Transparent design is the intentional use of see-through or translucent materials and visual strategies to evoke openness, honesty, and fluidity in both spatial and product design. It enhances light flow, visibility, and interaction, blurring boundaries between spaces or revealing inner layers of products. In interiors, this manifests through glass walls, acrylic dividers, and open layouts that invite natural light and visual connection. Transparency in product design often exposes internal mechanisms in products, fostering trust and curiosity by making functions visible. It focuses on simplicity, clarity, and minimalist form, creating seamless connections between objects and their environments. Let’s now explore how transparency shapes the function, experience, and emotional impact of spatial and product design. Transparent Spatial Design Transparency in spatial design serves as a powerful architectural language that transcends mere material choice, creating profound connections between spaces and their inhabitants. By employing translucent or clear elements, designers can dissolve traditional boundaries, allowing light to penetrate deeply into interiors while establishing visual relationships between previously separated areas. This permeability creates a dynamic spatial experience where environments flow into one another, expanding perceived dimensions and fostering a sense of openness. The strategic use of transparent elements – whether through glass partitions, open floor plans, or permeable screens – transforms rigid spatial hierarchies into fluid, interconnected zones that respond to contemporary needs for flexibility and connection with both surrounding spaces and natural environments. Beyond its physical manifestations, transparency embodies deeper philosophical principles in design, representing honesty, clarity, and accessibility. It democratizes space by removing visual barriers that traditionally signaled exclusion or privacy, instead promoting inclusivity and shared experience. In public buildings, transparent features invite engagement and participation, while in residential contexts, they nurture connection to nature and enhance wellbeing through abundant natural light. This approach challenges designers to thoughtfully balance openness with necessary privacy, creating nuanced spatial sequences that can reveal or conceal as needed. When skillfully implemented, transparency becomes more than an aesthetic choice, it becomes a fundamental design strategy that shapes how we experience, navigate, and emotionally respond to our built environment. 1. Expands Perception of Space Transparency in spatial design enhances how people perceive space by blurring the boundaries between rooms and creating a seamless connection between the indoors and the outdoors. Materials like glass and acrylic create visual continuity, making interiors feel larger, more open, and seamlessly integrated. This approach encourages a fluid transition between spaces, eliminates confinement, and promotes spatial freedom. As a result, transparent design contributes to an inviting atmosphere while maximising natural views and light penetration throughout the environment. Nestled in St. Donat near Montreal, the Apple Tree House by ACDF Architecture is a striking example of transparent design rooted in emotional memory. Wrapped around a central courtyard with a symbolic apple tree, the low-slung home features expansive glass walls that create continuous visual access to nature. The transparent layout not only blurs the boundaries between indoors and outdoors but also transforms the apple tree into a living focal point and is visible from multiple angles and spaces within the house. This thoughtful transparency allows natural light to flood the interiors while connecting the home’s occupants with the changing seasons outside. The home’s square-shaped plan includes three black-clad volumes that house bedrooms, a lounge, and service areas. Despite the openness, privacy is preserved through deliberate wall placements. Wooden ceilings and concrete floors add warmth and texture, but it’s the full-height glazing that defines the home that frames nature as a permanent, ever-evolving artwork at its heart. 2. Enhances the Feeling of Openness One of the core benefits of transparent design is its ability to harness natural light, transforming enclosed areas into luminous, uplifting environments. By using translucent or clear materials, designers reduce the need for artificial lighting and minimize visual barriers. This not only improves energy efficiency but also fosters emotional well-being by connecting occupants to daylight and exterior views. Ultimately, transparency promotes a feeling of openness and calm, aligning with minimalist and modern architectural principles. The Living O’Pod by UN10 Design Studio is a transparent, two-story pod designed as a minimalist retreat that fully immerses its occupants in nature. Built with a steel frame and glass panels all around, this glass bubble offers uninterrupted panoramic views of the Finnish wilderness. Its remote location provides the privacy needed to embrace transparency, allowing residents to enjoy stunning sunrises, sunsets, and starry nights from within. The open design blurs the line between indoors and outdoors, creating a unique connection with the environment. Located in Repovesi, Finland, the pod’s interiors feature warm plywood floors and walls that complement the natural setting. A standout feature is its 360° rotation, which allows the entire structure to turn and capture optimal light and views throughout the day. Equipped with thermal insulation and heating, the Living O’Pod ensures comfort year-round and builds a harmonious relationship between people and nature. 3. Encourages Interaction Transparent design reimagines interiors as active participants in the user experience, rather than passive backgrounds. Open sightlines and clear partitions encourage movement, visibility, and spontaneous interaction among occupants. This layout strategy fosters social connectivity, enhances spatial navigation, and aligns with contemporary needs for collaboration and flexibility. Whether in residential, commercial, or public spaces, transparency supports an intuitive spatial flow that strengthens the emotional and functional relationship between people and their environment. The Beach Cabin on the Baltic Sea, designed by Peter Kuczia, is a striking architectural piece located near Gdansk in northern Poland. This small gastronomy facility combines simplicity with bold design, harmoniously fitting into the beach environment while standing out through its innovative form. The structure is composed of two distinct parts: an enclosed space and an expansive open living and dining area that maximizes natural light and offers shelter. This dual arrangement creates a balanced yet dynamic architectural composition that respects the surrounding landscape. A defining feature of the cabin is its open dining area, which is divided into two sections—one traditional cabin-style and the other constructed entirely of glass. The transparent glass facade provides uninterrupted panoramic views of the Baltic Sea, the shoreline, and the sky, enhancing the connection between interior and nature. Elevated on stilts, the building appears to float above the sand, minimizing environmental impact and contributing to its ethereal, dreamlike quality. Transparent Product Design In product design, transparency serves as both a functional strategy and a powerful communicative tool that transforms the relationship between users and objects. By revealing internal components and operational mechanisms through clear or translucent materials, designers create an immediate visual understanding of how products function, demystifying technology and inviting engagement. This design approach establishes an honest dialogue with consumers, building trust through visibility rather than concealment. Beyond mere aesthetics, transparent design celebrates the beauty of engineering, turning circuit boards, gears, and mechanical elements into intentional visual features that tell the product’s story. From the nostalgic appeal of see-through gaming consoles to modern tech accessories, this approach satisfies our innate curiosity about how things work while creating a more informed user experience. The psychological impact of transparency in products extends beyond functional clarity to create deeper emotional connections. When users can observe a product’s inner workings, they develop increased confidence in its quality and craftsmanship, fostering a sense of reliability that opaque designs often struggle to convey. This visibility also democratizes understanding, making complex technologies more accessible and less intimidating to diverse users. Transparent design elements can evoke powerful nostalgic associations while simultaneously appearing futuristic and innovative, creating a timeless appeal that transcends trends. By embracing transparency, designers reject the notion that complexity should be hidden, instead celebrating the intricate engineering that powers our everyday objects. This philosophy aligns perfectly with contemporary values of authenticity and mindful consumption, where users increasingly seek products that communicate honesty in both form and function. 1. Reveals Functionality Transparent product design exposes internal components like wiring, gears, or circuits, turning functional parts into visual features. This approach demystifies the object, inviting users to understand how it works rather than hiding its complexity. It fosters appreciation for craftsmanship and engineering while encouraging educational curiosity. By showcasing what lies beneath the surface, designers build an honest relationship with consumers that is based on clarity, trust, and visible function. Packing a backpack often means tossing everything in and hoping for the best—until you need something fast. This transparent modular backpack concept reimagines that daily hassle with a clear, compartmentalized design that lets you see all your gear at a glance. No more digging through a dark abyss—every item has its visible place. The bag features four detachable, differently sized boxes that snap together with straps, letting you customize what you carry. Grab just the tech module or gym gear block and go—simple, efficient, and streamlined. Unlike traditional organizers that hide contents in pouches, the transparent material keeps everything in plain sight, saving time and frustration. While it raises valid concerns around privacy and security, the clarity and convenience it offers make it ideal for fast-paced, on-the-go lifestyles. With form meeting function, this concept shows how transparent design can transform not just how a bag looks, but how it works. 2. Enhances User Engagement When users can see how a product operates, they feel more confident using it. Transparent casings invite interaction by reducing uncertainty about internal processes. This visible clarity reassures users about the product’s integrity and quality, creating a psychological sense of openness and reliability. Especially in tech and appliances, this strategy deepens user trust and adds emotional value by allowing a more intimate connection with the design’s purpose and construction. The transparent Sony Glass Blue WF-C710N earbuds represent something more meaningful than a mere aesthetic choice, embodying a refreshing philosophy of technological honesty. While most devices conceal their inner workings behind opaque shells, Sony’s decision to reveal the intricate circuitry and precision components celebrates the engineering artistry that makes these tiny audio marvels possible. As you catch glimpses of copper coils and circuit boards through the crystal-clear housing, there’s a renewed appreciation for the invisible complexity that delivers your favorite music, serving as a visual reminder that sometimes the most beautiful designs are those that have nothing to hide. 3. Celebrates Aesthetic Engineering Transparency turns utilitarian details into design features, allowing users to visually experience the beauty of inner mechanisms. This trend, seen in everything from vintage electronics to modern gadgets and watches, values technical artistry as much as outer form. Transparent design redefines aesthetics by focusing on the raw, mechanical truth of a product. It appeals to minimalism and industrial design lovers, offering visual depth and storytelling through exposed structure rather than decorative surface embellishment. DAB Motors’ 1α Transparent Edition brings retro tech flair into modern mobility with its striking transparent bodywork. Inspired by the see-through gadgets of the ”90s—like the Game Boy Color and clear Nintendo controllers—this electric motorcycle reveals its inner mechanics with style. The semi-translucent panels offer a rare peek at the bike’s intricate engineering, blending nostalgia with innovation. Carbon fiber elements, sourced from repurposed Airbus materials, complement the lightweight transparency, creating a visual experience that’s both futuristic and rooted in classic design aesthetics. The see-through design isn’t just for looks—it enhances the connection between rider and machine. Exposed components like the integrated LCD dashboard, lenticular headlight, and visible frame structure emphasize function and precision. This openness aligns with a broader transparent design philosophy, where clarity and honesty in construction are celebrated. The DAB 1α turns heads not by hiding complexity, but by proudly displaying it, making every ride a statement in motion. Beyond just materials, transparent design also reflects a deeper design philosophy that values clarity in purpose, function, and sustainability. It supports minimalist thinking by focusing on what’s essential, reducing visual clutter, and making spaces or products easier to understand and engage with. Whether in interiors or objects, transparency helps create a more honest, functional, and connected user experienceThe post Transparent Design: How See-Through Materials Are Revolutionizing Architecture & Product Design first appeared on Yanko Design.

This review contains spoilers for The Last of Us season 2 episode 7. It’s hard to follow the heartbreakingly beautiful and emotional performances we saw in last week’s flashback episode of The Last of Us. Pedro Pascal and Bella Ramsey brought their A+ game as this episode revealed the ups and downs of Joel and Ellie’s relationship over the last few years, right up until the night before Joel died. And yet, despite this episode arguably being the best of the season, the season finale still manages to take us on a devastating wild ride. Back in Seattle, Dina (Isabela Merced) and Jesse (Young Mazino) deal with the aftermath of getting caught up in the war between the W.L.F. and the Seraphites. While they wait for Ellie to catch back up with them, they deal with Dina’s arrow to the leg and Jesse gets her all patched up. Even though emotions are high, they are still able to have a touching moment together, and it’s clear that the two still care about each other, even if their feelings are no longer romantic. We get to see another moment of care amidst the chaos once Ellie returns to the theater. She goes to check on Dina, who almost immediately starts taking care of Ellie and her battered and bruised body. Ellie is clearly still processing what she did to Nora (Tati Gabrielle) and what she learned about Abby’s (Kaitlyn Dever) location (which isn’t much). In this vulnerable moment, as Ellie verbally grapples with what she did to Nora, she tells Dina about Salt Lake City, including the fact that Joel killed Abby’s dad. Dina seems surprised by this, realizing that Abby may have been more justified in her revenge than she thought. At this point, it seems like everyone but Ellie is ready to put an end to this revenge mission and head back home to Jackson. Jesse is focused on finding Tommy (Gabriel Luna), especially after finding out that he’s going to be a father. But Ellie can’t let her vengeance go. While they’re looking for Tommy, she realizes that Nora’s clues “whale” and “wheel” probably mean that Abby’s at the aquarium – so she ditches Jesse and sets off in that direction. Ellie has so many close calls – if the W.L.F. weren’t planning an invasion of Seraphite territory at the same time, she would have been hung and fileted like the guy they saw in the park. She finds Owen (Spencer Lord) and Mel (Ariela Barer) seemingly arguing over Abby and whether or not to chase after her. When they spot Ellie, she tries to get them to tell her where Abby is, like we’ve seen Joel do before.  Owen moves for a gun, and Ellie reacts, shooting him in the neck and accidentally nicking an artery in Mel’s. Barer gives a devastating performance in Mel’s last moments as she begs Ellie to cut her open and try to save her baby. Ellie just kind of sits there holding her knife in shock over the fact that Mel was pregnant and she just killed her until Jesse and Tommy come rushing in. Tommy immediately goes to her, holding her and helping her up, while Jesse stares at the carnage for a moment after they leave. Even though he doesn’t say anything, it seems like he’s shaken up too – like he’s staring at himself and Dina if they don’t get out of Seattle soon. They get back to the theater and Ellie finally seems ready to leave. Whether it’s the shock of what she just did to Owen and Mel, her near death experience with the Seraphites, or the fact that her leads to find Abby have simply dried up isn’t fully clear, but at least she’s starting to recognize how dangerous it is for everyone else she cares about if they stay. Tommy tries to calm Ellie’s fears, he reassures her that Owen and Mel were still complicit in Joel’s death even if they didn’t hold the golf club themselves, and then leaves her and Jesse to try and reconcile. Ellie thanks Jesse for coming back for her and the two have a heart to heart. Despite their differences, Jesse knows that Ellie would set the world on fire to save him. Their moment is unfortunately short-lived when they hear a commotion in the lobby. They rush out and Jesse is immediately shot dead. We then see Abby for the first time since she killed Joel, now standing over Tommy pointing a gun at his head. Ellie pleads with her, telling her that she’s the one that she wants. There’s true fear in Ellie’s eyes as she worries that Abby will kill more people that she loves, more of her community. Abby then says to Ellie with an intense ferocity, “I let you live. I let you live, and you wasted it,” before turning her gun to Ellie. The screen goes black as we hear a gunshot in the background, not knowing who fired the gun nor who was potentially hit. The episode then goes back in time, taking us to the start of Abby’s journey these last few days. Some may feel like this ending is odd or abrupt, but given how The Last of Us Part II’s story is split up between the two protagonists, Ellie and Abby, and the fact that this season only had seven episodes, this is arguably the best place to end season 2 and a great way to tease what’s to come in season 3. It may not feel as concise as season 1’s ending, but that’s because season 1 had a clear beginning and end to the story. The source material for season 2 is a lot heftier and there’s plenty more of The Last of Us Part II left to be adapted for the show. This episode is a great way to effectively end Ellie’s Seattle arc and this chapter of the story while preparing the audience for next season to shift gears, and protagonists. Hopefully fans of the show will keep an open mind as we prepare to see Abby’s side of the story next season. I know I’ll be seated and ready whenever that time comes. Join our mailing list Get the best of Den of Geek delivered right to your inbox! All seven episodes of The Last of Us season 2 are available to stream on (soon-to-be HBO) Max now. Learn more about Den of Geek’s review process and why you can trust our recommendations here.

This article contains spoilers for The Last of Us season 2 episode 7. With its season 2 finale, The Last of Us, the show takes viewers back to Seattle, delivering an epic final episode that ends Ellie’s (Bella Ramsey) arc of the story, for now, and sets up Abby’s (Kaitlyn Dever). Ellie and Dina’s (Isabela Merced) journey has only gotten more and more dangerous with violence between the W.L.F. and Seraphites continuing to ramp up. Now that Jesse (Young Mazino) and Tommy (Gabriel Luna) are in the picture, the stakes are even higher to make sure that everyone makes it back to Jackson alive. But just because more of her chosen family is in danger doesn’t mean that Ellie will give up the hunt for Abby so easily. Here’s everything that goes down in the season 2 finale of The Last of Us. Ellie’s Return The episode begins with Dina and Jesse back in the theater. Jesse is tending to Dina’s wound and realizes he has to push the arrow through her leg to avoid further damage to her arteries. Even though tensions are high, it’s clear that the two still care about each other, even if their feelings are no longer romantic. Not long after Jesse sends Dina off to rest, Ellie returns, and immediately starts looking for Dina. She finds her resting in the dressing room, and the two share a tender moment taking care of each other. Ellie checks on Dina’s wound and Dina starts to dress Ellie’s scrapes and bruises. Dina reassures Ellie that the baby is okay and asks Ellie what happened after they got separated. Ellie tells her that she found Nora, but only got two words from her to indicate where Abby is “whale” and “wheel.”  Ellie also confesses that she left Nora to die and succumb to the Cordyceps infection, and that it was easier to hurt her than she thought it was going to be. Dina tries to reassure Ellie that maybe Nora got what she deserved – Nora was the one who held Ellie down and forced her to watch Joel die after all. But Ellie isn’t so sure. She tells Dina about Salt Lake City and what she learned about that day from Nora, that Abby’s father was among the Fireflies that Joel killed. Dina is surprised by this and seems to be realizing that maybe they aren’t so different from Abby and her crew after all. She tells Ellie that they need to go home. Finding Tommy The next morning, Jesse and Ellie head off into Seattle to try and find Tommy. Jesse asks Ellie what’s up with Dina after she declined a drink the night before and insisted that she can’t die. He guesses that she’s pregnant, and Ellie accidentally confirms it, not realizing that Jesse is just guessing. This makes Jesse’s desire to go back to Jackson even stronger, and tells Ellie that now he can’t die for her revenge quest either. As the rain starts to pour, Ellie and Jesse seek refuge in a parking garage, only to nearly be caught in the crossfire between the W.L.F. and the Seraphites. The W.L.F. chase a young Seraphite into the garage, stripping him down and dragging him off. Ellie wants to intervene, stop the W.L.F. from killing the kid, but Jesse holds her back because he doesn’t want to die for a war they have no stake in.  They make it to Jesse and Tommy’s rendezvous point, a bookstore, but Tommy is nowhere to be found. Ellie picks up a children’s book to give to Dina while they wait and tries to have a heart to heart with Jesse about her and Dina’s feelings for each other. Jesse tells Ellie that he fell for a girl who came through Jackson a while back, but that he let her go to fulfill his duty to Jackson. He emphasizes the fact that he was taught to put other people first, and this sets Ellie off. But their argument is interrupted by chatter on the walkie talkie. The W.L.F. are talking about a sniper that sounds an awful lot like Tommy. The Search for Abby Ellie and Jesse go to higher ground to find a way to where Tommy might be, but Ellie gets distracted when she sees the aquarium in the distance. She sees a ferris wheel and realizes that that is likely what Nora was talking about. Jesse insists that they need to go save Tommy from the W.L.F., but Ellie argues that he’d want her to follow this lead. She becomes singularly focused, pushing Jesse to let her follow this lead. Jesse tells her that he voted no back in Jackson because he could see the selfishness in Ellie’s plan, and that it wasn’t for the good of the community. Ellie fights back, saying that Jesse isn’t morally superior just because he puts others first. He let a kid die earlier because he wasn’t in their community. She tells him that she had to watch her community beaten to death in front of her, and that Jesse would do the same if he was in her shoes. Join our mailing list Get the best of Den of Geek delivered right to your inbox! The two part ways, and Ellie makes her way to the aquarium on her own, nearly dying by both the stormy weather and a group of zealous Seraphites along the way. But despite all of the dangers she encounters in her path, she makes it to the aquarium, finding not Abby, but Owen (Spencer Lord) and Mel (Ariela Barer) instead. The two are arguing about whether or not to go after Abby, wherever she’s gone, and don’t notice that Ellie’s there until it’s too late. She tries to get them to point to Abby’s location on the map, as Joel has done before, but Owen reaches for a gun under the table. Ellie reacts, shooting him in the neck. The bullet goes through him and nicks Mel’s neck accidentally. Ellie panics, rushing to Mel’s side as she gives Ellie instructions to try and save her unborn child. Ellie is clearly shaken, sitting there holding her knife as Mel bleeds out. Tommy and Jesse eventually rush in, taking in the carnage. Tommy holds Ellie and tries to comfort her while Jesse is visibly shaken, as though he knows that this could be him and Dina if they stay in Seattle much longer. What Are the W.L.F. Planning? Meanwhile, the W.L.F. seem to be using the cover of the rainstorm to plan an assault on the Seraphites. On top of planning this, Isaac (Jeffrey Wright) is also looking for Abby, confessing to Sergeant Park that he’s been planning for her to take over the W.L.F. after him. He seems ready to die for his crusade against the Seraphites and wants someone he can trust to lead the army after his death.  It’s fortuitous for Ellie that Isaac is planning this raid. On her way to the Aquarium, she gets caught by a group of Seraphites that are ready to hang and gut her like a fish, until they hear alarm bells from their village. Anyone who is familiar with The Last of Us Part II knows that this attack on the Seraphites plays a big role in Abby’s story and will likely be featured more in-depth next season. Theater Showdown Jesse, Tommy, and Ellie make it back to the theater in one piece, the W.L.F. and Seraphites presumably too distracted by their conflict to pay them much mind. Tommy and Jesse start planning the journey back to Jackson, agreeing to leave as soon as the rain lets up enough to transport Dina safely. Tommy tries to reassure Ellie that Owen and Mel made their choice when they helped Abby kill Joel, and leaves for the lobby to pack. Ellie still doesn’t seem quite ready to leave Seattle with Abby still out there, but has seemed to finally realize how much danger she’s putting the others in by staying.  She and Jesse have a heart to heart and Ellie actually apologizes to Jesse for leaving him behind. Jesse accepts her apology, saying that he knows that she would “set the world on fire” to save him too. Their heartfelt moment is unfortunately short-lived, as they both hear a violent commotion out in the lobby. They rush through the doors, and Jesse is immediately shot dead. Realizing that Abby has found them, she tosses her gun to the side and puts her hands in the air. She pleads with Abby to let Tommy go, not wanting to watch Abby kill another person she loves. Abby tells Ellie that she wasted the second chance she gave her and the screen cuts to black as we hear a gunshot in the background. We’ll likely have to wait until next season to see who fired the gun and who or what was shot. Seattle Day One: Abby Edition The episode ends by going back in time a few days. We see Abby wake up to news that Isaac wants to meet with her. She walks around what appears to be a W.L.F. base of some sort, and the final shot of the episode includes Abby looking out into an old stadium that has now been fashioned into a home.  In The Last of Us Part II, this is where players pick up Abby’s story again and get to control her as a true protagonist of the game. The game follows her over the course of the same three days that we’ve been following Ellie in Seattle, and her arc and perspective are just as important to this story as Ellie’s are. Abby has been a controversial character in the games, but hopefully viewers will keep an open mind as the show transitions to Abby’s side of the story next season.

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

Warning: contains spoilers for Doctor Who episode “Wish World”. In the penultimate episode of this season, John Smith and his loving wife Belinda live a picture-perfect life in suburbia with their very real daughter Poppy. Conrad Clark promises beautiful weather and tells light-hearted, very not-portentous stories on the TV, giant bone creatures stride across London, and everything is very normal. But Ruby Sunday is having doubts… How many ideas are too many? It’s a question that has nagged while watching this season of Doctor Who. While it’s arguably indecorous to snipe at previous eras of the show, it did sometimes feel like the Chibnall administration struggled to rustle up one killer idea per episode. That’s not been the problem with the second Russell T Davies epoch – quite the opposite, in fact. Granted, complaining about Doctor Who taking big swings is kind of like complaining about water being wet, but I’m not sure you can build a TV show on big swings alone. There are tons of ideas at play, and energy to spare (something the Chibnall era also often lacked), but the connective tissue isn’t always there to tie it all together. “Wish World”so much going on in this episode – we have to get to grips with an entirely new alternate reality, and our familiar characters’ new roles within it. We have the two Ranis, another new member of the Pantheon (a “terrifying” mystical baby with the power to grant wishes), Shirley’s ragtag crew of dispossessed freedom fighters, shots at reactionary conservatism, ableism, homophobia and tradwife aesthetics. The Seal of Rassilon is there. And then the climactic revelation that all this is merely a means to an end, as the Rani’s (Ranis’?) true objective becomes clear – to burrow beneath the surface of reality and find Omega, an all-powerful figure from ancient Time Lord history. It would be overstating it to say that the episode falls apart round about the time that Rani Prime (Archie Panjabi, having great fun chewing the appropriate quantity of scenery) starts monologuing to a confused Doctor about her dastardly scheme, but it’s where the cracks really start to show. It’s not the most elegant exposition that Davies has ever written, even if he does hang a cheeky lampshade on it by having the Rani explicitly refer to it as such, and making it part of her scheme. Steven Moffat tended to excel at these sorts of whirling expository scenes where everything falls into place, whereas here it very much feels like a rushed info dump connecting a bunch of disparate elements that haven’t all been adequately set up. It’s also here that the structure of ‘lots of ideas carried along with manic energy and high production values’ really creaks. Spending time in the wish world is great fun, with all the joys of mirror universe style stories, seeing everybody forced into perversely inappropriate roles and trying to work out exactly how this world works – or doesn’t work, as the case may be. There are lots of little grace notes, like Colonel Ibrahim’s horrified reaction when the Doctor unthinkingly reassures him that he’s “a beautiful man”, or the fascinating scene between Conrad and Mrs Flood, showing us the strain that keeping the wish alive is having on Conrad, and his uneasy relationship with the creepily chuckling god baby. But then the Rani starts monologuing, and it’s revealed that all of this – two years of Mrs Flood hints, the Pantheon, Conrad, the vindicators, the destruction of Earth, the wish world – is in service of reaching back into the dim and distant past of Gallifrey and finding an ancient Time Lord. A character who, if memory serves, hasn’t appeared on TV since the 1980s, apart from a blink-and-you-miss-it cameo in 2020’s “The Timeless Children”. It’s impossible to properly judge this reveal until we’ve seen next week’s “The Reality War”, but based on first impressions, it’s hard to feel terribly excited about the return of Omega. For an episode that’s generally so weird and spiky, and full of wonderfully unsettling imagery (like the baby’s mother gently collapsing into a pile of flowers), finding out that it’s all building towards the reveal of a figure who really belongs in the Wilderness Years does feel a tad anticlimactic. More than that, it feels fundamentally backwards-looking, which is a bizarre thing to be saying in a review of an episode that features a giggling god baby who grants wishes. Terrifying god babies that grant wishes are not something we’ve explored much in Doctor Who, whereas ancient Time Lord history really feels like it’s been done to death. Of course, it could all be a feint. Perhaps the twist will be that it was about the terrifying god baby all along, and Omega will remain in the dustbin of history. But, as with last season’s reveal of Sutekh, it almost feels as though Russell T Davies – who was so careful with how he rationed out classic series characters and references during his first run – is making up for lost time by playing with as much Doctor Who lore as he can get his hands on while he has the budget to visualise it, whether it’s the most dramatically compelling choice or not. And it contributes to the uneasy feeling that, while there are plenty of new ideas being introduced in this era, the inexorable gravity of Doctor Who’s mythos is always going to overpower them, so even something as bananas as a wish-granting god baby ultimately plays second fiddle. Admittedly, fans do like to see stuff they recognise. I am a fan. I like to see stuff I recognise. But we should not be indulged! Join our mailing list Get the best of Den of Geek delivered right to your inbox! As underwhelming as the Omega reveal is, it doesn’t scupper the episode, which is full of great little moments. Belinda rushing off into the countryside to scream is chilling – Varada Sethu is brilliant throughout, convincingly embodying a different character while still being recognisable, and her gradual horrified realisations are very well played. Ncuti Gatwa is arguably the version of the Doctor who looks the most ill at ease wearing a boring suit and doing normal domestic stuff, so that’s all compellingly off-kilter – even if it would be nice if he woke up from the illusion a bit earlier. Conrad’s sneering and the Rani’s monologuing don’t have quite the same dramatic impact when triumphantly directed at a guy who barely knows who or where he is. The dynamic between Mrs Flood and Rani Prime is also a lot of fun, and the design of Wish World is brilliant, from the Tim Burton-esque identikit suburbia, the bone creatures and the weird cyber-bondage drone things, down to Connor’s sharp white suit. As ever, in terms of production design and visuals, the show is firing on all cylinders. And while Davies is far from subtle when writing about social issues (did we really need two instances of Ruby being clumsily steered into making ableist microaggressions just so the others could chastise her for them?), the idea of the ignored and dispossessed rising up to save a society that has forsaken them is the kind of radical undercurrent that feels appropriately Doctor Who. But will they stick the landing? Will the Doctor escape the mother of all cliffhangers? Will we find out what’s going on with Poppy? Will we see more of Rogue? Where is Susan? And will Conrad get to finish his sandwich? Reservations aside, I’m excited to find out. Doctor Who series 15 concludes with “The Reality War” on Saturday May 31 on BBC One in the UK and Disney+ around the world.

Tech AI to monitor NYC subway safety as crime concerns rise AI-powered surveillance aims to prevent crime before it happens in Big Apple’s subway system Published May 23, 2025 6:00am EDT close 'Decoding Broken Hearts': AI used to advance heart health research Fox News anchor Bret Baier has the latest on the Murdoch Children's Research Institute's partnership with the Gladstone Institutes for the "Decoding Broken Hearts" initiative on "Special Report." Imagine having a tireless guardian watching over you during your subway commute. It notices every detail with steady focus, all with one goal in mind: keeping you safe on the subway.New York City's subway system is testing artificial intelligence to boost security and reduce crime. Michael Kemper, a 33-year NYPD veteran and the chief security officer for the Metropolitan Transportation Authority (MTA), which is the largest transit agency in the United States, is leading the rollout of AI software designed to spot suspicious behavior as it happens. The MTA says this technology represents the future of subway surveillance and reassures riders that privacy concerns are being taken seriously.JOIN THE FREE ‘CYBERGUY REPORT’: GET MY EXPERT TECH TIPS, CRITICAL SECURITY ALERTS AND EXCLUSIVE DEALS, PLUS INSTANT ACCESS TO MY FREE ‘ULTIMATE SCAM SURVIVAL GUIDE’ WHEN YOU SIGN UP! New York City subway (Kurt "CyberGuy" Knutsson)WHAT IS ARTIFICIAL INTELLIGENCE (AI)?How AI surveillance will work in the New York City SubwayThe AI system will analyze real-time camera feeds across subway platforms and train cars to detect unusual or potentially dangerous behaviors. Instead of identifying individuals, the technology focuses on behavior patterns that might signal trouble, such as erratic movements or confrontations. When the AI flags something suspicious, it can alert transit police to respond quickly, which could help prevent crimes before they escalate.Currently, about 40% of subway cameras are monitored live by staff. The AI aims to expand this coverage without needing additional personnel, which could enhance safety across the system. While details about the AI providers and full deployment timelines have not been shared, the MTA emphasizes that facial recognition technology will not be part of this system. This is intended to protect rider privacy. A surveillance camera mounted on a building (Kurt "CyberGuy" Knutsson)Crime trends and government responseCrime in NYC subways has seen ups and downs over recent years. While major crimes dropped by about 7.7% through mid-2024, assaults have unfortunately increased. To bolster safety, New York Gov. Kathy Hochul deployed 1,000 National Guard members to support transit police efforts. AI technology is viewed as a complementary tool in this broader strategy to keep subways safe, not a standalone solution.'DELUSIONAL' NYC POLITICIANS CALLED OUT BY GUARDIAN ANGELS FOUNDER OVER SUBWAY VIOLENCE: 'SLAP IN THE FACE' A police vehicle (Kurt "CyberGuy" Knutsson)Is AI being used in public transit elsewhere?New York is not alone in exploring AI for transit security. Cities like Los Angeles and Chicago have experimented with AI-powered cameras for tasks ranging from weapons detection to issuing parking citations. These initiatives reflect a growing interest in using technology to enhance public safety in transit environments. Entrance to NYC subway (Kurt "CyberGuy" Knutsson)Kurt's key takeawaysWhile the promise of AI surveillance is encouraging, several questions remain unanswered. We do not yet know exactly which behaviors the system will flag or how effective it will be in practice. Perhaps more importantly, privacy advocates and civil liberties groups warn about potential biases in AI systems and the risk of false positives that could unfairly target certain groups.The MTA's decision to exclude facial recognition is a positive step, but ongoing transparency and oversight will be crucial. Michael Kemper's extensive experience leading the NYPD's Transit Bureau, where he helped reduce subway crime, adds credibility to the initiative. Still, as this technology rolls out, balancing safety with privacy and fairness will be key to earning public trust.CLICK HERE TO GET THE FOX NEWS APPWould you trust AI to watch over you in the subway or are you more concerned about your privacy? Let us know by writing us atCyberguy.com/Contact.For more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/Newsletter.Ask Kurt a question or let us know what stories you'd like us to cover.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved. Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here GTA 6 is the most anticipated experience of all time, let alone just video game. It was touted for a Fall 2025 release, but it unfortunately got delayed to May 26th, 2026. While Rockstar understands the disappointment of everyone, the Take-Two Interactive CEO has reassured fans worried about another GTA 6 delay with the statement that when Rockstar “set a specific date, that ends up being the date”. Take-Two CEO reassures fans worried about another GTA 6 delay There is understandable concern that another GTA 6 delay could happen. Recently, for Bloomberg, Jason Schreier covered that not only are players worried about the prospect of another delay, but so too are fellow developers and studios as they obviously want to give the new Grand Theft Auto as much of a wide berth as possible at launch so they don’t end up being a casualty of its unprecedented success. While there is always the possibility another delay could happen, Take-Two Interactive CEO, Strauss Zelnick, has suggested it won’t. Asked by The Game Business in a recent interview whyit was important to set a full release date for GTA 6 so far in advance, Zelnick responded, “Generally, when we set a specific date, that ends up being the date”. The CEO added, “we thought it was important to reassure people that it is coming, and picking a specific date emphasises that point. Asked whether Take-Two or Rockstar were “conscious of the wider industry needing some clarity around” the release date, Zelnick said, “I love that there’s that speculation going on. It’s flattering,” but “No-one has sent me any flowers”. The last question about GTA 6 was whether Zelnick is comfortable with how long it’s been since the last fully original Rockstar game. To this, Zelnick said “back in the good old days, or the bad old days depending how you look at it. We would work on a title, release the title, hope for the best, and then make another title. Now we have the opportunity for consumers to engage on an on-going basis with our hits”. Zelnick pointed out that, “In the case of Grand Theft Auto, we have Grand Theft Auto Online, and Rockstar has been supplying content to Grand Theft Auto Online, some of which is so robust that if you go back 15 years, it would have counted as a standalone title. One could really argue that Rockstar has been putting out a new Grand Theft Auto release a couple of times a year”. Whether you agree or disagree with Zelnick’s comments about GTA Online, the reassurance about the GTA 6 release date is good news for now. It’s still possible a delay could happen, but it’s good to hear that a specific date has been labelled because Rockstar and Take-Two are both confident. In other GTA 6 news, check out our guides to all the characters confirmed for the game so far, along with all the locations you will be able to explore as part of the huge open-world. Related Topics GTA 6 Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share