eats, ants poop. When you combine close quarters and loads of feces, you have a recipe for disease, says Jessica Ware, curator and division chair of Invertebrate Zoology at the American Museum of Natural History. “Ant poop can harbor bacteria, and because it contains partly undigested food, it can grow bacteria and fungus that could threaten the health of the colony,” Ware says. But ant colonies aren’t seething beds of disease. That’s because ants are scrupulous about hygiene.Ants Do Poop and Ant Toilets Are RealAnt colony underground with ant chambers. (Image Credit: Lidok_L/Shutterstock)To keep themselves and their nests clean, ants have evolved some interesting housekeeping strategies. Some types of ants actually have toilets — or at least something we might call toilets. Their nests are very complicated, with lots of different tunnels and chambers, explains Ware, and one of those chambers is a toilet chamber. Ants don’t visit the toilet when they feel the call of nature. Instead, worker ants who are on latrine duty collect the poop and carry it to the toilet chamber, which is located far away from other parts of the nest. What Does Ant Poop Look Like? This isn’t as messy a chore as it sounds. Like most insects, ants are water-limited, says Ware, so they try to get as much liquid out of their food as possible. This results in small, hard, usually black or brownish pellets of poop. The poop is dry and hard enough so that for ant species that don’t have indoor toilet chambers, the workers can just kick the poop out of the nest.Ants Use Poop as FertilizerWhether they isolate it in a toilet chamber or kick it to the curb, ants don’t keep their waste around. Well, at least most types of ants don’t. Some ants find a use for that stuff. One such species is the leafcutter ant. “They basically take little clippings of leaves and use these leaves to grow a very particular fungus that they then eat,” says Ware. “They don't eat the leaves, they eat the fungus.” And yep, they use their poop to fertilize their crops. “They’re basically gardeners,” Ware says. If you’d like to see leafcutter ants at work in their gardens and you happen to be in the New York City area, drop by the American Museum of Natural History. They have a large colony of fungus-gardening ants on display.Other Insects That Use ToiletsAnts may have toilets, but termites have even wilder ways of dealing with their wastes. Termites and ants might seem similar at first sight, but they aren’t closely related. Ants are more closely related to bees, while termites are more closely related to cockroaches, explains Aram Mikaelyan, an entomologist at North Carolina State University who studies the co-evolution of insects and their gut microbiomes. So ants’ and termites’ styles of social living evolved independently, and their solutions to the waste problem are quite different.“Termites have found a way to not distance themselves from the feces,” says Mikaelyan. “Instead, they use the feces itself as building material.” They’re able to do this because they feed on wood, Mikaelyan explains. When wood passes through the termites’ digestive systems into the poop, it enables a type of bacteria called Actinobacteria. These bacteria are the source of many antibiotics that humans use. (Leafcutter ants also use Actinobacteria to keep their fungus gardens free of parasites.) So that unusual building material acts as a disinfectant. Mikaelyan describes it as “a living disinfectant wall, like a Clorox wall, almost.”Insect HygieneIt may seem surprising that ants and termites are so tidy and concerned with hygiene, but it’s really not uncommon. “Insects in general are cleaner than we think,” says Ware. “We often think of insects as being really gross, but most insects don’t want to lie in their own filth.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:The American Society of Microbiology. The Leaf-cutter Ant’s 50 Million Years of FarmingAvery Hurt is a freelance science journalist. In addition to writing for Discover, she writes regularly for a variety of outlets, both print and online, including National Geographic, Science News Explores, Medscape, and WebMD. She’s the author of Bullet With Your Name on It: What You Will Probably Die From and What You Can Do About It, Clerisy Press 2007, as well as several books for young readers. Avery got her start in journalism while attending university, writing for the school newspaper and editing the student non-fiction magazine. Though she writes about all areas of science, she is particularly interested in neuroscience, the science of consciousness, and AI–interests she developed while earning a degree in philosophy.

A Fungal Disease Ravaged North American Bats. Now, Researchers Found a Second Species That Suggests It Could Happen Again White-nose syndrome caused millions of bat deaths, and scientists are sounding the alarm that a second fungus could be disastrous if it reaches American wildlife Lillian Ali - Staff Contributor May 30, 2025 A little brown bat (Myotis lucifugus) is seen with white fuzz on its nose, a characteristic of the deadly white-nose syndrome. Ryan von Linden / New York Department of Environmental Conservation In February 2006, a cave explorer near Albany, New York, took the first photograph of bats with a mysterious white growth on their faces. Later, biologists studying the mammals in caves and mines discovered piles of dead bats in the state—also with the fuzzy white mold. The scientists were floored. For years, no one knew what was causing the mass die-offs from this “white-nose syndrome.” In early 2007, Albany residents called local authorities with reports of typically nocturnal bats flying in broad daylight. “They were just dying on the landscape,” wildlife biologist Alan Hicks told the Associated Press’ Michael Hill in 2008. “They were crashing into snowbanks, crawling into woodpiles and dying.” At last, scientists identified a culprit: The bats had succumbed to an infection caused by the fungus Pseudogymnoascus destructans. Since its initial discovery, white-nose syndrome has killed millions of bats across 40 U.S. states and nine Canadian provinces, making it “the most dramatic wildlife mortality event that’s ever been documented from a pathogen,” DeeAnn Reeder, a disease ecologist at Bucknell University, tells the New York Times’ Carl Zimmer. Now, nearly two decades later, scientists have developed some promising ways to fend off the disease, including an experimental vaccine. But a new study published this week in the journal Nature warns of a newly discovered second species of fungus that, if it reaches North America, could set all that progress back. “We thought we knew our enemy, but we have now discovered it is twice the size and potentially more complex than we had imagined,” lead author Nicola Fischer, a biologist at the University of Greifswald in Germany, says in a statement. Little brown bats are susceptible to white-nose syndrome in North America. Krynak Tim, U.S. Fish and Wildlife Service The team analyzed 5,479 fungus samples collected by hundreds of citizen science volunteers across North America, Asia and Europe. They found that white-nose syndrome is caused by two distinct fungal species native to Europe and Asia, with only one species having reached North America so far. If the second species hits the continent, it could look like a “reboot” of the epidemic, Reeder tells the New York Times. Study co-author Sébastien Puechmaille, an evolutionary biologist at the University of Montpellier in France, knew bats in Europe had also been seen with white fuzz on their noses, as he tells the New York Times. But those populations didn’t die off like American bats. Charting the disease across Europe and Asia, he noticed that the fungus was able to live alongside those bats, while it ravaged American ones. In its native range, the fungus grows in the bodies of hibernating bats as their internal temperature drops, then it’s shed in the spring when they awaken. But in American bats, the fungus causes their immune systems to activate and burn fat reserves as they hibernate. The bats then wake up periodically, causing irregular activity and eventual starvation. The researchers suggest the damaging fungal spores were first brought to North America by cavers that traveled from Europe—potentially western Ukraine—to the United States without completely disinfecting their boots or rope. White-nose syndrome poses a threat not just to bats, but to whole ecosystems. Bats are vital parts of many food chains, eating insects and pollinating plants. However, they reproduce fairly slowly, only having one or two pups at a time. Rebuilding a bat population, then, could take decades. And since cave ecosystems are similarly delicate, biologists are wary of trying to kill off the fungus preemptively. “Cave ecosystems are so fragile that if you start pulling on this thread, what else are you going to unravel that may create bigger problems in the cave system?” said University of Wisconsin–Madison wildlife specialist David Drake to the Badger Herald’s Kiran Mistry in December. The discovery also occurs as the original wave of white-nose syndrome continues to spread across North America, having just crossed the Continental Divide in Colorado. Just one spore of the new species could be devastating to American bat colonies. Puechmaille tells the New York Times that policies should be put in place to make sure the second fungus does not spread to more continents, and that cavers should not move equipment between countries and should disinfect it regularly. “This work … powerfully illustrates the profound impact a single translocation event can have on wildlife,” he adds in the statement. Get the latest stories in your inbox every weekday.

Monster Train 2 is a superlative sequel that takes everything that made the first game great and amps it up with smart new systems and even more replayability - here are our thoughtsTech17:09, 27 May 2025Ready to get back on the track?There’s nothing quite like a good roguelike deckbuilder . Whether you’re into Slay The Spire, Inscryption, or Monster Train, you’re not short of options either.So, how does a studio brute force its way into the conversation? By dropping not only a sequel to one of the aforementioned holy trinity , but also by making it possibly the best example of the card-based genre in years.‌Monster Train 2 is that rare sequel that expertly weaves new ideas into the fine-tuned locomotive engine of its predecessor, all while keeping many of the original parts. The result is one of the most moreish games of 2025, and even the last half-decade.‌This time, we're working upwardMonster Train debuted back in 2020, and its appeal came from its much more expansive art style than its contemporary, Slay The Spire’s simpler art direction, as well as the fact that its ludicrously-addictive card-based combat loop works on multiple levels (literally).Racking up the units to protect the top tier of your train added an element of positioning and a layer of tactility to combat, while also providing foes with an opportunity to outplay you.Article continues belowThankfully, Monster Train 2 doesn’t so much change that system as it buffs it to a shine while adding a whole host of small tweaks around it.There's a seemingly infinite amount of build diversityThis time around, your train isn’t headed for hell, but is instead sent speeding into the heavens as you plot your route and pick your battles, unlocking cards as you go and using them to see how long you can keep your violent voyage going.‌That simple change of direction from the deepest depths to the highest heights means you can now pick your crew from angels, demons, and everything in between, and it’s all done with just as much charm (and a little more character) than it was in the first game.Enemies arrive, and you funnel them through your train while protecting the heart of the engine with card-based attacks that you level up and collect over the course of a run. Do you go all out to protect the top level, or aim to wear down the foes at the base level first? Cards can be played on multiple levels, and that means there’s much more choice at play than in similar titles.It may look like Monster Train 1, but there's more going on‌With cards to play, units to assemble, and many of them having unique interactions, it’ll be a long, long time before you’ve seen everything Monster Train 2 has to offer, which will be mana from heaven for anyone still logging into the first game five years after its launch.That’s before we get into more complex systems, too, like which items to grab and when, or whether your equipment cards are best served to power up your own cleaving commuters, or to be dropped onto your foes to debuff them.With primary and secondary factions to choose from, each with their own starting units and customisation options, Monster Train 2 is the kind of game one could feasibly start playing at 9 AM and keep chipping away at until the small hours of the next day. In fact, that’s exactly what happened more than once in my playtime, especially since it’s a model citizen on the Steam Deck.‌We won't spoil the surprise, but the clan variety is amazingWant to hoard gold to be able to splurge on reinforcements? The dragons are your best shout, but you can also use the Underlegion to essentially outnumber your foes with the power of, um, fungus.The Lazarus League, on the other hand, are like a hand grenade that’s just as liable to go off in your hand as it is to do damage to your opponents, bringing units back to life with randomised bonuses that can make or break a run.‌Mixing a pair of these factions together and attempting to essentially break the game’s carefully measured combat system with a mix of random card additions, buffs, and plain old luck is a rush that saw me racking up the runs night after night.Then there’s Endless Mode, which lets you take your custom deck from a winning run and keep testing it. In essence, you just keep going, battling until your Pyre Heart goes out, but with positive and negative modifiers to keep adding more and more layers to its delicious mix of mechanics.The VerdictArticle continues belowMonster Train 2 is a game that will sap your free time if you let it, and if you have a Steam Deck, we’d give it a 6 out of 5 if we could.It really is that good, that addictive, and that fun that we may struggle to go back to the incredible original–high praise, indeed.Reviewed on PC. Review code provided by the publisher.‌‌‌

Bella Ramsey and Pedro Pascal in "The Last of Us." Credit: Liane Hentscher / HBO If you thought the death of Joel (Pedro Pascal) would be the most heartbreaking part of The Last of UsThat honor falls to Season 2, episode 6, a flashback episode all about Joel and Ellie's (Bella Ramsey) years in Jackson — and why they grew apart.The episode's heartbreak comes in waves. Early sequences of Joel and Ellie's happiest memories become tragically bittersweet with the knowledge of what's to come. And of course, watching the two fall out is a surefire recipe for sadness. By the end of the hour, your eyes will be damp and your heart will have shattered into a million tiny pieces. But hey, at least we got Joel back for a bit!Here, in chronological order, is every time The Last of Us Season 2, episode 6 broke our hearts. When young Joel's father gets vulnerable about parenting.Episode 6 opens with a flashback to Austin in 1983, when young Joel (Andrew Diaz) tries to protect Tommy (David Miranda) from a beating from their father (Tony Dalton). But instead of physically punishing either of his sons, Joel's father decides to tell him about the warped blueprint of fatherhood he inherited from his own abusive dad, and how he hopes to improve upon it, bit by bit. "I'm doing a little better than my father did," he tells Joel. "When it's your turn, I hope you do a little better than me."That line proves to be the thesis of the episode, with Joel trying to do a little better than his own father during his time with Ellie. Knowing how limited that time is — and how the two ended things — kickstarts episode 6's heartache. And guess what? It's not about to let up anytime soon. When the opening credits change to bring back Joel.After Joel's death, The Last of Us' opening credits made a devastating change. Instead of ending on the image of two fungal silhouettes, meant to represent Ellie and Joel, they ended with just the Ellie silhouette, highlighting her new loneliness. In episode 6, however, the Joel silhouette is back! It's both a welcome return and a reminder that we're on borrowed time with this pair. Who knew a shadow of a fungus could make me so emotional?When Joel sings "Future Days" to Ellie. Bella Ramsey and Pedro Pascal in "The Last of Us." Credit: Liane Hentscher / HBO So many elements of Ellie's 15th birthday tug at the heartstrings, from Joel's reaction to her burning her arm to hide her bite mark to him customizing a guitar for her. But the moment that opens the floodgates is undoubtedly Joel's rendition of Pearl Jam's "Future Days" (teased by Ellie herself back in episode 5).The song's lyrics — "If I ever were to lose you / I'd surely lose myself" — are a resounding reminder of how much Ellie and Joel have come to mean to each other. (It's also a dark portent of how Ellie may be losing herself on her revenge quest.) But the performance is also a payoff of a story thread from all the way back in Season 1, when Ellie asked Joel to sing for her and teach her to play guitar. Well, it's finally happened, and I wouldn't blame you for getting teary-eyed. When Joel and Ellie visit the museum. Pedro Pascal and Bella Ramsey in "The Last of Us." Credit: Liane Hentscher / HBO After a full season and a half of watching Joel and Ellie run from Infected and human enemies alike (and in Joel's case, you know, dying), any scene where these two can just relax and enjoy themselves is a blessing. And what a blessing Ellie's 16th birthday is!Joel brings Ellie to a museum, where she spends the day clambering on dinosaur statues and blasting off to space in an old capsule. In one of the season's most poignant moments, her imagined space flight becomes reality, with the light of the real world fading around her until she's drifting in the dark void of space.The entire sequence is Joel and Ellie at their happiest. She gets to actually be a kid for once, and Joel revels in her joy, knowing he's doing a good job as a father.Of course, the scene also serves as the calm before the storm. Ellie's insistence that she goes on patrol is a reminder of the dangers Jackson faces, as well as the fateful patrol that will one day rip Joel from her forever. For now, though, we get to enjoy Joel in dad mode, attempting to give Ellie "the talk," all while being clueless about her sexuality. Talk about bittersweet.When Ellie moves out of their house.If Ellie's 16th birthday celebration is Joel's dream, then her 17th birthday is his nightmare. He walks in on her smoking pot, getting a tattoo, and hooking up with Kat (Noah Lamanna). "All the teenage shit all at once," as he puts it. Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! While Joel's exasperated dad act seems funny at first — what's worse, dodging Clickers or teenage rebellion? — it moves into upsetting territory pretty fast. Dismissing Ellie's relationship with Kat as an "experiment" is awful, plain and simple, as is his assertion that Ellie isn't currently herself. No wonder Ellie wants to move into the garage: Having her own father figure refute her identity like that marks a major blow to their bond.Thankfully, Joel recognizes the error of his ways and tries to help by giving Ellie more space, but this fight and subsequent move mark the beginning of the end for Joel and Ellie. You want to grab them through the screen and yell at them to communicate with each other, that they only have a few years left. Instead, all you can do is watch the tragedy snowball.When we learn what Ellie's moth tattoo means. Bella Ramsey and Pedro Pascal in "The Last of Us." Credit: Liane Hentscher / HBO One of Joel's attempts to bond with Ellie post-fight is to ask her about her moth tattoo. It echoes her drawings, which he used as inspiration when decorating her guitar. Ellie says she chose the moths because of what they represent in dreams. Joel mistakenly believes they're symbols for change and metamorphosis, but therapist Gail (Catherine O'Hara) reveals the truth: They represent death.That means Ellie has been carrying around the deaths of everyone she's lost, like Riley (Storm Reid), her mother (Ashley Johnson), and more. As seemingly the only person in the world who's immune to Cordyceps, there's also a layer of survivor's guilt here. Ellie's surrounded by death, yet protected from it too. That's a crushing burden to bear, one that's defined her entire coming-of-age — and one that Joel will never truly understand.When Ellie questions what happened in Salt Lake City. Bella Ramsey in "The Last of Us." Credit: Liane Hentscher / HBO On Ellie's 19th birthday, she gets what she's wanted since moving to Jackson: to go on patrol with Joel. But now, she wants something else, too: answers about what really happened in Salt Lake City at the end of Season 1.Before she and Joel head out to patrol, she sits in her room, rehearsing questions she has about Salt Lake City. "If the Fireflies spotted us a mile from the hospital, how did they get surprised by an entire group of raiders?" she wonders. "If the raiders could kill all those soldiers and Marlene, and you had to carry me the whole time, how did we get away?"These brief moments signal how much Ellie has replayed that pivotal day, how these discrepancies have been eating at her for years. Deep down, she knows that Joel lied to her. Perhaps that subconscious knowledge influenced her need for space from Joel, further widening the rift between them that Joel may have just attributed to teenage rebellion. Based on episode 1, we know that that rift is about to get a whole lot wider, so the inclusion of Ellie's questions here suggests the other shoe is about to drop.When we finally learn what happened with Eugene. Joe Pantoliano in "The Last of Us." Credit: Liane Hentscher / HBO This is the big one, folks. Ever since episode 1, The Last of Us has been talking about Joel killing Gail's husband Eugene (Joe Pantoliano). Now, we finally get to see it play out.Eugene is marked for death from the moment he gets infected on patrol. He accepts that, but man, do his final moments sting. It all starts when Ellie insists that Eugene has enough time to make it back to Jackson and say goodbye to Gail before he fully turns, and she makes Joel promise that he'll help. But Joel, thinking to protect Ellie and Jackson, goes back on his promise and shoots Eugene anyway. It's a brutal betrayal not just of Eugene, who gets a few seconds of false hope before reality sets in, but also of Ellie, who realizes that Joel's promise mirrors the very promise he made to her after the events of Salt Lake City. Related Stories "You swore," she says, all the weight of years of pain and questioning coming through in just two words.Ellie's discovery of Joel's lie plays out differently in the show than in the game, where Eugene is already dead from a stroke. Still, watching her put the pieces together — and watching Joel betray her even after their relationship seemed to be tentatively mending — is nothing less than devastating.When Joel and Ellie take steps towards healing in the porch scene.Up until now, episode 6 has revealed why Joel and Ellie aren't on speaking terms by the start of Season 2, as well as what happened with Eugene. There's only one major question left to answer: What happened the night before Joel's death to make Ellie say she and Joel were "better now"?The answer plays out in episode 6's gorgeous final scene, a continuation of the porch scene from episode 1. Here, The Last of Us reveals that Ellie didn't just turn in for the night after seeing Joel out on the porch. Instead, she came back to ask him, point blank, about what he did to the Fireflies. Her line of questioning serves as a direct parallel to Abby's (Kaitlyn Dever) interrogation of Joel right before his death: The two both know the role Joel played in the massacre, but they want to hear him confess it for himself.The conversation that follows is full of lines that double as gut punches. Upon learning that making a Cordyceps cure would have killed her, Ellie says, "Then I was supposed to die! That was my purpose. My life would've fucking mattered. But you took that from me, you took that from everyone."Joel's response? "Yes, and I'll pay the price." Little does he know he'll pay the ultimate price the very next day. In fact, the whole scene hurts even more knowing that the journey of forgiveness that Ellie hopes to embark on will be cut short in a matter of hours. Episode 6, you've already made me tear up several times before, but this might take the cake.Adding salt to the wound is one last callback to the Austin flashback. "If you should ever have [a child] of your own, well, then, I hope you do a little better than me," Joel tells Ellie. The line hits especially hard after Ellie's reaction to Dina's (Isabela Merced) pregnancy: "I'm gonna be a dad."With that, The Last of Us comes full circle, making episode 6 a stunning, heartbreaking story of parenthood — and a season highlight.New episodes of The Last of Us Season 2 premiere on HBO and HBO Max Sundays at 9 p.m. ET. Belen Edwards Entertainment Reporter Belen Edwards is an Entertainment Reporter at Mashable. She covers movies and TV with a focus on fantasy and science fiction, adaptations, animation, and more nerdy goodness.

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.

Researchers shed light on the "dark matter" of the gut, revealing a species of fungus that could potentially help counter fatty liver disease. The research is in its early days, though.

If the year 2025 has had a message for developing countries, it’s this: “You’re on your own.”Most notably, the Trump administration began with an unprecedented and ongoing assault on foreign aid, including global health programs. But there have been further ill omens. Other rich countries, including the UK and France, followed the US example by cutting their own aid programs as well. Meanwhile, President Donald Trump’s tariff campaign has hit poor countries that had been achieving export-driven growth, like Bangladesh, especially hard.RelatedThe worst thing Trump has done so farIf there’s a silver lining for the Global South, it’s that being on their own in 2025 means something very different than what it meant in, say, 1990. Countries where poverty was once near-universal, like India or Indonesia, are now considered middle-income. Some populous countries in sub-Saharan Africa, like Kenya or Nigeria, are, if not completely politically stable, now possessed of enough real state capacity to try ambitious projects like universal health coverage.The resources available to these nations are still highly limited by rich-world standards. But they’re still enough to achieve very impressive feats, and I recently heard of an intriguing project that could serve as a perfect test case. If it works, it could show that major international health projects, saving hundreds of thousands of lives, can be funded largely by the countries they’re meant to help, rather than by forces of philanthropy and foreign aid that have suddenly become unreliable.Neonatal sepsis: When babies’ infections go very, very badlyIt’s called NeoTest.The program targets an extremely common and preventable cause of death in young infants: neonatal sepsis. Sepsis is a catch-all term for infections that provoke an overwhelming immune response, damaging internal organs, and in the worst cases, leading to death. Sepsis can in principle be caused by anything — a virus, a fungus, a protozoa — but in practice, most infants who get it get it from a bacterial infection.In one way, that’s good: We have antibiotics! In another way, it’s bad: The risk of antibiotic resistance means you don’t want to overuse them. The challenge, then, is to match antibiotics to the babies who need them the most.The tests we have now for bacterial sepsis in infants are slow and expensive. The main technique is “blood culturing,” which involves taking blood from the patient, putting it in a liquid “culture” that reacts if bacteria are present, and waiting to see the reaction show up. This is expensive and often takes two to three days, potentially delaying life-saving treatment. It also has very high “false negative” rates, with studies showing that a large share of neonatal sepsis cases occur in babies who test negative.This story was first featured in the Future Perfect newsletter.Sign up here to explore the big, complicated problems the world faces and the most efficient ways to solve them. Sent twice a week.So our targeting of antibiotics to babies is currently bad, with the result that hundreds of thousands of babies die every year from sepsis. The estimates we have on the toll of neonatal sepsis aren’t precise, but the best figure I’ve seen, from the World Health Organization (WHO), is a range of 400,000 to 700,000 deaths a year. That’s in the same ballpark as malaria (600 to 700,000 a year) and HIV/AIDS (630,000 deaths in 2023).Other studies go lower (more like 200,000) but, because they exclude infant deaths from pneumonia-caused sepsis, underestimate the number of deaths that could be saved by better targeting antibiotics to babies.The team behind NeoTest — which includes physician and global health research Akhil Bansal, Center for Global Development head Rachel Glennerster, economist and House of Lords member Jim O’Neill, and Nobel-winning economist Michael Kremer — aims to improve that targeting by getting a better test, one that gives results within minutes and is cheap to produce.If you fund it, they will comeThe NeoTest team does not, itself, consist of medical test manufacturers. But in Glennerster and Kremer, it includes two of the inventors of a tool called an “advance market commitment” (AMC).AMCs are a way to communicate to companies that there’s a big market for a product which doesn’t yet exist. The participants, which can include governments or other businesses or philanthropists, commit to buying a set amount of the new product, at a set price, from any manufacturers who meet the deal’s specifications. The hope is that this provides an incentive for manufacturers to develop the product, because they know for a fact there will be demand for it.It’s worked before. The first AMC, for better vaccines against pneumococcal bacteria at a time when that disease was killing as many as 1 million children a year, resulted in three new vaccines being developed, and in the number of vaccine doses growing from just 3 million in 2010 to around 150 million in 2016. By one estimate from Kremer and co-authors, the new vaccines enabled by the AMC saved some 700,000 lives between 2010 and 2020.NeoTest is an attempt to put together funds — about $120 million in total — for an advance market commitment for a better neonatal sepsis test.More famously, Operation Warp Speed, the US effort that got effective vaccines against Covid-19 on the market less than a year after the pandemic began, used a purchasing mechanism that worked quite a bit like an AMC. The government purchased hundreds of millions of doses from vaccine manufacturers months before the vaccines were in fact approved — giving the pharma firms confidence to start producing doses in large numbers, and encouraging them to keep up their R&D work.NeoTest is an attempt to put together funds — about $120 million in total — for an advance market commitment for a better neonatal sepsis test. Test manufacturers who are willing to sell for $8 per test ($5 funded by the AMC, $3 by the government of the country receiving the tests) would be guaranteed at least 24 million subsidized orders. Ideally, the test will settle at around $3 as a final price, with the initial subsidy helping fund initial costs associated with developing the tests and setting up manufacturing.A rapid test is not some outlandish dream. Neonatal sepsis experts have been saying we need better diagnostics for years; there’s a whole Neonatal Sepsis Diagnosis Working Group that puts out papers explaining the problem. The WHO has put together a detailed description of what a useful rapid test for sepsis might look like, including elements like the size of the blood draw required and the ideal wait for results.Rapid, point-of-care tests that can give answers in minutes are common at this point for viruses like Covid and the flu, and already exist for some bacterial infections like syphilis. But in part because neonatal sepsis is so concentrated in poor countries, developing a test for it hasn’t been a priority for profit-driven firms to date. Dangling $120 million in front of them might change that.This is a problem developing countries could solve as a groupOne of the most intriguing aspects of NeoTest to me is that Akhil Bansal, the physician who first devised the idea, is pitching it first to governments of middle- income countries (India, Kenya, South Africa, etc.) that might actually use the test in large numbers.$120 million is a decent sum, but not enormous for a global health project. The pneumococcal AMC, by contrast, was for $1.5 billion. And it’s totally within the budgets of some middle-income countries to contribute a portion of that $120 million, especially when the result is a product that will save the lives of thousands of babies every year in their country.Of course, money is money, and if any foreign aid professionals in upper-income countries or philanthropists reading this piece want to support NeoTest, they should — they’re still actively fundraising and are in need of support. The most important thing is that the problem gets solved.But I found the approach of going first to countries directly benefiting for funding intriguing, and surprisingly heartening at what is otherwise a dark time for global healthFor one thing, it’s remarkable and encouraging that enough middle-income countries have gotten to the point where funding an initiative like this is within their budgets. That wasn’t true 20 years ago.More importantly, though, it serves as a reminder that the work of development will continue with or without Western governments’ support. That support is invaluable, and I hope it returns. But the Global South is resilient, and increasingly shows an ability to solve big problems for itself.A version of this story originally appeared in the Future Perfect newsletter. Sign up here!You’ve read 1 article in the last monthHere at Vox, we're unwavering in our commitment to covering the issues that matter most to you — threats to democracy, immigration, reproductive rights, the environment, and the rising polarization across this country.Our mission is to provide clear, accessible journalism that empowers you to stay informed and engaged in shaping our world. 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