By TREVOR HOGG Denis Villeneuve (Dune: Part Two) finds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track. (Image courtesy of Warner Bros. Pictures) If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation. [VFX Supervisor] Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects is [Cinematographer] Roger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey. (Image courtesy of Paramount Pictures) Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow. (Image courtesy of Apple Studios) One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it. (Image courtesy of Paramount Pictures) Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters. (Image courtesy of Universal Pictures) Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, and [they] create a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky. (Image courtesy of Prime Video) Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles. (Image courtesy of Columbia Pictures) Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline. (Image courtesy of HBO) Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats. (Image courtesy of Universal Pictures) For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef. (Image courtesy of Netflix) Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once. (Image courtesy of A24) Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. For [the 2026 Netflix limited series] East of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well. [Director] Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise. (Image courtesy of HBO) Bluescreen and stunt doubles on Twisters. (Image courtesy of Universal Pictures) “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”

The Pokémon TCG market is moving, and not quietly. With Black Bolt and White Flare coming in hot, many Black and White-era cards are suddenly on every collector’s radar again. We're seeing massive jumps on cards that have sat stable for years, all because Gen V is back in style. If you're looking to trade, cash in, or just gawk at how weird card prices can get, I’ve got you covered.Here are five cards that are flying and five that are faceplanting. Some of these are smart buys. Others? Let’s say I wouldn’t want to be the one who paid full price three weeks ago.Pokémon Card CrashersImage Credit: IGN Photo Composite / The Pokémon CompanyLeafeon ex from Prismatic Evolutions dropped 21% since mid-April, from $467.85 to $369.96. Still expensive, sure, but that's a big chunk of change to evaporate in just a few weeks. If you bought high, I’m sorry. If not, maybe give it a few more dips before you pounce.And then there’s Eevee ex, also from Prismatic. Down 28%, now sitting at $172 after peaking above $240. Honestly, I think Eeveelution fatigue is real. There are just so many of them floating around that even good cards are struggling to keep their value.Salamence ex - 187/159Leafeon ex - 144/131Iron Crown ex - 158/131Lillie's Clefairy ex - 184/159Eevee ex - 167/131Lillie’s Clefairy ex from Journey Together has slid 26% this month, from $212 to $158. I still like this card a lot, but the dip is noticeable. Early adopters probably paid more than they should have, and now the market's correcting like it just remembered what money is.Salamence ex is rough. It's down a staggering 63% since late March, from $242 to $90.50. That’s not a correction, that’s a full-on crash landing. I wouldn’t be shocked if it dips further. Might be worth watching, but I wouldn’t touch it yet unless you’re in it for the art.Lastly, we’ve got Iron Crown ex from Prismatic, down 19% just this month. It was sitting around $84 and is now at $67.75. That’s not terrible, but it’s still part of a clear trend. The set had a big debut and now the shine is fading fast.Did you catch last week's crashers and climbers? Read the most recent updates from our weekly column.Pokémon Card ClimbersImage Credit: IGN Photo Composite / The Pokémon CompanyI’ll start with Reshiram from Black & White, which has absolutely rocketed. It was sitting at a modest $33.92 in mid-March, and now you’re lucky to find one under $240. That’s a 150% leap for a card that’s over a decade old. I’ve seen faster elevators, but not many. With all 156 Unova Pokémon getting fresh prints soon, I think Reshiram’s still got room to climb.Then there’s Zekrom EX from Next Destinies, which has gone from $34.63 to nearly $392 since March. It’s another reminder that Full Art cards from the EX era aren’t just collectible, they’re volatile. In a good way, if you got in early. I’d still grab this if it fits your binder, because it's only going to get more attention once White Flare drops.Zekrom EX - 97/99Reshiram - 113/114Dialga GX - 125/131Sprigatito - 196/193Vileplume GX - 4/236$10.03 at TCG PlayerI’m also watching Sprigatito from Paldea Evolved. The IR version has quietly crept up from $17.98 in January to $21.95 today. It’s not a moonshot, but compared to the general slump of modern IRs, it’s doing surprisingly well. Plus, it’s a smug little cat and people love smug cats.Now for Dialga-GX from Forbidden Light. This one was hanging out around $14 just two months ago, and it’s shot up to $74.99. I wouldn’t call it graceful, but it’s definitely gaining traction. GX-era cards are getting more attention lately, and Dialga's age plus playable nostalgia make it a solid hold in my opinion.Don’t laugh, but Vileplume-GX from Cosmic Eclipse is up too. It was stuck at $6.83 for what felt like forever, and now it’s over $10. It’s not exactly a gold rush, but it’s one of those oddball rares that sneaks up when no one’s looking. You’ll thank yourself later if you pull it out of a bulk box and it suddenly pays for lunch.Pokémon Card Sealed Boosters151 Booster PackDropped by 8% since beginning of MayUnless you're dead set on grabbing the promo cards and poster in the 151 poster bundle, grabbing booster packs from TCG Player is where it's at (Or just the poster and promos seperately). Currently sitting at $10.33 a pack, it's obvious that Amazon is now going above MSRP and secondary market value. If you're not bothered about opening packs and just want 151 chase cards, here's some of my favorites as well.Charmeleon - 169/165Bulbasaur - 166/165Alakazam ex - 201/165Squirtle - 170/165Charizard ex - 183/165Charmander - 168/165Zapdos ex - 202/165Venusaur ex - 198/165Blastoise ex - 200/165Charizard ex - 199/165If you've dedicated your life to pulling chase cards yourself, here's what we can find in stock right now. Just watch out for pricing over MSRP, we're in a weird spot as Pokémon trainers right now, so don't pay more than what you have to. If you're desperate for some big box retailer products, here you go. Just make sure to be savvy before buying, as 9 times out of 10 TCG Player will be cheaper in this climate.151 Poster Collection$40.97 at AmazonPokémon Trading Card Game Classic$290.67 at AmazonTerapagos ex UPC$219.99 at AmazonPrismatic Evolutions Booster Bundle$84.48 at AmazonPrismatic Evolutions Surprise BoxHoliday 2024 Calendar$54.27 at AmazonMimikyu ex Box$49.99 at AmazonAzure Legends Tin$39.77 at Amazon2024 Trainer’s Toolkit$33.50 at AmazonShrouded Fable Mini Tin$16.00 at AmazonHere's the Pokémon TCG full Release Schedule so far for this year, too, so you don't miss anything. Buying singles is the cheapest way to collect right now, but don't feel like you have to "Catch Em' All!".Destined Rivals Sealed Product Preorder UpdatesWith Destined Rivals dropping May 30 and preorders currently sold out everywhere, it's a good time to keep on top of the secondary market to find the best prices. Best Buy will restock on May 23 via a special "Best Buy Drops" preorder event on its app, just like the recent Black Bolt and White Flare expansions preorders. Destined RivalsBooster BundleSee it at TCG PlayerDestined RivalsBooster BoxSee it at TCG PlayerDestined RivalsElite Trainer BoxSee it at TCG PlayerDestined RivalsPokemon Center Elite Trainer Box (Exclusive)See it at TCG PlayerDestined RivalsHalf Booster BoxSee it at TCG PlayerDestined RivalsBooster PackSee it at TCG PlayerDestined RivalsSleeved Booster PackSee it at TCG PlayerDestined Rivals3 Pack Blister [Zebstrika]See it at TCG PlayerDestined Rivals3 Pack Blister [Kangaskhan]See it at TCG PlayerDestined RivalsBuild & Battle BoxSee it at TCG PlayerBest Buy has also confirmed it will have Booster Box stock online on May 30, alongside ETBs, Booster Packs, and more in store for launch.You could also just wait a few months for more solid stock, but like I said in my preview, this set is one of my favorites in the Scarlet and Violet era, and well worth picking up ASAP.Christian Wait is a contributing freelancer for IGN covering everything collectable and deals. Christian has over 7 years of experience in the Gaming and Tech industry with bylines at Mashable and Pocket-Tactics. Christian also makes hand-painted collectibles for Saber Miniatures. Christian is also the author of "Pokemon Ultimate Unofficial Gaming Guide by GamesWarrior". Find Christian on X @ChrisReggieWait.

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.

Americans are living through interesting times, economically. The tariffs imposed, delayed, and frequently adjusted by the government have thrown household budgets into confusion. One thing that’s pretty certain is that the baseline tariffs applied to just about every country are likely to raise prices at the grocery store no matter what happens from here (prices could go up by about 3% overall).For families that are already struggling to make their grocery budgets work, this is unwelcome news, but there is one thing you can do right now—while prices are still largely unaffected by tariff chaos—to help mitigate the impact and protect you from future grocery inflation: start putting together a “tariff pantry.” This involves laying in a supply of nonperishable groceries to lock in today’s prices, and focusing on recipes and meals that will keep your grocery costs down in the coming months. Here's what to consider.How to plan out your tariff pantrySetting up a “tariff pantry” requires a little planning. “Take inventory first,” advises food blogger and bestselling cookbook author Kyndra Holley. “Know what you already have and make a list of essentials—stick to long-lasting pantry staples you actually use. Stock up gradually. Monitor prices and buy when it makes sense, not out of fear. Then set a budget and stick to it: Decide how much you can spend and avoid impulse buys or panic stockpiling. Buy what you already use when it’s discounted—don’t get lured by deals on items you wouldn’t otherwise use or need.”Holley also warns against relying too much on bulk-buying. “Bulk can save money—but only if you’ll use it,” she says. “Always check unit prices and shelf life, and don’t buy more than you can store safely. Use airtight containers and freeze what you can’t use quickly.”Changing your whole diet and meal-planning approach can help deal with tariff cost increases. “Go more plant-based,” Holley suggests. “Reduce meat and opt for beans, lentils, eggs, and grains. They’re cheaper, filling, and shelf-stable. One-pot, sheet-pan, and slow cooker meals use fewer ingredients and repurpose leftovers easily. And simplify recipes—use fewer, local ingredients. Stick to basic seasonings like garlic, onions, vinegar, and herbs.”Careful meal prepping can also reduce waste and make the most of items bought in bulk. “When you cook in bulk, you maximize every ingredient, stretching your dollars further,” says Laurie Hise, founder of the budgeting blog Passionate Penny Pincher. “Think buying meat in family packs, prepping meals in batches, and locking in today’s prices before more inflation sneaks in!”Hise also suggests broadening your grocery store choices. “Don’t put loyalty above savings! Make sure Aldi is in your store rotation, and scan weekly ads to get your must-haves for the cheapest. Eggs are almost always the cheapest there, they have a great Keto and Gluten Free selection, and you can buy meat for cheap on Wednesdays.”What to stock in a tariff pantryAlthough the blanket tariffs imposed will likely raise prices in general, the grocery items most likely to be affected by tariffs include fresh fruits and vegetables (the bulk of which are imported), coffee, cheese, olive oil, seafood, nuts, and candy. Aside from dodging future price hikes, you want to focus on items in those categories that have lengthy shelf lives and flexible uses. “Stock up on items that are both cost-effective, long-lasting, and versatile,” Holley advises, including:Grains and legumes, like rice, pasta, lentils, dried beans, and oats.Canned and frozen goods. “A variety of canned tomatoes (whole, diced, crushed) are perfect for sauces, soups, and stews,” Holley notes. “Canned vegetables and fruits can be stored for long periods, and frozen vegetables are often cheaper than fresh, and retain nutrients. And canned tuna or salmon are protein-rich and shelf-stable.”Baking ingredients like flour, sugar, yeast, baking soda, baking powder, and cornstarch. “Basic ingredients for a wide range of uses,” notes Holley.Shelf-stable dairy and dairy alternatives like powdered or evaporated milk can be rehydrated and used for baking, cooking, or even drinking, protecting you from price spikes on the fresh stuff.Oils and vinegars are likely to go up in price and are useful in cooking, dressing, and preserving food.Seasonings and spices—the U.S. imports a lot of spices from countries like India, China, and Peru, so they’re vulnerable to tariff price spikes. Laying in a supply of herbs and spices like salt and pepper, garlic and onion powder, paprika, chili powder, ginger, basil, parsley oregano, thyme, as well as soy sauce, hot sauce, mustard, and bouillon cubes will help ride out any disruptions or price hikes in the seasonings aisle.Nuts and seeds—Holley recommends adding a supply of peanut butter or almond butter. “They’re high in protein, and last a long time.”Coffee and tea. “Tea is a low-cost way to diversify your drink options,” notes Holley.Canned meats and proteins. “Canned chicken or Spam can be used in a variety of meals, especially in emergencies,” Holley notes. “And canned ham or sausage can add protein and are good for quick meals.”Building up a tariff pantry will pay off even if the impact of those tariffs is overestimated—as we all know too well, prices never go down.

Well, we’ve reached the end of the road. Andor’s second and final season brought us 12 episodes of (mostly) exceptional Star Wars drama released in three-episode chunks, a format which served the structure of the show brilliantly, with each chunk representing one year in the four years leading up to Rogue One, but also meant that we didn’t get to savor the show for nearly as long.Suggested ReadingFallout Season 2 Teaser Confirms Lucy and Ghoul are Heading to New Vegas Share SubtitlesOffEnglishview videoSuggested ReadingFallout Season 2 Teaser Confirms Lucy and Ghoul are Heading to New Vegas Share SubtitlesOffEnglishEach week, we’ve gathered to discuss our reactions to the show’s latest episodes (you can find last week’s conversation here), and now, we do so for the last time. Join us as we say goodbye to this extraordinary series. Ethan Gach: I’m in camp Kleya, who called her arrival on Yavin in the final stretch of Andor “a bitter ending,” but perhaps somewhat more consoled than she was by Cassian reassurance that “nothing’s ending.”The final three episodes of season 2 were always going to be somewhat disappointing and bittersweet since we knew the show was ending and in some cases we knew where it would need to funnel people to set up Rogue One, but the final chapter still managed a surprising amount of high-stakes tension and unexpected backstory. How would you both rate the final episodes and what are you feeling now that the journey’s over?Carolyn Petit: I thought episode 10, with its look at how Luthen and Kleya formed their bond and her undertaking the terrible task of doing what needed to be done, was outstanding. (It also gave us an alien who instantly became one of my favorite Star Wars creatures ever!) Episodes 11 and 12 weren’t peak Andor, but I have to admit that the final slow-motion montage sequence really worked for me, and they had a political dimension I found somewhat surprising that I’ll discuss a bit more later.Zack Zwiezen: I was worried that the final episode would run out of steam as Tony Gilroy and co literally ran out of space for storytelling and had to slam the brakes to set up Rogue One. And while I enjoyed the montage slow-walk, I wonder if that works if you haven’t seen Rogue One. But overall, the final three episodes are really good. And I think the Kleya-Luthen focused episode is one of my favorite Andor episodes ever. I’m so happy she got a big spotlight before the end.CP: Me, too. That episode also helped cement, I think, that the show recognizes how necessary all of Luthen’s efforts were, even if those fussy ineffectual bureaucrats on Yavin don’t. This is an issue I’ve long had with how Star Wars has at times sanded away its own political dimensions in my view, something that Andor not only seeks to undo but takes farther than ever before. In truth, the act of blowing up the Death Star in the first film, that act which people cheered for in theaters in 1977 and that Star Wars fans for decades since have loved and admired, would, in universe, be considered an act of terrorism. That’s what the Empire would call it. That’s what governments do: they present their own violence as “legitimate” or “necessary” and the violence of those rebelling against them as “terrorism.” But there were times in Star Wars history where I felt like the people at the reins of the franchise wanted to send a message that you shouldn’t be “too extreme” in your resistance, don’t be a Saw Gerrera, do it through “proper channels.” And so I loved that Andor gave us that scene with Bail and some other politicians all kind of hemming and hawing over Luthen while the show, I think, was emphatically telling all of us, “Luthen was right. Maybe not every single little decision he made was right, but his ethos was fundamentally right and without someone like him, none of this would have been here.” And I loved it for that.ZZ: I think, and they talk about this in the behind the scenes, it’s very important that Luthen’s fight against the empire was really because Kleya wanted revenge.CP: Right. She’s the humanity that he’s fighting for. She’s what radicalizes him.ZZ: If he hadn’t found her and saved her, Luthen likely doesn’t become the rebel we know in Andor. And it also adds a new layer of complexity to their relationship. He was part of the army that brutalized her people. So she still has some lingering hatred for him. And yet she does care about him. And in that moment when she sneaks into the hospital to finish the job, you can feel that.EG: I think that scene with the Rebel Alliance leaders also helps show the Senate mentality creeping back in as the insurgency professionalizes itself.It’s easy to see why even after defeating the Empire in key battles it might struggle to rebuild or retain power, issues explored in Ahsoka and The Mandalorian. These last few episodes help situate Cassian between the uncompromising logic of Luthen’s spycraft and the “no one left behind” mentality of the Rebellion. Luthen’s final sacrifice is to die, and Cassian’s is to go back and risk everything just to save someone.ZZ: We should rewind a bit and talk about that moment between Luthen and Dedra. Or even further actually, and pour one out for Lonni, who I knew was dead the moment he sat down at that bench.CP: Yeah. When he mentioned his wife and kid, for a moment I thought mayyyyyyyybe Luthen would be like “You know what? I owe this guy.” But alas, no.ZZ: I also loved that line Luthen gave Klaya before the meeting: “I think we used up all the perfect.” CP: So good.LucasfilmZZ: And then we get Dedra Meero walking into Luthen’s shop as he’s destroying evidence. My wife literally gasped “OH SHIT!” at seeing Dedra at the door.EG: Only two artifacts may not be what they seem!CP: In a show that so often demands that characters put on a performance to blend into their surroundings, it was great seeing those two feel each other out and Luthen pretend for a bit that she was maybe not there to arrest him. But then, of course, he tries to kill himself, and you see that he was thinking a few steps ahead when he picked up the knife, though he made it seem like it was just part of their friendly dealings.ZZ: When he picked up the knife I was so distracted by him mentioning it being a Nautolan artifact (Kit Fisto’s species) that I didn’t realize why he picked a knife.CP: Hahaha, the perils of having a database of Star Wars knowledge in your brain!ZZ: And then after he’s taken to the hospital, we get that wonderful sequence with Klaya sneaking in and taking him off life support. Anybody else want a Hitman-like Star Wars game now?CP: If that alien Kleya pushes around as she’s pretending to be hospital personnel is in it, absolutely! But yes, that was a great infiltration sequence, both thrilling and kind of excruciating because we knew what she was going there to do.EG: It included some of the best Coruscant backdrops we’ve ever gotten, I think.CP: One other moment from that episode that I can’t stop thinking about was the flashback scene in which we see Imperial officers drag some civilians through town, put them up against a wall, and kill them. It was another gut-wrenching reminder of the Empire’s evil and another moment that felt weirdly resonant as more and more people are being arrested by agents who often won’t even show warrants or identification in the streets of our towns.ZZ: On the flipside of that horrible moment that made me feel a pit in my stomach, we have Dedra getting arrested for being reckless and not following orders by chasing after Luthen long after she was supposed to be off the Axis investigation. I have to admit I smiled when I realized it was all over for her.CP: Man, I don’t know. I mean I absolutely hate her, don’t get me wrong, and yet that final shot of her, where we see that she’s in a prison very much like the one Cassian was in last season (if not the same one) was complicated for me. Like, I think that kind of incarceration is just wrong in and of itself and so it elicited this weird moment of something like sympathy for her, which in no way means I forgive her for what she’s done. It’s just one of those reminders that it’s ultimately a systemic evil that will sometimes grind up the people operating inside of it and supporting it as much as those being actively persecuted.The leopards ate her face, in other words.ZZ: Space leopards.But I agree, yes, that the Empire is evil and the way it operates (like many real-world countries) is to crush people up to fuel the fires of growth and war. And I think it was very arrogant of her to believe she would be spared. Or maybe she truly bought into the lies that the Empire was good and doing the right thing? Surely, she won’t end up in some horrible place and left to rot forever.CP: Yep.ZZ: Meanwhile, her boss, after all of these failures and letting the info on the Death Star slip out, realizes what’s coming for him and knows he doesn’t want to be ripped apart by the machine he helped create. And takes an easier way out. CP: That was the first and only indication we ever got that Nemik’s manifesto is actually spreading around, right, that people are listening to it? That was a cool moment, I thought, where at first we think it’s non-diegetic, just the writers and filmmakers reminding us one last time of Nemik’s stirring words, but then we see, oh, no, Partagaz was actually listening to it, the fire is spreading. It’s out there.EG: I loved the scene right outside when the gun shot goes off.CP: Yeah, so clear that the guy knew Partagaz wasn’t just taking a moment to “collect his thoughts,” he knew exactly what was coming.ZZ: The slight “stand down” gesture to the troopers.EG: I appreciate the minor moments of humanity Andor evokes even between the worst people.CP: Yeah, they’re essential IMO.ZZ: It makes them more evil. They are human beings. People with feelings and thoughts. And yet they still do this shit.EG: Something also given to Krennic when he and Partagaz wish each other luck at facing Palpatine’s wrath. Unlike the more buffoonish bad guy energy he gives off in Rogue One.ZZ: Also, very fun to see a character call out the Death Star name. Partagaz thinks its dumb. It’s just one of those reminders that [the Empire is] ultimately a systemic evil that will sometimes grind up the people operating inside of it and supporting it as much as those being actively persecuted.ZZ: I’m so happy to see K-2SO back!CP: Yes. Not unlike C-3P0 he can be so exasperating at times (in an endearing and funny way), but when he goes full Terminator on Empire goons, man it feels good.For me, the whole tone of the scene with Andor and Melshi in the safehouse with Kleya and the communications jammed changed from “Oh shit, oh shit, get outta there!” to “LMAO y’all are about to get owned” as soon as K-2SO left the ship to go in for them, and it was glorious.ZZ: Yeah. The moment K-2SO shows up, it’s basically over for those imperial assholes and I loved it so much. I also like that the show uses its limited time with K-2SO to really develop a relationship between him and Cassian. They seem like buds!The part where they are playing space poker or whatever was great. Gilroy mentioned that after Bix leaves the place becomes a frat house, with Melshi moving in and them all drinking and partying between missions.CP: Ah, that totally makes sense!ZZ: I wonder if Andor is trying to drink away some pain and fill his life with friends to deal with losing Bix? That’s my read. He needs some buds and suds.CP: Definitely. There’s a part of me that still feels like Andor, the title character, could have maybe used a little bit more character development in this show, that with all of its moving pieces his own journey, both ideologically and as a person, maybe got a smidge sidelined. But I do like that we see him dreaming about his sister, since finding her was the big obsession driving him in the early episodes of season one. Now, I feel like he’s accepted that she’s gone but still the idea of her, his depth of feeling for her and the pain of losing her is part of what drives him to create a better world, not entirely unlike Luthen being driven by his love for Kleya. And speaking of love and the things that drive us, how did y’all feel about that final-final image of the show?ZZ: I loved it! To me it worked perfectly with a theme in Andor: hope.EG: “There is another.” lmao.CP: Right, to me it did in part feel like a nod to Star Wars’ obsession with dynasties and legacies, like we have to believe that, though Andor himself dies, what he stands for will live on not just as an idea but because he literally has a child. And yet, I still kinda liked it. We didn’t get a lightsaber but we did get a continued bloodline!ZZ: I think the show needed some hope at the end.EG: I think it was very thematically appropriate, even if I’m torn on the merits of mixing insurgency and family. It’s a division that feels a bit too tidy.ZZ: I think it did provide more reason for Bix leaving like she did. She was pregnant. She wanted to give her child a peaceful life and knew Andor would follow her if he knew. And in her mind, she’s thinking that they’ll get back together one day after the Empire has fallen. It’s both a very tragic final scene and also this reminder that there is more. This isn’t an ending.Screenshot: Lucasfilm / KotakuCP: Vel even tells him not to wait too long to reconnect, and we already know he never gets the chance! Really loved that those two, Cassian and Vel, got a moment here, too, and got to acknowledge all those they’ve lost along the way. But yes, you’re right, it was a lovely mix of deeply sad and hopeful, that final image. Luthen, Cassian, Saw, and so many others know they’re fighting for a world they themselves will likely not live to see. But that kid might.ZZ: And before we leave, I did like that we got one more tiny moment with Mon’s husbasndHe seems to be with the mother of the boy his daughter married? It was very fast. Couldn’t tell. But him just getting drunk in a limo on Coruscant, presumably throwing his wife under the bus and pledging loyalty to the Empire, seemed like all we needed to know about what happened to him.CP: Exactly. He is who we knew he was and his sad empty privileged life is his reward for it.I’d be curious to know how that final montage plays for folks who haven’t seen Rogue One. It really worked for me, seeing Cassian all dressed up for his fateful mission, the cuts to Dedra and other characters, and all around him, the Rebel base on Yavin, active and buzzing, about to change the galaxy, and now we know it’s all because of the efforts of so many people but among them, one Luthen Rael, an unsung hero of Star Wars. Are either of you planning on rewatching Rogue One any time soon?ZZ: I wanted to hold off until after this VG chat so I came into this without the weight of Rogue One on my mind. I plan on watching it this weekend! EG: I will say, as a parting thought, I don’t know that I needed the show to try and line up so neatly with Rogue One, perhaps the worst part of which is that silly blueprint handoff that directly leads into A New Hope. I do think some of the broader thrust of Andor and the unease and disquiet within its characters ended up being subsumed a little to neatly by the end of episode 12.CP: Oh, I agree. At a certain point in the final episode you really feel the show shift into “Okay, let’s get all the pieces in place for Rogue One” mode.ZZ: Yeah. It reminds me of the ending of Star Wars Episode III, where George Lucas sets up all the pieces for A New Hope and it feels less like an actual ending and more like a checkpoint.CP: And I think heading right from Andor into Rogue One will be quite jarring because—sorry Rogue One!—your dialogue is just not on the same level!ZZ: Nope! And what happened to Bail Organa! Did he get a haircut?CP: Hahaha.ZZ: But really, if that’s my biggest complaint about Andor—that its ending isn’t as strong as it could have been because of Rogue One—I’m still really happy.I’m not sure we’ll ever get a show like this again, or at least not for a long time. Real sets. Lots of actors. Incredible writing. Big budgets. Set in a large franchise. All this freedom. Even Gilroy has stated he’s not sure if this kind of thing will ever happen again.CP: It was glorious, and while I really hope we see more like it, I’ll try to just be grateful for the miracle that we ever got it at all. Now I just need Disney to put it on Blu-ray so I have it on physical media and it’s not trapped on a streaming service forever!ZZ: Rebellions and physical libraries of movies we love are built on hope. .

Washington wants AI development to go unhindered in the U.S.

Artificial regulation GOP sneaks decade-long AI regulation ban into spending bill Sweeping provision would halt all local oversight of AI by US states. Benj Edwards – May 13, 2025 10:58 am | 51 Credit: Getty Images Credit: Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more On Sunday night, House Republicans added language to the Budget Reconciliation bill that would block all state and local governments from regulating AI for 10 years, 404 Media reports. The provision, introduced by Representative Brett Guthrie of Kentucky, states that "no State or political subdivision thereof may enforce any law or regulation regulating artificial intelligence models, artificial intelligence systems, or automated decision systems during the 10 year period beginning on the date of the enactment of this Act." The broad wording of the proposal would prevent states from enforcing both existing and proposed laws designed to protect citizens from AI systems. For example, California's recent law requiring health care providers to disclose when they use generative AI to communicate with patients would potentially become unenforceable. New York's 2021 law mandating bias audits for AI tools used in hiring decisions would also be affected, 404 Media notes. The measure would also halt legislation set to take effect in 2026 in California that requires AI developers to publicly document the data used to train their models. The ban could also restrict how states allocate federal funding for AI programs. States currently control how they use federal dollars and can direct funding toward AI initiatives that may conflict with the administration's technology priorities. The Education Department's AI programs represent one example where states might pursue different approaches than those favored by the White House and its tech industry allies. The House Committee on Energy and Commerce, chaired by Guthrie, scheduled consideration of the text during the budget reconciliation markup on May 13. The language defines AI systems broadly enough to encompass both newer generative AI tools and older automated decision-making technologies. The reconciliation bill primarily focuses on cuts to Medicaid access and increased health care fees for millions of Americans. The AI provision appears as an addition to these broader health care changes, potentially limiting debate on the technology's policy implications. The move is already inspiring backlash. On Monday, tech safety groups and at least one Democrat criticized the proposal, reports The Hill. Rep. Jan Schakowsky (D-Ill.), the ranking member on the Commerce, Manufacturing and Trade Subcommittee, called the proposal a "giant gift to Big Tech," while nonprofit groups like the Tech Oversight Project and Consumer Reports warned it would leave consumers unprotected from AI harms like deepfakes and bias. Big Tech’s White House connections President Trump has already reversed several Biden-era executive orders on AI safety and risk mitigation. The push to prevent state-level AI regulation represents an escalation in the administration's industry-friendly approach to AI policy. Perhaps it's no surprise, as the AI industry has cultivated close ties with the Trump administration since before the president took office. For example, Tesla CEO Elon Musk serves in the Department of Government Efficiency (DOGE), while entrepreneur David Sacks acts as "AI czar," and venture capitalist Marc Andreessen reportedly advises the administration. OpenAI CEO Sam Altman appeared with Trump in an AI datacenter development plan announcement in January. By limiting states' authority over AI regulation, the provision could prevent state governments from using federal funds to develop AI oversight programs or support initiatives that diverge from the administration's deregulatory stance. This restriction would extend beyond enforcement to potentially affect how states design and fund their own AI governance frameworks. Benj Edwards Senior AI Reporter Benj Edwards Senior AI Reporter Benj Edwards is Ars Technica's Senior AI Reporter and founder of the site's dedicated AI beat in 2022. He's also a tech historian with almost two decades of experience. In his free time, he writes and records music, collects vintage computers, and enjoys nature. He lives in Raleigh, NC. 51 Comments